Elation on Brit Floyd World Tour 2021

©John Benson

LD Mark Jacobson comments on lighting The World’s Greatest Pink Floyd Tribute Show. The tour is produced by CMP Entertainment. Forced from the road in early 2020 due to the pandemic, Brit Floyd, ‘The World’s Greatest Pink Floyd Tribute Show,’ is back after kicking off a world tour July 29th at Red Rocks Amphitheatre in Colorado beneath an all Elation lighting rig.

© Scott Margolin

Brit Floyd World Tour 2021 includes highlights from The Wall, The Dark Side of the Moon, Wish You Were Here, Animals and The Division Bell, and features a note-for-note performance of the epochal song Echoes.
With their avant-garde lighting, graphics, props and sound effects, Pink Floyd has provided some of the most memorable stage moments in rock ‘n’ roll. No other band recreates the sound and look of Pink Floyd’s live shows like Brit Floyd.

The tour is produced and promoted by UK-based CMP Entertainment, who own and supply all of the Elation gear. Elation has enjoyed an excellent relationship with CMP over the years and many of Brit Floyd’s past tours have featured Elation gear. Chas Cole of CMP Entertainment comments: “Eric Loader was supportive of Brit Floyd in its early days with great product at a great price and even though we’ve worked the equipment really hard it’s held together really well and allowed us to produce a great light show year after year.”

© Patrick Kealey

Collective design

Many have had a hand in shaping the Brit Floyd look over the years, a design that echoes Marc Brickman’s original and classic Pink Floyd designs of yesteryear. Mark Jacobson has been designing lighting for Brit Floyd since their 2019 tour and says there is no single designer for the show but has been the work of several designers over many years.
“That would include Dave Hill and Jake Whittingham, along with Mark Jones Roberts, who is out with the current tour, and myself,” Jacobson says. “The show numbers are well-known Pink Floyd classics that have been around now for quite some time and the lighting frame structures of those songs were created before I got involved.”

Authentic Pink Floyd looks with new technology

Jacobson says that band musical director/guitarist/singer Damian Darlington, along with Chas Cole of CMP Entertainment, serve as “the gatekeepers,” making sure everything is authentic, including the lighting. “Ultimately the lighting is paying tribute to Pink Floyd in the same way the band is paying tribute – it has to look like a Pink Floyd show.
That is the overall directive and that’s what people come to see. As great as a new look might be, fans don’t want to see something that looks like some other band. It has to look like something Pink Floyd would have done but we do it using this new technology.”

The designer says the main directive of reference for the Pink Floyd look was from 1986-1994 tours Momentary Lapse of Reason, Delicate Sound of Thunder, and Division Bell. Even when the band decided to cover songs they hadn’t done in a while, they sent Jacobson videos that showed how the look used to be.

© Patrick Kealey

Iconic circle truss with Dartz, no arch

Nevertheless, some things do change. In December 2019, the decision was made to drop the emblematic arch truss design yet keep the iconic circle truss. The arch and circle stems from the early 90’s Division Bell tour and was part of Pink Floyd designs for years. The circle truss can trace its origins back to Pink Floyd shows of the 1970s.

“The directive was to change it more to what David Gilmour has gone with visually in recent years, which is one large circle truss with more fixtures on it without the arch,” says Jacobson. “That led to the decision to fill the circle truss with 32 Elation Dartz 360 and we added Smarty Hybrids and Protron 3K Color LED strobes to the rig as well. The starkness of the circle without the arch allows for more dark space and more room for contrast.”

© Scott Margolin

Previous designs had a smaller amount of fixtures on the circle truss, namely 16 Platinum Beam 5Rs. The added number opened up new possibilities. “Doubling the amount of fixtures on the circle truss allowed us to do some Pink Floyd effects that we had seen pictures and video of but that we really couldn’t achieve with only 16 lights.”

The Dartz, with their 3-degree aperture, gobo set and full 360-degree rotation, allow for remarkable effects on the circle truss cyc. For Jacobson, the iconic circle truss forms a part of his history and creating those circle looks has become his favorite part of doing the Brit Floyd show. “I got started in lighting in the late 80’s, and like many lighting people of the time, I was a fan of what Pink Floyd were doing on their Momentary Lapse of Reason/Delicate Sound of Thunder tour.

As far as I know it was the first use of moving fixtures on a circle truss in the way that they did it, and I spent hours and days thinking about what a simple idea that was with so many possibilities. And they did all of those looks in a time when effects engines didn’t exist!” Jacobson says he also has a penchant for harsh angles on solo lights, “projecting almost straight down onto performers,” which he says has always been a Pink Floyd trademark.

©Patrick Kealey

Full Elation rig

The lighting design for the mostly time-coded show is consistent with that of the shortened 2020 outing with a few adjustments made before the tour launched. Besides the circle truss of Dartz, Smarty Hybrid spot/beam/wash units populate back and side trusses with more at a floor position. Platinum 5R Beams work from straight trusses up in the air while Platinum 5R Beam Extremes provide big aerial effects from floor positions.

©Todd Jolicoeur

Platinum FLX on front truss provide profile looks while ACL Bar 360s work from ground towers. ZW19 beam/wash effects and Chorus Line 16 pixel bar washes add color and effect. Protron strobes, both white light and color versions, and Cuepix Blinder WW2s, provide pupil-constricting flares of light.

Handling U.S. tour support in the form of a 24-count motor package with distro and cabling, along with professional tour labor support, is Performance Lighting of Chicago. The company has been part of Brit Floyd branding since 2011 when they provided lighting support for the US tour.
Performance Lighting President Russell Armentrout reflects, “We subbed their original lighting requirements and provided the tour with 40 Elation Platinum 5R Beams for the iconic circle truss and 14 Elation Design 1200C lights. That was the introduction to Elation Lighting! After that, Chas decided to purchase lighting and the rest is history.”

Brit Floyd World Tour 2021 continues to celebrate one of rock’s most significant acts and has been getting excellent response from eager audiences at each stop. The tour continues through the eastern and Midwest US until mid-September with a European leg scheduled to kick off in the fall.


Designers/Programmers/Contributors: Mark Jacobson, Dave Hill, Jake Whittingham, Mark Jones-Roberts
Manager: Chas Cole
Musical Director: Damian Darlington
Video Content: Bryan Kolupski
Media Server Curator: Tom Denney
Crew Chief: Sam Whittingham
Stage/Production Manager: Roger Middlecoate
Tour Manager: Alison Hocking
Tour Lighting Crew: Mark Jones-Roberts, Charlie Denny, Nathan Wilder, Mary Wistrom, Evan Porter (Performance Lighting)

Elation Gear

32 x DARTZ 360™
18 x Smarty Hybrid™
16 x Platinum Beam 5R™
8 x Platinum Beam 5R Extreme™
7 x Platinum FLX™
29 x ZW19™
10 x Chorus Line 16™
10 x ACL Bar 360™
16 x Cuepix Blinder WW2™
10 x Protron 3K™
4 x Protron 3K Color™

For more info about Elation Lighting and their lighting fixtures, you can visit www.elationlighting.com


Ayrton Perseo withstands the weather at 2021 ESPY Awards

An outdoor event in New York City in July has to be prepared for all weather contingencies. So when lighting designer, Bob Barnhart of 22 Degrees, was hired by BTW Productions to light the 2021 ESPY Awards show on the The Rooftop at Pier 17 at the Seaport, he chose Ayrton Perseo fixtures to comprise the bulk of the lighting rig.

Perseo is an LED moving head profile whose IP65 enclosure rating makes it the ideal choice for outdoor use. Ayrton lighting fixtures are distributed exclusively in North America by ACT Entertainment.

The 2021 ESPYs presented by Capitol One celebrated the best players, moments, coaches and games in sports. Actor Anthony Mackie hosted the 29th annual ceremony, which was broadcast live on ABC and aired later on ESPN and ESPN2. The in-person show followed last year’s virtual taped event during one of the peaks of the coronavirus pandemic.

Barnhart coped with unseasonable rain and lightning all week leading up to Saturday’s rooftop ceremony. The weather was clear for the 8 pm start of the three-hour show, but rain started about an hour later.

Barnhart tested the versatility of the Perseo fixtures for the ESPYs where they performed in a variety of roles. A large portion of the rig was mounted in a roof structure over the top of the main stage where some Perseo units were exposed to the elements.
These fixtures provided backlight, audience key light and eye candy. Additional Perseo fixtures were fully exposed in the lighting tower supplying front light to the stage and backlight to the audience and serving as followspots. The Perseo fixtures were obtained from PRG.

“The Perseos big function was as key light – the first time I was using them in this capacity,” says Barnhart. “I was able to colour correct them properly, get very clean edges and blend the lights together very well.” He notes that, “Perseo’s LED engine creates a very flat field, which is really critical in TV which is pickier than the human eye to intensity changes.
I also like their shutters for control and, of course, their weatherproofing is a huge advantage – they held up very well to the weather we experienced all week and during the show.”

Earlier this summer Barnhart utilized Perseo fixtures in Arlington National Cemetery for a segment of the PBS “National Memorial Day Concert.” The segment was recorded at the Women in Military Service for America Memorial where the Perseo fixtures acted as architectural lighting then transitioned to theatrical lighting for the talent.
The fixtures were hidden behind the large fountain and reflecting pool in front of the memorial where they illuminated the 400-foot curved façade; subtle gobos and a colour change from natural to blue highlighted the memorial and accented the tribute and performances.

For more information about Ayrton and the Perseo you can visit www.ayrton.eu


The Rady Shell in San Diego with DiGiCo & L-Acoustics

The $85 million Rady Shell at Jacobs Park, the brand new outdoor home of the San Diego Symphony, is an architectural wonder on the edge of San Diego Bay and in the heart of the city’s downtown.
Designed to complement the sails of the nearby San Diego Convention Center, the concert shell is wrapped in a translucent flexible material that covers a generous 13,000-square-foot performance space for accommodating the full orchestra and guest artists.

Depending on the event, audience capacities and setups are able to vary widely, from intimate two- and four-person table seating arrangements to standing crowds of up to 10,000.
As an outdoor symphonic space, “The Shell,” as it has come to be known, has a large L-Acoustics PA system integrated into the venue as part of its infrastructure, and the immersive nature of the PA system requires powerful and sophisticated mix platforms to control it. That’s why the San Diego Symphony chose three DiGiCo consoles for the task.

Le directeur du son du San Diego Symphony Joel Watts sur la nouvelle Quantum7.

A Quantum7 is installed as the front-of-house mix desk, with a DiGiCo SD10 for monitor mixing and an SD12 on hand for any auxiliary mix and processing needs. The three consoles, three SD-Racks located on stage, and a Mini-Rack in the amp room are all on a dual Optocore network, and the entire system was designed and integrated by Solotech.

Aaron Beck

“There are several reasons why we chose the DiGiCo consoles, and they are all areas that the brand excels in,” says Aaron Beck, Business Development Manager and Senior Engineer at Solotech.

“First, there’s capacity—the Quantum7 can run 200-plus inputs. Then there’s the Quantum processing power.” Becks cites features like Quantum’s Mustard Processing channel strips, Spice Rack plugin-style native FPGA processing options, and Nodal Processing all as standout features. “Plus, there’s the overall quality of the sound, which is exceptional,” he says.

The Rady Shell at Jacobs Park will see scores of visiting touring groups each year, many of whom will bring their own audio engineers and all of whom will be familiar with DiGiCo console architecture and operation. That familiarity will be important for more than just operational reasons. Jacobs Park is located within a major metropolitan area that, like many, has stringent noise regulations.
San Diego has deployed NTi Audio noise measurement devices nearby that automatically issue reports via cellular data to key elements of the city’s environmental control, as well as directly to the house engineer at Rady Shell. “The venue’s engineer can adjust the overall volume of the entire system from the FOH console when necessary to keep every show within compliance,” he says.

L’équipe audio du Rady Shell réunie à la face. De gauche à droite le responsable HF Nowell Helms, le responsable du son RJ Givens, le directeur audio du San Diego Symphony Joel Watts, Jeremy Nelson assistant son, Heidi Gaare assistante son et Jeff Ward assistant son

Joel Watts, the Symphony’s Audio Director notes that the 32-bit “Ultimate Stadius” microphone pre-amps on the SD-Racks are the next best thing to the kinds of high-end mic pre’s he’d choose in the studio for recording classical orchestras. “My background is in studio production, and we’re recording most of the performances here for later postproduction, and the DiGiCo mic pre’s sound fantastic,” he says.

François Desjardins, Vice Président de la R&D de Solotech mais avant tout un remarquable ingénieur du son.

Having said that, “The Shell” also sounds fantastic thanks to an immersive L-Acoustics PA system designed in Soundvision by François “Frankie” Desjardins of Solotech. Working in tandem with sound consultant Shawn Murphy, Solotech integrated the venue’s full AVL system.

“It does look as good as it sounds,” says Solotech Business Development Manager and Senior Engineer Aaron Beck. “The white exterior wrapping material is a kind of plastic cloth and the interior is covered with a white scrim material. L-Acoustics was able to provide an entire K2 system in white, as well, to match it.”

The system comprises two main arrays of 16 L-Acoustics K2 per side, flanked by two hangs of eight cardioid-configured KS28 subs per side and a center array of nine K2. Another 16 KS28, also in cardioid configuration, are located underneath the stage.

16 K28 en montage cardioïde, une bonne manière de gagner quelques dB de gain dans le bas sans se faire peur et d’éviter que le grave ne sorte trop de la zone d’écoute.

In addition, six towers comprise the surround elements of the 7.1-type system design: two side-surround towers per side (for a total of four) hold four A15 Focus speakers each, with the rearmost tower on each side also holding six Kara II with adjustable HF-steering fins. Two rear-surround towers are fitted with four Kiva II and two SB15m subs each.
The system is powered by two dozen LA12X amplified controllers, with system processing by L-Acoustics’ LA Network Manager.

While it’s designed to project the orchestra across the wide span of the open-air venue, this powerful PA system will also offer Rady Shell and the San Diego Symphony a highly flexible venue that will easily accommodate a wide range of visiting artists.

Les six tours et leur inventaire de A15 Focus, Kara II, Kiva II et SB15m.

It will also give the orchestra the impact it desires when performing live scores from movies shown at the park. Beck says the immersive design of the system reflects the growing demand by touring artists for that type of sound and the L-Acoustics system at Rady Shell does just that very cost-effectively.
“One way we’re achieving that sense of immersion is by taking some of the reverb returns from the front-of-house console and sending them to the surround speakers, which really enhances the immersive effect,” he explains.

Beck also notes that the large number of subwoofers has less to do with impact than with directionality. “There are very strict noise-control measures in place here and on nearby Coronado Island, and the KS28 subs in the cardioid configuration give us tremendous ability to steer that energy where we want it to be and away from where we don’t want it.”

The same, he says, go for the K2 Panflex horizontal steering technology, which combines mechanically adjustable fins with DSP algorithms effective from 300 Hz. “It’s all about putting the sound on the seats and keeping it from escaping the venue,” Beck adds.
“K2 gives us not only excellent sound quality but also the tools we need to stay in compliance with local noise ordinances. Soundvision was incredibly helpful for that.”

Joel Watts

San Diego Symphony Audio Director Joel Watts says that this sound system is highly unique and particularly effective for amplifying a symphony orchestra in an outdoor environment. “In a space like this, where the seating goes back a full 200 feet, the only way to fill it with acoustical music, is with amplification.
But it has to be done in such a way that everyone hears only the music, never the speakers,” he explains. And it sounds marvelous.”

Watts also points out that the asymmetric configuration and precise placements of the speakers allow the orchestra to achieve full impact without exceeding the noise restrictions.
“We have full dispersion to one side of the system and virtually none to the other side, thanks to the fins on the K2,” he says. “It focuses the sound and keeps it on the seats. It never crosses the lease line.”

En plus de porter les enceintes d’ambiance, les tours sont aussi prisées par les artificiers.

The L-Acoustics system also makes the venue fully rider-ready. Finally, says Beck, K2 and the other speakers that make up the system are all remarkably robust, able to withstand the kind of weather they will face since they’re right next to the ocean.

“But the L-Acoustics speakers handle that very well. Combine that with how rider-friendly they are, and you easily see how they were the best choice for this project.”

For more details on the new Rady Shell at Jacobs Park, visit :

– The Rady Shell website
– The Solotech website
– The L-Acoustics products


Kelly Clarkson Show is Wrapped in Robe

Multiple Grammy award winning Kelly Clarkson has rocked the foundations and redefined daytime talk show television with her award-winning, high impact “The Kelly Clarkson Show” (TKCS).
The one hour syndicated daytime show produced by NBCUniversal Syndication Studios is an energetic mash up of chat, stories, opinions, humor, and surprises involving an array of interesting guests, personalities, and celebrities. And, as you might expect from this massively successful singer / songwriter, a healthy blast of superlative music!

The pleasure and the pressures of lighting this dynamic and ever-shifting environment recorded on Universal Studios in LA’s Stage 1, has been down to Darren Langer of DCLighting, a lighting design and direction practice also based in LA, specializing in television and multi-camera environments. Their work encompasses broadcast, streamed shows and events, awards extravaganzas, talk shows and music-based projects of all sizes.
Darren has relied on several specific Robe products throughout series 1 and 2 of The Kelly Clarkson Show – Pointes, BMFL Spots and BMFL Blades, PATT 2013s, Spiiders and Tetra2s – to ensure that the studios and sets have looked fresh and invigorating every time for this truly unique talk show format.
Each show kicks off with a ‘Kellyoke’, a rousing cover version selected by fans, arranged specially to fit the 1.30-1.45 timeslot by musical director Jason Halbert, and delivered with the dynamic full-force Kelly Clarkson treatment.

Ahead of the first series launched in 2019, Darren was interviewed by the network executives together with several other lighting designer / and director candidates, from which he was selected. It was a totally new client, so he was delighted to get the job based on DCLighting’s vast and rich creative portfolio of lighting music and talk show projects over the years.

“One challenge with this one was the truly multipurpose nature of the lighting required,” explained Darren. It demanded a fine balance of musical performance and expression juxtaposed with the more structured approach of a daytime talk show.
He knew immediately the lighting design would have to be uber-adaptable, and Robe products immediately entered his thought process.

In addition to his own ideas, Darren took initial creative inspiration from production designer James Pearce Connelly and director Joe Terry together with executive producer / showrunner Alex Duda and her producing team, MD Jason and the outstandingly gifted house band, “My band y’all”. Together they all contributed to setting the tone of the show, which is lively, upbeat, and energized. “They are all amazing people to work with,” he states, detailing how they developed a fluid visual language by collaborating closely.

“This was the only way to produce a product with the quality and finesse we desired,” and also not possible without great support and much patience from ‘executive in charge of production’, Jonna Walsh. With flexibility at the essence of the lighting, Robe products ensured “we had capacity to transform instantly from a sharp, animated daytime talk show set to a sexy after-dark ‘musical dream’ at any point,” says Darren … and switch back instantaneously at the push of a button!

He also needed to create a space where viewers – both live for the start of the first series – and then onscreen as the pandemic sent the show digital – would be continually astonished at the visual transformations and enthralled by what might come next, keeping it fresh and different.
Season 1’s lighting had eight Robe BMFL Blades and eight Pointes permanently installed, and these were augmented with more Robe specials, depending on the songs and action of the day. Frequently used fixtures included PATT 2013s 15 x Spiiders, and 24 x Tetra2s, all; supplied, together with the rest of the lighting equipment, by Illumination Dynamics.

Fixture positions varied constantly around the studio, but “these Robes they were fundamental to each show,” said Darren, giving them almost infinite options to create different looks throughout the season. The goal was to never repeat the same look!
Darren picked Robe fixtures generally for being “bright, fast, clean, with fantastic color options, great flat beam fields and for the sheer versatility.”

He maximized the Pointes in particular as they can do equally good wide and narrow beams and have an endless array of in-air effects and fast movement perfect for floor coloring and texturing, and for fast color chases and movements. “We’d often hang them and even use as back-light on the artists for creating moody silhouettes and other trick-of-light gags!”
The Spiiders were another multi-tasker with lots of different beam effects and quirky pixel and graphic effects possible on the LEDs. They were also excellent floor washers, back-of-shot eye candy fillers and different shapes.

Two RoboSpot systems were great assets to the show, both run by Chris Nelson. The BMFL FollowSpots being remote controlled were positioned one over the audience and one above ‘home base’ where Kelly usually sits for interviews, allowing pick ups in any part of the area that the host or guests would generally roam. The two base stations were located side-by-side backstage enabling Chris to easily swap between as needed.

Darren has used Robe products for many years before TKCS. The BMFL became a workhorse for a series of awards shows they were lighting with one of Darren’s major mentors, the legendary Allen Branton. These and all the other lights in the studio were controlled via a grandMA2 console.
The schedule was intense. They recorded two shows minimum a day for 30 weeks working three to four days a week, with the lighting rig changing weekly and sometimes even daily, de-rigging and re-rigging to get exactly the right fixtures for the specific action each time.
After the timeframe, programming was the next most galvanizing task throughout the two series for which Darren had input from a fantastic team over the period comprising Andrew Law, Brian Larsh, Brandon Dunning, Jeff Handke, Felix Peralta and Tyler Glover.

With the two performances recorded each day plus guest slots and performances, interviews, demos, games and special themed shows, time was “never on our side” says Darren, although they were all fully geared to working at lightning speed, smashing deadlines and keeping pace with the skills and talent of Kelly and her band, in addition to constantly popping out ideas to make the non-performance segments look exclusive!

The lighting department was also controlling a media server that dictated most of the screen content, so, with the assistance of technical manager Eric Feder, they didn’t miss a beat! For Darren, the most enjoyable parts of TKCS were working with a truly inspiring host and “so many people with great energy.”
The icing on the cake for Darren and the DCLighting team was winning the 47th Annual Daytime Emmy for Outstanding Lighting Direction for the show in 2020 (for the 2019 broadcast year) and being nominated again for the 48th Annual Daytime Emmy in the same category for the 2020 broadcast year.

Furthermore, he won the Newscast Broadcast Production Award for ‘Entertainment Lighting Design’ for the show’s 2019 and 2020 broadcast years. Darren is the first to credit his “incredible” team for their vital contributions to gaining these accolades, and this includes Kirsty Robson, DCLighting’s VP of Production who handles all the logistics, marketing, communications and client networking, and gaffer Andy Anderson who installs the different lighting designs each day.
Andrew Gonzales is their proactive lead tech, looking after the lighting system as well as multitasking as best boy, ensuring the gaffer is happy as well as managing all the rental ‘specials’ in and out daily! Morgan Evans and the late Carlos Colina were also integral to the drafting and visualization part of the process.

TKCS airs on multiple stations across the U.S. in 100% of the country and is anchored by the NBCU station group. Season three will be starting shortly and the NBC owned Television Stations Group has just announced that ‘The Kelly Clarkson Show’ will take ‘The Ellen DeGeneres Show’ timeslot on the ten NBC-owned stations carrying both programs once Ellen finishes in 2022.

For more information about Robe lighting and their products line, you can visit www.robe.cz


Vari-Lite VL2600 luminaires land at TSL Lighting for LOL

British rental house TSL Lighting is now offering a range of VL2600 PROFILE and VL2600 WASH luminaires from Vari-Lite. The much-liked and well-respected Basingstoke-based company brought in the VL2600s for global video game developer Riot Games’ League of Legends esports tournament in Reykjavik, Iceland.


Lighting designer for the event, Mat Stovall, collaborated with TSL Lighting’s Dom Sheerman to source an LED lighting package that would suit his needs – a reliable, powerful workhorse fixture that would give him powerful wash and profile capabilities with consistency in discharge for both the in-house crowd and the live-stream cameras.

“The VL2600s were fantastic – bright, lovely color rendition, great color temperature control. It’s nice to have a new workhorse,” says Stovall. “This is the first time TSL Lighting has had the LED VL2600s in stock and we’re thrilled that they were immediately trucked out to a major international event where they performed beautifully. We look forward to specifying them for high-profile events in the future,” adds Sheerman.

Photo Maris Wendenburg

TSL now has 36 VL2600 PROFILE and 36 VL2600 WASH luminaires in stock. They were trucked to Iceland via ferry from Rotterdam for the esports contest.
Twelve teams from around the world descended on the Icelandic capital’s Laugardalshöll sports venue to battle out the popular game as part of the legendary Mid-Season Invitational (MSI), which was live streamed to a global audience.

The VL2600 WASH and PROFILE luminaires were rigged in a square formation above the League of Legends stage, which also included an ‘Icelandic glacier’ set piece that formed a visually dynamic focus to complement Stovall’s action-packed lighting design.

“It’s great that TSL has come on board with the VL2600s and is immediately experiencing the versatility of a fixture that can move across different environments for all of TSL’s needs. I look forward to seeing the VL2600s out on more of their awesome projects,” said Jai Auguste, Key Account Manager UK and Ireland at Signify.


The League of Legends MSI tournament was won by Chinese team ‘Royal Never Give Up’.

For more information about Vari-Lite and their products line, you can visit www.vari-lite.com/global


Sooner Routhier chose Ayrton for Coldplay Live

With the world-famous Glastonbury Festival cancelled for a second year, an online celebration – Live at Worthy Farm – was held in its stead on Saturday 22 May 2021.
Filmed over a week and beamed as live around the world, the five-hour virtual festival echoed the glories of the full event missed by so many, in spite of the access problems suffered by the online audience. For many artists it was the first opportunity to play live in a year or more.

© Courtesy of Live at Worthy Farm director, Paul Dugdale

The event highlight came with a performance from Coldplay, lit by multi award-winning lighting and show designer, Sooner Routhier of Sooner Rae Creative. Routhier incorporated 60 Ayrton Perseo Profile and 36 Ayrton Domino IP65-rated multifunction lighting fixtures, supplied by Neg Earth, into her design to handle the demanding outdoor conditions.
“I needed a large format profile that was IP65 rated because the site was open to the elements in a location that was known for pretty bad weather, so we needed something that was going to last,” she says.

The exposed location saw production designer/creative director, Misty Buckley, and creative director, Phil Harvey, place the band directly in front of the Pyramid Stage on a circular stage surrounded by a sea of light that represented the energy of the missing audience. Behind them, the framework of the famous Pyramid Stage formed an iconic backdrop, its skeletal frame instilling the set with the essence of the Glastonbury spirit.

“We were in a unique situation where the Pyramid was without it skins and crying out to be lit in a way it has never been used before,” says Routhier. “We took advantage of the unique opportunity to hang lights directly on it, outlining the frame with Perseo profiles from ground to apex and across the overhang, and adding a line of Dominos across the floor to create this beautiful triangle of light. The Perseos gave the defining shape of the wider stage and we used the Dominos for punches through the band to make sure there was something in the picture for the low camera angles.

© Courtesy of Live at Worthy Farm director, Paul Dugdale

“There were so many beautiful helicopter and drone shots during the broadcast where the entire pyramid of Perseos and Dominos made a really cool triangle of light, emphasising the sacred geometry of Misty’s design. I always light with the camera in mind and the Ayrton fixtures had all the right gobos, including very specific star field gobos I needed to create some nice big moonflower looks. They were bright and punchy with lots of diverse beam options.”

Routhier was assisted by associate lighting designer and design producer, Steve Nolan. “Steve was a life saver,” she states. “It became apparent early on that we would need help with logistics and creative because of the challenges with the sites, time frames, and time zone differences between myself and the UK. It was amazing to have such a kind, creative and diligent collaborator on board!”

© Courtesy of Live at Worthy Farm director, Paul Dugdale

“Despite the difficulties of putting a show together from opposite sides of the Atlantic, it couldn’t have a been a nicer, more collaborative experience,” says Nolan. “We found we developed Misty’s ideas with similar solutions, thought processes and choice of fixtures.

The size and weight of Perseo on the Pyramid stage, for example, had obvious advantages during the set up, and we knew that access to them would be difficult once rigged, so we chose a fixture that we knew to be reliable. They are so bright and powerful and looked awesome once rigged. It really did rain for the whole week, but we had no swap outs at all and they all worked perfectly.”

© Courtesy of Live at Worthy Farm director, Paul Dugdale

Live at Worthy Farm is not the first time Routhier has used Ayrton, having used ‘plenty of their effects lighting products in the past’, but it is the first time she has used the profiles, Perseo and Domino.

“Ayrton makes amazing lights, their profiles are gorgeous,” she says. “They are nice and bright and have a ton of gobos and features, but the IP65 rating was the decider.

“We were able to line the Pyramid skeleton successfully and leave the lights completely open to the elements which we definitely could not have done if we had used a fixture that was not IP65 rated or needed a dome to protect it.” Routhier was also able to take advantage of some unusual effects afforded by the weather and the durable weatherproof fixtures: “For the song Fix You, we had all the Dominos focused low on the stage in a light amber gobo,” she explains.

“It was raining pretty badly and there were lots of droplets on the camera lens. I loved the look of the beams coming through the band and the rain, hitting the lens, and distorting the image – it was a really stunning effect. We also keyed the band in a really warm tone, shading the levels for the cameras. It gave everyone the ‘fireside glow’ look which was fitting for the outdoor setting at Glastonbury.

© Courtesy of Live at Worthy Farm director, Paul Dugdale

“The Ayrton fixtures were great and exactly what I needed for an outdoor festival,” concludes Routhier. “We had torrential rain for most of the week leading up to filming but no failures. The Dominos and Perseos will certainly be on spec for every outdoor show now.”

Full story is available on the Ayrton website news page: www.ayrton.eu/live

For more information about Ayrton’s LED lighting fixtures, you can visit www.ayrton.eu


ETC announces Lonestar, a new High End LED profile luminaire

In response to market demand, Lonestar brings the renowned brightness, quality and performance of High End Systems bright white LED framing fixtures in a more compact and powerful package.

With 15,400 lumen output and a rich feature set, Lonestar is a perfect addition to lighting systems in small to medium-sized venues.
The luminaire’s rich colors (CMY+CTO & color wheel), powerful zoom (3,8° – 55°), full curtain framing, diffusion and prism effects make Lonestar a versatile and affordable tool for designers who want maximum performance from a mid-sized automated fixture.

Automated Lighting Product Manager Matt Stoner comments, “With the Lonestar, we aggressively reduced fixture size and cost to make a luminaire that fills the needs of venues of all sizes and design aesthetics. With punchy output, framing, and a full complement of effects and color capabilities, Lonestar will bring high quality and professional feature sets to a size and price where professional quality was formerly out of reach.”

Tania Lesage, Brand Manager for High End Systems, adds, “Lonestar is a simple yet powerful mix of three ingredients: an impressive feature set, ETC’s quality service, and a great price tag. From upgrading your lighting in churches or clubs to switching your school stage to all LED, Lonestar does any job in the most effective, reliable, and economical way. We are very excited to bring this product to the market.”

For more information on Lonestar, visit ETC website


L-Acoustics launch SB10i ultra-compact sub

L-Acoustics is pleased to announce the launch of its newest addition to the SB lineup, the SB10i. Delivering the same sonic signature of the company’s much larger subs, but from a vastly scaled-down enclosure design, SB10i is not much larger than two side-by-side shoe boxes.

Germain Simon

“The L-Acoustics R&D teams took on the challenge of designing a low-frequency enclosure with the industry-recognized L-Acoustics sound in a living room-proportioned enclosure,” says L-Acoustics Product Manager Germain Simon.

“Even though it may sound like it defies the laws of physics, our new SB10i is a brilliant realization of that objective. It condenses the full power of an SB Series sub into an incredibly small, efficient package that will fit into any environment where a visually discreet yet high-performance system is desired.”

Equipped with a single 10-inch driver, 27 Hz bandwidth limit, and 124 dB maximum SPL output, the high-powered SB10i measures only 21.3” L x 21.3” W x 6.7” H (540 x 540 x 170 mm) and weighs a mere 33 pounds (15 kg).

SB10i en RAL 9010 pure white, une des trois finitions standard.

The enclosure cabinet is constructed of premium grade Baltic beech and birch plywood. The transducer front is protected by a coated steel grill and an acoustically transparent fabric. Rubber feet stabilize ground-stacked deployment of one or more elements to prevent movement or cabinet scratching.

Sonically corresponding with L Acoustics X4i and 5XT ultra-compact coaxial speakers, the new sub has an elegantly discreet design, and is available in RAL colors, making it a prime choice for high-end residential and commercial environments, and sophisticated hospitality settings, sports luxury boxes, museum installs, and much more.

SB10i en position verticale, sa couleur s’accordant avec le mur et les rideaux.

The SB10i offers flexible and limitless installation possibilities. The integrated “tech face” contains all connectors and mounting points in one unobtrusive panel, so mounting hardware, cables, and connectors can be tastefully hidden, regardless of where or how the SB10i is installed: freestanding on a shelf or tucked away under a couch, chair, or architectural feature.

Nick Fichte

“There has been increasing demand in the residential and commercial markets for audio systems that give the same experience as being at a dynamic, vivacious live show,” says Nick Fichte, Global Business Manager for L-Acoustics Creations.

“With the launch of the new SB10i, we now have the perfect aesthetically unobtrusive subwoofer that delivers the impactful low-frequency punch that is a hallmark of our renowned festival and touring sound systems.
The fact that it’s understated enough to be placed under a chair or a couch will be an unexpected bonus for residential and commercial projects alike.”

SB10i is available for order now, with volume shipments scheduled to begin in the first quarter of 2022.


Elation KL Fresnel for Al Arabiya broadcast facility

Venuetech supplies broadcast-optimized Elation KL Fresnel 4 CW LED luminaires to new, ultramodern Al Arabiya studio in Dubai. Elation’s exclusive distributor in the Middle East, Venuetech Audiovisual & Lighting Systems, has supplied 100 Kl Fresnel 4 CW LED Fresnel lights to Al Arabiya’s new, state-of-the-art broadcast studio in Dubai.
Integrated into several areas of the modern studio including the main newsroom, the cold white LED lights provide a superior quality of bright yet uniform white light for a variety of programming.

Next generation broadcast studio

Al Arabiya, an MBC-owned broadcaster, is the leading 24-hour news channel in the Middle East. An extensive modernization of its multi-venue 26,000-square-foot facility included newly designed newsroom and studio spaces, production areas and more.
The sleek, clean design has a futuristic look with new technologies and visuals designed to take the broadcaster and its viewers into the next generation of broadcast and digital journalism.

The facility houses a number of active broadcast areas including the Command Center, the main broadcast area for the Al Arabiya news anchors, as well as a less formal discussion set, a standup area, other anchor areas, and a social media center.
The new KL Fresnel series fixtures work alongside curved swaths of LED video – much of it configurable and some used for augmented reality – to emphasize the free flow design of the space while supporting the latest high tech cameras that capture sweeping views of the newsroom and production areas. Scenic design and master plan was by Clickspring Design.

Best light quality = Best image quality

Lighting designer in Venuetech’s design & application department, Ziad Shames Eddine, specified the KL Fresnel 4 CW for the space with lighting design handled by Safwan Harcouss, head of the lighting department at the MBC group. “The Al Arabiya channel has undertaken several renovations over the past few years in order to get the best light quality and therefore the best image quality possible,” stated Harcouss, who lists a small product size, brightness and high CRI as three key factors in fixture specification.

“We needed a CRI of high quality to be able to get perfect skin tones for the camera. Knowing that the skin color of presenters is different from one to another, we wanted to avoid any difficulty in the tone of the image. We did tests on camera using different skin tones, and based on our tests we decided to use and order the KL Fresnel.”

Harcouss says that due to the low height of the ceiling, a small lighting fixture was preferred. “The lights are visible on camera and for that reason we did not want big, bulky lights in the ceiling,” he says. “Not only did we want lights that visually suit our studio, we needed something with power that has a long life expectancy as the studio is used 24 hours a day. We have been using our Elation lights for 1.5 years now and have not faced any issues or problems.”

KL Fresnel 4 CW

The KL Fresnel CW series is a line of cold-white LED Fresnel lights with 5,600K Cold White LED engine available in 50W, 150W and 350W models. The 100 KL Fresnel 4 CW fixtures, 50W models, are installed throughout the ceiling to provide bright and clean light for the studio and high-quality key light for the news presenters.

Useful for a variety of purposes including keylight, washes and front light, light quality from the KL fixtures is superior with a CRI greater than 97. Its 2300 lumens of output is homogeneous throughout the space, also at the edges of the beam where it appears uniform and without a green or red tint.

“The KL fixtures provide the right lighting for the presenters to give the best camera image,” comments Venuetech’s Ziad Shames Eddine, “and are one of the best products for TV production and theaters at the moment.”

The KL Fresnel 4 CW includes a number of useful features for broadcast environments including a 14° to 33° wide manual zoom with manual and DMX controlled dimming. Silent operation mode, barn doors and gel frame holder are also included. Ziad mentions several other factors that were key in its choice. “The accurate color temperature and the high CRI make it a high quality fixture for broadcast. Also, because of space constraints in the studio, the small size of the fixtures, the light weight and the fact that they produce little heat were important.”

Compact and discreet to place, the cooler running LED lights help to keep the overall temperature of the studio lower, meaning less strain on the air conditioning system and less noise. “The lighting system is not only energy efficient it is also a low maintenance solution, as Al Arabiya personnel do not have to deal with bulb changes,” Ziad concludes. Venuetech, who has worked with Al Arabiya before, also to great success, supplies technical support to the studio as well.

Project Credits:
General Contractor: Ebonite Group
Scenic Design and Master Plan: Clickspring Design
Lighting Design: Al Arabiya Network
Lighting Consultant: Eastern Lighting Design
Lighting Supplier: Venuetech
A/V Integration: InterTech Vision ME
LED Display Technology: Barco and DesignLED
Systems Integrator: Diversified
Project Management: Al Arabiya Network

For more information about Elation Lighting and their products line, you can visit : www.elationlighting.com


Zveri lit by 75 impression X4 Bar 20 at Moscow Megasport

Russian rock band, Zveri, recently celebrated their 20th anniversary, immersing both their fans and themselves in striations of light and bright effects from GLP fixtures. Zveri is one of the phenomena of the Russian entertainment industry, and has remained relevant for years despite the many new trends that have come and gone.

Photo Alexey Makhov @madphoto

Although the band celebrated its 20th anniversary last year, they were unable to bring their fans together due to the COVID-19 pandemic. Nevertheless, the event was still celebrated—this year, on 12th June in Moscow’s Megasport Sport Palace. The venue was filled with music, brought to life with effects delivered from 75 GLP impression X4 Bars 20 and 16 JDC1 hybrid strobes.
The stage design and light show itself were conceived by LD Alexander Prilipko, who has been working with the band since 2016. The main concept was taken from the touring version of ‘U tebya v golove’ (‘In Your Head’), which Zveri presented in 2019 using a similar setup, though the show at Megasport it was implemented on a larger scale.

Photo Alexey Makhov @madphoto

X4 Bar 20 was the principal fixture, and Prilipko talks about its role in the show: “It has become my favourite fixture. New effects are always coming onto the market and I am constantly seeking more brightness from a narrower beam. But X4 Bar 20s continue to perform their task perfectly and the whole show design at Megasport was created around these fixtures.”

Of the 75 X4 Bar 20 fixtures deployed 45 pieces were used to make nine vertical lines (with five bars in each). They created a background for the whole structure and lit various songs in different ways. The audience could see thin bright glowing lines or impressive pixel transitions—from flickering to various types of tracks. No less impressive were sheets of narrow zoomed light, beamed to the audience and cutting the dark space like thin blades.

Photo Alexey Makhov @madphoto

The second batch of the Bar 20 inventory was divided into two groups to make additional lines. 22 Bars were hung above the stage, and the ends of two beams were placed angle wise, as if it were a rooftop. Eight X4 Bar 20s formed a horizontal line to highlight the riser.

The lighting designer had the opportunity to create different effects using the impression X4 Bars 20s. For instance, he could incorporate in the design every Bar on stage, while the audience could see an image of an ancient Greek building with columns.

This was a moment when he used only vertical lines, and sometimes without support from other fixtures, which made it look very spectacular. A combination of the ‘roof’ and riser lighting—when the effect was supported from the top and the bottom —formed a seamless image and presented an opportunity to track the movement of the lighting from start to finish.

Photo Alexey Makhov @madphoto

Though the impression X4 Bar 20 zoom provides a lighting designer with a great wash effect, Alexander Prilipko didn’t use this function at all during the concert—nothing more than pixel-by-pixel control and narrow zoom.
“If you ask me which fixture I consider indispensable in my projects, I’ll say ‘an LED strobe’ every time,” Prilipko stated. “And if one looks at all models available on the market, there is no doubt the JDC1 is the most interesting compared with the competitors’ products.”

In total 16 GLP LED strobes were used in the concert, placed in two parallel lines. Eight fixtures were set on the floor between the vertical impression X4 Bar 20s, and the remaining eight fixtures were mounted on top. The lighting designer didn’t use pixel control—instead the JDC1s were patched in the simplest mode and mostly worked as classic strobe flashes, sometimes switching to a set colour to match the respective theme on stage.

Photo Alexey Makhov @madphoto

Prilipko paid tribute to the GusAr production company and Vitaly Zelenov for the highest level of professionalism during technical preparation.
The lighting vendor was rental company, Laser-Kinetics.

For more info about GLP and their range of products, you can visit www.glp.de/en/


Zero 88 Chilli Pro Dimmers for the Chassé Theater Breda

A technical upgrade at the Chassé Theater in Breda, The Netherlands sees the installation of 12 x Zero 88 Chilli Pro 24x16A Bypass dimmers and five Zero 88 Chilli Pro 6x25A dimmers in Jupilerzaal, the venue’s main auditorium … where they will be controlling approximately 309 channels of lighting and LED fixtures including some moving lights as needed / specified by the production.

L’espace gradateurs de la grande salle. ©Jordy ten Bloemendal, Chassé Theater, Breda.

The venue is one of the Netherlands’ largest venues, with a total of three auditoriums and three cinema spaces, mostly a receiving house – anything from music and bands to drama and dance plus amateur and semi-pro performances as well as corporate and private events and conferences, so a truly ‘multi-purpose’ space that is also a diverse cultural melting pot. The Chassé Theater also stages some of its own productions, and a typical (pre-pandemic) year would see around 350 live performances and 3500 plus film screenings across all the different spaces.

le centre culturel de Breda un des plus grands de Hollande. ©Jordy ten Bloemendal, Chassé Theater, Breda.

Chassé Theater technical manager Jordy ten Bloemendal is proud to have worked there for 12 years, and is responsible for the lighting installations, budgeting and – together with his colleagues – future visions and planning. He co-ordinates with all the various incoming production companies, ensures all their technical needs are met, and on occasion still programmes and operates the lighting console!
This was the combination of a general technical upgrade and the replacement of the previous dimmers which had been in service for 25 years!

La grande salle Jupilerzaa. ©Jordy ten Bloemendal, Chassé Theater, Breda.

Jordy explained, “We could no longer source spare parts for the old dimmers, and as theatre lighting going forward is now primarily focussed on getting LED fixtures involved, we needed to purchase dimmers that are suitable for powering these as well as conventional fixed voltage luminaires.”

The new dimmers running in ‘bypass’ fixed voltage mode are also a perfect solution for productions using moving lights. With this futureproofing topping the required features list, Jordy and his team consulted a host of technicians, gathered their opinions, and then searched for dimming solutions … picking Zero 88. As a busy mainly receiving theatre which does also some own productions, it was important that all the technicians involved supported the product.

Chassé Theater had already started working with the same Zero 88 Chilli Pro Bypass dimmers in 2017 which are installed in the middle-sized room Koninklijke Drukkerij EM de Jong Zaal, offering approximately 270 channels.

La salle de taille moyenne Koninklijke Drukkerij EM ©Jordy ten Bloemendal, Chassé Theater, Breda.

These first Chilli Pros in the building were also a replacement for the old dimmers in place at the time. Everyone was delighted with the kit and the results, so this excellent Zero 88 experience helped propel the decision to repeat the process in the large hall.

“I have a very positive impression of the products – they have proved reliable and stable,” states Jordy. “Having good dimmers improves the general technical facilities and offers greater scope to light shows creatively and imaginatively,” he says.

These specific Chilli Pro dimmers were chosen for their compactness and because they have the option of functioning as a standard dimmer, and more importantly, the channel can be switched to fixed voltage to run LED fixtures as more are introduced to the rig in the future.
Zero 88’s Chilli Pro range comprises high-density, wall-mounted and convection cooled power switching and dimming cabinets which are ideal for fitting into often already tight spaces in assorted venues. They are well known and loved for being quick to install and set up and easy to operate and maintain, becoming a popular workhorse for hard-working professional venues like the Chassé Theater.

Chilli Pros are available in 12 and 24 channel packages with 10 or 16 Amp load capacities and optional RCD protection, relay channels, bypass switches and RCBOs, all contained in an elegant, slim line wall-mounting enclosure.

A logical and easy to read user interface and a backlit LCD screen on each individual dimmer assist in convenient setups for DMX patching, preheat, topset and dimmer curves.
The user interface and all breakers are also protected by a lockable breaker cover which is handy for multi-user environments like the Chassé Theater, and there is even a choice of responses in the event of DMX failure, including backup memories or inbuilt chases and an alarm input trigger.

“Projects like the Chassé confirm the popularity of our solutions for modern and energy-efficient refurbishments of venue dimmer and power systems,” commented Zero 88 key account manager for entertainment lighting, Franck Tiesing. “The Chilli Pro bypass units can be efficiently integrated into existing infrastructures without generating unnecessary installation costs.”
Like every venue in the world right now, the Chassé Theater is preparing to re-start productions in the summer after the worldwide pandemic shut down.

For more information about Zero 88 and their products line, you can visit www.zero88.com

THOR AV brings their message to life with Brompton Technology

Minneapolis-based developer of LED video walls and headset microphones, THOR AV, focuses on sharing best practices and providing reliability and excellence in audiovisual performance.
The company works on a wide range of projects, from fixed installations such as The Belonging Co.’s culture-shaping church, to Signature Productions Group’s rental applications for the meetings and special events industry. It has chosen Brompton LED processing as its trusted LED partner, helping its clients to create a visual experience that is lifelike and real.

“Over the past couple years, we’ve seen a shift from ‘We need LED walls’ to ‘We need manufacturers that genuinely understand our specialties’,” says THOR AV’s Director of Sales & Marketing, Luke Vettel. “There is a category within the LED wall industry that demands a certain spec.
In 2021, we continue to have more conversations about on-camera, live production environments and also XR/VR studios. We are thrilled to partner with Brompton in this space because of their pioneering advanced LED processing features for on-camera performance, in-depth control, and colour rendering versatility.”

Vettel notes that using the low latency, higher frame rates, and frame remapping features offered by the Tessera software elevates the pairing with THOR’s premium LED panels. “The dialogue with our demanding customer base keeps us attuned to their ever-growing needs and the challenges of bringing the story on screen to life,” he continues.

THOR and Brompton’s partnership unlocks the most advanced design potential for THOR LED panels, according to Vettel. “The outcome of these improvements brings out the artistic ability for customers to enhance colour profile and visual performance. We share Brompton’s sentiment of delivering world-class performance, education, and continue to work together to up the game for our customers,” he adds.

And there is definitely no shortage of work to do, as quality, coupled with industry expertise, and unparalleled support is what THOR clients expect and deserve. Recent successful projects with end users such as Signature Productions Group, Samaritan’s Purse, and Belonging Co. are strong proof points that THOR customers look for quality LED video wall solutions now more than ever.

“We said it once and we continue firmly believing in our credo that ‘every component matters’,” states Stefan Svärd, Owner and President of THOR AV. “This is why we are so excited to have Brompton as our partner. They have engineered products with the broadcast community in mind.
No matter in what direction we go as a company, whether it’s a live or virtual space production, we know that Brompton LED processing will support and give us and our customers exactly what is needed – world-class service, quality, and 24/7 technical support. Together with THOR LED panels, this coalesces into one integrated whole that brings the message of our customers to life.”

“With THOR’s expertise in LED video walls and Brompton’s innovative approach to LED video processing technology, the end solution adds incredible value to live, virtual, and extended reality productions, creating the ultimate LED display for a full spectrum of projects. Like THOR’s team, we are inspired by our customers, and we are really glad that through this partnership we are able to provide infinite creative possibilities for our clients,” concludes Rob Fowler, Brompton’s Director of Business Development.

For more info about Brompton Technology and their range of products, you can visit the Brompton website

Astera Launches AX9 PowerPAR

Wireless LED lighting specialist Astera launches another new product – the AX9 PowerPAR. The AX9 is a high-intensity, rock-solid, all-purpose everyday LED lighting fixture with all the advantages of Astera, including battery operation and wireless control.

AX9 is the ‘big brother’ of Astera’s AX5 TriplePAR. AX9 is bigger, brighter and benefits from all Astera’s latest innovations, like the Titan LED engine, an optimised bracket with Airline Track, a Titan-style keypad for fast and easy local control and direct control via the versatile AsteraApp.
Effectively it is a three-in-one solution. Offering a wireless PAR light source that can also be run as a wired PAR for longer-term installations and an elegant up-lighter, with the fixture’s 105 Watt output offering over 3000 Lumens homogenised light.

Being wireless, AX9 can be used anywhere – on set, onstage, in the studio or on location – and at short notice, quickly deployed as and when needed.
In situ as a wired PAR – it is just like any standard PAR – it is perfect scenarios requiring the lighting to be on for sustained periods of time.

AX9 is an great as a wall or surface washing up-lighter – without a flex cover and with the bracket removed – which can produce a sleek, streamlined effect to transform any space.

The AX9 is a multi-purpose lighting fixture that is efficient and can be used on the widest range of jobs as a cost-and-carbon-efficient quick ROI solution offering extreme brightness in a compact, stylish housing.
The benefits of Astera’s Titan LED engine include its high CRI and the wide range of tuneable colour temperature whites, plus that rich and diverse gamut of colours encompassing the whole spectrum.

The inbuilt battery offers up to 20 hours of runtime which can be programmed to maintain optimal output over the designated period. Direct control via the AsteraApp removes the need for an AsteraBox, further optimising and making setup simpler.

The keypad on the rear has a logical navigable menu resembling the Titan Tube layout with dedicated buttons for quickly adjust colour and brightness.

Wireless DMX is available utilising LumenRadio’s CRMX technology, and for wired options, there is a choice of Powercon and XLR connectors on the rear.
The AX9 unit can connect to a smartphone or tablet via Bluetooth and can then act as a transmitter, sending the radio signal to other Astera fixtures.
The standard 13-degree beam angle can be modified with the addition of two filters, a 32-degree flood filter and a 17 x 46-degree elliptical wall-wash filter.

The AX9 – as you might expect from Astera – comes with practical and handy mounting / rigging brackets that can easily be slid on and off (a feature of the original Astera AX5 PixelPAR), and importantly, this bracket contains an Airline Track to hold a selection of rigging accessories like Astera’s TrackPin.

A 3/8-inch thread is also integrated into the bracket, with a 14mm hole for attaching clamps. The AX9 legs can be folded for transportation and the same legs used for truss hanging, also like the AX5.

A spring-loaded quick-release kickstand is available for the fixture, a neat tool that pops out with a button press for angling an AX9 without a bracket. The AX9 is IP65 rated for outdoor use and combines with any / all other Astera products.

AX9 accessories include flexible covers – available in white and mirrored finishes in addition to black for blending into different environments – which can be wrapped around the light to suit the set, room or other visual elements.
Glare reduction can be enhanced by using an egg-crate which also produces sharper beam definition. Like the AX5, a charging plate allows for AX9s to be placed upside down into the flight case and start charging even without the units needing to be plugged into electricity!

Once again, Astera has used a mix of experience and imagination to think of virtually all scenarios in which this luminaire might be used. The main applications will be for film and television productions, stages and concerts and all indoor and outdoor events.

Astera Sales & Marketing director Sebastian Bückle states, “The AX9 is Astera’s best value for money light right now with twice the output of the AX5 and only 1.5 times its price, featuring cinema-grade light output and tons of premium features to make daily lives and usage even easier! We are expecting this to be very popular!”

For more info about Astera LED and their products line, you can visit astera-led.com


Follow-Me tracks at the Ahoy for Eurovision’21

© Ralph Larman

This year’s Eurovision Song Contest has been recognised as a pivotal moment in the return of large-scale entertainment events in a post-COVID world. Performed in front of a live audience of 3,500 plus delegates in the Greenroom on the arena floor, ESC captivated both the live audience and the 183 million watching on television from 234 countries worldwide. The entire event was under the supervision of Eurovision’s Head of Production, Erwin Rintjema.

©Nathan Reinds

At the heart of lighting designer, Henk-Jan van Beek’s dynamic design were the tools to guarantee that the Multi-camera directors received all the key lighting required to bring the performers to the small screen exactly as they would wish.

©Nathan Reinds

The Netherlands-based Follow-Me 3D SIX remote tracking system (as part of the lighting specification delivered by the official technical supplier, Ampco Flashlight) was used to keep the Eurovision performers in the spotlight, wherever they went on stage. Designed to accommodate an unlimited number of fixtures per artist, the Follow-Me package is not limited to any type or brand of luminaire.

In the Ahoy, a total of 64 fixtures ran through Follow-Me 3D, whilst receiving fixture positional data from the motion control system over PosiStageNet (PSN).

©Ralph Larman

Follow-Me understands all fixture positions and orientations in 3D space and uses this information to keep any of those chosen fixtures on the performers. This unique tracking ability is achieved by a single Follow-Me system, following up to six performers, using one PoE-based Follow-Me Mouse Console per operator.

There were the fifty-eight Huracán-X fixtures calibrated to the tracking system and used as key lights and followspots on the artists. For the second semi-final interval act – The Power of Water by Davina Michele & Thekla Reuten. Here, the Huracáns were integrated in the Follow-Me system to follow the dancer in motion.

©Ralph Larman

“This set-up allowed me to have a giant number of options per performance,” explains Henk-Jan Van Beek. “By connecting Follow-Me through PSN to the motion control system, we were able to ensure that the fixtures stayed on their targets perfectly while the trusses were in motion.
In total there were sixty-four fixtures running through a single Follow-Me system: 58 x Ayrton Huracán-X and six Robe BMFL LTs. I would like to thank our brilliant Senior Follow Spot Systems Tech, Dennis Berkhout for making sure everything stayed on track and for making such an important contribution to the whole look of the show.”

©Ralph Larman

Product Manager for Follow-Me, Tim van Dijck comments, “We were really excited to be involved in this groundbreaking event. The whole industry has clearly struggled over the last year or so; to be one of the companies involved in Eurovision’21, a COVID Safe pilot event for the Netherlands, is an honour. This comes on top of Follow-Me’s expansion into new markets and gives us confidence that the industry is ready to bounce back with a bang.”

More information on the Follow Me website


Israeli Opera is ready for its triumphant encore with L-Acoustics K3

From classic tales to rock ‘n roll productions, Israeli Opera is ready for its triumphant encore with L-Acoustics K3. P1 processor’s dedicated presets ensure K3 system delivers ultimate system versatility for expansive musical programme

The exterior of Opera House at the Tel Aviv Performing Arts Centre, which was opened in 1994. Image © Bildagentur-online/Schoening / Alamy.

Tel Aviv, Israel – July 2021 –Israeli Opera is both the principal opera company and busiest hall in the country, producing top quality operas and playing host to some of the most prestigious artists from around the world. Located at the Tel Aviv Performing Arts Centre and owned by the municipality of Tel-Aviv, Israeli Opera is also home to regular shows by local orchestras and ensembles, delighting performing arts lovers with a multitude of first-rate productions.

Over the years, as the venue began to expand its music programme, it became clear that the existing in-house PA was not capable of covering the diverse spectrum of productions and had to be augmented with rental equipment. Recently, venue management decided to perform a significant audio upgrade, choosing to install the new L-Acoustics K3 line array for its high-quality sound, excellent coverage, compact form factor and its ability to adapt to a variety of shows, from opera to rock and roll.

Main arrays of K3 with centrally flown Kiva II hangs are flanked by two hangs KS28 subs.

With the building closed due to the pandemic, Eyal Levi, Head of Light & Sound at Israeli Opera, decided to use the mandated downtime wisely and proceed with the audio upgrade.
To oversee the project, the municipality employed the services of award-winning AV consultant, Harel Tabibi, who has previously worked with all major theatres in Israel and is renowned for his expertise and professional approach. Three top AV suppliers were invited to participate in the tendering process, with L-Acoustics official distributor, Lightone, being one of them.

Harel Tabibi

Israel Opera House hosts the most prestigious shows in the country, so choosing a system that meets the stringent requirements of the visiting productions was crucial,” notes Tabibi.
“Having extensive experience of the Israeli sound reinforcement market, we knew L-Acoustics would tick all the boxes – sound quality, system integration and cost,” adds Lightone’s Tal Cohen Arazi.
“Of course, we were right, as L-Acoustics far-outperformed the other two systems that were demoed, coming out as the clear winner.”

Tabibi worked together with David Dohrmann and Willi Klein from L-Acoustics and Lightone’s Assa Efrat, who also oversaw the installation and tuned the system, to create a system design, using L-Acoustics Soundvision that would deliver the best audio, based on the Israeli Opera’s hall’s specific architecture and sightlines. Charmer Group, which had previously worked with Tabibi and the Lightone team on other projects, was chosen as the preferred installation company.

“Israel Opera house is also one of the most beautiful halls in Israel,” explains Efrat. “Venue management wanted to ensure that both the stage opening, and the side view would be kept clear, so we couldn’t put loudspeaker hangs in the audience sightline. Another request involved seamless integration of the centre and subwoofer cabinets with the translation screens.”

The Israeli Opera produces top quality operas and hosts some of the most prestigious artists from around the world, now benefits from L-Acoustics latest K3 line array. Image © Rainer Jensen/dpa / Alamy. F8M0TW Interior view of the Israeli Opera in Tel Aviv, Israel, 05 December 2015.

“Due to the wide variety of shows, we also had to create a dedicated preset for each type of performance. We did that using two L-Acoustics P1 processors and a Q-SYS platform, which are fully interoperable thanks to a plugin released by L-Acoustics a couple of years ago,” adds Tabibi. “This function, combined with the precise design done by the L-Acoustics team and Assa, delivered outstanding results.”

The final system configuration comprises left/right main arrays of 11 K3 per side, with seven Kiva II flown centrally, flanked by two hangs of three KS28 subs in cardioid mode. Seven X8 provide front-fill, with 13 4XT for under balcony delay. A total of 14 amplified controllers, a combination of six LA12X, three LA4X, three LA2iX and two LS10, were installed to run the system.
The installation started in December last year and was completed by the end of February. After a year-long hiatus, in March the building once again opened its doors to the public with a new season of concerts and Israeli music shows, offering visitors unmissable performances with the highest quality sound and excellent coverage delivered by the K3 system.

“I am very happy with how the installation has turned out,” adds Tabibi. “Since the opera’s grand reopening, the L-Acoustics system has been bringing Israeli classics alive onstage, delivering audio that sounds clear and loud, and offers perfect coverage across the entire hall.”

L-Acoustics Sales Manager, Florian Kunz notes that the teams at the Opera and Lightone worked hand-in-hand with Tabibi to make the best of the venue’s downtime. “The quick-thinking and mutual support that brought everyone together on this project enabled them to be the first venue in the world to install the new K3 line array,” he explains. “Coupled with Israel’s early ability to re-open, the Israeli Opera is now a beacon of great sound and great entertainment.”
“The new K3 system has elevated the audio in the hall to a new level and fulfils every wish we gave to Harel Tabibi and the Lightone team,” concludes Levi-Sharon. “Their combined expertise, along with that of L-Acoustics, has ensured that the productions we host now have a system that exceeds their requirements, and our audiences are given the best possible experience.”

More on the L-Acoustics website