On Tuesday the 28th of April, Verge Aero, the leader in high performance drone light shows, delivered a unique aerial tribute to medical staff and essential workers on the frontline of the COVID-19 pandemic.
The display of gratitude took place opposite the Hospital of the University of Pennsylvania and The Children’s Hospital of Pennsylvania as part of the global #LightItBlue and local #PhillyShinesBlue campaigns, not far from Verge Aero’s Pennovation Works offices at the University of Pennsylvania.

©Verge_Aero

The aerial light show was launched from Philadelphia’s Franklin Field football stadium, adjacent to the hospital complex. 140 extremely bright drones configured themselves into giant images up to 400 feet above the ground, making themselves visible throughout the University of Pennsylvania campus and medical center as well as far away across the Schuylkill River in downtown Philadelphia.
The drone light show featured images designed to offer hope, thanks, and love. There were also reminders to wear masks, wash hands, and maintain social distancing. Giant hearts danced around, and the iconic LOVE artwork by Pop artist Robert Indiana floated gracefully over the City of Brotherly (and Sisterly) Love.

Emergency vehicles with lights flashing appeared in front of the hospital to announce the start of the drone light show. “The show was planned to ensure maximum visibility for those inside the hospital and allow them to view the show while maintaining social distance,” says Verge Aero CEO Nils Thorjussen. “There was no advance publicity. We flew the show solely for these heroes and wanted them to enjoy it in a safe environment without crowds.”

©Verge_Aero

He added, “This was an opportunity for us to donate our resources and expertise to stand in solidarity with these brave heroes, and convey the thanks of the American people. We are profoundly grateful for their tireless work, dedication, and sacrifice.”
Given the urban environment and proximity to multiple hospital helipads, the show required careful coordination across the University, especially the Division of Public Safety and the PennSTAR Flight Program, as well as with the City of Philadelphia and the FAA.
Representatives from the FAA also appeared on site to inspect the system and ensure the show would be flown safely and in keeping with FAA regulations. “We are deeply thankful to everyone who got involved and helped make it all happen,” says Thorjussen.

©Verge_Aero

In accordance with stay at home mandates, #LightItBlue focuses on buildings with existing LED lighting or video screen technology which can be remotely programmed. Thanks to its efficient system design, including advanced pre-programming and control capabilities, Verge Aero’s fleet of drones could be deployed by just two trained technicians, who were easily able to work while observing social distancing guidelines.

Originating in the UK, the #LightItBlue initiative gained traction with the USA’s events and entertainment industry from late March. Across the country, buildings, bridges and landmarks have been illuminated to salute health care professionals and essential workers.
From Niagara Falls to the Staples Center in LA, and from Chicago’s Soldier Field to Boston City Hall, blue lights have signaled the people’s heartfelt thanks. A similar lighting campaign, #PhillyShinesBright, was rolled out on World Health Day in Philadelphia to honor the frontline.

More information on the Verge Aero website

Constructed 20 years ago and located just eight kilometres from Tel Aviv, the Hall is known for its excellent acoustics, the comfort of its seating and, above all, its discerning audiences.
The multi-purpose venue includes a large auditorium of 970 seats where the new system was installed a smaller auditorium of 250 seats and dance halls, both large and small.

The 970 seats Hall and his brand new Kara system. Between the two hangs, six SB18i subs in cardioid mode.

The main auditorium hosts a full range of productions, from drama and musical theatre to classical concerts and rock and roll. The venue also serves as the home of the Israeli Symphony Orchestra Rishon LeZion as well as hosting the annual International Spring Festival, which features first-rate artists from Israel and around the world.

Harel Tabibi

At the beginning of the project, the Hall employed the services of award-winning AV consultant, Harel Tabibi. A public tender was produced, with Tabibi overseeing a shootout between three leading loudspeaker manufacturers.
“The tender process was extremely stringent,” says Tabibi. “Clear goals were set: the system needed to sound good for a wide variety of shows, from theater shows to rock shows, and be acceptable for technicians of visiting touring companies. L-Acoustics was the clear winner because it not only fulfilled that brief, but also offered the best value for money.”

The Kara(i) hang showing the height of the venue. Three Kiva II and eight X8 take care of the first raws of seats.

With L-Acoustics selected, Tabibi worked alongside the manufacturer’s Israeli distributor, Lightone, whose Assa Efrat produced the Soundvision file for Tabibi’s design, and installation company Charmer Group Ltd. Efrat ensured Tabibi’s design would deliver the ultimate in sound while taking into account the architectural design and the need to ensure the system would not impinge on sightlines.

“It’s the responsibility of the consultant to consider the architecture of the room, and this is a very beautiful venue,” Tabibi continues. “There’s always a compromise between positioning for optimum sound and positioning for optimum sightlines, but we work to overcome this. Being part of the project from the very beginning is a big advantage.”
Tabibi’s final design comprises main hangs of 10 Kara(i), left and right of the stage, with lower fills of three Kiva II per side, mounted lower down on the proscenium walls. Six SB18i subs are flown centrally, with two floor-stacked SB28 per side. Front fill is courtesy of four X8 evenly spaced across the stage lip. Delays for the upper balcony are three further X8, suspended from the auditorium ceiling.

“My original design was for the subs to be left and right, but Assa advised that six subs in the centre would be a better configuration for overall efficiency and to achieve a very consistent LF coverage across the room,” says Tabibi. “It works perfectly but required some ingenuity to rig.”

“There are two balconies, the second of which is very high, and two ceilings, the first of which curves away from just above the top of the Kara hangs,” adds Lightone’s Tal Cohen. “This was one of the biggest challenges and made rigging the system very complicated. To have the subs level with the top of the Kara hangs on the proscenium arch, we needed to build a special rigging frame.”

The lower fill Kiva II tiny hang. Tiny but noisy !

The installation was completed over three months, with the venue remaining open throughout. “We had to work whenever the venue wasn’t operating, which meant most things happened overnight and early in the morning,” recalls Cohen.
“We had just three days at the end of the installation where the Hall was completely empty, then another two or three days for final tuning and adjustments.”

The results speak for themselves: the venue reports that since installation, all visiting productions have opted to use the new L-Acoustics house system.
“This is an outstanding installation,” says Paz Kropero, technical manager at the Hall. “From the day the system was finished, every visiting company has used and very much like it. This is exactly what we were aiming for.”

More on :

– The L-Acoustics website

– The Light One website

– The Charmer Group

It’s been said that humor can make a serious difference in how well we deal with dark times. Nicolas (“Murph”) Murphy has no argument with that! Ordinarily at this time of year, the owner of Murphy’s Production Services is busy touring with The Piano Guys, Wax Tailor or some other client. Not in 2020!

No worries though, with live shows put on hold, Murph embarked on his own “world tour,” all without leaving the friendly and safe confines of his Salt Lake City suburb. Rather than simply livestreaming a band and calling it a day, he created a full blown, albeit virtual, tour package, complete with posters, virtual “backstage passes,” and even donates his time with a weekly streaming service: Social Antidote.

The looks he’s created for his wryly named “COVID-19 World Tour,” are also very good replicas of the real thing, using eight “lazy universes,” a ChamSys MagicQ MQ500 Stadium console and a ChamSys SnakeSys R8 Artnet to DMX Node 5 for each of its weekly broadcasts.

“Not being able to go out on tour, I figured why not make up my own,” said Murph. “It gives me something to do while sitting at home. I make tour posters with dates and print them on my wide format printer that is usually spitting out lighting / video / scenic plots. I also make laminated ‘tour passes’ for friends.”
Although purely virtual and not good for admittance to any show, each tour pass is customized for Murph’s friends, with their name, as well as job title, which is some form of “House Integration Specialist.”

As for the Social Antidote Series streaming umbrella, it was the brainchild of one of Murph’s clients. “They had a whole warehouse full for production gear not doing anything, so why not use what they have on hand and try to keep everyone from getting rusty?” he said.
“I pretty much only leave the house for groceries, or for this live stream. The software we use streams to multiple services, but doesn’t give us the viewer count to my knowledge. So, we rely on one of us looking at the different sites and putting the numbers together.”

Videoed in a warehouse-turned-studio once a week, the “tour” features a different local artist in addition to highlighting area businesses as a way of boosting community spirits.
Murph is gratified that his “world tour” is making a difference in the lives of people close to home. He’s also grateful that it gives him the opportunity to work his console.
“I have been touring with a MQ500 since 2017, right when they came to the United States,” he said. “From what has been told to me, I was the second person in the States to take delivery of the MQ500 and the first to take one on a North American Tour.”

“The COVID-19 Tour is fun, but on the serious side of my work, all of my concerts are programmed out quite well,” he continued. “So, if I’m unable to run the show for any reason, a half competent house LD could run it without too much trouble. This livestream has been no different. I come in the night before and sit down with the artist’s set list to hammer out lighting cues for seven or so songs that I have never heard before.”

When Murph needs to punt openers, or a musician wants to do a song that he hasn’t created cues for, he jumps to a page that includes his pallets in Playback form. “This way, I can have what are essentially two programmers at the same time and I can have them work independent of each other or effect each other,” he explained. “It’s one of the many versatile features that make the MQ500 so valuable.”

As rewarding as his weekly livestreamed shows have been, Murph is looking forward to getting back on the road. He describes it as “surreal,” not being able to hear the sound of the crowd during show. “When the feed is cut, you are just done,” he said.
That is, of course, until the next weekly installment of the COVID-19 tour, which in turn marks one step closer to the day when Murph is back doing live shows again. Until then, humor will see him through just fine.

More information on the Chamsys website

Robert Juliat is excited to announce the launch of Arthur, its new 800W LED Long Throw followspot capable of matching the lumen output of a 2500W HMI RJ Aramis followspot and delivering up to 29,000 lumens.
This eagerly-anticipated move marks the arrival of the LED followspot the industry has been waiting for one that opens up the use of LED followspots into large venues such as opera houses, musical theatre and live music venues, concert and touring venues, both indoors and out.

Arthur’s powerful LED engine, narrow beam angle (5.5° – 15°) and long-throw capability, ensures invincible performances with a minimum output of 2000 lux at a distance of 40m (200fc at 130 ft), while offering premium light quality with a high CRI (>90) an essential feature for a followspot whose main role is to shine a light on performers in the most sublime way possible.
A smooth flat beam with no hot spot is teamed with excellent gobo projection, sharp focus at every beam angle and independent control of image size and focus, thanks to Arthur’s variable zoom optics featuring a 3:1 beam ratio. The electronic dimmer ensures smooth, high quality dimming without clipping or cut-out at low intensity levels, and no shift in colour temperature.

Power consumption is minimised, not only by the lower power requirement of the LED source, but also because it can be switched off when inactive, unlike discharge sources which need to run constantly throughout a show. With the choice of several ventilation modes and silent-running cooling fans, Arthur is much quieter than any of its discharge rivals Arthur can rule as easily over opera houses as TV studios or concert halls.

In addition to the long-celebrated Robert Juliat features and qualities, Arthur offers unique benefits for easy service and maintenance making it especially attractive to rental houses and touring technicians with busy, time-critical schedules. Robert Juliat has designed Arthur’s lamp housing with separate, removable modules for the CPU, drivers and power supply unit in a simple plug & play system.

Arthur represents the next step in Robert Juliat’s development of top-class LED followspot fixtures, which began first with the 300W LED Roxie, and then the hugely successful 600W LED Alice and Oz, the first professional LED followspots capable of matching the output of conventional 1200W discharge units.

The most powerful LED followspot on the market, Arthur is set to become the crowning glory of Robert Juliat’s LED followspot range.

For more information on Arthur 1014 and the full Robert Juliat portfolio visit the Robert Juliat website

In a unique audio industry initiative, five leading professional audio manufacturers have achieved the first ever multi-manufacturer voice alarm solution fully compliant with EN 54-16.
This initiative is open to all manufactures interested in offering EN 54-16 compliance, proving that it is no longer necessary to source EN 54-compliant voice alarm solutions from a single manufacturer.

An EN 54 compliant rack with BSS, Peavey, Crown, d & b and Powersoft equipment.

When the EN 54-16 voice alarm standard was launched in 2008, it was designed for companies who only made the entire system. This new initiative permits voice alarm systems to be built in a modular way according to the requirements of each project, utilising a range of products from these manufacturers.
With certification having been granted for over 30 products, the system includes audio signal processing and control using Peavey MediaMatrix, audio signal processing from BSS Audio along with a wide selection of Crown and Powersoft amplifiers.

Luminex network switches are also certified to allow systems to be connected using copper or fibre. In the coming weeks d&b amplifiers will also be added to the certificate. The system supports analogue, Dante, AES3 XDAB and BLU-Link connections.

According to project leader, Roland Hemming of RH Consulting, “This project was one of the most complex audio systems ever built. Achieving EN 54 compliance for over 30 products across five manufacturers is no mean feat! It’s taken three years of rigorous testing to achieve and has now created a platform that other amplifier, DSP, microphone and network switch manufacturers can join to create a single, compliant solution. Specifiers can now build EN 54-compliant systems using a range of products from different manufacturers, which is an industry first.”

EMC test chamber: Among the tests is the control of the electromagnetic radiation produced (and of the susceptibility), EMC; here a room for measuring radiated interferences (up to 1 GHz).

More details on the solution will be released shortly along with information on how other manufacturers may obtain certification for their products to become part of the system.

For further details, please visit PAVA Facilities website

‘Accessibility’ has become a topic of mounting concern for both public authorities and event organizers over the past few years. With the MIDI 5 2D, Defender® is now launching a series of traversable modular cable protectors whose multidimensional concept pairs superior flexibility and easy day-to-day use.

Fully Modular

With most common cable protector systems, a compromise usually has to be made between barrier-free access and trafficability. But that’s not the case with the new Defender MIDI 5 2D series: it takes an entirely new approach with its modular, multidimensional, and compatible concept.
The system is equipped with a middle section module (available in lengths of 19.59 inches and 39.37 inches), a ramp, and an adapter set, which is completely compatible with the MIDI 5 2D from the widely used Defender MIDI 5 Series.

Barrier-Free Accessibility

Every MIDI 5 2D middle section has a drive-over ramp which can be passed over completely. The ramp module’s 6° angle fulfills almost all requirements and standards regarding barrier-free accessibility at events. The flat incline of the MIDI 5 2D Series makes it easy for wheelchair users to roll over the protectors with no trouble at all, and they’re also so stable that they can bear the weight of forklifts and trucks.
The MIDI 5 2D Series naturally also features the innovative Defender LaserGrip® surface: Its special ergonomic shape and surface structure reduces the risk of an entire line of cable protectors accidentally shifting out of place.

Handling and Flexibility

The MIDI 5 2D modular system can be expanded both in length and width as you like, and it also ensures easy accessibility and safety even when complex cable arrangements are used, for example, close to power generators or in front-of-house areas. The well-balanced design facilitates planning in advance as well as on-site installation.
The MIDI 5 2D module is also outfitted with carrying handles for efficient transport. The middle section has channels on the inside for safely and neatly laying sound, lighting, and power cables one by one.

The Defender MIDI 5 2D cable protector series is available now.

More information with :

– Defender® MIDI 5 2D
– Facebook
– YouTube

Since Monday 11 May, NEXO is gradually restarting its manufacturing operations in Plailly and Saint-Pierre-de-Côle in accordance with the guidelines of the French authorities and the current demand. Most of the company’s key suppliers have now resumed their own activity.

Jean Mullor

For several months, the NEXO team has been continuously adapting itself, staying proactive and agile in the face of the unprecedented challenges caused by the coronavirus.

Jean Mullor, company CEO, explains that “our first goal remains the health of our employees, guaranteeing them a safe working environment and working practices that align with government guidelines and common-sense good behavior rules.”
Nexo R&D, Sales, Engineering support, and Administration teams will continue normal operations in the “unlockdown period”, principally working from home. Despite the difficult economic environment, NEXO has still managed to recruit new people into key positions in its Sales and R&D departments.

“We are keeping our operations running as smoothly as possible during the current situation,” continues Jean Mullor.
“Our teams are reaching out to partners across the world to provide support during these tough times, and we are looking to find ways for NEXO to make a difference during this crisis.

M12 naked…

Unfortunately, it will be some time before customers will be allowed to visit NEXO sites but our Engineering Support and Sales teams have done a great job staying connected with our network through a programme of Audioversity webinars.”

More on the Nexo website

Ayrton is very happy to introduce Kseniia Igoshkina as the latest member of its international sales team.
Based in Detmold, Germany, Igoshkina is responsible for emerging markets across the Baltic countries, the CIS states and South America.

Igoshkina joined Ayrton at the end of 2019, since when she has quickly established her position by appointing new distributors in Belarus, Armenia, Romania/Moldova, Colombia, Panama and the Caribbean. Her previous experience includes 2 years at Astera LED Technologies as key account manager based in China, after which she relocated to Europe to look for new challenges.

“My first experience of Ayrton was its famous lightshow,” she says. “I was immediately blown away by their unique products. Now, a few years later, I am working for this amazing company and I couldn’t be happier. “Ayrton’s approach is very different from what I have experienced before.
We handle many different types of project and take a very specialised, individual approach to each one. Ayrton products are so full of features that we have something to meet every requirement. It’s a perfect opportunity to create a bespoke solution for all our clients – every day is interesting and exciting.”

“Kseniia brings a freshness and dynamism to Ayrton which perfectly matches our team approach,” says Ayrton Global Sales Director, Michael Althaus. “We are excited to see the response from the emerging markets as she helps raise brand awareness in these new areas.”

– Igoshkina can be contacted at [email protected]

For more information on Ayrton and its full range of LED lighting fixtures, visit the Ayrton website

In view of the world-wide situation caused by the Corona pandemic, Messe Frankfurt has decided, jointly with its partners, to defer the eleventh Light + Building and to hold it from 13 to 18 March 2022.
Due to the present Corona crisis it had already not been possible to hold Light + Building 2020, originally scheduled for March, for which reason the decision was reached to postpone the world’s leading trade fair for lighting and building services technology to the later date of 27 September to 2 October 2020.

Messe Frankfurt, together with its partners, then initiated appropriate measures to carry out the event postponement as well as possible. Having considered the current situation again, and ten weeks after the initial postponement, in view of the joint decision by the Federal German Government and German States that major events cannot be held in Germany until at least the end of August, no properly scheduled preparation and holding of the event can be guaranteed.
When holding events of all kinds, travel conditions and regulations prohibiting assembly play a central role. It is the aim of the industry, and of business in general, to hold Light + Building, as a leading world trade fair, in conformity with its customers’ expectations and in accordance with its conception and service commitment. At the moment Messe Frankfurt cannot guarantee that this aim can be assuredly achieved.

“The current regulations, combined with continued global travel restrictions and the potential threat to individual health, make it impossible to hold Light + Building in 2020”, states Wolfgang Marzin. “At the same time, in the interests of exhibitors and visitors, we must avoid unnecessary costs in good time.
The decision has not been easy for any of us, but now we shall be directing our energies to holding the next Light + Building in its accustomed sequence in 2022.” The decision likewise affects Intersec Building. Now, as a platform for connected security technology, the format will celebrate its premiere as an integral part of Light + Building in 2022.

So for 2020 the task for the whole industry is to catch our breath, to come back all the stronger – at Light + Building 2022.
+++ Light + Building and Intersec Building will be held from 13 to 18 March 2022 in Frankfurt am Main. +++

Social media:

– FaceBook
– Twitter
– Youtube
– Linkedin
– Building Technologies

BroaMan has announced that it will now offer its Multipurpose Fiber Extender for Video, Audio and Intercom (MUX22) with 12G-SDI interfaces—to support greater resolution, frame rates and colour fidelity.

The BroaMan MUX22: now with 12G-SDI capability.

The 12G addition to the existing 3G support means that BroaMan will not only continue to support 4K SDI transport formats but also routing and transport of high bandwidth data streams, such as 10G IP traffic for SMPTE 2110. Uniquely, the company offers not only single-mode but also multi-mode options for 12G fiber transport.

Stated BroaMan Technical Sales Manager, Maciek Janiszewski, “12G migration is our step into the future. Our customers have been asking about 12G and IP technologies, and the new hardware upgrade will allow us to meet all modern requirements; it means we can offer pure 12G-SDI, pure IP or a mixed 12G-SDI and IP transport solution.”
He explained, “At the very beginning we decided to use CWDM multiplexing technology, which is not restricted to bandwidth, to run multiple signals over a single fiber. “The migration to four times higher bandwidth is a logical step for us and means we can keep the same form factor of our well-known products.”

For further information visit the BroaMan website

Denmark based dryhire company Vigsø A/S recently invested in CLF Orion hybrid fixtures, supplied by Danish distributor Atendi. 65 pieces were added to the rental stock. This investment follows after using the CLF Yara LED par for almost two years.

CEO Christian Vigsø comments: “We needed a powerful and feature packed hybrid fixture to offer to our clients. We had a look at various hybrid fixtures and the Orion really stood out in terms of features, reliability and easy maintenance. Comparing different features, reliability was the most important factor for us. Additionally, CLF products are available in large quantities in Europe when necessary.”

The Orions have been on the road for a few weeks now. Vigsø: “We received very positive reactions from our clients. Especially the complete feature set and affordable pricing are mentioned. This helps clients getting the right number of fixtures to fit their budget.”

At Vigsø all products are cleaned and checked after each rental, so they looked for products that are easy to handle and maintain. Therefore, service technician Michael Mølgaard had a closer look at the Orion during the purchase process.
“Besides serviceability it is also important to have access to fast and decent customer support and parts. We know that we can rely on distributor Atendi and CLF Lighting.”

Astera, LED lighting manufacturer, has organized its 10,000 m2 factory in Shenzhen, China together with its workforce to assist with the delivery of essential personal protective equipment (PPE) items, including face masks. These are desperately needed worldwide as countries continue to combat the Coronavirus pandemic.

Astera’s CEO Norbert Ernst explains that they were about to temporarily scale back operations in the factory, whilst the entertainment lighting business was quiet due to the crisis, when he was approached by a contact asking if they would be willing to assist with the production / distribution of face masks.

“Naturally I jumped at the chance,” states Norbert, “It offered a path to keeping many staff employed full-time which is great, and also helps contribute positively to the ongoing global demand for face masks which are vital to help meet the unique challenges of containing Covid-19.” Additionally, he feels that having the factory working in this capacity will assist a rapid return to full LED lighting manufacture when conventional business starts to resume.

Two types of mask are being safely and cleanly packed at the factory – the standard disposable face masks and KN95 respirator masks. They are first enclosed in sanitized plastic bags which are sealed, then packed into an inner carton, and finally into outer boxes which are secured and palletized ready for shipping and transporting around the world.
During normal peak times, over 250 people working at the Astera factory across all departments. Currently, around 100 Astera staff (primarily from production, quality control and the warehouse) are dedicated to this project.
Astera’s management team in Shenzhen are considering hiring another 100 temporary workers for the face mask project, depending on demand. The current contract runs for 3 months, after which Astera has the option to continue or switch back fully to producing their range of wireless battery powered LED fixtures.

Astera’s factory / warehouse houses all production elements involved in the manufacturing process plus other departments including some sales, purchasing, and part of the Astera R&D team. The brand’s quality control, operations, production and engineering all feature a dynamic mix of local and European management, while the company’s administrative HQ, senior management and R ‘n’ D are based in Munich, Germany together with sales and marketing.
Having been manufacturing for two decades in China, Astera embraces the spirit, energy and diversity of a truly harmonious international operation combining the best of Asian and European design, creativity and efficiency – in bringing its high-quality products to market.

More on the Astera website

Well known “The Brothers: Celebrating 50 Years of The Allman Brothers Band” show took place at New York’s legendary Madison Square Garden just before the state went into lockdown in a massive effort to halt the spread of Covid-19.

Photo Jake Brick

Lighting designer Chris Ragan utilized over 100 Robe fixtures in his dynamic design for the epic four-hour performance which delighted Allman Brothers and Allman Brothers Band (ABB) fans from several generations and all walks of life. The Brothers’ cult status and their dynamic fusion of blues, jazz and country with their own distinctive rock sound have resulted in their music and influence being relevant long after their first period of ‘glory days’ in the 1970s.
Chris has many connections and crossovers with several current members of the ABB, which has been a client for lighting rental vendor BML-Blackbird for 30 years – showing some impressive client loyalty. When the late Earl “Pappy” Francis, ABB’s long-time lighting director passed away last year, Chris and many others in the lighting community lost a well-loved friend and hugely respected mentor. So, Chris was honored and proud to be asked to light this seminal 50-year celebration show.

Photo Jake Brick

The Robe count included 44 x Spiider LED wash beams, 20 x BMFL Spots, 26 x MegaPointes and 12 x PixelPATTs, all supplied by BML-Blackbird. By the time the event reached the design stage, the show had been sold in a 360 format, so Chris knew exactly what was needed in terms of sightlines.
The Allman Brothers were known for having liquid lightshows during the 1970s and “we all really wanted to involve that look and style in this show,” explained Chris, adding that a substantial visual challenge was adding a video element that could be projected onto, without blocking any in-the-round sightlines.

The creative process started on a cocktail napkin – a near-mythical place where so many great ideas have germinated – during a flight to meet the MSG management team for a walkthrough of the venue. Chris sketched a “large mushroom” that would hang above the band onstage – adding a projection surface surrounded by lighting. The mushroom was originally adopted by the Allmans as a psychedelic orientated logo that had transcended the history and various line-ups of the band.

Photo Jake Brick

A photograph of the napkin was sent to LX crew chief Mike Deitz – and by the time Chris was disembarking the same flight – the “Trusshroom” was already born!
The 20ft by 30ft mushroom was created using an assortment of 12-inch truss circles, and when complete offered multiple projection surfaces.

Mike, the “engineering mastermind” behind this, is a person whom Chris describes as a “veritable Swiss Army knife of the lighting industry!” They then added four LED walls positioned at each corner of the stage to provide IMAG and to show custom show content created by Johnathan Singer, Marco Ferrero and Steve Pavlovsky. Adam Paul was the IMAG / camera / stream director.
The rest of the trussing configuration stayed straightforward as “real estate was at a premium” due to the large scale of the trusshroom centerpiece! It comprised four 21ft runs of HUD upstage, four 16ft runs overhead and one 52ft length downstage.

Once all this was determined, Chris positioned his lighting fixtures.

The Robe BMFL Spots were rigged on the upstage and overhead trusses; the Spiiders were also on these two trusses and downstage on the deck; the MegaPointes were on the upstage deck and overheads, and the PixelPATTs on a series of upstage truss towers at different heights.
BMFLs are Chris’ ‘go-to’ powerful profile fixture. “They have the brightness and intensity to light a canvas the size of MSG!” he declared. He chose MegaPointes for their renowned speed and diverse range of features which were “great for framing the stage and providing cool prism effects”.
The Spiiders and PixelPATTs were used primarily as wash lights, together with their jazzy and dynamic pixel ‘tricks’ and the Spiiders doubled for “very effective” painting of the audience utilizing their flower effect.

Photo Jake Brick

“I love having the ability to mask pixels, it gives so many combinations and looks from one type of fixture and all of this helps keep the show fresh!” stated Chris. As you can imagine, over the course of four hours – with one interval – a major challenge was evolving and growing the visuality and atmosphere and ensuring that there was always something interesting and dramatic to look at.
Chris specifies Robe products frequently for his work, and this is for the “consistency and reliability show after show.” Also on the MSG rig were some profile moving lights for keys, plenty of strobes and around 100 lights dedicated just to audience illumination.

Control-wise, they used a grandMA2 platform with WYSIWYG. Luciano Savedra built the WYG file and Max Blackman assisted in programming.
Time was a massive challenge on site as they had only one day to load-in and get show-ready. Vid, (David Sutherland) the band’s production manager “did an amazing job” in getting everything in and up-and-running in a timely manner, elucidated Chris!

After that, the next challenge was the length of the show!

The two 90-minute sets were punctuated by a 30-minute interval, and followed by a 30-minute encore, timing in at around 240 minutes or 4 hours!
“Luckily, the band was very in tune with the setlist and its relationship to the dynamics of the lighting, visual and audio production, so they were also involved with the timing of lighting and video cues.”

Photo Jake Brick

Chris was inspired by many things whilst working on this landmark show, “The music of course and getting the chance to work with great friends,” were right at the top of the list. Those great friends included the team at BML-Blackbird, including Shelly Diamond and Eric Todd with whom he’s had a working relationship for around 25 years!

“They really hit it out of the park on this one!” enthuses Chris, impressed with their continued levels of support throughout the whole design and execution period. In addition to Mike and Max mentioned above, he hails his “fantastic” crew from BML-Blackbird – electricians Lowell Hayley, Mike Hale, Jeff Toombs and Noam CC Cooperstock.

For more info check the Robe website

Bespoke Entertainment Solutions as been appointed by Ayrton as its new exclusive distributor for South Africa with immediate effect. Currently based in Randburg, Johannesburg, Bespoke, has plans to expand into other major cities with strategic partnerships.
Bespoke Entertainment Solutions’ technical director, Suren Lutchman says how this exciting new arrangement came about: “Having recently taken on several installations and new technical personnel on a full-time basis, the door was opened to us for other opportunities, including becoming the distributor for Ayrton in South Africa.

“With my experience mainly in sales, support and design of intelligent lighting solutions for the entertainment industry, I have always wanted to offer this service as well. Because the market within South Africa is very competitive and most of the major brands are represented, we didn’t focus too heavily on this area at first. However, after a meeting with Ayrton’s Jonas Stenvinkel, the opportunity arose for us to consider the Ayrton range of products.”

Lutchman was very happy about the potential he found in the Ayrton range: “We believe Ayrton is ‘ahead of the game’ with its range of LED light-source fixtures, compared to its competitors in the market. With the world in need of finding better, more efficient energy saving products – and not only in the entertainment industry – I believe Ayrton offers the best return on investment in our industry.
“Ayrton products are very well designed, compact within their specific classes and offer a great return on investment. The LED engines are extremely well engineered, and especially suited to the South African market where reliability and energy consumption are key. I believe Ayrton has a range of products that can substitute any discharge lighting fixture out there.”

Bespoke Entertainment Solutions will distribute the full range of Ayrton products across the installation and rental markets, with a core focus on key products that best suit the South African market. Lutchman was very impressed not only with the product range, but also the company itself.
“During a recent visit to Ayrton HQ in France, we immediately felt its warmth and genuine spirit as we entered the premises and heard how the company began and how its central focus has remained constant since the beginning.
This was a big contributor to us taking on the brand and we think this is the perfect time to get this up and running. In the current climate, it’s going to be tough, but we have never shied away from a challenge, and we really can’t wait to get started.”

“South Africa has always been a very important market, and we are delighted to have Suren and his team join the Ayrton family,” says Stenvinkel. “Suren has shown dedication and commitment, and we have spent much time together in South Africa and at the Ayrton HQ in Paris. Launching a new distribution in these times might seem odd but I think this is the exact time to do it. Ayrton stands by the market and Bespoke through these times and we will all come out strong.”

More information on the full range of Ayrton LED lighting fixtures, on the Ayrton website

Mark White

Mark White has announced his retirement from the company after nearly 20 years.

Speaking about his departure from ETC Ltd, Mark comments: “ETC has been a fine company to work for. I am retiring at a time of new and exciting product development in the company which will keep ETC in pole position as the go-to suppliers of entertainment lighting.”

Darren Beckley, Sales Manager – ETC Ltd, adds: “Mark has been an integral part of developing the company’s brand these past 20 years. We thank him for all of his efforts and wish him the very best on his retirement.”
Jeremy Roberts, ETC Ltd Regional Sales Manager, will take over growing the business in Ireland and progressing ETC’s stage machinery offering across the UK.

More information on the ETC website