Despite being situated thousands of miles east of Russia’s more well-known cultural centres like Moscow and St. Petersburg, the city of Irkutsk has a long and storied theatre tradition all its own. Chief among its many fine theatres is the Irkutsk Academic Drama Theatre of N.P. Okhlopkov; the oldest theatre in Eastern Siberia and the cultural hub of the region.

Founded in 1850 and currently celebrating 170 years as a cultural institution, the theatre recently worked with Light Power Design (LPD) to upgrade its technical offering, including a state-of-the-art automated lighting rig from Elation Professional, an Adaptive Systems audio package from EAW, and a pair of native 4K laser projectors from Digital Projection.

“LPD have used Digital Projection for many years and have always been more than happy with the result,” said Digital Projection’s business development manager for Russia & CIS, Alex Gnatyuk.

“When they received a request to upgrade the theatre in Irkutsk, they asked us to bring something new and interesting on the projection technology front; particularly in regards to native 4K resolution.”

Although the Irkutsk Academic Drama Theatre has a tradition of high technical excellence, the venue’s management decided that the best way to nurture a new generation of theatregoers was to employ more modern means of communication with its audience.
When the executive director from LPD, Mikhail Morozov, began batting around ideas involving holograms, Alex Gnatyuk suggested that the Insight Dual Laser was the perfect fit for such an ambitious project.

“We were the only manufacturer of native 4K DLP projectors with acceptable price on the Russian market,” Alex Gnatyuk said.
“We provided them with a Titan Laser 37000 WUXGA and an Insight Dual Laser 4K, as well as seven lenses for different purposes.”

The Insight Dual Laser 4K projector is able to create additional figues and crowd scenes using a braided silver net as a projection surface, though this is not yet a common occurance at the theatre given how difficult it is to create holographic content.

“The main problem at the launch of the project was to ensure the operability of the entire system with 4K content without quality loss,” said Alex Gnatyuk. “This was done to ensure the audience would be fully immersed in the action taking place on the stage.

Delivery difficulties and work restrictions due to COVID-19 also added to the complexity of this project, but other than these small hurdles, the whole process went very smoothly. LPD is highly qualified company with great specialists on hand and, as always, they were more than happy with the quality of technology provided.”

LPD’s Mikhail Morozov added: “We were looking for the best possible solution for the theatre, as well as ensuring the best possible image, light, and sound quality. To do so, we needed to make sure that all of the equipment was reliable, first and foremost.
Digital Projection, with their projectors’ built-in IP60 sealed optics and five-year warranty, have become the best choice when creating the most reliable system that will delight theatergoers for many years.”

For more info about Digital Projection and their products line www.digitalprojection.com

Italian audio company RCF introduces two powered portable speakers with uncompromising fidelity. Flexibility, power, and small footprint make the TT 515-A speaker and TT 808-AS subwoofer ideal for high-powered portable and installed professional applications where size and weight are critical factors.

This approach combines the advantages of RCF TT+ technology such as controlled dispersion, outstanding clarity, high-power, multiple rigging accessories, weather protection, and RDNET software connection for real-time management with recallable presets.

TT 515-A

TT 515-A is a 127 dB speaker that fits in the palm of your hand and can be used as a main speaker system, or to supplement a larger system, a 3D/immersive sound system, or high-quality installations.

The transducer configuration of the TT 515-A pairs two symmetrical custom-loaded 5″ cone drivers to a rotatable CMD waveguide surrounding a titanium 1.75″ high-frequency compression driver, all powered by a two-channel 1,000W RMS Class-D amplifier.

The multiple rigging accessories and the unobtrusive form factor of the cabinet are suitable for a wide range of configurations including hanging, pole-, truss-, wall- or ceiling-mounting—in horizontal or vertical orientation—with a rotatable waveguide and logo plate.

The well-studied arrangement of the two 5 ”and their phase plugs with the rotating waveguide. Also notice the size of the vents.

The TT 515 response, 80 Hz to 20 kHz ± 3 dB, an excellent job with a little boost in the lows and a straight line in the highs. Full of potentiality audio to be used.

Once again a nice chart with a real 80° horizontal dispersion with just a tiny drop probably around the crossover point.

TT 808-AS

TT 808-AS subwoofer features two high-power 8″ woofers with vented frontal loading powered by a two-channel 1,000W RMS Class-D amplifier. The compact cabinet can be used in both horizontal and vertical orientation or paired for cardioid, arc, and other complex subwoofers configurations using RDNet. TT 808-AS also includes balancing brackets for improved vertical stability and a rotatable logo.

Opened the TT 808-AS looks like a big double 18”. In reality the transducers are indeed 8 ”and this compact sub is the perfect companion to the TT 515-A.

The TT 808-AS power and DSP module featuring three in & out ports for the mains, the analog audio and the RDNet network management.

The onboard DSP provides flexible control of speakers’ parameters and packs a high-level DSP circuit with proprietary Bass Motion Control (BMC) and FiRPHASE processing to achieve coherent distribution of sound without phase distortion and deep, tight bass at any volume.

BMC extends the lowest audible frequency without affecting the transducer’s stability, limiting over-excursions for greater reliability and superior performance at high volume levels. The advanced FiRPHASE processing optimizes dynamics amplitude and time behavior for a 0° linear phase response.

TT 808-AS Starts precisely where the 515 needs it and adds a full octave of punchy and useful bass. 129 dB SPL Max to play with.

One of the ways to combine these two speakers.

The waterproof cabinet is built in high-strength baltic birch plywood coated with black, robust, and scratch-resistant polyurea paint. The amplifier is mounted to a solid machined aluminum structure at the back, where heat dissipation is fast and efficient.
The enclosure is sturdy and rigid with a strong powder-coated metal grille that protects the face, and an acoustically transparent sound foam backing on the inside of the grille ensures protection from dust and humidity.

Pairing TT 515-A speaker with TT 808-AS subwoofer creates a potent full-range main system with an incredible size-to-power ratio. You can pack a full-range stereo system with two TT 515-A, two TT 808-AS subwoofers, poles, and cables in less than 200-liters of volume.

Whether it’s used as a compact main system, as fills, or surrounds in a larger system, it’s quick to deploy and fast to tune. With TT+ sonic signature, RDNet networked management, weatherproof cabinets, and a wide range of accessories, there is always a place for TT 515-A and TT808-AS.

To learn more about TT 505 and TT 808, click on www.rcf.it/tt-515-808

Companies opening an office in Prague simply cannot ignore “The Park”. This business complex in the south of the Czech capital is made up of 12 buildings and eight restaurants on an area of around 120,000 m2 and is home to global players such as 3M, Fujitsu, Samsung and DHL.

In order not to leave the impressive glass facades of the office buildings unused in the dark after work and sunset, The Park’s operators – the White Star Real Estate company – chose to bring in large-scale architectural lighting. For the complex illumination job, integrators Foxtron relied exclusively on Cameo’s ZENIT® P130 LSD LED PAR lights.

“For this particular project, we had to find fixtures that not only impressed with their high light output and excellent colour quality, but that were also compact enough to fit to the building’s shape, including into existing recesses,” explains Jan Kadlec, Managing Director of Foxtron. “The Cameo ZENIT P130 meets all these requirements.”

Since the start of the year, a grand total of 170 ZENIT P130 LSDs have been illuminating The Park’s facades. The project necessitated Foxtron installing IP65 floodlights in the ground, on the floor, and on walls, as well as in The Park’s various iron flower tubs.

“The P130 is a really robust spotlight and has so far withstood all the rigours of continuous use without any problems whatsoever,” says Kadlec. This all bodes well for The Park, as the facade lighting is due to be expanded even further in the future. So 170 lights in, and this project is still a long way from being finished!

More Information on foxtron.cz, cameolight.com and adamhall.com

In 2018, Cameo celebrated its debut at NicLen GmbH when the ZENIT Series became part of the rental park’s portfolio. Since then, Germany’s leading dry hire provider has achieved numerous successes. In addition to the ZENIT W600 and W300 outdoor wash lights and the battery-powered ZENIT B200, the dry hire range now also includes OPUS Series moving heads and F Series Fresnels.

The OPUS X profile moving heads and the OPUS H5 beam spot wash hybrid moving heads are now also available in the Dortmund warehouse, and are available for a wide range of applications in the live and event sectors. Alongside the OPUS spotlights, NicLen now also offers LED outdoor spotlights from the Cameo FLAT PRO Series with 16 mm TV spigots based on patented SPIN16 technology.

An overview of the new Cameo spotlights at NicLen:

Opus X

OPUS X

With its 750 W white light LED and particularly efficient light engine, the OPUS X high-power moving head achieves the same light output for which conventional devices require 1,000 W.
Combined with the CMY colour mixing system and a wide zoom range from 6° to 46°, the flagship of the OPUS Series enables consistent projections without annoying hotspots, even in the most demanding environments. The OPUS X can be controlled via the integrated W-DMX receiver, DMX, RDM, Art-Net or sACN.

Opus H5

OPUS H5

The OPUS H5 is the Swiss army knife in the Cameo moving heads range. This versatile beam, spot and wash light hybrid delivers 18,000 lm of light output and particularly impressed the specialists at Niclen with its compact design. Its Osram Sirius HRI 470 W discharge lamp creates powerful beams and high-quality mid-air effects over a wide zoom range of 2° to 42°.

FLAT PRO 7 G2 & FLAT PRO 12 G2

As the name suggests, the FLAT PRO Series is the ideal solution when space is at a premium and flat spotlights are required. The compact LED outdoor spotlights – featuring RGBWA colour blend and high refresh rate – are the new Cameo PAR all-rounders at the NicLen rental park and are available in versions with 7 (FLAT PRO 7 G2) and 12 (FLAT PRO 12 G2) high-intensity 10-watt LEDs. Customers also benefit from the pre-installed SPIN16 spigot – a fold-out 16-mm TV spigot based on patented Cameo SPIN16 technology.

Cameo Flat Pro 7 G2

Cameo Flat Pro 12 G2

Trusting cooperation

“Cameo’s lighting technology portfolio is becoming more versatile year after year. The developers continue to surprise us with innovative solutions that comprehensively cover the needs of our broad customer base,” explains Jörg Stöppler, who, together with Nico Valasik, manages NicLen GmbH.

Markus Jahnel, COO of the Adam Hall Group, adds: “We are delighted that NicLen, one of the largest dry hire providers in Europe, has relied on our Cameo lighting solutions for many years. Over the years, our cooperation has continued to grow and has not suffered, even during the corona virus crisis. We are looking forward to seeing what the future brings and where we will see the different Cameo models in use in the coming months.”

For more information about Cameo light and Adam Hall, you can visit cameolight.com and adamhall.com

© Massimo Pascucci

The hospitality headquarters for Italy’s Olympic team and its partners, was based at The Kihinkan – Takanawa Manor House during Tokyo 2020. This wonderful art nouveau building in the Minato district was selected by The Italian National Olympic Committee (CONI) after inspecting 60 different locations.

© Massimo Pascucci

The decision to choose the building, which dates back to the start of the last century and is characterised by its Liberty-style architecture, was vindicated by the impressive way in which lighting designer Massimo Pascucci colour-washed the exterior.

© Massimo Pascucci

Tasked by CONI to produce this dramatic façade, he chose 22 of GLP’s Fusion Stick FS20 battens a product with which he is well familiar and enjoys using. These were supplied by rental company, Musical Box Rent.

The power and versatility of the FS20 is an important fact. Each batten contains 20 x 15W RGBW LEDs, offering a variety of different beam angles with their beam shaping front filters.
Offering seamless connection and the advanced optics delivering consistent colour, the fanless and IP-rated design makes it silent and ideal for outdoor use.

The blocks of vibrant static colour emitted by the Fusion FS20 were controlled by an MA Lighting grandMA console, programmed by Daniel Davino. The IP65-rated fixtures were set discreetly into trays in the footwells of the building.

© Massimo Pascucci

A special thanks goes from Massimo Pascucci to the CONI marketing director, Dr. Diego Nepi Molineris, for his belief in the project.

Such an inviting venue played its part in ensuring that Italy’s Olympic team were able to enjoy its best Olympics ever, taking home a record medal haul.

More on the GLP website

Nobody can deny that the last eighteen months have been difficult and challenging, especially for our people-orientated industry. Limitations on work, movement and contacts have been hard on everyone.
But as restrictions started to ease and the industry begins to open up, LiteNordic, Ayrton’s exclusive distributor for Norway, Sweden and Denmark, came up with an ingenious way to reconnect with their customers and lighting designers in a safe, fun way after a near 2-year hiatus.

They hired a camper van, threw in a bunch of IP65 rated lighting fixtures, including Ayrton’s Perseo Profile and Perseo Beam, and took them out on a camping road trip. They set up camp in forests outside Norway’s three main cities: Stavanger, Oslo and Bergen where they invited lighting designers, rental companies, sales companies and other of their colleagues and clients to join them for a barbecue and, if they wished, a night under the stars, sleeping in hammocks beneath tarpaulins.

Organised by Lite Nordic’s Aleksander Kjær-Wilhelmsen and Petter Nilssen, Camp LiteNordic: Into the Wilderness was, as Kjær-Wilhelmsen is keen to point out, “more about people than product. It gave us the opportunity to take people out of their comfort zone and routine a little, and relax for a nice evening that focused on fun rather than fixtures.

It gave us all a chance to meet and catch up after a long period of isolation when we have all suffered hardships. However, after a few beers and sausages, curiosity overcame our guests and when they asked about the IP65 rated fixtures we were very happy to show them through the features before returning to our camp fire. No matter how much you escape to the woods, people are always interested in looking at the lights!”

“It was the perfect scenario in which to see the IP65 fixtures in their best environment,” adds Nilssen. “They were designed for outside use and it is impossible to show the variety of effects in a studio or theatre. But the depth and texture of the forest lent a totally different range of looks to the gobo projections and animations on the trees and in midair which you just wouldn’t see indoors. We were very excited to see how many of our guests took the time to come along, despite schedules becoming busier as Norway starts to open up.”

The hammocks and tarpaulins were branded with LiteNordic and Ayrton logos and the hammocks emblazoned with the slogan “Master of the Elements” (the declaration from Domino, Ayrton’s long-throw IP65 spot fixture) and the words ‘keeps you dry’ – a fact which proved correct at Bergen where it rained heavily!

All those who camped out were allowed to take the hammocks and tarpaulins home with them. “Everyone loved the hammocks and tarps and can’t wait to put them to use again,” says Kjær-Wilhelmsen.

“With Norway’s music and festival scene slowly reopening, they are proving just the thing for technicians and crew to take with them.”
“We would like to thank LiteNordic for all their hard work in putting this wonderful event together – what a fun and inventive way to have fun with lights and friends!” says Ayrton’s Linnea Ljungmark.

“Going into nature brings people closer together and Camp LiteNordic gave us a great opportunity to spent time with our customers and get to know them better. It was also a good chance to experience the Norwegian culture of outdoor life, and very relaxing to be surrounded by the natural world.

“Having said that, the weather conditions were extremely damp with thick fog by morning, so it was a great opportunity to trial and test the fixtures in damp conditions. The Perseo fixtures stayed out in that moist air for 24 hours with no problems at all, proving they are superb all-weather fixtures.”

For more information about Ayrton and its range of LED lighting fixtures, you can visit www.ayrton.eu

For more information on LiteNordic visit www.litenordic.com

Lighting designer Mathieu Cabanes discovered the new possibilities offered by Robert Juliat’s latest 800W LED followspot, Arthur, on Les Folies Broadway, a large symphonic show performed this summer at the Domaine D’O in Montpellier.

“I use Robert Juliat followspots very often. I particularly appreciate the artistic touch that a followspot can bring to a live show,” says Mathieu Cabanes. “New products and technologies are offered to us every year and I like to study these and their functions and make sure I use the right tool for each application.

“I first used LED followspots on a Robert Wilson show in Indonesia, I La Galigo. They were Japanese models and the result was quite disappointing because the power was supposed to match a Robert Juliat Cyrano followspot, but in fact they were weaker than a Robert Juliat 710 profile with iris. The colour also did not offer us great CRI possibilities for such a colourful show. After this first experimentation, I decided to wait for a great development from Robert Juliat.

“On the advice of my friend Frédéric ‘Aldo’ Fayard, lighting designer at Concept K, and with the help of Ludwig Lepage, Robert Juliat’s product manager, I discovered the Arthur 800W LED followspot and the SpotMe artist tracking device.”
Cabanes then decided to use the Arthur followspot during a symphonic show with 72 musicians and two renowned soloists in the 1800-seat amphitheatre of Domaine d’O in Montpellier.

“I compared the Arthur to an HMI followspot,” he says, “and I was really surprised by this little jewel of technology. Arthur doesn’t necessarily replace all of the HMI followspots, but it complements them by offering a large number of functions that add brushstrokes to our paint palette. The precision and finesse of this followspot combined with a good followspot operator gives powerful, high quality results.

“The base white LED source with its 90 CRI is beautiful! The combination of colour gels can quickly become complex when used on an LED source, but with Arthur, the colour matches are very smooth and consistent. I used a range of CTO/CTB, Lavender and Blue. The CTO built into the fixture was still the best solution my assistant, Gaspard Juan, made for me for warm colours.”

Cabanes also liked the different dimming modes of this model. “Quite often, a pick up can be very abrupt with an HMI followspot and I tend to specify fades in 2 seconds throughout the show, even if the performer enters abruptly. Arthur’s dimming modes bring a nice fluidity to the user.”
Cabanes also liked the fact that the lack of heat from Arthur’s LED source makes operating the followspot a much more comfortable experience for the operator. As for the new DMX features, they give the console operator the ability to limit the intensity of the fixture, depending on the colour and visual balance required on stage.

“This followspot gives us a lot of new possibilities combined with high power and a nice base colour. Arthur is also very comfortable for the user and allows the operator to concentrate on refining their fluidity and precision,” concludes Cabanes.

For more information about Robert Juliat Arthur LED followspot and their products line, you can visit www.robertjuliat.fr

Proud Embankment in London’s West End is a venue defined by its world-class cabaret shows, embodying the spirit of true diversity with the sounds, styles, and vibes of a spectacular show-stopping mix including International circus and cabaret acts, death-defying aerialists, fearsome fire breathers, and astonishing acrobats, headlined by celebrity comperes.

photo Alex Rice

This iconic venue, situated on the North bank of the River Thames and at the heart of the UK’s vibrant metropolis, was determined to have a high-impact post-Covid reopening. One of the first venues to open its doors after the second lockdown, Proud had undergone a transformative renovation, with a huge investment in its production values and the installation of 14 new Robe Pointe moving lights to accompany the talent, colour, and energy of the performances.

Robe Pointe

The new Pointes were specified by Proud Embankment’s in-house lighting designer Jack Knight and purchased specially for the venue by regular lighting supplier, North London rental and installation specialist, Halo.
The Pointes are a completely new addition to the existing house lighting rig and are positioned all around the stage with several on a goal post at the back, from where they provide the main

effects lighting looks. Robe’s highly versatile Pointe was an easy choice for Jack. “It is a properly ‘multipurpose fixture’ in every sense of the word,” he stated. “As well as being fast and virtually instantaneous in response, Pointes are hugely flexible with a great range of colours, gobos and effects that allow you to be highly creative.”
He adds that the small size of the luminaire is also ideal to create a cosy and intimate atmosphere in a vast, spectacular space with a double-height atrium and high ceilings.

Jack has been using Robe products in his lighting work for about the last six years and has been the chief house lighting and sound technician at Proud Embankment for the last three years.
In that time there have been various other Robe fixtures on the rig including MMX Spots and Spiiders, and overall, Jack considers the brand to be “highly reliable and a gold standard” in moving light technology.

photo Alex Rice

Proud Embankment’s Cabaret All Stars show runs Wednesdays through Saturday evenings, with the new Proud Late nightclub on Fridays and Saturdays and weekend daytime brunches, alongside private hire parties, award ceremonies and film shoots, so all the lights on the rig are worked overtime!
The late-night events tend to be lit to create a slightly darker and moodier atmosphere, while the main shows are brighter, sparkling with the glamour and glitz of a West End sellout success. The Pointes are a good all-around moving light that is “ideal” for any occasion.
A challenge in lighting the space is that the room is almost 360 degrees around the stage, so everything must look good from all angles. Effectively it is an in-the-round scenario.

Making this work for the range of shows and events is also one of the fun parts of being a resident LD and tech, explains Jack who must be prepared for anything! There are several ‘busking’ pages set up in the Avolites Tiger Touch II console containing basic building blocks from which he can evolve a slick-looking show almost on the fly, and with the Pointes to hand, he knows there is plenty of scope for producing great results.

photo Alex Rice

Jack lights most of the Proud Embankment shows himself and also runs audio. Re-opening has generated serious excitement on all levels – from performers and artists eager to get back onstage and in front of their audience, to technical production and operational staff looking forward to welcoming VIPs, celebrities and its loyal customers back.
Halo has been Proud Embankment’s lighting supplier for the last 10 years, and the company has also been a steady and long-term customer of Robe UK. Halo owner / founder Yann Guenancia stated:

“I am constantly impressed with the team at Proud and their trailblazing policies of investing in technical production to get an edge. This latest addition of Robe Pointes underscores the importance of good lighting to enhance and deliver the best overall show presentations for guests and artists.”
He believes today’s audiences are more tech-savvy than ever and are highly likely to appreciate visual and sonic improvements but also notice when sound and light effects are poor. “As a brand, Proud is definitely standing out in its commitment to audiences in a highly competitive market, and we are very happy to be part of that journey.”

For more info about Robe lighting and their products line, you can visit www.robe.cz

DiGiCo’s theatre extension software for its Quantum and SD ranges of consoles has made it the ubiquitous choice of theatre sound designers in the West End and on Broadway.
Now, DiGiCo has released the ‘T’ software for the SD12, introducing this console that has found great favour in the live music market to the auditoriums of theatres around the globe.

Featuring powerful, refined hardware and Stealth Digital Processing, the SD12T’s functionality and work surface are instantly reconfigured to provide the specialist theatre programming tools that deliver the versatility needed for theatre sound design, rehearsal and show operation.

The new SD12T has 96 inputs as standard, 48 busses and a 12 x 8 Matrix and features a flexible, expandable I/O structure that includes dual DMI card slots making it perfect for expandability with industry formats such as Analogue expansion, Dante and Waves SoundGrid. The SD12’s extensive local I/O section offers eight mic line inputs, eight line outs, eight mono AES/EBU, dual MADI in/out and optional Optocore for expanded Rack connectivity.

DiGiCo Brand Ambassador, Dan Page.

“Our T consoles are incredibly popular because they address so many of the specifics of theatre productions,” says DiGiCo Brand Ambassador, Dan Page. “In recent months, our theatre customers, particularly those working on regional tours, have been asking for another compact, cost-effective desk.
The SD12 is extremely popular in other market sectors and fits the bill for them in terms of size. Adding the theatre specific software tools now gives the SD12 the same feature set as with our other ‘T’ consoles, making it the ideal addition to the T range.”

More information on the Digico website

from left to right Rik Kirby, Margie Kirby and Jeff Miranda.

According to Rik Kirby, Allied ProTech’s President, “Frenetik’s range of PoE+, Dante enabled, loudspeakers really fit a need we were seeing in the market, and that we were getting requests for from our customers. As soon as we got the first samples in our hands we were impressed.

Alain Hercman, Frenetik sales manager.

These speakers are compact and unobtrusive, very well built, priced right and they sound great. As we distribute many complimentary products Frenetik fit our portfolio nicely and has been very well received by our partners in the US market, we’re looking forward to working with them.”

«For Frenetik in the United States, we needed a partner with a good understanding of the technology behind our products and ready to provide the right support to the market.
That’s exactly what we found with Rik and his team at Allied ProTech, and we are confident we are starting a fruitful and long-term collaboration,» says Alain Hercman, Frenetik sales manager.

For more information on Frenetik products, visit the site Frenetik

And for more information on Allied ProTech’s distribution

“After joining forces with DiGiCo in 2018 and the release of the workflow integration for its consoles, more and more monitor engineers have implemented a KLANG immersive IEM processor into their workflows,” says KLANG’s co-founder Dr. Pascal Dietrich.

KLANG’s co-founder Dr. Pascal Dietrich.

“At first, only the most critical channels for the main artists were sent through the processor, but the wish for more input channels, and thus new creative and organisational possibilities, grew further.”

Designed with monitor engineers and fixed installations in mind, KLANG:konductor satisfies that demand with a high-end mixing system that can deliver 16 immersive mixes and process 128 input signals at up to 96kHz, with an astonishing processing latency of less than 0.25ms.

Klang CTO Benedikt Krechel.

“Our combined R&D teams were able to squeeze in twice as much processing power in a single 3RU device as found in any of our previous processors by using the latest, super-fast FPGA cores,” CTO Benedikt Krechel explains.

“Many of our customers value the I/O flexibility that our first KLANG:fabrik offers, but we know they need to quickly adapt to different I/O situations when touring through different countries. KLANG:konductor considerably extends this flexibility and lets the user choose I/O on the fly.”

KLANG:konductor offers three DMI slots on its rear to provide unrivaled I/O freedom and guarantees flawless integration into any existing setup. For example, two DMI-MADI cards allow 128 input channels and mixes to be returned to a console; and one DMI-Dante card can connect the mixes to KLANG:kontrollers.
Paired with integral single channel routing capabilities, it also allows the user to freely route between the immersive mix engine and convert between different DMI formats, e.g. Optocore, Dante or MADI, with each DMI card offering up to 64 input and output channels at both 48kHz and 96kHz.

“KLANG:konductor is the swiss army knife of audio format conversion and becomes very handy as an interface for virtual sound checks or multitrack recordings, at the same time as being used as an immersive processor,” says Dietrich.

The :konductor magic trick, the flexible I/O via 3 DMI card slots.

Seamless integration into DiGiCo’s control interface and the intuitive KLANG:app give engineers direct control, with KLANG:kontroller allowing musicians to control their own mix. This combination ensures maximum flexibility, with mixes always quickly accessible, along with fast access to system and mix settings.
While not many headphone amps are suitable for low impedance in-ears, KLANG:konductor offers the same studio grade amplifier circuit as KLANG:quelle on the front of the device. This allows engineers to directly connect their in-ears, route their console’s cue output to it and seamlessly switch to a KLANG cue via the app.

The front mounted 7-inch colour touch display on the right of the Company name.

The device also has a front mounted 7-inch colour touch display to allow for direct mix control, audio setup, routing and monitoring meters.
A network port on the front of the unit provides power over ethernet to directly connect a KLANG:kontroller or KLANG:quelle, and dual redundant power supplies offer maximum reliability.

“Immersive in-ear mixing has become increasingly popular, having proven to deliver crucial benefits to musicians by providing a natural listening experience and removing the feeling of isolation on stage,” says Pascal Dietrich. “KLANG:konductor is our most powerful and most flexible processor so far, and gives both engineers and musicians an immensely powerful, yet simple to use system, that delivers all those benefits and more.”

More details about Klang:konductor

The hosts of the popular YouTube channel Game Theory wanted to produce a record-setting and award-winning live-stream event to raise money for the St. Jude Children’s Research Hospital. To make sure it was a success YouTube Originals, Game Theory and St. Jude Children’s hospital partnered with Mobeon Studios in Burbank to bring it to life.

Mobeon, in turn, partnered with Justin Preston of Preston Productions. Preston decided this was the perfect opportunity to use ETC’s fos/4 Panel fixtures. The event was a smash success, raising $3.1 million for St. Jude’s. The lights were also a success, impressing Mobeon Studios so much they bought an entire new rig of fos/4 fixtures.

9 hours with the X8 array

Preston Productions has made a name for itself by servicing high concept projects with complex technical challenges such as “The Elf on the Shelf’s Magical Holiday Journey,” which used over 100 universes, 1000 lights, remote triggers, and 2.5 miles of fiber to connect it all.

For Preston, the important feature was the X8 array. The Lustr X8 lighting array in the fos/4 Panel and Fresnel is a patent-pending mix of green, lime, blue, indigo, cyan, amber, red, and deep red LEDs that set a new standard in LED lighting quality. It creates visually stunning saturated colors and as well as nuanced skin tone beautifully.
“The thing that sold me on the fixture was its ability to mix color,” says Preston. “The results of adding Deep Red to the color mix are impressive.”

ETC fos4 family

They would need all of that color for the nine hours of the event, covering a “living room” style main set, five smaller set areas where a variety of stunts, games, and activities took place involving other YouTube celebrities – and even a robotic haircut outside. ETC’s fos/4 fixtures were used in key, fill, backlight, and hairlight positions. In all cases, the fos/4 Panels delivered.
“The color mixing and rendering from the fos/4 line is second to none,” says Preston. “The quality of light from the fos/4 was great in every situation. I loved how soft the light was with the standard lens.”

The lights also impressed him even before he turned them on, with their NFC programmability and integrated power supply.
“I really like the NFC capability in the fixtures,” adds Preston. “I love that I don’t have to plug in fixtures to address them. If I want to change the address, my gaffer can be typing in a new address on their phone as they’re walking to the ladder. Tap it once, and it’s done. Now that I’ve used that feature in my workflow, I never want to go back. I also really like the integrated power supply. I’m not searching for an extra power supply with a 4-pin cable.”

Deep red, deep investment

The fundraiser was filmed at Mobeon Studios, owned by Mark Alamares. The studio focuses on the next wave of entertainment convergence, melding live performances and events with virtual sets, including e-sports, virtual AR/MR/XR shows broadcast on traditional TV stations as well as OTT, digital, and social media platforms. A former game developer himself, Alamares was impressed with all the tech in the fos/4.

“We’re working with virtual sets for shows that use AR, MR, XR, VR, any kind of reality. But no matter what reality you’re in, you’re painting with light when you’re creating shows,” says Alamares. “We need something that is versatile, flexible, interactive, and puts out quality light. We decided the fos/4 was perfect.”

Alamares connected the lights to the Unreal game engine in his virtual environment and was impressed with how fos/4 replicated the virtual color in reality and cast it onto the live studio talent, so it all merged seamlessly into a cohesive show. He invested in more fos/4 units to create a new lighting rig built around them.
The new virtual studio space is a full green-screen studio with a ground-support truss grid with 12 small (8-inch by 24-inch) fos/4 Panels, 4 medium (16-inch by 24inch) fos/4 Panels, and 4 fos/4 Fresnels, all with the Lustr X8 array.

They just used the same rig on another successful fundraising event with MatPat from Game Theory. This time a fundraiser for Red Nose Day used a single virtual set with three cameras tracking live actors. An ETC Ion console (programmed by Lucas Garriety) controlled the lighting under the supervision of Mason Bell as lighting director.

“We were again impressed with the quality of light from the fos/4 fixtures and their programmability,” says Alamares. “It just ticks the right boxes. They’re great for on-location lighting but also a perfect fit for the in-engine virtual light as well. That’s the versatility we’re looking for. I’m trying to create ground-breaking technology experience, and I like how ETC helps Mobeon enhance the storytelling experience across all media.”

For more info about ETC, you can visit www.etcconnect.com

Using the opportunity of the first trade show for many months, NEXO is ready to unveil its ePS Series of loudspeakers for professional installation.
Three 2-way passive cabinets and two partner subbass units are the first models in a new ‘utility’ range, which delivers NEXO’s high-quality European engineering at a cost-effective price that will galvanize budget-sensitive projects.

On the left standing ePS8 and ePS6 placed on eLS600 and on the right standing ePS10 on the small sub eLS400.

Drawing on 25 years of success with the legendary PS Series, NEXO engineers have taken a no-frills approach to this new range, slimming down connection and mounting options, and taking advantage of new manufacturing techniques and driver design to hit unprecedented price points for its industry-standard point source products. ePS models will provide a way for many public and private installation projects to access a NEXO-badged system without breaking the bank.

Designed specifically for fixed installation, the ePS Series packages all the NEXO hallmarks of high output, superior coverage patterns, directional control and musical performance into compact trapezoidal-shaped wooden enclosures, with steel grilles for IP54 (and IP55) certified weather resistance.

The whole ePS family depicted on the ground, fixed with brackets and hung.

The ePS range features three lightweight point source models, in 6”, 8” and 10” iterations. Each cabinet includes a 1.4” HF driver and lightweight LF driver, with NEXO’s trademark rotatable horn design offering dispersion options to the user.
Presented in Baltic birch plywood, the ePS6, ePS8 and ePS10 offer Peak SPL stats of 125, 128 and 130dB respectively.

– The ePS6 weighs in at just 7.1kg, with a footprint of 367 mm x 200 mm x 182 mm, and has a frequency response of 90 Hz – 20 kHz.
– The ePS8 weighs 8.1Kg, has a profile of 425 mm x 252 mm x 227 mm and a frequency response of 80 Hz – 20 kHz.
– The most powerful of the three models, the ePS 10 weighs 14.8Kg, is 533 mm x 318 mm x 283 mm and has a frequency response of 70 Hz – 20 kHz.

ePS 6, 8 and 10…naked. No doubt, those are pure Nexo PS waveguides !

All three cabinets are minimally fitted with a hard-wired strip for connection, offering generic 2x 7 mm pitch IN/OUT screws connectors. The IP cover protects the connectors from moisture in outdoor applications.
On each side of the cabinet, two M6 with 80mm pitch and one M10 fitting allow connection to U Bracket, bumper or eye bolts. The back of each speaker is fitted with 3x M6 with 70mm pitch for wallmount in both horizontal and vertical positions.
All units are finished in black structural paint (white and all other RAL colours are available to order), with a UV-resistant acoustic fabric stretched over the front grille.

All NEXO loudspeakers are partnered by a dedicated sub-bass option, although they are phase-compatible with any model from the NEXO range. In the case of the ePS Series, two powerful compact subs are being released – the single-12” eLS400 and single-15” eLS600, which match the aesthetic of the full-range cabinets.

The eLS400 is a compact installation sub that can be stacked or flown, thanks to its discrete easy-to-integrate design. Weighing just 14.5kg, and measuring 365mm x 425mm x 447mm, this single 12” sub has been conceived as the partner for both the ePS6 and ePS8 cabinets.

eLS400 and eLS600

The eLS600 is 425mm x 533mm x 562mm and weighs 26.3kg, using a high-excursion 15” driver in a bass-reflex enclosure design capable of 136dB peak output. It is designed to partner the ePS8 and ePS10. Cleverly, the width and height dimensions of the rectangular subs perfectly match their partner main cabinets: a dedicated accessory allows the ePS to be flown beneath the subwoofer, creating small-footprint wideband systems that are visually pleasing.

On the four sides of the cabinet, two M10 fittings connect the eLS600 to U bracket, eye-bolts or dedicated accessories. Unused M10 fittings can be used for extra rigging points in areas where legislation requires it. Rear connection is via two (in/out) pairs of screws terminal blocks, while the included IP cover protects the connectors from moisture in outdoor applications.
Systems composed of ePS and eLS elements have the advantage of high-quality components familiar to all users of NEXO’s premium systems, coupled with the unique processing capabilities of the NXAMPmk2 amplifiers.

For the complete datasheets and more, click here

Alongside the entertainment on the Silverstone track, motorsports fans were treated to a raft of musical performances from Rudimental DJ, Anne Marie and Becky Hill, thanks to a festival stage equipped with sound reinforcement from Electro-Voice and Dynacord.

The X2-212 without grill. 98 dB of axial LF sensitivity and up to 110 for the double HF driver.

Safe Hands Audio took responsibility for the audio setup and deployed their Electro-Voice X-Line Advance X2 system to cater to the large crowd. “The X2 is our best option for this kind of production,” says Neal Allen, owner of Safe Hands Audio.

“The X2’s rigging weight and compact size were both important considerations, but it was the system’s vocal throw, combined with its punch-to-size ratio, that really made it a perfect fit.”

The natural complement of the 212, the double 18 inches X12-218.

The main FOH system for the stage comprised 24 X2-212 high performance compact 12″ two-way cabinets with 12 X12-128 dual 18″ subwoofers.

“Due to the capacity crowd, people were spread across the full width of the stage; there was a need to fill a pocket, so we turned to an old friend – 4 X-Line XVLS – to spot-fill a specific area, and it worked perfectly,” recalls Allen. Delays and out-fills saw a further 12 X2-212 cabinets alongside four X12-128 subs.

Three full featured TG20 ready to roll, a very, very serious package that worth considering. FIR, Dante, stable down to 2 ohms, over 20 kW in 2 U. Germany is back !

Power for the main system was provided by 10 Dynacord TGX20 4-channel DSP amplifiers, each capable of delivering a power density of 20,000 watts. Control and monitoring of the system throughout the weekend came from the manufacturer’s new MXE5 matrix mix engine, combined with the powerful SONICUE sound system software over a Dante network.

“The combination of SONICUE and MXE5 has been excellent because we have full visibility of the system for control,” adds Allen. “We are very familiar with SONICUE and the advantages it can bring us now and this has given us the confidence to go fully Dante with our transport.”

A relaxing green Sonicue screen.

With the UK’s largest live-event test concluded, Allen was happy to reflect on a weekend that went very well. “To be honest, it was just a wonderful feeling to be back out and working on a gig after such a long time,” he says.
“Seeing happy faces in the audience was a reminder of why we all do this for a living and it was great to play my part in putting on an excellent show for them.

The sound system performed flawlessly as we expected it to. Everything sounded great and I think we helped to make the UK’s largest trial event so far a memorable experience for everyone who attended.”

To know everything about Electro-Voice systems and for more information on TGX Dynacord amplifiers

A record-breaking concert by EDM artist Illenium at the new Allegiant Stadium in Las Vegas, was brought to life recently, with over 100 fixtures from the GLP inventory.

©Rukes

Illenium long-serving LD and production designer, Chuck Williams of Nexus AV, has been with the artist (real name Nick Miller) since the beginning of his journey six years ago. He selected 62 of GLP’s multi-award winning impression X4 Bar 20 battens and 40 JDC1 hybrid strobes for mission-critical roles, describing the latter as being “in the top three fixtures of all time.”
The DJ / producer’s inventive music and collaborations have made him one of the most successful crossover electronic artists today, and in a three-set concert he performed Trilogy, commemorating his previous three albums – Ashes, Awake, and Ascend – before previewing his latest album, a musical journey called Fallen Embers.

Illenium has taken the electronic world by storm, and some 35,000 of his adoring fans, who packed into the venue, were treated to a six-hour show, supported by opening DJ acts, CloudNone and 3LAU.

©Rukes

Chuck Williams, who co-runs Nexus AV with business partner Reid Warner, explained that this was the first attended event in the new 65,000-cap football stadium and ILLENIUM was the first EDM artist to ever play a stadium for a single headline show.
He performed on a giant Stageline structure, themed as a phoenix, which according to the LD depicts the artist’s remarkable recovery as a former addict. “His popularity has grown really fast as his music is different from a lot of other music; it’s about love and people connect with it very deeply.”

Explaining his choice of fixtures, he said: “This is my first time using X4 Bars other than at festivals, but I have been using JDC1 for a few years. They are in my top three fixtures of all time it’s my most requested fixture and I can’t envisage a show without them. I love the pixel chasing and the central [white light] tube is so bright, it’s a real workhorse.”

As for the X4 Bars, he says, they were fast and consistent. “I enjoy the pixel chasing a lot and to have a nice even spread. They surpassed all my expectations, giving me what I needed, which made my life a lot easier.”
All of the fixtures were mounted on Tyler truss within a tiered stage structure, pre-rigged for super-fast set-up. “This was a three-tiered multi-level structure with three truss lines that lined up with the tiered flooring,” he explained. “In this way I managed to get a really even spread.”

Williams handles all his own programming and piloted the show on an MA Lighting grandMA3, opting for SPix (68 DMX channel) mode “to get as much out of the fixture as possible.”
He added: “I was able to generate so many looks [from the JDC1]to fit the theme of the music. They are tiltable, and overall such a dynamic light, that delivers way more than a strobe. Having a multi-fixture, with lots of flashes and tricks, is just great for EDM. There’s not been a product yet that touches it in the strobe market.
“As for the X4 Bar 20s, we single pixel-mapped these. I always go for high channel resolution, programming the Bars in [SPixH] 89-ch hi-res mode.” The event was supported by Ryan Knutson, head of Brown Note Productions, who are one of Williams’ key vendors. “There’s no need to shop around when you have a company like this on your doorstep for local support.”

He added that the Vegas Trilogy show had originally intended to be part of a tour. “The initial plan was to do 10 nights—but with the restrictions they decided instead to do one big bang show. Vegas was selected as the destination hotspot as it was released from restrictions early.

©Rukes

“Nevertheless, we only had six weeks to put the show together. It was a real rush. I was excited, nervous and stressed at the same time but it worked out really well.
“On top of that, we were only able to give his fans six weeks’ notice, so it was pretty amazing that 35,000 turned out, and he was thrilled. He’s the first DJ in American history to do this!”

Joint production managers for the show were Michael ‘Curly’ Jobson and Royal Jensen.
And with business now getting back to normal, this show was followed by the local Global Dance Event in Colorado and then the mighty Lollapalooza where Illenium will headline the Bud Light Stage on the Thursday.

For more info about GLP and their lighting fixtures, you can visit : www.germanlightproducts.com