Katie and José at ISE 2023 between an absolutely empty 2100-LFC cabinet and a much more accomplished Panther. Since then, decibels have flowed down the drain.

It’s been over a year since we first discovered Panther at ISE 2023 on the Meyersound stand, with a great interview with Katie Murphy and José Gaudin before we finally got to hear this first of what is likely to be a new generation of connected, lightweight and devastatingly effective products.

We headed to Bordeaux for Michel Sardou’s sold-out date at the Arkea Arena, where we had a long chat with David ‘Bart’ Omer, who is in charge of the system, and Jean-Marc Hauser, who mixes the front, before attending the sound check and the concert in a decidedly excellent venue where everything can be heard, both the good and the not-so-good. The Arena is wide open, which isn’t very often given its size.

The huge floor of Bordeaux’s Arena, fully furnished with chairs and lit from the front.

A quick look around the room reveals that the Panther is accompanied by the good old 1100-LFC. Great, we’ve got our first question for Bart and Jean-Marc who welcome us.

Left to right Bart and Jean-Marc.

SLU : We were expecting 2100s. Did you choose to go with the 1100-LFC?

David « Bart » Omer : Yes. However, the 2100 and the 1100 don’t have much in common. The 1100 is fat with its bass reflex load, whereas the 2100 is punchier and… (Jean-Marc interrupts)

Jean-Marc Hauser : On the other hand, the subs to me…

Bart : It’s true that we use them in a special way. We cut them. In the mixer. Jean-Marc removes a lot of the infrasonic sound from his mix and I offer him a specific tonal balance to take account of this and the fairly large number of static and sensitive sensors on stage.
Without this approach, it would be difficult to mix, especially as although the 1100s play in cardioid, the Panther’s rear wave is present. The music I use as a reference is also cut at the bottom to prevent me from proposing a balance with a contour that has too much energy in the infra. The low cuts are also quite high because on stage they play jazz and breathe differently than pure pop.

The whole system hung, well, one side…

SLU : So what do you use your subs for?

Bart : To bring contour in the last octave but without excess and differently from what I would deliver for a festival. We’ve got nine 1100s per side in a cardioid arrangement, which is good enough for a venue like the Arkea Arena where six would be more than enough for me, but it’s useful for controlling directivity.

SLU : But wouldn’t you have liked to mix 2100 and 1100s?

Jean-Marc Hauser : We didn’t have the time. I wanted to do it but I should have tried first…

Bart : Especially as it would have been necessary to see how to manage the phase relationship between two products of a different generation and with a load that, in my opinion, is not the same. The 2100 is more than a simple bass reflex and deserves time to understand the product both acoustically and electrically. For the moment Meyersound is not communicating on what they have made. Marco would have cut it in half (laughs).

They’ve never been willing to comment and yet I’ve been pestering everyone! I was able to try out the 2100s a while on the Jain project, but I don’t have enough hindsight to make a judgement, plus we were in beta with frequent updates… JiBé (Jean-Baptiste Boitel), who used them at the Enfoirés (a big charity concert) with Panther, talks about “a continuous loudspeaker that goes down a little further but lacks a bit of infra”.

SLU : But you’re happy with your 1100 too

Bart : Of course, I know them by heart and I’ve got 18 on each side of the Paléo festival. In 10 years of working at this festival, apart from maybe Justice and Muse if I remember rightly, I’ve never seen the red light up on the RMS… In terms of comparison with the 2100, even the amp is different, but the 1100, which went through Legacy on Meyer’s site, is indestructible.

Araneo and Compass in the spotlight, with the top screen showing the network distributed by Luminex, and the bottom screen showing the master Galileo 816 in the control room, which is responsible for converting the dLive’s AES/EBU into an AVB-Milan, among other tasks.

SLU : So now the audio network doesn’t stop at the Galaxy…

Bart : That’s right. First of all we have a separate primary and secondary network with a GigaCore 14R for each placed here at FOH and they go towards the stage in the direction of the GicaCore 10.

SLU : What’s with the 4 Galaxy per side you see on Nebra…

Bart : Processing! There’s still nothing in the boxes, it’s all done in the Galaxy, but now it’s in and out of the AVB. We’ve got three of them plus a spare on each side. Of course, AVB, analogue and mains are used to connect the boxes. Distribution is done by a GigaCore 30i placed in the air behind the Panthers. The analogue feed comes from FOH and we switch to analogue whenever we want.

SLU : That redundancy…

Bart : It’s my choice, I wanted it that way and Wilfried (Mautret), who manages the audio systems at Dushow, agrees with it because it allows you to overcome the possibility of a Galaxy, fibre, AVB or switch crashing… Both the AVB and analogue sources are always active on Panther, there’s no foldback in the box, so you have to create your strategy beforehand. If you lose the switch hanged up in the air for any reason whatsoever, by the time you’ve understood and solved the problem, I don’t have a system on one side at all.

Nebra’s display, inevitably a little ‘short’ at the moment with the two times 14 Panther and the nine Galaxy.

SLU : Is Meyer working hard to make things easier for you?

Bart : Yes, they’re working on it. They’re looking for the best solution between box and Galaxy and between no signal and no clock.

SLU : At the same time, you also have the speakers that come in analogue

Bart : There are plenty of them. We’ve got the 9 subs per side, the twice 12 Leopards in the outfill, the twice 6 Leopards at the height of the mantle in front of the frieze and finally we’ve got eight X20s as lip fills. The stage is wide, so we need at least this many.

SLU : The Milan AVB is a winner from a sound perspective ?

Bart : Less analogue, less conversions… it changes the sound. I left the DLive in AES, switched to AVB in the first Galaxy at FOH and from then on, we never left the digital domain until the Panthers. For the others speakers, the Galaxy that powers them switches back to analogue. Yes, we did make a small offset to align the digital boxes with the analogue ones, but it was nothing.

And this sound then !

Jean-Marc Hauser in full show mode.

SLU : Were you the one who asked for a brand new Meyer system?

Jean-Marc Hauser : I like new tools and not having the same things all the time! I’ve changed console and system! Your ear changes, what’s happening on stage changes, but if you keep the same set-up, sitting at your desk, what’s the point?

SLU : So you ditched the Leo’s twice 15” and two 4” drivers for the Panther’s twice 12” and two 3” drivers…

Jean-Marc Hauser : I have more precision, I have less low-mid to cut, especially as the Meyersound low-mid is good compared to other systems. So I work differently.

SLU : When you first fired up the new system

Jean-Marc Hauser : I didn’t understand anything (smiles). I had to get back into something I didn’t know…

SLU : And yet it’s still a Meyer speaker, two ways with a whole lot of work for the drivers…

Bart : Yes, but it’s different. It’s not the same colour. It’s the same philosophy but in two different enclosures. There’s still the desire to have something quite massive to work with, but it doesn’t behave in the same way. The dynamics are greater, the sound is denser and more nervous and the top end of the drivers really kicks.

Jean-Marc, it’s all for you!

Jean-Marc Hauser : It’s pretty rock’n’roll and you have to hold your horses a bit, but it’s a blast. We’ve used a bit of everything at Meyer Sound and we really liked Leo. You know, we also liked the MSL4, it smelt of wood and sometimes beer too (laughs). After that we moved on to Milo, the M3D and when Leo showed up, we got a real kick out of it!

Bart : I did a rather difficult project at La Défense Arena for the video game world. It’s very noisy because spectators react a lot to what they see and there are hosts in the room who talk over the top of that.
We had Leo and Panther in 360° with a lot of height because of the screens. When we went through the Panther at 60 metres, we had an incredible projection of the treble. We didn’t have that in the Leo, so we went looking for it. We don’t know if it’s due to the Class D or the transducers, but you can definitely hear it.

SLU : But the two-way concept has always appealed to you

Bart : It’s not the easiest box to make. You have to think it through, choose the right components and build a real loudspeaker without thinking that everything else will be compensated for by the processing, and that’s where Meyer are very good.

Jean-Marc Hauser : They weren’t the quickest to catch up with other brands, but they caught up well. Of course, amplified loudspeakers are not very well known in France. In some ways, people don’t like them, even though there are many advantages.

A view of the Panther array. At the top left of the chain bag is the switch that powers the 14 enclosures.

Bart : On the other hand, it’s true that in terms of work habits, it’s not the same and you have to have a harness nearby (laughs). More seriously, working with Meyer is pleasant because they are creative and the technician who operates a system is really part of the equation, but it requires knowledge of the brand and an interest in electroacoustics.
A technician who has been rigidly taught a manufacturer’s workflow, applies a recipe and doesn’t have solid initial and theoretical training, will struggle a bit.

But if you have the skills upstream, ask yourself the right questions and understand what you’re doing and why you’re doing it, the products and software may not be the same, but everything will be fine because the concepts are identical. It’s sad to be a mono-brand, because I like to travel. It allows me to explore. It takes time, but it opens up my mind a little.

SLU : Speaking of software, is RMS actively preparing for retirement?

Bart : Not yet because Nebra can only handle AVB boxes at the moment. More specifically, it can import RMS but it has to be able to handle both networks at the same time. At the moment we’ve got a compatibility issue between the Windows 11 network card, Nebra and Compass, which is causing my computer to reboot on its own, but we’re working on that, it’s a problem linked to our computers. I could run updates on the motherboard, but on tour… how can I put this (laughs)

SLU : What about weight?

Bart : It’s another world, especially as we’re often faced with load problems. On Michel’s last tour we had 12 Leos and 3 Lyons, now we have 14 Panthers. We gain 700 kilos per side. We lift with two one-tonne engines, whereas with Leo it was two tonnes.

SLU : Is the sound trailer empty tonight?

Bart : Yes, everything came off and it’s up and running. It all fits in a trailer without you having to work like crazy. We took the road with one amplifier back for each range of boxes.

FOH

SLU : The Bordeaux venue has superb acoustics

Bart : The little echo you get is the cyclo at the back of the stage and the two small screens stage left and right. I was thinking to myself this morning as I was setting up the room, the noise of the ‘construction site’ like the slings; even when the rig goes up, it’s much quieter and the big noises don’t resonate. That changes everything.

SLU : You’ve been accompanying Michel for a while now. Anything new?

Jean-Marc Hauser : 20 years, after all… Nothing special in terms of pick-up for the boss, we have Sennheiser Digital 6000 transmitters with KK 204 Neumann heads. I have a Bricasti M7M with its remote control as the main reverb.
For violins I have a Neve 5045 which allows me to gain a bit of level before feedback. It works like an expander, a sort of Dolby on the ambient noise, and because of its action, it also removes the usual ‘squeak’ with the cells. I prefer anyway the DPA 4099s.

The Neve 500 Series rack is a great place to be. DIY Sound Skulptor modules and a baby RMX16. Also from Neve, the 5045. Below, two Gigacore 14Rs fed by the Galaxy master at the very bottom. The kind of rack you don’t want to disconnect the power from…

SLU : Above the Bricasti, in a luxury rack for 500 modules from Neve, you can see a baby RMX 16 from AMS…

Jean-Marc Hauser : I use it for the long reverbs on Michel’s voice and the Bricasti for the short ones.
It’s Neve who makes it smaller. It’s not exactly the original 19” 2U rack version but it looks very similar and it’s not bad at all.
I’m still listening to the venues and I’m not pushing the consumption of reverb, in some rooms there’s already quite enough of it, especially on busy, fast tracks.

The console’s snatpshots, a brief summary of Michel Sardou’s career.

SLU : But in a healthy, “short” venue like the Arkea and with a system that’s more analytical and active at the top end of the spectrum, it’s tempting, isn’t it?

Jean-Marc Hauser : I use reverb, but it stays within the mix. The other modules are Michel’s vocal chain, main and spare. They are Sound Skulptor.
I’ve got two Class A preamps and 573 passive EQs, copies of 1073 Neve console slices and two 502 optical compressors that emulate the LA-2A.

I took them because they’re super handy if I need to lighten the voice a bit above 10 kHz and as low-pass filter. I’m already cutting in the console but I find it ‘fat’, so I’m saving myself this external possibility. I’ve got a local stage rack to interface all this.

SLU : You’re not using anything else on this tour? No plug-in servers?

Jean-Marc Hauser : I don’t need it and, above all, I don’t want it. I prefer to work the old-fashioned way, that saves bugs (smiles). For the violins, for example, I use the console’s reverb. I even use a dozen of them and I find that of all the consoles I’ve worked with, the dLive ones work the best. There are also LA-2A emulations that I like, studio memories, interesting delays, dynamic EQs, and so on. It’s very complete and it’s quiet (it pushes its master a bit).

SLU : There’s a little thermal noise and a bit of 50 in the background, isn’t there?

Jean-Marc Hauser : Aaaahhh the analogue, it’s still alive and well and we do have a tiny 50Hz but we love it, it reminds us of the good old days. All we need now are the MSL4s!

SLU : So happy with dLive

Jean-Marc Hauser : Of course. I’ve been mixing FOH and monitors with this console and there’s an interesting Recall Safe system. It’s super simple to set up and you can really work properly. Laurent Midas has a good number of them and he’s delighted, as is François Brély, and in terms of value for money, there’s nothing better on the market.

FOH  with its dLive, everything is ready as if you were there.

Curious as ever, we took advantage of the fairly long sound check in Bordeaux to wander between the floor and the huge tier of the Arkea Arena and our first observation was that the little Leopard from the outfills held up fairly well. The contour is virtually identical and the transition from Panther to Leopard is well balanced in terms of phase and tonal balance.

When, after a few minutes, you go the other way, you have to admit that the clarity, finesse and dynamics of the Panther’s treble are superior, even if, in SPL terms, you can’t be far off. Michel’s voice comes out very well on both, but with more spunk, crispness and precision on the face.
It’s like Eugène Delacroix’s painting “La liberté guidant le peuple”. We loved it before it was cleaned up and rejuvenated, we adore it now. Whether it’s the 100% digital link at last, the class D, the new transducers, the work on the waveguide or a combination of all these reasons, the fact is that you almost have to hold on to the Panther’s treble, something quite unprecedented at Meyer Sound.

We climbed all the way to the top to reach the furthest point of the lines arrays, this evening 72 metres, and despite a small cap overhanging the last 4/5 rows of seats and a more unfavourable direct field/reverberation ratio, the top of the spectrum arrived without a problem, even a little better than the lows. If you move down a few rows and get out of the cap, you’ll find excellent, highly defined sound.

72 metres and a crisp, high-pitched top end is present, dampened only by a sort of cap covering the very last rows of seats.

All that’s left is the usual compromise of the parterre near the nose of the stage where the Leopard showers drench, the X20 front fills blow a little and the main system starts to chirp. There’s impact and sound, but it comes from many sources and you can hear it.
The sound with a capital S returns as soon as we get into Panther’s mouth, and then it’s a completely different story. Even more so than with the crossing into the side stands, you can feel an unprecedented power and density, a real, real big sound that Jean-Marc’s mix, as accurate and rock solid as ever, really brings out.

Three hats off to you in conclusion.

BBart and Jean-Marc lit up as if in broad daylight.Michel pays tribute to his technicians, and deservedly so.

One to the Hauser Omer couple. Experience runs through their veins, they love and know how to make good sound and they complement each other like a pin in a lock. I’d go on tour with them as serene as Michel always was, without forgetting that Stage left les GéGé, Génix & Gares are watching over the monitors.

Second to Meyer, who can now more than ever be called Meyer Sound. Meyer Good Sound indeed. Gone are the days of being overweight, traditional and having to carve out a chunk of lows to unmask the highs. From now on, and without having sold their souls to the devil, the sound pushes hard, clear and resutely modern. It was about time.

And thirdly, Michel Sardou. You either like him or you don’t, but we respect the artist who has made millions of people sing and thousands of technicians crumble. Now it’s the turn of the youngsters, and good luck in making the same career ;0)

Michel Sardou with his backing singers and musicians.

Once again the Robe team pulled out all the stops and rolled out the red carpet for visitors to the show. In the gigantic stand, twice as large as that of previous years shared with its other brands, Avolites, Artistic License, Anolis recently joined by LSC, Robe offered itself a special place to highlight the new products presented and celebrate, as it should be, its thirtieth birthday.

On a stand the size of a concert hall, Robe is celebrating its 30th anniversary. ©Marko-Polase

Every hour, a presentation of new products in a live “Power of Imagination” show mixing music and performers captivated the audience who gathered en masse under the pavilion. As for the climax, it was achieved during the very beautiful Rock’n’Robe evening specially organized for the occasion.

Queenie, the Czech Queen cover band that plays loud and clear. Awesome! 575 Robe fixtures with all  the new products are involved in the show, including the new iBolt and iForte LTX controlled by an Avolites D9 215

Josef Valchar, Co-founder and CEO of Robe, visibly happy at the end of the concert!

To ignite the atmosphere, “Queenie” an excellent Queen cover band, lit by the company’s latest spotlights, and with delicious petits fours and local dishes, everybody was rocking!
But let’s come to our senses and not lose sight of the objective of this article to present to you the fixtures newly added to the catalog.

We move away from the bustling crowd to isolate ourselves in one of the spaces provided for this purpose and thus be able to get closer to the fixtures.

We meet Vincent Bouquet, technical director of Robe France, to review the new arrivals.

iBolt, the SLU innovation prize

We begin this report, after months of teasing, with the official release of the iBolt, an XL format moving head with a laser-boosted “cannonball” beam. It can also be compared to a skytracer, this fixture with extraordinary dimensions (its output lens measures 30 cm in diameter) for a total weight of 54 kg, is equipped with a 500 W phosphor laser source.

The iBolt, Robe’s new long-range laser beam/sky tracker.

It integrates almost all of the functionalities of the no less famous MegaPointe. The differences are in the graphics of the gobos (specially designed for the iBolt), the zoom range, and the prisms.
The iBolt is equipped with new prism systems, MLP (for Multi Level Prisms), and SpektraBeam which also adds color. You will also notice that the Pan has continuous rotation.

Given for 120,000 Lux at 100 meters (currently estimated at 20,000,000 Lux at 5m, no less!), Robe engineers have developed a specific security system, a laser rangefinder integrated into the head of the fixture arranged around the lens, an innovation in this sector. It can detect a presence up to 100 meters and interact with the source management software at a rate of 10 detections per second.

iBolt: 20 million lux at 5 m…

Still in the final phase of development, it will cut off the light emission if an obstacle is detected less than 5 meters from the fixture and validate or not the “sky-mode” to use the laser source at full power in Beam mode, like a skytacer.

…and still 120,000 lux at 100 m.

Security was one of the key elements for Robe in the product development phase, announcing that a version dedicated to the American market (ibolt 2) is being developed.

PC/Fresnel T15

Next comes the T15, from the Theater range, available as a PC/Fresnel type fixture with the same aspect as the T11 Profile, with which it also shares the same light source (a 350 W RGBAL LED engine).

The new Fresnel and PC of the T15 series. On their left side, we can see the faders intended for manual control. In addition to the quickly interchangeable lens via 4 ¼ turn screws, the fixtures are strictly identical.

Here, the primary objective is to have light flow. The optical system has therefore been simplified to improve light power (almost 12,000 lumens).
No integrated blade/shutter module but a motorized zoom system with increased specifications compared to the T11 (here 10/72°). Like the dimmer, this parameter is, in manual mode, accessible via two side faders also motorized.

The product is intended to be versatile; you can therefore easily change the lens as you wish and go from a plano-convex to a Fresnel. It integrates an RGB trichrome configurable in CMY and a CTC variable between 2700 and 8000 Kelvins.
The CRI is also adjustable, between 80 and 95 (TLCI 91). The T15 is more compact than the T11, just under 50 cm in length. For control, the user has a wide choice: 6 modes (from 1 to 24 channels) accessible in DMX/RDM but also in Art-Net, sACN, MA Net/Ma Net 2, or in CRMX (wireless) optional.

The new iSpiiderX, still IP65 is intended to be an almost identical copy of the original Spiider.

iSpiiderX

Also in the new section, several product developments are appearing. We start with the iSpiiderX, which could be compared to the evolution of the evolution (Spiider, iSpiider then iSpiiderX, are you following me?).

Here, the goal was to take advantage of technological progress and user feedback to offer a product that is still IP65, close to the original Spiider in terms of dimensions and operation to combine the two in the same lighting kit without seeing any differences.

The T32 Cyc bars in their Slim version, have less depth, and space-saving but a “fixed”(stationary) hot spot.

T32Cyc Slim

The T32Cyc Slim is a compact version of the T32Cyc cyclorama bar presented recently. In this case, the main objective is to offer a product sharing the same DNA in a thinner case (therefore less bulky and lighter). The concession for this product was to do without the innovative LED motorization system which made it possible to move the hot spot.

iProMotion

The ProMotion, a controlled moving head equipped with a LED video projection module, welcomes alongside it the iProMotion, its IP65 version. It is developed in two versions, the choice of which must be made when ordering in order to start with a Portrait or Landscape type projection. The absence of an image rotation system is the desire to offer a compact product of the same format as other already existing moving heads.

The iEsprite Fresnel is the new soft-beam wash-type version of the famous Esprite (waterproof version).

iT12 Fresnel and iEsprite Fresnel

Two IP65 Fresnel versions are also available in the catalog, with the iT12 Fresnel, 100% motorized framing shutters (which can almost be described as a moving head without pan/tilt) as well as the iEsprite Fresnel controlled moving head.

To simplify maintenance for the user, a new Fresnel lens has been developed, it is lined with a smooth protection on the exterior side making cleaning easier.

The “LightMaster” handle/control console assembly is now available for the iForte LTX.

LightMaster

As for accessories, the LightMaster handle allowing manual use of a moving head to transform it into a FollowSpot now fits the iForte LTX.

For more information take a look at the Robe Lighting website

To conclude, the Robe show at PL+S 2024

Fasten your seat belts and get ready for take-off! The GrandMA3 console from the MA Lighting company benefits from the new version v.2.0.0.4 of its software, which will propel stage lighting towards new horizons. This version was eagerly awaited in the entertainment world.
Whether you are a professional lighting designer or a passionate amateur, the GrandMA3 will allow you to take flight and become a lighting ace, program very complex shows in record time, use current stage equipment, and be able to create complex effects with ease.

grandMA3 Full Size

Imagine a fighter plane capable of performing breathtaking acrobatics with surgical precision. This is the philosophy that drives the GrandMA3 in v2.

An intuitive cockpit for simple navigation!

Even if you are not an experienced programmer, the GrandMA3 becomes easy to use. Its intuitive interface allows you to quickly navigate and find the tools you need to create your shows. Let’s take for example a square of LEDs and we would like it to light up from the center outwards. Before it was long and tedious. Now it’s 3 mouse clicks. I select my group of LED in the square, I turn it on by pressing a dimmer preset, I press a programmed matricks and I record on a sequence. And there, we have finished our first “complicated” effect.

Endless possibilities

The GrandMA3 not only simplifies the creation of light shows, it opens the way to a new dimension of creativity. Its advanced features allow you to push the limits of what is possible, bring your craziest light shows to life, and manage your fixtures with unparalleled precision thanks to new tools.

Let’s check out what’s new together

The Special Dialog-Shaper: This intuitive interface allows you to use framing shutters more quickly with unprecedented ease and precision. The grandMA3 engineers have pushed the limits of the blade/shutter module by integrating new functionalities such as the link between the blades or being able to synchronize the movement of several blades to create complex shapes and fluid effects.

The new Shaper dialog revolutionizes the management of fixtures equipped with shutter/blade modules by ensuring precise control to adjust the position and angle of each blade.

Auto Create and Show Creator: This tool will transform the way you work. For now, Auto Create focuses on color and dimmer, two key elements of lighting. But new functions will be coming soon, further expanding its possibilities.

Auto Create.

More than just a tool, Auto Create is a real assistant that allows you to:

– Save time: No more long hours spent manually configuring your groups and presets. Auto Create takes care of it for you now.

– Create groups of fixtures depending on your patch: You can select fixtures, fixture types, or layers for grouping, with advanced options for filtering and single fixture groups.

– Generate universal presets for dimmer and color: Set the number of values and sorting of color presets. Optionally create presets based on entire swatch books or selected gels.

You can also reproduce your configurations by saving your presets and your customized fixtures to reuse them later or share them with your colleagues. Auto Create is an essential tool for all lighting professionals looking to optimize their workflow and make their shows more complex so that they are even more spectacular.

The Show Creator Menu is a revamped workspace in grandMA3 for managing presets and fixture data. It combines the functionality of the old Import/Export menu with new options.

Main functions:

– Import: import presets and show data from XML files. It now supports importing gaps and cleaning up item collections for better organization.
– Export: export presets and show data to XML files. Gaps can now be included in the export

Advanced preset management:

– Create presets from Fixture Type (FT): Use the presets stored in the fixture types to create new presets in your show. You can filter by feature groups or attributes and choose to replace or merge existing presets.

– Store presets in FT: Integrate existing presets from your show file into the corresponding fixture types. Similar to “Create Presets from FT”, you can filter and choose how to manage existing presets within the fixture type.

The Grid

The Grid has been redesigned to offer simpler, clearer, and more modular use.

The Grid has new ergonomics for an optimal user experience.

Let’s discover the main improvements:

– Instant access to the Y axis: Operators can now work directly on the Y axis via a dedicated shortcut, simplifying navigation and manipulation of our selection.
– The Grid Setup is an intuitive editing tool: It has been integrated to modify the grid easily and quickly. The changes can then be saved for later use.
– Visualisation of transformations: The “Matricks transformation” function allows you to visualize in real-time the impact of your selections on the Grid, facilitating decision-making and the creation of precise configurations.
– Preserve Grid Position: The “Preserve Grid Position” mode allows you to preserve the 3D ratio of your selection when manipulating the Grid, ensuring optimal visual consistency.

The 3D

The 3D rendering has been significantly improved with the implementation of “lum. spread”. This new technology makes it possible to simulate the diffusion of light by creating shadows on an object, for more realistic visuals. Improvements have been made to the Follow tool for using multipixel devices. The selection grid is respected by the layout tool of the encoder bar of the 3D viewer.

The 3D viewer.

Something new:

– MVR-xchange: Function to connect multiple devices and exchange MVR data via network. Only 2 software programs are currently compatible: Production Assist and BlenderDMX.

Generator and Bitmap

Generators are a great feature and powerful tool of the grandMA 3 for creating dynamic and random effects on your fixtures. The Random Type Generator provides fine control over how attribute values are randomized.
Bitmaps are also new in this version, which will allow you to integrate multimedia files (images, videos, or gobos) into your lighting design. By mapping these files to a selection of fixtures, you can create dynamic and visually stunning effects.

The Bitmaps.

The Bitmap editor has two main sections:

– Bitmap Configurations: Set the media file, size, and other properties for displaying content. You can have multiple configurations within a single Bitmap object.

– Bitmap Channels: Specify how the media file interacts with fixture attributes. This allows you to control aspects like color and intensity based on media content.

Improved control with the fixtures, the Bitmap Control: A new type of fixture called “Bitmap Control” provides more flexible programming of Bitmaps. You can patch a Bitmap Control fixture and assign it a Bitmap. This fixture then controls the bitmap applied to the other fixtures, allowing adjustments such as position, color, and zoom during playback.

Bitmaps are a powerful tool for generating dynamic effects using media files. They provide precise control over how media interacts with your fixtures and over their attributes. The Bitmap Control fixture allows flexible programming and adjustments during shows.

Cloning

The Clone Window is a new tool in grandMA3 that simplifies copying data between fixtures. You can access it by typing “Clone” on the command line. The window is divided into two sections: Source (left) and Destination (right).

The “Clone” window.

Each section lists the fixtures or groups you want to clone from or to. Filtering options are available between sections to limit what is cloned (sequences, groups, etc.). Filters allow you to specify which types of data (sequences, groups, etc.) are cloned.

Button labels and indicator bars change color depending on selection:

– Green: All elements will be cloned.
– Yellow: Certain elements are selected.
– Grey: Nothing will be cloned.

Pressing reset in the title bar returns the clone window to its default settings. After cloning, the command line history displays the resulting clone command.

Le Configure Display

The Configure Display has been redesigned to provide access to more views quickly. The viewing bar can be positioned horizontally. To change its position, open the “Configure Display” dialog box. The viewbar can display up to 3 columns of view buttons. To adjust the number, use the “+” and “–” buttons. The visualization bar can be scrolled.

Each column will contain up to 100 view buttons. When you have scrolled past the initial number of buttons, tapping the top right (vertical layout) or top left (horizontal layout) allows you to quickly return to the start of the viewbar. The viewing bar is scrolled vertically or horizontally, depending on its position.

The View Buttons

Each view button provides information about the object assigned to it. You can now take a screenshot when saving a view (the camera button in the upper left corner of the save dialog) can be enabled.

View button information.

Pressing OK with capture enabled will create a new appearance from the capture and assign it to the view. Screenshot is temporarily unavailable when two or more screens are selected in the “Save View” pop-up.

Encoder bar pool

Store and organize your custom encoder configurations in dedicated pools. Each user profile can have its own pool, ensuring easy access to their preferences. You gain efficiency by quickly accessing attributes and changing their values. Customizing your interface ensures optimal ergonomics and a fluid workflow.

The Encoder Bar will allow you to easily change the attribute encoder wheels and create your own encoder wheels.

The grandMA3 Encoder Bar will offer a new dimension of flexibility and control for your lighting workflows. This functionality will make it easy to personalize the encoder wheels according to your needs and preferences by choosing the attributes to display. You define the attributes and functions you want to control via the Encoder Bar window and organize your attributes according to your preferences for optimal ergonomics.

Fader functionality: You turn encoders into faders for precise attribute control. The encoder area converts into a virtual fader, providing an intuitive interface for adjusting values. The Encoder Bar is a powerful tool for optimizing your workflows and maximizing your creativity in lighting management.

Layouts

In this v2 version, the Layout tool also received an update. When assigning the selection to a layout, only the selected fixtures are taken into account. Fixture sub-selections are not assigned ensuring better accuracy.

Layout tools.

– Creating elements: Assigning an object such as a sequence to an empty element in the layout view creates a new element in both configuration mode and normal mode, simplifying the process.

– Rotation and mirror: The appearance displayed on a layout item can be rotated and mirrored using the “Rotate” and “Mirror” options in the Layout Item Editor. You can create personalized text for an object and orient it vertically for better readability.

– The automatic tool: The automatic tool changes function depending on the area of the object: hold MA and press outside a layout element, in the corners: use the resize tool with a fixed ratio.

– Selection Mode: The Layout Window “Selection Mode” setting defines whether lasso selection inside a layout window should result in a linear selection or a 2D grid layout within the grid. Depending on the mode selected, the color of the frame will be different: 2D Grid: Green – Linear: Yellow

The lasso filter settings define which layout elements will be selected during a lasso selection:

– ALL: All elements will be selected
– Fixtures: Only the fixtures will be selected
– Other: The elements “object” or other will be selected

Time code

Sounds can now be assigned to dedicated tracks in time code shows. The waveform of the audio file is displayed in the time code track for better visualization.

The time code view.

When playing the show, sounds are played through the set audio output device. If the audio file used is corrupted, a special icon is displayed, indicating a problem generating the waveform. A pop-up window informs the user of the nature of the problem.

– Selecting multiple time code windows: It is now possible to select several time code windows for simultaneous management.

– Recording time code events: The “Recording of time code events” setting in the Preferences > Timings > Global menu allows you to choose which actions to record:

– Single User: Only the actions of the current user are recorded.

– Multi-User: The actions of all users are recorded.

– Selective recording and playback: The new “Play and record time code shows” setting defines the types of events to play and record.

– Manual Events: Only actions triggered by the user are taken into account.

– All Event: Automatic actions (following cues, etc.) are also included.

Station Control allows you to visualize everything in the network.

The Fixture Sheet can monitor your environment in real-time. It gives you a complete view of your show, allowing you to instantly react to changes and adjust your settings.

Creating fixtures

Fixture creation has also been redesigned to provide increased flexibility and power. You can now create unique, custom machines not found in MA Lighting’s extensive library, letting your imagination and creativity run wild.
These major enhancements give users full control over the 3D environment and virtual fixtures, allowing them to bring to life shows that are more realistic, more complex, and more captivating than ever before.

Creating fixtures.

Training

Do not hesitate to explore the training courses to exploit the full potential of this console in v2. You will thus be able to acquire a complete understanding of the console’s functionalities and the operation of the fixtures, acquire programming techniques and create lighting effects to boost your creativity and obtain recognized certifications to validate your skills.

Conclusion: The GrandMA3, the F-35 of stage lighting

The GrandMA3 is not a simple lighting console, it is a partner who will accompany you on all your lighting adventures, a creative war machine that puts in your hands the power to transform your dreams into creative light shows. With its blazing speed, acute precision, and infinite capabilities, the GrandMA3 allows you to:

– Produce spectacular light shows in record time
– Manage your fixtures with unrivaled precision.
– Create stunning and immersive effects.
– Explore new control and synchronization possibilities.

So, don’t wait any longer! Take control of the GrandMA3 in V2 and prepare for a unique lighting experience.

More info on MA Lighting website

A souvenir from ISE 2024: the Adamson stand showcasing the VGt.

Unveiled shortly before ISE 2024, the new VGt system, the first model of the Vergence Group, fulfils Brock Adamson’s dream of having a large-format line array enclosure that is amplified, processed, supports Milan and incorporates virtually all the technology designed and built at his factory in Port Perry, Ontario.

Perhaps just the two 3″ drivers are still made in Italy. A few years have passed between the conception of the idea and its completion, allowing the Energia, or ‘E’, to develop. In the meanwhile, two important new features have appeared: a meticulous control of the bass dispersion, and the perfection of a 5.5″ Kevlar dome compression driver.

What has changed between E15 and VGt? Quite a lot. In fact, everything except the wood and the front grille. There’s a 5 kg difference between the new version and the so-called old version. This is a negligible weight gain, considering that the VGt has eight transducers, as opposed to six, in addition to five class D amplifiers and a switching power supply with a total peak output of 10 kW. It also has state-of-the-art processing, Milan stream support, AES70 control and analogue redundancy.

When one considers the weight of the multicore needed to connect the speakers to their amps, this difference disappears like a popsicle in the sun. Externally, VGt’s measurements are closer to E12 than E15, thanks to the new 13″ woofer. The 39 cm of the E15 has become 34 cm, which, with the same array length, means you can fit one more module every seven units.

The rear of the three VGt modules on display at the show. The loudspeaker and its amp and processing module will be IP54-rated. Note the connections, from left to right: the Milan, the analogue and, finally, the mains input and output pairs.

While we wait to get to listen to this newcomer (Guy, Didier… let us know, if you are reading), the real difference we can ascertain is in two values and a polar diagram. While the E15 could go down to 60 Hz at -3 dB with two 15″ speakers, the VGt delivers 50 Hz at -3 dB with its two new 13″ speakers, which are supplemented by a pair of 10″ speakers on the sides. As we’ll see later, the deeper bass is more effectively projected because it’s potentially cardioid.

Another major difference is that thanks in particular to its two new Kevlar drivers and two new 3″ HF compression drivers, VGt delivers 4 dB more than E15, reaching 151 dB SPL and taking the top spot among large-format line array modules, just one little decibel ahead of an American manufacturer from the East Coast, who managed to get 150 dB.

As it should, VGt makes perfect use of its cardioid potential in the lower end of the spectrum and its (presumably) coaxial arrangement behind high-precision waveguides. It provides 90° horizontal coverage with a 6° vertical aperture.

The horizontal dispersion reflects the pedigree of this enclosure, and it’s a strong one. Even the first octave (50-100 Hz) does not exceed 140° and quickly returns to the nominal 90°, except at the crossover frequency between the bass and the two drivers, where a little extra energy is noticeable. The rest is perfect and bodes well for a ‘large format’ range.

Having established this context, we now can turn to Mario Ahrberg, the Head of Applications EMEA, whom we had the pleasure of interviewing in Barcelona, for a few details about this new range, known as the Vergence Group, and its first model, the VGt.

Mario Ahrberg,  Head of Applications EMEA for Adamson.

SLU : What size is the mid-range driver?

Mario Ahrberg : As the M140 reference indicates, this transducer has a diameter of 140 millimetres or 5.5″. It is an entirely new, patent-pending product that represents an ideal combination of driver and cone technology in the midrange band, where it is most needed. It doesn’t introduce any intermodulation distortion over the wide bandwidth in which it operates, from 300 Hz to 3 kHz, meaning that it covers almost the entire vocal range.

Above that range, a 3″ compression driver takes over, with a special phasing component to ensure the optimum horizontal dispersion, where if one driver opens a little too much, the other doesn’t open enough, so you mix the two to get what you’re looking for. The 3″ driver is optimised to deliver maximum performance at the top end of the spectrum.

SLU : In the E15 you were already using the principle of a mid-range cone supplemented at the top by drivers…

Mario Ahrberg : That’s right, there was a 7″ cone driver in a coaxial configuration with a 4″ compression driver. There were two in E15 and only one in E12. The advantage of the new system is that, while retaining the coaxial principle, we no longer need to traverse the diaphragm and… well, I can’t tell you any more about it, the patent is pending (laughs).

The rear section of the M140 transducer, with the two push-lock terminals.

The real/false driver unit with its woven Kevlar dome radiating out from the front.

SLU : The image of the M140 doesn’t show any suspension

Mario Ahrberg : On the front, there is no type of suspension. The membrane, let’s say the Kevlar dome, is glued to the edge. There is a small silicone suspension between the coil and the magnet. This dome is exploited inside a compression chamber, so movements are minimal.

SLU : It doesn’t seem to have an opening to cool the coil. Doesn’t it heat up?

Mario Ahrberg : Yes, of course, but the M140 is a closed load and the heating is, like the excursion, minimal. Heat dissipates naturally through the metal body. There is no loss through thermal compression. Its sensitivity is amazing!

The 13″ and the 10″ transducers.

SLU : The amplifier section includes five independent modules…

Mario Ahrberg : One for each 13″, one for both 10″, one for both mid-range drivers and one for both HF drivers.

SLU : Why did you adopt the 13″ format for VGt?

Mario Ahrberg : Very simple. The reason is the height necessary to generate a nice wave front of 6° vertical and the height of a 13″ is exactly what we need. What’s more, with two 13″ and two 10″ speakers we can achieve the same results as with two 15″ speakers, not to mention the transition to a cardioid pattern. Finally, we gain in efficiency because, with the same size of array, we’re more powerful. Much more powerful.

SLU : Does the type of bass generated by this enclosure combine better with the subs?

Mario Ahrberg : Of course. We’ve done everything we can to deliver the best transient response in VGt and the use of the 13″ is part of that. We’ve used our curved Kevlar cones again in the same way to be more effective at the top end of their useful spectrum while retaining the greatest ability to move air.

Like a microphone, on the left is the cardioid mode and, on the right, the hypercardioid mode.

SLU : You’ve introduced three directivity modes: omni, cardioid and hypercardioid. Since we’re talking about presets, will this change in the future with an update?

Mario Ahrberg : No. We’re going to stick with these three choices. It’s a very complex system to programme and we don’t want to open the door to even the slightest modifications. We can’t see what the advantages might be. With cardioid, we clean up the rear but keep a bit of pressure on stage and on the sides. With hypercardioid, you concentrate on the front but generate a lobe on axis at the rear. Finally, in omni, the 10″ contributes in phase with the 13″, bringing a little more level to the front.

SLU : How do you feed the enclosures with… everything?

Mario Ahrberg : There are six connectors on the back of each one. Three inputs and three outputs. One input for the network, one for the analogue signal and one for the mains. And the same number of outputs. For the mains, as for the other two connections, you go into the first box and link it through to the next two; and so on, three by three.

We’ve chosen to limit the mains and analogue to three units, to make wiring easier, bearing in mind that we’re on 16 A mains. Three units draw the same current as a PLM 20K44, which also drives three E15s, but we output 4 dB more, so we’re much more efficient. Of course we’ve improved the sensitivity of the transducers, but our amps are also more efficient, and we don’t have the loss associated with cables. Inside the cabinets they are no longer than 40 cm…

The control mode in Arrayintelligence.

SLU : With amplification and processing for each unit, you have a great deal of freedom of adjustment, not just in terms of timbre…

Mario Ahrberg : Yes, that’s one of the big advantages. We have an Arrayintelligence optimisation tool that automatically creates FIR filters for the individual enclosures. The advantage is that, since we already provide FIR filters on the outputs, we can add them together and optimise without generating additional latency. On every other system I know of, this is not the case.

SLU : How close is the VGt series to completion and availability?

Mario Ahrberg : We’re currently working on the presets. The electronics and transducers are fine, with perhaps a few minor details to be worked out before we go into full production, but nothing major (smiling). We’re in the final testing phase. We’re going to start taking orders at the end of 2024, but there’s a French company that’s very active with Adamson and… (OK, we get it, Mario. Didier, we’re counting on you!)

SLU : The question on everyone’s mind: why “Vergence” and what do we mean by “Group”?

Mario Ahrberg : Divergence, convergence, that’s the sound, so we’ve kept Vergence; we’ve kept Group because it’s going to be a group of products, and there are new things to come.

SLU : A sub, perhaps?

Mario Ahrberg : It’s called Vergence Group, and it won’t just be VGt. Just bear with us.

For further information: Vergence Group and the VGt

The French manufacturer reveals for the first time its new LED Profile models called Ravel at the cutting edge of technology. They share the spotlight with Tristan, a “2.0” manual LED Follow Spot.

Ravel

Let’s first focus on Ravel, the new profile spot whose 450 W of LEDs challenge the halogen lamps of the 2 kW profiles. Aesthetically, it sports a brand-new, easily recognizable design with an octagonal section. Mechanically, its reinforced design differs from its brothers and sisters.
To ensure its rigidity and that of the elements it holds inside, the chassis is held by longitudinal members. As for improvements, we can say the ventilation, which is already very efficient on other products in the range, has been specially redesigned to be even more efficient and at the same time perfectly silent.

The new Ravel profiles are equipped with two different optical units from the 600SX and 700SX series.

The LED source offers 450 W of white with variable color temperature (CRI greater than 90), a power which will remain fully available regardless of the colorimetry chosen to always offer optimal light intensity, no compromises are made on this point.
The profile offers three different optical units depending on the desired zoom range, 11/26°, 16/35° or 28/54°. It seems very important to note that the Ravels are fully compatible with the 600SX and 700SX series optics.

Rear view of Ravel, its connectors, and its display. We notice the new octagonal design of the fixture.

Concerning control, the manufacturer has emphasized compatibility and the available protocols offering DMX-RDM, Art-Net, and sACN but also advanced functionalities such as LLRP or even “Zero-configuration networking” or “zeroconf”, offering simple and direct access to the fixture via the network without the need for IP configuration.

This range of profiles replaces the Zep2 series, which has now been discontinued, and will soon be developed in Fresnel. The first units should be available in the last quarter of 2024.

Tristan

Overview of Tristan, semi-automated manual follow spot equipped with 800 W LEDs.

It’s Tristan’s turn, the latest development in the famous Robert Juliat Follow Spot family and proud replacement of the Victor. For comparison, for the same flow of 30,000 lumens, we go from 1,800 W of lamp to 800 W of LED, the energy saving is significant!

The dimensions of the body of the follow spot have been reduced by a good fifteen centimeters and the total weight lowered to 37 kg, power supply included (which is integrated into the body of the fixture).

Dans la liste des nouveautés, on remarque la volonté du fabricant de faciliter l’utilisation du projecteur via des solutions techniques automatisées, comme la gestion de l’iris qui devient motorisée, pouvant maintenant restituer des presets préalablement enregistrés sur une console lumière.

 In more detail, most of the user controls with the manual filter holders, zoom and focus adjustment wheels, and the remote screen. The iris control is discreetly placed under the zoom dials.

To do this, Tristan is also equipped with DMX-RDM, Art-Net, and sACN controls and offers the same network functionalities as the Ravel profiles. A small remote screen available as an accessory also allows the follow spot to have a direct view of its dimmer and iris values.

Just a quick word on the manual control of the beam reducer, the user interface of which takes the form of a bar-type rotary potentiometer with a very smooth feel, discreetly placed just behind the holding handles.
The light engine equipped with an 800 W LED is calibrated for white at 6000 Kelvins and a CRI greater than 90, the dimming of the source is ensured electronically. As for the zoom module, it will allow you to vary the angle of the beam between 7° and 14.5° (the same as on the Victor).
To obtain color, the Tristan retains its classic manual filter holders. Several accessories will be available such as traditional guillotines to cut the beam or even a gobo holder module.

For more information go to the Robert Juliat website

First visual contact with this new LED and waterproof Viper, it seems more muscular than its “big brother “

Every lighting technician and lighting designer knows the Mac Viper, the huge success of the Danish brand over the past 12 years, which is still frequently found on tour technical sheets. Martin chose the Prolight+Sound 2024 to formalize the release of its descendant the Viper XIP, follow the guide!

At first glance, they look a lot alike! The new Viper XIP inherits the look and general proportions of its big brother. We notice a slight enlargement of its head, the same slender yoke topped with handles as well as a thinner base, whose layout and appearance are reminiscent (relatively speaking) of those of the recent MAC One.

On the scales, we take 2 kg off. This is always a good idea, knowing that the fixture is fully IP54, which generally tends to make them heavier. This weight gain is also justified by the abandonment of the lamp and its electronic ballast for a white LED source of 760 W at 5800 K entirely developed and manufactured by Martin (five-year warranty) which uses the same 20 W cells as the MAC Ultra.

The Viper XIP LED was entirely designed and developed by Martin. © Martin.

This source will allow the Viper XIP to produce 28,000 lumens at the front lens output. We continue to browse the curriculum vitae of this Viper version 2024, noting that the zoom, which was then limited to 10° in a tight beam, can now reach the value of 5°, now that is a Beam! In wide beam, we have a nice aperture of 51°.

Innovation, the “light recycling” system allows a gobo projection to be 25% brighter and the iris to lose only 2% of flux, to be continued! Still, on the subject of gobos, the fixture is equipped with two rotating glass gobo wheels with seven positions. Five per wheel are borrowed from the MAC Ultra and Martin slips in two new ones.

Video presentation of the Martin Mac Viper XIP by Bjorn Stolt Design & Application Engineer

The beam will also encounter on its way a CMY trichromy supported by a progressive CTO allowing the white to be heated up to 2850 K and an additional color wheel. It is on this wheel that we will find the “Spectral Enhancement Filter”, which will increase the CRI of the fixture to 90 for a few lumens. This new Viper also integrates not one, but two progressive frosts, one smoother than the other.

Combining the strengths of the different versions of the Viper series into a single head and thus rationalizing its ranges, Martin decided to release only one version of MAC Viper XIP. It is therefore quite natural that it includes a framing blade/shutter module with four fully inserted blades, movable through 30°, all mounted on a cassette whose orientation can vary by +/- 83°. Finally, a rotating four-faceted prism and an animation wheel complete the range of effects of our moving head.

The Martin stand at PL+S 2024, the MAC Viper XIP at the center of an inverted MAC One pyramid.

An important point is the cooling: Still with this aim for versatility we find several cooling modes that will favor flow, noise (almost silent and therefore appreciated in theaters), or a compromise between the two.

The new base of MAC series moving heads and details of its different connections. © Martin

The Viper XIP is controllable in DMX & P3, but also in Art-Net and sACN, equipped with an active Ethercon input / output acting as a switch (with integrated bypass).
The fixture will also be configurable via NFC technology and the Martin Companion app, available on iOS and Android.
A very nice technical sheet full of promises for a Viper which has already caught the eye of service providers and rental companies.

For more information on the Martin website

The sold-out tour of Lomepal came to a triumphant culmination at the Accor Arena in Paris, with three exceptional concerts. An immense audience, singing along to the French rapper’s every hit, created such a close bond that the artist was overwhelmed by moments of intense intimacy.

The impressive view of the L-ISA system with its seven arrays.

The technical side of things was also outstanding, with an immersive L-ISA sound system used throughout the tour, which was justifiably exaggerated for its three Paris dates, with a total of 216 L-Acoustics enclosures, 144 of which in the main front arrays to cover the entire Arena without any delays.
The view of the system is impressive, as is the sound. Let’s take a closer look at the technology provided by Melpomen B-Live (L-ISA) and Don’t Give up (mixers and backline), with Vladimir Coulibre, Etienne Tisserand, Sylvain de Barbeyrac and Manu Mouton.

From left to right: Vladimir Coulibre (System and L-ISA Engineer), Etienne Tisserand (PA Manager) and Sylvain de Barbeyrac (FoH Engineer).

SLU : The L-ISA system we are about to look at is identical to the one used on the entire tour?

Vladimir Coulibre : The L-ISA configuration is the same for all the concerts on the tour, except for the festivals. It allows us to provide sound for all the venues without using any delays. Here at the Accor Arena, the only parameter that changes is the number of speakers used in each array because we have to throw out to 105 m. The Accor Arena is just another venue and there’s no reason to change the setup. We’ve just made the necessary additions to handle its depth.

SLU : Can you give us a run-down of the L-ISA system used here?

Vladimir Coulibre : : In a L-ISA system, we have the main frontal arrays of the Scene system, which corresponds more or less to the performance area (of the group), and the Extensions, which represent the expansion of the panorama. Here we have a FoH configuration of five Scene arrays, plus one Extension on each side. That makes a total of seven arrays.
The three central arrays are each made up of 18 K2 loudspeakers, supplemented on each side by two arrays of 24 KARA IIs. At the ends, there are two arrays of 18 KARA IIs each. We round this off with 24 KS28 subwoofers in the centre, suspended at the rear, and the entire lower section, which we adapt to provide perfect sound coverage for the audience at the front of the stage.

The immersive frontal Scene section of the L-ISA is made up of three central K2 systems and two KARA II systems at either end. Oriented differently, the out-fill in 12 K2s and four Kara IIs covers the off-centre tier seating outside the immersive field. Note the LA-RAK II flown behind each array.

We also added subs on the floor but, because the stage is asymmetrical, we positioned them as best we could to deal with the scenography and visual constraints. All the subwoofers are cardioid.

Subwoofers on the floor and KARA IIs as front-fills, not so simple on an asymmetrical stage.

We then have KARA IIs as front-fills to cover the intersection of the K2s, and A15s on the side as classic stereo fills. The L-ISA processor drives all the speakers.

To supplement the Kara IIs, four A15 Focus enclosures with a perfect box-to-box interconnection serve as in-fills and external front-fill.

SLU : What was it like on the tour?

Vladimir Coulibre : On the tour we used the same kit, but scaled for Zenith-size arenas. We had a base of 12 K2s instead of the 18 K2s here at Bercy. Everything else was scaled accordingly.

2.7 tons of KS28 subwoofers in a central cluster. 2×12 subs in a +3/-1 cardioid configuration. It’s big, it’s precise and it reaches far.

SLU : How do you determine the number of panorama extension arrays?

Vladimir Coulibre : Technically we can do whatever we want. We could go up to 11 arrays. The L-ISA system must be able to be used on a daily basis, to fit in with the economics of touring and the constraints of the installation. On this tour of arenas, we stopped at seven hangs, which is more than sufficient and effective.

SLU : Are the subwoofers always in the centre?

Vladimir Coulibre : It’s recommended to position them in the centre to improve the uniformity of the spatial effects, as well as the coupling with K2s. In rooms where it’s impossible to hang so many subs in the centre, I put them on the floor. They’re driven by a mono down-mix.

For this evening, those on the floor are controlled on an Aux send in L-ISA, to disconnect them from the flown subs and avoid a notch between the two sources at the top and bottom, or at least to make it as unnoticeable as possible.

The three LA-RAK II AVBs flown on the rear of the clever I-beam designed for touring, 36 channels of uncompromising amplification for the K2s…

SLU : And the amp racks are flown, as well?

Vladimir Coulibre : Yes, we have the LA-RAKs flown behind each system to allow for greater height and reduce cabling. Each system receives a 32 A 3-phase power supply, primary and secondary AVB, AES cable for the analogue that provides a third layer of redundancy, as well as the laser. The AVB connection supplies the audio and control signals.

SLU : Are there no surround systems?

Vladimir Coulibre : To design an immersive 360° design, you must start from the constraints to determine what is possible. Using surround sound in a large room would mean installing some rather massive systems to exploit it or, if not, it would mean using it only for reproducing rather subtle sound elements. On this production, there was no reason for this, either artistically or in terms of cost, feasibility, or installation.

Each musician has his or her own sub, so they’ll get fantastic sensation in the low end!

SLU : What about the monitors?

Vladimir Coulibre : On stage, there are two side-fills and each musician has a subwoofer, in addition to his IEM, to reinforce the presence. Monitors are positioned under the entire length of the thrust stage, allowing Lomepal to have a clear monitoring at the positions marked, when he removes an earphone. The IEM receivers are Wisycom.

Ahh… the good old, galvanised grating WITH sound.

SLU : I can see some really nice microphones on stage!

Sylvain de Barbeyrac : The choice of microphones is a question of colour. I mix vintage types with very modern ones like DPA, Royer and Schoeps, to give the miking a studio feel.

Vintage and modern microphones on the amps to adapt the sound to each song.

On the guitars, for example, there are always two mics per amp. That way I can change the sound whenever I want. I really like the old Sennheiser 421 and 441, but also the old series of Beyerdynamic mics like the M201 or the M160. There are six of them on stage.

All the wireless mics are Shure, with a KSM11 capsule on the lead vocals, which I run through a Rupert Neve Shelford channel strip located in monitor world, so that we all get the same sound. I process the vocals as little as possible and choose the right capsule to get the right sound.

The monitor racks, with the Shelford Channel on Lomepal’s vocals, visible under the Shure receivers in the left-hand rack.

However, new tools such as the Soothe Live plugin from Oeksound have helped a lot to achieve a result very close to what I would have done in the studio. As this show is played entirely live without any computer or tracks, the way in which each source is captured is essential.
That’s why I use Rupert Neve Design RMP-D8 preamps on the synthesizers and 5211s on the drum mics.

SLU : What about the console with the L-ISA processor?

Sylvain de Barbeyrac : We’re coming out of the Avid Venue S6L console with three MADI streams to the L-ISA processor, which then sends the audio to the AVB-equipped amplified controllers.
We have a second processor as a spare, but it has never been needed. Each spatial object is driven post-fader for each channel, of which there are 96, as a direct output. I still have a few channels that I use for effects.

S6L for the mix, outputting MADI to the L-ISA processor.

I set up the desk like a stereo mixing console, but without processing the groups and masters, keeping all the processing at the channel level, to enable me to mix at festivals where I don’t have L-ISA reinforcement, but a left/right. We played a total of 46 L-ISA dates in arenas with a full immersive set-up.

SLU : Is the L-ISA Controller software easy to use?

Vladimir Coulibre : Yes, that’s the idea. We have a ‘Soundscape’ tab that shows the object localisation. The dotted lines are the axes of the loudspeakers, and the white is the stage, the performance area, which we adjust so that the spatialisation is consistent with the reality of the set.

Vlad’s FoH with, from left to right, LA Network Manager, L-ISA Controller and M1.

All the numbered points are objects, which we can group together if necessary. One tab gives access to the snapshots that Sylvain controls from the console.
There’s a lot of collaboration between the L-ISA operator and the sound engineer. I’ll assist him by moving the guitarist’s object, for example, when he comes down onto the lip of the stage. We could also control each object via a plug-in from the console, but since there are no sequences on this tour, manual sequencing of snapshots and tracking the musicians occasionally are more than enough.

The seven immersive Scene systems in the L-ISA Controller.

SLU : What algorithm does L-ISA use?

Vladimir Coulibre : The base algorithm is VBAP in the frontal system. A WFS base is also integrated for processing spatial fills for front-fill speakers, because VBAP is a multi-pan, which makes it more difficult to use over a very wide and shallow space.

SLU : What about other routings, not destined to the FoH?

Vladimir Coulibre : We don’t need to see all the mono, stereo or LCR feeds, because we don’t have to do worry about them. The L-ISA processor generates all those down-mixes without us having to do anything.

The down-mixes are automatically handled by L-ISA.

The floor subs which, as mentioned above, are on an Aux, and the front-fills are all in these down-mixes. We also have a Stereo Mapper that we use, for example, for the sound of the first part. It’s not managed as an object but goes directly into L-ISA processing. Everything is very simple for the operator.

SLU : I suppose this changes the way you mix?

Sylvain de Barbeyrac : Nothing gets summed in the console, so it’s very different from a conventional left/right. The L-ISA controller is very straightforward and, for me, quite easy to get the hang of. I’m not familiar with every aspect of the software, but what I need when I’m mixing is readily available, which means I can take control of objects during the mix and move them around. I make sure that the location of each source corresponds to the placement of the instruments and musicians on stage.

SLU : What parameters can you adjust on objects?

Vladimir Coulibre : The first is panning, which allows us to move the object from right to left. We can also move it further upstage instead of bringing the level down on the console. That way, it drops in amplitude and the high frequencies roll off appropriately, as well. Another function allows objects to be “snapped”.
As we’re working on a VBAP basis and in 2D, when you move an object, it’s in a maximum of two speakers with the Pan tool. The snap allows the object to be placed in a single speaker (a single array – ed. note). This is important and reflects L-Acoustics’ approach to immersive sound, which is based on the loudspeaker.

The design of the system plays a decisive role in the quality of the spatialised sound. This allows sound to be placed in a single array, to eliminate any interference and make maximum use of the system’s projection characteristics. This is what we do with Lomepal’s voice, which is snapped to the centre to ensure 100% intelligibility.

Object parameters and snapshots with object 62 snapped to he centre array. That object is the voice of Antoine Valentinelli, A.K.A. Lomepal.

SLU : Can an object be output from more than two arrays?

Vladimir Coulibre : Two with the pan, one with snap. Then you can use the Width to ‘widen’ your panorama. The localisation is preserved because the energy is still focused on the object. This makes it a little more diffuse. Compared to WFS, the approach is different. In both cases, you must cover the audience and position the objects for better perception. With the use of Width, your object can then be spread over more than just two speaker systems.

SLU : If you snap an instrument to the far left, does everyone perceive it correctly?

Vladimir Coulibre : Yes, the frontal sound is basically immersive because the source objects are disconnected from one another, and the sound engineer gives the audience the possibility to decide to focus on one object or another. If I choose to look at the guitar, I focus on it and pick it up perfectly. In reality, immersive sound is not a one-way street created by the system, but also depends on the listener. It depends both on what you are playing and on what people are perceiving, depending on what they choose to look at.

It’s my job to ensure that the design and allocation between the arrays are as consistent as possible, in terms of how they are perceived by the audience. On the system, we optimise the inter-element splay angles (energy distribution), the horizontal directivity (mechanical modification and preset in the array) and the horizontal angle of the systems (the coverage between each system).

The front-of-house system prevision in Soundvision, with a 10 dB difference between the hot spot facing the stage and the upper tier of the stands.

SLU : Are the front arrays not aligned in parallel?

Vladimir Coulibre : Well, no. The centre array is pointed straight, with a horizontal dispersion of 110°. Those next to it are slightly angled towards the centre. So when you’re on the right in the audience, you also benefit from the left-side system.

There is a natural relationship of distance to the object as an audience member. This may be minimal or a little more pronounced, depending on the design of the systems that we deploy and use in Soundvision.

SLU : Can Soundvision predict the quality of spatialisation?

Vladimir Coulibre : Yes, as well as providing all the classic information for L-Acoustics systems: coverage, SPL, frequency response, weight; it delivers an additional metric to define the L-ISA zone and the SPL that will be generated there.
Position data is then imported into the L-ISA Controller, which handles the concept of source position versus object position, and into the LA Network Manager for levels, delay and frequency management. They are separate because each has a specific job to do.

The L-ISA rack with the P1, the LS10 AVB switches and the two L-ISA processors.

SLU : Are you the only ones using this speaker configuration?

Vladimir Coulibre : I think so, in terms of the system approach. It’s a speaker-based approach. But I don’t know all the solutions that exist. Immersion in the studio means you have a sweet spot.
Live, you have a performance, a system and an audience. It’s another way of looking at the system approach to spatialised sound. It’s also tied to the speakers we use.

SLU : Speaking of which, how do you set up a system like this?

Vladimir Coulibre : Like a conventional left/right. Temporal alignment, tonal balance and frequency smoothing. The concept is that I give Sylvain the same tonal balance every day in each room. A small room, fewer speakers; a large room, more speakers.

The P1 processor and M1 software are used to measure the acoustics. I place a microphone in the centre and test all the systems using sequenced measurements. Then I take multi-measurements to smooth out tonal variations between the K2s, KARAs and extensions. The delays that I configure are only for speakers outside the immersive zone.

A tuning that maintains the tonal balance demanded in all the rooms, which in this case is also indicative of the musical style.

SLU : So, in this system, you don’t add any delay?

Vladimir Coulibre : In the main system, no. The aim is to have the least amount of interference and the least amount of distortion on the objects. When you place one between two loudspeakers, there’s bound to be some interference. But because the separation between the systems is so narrow, it’s hardly noticeable.

L-ISA quality indicator in Soundvision, here during the concert at the Arena in Bordeaux, a venue whose shape is perfect for immersive sound. 90% coverage and 82% L-ISA coverage!

In fact, this is one of the criteria we use when we’re doing the design. We have templates and a software tool that gives us the ideal distances. In the various venues we visit, the distance between the systems remains the same. This is essential for the design to work and for Sylvain to always be able to recreate his mix.

SLU : What if you have to go into a room where the speakers have to be positioned differently?

Vladimir Coulibre : Going from a big venue to a theatre means using a different set-up, and you’ll have to change and rework your mix, that’s just the way it is. But what we want is consistency on the various dates. We haven’t changed anything except for the extensions, which we’ve sometimes moved closer together. L-ISA allows us to keep the same simple, smooth and practical setup.

SLU : What was the rationale behind the choice of L-ISA system on this tour?

Sylvain de Barbeyrac : We recorded the album live, with a configuration very similar to the setup we have today for this show; no computer and no sequences. The desire for greater precision and a better sound image quickly came to mind and I soon came up with the idea of offering a spatialised sound system.
I hoped to be able to reproduce the sound of the group and of each instrument as well as possible. I spoke about it with Vladimir and then Lomepal, and the production team came to hear a presentation of a L-ISA system at L-Acoustics. It all happened very quickly. The artist was convinced!

SLU : So the artist gives the green light?

Sylvain de Barbeyrac : Lomepal is very attentive to all the technical aspects of his work, including lighting, video and sound. He is also the co-producer of his show. With the L-ISA system, the voice always comes from the same direction and is always very intelligible, everywhere in the auditorium. That was one of the first things he noticed.

SLU : Was the decision already made?

Sylvain de Barbeyrac : Yes, knowing that we’d have to go from playing arenas to summer festivals and back to stereo. So I set up the console as if I were in stereo with groups and a master, and without any processing. I only process the channels. When we went to the festivals, the console was already ready and it worked really well.

The distance of FoH from the stage reflects the effectiveness of immersive object-based sound.

SLU : It must feel strange going from L-ISA to stereo

Sylvain de Barbeyrac : It was quite exciting actually. The set lists and the shows are different. Mixing in stereo during the summer made the mix evolve in a very positive direction. I memorised the console over the festivals and when we came back to the arenas, I was able to take advantage of it and improve my L-ISA mix.

SLU : Are there extra costs?

Vladimir Coulibre : Yes. Taking a step up in quality always comes at a price. We’re talking about 25% more. We need to consider how the audience will react to it. This increase is made all the more meaningful by the improved listening quality in 80% of the tier seating in the arenas. The improvement is enormous. Audiences come up to us and tell us that it sounds good, much better than in stereo.

SLU : Was this your first experience with immersive mixing?

Sylvain de Barbeyrac : Yes, I wasn’t familiar with the software, nor did I know how to run a live immersive system. What I did know was how to mix Dolby Atmos and 5.1 in the studio. In rehearsals we had a separate studio with a stereo system and a L-ISA system made up of smaller speakers, scaled to reproduce the same sound signature as the K2 + KS28 touring system. I recorded the musicians rehearsing in the studio next door, which allowed me to work on my own…

The scaled-down L-ISA system during rehearsals.

SLU : Were you already familiar with this venue? What’s the difference working with L-ISA?

Vladimir Coulibre : We’re achieving intelligibility, localisation, respect for timbre and panoramic possibilities that would otherwise be impossible. It’s a plus for the audience.

SLU : When you mix with L-ISA, does it change much on the console?

Sylvain de Barbeyrac : It really does. I don’t need to produce or remove elements that are stuck in a very busy sound image. For example, I don’t need to force the snare drum, which is often a left/right subject. Because here it’s placed in its own localised system, I don’t need to force it. In stereo, because you put a lot of things in the same place, you do a lot of equalisation and compression. In this case, I’ve only had to make slight corrections.

The very practical object groups in L-ISA – in this case, the drums.

In hindsight, it’s easier to mix in L-ISA than in stereo, because I don’t tend to overproduce every element. I’m much more into naturalness, and if it doesn’t work like that, I question the choice of a microphone or the sound that’s causing a problem in the arrangement.

I’ve realised that stereo synths or guitars are also very effective in mono when it comes to localising them to a precise position, which translates into impressive clarity in the sound. This makes for a much finer mix.

SLU : What about the voice?

Sylvain de Barbeyrac : In my opinion, this is the system’s greatest asset, especially for this style of music where the lyrics must be perfectly intelligible. Wherever you are in the hall, it doesn’t get lost. Even in the upper stands at 105 m, it’s impressive, the voice is right there.

SLU : Are there any changes in the dynamic range?

Sylvain de Barbeyrac : The main difference is that I have to manage the dynamics of each element without using buses, but according to their individual needs of each. It’s very interesting and stimulating to have to change your habits, it sometimes makes you doubt, but you get out of a certain routine in the way you mix, and I really enjoyed that. I’ve learnt to listen differently, and I think that’s had an impact on the way I will mix concerts in stereo in the future.

SLU : …and greater freedom?

Sylvain de Barbeyrac : I have a VCA that handles everything except the vocals, and several times during the concert I’ll bring the whole mix down to a new level. It’s difficult to do that in stereo because I’d lose too much intelligibility. But in this case, it’s great to be able to use full dynamics. You can take the audience into a very intimate space and then grab them with a lot of dynamics.

Spatialisation allows us to follow the musicians’ movements on the stage.

SLU : So it’s better for the sound engineer?

Sylvain de Barbeyrac : With this notion of focusing the instruments, it’s easy to pick up. I also used pan effects linked to the BPM, which are already prepared in the form of presets that can be edited. On some tracks the mix is rather rigid, on others it’s much more flexible.
I was a bit cautious at the start of the tour, I didn’t want to use the spectacular effects too much. But as the concerts went on, I realised that certain spatial effects made the mix come alive. It creates a nice depth throughout the show with special moments that create feeling.

L-ISA provides access to a lot of adjustable effects.

SLU : What do you do with the reverbs?

Sylvain de Barbeyrac : It’s the same as always. I haven’t changed the way I do my effects, except that I can hear them better. For Lomepal’s vocals, I’ve localised the reverb in his system. The same goes for the backing vocals. It’s very interesting because the effects of each don’t interfere with those of the others.
I place the larger, more impressive artistic effects in the Extension arrays. On the other hand, I don’t use the ‘Room Engine’ reverb of the L-ISA processor because, in arenas that are very resonant, it doesn’t lend itself to it. If we were in a theatre that was much more dead, we might consider it.

SPL and spatialisation under control during the show.

SLU : Does L-ISA allow you to get punch?

Vladimir Coulibre : The concept of dynamics is linked to the audio path (miking, console processing, loudspeakers) but also to temporality.
When you can put objects in any speaker, you maintain 100% temporal integrity. The listener receives everything perfectly well.
We don’t have a tool to measure this temporal integrity. But it remains very important. It’s this dynamic that gives this sensation. It’s a freedom to have this amount of energy that we rarely have in left/right. You gain a lot with L-ISA.

SLU : Could this improve the sound quality in certain venues?

Sylvain de Barbeyrac : Yes, we have fewer problems in those rooms that are known to be acoustically complicated. We also generate fewer problems using L-ISA, because we excite the room less in terms of level. In some rooms, the difference was really obvious. I don’t have to be loud to be intelligible.

Even if you’re up against the wall of the furthest tier of the stands, you can still hear perfectly. Truly impressive!

SLU : And what does the audience have to say?

Sylvain de Barbeyrac : When we do a left/right mix, it’s often a good sign that there are no comments from the audience at the end of the concert. In spatialised mode, people come up to us and tell us how good it sounds. People may not be aware of the reason they liked it, but they talk about it and notice a difference.
Unlike with stereo, we’ve tested and know that audiences have a much more coherent experience whether they’re sitting, standing or off-centre… it’s a real pleasure to know that they can hear the same mix wherever they are.

SLU : What are you planning for the next tour?

Sylvain de Barbeyrac : It always depends on the project. You can go immersive if the project calls for it. And it also depends on the artist. There are a lot of factors involved. It’s case by case. But personally, I’d be happy to do it.

Before the show, Vlad has a quick look at the MADI patch…

SLU : Do you see any limitations with the L-ISA system?

Vladimir Coulibre : I’d rather talk about constraints. We only went back to left/right once because it wasn’t possible to hang the L-ISA systems. It was no big deal and, what’s more, it allowed us to check that the setup worked well in stereo, as we were going to do a series of festivals.

Moving backstage, we meet Manu Mouton, Talent Boutique’s Technical Director for the tour, and Etienne Tisserand, who is in charge of system deployment. Of course, we take the opportunity to get their impressions.

SLU : As Technical Director for Talent Boutique, what are your thoughts on immersive L-ISA?

Manu Mouton : We had already done L-ISA on Christine and the Queen and with Vladimir. The fact that there’s good sound in 80% of the audience in immersive mode, compared with 20% for the left/right, means a lot to me. Even on the sides where you’re outside the immersive coverage, you still immediately feel that you’re inside the sound.

SLU : You’ve designed a very practical I-beam for flying the arrays and amp racks!

Manu Mouton : When we first set up for Christine and the Queens, we were a bit naive about the rig. We had grouped the rig on points with motors, and it blocked the front of the stage and put a lot of stress on the framework, while the amps were on the floor. When we said we were going to do it again with Lomepal, I had allocated a budget to deal with this problem.
We decided to put the amps behind the speakers and for that we created these I-beams, to avoid huge and long cable looms. We hoisted a distro box of 32 A three-phase and RJ45, and show up with the 2.60 m I-beam, that’s on the trolley with the LA-RAK IIs, and all the cabling already hanging from it. We pull it up a bit, mount the speakers and off we go.

The L-ISA system installed, with a good view of the I-beams.

SLU : Thanks to this I-beam, the system looks pretty simple to install?

Etienne Tisserand : We roll the trolley under the rigging point, hook up the I-beam, which is ready with LA-RAK II, cabling and bumper. We then deploy the multicores on a grid, which is at the rear. Each array hangs down 14 m, with a 32 A three-phase, two RJ45 AVBs – primary and secondary – an XLR for analogue redundancy and a second XLR for the inclinometer on the bumper.

As we have 14 m of cable loop, we’re independent of the rear grid, which gives us peace of mind and allows us to install cables in any circumstances. The angles are pre-configured and the speaker systems go up by themselves. The A15 systems are also pre-assembled, so all you have to do is put the rack in the right place.

SLU : Isn’t having flown amps problematic, in the event of a failure?

Etienne Tisserand : This has never happened. The LA-RAKs don’t have an RCD, which means they can’t trip. You just need to make sure that the cabinets on the floor are fitted with a 30 mA circuit breaker.

SLU : Is it more complicated to transport and install?

Manu Mouton : Nowadays it’s the same as with a left/right system. As for rigging, with left/right, we have around ten electric chain hoists per side, and with L-ISA we have 22 in all. Practically the same number. In terms of deployment, we have 20% more boxes. Thanks to our I-beams, we can mount them more easily and in all directions, left, right, centre. If you’re blocked on one side, you can go up on the other, and it doesn’t block the proscenium or cut off access. You can ask anyone, L-ISA systems are no problem for anyone.

Etienne Tisserand : For the installation, there are three of us. We have a total of 216 speakers and 84 amps. With two people it would be complicated. We unload at 9:00 a.m. and by 11:30 a.m. the systems are flown. It takes an hour and a quarter to dismantle the arena-size kit. Here, it’s going to take longer. Access is difficult and we have a few more extra boxes.

SLU : What feedback have you received from venues?

Manu Mouton : We get a lot of positive feedback from the managers of venues that are known for being complicated, who tell us they’ve never heard their venue sound like that. With L-ISA, we don’t use any delays. At Tony Garnier Hall we just put a mono stack at the top of the central tier and no delay.

SLU : Finally, are there any limitations with L-ISA?

Manu Mouton : Since this immersive system has quite a visual impact, I asked that no more visual renderings be produced without integrating it. To validate its use, I prepared a file with numerous 3D views to explain what we were going to lose in terms of visual impact from the top tier. Everyone agreed and the lighting team handled it very well. The only debatable point is the rigging, which can be complex if you’re not prepared, but which we were able to adjust perfectly thanks to our I-beams…

Etienne Tisserand : It’s a great experience, a great moment, an impressive piece of kit. The central subs cluster weighs a whopping 2.7 tons and the largest speaker cable we use is only 6 metres long. When you start installing the system, people start asking questions. After a quick check, we set out all the speakers on the floor. When it’s ten o’clock, there’s a wall of speakers right in the middle of the room and that raises questions. You get the feeling that this is still something unusual.

216 loudspeakers for a uniform coverage over the whole arena without any delays, it’s an impressive feat. Even when you’re up against the wall of the highest tier of bleachers, 105 metres from the stage, Lomepal’s voice is clearly present in a mix that retains its full coherence.
With this latest test of its durability and adaptability on a 50-date tour of France, L-Acoustics is proving, with L-ISA and its unique approach to immersive sound, that spatialised sound is no more complex to manage and even easier to mix.
This is reflected in the enthusiasm of the team with whom we just spoke, and in the enjoyment of the audience listening to Lomepal’s music.