Optocore M-series MADI routing upgrade for DiGiCo desk

Optocore has further upgraded its popular M-series MADI interfaces, making it compatible with DiGiCo consoles, and providing additional functionality with all the advantages of Optocore’s DD-series, and more, at the same price point, making it super cost-effective.

Three M12 (8 ports) and two M8 (4 ports) and as always with Optocore, the back shows off more than the front !

Furthermore, the new, advanced versions have all the advantages of Optocore’s popular DD-series, and much more, at exactly the same price point, making it super cost-effective. M-series devices are now the principal means of plugging MADI streams directly into the DiGiCo loop to enable MADI streams to be input and output (other than DD-series and DiGiCo’s own devices). This includes the channel count recognised by the DiGiCo devices, which is identical to the channel count provided by the DD2FR-FX and DD4MR-FX.

Maciek Janiszewski

This upgrade applies equally to the entire M-series, as all available channels can also be freely distributed through all MADI ports on any of the five M8 and M12 devices.
For example, one show could use an M12-BNC/OPT, and provide one (1) 64/64 MADI fiber port and two (2) 32/32 MADI BNC ports, while for another show it could be two (2) 64/64 fiber MADI.


States Optocore Applications Engineering Manager, Maciek Janiszewski, “The compatibility of the M-series, along with the ability to control Optocore preamps from the console, makes DiGiCo/Optocore systems by far the most effective solutions for essentially all installations.

“Furthermore, when not incorporated within the DiGiCo loop, M-series functions as standalone, full-capacity MADI routers; for example the M12 allows for routing of 512/512 channels @48K.”

La face avant du M12

The new routers are shipping with immediate effect.

For further information visit the Optocore website

 

RCF for the 2021 Snowboard World Championships

The Snowboard World Championships returned to Valmalenco (Italy) in January 2021, albeit behind closed doors due to the health emergency. Four days of competitions on the snow after a nine years absence of the Alpe Palù competition, down the area’s 60 kilometers of ski slopes.

Fabio Frate

Frate Professional took care of setting up the audio and video systems, installing a wireless system consisting of various stacking stations with RCF HDL 26-A line array and HDL 35-AS subs.


Horizontal directivity. The top continuous black line is 10°, the second lower is 40°. The attenuation is regular and no hot spots are visible. We just notice a slight drop around the 750 Hz crossover point.

The audio system requested by the client body had to guarantee sound reinforcement for the entire competition area, including the start and the finish zones, with a distance of 800 meters as the crow flies between the main diffusion points. Fabio Frate and his team devised a strategic solution.

“To avoid laying long cable runs and crossing the parterre with cables, we chose to use Neutrik Xirium Wireless Bridges from the ski lift technical room up to the finish area, where the control room was positioned. An already existing balanced line of the chairlift facilities also allowed a wired connection with the sound diffusion spot of the start area.”

The HDL 26-A without its front panel. Two 6” for the lows and a 3” titanium dome drive, a double class D amplifier and an active constant phase filter for regular and accident-free directivity.

The sound system was permanently installed along the snowboard slope for 5 days, including one day of pre-setup. The system ran non-stop for 8 hours a day and was left outdoors (and under the snow) every night throughout the championship period, using only the rain cover accessory to protect the rear connection panel for each unit.

The snow was there. From top to bottom four HDL 26-A heads and two HDL 35-AS subwoofers.

“RCF assured us the system would work with great ease, as all components are waterproof and can work smoothly in sub-zero temperatures, and it did. At night here, temperatures can go right down to -25°C.”
As well as the sound system, Frate Professional also installed a 3.9mm pixel pitch Outdoor Ledwall for displaying the video contributions synchronized with the audio.

The logistical problems were not confined to the harsh climate; the inaccessibility of the stations also had to be dealt with. “All of the equipment was transported on the snow, using snowmobiles and snowcats, which, thanks to their load capacity, made it possible to integrate our RCF HDL 26-A units with HDL 35-AS subs, i.e. modules from the same RCF series, for better musical performance.


Big advantage of this small system, its weight makes it easily transportable. 14.9 kg for the head and 30 kg for the sub.

Nature abhors a vacuum. Ice too!

The low end delivered by those small subs is impressive and could be felt even at a great distance.”


The QL1 in charge of collecting the sources, mixing and routing them to the PA and the broadcast media.

In the audio control room, a Yamaha QL1 digital mixer enabled handling both all of the incoming audio signals from wireless mics and contributions and the mix routing to the TV broadcasters.
Fabio Frate continues “The performance of this small-sized line array is top notch, the audio was clear and intelligible along the entire snowboard slope.

Although the audience was small in number, the HDL system still reached everyone even hundreds of meters away. I was positively impressed by the reliability of the system.
It always delivered maximum performance, even when turned on first thing in the morning, after a night of freezing temperatures!”

More information on the RCF website

 

Said-Galiev Cultural Centre Chooses Robe

Robe luminaires were selected for another premium cultural project, this one at the Said-Galiev Cultural Centre in Derbyshki in Kazan, the capital of the Russian semi-autonomous region of Tatarstan, an area renowned as a lively melting pot of Russian and Tatar heritage.

Robe Pointe

Robe’s Russian distributor LTM with branches in Moscow, Novosibirsk and St. Petersburg delivered the order of Robe Pointes, LEDBeam 150s and ParFect 150s for its client the Altin Group.
LTM also undertook all the related installation and commissioning work for the Robe moving lights and other elements of the venue’s lighting that were extensively updated in this project.

The ornate Said-Galiev Cultural Centre has two main auditoriums, a main one seating 560 and a smaller 120 capacity hall and was originally built in 1959.
This latest technical upgrade, which also included audio, flexible rigging, LED screens and a cinema projection system enables it to stage a range of shows and events.

The Robe luminaires are all being utilised in the main hall. Four of the Pointes are positioned above the stage with more rigged in the ‘slips’ positions either side of the pros arch for high tight angled lighting onto the forestage.
They were chosen for their power and intensity. More Pointes together with other new lighting fixtures are rigged on portable side booms onstage.

The LEDBeam 150s and ParFect 150s were chosen for their high luminosity, perfectly matching optics, and quality of output. Some of these are on the side booms with others lighting from the galleries and foyer.

LEDBeam 15O

ParFect 15O


These three types of Robe fixtures have also been specified by LTM for similar installations in recent years including at the Dagun Omayev Palace of Culture in Grozny city, Chechnya, the State Drama Theater named after Kosta Levanovich Khetagurov in Tskhinvali and the Theater Crave in Moscow which is specially designed to hold cabaret shows.

For more info about Robe lighting range of products, you can check www.robe.cz

ETC launches new brilliant fixtures on March 30-31

David Lincecum

ETC is hosting an online event to launch two new theatrical fixtures on March 30-31. This event starts at 16:00 CEST/15:00 BST (09:00 CDT) with a keynote message from David Lincecum, VP of Marketing.

Justin Towsend

Immediately following the keynote, attendees will have the unique opportunity to hear from Tony-nominated Broadway lighting designer, Justin Townsend, on the impacts of LED on lighting design.
Additional sessions over the next 24 hours include product demos and Q&A with the development team, and a series of classes that focus on incorporating technology into your theatrical workflow to increase efficiency and productivity.

Much of the content will be presented in multiple languages (English, French and German) and multiple time zones around the world making this truly an international launch event. Visit etcconnect.com/ETCLaunch for session details and registration information.

Keynote Event by Justin Townsend

Broadway Lighting Designer Justin Townsend brings a unique perspective to the world of LED technology and how it has impacted professional lighting design over the years. Join us as he gives his thoughts on ETC’s new theatrical fixtures and how they’ll impact his future designs.
Townsend is an international lighting designer whose Broadway credits include Moulin Rouge, Jagged Little Pill, American Psycho, The Humans, and countless other shows both on and off Broadway.

Incorporating Multiverse into Your ETC system

Learn the basics of City Theatrical’s Multiverse wireless technology and how to plan, set up, and troubleshoot devices in your ETC system. It is highly recommended to watch City Theatrical’s Introduction to Multiverse Webinar in advance of this class.

Ready, Set, Light! Introducing ETC’s Set Light App

Learn how ETC’s new Set Light app will help you get your rig up and running quickly – even before you have power!

Understanding the power of Eos Color Controls

Discover the awesome color control capabilities of the Eos family of consoles controls that set them apart from any other console on the market! We’ll talk about the different color spaces, how to get the most out of your Color Picker, how to fine tune your color selection using the tint controls and how best to manage your color fades. We know that working with multi-emitter fixtures can be complicated, so this session focuses on helping you incorporate LED lighting seamlessly into your workflow.


And still Online product demos. You can also register for a one-on-one virtual product demo at a time that works for you!

Visit ETC website for session details and registration information

 

The sACN network at the Théâtre du Châtelet

Renovated over the period from 2016 to 2019 as part of a program financed by the Paris City Council and certain sponsors (Total, Accor), for a total budget of 30 million euros, the Théâtre du Châtelet has been brought up to current electrical codes, and has also renewed its equipment and constructed a digital network.

The restored venue now offers a seating capacity of 2000 and the fly loft is now equipped with 59 motorized fly bars capable of supporting up to 750 kg of scenery (supplied by Baudin Chateauneuf – Waagner Biro). The new lighting equipment acquired in 2019 is perfectly adapted to the size of the venue and to the requirements in terms of optical and color performance as well as in terms of silent operation.


Thus, Robe T1 Profiles with five-color LED engines, SolaFrame 3000 High End Profiles for their long-range firepower, and ETC Lustr profiles with seven-color LED sources have been added to the Châtelet’s inventory.
As is the case in many large theaters around the world, the lighting package is now controlled by the Eos system. The team chose two Eos Ti consoles and an Ion Xe 20, connected through a new sACN network to seven ETC Sensor3 dimmer cabinets. The venue thus offers the versatility necessary to meet the very diverse demands of the productions it hosts.

The network

Assistant Master Electrician Christophe Leuba tells us about the evolution of the theater.

Christophe Leuba, assistant to the Master Electrician Renaud Corler, welcomed us for a tour of the theater.
Then we discussed with Fabrice Gosnet the strong points of this network installation. We appreciate their support.

Fabrice is a well-known network consultant and trainer at Goosera, and also an SLU contributor.


Fabrice Gosnet, emblematic figure in the network field in France, also consultant and creator of the Goosera network training courses.

Fabrice and Christophe have known each other since 2007, and Christophe has also taken one of Fabrice’s network training courses. This helped him to make design choices for the venue’s new network.

The Eos consoles are connected to a network that provides secure interconnection thanks to a ring topology. The sACN protocol used is supported by the ETC dimmers that power the stage equipment, but also the house lights of the auditorium, which can be controlled by the console or an architectural controller.
The system is designed so that any console supporting sACN can be added to the network and take control of the system.

The network architecture of Théâtre Châtelet

The network tree

Fabrice Gosnet : “The network tree is made up of several racks with Luminex Gigacore 26i switches in six of them, which constitute one of the elements of the network backbone. Each switch is connected to any another by at least two links to create a ring topology.

A diagram of the network in the auditorium of Théâtre Châtelet.

The advantage of this topology lies mainly in the security of the connections. If one of the links is broken, the signal can continue to flow using the backup links. And to provide even more security, a small additional ring was created between the control room rack and the rack at the loggia (at the border between the stage and the auditorium).”

There are six racks on the network, one in each of the two loggias, one at the FoH control booth, one at the dimmers and two at the catwalks.

SLU : How is the signal distributed to the fixtures?

Christophe Leuba : “The six Luminex Gigacore 26i switches receive the network in the auditorium and guarantee continuity. In each rack, we install nodes to convert the streaming ACN universes into DMX lines.”

This rack is the same as the one installed in the loggia, but with two nodes, which means 16 possible DMX universes.

SLU : Do you ever use wireless DMX?

Christophe Leuba : “Yes, we use a Lumen Radio link in some cases, such as to control the movement of battery-powered props on stage. And the transmission is very reliable. For Le vol du Boli we put a receiver on an LED sign that simulates old neon lights. It was mounted on a batten and, rather than running cables, we controlled it with wireless DMX.”

SLU : The team has chosen to use traditional copper cables. Why not optical fiber?

Fabrice Gosnet : Because the distances did not require it; they preferred to run CAT6A cable for reasons of cost, while keeping in mind that cable is more sensitive to interference, especially in a theater where there is a tremendous number of lines on dimmer circuits.

That’s why SNEF (the company that installed the cables) specified S/FTP, which is the insulation type used in the cable.
‘S’ signifies braided shielding around the four pairs and ‘FTP’ means there is foil tape around each pair. The insulation of the cable is extremely good, so they are well protected against interference.
“Furthermore, this will allow the Châtelet team to upgrade to a 10-Gbit backbone when the time comes.”

Qualified cables

Fabrice Gosnet : “You should know that the Châtelet technical team chose to have its cables qualified, as opposed to certified. Qualified means that SNEF has carried out performance tests on the cables.

There are two ways to verify the cabling in an installation:

  A cable certifier performs electronic tests along the entire length and is able to certify that the cable meets the requirements of Category 6A and that it can operate at a particular data rate or bandwidth, that the pairs are the right length, etc.
This is quite technical but it ensures that there is not too much interference on the network cable, that the connections have been made correctly, and that it is certified for the correct data rates and bandwidths.

  A qualifier performs other tests. For example, he will send voice over IP, video over IP, to finally say: it’s good, the architecture is qualified. This process is what we call ‘a cabling validation’ or ‘acceptance test’, but it is also a removal of doubts. In case there are problems, we know that part has been tested.”


SLU : And what about the Luminex Gigacore 26i switches?

Fabrice Gosnet : “The nodes and switches are located all over the venue, so it’s flexible and well thought out. Another advantage of the Gigacore 26i is that its interface is easy to use and user-friendly. Thanks to this, a trunk line was implemented between all the switches to route the VLANs throughout the network. The teams in charge have thus created several VLANs: one for the lights, one for the lobby, etc.

If someone needs a link between the control room and the gallery, for example, all they have to do is create a virtual network within the network architecture, which then allows them to connect the equipment to the ports assigned to this VLAN. It then exists in its own world within the network architecture and won’t clutter up the others, nor will it require cables to be run across the auditorium. This is a real time saver for the crews hosted in the theater.”

The house rig is easily accessible to visiting crews.

sACN and on-demand network

SLU : The team opted for sACN rather than Art-Net. Can you briefly explain the strengths of one over the other?

Fabrice Gosnet : “sACN is a multicast protocol that is more efficiently managed within the network, and I congratulate them for this choice. Indeed, the network architecture features IGMP Snooping, and the multicast streams will only go to the devices that are assigned to the streams, so we don’t ‘flood’ the devices that don’t need it. This is what we call on-demand networking. In addition, the theater may host grandMA consoles, for example. Since their nodes are Pathway nodes, sACN was chosen to allow them to communicate (and thus not with ETC Net).

This means that it is possible to connect a grandMA console directly and use the existing nodes. It is therefore a time saver for visiting crew to be able to take over quickly and easily. Unfortunately, Pathway nodes don’t support RDM via sACN and ETC consoles only support RDM via their ETCNet 3 protocol, which means that if teams want to send RDM from the Eos, they would need ETC nodes.”

SLU : Are there any upgrades planned to address this issue?

Fabrice Gosnet : “There is RDMNet, which is available since September 2019. This is the new official standard for RDM-over-IP because today most people use ART-Net, and in particular ART-RDM, which is not a standard but an open source solution.
In September 2019, RDMNet was ratified and, since ETC was one of the developers of this protocol, the code is already ready to support RDM from ETC consoles. We can now only hope that Pathway will update its nodes to be RDMNet-compatible, which will allow the teams at the Châtelet to be able to manage RDM directly from their consoles.”

B. 600 ETC Sensor3 dimmers controlled by Eos


The cabinets containing the 600 ETC Sensor3 dimmers.

All the electrical distribution was brought up to code and the dimmers were replaced by 600 ETC Sensor3 modules, which communicate via sACN with the lighting consoles. These are distributed in seven cabinets, which are themselves powered by a brand new low-voltage distribution board with a 15,000-volt transformer.

The network rack installed in the dimmer room.

The lighting kit of Théâtre du Châtelet includes HMI sources, conventional halogens, arc lamps and intelligent moving lights.
Each source is connected to a dimmer and from the console you can choose a direct or dimmed mode according to the type of fixture.
The dimmers are directly controlled via sACN. Most of them use DMX distributed by the nodes, as we will see later.


The patch table between the dimming channels and the fixtures.

SLU : Fabrice, what is the strong point of the ETC Sensor3 dimmers?

Fabrice Gosnet : “Their strong point is their flexibility. You can switch a circuit to dimmed or direct mode, either remotely or manually at the hardware level. This avoids having to go down to the dimmer room.

In addition, monitoring of the equipment is available through the ETC Concert software, which allows the ETC equipment to be viewed over the network. There is also what I call “the spy”, the Net3 Conductor, which logs all events and allows you to see if there have been any changes or not. It is a very powerful and practical tool.
Their size is also appealing and makes them fairly easy to install, as the cabinets don’t look like Normandy Armoires (laughs). They are columns of reasonable width that fit quite easily in small passageways. ”

In the control booth, two Eos consoles, one of them a backup, manned by Franck Sallard, console operator for the Théâtre du Châtelet.

SLU : Did the team have any difficulties transitioning to the ETC console?

Christophe Leuba : “We have had them since September 2019 and the crew is very happy with them. The system is stable and we haven’t had any breakdowns. The installation contractor (SNEF) and the supplier (ETC) came to configure the dimmer cabinets. Then the team familiarized themselves with the equipment by training as they went along, on small, simple tutorials produced by ETC and available on Youtube.”

Franck Sallard (console operator at the Châtelet) : “Compared to the old equipment, the color management tool is really good, especially for transitions involving LED fixtures.”

Christophe Leuba : “Whether it is for the T1 Robe with its five-color engine or the Lustr ETC with its seven-color array, the ‘Color Picker’ makes it possible to retrieve gels from a library of color swatches from several brands: Rosco, Lee Filters, etc. It was developed mainly for the Lustr. They are calibrated so that you can really get the same exact color as a classic profile with a gelatin. For example, if you need a Lee 205, you simply press Lee 205, and you’re done.”

The “Color Path” mode using the Color Picker’s touch screen allows you to easily and intuitively program the transition from one color to another on the LED luminaires, avoiding undesired hues.


An ETC Ion XE 20 console installed at the stage allows the operator to take control during the preparations. “Some adjustments are easier to make from the stage,” explains Christophe.

SLU : So the philosophy behind the software is important to you.

Christophe Leuba : “Color management was decisive in the choice of this console. Even though it is less versatile than other well-known consoles, for us it was practical not to have to speculate on which route to take, because there was only one.”
Christophe also tells us that since Eos consoles are regularly specified by the British and American productions, having these in house has considerably simplified the process of accommodating them.

The lighting kit

A FoH rail under the boxes at stage left and its twin at stage right each hold eight Robe T1 moving heads.

A. Robe T1

The Théâtre du Châtelet has invested in 42 Robe T1 moving-head profiles, also delivered in 2019.
On the day of our visit, two rows of eight were aligned horizontally on each side of the auditorium, in addition to two box booms with seven each at the level of each of the loggias, and a bar of six crossing the stage at the height of the proscenium arch.

SLU : What appealed to you about the Robe T1?

Christophe Leuba : “It doesn’t weigh anything, it’s a blast to use and when you’re behind the console and you turn the shutters, it works and moves in the right direction, which isn’t the case with all units.
Its menu is hyper-intuitive – no need to ‘get used to the fixture’. I found it almost too easy (laughs).”

Compact and unobtrusive, the T1s take up little space in the room, yet are capable of lighting the stage powerfully.


B. The frontal lighting and followspots

Part of the work consisted in reorganizing the upper section of the balconies, in order to move the followspots a little higher and free up space to create more seats. To accomplish this, new fixtures and followspots were added to the theater’s inventory.

Prior to the renovation, beneath the arches were located the FoH followspots and three rails supporting 30 profiles. During the refurbishment, two followspot booths were created on the upper floor (the second balcony) to substitute this space with 30 additional seats.
The key lighting is now handled by four High End SolaFrame 3000s and two Robe Esprites controlled by the RoboSpot remote control tracking system.

The powerful SolaFrame beams pass through the archways…

To balance the key lighting.


Christophe Leuba : “We use four SolaFrame 3000s to create a classic on-axis compensation of the key lighting elements, when necessary. We needed very powerful fixtures, like the SolaFrame 3000, because they are placed very high and very distant from the stage.”


At the level of the proscenium, a bar of Robe T1s at the top of the image and, at the level of the sound system, a bar supporting five Solaframe 3000s.


The RoboSpot, which we have often encountered on concert tours, makes its debut here in one of the most beautiful theaters in Paris. How does it feel to the crew, compared to its traditional counterparts? This is what we wanted to know from Christine, one of the four spot operators.

Christine Ragou, followspot operator at the Châtelet, puts the RoboSpot to the test.

SLU : What are your thoughts on this system?

Christine Ragou : “It’s different and interesting. The feeling is different because the interaction with the stage is through a screen.
The sensitivity is also different for the intensity control. Because of the latency of the system, at certain moments that require precision, such as following a dancer in rapid movement, the execution is easier with a traditional spot, with which you become one.
It’s a matter of practice, it takes some getting used to and there are speed parameters that can vary while being careful that the lights don’t go all over the place.”

SLU : Are the intensity or colors carried out at your position or are they in the hands of the console operator?

Christine Ragou : “Before, when we were working with traditional followspots, we also managed the colors. Now they are managed from the console. We have control of the frost, as well as the dimmer and the iris. We can actually set the controls as we wish but there are not many controls, so it limits the possibilities a bit.”

SLU : How did you get acquainted with this new system?

Christine Ragou : “We had a two-hour training session and then I was able to practice during rehearsals.”

From left to right : William Lepape and Franck Boutron.

Franck Boutron at the controls of the Robospot.

Conclusion

Access to real-time information opens up new horizons thanks to new applications such as ETC Concert and the Conductor, which allow remote device monitoring.
Lighting, sound and IT networks are now working together more and more frequently. This convergence opens the door to new work methods, but also brings with it the need to protect oneself in terms of cyber security.

Fabrice tells us that laws are being put in place in the United States to legislate the security of audiovisual streams within network architectures. For example, Pathway nodes now offer ssACN (Secured Streaming over ACN), an encrypted sACN stream that protects the potential decoding of this protocol, thus avoiding malicious takeovers.

Thanks to a team that is well versed in new technologies, the Théâtre du Châtelet is equipped for the present and the future with reliable, high-performance tools, a flexible network that facilitates welcoming productions from all over the world, without technological barriers to impede cultural exchange.


Technical staff

Technical Director: Violaine Crespin
Master Electrician: Renaud Corler
Assistants: Bernard Maby, Christophe Leuba
Assistant cheifs: Jeremy Priam, Frederic Bialas
Console operators: Franck Sallard, Jean-Philippe Lagarde
Followspot operators: Dominique Ossou, Christine Ragou, Franck Boutron, William Lepape
Stage electricians: Emmanuel Nechaoui, Sami Ayed, Hervé Langlois

Material List:

72 x ETC S4 25°/50° Lustr 2 Profiles
46x High End SolaFrame 3000
4 x Robe RoboSpot
42 x Robe T1

Network:

6 x Luminex GigaCore 26i switches
1 x Luminex GigaCore 12 switches
2 x Luminex Luminode 4 nodes
14 x Pathway Pathport Duo nodes
7 x Pathway Pathport Octo nodes
1 x ETC Net3 Conductor
1 x ETC Paradigm controller


Further info

In SLU : Robe T1 product test and High End SolaFrame 3000 product test

For further information on the different ranges:

– ETC products
– Luminex products
– Pathway products
– Robe products

 

Neve Helps Shape The Sound Of A Historic Performance

When Jennifer Lopez performed a moving medley of This Land Is Your Land and America Is Beautiful at President Biden’s inauguration ceremony, very few of the millions of people watching would have realised that a British technology played a key role in shaping the sound they were hearing.

Kevin Teasley

Behind the scenes, in the run up to the inauguration ceremony, Kevin Teasley, JLo’s Pro Tools programmer, music producer and musical director for her It’s My Party World Tour, used a comprehensive selection of Neve recording equipment to prepare the pre-recorded music that was vital to ensuring the success of her performance.

“The elevation of the final audio was superb and there is absolutely no doubt that Neve equipment helped us achieve the results we wanted,” Kevin says. “Neve is indeed a real go-to when I work in Live, TV, Film, Records, trailers, promos, broadcast, etc. Basically just about anything that I work on! Neve is included in my workflow on every single project from recording, mixing, and mastering.”

Based in Los Angeles, Kevin Teasley is undoubtedly one of the music industry’s most multi-talented and multi-faceted creatives. He is a composer, producer, sound designer, programmer and musical director, not to mention the owner and composer of TONIC Music + Creative, a trailer and TV production music company. His credits read like a Who’s Who of A-List recording artists and include JLo, Megan Thee Stallion, Britney Spears, Chris Brown, Neyo, J-Rock/Kendrick Lamar, Ciara, Usher and The Jacksons, among others.

JLo and her Team in Washington. Kevin Teasley is located on the top left of the shot, sporting the very same hat ;0) and jacket by the way…

Kevin’s involvement in President Biden’s inauguration ceremony came about because of his close working relationship with JLo. When she was asked to perform, her music team immediately got together to help her conceptualise and execute her vision.

“An important part of my role entailed working with all pre-recorded tracks and stems and putting it together into a full performance,” Kevin explains “I worked with the creative team, other music producers and arrangers and also managed the final prep of all audio, Pro Tools session/stems, to turn over to the on-site audio and music team in Washington DC.”

THE preamplifier. Introducing the 1073…

The Neve units used on this project include the company’s legendary 1073® Mic Preamplifiers, a 33609 Compressor Limiter and the 8816 Summing Mixer, all of which are housed in Kevin’s studio in Hollywood, CA in the legendary United Recordings Studios on the Sunset and Gower Studios lot.

“When I’m in bigger studios, I run virtually everything (pre-recorded tracks, stems, etc.) through a Neve console,” he says, “In smaller workspaces, I run every track and stem through the Neve 1073 pres, and then across the subgroups with the 33609 Compressor Limiter. I then have the track and stems split out to the 16 channel Neve 8816 to be summed back into Pro Tools to be printed.”
As stems and tracks can often come from different producers, writers and composers, Kevin finds that running everything through the 1073 helps to ensure uniformity.

“It gives me that consistent, beautiful Neve tone at the beginning input stage,” he says. “The Neve 33609 then helps to “glue” all of the subgroups together and the Neve 8816 glues the overall mix together when it’s printed back into Pro Tools.

It’s only a matter of taste, but the 33609 remains a remarkable compressor.

“Oftentimes, on the two insert mixes of the 8816, I put an outboard hardware EQ, colour box (for some sort of harmonic distortion) or parallel compressor on the first insert to blend into the mix. On the second insert, I will put a bus compressor to further glue together the final two-track print.
“Lastly, on the 8816, I use the width knob to widen the stereo field to my taste and that suits the type of track, song and/or performance. This all gets printed back into Pro Tools as a two-track final mix print. I then put some master buss processing on to finalize and polish the final master.”
With tight budgets and even tighter deadlines to contend with, Kevin says it is always a challenge to make ‘in-the-box’ mixes sound as though they have been mixed through a large console.

Ladies and gents, please, welcome the glue, AKA the 8816 !

“The Neve range is the perfect companion to elevate and enhance your sound in any hybrid studio that blends digital and analog,” he says. “I am always humbled and flattered when people compliment me and my team and/or ask me how I get the sound that I get.
Quite honestly, it is due in large part to the Neve product range. Just running audio through them, with a knob twist here and there, automatically makes things sound bigger, wider and with more 3D depth, as well as adding that classic Neve colour and tone.”

Although all the preparation for JLo’s Inauguration music was carried out in Los Angeles, Kevin did fly to Washington DC for the actual ceremony so that he could be on site for rehearsals and her performance.
“There was a live element to this project because we were fortunate enough to have the President’s own Marine Corp Band/Ensemble perform live to our our pre-recorded tracks,” he explains.
“It was an incredible moment in my career and one that I will never forget. It is something I will always be proud to have participated in and especially proud that my four year old son, Kaiden, can look back and say his father was a part of something historic.

Being part of a performance for any inauguration would be special, but this one in particular was so momentous that it really made me stop and recognize it as a “top tier” career and personal moment. It feels really great to be included in a relatively small professional circle of people who get to say they have done that!”

For more information please visit the AMS Neve website

 

Arbane Groupe Welcomes New Sales Director for France

Arbane Groupe has hired Christophe Palluat as its sales director for France. Palluat will work to create new sales dynamics with the APG and Active Audio brands.

Christophe Palluat

With over 25 years of expertise in the AV industry, Palluat brings a wealth of experience working with audio manufacturers and distributors, notably Arbane Groupe’s Active Audio.
“I worked in a number of roles before founding pro-audio distribution company Perfect Sound in 2009,” Palluat explains. “At the time, Active Audio’s commercial distribution in France was given exclusively to Perfect Sound, so I know Active Audio very well.”

“I spent 11 years working for Perfect Sound as their CEO and came to know and respect the APG and Active Audio brands beyond their reputations,” said Palluat. “When both brands announced their strategic partnership in 2016, I thought it was the perfect partnership that would pave the way to a great future for both brands.
APG’s product lines are excellent and Active Audio is known as the French manufacturer of the world’s largest range of column speakers. My experience tells me that both product lines will perform extremely well in the installation markets for AV integrators.”

Palluat’s immediate goal is to present Arbane Groupe’s comprehensive and complementary audio ranges and services to AV integrators across France and continue to grow the company base and reputation.

“APG benefits from a fantastic reputation with technicians in the theatre and arts, and our goal is to educate the wider market to the fact that the products are not restricted to technicians and sound experts. The products are actually very accessible and have been designed to be easy to use with exceptional performance,” Palluat explained.

Having started the role in at the end of last year, Palluat was pleased to find that Arbane Groupe has continued to make great progress over the years and praised the strategy to combine both the APG and Active Audio brands into the Arbane Groupe corporate entity.

“Through creating Arbane Groupe, the brands have seized the opportunity to use the synergies of both brands to provide customers with access to complete ranges of high-quality speakers and a sales and projection support team which can offer a very high level of expertise,” he said.

A variety of upcoming products and projects are identified by Palluat as many exciting opportunities to come. “There’s still a lot to do to develop the sales capacity and there are some fantastic new products to come this year. The company has a true history, great savoir-faire, technicality and above all, a real proximity to its partners and customers. It’s very stimulating to be part of it,” concluded Palluat.

Commenting on the recent appointment, Régis Cazin, Arbane Groupe’s CEO, said: “We’re really pleased to have Palluat on board with us after working with him extensively in the past. His expertise and approach to sales will be a great asset to us, as it was then, in growing our network across France.”

More information on the Arbane Groupe website

 

30 x Ayrton Mistral-S for Trey Anastasio’s The Beacon Jams

Marc Janowitz, of e26 design, chose 30 Ayrton Mistral-S LED spot fixtures as key features of his lighting design for Trey Anastasio’s The Beacon Jams. The 8-week ‘virtual residency’ was live-streamed weekly from New York’s historic Beacon Theatre throughout October and November 2020.

The jam sessions were aimed specifically at the home audience and filmed on stage in a reverse set-up with the auditorium as backdrop and the musicians facing the back wall.
“We wanted to create an intimate connection that felt like we brought the series of music sessions into the viewers’ own home,” explains Janowitz. “The reverse angle gave us something more like a studio environment into which Mistral fitted beautifully.”

Janowitz required a fixture that was light enough to mount on rolling C-stands and small enough to integrate into the performance area, yet full of features and with a great output: “Mistral was small enough – and pretty enough – to tuck into all the nooks and crannies between the artists and gave all the output – and the looks – that I needed,” he says.

Ayrton Mistral

Eighteen Mistrals were sited on stage to form a total ‘wrap-around’ that defined the space and fitted perfectly into the small spaces between the musicians and instruments.
“From here we used them mainly as backlight and sidelight, as eye candy, and to create beautiful flares behind the performers,” says Janowitz. “They were particularly useful in the reverse set up to fill the void on camera over the artists’ shoulders.

“The Mistral gave a natural lens flare which is very camera-friendly. Its precise movement allowed me to make small, live adjustments to its position to guarantee that flare in-camera from every perspective.”
Mistral’s small size and versatility also suited the film and television-style lighting, its low power-draw making it easy and fast to deploy. “Being LED sourced, we were also able to the set up the perfect refresh rate for the cameras.”

With different looks to generate for 20+ songs each week over the 8-week residency, with no repetition, Janowitz made full use of Mistral’s gobo and colour palettes. “Mistral has a wide gobo selection which opened up a lot of freedom – I had all the textures I needed,” he says.
“The impressive zoom ratio (6.7° – 53°) was also really great feature: narrow enough for overhead lighting without any spill, yet wide enough to cover the musicians fully at stage level – without any heat issues – even when placed in close proximity to the artists. That’s no mean feat in such a tightly packed stage and demonstrates exceptional versatility.”

Twelve more Mistral-S were rigged overhead to give high backlight. “I knew Mistral would be great at 12ft but realised they were also great at 30ft! Now my near side, reverse and close overhead lighting were all from the same fixture type, which homogenised how I was able to use colour, texture and intensity, and gave a beautiful balance.”

Trey Anastasio’s Beacon Jams marked Janowitz’s first use of Mistral and he was impressed. “Mistral is a great light to keep in my tool box: it fills the gap in the market for a nimble, small bodied, full-featured, punchy fixture.

It also looks attractive: the over-all look of the stage is important, and Mistral is definitely something I welcomed on the set and in the stage design. Those sleek curves and that distinctly French design go a long way!”

The Ayrton Mistral-S fixtures were supplied to The Beacon Jams by Pulse Lighting of Nashville. All proceeds from The Beacon Jams went to Phish’s The WaterWheel Foundation and its new Divided Sky Fund which was set up by Anastasio to help those affected by addiction and alcoholism, and help further plans to open a treatment centre in Vermont.

Excerpts from The Beacon Jams, can be viewed at twitch.tv/treyanastasio and https://www.youtube.com/user/treyanastasiotube

The full version of this news can be found on the Ayrton website news page

Marc Janowitz can be followed on Instagram at @e26design

For more information on Ayrton and its full range of LED lighting fixtures, visit the Ayrton website

 

Adamson supports live music’s return to the Budokan

The Budokan was built in 1964 as a martial arts competition space for the Tokyo Summer Olympics. The venue’s octagonal shape can make sound reinforcement difficult, but system engineer Ryuichi Kawakami selected Adamson speakers for their pristine clarity and excellent coverage.

Little distanced audience, yet big sound at the Budokan.

Kawakami describes the space’s challenges: “the Budokan is mostly built with wood, and many sections of the octagonal room have pillars and beams, so in the design process you must factor in the reverberation and reflections. The E15 speaker brings out an abundance of information across the whole frequency range, and it’s what makes the tuning so easy for me. I trimmed a few points to smooth out the system, and voilà it’s done.”

One array of E15 is taking his length and shape.

For this show, 108 Adamson E-Series and S-Series cabinets were deployed across the venue in a 270° configuration.

Kawakami flew thirty-two E15 as the main PA, accompanied by twelve E119 subwoofers flown in a column, twelve E15 as outfills, sixteen flown E12 for the 270° design and twelve ground stacked E219 subs for additional floor rumble.

Two sets of ground stacked fills were also used, comprised of four S10 and one S119 at each side fill position, as well as three S10 per side for rear coverage and a mixture of S10 and S10p for lip fills. The system was provided by Sunphonix, Adamson’s first and largest partner in Japan, as well as Blue Project.


One of the main A15 arrays flanked by 6 E119.

In addition to the side fills, Adamson M212 monitors were also used on stage. “M212s have always been great monitor speakers to work with,” stated Takashi Ono, monitor engineer for the group.

The M212, two 12” and a 3” driver.

“For Little Glee Monster shows, we use both in-ear monitors and wedges, but for a cappella songs I simply go with M212, to let the artists breathe and sing in each other’s presence.
The members of the group have told me that they actually prefer the experience of singing with floor monitors, that it feels more organic.”

Gakuji Okumura, long-time Front of House engineer for Little Glee Monster, was pleased with the performance of the Adamson system. “When it comes to mixing vocals live, the E15 is the best system out there. Its sonic characteristics make the musical experience authentic. Sit anywhere in the venue, and you’ll hear the best of the mix.”

More on the Adamson website

 

Meyer Spacemap Go at AREA15 in Las Vegas

At AREA15, the new art and entertainment district located minutes from the Las Vegas Strip, visitors should expect the unexpected. Behind the looming exterior façade, the vast, 200,000 square foot interior houses a collection of themed retail and entertainment options, all surrounded by an air of cosmic mystery.

One principal attraction is a space called “The Portal” where, behind imposing metal doors, visitors can plunge into a 360-degree projection-mapped video experience supported by immersive audio enabled by Meyer Sound’s new Spacemap® Go spatial sound design and live mixing tool.

The 6,584 square foot Portal was initially conceived primarily as a large meeting and event space, one that could compete with the posh hotel ballrooms on the Las Vegas Strip while offering its own unique ambience. To that end, the projection systems were designed for four-wall coverage allowing surround video for either the entire space, or for one or two walls when the room was subdivided into smaller spaces.

The opening of AREA15 was delayed by the pandemic, and when the public finally was admitted the total numbers had to be limited to about 25% capacity. That put most meetings and party events out of the picture. Fortunately, with a boost from Spacemap Go, the Portal was transformed into an immersive experience where visitors could stay distanced in the spacious room.

“When Steve Ellison of Meyer Sound first introduced me to Spacemap Go, I didn’t quite get it,” admits David Johngrass, production manager at AREA15. “I figured I could do much the same thing with our digital console. But he pointed out that I would have to do things like bounce out a new track, and then drop it back into the show file. But with Spacemap Go I could do it on the fly, in real time, and here in the space so I know exactly the effect I’m getting. That’s when it clicked. This is huge, I thought.”

The Ultra-X40 the new Berkeley multipurpose workhorse.

Some basic spatial sound trajectories were incorporated into the first experience in The Portal, Gallerie 360, a 30-minute sound and light exhibition by digital artists Darpan and Max Cooper. “We’ve just scratched the surface with Spacemap Go,” says Johngrass.
“But over the coming months, as we move toward full reopening, we will be using it big time as we start pumping out more theatrical shows where we can fully utilize these tools.”

The overhead Meyer Sound system supporting Spacemap Go along with the other presentation modes comprises 12 ULTRA-X42™ loudspeakers in a 3 x 4 grid pattern. Deep bass is augmented by two 750-LFC™ low-frequency control elements, while the GALAXY™ 816 Network Platform, originally specified only for loudspeaker processing, now also accommodates Spacemap Go’s spatial sound mixing.
In addition to the overhead system, the pre-COVID-19 plans also called for a direct reinforcement system suitable for both meetings and nightclub-style celebrations.

For this application, Solotech specified a Meyer Sound system anchored by 10 LEOPARD® line array loudspeakers bolstered on the bottom end by four 1100-LFC™ and two 900-LFC™ low-frequency control elements. Rounding out the system are four ULTRA-X40™ loudspeakers for fills, four MJF 210™ stage monitors and a second GALAXY 816 for system drive and optimization.

System integrator for Meyer Sound installations was Solotech, under the general direction of Aaron Beck, business development executive and senior engineer. Also contributing were Design Engineer and Programmer Brandon Andreasen and Project Manager Kevin Roberts.
About AREA15

More information on the Meyer Sound website

Graham Hill Joins Elation as Business Development Manager

Elation Professional’s European headquarters is pleased to announce that from March 1st longtime lighting professional Graham Hill will be serving as the company’s new Business Development Manager.
Graham is a familiar face to many in the industry, having developed a wealth of relationships over his many years in the entertainment lighting and electrical industries, including years as a key customer of Elation.

Graham brings decades of valuable lighting experience to the position and comes to Elation from a position as VP of Business Development at 4Wall Entertainment, where he developed and maintained customer relationships in Europe and the United Kingdom.
He is perhaps best known for his many years as Company Director of Static Light Company, the London-based supplier of lighting solutions for exhibitions, corporate events, and motor-shows.

Graham’s new role at Elation encompasses building collaborative relationships across the industry internationally, including working closely with lighting designers while communicating market insight to the Elation product team. He states, “This year is the 10th anniversary of my relationship with the Elation team globally.

My experience with Elation products and support has always been second to none, from the smallest to the largest clients. Over those years, supporting the most creative and demanding of clients meant that Elation was often asked to create specific products to suit the needs of an industry sector. They did not disappoint and some of those products are still in the range today.

“The very exciting role I am proud to take up will be to continue that legacy of client support internationally for the well-established Elation products. I firmly believe that with the award-winning product families that have launched over the past few years such as the Artiste, Proteus and Fuze ranges, as well as the additions of Obsidian Control Systems and Magmatic effects to the portfolio, it is now by far the most innovative and creative on offer to the industry.”

Graham has worn many hats over the years from operational management to directorship and brings a wide spectrum of competencies and strong market knowledge with him to support Elation customers. He has experience managing all aspects of business, including building networks and partnerships to coordinate and facilitate projects anywhere in the world. He has supported some of the world’s leading design agencies, and worked on projects and collaborated directly with partners around the globe.

“We have known and worked with Graham for quite a long time and are delighted that he is finally a full-fledged member of the Elation family,” stated Marc Librecht, Sales and Marketing Manager at Elation Europe.
“We’ve worked very close with him over the years and our collaboration with him as a customer has always been great. He has always felt a part of the Elation team and we are happy to have such an experienced professional on board who truly believes in our products and the people behind them.”

More info about Elation range of products are available on the Elation website

 

France is still one of Nexo’s best-performing markets

Jean-Jacques Vias (left) and Stéphane Brocard.

According to Jean Jacques Vias, NEXO’s Sales Manager for France, “the first step in the return to live events will be the staging of productions in smaller local venues, where social distancing and public health safety can be carefully controlled.

NEXO is seeing a lot of new clients in this sector, as public and private venues upgrade their infrastructure in anticipation of the end of lockdown.”

The Espace Bernard Giraudeau

In Noyelles-Godault, near the France-Belgium border, the Espace Bernard Giraudeau is a multipurpose venue, which has a 100 m2 stage and can accommodate up to 540 people seated. It plays a central role in the social and cultural life of its region, accommodating concerts, conferences, games and seated dinners.

The Espace Bernard Giraudeau and its ultrapurpose venue seen from the stage and its magnificent natural wood covering.

System contractors Alive Technology has installed a new NEXO GEO M10 mid-size line array, using MSUB18 subbass units and augmented with P8 point source cabinets. Powered by NXAMP4x2Mk2 amplifiers, the system also features a kit of six P12 monitor speakers.

Bertand Billon, Engineering support Nexo.

Engineers from NEXO’s ES Division attended the theatre to supervise the alignment and tuning of the new system. “It is a very reverberant room,” says Bertrand Billon, “but there is still a consistent ratio across the bandwidth.

Because there is a retractable bleacher stand of seating, we have two configurations, so we set up the system to switch from a seated audience to a full-standing one, where the line array clusters and outer front fills are moved.
We created two different scene memories in the NXAMPs and a custom page in NeMo (NEXO’s proprietary remote control monitoring software) so that it is easy to recall both set-ups.”

The GEO M6 compact line array system is proving especially popular with smaller auditoria, and three new installations demonstrate the versatility of these modules, which can be used in pairs, curved arrays of three or in line array of more. Paired with different NEXO subbass cabinets, they create a deceptively small SR solution, whilst being highly cost-effective in terms of amplification.


The insurance company Thelem

Five GEO M6 topped by a pair of MSUB12. Ready for meetings and some live music.

The well-known insurance company Thelem has a campus near Orleans, where it has extensively remodelled its existing facilities and constructed a new theatre auditorium for its corporate events.

Systems integrators Tech Audio worked closely with NEXO’s engineering support division to design and install a GEO M6 compact line array system, the smallest line array modules in the NEXO catalogue which allowed them to upsize the PA to handle music performance without having to use very large cabinets.

“We try as often as we can to fly the subs, in order to minimize the difference in level between the front and last rows,” explains Bertrand Billon.
“This specification had to be able to deliver a reasonable level and bandwidth for ‘light live music’ in addition to meetings.”


The new Maison du Technopôle

La Maison du Technopôle.

A closer view of the Technopôle’s three GEO M620 and hanged on the right, one ID Series sub to provide some low extension to the short M6 arrays.

In Saint-Lô, the new Maison du Technopôle boasts a fabulous modern design, housing 1,700m2 of space for research, start-ups and all kinds of innovators.

The facility also features a 234-seat amphitheatre which has been equipped by Auvisys with a ultra low-profile NEXO line array system.

Using just two clusters of three GEO M620 cabinets, discreetly hidden in the truss above the stage, the system deploys two small 10” subs from the ID Series to provide low end.


Credit Agricole new auditorium

And closing off an excellent run for the compact M6 line array system, Credit Agricole has opened its new auditorium at its headquarters in Guyancourt.

Credit Agricole’s new auditorium in Guyancourt near Paris.

Christophe Girres the Nexo’s Engineering Support Manager.

This is a much larger application of GEO M6, designed and installed by Novelty, together with NEXO’s ES Division engineers.

“This application is mainly for conferences, although they will sometimes feature a small band,” explains NEXO’s Christophe Girres.

“There are two clusters, each with four modules of GEO M620 cabinets, and augmented by two L15 subwoofers on the stage.


The stage right with four M620 and, resting on the stage close to the brick wall, one of the two L15 subs. Easy to spot on the edge of the stage, two out of four ID14, very handy little boxes for front fills.

We’ve also used of our new super-compact ID14 speakers, with 100°x100° dispersion, for frontfills. The entire system is powered by one NXAMP4x1Mk2 and a DTDAMP 4x 0.7.

The sound is clear and well-balanced, and there is more headroom than they will probably need, but the client is totally satisfied with the system.”

More information on the Nexo website

 

ISE 2021 CHANGES TO LIVE & ONLINE FORMAT

Due to the pandemic and travel restrictions, Integrated Systems Events, AVIXA & CEDIA announce ISE Live & Online in Barcelona, Munich, Amsterdam and London, supported by a comprehensive digital offering.

Integrated Systems Events Managing Director Mike Blackman explained “We have reached this decision following extensive discussions with our exhibitors over the last few months, and more explicitly, these last 10 days.

Mike Blackman

All along there has been a clear demand for a four-day ISE show in Barcelona in June. However, uncertainty surrounding the pandemic and international travel remains, which means we are unable to run ISE 2021 in its traditional format.

Our exhibitors have made it clear that there is a desire to get the industry together, but on a local level. In response, we are targeting Europe’s key markets across the AV sector and aim to deliver a quality audience who want to meet potential suppliers, existing customers and network with their peers.”


More information will be released on both the digital and the local events in the coming days – in summary:

ISE Live & Online Schedule

1-2 June, Fira Barcelona (Tue/Wed)
8-9 June, MAC Forum, Munich (Tue / Wed)
15-16 June, RAI, Amsterdam (Tue/Wed)
23-24 June, Evolution, Battersea, London (Wed/Thurs)


“For 2021, we have a rich and exciting digital offering” said Blackman. “We are proud to be working with CISCO on this innovative approach. We will be bringing ISE to four cities in June and continuing with our popular RISE Spotlight programme throughout the year.
Working with the industry in this way, we will be providing meaningful opportunities for sales teams to meet their customers, for people to experience product innovations, and of course, for networking.”


David Labuskes

“COVID has taught us all to listen more attentively,” said David Labuskes, AVIXA CEO. “Listen to our neighbours, our family, our co-workers, our customers and our market.
I believe this approach reflects what we’ve heard, a strong desire for prudent and safe face-to-face gatherings that can reinforce business connections and initiate growth. We are honoured to be in a position to offer these to our community.”


Giles Sutton

Giles Sutton, joint CEO of CEDIA added: “Everyone in the industry is missing the human interaction that is such a vital part of our industry – the opportunity not just to see, hear and touch new products and innovations in our sector but also everything that ISE brings in terms of learning, networking and that all important sense of community.

The ISE team has worked tirelessly to ensure that guidelines could be in place to protect our exhibitors and visitors on-site. However, there remains uncertainty around current travel restrictions and the ability for our global audience to take part in person.

The success of ISE has been built on broad industry support and that is the reason why we have taken these decisions this week. We look forward to a debut show where our community can all be together again in Barcelona in February 2022.”

Mike Blackman concluded: “We have been humbled by the many messages of support that we have received from our customers and partners who have appreciated the steps we have taken. We look forward to continuing to serve the industry in the year ahead and cannot wait to come back together in Barcelona, delivering the ISE show in February 2022.”

More information on the ISE website

 

Liberty University adds Ayrton Khamsin to its new arena

Liberty University has invested in a complement of 20 Ayrton Khamsin-S LED profile luminaires for the new Liberty Arena on the Lynchburg, Virginia campus.
Liberty Arena seats 4,500 spectators and is the home of the university’s men’s and women’s basketball and volleyball teams whose games are broadcast on ESPN+. Liberty University previously purchased Ayrton Mistral fixtures for a multi-use event space, which hosts a wide array of entertainment programs and gatherings.


“We wanted bright LED fixtures that would really pop and enhance the fan experience in our new dedicated sports arena,” says Amy Caun, lighting director and Tier 2 production technician in Liberty’s Event Production department.
Designed for scenic applications, the Khamsin-S is equipped with a new LED module delivering powerful metallic white light with a record-breaking output of 40,000 lumens and a colour temperature of 6500 K.


“We like to stay with one product line, and ACT Lighting arranged a shoot-out with Khamsin and another Ayrton fixture,” she explains. “We were really impressed with Khamsin’s design, how sleek and compact it is for such a powerful fixture. Khamsin also had great saturated colours, and, being an LED fixture, we don’t have to worry about lamp life.”


In addition to the Khamsin-S fixtures, the new arena boasts a Daktronics center video board stanchion display, court table and 360 degree video ribbon display plus four 4K laser projectors for court projection, all of which play a role in creating an immersive fan experience.

“Before a game starts all of these elements work together to excite and engage fans and players alike,” says Caun. “We’ve designed each of these elements to complement each other and together create a thrilling environment.”

During the starting lineup the Khamsin-S units, which are mounted on truss on either side of the court, illuminate the players and court and build excitement.
Custom gobos featuring the Liberty Flames logo and mascot project onto the court and seating. The Khamsin-S are also deployed going in and out of halftime and for celebratory effects after a win.


“Although the coronavirus pandemic means there are currently very few fans present during games, that actually has given us time to really dial in the production in the new Arena,” notes Caun.
“Once more fans are able to attend again, we know they’ll enjoy a high-quality, in-person experience and the Khamsin fixtures play an important role in helping us create a thrilling game experience.”

The Khamsins were purchased from Whitlock, now AVI-SPL. Ayrton is distributed exclusively in North America by ACT Lighting, Inc. www.actlighting.com

More information on Ayrton Khamsin-S, Mistral and the extensive portfolio of innovative Ayrton LED fixtures can be found on the Ayrton website

Khamsin teston SoundLightUp: Khamsin-S & Bora-S, the wind of Madness

 

German Landesfunkhaus Niedersachsen Choses RIVAGE PM7

Broadcasting in Hannover dates back to 1924, moving to the current site in 1950 with the construction of what was then the most technically advanced broadcast station in Europe. The original, 350-seat Kleiner Sendesaal concert hall was joined by the 1250-seat Großer Sendesaal in the 1960s, home to the renowned NDR Radio Philharmonic orchestra.

Both venues are used for over 100 live concerts, shows, awards ceremonies and similar events every year, many broadcast live or recorded for later transmission.
With the needs of guest artists, production riders and audience expectations rising, both venues have recently had their audio specifications upgraded, including the installation of a Yamaha RIVAGE PM7 digital mixing system in the Großer Sendesaal.
The Landesfunkhaus Niedersachsen audio team has worked with Yamaha digital mixers since the mid-1990s, initially with an 03D and 02R, later adding an 01V96, LS9-32, M7CL and PM5D.

The development of the CL and QL series was crucial for the venue because, in addition to the widely-accepted Yamaha menu structure, routing audio via Dante made the implementation of larger productions easier. The RIVAGE PM series further improved the team’s options for operation and audio routing.

Systems integrator Amptown System Company (ASC) specified the RIVAGE PM7 system, thanks to its channel count, sound quality and support for flexible two-user operation. In particular, the convenience of two-person operation lets engineers mix a large production, with an orchestra and band, from one control surface. The high number of mix channels, first-class effects and dynamics processors were more reasons for purchasing the system.

Another important factor was the ability to quickly and easily exchange configurations between Yamaha digital consoles of different series. With other Yamaha digital mixers at Landesfunkhaus Niedersachsen, this has greatly accelerated the in-house workflow and ensures visiting engineers can save time creating their mixes.
ASC also provided training for Großer Sendesaal staff on the new system, ensuring the team was quickly up to speed with the RIVAGE PM operating system.

More on the Amptown system website and on the Yamaha website