The range of affordable ColorSource projectors now includes the ColorSource Spot Junior. With its integrated optics, this profile spot weights only 5.5 kg, twice lighter than the standard ColorSource Spot. And it is twice cheaper as well.
As with all ColorSource fixtures, Junior offers a wide range of colors and precise dimming. It comes in two versions: the Standard one comprising a LED RGB+Lime module generating subtle pastels, and a Deep Blue version incorporating indigo, red, green and lime LEDs for more saturated colors. Junior comes with a complete factory calibration to guarantee the colorimetric persistence within a full rental or venue inventory. It also includes full thermal control of the LEDs, to compensate for the losses due to temperature rise, hence ensuring a perfect color match.
The luminous flux is not sacrified as well. With its 52 Luxeon C LEDs it reaches 5,700 lumens. Remember the ColorSource Spot Standard, equipped with 60 LEDs, generates 6,900 lm. On the other hand, the optics are not interchangeable, but the range of the 25 – 50° fixed integrated zoom reveals to be a perfect match for small stages, clubs, general use venues and shopping malls.
This ETC newbie comes with a 5-year warranty on the whole projector, and (even better) a 10-year warranty on the LED module. All color and photometric data of the Spot Junior, and all ETC projectors are available on the “MyETC: Photometrics“ app.
The new Christie® Griffyn™ 4K32-RGB continues the Christie tradition of delivering unmatched purpose-built projection technology for theme parks, indoor and outdoor sports venues, and other environments where there’s no time for downtime.
With 360-degree orientation capabilities, and the ruggedness rental and staging customers demand, the Griffyn 4K32-RGB includes patented next-generation Trulife+ all-in-one electronics for a blur-free experience, and unrestricted connectivity to eliminate the time and hassle of removable option cards.
The Griffyn 4K32-RGB is Christie’s first projector to offer new digital convergence giving users the ability to select Red, Green, or Blue individually and adjust each colour by remote control, for easy picture-perfect image alignment that saves time and money. Griffyn 4K32-RGB produces an exceptionally wide colour gamut, achieving greater than 96% of the Rec.
2020 colour space—more than twice the colour of Rec. 709 and 50% more than DCI-P3-capable projectors—for a richer, more memorable audience experience. It also features optional high frame rate (HFR) capability to achieve 120Hz at 4K resolution or up to 480Hz with HD resolution for lifelike images.
“Weighing only 175 pounds (79.5 kg) the Griffyn 4K32-RGB is packed full of powerful features that will enhance your audience’s experience including exceptional colour, sound performance below 50dB at full brightness, and superior video processing,” said Brad Martin, senior product manager, Christie. “Users can transport their audience to colourful new worlds since Griffyn not only raises the bar for RGB pure laser projection but soars above it. The Christie line of 3DLP® projectors are market leaders in electronics, illumination, and functionality, and the new Griffyn continues that legacy.”
Christie Griffyn 4K32-RGB at a glance:
– All-in-one, omnidirectional RGB pure laser – compact single chassis, no additional components required – Up to 34,000 lumens while operating at less than 50dB at full brightness – New TruLife+ all-in-one electronics – unrestricted connectivity, eliminating the hassle of removable option cards – New digital convergence via remote control for easy, flawless, image alignment – Rec. 2020 colour – more than twice the colour capability of a Rec 709 projector – 4K lens compatibility – compatible with Boxer and our current 4K40-RGB series
The Christie Griffyn™ 4K32-RGB projector ships in the fall of 2020 with a three-year parts and labour warranty backed by Christie’s industry-leading service and support.
Both Duecanali 6404 DSP+D and Quattrocanali 8804 DSP+D feature Dante digital audio networking architecture and on-board, high-end signal processing, as well as being able to deliver 175 Vpeak, making them ideal for applications where high SPL is required, such as clubs, performance venues and stadiums.
The latest addition to the Due and Quattrocanali series.
As with the other models in their respective ranges, the new Duecanali 6404 DSP+D and Quattrocanali 8804 DSP+D amplifier platforms are able to deliver this high level of performance at a competitive price point and with the same low operational cost and carbon footprint as any other Powersoft product. With this new extension, the new Duecanali 6404 DSP+D and Quattrocanali 8804 DSP+D series now sits coherently alongside Powersoft’s install dedicated amplifier platforms, addressing the requirement for small and large size applications where the channel count is limited and the need for a flexible product to work with Hi-Z and Lo-Z systems is a must.
The new Duecanali and Quattrocanali models all feature Powersoft’s trademarked switch-mode power supply with Power Factor Correction (PFC), Smart Rail Management (SRM) and bridgeable switch mode fixed frequency Class D output circuit topology.
Duecanali 6404 DSP+D
The excellent sound quality and ample output power available from the latest member of the Duecanali range is thanks to Powersoft’s unique approach to Class D amplification, making it well-suited to serving as the main system in any venue where performance is priority. A fully integrated, state-of-the- art DSP yields extensive system management functionality. In addition to sound shaping and limiter functions, the DSP hardware and ArmoníaPlus software enable compliance with the crucial requirements of sound systems for emergency purposes. The Duecanali range is able to drive low impedance loads (2/4/8 Ohm) and 70V/100V distributed lines selectable per channel delivering a maximum output power per channel of: 1800 W at 8 Ω; 3200 W at 4 Ω; 4600 W at 2 Ω; 9200 W at 4 Ω bridged; 6400 W at 8 Ω bridged; 4000 W at 100 Volt and 3200 W 70 Volt.
The series is also versatile, providing status feedback via its front panel LED display or a connected PC running ArmoníaPlus software.
Quattrocanali 8804 DSP+D
In just 1 RU, the Quattrocanali series offers smaller dimensions, lighter weight and the traditionally amazing sound quality and reliability of all Powersoft products.
Quattrocanali Series amplifiers implement a high-efficiency, microprocessor-controlled power supply with built in PFC (Power Factor Correction) that allows flawless worldwide operation with any AC mains voltage in the range 85-275 VAC tolerant to peak up to 400 V. The patented SRM (Smart Rails Management) technology allows to maximise the efficiency of the system and drastically reduce power consumption at any load and usage condition.
The 8804 is able to drive low impedance loads (2/4/8 Ohm) and 70V/100V distributed lines selectable per channel delivering a maximum output power per channel of: 1600 W at 8 Ω; 2400 W at 4 Ω; 1800 W at 2 Ω; 3600 W at 4 Ω bridged; 4800 W at 8 Ω bridged.
The full DSP+D Duecanali range. The very same exists without Dante and internal DSP as well.
With this latest extension, the Duecanali, Quattrocanali, and Ottocanali Series of fixed installation solutions can address a full spectrum of applications, particularly where the channel count is limited and the need for a flexible product to work with Hi-Z and Lo-Z systems is a must.
Both of the products can seamlessly integrate within a networking environment through standard Cat5-cabled and Wi-Fi networks. Remote access via the Armonía Plus allows for full operability, including monitoring and diagnostics, from a decentralised location via laptop, PC, tablet or smartphone. The fully-customisable interface seamlessly integrates all devices in one easy-to-manage screen, so that everything displayed can be monitored at a glance.
The full DSP+D Quattrocanali range. The very same also exists without Dante and internal DSP.
Bending Lite Productions’ Erik Mahowald had a hell of a time on a long tour of duty with American electronic musician and DJ Dillon Francis, well known for popularising the ‘Moombahton’ genre—a fusion of house music combined with reggaeton. Last summer Erik thought of a lighting design for Coachella 2019 based around 60 GLP JDC1 hybrid strobes, but forecasting the major headline events following the reveal.
Photo: Thomas Falcon
Operating alongside Creative Content Director and VJ, Mario Adato; Production Manager, Nathan Rebolledo and Tour Manager, Mike Finn, Mahowald conceived the lighting to drive a set that combined complementary surround elements with making big moments of drama to create a high-octane party vibe for audiences to make them immersed in. In the centre of this was Dillon Francis himself, singing from an elevated booth, housing his CDJ setup. The production team also added several other automated performing platforms for his trademark piñata to rise from behind him during his song Candy.
Photo: Thomas Falcon
Employing heavy back lighting to produce powerful looks Erik Mahowald projected a combination of low light and full blast looks depending on genre. “Dillon plays a large library of genres in 90 minutes and it is important that we take each one of those and curate a mood for each,” he explain. “We break this up into around 15-minute sections, and within each we come up with a world for the content to live in.
“The lighting is important because it brings a huge amount of visual energy to the room. We used the JDC1 in abundance solely as effect lighting. With this, we are able to hit every note and click as well as blow back the audience with massive white outs. Adato and Mahowald work very closely through the process of live execution everything down to colour matching content and lighting to make sure the mood and vibe are spot on. Nathan Rebolledo and Mike Finn also have a huge part in concept and execution, he says.
However, where the JDC1 really stars is in the pods. “The thought behind this was to have an automated attraction that was able to house many different looks for the different worlds. The pods, surrounded by video, create a multitude of scenes. Here the JDC1 was used to its fullest potential. “We programmed it in its highest channel mode to have the full functionality of the fixture. We use every part of the JDC1, down to some looks that just incorporate one or two pixels,” adds Mahowald.
Photo: Thomas Falcon
“Electronic music produces a lot of sounds, which in turn gives us lots of opportunity to accent with light. The JDC1 is great at handling the smallest and the largest of sounds, especially in this quantity.” Along the way Erik Mahowald also added 32 X4 Bar 20 battens, introducing them at the Red Rocks Amphitheatre in Colorado. “It was the first time we had this package at our own headline show—previously it had only been at major festivals.
“When I design I often lean towards GLP products for their output and versatility. At Red Rocks, one challenge that I always have is being able to light the top half of the venue.” He explained that a major design staple in his work is lining trusses with LED battens. “The X4 was a perfect solution as I am able to tilt the fixtures with the rake of the venue seating.”
Photo: Thomas Falcon
The lighting inventory was delivered by White Light and video and automation were furnished by IEP, a Chicago-based production company. Now the production designer is interested to new concepts.
“And once again we have big plans with GLP fixtures in these upcoming designs,” he says. “We specifically have our eyes on [impression] FR10 Bars, and new JDC line fixtures.”
In conclusion he explain the GLP solutions was a resounding success, with both the artist and production team. “The functionality of GLP fixtures is unmatched,” he exclaims. “I am a huge advocate for these products and push every production team to implement the fixtures when necessary” … although he conclude it’s never a tough sell. “This design received a major thumbs-up and Dillon himself loved the way the lights shine through the video with extreme output. The reveal of the JDC1 every night was one of my personal favourites, as it lit up entire arenas without issue.”
As the sun set over Johannesburg, South Africa on the 19th of May in the evening, Mark Gaylard of technical production company MGG had a lump in his throat. He and his crew of twenty just created a replica of the South African flag with 214 lighting fixtures, predominantly Robe, at the company’s premises.
Photo: Duncan Riley
As he watch the horizon, Mark wished that life would soon let him do again the things he enjoy the most wich is running a busy and proactive lighting and visual rental and production company for shows and events. During the Covid-19 lockdown, MGG has manage to be in line with the new environment, becoming an ‘essential service’ provider by offering a virtual studio for broadcasting and streaming. Other activities includes assembling information noticeboards, developing a clever hands-free door opener, and producing essential PPE kit like masks.
Photo: Duncan Riley
“I wanted to shine our lights in solidarity for South Africa, and I wanted to reach out to Robe and the other various #TogetherWeAreStronger and #LightTheSky projects,” Mark explained. “Also, I wanted to highlight the plight of the thousands of freelancers in our industry, many of whom are reliant on food vouchers provided by the #FeedOurCrew initiative.” (see separate Robe News story)
Kevin Rieck, head of drafting at MGG received a request to draw the South African flag which would be outlined in the extensive car park area. “We had previously split our staff into teams to minimize risk and properly social distance, and so had to rely on all departments this time to do the setup.”
Photo: Duncan Riley
Everyone was happy to be together again whilst watching out the safety regulations like social distancing, temperature checks and mask-wearing. General manager Denzil Smith and operations manager Rianda Van Burick measured out the flag shape with some tape, and the lighting fixtures were then set within the design.
The Robe elements listed 24 x LEDWash 1200s, 32 x LEDWash 600s, 16 x Spiiders, 22 x Tetra2s, 14 x BMFL Blades, 10 x Pointes, 25 x LEDBeam 100s and 24 x MegaPointes.
“With so many lights, we didn’t have enough power in the building and had to use two generators,” said Mark, added to which the area suffered a power outage, so they ended up using three gennies … “and no we didn’t cause it!” says Mark. “Everyone had butterflies – there was great excitement, and it was wonderful to get together to do what we do best and miss so much.” A pitch-black sky furnished the perfect canvas to replicate the flag which includes a funky mix of black, gold, green, white, chilli red and blue. It was designed in March 1994 and adopted on 27 April 1994, at the beginning of South Africa’s 1994 first free general election, to replace the flag used since 1928 and represent the country’s new democracy after the end of apartheid. Three of the flag’s colours were taken from the flags of the Boer Republics and the Union Jack, with the other three from the flag of the African National Congress.
Photo: Duncan Riley
Mark and the team were astonished when some random strangers arrived at their premises in order to look closer, having seen the lighting from a nearby bridge on the highway. A strict curfew meant there was little time to get everything set up and put back in boxes within 12 hours. The next morning, there were rumours of a few stiff muscles! Having been at home for weeks on end, the crew were not used to the physical work.
“South Africa has the coolest flag in the world, and as a country we really are all in this together,” ended Mark. “I’m hoping that we will inspire corporate organizations to come up with projects and ideas during this time, and that they’ll turn to our industry to help them create and share a message of hope.”
Ayrton has continued to innovate during C-19, spending the hiatus in preparation for when we are all back to full strength. Now, with the first tentative signs of global recovery, Ayrton is happy to showcase Karif-LT, its ultra-compact 300W LED beam-spot, and the first in Ayrton’s brand-new line of LT (Long Throw) products with long-range applications purpose.
Karif-LT is equipped with a 168mm frontal lens with a zoom ratio of 17:1 and an incredible 2.8°- 47° zoom range, the narrowness of which is unprecedented and unmatched in an LED fixture. A new high-efficiency, low-etendue, compact LED module delivers an ultra-intense beam which, calibrated at 8500K, can generate powerful metallic white light and deep, vivid colours. Karif-LT has an overall output of 13,000 lumens at a colour temperature of 7500K, and a centre-beam luminous intensity of 3,500,000 candelas.
Karif-LT is a creative wizard: its rich feature set includes a CMY colour mixing system, a patent pending multi-position CTO wheel with 7 different colour correction filters, a wheel of 13 complementary colours for infinite pastel hues and saturated colours, 9 interchangeable rotating HD glass gobos and a new innovation in the form of a wheel with 39 fixed gobos (patent pending). Karif-LT also has a glass monochrome multi-position, bi-directional effects wheel, and a prism effect system comprising 4 combinable rotating prisms which, coupled with an ultra-intense beam, can achieve amazingly complex effects. Standard features also include light and heavy frost filters, a dynamic animation effect with speed and fade adjustment and an electronic dimmer for perfect fades.
View the newly released Karif-LT presentation video:
Karif-LT is shipping with immediate effect. Ayrton is proud to offer a broad LED fixture range on the market with luminaires that are the most advanced and optically efficient in the industry.
More information on the extensive portfolio of Ayrton LED fixtures can be found on the Ayrton website
Meyer Sound’s ULTRA-X40 point source loudspeaker has earned widespread acceptance across the full spectrum of demanding portable and installed sound applications and has earned numerous industry awards since its launch in 2019.
Houses of Worship
One of the first ULTRA-X40 house of worship installations is at Willow Creek Community Church in South Barrington, Illinois. TC Furlong Inc. of nearby Lake Forest supplied five ULTRA-X40 loudspeakers for overflow and special event support, with calibration by owner TC Furlong.
“The phase looked like a flat line from 125 Hertz to 20 kilohertz,” comments Furlong. The same new technology was supplied to City Church in Bartlesville, Oklahoma by Fort Collins, Colorado-based Octane Audio. The new point-source loudspeakers serve as outfills and delays within a larger Meyer Sound system.
Installations
ULTRA-X40 loudspeakers were selected for both mains and delay systems for a complete audio renovation at Austria Center Vienna (ACV), the capital city’s expansive international conference venue. ACV currently claims the largest permanent installation of ULTRA-X40, with a total of 34 loudspeakers in seven different halls.
L’Austria Center Vienna avec une ULTRA-X40 épaulée par trois 750-LFC en montage cardioïde. Photo T. Magyar.
“I first heard ULTRA-X40 at ISE in Amsterdam and I was immediately impressed,” recalls Ronald Wittenberg, ACV’s deputy head of event management. “I asked if it would be possible to replace some other planned speakers with ULTRA-X40 and fortunately the production models became available in time to do so.”
Rehearsal Facilities, Clubs, and Corporate Rental
ULTRA-X40 loudspeakers are featured as side fills in a smaller room at CenterStaging, Southern California’s premier rehearsal facility.
“The new ULTRA-X40 with the 750 subs is an amazing combination. It’s just tearing that room up,” remarks General Manager James “Jimbo” Neal. “For its size and weight, the ULTRA-X40 is an amazing box. I can see where it will be a game-changer for Meyer in small session rooms and the corporate world.”
Facile à déployer, un couple de X40 pendant la Fashion Week de Copenhague. Photo N. Magnusson.
Indeed, corporate rental companies have enthusiastically adopted the ULTRA-X40, including Danish partner ShowTech Event Group, which integrated the new loudspeakers into systems for Copenhagen Fashion Week last August.
ULTRA-X40 made its nightclub debut at Zappa in Tel Aviv, Israel, with seven of the loudspeakers installed along with new UPQ-D2 systems.
Tours and Festivals
For the 2019 edition of the Montreux Jazz Festival, ULTRA-X40 systems served as the mains for two of the smaller venues, La Coupole at the House of Jazz and Terrasse ibis MUSIC. La Coupole hosted jam sessions into the wee hours, with participants including Janelle Monáe, Rag’n’Bone Man, Lizzo and Jon Batiste.
Des X40 pour les concerts à La Coupole de la Maison du Jazz à Montreux. Photo : R. Alouche.
Precise coverage control was a key factor due to the 1 am to 5 am time slot, according to FOH engineer Fanny Gaudin. “Adding ULTRA-X40 to the kit, with its extended frequency response and dynamic range coupled with a horizontal rigging option, allowed us to decrease the measured SPL by 5 dB compared to last year, yet eliciting even better audience response.” At the LOCKN’ Festival in Virginia, ULTRA-X40 loudspeakers supplied by DBS Audio Systems provided seamless out fill coverage for LEOPARD™ line array systems at the Garcia’s Forest stage and Super VIP tent.
Une paire de X40 à la face. Photo : N. Magnusson.
“Last year, we deployed different out fill loudspeakers on each stage,” says Dave Brotman, president of DBS, “but this year, we used the brand new ULTRA-X40 point source loudspeakers with huge success. From a system engineers’ standpoint, the new ULTRAs were the perfect complement to LEOPARD. Tuning the out fill systems [ULTRA-X40] on both stages was quick and easy.”
La salle de jeu de John Buitrago à la face pour la tournée de J Balvin. Remarquez ici aussi la paire de X40. Photo : S. Jennings.
At Denmark’s massive Roskilde Festival, ULTRA-X40 loudspeakers were widely deployed for delay and front fill support, and also served as reference monitors at FOH mix positions. A pair of ULTRA-X40 loudspeakers also accompanied the recently concluded North American tour of Latin superstar J Balvin, again as FOH monitors.
“The ULTRA-X40s give me an exceptionally accurate representation of the main arrays,” says FOH engineer John Buitrago. “They have been extremely helpful when there is high crowd noise, and especially during the B-stage segment of the show when the large inflatable props often come between me and the main arrays. The transition between the two sources is seamless.”
Broadway
Moulin Rouge! The Musical marks the first use of ULTRA-X40 on Broadway. When the production moved from Boston to New York, the team wanted to incorporate more lower-profile speakers to allow better sightlines. ULTRA-X40 was ideally suited to the role.
“The set designers said, ‘wouldn’t it be great if it was a small loudspeaker?’” says Sound Designer Peter Hylenski. “I said, ‘great, but it has to do a certain job. It has to have enough power, has to have enough coverage.’ What’s amazing is you can go straight to a product like the ULTRA-X and realize that it can do all of this in such a small package, and it makes the set designer happy, it makes me happy, and it makes the audience happy.”
Introduced on the French market a few months ago by ETC France, the TurboRay has caused quite a stir thanks to its gaping light exit with radial vanes that are so reminiscent of the legendary VL5. This is where the similarity ends, because these vanes are frost filters and its source uses RGBW LEDs. Is it a wash, a Beam? We’ve taken a look at it.
An important distinction is that this is the first fixture that marks the return of High-End production to the United States. The historic factory in Austin, Texas, has now resumed operation for the TurboRay. Only time will tell if this is a definitive return to domestic manufacturing for all of the brand’s products, but it’s already a good start.
What kind of fixture is this?
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It’s not really a Wash; it’s not a Spot at all (or hardly at all, despite its internal gobos), nor is it a Beam. This light can be considered an “effects fixture”, intended for creating luminous ambience in the background of scenes. It responds to the desire of numerous American directors of photography who are looking for a cool-looking fixture, vaguely based on the aesthetic concept of the well-known VL5, but with new possibilities.
Technical and physical details
The unit opened up, with the cowling removed.
The TurboRay is a beautiful little unit, 66 cm tall. The head, reminiscent of a turbine or an airplane engine, has a large-diameter light exit about thirty centimeters across, like a cannon ready to fire.
The moulding seamlessly integrates the ventilation and air circulation vents. The arms and the base look rather dainty alongside the wide, stocky head, but the whole thing has a very elegant design.
For transport and handling, TurboRay is equipped with two large handles on the base, and two small folding handles (flight-case type) on the sides of the yoke arms. A pan and tilt lock provides rigidity to the whole unit, and its weight of 22 kg classifies it as a very light fixture.
The connection panel.
As usual, one side of the base holds the connection panel, while the other side hosts the menu display with its control keys. As far as connections are concerned, there are True1 input and output connectors for the mains supply, allowing you to power several units on the same line, XLR5 input and output for DMX, two RJ45 Ethernet ports, and a USB port for software updates.
The cam-locks with the omega brackets.
Underneath the base, four cam-lock fasteners accommodate the two omega brackets, in either orientation (lengthwise or widthwise, it doesn’t matter). We can only criticize that the omegas don’t have different offset possibilities for the clamps, which would be ultra-practical for positioning the fixture where you want, without having to worry about a truss junction or a structure brace.
Simple and efficient disassembly
The two halves of the cowling that surrounds the head are secured by four captive, quarter-turn screws, the arms are secured by two screws on each side, as is the base. Only the four sections that cover the inside of the yoke arms are removed by means of four screws that are not retained, therefore it is important not to lose them. A single Philips-head screwdriver allows access to all areas of the unit that may require maintenance. The small number of internal parts and the simplicity of the construction, combined with the accessibility of the whole unit, make any necessary maintenance and service simple and straightforward. This is an important consideration!
The rear of the head, opened, showing the cooling system for the sources.
The rear of the head features a set of four 60 W Osram Ostar RGBW (Red Green Blue and White) LED sources. Each of these sources is coupled to a light guide about 10 cm long. Behind the sources, four large heat sinks and a central fan provide cooling.
It is important to note that the TurboRay generates four beams that can be used together or independently of each other. At the output of the four light guides, a module with two wheels is dedicated to beam shaping.
The two wheels have four sectors, arranged in a square, which simultaneously act on the four beams. This module can be disassembled by means of four large Phillips-head screws (or even by hand if it has not been tightened too much) and by disconnecting two small connectors.
The exits of the four light guides.
This wheel is automatically positioned on the first effects section, a frost that homogenizes the mix of the four colors from the sources, and projects four nice shafts of light. The second segment of the wheel, with no frost, allows the light to move directly to the subsequent effects, or simply to the lenses to focus the sources, which will project the small square patterns of the LED chips and use them as an effect.
Without frost and with frost: above, a 21° beam; below, a 5° beam.
Some beam effects with textures created by focusing the LED sources, and with gobos.
The gobo/frost/color module.
The other two segments of this wheel, sort of half-way between gobos and animation wheels (like gobos that are stretched out over a certain length) will texture the beam with a “colander” effect and a “striped” effect.
The second wheel is a color wheel with three colors: blue, red, and a kind of pinkish CTO, identical for all four beams. Their combination with the RGBW mixing of the LEDs provides very nice effects.
A “flower” effect created by focusing the LED sources and playing with the colors.
Situated immediately after this effects wheel module, there is a huge block of four lenses – a bit like a convex lens cut into four equal parts – that fills the entire diameter of the head. These are very nice optical elements.
The four big focus/zoom lenses in quarters on the carriage that moves them back and forth.
The whole assembly moves back and forth, driven by means of a linkage rod and a motor on each side of the head. These act as focus and zoom.
Finally, just before the beam exits the head, we find the signature radial vanes that give the TurboRay its distinctive look. These are attached to the center by free gimbals, fitted around the circumference of a small axial black cylinder.
The frost system at the exit, with its vanes and notched crown.
This cylinder is supported in its central position by four metal spars, just behind the frost vanes. The movement of the vanes is carried out from the outer side through a set of gears, the movement of which is imparted to all the vanes simultaneously through a lateral belt. The mechanical construction seems simple. All the technical solutions employed suggest rather high mechanical reliability.
The operation of the output frost: open/closed.
The pan and tilt drives are made in the conventional way, with a large micro-step motor for each axis, both mounted in the base of the yoke, and with a toothed belt transmission.
The base and the bottom of the yoke. You can see the pan and tilt motors.
The tilt requires some disassembly, specifically of the base of the lateral handle but – since there is no wiring conduit through the axis – replacing the belt seems quite simple.
As for the pan, the principle is pretty much the same, but it takes longer because the belt is encased in the bottom of the yoke arm, and there is a wiring conduit to the axis.
The yoke arms with their drive mechanism.
Controlling the fixture
From the menu, you can select how to control the fixture: either via DMX in two different modes (Reduced, with 25 channels, or Standard, with 53 channels), or directly via Art-Net. You can, of course, configure a whole host of options, such as pan and tilt inversion, different dimmer curves (four of them, including the “Square-law”, which is particularly smooth and is shown below), and also different driver frequencies of the LED sources, which is a particularly valuable option when you need to coordinate with the cameras. A “Red Shift” option simulates the reddening and inertia of a filament lamp when it fades out.
The colors R, G, B and white.
DMX control channels
The reduced mode, which has 25 channels, drives the fixture globally in RGB, without taking advantage of the quadruple source except through a few simple animation macros. In extended mode, with 53 channels, you also have access to independent control of the RGBW diodes, dimmer and shutter of each source. At the console, you thus virtually control five fixtures: the four “quarters” of the beam and the “main” fixture with pan, tilt, zoom, general dimmer, gobo wheel, color wheel, etc. This operating mode, contrary to what one might think, is not bothersome at all, and allows you to create really original effects very easily.
CMY emulation.
Measurements
Since Turbo is primarily designed for producing backlighting effects, we didn’t subject it to the same comprehensive testing that we do on principal lighting fixtures. We did, however, subject it to illuminance measurements. With the beam at its tightest zoom angle of 5.6° and all LEDs on at full power, we measured 23,000 lux at the center at a distance of 5 meters. At its widest angle, 22°, we get 2500 lux. Another important parameter, the linearity of the dimmer, is excellent even at the lowest percentages.
The light
The TurboRay, as we have seen, is first and foremost an effects fixture, the interest of which lies as much with the volumetric aerial impact of the light it emits as with the appearance of its output. It is not an extremely powerful unit that blinds everyone with a phenomenal amount of light.
Gobo projection.
but it is a clever and very attractive fixture that delivers unique effects, a fixture that is intended to be visible as a scenic element. The four 60 W sources together deliver a very effective light that is sufficiently powerful for the aerial effects it is designed to produce. The light is made up of a “baton” of light with soft edges, which can be brought to life through playing with the four beams that form it, but also through all the effects that can be employed to sculpt it and give it different looks.
Some examples…
… of TurboRay’s effects.
First of all, the zoom
The zoom allows you to tighten and spread the beam from 5° to 21°, but also to make it adjust to different focal lengths to obtain different textures, depending on whether or not. you use the primary frost, and then, whether or not you add the gobos. The look can go from a simple shaft of light, to a very nice wash, to a very tight “flower” look or even “splintered” beams. I’ll let the pictures give you an idea of what they look like.
The unit in motion with a tight and split beam.
Each source being independent, it is of course possible to obtain four beams of different colors (or even to animate them with an effect generator, both in dimming and color), to create a beam with very special characteristics and the quadruple independent output of which offers spectacular possibilities. It’s all a question of proportions.
In short, we’ve quickly gone through the functions, but one could spend quite a bit time tinkering with countless possibilities. The play of the color wheel in combination with the native colors can also produce very nice effects. It’s a machine that the operator will have to come to grips with and spend time with to create “libraries” of effects and combinations that are ready to use. You can do so many cool things with it that experimenting with it is a real pleasure. I myself had a lot of fun tinkering with all these possibilities without wasting too much time (until someone came along and told me “here are the keys, don’t forget to turn the lights off when you leave”). I know that some people are weary of doing and seeing everything, but fortunately I’m still able to marvel at a cool and original fixture.
Conclusion
TurboRay has many qualities, and it doesn’t just “look good and be quiet” behind artists on a TV set… Capable of beautiful backlighting effects, it has a very unique and interesting quality, it’s a real vehicle for new effects. Particularly suited to “small” places, to reasonably sized stages or TV production sets, it is absolutely brilliant in close proximity. I almost feel like saying that the smaller the place is, the more this large and special lens will be able to stand out as a remarkable aesthetic element.
It’s sort of a unicorn, with a relatively modest retail price for a fixture of this quality and capability. It is designed for very specific applications, in TV or on stage, requiring a light created with fixtures that “exist”. It’s also a must-have fixture that some cinematographers won’t be able to resist and will do a lot of really cool things with. Personally, I love it.
Our industry is full of talented and creative people who, most of the time, careering through life and business at breakneck speeds, don’t have a moment to spare for indulging their ‘other’ passions in life! The various lockdowns worldwide have changed all that, freeing up time for so many ‘additional’ skills to flourish. Xavier Demay, general manager of French rental company Dushow is one of them!
A singer, songwriter and guitarist in his ‘other’ life, he called on some of his friends and colleagues to help him in a little DIY recording, which resulted in the catchy new track “Never Ending Sunday”, a tribute to health workers and heroes in the age of Covid-19 and a true story of ‘life under lockdown’.
This tested Xavier’s musical, technical and multiplexing talents. In addition to writing the music and lyrics, he was the lead vocalist and guitarist and mixed sound and video. Posted on YouTube and Facebook, it’s been an instant success receiving over 6000 shares so far.
Xavier always dreamed about being a musician as a child, but his career didn’t quite work out that way, and instead he followed a parallel route and became a roadie and a technician – which he also loves – for the last 30 years.
All that time he’s continued with the music, playing in several different bands and writing material. He’d already written the basic rhythm sections of “Never Ending Sunday” about 6 months previously, then put it on ice as the winter season was mad busy for Dushow’s Paris HQ where he is based in Roissy, near CDG airport, with – normally – around 140 other colleagues.
“I reached out to bass player Dom Escoffier initially,” he commented, “who thought it a was great idea that we develop the tune, and before long, plenty more colleagues, friends and family were involved!” Gilles Lovighi joined them on drums, percussion & backing vocals which proved to be a popular choice with others lining up for BV duties including Sylvain and Roxane Demay, MariLou, Manon, Arthur, Jules and Nawel … plus Séverine Ferrier.
Xavier sent everyone the music track and asked them all to record their parts – plus their own accompanying video – on their phones, laptops, or whatever recording devices they could lay their hands on! Gilles recorded his in his ‘cave’ and Xavier cut his lead vocals and other parts in his own studio.
This all took around 2 weeks
“There were some variations in quality and technical expertise, but I’d say that by the end of the exercise, everyone was quite adept at portable recording!” he recalls. He had to engage in some editing and processing whilst mastering the final mix … but that was all part of the fun! He utilized Logic Pro X, a digital audio workstation and MIDI sequencer application for Mac. To produce the video, he invested in new More AV software MOVAVI which enabled him to create the final multi-screen picture. Not having mixed a music video before, this was more of a challenge, but also a good learning curve, balancing a variety of different lighting and colour temperatures. Once happy with the result, he posted it online … and was delighted at the response. “I was expecting about 15 or 20 shares, so this was a nice surprise.”
In the last couple of weeks, the lockdown in France has been lifted slightly to allow some businesses to start getting back to work – with social distancing and other precautions in place – and at Dushow they have been working on some installation projects including an audio one at Versailles and also on some TV shows.
The Paris office has been working on a skeleton staff of 12 but for Xavier it has been great to be back and talking about ‘horizon’ projects and dealing with a small trickle of work. The company is one of the largest rental operations in France and has over 2000 Robe moving lights in stock, which normally would all be out constantly during May and June on hundreds of festivals, shows and tours. He comments on just how many additional logistics will be involved in getting companies working again with the additional Covid-safe health & safety measures and with getting shows out of the door in the future. “Things like loading a truck – to do that with social distancing you can’t really have double-stacked flightcases as it involves people in close proximity manoeuvring these into place … so that means more trucks involved!”
When logistics like that really start to hit home, dealing with different sized and weighted cases, timescales for getting shows in and out will be impacted directly by having to maintain distance, etc., all of which will be production brainteasers for the future. Right now, Xavier says he’s “super-excited just to be seeing some flightcases on the move again!”
The Directors Guild of America recently completed a total renovation of its flagship motion picture exhibition space at the prestigious DGA Theater in Los Angeles. Guided by a Guild committee of six leading filmmakers, the renewal project has moved the 600-seat theater to the forefront of cinema technology with installation of custom-built Dolby® Vision™ laser projection and a Dolby® Atmos™ immersive sound system encompassing more than 70 Meyer Sound cinema loudspeakers.
To translate their creative concepts into design specifics, the Guild committee engaged the noted Gensler architectural firm. In turn, Gensler assigned the critical role of audiovisual specification and engineering to Tom Schindler, senior vice president at the San Francisco-based Salter consulting firm. From the outset, explains Schindler, the committee had insisted on the absolute highest level of audio reproduction. “We first measured the acoustics of the room, but this element was well done with the original design. Background noise and reverberation both were well within standards. So the critical factor came down to loudspeaker selection.”
Working in consultation with Dolby engineers Jose Castellon and Gary Meissner, Schindler drafted a comprehensive performance specification with options for different loudspeaker manufacturers. Drawing on their unique perspectives as filmmakers, the Guild committee members insisted on a live audition in order to make a final decision. “When the speaker system decision was going to be made, we decided that, no, we’re not going to decide this just on the printed specs,” recalled one committee member, director Michael Mann, in a recent DGA interview. “We wanted the systems set up for an audition. We wanted to hear how they would sound as we moved around the space.”
The 600 seats, belted and overlooked by a deployment of HMS-12 and HMS-15 surround speakers.
Meyer Sound and one other maker brought in front screen channel systems for a comparative listening session attended by Mann and another key member of the committee, director Michael Apted. Each system was tuned by manufacturer representatives for peak performance. The Dolby representatives consulted with the DGA team in selecting a broad range of licensed soundtrack excerpts to evaluate dialogue clarity, effects impact, and musicality.
The Acheron 100 on top of the LF extension.
“Everyone coalesced around similar impressions,” recalls Schindler. “On a fair chunk of content it was difficult to say one was clearly better than the other. Each system had its relative strengths, but on a greater portion of the overall content the Meyer Sound system was judged to be superior.”
Explained Michael Mann, “Both systems were technically spot on, but Michael Apted and I picked the Meyer Sound system because of a difference in emotional musicality. You can listen to two or three sound systems and, even though they are technically very close, one sounds emotionally more musical than another. These are the kinds of decisions any of us on the committee would make if they were being made on a film. It was great to be able to think and execute the same way in designing how the film is exhibited.”
Anchoring the five front screen channels of the system are five Acheron 100 loudspeakers, each paired with an Acheron LF low frequency extension loudspeaker.
The X-800C subwoofer. 23 Hz upto 160 Hz ±4 dB.
The main LFE channels receive potent reproduction from twelve X-800C cinema subwoofers, aided by eight 750-LFC low-frequency control elements for surround bass management. Surround channels are assigned to a cohort of 22 HMS-12 and 32 HMS-15 self-powered surround loudspeakers. A GALAXY 816 Network Platform supplies processing for the front screen channel systems.
Integration and installation of all audio and video systems was contracted to Diversified’s Media & Entertainment group under the guidance of Director of Engineering Adam Salkin and Project Manager Eugene Tuzkov. Viewed from the integrator’s perspective, Meyer Sound’s exclusive IntelligentDC™ technology remote DC powering for the self-powered surround loudspeakers — afforded distinct advantages when applied in critical-quality scenarios, according to Salkin.
The surround HMS-15.
“Typically it means that the cable going to the loudspeakers can be thinner,” he notes, “as you need not be concerned with running heavy-duty speaker cable. That’s the biggest advantage. But it also means we don’t have to be concerned with variations in cable distances. In this case we have equipment racks behind the screens, and if we were running cable to passive speaker all the way in the back we would have to account for high-frequency rolloff. Also, with self-powered systems the amplifiers are built in and matched to the drivers, and you have true bi-amplified systems, you get better sound quality.”
Other members of the DGA’s supervisory committee were directors Christopher Nolan, Jon Favreau, Betty Thomas and Shawn Levy. Overall guidance of the project was driven by DGA National Executive Director Russ Hollander and two executives from his team, Marcel Giacusa and Tim Webber.
In addition to Dolby Vision projection and Atmos sound, the renovation included a new 50-foot projection screen, upgraded Norelco film projectors, and impeccably renewed interior décor.
Régis Cazin, CEO of Arbane Groupe, said: “For the past four years, APG and Active Audio have been able to leverage a number of technological and organisational synergies, supported by strategic recruitment and exceptional results. We’ve seen many successful innovations come directly from our strategic alliance, including APG’s Uniline Compact and Active Audio’s Ray On.”
Régis Cazin
He added: “The creation of Arbane Groupe is the natural outcome of our strategy of bringing together and perpetuating the two brands.” Arbane is the name of a grape variety used in the production of Champagne, which shares many similarities with the two French manufacturers, as Cazin explained: “This name perfectly illustrates the philosophy and the common approach of our brands. Robust and singular, it is chosen by some Champagne winemakers in order to stand out from other more standardised and mass productions. It may not be the best known grape variety, but it is distinguished by the excellence of its results.”
Arbane Groupe’s mission is to offer unique solutions with a particular focus on directivity, and improve the intelligibility and fidelity across all points of a particular venue. The group’s values reflect those of the two manufacturers, with the desire to put the environmental agenda and acoustic performance at the forefront.
The Active Audio and APG brands will continue to offer audio solutions that meet distinct needs, building on their existing international network of distributors. At the same time, the two manufacturers will be able to draw on common synergies, particularly in terms of the production line located at the Nantes headquarters, as well as marketing.
With Active Audio and APG, the Arbane Groupe enjoys a unique position in the professional audio market; offering a range of solutions, from public address to professional loudspeakers for events and fixed installations, while providing its customers with the flexibility of a company on a human scale.
APG and Active Audio were awarded ‘Best Small Company’ at ISE 2020, a recognition from the market of the successful strategy that both companies managed to implement over the last four years.
Over the course of a three-year hiatus, the La Halle ô Grains theatre in Bayeux, Normandy, has been completely redesigned to meet the latest expectations in terms of reception, accessibility, aesthetics, visibility, and comfort; reopening to the public at the end of 2019.
This update was undertaken in order to offer the best possible experience to spectators, and a more versatile technical palette for incoming artists and crews. The new hall now boasts a complete APG loudspeaker system installed by the ISA Group, an integrating partner of the APG network, enabling the theatre’s management to count on high-precision, high-quality acoustics.
“The specifications were drawn up around the programming and shows, 80% of which are theatrical,” said Romain Motte, general manager of La Halle ô Grains for the past five years.
“We were looking for precise audio quality, particularly at the high frequencies for a totally faithful reproduction of the voices. We also wanted to differentiate La Halle ô Grains from other theatres in the region and opted for a sound system that we felt was superior.”
The theatre’s tender was won by the ISA Group, which was able to put forward a bid with a high-performance and financially competitive sound system. The theatre was no stranger to the APG brand, thanks to local event provider Music Light, a member of the APG network. Motte and the theatre’s management were able to testify to the performance of APG loudspeakers during summer events organised in partnership with Music Light.
The complete APG system with the main bass and tops lines and the central hang made of ultrawide UC206W.
For Motte, the choice was based on the quality and performance of APG products, but also on the relationships he was able to establish with APG representatives in a relatively short period of time. “We had already worked with Music Light on outdoor events that we organize in the summer and we were very impressed by the quality of listening and the availability of the APG teams,” he said. “When we received ISA’s response to the call for tenders, we also made enquiries with another renowned French theatre, Le Grand T, which had just equipped itself with APG and was delighted with its choice.”
The three UC115B bass elements stage right.
After evaluating the best possible configuration to host the eclectic performances planned by the theatre, the choice fell on an L-C-R configuration based on APG’s Uniline Compact system, consisting of a group of six UC206N and three UC115B bass on each side, as well as four UC206W in the centre of the stage coupled to a pair of DX12s.
The theatre also specified a versatile equipment list consisting of 16 APG DX12 multi purpose loudspeakers, four SB115M2s and four DX8s, as well as 15 loudspeaker lines on the grill.
“The venue required an atypical sound design,” explained Motte. “In addition to the predominantly voice-based programming, the sound system also needed to be discreet in size and aesthetics, so that the audience would be focussed on the actors and performers, not on large clusters of loudspeakers hanging above the stage.”
DX12 stock.
He continued: “In terms of sound quality, the Uniline Compact offers excellent homogeneity and precision in voice timbre. A large proportion of the audience is of a certain age, so the sound has to be very clear. The use of a French manufacturer was also essential for us, to ensure a good after-sales follow-up.”
The training was done jointly between the integrator and the APG teams. “The team is delighted with the performance of the APG system,” he noted. “Thomas Fouillaud, the theatre sound engineer, quickly became familiar with the system, received extensive training to complement his own experience, and has since recorded a wide variety of different room configurations. This essential aspect creates a collegial relationship, which continues today.”
Alexis Reymond
Alexis Reymond, technical sales engineer for France’s Eastern region at APG, commented: “This key installation is a perfect illustration of the quality and synergies created by APG’s network of around 40 integrators and service providers in France. On this project, we have an end user who has become familiar with our brand through a local event provider, before being accompanied by a regional integrator; also a partner of the APG network. This ability to listen and provide service is the strength of our network, and directly benefits the users who trust us.”
La Halle ô Grains was re-opened on December 2019, but was forced to put its activity on hold due to the Covid-19 pandemic. Nevertheless, the initial reactions to the APG system have been excellent. “The artists who have performed recently have been pleasantly surprised,” Motte said. “In particular, we welcomed singer L (Raphaëlle Lannadère) accompanied by BabX on the piano for Un jardin de silence, directed by Thomas Jolly, as well as the immense Christophe, who unfortunately has just passed away. As great professionals, their expectations in terms of sound were high, and their feedback was very positive.”
Audio control with, in the rack, nine DA50:4 and DA15:4 amplified controllers.
He added: “APG has a reputation for offering an ‘open’ system, which gives sound engineers a certain amount of freedom. In particular, Christophe’s host engineer was able to configure the sound in his own way, and mix the show exactly as he wanted. It’s a welcome change in a landscape populated by brands that don’t necessarily trust users as much.”
Motte was also keen to point out that the venue’s remit is not limited to live performances, explaining that La Halle ô Grains has aspirations of becoming a place for experimenting with spatialised sound as well. “Having a system like the Uniline Compact provides a very precise sound,” he said.
“It’s a definite advantage in performances, but it will also help us achieve our goal of becoming a training space for sound and light, and more specifically for spatialised sound. APG’s sound quality reputation was another big factor in our choice.”
One of the more pressing questions our industry had in mind throughout the COVID-19 pandemic is how to safely welcome a live audience at a staged event. DRIVE.IN Concerts of Monheim, Germany has popped up with one concept, a solution that let music fans of the area enjoy a live concert again.
DRIVE.IN Concerts Monheim is a pioneering series of events in which the crowd park their cars in front of the stage just like at a drive-in movie. With events launched throughout May and into June, with a variety of live acts and DJs performing, the concert series includes an impressive stage setup that relies on Elation Professional and ADJ lighting fixtures.
DRIVE.IN Concerts Monheim started in early May with a live performance by Cologne-based rock band Kasalla as part of their ‘Et Jitt Car-Salla’ tour of drive-in concerts. Since then, most weekends presented two or three concerts taking place at the outdoor site, featuring artists such as DJ Quicksilver, Da Hool, Moguai, TOPIC and The Disco Boys.
The spectacular festival-style light show, supplied by local audio/visual production company LaserFrame, includes Elation fixtures, alongside others from sister-brand ADJ.
The on-stage wash moving head selected for the rig is Elation’s compact Rayzor 360Z LED beam/wash moving effect with three 60W RGBW LEDs, 8 to 77-degree zoom and continuous pan and tilt rotation.
The front of the stage is lined with a combination of Elation Chorus Line 16 motorized pixel bars and Proteus Rayzor 760 IP65-rated wash fixtures that feature Elation’s proprietary SparkLED™ background sparkle illumination system. Finally, blinder duties are being looked over by Elation Cuepix Blinder WW2s.
A like number of ADJ lights populate the rig including Focus Spot 4Z spot luminaires hung from the roof of the stage for gobo projections and mid-air effects; compact Vizi Beam RXONE fixtures on floor-standing truss for super narrow beams; award-winning Hydro Wash X7 moving head wash fixtures downstage for tight beams, washes or eye candy effects; and Encore FR150 wash fixtures for illumination of performers. The lighting is reinforced by an even coverage of dispersed fog generated by portable ADJ Entour Faze Jr machines.
Audio & Lighting Production Company LaserFrame: www.laserframe.koeln
Gear List 16 x Elation Rayzor 360Z 8 x Elation CUEPIX Blinder WW2 6 x Elation Proteus Rayzor 760 4 x Elation Chorus Line 16 16 x ADJ Focus Spot 4Z 12 x ADJ Vizi Beam RXONE 6 x ADJ Hydro Wash X7 6 x ADJ Encore FR150Z 3 x ADJ Entour Faze Jr
The CS-Series loudspeaker offerings are available as standalone products or as an upgrade to existing S-Series enclosures. Their Milan ready AVB architecture offers a seamless transition into the future of network integration and boasts built in network redundancy contained in a single cable to relay audio and control signal, as well as assurance of long-term viability as part of an IEEE standard.
Brian Fraser
“The CS-Series is the product of years of engineering and innovation, and we’re proud to now offer this sophisticated solution with simple, straightforward operation and the audio performance the industry has come to expect from Adamson,” begins Brian Fraser, Head of Product and Technology. “The CS-Series offers networked audio with precise control and monitoring of each individual enclosure to maximize performance. We’ve spent the time and resources to ensure reliability and redundancy in order to provide bulletproof operation in any configuration or application.”
The new CS-Series is comprised of: the ultra-compact CS7 two-way, full-range array enclosure; CS7p point-source enclosure; and companion CS118 subwoofer, along with the sub-compact CS10 two-way, full-range array enclosure; CS10n narrow-dispersion array enclosure; CS10p point-source cabinet; and companion CS119 subwoofer.
We are family, I got all the CS with me…
CS-Series loudspeakers feature the same form factors as their S-Series counterparts, and their fully compatible sonic signatures are uniform with the S-Series and IS-Series, ensuring scalable configurations from portable corporate solutions to high-performance touring and installed systems. Meanwhile, the turnkey CS Upgrade Kit allows any existing S-Series cabinets to be easily converted to CS models in minutes by simply removing four screws, connecting the CS Jackplate with the provided wiring connectors, and switching the front grille.
Also included are four rack-mounted products designed to provide the necessary tools to get the highest level of performance out of the CS-Series.
– The CS Gateway is a 16 x 16 matrix with 16 channels of DSP, containing dual-LAN, Milan-ready AVB, AES/EBU, and analog connections. – The NDS is a network and analog patch bay that allows users to send redundant audio and control to CS loudspeakers on a single network cable. – The PDS ensures that all CS-Series systems receive ample power, regardless of region, and also allows the user to monitor consumption data, both per power output as well as overall draw. – The CS Bridge is designed to replace existing network infrastructure in Adamson’s E-Rack, allowing users to seamlessly integrate the CS-Series into their existing inventories by converting dual-LAN, Milan-ready AVB signal to AES/EBU, while also offering six channels of DSP per unit.
The two point source CS7p andCS10p
Finally, Adamson’s new CS software enhances the user’s ability to design, deploy, control, and monitor systems in mobile and installed environments with a simplified workflow and easy-to-navigate user interface that moves logically from design and simulation through to patch, control, metering, optimization, and diagnostics.
“The response we’ve had to the CS-Series from some Adamson Network partners involved in early field testing has been outstanding,” notes Jochen Sommer, Adamson’s Director of Operations, EMEA.
Jochen Sommer and Marc Bertrand.
“This is the future of intelligent loudspeaker design. From initial system design to deployment and tuning, the CS-Series offers top-tier performance with an incredibly simple workflow. The work our engineering team put into the DSP and amplifier technology has been widely praised, and of course, the products sound phenomenal.”
Drawing from early experiences with the products, veteran system designer and FOH engineer Patrick Demoustier (Simple Minds, Night of the Proms, Rock Werchter) says: “The CS-Series is already the future of networked audio. The CS7p offers an incredible power and headroom-to-size ratio and the proven sound quality of Adamson’s line array systems.
Patrick Demoustier
We’ve used it with great success on many corporate events, fashion shows, and car shows and as front fills and delays with larger systems; meanwhile, the CS7 is probably the most powerful ultra-compact array enclosure out there. When I first used it, I was sure that the limiter settings weren’t correct – so much power and body from such a compact speaker without even being close to the limiter threshold. But I was wrong…”
“The Adamson S-Series is a proven staple of the international installation and mobile markets,” states Adamson CEO Marc Bertrand in closing. “CS-Series loudspeakers, software, and rack-mount products build on that legacy and bring Adamson’s consistency, innovation, and performance to a powered, intelligent loudspeaker platform that is built for – and will help to usher in – the future of professional audio.”
The two line arrays and relative subs now all powered and networked, the CS7 andCS10.
For the first time in its 64-year history, the 2020 Eurovision Song Contest (ESC) due to be staged in May in Rotterdam, the Netherlands, was cancelled due to the coronavirus pandemic, and all 41 qualifying countries have been invited back – same time and place – in 2021 with the same artists … who will be singing different songs!
No-one takes Eurovision more seriously than Sweden, one of the countries which has done consistently well since its 1958 debut, winning six times, most famously with Abba’s “Waterloo” and most recently in 2015! Since 1959, the Swedish entry each year has been chosen via an annual televised talent competition, known since 1967 as the ‘Melodifestivalen’, organised by public broadcasters Sveriges Television (SVT) and Sveriges Radio (SR).
Photo: Sofia Drevemo, Creative Technology
In 2002, the Melodifestivalen upped the ante further in terms of a selection event and started touring to six key cities around Sweden with a final in Stockholm, this year at the 65,000-capacity Friends Arena. The finale broadcast is among the most popular programmes on Swedish television. Top Swedish LD Fredrik Jonsson of Eyebrow Designs has lit Melodifestivalen since 2002, capturing all the glamour, glitz, unashamed kitsch drama and disco-tastic moments! This year he enlisted the help of 168 x Robe moving lights (upped to over 300 for the final show) including MegaPointes, Spiiders, LEDBeam 150s and six BMFL WashBeam follow spots running on four RoboSpot remote BaseStations.
Each year he imagines a new and original lighting design. Keeping the show looking fresh and relevant is one of the main challenges and a task he enjoys. This year, the producers wanted a large open stage look to set the scene, so they could use more and bigger props for the songs to give each an individual look. Set designer Viktor Brattström opted for a huge projection surface as the backdrop, which was divided into three sections – in a geometric horseshoe shape, with content fed by eight laser projectors. So, the first starting point for lighting was to take this into consideration as the main visual element onstage in addition to lighting.
Photo: Sofia Drevemo, Creative Technology
“The backdrop was grey / white with a strong linear texture, and rather moody and dark without projection, so I had to be careful with levels so not to kill or over-shine the projections,” he commented.
With the backdrop being so prominent, it could also become flat in close-ups shots with less depth-of-field for the cameras, so early on, he knew he needed lights in front that could move in and out providing more punch from the back when required, effectively adding a natural depth via lighting. Hence several moving ladders rigged with MegaPointes! Out of a total of 10 ladders, four could move sideways on a Gerriets Cargo Track system, supplied by Creative Technology Northern Europe together with the lighting. This trick enabled the ladders to slide in and appear in front of the SR / SL backdrop upstage. Each ladder was rigged with two Heavy Duty Runner blocks (rollers) as rigging points on the top pipe. These Runner Blocks were then attached to the Cargo Track beam, a set up that facilitated moving the ladders into view and choosing the best configuration for any song.
When projection needed to cover the whole backdrop, the ladders were slid out of view and stored – two ladders each side of stage – behind the diagonal projection screens, in an area called “the garage”. The Cargo Track beam reached well outside the “horseshoe” corners, creating the hidden storage position. Sometimes the ladders were positioned on stage in conjunction with the projection, so “masks” in the projection were mapped in the disguise servers for the different ladder positions, keeping them dark and out of the projected image.
Photo: Sofia Drevemo, Creative Technology
The ladders were slid in and out of position manually by the lighting crew during set changes and with five different positions for each ladder, there was plenty of versatility. “It was a neat, simple and effective solution.” Surrounding each section of backdrop was a tower / ladder filled with MegaPointes (64 in the touring system) plus a bunch of strobes.
Approximately 5 meters downstage was another arch in the same horseshoe shape, also with towers and lights arranged similarly to create a mid-stage performance area. Scattered around all the towers and in the roof beams were numerous Roe LED strips arranged in geometric patterns.
Two enormous DS / US staircases at 45-degree angles to the downstage arches further dissected and defined the main performance area, and inside the stairs pointing outwards onto stage were a bunch of LEDBeam 150s. The over-stage lighting rig followed the horseshoe shape of the stage, with 5 x US / DS trusses crammed as tightly as possible with spots, washes, and strobes, optimised to get the most coverage.
An extra upstage truss was dedicated to backlighting, including fixtures doing gobo-washes and the six BMFL WashBeams follow spots on the RoboSpot systems. Robe’s Spiider LED wash beams in the roof were the main wash fixtures, the first time Fredrik has used them in this way, which was a great success. “It’s a great fixture – love the zoom range, and the LED ‘flower’ effect is a nice bonus,” he stated. The diversity of the MegaPointes was ideal. They were all positioned on the 10 x towers and utilized for aerials and hi-impact effects as well as for some extra lighting ‘props’ in specific songs.
Ledbeam 150
Fredrik first used LEDBeam 150s on a dinner show last year where he needed something small and potent and immediately “fell in love with the tiny fixture!” For Melodifestivalen 2020, the 42 x LEDBeam 150s on the touring system were rigged in the roof in groups of 4 to simulate ACLs. “Yes – I am THAT old, and I still LOVE those looks,” quips Fredrik, with the rest built into the set stairs to provide eye-candy, side light and more effects.
The BMFL WashBeams were they key lights, back lights and follow spots with a few extras rolled in when Fredrik needed to boost the sidelight. The intensity of two BMFL WashBeams was mapped in the disguise media server to sync perfectly with the video content during one song!
Fredrik always uses moving lights for key light now, and this year choose WashBeams for all the fixed positions to cover the show hosts and interval acts “for the pure quality, texture and coverage” of the fixture. “Everybody looks like they are standing in a follow spot on camera when in fact … they are in BMFL WashBeams!”
BMFL WashBeam
The WashBeams were also great as side and key lights for the dancers, especially trimmed with the blade system and with a blurred breakup gobo slipped in to add more texture and make artists stand out even in crowded dance acts. An additional 59 x BMFL WashBeams and 74 x BMFL Wash XFs joined the rig for the final broadcast … just to cover the audience and floor areas around the arena.
The lamp count was ramped up dramatically for the final, mainly due to the vastness of the Friends Arena (capped at 30,000 for this show), a soccer venue with a dizzily high trim height where fixtures at 28 meters had to be able to cover the audience with some serious punch in all colours.
“It was a pretty neat upgrade,” Fredrik comments raising the famous eyebrows! He often uses Robe products in his work, including previous Melodifestivalen tours and on the 2016 ESC Final in Stockholm, for which he was the lighting designer. (He also lit the 2013 final in Malmo.)
A standard practice when designing the initial Melodifestivalen rig drawings is to list alternatives for every position, but this year lighting supplier Creative Technology Northern Europe had a lot of Robe to hand, so that tended to be his first choice. Last year, he had tried using smaller numbers of BMFL WashBeams and was suitably impressed by the optics to switch other fixtures out for these this year, as well as using them for the six onstage follow spots.
“The quality and texture of the WashBeam light is way more refined than a BMFL Blade or Spot simply because the lens is so much bigger – the more glass, the more beam quality!” When he hit on the idea of the structural ladders / towers with lights and wanted to move some of these sideways, a weight issue came into play and that sent him in a MegaPointe direction. “As I knew the MegaPointe could deliver all the effects with less weight, it got the job!” The four RoboSpot systems were positioned backstage and controlled the six BMFL WashBeams on the back truss. “It is a trick employed last year to cover different sweet spots / performance areas from two different angles,” he elucidated.
This year, they had two different positions upstage and downstage, so the follow spot rigged at the right angle for key lighting at the “standard” downstage sweet spot would not work for a position upstage as it would hit the backdrop and disrupt the projections. So, an extra pair of front spots were rigged closer to the stage edge controlled by the same RoboSpot system.
Photo: Sofia Drevemo, Creative Technology
The BaseStation controlling the downstage stage right follow spot also controlled the upstage stage right one, and as Fredrik had master control via one of the lighting consoles, he could switch between them or use both simultaneously and seamlessly during the songs, depending on where the artists moved! “Basically, you get two different follow spot positions for the price of one operator!”
All the follow spot operators had to do was follow the talent and turn their intensity to full, while the lighting console took care of the rest. “With all the songs being timecoded, we could do some really clever cues,” included Fredrik. The show lighting was programmed and run on four grandMA consoles.
Joining Fredrik on the 2020 Melodifestivalen tour were a highly talented team including technical director Tobias Åberg, lighting operators Timo Kauristo and Robert Kelber, video operator Fredrik Stormby, lighting crew chief Peter “Angry” Andersson, additional lighting operator for the Friends Arena Grand Final Calle Brattberg. Melodifestivalen 2020 was won by The Mamas with “Move”.
