Russian rock band, Zveri, recently celebrated their 20th anniversary, immersing both their fans and themselves in striations of light and bright effects from GLP fixtures. Zveri is one of the phenomena of the Russian entertainment industry, and has remained relevant for years despite the many new trends that have come and gone.
Photo Alexey Makhov @madphoto
Although the band celebrated its 20th anniversary last year, they were unable to bring their fans together due to the COVID-19 pandemic. Nevertheless, the event was still celebrated—this year, on 12th June in Moscow’s Megasport Sport Palace. The venue was filled with music, brought to life with effects delivered from 75 GLP impression X4 Bars 20 and 16 JDC1 hybrid strobes. The stage design and light show itself were conceived by LD Alexander Prilipko, who has been working with the band since 2016. The main concept was taken from the touring version of ‘U tebya v golove’ (‘In Your Head’), which Zveri presented in 2019 using a similar setup, though the show at Megasport it was implemented on a larger scale.
Photo Alexey Makhov @madphoto
X4 Bar 20 was the principal fixture, and Prilipko talks about its role in the show: “It has become my favourite fixture. New effects are always coming onto the market and I am constantly seeking more brightness from a narrower beam. But X4 Bar 20s continue to perform their task perfectly and the whole show design at Megasport was created around these fixtures.”
Of the 75 X4 Bar 20 fixtures deployed 45 pieces were used to make nine vertical lines (with five bars in each). They created a background for the whole structure and lit various songs in different ways. The audience could see thin bright glowing lines or impressive pixel transitions—from flickering to various types of tracks. No less impressive were sheets of narrow zoomed light, beamed to the audience and cutting the dark space like thin blades.
Photo Alexey Makhov @madphoto
The second batch of the Bar 20 inventory was divided into two groups to make additional lines. 22 Bars were hung above the stage, and the ends of two beams were placed angle wise, as if it were a rooftop. Eight X4 Bar 20s formed a horizontal line to highlight the riser.
The lighting designer had the opportunity to create different effects using the impression X4 Bars 20s. For instance, he could incorporate in the design every Bar on stage, while the audience could see an image of an ancient Greek building with columns.
This was a moment when he used only vertical lines, and sometimes without support from other fixtures, which made it look very spectacular. A combination of the ‘roof’ and riser lighting—when the effect was supported from the top and the bottom —formed a seamless image and presented an opportunity to track the movement of the lighting from start to finish.
Photo Alexey Makhov @madphoto
Though the impression X4 Bar 20 zoom provides a lighting designer with a great wash effect, Alexander Prilipko didn’t use this function at all during the concert—nothing more than pixel-by-pixel control and narrow zoom. “If you ask me which fixture I consider indispensable in my projects, I’ll say ‘an LED strobe’ every time,” Prilipko stated. “And if one looks at all models available on the market, there is no doubt the JDC1 is the most interesting compared with the competitors’ products.”
In total 16 GLP LED strobes were used in the concert, placed in two parallel lines. Eight fixtures were set on the floor between the vertical impression X4 Bar 20s, and the remaining eight fixtures were mounted on top. The lighting designer didn’t use pixel control—instead the JDC1s were patched in the simplest mode and mostly worked as classic strobe flashes, sometimes switching to a set colour to match the respective theme on stage.
Photo Alexey Makhov @madphoto
Prilipko paid tribute to the GusAr production company and Vitaly Zelenov for the highest level of professionalism during technical preparation. The lighting vendor was rental company, Laser-Kinetics.
For more info about GLP and their range of products, you can visit www.glp.de/en/
A technical upgrade at the Chassé Theater in Breda, The Netherlands sees the installation of 12 x Zero 88 Chilli Pro 24x16A Bypass dimmers and five Zero 88 Chilli Pro 6x25A dimmers in Jupilerzaal, the venue’s main auditorium … where they will be controlling approximately 309 channels of lighting and LED fixtures including some moving lights as needed / specified by the production.
The venue is one of the Netherlands’ largest venues, with a total of three auditoriums and three cinema spaces, mostly a receiving house – anything from music and bands to drama and dance plus amateur and semi-pro performances as well as corporate and private events and conferences, so a truly ‘multi-purpose’ space that is also a diverse cultural melting pot. The Chassé Theater also stages some of its own productions, and a typical (pre-pandemic) year would see around 350 live performances and 3500 plus film screenings across all the different spaces.
Chassé Theater technical manager Jordy ten Bloemendal is proud to have worked there for 12 years, and is responsible for the lighting installations, budgeting and – together with his colleagues – future visions and planning. He co-ordinates with all the various incoming production companies, ensures all their technical needs are met, and on occasion still programmes and operates the lighting console! This was the combination of a general technical upgrade and the replacement of the previous dimmers which had been in service for 25 years!
Jordy explained, “We could no longer source spare parts for the old dimmers, and as theatre lighting going forward is now primarily focussed on getting LED fixtures involved, we needed to purchase dimmers that are suitable for powering these as well as conventional fixed voltage luminaires.”
The new dimmers running in ‘bypass’ fixed voltage mode are also a perfect solution for productions using moving lights. With this futureproofing topping the required features list, Jordy and his team consulted a host of technicians, gathered their opinions, and then searched for dimming solutions … picking Zero 88. As a busy mainly receiving theatre which does also some own productions, it was important that all the technicians involved supported the product.
Chassé Theater had already started working with the same Zero 88 Chilli Pro Bypass dimmers in 2017 which are installed in the middle-sized room Koninklijke Drukkerij EM de Jong Zaal, offering approximately 270 channels.
These first Chilli Pros in the building were also a replacement for the old dimmers in place at the time. Everyone was delighted with the kit and the results, so this excellent Zero 88 experience helped propel the decision to repeat the process in the large hall.
“I have a very positive impression of the products – they have proved reliable and stable,” states Jordy. “Having good dimmers improves the general technical facilities and offers greater scope to light shows creatively and imaginatively,” he says.
These specific Chilli Pro dimmers were chosen for their compactness and because they have the option of functioning as a standard dimmer, and more importantly, the channel can be switched to fixed voltage to run LED fixtures as more are introduced to the rig in the future. Zero 88’s Chilli Pro range comprises high-density, wall-mounted and convection cooled power switching and dimming cabinets which are ideal for fitting into often already tight spaces in assorted venues. They are well known and loved for being quick to install and set up and easy to operate and maintain, becoming a popular workhorse for hard-working professional venues like the Chassé Theater.
Chilli Pros are available in 12 and 24 channel packages with 10 or 16 Amp load capacities and optional RCD protection, relay channels, bypass switches and RCBOs, all contained in an elegant, slim line wall-mounting enclosure.
A logical and easy to read user interface and a backlit LCD screen on each individual dimmer assist in convenient setups for DMX patching, preheat, topset and dimmer curves. The user interface and all breakers are also protected by a lockable breaker cover which is handy for multi-user environments like the Chassé Theater, and there is even a choice of responses in the event of DMX failure, including backup memories or inbuilt chases and an alarm input trigger.
“Projects like the Chassé confirm the popularity of our solutions for modern and energy-efficient refurbishments of venue dimmer and power systems,” commented Zero 88 key account manager for entertainment lighting, Franck Tiesing. “The Chilli Pro bypass units can be efficiently integrated into existing infrastructures without generating unnecessary installation costs.” Like every venue in the world right now, the Chassé Theater is preparing to re-start productions in the summer after the worldwide pandemic shut down.
For more information about Zero 88 and their products line, you can visit www.zero88.com
Minneapolis-based developer of LED video walls and headset microphones, THOR AV, focuses on sharing best practices and providing reliability and excellence in audiovisual performance. The company works on a wide range of projects, from fixed installations such as The Belonging Co.’s culture-shaping church, to Signature Productions Group’s rental applications for the meetings and special events industry. It has chosen Brompton LED processing as its trusted LED partner, helping its clients to create a visual experience that is lifelike and real.
“Over the past couple years, we’ve seen a shift from ‘We need LED walls’ to ‘We need manufacturers that genuinely understand our specialties’,” says THOR AV’s Director of Sales & Marketing, Luke Vettel. “There is a category within the LED wall industry that demands a certain spec. In 2021, we continue to have more conversations about on-camera, live production environments and also XR/VR studios. We are thrilled to partner with Brompton in this space because of their pioneering advanced LED processing features for on-camera performance, in-depth control, and colour rendering versatility.”
Vettel notes that using the low latency, higher frame rates, and frame remapping features offered by the Tessera software elevates the pairing with THOR’s premium LED panels. “The dialogue with our demanding customer base keeps us attuned to their ever-growing needs and the challenges of bringing the story on screen to life,” he continues.
THOR and Brompton’s partnership unlocks the most advanced design potential for THOR LED panels, according to Vettel. “The outcome of these improvements brings out the artistic ability for customers to enhance colour profile and visual performance. We share Brompton’s sentiment of delivering world-class performance, education, and continue to work together to up the game for our customers,” he adds.
And there is definitely no shortage of work to do, as quality, coupled with industry expertise, and unparalleled support is what THOR clients expect and deserve. Recent successful projects with end users such as Signature Productions Group, Samaritan’s Purse, and Belonging Co. are strong proof points that THOR customers look for quality LED video wall solutions now more than ever.
“We said it once and we continue firmly believing in our credo that ‘every component matters’,” states Stefan Svärd, Owner and President of THOR AV. “This is why we are so excited to have Brompton as our partner. They have engineered products with the broadcast community in mind. No matter in what direction we go as a company, whether it’s a live or virtual space production, we know that Brompton LED processing will support and give us and our customers exactly what is needed – world-class service, quality, and 24/7 technical support. Together with THOR LED panels, this coalesces into one integrated whole that brings the message of our customers to life.”
“With THOR’s expertise in LED video walls and Brompton’s innovative approach to LED video processing technology, the end solution adds incredible value to live, virtual, and extended reality productions, creating the ultimate LED display for a full spectrum of projects. Like THOR’s team, we are inspired by our customers, and we are really glad that through this partnership we are able to provide infinite creative possibilities for our clients,” concludes Rob Fowler, Brompton’s Director of Business Development.
For more info about Brompton Technology and their range of products, you can visit the Brompton website
Wireless LED lighting specialist Astera launches another new product – the AX9 PowerPAR. The AX9 is a high-intensity, rock-solid, all-purpose everyday LED lighting fixture with all the advantages of Astera, including battery operation and wireless control.
AX9 is the ‘big brother’ of Astera’s AX5 TriplePAR. AX9 is bigger, brighter and benefits from all Astera’s latest innovations, like the Titan LED engine, an optimised bracket with Airline Track, a Titan-style keypad for fast and easy local control and direct control via the versatile AsteraApp. Effectively it is a three-in-one solution. Offering a wireless PAR light source that can also be run as a wired PAR for longer-term installations and an elegant up-lighter, with the fixture’s 105 Watt output offering over 3000 Lumens homogenised light.
Being wireless, AX9 can be used anywhere – on set, onstage, in the studio or on location – and at short notice, quickly deployed as and when needed. In situ as a wired PAR – it is just like any standard PAR – it is perfect scenarios requiring the lighting to be on for sustained periods of time.
AX9 is an great as a wall or surface washing up-lighter – without a flex cover and with the bracket removed – which can produce a sleek, streamlined effect to transform any space.
The AX9 is a multi-purpose lighting fixture that is efficient and can be used on the widest range of jobs as a cost-and-carbon-efficient quick ROI solution offering extreme brightness in a compact, stylish housing. The benefits of Astera’s Titan LED engine include its high CRI and the wide range of tuneable colour temperature whites, plus that rich and diverse gamut of colours encompassing the whole spectrum.
The inbuilt battery offers up to 20 hours of runtime which can be programmed to maintain optimal output over the designated period. Direct control via the AsteraApp removes the need for an AsteraBox, further optimising and making setup simpler.
The keypad on the rear has a logical navigable menu resembling the Titan Tube layout with dedicated buttons for quickly adjust colour and brightness.
Wireless DMX is available utilising LumenRadio’s CRMX technology, and for wired options, there is a choice of Powercon and XLR connectors on the rear. The AX9 unit can connect to a smartphone or tablet via Bluetooth and can then act as a transmitter, sending the radio signal to other Astera fixtures. The standard 13-degree beam angle can be modified with the addition of two filters, a 32-degree flood filter and a 17 x 46-degree elliptical wall-wash filter.
The AX9 – as you might expect from Astera – comes with practical and handy mounting / rigging brackets that can easily be slid on and off (a feature of the original Astera AX5 PixelPAR), and importantly, this bracket contains an Airline Track to hold a selection of rigging accessories like Astera’s TrackPin.
A 3/8-inch thread is also integrated into the bracket, with a 14mm hole for attaching clamps. The AX9 legs can be folded for transportation and the same legs used for truss hanging, also like the AX5.
A spring-loaded quick-release kickstand is available for the fixture, a neat tool that pops out with a button press for angling an AX9 without a bracket. The AX9 is IP65 rated for outdoor use and combines with any / all other Astera products.
AX9 accessories include flexible covers – available in white and mirrored finishes in addition to black for blending into different environments – which can be wrapped around the light to suit the set, room or other visual elements. Glare reduction can be enhanced by using an egg-crate which also produces sharper beam definition. Like the AX5, a charging plate allows for AX9s to be placed upside down into the flight case and start charging even without the units needing to be plugged into electricity!
Once again, Astera has used a mix of experience and imagination to think of virtually all scenarios in which this luminaire might be used. The main applications will be for film and television productions, stages and concerts and all indoor and outdoor events.
Astera Sales & Marketing director Sebastian Bückle states, “The AX9 is Astera’s best value for money light right now with twice the output of the AX5 and only 1.5 times its price, featuring cinema-grade light output and tons of premium features to make daily lives and usage even easier! We are expecting this to be very popular!”
For more info about Astera LED and their products line, you can visit astera-led.com
This year’s Eurovision Song Contest has been recognised as a pivotal moment in the return of large-scale entertainment events in a post-COVID world. Performed in front of a live audience of 3,500 plus delegates in the Greenroom on the arena floor, ESC captivated both the live audience and the 183 million watching on television from 234 countries worldwide. The entire event was under the supervision of Eurovision’s Head of Production, Erwin Rintjema.
At the heart of lighting designer, Henk-Jan van Beek’s dynamic design were the tools to guarantee that the Multi-camera directors received all the key lighting required to bring the performers to the small screen exactly as they would wish.
The Netherlands-based Follow-Me 3D SIX remote tracking system (as part of the lighting specification delivered by the official technical supplier, Ampco Flashlight) was used to keep the Eurovision performers in the spotlight, wherever they went on stage. Designed to accommodate an unlimited number of fixtures per artist, the Follow-Me package is not limited to any type or brand of luminaire.
In the Ahoy, a total of 64 fixtures ran through Follow-Me 3D, whilst receiving fixture positional data from the motion control system over PosiStageNet (PSN).
Follow-Me understands all fixture positions and orientations in 3D space and uses this information to keep any of those chosen fixtures on the performers. This unique tracking ability is achieved by a single Follow-Me system, following up to six performers, using one PoE-based Follow-Me Mouse Console per operator.
There were the fifty-eight Huracán-X fixtures calibrated to the tracking system and used as key lights and followspots on the artists. For the second semi-final interval act – The Power of Water by Davina Michele & Thekla Reuten. Here, the Huracáns were integrated in the Follow-Me system to follow the dancer in motion.
“This set-up allowed me to have a giant number of options per performance,” explains Henk-Jan Van Beek. “By connecting Follow-Me through PSN to the motion control system, we were able to ensure that the fixtures stayed on their targets perfectly while the trusses were in motion. In total there were sixty-four fixtures running through a single Follow-Me system: 58 x Ayrton Huracán-X and six Robe BMFL LTs. I would like to thank our brilliant Senior Follow Spot Systems Tech, Dennis Berkhout for making sure everything stayed on track and for making such an important contribution to the whole look of the show.”
Product Manager for Follow-Me, Tim van Dijck comments, “We were really excited to be involved in this groundbreaking event. The whole industry has clearly struggled over the last year or so; to be one of the companies involved in Eurovision’21, a COVID Safe pilot event for the Netherlands, is an honour. This comes on top of Follow-Me’s expansion into new markets and gives us confidence that the industry is ready to bounce back with a bang.”
From classic tales to rock ‘n roll productions, Israeli Opera is ready for its triumphant encore with L-Acoustics K3. P1 processor’s dedicated presets ensure K3 system delivers ultimate system versatility for expansive musical programme
Tel Aviv, Israel – July 2021 –Israeli Opera is both the principal opera company and busiest hall in the country, producing top quality operas and playing host to some of the most prestigious artists from around the world. Located at the Tel Aviv Performing Arts Centre and owned by the municipality of Tel-Aviv, Israeli Opera is also home to regular shows by local orchestras and ensembles, delighting performing arts lovers with a multitude of first-rate productions.
Over the years, as the venue began to expand its music programme, it became clear that the existing in-house PA was not capable of covering the diverse spectrum of productions and had to be augmented with rental equipment. Recently, venue management decided to perform a significant audio upgrade, choosing to install the new L-Acoustics K3 line array for its high-quality sound, excellent coverage, compact form factor and its ability to adapt to a variety of shows, from opera to rock and roll.
Main arrays of K3 with centrally flown Kiva II hangs are flanked by two hangs KS28 subs.
With the building closed due to the pandemic, Eyal Levi, Head of Light & Sound at Israeli Opera, decided to use the mandated downtime wisely and proceed with the audio upgrade. To oversee the project, the municipality employed the services of award-winning AV consultant, Harel Tabibi, who has previously worked with all major theatres in Israel and is renowned for his expertise and professional approach. Three top AV suppliers were invited to participate in the tendering process, with L-Acoustics official distributor, Lightone, being one of them.
Harel Tabibi
Israel Opera House hosts the most prestigious shows in the country, so choosing a system that meets the stringent requirements of the visiting productions was crucial,” notes Tabibi. “Having extensive experience of the Israeli sound reinforcement market, we knew L-Acoustics would tick all the boxes – sound quality, system integration and cost,” adds Lightone’s Tal Cohen Arazi. “Of course, we were right, as L-Acoustics far-outperformed the other two systems that were demoed, coming out as the clear winner.”
Tabibi worked together with David Dohrmann and Willi Klein from L-Acoustics and Lightone’s Assa Efrat, who also oversaw the installation and tuned the system, to create a system design, using L-Acoustics Soundvision that would deliver the best audio, based on the Israeli Opera’s hall’s specific architecture and sightlines. Charmer Group, which had previously worked with Tabibi and the Lightone team on other projects, was chosen as the preferred installation company.
“Israel Opera house is also one of the most beautiful halls in Israel,” explains Efrat. “Venue management wanted to ensure that both the stage opening, and the side view would be kept clear, so we couldn’t put loudspeaker hangs in the audience sightline. Another request involved seamless integration of the centre and subwoofer cabinets with the translation screens.”
“Due to the wide variety of shows, we also had to create a dedicated preset for each type of performance. We did that using two L-Acoustics P1 processors and a Q-SYS platform, which are fully interoperable thanks to a plugin released by L-Acoustics a couple of years ago,” adds Tabibi. “This function, combined with the precise design done by the L-Acoustics team and Assa, delivered outstanding results.”
The final system configuration comprises left/right main arrays of 11 K3 per side, with seven Kiva II flown centrally, flanked by two hangs of three KS28 subs in cardioid mode. Seven X8 provide front-fill, with 13 4XT for under balcony delay. A total of 14 amplified controllers, a combination of six LA12X, three LA4X, three LA2iX and two LS10, were installed to run the system. The installation started in December last year and was completed by the end of February. After a year-long hiatus, in March the building once again opened its doors to the public with a new season of concerts and Israeli music shows, offering visitors unmissable performances with the highest quality sound and excellent coverage delivered by the K3 system.
“I am very happy with how the installation has turned out,” adds Tabibi. “Since the opera’s grand reopening, the L-Acoustics system has been bringing Israeli classics alive onstage, delivering audio that sounds clear and loud, and offers perfect coverage across the entire hall.”
L-Acoustics Sales Manager, Florian Kunz notes that the teams at the Opera and Lightone worked hand-in-hand with Tabibi to make the best of the venue’s downtime. “The quick-thinking and mutual support that brought everyone together on this project enabled them to be the first venue in the world to install the new K3 line array,” he explains. “Coupled with Israel’s early ability to re-open, the Israeli Opera is now a beacon of great sound and great entertainment.” “The new K3 system has elevated the audio in the hall to a new level and fulfils every wish we gave to Harel Tabibi and the Lightone team,” concludes Levi-Sharon. “Their combined expertise, along with that of L-Acoustics, has ensured that the productions we host now have a system that exceeds their requirements, and our audiences are given the best possible experience.”
Transformation Church (TC), a multi-ethnic, multi-generational, mission-shaped community outside Charlotte in Indian Land, South Carolina, has added Ayrton Levante fixtures to its inventory of equipment used in producing worship services.
TC acquired the Levante fixtures from SES Integration, a division of Special Event Services located in North Carolina. Levante fixtures are a dramatically miniaturized version of Ayrton’s Bora wash light offering outstanding performance capabilities in an ultra-compact format. Levante’s optics produce an extremely uniform flat beam with no hot spot, ensuring a perfect colour mix regardless of the colour combination selected.
Ayrton Levante S-TC
Jeff Cranfill, owner and lighting designer at Special Event Services, recommended the Levante to TC. “The entire line of Ayrton fixtures is very well constructed with high output and great features,” he says. “I have had great results using the Levante wash fixtures in concert and video settings. The beam is very smooth edge to edge, and the framing shutters make it easy to create a video-friendly wash across the entire stage down to a single spot.
Colour temperature adjustments are very consistent fixture to fixture, and the range of colour temperature is large. This makes the fixture very usable in many environments. All of the Ayrton fixtures have very good optics along with even colour mixing and a great variety of gobos. They are some of the best LED source fixtures I have worked with, and I highly recommend them for touring and installs.”
Zach McCrorey, lighting designer and production director at TC, admits that he arrived “slightly skeptical” at the Levante demo set up by SES Integration since he’d never used an Ayrton product before. “But after being introduced to the product line, my skepticism was a thing of the past. I was blown away by the features housed within the Levante and left the demo deciding that the Levante was a top contender among the fixtures we had researched” for the church, which was delivering its services online during the coronavirus pandemic.
Ultimately, McCrorey removed all incandescent fixtures to make room for seven Levante units. “What a world of difference these fixtures have made!” he declares. “The Levantes have been an absolute game changer, and the quality of our online experience has been raised tenfold. In conjunction with our most recent broadcast camera upgrades, our key lighting infrastructure had to be enhanced as well.
Now, our team on stage is lit so incredibly well in person, and that translates beautifully through the camera lens to those watching from home. Also, there are multiple broadcast locations within our auditorium – from the main stage to the broadcast host location to our baptistry area – and utilizing the very smooth framing shutters has made highlighting any area within the auditorium a breeze.”
McCrorey believes the Levante would be an asset to any house of worship, regardless of its size. “They would be impressed by the performance and features that the Levante effortlessly delivers,” he says. “The output is superb, the beam is incredibly flat, and there are absolutely zero hotspots thrown from the lens.
“As our community is multi-ethnic, being able to light diverse skin tones quickly and correctly is important,” he notes. “Levante’s colour palette mixes very well, and the colours displayed are crisp. The fixture is quiet and quick in response. But what is truly mind-blowing is how compact it is! We utilize a single-man lift for all strike and installation of lighting fixtures, so weight was an important factor in deciding which fixture to purchase. We were thrilled to learn that this awesome fixture came in right under 50 lbs.”
McCrorey reports that TC is “incredibly pleased with the purchase we made and the powerful performance delivered by the Levante fixtures. It’s a phenomenal light. I’m looking forward to getting my hands on a few more Ayrton products very soon!”
ACT Entertainment (formerly ACT Lighting, Inc.) is the exclusive distributor of Ayrton products in North America. www.actentertainment.com
For more information on Ayrton Levante and the extensive portfolio of innovative Ayrton LED fixtures, you can visit www.ayrton.eu
After more than a year of lockdown, the wait was finally over when the multi-platinum selling band, Six60, embarked on a massive tour across New Zealand. The Six60 Saturdays tour culminated with a historic ‘first’ when they became the first ever band to play at the iconic Eden Park stadium in Auckland, with over 50,000 fans gathering to see the live show and sing their favourite lyrics together. Video production and equipment supplier, Big Picture, provided a complete video system package both for the tour and the inaugural concert at Eden Park, which included Brompton Technology’s Tessera LED processing.
“Coming out of a year of Covid restrictions, we were excited to be given an opportunity to put together a video system package for the upcoming Six60 Saturdays tour,” says Paul Carppe, General Manager – NZ at Big Picture. “We have a close working relationship with Eccles Entertainment (promoter), Ben Dalgleish from Human Person (show design) and Global Production Partners (production management) so we were able to meet their vision and offer them a package that fitted the technical brief.”`
The package included 215m2 of ROE MC7 in TAIT Touring frames, Brompton 4K Tessera SX40 LED processing with Tessera XD 10G data distribution units, a Sony HD PPU Camera system and disguise servers to run the content.
Because of the Christmas and New Year holiday period, the team had a relatively short lead time between final confirmation and the start of the tour, which was further complicated by the need to ship extra LED product from Big Picture Australia. “The short lead time could have been a problem, but we were able to mitigate most of the potential issues thanks to the ease of use of Brompton’s processing and Tessera software features,” adds Carppe.
The massive screen was wider than the stage roof and just as tall, so building quickly but safely was of high priority to ensure all other departments could complete their jobs on time. “Utilising the Tessera XD units enabled us to easily distribute data across the 27.6m wide screen with a simple fibre link back to the SX40 units at control,” furthers Carppe.
Another challenge was the removable door element for stage/artist access, which had to move in and out during changeovers whilst fitting seamlessly into the wall during performances. According to Carppe, Brompton’s Tessera software enabled them to map the door shape into the wall with ease.
With the tour on the road for six weeks, using bulletproof, high quality equipment was key. “Our previous experience with Brompton made it our top choice,” explains Carppe. “Having a screen so big meant that Tessera’s ‘Identify’ test pattern, also called beacon, allowed us to easily identify problem panels so they could be fixed or replaced quickly and efficiently.
Also, the ability to globally colour balance and match the wall across multiple processors made life easy. In terms of the system build, it was useful to have the Tessera processors in video world and then feed out to the two XD units that were behind the screen.”
Choosing the right products definitely paid off, with tour’s technical director, MJ van Lingen, happy with Big Picture’s video system. “As Technical Director of the Tour, I am pleased with its success and how the video wall contributed to the look and feel of the show. The colour and depth of the content on the screen was spot on,” van Lingen said. Two months after the 2021 Six60 Saturdays country-wide tour, 50,000 fans flocked to Auckland stadium at Eden Park to see the beloved Kiwi band christening the stage for the stadium’s musical debut, setting records as the biggest homegrown production for many years.
“We used a large portion of our outdoor LED stock to create the giant 600m2 screen for this feat of a show,” concludes Carppe. “Following the success of the Six60’s Saturdays tour, there was no question about which LED processing to use for the Eden Park concert. Brompton Technology was our first and only choice!”
For over a decade LumenRadio has provided their wireless DMX technology CRMX (Cognitive Radio MultiPlex). With last year’s acquisition of Wireless Solution, LumenRadio now owns both the W-DMX and CRMX technology and presents a unified technology platform creating a seamless experience for all users of Wireless DMX. Since 2008 there have been two competing technologies on the market: W-DMX from Wireless Solution and CRMX from LumenRadio. This has led to an industry divided between the two major technologies, until now.
Niclas Norlen
In 2020 LumenRadio acquired Wireless Solution and together the two brands supply Wireless DMX to almost the entire Entertainment Lighting Industry. With their ownership of both major technologies in Wireless DMX, LumenRadio is now in a position where they are able to set a standard for the entire industry.
Niclas Norlen, CTO at LumenRadio and inventor of both W-DMX and CRMX, “Our strategy has been to create the best experience for the user, making it easier for all users of Wireless DMX. With our acquisition we are now able to unify the entire industry in one platform and set a standard of Wireless DMX.”
The first step to unify the technologies was the release of BlackBox G6 from Wireless Solution, which included optional CRMX. This made it possible for W-DMX users to control CRMX equipment for the first time, bringing the technologies one step closer together.
Now LumenRadio is releasing the next step to the market: a unified technology platform. LumenRadio will provide all OEM customers with modules featuring combined W-DMX and CRMX technology. This means that all fixtures with Wireless DMX will listen to both W-DMX and CRMX at the same time, and automatically select the protocol used by the transmitter.
Josef Hederstrom
Josef Hederström, Sales Manager at LumenRadio, “With this new solution it will be possible to use either protocol to control all Wireless DMX fixtures on the market, regardless if you are using W-DMX or CRMX. The user does not have to select modes of operation or configure fixtures, all will be automatically configured during linking. “With this new technology platform we are able to unify the industry that has been divided for so long. There’s no need for multiple transmitters or incompatible technologies. LumenRadio supplies Wireless DMX solution that will work with all fixtures.”
Going forward, all OEM customers integrating Wireless DMX will get support for both CRMX and W-DMX, unifying the industry into one technology platform. The solution is implemented in a selection of LumenRadios modules and is undergoing testing right now, and will soon be available for new fixtures to OEM customers under both brands: Wireless Solution and LumenRadio. LumenRadio will continue to supply the Entertainment Lighting Industry with Wireless DMX under both brands, and with one unified technology platform it is easier than ever for all users of Wireless DMX.
For more information about LumenRadio and their product line, you can visit lumenradio.com
Wycombe High School (WHS) is an Academy Grammar school for girls, located in the Buckinghamshire town of High Wycombe. The school is a centre for excellence in sciences and the arts, and takes a progressive view on the use of technology, both in terms of educating its students and engaging with the wider community. One of WHS’s recent eye-catching initiatives has been to create its own YouTube TV channel under the guidance of its Marketing and Communications Manager, Bob Massie.
Before joining the school in his current role, Bob enjoyed an illustrious career as a media executive, occupying key roles at ITV, IMG and XIX Entertainment amongst others. The knowledge and insight he brings to WHS has proved invaluable. With a brief to develop creative methods of marketing the school to prospective students and their parents, as well as to teachers and other potential staff members, Bob, as might reasonably be expected, turned to the power of television…
Harnessing every resource available to him, not least the latent talents of the school’s student population, Bob took over some empty office space and made a start. His aim was to create as professional a studio set-up as was possible, where the channel could create engaging content while simultaneously educating the students in the art of its delivery.
Headteacher Sharon Cromie was supportive of the project from the beginning, realising that the dynamics of TV content (particularly under the direction of an experienced media professional) could go far beyond the constraints of traditional marketing materials. Essentially, Wycombe High TV (WHTV) would be both marketing tool and educational experience rolled into one – a channel for the school, by the school.
A key element in the very early stage of the project was to create an effective green screen for the embryonic studio space. WHS’s site management team stepped in to create portable panels that could be moved to different locations if required.
Provided that the accompanying lighting was of a high standard, this would ensure consistency of quality across broadcasts. A chance conversation which took place whilst Bob was buying chroma key paint from specialists Scenic Supplies, led to a meeting with Barry Grubb of lighting rep company 3LR. Following a consultation with Barry, WHTV trialled one of American lighting manufacturer ETC’s fos4/PD8 LED Panels.
Bob immediately knew that the fos/4 panel was exactly what he needed. Easy to operate and adjust, and delivering exceptional light quality, the unit impressed from day one. With the channel now up and running and gaining momentum, the school, with the support of its Parents and Friends Association, invested in two of the ETC fos4/PD8 panels, which were supplied by Barbizon Lighting Company.
In Bob’s words they are: “Perfect, perfect, perfect! If we were going to do things properly and show the students how to do things properly, we needed lighting that was safe, versatile and robust, which would provide us with a completely professional look without any compromise on quality.
Barry took the time to talk me through the operation and settings, and I’ve subsequently done that with the students, all of whom embrace the technology as a matter of course. It was important that the units were easily portable to enable their widest possible use, and, as with everything in the education sector, were available at a competitive price. They’ve more than proven their worth.”
WHTV continues to move from strength to strength. Whilst undoubtedly providing the school with an important channel of communication and connection during the difficulties presented by COVID19, Bob is keen to stress that in his view, that only constitutes a small part of a much further-reaching story: “There’s no doubt that WHTV served the school very well during lockdown periods – we were able to film the end-of-term concert and put it out on YouTube, for example – but the channel is much more than a stopgap response to the pandemic.
With a combination of good judgement, some luck and the dedication and drive of the students, it has become a firm fixture of school life. The viewing figures are excellent and continue to grow, the students are brimming with ideas for new content, and as a way of presenting the school to the wider community, it would be hard to beat.”
Bob Massie’s confidence in the concept of a school TV channel appears to be well-founded. WHS has received a number of enquiries from schools in the UK (and even as far afield as Madrid), seeking guidance on how to achieve something similar. The quality of the broadcasts has also attracted the attention of several local agencies who have asked about the possibility of hiring the studio, pointing to just how impressively WHTV has developed. He continues:
“When people come to look at the facility, they are ‘wowed’ by the fact that it is a proper studio producing proper programmes, which inspires them to want to emulate it. I think we’ve shown just what is possible without spending mega money. Our introduction to Barry from 3LR was timely, and we’ve taken full advantage of the ETC fos/4 panels, which help to elevate our broadcasts to truly professional standards in a practical and affordable way.”
3LR’s Business Development Manager for Broadcast, TV and Film, Barry Grubb comments: “What Bob Massie and the students and staff at Wycombe High School have achieved with WHTV is remarkable. They have pioneered something that must surely become a template for other education settings, demonstrating that judicious use of technology need not break the bank. Screens are part of the social ecosystem of this generation of students, so creating content and understanding the technology required to do so, is entirely natural. WHTV is a brilliant way of marketing the school, offering a real insight into its ethos through dynamic and interesting content. At 3LR Lighting, we’re really pleased to have played a small part in helping them achieve their ambitions.”
Marshall has built a recording studio. “This has been a passion project for the Marshall crew,” said commercial director Alex Coombes, “our ambition was to build a versatile and flexible commercial multimedia facility to serve the modern entertainment market, and at the same time to promote young talent and give something back to the artist and producer community.”
The spacious new-build facility is on the site of an old theatre, adjacent to the Marshall factory. The live room has a stage with lighting and PA, along with an artist green room, bar and reception area with the large recording control room featuring a 40-channel vintage Neve 8048 console. The self-contained studio has the benefit of ample parking in front …and a ready supply of Marshall amps and Natal drums!
Let’s guess what’s the brand of this cabinet…
Producer Chris Sheldon (Foo Fighters, Feeder, Therapy?) has already been in the studio recording rockers Bad Touch. “I love the new Marshall Studio – a fantastic live room big enough to track a band – in fact, big enough to track a decent-sized orchestra comfortably.
The vintage Neve desk sounds glorious… anything coming through those mic pres sounds, well, better! A great microphone selection to cover all eventualities and if you can’t see something you like, lots of equipment is pretty much two minutes away in the factory ….what’s not to like?”
A loading bay with ramp leads directly to the stage in the 273m2. Marshall live room, with a reduced ceiling-height area for more intimate recording located in front of the separate artist Green Room. Over 100 microphones are available, and the entire facility is equipped with tie lines, speaker connectors and AoIP Ethernet links. Four Focusrite RedNet A16R 24-bit 192kHz 16-channel analogue interfaces feed the Dante digital network, with an Avid HDX card providing the workstation link to Avid Pro Tools | Ultimate.
The large live room.
“Every part of the building has a mic tie line, a speaker output, and an instrument output for guitar amps, plus you’ve got data via RJ45 for monitoring or remote connection via six Focusrite RedNet AM2,” explains studio manager Adam Beer. “We can take any Dante mic preamp, put it anywhere in the building, it will come into our main network and we can record it directly. It means that the whole building is effectively the studio, even the office at the top!”
Adam Beer, the multitalented studio manager.
Adam arrived at Marshall after a decade of experience in both recording and live sound. “I think we can do everything here. We’ve got a world-class recording studio, it’s a concert venue with capacity for an audience of up to 250 people and we can do video filming – for product reviews, podcasts, live concert streams – you name it, we’ve set up a place that can allow creative people to fulfil their potential, whatever they want to do. I think it’s a massive vote of confidence in the creative industry from Marshall. It’s a privilege and an honour to be heading it up.”
Front and centre in the control room is the unique vintage Neve 40-channel console, with a separate custom analogue patchbay installed to the side. Configured by renowned Neve expert Blake Devitt, the console frame came from EMI Pathé-Marconi studio in Paris and is populated by a superior selection of hand-tweaked modules. To the left are 24 channels with 1093 modules, whilst the right 16 channels include an additional eclectic mix of 1065, 1066 and 1095 modules.
An electronic masterpiece and a truly sound maker on its own.
Devitt will need no introduction to audio pros, having been responsible for several major renovations and studio installs in recent years, including the huge Neve at Adele-producer Paul Epworth’s studio, ICP studios in Belgium, and Miloco’s well-known Pool studio. A clever re-build of the desk has made space in the centre of the Neve for the all-important Pro Tools screen and keyboard, with Devitt building three new low-noise busbars, including one for solo-in-place, for the Neve summing system.
“The limiting factor for many vintage consoles is the record/overdub/mix modes in the master section – which of course only made sense during the tape era,” Devitt explains. “This mixer, as it has been re-configured, gives you two completely separate consoles which can be used for whatever the producer wants. I’ve even made the patch section ‘plug in’ in blocks of eight by changing the sockets underneath to reflect custom configurations, so the mixer can be set up without filling the patchbay with a nest of cables.” Blake explains he has applied his no-compromise ‘1% better’ audio fidelity methodology to every channel on the Neve, a concept which he says will apply to every equipment decision at Marshall.
Adam Beer
Studio Manager Adam Beer reveals that even the very first recording session was a success: “Romesh Dodangoda (Bring Me The Horizon, Motorhead, Funeral For A Friend) produced some amazing recordings on the first test session, and the band went away very happy.”
The commitment of a major MI brand to such a significant new facility holds out hope for better grass-roots artist development in the UK. “I think that having everything under one roof is such a sensible way to go for the company and for the industry itself,” says Beer.
“You need to be providing something for everyone, and every type of performance. I think that the spirit of Jim Marshall really lives on in this place. Although I wasn’t fortunate enough to meet Jim, from what I have been told, this is exactly the kind of thing he’d want us to do.”
An interview of the men behind the lighting design of the Eiffel Tower during Bastille Day. Every year on July 14, France is adorned in its most beautiful colors to celebrate the Republic and to a lesser extent to commemorate the storming of the Bastille in 1789. Of course, the Eiffel Tower forms a magnificent backdrop for a grand fireworks display.
The task of the lighting designer is to ensure that the Eiffel Tower, located at the heart of the pyrotechnics, remains visible across Paris and does not get lost in the fiery display. Projecting light in daylight-type conditions is not that easy, as you might expect. Yannick Duc and Maxime Raffin of Expert Event, led by Emmanuel “Manu” Pouget, reveal their secrets and above all their thoughts behind this memorable occasion.
(from left to right) Yannick Duc, Emmanuel Pouget and Maxime Raffin. A great understanding which gradually led Yannick, Manu and Maxime to work together on this project.
The Show
SLU : Maxime, how did you come to work on this project with Yannick?
Maxime Raffin : It’s thanks to Manu, the manager at Expert Events. We had already worked together on the lighting of the Eiffel Tower in 2011. At that time, this was one of my first major projects but I had already been able to come up with a few ideas and one thing led to another, we were again chosen in 2019 and then again in 2021. We are starting to be a little more experienced and Yannick is the director of photography.
The 79 Proteus Hybrid Elation installed on the Trocadéro side.
Following our experience in 2019, we chose to specify 188 Elation Proteus Hybrid IP65 luminaires (fitted with a Philips MSD Platinum 21R 470W lamp) to project maximum light effects without having to protect them. We could have used other projectors protected by transparent coverings but at the risk of creating a double reflection and artefacts on the beam. In addition, this very powerful projector was available in large quantities.
SLU : So your choice was a trade-off between power and quantity?
Maxime Raffin : Yes, because previously we had installed 69 devices on the ground, but there was a lack of luminous intensity. Today there are 158 on the ground : 79 on the Trocadéro side and 79 on the École Militaire side. But in total, 188 Elation Proteus Hybrid IP65 projectors were deployed for this project.
In total, 188 Elation Proteus Hybrid IP 65 projectors will have been deployed for this project.
The difficulty with this project is that, although the fixture may be very powerful, the proximity means that we lose surface reflection. There are ways to improve this point by moving the fixtures back, but we are limited by the public on one side and the shadows cast from the lampposts located on a bridge on the other side. Furthermore, the fireworks are very imposing and the Tower tends to disappear as night turns to day and the beams struggle to impose themselves.
Different tilt settings to cover the entire surface of the tower.
SLU : How did you coordinate with the David Proteau team from Ruggieri, who were in charge of the fireworks?
Maxime Raffin : The fireworks are timecoded and therefore we also had to be in sync. David gives the instruction to Yannick Duc who follows it to the millimeter. We could switch to manual for fun, but it wouldn’t really matter.
Our show has a lot of effects. Yannick detailed all the titles of the soundtrack to mark the different rhythms or atmospheres like the bells on the song “Aerodynamic” by Daft Punk or on “Think” by Aretha Franklin, which we illustrated in green after having debated on the best color to represent freedom.
In the end, David Proteau, the designer for the fireworks, decided on green. Conversely, there are times when the light becomes more discreet and simple so as not to steal the show.
SLU : How did the creative phase go?
Maxime Raffin : We only learned two weeks ago that we had been chosen for this project. Normally, we have more time to prepare and with the CQLP Awards taking place simultaneously in addition to other sites we were working on, it was really a lot, hence the dark circles under my eyes today (laughs). So we worked together with Yannick who has a console at home and I have to say that he did it. He’s a very good one; he has magic fingers.
SLU : What visualization software did you work on?
Maxime Raffin : We work with Wysiwyg. Yannick prepares reference points and then we tap on the tower, at precise points and in tight bundles, to install our show. For this project, we installed a control point at the foot of the Eiffel Tower on either side and a third at the Trocadéro. A triangle fiber optic network connects consoles and projectors located on the ground, first and second floors. This network is redundant in the event that one of the sides is interrupted.
Wysiwyg 3D of the show
Emmanuel « Manu » Pouget : We have a global system, that is to say optical fiber, which is distributed from the Trocadéro to the end of the Champ-de-Mars and which returns to complete redundancy. That is to say that all the stations, all the places where there is a console, amps, nodes for light, intercoms, benefit from a fiber box.
Emmanuel Pouget debriefs with Simon Chartier, the sound manager.
Looping makes it possible. For example, if one of the fiber segments was torn off by a truck or if one of the fiber boxes were to have a problem, the signal keeps flowing.
The consoles are also redundant so if you lose one, the other takes over and they communicate together to the NPU using the MA-Net protocol. Finally, all the projectors are controlled in Artnet and connected to the nodes in standard DMX.
SLU : Was this choice of fiber due to the distance involved?
Manu : Yes. Today, with such a distance, there is not really a choice even if we did do otherwise 15 years ago with the problems that it caused. This is almost plug-and-play with a little upstream configuration. Once we connect to the network, we send the profiles to all the workstations and it works instantly. The big advantage of fiber is that it can carry all the signals over a single cable. We can then control the amplifiers, send Dante for sound, MA Net for light, we have a dedicated port for HF Bolero intercoms, with one antenna per floor of the Eiffel Tower, one further down and one at the Trocadero.
Maxime Raffin very attentive in front of his console while waiting for the start of the show which will be punctuated by a wave of explosions above his Algeco.
SLU : It must be nice to light up such a monument, it’s one of the emblems of Paris.
Maxime Raffin : We are still just as passionate and attentive, whether it is for the Eiffel Tower or for another building. But it is true that the Tower is different because it is not made up of solid surfaces. The arches create shadows and from the helicopter views you can watch the beams pass through; it’s visually interesting.
Yannick has managed to achieve quite interesting effects, sometimes with the impression that it is moving or falling apart. We’ve even been praised for the quality of the video effects (laughs). There is obviously no video projection but Yannick loves to be extremely precise and so it can give that feeling. In addition, with the grandMA, “Align” function, which allows you to perform color gradients and alignments of gobos without having to encode the projectors one by one, it is perfectly mastered.
The powerful beams of the Elation Proteus Hybrid, equipped with a Philips MSD Platinum 21R 470 W lamp cover the entire surface of the Eiffel Tower.
SLU : How did the rehearsals go?
Maxime Raffin : There were three days of encoding in Wysiwyg and then we worked 3 nights on site. In addition, the winner of the CQLP Awards, Alexandre Marcadé, had the honor to help design the last title. He was given a base and the instruction “have fun”. For the finale, the light is not necessarily the most visible but for him it was a great experience and he was like a kid. It’s also a way for us to promote new
(From left to right) Maxime Raffin, Yannick Duc, Emmanuel Pouget, Quentin Douriez, César Féraud and Alexandre Marcadé the winner of the CQLP competition who will have the honor of signing the last title of the show.
SLU : There are also 12 projectors on each side on the first floor and two rows of six fixtures on the second.
Maxime Raffin : These projectors are intended to illuminate the public in beams, to create effects and to illuminate the Eiffel Tower in color. The peculiarity this year is that the fireworks are in front of the fixtures, whereas usually it is the other way around. We therefore raised them a little by installing them on an enormous 20-meter arch, the bridges of which are held by heavy bases.
One of the two lines of 12 Proteus Hybrids on the first floor …
… and 2 x 6 machines on the second floor.
A great show and a great atmosphere within the team. We may know it by heart and see it again and again but the Eiffel Tower never ceases to amaze us, especially when it is adorned with multiple colored dots for Daft Punk, waves on the song “3SEX” by Indochine and Christine and the Queen, or projects her beams in perfect rhythm on “Blinding Lights” by The Weekend. By the way, speaking of being in perfect rhythm, you have surely noticed that the fireworks also mark the timing. We salute the perfect mastery of David Proteau and his team and cannot wait for next year!
Original French version of interview can be viewed here.
The Eiffel Tower with pretty projections and powerful beams that rival the explosions of fireworks.
Team List
Light & Sound
VANDEWALLE Lionel : Driver TRIPON Thomas : Light Technician ROGER Nicolas : Light Technician BOCHE Patrice : Light Technician CHAUVIN Quentin : Light Technician CHARTIER Simon : Head of Sound GONZALEZ Ronan : Assistant Son TAIEB Sydney : Sound Assistant FABUREL Juliette : Light Technician TRIPON Thomas : Light Technician BOCHE Patrice : Light Technician MARTIN Rémi : Light Technician CHAUVIERE Louis : Light Technician ROGER Nicolas : Light Technician BLANCO Matthieu : Light Technician FIGUEIREDO Jeremy : Light Technician DEVAUD Fabien : Technicien lumière GARENNE Martin : Assistant Light Technician MORGAN Sébastien : Assistant Light Technician MANKOURI Soyann : Assistant Light Technician
Ruggieri Team Fireworks
PROTEAU David : Artistic Director GABILAN Jérôme : Technical Director MARTIEL Florian : Chef de tir
CUETE is the latest moving head spot light fixture from Robe is a perfect compact, high-quality solution for small-to-medium productions, performance spaces or installations.
Robe wants to address some of the demands coming from the lighting professionals with the Cuete. It’s features, includes a fast pan and tilt movement to match with all genres of electronic music, for highlighting the creative work of DJs and enhancing club environments.
The Cuete, also offers a CMY colour mixing system and an 4,200-lumen output of white light according to the manufacturer. To achieve this output Cuete utilises Robe’s patented TE 120W White LED Engine which is at the core of the Transferable Engine technology.
The Cuete‘s16-degree fixed beam lens has remote control focus and can be swapped to the optional 24-degree lenses for shorter throw and low ceiling scenarios. Within its small frame, the Cuete is action-packed with Robe innovation.
This includes a CPulse flicker-free management system for setups using HD and UHD cameras, important for live streams / broadcasts; the L3 Low Light Linearity dimming software for super-smooth fades to black and the AirLOC (Less Optical Cleaning) technology which keeps the optical elements in good conditions over long time periods.
The fixture’s effects package includes a Colour Wheel with 13 dichroic filters; a Gobo Wheel with 9 fully indexable, rotating, replaceable gobos; a Static Gobo Wheel with 10 fixed gobos including four beam reducers: there is an 8-facet bi-directional rotating prism and a 5-degree frost filter to assist with producing fabulous, smooth even washes.
Robe Cuete color wheel
Robe Cuete fixed gobos
Robe Cuete rotating gobos
With this excellent combination of speed, features, and very small footprint, Robe’s Cuete is also a perfect spot light partner to the just-released LEDBeam 350.
For more info about Robe lighting and their products line, you can visit www.robe.cz and more about Robe Transferable Engine
Fynn Kliemann, a famous German YouTuber/musician/jack-of-all-trades is everywhere on YouTube, on TV and since this year also on Netflix. Together with the no less busy musician & podcaster (“Fest & Flauschig”) Olli Schulz, Kliemann renovated Gunter Gabriel’s old houseboat and lets viewers take part in the project in the streaming provider’s own documentary series. Already here, Adam Hall supplied sound reinforcement technology from LD Systems for the integrated music studio.
Now the Kliemannsland – the name of the creative and event space in Lower Saxony – has landed another web hit: a livestream with DJ Ben Böhmer (producer and DJ, deep house, progressive house) with 15,000 live viewers – and again a lot of material from Adam Hall was implemented. Last year, DJ Ben Böhmer played his exclusive sunrise set in a hot air balloon over Turkey, which caused a worldwide sensation. The setting from Kliemannsland was not less innovative, because while Böhmer was DJing, Fynn Kliemann and his team built the “stage” around the DJ. With them: lots of event technology from Cameo, LD Systems, Gravity and Defender.
A total of 14 Cameo ZENIT P100 DTW Outdoor LED PAR spotlights, two ZENIT W600 Outdoor Washlights, three AURO SPOT 300 moving heads as well as two Cameo F4 D Fresnel spotlights with daylight LEDs and a compact F1 T Tungsten spotlight were used for the live stream.
Cameo fog machines also provided a mystic touch to the atmosphere. Since the Kliemannsland is an extensive adventure playground and not a classic event location, cables had to be laid as safely as possible via Defender cable crossovers – and also withstand an errant excavator delivering beer to everyone on the location.
Two LD Systems MAUI 44 G2 column PA systems provided the sound reinforcement for the live act, while two ICOA 12 A active coaxial loudspeakers were used for DJ monitoring in the self-built pulpit.
Whether spotlights, loudspeakers or microphones (LD Systems U508 HHD 2 dual wireless microphone system) – what was not fixed on the floor, on rigs or otherwise, stood on various Gravity tripods.
The complete set “Ben Böhmer Live @ Kliemannsland”
Powersoft has confirmed the appointment of Akira Mochimaru to serve as its new global marketing director, effective immediately. His duties in this role will be to connect dots between customers, technology, products, communication, and distribution through strategic business planning and guiding implementation.
Based in the US, he will also coordinate with Powersoft’s operations in New Jersey to help growing the company’s presence in the install market through his knowledge and network of contacts.
Mochimaru has made his move to Powersoft permanent after serving as a consultant for three months. He comes with an outstanding pedigree and track record extending over 38 years in the pro audio industry, including working as general manager for Bose Professional.
“My personal mission is to connect customer experience and products through the use of advanced technology with unique value,” said Mochimaru. “I have already experienced situations where customer problem-driven ideas met a company’s technology driven ideas. Powersoft has the capability and foundation to convert technologies to solve customers’ problems and improve their experience, so I look forward to working closely with staff across the divisions to develop a plan and execute it with excellence.”
“When I first visited Powersoft’s HQ, I was immediately impressed by their capabilities in testing and the way they ensured product quality remained high throughout the design and manufacturing process. Their combination of innovative thinking and technical excellence made the decision to join Powersoft an easy one, and the trusting relationship I was able to establish straight away with Powersoft’s senior management was very reassuring.”
The new Board featuring Akira Mochimaru standing between Carlo Lastrucci Powersoft’s Chairman on his right and the CEO and CFO Luca Lastrucci.
“We are proud and delighted to have Akira Mochimaru joining our team” said Luca Lastrucci, CEO at Powersoft. “His appointment represents an important step in the process of implementing Powersoft’s strategy of strengthening its presence in the installation sector, especially in specific vertical applications. Akira’s experience will be essential to help us to encompass the current and future needs of the market, by focusing on objectives and defining the products of the future, which will make Powersoft able to maintain a leading role in professional audio.”
Luca Giorgi, Powersoft sales director, added: “Powersoft has been successfully interacting with partners and clients since the beginning; actively listening to their points of view on everything from product design to customer service. Having Akira on board allows us to improve the customer experiences even more, ensuring we always meet their needs and move quickly to solve their common problems.”
