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

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

Alain Hercman, Frenetik sales manager.

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

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

For more information on Frenetik products, visit the site Frenetik

And for more information on Allied ProTech’s distribution

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

KLANG’s co-founder Dr. Pascal Dietrich.

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

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

Klang CTO Benedikt Krechel.

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

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

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

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

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

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

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

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

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

More details about Klang:konductor

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

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

9 hours with the X8 array

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

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

ETC fos4 family

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

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

Deep red, deep investment

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

eLS400 and eLS600

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

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

For the complete datasheets and more, click here

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

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

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

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

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

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

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

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

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

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

A relaxing green Sonicue screen.

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

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

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

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

©Rukes

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

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

©Rukes

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

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

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

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

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

©Rukes

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

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

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

Yokohama Stadium started in 1876 as the common ground for cricket competitions. In 1929, it was reconstructed as a baseball stadium with 15,000 seats to host the country’s most popular participatory and spectator sport.
Then in 1978, Yokohama Stadium was rebuilt as the first multi-purpose Stadium in Japan, officially named Yokohama Stadium, and primarily used for baseball as the home field of the Yokohama DeNA BayStars. International artists also performed at the Stadium, such as Santana, David Bowie, Madonna, and Michael Jackson..

After a complete renovation started in 2018, Yokohama Stadium was selected as the venue for 2020 Tokyo Olympics and Paralympics, postponed to the following year to better manage the Covid-19 pandemic. Developers at Yokohama Stadium have added additional seating with the number of seats increased to just over 34,000.
It is now known as the official venue of the baseball competitions for the 2021 Olympics. Baseball will be featured at the Summer Olympics in Tokyo for the first time since the Summer Olympics in 2008.

The TT 33-WP clusters.

The RCF speaker system serves as a PAGA system (public address and general alarm system).
The main systems, consisting of two arrays of four TTL 33-WP each, are placed on six light poles around the Stadium (total 48 speakers). Fly bars are fixed to custom built titanium brackets.

Yokohama Stadium has expanded seating on each side, with 4 x P4228 placed on the top edge of the left wing and 5 units on the right wing.

Additionally, 9 x P3108 and 1 x P4228 are placed under-balcony to cover the seats behind the plate. Lastly, 1 x P2110-T and 1 x P8015-S are installed to cover the dugout.

“In the renovation of Yokohama Stadium, our mission was to achieve both excellent quality for entertainment as a ballpark and clarity as a broadcasting facility.” says Taketoshi Kobayashi (Lead engineer of Onkyo Tokki). “TTL 33-WP and other RCF loudspeakers were essential to maintain clarity of the sound without losing the volume of the lower part of the spectrum, contrary to the situation where the volume in the low frequency is lost due to prioritizing clarity, which is often seen in outdoor facilities.

I was impressed by RCF’s intelligibility. The system is perfect for the size and shape of the facility with its skillful design, easy tuning of the speaker, orientation, and level balance. In particular, sound from the opposite side of the field is well controlled. Currently, there are lots of sports facilities with line arrays installed. Still, the sound is very well controlled here, and this also contributes to the improvement of clarity and sound quality.”

He continues, “the support of the RCF team during the process was excellent. Quick response to changes in rigging points and model selection was an essential factor in the success of this project.”

For more details on the TTL 33-WP, visit the RCF website

MDG is delighted to be returning to the PLASA Show 2021 in London’s Olympia (5-7 September) as an exhibitor (Stand E19) and looking forward to seeing so many of its customers and colleagues face to face. MDG UK’s stand will be beside the Robe stand once again, with plenty of MDG products on show.

For the finest and most controllable haze on the market check out the industry-benchmark ATMe haze generator which will be shown alongside ATMe WPE, the IP55-rated weather-proof and dust-resistant version, designed specifically for the challenges of outdoor use.

See how MDG’s Me2 fog generator produces a pure white fog with fine particles in unbelievable volume, governed by the finest of control, and how theFAN, MDG’s ultra-compact, variable speed digital fan, can direct the output wherever it is needed. MDG’s ICE FOG Q is capable of producing beautiful low fog effects and will be shown in its high pressure version (ICE FOG Q HP).

No show would be complete without theONE award-winning dual haze and fog generator (which has seen duty on tour with the likes of Pink, Celine Dion, Beyoncé, Justin Timberlake, Sam Smith, Muse, and many more) and this year’s PLASA is no exception. theONE will be providing the atmospheric effects for the famous Robe show on the stand next door.

Come and see for yourself on stand E19. MDG is represented in the UK by MDG UK.

For more information on MDG and their fog, low fog and haze, you can visit www.mdgfog.com

In a post-pandemic world, Robe looks forward with a range of new products designed for maximum performance, versatility and operational life – providing unequalled value for money and consequent return on investment, all key aspects for the entertainment and production industry.

As always, the PLASA (Professional Lighting & Sound Association) expo at London Olympia between 5th and 7th of September is also an important chance to reconnect and re-energise in person with industry colleagues, friends, and new contacts.
Product wise, there is a big emphasis on Robe’s unique and patented TRANSFERABLE ENGINE (TE) LED technology on Stand E19.

The booth features another stylish and eye-catching design with “The Show Goes On”, inspired by – among other things – rapper Lupe Fiasco’s insightful Billboard Top 10 hit of the same name.

This year’s PLASA show has the additional dynamic of teaming up with ABTT (The Association of British Theatre Technicians) who will be hosting their own theatre-dedicated Hub area of the show floor. With the performing arts in mind, Robe will highlight its T range of refined and high-quality luminaires designed specifically for this demanding discipline – notably the new T2 launched a few months ago and the soon-to-be-revealed T11 which will be previewed.

The stand’s own eye-catching lightshow will feature 40 x T11 luminaires in action, being seen for the first time in a ‘live’ show situation ahead of its official launch later in September.

Robe T2

The T2 Profile is a high-powered fixture utilizing Robe’s multispectral LED engine to achieve next level brightness, colour detail and quality to throw its beautiful light over impressive distances.

Manufacturing the light-engines in-house in its factory in the Czech Republic, Robe offers the world’s first full range of LED TRANSFERABLE ENGINE lighting fixtures – an intelligent, powerful, and eco-friendly lighting solution for now and the future which enables different engines – high powered, high CRI, ‘tungsten’ – to be used in the same fixtures.

– This enables entire LED fixture rental inventories to be fully utilised in every situation where output needs to be specifically high power, high CRI or a specific colour temperature.

– All the engines can be maintained in perfect working condition, all producing the same brightness, colour and quality of light throughout their lifespans.

– Engine transfers are designed to be a straightforward maintenance department task, completed in less than 5 minutes!

Robe FORTE

Several Robe TE products can be seen at PLASA including FORTE, currently Robe’s highest-powered LED moving light, launched earlier in 2021 as the first signs of the industry recovering appeared.
FORTE is a metaphor for ‘excellence’, ‘speciality’ and ‘strength’ and the product offers premium quality light output in a feature and innovation packed fixture, perfect for the biggest and most ambitious shows now and the future.

Smaller venue installation markets have been revisited by leading concert lighting manufacturer Robe.

Two new compact moving lights, packed with technology developed and proven at the highest levels have been launched – the SPOTE and CUETE – both are set to make a high impact at a surprisingly affordable price.

Robe SPOTE

Robe CUETE

The new LEDBeam 350 – recently purchased by the Royal Albert Hall among other venues – will be another highlight. This is a bigger, bolder, brighter fixture that builds on the hugely successful little LEDBeam 150.
And, in the post-pandemic era, as more events turn to all-weather and outdoor environments to feed the public’s demand for experiences and live events, Robe’s robust new i-Series, IP65 rated waterproof and weather-resistant fixtures, will also be on the stand – the iPointe, iSpiider, iBar and iParFect.

A portion of the booth will be assigned to showcase sister architectural LED brand, Anolis, and specifically the Anolis Ambiane range.
Ambiane is designed for ambient lighting requirements like wall washing and accent lighting. The Ambiane is a high-performance luminaire available in RGBW and CCT versions with a variety of beams angles.
The Robe UK sales team is joined on the stand joined by colleagues from Anolis.

All are anticipating that Olympia’s Grand Hall will become a lively, vibrant and animated space for the three days of PLASA, a forum for demonstrating the technology alongside networking, socialising and planning, plus a landmark collective and symbolic stepping-stone for the re-starting UK industry.

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

ETC will be returning to the PLASA Show at the Olympia London this year for its joint ‘come-back’ industry event with the ABTT. The partnership between PLASA and ABTT brings two industry shows together, uniting the sector in a much awaited event which will take place on 5-7 September.

ETC will be attending the trade show to connect and network with old and new faces, present in-depth product seminars and showcase newly launched fixtures on stand B29.

Sales Manager for ETC Ltd, Darren Beckley comments: “After a long and challenging period for our industry, we are really looking forward to returning to PLASA and catching up with our customers in-person. Throughout the past 18 months, ETC has continued to innovate and develop its product offering and we are excited to share some of those products with visitors to the show.”

ETC Lonestar

Attendees will be able to join a series of seminars hosted by ETC product specialists during the three-day show. The available sessions will explore ‘Comparing Moving Lights’, ‘Multi-emitter LEDs’ and ‘Incorporating Augment3d into your workflow.’ Find out more about these sessions here.

ETC Series3 Desire Fresnel

ETC’s stand B29 will also feature some of the latest fixtures that the company has launched including Lonestar, Source Four LED Series 3, Desire Fresnel, ColorSource Spot jr and more.
For anyone who can’t attend the show, ETC’s online demo studio has product experts available to give tailored one-to-one demonstrations on these and any other ETC products, suited to your needs. Slots can be booked via link here

To register to attend the PLASA Show visit this link.

For more information about ETC Connect and their product line, you can visit www.etcconnect.com

©John Benson

LD Mark Jacobson comments on lighting The World’s Greatest Pink Floyd Tribute Show. The tour is produced by CMP Entertainment. Forced from the road in early 2020 due to the pandemic, Brit Floyd, ‘The World’s Greatest Pink Floyd Tribute Show,’ is back after kicking off a world tour July 29th at Red Rocks Amphitheatre in Colorado beneath an all Elation lighting rig.

© Scott Margolin

Brit Floyd World Tour 2021 includes highlights from The Wall, The Dark Side of the Moon, Wish You Were Here, Animals and The Division Bell, and features a note-for-note performance of the epochal song Echoes.
With their avant-garde lighting, graphics, props and sound effects, Pink Floyd has provided some of the most memorable stage moments in rock ‘n’ roll. No other band recreates the sound and look of Pink Floyd’s live shows like Brit Floyd.

The tour is produced and promoted by UK-based CMP Entertainment, who own and supply all of the Elation gear. Elation has enjoyed an excellent relationship with CMP over the years and many of Brit Floyd’s past tours have featured Elation gear. Chas Cole of CMP Entertainment comments: “Eric Loader was supportive of Brit Floyd in its early days with great product at a great price and even though we’ve worked the equipment really hard it’s held together really well and allowed us to produce a great light show year after year.”

© Patrick Kealey

Collective design

Many have had a hand in shaping the Brit Floyd look over the years, a design that echoes Marc Brickman’s original and classic Pink Floyd designs of yesteryear. Mark Jacobson has been designing lighting for Brit Floyd since their 2019 tour and says there is no single designer for the show but has been the work of several designers over many years.
“That would include Dave Hill and Jake Whittingham, along with Mark Jones Roberts, who is out with the current tour, and myself,” Jacobson says. “The show numbers are well-known Pink Floyd classics that have been around now for quite some time and the lighting frame structures of those songs were created before I got involved.”

Authentic Pink Floyd looks with new technology

Jacobson says that band musical director/guitarist/singer Damian Darlington, along with Chas Cole of CMP Entertainment, serve as “the gatekeepers,” making sure everything is authentic, including the lighting. “Ultimately the lighting is paying tribute to Pink Floyd in the same way the band is paying tribute – it has to look like a Pink Floyd show.
That is the overall directive and that’s what people come to see. As great as a new look might be, fans don’t want to see something that looks like some other band. It has to look like something Pink Floyd would have done but we do it using this new technology.”

The designer says the main directive of reference for the Pink Floyd look was from 1986-1994 tours Momentary Lapse of Reason, Delicate Sound of Thunder, and Division Bell. Even when the band decided to cover songs they hadn’t done in a while, they sent Jacobson videos that showed how the look used to be.

© Patrick Kealey

Iconic circle truss with Dartz, no arch

Nevertheless, some things do change. In December 2019, the decision was made to drop the emblematic arch truss design yet keep the iconic circle truss. The arch and circle stems from the early 90’s Division Bell tour and was part of Pink Floyd designs for years. The circle truss can trace its origins back to Pink Floyd shows of the 1970s.

“The directive was to change it more to what David Gilmour has gone with visually in recent years, which is one large circle truss with more fixtures on it without the arch,” says Jacobson. “That led to the decision to fill the circle truss with 32 Elation Dartz 360 and we added Smarty Hybrids and Protron 3K Color LED strobes to the rig as well. The starkness of the circle without the arch allows for more dark space and more room for contrast.”

© Scott Margolin

Previous designs had a smaller amount of fixtures on the circle truss, namely 16 Platinum Beam 5Rs. The added number opened up new possibilities. “Doubling the amount of fixtures on the circle truss allowed us to do some Pink Floyd effects that we had seen pictures and video of but that we really couldn’t achieve with only 16 lights.”

The Dartz, with their 3-degree aperture, gobo set and full 360-degree rotation, allow for remarkable effects on the circle truss cyc. For Jacobson, the iconic circle truss forms a part of his history and creating those circle looks has become his favorite part of doing the Brit Floyd show. “I got started in lighting in the late 80’s, and like many lighting people of the time, I was a fan of what Pink Floyd were doing on their Momentary Lapse of Reason/Delicate Sound of Thunder tour.

As far as I know it was the first use of moving fixtures on a circle truss in the way that they did it, and I spent hours and days thinking about what a simple idea that was with so many possibilities. And they did all of those looks in a time when effects engines didn’t exist!” Jacobson says he also has a penchant for harsh angles on solo lights, “projecting almost straight down onto performers,” which he says has always been a Pink Floyd trademark.

©Patrick Kealey

Full Elation rig

The lighting design for the mostly time-coded show is consistent with that of the shortened 2020 outing with a few adjustments made before the tour launched. Besides the circle truss of Dartz, Smarty Hybrid spot/beam/wash units populate back and side trusses with more at a floor position. Platinum 5R Beams work from straight trusses up in the air while Platinum 5R Beam Extremes provide big aerial effects from floor positions.

©Todd Jolicoeur

Platinum FLX on front truss provide profile looks while ACL Bar 360s work from ground towers. ZW19 beam/wash effects and Chorus Line 16 pixel bar washes add color and effect. Protron strobes, both white light and color versions, and Cuepix Blinder WW2s, provide pupil-constricting flares of light.

Handling U.S. tour support in the form of a 24-count motor package with distro and cabling, along with professional tour labor support, is Performance Lighting of Chicago. The company has been part of Brit Floyd branding since 2011 when they provided lighting support for the US tour.
Performance Lighting President Russell Armentrout reflects, “We subbed their original lighting requirements and provided the tour with 40 Elation Platinum 5R Beams for the iconic circle truss and 14 Elation Design 1200C lights. That was the introduction to Elation Lighting! After that, Chas decided to purchase lighting and the rest is history.”

Brit Floyd World Tour 2021 continues to celebrate one of rock’s most significant acts and has been getting excellent response from eager audiences at each stop. The tour continues through the eastern and Midwest US until mid-September with a European leg scheduled to kick off in the fall.

For more info about Elation Lighting and their lighting fixtures, you can visit www.elationlighting.com

An outdoor event in New York City in July has to be prepared for all weather contingencies. So when lighting designer, Bob Barnhart of 22 Degrees, was hired by BTW Productions to light the 2021 ESPY Awards show on the The Rooftop at Pier 17 at the Seaport, he chose Ayrton Perseo fixtures to comprise the bulk of the lighting rig.

Perseo is an LED moving head profile whose IP65 enclosure rating makes it the ideal choice for outdoor use. Ayrton lighting fixtures are distributed exclusively in North America by ACT Entertainment.

The 2021 ESPYs presented by Capitol One celebrated the best players, moments, coaches and games in sports. Actor Anthony Mackie hosted the 29th annual ceremony, which was broadcast live on ABC and aired later on ESPN and ESPN2. The in-person show followed last year’s virtual taped event during one of the peaks of the coronavirus pandemic.

Barnhart coped with unseasonable rain and lightning all week leading up to Saturday’s rooftop ceremony. The weather was clear for the 8 pm start of the three-hour show, but rain started about an hour later.

Barnhart tested the versatility of the Perseo fixtures for the ESPYs where they performed in a variety of roles. A large portion of the rig was mounted in a roof structure over the top of the main stage where some Perseo units were exposed to the elements.
These fixtures provided backlight, audience key light and eye candy. Additional Perseo fixtures were fully exposed in the lighting tower supplying front light to the stage and backlight to the audience and serving as followspots. The Perseo fixtures were obtained from PRG.

“The Perseos big function was as key light – the first time I was using them in this capacity,” says Barnhart. “I was able to colour correct them properly, get very clean edges and blend the lights together very well.” He notes that, “Perseo’s LED engine creates a very flat field, which is really critical in TV which is pickier than the human eye to intensity changes.
I also like their shutters for control and, of course, their weatherproofing is a huge advantage – they held up very well to the weather we experienced all week and during the show.”

Earlier this summer Barnhart utilized Perseo fixtures in Arlington National Cemetery for a segment of the PBS “National Memorial Day Concert.” The segment was recorded at the Women in Military Service for America Memorial where the Perseo fixtures acted as architectural lighting then transitioned to theatrical lighting for the talent.
The fixtures were hidden behind the large fountain and reflecting pool in front of the memorial where they illuminated the 400-foot curved façade; subtle gobos and a colour change from natural to blue highlighted the memorial and accented the tribute and performances.

For more information about Ayrton and the Perseo you can visit www.ayrton.eu

The $85 million Rady Shell at Jacobs Park, the brand new outdoor home of the San Diego Symphony, is an architectural wonder on the edge of San Diego Bay and in the heart of the city’s downtown.
Designed to complement the sails of the nearby San Diego Convention Center, the concert shell is wrapped in a translucent flexible material that covers a generous 13,000-square-foot performance space for accommodating the full orchestra and guest artists.

Depending on the event, audience capacities and setups are able to vary widely, from intimate two- and four-person table seating arrangements to standing crowds of up to 10,000.
As an outdoor symphonic space, “The Shell,” as it has come to be known, has a large L-Acoustics PA system integrated into the venue as part of its infrastructure, and the immersive nature of the PA system requires powerful and sophisticated mix platforms to control it. That’s why the San Diego Symphony chose three DiGiCo consoles for the task.

Le directeur du son du San Diego Symphony Joel Watts sur la nouvelle Quantum7.

A Quantum7 is installed as the front-of-house mix desk, with a DiGiCo SD10 for monitor mixing and an SD12 on hand for any auxiliary mix and processing needs. The three consoles, three SD-Racks located on stage, and a Mini-Rack in the amp room are all on a dual Optocore network, and the entire system was designed and integrated by Solotech.

Aaron Beck

“There are several reasons why we chose the DiGiCo consoles, and they are all areas that the brand excels in,” says Aaron Beck, Business Development Manager and Senior Engineer at Solotech.

“First, there’s capacity—the Quantum7 can run 200-plus inputs. Then there’s the Quantum processing power.” Becks cites features like Quantum’s Mustard Processing channel strips, Spice Rack plugin-style native FPGA processing options, and Nodal Processing all as standout features. “Plus, there’s the overall quality of the sound, which is exceptional,” he says.

The Rady Shell at Jacobs Park will see scores of visiting touring groups each year, many of whom will bring their own audio engineers and all of whom will be familiar with DiGiCo console architecture and operation. That familiarity will be important for more than just operational reasons. Jacobs Park is located within a major metropolitan area that, like many, has stringent noise regulations.
San Diego has deployed NTi Audio noise measurement devices nearby that automatically issue reports via cellular data to key elements of the city’s environmental control, as well as directly to the house engineer at Rady Shell. “The venue’s engineer can adjust the overall volume of the entire system from the FOH console when necessary to keep every show within compliance,” he says.

L’équipe audio du Rady Shell réunie à la face. De gauche à droite le responsable HF Nowell Helms, le responsable du son RJ Givens, le directeur audio du San Diego Symphony Joel Watts, Jeremy Nelson assistant son, Heidi Gaare assistante son et Jeff Ward assistant son

Joel Watts, the Symphony’s Audio Director notes that the 32-bit “Ultimate Stadius” microphone pre-amps on the SD-Racks are the next best thing to the kinds of high-end mic pre’s he’d choose in the studio for recording classical orchestras. “My background is in studio production, and we’re recording most of the performances here for later postproduction, and the DiGiCo mic pre’s sound fantastic,” he says.

François Desjardins, Vice Président de la R&D de Solotech mais avant tout un remarquable ingénieur du son.

Having said that, “The Shell” also sounds fantastic thanks to an immersive L-Acoustics PA system designed in Soundvision by François “Frankie” Desjardins of Solotech. Working in tandem with sound consultant Shawn Murphy, Solotech integrated the venue’s full AVL system.

“It does look as good as it sounds,” says Solotech Business Development Manager and Senior Engineer Aaron Beck. “The white exterior wrapping material is a kind of plastic cloth and the interior is covered with a white scrim material. L-Acoustics was able to provide an entire K2 system in white, as well, to match it.”

The system comprises two main arrays of 16 L-Acoustics K2 per side, flanked by two hangs of eight cardioid-configured KS28 subs per side and a center array of nine K2. Another 16 KS28, also in cardioid configuration, are located underneath the stage.

16 K28 en montage cardioïde, une bonne manière de gagner quelques dB de gain dans le bas sans se faire peur et d’éviter que le grave ne sorte trop de la zone d’écoute.

In addition, six towers comprise the surround elements of the 7.1-type system design: two side-surround towers per side (for a total of four) hold four A15 Focus speakers each, with the rearmost tower on each side also holding six Kara II with adjustable HF-steering fins. Two rear-surround towers are fitted with four Kiva II and two SB15m subs each.
The system is powered by two dozen LA12X amplified controllers, with system processing by L-Acoustics’ LA Network Manager.

While it’s designed to project the orchestra across the wide span of the open-air venue, this powerful PA system will also offer Rady Shell and the San Diego Symphony a highly flexible venue that will easily accommodate a wide range of visiting artists.

Les six tours et leur inventaire de A15 Focus, Kara II, Kiva II et SB15m.

It will also give the orchestra the impact it desires when performing live scores from movies shown at the park. Beck says the immersive design of the system reflects the growing demand by touring artists for that type of sound and the L-Acoustics system at Rady Shell does just that very cost-effectively.
“One way we’re achieving that sense of immersion is by taking some of the reverb returns from the front-of-house console and sending them to the surround speakers, which really enhances the immersive effect,” he explains.

Beck also notes that the large number of subwoofers has less to do with impact than with directionality. “There are very strict noise-control measures in place here and on nearby Coronado Island, and the KS28 subs in the cardioid configuration give us tremendous ability to steer that energy where we want it to be and away from where we don’t want it.”

The same, he says, go for the K2 Panflex horizontal steering technology, which combines mechanically adjustable fins with DSP algorithms effective from 300 Hz. “It’s all about putting the sound on the seats and keeping it from escaping the venue,” Beck adds.
“K2 gives us not only excellent sound quality but also the tools we need to stay in compliance with local noise ordinances. Soundvision was incredibly helpful for that.”

Joel Watts

San Diego Symphony Audio Director Joel Watts says that this sound system is highly unique and particularly effective for amplifying a symphony orchestra in an outdoor environment. “In a space like this, where the seating goes back a full 200 feet, the only way to fill it with acoustical music, is with amplification.
But it has to be done in such a way that everyone hears only the music, never the speakers,” he explains. And it sounds marvelous.”

Watts also points out that the asymmetric configuration and precise placements of the speakers allow the orchestra to achieve full impact without exceeding the noise restrictions.
“We have full dispersion to one side of the system and virtually none to the other side, thanks to the fins on the K2,” he says. “It focuses the sound and keeps it on the seats. It never crosses the lease line.”

En plus de porter les enceintes d’ambiance, les tours sont aussi prisées par les artificiers.

The L-Acoustics system also makes the venue fully rider-ready. Finally, says Beck, K2 and the other speakers that make up the system are all remarkably robust, able to withstand the kind of weather they will face since they’re right next to the ocean.

“But the L-Acoustics speakers handle that very well. Combine that with how rider-friendly they are, and you easily see how they were the best choice for this project.”

For more details on the new Rady Shell at Jacobs Park, visit :

– The Rady Shell website
– The Solotech website
– The L-Acoustics products

Multiple Grammy award winning Kelly Clarkson has rocked the foundations and redefined daytime talk show television with her award-winning, high impact “The Kelly Clarkson Show” (TKCS).
The one hour syndicated daytime show produced by NBCUniversal Syndication Studios is an energetic mash up of chat, stories, opinions, humor, and surprises involving an array of interesting guests, personalities, and celebrities. And, as you might expect from this massively successful singer / songwriter, a healthy blast of superlative music!

The pleasure and the pressures of lighting this dynamic and ever-shifting environment recorded on Universal Studios in LA’s Stage 1, has been down to Darren Langer of DCLighting, a lighting design and direction practice also based in LA, specializing in television and multi-camera environments. Their work encompasses broadcast, streamed shows and events, awards extravaganzas, talk shows and music-based projects of all sizes.
Darren has relied on several specific Robe products throughout series 1 and 2 of The Kelly Clarkson Show – Pointes, BMFL Spots and BMFL Blades, PATT 2013s, Spiiders and Tetra2s – to ensure that the studios and sets have looked fresh and invigorating every time for this truly unique talk show format.
Each show kicks off with a ‘Kellyoke’, a rousing cover version selected by fans, arranged specially to fit the 1.30-1.45 timeslot by musical director Jason Halbert, and delivered with the dynamic full-force Kelly Clarkson treatment.

Ahead of the first series launched in 2019, Darren was interviewed by the network executives together with several other lighting designer / and director candidates, from which he was selected. It was a totally new client, so he was delighted to get the job based on DCLighting’s vast and rich creative portfolio of lighting music and talk show projects over the years.

“One challenge with this one was the truly multipurpose nature of the lighting required,” explained Darren. It demanded a fine balance of musical performance and expression juxtaposed with the more structured approach of a daytime talk show.
He knew immediately the lighting design would have to be uber-adaptable, and Robe products immediately entered his thought process.

In addition to his own ideas, Darren took initial creative inspiration from production designer James Pearce Connelly and director Joe Terry together with executive producer / showrunner Alex Duda and her producing team, MD Jason and the outstandingly gifted house band, “My band y’all”. Together they all contributed to setting the tone of the show, which is lively, upbeat, and energized. “They are all amazing people to work with,” he states, detailing how they developed a fluid visual language by collaborating closely.

“This was the only way to produce a product with the quality and finesse we desired,” and also not possible without great support and much patience from ‘executive in charge of production’, Jonna Walsh. With flexibility at the essence of the lighting, Robe products ensured “we had capacity to transform instantly from a sharp, animated daytime talk show set to a sexy after-dark ‘musical dream’ at any point,” says Darren … and switch back instantaneously at the push of a button!

He also needed to create a space where viewers – both live for the start of the first series – and then onscreen as the pandemic sent the show digital – would be continually astonished at the visual transformations and enthralled by what might come next, keeping it fresh and different.
Season 1’s lighting had eight Robe BMFL Blades and eight Pointes permanently installed, and these were augmented with more Robe specials, depending on the songs and action of the day. Frequently used fixtures included PATT 2013s 15 x Spiiders, and 24 x Tetra2s, all; supplied, together with the rest of the lighting equipment, by Illumination Dynamics.

Fixture positions varied constantly around the studio, but “these Robes they were fundamental to each show,” said Darren, giving them almost infinite options to create different looks throughout the season. The goal was to never repeat the same look!
Darren picked Robe fixtures generally for being “bright, fast, clean, with fantastic color options, great flat beam fields and for the sheer versatility.”

He maximized the Pointes in particular as they can do equally good wide and narrow beams and have an endless array of in-air effects and fast movement perfect for floor coloring and texturing, and for fast color chases and movements. “We’d often hang them and even use as back-light on the artists for creating moody silhouettes and other trick-of-light gags!”
The Spiiders were another multi-tasker with lots of different beam effects and quirky pixel and graphic effects possible on the LEDs. They were also excellent floor washers, back-of-shot eye candy fillers and different shapes.

Two RoboSpot systems were great assets to the show, both run by Chris Nelson. The BMFL FollowSpots being remote controlled were positioned one over the audience and one above ‘home base’ where Kelly usually sits for interviews, allowing pick ups in any part of the area that the host or guests would generally roam. The two base stations were located side-by-side backstage enabling Chris to easily swap between as needed.

Darren has used Robe products for many years before TKCS. The BMFL became a workhorse for a series of awards shows they were lighting with one of Darren’s major mentors, the legendary Allen Branton. These and all the other lights in the studio were controlled via a grandMA2 console.
The schedule was intense. They recorded two shows minimum a day for 30 weeks working three to four days a week, with the lighting rig changing weekly and sometimes even daily, de-rigging and re-rigging to get exactly the right fixtures for the specific action each time.
After the timeframe, programming was the next most galvanizing task throughout the two series for which Darren had input from a fantastic team over the period comprising Andrew Law, Brian Larsh, Brandon Dunning, Jeff Handke, Felix Peralta and Tyler Glover.

With the two performances recorded each day plus guest slots and performances, interviews, demos, games and special themed shows, time was “never on our side” says Darren, although they were all fully geared to working at lightning speed, smashing deadlines and keeping pace with the skills and talent of Kelly and her band, in addition to constantly popping out ideas to make the non-performance segments look exclusive!

The lighting department was also controlling a media server that dictated most of the screen content, so, with the assistance of technical manager Eric Feder, they didn’t miss a beat! For Darren, the most enjoyable parts of TKCS were working with a truly inspiring host and “so many people with great energy.”
The icing on the cake for Darren and the DCLighting team was winning the 47th Annual Daytime Emmy for Outstanding Lighting Direction for the show in 2020 (for the 2019 broadcast year) and being nominated again for the 48th Annual Daytime Emmy in the same category for the 2020 broadcast year.

Furthermore, he won the Newscast Broadcast Production Award for ‘Entertainment Lighting Design’ for the show’s 2019 and 2020 broadcast years. Darren is the first to credit his “incredible” team for their vital contributions to gaining these accolades, and this includes Kirsty Robson, DCLighting’s VP of Production who handles all the logistics, marketing, communications and client networking, and gaffer Andy Anderson who installs the different lighting designs each day.
Andrew Gonzales is their proactive lead tech, looking after the lighting system as well as multitasking as best boy, ensuring the gaffer is happy as well as managing all the rental ‘specials’ in and out daily! Morgan Evans and the late Carlos Colina were also integral to the drafting and visualization part of the process.

TKCS airs on multiple stations across the U.S. in 100% of the country and is anchored by the NBCU station group. Season three will be starting shortly and the NBC owned Television Stations Group has just announced that ‘The Kelly Clarkson Show’ will take ‘The Ellen DeGeneres Show’ timeslot on the ten NBC-owned stations carrying both programs once Ellen finishes in 2022.

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

British rental house TSL Lighting is now offering a range of VL2600 PROFILE and VL2600 WASH luminaires from Vari-Lite. The much-liked and well-respected Basingstoke-based company brought in the VL2600s for global video game developer Riot Games’ League of Legends esports tournament in Reykjavik, Iceland.

Photo_Maris_Wendenburg

Lighting designer for the event, Mat Stovall, collaborated with TSL Lighting’s Dom Sheerman to source an LED lighting package that would suit his needs – a reliable, powerful workhorse fixture that would give him powerful wash and profile capabilities with consistency in discharge for both the in-house crowd and the live-stream cameras.

“The VL2600s were fantastic – bright, lovely color rendition, great color temperature control. It’s nice to have a new workhorse,” says Stovall. “This is the first time TSL Lighting has had the LED VL2600s in stock and we’re thrilled that they were immediately trucked out to a major international event where they performed beautifully. We look forward to specifying them for high-profile events in the future,” adds Sheerman.

Photo Maris Wendenburg

TSL now has 36 VL2600 PROFILE and 36 VL2600 WASH luminaires in stock. They were trucked to Iceland via ferry from Rotterdam for the esports contest.
Twelve teams from around the world descended on the Icelandic capital’s Laugardalshöll sports venue to battle out the popular game as part of the legendary Mid-Season Invitational (MSI), which was live streamed to a global audience.

The VL2600 WASH and PROFILE luminaires were rigged in a square formation above the League of Legends stage, which also included an ‘Icelandic glacier’ set piece that formed a visually dynamic focus to complement Stovall’s action-packed lighting design.

“It’s great that TSL has come on board with the VL2600s and is immediately experiencing the versatility of a fixture that can move across different environments for all of TSL’s needs. I look forward to seeing the VL2600s out on more of their awesome projects,” said Jai Auguste, Key Account Manager UK and Ireland at Signify.

Photo_Maris_Wendenburg

The League of Legends MSI tournament was won by Chinese team ‘Royal Never Give Up’.

For more information about Vari-Lite and their products line, you can visit www.vari-lite.com/global