The Rolling Stones took to the road this summer for their first European tour since 2018 with their new show, SIXTY, in celebration of their 60th anniversary. The show had a new set design by Stufish and lighting by Patrick Woodroffe, the Stones’ lighting designer and creative director for over 40 years.

© mhvogel

“When designing a European tour, you must consider the vast range of weather conditions you might meet across the summer from beautiful sunny days to end-of-the-world storms,” says Terry Cook, associate lighting designer at Woodroffe Bassett Designs.
“One thing Ayrton has become famous for is their high-powered IP rated fixtures. On the 60th Anniversary Rolling Stones tour we have 83 Ayrton Perseo Profiles over the stage. We have used these units on multiple shows and found them to be bright and reliable.

“At FOH, for the first time ever, we specified 10 Ayrton Domino LT units attached to the FollowMe. This is a new Long Throw unit of the Domino range, and is also IP rated so it takes the weather concerns away. Our spot towers moved around a lot from venue to venue but we found having the Domino LT spot very useful and the light performed well.”

An additional 12 Domino LT fixtures were also chosen for exposed positions at the front of the stage, all of which were supplied by Neg Earth Lights.

© mhvogel

“With a new scenic and lighting design for the Sixty Tour, Patrick and Terry (Cook) took the opportunity to add many more Perseos and Domino LTs to the design,” says Rolling Stones lighting director, Ethan Weber. “Pretty much everything that is exposed to weather and/or hard to access is now an Ayrton product. Nearly every light that is crucial to the show – spots and keylights – are now Ayrton because of their intensity, reliability and IP65 rating.”

Nine Perseo Profiles are hung on the downstage edge of nine overstage finger trusses and used to keylight the backing musicians; thirty-six more are rigged on two pairs of ladders upstage and mid/downstage, and 42 Perseo Profiles are positioned on the floor with 24 on the left and right screamers, and 18 in upstage positions behind the band. Twelve of the larger Ayrton Domino LT are also sited on the downstage floor with 6 per side lighting the fascia.

© mhvogel

“The Perseo units on the floor and torms are all for wash and effects,” says Weber. “Great lights. Bright, smooth dimming, good colour mixing, impressive zoom range… The Stones setlist doesn’t often include too many songs that are gobo friendly, but we do get a few patterned looks in there and I was impressed with the gobo selection.

“The Domino LTs on the wings and front stage are used to light the upper parts of the downstage fascia. We don’t use much of their effect capabilities, but their intensity, zoom, shutter and, again, reliability, made them the perfect light for the job.

Perseo Profile

Domino LT

“The LED source is very important to us as well. We haven’t been asked to account for our energy consumption, but morally it’s definitely a step in the right direction. The fact that our only significant power draws are when we’re testing the system, when I’m using the lights for late night focus/programming sessions and during the running of the show, goes a long way towards helping to ease my moral conscience.”

The 10 Domino LT fixtures used as followspots with the FollowMe system are rigged on two of the front of house towers with an average throw distance of 125’/38.5m. The five remote followspot operators are positioned more comfortably in the control tent with the rest of the lighting team.

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“This was our first tour with remote followspots – a big decision for us,” says Weber. “Our standard followspots, stacked 4 high, house left and right, always bothered me – all but the top spots were too low and washed out much of the stage. There have been systems out for a few years now that could probably handle the job, but it was the combination of the Domino LTs’ intensity and, especially, IP rating that swayed us.

“In my first discussion about them with Keith Johnson, our crew chief, I asked if he was going to weather-proof them ‘just in case’. He said ‘no’. I was a little worried until the first big rain, then not a thought about it after. Ayrton’s given us some very impressive lights to play with.”

The 14-date stadium tour of Europe kicked off in Madrid on 1 June and concluded on 3 August in Berlin.

© mhvogel

The link to the full story on https://www.ayrton.eu/live/

For more information on Ayrton Domino LT, Perseo Profile and the full range of Ayrton LED lighting fixtures, visit www.ayrton.eu

Zone is a series of zonal audio controllers with DSP and advanced configuration via WebApp. They are easy to install, intuitive to operate and comprise 4 or 8 zone powered and non-powered versions.
WebApp brings the technology behind the Zone controller series to the end-user. Traditionally, the control and operation of commercial sound systems has been a complicated inconvenience to many users, who just want the system to work. WebApp puts all the functionality that an installer requires, as well as the ability to then present effortless and intuitive control, into the hands of the end-user.

With slick touchscreen-optimized controls, the WebApp is designed for ease of use on any device. The responsive and intuitive interface lays out the fundamental controls in a clean, accessible format with the deeper, lockable layers for system configuration available for integrators and system commissioners.

Complete system configuration can be achieved through the WebApp with ducking, EQs, limiters, advanced signal routing, programmable presets, timed events and much more. WebApp also allows for the system configuration files within Zone series products to be saved and easily replicated across multi-site installations.

WebApp Getting Started Video

Version 1.0 is now available to download from Optimal Audio’s website and offers extensive new features, audio settings and improved user interface (Download with link here)

Installers can now hide unused zones to create a cleaner interface, as well as having the ability within each zone settings page to hide sources from the selection list and the microphone volume controls. This ultimately can mean presenting the end-user with just the zone name and volume control – nothing could be simpler.

In addition to the existing 3-band EQ that works with the speaker tuning presets, an extra 3-band User EQ is now available to the installer on every output, all 8 line outputs and 8 amp outputs. Pairs of outputs now also independently support a bridge mode both for low impedance and for driving 70V high impedance speakers, and presets also now include Sub 10 and Sub 15 tunings.

The microphone EQ.

For the installer, a clearer display for the fixed analogue EQ band has been added to all microphone EQs. To assist navigation and triggering of presets, the launch icon is now labelled.
The preset list view can be re-ordered in Edit mode and helps to create a tidy list of the available presets. The installer page also has a new metering view which includes all the meters in the DSP for viewing system signal flow in one place.

Finally, Open Sound Control over Ethernet is the Zone control method from 3rd party controllers. In previous versions, only UDP message control of Routines was available but V1.0 adds support for UDP and TCP control of Zone parameters. Included in the release are a collection of example design files for TouchOSC to demonstrate use of OSC control. These give examples of every parameter, status and name to be the basis of control panels tailored to the specific application.

Matt Rowe

Summing up, Matt Rowe, Head of Engineering, commented: “WebApp is our secret sauce to the success of Optimal Audio’s eco-system, and with this latest release we have extended the possibilities for the system integrator while improving the simplicity that can be presented to the end-user.”

For more information on the Optimal Audio website

Cameo presents the new P-Series. The LED profile spotlights are aimed at professional users from the theatre, TV and event sectors and are available in Tungsten, Daylight and Full-Color versions.

In addition to its light output and flexible handling, the P-series also convinces with its high CRI and TLCI values as well as a lifelike white light and colour rendering.

Whether in the theatre, in a TV show or on an event stage, people and objects must always be optimally illuminated to give spectators and cameras a perfect picture of what is happening. Those who set people and objects in motion in scene with only one light beam must also be able to rely on two aspects: Handling and lighting quality.

P2 T

To meet these requirements of lighting designers, directors, agencies, artists or company directors in any situation, Cameo has developed the P series.

At the start, the P series includes the P2 T (Tungsten, 3,200 K), P2 D (Daylight, 5,900 K) and P2 FC (Full-Color, RGBAL) models.
With a light output of up to 17,000 lm (P2 FC), the P2 profilers are the perfect replacement for conventional 1kW profiled spotlights.

P2 D

The units can be flexibly adapted to different stage requirements via a variety of optional interchangeable lenses. There is a choice of interchangeable lenses with fixed beam angles (19°, 26°, 36° and 50°) as well as zoom lenses for the ranges 15°-30° and 25°-50°.

Even more versatile is the use in combination with the optionally available Cameo iDMX Stick to control the LED profile spotlights not only via DMX and RDM, but also wirelessly via W-DMX.

P2 FC

In the development of the P-series, Cameo has consciously orientated itself on the extremely successful theatre and TV spotlights of the F-series. Thus, the F and P series harmonise with each other both visually and in terms of their photometric properties, forming a perfectly matched lighting duo for theatres, TV, congresses and corporate events.

The Cameo P-Series expected to be available in December.

Further information:
cameolight.com/p-series
adamhall.com
blog.adamhall.com

DJ, music producer and creative live experience imitator Michael Canitrot presented another innovative ‘Monumental’ show, this time in front of the incredible Cathedral Notre-Dame of Laon in the city of Aisne in the Hauts-de-France region of France.

A special musical performance was created for this magical event which was presented in collaboration with design collective AV-Extended led by Jérémie Bellot, featuring a giant video mapped projection show onto the front of the Cathedral’s imposing 56m-high façade, supported by a light show designed by Mikael “Mika” Trochu utilising 56 x Robe moving lights.

This followed Michael Canitrot’s 2021 Monumental Tour, a series of unique site-specific performances staged at some of the most spectacular heritage landmarks and monuments around France.
Robe Fortes and MegaPointes were chosen for their power, brightness, and impact as well as their dynamic feature sets, and were located all around the front of building on the ground and on a balcony at approximately 50 metres up the front of the building.

They were used highly effectively to create multi-layered effects on the Cathedral, including the two main façade towers that overlooking Laon old town, and also to shoot striking and potent beams into the skies.

At the front of the building, either side of the stage, seven MegaPointes were deployed on the garden side with more on the courtyard side. Lined up adjacent to one other on special platforms, they highlight and texture the Cathedral walls including the arch ceilings of the two large, recessed side doors.
On the front balcony, 15 MegaPointes were deployed and used for colouring the top half of the façade, the back walls under the higher up arches, and to blast piercing beam effects towards the city, cutting through the night skies.

This was a painstaking and laborious task in terms of rigging. The technical teams had to access the balcony and manually carry each individual fixture via a network of narrow, twisting staircases up to the first-floor level, and beyond that for the MegaPointes that were positioned even further up in the two towers.

Five MegaPointes a side were positioned inside the top of both the Cathedral towers at elevation of 20 metres above the balcony. These were used to illuminate the underside of the tower vaulted ceilings which added depth and volume to the video mapping in this area and indeed to the whole picture!

Mika deployed three Fortes inside the Cathedral, one central to illuminate the main rose window flanked by the other two left and right to back-light the two lancet windows of the facade. Another 8 x Fortes were positioned at the back of the forecourt behind the audience at the control room level for key-lighting the artist and for picking out specific façade details like the magnificent huge central rose window.

Mika explained that the power of the Fortes allowed him to “texture the Cathedral’s facade both during the quiet moments as well as make major statements during the intense moments” of the narrative. One idea with the lighting design was to be able to fragment and “cut” the façade vertically to create an illusion of parts disappearing or being removed from the overall picture thanks to the strong contrast between the lit and unlit areas.

“The accuracy and flatness of the Forte shutters when 100% open and zoomed simply blew me away,” Mika stated. He thinks that no other light would have offered better functionality in these two areas – power and shutter linearity / accuracy.
Mika also appreciated the gobo and effects wheels, describing these as “incredible”, enabling him to produce spectacular effects during segments of the music that needed super-punchy lighting treatments.

He used a grandMA2 console for programming and running lighting, and all the lighting equipment was supplied by BDL Event group. The get-in was completed over two days by a crew of 8 for lighting, video, audio and power including Jérémie Bellot from AV-Extended and technical director Martin Javouret. They worked with a local crew of 8 x stagehands.

This unique musical and visual show on Laon Cathedral was experienced live by over 2,500 spectators gathered in the square in front. Built in the twelfth and thirteenth centuries, this seminal heritage site is one of the most important and stylistically unified examples of early French Gothic architecture.

Watch a short-form of the Laon Cathedral Monumental show here:

The Monumental Tour is an incredible journey that germinated from Michael Canitrot’s love of music and monumental architecture and started during the Covid lockdown period, combining streamed live music performances and visual collaborations involving epic, iconic and outstanding monumental sites all around France. It started back in the summer of 2021 at the Phare des Baleines (Lighthouse of the Whales) on the Ile de Ré, and the previous show to this one at Laon Cathedral with lighting.

also designed by Mikael Trochu (Mika) was at the Chateau de Pierrefonds in the picturesque Oise region. All these Monumental performances have involved the use of Robe moving lights.

For more info about Robe Lighting, you can visit www.robe.cz

Total Solution Marketing, Ayrton’s exclusive distributor for the Singapore region, is very happy to announce the purchase of 24 Ayrton Diablo S LED profile fixtures by Trio AV.

The Trio AV team with their newly acquired Ayrton Diablo S fixtures.

Trio AV has a strong reputation for supplying exactly the right products and technical expertise for every possible event, from exhibitions, seminars, conferences and product launches, to galas, special events and parties. With offices in Singapore, Thailand, Shanghai and Vietnam, Trio AV’s services include everything from conceptualisation to full consultation and supply.

Trio AV’s John Tang explained why the company had chosen Diablo S, one of Ayrton’s most innovative, ultra-compact luminaires: “We were seeking a small size and lightweight LED moving light profile fixture with framing shutter to replace our older fixtures. We had heard a lot of positive feedback and seen the popularity of the Ayrton Diablo S on the market, so we approached local distributor Total Solution Marketing to get a demo unit for our own evaluation.

“We compared it against other similar fixtures and the Diablo really stood out from other brands. It has a great zoom range, is very bright for 300W LED engine, with smooth dimming and good shutters. It is compact and lightweight, so easy for our technicians to rig. It meets all our requirements.
“Also, we have received great service support from Total Solution Marketing for many years, so all this made our decision easy.”

In designing Diablo, Ayrton took on the challenge of making the smallest, lightest and most efficient luminaire of its category. To achieve this, Ayrton miniaturised the framing system whilst maximising the performance level, and packed a wealth of features into a fixture that weighs just 21.8kg with a record output of 19,000 lumens.

Tang was enthusiastic about Diablo’s many uses and his technicians’ response to working with the fixtures. “The team love the versatility of Diablo S because we can use them for various market segments, including corporate, live events, TV and theatre. The build quality and performance have proved excellent so far. It has exceeded our expectations and is very popular with our clients due to the many great features, good output, great zoom range and the compact size and weight.”

Looking to the future Tang is certain of success with this fixture. “We plan to add more Diablo S luminaires to our stock. It has proven to be a great investment and is getting ever more popular in our region.”

More information on Ayrton Diablo and Ayrton’s full range of LED lighting can be found at www.ayrton.eu

And on Trio AV and Total Solution Marketing Pte Ltd

MDG Ice Fog Q HP low fog generator has been chosen by Philip Marfleet of Marfleet Events to tour with Il Divo and provide the atmosphere for a very special moment during the show.

MDG Ice Fog Q HP provides low fog for moving tribute to Il Divo’s Carlos Marín.

Il Divo, the multi-national vocal quartet, have had the same line up for the past 18 years until, sadly, founder member, Carlos Marín, passed away from Covid last December. The group had been part-way through their Motown-themed tour, For Once in My Life, and, after much heart-searching and encouragement from their fans, decided to continue the tour and rearrange it to honour their long-term friend.

The reconfigured tour, renamed Greatest Hits Tour, began in February and will continue until December – a total of 105 international dates in 2022 – with more to come in 2023.
In tribute to their friend, the group dedicates a song Hallelujah each night to Marín, during which time the remaining members sing ‘with’ him, and the stage is filled with a generous amount of low fog supplied by the Ice Fog Q HP.

Philip Marfleet

“The moment when l Divo sing with Carlos one last time is such an instrumental part of the show that it is important we can guarantee a good result with that effect every night,” says tour and production manager, Philip Marfleet.
“We chose the ICE FOG Q HP after the US leg of the tour where we had used a variety of rental machines from different manufacturers according to equipment availability. But these gave variable performances, and the majority of generators couldn’t give us a consistent, satisfactory result in the way the Ice Fog Q HP could and Silent.

On returning to Europe, it made sense for the tour to travel with its own fog generator and Marfleet purchased the Ice Fog Q HP from White Light which was able to turn the order around and ship it to Madrid in just 3 days.

Jonathan Haynes

“We were so happy to have been able to help Il Divo get the MDG machine they needed on a fast turnaround with the help from Matt Wiseman of MDG UK and to ship it in time for their first European date at the end of June,’ says White Light’s Business Development Manager, Jonathan Haynes.
“Having experienced so many low fog generators by then, we chose the Ice Fog Q HP because of its speed and its ability to go from nothing to a full stage very quickly,” explains Marfleet. “This means we are able to get the effect in place right from the start of the song instead of having to build it slowly, and it dissipates quickly afterwards so that it has gone by the time the lights are restored after the song’s closing blackout.

“The Ice Fog Q HP is also super-quiet, which is extremely important as, for most venues on the tour, the machine is actually on stage just a few metres behind the orchestra with no drapes between them to shield any noise.”

White Light supplied the Ice Fog Q HP with a 2-channel DMX controller which enables the generator to be controlled directly from the lighting console. However, it is also possible to control it locally which stage management chooses to do in some venues.

“We can set a long delay before the gas comes on and use the Ice Fog at its lowest setting, then the stage manager can just switch it on at the start of the song and off at the end it’s that simple,” says Marfleet. “The gas is sourced locally at each venue and has presented no issues at all, and the fluid consumption is minimal.”

The Ice Fog Q HP’s rolling flight case has proved very useful for moving the generator daily on and off festival stages and into the back of a truck for the next show. “From dusty Spanish fields to cobbled town squares, it takes all we can throw at it, and we’ve had some really good effects from it outdoors during our summer dates in Europe,” says Marfleet. “Wind is always an interesting factor of course, but on a still night it looks beautiful!”

Il Divo Greatest Hits Tour begins another leg of its European tour with dates in the UK, Norway and Spain in December, before heading for more dates across the USA and the rest of the world next year.

For more information on MDG’s Ice Fog Q HP and all MDG fog, low fog and haze products, visit www.mdgfog.com

New York based lighting designer Myles Mangino used the stylish appearance of Robe’s Patt 2013 luminaires and the great CRI and crisp optics of their Esprite moving lights to add a touch of class to a video shoot for music producer Mark Ronson featuring singer Lucky Daye.

The music video was for a special version of the slick, smooth and rhythmic groove, “Too Much”. Shot in Greenpoint Terminal Warehouse, an impressive former industrial space in trendy Brooklyn, New York City, Myles wanted a backdrop of large vintage looking light sources that would look great on camera and provide a warm tungsten glow so he decided on 32 x Robe Patt 2013s. These were sourced by the shoot’s production vendor, ATD Audio Visual.

Myles’ initial brief from the producers included a request for some tungsten warmth as background scenic to enhance an authentic retro vibe, and he “thought of Patt 2013s for their effect, and the way they look”. It was the first time he had used these lights on one of his own designs, although he was aware of them.

It was a big empty building, so he used the general warmth and richness of the Patt 2013’s glow to break up the room evoking a feeling of intimacy, whilst still maintaining the perception of it being a vast and potent space.

The stage was built in the center of the room with everything arranged around it, including the Patts, rigged on six vertical trussing towers around the stage, pointing both inwards towards the artists and outwards, bathing the walls in a beautiful, delicate luminosity.

The video was a full 360º shoot on a single Steadicam, and with half the Patts facing inward for lighting the artists and the other half facing outwards lighting the space, Patts were always facing the camera! “They worked great for this job with their shape and output, providing a great light source as well as nice background eye candy,” noted Myles.

The 11 x Robe Esprites were rigged above the stage on a circular truss in the roof and used for key lighting. This fixture has become a go-to for Myles when lighting videos, commercials, streaming events, and other camera-based projects.
“Yes, they are my new favorite fixture!” he declared. He loves the optics, the clean beams, the range of color corrected whites and the straight framing shutters which are always handy, although he didn’t use them much on this specific occasion.

Myles programmed and operated lighting on a grandMA3. There was a set up and rehearsal day followed by a single shoot day which all went very smoothly.

He approached lighting it like a fashion shoot coupled with a bit of art-house, starting “atmospheric and moody” and getting flashier and brasher with the lights as the song unfolded, which everyone loved in terms of style and ambiance.

“It ended up being a lot flashier than I initially thought,” stated Myles, adding that as an LD it was great fun to work on a project like this which proved to be an interesting video shoot and an inventive lighting showcase.

For more info about Robe lighting, you can visit www.robe.cz

Showtec, one of the largest rental companies in South East Asia, was delighted to purchase 40 Ayrton Domino LT luminaires from Total Solution Marketing Pte Ltd, Ayrton’s exclusive distributor for Singapore, recently.
The fixtures were subsequently used for the prestigious Singapore National Day Parade on 9th August 2022, one of the biggest events to be held in Singapore.

Showtec is one of the top professional entertainment technology companies in South East Asia and carries a very extensive range of equipment for every kind of event. Its inventory is backed by a team of highly proficient technicians who achieve fantastic results for everything from intimate concerts to large scale outdoor events.

Henry Ang, founder of Showtec, chose Ayrton Domino LT both to boost his rental stock and, specifically, for the National Day Parade. “We chose Ayrton Domino LT after a lot of research comparing it against other major moving light brands at the Prolight + Sound Frankfurt exhibition,” he says. “We found Domino LT to have the best combination of being IP65 rated, with an extremely bright LED engine, flat optics, great colour and good quality graphics.

“It was also very important for us to have good local support from the Ayrton distributor, Total Solution Marketing.”
Domino LT is the first all-terrain LED luminaire in Ayrton’s ‘Long Throw’ range designed for intensive outdoor use in long-distance applications requiring extremely high precision.

“The Domino LT fixtures were immediately put to use for the National Day Parade 2022, which had two months of weekly rehearsals before the actual show on 9th August 2022,” says Ang. “Everybody was very happy with its long throw ability and qualities and, most importantly, the fact that it is extremely rugged, well-built and looks good.”

Singapore NDP lighting designer James Tan and associate lighting designer, Low Wee Cheng, are the first users of the Ayrton Domino LT for the prestigious National Day Parade. “We were first introduced to the Ayrton Domino LT by Henry from Showtec as there was a need to find a suitable IP65 protection rating luminaire for NDP22,” explains James Tan.
“The total stage area this year was vast. The lighting coverage needed to accommodate the side-lighting of a large number of performers on the main stage deck, but also avoid some of the key projection looks.

“The Ayrton Domino LT, with its 4 individually positionable shutter blades and flexible rotating framing system module, gave us the ability to create almost theatre-like side lighting that could both punctuate the performers, but also avoid getting in the way of extensive projections on deck.
“We were particularly impressed that the Ayrton Domino LT could also efficiently double up as a beam light for air effects with its flexible beam aperture that could be reduced down to 3.5°, but yet not lose effective lighting output. This was especially evident during the finale segments of the NDP22 where their performance could almost match other dedicated beam effect spot movers.
“Overall, the Ayrton Domino LT exceeded our expectations on all fronts and allowed us to vary our lighting design, undoubtedly serving as a versatile and reliable multi-function luminaire designed for intensive outdoor use.”

Low Wee Cheng was also impressed by Domino LT’s weatherproof qualities: “The Ayrton Domino LT is not only a bright lighting fixture, but its IP65 rating makes it an ideal lighting fixture for NDP 2022 as it had to last through the entire setup and show in hot sun and heavy rain.”

Safiee Sawal, project manager for Showtec, agrees: “The Domino LT’s durability and high build quality was great for the National Day Parade. We placed 32 fixtures outdoors without any cover or shelter for almost two months, there were some minor issues which under such harsh outdoor conditions for that amount of time is to be expected, but TSM provided us with a quick service turnaround and everything went extremely smoothly.
“Domino LT is the brightest long throw LED moving light profile we have ever seen – it has a very good beam quality and great colours.”

Ang concluded: “We are very happy with the performance and acceptance of Domino LT by lighting designers, and my technicians love it too. Going forward, the fixtures are already booked for other shows and they will be moving into the National Stadium one week after the NDP bumps out. We are keen to add more of these fixtures as we transition our lamp-based moving lights to LED. The Domino LT ticks all the boxes.”

“We are very grateful for the trust from Showtec on Ayrton products and thankful that they are the first company in Southeast Asia to choose and believe in the performance and durability of the Domino LT”, comments Tevin Heng, Executive Director of Total Solution Marketing Pte Ltd.

“We are excited to see Henry Ang and Showtec acknowledging, with their choice and investment, both the performance and quality of Ayrton products”, comments Michael Althaus, Global Sales Director of Ayrton. “It’s great to welcome yet another big player in the fast growing Ayrton community.”

For more information on Ayrton Domino LT and its full range of LED lighting fixtures, visit www.ayrton.eu

And also on the Showtec Group website and on the TSM Int website

Vari-Lite, industry pioneers in moving head lighting control, today announces the Neo X15 and Neo X5, a family of high-performance lighting consoles designed for mixed-use facilities such as performing arts centers; stadiums and arenas; houses of worship; studios; schools; and more.

“Large format entertainment lighting consoles are typically either focused on theatrical lighting or live event lighting, but traditionally not both,” explains Jon Hole, Global Product Manager, Vari-Lite Controls at Signify. “However, many facilities are multifunctional and need the capabilities of a premium console that works for all the different types of events and user experience levels in the space. X Series consoles offer a feature-rich, customizable platform that is perfect for both theatrical and live event lighting at a price point that won’t take up the entire upgrade budget.”

The new X15 is Vari-Lite’s flagship, high-performance lighting console, offering 15 multifunctional motorized playbacks and backlit encoders, and can output over 50,000 channels out of the box. The intuitive hardware layout includes two built-in monitors, a soft touch control screen, and built-in audio I/O connectivity that makes it easy to integrate lighting cues with sound effects, videos, and more. A smaller 5-fader X5 console is expected out early next year, with the same processor, build quality, and 100 universes of DMX as the X15.

“Designers want consoles that are made to last, with stable, mature software and a ruggedized, hardwearing build design,” adds Hole.

“Even if the consoles aren’t being used on a touring production, they are still often moved around the facility, being setup in a different location when programming the show than when the show is operated. The X15 runs the mature Neo platform and features premium materials and an all-in-one design, ensuring it will work for years to come.”

The all-new Neo 4.0 software on the X Series helps designers find the perfect look in less time by including an advanced effects engine that supports pixel mapping, media playback, timelines and more. “The new touch-driven interface in the Neo 4.0 software feels more like a console than ever, offering quick access to pallets, groups, macros, and effects,” says Hole.
“This makes the console quick and easy to use, and thanks to a robust training and support system, with onboard training videos, global tech support, online forums and groups, and an interactive manual, customers can get up and running quickly, tailoring the interface to meet their needs and achieving the look they’re wanting in less time.”

For more info, you can visit the Vari-Lite website

HARMAN Professional Solutions, introduced the JBL PRX900 Series of loudspeakers and subwoofers, which feature advanced acoustics, comprehensive DSP, unrivaled power performance and complete BLE control via the JBL Pro Connect app.

The PRX 915 and 918, both using the very same 2,000 watts peak power module including presets, delay thanks to DriveRack Technology.

The line, which includes three powered two-way loudspeakers and two powered subwoofers, is built from the ground up to leverage JBL’s most advanced acoustic innovations.

All new proprietary driver systems powered by ultra-efficient Class D amplifiers deliver clarity and definition even at maximum volume, with improved dispersion and beam width and smooth low-frequency extension.

The rear panel including the analog in/out and the DSP local commands.

The PRX900 Series’ class-leading DSP package, accessible via onboard LCDs and the JBL Pro Connect app, includes 12-band parametric EQ for system tuning and nuanced tonal control, and integrated dbx Drive Rack technology, featuring live and fixed Automatic Feedback Suppression, soft system limiter with Soundcraft Overeasy option and speaker delay settings and presets.

Use the JBL Pro Connect app to control up to 10 speakers, integrate with JBL EON ONE MK2, PRX ONE, and EON700 systems, and access app-only functions including speaker snapshots and grouping.

The PRX900 Series is designed to withstand the rigors of the road. Rigid composite loudspeaker cabinets feature computer-modeled ribbing for optimal acoustic performance and durability, while subwoofers are housed in 18 mm birch cabinets with optimized bracing for smooth, accurate low-frequency response. Like with every JBL product, everything is reinforced by industry-leading test and validation protocols and the series is backed by an unprecedented seven-year warranty.

Brandon Knudsen

“For years, our PRX800 Series loudspeakers have been first-call systems for bands, DJs, installers and houses of worship in large part thanks to their acoustic profile, their low-end extension, and their volume,” said Brandon Knudsen, HARMAN Professional Product Manager, Portable PA Loudspeakers.

“With the PRX900 Series, we’re taking things to the next level with next-gen acoustic innovations and an even brawnier power package to deliver clean, clear sound at any volume. Systems take advantage of the latest BLE technology and the JBL Pro Connect app ecosystem, for unrivaled control.”

The PRX900 Series is a versatile solution for DJs and bands, music venues, rental houses, corporate A/V providers, or anyone who seeks durable professional systems that deliver powerful, room-filling sound in any portable or installed scenario. Key innovations include:

All-New Acoustic Designs

From cones to cabinets, the PRX900 Series is designed for advanced acoustic performance. Patented JBL 2408H-2 1.5” compression drivers with poly-annular diaphragms and neodymium magnets provide clear, detailed high-frequency response.

Innovative new horns with updated JBL Image Control Waveguides deliver consistent beamwidth and frequency dispersion. Next-generation woofers with ferrite magnets deliver smooth, natural bass response, and an FEA flared port design reduces air noise and distortion.

Superior Power Performance

Driven by highly efficient Class D power amps, the PRX900 Series provides acoustic clarity and definition with minimal power compression, even at maximum volume. A bridged woofer amp keeps current spikes out of the ground and lowers crosstalk harmonics to the tweeter.

High-linearity inductors deliver superior power efficiency and low total harmonic distortion, and low-noise, low-distortion input gain staging optimizes range and headroom for diverse gain requirements.

High-quality DAC and ADC provides near-lossless audio conversion. Producing up to 134 dB output down to 30 Hz, systems effortlessly support large performance spaces with high power and performance requirements.
And with a full-bandwidth CMRR (Common Mode Rejection Ratio) greater than 55 dB and THD (total harmonic distortion) rating of <32 dB, noise is virtually nonexistent.

Class-Leading DSP

The PRX900 Series is fully loaded with comprehensive DSP, all accessible via the JBL Pro Connect app or onboard full-color LCD. Processing includes 12-band parametric EQ, plus optimized presets and snapshots.

Onboard dbx DriveRack technology features live and fixed Automatic Feedback Suppression, hard and soft system limiters and 180 ms of speaker delay in 100-microsecond intervals for full time-aligned systems.

Versatile and Scalable

Combine PRX900 Series loudspeakers and subwoofers in a range of configurations to meet the requirements of both mobile scenarios and fixed installs.
Speakers feature dual 36 mm pole sockets and six M10 suspension points; subwoofers feature M20 pole cups.

Full-range speakers feature a built-in gyrosensor that automatically optimizes system tuning depending on monitor or mains placement.

The Pro Connect Ecosystem

JBL’s Pro Connect app offers BLE functionality for system control of up to 10 speakers and line integration with JBL EON ONE MK2, PRX ONE, and EON700 loudspeakers. Access full DSP functions right from the app, including app-only features like speaker snapshots and speaker groupings.

In depth stress testing provides the security of a durable and reliable audio system.

Rugged and Road-Worthy

PRX900 components are housed in strong, lightweight cabinets that maximize both acoustic performance and durability. Loudspeaker cabinets are constructed from a polypropylene/talc blend that’s optimized for rigidity, with computer-modeled internal ribbing designed for maximum structural integrity and minimal cabinet noise. Subwoofer enclosures feature optimized bracing that smooths out low-frequency response.

For complete product details and specifications, please visit the JBL Pro website

Be it in brand and experience worlds, museums and theme parks or in conference and collaboration rooms: in order to transport emotions and convey messages in a targeted manner, effective and creative use of AV media technology is the key.

Since 2004, the “Sinus – Systems Integration Award” has put the spotlight on top achievements in this field. The prize is awarded annually at Prolight + Sound in Frankfurt am Main (25 to 28 April 2023).
Companies and professionals in the industry are now invited to submit their showcase projects to the competition.

Winner of the Sinus 2022: Les Bassins des Lumières in Bordeaux.

The Sinus is considered one of the most renowned awards for the planning and installation of audiovisual systems. An expert jury, consisting of association members, industry experts, media representatives and representatives of Messe Frankfurt, selects the winning projects from all entries. A decisive criterion in the jury’s decision is the outstanding interaction of artistic ambition and innovative technical implementation.

At www.prolight-sound.com/sinus, candidates can present their projects with a short explanation and accompanying visual material. The deadline for applications is 30 November.
The patrons of the award are the Association of Media and Event Technology (VPLT e.V.), the European Association of Event Centres (EVVC e.V.) and Messe Frankfurt. In 2022, Sinus was given to the art project “Les Bassins des Lumières” in Bordeaux.

The technically elaborate installation invites culture enthusiasts to immerse themselves in a sea of images, colours, sounds and history on the site of a former submarine bunker.

Further details on Prolight + Sound at www.prolight-sound.com

Social media:
www.facebook.com/prolightsoundfrankfurt/
www.twitter.com/pls_frankfurt
www.instagram.com/pls_frankfurt
www.youtube.com/plsfrankfurt

A zactrack SMART real time tracking system has been installed on the Main Stage at the Tampere Workers’ Theatre (Tampereen Työväen Teatteri – TTT) in Tampere, Finland, where it is being utilised by both the audio and lighting departments.
The building housing this 800-capacity stage was completed in 1985, its 20-metre width making it the second largest stage in Finland. The Theatre’s acclaimed repertory programme presents Finnish plays, world literature classics and a diverse and vibrant range of musicals.

“Come from Away” was one of the first productions to benefit from audio and light tracking via Zactrack. © Kari Sunnari

In 2020, they invested in L-Acoustics L-ISA immersive audio technology which brought the requirement for a leading-edge tracking product that would work for both audio and lighting explained Pauli Molnar, sales manager from zactrack’s Finnish distributor, Intersonic based in Espoo.

In the initial months of using L-ISA, it soon became apparent that accurate, good quality tracking was essential to take full advantage of its dynamics, directionality and creative potential … without embroiling sound designers and engineers in substantial amounts of programming time.
Controlling the sound inputs manually, especially for some of the large-scale musicals staged at TTT, was not a practical option, but getting the right tracking system onboard was a viable solution, so they started looking at options.

L-ISA takes into account elements like distance shifts as actors move upstage / downstage, so the sound is properly perceived as nearer / further away, and with this detailed 3D aural experience central to the L-ISA concept, tracking that offers full localisation plays a vital role in optimisation.

“Come from Away”. © Kari Sunnari

The theatre’s head of sound Jarkko Tuohimaa and lighting technical manager Sami Rautaneva worked closely together with TTT’s sound designer Kalle Nytorp and lighting designer Eero Auvinen in assessing different systems with their respective departments, choosing zactrack for its suitability to both audio and lighting tracking.

Audio requirements are less complex and demanding as the ear tends to be more forgiving than the eye when processing precise directional information from the brain. There is an approximately 7.5 degrees window in which the brain will still interpret the sound as coming from the source. So, while other tracking options might deal with sound, when it came to lighting, the field was narrowed!

When tracking audio, a zactrack transmitter (tracker) can be taken from its recharging cradle, linked via an OSC stream to a dedicated sound processor, assigned to an object (in the L-ISA Controller) and have the correct input parameter IDs added, so the object follows the tracker attached to the actor. This quick and straightforward set up was a major reason for choosing zactrack.

The zactrack Smart kit : From left to right, Anchor, the antenna of the system connected via RJ45 POE network – Station, the loading station for Trackers (targets) up to 5 – Tracker, the target – Server, the heart of the system, which automatically calculates the 3D space (antenna/puck/tracker) and generates the control signals for the lighting, sound or video And underneath, Puck, the ground sensor that configures the 3D space and Tracker, the target.

The system was installed by the theatre’s technical team, a process that was fast and straightforward. Four zactrack pucks were positioned around the stage and self-calibrated, which took a few minutes, the address IDs were then assigned and tweaked, and they were good to go.
For lighting, the smoothness and precision of the tracking is vital. The zactrack system can predict accurately how an actor or dancer will move in a certain direction at a certain speed and moves the corresponding lighting fixture/s accordingly.
This was the first zactrack system that Intersonic had supplied to a theatre, but they see a big future for the product.

It brings many advantages to this type of environment including the convenience of magnetic charging cradles. As soon as the tracker is dropped in, it deactivates and starts charging … so no connectors are needed. Great for a busy theatre like this where they are in use daily.

“Come from Away”. © Kari Sunnari

Easy calibration is another big bonus, one that will also appeal to rental and production companies and is “ideal for scenarios where the system has to be set up multiple times,” noted Pauli.

Thirdly, the Workers’ Theatre Main Hall is large and the combination of L-ISA and zactrack enhances the production team’s ability to close the space right down and make it more intimate as appropriate for shows or specific parts of performances.

With the substantial stage space at TTT, they have wanted to perfect aural localization for many years, with the ultimate goal of guests not perceiving that any traditional sound reinforcement is being used!

Talking generally Pauli thinks zactrack is a “remarkable product” in its own right, and especially when combined with L-ISA which is also revolutionary as a concept and a product, representing a “paradigm shift for pro audio applications that’s not been experienced in decades!” He adds, “The fact that zactrack can simultaneously make lighting AND sound departments happy in a venue space is just fantastic!”

The first three major production at Tampere Workers’ Theatre using the new zactrack system were all full-on musical spectaculars including Matilda, Come from Away and Momentum.

More info on the Zacktrack website

Two key individuals who have been integral to Robe lighting s.r.o’s international sales team for many years … will be taking on new roles in the company!
At 70 years young, globe-trotting industry maverick and sales guru, Harry von den Stemmen, announces that he will be taking life slightly easier in the immediate future as he steps back from his post as international sales director to continue working as a global key account manager as well as taking an ambassadorial role within the company.

Says Harry, “I celebrated my 70th birthday last month and after 50 hard working years in this amazing industry, the last nearly 20 as a public face of Robe, I felt it was the right time to adjust my work-life balance, turn in a few less hours and air-miles every month, and spend more time with my grandchildren and the many other hobbies and activities I enjoy in addition to work!”

Since 2003, Harry has been at the forefront of Robe’s push to become a market leader in the world of moving lights and LED technology. His zeal and passion for the industry and the brand, coupled with his understanding of diverse cultures, mindsets, and approaches to commerce, plus an amazing set of connections have helped build Robe’s dynamic long term worldwide distribution network from the ground up. This has been the bedrock of the company’s success, together with Robe’s innovative product development strategies.

Josef Valchar, Robe s.r.o.’s CEO stated, “Harry has been absolutely pivotal to building our brand on a global scale. His massive fund of experience, insights, attention to detail and unparalleled diplomatic skills have been among our greatest strengths, so we were all delighted when Harry indicated that he would like to continue being a valued part of our Robe team in an adjusted role.”
This will see Harry continue to travel, although not at quite such a furious pace, and spend time working on Robe special projects in selected regions. He will still manage specific global territories and will be engaging with some key communication and promotional activities that underscore Robe’s strong brand identity, customer loyalty and commitment to a sustainable future.
“There are plenty of challenges ahead with much to look forward to, most of all remaining in the industry and collaborating with people I admire and respect,” commented Harry, admitting that he intends to fully enjoy his additional time, although much of it is already allocated!

Stepping up as international sales director while Harry takes on the new role is Ingo Dombrowski, who has been with the company for 18 years and also played a significant role in Robe becoming a worldwide player.
Well known for his technical acumen, lateral thinking and organisational skills, Ingo will initiate, co-ordinate and spearhead international business together with the international sales force and Robe’s subsidiaries.
“I’m very honoured that Josef and Ladislav (Petřek, co-founder & co-owner of Robe) are putting so much trust in me, and I look forward to dealing with the challenges and work ahead, and to proudly continuing the Robe success story!” he noted.

Ingo feels that reliability and future proofing have contributed massively to the brand’s rising star, together with keeping a sharp ear to the ground, listening to client and end-user needs and incorporating that input into the products. This proactivity will continue to underpin the product development cycles ‘on his watch’ he confirmed.

Josef concluded, “I am confident that Ingo’s expertise and knowledge will help provide continuity in the international sales director role at this critical time.
“Robe’s market position today is the result of some highly creative and talented individuals with many specialities working together as a brilliant team. We have always believed in investing in ‘human capital’ and in putting its empowerment, energy, imagination, and inspiration at the core of our operation and our family.”

For more info you can visit www.robe.cz