Magdolna ‘Magdi’ Rúzsa herself won the title of Megasztár (Megastar), Hungary’s nationwide talent search, back in 2006, and now she was filling the 12,500-capacity venue for two concerts, supported by a classic five-piece rock band line-up. To ensure sound was broadcast evenly to all corners of the venue BG Event used a total of 46 MLA cabinets, and four MLD Downfill enclosures as main PA and side hangs. They also provided monitors.
The main system is up. 46 MLA cabinets and a unique sub hang beneath the stage right MLA. The rest of the subs are stacked in front of the stage.
But this doesn’t tell the full story. In achieving this exceptional coverage BG Event’s Balázs Szentiványi notes the inherent challenges faced. “This is a difficult venue compared to an average arena in Europe due to its larger size,” he explained. “It measures 120 meters across by just around 80 meters deep. Moreover it ends in smooth flat vertical concrete surface and a huge glass sided room for the follow spots. There is a significant slap back with delay coming from there and there is also a VIP section et the end of the venue high up above last seats.”
He said many production companies had come to grief at this venue over the years. “However, we have had several occasions in recent years when we have been able to demonstrate just what MLA is capable of including Sir Tom Jones, Sting and Slayer, to name a few. In fact our technical team is excited every time we go into the Papp László Budapest Sportarena.”
@Armin Toth and Bence Szentivanyi
For this, he credits the company’s experienced sound team—along with the award-winning attributes of Martin Audio’s advances control technology for their ability to tame the venue. BG Event’s FOH engineer Gabor Bacskay-Mazsi and system engineer Marci Mezei are both hugely experienced with MLA, having worked frequently at the massive Sziget Festival as well as many other domestic tours.
The two men jointly evolved the ideal set-up for this particular arena show. Behind the main left PA there was an MLX sub array rigged as well. Contrary to the electronically delayed sub layouts it was in phase in the full venue and also delivered sufficient volume—even in the upper and rear sections of the room. In addition to the MLA consignment, the 22 x MLX subwoofers, were designed to provide a mighty LF presence, with 10 boxes rigged on the left flank, and the remainder on the ground in 2 x 3 end-fire setup.
8 MLA Compact ready to be pulled up as delay.
A further 36 MLA Compact cabinets were deployed as two delay lines, and near fills. Balazs explains, “We had to be careful with the unwanted reflections particularly as the farthest and highest location seating in the audience sector was added at the last minute, since the concert was sold out on both days.” For control they used Martin Audio’s proprietary Merlin processors and new DX4.0, as well as a Lake LM44 to optimise the system.
Having worked with Magdi, the band and the technical team for six years BG Event had been confident of being able to produce this superior result—particularly as the FOH engineer has ten years of experience with MLA.
“Yet despite this familiarity, with both the PA and the mixing consoles, it was still surprising that we could achieve 96 dB(A) level and that in the back-most rows the sound was dynamic yet loads of headroom,” said Balázs Szentiványi in conclusion. “Coverage was excellent in all sectors in the arena, which was an important factor as the audience age ranged between six to 70 years old.”
15 Rayzor 760™ LED moving heads were installed on the rig of The Farm set a Slovakian and very famous television program natively called “Farma”. The show is a competition and is broadcasted on TV Markiza since 2011. That’s the Bratislava-based production rental company and Elation distributor ADAM A SYN who receive the request to upgrade the lighting and increased the creative possibilities for lighting designers Michal Schmidt and Ondrej Štalbaský who can now boost the overall appearance of the show !
Recorded at Shining Studio in the city of Stupava, The Farm features a group of city dwellers and film them on a rural farm to fend for themselves. Evoluing without modern conveniences they need to take care of the necessities of life themselves, the contestant who best strive the trial and conquers a series of challenges become the winner. Extremely popular, a quarter of the Slovakian population often watch The Farm each week.
Take on to color scenery and props and supply uniform washes across the set, as well as backlighting, the lighting designers appear to be “very satisfied” with the LED wash/beam light thanks to Alan Pastorek, main technical engineer at ADAM A SYN.
Elation Rayzor 760
“With the super wide zoom, the Rayzor 760 is an effective wide-coverage color wash light and also has a good white color. They are a nice complement to the other fixtures in the rig and are a good replacement for some of the more expensive wash/beam lights out there,” sayd Pastorek, who complete that the low power draw of the fixture is also an important factor in its choice.
Visible throughout the overhead rig, the Rayzor 760 delivers a well-defined beam from its 60W RGBW LEDs and with a wide 5 to 77-degree zoom is able then spread exceptionally wide for a full-coverage even wash.
For broadcast environments like Shining Studio, its linear color temperature presets (2,700 – 8,000K) and DMX adjustable refresh rate also make it a camera-friendly unit. ADAM A SYN states that they plan to have the versatile LED light busy on several events and techno parties throughout the year.
The first 800º Degrees restaurant in Japan opened at Tokyo’s Shinjuku City, followed by one in nearby Minami Aoyama. The latest is in the heart of the city’s Marunouchi business district, with seats for 100 diners and a VIP room for 10 people.
“While maintaining the core Californian brand and taste, we have a dedicated concept for each restaurant, with a specially-designed interior and menu in each location,” says Mr Kazuma Suzuki, General Manager of the Market Development Department of LUMINE Co., LTD. the Japanese retail developer which has brought the 800º Degrees brand to Japan.
Mr Suzuki recognised how the sound within a space is essential to creating an enjoyable atmosphere and customer experience, so a high quality audio system was an essential factor in the concept for 800º Degrees. LUMINE contracted Mr Kohji Fujita, Space Planner at Hiranya Access Co., Ltd. to design the audio system. He a chose a Yamaha solution, thanks to its combination of flexibility, audio quality and coverage. “The pizza kiln is at the centre of the restaurant, so I designed the system to create the impression of all the restaurant’s energy coming from the kiln,” he says.
The hidden VXS10S subwoofers.
Mr Fujita installed Yamaha VXS5 surface mount speakers and VXS10S subwoofers at the entrance, delivering high quality music to customers as soon as they step into the restaurant, “It is designed to highlight the feeling of a wave of heat coming from the kiln while they choose toppings and wait until their pizza is ready,” says Mr Fujita.
He continues, “We had used the VXS5 in previous projects because of its versatility and high quality sound. With its compact format, wide coverage, high SPL and cost efficiency, it was an important factor in helping us to design the audio space. “We used VXC5F low profile ceiling speakers for the counter and the VIP room, with VXS1ML compact surface mount speakers installed in the takeaway area. We like the VXS1ML’s compact format, it really complements the restaurant’s design.”
The VIP room also features a projector and screen and can be booked for private or business events. A range of audio and video inputs are provided, with the entire audio system controlled from here, using DCP4V4S and DCP1V4S wall-mounted controllers.
The system is managed by an MTX5-D matrix processor, using its speaker processing and delay to achieve phase coherence, and is powered by XMV8140 and XMV4280 multi-channel amplifiers. “The system is programmed with presets for events like parties, in-store performances and presentations, with the music selection and levels tailored for different times of the day. It is very simple to use, allowing any restaurant staff to operate it,” says Mr Suzuki.
The response from the Tokyo public and office workers has been very positive. “Customers have said that they enjoy the contrast between casual style of the service and the richness of the food and music,” says Ms Ueki.
“That is exactly what we aimed for, creating an audio experience that seamlessly complements the interior design and lighting. The audible environment enhances the entire space and has played a vital role in successfully delivering the 800º Degrees concept.”
Let’s start by a question. What has changed since the day when the first Covid-19 case was discovered? We now know for sure that it cannot be cured, that this shit spreads freely everywhere in the world, that we are waiting for a so-called “second wave” and that we must not believe that hot, humid, cold weather or some French (or from any country) miracle can stop this epidemic.
Of course, clusters are dealt with, patients are managed better in intensive care, we pay more attention to our day to day lives, and much more; but as long as a vaccine has not been developed and a good vaccination coverage reached in France and elsewhere worldwide, we will walk on an unstable, unpredictable, unbearable wire and our beautiful carelessness, which is so important, will take the dust, or even get wrinkles.
Normal life has indeed resumed, and almost ordinary work as well. Means of transportation link our lives again, the school bells ring, we can play tennis or sit on a café terrace with a book, but we’ve cut off part of our culture. The Live shows and events, which are mainly staged in indoor large halls, the clubs and the discos, everything that is built and fed by a large, dense and active audience is lifeless. Sacrificed.
For the spectators it is sinister, for the technicians, the artists and the whole ecosystem of the Live and event it is disastrous, but what is more serious still is this political chloroform, this small music of the lie of omission which holds our head underwater. “We will see”, “In principle”,”A loosening of the restrictions is possible”, “Subject to sanitary conditions”…
This sounds like a bad doctor in front of a patient who is just asking for the truth
No one knows how this pandemic will evolve and, to avoid difficult tomorrows, the French government even writes black and white “that we are preparing the country for a possible second epidemic wave”. On the other hand, we know very well that without a vaccine, we will not be able to bypass distancing and re-authorize full gauges in any major hall without making the public and the organizers take risks.
And the solutions for ending the lockdown with a mix of sanitizing gel, sanitary masks and empty seats between spectators are neither attractive to an audience to which who are trying to make forget the very idea of party, nor even less profitable for an artistic and very technical environment which has been sinking into oblivion and deep crisis for 4 months now. So, the cinema theaters are reopening in reduced capacity? Great. With its profitability at 25% of occupied seats and a spectator wisely seated in silence, the Silver Screen industry can afford it, but it is the opposite of the live show where at less than 75% audience capacity, the producer can sink, and where a seated and silent room rhymes with artistic nightmare and less gig dates.
We don’t want virtual reality, holograms on iPhones, home concerts and taped festivals, but if it has to be our daily routine until future vaccine spread, say it once and for all. The women and men of the entertainment and events industry, their suppliers, the manufacturers of their gear, all are grown-ups.
We want the truth, we need it. The speech of political courage must be one and only one: “No, the Live show and event Industry will not be able to restart without distancing and at full capacity, but yes, we will help you to hold on until the vaccine is here, and we will support you even afterwards, during your long economic recovery. ”
If, for the health of each and every one, we still have to wait, then let’s quickly sit down around the meeting table and build together a Support Plan for the Performing Arts, Night and Event Industries, which could take up and amplify what has already been done and fill the countless gaps of current public aids. Without all that, and if one day we are turned on again like a Christmas garland, countless light bulbs will stay turned off forever.
Signed by tens of thousands of workers and thousands of companies.
Yamaha’s commitment to listening to customers, providing more flexible systems and improved mixing environments has resulted in a number of important user interface and function updates in RIVAGE PM firmware version 4.0.
These include Eventide’s SP2016 premium reverb plug-in which, in addition to a large selection of top-quality presets, allows detailed editing for engineers who want to customize their sound. The new firmware improves the mixing capacity of the RIVAGE PM7, expanding the number of input channels from 120 to 144 and increasing matrix outputs from 24 to 36, allowing the construction of even larger systems.
Le préampli RMP-D8 avec ses tout petits transfos !
It also provides compatibility with the MonitorMix iOS/Android app that has been praised by users of Yamaha CL and QL series digital consoles, as well as with remote control of the RMP-D8 premium microphone preamplifier from Rupert Neve Designs and control of L-ISA systems from L-Acoustics, allowing the creation of more flexible, convenient mixing environments.
Further improvements include enhanced flexibility of HY expansion slots, as well as improved operation and visibility.
For more detailed information and to download the free RIVAGE V4.0 firmware, please visit the Yamaha Audio website
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.
