Église épiscopale de St Paul. Regardez en haut à gauche et à droite de la photo, on aperçoit une paire d’ID84 noirs.
Oregon-based audio production and installation company Alpha Sound has reported two highly successful NEXO ID series installations already this year in local churches. Central to the high levels of performance achieved in St Paul’s Episcopal Church and Kingwood Bible Church, both in Alpha Sound’s hometown of Salem, is the deployment of a pair of NEXO’s new ID84 columns as the main speakers, supplemented by ultra-compact ID14s covering smaller areas of the churches.
Devin Sheets
Alpha Sound’s Devin Sheets takes up the story. “When we first got our hands on the ID84, we discovered something very different from a conventional column loudspeaker. Firstly, the soft dome tweeter array lends what I would describe as an almost ‘hi-fi’ sonic characteristic, with an open, natural high end that’s perfectly suited to speech reproduction, which makes up so much of a typical church service.”
L’ID84. Huit haut-parleurs de 4″ et huit dômes souples de 1” dans un agencement en attente de brevet.
“Then there’s the coverage. With continued downward off-axis response intelligibility, we found that a pair of ID84s mounted 20 feet up delivered consistent SPL and frequency coverage right to the very back of the venue. It’s fair to think of the ID84 as a viable substitute for a small line array in applications where the budget is limited.”
The system at St Paul’s uses a pair of ID84s in what is a long, narrow, and semi-reverberant liturgical space. With a shared sonic signature, ID14s are used to cover the transept, choir, and overflow areas.
Le ID14 petit et efficace.
A similar system is deployed at the Kingwood Bible Church, where the main space is somewhat shorter at 55 feet, with relatively dry acoustics. A pair of ID14s cover the balcony areas and a single NEXO L18 sub extends LF response.
Un des ID84 de la Kingwood Bible Church.
The full system at the Kingwood Bible Church is powered by a single NEXO NXAMP4X1MK2, while the St Paul’s system uses an NXAMP4X1MK2, supplemented by a NEXO DTD/DTDAMP4x0.7 which powers the ID14s.
“The NXAMPMK2 is our go-to amplification solution” continues Devin. “Having pre-sets for every cabinet and horn configuration makes it quick and easy to configure systems that combine different speakers from the NEXO range. And it’s also very cost-effective. We can even use a couple of spare channels to power legacy speakers such as existing ceiling speakers in other rooms.”
Le Nexo L18, ou comment remplir son bas avec un seul sub.
Alongside its sonic and coverage characteristics, the form factor of the ID84 column is also well suited to liturgical spaces, with their typically vertical architectural features.
“People have said, ‘wow, the system sounds great, but where is it?’” says Devin. “It’s just another example of how the NEXO ID Series is so well suited for applications in houses of worship.”
With the professional audio industry roaring back to life again across all vertical markets—touring, festivals, theatre, corporate, install, immersive, and more—L-Acoustics has continued investing in its teams to ensure that it will smoothly and sufficiently keep up with customers’ needs.
From left to right : Laurent Vaissié L-Acoustics CEO, David Cooper Sales Director for Asia Pacific, BJ Shaver Sales Director for the Americas, Jacob Barfoed Sales Director – EMEA and Jochen Frohn Executive Director of Business Development.
Having recently announced the creation of a team dedicated to the Asia-Pacific region, the manufacturer now announces that it has created and filled three key Sales Director positions to match its regional operational structure: BJ Shaver for the Americas, David Cooper for Asia-Pacific (APAC), and Jacob Barfoed for Europe, Middle East, and Africa (EMEA). All three directly report to L-Acoustics Global Director of Business Development Jochen Frohn, BJ and David will also be developing regional sales strategies in close collaboration with Americas CEO Alan Macpherson and APAC CEO Tim Zhou respectively.
BJ Shaver
Based in, Arkansas, L-Acoustics Sales Director, Americas BJ Shaver has been with the company for over nine years, first serving as a regional sales manager for the southeastern US, and then later as an installation business development director, Install for the Americas. Before joining L-Acoustics, he spent six years with an AVL integrator.
David Cooper
Recently relocating from the United Kingdom to new L-Acoustics APAC office in Singapore, David Cooper has also been promoted to his current role as L-Acoustics Sales Director, APAC. Like Shaver, Cooper has spent more than nine years with the manufacturer as a sales manager and is well known throughout the industry for his prior 20-year association with Midas mixing consoles.
Jacob Barfoed
Jacob Barfoed, L-Acoustics Director of Sales, EMEA, is based in Copenhagen and a new hire to L-Acoustics. Barfoed comes to the manufacturer from Sony Professional, where he spent nearly two decades in various leadership capacities, the latest being head of European sales.
Jochen Frohn
“After a couple of understandably quiet years, the world is ravenous for live entertainment and, by extension, the technology to make those performances more memorable than ever,” says Frohn.
“By all early markers, 2022 is shaping up to be a robust year for L-Acoustics. To properly ensure that our clients are supported regionally with the highest level of experience, business acumen, and integrity, we’ve turned to three incredibly sharp professionals: BJ, David, and Jacob.
While they’ll lead sales teams with a local focus, they will also collectively contribute to a harmonized global strategy, working in tandem with our Application teams to ensure the highest level of support to our customers around the globe.”
The cream of the automobile industry and a host of celebrity guests gathered recently in the Chinese city of Hangzhou for the prestigious Super 818 Car Carnival Night, featuring a glittering and ambitious audio-visual programme, orchestrated by a networked DiGiCo system. Chosen for its capacity to simultaneously manage extensive optical fibre runs, multiple act FOH and monitors, advanced AV, and broadcast, the DiGiCo system was provided and operated by technical design team from DiGiCo’s distributor for the region, specialist sales and installation company, Racpro.
Staged in Hangzhou’s 80,000m2 Olympic Sports Centre, the event was created by auto internet services provider, Bitauto App, and broadcast giant, Zhejiang Satellite TV. The highly specified and creative gala presentation was designed with two performing spaces in the stadium, with the programme alternating between a performance stage featuring China’s top artists, and a state-of-the-art interactive car zone.
The star-studded artist roster for the evening was a huge-scale production, with large channel count requirements. National pop idols and supergroups graced the stage, including THE9, INTO1, Cai Xukun, Guan Xiaotong, Gina, Li Chen, Shen Tang, Kid Wang Linkai, Hard candy girl 303 and Ouyang Nana.
Leading automotive brands produced an interactive supercar showcase, featuring a 360-degree multi-level track, coupled with an immersive cross-screen technology, using mixed and extended reality sequencing dynamic landscapes, including mountains, seas and urban streets.
“In my opinion, DiGiCo is the only solution provider that could cover all of the bases on a show of this magnitude,” comments Zhou Fengxin, technical director of Racpro and sound designer for the gala. “I can’t think of another system that could manage long haul optical fibre, advanced AV practises, simultaneous festival level FOH and monitors… and broadcast!”
The hub of the audio system was a series of DiGiCo mixing consoles, connected over an Optocore fibre loop managing multiple long-distance runs. Two DiGiCo SD5 consoles were deployed for FOH and monitor audio for the artists, whilst an SD8 managed AV requirements for the car showcase, along with three SD-Racks. Finally, DiGiCo’s powerhouse Quantum 7 console was employed to command OB duties for national broadcaster, Zhejiang Satellite TV.
“Due to COVID restrictions at the time, the audience was kept to an exclusive guest list, unusual for such a large stadium. However, we spent 11 days working hard on the production and did not compromise on any aspect, with a full rig to provide a normal live environment for the artists and the VIP guest list,” concludes Zhou Fengxin.
“As expected, the DiGiCo consoles were amazingly easy to operate in a pressurised live environment, and were unfailingly trustworthy throughout the evening. We were really happy with the result.”
NEXO, a Yamaha Group Company, announces the appointment of Delphine Hannotin as Manager of its rapidly expanding Engineering Support Team. Delphine takes up her new post with the French professional sound system manufacturer on May 1st.
Delphine Hannotin
Based at the company’s Plailly campus north-east of Paris, the NEXO Engineering Support Team is already highly active in supporting production services providers, integrators and consultants with system designs and commissioning for live events and fixed installations. Delphine will focus on delivering similarly world-class technical support for the Group’s AFC immersive sound solutions, from project design through to system calibration. Drawing on 20 years of experience as a trainer at France’s Institut national de l’audiovisuel (INA), Delphine will also bring her commitment and know-how to the partnerships implemented by NEXO and its parent company Yamaha Corporation with leading universities and, of course, to the Group’s Audioversity training program.
Francois Deffarges
Commenting on the appointment, NEXO Director of Engineering Support François Deffarges says: “In 2022, we are strengthening our team again. Our occasional collaborations with Delphine on festivals and other projects over the years have recently become much more frequent with many projects undertaken jointly with Yamaha, so her appointment at NEXO is a natural evolution. Delphine’s skills, energy and personality will be important assets for our user clients, and her arrival in our division will further strengthen the ties with Yamaha Corporation.”
“Having joined the Yamaha Group in 2019, I’m looking forward to working with the team at NEXO in a function that will combine a lot of contact with both customers and R&D teams” comments Delphine Hannotin. “I’m passionate about sharing knowledge and providing support and advice, and the international dimension of my new role at NEXO is particularly exciting”.
Jean-Charles Juliat (on the right) successfully passed on the values of the family business to his sons François (left) ad Frédéric (center).
Located on the edge of the region of Picardy, the family business, Robert Juliat has made an art of combining the precision of a craftsman with the near insanity of new technology. François and Frédéric Juliat, General Managers of Robert Juliat, welcomed us with open arms in Fresnoy-en-Thelle at the heart of their factory to see their museum devoted to the history of luminaires and share their views on the future of lighting.
Interviewing an Empire
The Robert Juliat secret museum, Holy Graal of all lighting archeologists.
It’s quickly noticeable that, after close to 100 years, the family business hasn’t changed very much. Robert Juliat, one of the pioneers of live shows, has been able to keep its family heritage and independence, with their leitmotiv summed up by the sentence: “creating solutions for lighting designers, technically sound, and surprisingly simple”.
In four generations, from Jean to Robert, then Jean-Charles to François and Frédéric Juliat, they have built an empire that can’t be missed. Jean, 120 years ago, worked with Melies as a projectionist during the beginning of film-making. Hence, becoming one of the first lighting engineers, he had to master the magic of electricity.
Jean Juliat
He passed on his enthusiasm to his son Robert, opening one of the first post-war movie equipment workshops in 1919, on Rue Trévise in Paris. They made some of the first single-lens luminaires used to highlight the entertainers performing on stage, during intermissions, while the projectionist changed the film reels. Robert Juliat was becoming a legend at the early age of 25 years old.
Robert Juliat at the Paris Fair in 1922.
Jean-Charles, Jean’s grandson, who was already a skilled technician, boarded the family boat in the ’60s. Theaters and movie theatres were exclusively using, at that time, the soon-to-be outdated arc lamps. The evolution towards using Tungsten lamps enabled the company to leave the film market to the major companies like Philips, and devote their work to theater (stage) and architectural lighting which was led by Strand Lighting.
It was soon to be the Disco era, psychedelic oil-based effects, an orgy of gobos and colors, the beginning of showbiz, and its dedicated and specialized lighting. Between these different uses of lamps, Jean-Charles quickly understands the importance of the new discharge lamp, the HMI by Osram and the MSR by Philips that were available in the late 1960s
The father of all the followspots keeps an eye on the office.
The first HMI followspot, Pixie, appeared in 1976 and put RJ in the Hall of Fame of entertainment companies. Little by little it replaced the steel beast carbon-arc Super Trouper, made famous by the song of the same name by the group ABBA in 1980. It quickly became the companies’ trademark and evolved, with the progress in technology, with more punch and easier handling, along with the arrival of DMX protocol and the collaboration with AVAB.
This success paved the way for the constant growth of theaters and entertainment, encouraged by Jack Lang French Minister of Culture in the 1980s, and the development of Fresnel, Plano-Convex, and Profile luminaires. Long before Jean-Charles Juliat succeeded his father at the head of the company, Robert had already planned to leave Paris and move the company to a renovated post-war farmhouse in Champagne-sur-Oise.
This factory continued to grow with the help of distributors such as Collyns, however, they kept their offices in Paris, and later in Saint Denis (just outside of Paris) for their clientele. French stars such as Claude Francois, Bougliones, and Coluche continue to live in memory in the hallways of those offices. As the company became bigger it moved to the small town of Fresnoy-en-Thelle, it could then include everything necessary for manufacture, inventory management, big machines, customer services, logistics, and a research center. The company with its 10000 square meters and 70 employees has become an economic hub for this area.
The Robert Juliat factory in Fresnois-en-Thelle.
Followspots, the companies’ trademark, has opened the way for many other luminaires, such as the sacrosanct 614 and 714 profile fixtures, that have become the major reference of their type all over France. The expansion of theaters, encouraged by the Minister of Culture in the left-wing government, was going to fill up Robert Juliat’s order books like never before.
The Merlin followspot in Edimbourg, New Zealand, during the Military Band Festival.
During the 1990s, business in France slows down, the company concentrates more on its exports. A distribution network per country is set up. For more convenience, in 1997, sales, communication, and administration are all done in-house at the headquarters in Fresnoy-en-Thelle.
The 2000s mark the beginning of global expansion. The “French Touch” is the reference in followspots, obtaining many awards in specialized Trade Shows. The Cyrano in 1999, Super Korrigan in 2006, and the Lancelot with its top-of-the-line effects comparable to the best moving lights in the industry used for the 2008 Olympics, the Merlin and now the Arthur, tested here in this magazine.
Lancelot is used in top international shows. Seen here at the Bruce Springsteen concert in Milan, supplied by the American company Morpheus Lights, LD Jeff Ravitz.
François, the American Son, joined his older brother Frédéric in the family business in 2003 and developed the American and Chinese markets. Although the followspots are their iconic luminaires, François with his vision of sales and Frédéric’s talent enables them to market more and more modern fixtures.
Francois Juliat
As of 2008, with François at the head of the company, they are on the brink of their third technological revolution. After the halogen and discharge lamps, electroluminescent diodes become the light source. The Aledin profile, in 2010, was the result of a partnership and allowed the necessary amount of time for Robert Juliat to perfect the electronics and be self-sufficient. Two years later the Tibo and Zep were born, a giant technological leap forward for the homemade led light source.
In 2016, the Dalis bars, which are available in different models, encouraged the French company to collaborate with others who specialize in color sources. An engineering adventure that resulted in an innovative and exclusive luminaire, specially designed for live stage performances.
The Dalis patent led sources combined with small sophisticated asymmetrical reflectors.
Along with the 150 units bought by the Bolchoï, and the awards obtained in 2015 and 2016, Robert Juliat has secured its position among the elite of high-tech companies in the entertainment industry. After perfecting the use of the leds and mastering the slightest color, protocols (reseaux), and calculation algorithms, a whole new frontier opens up for Robert Juliat.
The SpotMe tracking system, combined with the Maestro server in collaboration with the company Zactrack, is compatible with all makes of lighting desks.
In 2019, with the collaboration of the Novum studio, the SpotMe system presented an “on-the-fly” tracking solution, innovative as ever. Today the research department is studying and dissecting the RDM and sACN protocols, to make the system more and more user-friendly.
Always looking for ways to improve and innovate Robert Juliat, the “grandfather” of lighting companies, is a maker of award-winning luminaires in France, and it’s what keeps them young, François, worthy successor of the family business, has kept the same excellence in craftsmanship as his forefathers and is amazed by the possible inventions of tomorrow.
General presentation of the company by François Juliat:
A quick history of the profile luminaire
After our visit to the past, Sévrine Zucchiatti, communication manager, and Ludwig Lepage, product manager, will walk us through the evolution of the Robert Juliat profile luminaire, and remind us of the very many innovations over the past decades.
This quite unique mix of traditional craftsmanship and state-of-the-art technology deserves our greatest respect for the innovations that have been made to the once “basic” lighting fixture used in theaters.
The renowned 614SX profile spot.
The 614SX is timeless, the quintessential 1000W halogen profile is over 30 years old. For generations technicians have memorized the positions and uses of the “knobs” for the lenses, clamping the shutter blades in their position, inserting gobos and color filters (gels).
Not forgetting the maybe lesser known handles to unblock the yoke, the iris/gobo double slot, 8 blade insert, internal gel holder, and the possible barrel rotation. Over the years, numerous little changes, almost going unseen, perfecting the optics, mechanical fine-tuning, and different materials used to enhance its performance.
Later followed other models with the same basic features: the 613SX with a 28 to 54° zoom, the 611SX zoom of 11 to 26°, thus adding to the 16 to 35° zoom of the 614SX. Then came 714SX and SX2, “SX” standing for their double condensor optics, the “2” meaning it can house either a 2000W or 2500W lamp, and a 15 to 40° zoom. The 710, 711, and 713SX2 have zooms of 10 to 25°, 8 to 16°, and 29 to 50° respectively.
François Juliat, Robert Juliats’ grandson, continues the families’ fascination for lighting by creating the Sully.
The Quincy, a lesser known model using an MSD 575W lamp, and the Artagnan 930,933 and 934NSX, using an MSD 2500W lamp, are an incursion into the use of discharge lamps, enabling the use of DMX to control the shutters and striking of the lamp. Widening the range available, always using the French know-how for generations.
With the advance in technology Robert Juliat had been looking into new led light sources, they were the first to use an 85W led block in 2010 with their Aledin. This type of led block could be used instead of, and in place of, the halogen lamps of the series 600SX turning the existing luminaires into more ecological ones.
The 3 models similar to the ones using tungsten lamps, 631,633 and 634SX had 40% less output, had room for improvement, and were quite a bit heavier, however, this new technology was ready for lift-off.
True to French engineering, Robert Juliat had always designed its own PCB*, including the control and ventilation modules, and Osram led modules. (*: Printed Circuit Board)
Aledin Video:This was the presentation of the totally new concept at the time, and is perfect to rediscover the 600SX profiles.
A few years later, in 2012, came the ZEP series, shown here, and/or the Tibo here in a new and improved model. The size and structure of the ZEP 641, 643, and 644SX2 were similar but with a bit bigger zoom barrel and the rear body of the 611, 613, and 614, using warm white or cool white 150W led module, complete with a menu and DMX connections or wireless option. The result is very close to that of a 1000W halogen lamp and a color rendering of 70. The Tibo series, smaller in size are ideal for architectural lighting or sales conventions, they have slightly simplified optics and accessories, and an output of a 600W halogen lamp.
In 2018, the ZEP2 series was equipped with a new Osram led block, also 150W but with more output and a color rendering of 92. For the first time, the ZEP2 641,643 and 644SX2 had an output almost identical to the 600SX with tungsten lamps. Using a 300W led block the ZEP 661,663 and 664SX2 were giving the traditional 2KW profiles a run for their money, the cool white version out-scores a 714SX2 with a CTB filter (gel). Admittedly the ZEP series is longer and heavier than the tungsten ones, their led blocks are not adaptable in the standard profiles, however, the quality of the light output is such that they should be considered to replace an entire stock of profiles in a theater or on-hire.
Alice, one of the first led followspots, used a 600W led module.
The Charles profiles, known as 961,963 and 964SX, are beginning to compete with the Artagnan which uses a 2500W HMI lamp. These monsters, by their size and output, use a 600W 5600K led module, identical to the first led followspots, the Oz and Alice. Available since 2019, they haven’t had the exposure expected due to the Covid-19 lockdown, halting almost all shows and events.
The two happy fathers of the Sully module: Thierry Dupont and Ludwig Lepage.
It takes more than a pandemic to discourage the French company. Their latest innovation is a led module interchangeable on the SX2 profiles, called Sully. Tested here.
It is overwhelming how the light output is far beyond that of the traditional profiles. Helping theaters to advance with this new technology, led sources, state-of-the-art networks, and an array of light sources, Robert Juliat continues to innovate with the Sully and Tibo HE series.
The factory strikes back
Even with the Covid-19 crisis, Robert Juliat, strong yet (modest?) humble, continues to carry the family colors. Robert Juliat, along with other French companies in the S1Bis sector, were helped by the UDFM association and the French government, they adapted their production line and were able to keep all their employees with partial unemployment. Keeping their head above water wasn’t easy, comparable to the 2008 crisis or the post-war era. The 100-year-old company, with its diverse clientele onstage, shows, TV, theaters, and over 65% of exports was able to clear the rough waters.
Our personal tour guides : Séverine Zucchiatti marketing manager, and Frédéric Juliat General Manager.
These difficult times have proven that the companies’ strategy is the correct one. It’s the mastering of many different technologies, reducing the number of outside suppliers, and a quick turn-around time that enables Robert Juliat to look calmly into the future. Their work with led sources, the future of lighting, and the technological challenges to creating such products as SpotMe and the Sully 4C inspire lighting designers and technical directors
This DNA is obvious as we visit the maze of this factory. Séverine and Frédéric, our guides, have planned an in-depth tour, of the birth of a luminaire from a few grams of metal, a lens, some bits of plastic, and some electronics. Beforehand we must, as in a maternity ward, wear protective clothing as per the French regulations, including those very stylish shoe coverings. The numerous and sometimes complex regulations are often questioned by many, however, they are the guarantee of quality and meet international standards. Robert Juliat has always been ahead of its time in terms of quality and standards, thus being able to easily export to North America or Asia.
The factory is buzzing with sixty or so employees, about 40 of them working on the assembly lines. The metalwork, with the automatic punching machine, is the heartbeat gobbling up pallet after pallet of sheet metal. The huge robotic arm switches between different tool bits. The sheet metal is bent and put into shape flawlessly nonstop with the grace of a dance routine, almost hypnotizing. The old hand-driven machines on the side seem to be looking on as impressive cutouts are easily done, almost a relic from the past like all the bygone machine tools, they needed almost ninety people, to turn out a few hundred luminaires per day in the 1980s.
The Innovation Award, at the Plasa Awards, was won by Robert Juliat in 2018 for the SpotMe system.
The company stands by its French craftsmanship, and know-how is what its demanding clientele is looking for. This also applies to being self-sufficient and using local suppliers, better turn-around times, and very rarely slowing production. Robert Juliat still has requests for the older versions of luminaires, even with the standardization in 2010. From the 1000W to the 5000W models (even though discharge lamps have practically become obsolete) over 3000 halogen luminaires were made in 2021.
There are no leftovers once the punching machine has finished its “meal”. It outputs the luminaires’ pattern complete with grids, and grooves, ready to be shaped. As soon as the series of luminaires, or types of luminaires with the same module, is decided upon the layout per sheet of metal is optimized to limit the amount of wasted or leftover metal. All of the leftover metal, or scraps of metal, are recycled via their local suppliers, thus reducing their carbon footprint as much as possible.
The factory is like a mechanical wilderness, where the sounds of the punch press are similar to mating calls in the forest, and the folding of metal cut-out patterns are giving birth to luminaires. Metal bars, 6 meters in length, are cut and bent into the shape of the luminaires’ yoke, this is where metalwork meets show business. As different shapes are needed along the way, the machine operators change the different molds needed. Fresnel 310 sides, the back section of a Sully or the ZEP bases, these semi-automatic folding presses are outputting the parts that will become professional lighting fixtures.
In the photo above, during the Prolight + Sound 2019 edition, from left to right: François Juliat, Ludwig Lepage (Product Manager), Thierry Dupont (International Customer Manager), Manon Faor (ADV??), Claus Spreyer (Director of Sales) and Séverine Zucchiatti (Marketing Manager).
Adjacent to the machines, workers and specialized workers are riveting and welding in step. It is all about teamwork, co-workers depending on each other, and each generation passing down their knowledge and skills to the next. The PC (Plano Convex) Lutin, as per their historic conception are still handmade with care. The led luminaires, with their recognizable honeycomb grid, require other skills, the art of cabling and electronics. Repetitive tasks on the assembly line are waived by the engineering and the use of leds.
The Covid years had a major impact on the supply chain of raw materials. Wood, metal, textiles, and also paint, electronic components, and freight, in general, went askew. With the surge in investments for the upcoming summer events and last-minute orders due to the end of the fiscal year, our stocks were quickly dwindling. Luckily, the factory’s swift responsiveness, using identical parts for different models, along with local subcontractors, were able to meet the demands. All orders were delivered within 6 weeks, without employee overtime nor temporary labor being necessary.
It was barely visible that Covid had slowed production, except in the painting section where the luminaires were starting to pile up from the lack of paint. The de-greasing shop looked somewhat like a car shop, racks of luminaires were swallowed up into the chemical-free “vacuum” area to catch up with the backlog. Painters apply solvents and powder in the extraction cabins, then like clothes pins on a washing line, the luminaire bodies go on a roller-coaster ride to the drying chambers in the basement then to the first-floor ovens. Once dry, the parts are separated by type and model ready to be assembled.
The hatch door of a Sully, the fruit of the company’s imagination, is being inspected by Frédéric Juliat before being mounted.
Up on the first floor, the mood is studious around the workbenches. Like an orchestra following music composed by the research department, electricians cable the power sources, opticians seal lenses in place, and electronics engineers couple components. The parts supplied by subcontractors are quality controlled and tested before their use. The light sources are ready and are just awaiting approval, before moving along on the escalators down to the ground floor for final assembly.
Although each step is highly specialized, they are all part of the overall picture. From creation to assembly, the production line is constantly adapting to change, something that s vital seeing that every three or four years a new technology emerges. The engineers are raised on mechanical precision, thrive on industrial electrics, surf on electronic waves, and dream of new optics. They have the knowledge, the know-how, and put it all together with care to make a product that is efficient and timeless. This mastery of the components, and their track record, the luminaires are “followed” to ensure easy maintenance, repairs, and/or replacement of parts.
The experts in the research department in Fresnoy-en-Thelle.
In a large room, using solar-energy lighting, a string of workspaces use pneumatic tools, and motorized hoists on beams to move the bigger heavier parts. Depending on what has been ordered, from the light source to the accessories, all of the pieces gather to form either the small Lutin or the impressive Lancelot luminaire. Each one is checked one last time in the testing area, before being carefully packed into boxes, unless it is sent off in a flight-case made to measure by our nearby trusted partner, LikeCase.
Protected in their special crates called “Wrap”, these luminaires are waiting to be sent off to their future owners.
Our story has come to its end, a historic adventure, both human and industrial with one of the last great names in French lighting companies. The rest of the day was spent in the Research and Development offices, soaking in the research on PID RDM by Thierry Dupont, and the certification of the latest nodes to be embarked in the latest Sully.
The Sully 4C is a new RGB Lime led source, that can be installed in your old models of profiles, are already in use in the Fresnel, profile, or follow spot in this line. The future is written in color.
Seeing it from the users’ view is their strength, this is what has made the relationship between Robert Juliat and the client special for over a hundred years. One hundred years of technical knowledge and research, not only makes great equipment, it makes Robert Juliat an ambassador of lighting.
Housed inside a former World War II submarine base in Bordeaux, France, Bassins des Lumières (“Pools of Light”) claims to be the world’s largest digital art center, with more than 13,000 square meters of projection surface to back up the claim.
CAL (Column Array Loudspeaker) The “32” version stands for 32 separate amps and transducers made of eight 4” cone drivers and twenty four 20 mm tweeters. The frequency response goes from 105 Hz to 15 kHz ±4 dB. The linear peak SPL at 30 meters reaches 101 dB with 18.5 dB crest factor.
But the immersive exhibitions of classical and contemporary art are not only a visual experience, as each program is accompanied by a complementary and equally enthralling musical score. For precisely controlled and full-fidelity reproduction throughout the highly reverberant spaces, Bassins des Lumières relies on zoned distributed systems of more than 80 Meyer Sound loudspeakers, including — for the most problematic acoustics — 36 CAL® 32 column array loudspeakers with advanced digital beam steering.
Philippe « Wojto” Wojtowicz, CADMOS Project manager and sound designer.
All video, audio, and lighting systems for Bassins des Lumières were designed and installed by the French integration firm CADMOS. Project manager and sound designer was Philippe Wojtowicz, aka Wojto, who worked in collaboration with Best Audio, Meyer Sound’s French distributor, on the audio side of the endeavor.
A Meyer Sound system was advanced as the preferred solution for several reasons, according to Wojto. First because all loudspeakers are self-powered, this would avoid long speaker cable runs and eliminate amplifier heat buildup in the control room, where ventilation is difficult due to the thick, bomb-resistant concrete walls. Another factor was the precision variable coverage provided by the CAL 32 column array loudspeakers.
“With the water and the flat concrete walls, this is an extremely reverberant environment,” notes Wojto, “yet we had to cover all the places where people would be standing with uniform sound levels. This would be almost impossible with conventional loudspeakers, but with CAL 32 we could focus the sound only where it was wanted. Depending on the placement, we would adjust the beam to between 10 and 15 degrees with a tilt between 7 and 20 degrees, giving us a defined range of about 15 meters.”
Several other locations requiring broader coverage patterns with very high-quality sound are served by Meyer Sound’s ULTRA-X40™ loudspeakers, with a total of 12 deployed. “We are using these for spaces in the quay and we are very satisfied with the performance,” says Wojto. “They are powerful, precise, yet discreet.”
The audio systems also include 10 slender UPM-1P™ loudspeakers and, for low-frequency extension, 33 USW-210P™ subwoofers.
The USW-210P sub.
“The management of Bassins des Lumières has been very satisfied with the rendering of the sound, particularly given the extremely difficult acoustical spaces,” says Wojto.
On the visual side, the artworks are displayed with brilliant intensity and exacting detail by 95 Barco projectors, with content sourced from more than 30 Modulo Kinetic media servers.
Bassins des Lumières was created by Paris-based Culturespaces, operating under a lease agreement with the owner of the property, the City of Bordeaux. Conversion of the bomb-damaged structure into a stellar showplace of art required an investment of more than 10 million euros by Culturespaces. Construction began in 2018, with the first pandemic-limited exhibition — featuring the works of Paul Klee and Gustav Klimt — debuting in June of 2020. Current on the program are Venice, the Serenissima; Sorolla: Walks by the Sea; Recoding Entropia; and Cell Immersion.
Creative Technology is proud to announce that it is the first company in the Middle East region to have made a huge investment in the latest Ayrton lighting fixtures. With the Middle East being a central hub for indoor and outdoor spectacular events the company wanted to ensure its clients can light up their celebrations with the latest pioneering lighting solutions.
Sam Connolly Head of Lighting at CTME comments, “Ayrton is recognized as a world class brand which always pushes technology and design to the limit. They are full of innovation, power, versatility, and unbeatable reliability and I am extremely excited to have these new fixtures added to our existing stock. The investment we have made is unique to the Middle East as we can now offer our clients premium lighting packages for all their indoor and outdoor events across the GCC.”
“After many hours of discussions and shoot outs, the Ayrton 3 series consisting of the Diablo, Levante and Karif LT became the clear choice, with the Perseo Profile adding the extra output needed to get as creative as it gets,” says JP – Brand Manager at NMK Electronics. “We are extremely glad that one of the leading events and rental companies in the region has chosen Ayrton as their preferred fixture for their latest inventory upgrade.”
Andy Reardon Managing Director of CT Middle East says, “We are committed to providing our clients with the very best full-service solutions, which is why we continue to invest in event technology in the region. We made this investment recognising that CT can be a one stop solution partner for our clients, ensuring quality products, a world-class bespoke service, and the best team on hand. We are proud to have expanded our lighting stock and excited that we can offer this service to meet large and small event requirements across the Middle East.”
“We are very thankful and proud having Creative Technology as a new member in the fast growing, global AYRTON family,” adds Michael Althaus, Global Sales Director of AYRTON. “In particular an investment throughout the AYRTON range and not in just one particular product means a lot and confirms the right positioning of our product portfolio, both with IP20 and also IP65/66 solutions.”
For more information about Creative technology, you can visit www.ctme.co
An exciting new initiative and a first for Australia, the renowned Adelaide Symphony Orchestra (ASO) recently transported the performance out of the concert hall and into the outdoors to present the Festival of Orchestra (FOFO), a six-concert series celebrating an eclectic mix of musical genres.
Supported by the Australian government’s RISE Fund and technical partner, Novatech Creative Event Technology, the event was staged at the Adelaide Showground, with the stage for the 5000-capacity central arena fitted with three large LED screens in different configurations throughout the six concerts. Brompton Technology’s LED processing was deployed throughout, giving an overwhelming sense of visual grandeur to the stunning music performances.
Established in 1936, ASO is South Australia’s largest performing arts organisation, with a membership of 75 world-class musicians, renowned for a diverse and versatile repertoire. The aim of the new festival series was to bring the world of orchestral music to a broader audience, opening with a traditional Classical concert, followed by the Ministry of Sound Classical, the epic Carmina Burana with massed choirs, highlights from Broadway musicals, a rock band fusion with The Angels, and culminating with the BBC’s extraordinary Blue Planet II comprising a score by Hans Zimmer and a special guest narrator.
To complement this extraordinary musical programme, ROE Visual Carbon CB5 panels were selected for their exceptional brightness and low weight, with the central LED screen used as a visualization tool displaying a mystical ensemble of otherworldly shapes that pulsated with the music, as well as pre-recorded video footage and holding images.
The remarkable centre display was flanked with two IMAG side screens. Novatech deployed two 4K Tessera SX40 LED processor and four Tessera XD 10G data distribution units for the main screens, along with a Tessera S4 LED processor for an additional surtitle screen for one performance, bringing bullet-proof reliability to the video setup.
“Brompton is an industry leader and simply gives incredible results for the LED screens. The Tessera software and interface is so easy to use in a show environment, with its live canvas making complex multi-screen setups extremely easy to coordinate and align,” comments Ashley Gabriel, Director of Sales & Marketing at Novatech. “This proved incredibly helpful as we had different sections of input going to different screens on every performance.”
4K Tessera SX40 LED processor.
Tessera XD 10G
The technical delivery was a collaboration between the ASO production team, Novatech and event rigging specialists, Nexstage. Production designer Jayden Sutherland from The Bakery Design Co., was appointed by the ASO to oversee all stage, lighting and video aspects of the event. Novatech also supplied all equipment for the technical production of the event, including rigging, audio, lighting, video and comms.
“Novatech has been working with the ASO for over a decade, and in a formal partnership for the past six years. We understand their production values and standards, and their commitment to presenting a high-quality product for their diverse audience. It was only natural that we would get involved in their inaugural FOFO concert series,” says Gabriel. “Brompton reliability is absolutely key. We always know when using Brompton processing that we will have trouble-free setup over complex screen layouts, unbeatable reliability, and can meet the most stringent visual requirements.”
“Festival of Orchestra is possibly ASO’s largest ever undertaking. Having worked with Novatech for over a decade, they really understand our business,” says Vince Ciccarello, Managing Director of Adelaide Symphony Orchestra. “Orchestras are unique beasts which have very special needs, Novatech has been brilliant at understanding those and delivering on them. It’s hard to imagine how we would’ve delivered this project without a local partner like Novatech on the ground. The fact that Novatech is local means that they not only know this venue and site, they’ve been able to do recces at short notice, they’ve been able to plan, meet, get onto issues as they arise, and be out on site on a regular basis with the attention to detail that has been critical for such a big undertaking.”
As the festival was held in early summer, the weather threw everything at the production, from cold and windy nights through rain to steamy and hot conditions, “but at all times the Brompton processors performed flawlessly, and the series was a resounding success.” Gabriel concludes.
The Harbour Club brand is renowned in the Netherlands and around the world for its distinctive blend of quality, mouth-watering, high-end cuisine, vibrant international ambience, stunning industrial backdrops, and cool contemporary art, offering a unique dining-based experience that’s stylish and fun.
The latest evolution in this successful concept is the just-completed The Harbour Club Theater, an exciting brand-new 300-capacity purpose-built performance and event space located adjacent to The Harbour Club’s flagship restaurant Amsterdam Oost. It extends the opportunity of sampling exquisite food whilst enjoying top-notch entertainment, starting with the show VEGAS starring Dutch magician and world level illusionist Hans Klok, plus a cast of eight dancers, four singers, three acrobats and a live band.
(left to right) Marc Fijters (Controllux), Bob Nieuwland (venue technical manager), Benny La Maitre (lighting designer) and Hans Peitsman (Peitsman Licht en Geluid )
Lighting for this exclusive new venue has been designed by Benny La Maitre, who put 24 x Robe T1 Profiles, 28 x LEDBeam 350s and six Spiider wash beam moving lights at the centre of the rig.
This is part of an overall next level production design encompassing audio, video, staging, pyro and SFX, all planned and co-ordinated by The Harbour Club technical manager, Bob Nieuwland, who started the design process by drawing up the set in WYSIWYG. He then asked Benny onboard to fine-tune the details which included the swapping of some lighting fixtures once the final look of the set was established.
The lighting was delivered via Rotterdam-based Peitsman Licht en Geluid (Peitsman Lighting & Sound) headed by Hans Peitsman, one of several companies asked to quote on supplying a technical package that will include ongoing support, based on a comprehensive brief developed by Bob for The Harbour Club Theater.
Bob has been working for The Harbour Club for several years, looking after all their technical and production aspects, so when the theatre project re-energised as Covid restrictions were gradually lifted (the initial venue / show ideas were germinating before 2020), he asked Benny onboard to create an appropriate lighting design.
VEGAS in The Harbour Club Theater is a lively combination of genres – theatre, cabaret and music – for which Bob knew that Benny’s work and skills would be “a perfect fit”. In addition to staging their own world-class productions, the location of The Harbour Club Theater is available for select private hires and business events for which there’s already a queue!
Bob and Benny were both instrumental in specifying Robe for the moving lights, together with a list of lighting ‘must-haves’. These included compact fixtures as the headroom above the stage to the LX bars is tight and consequently the lights had to be quiet as well as camera-friendly for recording or streaming. In keeping with The Harbour Club’s vision, the technical design demanded premium brands, so Robe was a great fit, together with the L-Acoustics system and audio design by Jeroen ten Brinke.
“Flexibility had to be at the heart of the lighting system, as the needs for the show and also the room architecture are diverse and can and do change daily, often at the last minute,” explained Benny, adding that he also wanted to keep the design ‘clean’ with just a few key types of multi-functional signature fixtures. These also had to be LED.
Robe’s T1 Profiles were chosen for their finessed theatre features, compact size, fantastic colours, silent operation and “ideal for the space”, says Benny. They are used for all the base front and back lighting. He has lit several other projects with T1s including a variety show starring Herman Van Veen and thinks it’s an “amazing” fixture.
Benny La Maitre on the left with Bob Nieuwland.
The LEDBeam 350s are for side lighting, positions where they needed a small bright light with a quiet zoom. Originally the plan was to have Robe’s tiny LEDBeam 150s in these positions, but as the 350 version was launched earlier in 2021, these were swapped for the more powerful lights. The Spiiders are currently being used as a flexible floor package which can also be rigged over the stage if required.
Benny has been a Robe fan since the launch of the DL series – Robe’s first-generation of theatre / performance specific LED luminaires – and since then has regularly spec’d the brand for his designs. Benny and Bob are both confident that this design and these Robe fixtures will provide all the lighting adaptability, creativity and production values needed to enhance the quality of The Harbour Club Theater experience. All lighting is run from a grandMA3 console.
The Harbour Club Theater’s interior design is visually rich and beautifully detailed, from the array of tactile and shimmering finishes and colours to the fresh, glamour-hustle original artworks of Italian-Dutch neo-pop artist Selwyn Senatori, positioned incidentally around the space for max impact. The venue’s aesthetic has been thoughtfully imagined by one of the owners, all adding to the elegant, funky, and swanky mood.
The VEGAS show differs from other ‘supper club’ models with its stand-alone thread rather than a linear narrative. The storyline is based around the activities of a high-end Las Vegas hotel, in which guests visit different levels throughout the evening, leaving the theme open to individual interpretation and the producers enough latitude to present a range of artists – anything from Sinatra-esque to Pink, Hans Klok, Martin Garrix, etc. – who can be anywhere: in the cocktail bar or in the sophisticated nightclub.
“We are definitely on a journey far beyond Las Vegas from Amsterdam East,” concludes Bob.
For more press info about Robe lighting, you can visit www.robe.cz
Nashville-based CTS AVL, a full-service audio, video and lighting company specialising in live events, has expanded its lighting inventory with a large complement of Ayrton Khamsin profile and Mistral-S ultra-compact spot luminaires. ACT Entertainment is the exclusive distributor of Ayrton lighting fixtures in North America.
CTS AVL had been an audio company for almost 40 years when it branched out to video and lighting about half-a-dozen years ago. The addition of Ayrton Khamsins and Mistrals, the company’s first Ayrton purchases, offers more high-end lighting options for customers across all markets and across the US.
“We needed a high-output fixture with framing shutters and an LED source,” says lead lighting technician, Carter Ranson. “We were looking for something with a big feature set. I saw Khamsins in use on the road and loved the fixture, and from the research I did they seemed very robust. Then I got my hands on Khamsin at LDI 2021.”
He expects CTS AVL’s roster of Khamsins to be used mostly as key lights thanks to their even, flat field. They will also be in the rig to create aerial effects and light scenic elements. “We’re getting ready to do several large-scale corporate projects back-to-back, so there was a big push to get the Khamsins in for those events,” notes CTS AVL vice president, Mike Taylor.
The Mistrals will be slated for aerial effects and back lighting, according to Ranson, who saw the fixtures at LDI and in use at Nashville’s famed Ryman Auditorium. “We love how small they are for such a big output,” he says. “We can fit four in a case, which is really nice for us.” Taylor explains that, “as a company working nationally, getting the most out of our truck space is a big deal.” Ranson also points out that, “the Mistrals will integrate well in the rig with our Khamsins – a lot of the gobos are the same, and they’ll match colours easily.”
Taylor notes that CTS AVL has a long history of acquiring its inventory from ACT. “We’re a specialised, boutique-style company that doesn’t invest in hundreds of lights at a time, but ACT has always made us feel just as valued as the larger companies they deal with.” In addition, Ranson cites ACT’s “excellent support in the field. I always get answers quickly when I need them.”
More information on Ayrton Khamsin, Mistral and the full portfolio of innovative Ayrton LED fixtures can be found at www.ayrton.eu
Genelec has further expanded its Smart IP family of installation loudspeaker systems with the introduction of the super compact 4410 loudspeaker model and a new Smart IP Controller app. The 4410 joins the existing 4420 and 4430 Smart IP models to cater for an even wider range of applications and room sizes.
The free Controller app provides the end user with instant and intuitive control of key loudspeaker system functions including mute, volume control and power on/off, plus overall zone control.
Originally launched in 2019, the Smart IP loudspeaker range combines exceptional sound quality with single cable convenience, providing scalable power, audio and management features via a standard CAT cable. Offering extraordinary coverage, clarity and intelligibility, all models are compatible with both Dante and AES67, and derive power via PoE and PoE+ Power-over-Ethernet formats.
Measuring just 181 mm in height, the active two-way 4410 is perfectly suited to smaller spaces, yet its proprietary internal power supply helps to produce an impressive 100 dB of short term SPL.
La réponse en fréquence dans et hors de l’axe.
The 4410 supports up to eight audio channels in a stream with sample rates of 32 – 96 kHz and 16 – 24 bit resolution and delivers a frequency response of 67 Hz – 40 kHz, via internal Class D amplification stages driving a 3 inch woofer and 3/4 inch metal dome tweeter.
Created in conjunction with leading industrial designer Harri Koskinen, the 4410’s aesthetically beautiful Minimum Diffraction Enclosure is fashioned from recycled aluminium and utilises Genelec’s trademark Directivity Control Waveguide, to ensure precision and clarity both on and off axis. Built to the highest environmental standards in Iisalmi, Finland, the 4410 is available in black or white finishes, and a wide range of accessories ensures that the 4410 can be mounted quickly and conveniently in almost any location.
As well as receiving both power and audio-over-IP, the 4410’s single rear panel RJ45 connector also allows access to Genelec’s Smart IP Manager – a sophisticated downloadable software tool running on Windows 10 that allows installers to configure an almost unlimited number of rooms, zones, loudspeakers and audio channels, and includes device discovery, a versatile room equalisation tool set, system organisation and status monitoring.
Smart IP Manager.
Once the installer has used Smart IP Manager to configure and optimise the system, the end user can then download the free Smart IP Controller app onto their smartphone or tablet (iOS or Android) for instant fingertip control of mute, volume control and power on/off.
The Controller app will automatically discover the loudspeakers on the network, and offers a clean and intuitive user interface that both experts and non-technical staff alike will find straightforward and satisfying. Access to some or all of the zones created during configuration can then be assigned to the app, thus ensuring that the appropriate levels of access are granted to each end user.
Le directeur commercial de Genelec AV, Sami Mäkinen.
“The compact 4410 is a natural and welcome extension to our Smart IP loudspeaker family, while the Smart IP Controller app is the perfect tool for less complex installations where comprehensive touchscreen control of the system isn’t always required,” comments Genelec AV Business Manager Sami Mäkinen.
“The 4410 is perfect for those installers looking for big loudspeaker performance from a small footprint, while the Controller app provides a simple, low cost alternative to third party house automation systems. We’re sure that installers and end users alike will warmly embrace these new additions to the growing Smart IP family.”
Das Duell um die Welt (‘The Duel around the World’) is a popular game show that has been broadcast on Germany’s ProSieben network since 2012. In the two-part show, moderators Klaas Heufer-Umlauf and Joko Winterscheidt first have to face a series of challenges in different countries around the world before returning to solve further tasks in the studio for the respective countries in the second half.
Since 2014, mdc licht.gestalten.gmbh & co.kg has been responsible for lighting technology for the show, produced by Florida Entertainment GmbH with lighting designer Jonas König. The final season aired live on 4th and 11th December 2021, and an episode for 2022 was taped during this production period. MLS Magic Light & Sound GmbH are the lighting suppliers for the show, which is produced in the Bavaria Studios in Munich.
The studio itself consists of a spacious playing area surrounded by long LED banners and spotlights. A lighting matrix of 141 GLP impression X4 moving lights hangs above the playing surface. “I’m a big fan of clear and neat designs,” says Jonas König. “Consequently, I had a design in mind for Das Duell um die Welt that can react flexibly to any requirement and at the same time look clean. The show requires great creativity, because there are always many different, unexpected, sometimes crazy things happening.”
The X4 matrix serves as a show and key light. The two-dimensional division of the devices allows each position to be illuminated individually in a relaxed manner. The impression S350 spots, on the other hand, are used for fixed moderation positions and are occasionally used to emphasise smaller objects. Since these positions are fixed in advance, the S350 can be planned accordingly.
“Both the X4 and the S350 are very small yet powerful devices,” notes König. “I find the output very harmonious in comparison to the chassis size. The devices are always available on the market in sufficient numbers and have an extremely low failure rate. With the low power consumption, it is also possible to produce the show in a climate-friendly manner, which is rightly becoming more and more important.”
Jonas König is accompanied during production by Christoph Dahm (technical director), Fabian Schmidt (moving light operator), Florian Penzberger (gaffer), Tobias Grabosch (white light operator) and Jens Probst (media server operator).
Grammy award winning musician, singer, songwriter, actress and producer St Vincent (Anne Erin “Annie” Clark) is as exciting as a live artist as she is accomplished and provocative as a music creator, renowned for highly visual performances, an invigorating mix of grittiness, conceptual art and superlative music, so this was a great match with lighting designer Paul Normandale, who also has a penchant for imaginative risk taking.
Paul designed the set and lighting for St Vincent’s most recent Daddy’s Home tour following the launch of the highly acclaimed album of the same name. He worked closely with the artist who had numerous ideas about the style she wanted onstage, and after some creative brainstorming, Paul evolved a dynamic set and lighting scheme to bring flexibility, texture, depth, and dimension to the stage that was also practical and tourable.
Right at the core of the touring lighting system were 19 x Astera Titan Tubes
These were fully maximised as scenic, practical and effects light sources for the floor lighting rig which was based around a 16ft diameter revolve stage built by All Access. This touring lighting / set package was installed underneath the top lighting at each venue and facilitated the fluid dramatic theatrical style scene changes and backdrops supporting the show’s dynamics and narrative.
Running fully wirelessly, 13 of the Titan Tubes were a perfect solution for a light source on the back wall of the motorised revolve set piece. Attached at jaunty angles to the wall with a series of spring-clips for quick and easy rigging, the Titan Tubes worked as both a solid back light fixture on one side and as blow-through in conjunction with a semi-transparent cloth on the revolve wall which spun around 180 degrees to create a complete cityscape.
The remainder of the Titan Tubes were positioned on the floor along both sides of the revolve wall to provide up lighting for the background vocalists. During the song “Sugarboy” the backing vocalists unclipped three of the Titans from the back wall and used them as illuminated props as they danced around the stage.
“Combining the essence of old-skool theatre with the revolve and different backdrops and contemporary technologies – the Titan Tubes – meant numerous different environments skillfully could be created to reinforce each song,” explained Paul. From fast-strobing effects to beautifully subtle pastels to rich electric neon colour palettes, they helped bring elements of surprise, ambience and visual flourishes of soul, jazz, rock, and other genres to the stage and were “worked very hard throughout the set.”
Paul’s UK-based lighting rental company, Lite Alternative, owns Titan Tubes and Astera AX3 LightDrops, and he has been using products on different shows and events for some time. “The quality of the light is excellent, and they are extremely well packaged, so you have everything you need to hand.”
Operating lights on the St Vincent tour was LA-based lighting specialist Tess Falcone. It was the first time she had worked with Paul, an opportunity she relished, commenting that “his creativity and industry knowledge is impressive, so I was over the moon to collaborate with him and help achieve his goals for the show.”
Tess also enjoyed working with the Titan Tubes describing them as “an incredible fixture” and observing that they stood up remarkably well to being ripped off and pushed back onto the scenic wall and sometimes accidentally dropped! She was also impressed with the battery life.
“They are a beautiful light source,” she said, adding that they did some video and TV shoots on the tour using the Titans where they didn’t have their full lighting rig, including at Austin City Limits and for the Jimmy Kimmel Live show. “They are fantastic on camera as well as in person. We used them as front light and as an effects light and the light quality is really solid for both applications.”
The battery powered / wireless DMX functionality meant Titan Tubes could be deployed around the stage with a very expedient footprint for these shows, enabling “some really different looks, even without the rest of the full show.” They were also ideal for the smaller gigs where it was impractical to fit many lights onstage, so Tess positioned them on top of amps or around the stage on their stands to create straightforward architecture and effects without impeding the backline.
Tess and her partner, Dan Hadley, first used Astera products – AX1 PixelTubes – for a Jimmy Eat World video shoot in 2020 and loved them. Hanging down from a truss structure rigged with a fishing line – thanks to their light weight – the AX1s created a perimeter around the band that “looked absolutely beautiful,” she elucidated. In addition to the experience of working with Paul, Tess loves St Vincent’s music and enjoyed working with this incredibly talented artist who is tuned-in and interested in every aspect of her live performances.
Tess hopes there will be the opportunity for more shows this year. “All credit to Paul for creating such a wonderful world for us to work in,” she concluded.
Domino LT is the first all-terrain LED luminaire in Ayrton’s ‘LT’ (Long Throw) range. Designed for intensive outdoor use in long-distance applications that require high precision, Domino LT can cope with the most extreme conditions, and is able to acclimatise to all types of climatic environments. It combines the minimalist design of Domino Profile with the colour mixing capabilities of Huracán Profile and the IP65 weather-proofing of Perseo.
Domino LT’s 225mm diameter frontal lens produces an ultra-intensive beam with a 15:1 zoom ratio and a zoom range of 3.5° to 53°. Equipped with an all-new high-efficiency 1,000-watt LED module, Domino LT delivers a luminous flux of 51,000 lumens at a colour temperature of 6700K.
Domino LT’s complex colour mixing system offers a double level of CMY saturation that can obtain 281 trillion colours (patent pending) with a triple corrector for variable colour temperature that allows subtle adjustment from 2700K to 15000K and significant CRI improvement.
Fitted with multiple optical tools for shaping light, Domino LT is equipped with a linear progressive frost system, a lightweight frost filter, and two rotating prisms: one is linear with four facets and the other is circular with five facets.
The framing section enables precise positioning of each shutter blade on a 100% surface area. The effects section includes two superimposed rotating gobo wheels each with seven gobos, a 15-blade iris diaphragm, a monochromatic multi-position effects wheel, and an RGB and CMY effects wheel for unique multicolour effects.
Its full weather-proofing features are no barrier to maintenance as Domino LT’s design still ensures total accessibility to the luminaire’s internal functions.
Domino LT is a unique luminaire Designed to face the most extreme conditions. in stadiums and large arenas, Domino LT will be shown for the first time in public at Prolight+Sound, Frankfurt (26-29 April 2022) on the Ayrton stand in Hall 12 Stand D74-D75. To coincide with the release of Domino LT, Ayrton’s original Domino fixture released in 2018 will be renamed Domino Profile.
Full specifications can be found on the Ayrton website www.ayrton.eu
Anaheim-based BCT Entertainment, a leading AV production company with a full inventory of lighting, video, pro audio, lasers and staging available for rental or sale, has invested in a large complement of Ayrton Diablo fixtures from ACT Entertainment, Inc., Ayrton’s exclusive distributor in North America.
“We have expanded our lighting inventory with the purchase of our first Ayrton fixtures,” says BCT’s owner, Brian Longhofer. “We had a gap in small-format fixtures with framing capabilities, and the Diablos checked all the boxes.”
ACT Entertainment introduced Longhofer to the Diablo fixtures, which he later saw at LDI. “We considered other fixtures, but ultimately decided on the Diablos because of Ayrton’s name recognition, the fixture’s feature set, and its high quality compared to its price.”
He expects the Diablos to be used primarily for corporate events, where their small format is especially desirable. “Unlike concerts where lighting is part of the show, corporate clients like the lighting to disappear,” says Longhofer.
“Diablo’s framing shutters are also a big plus: they are in demand for just about every corporate show and give a lot more control over the beam.” Additionally, the Diablos’ LED source means “a significantly less amount of maintenance, cooler temperatures and lower power consumption.”
“ACT has been really great in supporting our purchases,” he points out. “We plan to continue investing in Ayrton fixtures in the future.”
More information on Ayrton Diablo and the extensive portfolio of innovative Ayrton LED fixtures can be found at www.ayrton.eu
