Atomic Professional Audio, Inc. in North Clarendon, Vermont has invested in Ayrton Perseo-S fixtures and put them to work on a New Year’s Eve event held in Burlington.
Perseo-S is the first compact, multi-function luminaire with an IP65 rating developed by Ayrton for intensive outdoor use. ACT Entertainment, Inc. is the exclusive distributor of Ayrton lighting in North America.

Established in 1994, Atomic Pro Audio offers a wide range of production services, sales and installations. With years of experience producing live events, the company has a reputation for providing excellent service with the highest-quality equipment.

“The main use of our Perseos will be for outdoor concerts in New England giving us a unit that we can use on the downstage truss and not have to worry about inclement weather,” says Chad Voghell, Head of the Lighting Department at Atomic Pro Audio.
“We decided to replace an existing lighting system with brighter fixtures that are IP65 rated and similar in weight, with framing shutters and LED sources,” he explains.
“We demo’d fixtures from many different manufacturers last fall. While Perseo was not the brightest fixture in open white, once you started layering on gobos and colours and prisms, they were just as bright sometimes brighter than the competition.”

Voghell notes that in a colour test, “CMY colour appeared faster in Perseo than in other fixtures allowing for much softer pastels and no-colours. And the dimming curve available just on an encoder was the best I’d ever seen in an LED-sourced unit.
There was no ‘pop-up’ when coming up from black: It felt like you were operating an incandescent dimmer. The dimmer and colour combined with the framing shutters feature made me excited to offer Perseo to our theatrical clients for dry rental.”

Perseo offered additional features that made them a good choice for Atomic Pro Audio’s inventory. “We loved the gobo patterns in the fixture, and I was relieved to know that the rotating gobo selection is the same across much of the Ayrton moving light line.
That means if a rider specifies an Ayrton Ghibli or Mistral, I can offer a substitute that has the same gobos,” Voghell points out.

He also cited the fixture’s zoom range as a big plus. “Having something that opens up so wide makes Perseo useful on short stages as well as rooms with lots of hanging height,” Voghell notes. “We operate mostly on Stageline SL320 and SL250 stages right now, so having a fixture that looks great when the trim is low is very important for us.”

Atomic Pro Audio already utilized its Perseo-S fixtures for Burlington, Vermont’s New Year’s Eve celebration, hosted by Burlington City Arts in a downtown waterfront park. “They performed very well in the 35º wet weather cutting through the wash easily in saturating colours and gobos,” Voghell says. “Their very wide zoom made it possible for them to work on our short Stageline SL100 stage. They looked great!”

Voghell is very excited to implement Perseo-S units on projects in what appears to be a busy upcoming year. “I am looking forward to deploying them as a solution in any situation,” he reports.

More information on Ayrton Perseo and the extensive portfolio of innovative Ayrton LED fixtures can be found at www.ayrton.eu

The Audio Engineering Society announces the publication of AES75-2022 AES standard for Measuring loudspeaker maximum linear sound levels using noise. The new standard addresses the need for a practical and cohesive procedure for the prediction of loudspeaker performance.

AES75 is the result of extensive work by the AES Standards Committee’s SC-04-03-A Task Group, co-chaired by Merlijn van Veen (senior technical support and education specialist at Meyer Sound) and Roger Schwenke, Ph.D. (Meyer Sound senior scientist and innovation steward).

“The work of the drafting group was deliberate and thoughtful as they carefully refined the standard,” says AES Standards chair Bruce Olson. “AES75 will no doubt join the most impactful standards that the Society has published in its long history of providing the audio industry with critical tools for analyzing the performance of audio equipment and ensuring interoperability.”

Roger Schwenke, Ph.D. Meyer Sound senior scientist and innovation steward.

Predictive evaluation of loudspeaker performance based on published specifications has traditionally been challenging due to inconsistencies in both measurement procedures and in how measured parameters are reported.

“Until now,” explains Schwenke, “reading an SPL number on a datasheet often inspired more questions than answers regarding test signals used and procedures for measurement. Most important to the end user is how the loudspeaker will perform with typical audio signals and whether the numbers can be compared apples-to-apples with numbers from one datasheet to another.”

“AES75 addresses these issues,” Schwenke continues, “by providing a detailed procedure as well as a specific test signal, M-Noise, whose RMS and peak levels as functions of frequency have been shown to better represent typical program material.

Furthermore, AES75 is designed to be independently verifiable, using analyzers and microphones typically used by audio professionals. By being independently verifiable, AES75 provides system specifiers and users a much more enforceable metric to use in quotes and architectural specs.”

The M-Noise test signal is based on Meyer Sound’s analysis of hundreds of music selections spanning all genres. The procedures documented in AES75 provide measurement of maximum linear sound levels by incrementally increasing playback levels until the magnitude or coherence of a loudspeaker’s acoustic reproduction of the M-Noise test signal reaches an unacceptable state. The AES75 test procedures cover performance measurements of both self-powered and externally powered loudspeakers.

Credit for the development of AES75 is owed to the large task group, AES’s standards management and to Meyer Sound’s original work, shares van Veen. “The chairs would like to acknowledge the nearly 80 task group members who represent all market verticals such as, but not limited to, automotive, consumer electronics, pro audio, post-production, and cinema,” he says.

Merlijn van Veen, Senior technical support and education specialist at Meyer Sound.

“For more than two years — during a pandemic — we met more than 50 times, every other week, which is extraordinary given the circumstances!
Special recognition goes to the AES, Bruce Olson, Richard Cabot [AES standards manager], and Steve Hutt [recent co-chair AES Technical Council], as well as the SC-04-03 parent committee we report to for their continued support and guidance.
Finally, the chairs would like express gratitude to John and Helen Meyer and Meyer Sound where M-Noise and its former companion procedure originated.”

More information about AES75-2022 “AES standard for acoustics – Measuring loudspeaker maximum linear sound levels using noise” can be found in the Audio Engineering Society’s Standards News Blog.
The AES75 standard as well as the M-Noise signals and coherence test tracks are available for download at aes.org

Links:
– AES75-2022
– M-Noise and coherence test tracks download link
– AES Standards New Blog

Multi-award-winning arts and performance venue, Reading Rep Theatre, has benefited from an energy and space efficient, high impact lighting solution by choosing to invest in a plethora of the latest Acclaim Led Fresnel from Strand, a Signify (Euronext: LIGHT) entertainment lighting brand.
The fixtures were originally specified by theater consultancy, Drama by Design, the company responsible for the entire £1m conversion from Salvation Army Hall to 170 seat, technically adaptable, multi-purpose venue.

The fixtures have been well received by both the technical department and incoming designers. Head of production for Reading Rep Theatre, Jordan Harris, says: “The project went well, and the theater is now a creatively welcoming space to work and visit. We love the Strand Acclaims, the dimming curve is great, and the light quality is excellent.

In addition, the fixtures are lightweight, small and easy to set up and program. With community at the heart of Reading Rep’s artistic vision, everything in our theater needs to be accessible, easy to understand and operate. It also needs to be energy efficient, work hard, provide good return on investment plus be easy to maintain and store.”

The second production in Reading Rep Theatre’s inaugural season, and the first using the all-new equipment was local born Beth Flintoff’s adaptation of family friendly classic A Christmas Carol. Lighting designer for the show, Simeon Miller, first to use the new Strand lighting equipment said: “The new Strand Acclaim Led Fresnel at the Reading Rep made my time working on A Christmas Carol a breeze.

Being able to be flexible with bright and saturated colors, as well as subtle tones and pastels allowed me to make and remake the world of the play as needed. Despite needing to rapidly move from location to location and through time, I always felt like I had another card to play while using the wide array of Led kit available to make memorable and good-looking lighting states.”

Andrew Stone, managing director of Drama by Design, describes why he specified the Strand Acclaim Led Fresnels: “Sustainability was a key consideration throughout this project. Wherever possible we ensured the most energy efficient, robust, and versatile equipment was purchased. The Strand Acclaim Led Fresnels were an ideal choice.

Energy efficient, great optics and excellent color rendering. They also offer the saturated colors required for backlight, the pastels and softer colors for front and side light and the natural daylight colors for atmospherics. These fixtures are easy to program and rig, so will make really- useful workhorses for all productions.”

Equipment was supplied by Strand and Vari-Lite partner Henley Theatre Services, Henley on Thames: “I always value working with the team at Henley Theatre Services,” adds Stone. “They are an appreciated partner from initial concept and design discussions through to final installation, training and support.”

In addition to the Strand Acclaim Led Fresnel, Signify brands Strand and Vari-Lite have donated a number of Vari-Lite 800 Eventpar and Strand PL1 Profile MKII fixtures. Grant Bales Smith, EMEA & APAC Regional Sales Leader, Entertainment Lighting for Signify comments: “Reading Rep Theatre’s mission is to put community at the heart of its artistic vision and to provide access to the arts for Reading’s most vulnerable communities.

These are important values that resonate with the Signify entertainment brands, which is why we feel it’s important to support. What might be a relatively small donation by us will make a big impact on the technical and production values of Reading Rep’s upcoming shows and we are delighted and proud to be able to support that.”

Reading Rep Theatre has been, and remains, the beloved playground for many of the UK’s leading theater makers. It has always welcomed regular collaborations and co-productions with leading regional and London theater, and this looks set to continue, ensuring this new venue sits at the heart of the national theater landscape.

For more information, you can visit www.vari-lite.com

French company Minuit Une, five years after the success of their IVL Square, has gone to another level with their 2nd generation fixture. Alain René Lantelme, General Manager of Axente the distributor of Minuit Une in France, presents the new luminaire in the following vidéo.

The core of their luminaires uses, surprisingly, the reflection of a laser rotating ultra fast to create light curtains or “blades” of light. This second generations’ source is classed 3R, does not require any throw distance (similar to class IIIA in the U.S. Regulations), and may be used without any special authorization in public areas following the IEC 60825-3 guidelines.

In simple terms, although the source is a laser, the fixture is used just like any standard LED fixture. This new generation enables tighter beams and less “spill” with long throws.

Fortement attachée à l’expérience utilisateur et toujours avide d’échanges avec les opérateurs et éclairagistes, Minuit Une a accordé une place prépondérante aux nombreux retours du terrain avant de s’atteler à l’IVL Photon.

The cylinder shape enables the fixture to be similar to the others in the lighting rig, making its difference barely noticeable. The scanner is, in this case, a 360º high frequency (>330 Hz), able to hit 8 mirrors, multiplying the possible shapes. Each mirror is double-sided, one side is a smooth/mirror side, the other is frosted; each one has a 16-bit independent tilt for fine focusing.

La pièce maîtresse de l’IVL Photon, le Moving Frosted Core.

In the middle of the mirrors, the innovative Moving Frosted Core, a frosted vertically inserted dome enabling the beam to be concentrated. The MFC allows for new effects, a beam with a very strong punch, creating an astonishing central halo.

A multi-purpose fixture, the IVL Photon, is a contender in three categories: the 3D Space Ray, Decorative Frost, and the Creative Punch!
Firstly the immersive experience with sharp beams of light bouncing off the mirrors, multiplying in space, with a 45º perspective.
Second, switching to the frosted side of the mirrors(in 0,25 sec), the beams become washes, with saturated colors visible in a 180º range and an output of 4000 lux. Finally, the main module, the MFC concentrates the backing effects, part fireball, and part strobe with flashes punching out at 20000 lux.

Minuit Une has made this lighting Octopus, more manageable and user-friendly. It is designed to be programmed like a multi-instance fixture, each mirror is used as an individual fixture with its position, intensity, and RGB value. The possibility to create asymmetrical effects, using either the mirror or frosted sides of the mirrors independently makes for endless looks. Be aware of the fact that the dimmer curves are inevitably limited by the technology.

Launch video – IVL Photon by Minuit Une from Minuit Une on Vimeo.

The ninth module, the main module, divides the beams, strobe, and zoom of the Moving Frosted Core. Thus, by using the E-Gobo, the beam is either 1, 2, 4, 8, 16, 32, 64, 128, or 256 beams, then adjust the size, position, and rotation speed. Control via 60 DMX channels is simplified by downloading the fixture personality, on the Minuit Une website, for Chamsys, Avolites GdMA2, and GdMA3 lighting desks. There are also demo shows available to get to know how to use the fixture.

Easy to set up, the IVL Photon is a relatively light and small fixture 16 kg and 48 cm in diameter, has a wide standard yoke tightened by handles. The cooling is done by an active fan system, be careful to not put it directly on the floor nor in set pieces that could obstruct the ventilation of the machine.
To ensure long-term maintenance, the fixture is made of different modules. The mirrors, the 200w power section, and other parts can be changed in less than 10 minutes and are entirely Plug & Play. The rear section has an LCD screen, DMX connections, soon to include RDM, and a Micro-SD slot for software updating.
After being shown to a handful of lucky visitors, the IVL Photon is now available worldwide thanks to a strong sales network. The first deliveries began in December 2021.

For more information on the Axente website and on the Minuit Une website that includes photos, and also tricks, and tips that will help use this amazing fixture.

Focusrite plc has announced the acquisition of Linea Research, the UK based designer and manufacturer of professional amplifiers, controllers and software. Linea Research becomes the ninth brand of the Focusrite Group joining Focusrite, Novation, Ampify, ADAM Audio, Martin Audio, Optimal Audio, Focusrite Pro and Sequential.

Linea Research, headquartered in Letchworth Garden City, UK was formed in 2003 by a team of experienced professional audio specialists, and they design, develop, manufacture and market innovative professional audio equipment globally.
Their products include a range of ground-breaking amplifiers, including the world-renowned M Series, together with Digital Signal Processors, audio networking and software products. Two of the original founders, Davey Smalley, Commercial Director, and Ben Ver, Engineering Director, will continue to lead the business post-acquisition.

Focusrite’s subsidiary Martin Audio is a major customer of Linea Research – their technology is behind the successful iKON amplifier series that powers Wavefront Precision line arrays seen on live tours and at prestigious festivals such as British Summer Time in Hyde Park.

The iKon iK42.

The acquisition strengthens the critical source of supply of amplifier modules for Martin Audio and will enable greater integration of loudspeaker and amplifier technology in Martin Audio products. However it is also the intention to continue to develop the sales of Linea Research products through third-party distribution and to OEM loudspeaker customers.

By extending the Group’s business into new products and markets, which complement its existing offerings, the acquisition is strategically aligned with the Group’s previously communicated aims of growing the core customer base, expanding into new markets, and increasing lifetime value for customers.

Tim Carroll, Focusrite Group Chief Executive Officer

Tim Carroll, Chief Executive Officer, said: “It is an absolute pleasure to welcome Davey, Ben and the entire Linea Research team to the Focusrite Group. We know the team and the business well given that Martin Audio is a major Linea Research customer.
This will lead to many synergies and is expected to improve gross margin for both Martin Audio and the wider Group. Linea Research’s products are globally recognised as best in class and we are all excited about the opportunities and possibilities that lie ahead with the collective expertise of the Linea Research and Focusrite Group R&D and sales teams.”

Davey Smalley, Linea Research Director.

In a joint statement Davey Smalley and Ben Ver, Directors at Linea Research commented: “We are delighted to be able to continue the Linea Research success story from within the Focusrite Group. Having seen the support and growth of the brands within the Group, we believe this provides us with a secure foundation to further our R&D efforts and product portfolio, strengthening the Linea Research brand while continuing partnerships with our long-standing OEM partners. This can only be a good thing for our customers, end users and very much our staff.”

For more information on Linea Research and on Focusrite Group

AMPD Lighting and Audio Visual in Spokane, Washington has purchased 24 versatile, feature-rich Ayrton Diablo-S profile luminaires and a grandMA3 light console to add to the company’s rental inventory and use for professional event production. AMPD Lighting and Audio Visual offers high-end production, rental, sales and installation services to a wide range of markets in the Pacific Northwest.

The company’s investment in the Diablo fixtures and grandMA3 light has been paying dividends since the products arrived. ACT Entertainment exclusively distributes both brands in the US.

“We saw the Diablos at a trade show and had our eyes on them for a while,” says Justin Haas, Owner of AMPD Lighting and Audio Visual. “They checked a lot of boxes for us: a compact and lightweight form factor that can fit in cars; an easy-to-navigate menu; great output; a full feature set, including framing shutters. Plus, they have a low cost of ownership and give us the ability to offer them at an affordable rental price.”

The Diablo fixtures mark the first Ayrton acquisition for AMPD Lighting and Audio Visual. Soon after their arrival, six of the fixtures quickly became part of the house lighting package furnished for the Riverfront Park Summer Concert Series in Spokane.

“We mounted them on the upstage truss to provide backlight and effects lighting for the artists,” Haas explains. “Some concert participants commented that they had seen a lot of Diablos on their tours and were happy to find them in Spokane.” The Diablo units have since been rented for other concerts, including a Billy Idol gig at an area casino. They were also a popular rental choice for churches staging big holiday services.

The grandMA3 light is AMPD Lighting and Audio Visual’s first MA Lighting console. “Both of our lighting guys use grandMA consoles when they do tours, and everyone in the industry knows grandMA so we really needed one in our inventory,” says Haas.
“There’s only one grandMA2 for rent in town, so now we offer another choice and can support grandMA users who have their own systems.” The new grandMA3 light also saw duty at the Riverfront Park Summer Concert Series, and Haas expects to see demand for it grow as tours and concerts return this summer.

“Last year was the biggest year we’ve ever had for rentals and production,” he notes. “This year we’re hoping for the same result. “We expect the Diablos to be our number one moving light rental, and we’re hoping to add more Ayrton products to our inventory. We’re looking at the Perseo next,” Haas reports.
“Since we have four seasons in Spokane, we’d like to have some IP-rated fixtures that deliver a lot of power. We’re also looking forward to working with ACT again. They’ve been great – so helpful getting product to us and supporting brands new to our inventory.”

More information on Ayrton Diablo and the extensive portfolio of innovative Ayrton LED fixtures can be found at www.ayrton.eu

Winter Haven Worship Center in Winter Haven, Florida, has installed a new Adamson PA system in their 1000-seat facility. The new system features a main stereo hang of nine IS10b sub-compact line array cabinets on each side, along with a total of four IS10pb full-range point source cabinets for outside and centre fill.

Eight PC5i ultra-compact coaxial loudspeakers were incorporated for front row nearfield coverage. Finally, for low frequency reinforcement, they installed an under-stage sub arc, consisting of eight IS119b.

MABE, a faith-based AV production and installation company based in Florida, completed the installation with the help of Adamson territory rep Griffith Sales. While there were many challenges with the prior PA, the installation team was able to make use of some existing equipment racks and power distribution to keep the costs down for the client.

Richard Vaughan, ingénieur en chef de MABE.

Richard Vaughan, MABE’s Lead Engineer, explained, “The previous system lacked clarity and dynamics. It did not cover the entire listening area, was aging, and had some bad components. The system was not capable of reproducing the high energy worship style without getting very harsh, which resulted in listener fatigue.”

The pre-installation process for the IS-Series system required 3D CAD drawings and several site visits to verify the precise location of each loudspeaker. Incorporating a large format line array into the space called for plenty of planning to leave the aesthetics and site lines unaffected.

The MABE design team redesigned the stage cavities to make room for the new Adamson IS119 subwoofers and PC5i front fills so they would be heard clearly without being seen. The end-product PA design allowed for variation of only 3dB throughout the room.

Une des deux lignes de neuf IS10b composant le système principal avec deux point source 1S10pb pour le renfort central et une seconde paire des mêmes enceintes pour déboucher les côtés.

Brandon Collins, Worship Pastor at Winter Haven Worship Center, remarked, “After hearing a few other systems, we preferred the warmth and presence we heard in the Adamson boxes.” Collins also noted, “MABE was incredible to work with as they always are. They had everything planned and very organized. The entire installation was completed in time for us to run everything Sunday.”

Steve Griner de MABE.

Steve Griner, Account Manager at MABE, explained, “The Adamson system covered the room so well and gave such a warm sound. I am constantly impressed with how smooth the vocal range is on these boxes.
The Adamson, overall, is a very smooth-sounding box that even at higher SPL doesn’t give you the ear fatigue you get with a lot of other manufacturers.
We did demo and review some other boxes with the client, but it was clear that the Adamson system was the winner in coverage, sound quality, and bottom-line cost.”

With strategic planning and thorough technical preparation, the outcome was a system that blends well into the environment. “The client is extremely happy with the result,” mentioned Vaughan.

Une ligne de IS10 prête à être câblée et levée. Le bas du spectre est renforcé par un ensemble de huit subs IS119b en montage arc-sub depuis le dessous la scène.

More information on the Adamson website

Showlight is excited to announce that plans are underway to reinstate Showlight 2023 which, after a two-year postponement due to the COVID-19 pandemic, is now scheduled to take place between 20-23 May 2023. The venue for this much-loved lighting quadrennial will be the Théâtre Municipal in Fontainebleau, near Paris, France, the original destination for the postponed 2021 event.

“The Showlight committee is now planning for the next live Showlight in May 2023 and we hope this time nothing will de-rail it!” says Showlight chairman, John Allen. “We are delighted to have the continued support of our main sponsor, Robert Juliat, along with many of the sponsors who were already supporting Showlight 2021.
Fontainebleau’s local administration has, once again, made the Théâtre Municipal available for us – right in the centre of the town – and, as a result, the arrangements we were originally making for 2021 can be dusted off and planning can recommence.

“The Welcome Reception is planned for Saturday 20 May, with the first full day of papers on Sunday 21 May 2023. More programme details will be released in due course and we look forward to welcoming everyone back to Showlight next year.”

With this in mind, and less than 18 months to go, Showlight will soon be putting out a Call for Papers, Exhibitors and Sponsors for this unique networking event. If you want to share your exciting lighting or terrific technology, contact us at [email protected]

If you want to become part of the welcome return of this top networking event as a sponsor or exhibitor, contact John Allen at [email protected]

“I had such a terrific time, I’m still talking about it. I was so inspired and motivated by the speakers that I have a renewed energy for my work and trying new things. I met so many new people and learned so much about different people’s work, it has been invaluable.” James Simpson, lighting designer and visualiser at Copper Candle, Showlight 2017 speaker – and now, Vice Chair of the Papers Committee!

If you’ve never attended a Showlight before, or you’ve simply missed mixing with your peers, Showlight 2023 is your opportunity to mingle, and learn, with lighting practitioners from all disciplines and many countries, across three enjoyable days of networking, social visits, eclectic papers and an exhibition.
“Showlight packs a full programme into three days which gives the opportunity to dive deep into the world of light and to meet lots of new people outside of your normal comfort zone.” Isabel Nielen, lighting designer and artist, and Showlight 2017 speaker.

Put the date in your diary (20-23 May 2023), visit the Showlight website (www.showlight.org) for more details, and sign up to the Mailing List to keep abreast of all new developments.

“Showlight is so interesting because of the access it gives to everybody. Students can talk directly to top lighting designers, lighting designers have lots of time to interact with manufacturers, etc. It’s first and foremost an excellent networking event.” Ellen Lampert-Greaux, Live Design, Showlight 2017 delegate.

The grace and fluidity of dancer’s movements were enhanced by an equally elegant lightshow designed by Koen De Clerck for “Cogétama” a special choreographed ballet work created and produced by Glen Lambrecht Productions, commissioned by the Municipality of Aalter. It was staged at the City Hall Auditorium of Aalter in Belgium and played 12 completely sold-out performances.

Koen used an all-Robe moving lighting rig to give him the flexibility and dynamics needed to light the detail, depth, and nuance of the piece, which revolved around the famous Cogétama cigar and the factory which produced it and how it affected and influenced the communities living and working around the areas of Aalter and Knesselare for over 100 years. The legacy of the cigar factory has left an indelible imprint on local culture and history.

Glen Lambrecht, a professional ballet dancer who choreographed as well as produced the show, explained that they decided to go for a raw, direct, and minimalist setting without lots of elaborate scenic elements, instead setting the scene and realism of the atmosphere with “amazing lighting to immerse the audience and take them on the journey.”

Effectively, light became another dancer and character in the piece, and once Koen was onboard as LD – the two have worked on previous projects – he knew he needed the most versatile and adaptable lighting fixtures and chose Robe.

Fourteen Robe T1 Profiles were at the heart of the lighting rig, five positioned FOH for front lighting, keying, and specials, with nine in the overhead rig as top and back lighting plus more specials.
Eight out of 14 x Spiider wash beams were utilized for top and back lighting, with the other six deployed three a side for side and cross lighting, and there were eight Tetra2 moving LED battens that were also part of the top rig, positioned upstage towards the back.

Koen’s challenge was – with lighting being so central to the narrative – to ensure that it didn’t become gimmicky, crass, or start distracting from the dancers or the story. “It always had to be there yet appearing in this supporting role – almost understated – whilst actually underpinning all the action,” he explained.

Using moving lights was essentially the only way to get lighting everywhere on the stage and into all the corners and edges and other places it was needed. During the show, the cast used eight tables as props – which they manually shifted around – and without using moving lights it would have been impossible to capture these scenes effectively and transfer the energy and emotion across to the audiences.

The shuttering capabilities of the T1s were used extensively for making shapes on the stage and defining different areas and spaces. The Tetra2s were used for several effects including dramatic back light and hi-impact curtain effects when combined with haze.

The show was also recorded for future broadcast, streaming and other digital actions, so using lights that were all camera friendly and flicker-free was another bonus.
Koen also appreciated the graduated fade outs and being able to go to a proper blackout! In fact, it was so pitch dark between some scenes that they had to add markers for the dancers!

The colour palettes he used were simple and powerful with multiple whites coupled with some harsher blues and reds to reinforce specific moments, but generally he explored the complex beauty and purity of monochromaticity, working with multiple layers of different colour temperature whites.

He underlines how great it also is to be able to work with the totally different Robe lighting ranges where the colours are always so consistent – a feature on which Robe has fully focussed. Koen loves the silence of the T1’s. For a piece like “Cogétama” this was essential.
Side lighting for dance shows is often a similar height to the performers, but part of the “Cogétama” set was two large 3-metre-wide panels with doors, used frequently throughout and shifted around the stage, so the side lights had to be rigged 3 meters off the floor allowing the panels to be manoeuvred on and offstage underneath.

This was another reason that Spiiders were a good choice with their extra power and focusability. The show ran for an hour and 35 minutes plus an intermission and comprised 21 scenes, so it was a very dynamic, fast-paced environment that covered a lot of ground, all set to a special music track compiled by Glen.

Koen and Glen worked very closely and collaboratively in evolving the show, bouncing ideas off one another. Glen also has some very specific ideas about lighting and knows through experience how it can work optimally and physically with the 27 dancers as well as the wider concept of movement.
Koen commented on how working so closely with a director / choreographer like Glen really upped the ante in terms of his own lighting skills: “It was an intense but an extremely enjoyable process which enabled us to push technical, creative and aspirational boundaries all the time in terms of the show – and the cast and audience experience – we were producing!”

Lighting programmer Glenn De Clerck used his own grandMA2 console, with all the other lighting equipment supplied by L&L Stage Services. “Glenn’s exceptional programming skills made it possible to get the show completely programmed within an extremely limited timeslot. He was an incredibly positive force to work with during the show’s development,” confirmed Koen.

Koen has been using Robe products for some time, and for this production both he and Glen knew this would be their perfect choice! Koen knew how Glen wanted the choreography to work as he was also involved in the cast rehearsals, and he knew what luminaires were needed to achieve the right atmosphere for each scene, and that could be fitted to their budget! Based on all these considerations, T1 Profiles and Spiiders were top of the list.

They also worked on the premise of a little light going a long way. It wasn’t a massive rig, but used judiciously and intelligently, they maximized all the fixtures for every millisecond of the performance working them hard and very appropriately to produce the stunning results that WOWed the public and the local media, all helping make this completely unique production such a success.

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

Located on the waterfront in the North Wales seaside resort of Rhyl, the 1031-seat Pavilion Theatre hosts touring theatre productions, comedy acts and music tours, alongside playing a key role at the heart of the community, staging local cultural events and school productions.

A whole lot of power and control with four NXAMP4x2 mk2 and one NXAMP4x1 mk2.

When the theatre’s Technical Manager Andy Hughes was tasked with replacing the existing PA with a modern, versatile system capable of handling everything from a comedy gig to a rock & roll show, one brand came immediately to mind.
“I had heard a lot of systems in the theatre over the years from touring shows, including many big-named brands and NEXO always really stood out sound wise”.

A.C. Entertainment Senior Audio Sales Executive Steve Eaton.

Andy approached the highly experienced entertainment technology specialists A.C. Entertainment Technologies (AC-ET), where Senior Audio Sales Executive Steve Eaton turned to the Engineering Support Team at the NEXO Campus in France to design the system.

With an extensive history in theatre sound, NEXO Engineering Support Manager Bertrand Billon was the perfect person for the job. “Designing a ground stacked system for a multi-level theatre is always a challenge” says Bertrand. “It’s important to strike the right balance between long throw and not overpowering the audience at the front.

Bertrand Billon, NEXO Engineering Support Manager.

At the Pavilion Theatre, we took advantage of stacking GEO M10 on top of the MSUB18s, giving us the extra height required to avoid creating a hot spot in the front rows.
The removable directivity flanges helped us to achieve this soft spot at the front, changing the horizontal directivity from 90° to 120° without requiring a completely different version of the cabinet.

Two MSUB18 and on top six M10. On the stage the C+ Series speakers.

“NEXO NS-1 prediction software allowed us to create an accurate model of the venue” continues Bertrand. “This enabled us to discuss options and constraints with the team at the theatre prior to installation.
It also made our onsite fine-tuning session quick and easy, providing additional time to train the crew in using NEXO’s Nemo remote-control software, and also NS-1 so they can successfully deploy the system in remote locations for special events.”
“NEXO were very helpful and accommodating, leaving us with a system for a week to test within the theatre to ensure we were happy” says Andy Hughes, taking up the story again. “All this, along with the support from AC-ET, even through the pandemic, helped make the decision.”

AC-ET supplied over 65 products from the NEXO range, including; GEO M10 line array modules, MSUB18 subs, ID24 speakers for front fills and beaming sound under balconies to ensure even coverage throughout the venue, NXAMPMK2 powered controllers and P+ series point source loudspeakers.

The main PA and the P+ wedges and drum monitor. Hanging on top of the shot, the ID24’s help the audience getting a hint of additional clarity.

Only the ID24s are permanently installed, providing the flexibility to use the system at events at other locations, as and when they occur.

A couple of P12 and in the background, the Pavilion theater.

The system was installed by the theatre’s house staff. “Using the NS-1 software, our team was able to install and configure the NEXO system and it sounded great” reports Andy. “We then had the NEXO experts come and help us fine tune. The finished result is absolutely outstanding!”

AC-ET’s, Steve Eaton commented: “I’ve been working with Andy and Leon at the Pavilion on this project for a couple of years now, so it’s great to see it all come together.

The system had to be extremely versatile to use in the theatre itself, the outdoor arena next door, plus all the other venues and sport centres under their jurisdiction.
The combination of NEXO’s GEO M10 line array and their stunning new P+ Series speakers helped us deliver the versatility required.”

More information on the NEXO website

The Monumental Tour – an innovative visual and musical performance which was the brainchild of French DJ and music producer Michael Canitrot and visual activists AV-Extended – played a truly spectacular final location at the end of November … at the magnificent Chateau de Pierrefonds in the picturesque Oise region of France, northeast of Paris.

Delivered in conjunction with French cooperative bank Credit Mutuel and other sponsors … over 100 Robe moving lights supported the mapped projection show specially devised for the unique set produced by Michael for this closing show.

It took references from the history of the imposing Castle, originally constructed in the 12th century, and extensively rebuilt in the mid-19th century at the behest of Emperor Napoleon III, and wove these into an all-encompassing, immersive, and beautifully rhythmic electronic musical experience.

The Monumental Tour has been an incredible journey that has combined streamed music performances and collaborations with epic, iconic and outstanding monumental sites all around France. It started back in the summer at the Phare des Baleines (Lighthouse of the Whales) on the Ile de Ré.

Since he was a small child, Michael Canitrot has loved visiting castles and museums and describes The Monumental Tour as “The meeting of my two passions – electronic music and heritage / history,” adding that being able to play his music in exceptional and unexpected places has “nourished my inspiration”.

Mikael Trochu

For the final show in 2021, Paris-based freelance lighting designer Mikael Trochu (Mika) was asked onboard by the project’s technical managers Martin Javouret and Adrien Demengel and tasked with lighting the Castle’s stunning front façade. The event was recorded for later broadcast and enjoyed live by a specially invited audience.

Mika was delighted to be working with Robe moving lights on his first Monumental show – including MegaPointes, FORTES, ESPRITES, miniPointes, Spiiders and Tetra2s, all provided by Paris-based rental and production company MDL Event, the event’s technical partner.
Mika has been using Robe products regularly in his work for some time and thinks they offer great versatility, quality, brightness, and reliability as well as being designed to be compact and practical.

The key role of the lighting was to complement and work alongside the detailed and enigmatic projections co-ordinated by AV-Extended’s Jérémie Bellot, which covered a 60-metre-wide span across the Castle’s front facade stretching 50 meters high up to the tops of the walls and turrets.
The challenge was in ensuring that the lighting was finessed and elegant, harmonious with the music and assisted the narrative of the piece, with both lumens and projections sculpted seamlessly into the contours of the Castle, respecting its stoically majestic architecture.
Each Monumental show is composed of what Michael describes as the tour’s “artistic DNA” and is sculpted specifically for the location and includes abstract references and interpretations – both visual and musical – related to the history and relevance of the building.

The 42 MegaPointes were chosen by Michael himself who is extremely involved in all aspects of the Monumental project as creative director as well as music maker. Technically savvy, he loves utilizing technology to help share his art.
“The whole Robe range is absolutely amazing,” stated Michael. “There are so many possibilities which feed our ideas and enthusiasm for discovering these monuments and depicting them from a new and very contemporary perspective.”

The MegaPointes were also the most noticeable out of all the fixtures, positioned individually around the various castle battlement crenellations at different heights, and poking through the windows of the three main towers on the front façade. Having lights on multiple levels brought a real sense of depth and dimension to the bigger visual picture.
The power and visibility of the MegaPointes was vital for those ‘beams-in-the-sky’ moments in the set, and even on a dark night with no smoke, they blasted boldly through the darkness.
They were also picked for their small size! Rigging was a longwinded and laborious manual haul up to the various parts of the Castle by the MDL Event crew who placed each unit individually into position around the massive building. This was accomplished with a lot of collaboration with the team who maintain and run the Castle which is a dedicated monument historique.

All this hard work paid off with breath-taking results!

Sixteen Robe Spiider wash beams were deployed in various places around the Castle up-lighting and highlighting elements of stone and walled areas.

Eight FORTES were rigged on a circular truss on the floor inside the large castle bailey (courtyard) representing a new metaphorical tower of light beams. They provided feature lighting and camera candy effects for video director Anthony Ghnassia to blend into the mix which included fantastic drone footage from the Skydrone France team. These fixtures projected gobos, texturing and colours around the impressive courtyard which was illuminated with LED floods.

The eight miniPointes and four more Spiiders were used to highlight the architecture and pick out artefacts and detail in the Castle chapel, where they worked brilliantly with the white stone and statues.
Michael Canitrot’s DJ booth was set up in front of the main gateway into the Castle, with the designated public area just the other side of this. Immediately behind the artist were four ESPRITES for back lighting and fabulous silhouetting and gobo animations, all looking super-cool on camera.

Immediately in front of his setup were two lines of Tetra2s forming a pathway up to the DJ booth – another excellent depth effect – which also produced some spectacular camera looks especially for the drones and the wide shots.
A bonus with utilising all these Robe fixtures was the low power consumption. Power was available from various points around the Castle, but it was generally limited, so this was a carefully calculated balance.

The get in took place over two full days, plus the show day, with one – very cold – night of programming on-site with the full rig in situ, preceded by three days warmer pre-viz in the MDL Event studio using L8 3D visualisation software.
Lighting was programmed onto a grandMA2 light console positioned in the back of a truck parked in the public viewing area, and all of it – lighting and projection – was run to timecode from the music track for the 45-minute show.

For Mika, working on this show was something very special. “This is such a unique monument and to be able to light it in this imaginative way and work alongside such a talented team of creative and technical people … is a great honour,” he stated.

For Sébastien Dendele and Sebastien Barry, president and CEO respectively of MDL Event, it was a pleasure to support Michael Canitrot and be involved in the Monumental Tour. “All of us in this industry are driven by passion, so it is great to work with other like-minded people,” said Sébastien Dendele.
Adding that “highlighting French monuments is a fabulous opportunity to present a modern approach showcasing the talent, flair and imagination of our professionals and creatives, as well as illustrating exactly what our job is about to those who might not know about the power and impact of technical production!”

Michael Canitrot himself concluded with, “Pierrefonds is a unique place, full of history and with a distinctive soul. As a place significant to so many people over the centuries, giving it a new dimension that helps make it discoverable, enjoyable and appreciated in a different way is my humble contribution to its incredible history!”
The full Monumental 2021 Finale show was broadcast on December 19th.

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

Powerful and elegant, the new Eos ETC console, available in 3 sizes Apex 5, 10 and 20, offers unparalleled hardware comfort with large 4K touch screens and amazing and sumptuous technological innovations that make programming easier. The future is on the move!

Les trois tailles de pupitres Apex.

Eos Apex consoles prioritize the user experience with creature comforts to ease those long hours behind the desk. The massive multitouch displays offer generous screen real estate for Magic Sheets, Direct Selects, and Augment3d models, and feature eye-strain-reducing 4K resolution.

L’écran articulé sur deux axes bascule en tilt même à l’arrière.

The displays articulate on a dual-axis and feature a 160-degree viewing angle, so you can see all your tools and data from anywhere along the programming surface.

With an ergonomically redesigned wrist-rest, book lights built into the sides of the desk, hand-holds for easy carrying, and drawers and USB-A and C charging ports for your accessories, Eos Apex is the ultimate workspace for high-level programmers.

Les touches écrans de sélection directe.

The luxurious innovations extend to the programming surface as well. New-to-the-industry technologies provide programmers access to their most-used tools – right on the face panel.

The familiar Eos Family programming keypad has been enhanced with a touchscreen that thumps with haptic feedback when you press your soft keys or mapped content. Eos Apex also introduces customizable Target Keys for your Direct Selects, which boast individual OLED displays that can be customized with images, icons and text.

Les mini encodeurs rétro éclairés.

The encoder area from the Eos Ti console has been expanded to include eight mini-encoders and a navigation dial to easily switch between parameters.

The five, ten and twenty motorized Playbacks on each Apex console (respectively) now boast an additional, separately-mappable scroll wheel for on-the-fly programming. With more buttons, encoders and Playbacks than ever before, Eos Apex makes fast, hands-on programming a breeze – all while maintaining the familiar, sophisticated look and feel that users of the family love.

Les ports SFP+

A powerful lighting desk demands a powerful system, and the Eos Apex line delivers with brand-new components to build out your lighting network.
The Eos Apex Processor provides the power of an Eos Apex console in a portable, rack-mountable box that makes an ideal primary or backup controller or remote programming station.
When you need a portal into your lighting system but not the processing power, the new Eos Remote Interface lets you view and edit your system from anywhere in your venue.

Apex consoles themselves are built with flexible system-building in mind, allowing you to mix and match your DMX and show control ports on a per-show basis using customizable widgets. In addition to standard etherCON Gigabit connections, all Apex-class controllers also feature SFP+ ports that are compatible with the latest high-speed copper and fiber networks.
Eos Apex consoles and Processors provide 24K output, allowing them to control complex rigs with ease. And because shows keep getting bigger and bigger, expansion processing options are already in the works as the next phase of Eos development.

L’Apex Processor.

The Eos Apex line ushers in a new era of control and comfort for professional programmers. Though the new consoles directly replace the Eos Ti and Gio in ETC’s currently-shipping lineup, those desks will continue to receive new software updates, as well as the full benefit of ETC’s industry-leading customer service and support for the duration of their long lives in the field.

This detailed video, made by ETC tells you more about all the evolutions of the Apex consoles.

To learn more about Eos Apex and the latest software advances in the Eos Family, visit ETC Website

The UK panto season is back with a BIG bang after waiting in the wings during 2020 as the country squared up to Covid-19, reigniting all things panto like slapstick comedy, toilet-brow innuendo, gawdy sets, psychedelic vibrance and total craziness for which it’s known and appreciated, with lighting designers around the country delighted to be back working on this peculiarly English and highly expressive genre of performance.

None more than Andy Webb, who chose an all-Robe LED moving light rig for UK Productions’ spectacular Cinderella staged at the Waterside Theatre in Aylesbury, Buckinghamshire.
For Andy’s first time working in this theatre – following five successive panto seasons up to 2019 at Blackpool’s Theatre Royal – the lighting rig was specified so he could present a new televisual style of panto lighting, with lots of fabulous neutral skin tones juxtaposed against the vibrant colours demanded by panto narrative and style.
He also took full advantage of having a larger stage and house to play in!

“Flexibility is always the key to lighting a panto as the real-time onstage programming and tech’ing schedule is traditionally tight, and that’s why I wanted the Robe fixtures in there because I knew I could achieve the depth, detail and levels of expectation of this production,” he explained. The show is directed by Chris Nelson, who is also playing one of the Ugly Sisters characters!

Andy’s rig includes Robe Esprites and Spiiders as the Spot-Wash ‘base’ luminaires, with 10 x Esprites and 17 Spiider wash-beams distributed across the overhead LX bars.

It is also the first panto Andy has lit with a full moving light rig over the stage, which made a massive difference to the layering and nuances that could be applied across all the stage looks in a short timeframe.

Andy and the crew had three programming days on site in the venue in which time they would only generally see each scene once, maybe only for 20 minutes, lighting the scenes as the cast was rehearsing them. “Basically, it’s like lighting the show live,” he explained, and for this to happen successfully he needed to have full confidence in both his initial instincts for what looks good and in what the rig is capable of achieving.

Another challenge is the sheer amount of set and cloth drops in any panto, required to keep up with the frenetic scene changes and pace of the action … so once all of that is installed, there is never a massive amount of room for lights! However, working with moving lights, these can be rotated and moved into another position to allow cloths / set flats to drop into the gaps, and then be moved back into their lighting positions!

So, thinking laterally, using moving lights overhead can also hugely increase the options for set designers as opposed to using a generic rig.
“I like the idea of being more creative – almost unintentionally – just by moving lights out of the way so scenery can drop in!” commented Andy, adding that this also makes things infinitely easier for the house crew who are tasked with running the show. In this case, it has been planned as 52 shows in four weeks.

On top of the basic spot-wash configuration, Andy added 16 x LEDBeam 150s on the overhead rig, used primarily for the musical numbers, freeing up the Spiiders to produce the main beautifully rich colour washes over the stage with the Esprites doing the keys, specials and floor texturing plus other effects applied via Andy’s unique programming style!

He was initially intending to use Robe T1 Profiles in this context, but when Esprites became available, jumped at the chance to use these with their power, punch, and CT ranges capable of producing “absolutely outstanding” skin tones.
Rigged on LX4 were six CycFX8s and six ParFect 150s for covering the larger set pieces. These were coupled with the house Robe ColorSpot 700Es – still working after a decade in service – for rear gobo work.
All the house luminaires, moving and static, were available to Andy, who naturally opted to utilise all of these plus the additional newer Robe fixtures which were supplied by rental company CEG.

Andy integrated the house FOH Robe DL4S Profiles into his light show for texturing and colouring the front cloths, together with two more ColorSpot 700E ATs and 20 x ParFect 100s which were all rigged on the side booms each side at the front truss position, plus two on the drop-down ladders either side of stage.
Four ParFect 100s with 10% diffusion were located on the circle front bar and used for colouring of the front cloths with primaries, with a pair of LEDWash 300s up-lighting the proscenium arch.

“Having a rig with this versatility – being able to flip colours, positions, effects, etc., instantly at the touch of a button takes panto lighting into a different league and opens so many more possibilities,” enthused Andy, whose acclaimed festive production lighting designs have become increasingly automated over the years, with Robe always as his first choice of brand.

“Not only can I be fully adaptable in lighting the show, but it’s also the only way to block light a scene in 20 minutes,” although this process is – of course – followed by considerable finessing during long programming sessions stretching into the nights!

Andy did this himself using an Avolites Titan Touch II, with around 220 cues in the final show file, which was then handed over to house operator Josh Gallagher for the production run. “It’s a stressful three days, but the end results using this Robe moving light rig are very rewarding,” commented Andy as the glitter magic, drama and fun of the show unfolded and started being appreciated by live audiences again.

Being back in person in a theatre with a real cast, crew and creatives was in itself part of this year’s experience. “It’s a little surreal,” stated Andy, “On one hand it’s like nothing has changed, there’s just been a longer gap between the shows, but on the other, we all appreciate more than ever the opportunities to create a wonderful experience to be enjoyed by a diverse audience.”

Andy also bigs up the “awesome” house technical team at Waterside theatre who helped him make all of this possible, in particular production LX Joe Bryant, together with Lou Stevens, Alex Ratcliffe and Andrew Medhurst who “totally made me feel welcome and one of them – I have so enjoyed working here!”

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

Imitation is not always the greatest form of flattery. And in the case of counterfeit loudspeakers, it can be dangerous and illegal.
In an active fight against counterfeit products and working in conjunction with the General Administration of Customs of the People’s Republic of China (GACC), a key border agency of the Chinese nation which boasts 100,000 staff throughout the country, L-Acoustics recently had illegal counterfeit ARCS II loudspeakers seized and destroyed.

After an investigation conducted by the GACC, and information provided by L-Acoustics to determine the authenticity of the suspicious ARCS II, the counterfeit loudspeakers were seized and taken to a recycling facility, where they were dismantled. GACC officials attended the products’ destruction to attest that they effectively destroyed the fake loudspeakers and recycled the materials.
The counterfeiters were prosecuted as part of the L-Acoustics Anti-Counterfeiting Task Force’s mission to eradicate fake products.

L-Acoustics Legal Counsel Laurent Ostojski.

“We thank the Youyiguan Customs team and our local counsel, Wanhuida, for their cooperation,” says L-Acoustics Legal Counsel Laurent Ostojski. “This is but one small step in our anti-counterfeiting initiative, and we’re poised to take legal action against any perpetrators in the future.”

L-Acoustics dedicates significant financial and human resources to remove counterfeits from the market. “These products can be deceptively similar to ours on the outside but feature poor quality components and are marketed without any warranty, service, or electrical or mechanical certification,” explains Stephane Ecalle, Director of Market Intelligence at L-Acoustics.

Stephane Ecalle, Director of Market Intelligence at L-Acoustics.

“The role of our task force is not only to defend our intellectual property by constantly monitoring the market, but also to alert the public on safety risks for users, and the legal risks associated with ownership or resale of counterfeits.”

All L-Acoustics products are manufactured in Europe. More information about the L-Acoustics Anti-Counterfeiting Task Force can be seen on L-Acoustics.com, where users can also report any suspected counterfeit L-Acoustics products.

More information on the L-Acoustics website