With the world-famous Glastonbury Festival cancelled for a second year, an online celebration – Live at Worthy Farm – was held in its stead on Saturday 22 May 2021.
Filmed over a week and beamed as live around the world, the five-hour virtual festival echoed the glories of the full event missed by so many, in spite of the access problems suffered by the online audience. For many artists it was the first opportunity to play live in a year or more.

© Courtesy of Live at Worthy Farm director, Paul Dugdale

The event highlight came with a performance from Coldplay, lit by multi award-winning lighting and show designer, Sooner Routhier of Sooner Rae Creative. Routhier incorporated 60 Ayrton Perseo Profile and 36 Ayrton Domino IP65-rated multifunction lighting fixtures, supplied by Neg Earth, into her design to handle the demanding outdoor conditions.
“I needed a large format profile that was IP65 rated because the site was open to the elements in a location that was known for pretty bad weather, so we needed something that was going to last,” she says.

The exposed location saw production designer/creative director, Misty Buckley, and creative director, Phil Harvey, place the band directly in front of the Pyramid Stage on a circular stage surrounded by a sea of light that represented the energy of the missing audience. Behind them, the framework of the famous Pyramid Stage formed an iconic backdrop, its skeletal frame instilling the set with the essence of the Glastonbury spirit.

“We were in a unique situation where the Pyramid was without it skins and crying out to be lit in a way it has never been used before,” says Routhier. “We took advantage of the unique opportunity to hang lights directly on it, outlining the frame with Perseo profiles from ground to apex and across the overhang, and adding a line of Dominos across the floor to create this beautiful triangle of light. The Perseos gave the defining shape of the wider stage and we used the Dominos for punches through the band to make sure there was something in the picture for the low camera angles.

© Courtesy of Live at Worthy Farm director, Paul Dugdale

“There were so many beautiful helicopter and drone shots during the broadcast where the entire pyramid of Perseos and Dominos made a really cool triangle of light, emphasising the sacred geometry of Misty’s design. I always light with the camera in mind and the Ayrton fixtures had all the right gobos, including very specific star field gobos I needed to create some nice big moonflower looks. They were bright and punchy with lots of diverse beam options.”

Routhier was assisted by associate lighting designer and design producer, Steve Nolan. “Steve was a life saver,” she states. “It became apparent early on that we would need help with logistics and creative because of the challenges with the sites, time frames, and time zone differences between myself and the UK. It was amazing to have such a kind, creative and diligent collaborator on board!”

© Courtesy of Live at Worthy Farm director, Paul Dugdale

“Despite the difficulties of putting a show together from opposite sides of the Atlantic, it couldn’t have a been a nicer, more collaborative experience,” says Nolan. “We found we developed Misty’s ideas with similar solutions, thought processes and choice of fixtures.

The size and weight of Perseo on the Pyramid stage, for example, had obvious advantages during the set up, and we knew that access to them would be difficult once rigged, so we chose a fixture that we knew to be reliable. They are so bright and powerful and looked awesome once rigged. It really did rain for the whole week, but we had no swap outs at all and they all worked perfectly.”

© Courtesy of Live at Worthy Farm director, Paul Dugdale

Live at Worthy Farm is not the first time Routhier has used Ayrton, having used ‘plenty of their effects lighting products in the past’, but it is the first time she has used the profiles, Perseo and Domino.

“Ayrton makes amazing lights, their profiles are gorgeous,” she says. “They are nice and bright and have a ton of gobos and features, but the IP65 rating was the decider.

“We were able to line the Pyramid skeleton successfully and leave the lights completely open to the elements which we definitely could not have done if we had used a fixture that was not IP65 rated or needed a dome to protect it.” Routhier was also able to take advantage of some unusual effects afforded by the weather and the durable weatherproof fixtures: “For the song Fix You, we had all the Dominos focused low on the stage in a light amber gobo,” she explains.

“It was raining pretty badly and there were lots of droplets on the camera lens. I loved the look of the beams coming through the band and the rain, hitting the lens, and distorting the image – it was a really stunning effect. We also keyed the band in a really warm tone, shading the levels for the cameras. It gave everyone the ‘fireside glow’ look which was fitting for the outdoor setting at Glastonbury.

© Courtesy of Live at Worthy Farm director, Paul Dugdale

“The Ayrton fixtures were great and exactly what I needed for an outdoor festival,” concludes Routhier. “We had torrential rain for most of the week leading up to filming but no failures. The Dominos and Perseos will certainly be on spec for every outdoor show now.”

Full story is available on the Ayrton website news page: www.ayrton.eu/live

For more information about Ayrton’s LED lighting fixtures, you can visit www.ayrton.eu

In response to market demand, Lonestar brings the renowned brightness, quality and performance of High End Systems bright white LED framing fixtures in a more compact and powerful package.

With 15,400 lumen output and a rich feature set, Lonestar is a perfect addition to lighting systems in small to medium-sized venues.
The luminaire’s rich colors (CMY+CTO & color wheel), powerful zoom (3,8° – 55°), full curtain framing, diffusion and prism effects make Lonestar a versatile and affordable tool for designers who want maximum performance from a mid-sized automated fixture.

Automated Lighting Product Manager Matt Stoner comments, “With the Lonestar, we aggressively reduced fixture size and cost to make a luminaire that fills the needs of venues of all sizes and design aesthetics. With punchy output, framing, and a full complement of effects and color capabilities, Lonestar will bring high quality and professional feature sets to a size and price where professional quality was formerly out of reach.”

Tania Lesage, Brand Manager for High End Systems, adds, “Lonestar is a simple yet powerful mix of three ingredients: an impressive feature set, ETC’s quality service, and a great price tag. From upgrading your lighting in churches or clubs to switching your school stage to all LED, Lonestar does any job in the most effective, reliable, and economical way. We are very excited to bring this product to the market.”

For more information on Lonestar, visit ETC website

L-Acoustics is pleased to announce the launch of its newest addition to the SB lineup, the SB10i. Delivering the same sonic signature of the company’s much larger subs, but from a vastly scaled-down enclosure design, SB10i is not much larger than two side-by-side shoe boxes.

Germain Simon

“The L-Acoustics R&D teams took on the challenge of designing a low-frequency enclosure with the industry-recognized L-Acoustics sound in a living room-proportioned enclosure,” says L-Acoustics Product Manager Germain Simon.

“Even though it may sound like it defies the laws of physics, our new SB10i is a brilliant realization of that objective. It condenses the full power of an SB Series sub into an incredibly small, efficient package that will fit into any environment where a visually discreet yet high-performance system is desired.”

Equipped with a single 10-inch driver, 27 Hz bandwidth limit, and 124 dB maximum SPL output, the high-powered SB10i measures only 21.3” L x 21.3” W x 6.7” H (540 x 540 x 170 mm) and weighs a mere 33 pounds (15 kg).

SB10i en RAL 9010 pure white, une des trois finitions standard.

The enclosure cabinet is constructed of premium grade Baltic beech and birch plywood. The transducer front is protected by a coated steel grill and an acoustically transparent fabric. Rubber feet stabilize ground-stacked deployment of one or more elements to prevent movement or cabinet scratching.

Sonically corresponding with L Acoustics X4i and 5XT ultra-compact coaxial speakers, the new sub has an elegantly discreet design, and is available in RAL colors, making it a prime choice for high-end residential and commercial environments, and sophisticated hospitality settings, sports luxury boxes, museum installs, and much more.

SB10i en position verticale, sa couleur s’accordant avec le mur et les rideaux.

The SB10i offers flexible and limitless installation possibilities. The integrated “tech face” contains all connectors and mounting points in one unobtrusive panel, so mounting hardware, cables, and connectors can be tastefully hidden, regardless of where or how the SB10i is installed: freestanding on a shelf or tucked away under a couch, chair, or architectural feature.

Nick Fichte

“There has been increasing demand in the residential and commercial markets for audio systems that give the same experience as being at a dynamic, vivacious live show,” says Nick Fichte, Global Business Manager for L-Acoustics Creations.

“With the launch of the new SB10i, we now have the perfect aesthetically unobtrusive subwoofer that delivers the impactful low-frequency punch that is a hallmark of our renowned festival and touring sound systems.
The fact that it’s understated enough to be placed under a chair or a couch will be an unexpected bonus for residential and commercial projects alike.”

SB10i is available for order now, with volume shipments scheduled to begin in the first quarter of 2022.

Venuetech supplies broadcast-optimized Elation KL Fresnel 4 CW LED luminaires to new, ultramodern Al Arabiya studio in Dubai. Elation’s exclusive distributor in the Middle East, Venuetech Audiovisual & Lighting Systems, has supplied 100 Kl Fresnel 4 CW LED Fresnel lights to Al Arabiya’s new, state-of-the-art broadcast studio in Dubai.
Integrated into several areas of the modern studio including the main newsroom, the cold white LED lights provide a superior quality of bright yet uniform white light for a variety of programming.

Next generation broadcast studio

Al Arabiya, an MBC-owned broadcaster, is the leading 24-hour news channel in the Middle East. An extensive modernization of its multi-venue 26,000-square-foot facility included newly designed newsroom and studio spaces, production areas and more.
The sleek, clean design has a futuristic look with new technologies and visuals designed to take the broadcaster and its viewers into the next generation of broadcast and digital journalism.

The facility houses a number of active broadcast areas including the Command Center, the main broadcast area for the Al Arabiya news anchors, as well as a less formal discussion set, a standup area, other anchor areas, and a social media center.
The new KL Fresnel series fixtures work alongside curved swaths of LED video – much of it configurable and some used for augmented reality – to emphasize the free flow design of the space while supporting the latest high tech cameras that capture sweeping views of the newsroom and production areas. Scenic design and master plan was by Clickspring Design.

Best light quality = Best image quality

Lighting designer in Venuetech’s design & application department, Ziad Shames Eddine, specified the KL Fresnel 4 CW for the space with lighting design handled by Safwan Harcouss, head of the lighting department at the MBC group. “The Al Arabiya channel has undertaken several renovations over the past few years in order to get the best light quality and therefore the best image quality possible,” stated Harcouss, who lists a small product size, brightness and high CRI as three key factors in fixture specification.

“We needed a CRI of high quality to be able to get perfect skin tones for the camera. Knowing that the skin color of presenters is different from one to another, we wanted to avoid any difficulty in the tone of the image. We did tests on camera using different skin tones, and based on our tests we decided to use and order the KL Fresnel.”

Harcouss says that due to the low height of the ceiling, a small lighting fixture was preferred. “The lights are visible on camera and for that reason we did not want big, bulky lights in the ceiling,” he says. “Not only did we want lights that visually suit our studio, we needed something with power that has a long life expectancy as the studio is used 24 hours a day. We have been using our Elation lights for 1.5 years now and have not faced any issues or problems.”

KL Fresnel 4 CW

The KL Fresnel CW series is a line of cold-white LED Fresnel lights with 5,600K Cold White LED engine available in 50W, 150W and 350W models. The 100 KL Fresnel 4 CW fixtures, 50W models, are installed throughout the ceiling to provide bright and clean light for the studio and high-quality key light for the news presenters.

Useful for a variety of purposes including keylight, washes and front light, light quality from the KL fixtures is superior with a CRI greater than 97. Its 2300 lumens of output is homogeneous throughout the space, also at the edges of the beam where it appears uniform and without a green or red tint.

“The KL fixtures provide the right lighting for the presenters to give the best camera image,” comments Venuetech’s Ziad Shames Eddine, “and are one of the best products for TV production and theaters at the moment.”

The KL Fresnel 4 CW includes a number of useful features for broadcast environments including a 14° to 33° wide manual zoom with manual and DMX controlled dimming. Silent operation mode, barn doors and gel frame holder are also included. Ziad mentions several other factors that were key in its choice. “The accurate color temperature and the high CRI make it a high quality fixture for broadcast. Also, because of space constraints in the studio, the small size of the fixtures, the light weight and the fact that they produce little heat were important.”

Compact and discreet to place, the cooler running LED lights help to keep the overall temperature of the studio lower, meaning less strain on the air conditioning system and less noise. “The lighting system is not only energy efficient it is also a low maintenance solution, as Al Arabiya personnel do not have to deal with bulb changes,” Ziad concludes. Venuetech, who has worked with Al Arabiya before, also to great success, supplies technical support to the studio as well.

For more information about Elation Lighting and their products line, you can visit : www.elationlighting.com

Russian rock band, Zveri, recently celebrated their 20th anniversary, immersing both their fans and themselves in striations of light and bright effects from GLP fixtures. Zveri is one of the phenomena of the Russian entertainment industry, and has remained relevant for years despite the many new trends that have come and gone.

Photo Alexey Makhov @madphoto

Although the band celebrated its 20th anniversary last year, they were unable to bring their fans together due to the COVID-19 pandemic. Nevertheless, the event was still celebrated—this year, on 12th June in Moscow’s Megasport Sport Palace. The venue was filled with music, brought to life with effects delivered from 75 GLP impression X4 Bars 20 and 16 JDC1 hybrid strobes.
The stage design and light show itself were conceived by LD Alexander Prilipko, who has been working with the band since 2016. The main concept was taken from the touring version of ‘U tebya v golove’ (‘In Your Head’), which Zveri presented in 2019 using a similar setup, though the show at Megasport it was implemented on a larger scale.

Photo Alexey Makhov @madphoto

X4 Bar 20 was the principal fixture, and Prilipko talks about its role in the show: “It has become my favourite fixture. New effects are always coming onto the market and I am constantly seeking more brightness from a narrower beam. But X4 Bar 20s continue to perform their task perfectly and the whole show design at Megasport was created around these fixtures.”

Of the 75 X4 Bar 20 fixtures deployed 45 pieces were used to make nine vertical lines (with five bars in each). They created a background for the whole structure and lit various songs in different ways. The audience could see thin bright glowing lines or impressive pixel transitions—from flickering to various types of tracks. No less impressive were sheets of narrow zoomed light, beamed to the audience and cutting the dark space like thin blades.

Photo Alexey Makhov @madphoto

The second batch of the Bar 20 inventory was divided into two groups to make additional lines. 22 Bars were hung above the stage, and the ends of two beams were placed angle wise, as if it were a rooftop. Eight X4 Bar 20s formed a horizontal line to highlight the riser.

The lighting designer had the opportunity to create different effects using the impression X4 Bars 20s. For instance, he could incorporate in the design every Bar on stage, while the audience could see an image of an ancient Greek building with columns.

This was a moment when he used only vertical lines, and sometimes without support from other fixtures, which made it look very spectacular. A combination of the ‘roof’ and riser lighting—when the effect was supported from the top and the bottom —formed a seamless image and presented an opportunity to track the movement of the lighting from start to finish.

Photo Alexey Makhov @madphoto

Though the impression X4 Bar 20 zoom provides a lighting designer with a great wash effect, Alexander Prilipko didn’t use this function at all during the concert—nothing more than pixel-by-pixel control and narrow zoom.
“If you ask me which fixture I consider indispensable in my projects, I’ll say ‘an LED strobe’ every time,” Prilipko stated. “And if one looks at all models available on the market, there is no doubt the JDC1 is the most interesting compared with the competitors’ products.”

In total 16 GLP LED strobes were used in the concert, placed in two parallel lines. Eight fixtures were set on the floor between the vertical impression X4 Bar 20s, and the remaining eight fixtures were mounted on top. The lighting designer didn’t use pixel control—instead the JDC1s were patched in the simplest mode and mostly worked as classic strobe flashes, sometimes switching to a set colour to match the respective theme on stage.

Photo Alexey Makhov @madphoto

Prilipko paid tribute to the GusAr production company and Vitaly Zelenov for the highest level of professionalism during technical preparation.
The lighting vendor was rental company, Laser-Kinetics.

For more info about GLP and their range of products, you can visit www.glp.de/en/

A technical upgrade at the Chassé Theater in Breda, The Netherlands sees the installation of 12 x Zero 88 Chilli Pro 24x16A Bypass dimmers and five Zero 88 Chilli Pro 6x25A dimmers in Jupilerzaal, the venue’s main auditorium … where they will be controlling approximately 309 channels of lighting and LED fixtures including some moving lights as needed / specified by the production.

L’espace gradateurs de la grande salle. ©Jordy ten Bloemendal, Chassé Theater, Breda.

The venue is one of the Netherlands’ largest venues, with a total of three auditoriums and three cinema spaces, mostly a receiving house – anything from music and bands to drama and dance plus amateur and semi-pro performances as well as corporate and private events and conferences, so a truly ‘multi-purpose’ space that is also a diverse cultural melting pot. The Chassé Theater also stages some of its own productions, and a typical (pre-pandemic) year would see around 350 live performances and 3500 plus film screenings across all the different spaces.

le centre culturel de Breda un des plus grands de Hollande. ©Jordy ten Bloemendal, Chassé Theater, Breda.

Chassé Theater technical manager Jordy ten Bloemendal is proud to have worked there for 12 years, and is responsible for the lighting installations, budgeting and – together with his colleagues – future visions and planning. He co-ordinates with all the various incoming production companies, ensures all their technical needs are met, and on occasion still programmes and operates the lighting console!
This was the combination of a general technical upgrade and the replacement of the previous dimmers which had been in service for 25 years!

La grande salle Jupilerzaa. ©Jordy ten Bloemendal, Chassé Theater, Breda.

Jordy explained, “We could no longer source spare parts for the old dimmers, and as theatre lighting going forward is now primarily focussed on getting LED fixtures involved, we needed to purchase dimmers that are suitable for powering these as well as conventional fixed voltage luminaires.”

The new dimmers running in ‘bypass’ fixed voltage mode are also a perfect solution for productions using moving lights. With this futureproofing topping the required features list, Jordy and his team consulted a host of technicians, gathered their opinions, and then searched for dimming solutions … picking Zero 88. As a busy mainly receiving theatre which does also some own productions, it was important that all the technicians involved supported the product.

Chassé Theater had already started working with the same Zero 88 Chilli Pro Bypass dimmers in 2017 which are installed in the middle-sized room Koninklijke Drukkerij EM de Jong Zaal, offering approximately 270 channels.

La salle de taille moyenne Koninklijke Drukkerij EM ©Jordy ten Bloemendal, Chassé Theater, Breda.

These first Chilli Pros in the building were also a replacement for the old dimmers in place at the time. Everyone was delighted with the kit and the results, so this excellent Zero 88 experience helped propel the decision to repeat the process in the large hall.

“I have a very positive impression of the products – they have proved reliable and stable,” states Jordy. “Having good dimmers improves the general technical facilities and offers greater scope to light shows creatively and imaginatively,” he says.

These specific Chilli Pro dimmers were chosen for their compactness and because they have the option of functioning as a standard dimmer, and more importantly, the channel can be switched to fixed voltage to run LED fixtures as more are introduced to the rig in the future.
Zero 88’s Chilli Pro range comprises high-density, wall-mounted and convection cooled power switching and dimming cabinets which are ideal for fitting into often already tight spaces in assorted venues. They are well known and loved for being quick to install and set up and easy to operate and maintain, becoming a popular workhorse for hard-working professional venues like the Chassé Theater.

Chilli Pros are available in 12 and 24 channel packages with 10 or 16 Amp load capacities and optional RCD protection, relay channels, bypass switches and RCBOs, all contained in an elegant, slim line wall-mounting enclosure.

A logical and easy to read user interface and a backlit LCD screen on each individual dimmer assist in convenient setups for DMX patching, preheat, topset and dimmer curves.
The user interface and all breakers are also protected by a lockable breaker cover which is handy for multi-user environments like the Chassé Theater, and there is even a choice of responses in the event of DMX failure, including backup memories or inbuilt chases and an alarm input trigger.

“Projects like the Chassé confirm the popularity of our solutions for modern and energy-efficient refurbishments of venue dimmer and power systems,” commented Zero 88 key account manager for entertainment lighting, Franck Tiesing. “The Chilli Pro bypass units can be efficiently integrated into existing infrastructures without generating unnecessary installation costs.”
Like every venue in the world right now, the Chassé Theater is preparing to re-start productions in the summer after the worldwide pandemic shut down.

For more information about Zero 88 and their products line, you can visit www.zero88.com

Minneapolis-based developer of LED video walls and headset microphones, THOR AV, focuses on sharing best practices and providing reliability and excellence in audiovisual performance.
The company works on a wide range of projects, from fixed installations such as The Belonging Co.’s culture-shaping church, to Signature Productions Group’s rental applications for the meetings and special events industry. It has chosen Brompton LED processing as its trusted LED partner, helping its clients to create a visual experience that is lifelike and real.

“Over the past couple years, we’ve seen a shift from ‘We need LED walls’ to ‘We need manufacturers that genuinely understand our specialties’,” says THOR AV’s Director of Sales & Marketing, Luke Vettel. “There is a category within the LED wall industry that demands a certain spec.
In 2021, we continue to have more conversations about on-camera, live production environments and also XR/VR studios. We are thrilled to partner with Brompton in this space because of their pioneering advanced LED processing features for on-camera performance, in-depth control, and colour rendering versatility.”

Vettel notes that using the low latency, higher frame rates, and frame remapping features offered by the Tessera software elevates the pairing with THOR’s premium LED panels. “The dialogue with our demanding customer base keeps us attuned to their ever-growing needs and the challenges of bringing the story on screen to life,” he continues.

THOR and Brompton’s partnership unlocks the most advanced design potential for THOR LED panels, according to Vettel. “The outcome of these improvements brings out the artistic ability for customers to enhance colour profile and visual performance. We share Brompton’s sentiment of delivering world-class performance, education, and continue to work together to up the game for our customers,” he adds.

And there is definitely no shortage of work to do, as quality, coupled with industry expertise, and unparalleled support is what THOR clients expect and deserve. Recent successful projects with end users such as Signature Productions Group, Samaritan’s Purse, and Belonging Co. are strong proof points that THOR customers look for quality LED video wall solutions now more than ever.

“We said it once and we continue firmly believing in our credo that ‘every component matters’,” states Stefan Svärd, Owner and President of THOR AV. “This is why we are so excited to have Brompton as our partner. They have engineered products with the broadcast community in mind.
No matter in what direction we go as a company, whether it’s a live or virtual space production, we know that Brompton LED processing will support and give us and our customers exactly what is needed – world-class service, quality, and 24/7 technical support. Together with THOR LED panels, this coalesces into one integrated whole that brings the message of our customers to life.”

“With THOR’s expertise in LED video walls and Brompton’s innovative approach to LED video processing technology, the end solution adds incredible value to live, virtual, and extended reality productions, creating the ultimate LED display for a full spectrum of projects. Like THOR’s team, we are inspired by our customers, and we are really glad that through this partnership we are able to provide infinite creative possibilities for our clients,” concludes Rob Fowler, Brompton’s Director of Business Development.

For more info about Brompton Technology and their range of products, you can visit the Brompton website

Wireless LED lighting specialist Astera launches another new product – the AX9 PowerPAR. The AX9 is a high-intensity, rock-solid, all-purpose everyday LED lighting fixture with all the advantages of Astera, including battery operation and wireless control.

AX9 is the ‘big brother’ of Astera’s AX5 TriplePAR. AX9 is bigger, brighter and benefits from all Astera’s latest innovations, like the Titan LED engine, an optimised bracket with Airline Track, a Titan-style keypad for fast and easy local control and direct control via the versatile AsteraApp.
Effectively it is a three-in-one solution. Offering a wireless PAR light source that can also be run as a wired PAR for longer-term installations and an elegant up-lighter, with the fixture’s 105 Watt output offering over 3000 Lumens homogenised light.

Being wireless, AX9 can be used anywhere – on set, onstage, in the studio or on location – and at short notice, quickly deployed as and when needed.
In situ as a wired PAR – it is just like any standard PAR – it is perfect scenarios requiring the lighting to be on for sustained periods of time.

AX9 is an great as a wall or surface washing up-lighter – without a flex cover and with the bracket removed – which can produce a sleek, streamlined effect to transform any space.

The AX9 is a multi-purpose lighting fixture that is efficient and can be used on the widest range of jobs as a cost-and-carbon-efficient quick ROI solution offering extreme brightness in a compact, stylish housing.
The benefits of Astera’s Titan LED engine include its high CRI and the wide range of tuneable colour temperature whites, plus that rich and diverse gamut of colours encompassing the whole spectrum.

The inbuilt battery offers up to 20 hours of runtime which can be programmed to maintain optimal output over the designated period. Direct control via the AsteraApp removes the need for an AsteraBox, further optimising and making setup simpler.

The keypad on the rear has a logical navigable menu resembling the Titan Tube layout with dedicated buttons for quickly adjust colour and brightness.

Wireless DMX is available utilising LumenRadio’s CRMX technology, and for wired options, there is a choice of Powercon and XLR connectors on the rear.
The AX9 unit can connect to a smartphone or tablet via Bluetooth and can then act as a transmitter, sending the radio signal to other Astera fixtures.
The standard 13-degree beam angle can be modified with the addition of two filters, a 32-degree flood filter and a 17 x 46-degree elliptical wall-wash filter.

The AX9 – as you might expect from Astera – comes with practical and handy mounting / rigging brackets that can easily be slid on and off (a feature of the original Astera AX5 PixelPAR), and importantly, this bracket contains an Airline Track to hold a selection of rigging accessories like Astera’s TrackPin.

A 3/8-inch thread is also integrated into the bracket, with a 14mm hole for attaching clamps. The AX9 legs can be folded for transportation and the same legs used for truss hanging, also like the AX5.

A spring-loaded quick-release kickstand is available for the fixture, a neat tool that pops out with a button press for angling an AX9 without a bracket. The AX9 is IP65 rated for outdoor use and combines with any / all other Astera products.

AX9 accessories include flexible covers – available in white and mirrored finishes in addition to black for blending into different environments – which can be wrapped around the light to suit the set, room or other visual elements.
Glare reduction can be enhanced by using an egg-crate which also produces sharper beam definition. Like the AX5, a charging plate allows for AX9s to be placed upside down into the flight case and start charging even without the units needing to be plugged into electricity!

Once again, Astera has used a mix of experience and imagination to think of virtually all scenarios in which this luminaire might be used. The main applications will be for film and television productions, stages and concerts and all indoor and outdoor events.

Astera Sales & Marketing director Sebastian Bückle states, “The AX9 is Astera’s best value for money light right now with twice the output of the AX5 and only 1.5 times its price, featuring cinema-grade light output and tons of premium features to make daily lives and usage even easier! We are expecting this to be very popular!”

For more info about Astera LED and their products line, you can visit astera-led.com

© Ralph Larman

This year’s Eurovision Song Contest has been recognised as a pivotal moment in the return of large-scale entertainment events in a post-COVID world. Performed in front of a live audience of 3,500 plus delegates in the Greenroom on the arena floor, ESC captivated both the live audience and the 183 million watching on television from 234 countries worldwide. The entire event was under the supervision of Eurovision’s Head of Production, Erwin Rintjema.

©Nathan Reinds

At the heart of lighting designer, Henk-Jan van Beek’s dynamic design were the tools to guarantee that the Multi-camera directors received all the key lighting required to bring the performers to the small screen exactly as they would wish.

©Nathan Reinds

The Netherlands-based Follow-Me 3D SIX remote tracking system (as part of the lighting specification delivered by the official technical supplier, Ampco Flashlight) was used to keep the Eurovision performers in the spotlight, wherever they went on stage. Designed to accommodate an unlimited number of fixtures per artist, the Follow-Me package is not limited to any type or brand of luminaire.

In the Ahoy, a total of 64 fixtures ran through Follow-Me 3D, whilst receiving fixture positional data from the motion control system over PosiStageNet (PSN).

©Ralph Larman

Follow-Me understands all fixture positions and orientations in 3D space and uses this information to keep any of those chosen fixtures on the performers. This unique tracking ability is achieved by a single Follow-Me system, following up to six performers, using one PoE-based Follow-Me Mouse Console per operator.

There were the fifty-eight Huracán-X fixtures calibrated to the tracking system and used as key lights and followspots on the artists. For the second semi-final interval act – The Power of Water by Davina Michele & Thekla Reuten. Here, the Huracáns were integrated in the Follow-Me system to follow the dancer in motion.

©Ralph Larman

“This set-up allowed me to have a giant number of options per performance,” explains Henk-Jan Van Beek. “By connecting Follow-Me through PSN to the motion control system, we were able to ensure that the fixtures stayed on their targets perfectly while the trusses were in motion.
In total there were sixty-four fixtures running through a single Follow-Me system: 58 x Ayrton Huracán-X and six Robe BMFL LTs. I would like to thank our brilliant Senior Follow Spot Systems Tech, Dennis Berkhout for making sure everything stayed on track and for making such an important contribution to the whole look of the show.”

©Ralph Larman

Product Manager for Follow-Me, Tim van Dijck comments, “We were really excited to be involved in this groundbreaking event. The whole industry has clearly struggled over the last year or so; to be one of the companies involved in Eurovision’21, a COVID Safe pilot event for the Netherlands, is an honour. This comes on top of Follow-Me’s expansion into new markets and gives us confidence that the industry is ready to bounce back with a bang.”

More information on the Follow Me website

From classic tales to rock ‘n roll productions, Israeli Opera is ready for its triumphant encore with L-Acoustics K3. P1 processor’s dedicated presets ensure K3 system delivers ultimate system versatility for expansive musical programme

The exterior of Opera House at the Tel Aviv Performing Arts Centre, which was opened in 1994. Image © Bildagentur-online/Schoening / Alamy.

Tel Aviv, Israel – July 2021 –Israeli Opera is both the principal opera company and busiest hall in the country, producing top quality operas and playing host to some of the most prestigious artists from around the world. Located at the Tel Aviv Performing Arts Centre and owned by the municipality of Tel-Aviv, Israeli Opera is also home to regular shows by local orchestras and ensembles, delighting performing arts lovers with a multitude of first-rate productions.

Over the years, as the venue began to expand its music programme, it became clear that the existing in-house PA was not capable of covering the diverse spectrum of productions and had to be augmented with rental equipment. Recently, venue management decided to perform a significant audio upgrade, choosing to install the new L-Acoustics K3 line array for its high-quality sound, excellent coverage, compact form factor and its ability to adapt to a variety of shows, from opera to rock and roll.

Main arrays of K3 with centrally flown Kiva II hangs are flanked by two hangs KS28 subs.

With the building closed due to the pandemic, Eyal Levi, Head of Light & Sound at Israeli Opera, decided to use the mandated downtime wisely and proceed with the audio upgrade.
To oversee the project, the municipality employed the services of award-winning AV consultant, Harel Tabibi, who has previously worked with all major theatres in Israel and is renowned for his expertise and professional approach. Three top AV suppliers were invited to participate in the tendering process, with L-Acoustics official distributor, Lightone, being one of them.

Harel Tabibi

Israel Opera House hosts the most prestigious shows in the country, so choosing a system that meets the stringent requirements of the visiting productions was crucial,” notes Tabibi.
“Having extensive experience of the Israeli sound reinforcement market, we knew L-Acoustics would tick all the boxes – sound quality, system integration and cost,” adds Lightone’s Tal Cohen Arazi.
“Of course, we were right, as L-Acoustics far-outperformed the other two systems that were demoed, coming out as the clear winner.”

Tabibi worked together with David Dohrmann and Willi Klein from L-Acoustics and Lightone’s Assa Efrat, who also oversaw the installation and tuned the system, to create a system design, using L-Acoustics Soundvision that would deliver the best audio, based on the Israeli Opera’s hall’s specific architecture and sightlines. Charmer Group, which had previously worked with Tabibi and the Lightone team on other projects, was chosen as the preferred installation company.

“Israel Opera house is also one of the most beautiful halls in Israel,” explains Efrat. “Venue management wanted to ensure that both the stage opening, and the side view would be kept clear, so we couldn’t put loudspeaker hangs in the audience sightline. Another request involved seamless integration of the centre and subwoofer cabinets with the translation screens.”

The Israeli Opera produces top quality operas and hosts some of the most prestigious artists from around the world, now benefits from L-Acoustics latest K3 line array. Image © Rainer Jensen/dpa / Alamy. F8M0TW Interior view of the Israeli Opera in Tel Aviv, Israel, 05 December 2015.

“Due to the wide variety of shows, we also had to create a dedicated preset for each type of performance. We did that using two L-Acoustics P1 processors and a Q-SYS platform, which are fully interoperable thanks to a plugin released by L-Acoustics a couple of years ago,” adds Tabibi. “This function, combined with the precise design done by the L-Acoustics team and Assa, delivered outstanding results.”

The final system configuration comprises left/right main arrays of 11 K3 per side, with seven Kiva II flown centrally, flanked by two hangs of three KS28 subs in cardioid mode. Seven X8 provide front-fill, with 13 4XT for under balcony delay. A total of 14 amplified controllers, a combination of six LA12X, three LA4X, three LA2iX and two LS10, were installed to run the system.
The installation started in December last year and was completed by the end of February. After a year-long hiatus, in March the building once again opened its doors to the public with a new season of concerts and Israeli music shows, offering visitors unmissable performances with the highest quality sound and excellent coverage delivered by the K3 system.

“I am very happy with how the installation has turned out,” adds Tabibi. “Since the opera’s grand reopening, the L-Acoustics system has been bringing Israeli classics alive onstage, delivering audio that sounds clear and loud, and offers perfect coverage across the entire hall.”

L-Acoustics Sales Manager, Florian Kunz notes that the teams at the Opera and Lightone worked hand-in-hand with Tabibi to make the best of the venue’s downtime. “The quick-thinking and mutual support that brought everyone together on this project enabled them to be the first venue in the world to install the new K3 line array,” he explains. “Coupled with Israel’s early ability to re-open, the Israeli Opera is now a beacon of great sound and great entertainment.”
“The new K3 system has elevated the audio in the hall to a new level and fulfils every wish we gave to Harel Tabibi and the Lightone team,” concludes Levi-Sharon. “Their combined expertise, along with that of L-Acoustics, has ensured that the productions we host now have a system that exceeds their requirements, and our audiences are given the best possible experience.”

More on the L-Acoustics website

Transformation Church (TC), a multi-ethnic, multi-generational, mission-shaped community outside Charlotte in Indian Land, South Carolina, has added Ayrton Levante fixtures to its inventory of equipment used in producing worship services.

TC acquired the Levante fixtures from SES Integration, a division of Special Event Services located in North Carolina. Levante fixtures are a dramatically miniaturized version of Ayrton’s Bora wash light offering outstanding performance capabilities in an ultra-compact format. Levante’s optics produce an extremely uniform flat beam with no hot spot, ensuring a perfect colour mix regardless of the colour combination selected.

Ayrton Levante S-TC

Jeff Cranfill, owner and lighting designer at Special Event Services, recommended the Levante to TC. “The entire line of Ayrton fixtures is very well constructed with high output and great features,” he says. “I have had great results using the Levante wash fixtures in concert and video settings.
The beam is very smooth edge to edge, and the framing shutters make it easy to create a video-friendly wash across the entire stage down to a single spot.

Colour temperature adjustments are very consistent fixture to fixture, and the range of colour temperature is large. This makes the fixture very usable in many environments.
All of the Ayrton fixtures have very good optics along with even colour mixing and a great variety of gobos. They are some of the best LED source fixtures I have worked with, and I highly recommend them for touring and installs.”

Zach McCrorey, lighting designer and production director at TC, admits that he arrived “slightly skeptical” at the Levante demo set up by SES Integration since he’d never used an Ayrton product before. “But after being introduced to the product line, my skepticism was a thing of the past. I was blown away by the features housed within the Levante and left the demo deciding that the Levante was a top contender among the fixtures we had researched” for the church, which was delivering its services online during the coronavirus pandemic.

Ultimately, McCrorey removed all incandescent fixtures to make room for seven Levante units. “What a world of difference these fixtures have made!” he declares. “The Levantes have been an absolute game changer, and the quality of our online experience has been raised tenfold. In conjunction with our most recent broadcast camera upgrades, our key lighting infrastructure had to be enhanced as well.

Now, our team on stage is lit so incredibly well in person, and that translates beautifully through the camera lens to those watching from home. Also, there are multiple broadcast locations within our auditorium – from the main stage to the broadcast host location to our baptistry area – and utilizing the very smooth framing shutters has made highlighting any area within the auditorium a breeze.”

McCrorey believes the Levante would be an asset to any house of worship, regardless of its size.
“They would be impressed by the performance and features that the Levante effortlessly delivers,” he says.
“The output is superb, the beam is incredibly flat, and there are absolutely zero hotspots thrown from the lens.

“As our community is multi-ethnic, being able to light diverse skin tones quickly and correctly is important,” he notes. “Levante’s colour palette mixes very well, and the colours displayed are crisp. The fixture is quiet and quick in response. But what is truly mind-blowing is how compact it is!
We utilize a single-man lift for all strike and installation of lighting fixtures, so weight was an important factor in deciding which fixture to purchase. We were thrilled to learn that this awesome fixture came in right under 50 lbs.”

McCrorey reports that TC is “incredibly pleased with the purchase we made and the powerful performance delivered by the Levante fixtures. It’s a phenomenal light. I’m looking forward to getting my hands on a few more Ayrton products very soon!”

ACT Entertainment (formerly ACT Lighting, Inc.) is the exclusive distributor of Ayrton products in North America. www.actentertainment.com

For more information on Ayrton Levante and the extensive portfolio of innovative Ayrton LED fixtures, you can visit www.ayrton.eu

After more than a year of lockdown, the wait was finally over when the multi-platinum selling band, Six60, embarked on a massive tour across New Zealand. The Six60 Saturdays tour culminated with a historic ‘first’ when they became the first ever band to play at the iconic Eden Park stadium in Auckland, with over 50,000 fans gathering to see the live show and sing their favourite lyrics together.
Video production and equipment supplier, Big Picture, provided a complete video system package both for the tour and the inaugural concert at Eden Park, which included Brompton Technology’s Tessera LED processing.

© Matt Clode

“Coming out of a year of Covid restrictions, we were excited to be given an opportunity to put together a video system package for the upcoming Six60 Saturdays tour,” says Paul Carppe, General Manager – NZ at Big Picture. “We have a close working relationship with Eccles Entertainment (promoter), Ben Dalgleish from Human Person (show design) and Global Production Partners (production management) so we were able to meet their vision and offer them a package that fitted the technical brief.”`

The package included 215m2 of ROE MC7 in TAIT Touring frames, Brompton 4K Tessera SX40 LED processing with Tessera XD 10G data distribution units, a Sony HD PPU Camera system and disguise servers to run the content.

Because of the Christmas and New Year holiday period, the team had a relatively short lead time between final confirmation and the start of the tour, which was further complicated by the need to ship extra LED product from Big Picture Australia.
“The short lead time could have been a problem, but we were able to mitigate most of the potential issues thanks to the ease of use of Brompton’s processing and Tessera software features,” adds Carppe.

© Matt Clode

The massive screen was wider than the stage roof and just as tall, so building quickly but safely was of high priority to ensure all other departments could complete their jobs on time. “Utilising the Tessera XD units enabled us to easily distribute data across the 27.6m wide screen with a simple fibre link back to the SX40 units at control,” furthers Carppe.

Another challenge was the removable door element for stage/artist access, which had to move in and out during changeovers whilst fitting seamlessly into the wall during performances. According to Carppe, Brompton’s Tessera software enabled them to map the door shape into the wall with ease.

© Matt Clode

With the tour on the road for six weeks, using bulletproof, high quality equipment was key. “Our previous experience with Brompton made it our top choice,” explains Carppe. “Having a screen so big meant that Tessera’s ‘Identify’ test pattern, also called beacon, allowed us to easily identify problem panels so they could be fixed or replaced quickly and efficiently.

©Matt Clode

Also, the ability to globally colour balance and match the wall across multiple processors made life easy. In terms of the system build, it was useful to have the Tessera processors in video world and then feed out to the two XD units that were behind the screen.”

Choosing the right products definitely paid off, with tour’s technical director, MJ van Lingen, happy with Big Picture’s video system. “As Technical Director of the Tour, I am pleased with its success and how the video wall contributed to the look and feel of the show. The colour and depth of the content on the screen was spot on,” van Lingen said.
Two months after the 2021 Six60 Saturdays country-wide tour, 50,000 fans flocked to Auckland stadium at Eden Park to see the beloved Kiwi band christening the stage for the stadium’s musical debut, setting records as the biggest homegrown production for many years.

©Matt Clode

“We used a large portion of our outdoor LED stock to create the giant 600m2 screen for this feat of a show,” concludes Carppe. “Following the success of the Six60’s Saturdays tour, there was no question about which LED processing to use for the Eden Park concert. Brompton Technology was our first and only choice!”

More information on the Brompton Technology website

For over a decade LumenRadio has provided their wireless DMX technology CRMX (Cognitive Radio MultiPlex). With last year’s acquisition of Wireless Solution, LumenRadio now owns both the W-DMX and CRMX technology and presents a unified technology platform creating a seamless experience for all users of Wireless DMX.
Since 2008 there have been two competing technologies on the market: W-DMX from Wireless Solution and CRMX from LumenRadio. This has led to an industry divided between the two major technologies, until now.

Niclas Norlen

In 2020 LumenRadio acquired Wireless Solution and together the two brands supply Wireless DMX to almost the entire Entertainment Lighting Industry. With their ownership of both major technologies in Wireless DMX, LumenRadio is now in a position where they are able to set a standard for the entire industry.

Niclas Norlen, CTO at LumenRadio and inventor of both W-DMX and CRMX, “Our strategy has been to create the best experience for the user, making it easier for all users of Wireless DMX. With our acquisition we are now able to unify the entire industry in one platform and set a standard of Wireless DMX.”

The first step to unify the technologies was the release of BlackBox G6 from Wireless Solution, which included optional CRMX. This made it possible for W-DMX users to control CRMX equipment for the first time, bringing the technologies one step closer together.

Now LumenRadio is releasing the next step to the market: a unified technology platform.
LumenRadio will provide all OEM customers with modules featuring combined W-DMX and CRMX technology. This means that all fixtures with Wireless DMX will listen to both W-DMX and CRMX at the same time, and automatically select the protocol used by the transmitter.

Josef Hederstrom

Josef Hederström, Sales Manager at LumenRadio, “With this new solution it will be possible to use either protocol to control all Wireless DMX fixtures on the market, regardless if you are using W-DMX or CRMX. The user does not have to select modes of operation or configure fixtures, all will be automatically configured during linking.
“With this new technology platform we are able to unify the industry that has been divided for so long. There’s no need for multiple transmitters or incompatible technologies. LumenRadio supplies Wireless DMX solution that will work with all fixtures.”

Going forward, all OEM customers integrating Wireless DMX will get support for both CRMX and W-DMX, unifying the industry into one technology platform. The solution is implemented in a selection of LumenRadios modules and is undergoing testing right now, and will soon be available for new fixtures to OEM customers under both brands: Wireless Solution and LumenRadio.
LumenRadio will continue to supply the Entertainment Lighting Industry with Wireless DMX under both brands, and with one unified technology platform it is easier than ever for all users of Wireless DMX.

For more information about LumenRadio and their product line, you can visit lumenradio.com

Wycombe High School (WHS) is an Academy Grammar school for girls, located in the Buckinghamshire town of High Wycombe. The school is a centre for excellence in sciences and the arts, and takes a progressive view on the use of technology, both in terms of educating its students and engaging with the wider community.
One of WHS’s recent eye-catching initiatives has been to create its own YouTube TV channel under the guidance of its Marketing and Communications Manager, Bob Massie.

Before joining the school in his current role, Bob enjoyed an illustrious career as a media executive, occupying key roles at ITV, IMG and XIX Entertainment amongst others. The knowledge and insight he brings to WHS has proved invaluable. With a brief to develop creative methods of marketing the school to prospective students and their parents, as well as to teachers and other potential staff members, Bob, as might reasonably be expected, turned to the power of television…

Harnessing every resource available to him, not least the latent talents of the school’s student population, Bob took over some empty office space and made a start. His aim was to create as professional a studio set-up as was possible, where the channel could create engaging content while simultaneously educating the students in the art of its delivery.

Headteacher Sharon Cromie was supportive of the project from the beginning, realising that the dynamics of TV content (particularly under the direction of an experienced media professional) could go far beyond the constraints of traditional marketing materials.
Essentially, Wycombe High TV (WHTV) would be both marketing tool and educational experience rolled into one – a channel for the school, by the school.

A key element in the very early stage of the project was to create an effective green screen for the embryonic studio space. WHS’s site management team stepped in to create portable panels that could be moved to different locations if required.

Provided that the accompanying lighting was of a high standard, this would ensure consistency of quality across broadcasts. A chance conversation which took place whilst Bob was buying chroma key paint from specialists Scenic Supplies, led to a meeting with Barry Grubb of lighting rep company 3LR. Following a consultation with Barry, WHTV trialled one of American lighting manufacturer ETC’s fos4/PD8 LED Panels.

Bob immediately knew that the fos/4 panel was exactly what he needed. Easy to operate and adjust, and delivering exceptional light quality, the unit impressed from day one. With the channel now up and running and gaining momentum, the school, with the support of its Parents and Friends Association, invested in two of the ETC fos4/PD8 panels, which were supplied by Barbizon Lighting Company.

In Bob’s words they are: “Perfect, perfect, perfect! If we were going to do things properly and show the students how to do things properly, we needed lighting that was safe, versatile and robust, which would provide us with a completely professional look without any compromise on quality.

Barry took the time to talk me through the operation and settings, and I’ve subsequently done that with the students, all of whom embrace the technology as a matter of course. It was important that the units were easily portable to enable their widest possible use, and, as with everything in the education sector, were available at a competitive price. They’ve more than proven their worth.”

WHTV continues to move from strength to strength. Whilst undoubtedly providing the school with an important channel of communication and connection during the difficulties presented by COVID19, Bob is keen to stress that in his view, that only constitutes a small part of a much further-reaching story:
“There’s no doubt that WHTV served the school very well during lockdown periods – we were able to film the end-of-term concert and put it out on YouTube, for example – but the channel is much more than a stopgap response to the pandemic.

With a combination of good judgement, some luck and the dedication and drive of the students, it has become a firm fixture of school life. The viewing figures are excellent and continue to grow, the students are brimming with ideas for new content, and as a way of presenting the school to the wider community, it would be hard to beat.”

Bob Massie’s confidence in the concept of a school TV channel appears to be well-founded. WHS has received a number of enquiries from schools in the UK (and even as far afield as Madrid), seeking guidance on how to achieve something similar.
The quality of the broadcasts has also attracted the attention of several local agencies who have asked about the possibility of hiring the studio, pointing to just how impressively WHTV has developed. He continues:

“When people come to look at the facility, they are ‘wowed’ by the fact that it is a proper studio producing proper programmes, which inspires them to want to emulate it. I think we’ve shown just what is possible without spending mega money. Our introduction to Barry from 3LR was timely, and we’ve taken full advantage of the ETC fos/4 panels, which help to elevate our broadcasts to truly professional standards in a practical and affordable way.”

3LR’s Business Development Manager for Broadcast, TV and Film, Barry Grubb comments: “What Bob Massie and the students and staff at Wycombe High School have achieved with WHTV is remarkable. They have pioneered something that must surely become a template for other education settings, demonstrating that judicious use of technology need not break the bank.
Screens are part of the social ecosystem of this generation of students, so creating content and understanding the technology required to do so, is entirely natural. WHTV is a brilliant way of marketing the school, offering a real insight into its ethos through dynamic and interesting content. At 3LR Lighting, we’re really pleased to have played a small part in helping them achieve their ambitions.”

Wycombe High YT Channel

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

Marshall has built a recording studio. “This has been a passion project for the Marshall crew,” said commercial director Alex Coombes, “our ambition was to build a versatile and flexible commercial multimedia facility to serve the modern entertainment market, and at the same time to promote young talent and give something back to the artist and producer community.”

The spacious new-build facility is on the site of an old theatre, adjacent to the Marshall factory. The live room has a stage with lighting and PA, along with an artist green room, bar and reception area with the large recording control room featuring a 40-channel vintage Neve 8048 console. The self-contained studio has the benefit of ample parking in front …and a ready supply of Marshall amps and Natal drums!

Let’s guess what’s the brand of this cabinet…

Producer Chris Sheldon (Foo Fighters, Feeder, Therapy?) has already been in the studio recording rockers Bad Touch. “I love the new Marshall Studio – a fantastic live room big enough to track a band – in fact, big enough to track a decent-sized orchestra comfortably.

The vintage Neve desk sounds glorious… anything coming through those mic pres sounds, well, better! A great microphone selection to cover all eventualities and if you can’t see something you like, lots of equipment is pretty much two minutes away in the factory ….what’s not to like?”

A loading bay with ramp leads directly to the stage in the 273m2. Marshall live room, with a reduced ceiling-height area for more intimate recording located in front of the separate artist Green Room. Over 100 microphones are available, and the entire facility is equipped with tie lines, speaker connectors and AoIP Ethernet links.
Four Focusrite RedNet A16R 24-bit 192kHz 16-channel analogue interfaces feed the Dante digital network, with an Avid HDX card providing the workstation link to Avid Pro Tools | Ultimate.

The large live room.

“Every part of the building has a mic tie line, a speaker output, and an instrument output for guitar amps, plus you’ve got data via RJ45 for monitoring or remote connection via six Focusrite RedNet AM2,” explains studio manager Adam Beer.
“We can take any Dante mic preamp, put it anywhere in the building, it will come into our main network and we can record it directly. It means that the whole building is effectively the studio, even the office at the top!”

Adam Beer, the multitalented studio manager.

Adam arrived at Marshall after a decade of experience in both recording and live sound. “I think we can do everything here. We’ve got a world-class recording studio, it’s a concert venue with capacity for an audience of up to 250 people and we can do video filming – for product reviews, podcasts, live concert streams – you name it, we’ve set up a place that can allow creative people to fulfil their potential, whatever they want to do.
I think it’s a massive vote of confidence in the creative industry from Marshall. It’s a privilege and an honour to be heading it up.”

Front and centre in the control room is the unique vintage Neve 40-channel console, with a separate custom analogue patchbay installed to the side. Configured by renowned Neve expert Blake Devitt, the console frame came from EMI Pathé-Marconi studio in Paris and is populated by a superior selection of hand-tweaked modules. To the left are 24 channels with 1093 modules, whilst the right 16 channels include an additional eclectic mix of 1065, 1066 and 1095 modules.

An electronic masterpiece and a truly sound maker on its own.

Devitt will need no introduction to audio pros, having been responsible for several major renovations and studio installs in recent years, including the huge Neve at Adele-producer Paul Epworth’s studio, ICP studios in Belgium, and Miloco’s well-known Pool studio.
A clever re-build of the desk has made space in the centre of the Neve for the all-important Pro Tools screen and keyboard, with Devitt building three new low-noise busbars, including one for solo-in-place, for the Neve summing system.

“The limiting factor for many vintage consoles is the record/overdub/mix modes in the master section – which of course only made sense during the tape era,” Devitt explains. “This mixer, as it has been re-configured, gives you two completely separate consoles which can be used for whatever the producer wants.
I’ve even made the patch section ‘plug in’ in blocks of eight by changing the sockets underneath to reflect custom configurations, so the mixer can be set up without filling the patchbay with a nest of cables.” Blake explains he has applied his no-compromise ‘1% better’ audio fidelity methodology to every channel on the Neve, a concept which he says will apply to every equipment decision at Marshall.

Adam Beer

Studio Manager Adam Beer reveals that even the very first recording session was a success: “Romesh Dodangoda (Bring Me The Horizon, Motorhead, Funeral For A Friend) produced some amazing recordings on the first test session, and the band went away very happy.”

The commitment of a major MI brand to such a significant new facility holds out hope for better grass-roots artist development in the UK. “I think that having everything under one roof is such a sensible way to go for the company and for the industry itself,” says Beer.

“You need to be providing something for everyone, and every type of performance. I think that the spirit of Jim Marshall really lives on in this place. Although I wasn’t fortunate enough to meet Jim, from what I have been told, this is exactly the kind of thing he’d want us to do.”

More info on the Marshall website

A quick video tour