HDMI 2.0 cables are great for transferring large amounts of data, therefore they are used in 4K/85 @60Hz Ultra HD video applications like home cinema’s, gaming, video conferences, and many more.
Traditional copper HDMI 2.0 cables do a good job at this, but their length is limited.

Procab™ therefore already introduced 4K fiber optic HDMI 2.0 cables for various applications with cable lengths ranging from 10 meter up to 100 meter. Now they are expanding this range with the CLV310A.
The new CLV310A is an active optical HDMI 2.1 cable, designed for transmission of the next generation of 8K video content.

It is able to transmit resolutions up to 8K (7680 x 4320p) 4:4:4 at 60 Hz with a bandwidth of 48 Gbps via OM3 optical fiber technology, eliminating the possibility of electronic interference. It is backward compatible with HDMI 2.0 and HDMI 1.4, guaranteeing an optimal and future proof solution for any kind of installation.

In this sectional view, we can see the 4 OM3 fibers (50/125 m) sheathed and the copper links for the power supply and the complementary slow data. The sheaths are in polyethylene, the screen in aluminized mylar, and the outer coating in polyurethane.

We can clearly see on the gold-plated metal part, the Semi-Lock device ensuring a secure connection.

This brand new HDMI cable is equipped with a smart Semi-Lock™ feature.
This ups the withdrawal force for unplugging the connector, which means that the cable cannot become detached or loosened by accident, avoiding intermittence or signal loss.

For more information contact [email protected].

And visit the ProCab website.

From the start of July to the end of August, locals and visitors could both experience the Danish city of Odense in a completely new light. The two-month “Odense in the Dark” festival of lights shed beautiful light on numerous buildings of the country’s third largest city. The Danish RR Group used Cameo ZENIT W300 outdoor LED washlights for the architectural lighting of the historic Graabrødre Franciscan Monastery Church.

Cameo Zenit W300

Project managers Julian Leker and Jonas Bäckström opted for the Cameo ZENIT W300 after searching for the right outdoor spotlight to showcase the 13th century old monastery building.
They used a total of eight IP65-certified LED washlights as uplights along the bottom of the building and pointed them upwards onto the facade.
Leker and Bäckström employed a wide array of Cameo SnapMag filter frames with varying beam angles to ensure the greatest degree of lighting flexibility for the Graabrødre Franciscan Monastery Church.

The innovative SnapMag technology makes it possible to magnetically attach the filter frames in mere seconds and also disassemble the spotlight.

The Cameo ZENIT W300 will become an increasingly common sight in the city of Odense in the future, the RR Group already plans on using the LED outdoor washlights in upcoming event and architectural lighting projects. The following products were used at Odense in the Dark: 12 Cameo Zenit W300 Outdoor LED Washlights

Further information on:

– The Cameo website
– The Adam Hall website
– The Adam Hall Blog
– The Event Tech website

Out of concern for the safety of its employees and global community, ETC has announced that it will not participate in traditional trade show exhibitions until July of 2021.
With the pandemic affecting many people’s ability and desire to travel, the company has instead decided to focus its resources on remote demos and online events.

A major part of the trade show experience is the chance to see the latest gear and get one-on-one face time with product experts. With this in mind, ETC has been hard at work converting in-house demo spaces throughout the company’s offices into studios for online product demonstrations.

Customers may now use an online portal to schedule live, one-on-one demos of some of the company’s newest fixtures ColorSource Spot jr, Source 4WRD Color, and the fos/4 Panel and fos/4 Fresnel studio products from the comfort of their own homes or workplaces. With plans in the works to expand these online offerings, ETC hopes to make online demos a permanent resource for customers looking for the latest in lighting technology.

Until live events can safely return, ETC is also turning its focus to online events and programs. The company’s online Study Hall seminars ongoing since the beginning of the pandemic shutdown continue to provide remote learning and Q&A opportunities, with past sessions posted to an ever-growing YouTube library. Having held a successful training workshop for reps and dealers over the summer, ETC is also planning customer-facing events in the first half of 2021.

“Live trade shows, customer visits and trainings in our offices around the world all these activities will return to us in the future,“ says David Lincecum, ETC’s Vice President of Marketing. “For the short term, we will focus our business plan on learning new ways to connect with customers.”

More on:

– Link towards ETC Online portal
– Online study Hall
– Youtube channel
– ETC range of products

The RCF Audio Academy hosts its first in-depth certification course called RCF Professional Team. RCF Professional Team certifies pro audio engineers and certifies their knowledge of RCF products.
This in-depth training course is creating a team of professionals and companies that guarantee the best sound quality for the listener, and optimum results for the client, when deploying RCF systems.

Between the two tubular towers erected permanently in the factory and facing a long lawn, the first batch of graduates surrounded by Emanuele Morlini and Lucio Boiardi Serri.

“We felt the need to certify the best professionals who use RCF products,” said Fabrizio Grazia, RCF Sales Manager and coordinator of RCF Professional Team [Italia]. “Although RCF products are easy to use and incorporate technologies that facilitate installation and setup, we also want to educate our customers with extensive knowledge for optimal use of our technologies in every scenario.”

The first session was held on October 19-20, 2020 at the RCF Audio Academy, the company’s training center, taking all necessary safety precautions with social distancing guidelines in place. The course, held by RCF system experts, includes two full-day sessions. It starts with an entrance test to examine each participant’s proficiency so that the lessons can adapt to the students
The course ends with a final verification test to evaluate the knowledge acquired and to clarify any uncertainties. With a passing test result, each student will join the Team. Each student will receive a certificate of participation and subsequently certified as a member of the RCF Professional Team.

RCF Professional Team opens the door to numerous advantages. It is a continuous training course that certifies both the audio professional and highlights the company’s quality to clients, productions, promoters, and artists. It’s an opportunity to improve the company’s know-how, develop cross-rental activities, collaborations, and create synergies between companies and professionals. RCF Academy will continue to develop its coursework on new technologies for the RCF Professional Team.

The DSP section of RDNet 4.0

New and upcoming technologies have been anticipated in addition to lessons about acoustics, electroacoustics, and insights into RCF technologies. Among the new products’ presentation, the participants welcomed the release of RCF’s proprietary RDNet 4.0 Management Software with a complete course.
The latest version of RDNet revolutionizes audio system optimization’s operating flow, with advanced functions fully-integrated into the platform. RDNet 4.0 will be available for the public by Q4 2020.

Lucio Boiardi-Serri

“We thank the many professionals who took part in these two days of certification,” said Lucio Boiardi Serri, RCF product expert and team coordinator of RCF Audio Academy. “I am sure that our colleagues now have all the necessary skills to manage RCF products on the field.
I want to congratulate all the participants of this first edition! All passed the final test positively and earned the RCF Professional Team certification. » Welcome to the RCF Professional Team!

More on the RCF website

© Giorgio Molinari, Molpass srl, Italy

Molpass srl, the exclusive distributor for MDG products in Italy, recently supplied an ingenious fog solution to film company, 2aFilm, for a shoot on the banks of the River Po.
The new film, Lei Mi Parla Ancora (She Still Speaks To Me), is directed by Pupi Avati, Italy’s prolific, award-winning director, producer and screenwriter, Pupi Avati, who is especially renowned for his work in the horror genre. he is working with his long-time director of photography, Cesare Bastelli.

One scene, a long stretch of road beside the River Po for a number of cars to pass through, called for a naturalistic covering of fog.

One of the cameramen, Carlo Molinari was familiar with MDG products, being the son of Giorgio Molinari, CEO of Molpass, and recommended an Me4 fog generator because of its huge output capacity and ability to cover the outdoor distance required.

To ensure a perfect, substantial supply of realistic fog along the full length of the road, the team at Molpass used an ingenious solution, suggested by MDG, of a 150m long inflatable plastic sleeve (what MDG calls a ‘bottine’) for outdoor fogging, and a single MDG Me4 fog generator.

“When we arrived on site at 7am there was the most perfect covering of natural fog from the river,” says Giorgio Molinari. “Unfortunately, this evaporated completely by 8.30am when the temperature reached 25°C! Our job was to recreate this beautiful atmospheric environment in the best way possible for the cameras.”

© Giorgio Molinari, Molpass srl, Italy

To achieve this, the Molpass team attached a fan to one end of the custom-made plastic tube which, being sealed at the opposite end, inflated in just 15-20 seconds and was then filled with fine white fog from the Me4 in only 20 seconds. The tube was then positioned on the embankment below the road level to conceal its eye-catching appearance from view of the cameras.
Before filming commenced, a series of holes was punched at intervals along the length of the tube, allowing the fog to escape and drift across the road, successfully recreating that perfect fog of early morning. Molinari noted: “It confirmed the MDG saying: ‘we produce the closest thing to the real thing.’”

© Giorgio Molinari, Molpass srl, Italy

The whole assembly of Me4 generator, fan and plastic tube was rolled into place on a trolley and powered from the film company’s power generator. It took less than 30 minutes to install and was easily lifted and moved to the opposite side of the road to optimise the effect of drifting fog according to the wind direction.
The Me4 was used for two sessions of 1.5 hours each and the filming completed successfully in a 4-hour shoot, using two bottles of gas and less than 3 litres of MDG Neutral fog fluid.

“We were extremely happy with the whole system and result,” says Molinari who is very excited by this new development and its additional potential for live performance installations. “This is just one possible set up for a film shoot, but the potential for live performance is very exciting. It is an efficient, economical and clean method of deploying fog to targeted points along the tube’s length or delivering fog to an output a long distance from the source, using just one MDG fog generator.

© Giorgio Molinari, Molpass srl, Italy

“Under other circumstances, a distribution of this size would require 6-8 machines from other manufacturers, which would generate a lot of residue and dirt. But the Me4 is powerful enough to handle this alone, eliminating the need for multiple, less efficient machines and the associated costs and cleanliness problems they would cause.

“By substituting a clear tube with a black one, this system presents a great solution for backstage, on stage and front of house, delivering output exactly where you want it in a very short time. It is very compact for storage or transportation, so good for touring, and is a simple solution that works well. We are very happy with it.”

For more information on MDG Me4 fog generators, visit the MDG website

More information on Molpass srl can be found at Molpass website

Green Hippo, creator of tools for the real-time manipulation of video for the AV industries, has welcomed two new distribution specialists to its international sales network.

Representing the brand in Australia and New Zealand is Melbourne-based Corsair Solutions. Established in 2009, Corsair imports and distributes professional and commercial audio-visual equipment and has established itself as a trusted partner of audio-visual system integrators, pro audio and video equipment resellers and equipment rental companies throughout Australia and New Zealand. Corsair also distributes Green Hippo’s sister brand within Spitfire Creative Technologies, tvONE.

At the same time, Wholestage has been appointed to represent Green Hippo in Latin America and the Caribbean. Founded in Venezuela in 1998, Wholestage is today based in Miami, Florida, with offices in Colombia, Dominican Republic, Panama, Chile and Spain. It specializes in the distribution of pro video, audio, rigging, lighting and control, and provides the latest technologies and solutions to the Central American, South American and Caribbean markets.

The team at Wholestage, newly-appointed Green Hippo distributor for Latin America & the Caribbean.

Mark Lampard, managing director of Corsair Solutions, comments, “We are extremely proud to be representing Green Hippo. As a distributor of many complex, highly technical products, we thrive on educating our partners and end users on their technical benefits and why they are valuable. As a market leader, Green Hippo naturally provides us with an exciting new entry into the live production and entertainment industries which will also allow us to cross-promote some of our other brands.”

Speaking on behalf of Wholestage, CEO Luis Duque says, “Green Hippo brings solutions for the management of media content which integrate perfectly with the brands that we already distribute. Our reputation allows us to recommend and demonstrate product directly to our customers, who have complete confidence in our recommendations.
That’s why we take great care in what we offer, we have to be sure of the product and the brand behind it. We welcome Green Hippo with great enthusiasm, their range will undoubtedly reinforce our premium portfolio of comprehensive solutions.”

Green Hippo’s Sales Director David March comments, “We are delighted to partner with Wholestage and Corsair Solutions, both of whom have strong, professional reputations in their respective markets, and share our commitment to providing the best possible solutions and support. We look forward to working with them and their customers in the future.”

For more info about Green Hippo range of products, check the Green Hippo website

ETC announces the addition of the Fresnel to the fos/4 studio family. Fresnels have been around for generations and are known for their smooth wash, adjustable zoom capabilities, and brightness.
fos/4 Fresnel takes the important features of an incandescent Fresnel and adds in the nuanced color mixing, smooth fades, and LED technology of ETC’s other professional grade fixtures. With fos/4, you get a true Fresnel with an LED engine, not the other way around.

The fos/4 Fresnel includes the adjustment of the 15-50 degree zoom from either the front or the rear of the fixture. The accessory slot let the user add any number of beam-control accessories such as barn doors and soft boxes. The adjustable yoke enables easy balancing of the fixture after focus, and the homogenized optic gives an impressively seamless beam of light.

Remote control and contactless features of fos/4 include wireless communication using City Theatrical’s Multiverse technology and contactless programming using ETC’s Set Light app via NFC from a mobile device.

Like the fos/4 Panel, fos/4 Fresnels are available in two arrays, Lustr X8 for the full gamut of color mixing and Daylight HDR for the brightest whites.
Both arrays include deep red LEDs for the most nuanced rendering of skin tones, fabrics, and scenery of any fixture on the market. The fos/4 Fresnel outputs up to 9700 lumens.

fos/4 Fresnel is currently available with a seven-inch aperture, with 10 and 5-inch variants scheduled to be available in the coming months.

Vidéo presentation:

Learn more and request a demo at Studio ETC Connect

When Big Picture announced its partnership with South West Solutions and Ikonix to offer the most technologically advanced and connected virtual event space in Australia, the industry was anticipating something spectacular. Brompton Tessera processing played a part in it.

The live event studio was the first one to open in Australia, offering a professional soundproof studio with full backstage facilities, global broadcast-grade fibre connectivity and industry-leading production technology, not to mention “our knowledge of the Australian market for the live event, corporate theatre and music sectors, as well as the support of our studio partners,” says Josh Moffat, Business Development at Big Picture.

The main studio set showcases a 40 square metre ROE Black Onyx 2.8mm LED screen, made up of 243 panels in its largest configuration, built in a concave curve. Dual ROE Carbon 3mm LED screens are used for presenter feedback, showing visuals like remote audiences and presenter notes, all connected by Barco E2 control system and disguise GX2C media servers.

The secondary set features an XR stage offering complete virtual set customisation with Panasonic 4k PTZ cameras, with total tracking integration to the disguise servers and presenter interaction in real-time.
“We chose Brompton for both our main and secondary sets, with four Tessera SX40 4K LED processors and 10 Tessera XD 10G data distribution units running in the main studio, with the XR stage using Tekken 3.9mm LED screens running off Brompton Tessera S4 processors,” explains Moffat.
Brompton’s calibration technique, reliability and proven track record of delivering complex workflows all played a part in the team’s decision to use the company’s products on such virtual production.

“We have been using Brompton processing for years,” adds Moffat. “Their colour control and depth of image manipulation coupled with advanced remote control makes the company the perfect LED processing solution for this workflow. We have also found pre-sets very useful and the OSCA seam correction feature is incredible!”

Big Picture’s partner Ikonix agreed

“Ikonix and Big Picture have worked collaboratively on a number of projects over the years,” says Zachary Burton, Director at Ikonix. “2020 has created new opportunities in the virtual market and, as we have strengths in content design and technical integration, our relationship has grown even stronger.

Ikonix’s team of animators and programmers create virtual environments and program the integration from real world hardware into the virtual space. We know we can always trust our content will be delivered at a high standard with products like Brompton processing delivering the end result. It has been a great learning experience and we look forward to more exciting opportunities in the future.”

Following the announcement of its premium virtual event space, the Big Picture team has been receiving high praise from their customers on presenting yet another innovative solution for companies looking to move events and performances into the online realm.

“We have been seeing a lot of interest in our virtual facility, with anything from corporate presentations to musical performances, and we have some really exciting projects developing in the coming months,” Moffat concludes.
“Being a Live Events Company, the spirit and the excitement of a live show run through our veins. We have put all our knowledge, as well as the expertise of our partners, into creating a virtual environment of the highest quality that will preserve the live experience in its closest form. Brompton has been our loyal partner throughout the entire journey, always delivering stunning and exceptionally realistic looking visual playback.”

More information on the Brompton Technology website

British American Tobacco launched glo, a Tobacco Heating Product utilizing new tobacco heating technology, with a spectacular display in the sky over Hamburg, Germany’s waterfront on September 19.
Tasked with creating a drone light show as a guerrilla-marketing action by agency Inovisco Mobile Media, Jens Hillenkötter deployed 30 Claypaky Xtylos fixtures, the first moving head light with a laser light source, to light up the sky with a dynamic backdrop for an intricate drone ballet.

Hillenkötter, a well-known designer and creative director for international shows, is no stranger to big events. He’s been involved in the ceremonies of the 2008 Summer Olympics in Beijing or the Summer Universiade in Kazan.
The glo display, which ran parallel to Hamburg’s salute to club culture known as Reeperbahnfestival, featured 150 drones equipped with LED lighting. They flew for eight minutes forming 16 animations and motifs, including the product logo, packaging and slogan’s hashtag.

Vue générale

The lighting spectacular marked the first time that Hillenkötter used Claypaky Xtylos laser-source fixtures. “We had several shootouts with outdoor moving lights,” he reports.
“But none of the fixtures could deliver strong colors over long throw distances of 400 meters or more. I’m always keen to use new technologies, and laser fixtures are something I find very interesting.
So I invited Jens Konstanti of Claypaky for a shootout with Xtylos. The Xtylos’s colors over long distances are second to none compared to other moving lights.”

Hillenkötter positioned the Xtylos in a line in front of the water from which they projected enormous color changing beams that served as a dynamic backdrop for the drone ballet.
The Xtylos “performed very well; they were quick and reliable,” he says noting that he looks forward to using Xtylos IP fixtures for future lighting installations. He adds that, “the support was spot on from day one.”

At Inovisco Mobile Media GmbH Patrick Oligschläger was the Project Manager. Massimo Bolandrina is Claypaky’s Area Sales Manager. VisionTWO, the Claypaky distributor in Germany, provided support.

For more informations about range of products check the Claypaky website

North America’s National Hockey League (NHL) spectacularly returned to play without live audiences but with massive enthusiasm, determination and impressive TV and online followings for the 2020 Stanley Cup playoff series which had been suspended in April during the Coronavirus pandemic.

© Mark Singelis

Lighting equipment was supplied by Solotech and included over 200 Robe moving lights, a mix of Pointes, Spiiders and Tarrantulas used by lighting designer Tom Kenny. The 24-team playoff format (comprising Eastern and Western Conferences) was staged in two Canadian hub cities Edmonton and Toronto over two months … running as two complete Covid-secure ‘bubbles’ for production teams, players, coaches and other associated personnel.

Tom was asked to design lighting for the two Arenas Scotiabank in Toronto and Rogers Place in Edmonton working closely with production designer Gary Wichansky of Seattle based Hotopp. The two have collaborated in these capacities on several previous NHL projects, and together they crafted a production design to WOW everyone including their clients, the NHL entertainment team of Steve Mayer, Rachel Segal, Bob Chesterman, John Bochiaro and Renee Riva.

© Steven_Dalton

With all tours grounded and live events cancelled due to the pandemic … rather than it being the usual bunfight to get specific kit, Tom found himself able to pick and choose pretty much whatever fixtures he needed to make this project rock!
The overall production offered what is currently a rare and much-appreciated opportunity for some of the industry’s highly skilled creatives and technicians to work through the months of July and August.

Tom himself was not just hugely proud to be part of this whole NHL experience which he describes as “brilliantly organized and handled by NHL and Aurora Productions,” but also delighted to be in a position of getting others onboard and working during this very challenging time!
The production featured crews across all disciplines and departments who had been integral to many of the highest-profile tours on the road in March when the industry ground to a halt.

Tom in turn asked four brilliant lighting directors onboard to look after the shows for him once up-and-running. Kurt Wagner and Brent Clark were stationed in Edmonton, and Corey Thom and Eric Belanger in Toronto, chosen – amongst many other skills – for their “ability to think independently, take initiative and make informed decisions for themselves.”

Tom’s aesthetic brief was to make the start, end and between-play moments of the matches an awesome visual experience in an empty arena, creating atmosphere and drama that looked fantastic on the 32 x camera shoot, complete with hi-impact theatrical flourishes so the players could see and feel the lighting there on the ice, while fans were transfixed at home fully engaged in that unmistakable adrenaline buzz of the action … even when watching remotely.

© Mark Singelis

During the matches, the look was a big, open, well-lit white space with all focus totally on the playing action. Immediately if a goal was scored, or the whistle blown, everything around the arena erupted into an ocean of color and movement as lighting and video worked harmoniously to bring a hair-raising vibe to a huge empty space.
See it, feel it, experience it!

Some of the players even commented that it felt a like being ‘inside’ a video game – a show look that definitely worked as a mood enhancer and made an impression! Gary created a lot of special video content for the project with logos and graphic stings, etc. and more came from NHL, including footage of fans cheering on their teams.
Fabric was stretched over some of the seating blocks so large areas could be lit in team colors and illuminated with other effects. “We went very large and bold for our production moments,” commented Tom, “and that worked on different levels for everyone.”

The design was identical for each venue, but with some variations in the lighting kit lists due to local availability and what could be added from the existing in-house systems. A lot of LED screen made up the set with eight different surfaces wrapping around 500 metres and almost 180 degrees along one of the venue’s long sides, rigged in the seating area to bring it close to the ice.

© Mark Singelis

Tom frequently has Robe at the core of his designs as workhorse fixtures and there’s usually a couple of specific Robe products which are ‘must-have’ every time.

“In this case, it was because I needed fixtures with that power, punch and brightness to dazzle and cut through all that LED plus the highly reflective bright white surface of the ice, with limited smoke and fog mostly … and still look great on camera,” he declared.

In Edmonton, it was a combination of 32 x Robe Pointes, and 19 x LEDWash 1200s helping to raise the roof and the lumen levels, while in Toronto, 104 x Pointes, 19 x LEDBeam 1200s and 36 x Tarrantulas had the honor. The fixtures which also included several hundred others at each venue were rigged on a network of trussing installed in the roof.
On site, Tom and the production teams worked closely with the venue house crews and technical – Clayton Hubrick and Keith Hough in Edmonton and Mark Weglinski in Toronto. Like everyone, they were elated to see ‘showtime’ unfolding again for real!

© Mark Singelis

This was preceded by some marathon days and nights of Skype’ing and Facetime calls, and substantial pre-vis activities after Tom was first approached about the project in May. Due to the rapidly moving Covid-19 situation, formats, dates, challenges, ideas, and solutions stayed fluid right up until the production and NHL arrived in Canada for the build, so the design also required an inbuilt flexibility.

Copious amounts of administration, logistics and lateral thinking was energized by the NHL to get everyone to Canada on time to start the build.
Tom and Gary were two of 19 key production crew brought from the US on special visas issued by Canadian prime minister Justin Trudeau, apparently a big fan of The Who and Bowie, so Tom’s CV clearly impressed him! Before that, everyone travelling on these visas had to home test ‘negative’ twice.

Once in place and in their respective bubbles including their hotels and specially designated eating areas connected to the arena by secure walkways with their own entrances and routes production crews, players and all related personnel were tested daily by a team of 14 medical staff on site dedicated to ensuring all stayed safe.
Masks were mandatory while working, social distancing was rigorous, and everyone washed their hands regularly as “hands, face and space” requirements ruled the working environment.

“It was a truly amazing, uplifting and at times extremely emotional experience for all,” enthused Tom “and one of the most satisfying projects in which I’ve ever been involved! Everyone was so joyful and absolutely delighted to be back working and doing what we are all completely passionate about showing the world just how much value, imagination dynamism and sheer enjoyment this innovative industry brings to events worldwide.”
The 2020 Stanley Cup final in Edmonton saw Eastern Conference champions Tampa Bay Lightning defeat Western Conference champions, Dallas Stars.

For more info, check the Robe website

The universal fit new Contour XO

L-Acoustics reinforces its mission of elevating the listening experience for professionals and audiophiles worldwide with its first offering in personal audio, Contour XO in-ear monitor powered by JH Audio.

Contour XO is born from the meeting of two pro sound icons: Jerry Harvey and Dr. Christian Heil. Both pioneered technologies that forever changed the pro audio industry: multi-driver in-ear monitors and the present-day concert PA based on the L-Acoustics line source array.

Jerry Harvey, the founder of JH Audio, is an accomplished monitor engineer who first developed a custom in-ear monitor (IEM) for drummer Alex Van Halen in the 90s.

As the band toured, word traveled and Harvey devoted his career to defining the state of the art for multi-driver in-ear monitoring catapulting him into the position of a world-leading custom in-ear monitor manufacturer.
From the Grammys to the VMAs to the Superbowl halftime show to major tours, Harvey’s innovations can be seen in the ears of artists including Aerosmith, Lady Gaga, Guns N’ Roses, Miley Cyrus, Drake, Katy Perry, Justin Bieber, Camilia Cabello and many more.

Christian Heil wearing JH Audio IEM and Jerry Harvey with a L-Acoustics strap. The two make a pair !

L-Acoustics, founded by Dr. Christian Heil, revolutionized the live sound industry not once, but twice, bringing the Wavefront Sculpture Technology of V-DOSC line source arrays to the masses in 1992, and then in 2016 deepened the connection between artist and audience with the first object-based mixing technology for live events, L-ISA Immersive Hyperreal Sound.

For the first time, Harvey and Heil have combined their R&D teams’ forces to reproduce the renowned L-Acoustics sonic signature frequency contour in a premium, 10-driver in-ear monitor (IEM) that elevates the standard for in-ear monitoring.

The Contour XO, probably based on the top notch but specifically tuned quad low, dual mid, quad high JH 16 V2 Pro.

Designed to reproduce the nuances, emotion and impact of live music, L-Acoustics professional sound systems have their own sonic signature. Widely viewed as the benchmark for the live music and performing arts industries, the L-Acoustics sonic signature is natural, dynamic, generous, and consistent. Contour XO provides that reference IEM on stage, at the mixing desk, in the studio or on the move.

Contour XO provides the ideal tool for engineers using the new binaural features of L-ISA Immersive Hyperreal Sound mixing software.

Furthermore, the development of Contour XO supports the upcoming release of new L-ISA binaural object-based mixing software tools currently in beta testing with a select pool of audio professionals.

“I was impressed by the jeweler-like precision with which JH Audio could tune to match our frequency contour in such a miniaturized enclosure,” comments Christian Heil of the new Contour XO. “The first time I tried the prototype, I put on my favorite playlist, and it took me 20 seconds to love them.

There’s a very generous, deep low-end contour, and a high-end extension that I’ve never heard on an IEM before. The sound is natural and powerful! We recently launched sound systems for private use via our new division, L-Acoustics Creations, allowing music lovers to ‘bring the concert home.’ This IEM extends that lifestyle philosophy further still with the concept of L-Acoustics sound wearables to bring the concert with you, anywhere.”

Jerry Harvey was pleased with the new audiophile tech fusion, “I’ve been trying to make my in-ears sound like an L-Acoustics PA for years. It wasn’t until their team challenged us that we got as close as we could. The L-Acoustics R&D team has been great to work with!”

To mimic the contour and the dynamics of a concert, Contour XO integrates Soundrive, the latest technology from JH Audio. Both bass and treble elements are a cluster of four balanced armature drivers wired in parallel allowing high power, even in the very low and very high end of the spectrum without distortion.
Freqphase is the in-ear technology that fulfills L-Acoustics credo: the best sound comes from one source. Like the Wavefront Sculpture Technology used in the L-Acoustics line sources that have revolutioned the pro-audio industry, Freqphase ensures that all frequencies reach your ear at precisely the same time, resulting in unparalleled accuracy of music reproduction.

Christophe Combet

“It was an exhilarating challenge to collaborate with the fast-paced and talented team at JH Audio on the first L-Acoustics IEM. We knew that the outcome of our joint efforts would need to fulfill criteria that are both measurable and pleasurable,” explains Christophe Combet, L-Acoustics Executive Director of Research and Development.
“The testing process was iterative and uncompromising, right up through the final review and approval from our expert ears listening committee. Contour XO achieves pocket-size portability for our sonic signature, earning the same golden logo that adorns our PAs around the world.”

Contour XO cable features a bass output control that allows the user to adjust this sonic signature from a flat response to the reference L-Acoustics sonic signature with 15 dB of contour at the 5 o’clock position.

The newly designed universal in-ear monitors bring listeners inside the music with ten balanced armature drivers and 3-way crossover in a quad low, dual mid, and quad high configuration. Contour XO offers control of the low end with bass adjustment of up to 15 dB above flat response.
Artists, musicians, sound professionals, and audiophiles alike will appreciate the individual care and attention to detail transmitted by the limited edition premium in-ear audio solution, Contour XO.

Guillaume Le Nost

Guillaume Le Nost, L-Acoustics Executive Director of Creative Technologies, elaborates on how the IEM represents a creative product fit for the company. “Object-based mixing to achieve natural, spatialized audio is the future of sound.
The success of L-ISA Immersive Hyperreal Sound technology has led us to seek ways to further streamline the production process.
L-ISA binaural software tools are scheduled to be released in early 2021. We are pleased to offer early access to this L-ISA binaural software package to first adopters of Contour XO.”

Available now via the L-Acoustics eStore, customers can choose from both universal and custom fit options of Contour XO to bring home the iconic L-Acoustics sonic signature in an innovative personal package.

The Custom Fit version of Contour XO. A bit expensive but vastly more comfortable and usually more precise in terms of audio rendition.

The universal fit model is priced at €1,620 including VAT.

Custom fit Contour XO are available for an additional €340 plus tax.

Click here to get the specification sheet of Contour XO

Click here for more info on Contour XO

Meyer Sound has officially released Spacemap® Go, an industry game changer in spatial sound design and mixing. Available October 28 as a free app for Apple iPad, Spacemap Go can transform the thousands of Meyer Sound GALAXY™ Network Platform processors in the field into powerful, flexible and user-friendly tools for spatial sound design and mixing.

Spacemap Go works with multiple GALAXY processors, and it can be controlled by a single iPad or with multiple iPads to provide a larger and more varied control surface, or to allow simultaneous control by multiple users.

Spacemap Go can be implemented with a free update to GALAXY firmware and Compass control software. Users with existing GALAXY inventory need only supply one or more iPads as appropriate for the application.

What are Spacemaps

Spacemap creation

Spacemaps are two-dimensional graphic layouts that enable complex spatial sound distribution with easy-to-use controls.
Trajectories are programmable sound paths applied to Spacemaps to dynamically change the output mix.
Trajectories, which can be recorded, edited, reshaped, and even manipulated while playing, automate the movement of the Spacemap position, creating the illusion of sound movement.
Two basic elements are key to building Spacemaps: nodes and trisets.

Nodes and Trisets

Nodes represent loudspeakers (Speaker Nodes), groups of loudspeakers (Virtual Nodes) or silence (Silent Nodes) and are arranged in groups of three as trisets. These trisets provide the fundamental panning elements of the Spacemap and guarantee smooth crossfades. As the channel’s Spacemap position moves closer to a node, more of the signal mixes to that node and less to the other two in the triset.
Multiple adjacent trisets make up a Spacemap, creating customizable spatial contours. Audio from a specified set of Speaker Nodes can be automatically sent to designated outputs using Derived Nodes (for example, to send sound to subwoofers or an under-balcony loudspeaker).

3D Sound Control

Creating a trajectory.

Spacemap Go has a two-dimensional interface that supports three-dimensional sound control. Sound can be distributed proportionally between loudspeakers on different physical levels using two Spacemaps for each channel, or by combining overhead loudspeaker locations with lateral or surround speaker locations in a single Spacemap.

Sound can be smoothly crossfaded for the same position from one Spacemap to the other for the desired spatial mix. Spacemap Go includes a library of example Spacemaps and trajectories to assist users when starting, or users can create their own custom Spacemaps and trajectories.

Spacemap system inputs and output

Spacemap systems support up to 32 inputs. These system inputs can be sourced from Milan AVB devices, or provided by the physical analog or AES3 inputs of up to 8 GALAXY processors within the Spacemap system. Spacemap systems support all of the available GALAXY processor outputs, up to 16 processors or 256 outputs.

Spacemap Go Application Interface

Spacemap Go guides users through the process of configuring the system inputs, including Milan AVB. Projects contain all the parameters associated with a Spacemap system including the system configuration, as well as all system parameter snapshots.
Control information is organized into a set of views: Mix, Channel, Setlist, Create, and Settings. Additional system controls are available along the top of the screen.

Projects

Projects can be saved in the GALAXY processor, to the iPad, or shared via email, AirDrop, or Messages. Spacemaps and trajectories can also be imported into Projects.

Snapshots

Spacemap system parameters, organized and saved within the Project as snapshots, include:
– System Snapshots – GALAXY processor input and output processing settings, delay matrix values edited by Compass or Compass Go, and output channel gains
– Mix Snapshots – parameters of all Spacemap Go channels, plus mix level and mute
– Channel Snapshots – parameters of one or more Spacemap Go channels

Mix View

The Mix view.

The Mix view presents an Overview and channel controls for eight channels at a time. The Overview provides the big picture by showing the panning positions of all channels simultaneously. Buttons and swipe gestures at the top of the page simplify navigation.

Each input of a Spacemap System is represented by a channel. The Channel View provides all of the controls for one input channel. The routing of the channel to one or many outputs can be accomplished three different ways:

– The matrix levels associated with the channel can be adjusted directly when precise control is required.
– If one or two Spacemaps are assigned to the channel, a static spatial mix can be made by setting the position within the Spacemap with the touch of a finger and crossfading between the two Spacemaps with a slider.
– Trajectories can be assigned and scaled (changing speed, direction, rotation, size and position) using multi-touch gestures or dedicated controls to create dynamic spatial movement.

If desired, selected channels may be locked out from user control on the iPad.

Setlist View

The Channel view.

The Setlist view is used to store and recall Mix and Channel Snapshots. Mix Snapshots save the entire spatial mix for all channels and may be used to store the mix for a song, a band, or a scene in a play.
Channel Snapshots are contained within Mix Snaphots and allow changes within sections of a performance, such as a guitar solo or an individual sound effect.

The channel mix is stored automatically as either a set of matrix levels, a static position within a Spacemap, or a trajectory moving within a Spacemap. Smooth crossfades between channel mixes of any type provide ease of use for nuanced spatial orchestration.

Create View

The Lead guitar trajectory.

The Create view is used to create, edit, and test Spacemaps and trajectories. Example Spacemaps include common surround layouts as well as grids and lines of loudspeakers. Spacemaps and trajectories can also be created from the ground up. Nodes are added and linked with simple touch gestures, and trisets may be created manually or automatically.
Trajectories may be recorded by touching discrete points or moving continuously; the precise timing of segments within the trajectory may be edited and scaled after the recording is complete. Two-finger pinch and open gestures allow scaling of views.

Seamless Compatibility

Spacemap Go offers seamless compatibility with popular sound design and show control programs such as QLab. For example, a complex sound design can be assembled using QLab in the studio, perhaps initially combining all multichannel cues into a stereo rough mix for reference. When on site, the tracks can be quickly expanded into a multi-channel spatial mix using Spacemap Go’s templates for common multi-channel configurations.

The templates can be customized for a particular setup, while panning trajectories can be created with the touch of a finger and, if desired, captured for playback during performance. Although spatial trajectories can be created, edited and stored using the graphical interface, the detailed matrix remains immediately accessible for reference or direct data entry.

In addition to QLab, Spacemap Go can be automated by popular DAWs such as Ableton Live, Apple Logic Pro X, AVID Pro Tools, MOTU Digital Performer, and Reaper, taking advantage of the iPad’s multi-touch interface for effortless spatial automation. GALAXY now supports the RTTrPM protocol, allowing integration with real-time tracking systems such as BlackTrax.

Accessible and Easy

Systems are quickly and easily configured by Spacemap Go using any combination of GALAXY 408 or GALAXY 816 using Milan AVB, AES3 or analog as inputs and outputs.
Spacemap Systems can be configured for up to 32 inputs and as many outputs as are provided by the processors.

Each GALAXY provides up to 232 matrix crosspoints. Multiple iPads may be used to control a system, providing immediate access to additional channels or allowing simultaneous access to different screen views.

Steve Ellison, Meyer Sound Director, Spatial Sound.

« Every GALAXY processor incorporates a powerful digital summing matrix, which serves an important function in system optimization. » explains Steve Ellison, Meyer Sound Director, Spatial Sound. « With Spacemap Go, we have added a new creative layer over that technical layer.
All the optimization tools are still there, but now GALAXY does double duty as a powerful spatial sound mixer that can be intuitively operated in real time, programmed to follow automated cues or recall internal snapshots with smooth transitions and dynamic movement.
In terms of accessibility, scalability and intuitive ease of use, Spacemap Go is a breakthrough for sound designers and sound artists. »

More about Spacemap on the Meyer Sound website

The National Theatre of Greece (NTG) staged three acclaimed performances of Aeschylus’s The Persians (first produced in 472 BCE) in July at the ancient Epidaurus open-air amphitheatre, complete with a fully socially distanced audience – of 4,500 instead of the usual 10,000 capacity, who enjoyed the drama and energy of live performance in this classic tragedy.

Photo Thomas Daskalakis

Lighting designer Christina Thanasoula chose Robe LEDBeam 150s to add flexibility and multiple options to her design, placing 10 of the versatile little fixtures in the footlights position around the front of the stage floor.

All three shows, directed by Dimitris Lignadis (artistic director for the NTG), were fully sold out, and the second night’s performance was live-streamed worldwide with support from the Greek Ministry of Culture in partnership with Google Greece as part of the 2020 Athens and Epidaurus Festival. Over 100,000 tuned in to catch the action which was widely applauded by press, critics, and the public.

Photo Thomas Daskalakis

This was the first production by the Greek National Theatre since the initial pandemic lockdown ended and outdoor shows were permitted again in Greece from the 17th of July. They lost no time in sating the public’s appetite for live entertainment, scheduling these landmark performances for the end of the month.
Christina first worked in the Epidaurus venue two years ago, designing lighting for Electra, directed by Thanos Papakonstantinou, also for the National Theatre of Greece, where she used Robe BMFL Wash Beam fixtures. Before then, she has utilised Robe moving lights for numerous event and theatre designs.

She added the LEDBeam 150s supplied by MSH-Europe because it is a low profile and quiet running fixture with no fan noise, imperative as they were positioned just 2 metres from the first row of the audience.
“Small size and quietness were top of my checklist, I wouldn’t have been able to further consider using these Robe luminaires, without ‘ticking’ these two boxes first,” explained the designer.

She also likes the “excellent dimming” curve which is “a great asset for those extremely slow theatre fades.”
Additionally, “this small fixture offers a great colour palette and some very special tints / shades of white, with an excellent zoom (3.8 – 60 degrees) allowing it to cover many lighting needs from general wash palettes to a tight spot for ‘specials’.”

Photo Thomas Daskalakis

She also considered the simultaneous presence of different lighting sources for the broadcasting cameras carefully. It was a scenario where tungsten, HMI lamps and LED all had to work together harmoniously and create a solid visual on-camera look.

The LEDBeam 150’s colour palette and the high CRI made it straightforward for Christina to match the different colour temperatures and create well-balanced scenes. The creative team’s raw, emotional, and minimalistic scenography integrated fully with the venue’s natural environment.

“We didn’t want to obstruct the wonderful view by adding truss towers or any other huge structures at the back,” explained Christina. The set designed by Alegia Papageorgiou comprised an elegant row of church seating and the absence of other physical set elements onstage demanded “humble” use of lighting fixtures, that would not create any “visual noise”.
In Epidaurus, because of the very steep viewing angle, the floor of the stage is always visible, and it becomes by default an incidental backdrop to the action. So, it had to be neat and clear of any clutter! Lighting for both live and streaming audiences added extra challenges and all the lighting decisions were made with this in mind. Live streaming also made it imperative there were no dark moments whilst live.

Photo Thomas Daskalakis

“The LED Beam 150s served dramaturgically as the main lighting fixture for the chorus parts and also were a safety-net for the live cameras in case we needed to raise intensity levels or sneakily illuminate specific areas of the stage that looked slightly underlit on the camera monitors,” underlines Christina, who was delighted with the results.
MSH-Europe is one of the biggest audio-visual equipment providers in Greece.

Christina described the company where her account was handled by Charalambos Economopoulos as “really helpful” in keeping a close eye on their needs and seeing that all the Robe equipment was well prepped and in good condition, including spare units. They also offered 24hour phone support if needed to the National Theatre’s lighting crew.
“Their professional attitude definitely facilitated our work during the long night shifts at Epidaurus,” she adds.

For more info on Robe lighting, check the Robe website

The Vienna State Opera has replaced its 20-year-old Amptown Washlights with 70 SolaWash 1000 High CRI from High End Systems. The exchange was a challenge, as the new LED spotlights must be able to reproduce the characteristic old-fashioned light qualities of their predecessors and illuminate new productions in a contemporary way.
The State Opera House has almost 200 repertoire pieces in its program and the spotlights are in use for almost every piece.

Robert Eisenstein, Vice-Director of Lighting at the Vienna State Opera, speaks about the decision: “We had the pleasure of getting our hands on the first SolaWash 1000 in Austria. Together with Preworks and ETC, we were able to realize this project professionally, by implementing our own program. Many companies presented us with a spotlight and offered to make the necessary changes by hand. With almost 200 performances and no rehearsal days available, this would have been an impossible undertaking in terms of time”.

The solution was developed together. Eisenstein explains: “Over the past year and a half, we worked with Preworks and ETC to write a great program that gives the new SolaWash 1000 the exact data of the old Amptown Washlight. It must mix color values in the same way as its 20-year-old predecessor. We determined values, color values and position values.

Of course, we also had to reduce the intensity because the new spotlight is much brighter, in spite of its far lower power consumption thanks to LED technology. The biggest challenge was reproducing the color mix of the old fixture in the new fixture. We are talking about countless parameters that have to be processed.
The tests went very well! We are convinced that we have found the best solution and hope that everything works as we envisioned it. If new productions are on the program, we will of course use the fixture with all the functions it offers”.