Austin Freshwater, General Manager since 2017, has been appointed as the next Managing Director of digital audio mixing console specialist, DiGiCo, effective immediately. This promotion also opens a new era for long-serving MD James Gordon who remains CEO of Audiotonix.
The directors of DiGiCo’s parent company, Audiotonix – which also oversees entertainment technology brands Allen & Heath, Calrec, DiGiGrid, Group One Limited, KLANG:technologies, Solid State Logic, and newly acquired Sound Devices LLC – made this decision, in part, thanks to Austin’s unprecedented performance against the unpredictable landscape of the Covid-19 pandemic.
“We were talking about Austin moving into the MD position just before Covid-19 hit, by which time it didn’t feel right for me to run off into the hills,” says James, who had made the role his own over the past 14 years. “I don’t think it would have sent the right message to our customers and teams.” It’s a job James has cherished, but a role he never sought out. “Anybody I’ve ever met who actually wants to be an MD is pretty average at it,” he muses. “As for the people who really learn about a company on their way up, those are the people who make the best managing directors. It’s not a job as such, it’s a responsibility you should want to take on.”
James Gordon, le PDG de Audiotonix.
During the past 18-months, Austin stepped up behind the scenes when the unforeseen impact on live events took hold, presenting him with a huge challenge far sooner than anyone was expecting. “His performance and behaviour over the last 18-months has been nothing short of phenomenal,” continues James. “He’s done an amazing job in a company that, to be very honest, is used to winning all of the time.”
The personality of DiGiCo as a company has truly elevated its status. Alongside growing a digital audio console business, the company has established a worldwide community that even Covid-19 couldn’t diminish. “In March 2020, everyone went into ‘serious concern’ mode,” says a reflective James. “We’ve basically spent this time reassuring people within the company who aren’t used to not hitting their numbers that we’re all in it together.
We’ve also spent a lot of time helping our end users, the DiGiCo sound engineers, because they’ve been miles away from their ‘on the road’ family and their usual support groups haven’t been there in person. Seeing how well Austin has led the team during this time has been exceptional. It’s really shown everyone that he’s more than capable.”
To hear Austin’s take, it was the first six months of ‘going dark’ that presented the toughest test. “We were in the office most days trying to keep in touch with everybody and keep them genuinely motivated,” he says. “Just checking in on everyone regularly and letting them know we were still around was vital. It’s been a challenging time both emotionally and commercially.” “Pandemic aside, he’s always been the right guy for the job,” adds James. “We did surprisingly well during incredibly difficult times for a live event business, and that’s mainly down to how Austin handled the situation. Sure, he had all the right products and all the right people with him, but he still had to deliver in an extreme environment.
So, where we were confident in his abilities before, it gave us certainty. We don’t get everything right, but if we make a mistake we’ll fight to fix it. That’s what I know Austin will do, he’ll still be there when it goes wrong. He will save the day and that’s what makes you an MD.”
Maria Fiorellino, la Directrice Marketing de DiGiCo.
Marketing Manager, Maria Fiorellino, who has been a force in the industry since the tender age of 19 explains: “He’s been an extra layer of support within the company. Having Austin with us has strengthened our relationships too, which is amazing, because our history goes back to the very beginning.”
Helen Culleton, COO d’Audiotonix.
Helen Culleton, a pillar in the DiGiCo brand from the get-go, agrees. Now Audiotonix COO, Helen sees potential in people the way every great humanist should. She says: “Someone new coming in would potentially have a lot to prove within an already established team.”
James agrees: “Not naming any names but someone once said to me, I never wanted you to go anywhere, but I’m glad you hired Austin because he’s really great. Which is just about the nicest way of saying Hey James! You can leave now!” “Everybody knows that the amount of people who commit to working with DiGiCo long-term is exceptional,” continues James. “Our work ethic is phenomenal, we get the job done, we always answer the phone, and we will get a solution to you. Then, when the work is done, it’s no secret that our lot are also the first ones to the bar and the last ones to leave. As CEO of Audiotonix, I was getting pulled everywhere. If we hadn’t filled the position at DiGiCo and put Austin on the path that we did, when we did, we were in danger of not being as great as the company deserves. Finding the key person, certainly for Helen and I, was such a crucial thing. People love DiGiCo for a reason, and we had to keep the same culture running throughout the company.
“DiGiCo is absolutely not a political company, we nurture people to achieve,” adds Helen. “And that’s always been the same for anyone who comes in, we want them to succeed. It’s massively important to know your DNA and prioritise your customer base. That’s why each of the companies within Audiotonix have been thriving for decades.”
So, what’s next for the brand that dominates in concert touring? “I want to replicate the relationships James has built,” concludes Austin. “Not replace them by any means, but add to them and, as Maria put it, offer that extra bit of support. After all, if you’re not driven to be the best for your customers, what are you doing it for?”
The strategic move will bolster confidence and allow pro audio’s most fun company to continue doing what it loves – building an iconic business while forging great friendships.
Main Light, which has been providing dry hire lighting rentals to the entertainment industry since 1981, has purchased a substantial inventory of Ayrton Perseo Profiles from ACT Entertainment, the exclusive distributor of Ayrton fixtures in North America.
Perseo Profile is the first compact multi-function luminaire with an IP65 enclosure rating developed by Ayrton for intensive outdoor use. Perseo’s sleek, minimalist design in lighter-weight, die-cast aluminum is equally useful for indoor applications.
Its rich feature set includes framing shutters, 18 interchangeable HD glass gobos on two wheels and a continuous dynamic effects wheel. A subtractive CMY color mixing system combines with a variable CTO and a wheel with six complementary colors to produce an infinite palette of vivid pastels and saturated colors.
“We have been working with Main Light for many years, and it’s very exciting to have them come on board with Ayrton, the industry leader in the development of moving lights,” says Doug Mekanik, Director of Sales at ACT Entertainment. “We’re happy to support their new purchases as Main Light significantly grows their rental inventory.”
Randy Mullican, General Manager of Main Light, which has offices in Wilmington, Delaware and Las Vegas, says, “We wanted to expand our IP fixture offerings, and ACT introduced us to Ayrton Perseo. Their feature set, light weight and framing shutters made them very attractive.”
He sees customers renting Perseo for corporate shows, music events and live production, both outdoors and indoors. “A corporate producer, who was very happy with Perseo’s performance, called them ‘very impressive,’” Mullican reports. “We’re a long-term customer of ACT and count on them to keep us up to date with what’s new,” he adds. “Doug, Ryan (Hindinger) and Ben (Saltzman) are always there for us.”
ACT Entertainment is the exclusive distributor of Ayrton products in North America
More information on Ayrton Perseo IP65 rated fixtures and the extensive portfolio of innovative Ayrton LED fixtures can be found at www.ayrton.eu
Solotech, a long-time L-Acoustics partner invests in K3, the compact full-range line source system, 56 cabinets split across its North American and European operations. This investment will help the company to fulfil its ever-increasing 2022 commitments.
With offices in 19 locations across Canada, USA, UK and China, including its European operation via Solotech Group member SSE Audio, Solotech is a global leader in audiovisual and entertainment technology, providing for both the live and systems integration markets.
The company’s storied history includes high profile clients such as Céline Dion, Justin Timberlake, and Arcade Fire, as well as installations like the Rady Shell at Jacobs Park in San Diego and Resorts World Las Vegas.
K3, a 2-way active enclosure featuring two 12” and a single yet, very powerful 4” driver, L-VENTS, Panflex and the need for little number of amp’s channels.
Solotech is a long-time L-Acoustics partner, well-known for its commitment to investing in state-of-the-art equipment. The company’s already substantial stock of L-Acoustics products now boasts a total of 56 of the newest L-Acoustics K3 compact line array cabinets, split equally across its North American and European operations. This investment will help the company to fulfil its ever-increasing 2022 commitments.
The new K3 is L-Acoustics smallest, full-range line source system to date and is ideal for mid-size events. Its light weight and long-throw capability and extensive bandwidth make it the perfect addition to Solotech’s inventory, allowing the company to propose new approaches, especially for theatre productions and for deployments using L-ISA Immersive Hyperreal technology, providing a cost-effective solution for projects requiring increased cabinet counts in smaller spaces.
Chief Executive Officer of L-Acoustics Americas Alan Macpherson.
“The global Solotech teams consistently create outstanding entertainment experiences for an incredible range of audiences and artists,” expressed Alan Macpherson, Chief Executive Officer of L-Acoustics Americas. “I’m pleased that Solotech saw the new K3 as a strategic investment that will help them to continue offering optimized sound reinforcement for their exciting and growing line-up of projects.”
In Europe, SSE has already deployed its K3 with Post Malone on the Wireless Stage at Reading and Leeds Festival this summer, whilst Solotech’s North American stock are gracing American rapper, singer and songwriter NF’s 20-date, month-long Clouds Tour, where it is being used as outfill as part of an extensive K Series system.
Frankie Desjardins, Vice President R&D at Solotech Inc.
“K3 has a smaller footprint than K2, which makes an excellent in-between solution when Kara II is not quite powerful enough and K2 would be overkill,” explains Francois ‘Frankie’ Desjardins, Vice President R&D at Solotech Inc. “With its integrated Panflex, K3 offers control on the HF directivity which gives it great flexibility to give either very wide coverage, or much narrower, perfectly fitting the needs of diverse projects. Having all of that in one cabinet offers better versatility.”
The 2021 MTV VMAs (Video Music Awards) was back in-person, in style and with a live audience at the Barclays Center in Brooklyn, New York City … and making it extra special this year the event celebrated its 40th … so the pressure was on for lighting designer Tom Sutherland of DX7 Design to smash it in terms of visual flair for the occasion.
He accomplished this working closely with a talented team – including creative director Paul Caslin, camera director Joe Demaio and set designer Julio Himede of Yellow Studio – and with the help of over 300 Robe moving lights! The Robe count included 204 x BMFL WashBeams, 80 x MegaPointes and 50 x Pointes which graced the rig together with an impressive 16-way RoboSpot remote follow spot system.
Last year was Tom’s first lighting this high-profile entertainment industry event famous for its super-slick visuality, and 2020 had also been special as it was the only VMAs to be staged virtually with an array of remote performances. So, this year everyone was delighted to be properly back to ‘live’. Tom’s starting point for lighting was Julio’s striking set – the biggest and baddest ass of a VMAs scenic design to date – which included an enormous 45ft high inflatable astronaut towering above the long side of the stadium. The figure mimicked the popular VMA logo and awards statues introduced in 2017, inspired by images from various moon landings, and was brought to life for the show with video mapping.
The main artist entrance / exit point was through the astronaut’s chest, with two full stages built left and right of this, directly opposite one another, each occupying one entire end of the event space, with everything connected by an elegant 360-degree oval-shaped catwalk.
The catwalk was constructed from video floor panels which looked stunning in the overhead and crane shots, and it circled a sunken ‘golden circle’ pit, packed with ecstatic fans for the broadcast. There was a smaller circular performance space right in the center of the pit, so Tom needed key and effects lighting literally everywhere and from every angle to catch all the tightly choreographed live action and the fast-paced presentations, ensuring every shot looked fabulous.
“As always, it was a careful balance of making the house look awesome whilst also satisfying the demands and wishes of the various artists’ creative directors,” he explained. Fourteen trusses were installed in the roof space above the two stages, flown at different heights so they formed a dome-like shape with the highest trimmed at 70 feet. Most of the lighting was rigged on these trusses, including the BMFL WashBeams.
More BMFL WashBeams were on two long ‘offstage’ trusses that traversed the room lengthways both sides with angled end pieces. BMFL WashBeams were picked for their “power and features” as Tom needed sources that really punched and could produce the thousands of different looks needed. With optimum positioning, they gave him great coverage for both stages plus the astronaut, the catwalk and all the audience sections.
MegaPointes framed three sides of each of the two screens blasting through scenic pros arch surrounds, creating big bold beamy looks and tunnels, cones and slices of fragmented light shooting all around the arena, and there was a 12 x BMFL WashBeam floor package also available on each stage. These were used for outlining the central performance space – in the pit – for part of Buster Rhymes’ set with him also surrounded by the audience. The floor-based WashBeams were used to great effect to silhouette Lil Nas X and Justin Bieber. Pointes were deployed around the inner perimeter of the ovular catwalk with another 10 Pointes each side flanking the astronaut.
Tom’s design featured plenty of moody, dramatic shadowing and silhouetting and working the lighting to match the tone and raw aesthetic of some video content which looked great on camera and for the enthusiastic crowds. For getting key lighting in exactly the right places, Tom found the RoboSpot system a perfect precision solution.
Ten of the 16 RoboSpot systems controlled 10 x BMFL FollowSpot LTs (with the integral camera) rigged on the ‘dome’ trusses which were trimmed too high for human follow spot operators to be working safely. “It’s a great system and was absolutely THE right product for the job!” he declared. In addition to these, three upstage BMFL Spots per stage were controlled by the other six RoboSpot systems, making up the total of 16 systems.
The local crew operators had control of iris, dimmer and movement, everything else was done via the main lighting console, and spots were called by conventional light console operator Brian Jenkins, also one of Tom’s programmers. In addition to Brian, also on Tom’s talented lighting team were directors Hunter Selby, James Coldicott and Jasmine Lesane plus programmer Joe Holdman who all worked on the grandMA2 control system.
A truly memorable VMAs was created in close collaboration with several other equally smart and imaginative individuals including screens producer / creative – Trevor Burke from Visual Noise Creative, art directors Matt Steinbrenner and Gloria Lamb and media programmer Kirk Miller.
Lighting kit was supplied by Solotech, Harry Forster and Dave Evans were the account managers, the lighting gaffer was Alen Sisul and the techs were Dennis Sisul & John Cox. Head rigger was Brian Lolly of Kish Rigging who Tom compliments for the department’s “amazing” work. Challenges for lighting included the pace and intensity of the action which unfolded over three hours of live TV featuring 14 star-studded A-list guest appearances including Kacey Musgraves, Camila Cabello, Lil Nas X, Normani, Foo Fighters, Chlöe, and Justin Bieber, all of whom wanted their own coolest onstage looks. The creative team saw them onstage only for their single 90-minute rehearsal slot … before having to imagine a different masterpiece presentation for each that blew everyone away!
The executive producers were Bruce Gillmer, Jesse Ignjatovic and Barb Bialkowski with Alicia Portugal the executive in charge. The 2021 MTV VMAs was presented by American rapper Doja Cat. Lil Nas X’s “Montero (Call Me by Your Name)” won Video of the Year, and the artist and Tanu Muino also won the Best Direction award for this same popular and acclaimed work. It was the first major US awards show to be back with a full capacity audience.
For more info about Robe lighting, you can visit : www.robe.cz
Portman has a knack for creating spectacular, modular halogen luminaires that can be used to create unique scenery, backdrops and matrix lighting effects. Their latest creation, the Mantis, takes the concept of strong design a step further and offers some new possibilities with LEDs and colors.
This fixture has an unusual shape…
[private]
The registered design is “Portmanesque”, meaning unique and instantly recognizable. This time, the design involves three “petals” arranged in a three-point star formation around a central hexagonal element. As with other models by this brand, the bottom of each petal is lined with a dimpled silver aluminum reflector that diffuses light and distributes it over the inner surface of the structure. The shape of the fixture allows a variety of configurations and arrangements of multiple individual units, but also visual constructions, which open up new possibilities for scenographic creations.
Elements and Light
A view of one of the “petals”, with its elongated linear system of white LEDs.
The petals
Each petal incorporates two light sources. At the center of each petal is an arrangement of warm white LEDs of about 60 watts. The elongated design of this element is based on that of an R7S lamp (which contributed to Portman’s success), to the point of simulating the filament and its regularly spaced supports…
This LED system is the result of a specific design for Portman based on mini-COB components aligned to create this unique effect. This device operates with a “dim to warm” effect, in other words, the color temperature decreases according to the intensity of the dimmer, as it does with a halogen lamp (it goes from 3200 K at full, to a low 1400 K at minimum), and it’s a beautiful effect.
The Mantis seen from the front: whites and colors all around!
RGBW multi-chip components arranged around the perimeter of the reflector allow you to play with colors as a second layer around the linear variable-white source, and offer subtle mixing possibilities with it.
The Mantis with the included star “gobo”.
The central source
Practically the entire surface of the central module is covered with frosted Plexiglass, creating an even, uniform light from the 15 W RGBW source. This is enough to mark its presence and to allow this surface to be used to backlight a gobo-type image.
The Mantis comes with two metal images, but it is possible to insert an image printed on Rhodoid (cellulose acetate) film or a 3D-printed one (the source doesn’t get hot).
DMX
The fixture is controlled via DMX-RDM
Several DMX modes are available. There are eight modes (actually, it’s more like four, but each mode has a “fine” version that doubles the number of channels, for 16-bit resolution on most parameters). The most basic mode, with 21 channels, offers quick access to presets and macros, while the most extensive one, with 43 channels, is a “pixel” mode that offers independent control channels for each parameter for each element. This means that the Mantis can operate as a set of pixels, capable of operating four RGBW elements and three warm white elements independently.
The Mantis backlit against the projection from its own warm white LEDs.
Depending on the DMX mode, you can have access to about sixty pre-programmed macros that include various static effects, but also animations and other chases, which are available in different colors, to generate certain effects directly without programming them externally from the console.
Construction
The rear of the fixture.
The workmanship is very precise, and it is entirely made in Poland at the Portman factory. The whole unit is only about 15 cm deep, with a total width of about 65 cm, and a weight of 8 kg. The entire structure is made of welded steel, and covered with a slightly textured anthracite finish, which is very attractive.
The three petals connected to the central module each have two aluminum tubular elements on the back, which are an integral part of the design, and which allow you to handle the fixture, as well as providing some protection. The back of each petal is perforated to allow heat to escape.
The connection panel.
The connection panel is located on one of the longer sides of the central module (which slope towards the rear of the module), underneath the control panel. It features a PowerCon True1 mains input, and a second one of these to daisy-chain power out to additional Mantis units.
Considering the 250 W maximum power consumption per unit, you can go right ahead! Right next to the mains connectors, the XLR5 input and output provide the DMX/RDM connection. The front of the hexagonal central module has a cover that can be opened and closed by means of a small knob, allowing you to insert an “image” (or gobo) in front of the diffuser.
A side view, showing the distinctive yoke.
The fixture is mounted on a yoke with a rather unusual shape, which creates a significant offset but, above all, allows it to be positioned in almost any orientation.
Each end of this yoke is fixed to the Mantis via a clamping handle that firmly locks the fixture at the desired angle, whether it is deployed on the floor (the yoke can be used as a stand to support the fixture) or suspended. Its shape allows the coupling of several Mantis units to create complex configurations.
There is a simple and short yoke, available as an option, which allows it to be used in a more conventional way (mounted to a totem for example…) but with reduced orientation possibilities. A wireless option is available, in the form of a small board that can be integrated into the central module.
The menu
The menu display and the control keys.
In the center of the rear panel is the display and its four associated keys for accessing the menu. The software and the interface are really well thought out, both in terms of the number of possible options and in its layout. The menu is very user-friendly and welcomes the user with a very pleasant message.
The four keys that allow you to navigate through the menu are backlit using RGB LEDs, with intensity that can be adjusted (or even turned off). They change color when you confirm an action – in short, there are many details that make this user interface particularly pleasant and practical.
Une vidéo de présentation avec mise en situation
Conclusion
The Mantis is a little gem for lighting designers, both as a scenic element and as a powerful light source, which can even be as aggressive as a blinder. The possibility to assemble them in diverse configurations of multiple units allows for the creation of spectacular and impressive graphic compositions, where your imagination is the only limit. The colors and pixel effects allow for even more creative possibilities. Mixes of warm white and cool white work wonderfully, as do colored backlight effects.
The central pixel and some different combinations of whites and colors.
Even its possibilities for “projection” are not to be underestimated… I tried it against a white wall and it suggests some unique and very interesting possibilities for lighting a set, a cyclorama, backdrop or whatever… Depending on how you use it, you can have “triangular” light effects, accompanied or not by multicolored “moiré” effects produced by the dimpled aluminum reflectors…
Some color effects projected on a wall/backdrop, with colored moiré patterns.
The potential effects can be as subtle and delicate as they can be powerful and explosive. In any case, there are effects that only the Mantis can produce. Its shape, its color mixtures; in short, its uniqueness is its key asset. There is no doubt that it will quickly become the darling of many lighting designers who will find a new and surprising role for it every time they use it.
Manufacturer: Portman – Designed and constructed in Poland Price: € 1650 EX-VAT – Warranty: 2 years Website: portmanlights.com
In the magnificent setting of the Arenes de Nîmes, in the south of France, acclaimed lighting designer Pierre Wendels shed light on the history of the city, in a visual spectacular specifically designed for the Roman amphitheater. Les Nuits de Nemaus featured more than 200 professional actors, dancers and stuntmen and a plethora of effects; with lighting controlled by two ETC Eos consoles, with Philippe “Pilou” Roy at the helm.
Accustomed to major projects, Wendels created a poetic atmosphere by combining lighting and video content for the remarkable show. “If the team around me is confident, everyone is willing to take risks and that’s good for fostering creativity,” he says. “I try to connect with the audience through visual perception. My first consideration is the human experience; the method is only a tool.”
For this project, Wendels relied on Virginie Martin to create the video content, and Roy for the lighting aspects. “I write very detailed notes with drawings and photo montages in which I tell the story of the light,” he says. “Lighting and video are inseparable from the outset. They form a whole – one does not work without the other. ”
@Jonathan Grimaux
An Eos Ti and an Ion Xe console, both provided by Groupe BLive, demonstrated their versatility on this significant show, thanks in part to Augment3d, the integrated 3D programming environment introduced in the Eos v3.0 software update.
“I’ve been presenting Augment3d almost every day since its launch at the end of 2019,” says Roy, who also works as a field project coordinator for ETC France. “It’s great to finally be able to use it on a project of this size and scope.”
The Augment3d programming environment enabled Roy to design and control a three-dimensional space in virtual form, including automatic positioning of the sixty automated lighting fixtures involved.
Once configured, the lighting rig was able to respond to a simple tap of the touchscreen offering unparalleled ease of use and a huge time saving for Roy and his team.
Additionally, Roy took the opportunity to experiment with some upcoming features currently in beta testing, including the ability to customize the role of the encoders. He employed this new function for quick access to the parameters of the real-time tracking system for the follow spot used on the show. He also experimented with the extended capabilities of the Custom Direct Selects function available in the new version.
During the 90-minute show, Roy controlled all the moving lights on the Eos Ti, often making changes on the fly based on the ever-changing movements of the performers. Alongside him, Wendels supervised the smooth running of the show, directed the various technicians involved in the production, and managed the fog in real-time.
Multiple traditional lighting fixtures were also controlled from the interface of the Ion Xe 20, including a pivotable structure of 30 PAR64 fixtures, nine BT500 projectors, and a 2.5 kW HMI Fresnel. The two Eos consoles were synchronized, with the Eos Ti performing all the calculations while the Ion Xe 20 served as a backup that could take over in the event of a problem.
In conclusion, Roy comments: “Along with the welcome addition of Augment3d, this landmark show really highlighted that Eos has so many more benefits than just its award-winning color control capabilities, especially when it comes to handling large-scale performances.”
With Dynamic Music Distribution, Powersoft offers SIs the ability to scale inputs and zones conveniently and efficiently with dynamic routing capabilities embedded on its amplifier platforms. This makes it simple to dynamically route music and other signal sources along with control signals between different zones and across multiple amplifiers all independently of source location and without the need for a centralised DSP.
Two Mezzo 604 ADs – Powersoft’s four-channel, 600W compact amplifier – are powering the entirety of the 250-capacity Matches Sports Bar, Grill & Social, forming the core of a unique hospitality venue incorporating multiple distinct audio zones and spaces. Tucked away behind the counter, a single 4.3” wall-mounted Powersoft WM Touch screen, gives complete control of the entire DMD system, including Mezzo’s embedded dynamic routing capabilities.
Ashley Bond, directeur général de MADE Worldwide, concepteur et installateur de systèmes.
“By using Powersoft’s Dynamic Music Distribution solution, we were able to keep our design simple all the way through, from designing the project to handing it over to the client,” explains Ashley Bond, managing director of system designer and installer MADE Worldwide.
“The client is then left with a powerful start-to-finish solution from a single industry leading manufacturer, providing them with a safe and secure audio system that’s really going to push through.”
Matches Sports Bar – located at Elwick Place in Ashford, around 95km south of London – opened in June and has been doing roaring business ever since.
Le propriétaire de Matches John Shepard.
Jon Shephard, Matches’ owner, says the concept for the venue is to combine “all the best bits of the bars I’ve been to throughout my life, all into one place” to create the “ultimate sports bar experience”.
With a single four-channel Mezzo amplifier now able to drive up to four independent zones of audio, thanks to Powersoft’s new ArmoníaPlus 2.2 software release, the DMD ecosystem was the natural choice to bring to life Shephard’s vision for the venue, with a “tailored sound experience in each individual area” he explains.
“In the main bar area, we wanted a system where customers could really feel like they’re in the stadium watching the match live. However, once that match is finished and we turn the [TV] sound off, we want to get the music pumping – to turn it up loud and have no loss in quality with regards to the audio. And believe me, if you come here on a Friday and Saturday night, you’ll definitely experience that.” The two Powersoft Mezzo amplifiers are responsible for managing the audio throughout Matches, including in the corridor and washrooms.
Steve Barton, responsable de la branche intégration AV de CUK Audio.
Powersoft’s UK distributor, CUK Audio, supplied MADE with the Mezzos and WM Touch, as well as the AUDAC loudspeakers (ATEO wall-mounted speakers, CIRA ceiling speakers, and BASO10 and NOBA8 subwoofers) the amplifiers power.
Its installed AV channel manager, Steve Barton, says multiple output options like those on the Mezzo 604 AD were essential for a venue like Matches, where a single amplifier is able to power both Lo- and Hi-Z loudspeakers.
“The Powersoft amps have up to four channels running 600W, with full Power Sharing across all the channels. And the key here is that they can do low impedance and a 100V line on the same amplifier, all using the integral DSP – in a half RU space – so you can fit a heck of a lot of processing power in a really, really tiny space.”
Deux Mezzo 604 AD, 8 canaux de puissance prête à donner vie à des enceintes à basse ou haute impedance…entre autres possibilités.
“One of the challenges on this project for us was to keep everything nice and tight with a small-rack install,” adds MADE’s Bond. “Because the Mezzos are so small in the rack, we were able to fit three satellite boxes, and an AUX input, so we could come in and throw [sound] around in different zones and make it easy for the client to use.” Despite its high spec, the Powersoft system is so competitively priced that recommending it to MADE for the Matches project was very straightforward”, ends Barton.
Une image du 604 AD.
Le système de commande WM Touch.
Shephard says he is “delighted with the AV system we have in Matches. The WM Touch system is super user-friendly we have a control panel behind the bar, which any of our staff can log on to and be able to change the audio in a couple of clicks. Plus, the training [from MADE] only took a minimal amount of time – no more than half an hour – because it’s so simple to use.”
In fact, so impressed were the MADE team by the system installed at Matches that the company is already speccing an almost identical system for several upcoming projects. “That’s off the back of how strongly it’s performed at Matches,” Bond continues. “It’s definitely become our go-to solution for hospitality projects – so much so that we even hold stock of it just to have it when we need it.”
Une des -match boxes-
Equally important as its equipment’s technical prowess are the people at Powersoft, adds Barton of CUK, which has been distributing the brand in the UK since 2008. “It’s not just about the products, it’s about the relationships, and the guys at Powersoft are fantastic,” he concludes.
3 partenaires et un client heureux.
“They’ve demonstrated time and time again that they’re approachable, personable and flexible, which is exactly what you need in a working relationship. And it’s a rare combination to find a top-level manufacturer that has such fantastic people working for them.”
200 drones took to the skies above Burg Giebichenstein in Halle (Saale) and assembled themselves into symbols and catchwords of German Unity. The exclusive multimedia drone show by Jens Hillenkötter and his company JH Technology Arts was the highlight of the closing celebrations for German Unity Day, which were broadcast live on television. One floor further down – in the inner courtyard of the castle ruins – numerous moving lights from Ayrton set the scene for the multi-layered live setting in parallel.
“The castle ruin is a very special location and combines the historical with the digital, because the whole show is designed to be followed via TV or digital streams,” says Jens Hillenkötter, who has already been responsible for numerous sensational light and drone shows in recent years. “The lighting design plays an elementary role here, because we not only have various camera formations for the broadcast, but also live musicians and orchestras in the show, which all have to be set in perfect light. We want a big look that makes its impact even from a distance.”
In total, the experienced lighting designer relied on 64 Ayrton Perseo Beam, as well as 14 Ayrton Domino-S, IP65 moving lights placed throughout the winding castle ruins as well as along the large bridge at the foot of the castle.
“We needed fixtures that were not only compact, lightweight and weatherproof, but also offered a tremendous amount of flexibility, because with this show and this setting, it was clear from the start that there would always be changes. What is a beam fixture today, I might need for an open white wash tomorrow.”
In the course of a large lighting shoot-out in the run-up to the show planning, Jens Hillenkötter and his team had the opportunity to compare all potential manufacturers. The underlying question was: what is the ideal tool for each specific use?
“The Perseo Beam convinced us above all with its compactness – especially when you consider that this is an outdoor lamp. In addition, it has a nice, defined beam and can also produce a soft fading light when needed.” Hillenkötter used the Perseo Beam again and again for the live musical acts on site – for example for singer/songwriter David Vidano, who switched between two stages during the show.
Jens Hillenkötter was equally impressed by the large zoom range of the Ayrton Perseo Beam. “I immediately noticed that the fixtures have a homogeneous beam without a hotspot, as you often find elsewhere.” Wherever Jens Hillenkötter needed even more light output or wanted to achieve break-up effects, the Ayrton Domino-S were used, which with their large and defined zoom range and precise optics additionally provided structure in the lighting design. “In addition, the shutters were a great help in acute-angled lighting situations to avoid shining out of the castle everywhere.”
The video of the show can be viewed here:
Ayrton is distributed exclusively in Germany by Lightpower GmbH.
For more information on Ayrton Perseo Beam and Domino-S and the full range of LED lighting fixtures, visit www.ayrton.eu
ETC’s Eos Family of lighting controllers is known for providing comprehensive, finely tuned control for lighting rigs of all sizes. Now, with the release of Eos v3.1 the latest major software update for the platform that control becomes even more customizable to suit any programming style or show. Eos v3.1 is all about you, with new tools that help you set up your workspaces programming, 3D-visualized, and physical just the way you want them.
In a fast-paced show environment, you need quick access to all your content. In Eos v3.1, Custom Direct Selects now support thousands of custom target lists, which you can populate with channels, groups, palettes, scenes, and more – along with new navigation tools to help you page quickly between them.
A new icon library lets you add images to both Direct Selects and Magic Sheets so that you can identify targets at a glance. The addition of user-defined Encoder Maps also allows you to create custom encoder layouts for all your fixture types using a dedicated and intuitive editor.
Show control triggers are now easier to monitor as well a new Timecode dropdown in the top bar of each display allows you to see your console’s interactions with other devices.
Eos v3.0 introduced Augment3d, a revolutionary workspace that lets you program and visualize your rig in three dimensions. The v3.1 release adds new tools that let you bring your virtual programming environment closer to reality. You can now enhance your model surfaces with Materials, which can be applied from an included library or imported from custom sources. Sketchup imports have been dramatically improved, and Vectorworks imports now include shutter cuts for conventional fixtures. When you want to break away from beams and shutters, new generic fixture options for sconces and chandeliers provide new options for omnidirectional light sources.
The improvements in the new software aren’t limited to the virtual realm; Eos v3.1 provides new options for customizing your physical workspace as well. Some shows require a lot of handles, and Fader Wing Groups now give you the option of paging all your internal playbacks and Fader Wing accessories as a single bank.
Eos v3.1 also gives you granular control over the light levels of your workstation. A new dialog box allows you to adjust the Brightness settings of your desk components and compatible external displays from anywhere in your system and play them back as presets or macros. When you need to focus on the stage to hone that perfect moment, you can also trigger the Extinguish mode to temporarily turn off all lit surfaces.
This new release is just the latest advancement for the Eos platform, which has 15 years of growth and evolution under its belt. As always, the software is free to download and use on any Eos Family console or controller or on your Mac or PC, which can be unlocked to network to your rig with the addition of an ETCnomad USB key. No matter which Eos Family device you use on this gig or the next, this latest suite of features will let you truly make it your own.
Ayrton is thrilled to be part of The Doobie Brothers new tour in celebration of their 50th anniversary, which will play to around 50 venues across the USA and Canada throughout 2021 and 2022. Solotech of Nashville supplied 17 Ayrton Khamsin LED profile fixtures for this iconic tour which were chosen by the production design team at Darkroom Creative, Seth Jackson and Nathan Alves. The team wanted the Khamsin fixtures as part of their unique, retro design which they use to summon up a 1980s vibe.
“In celebration of the Doobie Brothers’ 50th Anniversary, Darkroom Creative did a little celebration of our own,” explains Jackson. ““We figured since the band was celebrating 50 years, and the concert lighting business is roughly the same age, we would give a nod to the guys that inspired us when we were getting started.
The lighting rig, though completely LED, is reminiscent of the par can rigs of the 1970s and ‘80s. What would have been ‘14 movers and 120 par cans’ became 17 Khamsins amid a raft of other moving lights. “Hidden in the cueing are hat tips and homages to the greats from that era. Lighting nerds with a keen eye will see bits of Marc Brickman, Steve Cohen, Peter Morse, Jeff Ravitz, Marilyn Lowey, Alan Owen, Howard Ungerleider, and a host of other greats. The show has no IMAG, no cameras.
The video is a scenic enhancement using album covers and archival artwork to craft new animations amidst rows of constructivist scenic panels. All of this is under the direction of Steve Owens, a legend himself, who has been with the Doobies since the mid ‘90s. He fits perfectly into our little tongue-in-cheek history lesson!”
Ayrton Khamsin
Jackson and Alves were keen to use the Khamsins, and Jackson explains how they fit with the design. “The Khamsins are THE hard edged fixture in the rig. They handle the key light on the four principles, the backlight, and we use five units on the deck (they are the only floor lights, actually) to light the set. We also utilise them for air graphics and effects.
“We often leave the key light clean on the guys; however, we do make use of Khamsin’s animation wheel as key light for Blackwater. The opening of the song has such a mood about it, and the Khamsins have plenty of intensity that still allow you to see everyone, but you get this great subtle water ripple across them.”
The Khamsin profiles were chosen because they were the best fit for a list of requirements, as Jackson explains: “Nate was the cheerleader for these fixtures after a demo from Lee Moro at Solotech. We had been bidding the show with a COVID mentality – ‘we need a spot that does this, a wash that does that, and what do you already own?’ But when Lee came back with some suggestions, Nate immediately chose the Khamsin. The field and colour rendering were excellent. The amount of flexibility in the effects was remarkable. With both animation and framing shutters in addition to the gobos, we had a lot to work with. This flexibility turned out even more essential than we knew as the show clocks in at 2.5 hours! We use everything that light has in it!”
Touring so many venues, cities and rehearsals can take a toll on the gear as Jackson points out: “The tour is doing arenas and sheds and is divided into roughly two six week runs. We had quite a few weeks of rehearsal and a healthy thunderstorm right out of the gate but the Khamsins have been flawless.”
“The Khamsins have been very solid the entire tour so far,” agrees David Carr, the tour’s lighting crew chief. “Performance-wise they have a great zoom range without losing any punch. Even limiting their intensity to better match the other fixtures (we run them at about half intensity), they still pack a punch and are very crisp.”
John Flynn, Solotech’s director of global projects adds: “From Solotech’s point of view, we love the Khamsin as it is the leader in LED technology. Many of our clients are requesting “greener” usage, so to have an LED solution with such a flat field compared to most discharge fixtures makes Khamsin top of many a lighting designer’s wish list. Clients love it and it’s getting requested more and more. The added bonus for the road guys is having a fixture that just doesn’t break and never requires any lamp changes.”
The first leg of the Doobie Brothers 50th Anniversary Tour started in Des Moines in August and continues until 29 October 2021. The second leg kicks off on 2 June 2022 in West Palm Beach and runs until 30 June 2022.
Doobie Brothers 50th Anniversary Tour Creative Team:
Production Design: Nathan Alves & Seth Jackson (Darkroom Creative) Additional Video content creation: Brent Sandrock (Creative Lumens) Lighting Director: Steve Owens Lighting & Video: Solotech, Lee Moro Tour Manager: Scoby Ross Production Manager: Bryan “Froggy” Cross Rigger: Dave Schnitker Lighting Crew Chief: David Carr Lighting Techs: Steve Schwenke, Adrean McDonald Video Tech: Bryan Keyes Video Crew Chief: Ian Bertrand Management: Full Stop Management, Karim Karmi & Vector Management, Joel Hoffner
For more information on Ayrton Khamsin and the full range of LED lighting fixtures, visit www.ayrton.eu
Denmark’s thriving live music scene re-energised in style after the country’s post pandemic ‘Freedom Day’ with several prominent shows and events including a landmark performance at Parken Stadium in Copenhagen by The Minds of 99 who smashed it as only the second ever Danish act to play there, in front of 50,000 ecstatic fans, complete with a high impact show design from Jannik Kenneth Skov Jensen.
Lighting included over 300 Robe fixtures – a megamix of Tarrantulas, BMFL WashBeams, MegaPointes, Spiiders, BMFL FollowSpot LTs and RoboSpots. Everyone in Denmark is talking about the Minds of 99, the hugely popular multi award winning post-punk rock band known for their cerebral lyrics and subjects as well as for their infectious beats.
Jannik Kenneth has worked with the band since 2017 and he curates all the visual elements of their stage performances – including staging / scenic and video – in close collaboration with their manager, Ole Nørup Peteresen. Parken was the biggest show that Jannik Kenneth has designed and operated to date. The rising star LD studied to be an actor and director before turning his talents to the more technical disciplines of lighting and visuals in 2016. The event was originally planned for 2020, as the band’s only show, but that was foiled by the pandemic, and it was a massive deal for the band!
Jannik Kenneth’s starting point for the design was looking into other band performances at the venue, to get inspired and about how they used the space. As this show was going to be a one-off, he set out to create something that used the full potential of the venue, and that would hopefully exceed anyone’s stadium show expectations. “I wanted a design that felt as if it had been almost squeezed inside Parken!” he elucidated. The standard production design area was dramatically extended with the creation of wings on both sides of the stage, covering an 80-metre span going way beyond the portrait format left-and-right IMAG video screens, effectively filling the whole width of the stadium.
This epic look was complemented by a B stage just in front of the FOH platform and a C stage at the far end of the stadium, plus two catwalks coming off the mains stage which served for the set’s more intimate moments allowing the artists to get close up to their fans. To get the coverage, and range of bold and vivid colours that Jannik Kenneth wanted, he chose 132 x Robe Tarrantulas as the main wash lights, all rigged in trusses above the stage and wing areas.
The Tarrantulas were essentially THE fixture carrying his design. Jannik Kenneth’s favourite LED wash light is Robe’s Spiider, but for this show he needed the extra oomph and intensity of the Tarrantulas!
It was the first time he’d used these fixtures for a show, although he’s seen them in action, and due to his great experiences with Spiiders, he knew the larger fixture would be perfect.
In addition to washing the stage beautifully, when zoomed right in, the Tarrantulas made exceedingly powerful beam effects that filled the stage and reached out across the stadium into the audience drawing them into the action.
One hundred and fourteen Robe BMFL WashBeams were the main hard-edged fixture of the show, 36 on the floor lined up along the upstage edge of the stage and wings, and the remainder dispersed across the trusses. “I simply needed the output and LOTS of it,” he explained, saying that he thinks these fixtures are still among the very best high-powered luminaires on the market.
He had used BMFL Blades and Spots extensively before, but it was the first time for WashBeams, selecting these BMFLs for their additional brightness, enhanced optics and zoom range as well as all the features and effects like gobos and the animation wheel. He also ensured there was some space on this ambitious rig for 20 x Spiiders, which were used as up lights and side lights across the drum and keyboard risers and also for general side stage lighting. The set was a network of integrated risers that resembled one large sculptural piece, especially in combination with the lighting – one of the big advantages of designing multiple visual elements of a show rather than just one department.
Twelve MegaPointes were used as specials beaming onto a 2-metre diameter mirror ball that descended from the ceiling above the B-stage during the highly symbolic song, “En Stemme” (One Voice), the first number of the encore. Six fixtures were on the floor and six hung from the (fully covered) stadium roof. The lights and the mirror ball had been cleverly concealed beforehand to ensure maximum surprise!
Jannik Kenneth specified four RoboSpot remote follow spot systems for the show. The BaseStations were positioned behind the stage and three were linked to a total of 12 x BMFL FollowSpot LTs and BMFL Spot follow spots. Four spot lights in total – one positioned in each corner of the above stage rig – were allocated to each of the five band members, 20 in total of 20 spots, including the 12 x controlled by RoboSpot. The fourth complete RoboSpot BaseStation and associated lights were set up as a spare … but not needed!
The BMFL FollowSpot LTs were on the advanced truss throwing around 50 metres to the front of stage, and the BMFL Spots were on the upstage trusses. Being able to work with multiple follow spots gave Jannik Kenneth enormous flexibility. The front ones were absolutely crucial to the show as primary front and key lighting. He loves being able to control all the parameters – colour, intensity, iris, etc – from his console, in this case a grandMA2 full size, so he did all the colour bumps and other effects, keeping everything in perfect unison with the other cues and leaving the RoboSpot operators free to concentrate on accurate pointing-and-shooting!
Jannik Kenneth enjoys working with Robe products and comments that the brand – certainly in the last 5 years – is now among the ‘most encountered’ anywhere in Denmark. “I really like the products – BMFLs, Spiiders, MegaPointes – I have toured with all of them, and they are well made and reliable,” he stated.
Having worked with The Minds of 99 for some time and being familiar with the music, Jannik Kenneth is constantly buzzing with ideas for how the songs can be interpreted with lighting. While he works very closely with band manager Ole, he’s given the time, space and trust to shape and nuance his own lighting ideas.
The major challenge on this one was the sheer scale – and anticipation – of the occasion! Expectations were exceptionally high, and with the whole country having been starved of live performances for so long … all eyes were watching! Three weeks pre-vizzing in WYSIWYG preceded two nights on site with the full rig, as the start of the get in schedule was dictated by a national team football match on the Tuesday evening of that week.
It was an evening replete with multiple magical and emotional moments, and for Jannik Kenneth personally standing at FOH about to operate lighting for the biggest gig to date of his ascending career, amidst 50,000 screaming fans, the feeling was almost overwhelmingly off the “goosebumps scale”. Everyone stepped up to deliver an outstanding and hugely memorable show. The light and screen production was co-ordinated and managed by 4K Projects. The light and video equipment was provided by Victory Tour Productions, and audio was delivered by AllRound – Lyd & Lys.
Jazzopen Stuttgart has been one of the highlights in the event calendar of the Baden-Württemberg state capital since 1994. The recipe for success: Renowned jazz musicians and top international acts from the worlds of rock, pop, soul and blues performing on six stages spread across the city. With the help of 250 GLP moving heads, LD Jerry Appelt created optimum conditions for another glamorous show again this year.
Appelt has been working for the festival on behalf of the organiser, Opus Festival-, Veranstaltungsungs- und Management GmbH, for several years. In 2021 he was responsible for the lighting design for the two largest stages: on Schlossplatz, and in the splendid Renaissance arcade courtyard of the Old Palace. Between 10th and 19th September, artists such as Katie Melua, Element of Crime, Chilly Gonzales, Liam Gallagher, Parov Stelar and Amy Macdonald performed.
122 Fusion Stick FS20, 46 JDC1 and 58 Highlander Wash on main stage Stuttgart’s Schlossplatz, one of the most beautiful squares in Europe, offers an impressive backdrop for Jazzopen’s main stage. This first-class festival, therefore, requires an equally elegant stage look, as Jerry Appelt explains: “The Jazzopen is an absolutely top-class event, which can be seen by the impressive locations. The challenge for me as a designer is to create an independent, elegant look that can correspond with the requirements of the artists and their individual festival setups.”
The designer, who is a big fan of the Fusion Stick FS20, took the opportunity to combine 100 of the IP65 LED bars into a central perspective light architecture. Eight Fusion Stick FS20 were installed in three horizontal rows on six pyramid-like angled trusses. In addition to the central LED wall, three vertical lines, each consisting of four FS20, were placed on the left and right, while the front truss on the stage roof took another 16 pieces of the versatile LED bars. Above the large LED walls, situated on the left and right of the stage, six Fusion FS20 bars each formed the end pieces.
“On the one hand, the bars in this large display are used to create spatial lighting architecture,” explains the designer. “On the other hand, they can also be used very nicely as a light matrix and for blinder effects. The fact that the devices are weatherproof makes it easier to work outdoors, so that we didn’t have to worry about the unprotected hanging bars on the front truss. I really like the FS20 – thanks to the very good price-to-performance ratio, the devices can easily be specified in large numbers without breaking the budget.” Appelt uses 46 GLP JDC1 for additional room design and effects, while the Highlander Washes are the workhorses on stage, creating saturated colours and stage washes.
“At the Jazzopen there are always pop and rock acts who want to put on a powerful light show. In this respect, an ultra-bright hybrid strobe like the JDC1 is never out of place,” says Appelt. “The great thing about the lamp, however, is that you don’t have to extend it to the limit to make an impression. Thanks to the RGB surfaces, they can be used very atmospherically, slowly and discreetly at low intensity. “It’s similar with the Highlander Wash: On the one hand, we were already operating in twilight and needed a lamp that would assert itself well in the remaining daylight. On the other hand, the more intensity that is available, the better I can use saturated colours to generate really dense, saturated looks on stage.”
24 Fusion Stick FS16 Z on stage at the Old Palace The designer also turned to GLP solutions to light another spectacular venue, equipping the stage at the Old Palace with 24 of the brand-new Fusion Stick FS16 Z. This further development of the Fusion Stick FS20 is an LED batten in a robust IP65 design, which can be connected seamlessly to Fusion lines in the true GLP fashion. A new addition, however, is the motorized 8°–40° zoom integrated into the compact housing. And with the halo diffuser ring around each pixel, GLP has unleashed a genuine innovation that reveals a new optical effect and significantly improves camera suitability.
“The Fusion Stick FS16 Z had a similar role to the FS20 on the main stage, except that it gave us even more opportunities to play with the zoom and the halo ring. Incidentally, the latter is really a nice added value,” he notes.
GLP founder Udo Künzler is also delighted with the latest release from the Fusion series: “This proves once again that our development team has gone the extra mile in integrating customer requests into new products.” Matthias Kreiner from [werkPlan] created the technical planning. Session pro GmbH was responsible for the Jazzopen as a technical service provider. The operations crew consisted of Manfred Nikitser, Sebastian Huwig, Frank Bungarz and Markus Buck.
Integration company Sound Principles Pro of Georgia has installed dynamic-white TVL Softlight DW luminaires by Elation Professional in a new professional studio in Atlanta, Anthony Murray Studios. The temperature controllable luminaires provide variable shade projections of high-quality white light for two broadcast spaces, working together with color-changing fixtures and a large video backdrop from Elation sister company ADJ.
Conceived by Anthony Murray – founder of the Oasis Church in Greater Atlanta – the multipurpose studio provides local businesses and creatives a turnkey solution for producing high-quality video content. The facility will also be utilized by Anthony’s church, and others in the area, as a resource for recording video sermons and other faith-based media.
Sound Principles Sound Principles designed, specified and installed the lighting rig along with the high-resolution ADJ LED video wall and an adjacent green screen. Sound Principles company manager Matthew Russom served as designer on the project, handling the front end before handing it off to project managers Steven Shelton, Paul Shelton and Micah Willis who sorted out patching, assembling and installation. “They handled the whole process well and did a beautiful job,” Russom states.
4K video filming The team at Sound Principles designed a cube-shaped truss structure, which fills the room, providing a ground support structure for the video wall and full lighting rig, as well as rigging points for the green screen backdrop on the opposite side of the room. A line of truss down the middle of the space can cover both the LED video wall and green screen areas. “I was looking for a fixture that would be appropriate to light up the area in a nice warm wash for 4K video filming and the TVL Softlight DW was our best option,” Russom states. “The level of even coverage, the brightness, the ability to change color temperature, and how well it translates into high res video, when you look at other products at that price point I was just not confident that they would do the job and be dependable.”
Some 27 TVL Softlight DW are used in the space, some mounted back to back on the middle truss to cover each side while others are mounted at utility locations to create a rear or side wash. “We can bring up a scene on either side for a green screen wash or LED wall wash and not a single fixture has to be moved,” Russom says of the setup, adding that occasionally they will pull a fixture to do a quick social media video.
TVL Softlight The TVL Softlight DW houses both cool white and warm white LEDs for linear color temperature control (3,200K – 5,600K). Its uniform flat-field output combines with conveniences like dimmer and color temperature rotary control dials for simple projections of variable white light. White color reproduction is of the highest quality with a CRI over 95 and each fixture includes removable 8-leaf barn doors.
“They wanted to nail the design and let us get the studio what was needed to execute all the different things they want to do in the space without having to use a lot of extra people,” says Russom. The TVL white light projection is facilitated by ADJ 12PX Hex LED pars spread throughout the space with ADJ COB Cannon Wash ST fixtures used for house lighting between shoots. ADJ Vizi Wash Z19 moving head LED washes are mounted to upright trusses in each corner of the room.
Keeping it nondramatic Sound Principles works with manufacturers rep firm Freed Sales, who Russom says help them consider options and then select the best products for each particular application. When it comes to specifying, he says he likes to keep the quoting process nondramatic. “Therefore, I tend to gravitate toward brands that don’t end up having problems later.
When it comes to lighting, we have specified Elation and ADJ for a number of years. It’s a dependability factor. I’ve had great success using those two brands of fixtures on hundreds of installations.” He says that in addition to Anthony Murray Studios, Sound Principles is using the TVL fixtures and installing them regularly. “We’ve put them in churches and small businesses who want to do commercial videos and they’ve worked out wonderfully.”
With a comprehensive lighting system, large LED video wall, green screen setup and complete package of cameras and other equipment, the new Anthony Murray Studios complex truly lives up to its founder’s vision of providing a full turnkey solution to its users.
Gear List:
– 27 x Elation TVL Softlight DW – 126 x ADJ VS2 – 18 x ADJ VSRB1 – 22 x ADJ 12PX HEX – 6 x ADJ COB Cannon Wash ST – 4 x ADJ Vizi Wash Z19 – NovaPro UHD Jr – ArKaos Studio Server – ArKaos Media Master Pro
This spring, the brand of the yellow triangle launched two new LED moving heads: a framing spotlight and a wash, both of which are super-powered and equipped with an exclusive 1,700 W LED engine that promises exceptional luminous flux. We put the Mac Ultra Performance motorized framing spot to the test. Follow along with us.
[private]
Martin has chosen to follow a very specific path, a unique approach to manufacturing that is philosophically opposed to the one taken by its competitors, who go to great lengths to produce the most compact and lightest fixtures possible. Mac Ultra is still very reasonable in terms of size and weight relative to its power level, but it quickly becomes apparent that the manufacturer has made clear choices in terms of construction and optics that entail a need for space.
It weighs 44 kg and stands 87 cm high. Its large and stocky head allows it to accommodate impressive optical elements and the result is a fixture that stands out from other units on the market, with several assets like the animation wheel that can be positioned in the beam on three different axes. Though this mechanism requires a lot of space, it provides remarkable results.
The tightest setting of the iris on the left, followed by the zoom range, from its tightest to its widest sharp-focus settings.
Flux and light…
The 1700 W module, made up of 84 white LEDs, operates at only 1150 W to guarantee a stable output of the sources over time and a long life with maximum flux. The native white has a color temperature of 5800 K with a CRI of 65. An internal filter can raise this CRI to 86, and brings the color temperature down to 5000 K.
Derating
We start our tests by turning on the fixture at full power and measuring the illuminance at the center of our target every five minutes. The illuminance stabilizes after 15 minutes of heating with an attenuation of 7.3%, which is quite good. Now we can start our photometric measurements.
Tightest sharp-focus beam
One of the characteristics of the Mac Ultra promoted by the manufacturer is the fact that the beam maintains a high luminous flux at its tightest zoom angle. Martin states that it uses a process of “light recycling”, minimizing losses by means of a specific machining of the lenses. The ratio of its flux at 20° to its flux at the narrowest sharply-focused zoom setting is among the best in this class, taking into account the beam angle of 7.3°, which is achieved by tightening the zoom to the maximum. The luminous intensity curve shows a pronounced hot spot in the center with a sharp beam.
20° beam
We measured a flux of 39,500 lumens (42,540 lm when cold), which makes it the most powerful fixture in this category at 20°, our benchmark divergence angle.
Widest sharp-focus beam
The zoom allows the beam to be opened to about 51° while maintaining sharp focus (measurements made at 5 m), with a flux after derating of 39,830 lm (42,900 lm when cold) and if we break the focus a little, we can get it to 54°.
Colors
The CMY mixing produces beautiful, saturated colors and clean pastels. The transitions are transparent and precise. Though with projections the uniformity is perfect, when certain mixtures are introduced into a tight beam, it exhibits a phenomenon that causes the first tens of centimeters of the beam to have a little saturated color at the edge. This happens on some fixtures and sometimes to an even greater extent. With a wider beam (and even a very wide one) this phenomenon disappears completely.
The primary colors of the CMY system, and the CTO.
The colors of the color wheel.
The combination of magenta and yellow yields a useful and bright red; those fans of an ultimate deep red will be pleased with the red filter on the supplementary color wheel. The filters on this wheel are cut into trapezoids and glued edge-to-edge, producing two-tone beams without the interruption of a black metal strip separating them. On the other hand, the color wheel is not really focusable and we can only expect two-tone beams with a somewhat blurred border, or even a fading transition, which is very nice. This wheel has five straightforward hues, including a deep red, a congo, and an orange that really “kicks”… as well as the CRI filter.
The color section is completed by a progressive CTO filter that takes the white beam to a nice amber 2760 K, close to a “tungsten” hue. Importantly, the CTO also corrects the CRI proportionally, pushing it to 86 at full.
Gobos and effects
The MAC Ultra Performance has two gobo wheels, each with five indexable rotating glass gobos, plus an animation wheel. The designs of the gobos are quite appealing. Except for the “Limbo”, a type of glass for creating water textures, a fine colander, and a series of crosshatchings, all of which have already appeared on several fixtures, the package provides a nice selection of very original and effective gobos. It delivers some very unusual beams, which will probably become favorites for many lighting designers.
The gobos of the first gobo wheel.
The gobos of the second gobo wheel.
We are keeping a close eye on the “Yellow Shift” phenomenon generated by the gobos of LED fixtures. Just to remind you what this is, it’s when a glass gobo is positioned with its shiny surface facing the LED engine, generating a parasitic reflection linked to the optical treatment of the surface of the LEDs. When present in the beam, it turns a little yellow with a more or less pronounced drop in color temperature.
To compensate for this phenomenon, the CMY system automatically corrects the color, at the cost of a slight drop in flux. This system can be switched off either via the fixture’s menu, using RDM, or via the DMX control channel. The result is quite satisfactory and eliminates the need to install a correction filter. On the other hand, when using a prism with a gobo, a slight bluish halo appears and interferes with the center of the multiplied image. The addition of a small percentage of cyan in the CMY system is responsible for this. It is not a serious problem but it can be noticeable. The indexed animation wheel provides infinite scrolling of a striated disc. This has been redesigned with respect to the pattern of striations found on other Martin units, and is in the form of well-spaced wavy lines that give the beam a very jagged appearance.
The animation wheel can scroll on three axes.
The key feature of this animation wheel is that it can move vertically, horizontally or even diagonally through the beam. It produces an effective and usable effect that fully exploits the possibilities of this system, without compromises. This is an animation wheel that we would like to find in most movers.
The framing system also reflects a clear technical choice. The shutter blades that move on only two planes ensure a sharper focus on all the shutters. On the other hand, although it is possible for each blade to cross the entire width of the beam, when a blade comes into contact with its counterpart, it pushes it away. Therefore, it is difficult to create a triangle or other contorted shapes. However, there is substantial range of inclination and it has no effect on the traversal range. A shutter, tilted at 30° or more, can go completely through the field without any problem. And if we add the possibility to rotate the frame through 83° (very precisely), the framing module is still practical to use.
The framing module in action.
Mac Ultra Performance features a progressive frost. Because of its location, it can be used over about 80% of the zoom range, that is, from about 10° up. It is fairly intense but its progressiveness is somewhat relative. It gradually enters, producing a halo around the beam but does not really soften the edges. The blur effect only works when it is fully engaged. A second (even more intense) frost is available in place of the prism, if needed.
The frost.
The 4-facet prism is really effective. It produces a very wide dispersion of the beam and provides nice projection quality. Here again, using it will reduce the range of the zoom by a few degrees.
The prism.
The iris closes down to a sharp beam with a negative angle. At 5 m, you can obtain a clear projection with a diameter of 10 cm. The speed of the fixture is satisfactory. Despite its size, it is snappy and responsive. Slow movements are also precise and ultra-smooth.
The focus is accurate and quick. By the way, here’s a little tip: the second gobo wheel is at the same focal point as the open beam, which will allow certain shortcuts for console programmers when managing presets (we’ll just have to imagine this for the iris, and it would be just perfect!).
Video presentation
Dimmer
The dimmer is excellent. The plot of the curve in “Square law” mode (the most commonly used) shows its linearity and the smoothness of the dimming. The “S-Curve” mode further refines the dimming, especially at the higher values.
A plot of the dimming curve in Square Law mode, from 0 to 10%.
A plot of the dimming curve in Square Law mode, from 0 to 100%.
A big beast that knows how to be discreet!
Cette machine est vraiment très silencieuse. Nous mesurons 33 dB à 1 m pour le bruit de la ventilation et 44 dB en fonctionnement le plus bruyant impliquant les mouvements pan tilt et paramètres internes.
Multi langage
This fixture is really very quiet. We measure 33 dB at 1 m, the fan noise, and 44 dB at its noisiest operation, involving pan and tilt movements and internal effects.
Disassembly of the MAC Ultra Performance
The inside of the fixture.
Martin reports that they have made a choice regarding the materials used for some of the plastic parts covering their fixtures. If the cowling and cover elements may seem a bit more “cheap” than those used on some previous generations of their products, they don’t look any less solid, but this allows the replacement of parts that have been damaged by a bump or mishandling at a lower cost. A new half-arm cover costs 25 €, which is at least five times less than before! I say “bravo”!
Catches are provided to lock the head in both pan AND tilt. For disassembly, you will need Torx screwdrivers of several sizes (25, 20, and 10). Martin wants to limit access to technical parts to qualified technicians in the shop…
I never condone hindering the user’s work. It’s rarely for fun that a technician puts his hands in a fixture using a Leatherman and lit by his headlamp behind the stage, but out of necessity… anyway, I digress…
The back of the unit, with its handles.
The head has a slightly odd shape to match the space needed for all the features. It terminates at the front with a large lens, while at the rear two handles allow for manual control (like a followspot, but from the rear…) by disengaging the pan and tilt of the unit. The ventilation of the source section relies on a few grills located around the rear and a small hatch with a dust filter.
The covers are held in place by two captive screws and then two safety cables clipped to a small removable pin, which is much more practical to remove than a carabiner. Inside the head, two modules can be removed, the one for the color system, and the one for the gobos, effects, and framing shutters. Everything that is frost/prism/zoom remains in the front of the head.
The CMY system. You can make out the slanted stripes of the dichroic flags.
Once removed, the color module opens in two quite easily to access the mechanism that drives the dichroic glass flags. You can see all the work that goes into obtaining beautiful colors. The slides have colored edges organized in “combs”, for the gradual introduction of color mixtures.
These stripes are angled in different directions, depending on the colors, to optimize the mixing and the quality of fine blends. This technique, derived from the requirements for the use with mechanical dimmers, has been optimized here for an LED source fixture, and produces very nice results.
The color wheel side of the effects module.
The second module, the one with the effects (but also the color wheel), can be easily disassembled into two smaller modules to separate the part with framing shutters and iris from the other effects. This module is in fact a kind of “two-in-one”. You can separate these two elements by removing a few screws that join them together through little pillars.
As for the gobo section, the two wheels are very close to each other and are closely followed by the animation wheel.
The animation wheel and one of the two wheels of rotating gobos.
The gobos are mounted rather conventionally in a small cylinder with a toothed rim. And this snaps onto the gobo wheel with a simple motion.
A gobo holder. You can see the small mechanical indexing notch.
An original feature is that each gobo has a little reference notch that acts as an indexing point, and each gobo holder is equipped with a little magnet. This means that even before mentioning indexing, the gobos are positioned correctly and all the gobos are indexed in the same way. The wheels are mounted in reversed directions, so you can work as easily on the gobos on one wheel as on the other.
The dichroic filters of the color wheel are held in place by a clip located near the axis of the wheel. Replacing them should be easy. This wheel is positioned as close as possible to the CMY module.
The framing module.
The framing module displays its unique design. The system is big, like everything else in this fixture. When handling it, one can see that the range of the movements is quite extensive.
The two lens carriages that make up the zoom and the focus system are located in the front part of the head. They travel on cylindrical rails, propelled by belts stretched over pulleys.
The focus carriage and the bracket that holds the frost.
On either side of its carriage, the focus lens holds the frost and prism brackets, allowing them to be inserted into the beam. Once we’ve stripped the head bare, we can see the LED circuit at the back, which is connected to the cooling system: a heat sink and fans.
The rear of the Mac Ultra with the cooling system of the LEDs.
In front of the source module, a group of lenses is used to collimate the output from the LEDs, followed by an optic that condenses the flux. The LED module can be easily disassembled in a few minutes. A few screws and six connectors (three large and three small) are enough to free it. However, it is not necessarily tomorrow that we will have to remove it, considering the life expectancy of this kind of source.
The back of the head, with the output lens of the LED module.
The construction of the arms and of the whole frame of the yoke, in aluminum alloy, appears very solid (“almost too solid”, would say a conspiratorial-minded technician). The removal of the two arm covers also frees the two carrying handles (How convenient is that?!! This is an innovation first seen on the Mac-III, and brought back on the Viper; it’s a real pleasure to handle the unit). These are just clipped on and held firmly by tightening the covers. On Martin’s previous models, these handles were integrated into the frame of the arms, but sometimes ended up being destroyed by the rough handling and knocks that fixtures sometimes take in intensive use. Here, you’ll just have to replace these handles for a few euros, and that will avoid having half-bent lights in your rig!
Inside the yoke arms, one side houses the pulley and transmission for the tilt motor (with the belt tensioning system), and on the other side runs the two wiring harnesses coming from the base. The motor for the pan and another one for the tilt are located in the base of the yoke.
The base of the fixture can be accessed easily by removing two half-covers that slide around it and reveal the whole interior in seconds. In the base, the PCB that controls the display acts as the motherboard. Then, on one side, there is the switch mode power supply that feeds all the electronics and motors; on the other side, there is the power supply for the LED source.
The connection panel and the display.
The control panel with its screen is on the same side as the connectors, which allows you to present towards the audience a unit without any visible technical elements: not a bad idea! As far as connectors are concerned, there is a True1 input for the power supply, XLR5 input and output for the DMX link, and two RJ45 ports for the network and P3 connections. The opposite side is completely featureless and, on the narrower sides, two large handles allow you to move the fixture. The menu is simple, straightforward and precise, allowing the user to set the parameters of the fixture with the help of four keys, without having to ask any questions. All the usual functions are included: address assignment, network configuration, fixture personality options, calibration, dimmer curves, everything!
Just next to the menu display, there is a small removable hatch behind which two very useful elements are hidden. The first of these is the battery that allows you to use the menu and, therefore, to set up the fixture without a mains connection. The second is a USB port that allows you to update the fixture’s software. Note that you can also update the software via P3, or via the XLR connector. On the bottom of the base there are the attachment points for the omega brackets. They can be arranged in three directions: parallel or perpendicular to the base, but also at a 45° angle. Omegas with an offset are available as an option. A lug for a safety cable is also provided.
Conclusion
Martin is back in the lead with a fixture that is particularly well done, original, and the brightest on the market. Its many qualities will establish it in many applications, whether it be live, events, television or theater. In use, its gobos, optical effects and colors, combined with its power, let you diversify your effects and work with the light in an extremely complex way. I was lucky enough to get the chance to use it in an advance preview and I must admit that I was really impressed by its light and its capabilities. Mac Ultra, see you soon on the road!
Every member of Rosco’s Cube Family of LED fixtures has proven to be a fantastic choice for theatrical footlights. So far, we have shared how Braq Cubes are the footlights of Hadestown and how the Miro Cube 4CA fixtures were used as footlights for a new opera.
To wrap up the series, we’re sharing how Lighting Designer and Rosco Ambassador Trey Brazeal used Rosco Pica Cubes as tiny footlights for a recent production of Little Shop Horrors.
Trey is a Chicago-based lighting designer who, like many designers and technicians around the world, is finally getting back to work after the COVID 19 pandemic. His first job back was lighting Little Shop of Horrors at Metropolis Performing Arts Center in Arlington Heights, Illinois. It was one of their first live productions too, and they staged it inside a large tent that they had erected nearby.
Due to the size of the stage, Trey knew he would only have room for tiny footlights.
Because this show has some dark undertones to it, Trey felt that creating those uplit “footlight shadows” would be essential. He also knew that the stage area inside the tent would be incredibly limited, so whatever footlights he chose would need to have a very small footprint. Trey had seen how Rosco Cubes were popular as footlights, so he visited the website and discovered the 2.5” x 2.5” Pica Cubes.
Testing out the footlight shadow effects of the Pica Cubes in rehearsal.
Trey installed a mix of the variable color temperature Pica Cube WNC and the RGBW Pica Cube 4C fixtures on the front of his stage. Each Pica Cube ships with a 20°, 40°, and 60° lens. He was pleased to discover that, despite their size, the tiny footlights packed some punch! The bright output allowed Trey to install the 60° lens on the footlights, which provided him with a large enough beam-spread to cover the entire stage area.
Once they were installed, Trey noted how the Pica Cube footlights “mixed wonderfully together to give a rich and well-rounded look to the action on stage.” In particular, he noted how well they worked during the moments where the voice of Audrey II was ringing through the mind of Seymour. “They created this haunting glow for me that brought out the idea of the plant controlling all situations, even when it was not present onstage.”
After closing night, Trey reported back to us that “the Pica Cubes were the right kind of lights to emphasize the dark underbelly that is this show.” He shared how they were plenty bright enough to provide him with the lighting effect he needed, but tiny enough not to obstruct the performers or the aesthetic of the set design. “I would absolutely recommend this product to any designer, whether they be used as footlights or a hidden window light.”
Trey Brazeal is a recent graduate from Illinois State University’s School of Theatre and Dance with an MFA in Lighting Design. If you’d like to see some examples of his work, you can visit his website: tbrazealdesigns.com, or follow @treybrazealdesigns on Instagram.
Watch this video to learn more about Lighting Designer Trey Brazeal and his design for Little Shop of Horrors at Metropolis Performing Arts Center :
If you’d like to learn more about the Pica Cubes that Trey used in this production of Little Shop of Horrors, please explore our Cube Family Product Page. There you can learn about ALL of our Rosco Cube LED lights and find the right fixture for your project.
What we like:
What we dislike:
