RH Consulting releases 10th edition of annual report on adoption of networked audio, covering all the major protocols. This year, for the first time, the report has broadened its scope to include networked video and control products.
Audio consultancy and networking experts RH Consulting have been counting networked audio products and licensees since 2013 in an effort to chart the adoption of audio networking in the pro audio, AV and broadcast markets. Universally recognised as the benchmark for tracking trends in networked audio, the report covers all the major protocols including Dante, RAVENNA, AES67, AVB, Milan and others. This year, for the first time, the report has broadened its scope to include networked video and control products using AES70, SDVoE and ST 2110 amongst other.
Products per protocol.
The last twelve months have seen a complete overhaul in the way RHC conducts its research and even closer collaboration with relevant industry trade associations and manufacturers. Consequently, the 10th edition of the report is the most comprehensive and accurate to date.
The statistics show that quite clearly that the number of networked AV products continues to grow, despite the difficulties we’ve all encountered over the last two years in the face of the global pandemic. A total of 4,142 networked products are currently shipping from 444 manufacturers, which represents even more new products on the market than last year.
Protocols by category
In AoIP terms, it’s no surprise to see that Dante remains ahead of the game by an order of magnitude that seems unlikely that anyone will bridge, but RAVENNA continues to progress modestly in second place, and remains the number one protocol of choice in the broadcast market.
Video and control are a different story as both are still very much in their infancy when it comes to IP networking. The report contains a detailed breakdown of what was looked at and how products were counted, but in broad terms, Roland Hemming of RHC notes that the market feels very much like audio networking did in the early days: “The largest proportion of networked video products are simply interfaces to get other types of video signal on and off the network,” he observes.
Roland Hemming
“It was much the same story for AoIP ten years ago when there was a huge number of analogue-to-network input/output devices. However, this has since diminished quite considerably as more and more manufacturers integrate networking capability directly into their products.
“Interestingly, when we first started counting networked audio products in 2013, we reported a total of 428 devices. Ten years later we have counted almost exactly the same number – 420 to be precise – of networked video products. This is a fascinating comparison and will offer us an excellent opportunity to compare the growth curves of networked video against networked audio over the next few years.”
For a full breakdown of all the statistics and a comprehensive listing of all the protocols considered and how the data is compiled, please visit the RH Consulting website
AV production company Novatech Creative Event Technology was involved in a large winter event in Adelaide, Australia called Illuminate Adelaide and supplied Elation’s industry-leading IP65 Proteus Hybrid moving head for a special lighting installation that left a memorable impact.
Billed as a celebration of innovation, music, art, light and technology, Illuminate Adelaide lit up the city with a program of events. As presenting partners, Novatech was the technical supplier of the event’s signature project – Light Cycles. Illuminate Adelaide engaged Montreal-based multimedia studio Moment Factory for the creative, design and immersive content while Novatech provided all the gear and crew.
Light Cycles
As a featured artist at the new annual event, Moment Factory took over Adelaide Botanic Gardens with Light Cycles, an outdoor digital art experience that used light and music to amplify and transform the beauty of nature. Light Cycles led visitors on a magical nighttime journey through nearly two kilometers of the garden’s lush gateways and luminous canopies. The immersive experience included dynamic soundscapes and video and light projections, including striking lighting effects from Proteus Hybrids at The Hearth.
The Hearth
Inspired by the timeless power of the bonfire, The Hearth was a gathering place set against the botanic gardens’ iconic Palm House greenhouse.
Colorful, ever-changing beams of light from 12 Proteus Hybrid luminaires intertwined with an instrumental soundscape to evoke the beating heart of nature, while a chorus resonated across the lawn.
The sequence, which ran on a 5-minute loop, was the last of seven zones that visitors walked through and was designed to leave a lasting impression.
“The Proteus Hybrids were a good choice for this installation as their IP status allowed them to be out in the Adelaide winter for the entire 6 weeks, which faced an unusually wet and windy winter,” stated Ashley Gabriel, Director of Sales and Marketing at Novatech Creative Event Technology. “They also provided the necessary punch for a beam fixture that due to the moisture in the air really did throw an incredible beam to create the desired effect.”
Laval, Québec-based Creative Lab, which creates lighting and visual installations of all kinds, has invested in 24 Ayrton Mistral-TC LED spot moving lights. The new fixtures have already been put to work on the Montreal Canadiens’ “Samedis FANatiques” (“FANatic Saturdays”) pre-game show and on a glitzy auto dealership event.
“The Mistrals are our first Ayrton fixtures but certainly not our last!” declares Francis Aubin, President and Founder of Creative Lab. “They are also our first moving light purchase. We decided to go with Mistral because the fixtures are well known in the industry by lighting professionals. Mistral is compact, versatile and powerful – the ideal first moving light to add to our inventory and bring more creativity to our design.”
Creative Lab’s Mistrals have already been hard at work. They are used for the NHL’s Montreal Canadiens’ live streamed promotional programming, “Les Samedis FANatiques” (“FANatic Saturdays”), before each Saturday home game. Featuring a specialist hockey guest and a DJ performance, the shows are staged in the Creative Lab studio and live streamed on Twitch as well as displayed on the jumbo screen at Bell Centre, home of the Canadiens. The 30-minute programs entertain fans and ramp up excitement before the team hits the ice.
Creative Lab plays a 360º role on “Les Samedis FANatiques,” acting as executive producer of the show for client Groupe CH. The Mistrals are used in front of the artists at centre stage to envelop the performers in light and to create effects with columns of light that change to match the musical ambiance.
“The Mistrals were chosen for their versatility and for the visual quality they bring to the video capture,” says Aubin. “Their different gobos and the vividness of their colours also made the Mistrals the fixtures of choice for this application.”
The Mistrals played a key role in a corporate project with high production values. GM Paillé, an auto dealership in Berthierville, Québec, staged a student competition in which participants were invited to present an innovative marketing pitch to the company’s top executives. Creative Lab served as technical supplier for the show working with production company Axe Media Evénements and Lighting Designer Julien Laflamme, who used the Mistrals to create textural effects on set.
The Mistrals lived up to their expectations on both projects. “These were the first uses of the fixtures, and everything went perfectly!” Aubin reports. “The results that we achieved on set and on camera speak for themselves.” ACT Entertainment is the exclusive distributor of Ayrton lighting in North America, and Aubin notes that, “ACT Entertainment supported our purchase in a very important way: we received the fixtures in under four days, and less than 24 hours later everything was installed and ready for use.”
More information on Ayrton Mistral and the extensive portfolio of innovative Ayrton LED fixtures can be found at www.ayrton.eu
Optimal Audio, manufacturer of control, amplification and loudspeakers for small to medium-sized commercial installations, particularly multi-zone venues, has announced an addition to its range in the shape of the Up 6O, a 6” two-way passive, full range open back ceiling speaker.
With a sensitivity of 90 dB SPL and a frequency response (with its own preset) ranging 65 Hz to 18 kHz ±3 dB, the Up 6O delivers a Max SPL of 111 dB Peak.
Delivering a consistent conical 110° coverage pattern, Up 6O features a 6” low frequency driver paired with a 0.7” metal dome tweeter, and is supplied without a back can for ceilings with a minimum cavity depth. An integral fixing system achieves a simple and clean installation. Up 6O is suitable for both high quality speech and music reproduction in a wide range of cost-conscious commercial environments, from hotels and concourses to retail outlets, bars and restaurants. Each Up 6O can be run on a series of 70 or 100 Volt taps or at low impedance, and with a 16 ohm setting allows up to four units to be connected to each amplifier channel at low impedance for an efficient install. Up 6O joins Optimal Audio’s range of ceiling speakers with the entire Up series now shipping in APAC, followed by EMEA from March, and North America to follow later in the year.
Al McKinna
Product manager, Al McKinna, said: “With the entire Up ceiling series, including this latest addition, now shipping, they join Cuboid and Sub to complete our loudspeaker offering. With our amplifiers also shipping and our controllers soon to follow, the Optimal Audio ecosystem of control, amplification and loudspeakers working seamlessly together is now becoming a reality. 2022 will be the year we see Optimal Audio really take off.”
Based in Berlin, Germany, edelmat. sees itself as a partner for event technology, with a philosophy based firmly on the values of loyalty, efficiency, and sustainability. Edelmat. services include consultation, conception, implementation, as well as service, for rental and installation projects in the field of event technology.
It is here that the human being is in the foreground, and edelmat.’s well-trained specialists maintain consistent contact with each and every client to develop budget-oriented and individual solutions. Sixty82 and edelmat. have very similar values and goals, and the cooperation between the two companies has proven promising.
“At edelmat. we connect people through conception and technology,” says edelmat.’s Ayke Bröcker. “The innovative solutions of the Sixty82 brand fits perfectly into our portfolio and our joint work is successful and fun. It is partly for these reasons we chose to become a reseller for Sixty82.”
edelmat. will offer the full product portfolio from Sixty82. “We find Sixty82 products durable and innovative, which in turn helps us create inventive solutions for our customers in the rental and installation business,” confirms Bröcker. edelmat. has completely converted its rental park with products from Sixty82 and, as a sales partner with its own stock, can provide its customers with comprehensive assistance in the rental and installation business at short notice.
edelmat. has already participated jointly as exhibitors with Sixty82 at Future of Festivals, the leading trade fair for the festival industry, with great success. “Personal customer contact is very important to us,” says Bröcker. “Going forward, our goal is to strengthen the visibility and reach of Sixty82 in the metropolitan region of Berlin Brandenburg and beyond.
“We really like Sixty82’s products and are looking forward to developing the brand with them. We are ready to create great things together.”
Nashville, TN – The Twelve Thirty Club in Nashville is full of headliners. A modern take on the supper club, the “dapper-as-hell” restaurant was developed by James Beard Award nominee Sam Fox alongside pop superstar Justin Timberlake, with architectural and entertainment lighting control designed by Energy Systems Design.
ETC’s control systems and infrastructure.
The project was only possible because of ETC’s control systems and infrastructure. “This was a fantastic opportunity to create beautiful lighting in a storied location – Broadway in Nashville, right across from the former home of the Grand Ol’ Opry,” says David Empey, Technology and Design Department Head for Energy Systems Design. ESD is a full service, mechanical, plumbing, electrical and technology design firm with locations in Scottsdale, Arizona and Austin, Texas.
“We designed the lighting, lighting controls, and network for the entire venue. As the designs for the building were developing, I knew I needed the flexibility of ETC systems so we could handle whatever architectural or entertainment needs came up. I also knew I could rely on ETC, Bradfield Stage and Extreme Electric to provide the commitment and technical know-how to implement the design correctly.”
A lot did come up for this ambitious venue. The entire club has many different spaces. The first floor is used as an energetic and “elevated honky tonk a step above the rest of Broadway,” with dining and music every night. The mezzanine level is an intimate cocktail lounge primarily for members and the second floor is a majestic 400-seat “Supper Club” where a suit and tie wouldn’t be out of place.
ETC helped create an elevated honky-tonk on the Twelve Thirty Club’s first floor.
The restaurant and lounge feature antique chandelier light fixtures, opulent booths, a row of windows overlooking Bridgestone Arena, an outdoor terrace with views of The Ryman – and of course a stage ready for acts of any stature, from Justin Timberlake to Kelly Clarkson, to Lady Gaga, or the next big act coming out of Nashville.
“There’s a movement in Nashville towards a more upscale feeling, not limiting themselves to the loud and raucous, while still embracing the energy and vitality of Nashville’s storied musical scene,” says Empey. “Working with design team, what they were looking for was a traditional honky-tonk, but radically elevated.”
Lighting-wise, that meant they wanted to evoke an extremely warm and refined look. The light is tuned to 2200K, more amber than white since “Sam Fox likes very low and very warm lighting,” explains Empey. “The design draws the eye to chandeliers and individual fixtures, so it feels like they are the main sources of illumination even though they aren’t. They can’t be.
The intimate Members Only bar in the mezzanine of the Twelve Thirty Club is controlled by ETC’s Paradigm system.
Chandeliers at the low intensity the client wanted couldn’t provide enough light. By paying attention to distribution and making sure the light was really warm – the exact same color temperature is used throughout the restaurant – the light can come from everywhere, even as your eyes are drawn to the chandeliers.” The lighting control is a mixture of DMX and 0-10V dimming throughout the Club, with ETC’s Unison Paradigm system controlling everything throughout all spaces. “The entire building is all linked back to a single control panel – but also easily available via an app.”
Bringing sexy back
The crown jewel of the Twelve Thirty Club is the second floor Supper Club, a space that needed to provide a luxurious, world-class venue for performers. Crescent-shaped, tufted-leather booths with copper inlays line the walls, red velvet chairs surround wooden dining tables topped with antique fixtures, and deep club chairs provide an intimate seat near the stage. It was Energy Systems Design’s job to make sure the stage lighting lived up to this level of opulence.
“The team wanted it to simultaneously be elegant – but not show theatrical fixtures. To feel like a stage – but not having anything that looked like a stage standing out,” describes Empey. “So, we built an old school supper club, like an early Frank Sinatra might have played in. Then we hid our stage fixtures – ColorSource Spots – in an architectural cove. We chose ColorSource because they are a rich, full-range fixtures that allowed us to get that warm color we were aiming for.”
ETC controls the architectural and entertainment lighting and makes them work in harmony in the Twelve Thirty’s third-floor supper club.
The ColorSource fixtures are capable of other colors as well, but the design team was apprehensive about color changing fixtures because of their traditional aesthetic. “There was a very serious conversation about how to do color changing in a way that was elegant yet that could enrich the performance.” ETC’s ColorSource fixtures were able to create a rich, natural look, without the artificial, electronic feel of other LED luminaires. Eventually the colors won them over. Color changing also comes from pixel tape in the cove, and RGBA downlights in the ceiling throughout the space. “I sat with Sam Fox, and we picked exactly what color amber he wanted,” says Empey. “So, when you need a dance floor, you can pull tables out of the way and have a whole dance floor as well.”
What they’re working with
The switch between restaurant lighting and entertainment lighting is handled by Paradigm, which also handles all the architectural lighting controls. In this instance, the entertainment lighting is completely segregated. The entertainment console takes priority over ACN and owns stage lights during a show. Everything else is controlled by Paradigm in the background.
“Everything else” is a combination of ETC Sensor3 power control racks, Echo Relay Panels, and Foundry Panels, all on an ETC network, with a variety of Response Mk2 DMX Gateways and 0 10V Gateways scattered throughout the space. In this project, everything dims, including the kitchen. “Sam Fox is a fan of public kitchens, and he wants the kitchen to be warm and match the rest of the restaurant.”
As a benefit to the operations team, Paradigm triggers all the dimming events throughout the day. “Lighting for all spaces is controlled via Paradigm Touchscreens and apps. Different spaces have separate menu screens. Managers have the Paradigm Remote app on their phones, and if they need to adjust levels in a scene, they can do that there.”
Opulent supper club with entertainment and architectural lighting controlled by ETC, the Twelve Thirty Club is bringing a new level of refinement to Nashville’s nightclub scene.
With so much to attend to, and such high standards to maintain, the managers and staff appreciate just how easy the Paradigm system is to run. During the training in May, just as the first-floor honky-tonk opened, David approached the general manager to train him on the lighting system just before closing. “It was a long day, he was exhausted, and he asked me to keep the training under 30 minutes.
I said: ‘If I do it in five can I get a Twelve Thirty Club hat?’” Taking the GM’s phone, he installed the Paradigm app and associated it with the network. “Then I handed it to him and said ‘Push the Dinner button.’ He hit Dinner, the Dinner light setting came on, and we were done. Took about three minutes, and I got my hat.”
The Paradigm system was so solid that even as they worked through a phased opening, with installers continually getting into the electronics of the system to add more components and more capabilities, the staff and patrons almost never saw an interruption in functionality. “ETC has never stopped saying that all this control and integration was possible, that everything could work together seamlessly. And they definitely came through.” Energy Systems Design worked closely with Fox’s internal visionary team and ETC to deviate from the ‘status quo’ and create a truly unique and user-friendly experience.
For more information about ETC, please visit etcconnect.com
A new Anolis LED lighting scheme is illuminating the famous exterior façade of the Rosary Basilica at the Sanctuary of Our Lady of Lourdes (Sanctuaire de Notre-Dame de Lourdes), an ultimate destination calling pilgrims and worshipers from worldwide to the south of France.
The stunning new lighting was designed and specified by Bruno Le Vacon, founder of audiovisual design office BLEV ORGANISATION, and Sébastien Gaye from ACE Event Group. The physical installation of the luminaires – chosen from Anolis’ Divine, ArcPar, Eminere and ArcSource ranges – was completed by ACE Event who are locally based, with the equipment supplied via Anolis France. Each luminaire was individually customized at the Anolis factory in the Czech Republic before dispatch to France.
The delicate and meticulous application of light on this special monument was a huge challenge for Bruno whose task was to enhance the magic and spirituality of an already sacred place. In front of the Rosary Basilica is a large public area, where visitors gather to celebrate, and they can now have their experience enhanced with the intensity and beauty of the lighting.
Bruno Le Vacon has a long history of working on events in and around ‘the Domain’ as it is known in Lourdes, which comprises 51 hectares, and includes 22 separate places of worship. Various elements of lighting have been introduced and upgraded across the site over several years.
Bruno encouraged the church hierarchy, including the bishop, to look at his tasteful lighting proposals for lighting the Rosary Basilica which had previously been poorly lit with tired old sodium units.
The general feeling was that the time was right for something that not only highlighted the façade’s splendor and grace, but that was contemporary and sustainable. LED was the obvious way forward offering a better lifespan, lower power consumption, less maintenance, and it was at this stage that Sebastian and ACE Event introduced him to the Anolis brand. ACE Event, a Robe customer for many years, trusted the fact that Anolis products are also designed and built to the same quality standards.
Extensive onsite tests over two evenings were conducted by Eric Tabuteau from Anolis France with ACE Event which established exactly the fixtures needed and where they should be positioned to realize the design, after which the specification was confirmed, and the special requests for customizations submitted to Anolis. In early 2021, Bruno received the final green light to proceed with the installation plan and it then became a race to get it installed and running before the prime summer pilgrimage period commenced.
Bruno Le Vacon was impressed with the diversity of the Anolis ranges, the quality of their light output and colour mixing facilities – perfect for a design of this complexity and detail – plus the willingness of the factory to produce custom solutions to give the exact tools needed to optimize lighting this incredibly special and historic treasure.
ACE Event had also helped convince the end-user that Anolis was the correct route, so the next task was to meet the deadlines, for which the Anolis factory fully stepped up. Here, Robe France’s CEO Bruno Garros also really pushed the Rosary Basilica project forward and ensured that the timescales were viable. As a proud born and bred Lourdes citizen, the city is close to his heart!
Around 80 x Anolis fixtures – a mix of Divine 160s, Divine 72s, ArcPar 150 Outdoors, Eminere 2s, 3s and 4s plus ArcSource Outdoor 16MCs and ArcSource Outdoor 4MC Pixels – are lighting the intricate stone tapestry of arches, crown, crosses, statues, belfries, stairs, the square and the lectern of the Rosary.
The statues are lit with ArcSource Outdoor 4MCs rigged at their bases and on the arches and the crown featured by ArcSource Outdoor 16MCs. All fixed in place with special brackets to protect the façade. The two main towers come alive with lumens from Divine 72s, while the larger arch is lit with Eminere 4s and the smaller one with neat Eminere 2s.
For general lighting, more Emineres are positioned inside the structure itself attached to a hidden rail, with further Emineres highlighting the wall paintings. The small and powerful Eminere units were ideal for this project and provided exact solutions.
Slightly in front of the Rosary Basilica two trussing towers built off to the sides, left and right, are rigged with Divines shooting across for general light, with more Divines inserted between the sculptures and statues for fine detail lighting. Each light source is fitted with specific lenses and filters for individual optimization. Anolis’ architectural ranges are all developed for this type of environment, to deal with the harsh weather extremities and to be in constant use without deterioration.
The entire system is controlled via a wireless DMX system. With concerts and events frequently staged in the square, it was important to offer control of the Rosary Basilica lighting installation to incoming productions, so these can be integrated with their own show lighting if desired. This Rosary Basilica is a notable example of a significant historical building exquisitely amalgamated with the very latest lighting technology.
The R&D at SIXTY82 has developed the ALPHA82 connector, a structural support component, in other words a cornerstone for all kinds of structures, especially those that aren’t necessarily available as standard.
The Alpha connector, held by Xavier Drouet, one of the founding partners of Sixty82.
In addition to its modularity, the advantages of this genuine innovation in the world of trussing, can be measured in economic and ecological terms.
An open truss assembled with the ALPHA82 connector. It’s a pity that the standard color of the system will be aluminum gray, but any color is available upon request.
The SIXTY82 team organized a launch event for the ALPHA82 system at its production facility in Drachten, in The Netherlands, attended by distributors from all over the world and their own customers, to unveil the most important innovation of the last 30 years.
Axente, the French distributor for SIXTY82, has chartered two sleeper buses to take a number of its loyal customers to their destination in comfort. We headed for Drachten at nightfall after checking our health passes and an antigen test, to make absolutely sure we weren’t going to generate a Delta cluster.
The impressive group of SIXTY82 customers invited by the French distributor, Axente, in front of the sleeper coaches.
After a good night’s sleep, we arrive fresh and well-rested in Makkum, at the north-eastern tip of Holland, to embark on an old sailing ship, the “De Boekanier” to sail Lake Ijsselmeer. The launch ceremony for the ALPHA82 is scheduled for the late afternoon, so we have time to sail in the early morning, under a timid sun, towards the North Sea, bathed in the spirit of the Dutch navigators of the 17th century.
It’s time to hoist the sails and…
… a few hours later, and after a few swings…
… to stow them before coming into port.
And we discover that many show technicians are well qualified as sailors when it comes to hoisting the heavy sails. But, since we have one-track minds, our conversations quickly return to the subjects that concern us day to day: new Ayrton fixtures, the latest MA3 software release, and questions about the new structure that awaits us!
SIXTY82
Reunion time: surrounding Xavier Drouet are Fokko Smeding, CEO of SIXTY82, on the right, and his son Rainier, CCO, on the left.
A red carpet and management team, dressed to the nines, await us at the entrance to the modern 4000-square-meter building. After almost two years of videoconferencing, the associates are very happy to be meeting in person again.
Founded nearly four years ago by three groups of experts – English, French and Dutch – SIXTY82 is a young company with a wealth of expertise at producing aluminum structures.
The team is made up of the Englishman Adrian Brooks and his son Lee, specialized in the manufacture of custom-made structures for the big international productions; the Frenchmen Jérôme Bréhard, Xavier Drouet and Alain-René Lantelme, distributors of structures for 30 years; and the Dutchmen Gert Felten, Marc Hendriks, Ronald Seinen and Fokko Smeding, inventor of the truss with conical sleeves. In just four years, they have succeeded in bringing together 34 of the most influential distributors in the world in the structures market.
L’usine
The headquarters and production facility, 4,000 m² in Drachten.
At this plant, SIXTY82 carries out aluminum tube cutting, truss assembly and welding, and quality control testing with certified personnel.
Alain-René Lantelme, deputy CEO of Axente, guides us during this visit. Here, the discarded pieces that are destined to be recycled.
The raw materials, such as aluminum tubes of different cross-sections, machined parts like male and female couplings and the steel parts, are sourced from European metalworks. Similarly, the stage decks made of Finnish birch plywood and coated with phenolic resin are supplied by industrial carpenters and cut at SIXTY82.
Their production equipment, which we peruse as we walk through the production lines, consists mainly of bending stations, semi-automatic and manual welding lines.
One of the six height-adjustable welding benches. Once the tubes are held in the jigs, the crossmembers are positioned on guides and the welding is done manually.
“Semi-automatic welding,” explains Alain-René Lantelme, “saves time and allows us to obtain a nice uniform weld on the female sleeve at the end of the tubes as they rotate. Next comes manual welding of the cross members when the tubes in question are assembled on jigs”.
A welding station for the corners.
We note that the welding benches are height-adjustable for the welder’s comfort and to help improve the quality of the welding process. We also note the presence of tube torsion stations, which can adjust the axis by ¼ of an inch, so that the holes are well aligned.
You can appreciate the uniformity of the welds.
The automated cutting station for aluminum tubes.
“On the whole,” continues Alain-René, “every truss on the planet is made this way, but it is the quality of the alloys, the jigs, the alignment, the welding stations, the quality control, the certification of the welders and the investment in production tools that make the difference”.
Weldy, the robot welder.
Speaking of investment, we discovered a brand new robot designed to weld the frames and supports of the stage decks. The different dimensions of the decks are programmed and, after manual positioning of the tray and the supports at the four corners, the robot automatically welds the components.
One just has to position the deck and the supports for the legs, which doesn’t require a certified welder – as confirmed by Jérôme Bréhard, CEO of Axente.
It’s always fascinating to see a robot in action, plus it’s the only one working on this holiday and Weldy has a lot of fans. He is eight times faster than a human and provides a nice and consistent weld quality. We won’t get to see all of this factory, since the equipment in many areas has been pushed up against the walls and hidden behind drapes in order to accommodate the guests.
ALPHA82 System
Marc Hendriks, CTO, and Matthias Moeller, STO, present the new innovative system…
It’s time to unveil the new product. Its called ALPHA82, a modular truss system, which can be configured to suit your needs. It is the subject of an international patent.
ALPHA82 consists of an extruded and machined aluminum connector, similar in shape to an arch, onto which ladder trussing with a width of either 52 cm or 101 cm are bolted, to form 3D box trusses.
… And here it is.
The ladder trusses are available in two widths, 52 cm and 101 cm, as well as in four different lengths.
The assembly of the ALPHA82 system.
What’s more, this ALPHA82, connector, which is available in several versions, has M12-size slots on four sides for connecting accessories: hoist rings, clamps, brackets, curtain rails, struts… Anything is possible!
The ALPHA82 connector is available in two standard versions and several sizes, while cut-outs are available on request.
The compatible accessories.
Rather than a lengthy explanation, here are a variety of possible assemblies to give you some ideas of the solutions that can be created: stackable open trusses, pre-rig trusses to accommodate chain motors inside the truss, putting an IPE beam inside a trolley, assembling a trolley with a motor inside, building a truss integrating LED screen supports to save clearance, easily doubling a truss for a specific need.
So obviously, we are not going to have fun dismantling standard trussing after each performance, but, rather, thinking about the shapes that can bring solutions to recurrent needs in a production and storing them assembled. On the other hand, it turns out to be quite cost-effective to build them like a Meccano set for specific needs, for events or on tour. This means that you don’t have to store large parts all year round or rent them out. The ALPHA82 system is also ideal for integrating into fixed installations.
The ALPHA82, kit is child’s play to assemble.
And in the specific case of costly transportation, the advantage will be that the structure package can be transported in parts to reduce the volume by 75%. Considering the increased shipping costs, it seems worth the investment.
To define the load tables, SIXTY82 provides all the calculation information regarding all the possible constructions. And as for the modeling, which could appear to be a headache, the quick solution is to make a rough calculation, by entering the general load values of a square truss, for instance, into the computer.
Video presentation:
Innovation in the structures sector is still possible at SIXTY82, who have it in their DNA. And Fokko Smeding, the man behind the small conical sleeve, together with his team of experts, undoubtedly has more to contribute. After this presentation, which was enthusiastically received by the guests, an exceptional evening awaited us, offering many attractions for food lovers, casino fans, dancers, rock fans or simply those who were looking forward to chat with friends who have been out of touch for the past couple of years.
Denmark based rental companies VIGSØ and Profox have invested in CLF Poseidon Hybrid fixtures, boosting their existing inventory of CLF Orion and Yara fixtures. Whereas Profox is a full-service company, the main activity of VIGSØ is dry-hire. Both companies were looking for a relatively small IP65 rated hybrid fixture. After an extensive process of comparing and testing, the Poseidon Hybrid became the obvious choice.
Rasmus Stoltenberg Sørensen (Profox) was pleasantly surprised when he saw the output of the Poseidon Hybrid for the first time. “Its output is impressive, the projection is very crisp and compared to other IP rated hybrid fixtures, its weight is very low. I would like to emphasize the feature package of the Poseidon Hybrid. It is offering a lot, at a very reasonable pricing point.” The fixtures will be deployed during a lot of outdoor projection jobs of Profox, which are scheduled during the winter period.
With this investment, VIGSØ fills in a gap in their rental stock. “Outdoor hybrids are requested a lot by our clients, since we have to cope with a Scandinavian climate”, said Christian Vigsø. “When buying IP rated fixtures we are really interested in the serviceability. The Poseidon Hybrid meets our requirements, just like the other CLF fixtures in our rental stock. We like CLF fixtures because they are designed for rental and touring applications. Also, their support is very good. We are seeing an increasing demand for CLF fixtures across Denmark.”
The investment is part of VIGSØ’s long term strategy, which is based on extensive partnerships with production companies. “When buying new products, we are always looking for other companies to cooperate. This creates a lot of buzz around the product, but also an increasing demand”, concluded Vigsø. In total, more than 60 fixtures will be available for rent in Denmark.
German manufacturer GLP German Light Products has announced 16th February as the day for its eagerly awaited global launch of the new impression X5 fixture.
Following a preview at the 2021 LDI exhibition in Las Vegas, the impression X5 boasts a wealth of new and improved technology gained from countless hours of conversations with users combined with traditional German foresight and precision.
GLP managing director Udo Künzler and product manager Michael Feldmann will lead the presentations at four different points during the day to capture every time zone, with the impression X5 presented in detail and followed by a live question and answer session afterwards.
Register for the event and see the teaser video at X5launch.glp.de
Metallica – among the most influential and legendary hardcore speed metal bands of all time – treated their fans to two epic concerts at San Francisco’s Chase Center in December, celebrating an incredible 40 years of provocative, ground-breaking music and performance.
Lighting designer Rob Koenig collaborated closely with production designer Dan Braun whose stunning visual architecture – featuring 45 large multi-layered and overlapping video surfaces – set the visual tone for this unique in-the-round live retrospective. While the screens were key for showcasing playback video, interviews, artwork, and other archival material spanning the last four decades, lighting highlighted both Metallica and their audience, uniting and energizing an incredible bond that’s seen them remain at the very top of their game since the 1980s.
Robe BMFL WashBeam
Needing the most powerful, dynamic, and flexible lighting solution possible for these shows, Rob and Dan chose 148 x Robe BMFL WashBeam moving lights to be the heart of the lighting rig, plus another 16 x BMFL WashBeams which were running on four RoboSpot systems.
Apart from 19 x moving LED bars, these BMFLs were the only lights on the rig from which the design team created 36 songs worth of unique, impressive jaw-dropping looks and treatments.
The first show kicked off with “Hit the Lights” and Rob did just that … enjoying the chance to push the creative boundaries of theatre, drama, and raw emotion for 16 songs that night, followed by another 16 – an incendiary mix of classics, blockbusters and coveted rarities – for the second gig. Extra special moments included the first ever live rendition of “Fixxxer”, a darkly complex and confrontational fan favorite from 1997’s “ReLoad” album, delivered on night one.
Rob and lighting programmers Joe Cabrera and Cat West prepared a pool of 36 songs. However, with no definitive setlist available ahead of the first couple of weeks of previz, and a selection of exceptional wildcards played for the first time in over 10 years, a few curve balls flew! Come showtime, Rob also found himself improvising more than once which kept him fully energized and locked into a “completely invigorating” workflow. The starting point for the lighting design was the physical and structural layout of the video elements flown from the venue roof on a series of elegant elliptical-shaped trusses.
As the video design evolved, serious discussions also revolved around lighting placement, with Rob needing enough lights coming in at different angles and levels to hit to the stage and also illuminate the audience the entire night, without blinding them, and without touching the screens. Lighting had to both harmonize and contrast with the overall visual look. Twenty-four BMFL WashBeams were deployed above the stage, wrapping around one of the smaller ellipses holding the central cylindrical-shaped video monolith, with another 48 on one of the larger ellipses that was also broken up by PA elements.
In the audience, three levels of strategically placed BMFL WashBeams added depth and dimension to the picture, one batch of 24 at ice (floor) level, another 24 fixtures at concourse level, with the third and highest set of 24 BMFLs flown over the audience at optimum positions for hitting the stage, a 44ft diamond-shaped construction in the center of the space. A slightly different mindset and approach permeated this show elucidated Rob, who has worked with Metallica since 2008. That shift was away from being fundamentally dark, brooding and menacing, and while no less intense than standard Metallica shows, there was also an air of celebration.
“Being a 40-year landmark, that vibe was embraced in the lighting but all the time retaining vital Metallica intricacies and characteristics,” he explained. Rob, Dan, and live video director Gene McAuliffe all collaborated closely on crafting this almost metaphysical aesthetic. The songs were delivered chronologically from the oldest first on the first night and in the reverse order for the second which offered further chances for spontaneity, keeping all on their toes which was “way, way more fun!” declared Rob. “I loved it – so far from the norm of knowing what might happen next!”
They used “every possible BMFL trick – and that’s A LOT” to keep the energy and vibrance pumping. The BMFL WashBeam has been a Metallica ‘anchor’ fixture for some years now, after Rob initially fell for it on Guns ‘n’ Roses 2016 “Not In This Lifetime” reunion tour. He describes the maverick luminaire as “still my best choice today for high power and huge versatility”. Follow spotting is critical to lighting an in-the-round show effectively. The format is favored by the band for getting them closest to their fans, and while it is always more challenging for productions, the results of in-the-round are always worth the additional creative and technical efforts.
The 16 x BMFL WashBeam Follow Spots were positioned along the larger ellipses, spread out to take advantage of some of the negative space up in the roof as well as for beam separation and depth, with four units tracking each band member.
Apart from the continuity and perfect color matching, with the BMFL WashBeams on the rig Rob could control all the main follow spot parameters – color, intensity, iris, etc. – from his grandMA2 console, allowing the operators – positioned on the venue catwalks amidst all the PD and processing – to concentrate on following the band. The RoboSpot focus tracking control was extremely helpful when the band moved around the stage as the follow spot beam sizes could remain proportionate.
Gaffer David Hunkins looked after setting up and balancing the spots. Rob was delighted to have him on the team, and “he completely embraced me breaking rules to make things absolutely pop on camera,” which was also crucial as the show was streamed live and recorded via a 21-camera shoot. Metallica has a long history of playing large one-offs defined by a highly talented technical and creative production operation and a crew with enormous passion and commitment to making this a signature art.
Specific lighting challenges for these two 40th shows included programming. Even songs that had been lit hundreds of times previously had to look fresh, new, and diverse, while context needed adding to those rarely played. All this took time and energy and a fair few imaginative risks, whilst also giving Rob the chance to explore and push out of his comfort zone. The load in was galvanizing as the kit needed to be spread out everywhere across the venue, and while they did have four days in which to do it, all of that was needed and used productively and efficiently. Video was rigged first as lighting waited patiently until the screens were all flown into place.
This is another example of where the meticulous advance detail and co-operation between the two disciplines – between PRG project manager Eric Geiger and crew chief John Moore, and Premier Global Productions project manager Anthony Kordyjaka and crew chief Jason Lanning – paid off, with Rob’s BMFL WashBeams cruising into place once their time came thanks to some superlative thinking and planning by Head Rigger and “all around magician” Chad Koehler.
Lighting equipment was supplied by Premier Global Productions out of Nashville, Tennessee, and Rob’s account handler there is James Vollhoffer. Lighting crew chiefs on site were Anthony Kordyjaka and Jason Lanning and video kit was from PRG. The two visual departments also merged and co-managed all their cabling and other basic infrastructure. Even after 14 years and multiple memorable Metallica experiences worldwide, being part of these two shows was “amazing,” recalls Rob. He got to rediscover songs like “Bleeding Me”, and “Dirty Window” … as well as “Fixxxer” which ignited the internet and thousands of memories from a performance action packed with memorable moments.
Most of all he enjoyed the incredible teamwork – under tight control of production manager John “Lug” Zajonc – the natural synergy, plus the expertise and imagination of the individuals and departments involved in creating and making these shows such great events, of which “everyone can be proud”.
For more info about Robe Lighting, you can visit www.robe.cz
Over 1200 people representing more than 60 countries around the world have already registered for ETC’s 2022 CUE conference. This 24-hour event is slotted for February 17 and starts in Asia at 11:00 AM HKT with a keynote address from ETC’s Vice President of Marketing, David Lincecum.
This is followed by the European sessions which take place from 10:00 AM to 5:00 PM GMT. ETC staff and other industry experts follow with a series of sessions over the course of the day in multiple time zones and multiple languages including French, German and Russian. The conference wraps up in North America at 5:00 PM CST.
Join students, educators, designers, technicians, and other industry professionals to learn about the topics impacting the live events industry. Session topics include product technology, building theatrical systems, industry sustainability, and encouraging diversity in the workplace. No matter which corner of the industry you work in, you’ll find something of interest. ETC promises to bring you the best training, insightful discussion sessions, and of course, demos of their cutting-edge products.
If you’re tuning in for the North American sessions, you won’t want to miss Amber Whatley as she talks about Black Out, the program she founded for underrepresented individuals with an interest in lighting design. Stay for the live panel discussion on encouraging diversity in the industry, led by Tony award winner Karen Olivo.
If you work or volunteer in the industry, are an educator to the industry, love the technology of stage productions or are a student hoping to someday work in live events, then CUE is for you. You will also be able to catch up with sessions from other time zones as well as any that you might miss if you have registered, sign up here: etcconnect.com/CUE
For more information about ETC, please visit etcconnect.com
Situated on the edge of London’s Kensington Gardens, the Royal Albert Hall – that internationally respected bastion of music – continues to mark its 150th anniversary through special events to the end of 2023. The truly iconic venue, which hosts over 390 shows a year including classical, rock and pop concerts, ballet, opera, awards ceremonies, charity performances and banquets, many of which are televised, is now fully equipped with 4 MDG ATMe haze generators, supplied by TSL.
Photo Dan Street
The RAH lighting team initially invested in two of the industry-leading ATMe generators in July 2019 before adding another two in November of the same year. The ATMe haze generators are in almost constant and exclusive use with two freestanding machines located on stage and two permanently installed in custom flight cases on the stage edges at circle level. “Good haze is particularly important at the Royal Albert Hall,” explains RAH lighting designer, Richard Rhys Thomas. “When lighting a concert there is no scenery, and often little or no video, so the lighting becomes the scenery. It forms an important part of the overall look, so you need good haze to show the beams from the roof to ground level.”
The procurement of MDG generators had been on the RAH’s agenda for some years following consultation with Matt Wiseman at MDG UK. “As we built up our lighting service with new fixtures, we realised the thing we were lacking was good quality haze,” he explains. “We had an amazing rig, but if you can’t see the beams, it doesn’t matter how good the lights are!”
MDG ATMe
The team was also getting comments from incoming lighting designers about how the haze distribution was affected by the auditorium’s antiquated air cooling system which pumped in fresh air from beneath the arena and stalls. “This meant the haze on stage got pushed upwards, so we would get a nice haze in the roof but not on stage where you need it!” says Thomas. “We had to do something!”
Like most public buildings worldwide, the Royal Albert Hall did not escape closure during lockdown but this dark time was turned to advantage, enabling the acceleration of a programme to install additional airflow units.
“With the new system, cool air now also gets pumped in from above, so this helps us achieve a nice smooth, even coverage of haze, but it is largely due to the MDG machines and their particle size and type of fluid which has made it all come together in such a nice way,” states Thomas. “MDG haze is so fine that you really don’t see it until you put strong beams through it, which is how it should be.”
With the RAH’s previous haze machines, complaints about the ‘clouds of smoke’ and the smell were all too common: “If the source of the haze is very visible, the perception of it is raised which tends to generate a psychosomatic response that can affect the comfort of the audience and the artists,” explains Thomas. “Since we’ve had the ATMe generators, we have no ‘clouds of smoke’ and no negative comments!”
The new ATMe generators are operated from the lighting console and have proved very efficient in terms of fluid use. “We found we don’t need to run them very high at all to get a nice even coverage. And if we need a bit more, we can simply push them up a bit and they fill the (very large!) space very quickly. We run a careful management programme to keep their fluid supply topped up and they are all sited in positions where the bottles can be easily changed during a show without interruption.”
Thomas is also impressed with the quietness and reliability of the MDG generators: “They run very quietly which is very important for a lot of our shows, both in the auditorium where they are quite close to audience, and also on stage where they are close to orchestras, microphones, television cameras, etc.
“We are very happy to have finally got our MDG haze machines. I’ve lit many shows here now and can remember when you just didn’t know if you were going to have good haze or not. It could be cloudy or up in the air – there was no certainty to it and no guarantee. It was very disappointing to put so much work into a design for it not to be realised to its full effect. Now we can guarantee good results and it is very satisfying to know we have that level of quality there at all times.”
For more information on MDG’s ATMe haze generator and all MDG fog, low fog and haze products, visit www.mdgfog.com
Adding to the family of the award-winning SHARPY fixtures, Claypaky introduces the SHARPY X FRAME multifunction luminaire. The SHARPY X FRAME takes the best features of the SHARPY line and integrates a four-focal plane shutter system in a lightweight, compact fixture. The unit’s source is the powerful 550- Watt arc lamp that makes this fixture extremely bright and produces deep and vivid uniform colors (including an unmatched deep red).
The unit boasts the flexibility to be the light you need when you need it. As a completely hybrid, multifunction fixture, the SHARPY X FRAME not limited as to beam effects, it can also be a spot, profile, or wash unit. This fixture replaces much larger luminaires using the longer life 550 Watt arc lamp.
Although a small fixture by most standards, nothing is sacrificed in the SHARPY X FRAME fixture’s feature set. In addition to the four-focal plane shutter system, the unit offers a rotating gobo wheel with eight rotating gobos, a static gobo wheel, four and eight-facet rotating prisms, linear frost, a color system featuring CMY, CTO and a separated color wheel, and six beam reducers starting at 0.5°.
With a zoom range from 2° to 52°, the SHARPY X FRAME can do unparalleled visual effects. The unit is fitted with a 160mm front lens and proven Claypaky optics for producing sharp images and collimated beams.
The SHARPY X FRAME is the most versatile, compact hybrid fixture on the market that addresses the needs for a bright spot, aerial effects unit, framing fixture and everything in between in an affordable, compact package.
The Olympic Qualification Tournament in curling took place in the Netherlands in December and the ice has never looked better thanks to MHB AV and Elation’s tunable Kl Panel LED soft lights. Held at the Elfstedenhal sports complex in the town of Leeuwarden, a professionally illuminated surface of the highest standard was a must for the Olympic qualifying event.
The Olympic Qualification Tournament was the first international curling tournament to be hosted by the Netherlands. Teams from across the world competed in the two-week event in the hopes of advancing to the 2022 Winter Olympics in Beijing, which starts on February 4. As stones slid across the curling sheet and echoes of “sweep!” filled the air, the stakes were high and concentration was at its highest.
Months prior to the event, MHB AV (www.mhbav.nl ) had contacted Bert Schmeits, Key Account Manager Benelux at Elation, and as a result invested in the full-color-spectrum and color temperature-adjustable KL light panels. Schmeits reports that the company was so enthusiastic with the high-quality illumination and enormous output that they immediately saw the soft light as the perfect candidate to illuminate the curling event.
MHB AV has plenty of experience designing and suppling audiovisual solutions for sporting events, having worked with clients such as Triple Double sports marketing and EMG media group. For the Olympic Qualification Tournament in curling, MHB delivered a complete lighting, audio, video and rigging package.
Lighting for TV and video has particularly demanding requirements. For example, the illumination levels required for televising curling are much higher than for normal competition play. A uniform field of light across the entire ice surface was also a prerequisite.
“We needed a bright, high CRI lighting setup that we could place above the curling lanes in order to deliver at least 1400 lux onto the ice so that the curling players and television cameras had a perfect light without shadows,” stated Marten Hylkema of MHB AV.
“We chose to use 90 units of the KL Panel because of its good light output, high CRI and perfect color tuning.” The KL Panel units were mounted in rows approximately 7 meters above the ice.
Housing a 295W RGBW + Lime + Cyan LED array, the KL Panel outputs 24,000 lumens from a small form factor to produce a flat field of soft white light or full-color washes if required. Color rendering is of the highest quality with a CRI above 95.
Color temperature is adjustable and the unit is adept at matching the white balance for camera through a green shift adjustment and virtual gel library. Virtually silent, the KL Panel is fully optimized for broadcast with 900-25000Hz LED refresh rate adjustment.
Besides the benefits of an LED system like lower power draw and greater reliability, the luminaires produced less heat in the arena, meaning the cooling system for the ice did not have to work so hard.
