HydraPanels Highlight Versuni Awards Commercial

Ryan Schaminee is a Netherlands-based freelance gaffer and lighting board operator who also works internationally on a wide variety of commercial, television and some film projects utilising Astera products almost every day.

He finds the Astera ranges reliable, highly flexible and appreciates the great quality of light, all attributes that assist him in thinking quickly and laterally to come up with inventive and cool looking lighting solutions that are spot on.
For a recent commercial shoot for Versuni – home to some of the world best known and most loved domestic appliance brands – Astera HydraPanels enabled Ryan to do just this!


He needed to back-light a large 2-metre-high by 4-metre-wide cabinet structure which was built in Westerpark Studio, Amsterdam to showcase an impressive array of awards that have been won by various Versuni brands. The cabinet was an idea pitched by producers Urbain Studio, who then asked Ryan to advise on the best lighting.


Ryan wanted to dramatically highlight the awards in white and be able to change the colours behind each trophy individually for contrast, and with no light spillage.
It was a one-day shoot, so the lighting set up was pressured and needed to be quick and efficient for which Hydra Panels with their individual pixel / zone control and magnetic beam modifiers immediately stood out!

Thirty-two fixtures were sourced for the shoot which were supplied by several different rental companies, and in the process, Ryan even purchased a set of four for himself, so impressed was he with the fixtures!
“I have always wanted some since they were launched,” he admitted, “So this was the perfect time and it made up the numbers!” These were supplied by Astera’s Benelux distributor, Controllux.

The scaffolding rig built to support the HydraPpanels was constructed by Ryan and his team and the units were attached using the spigot connectors.
The HydraPanels were run powered and (data) controlled wirelessly, with Ryan taking advantage of being able to daisy-chain units together which saved more time on cabling and meant fewer power sockets were needed.


On the same shoot, Ryan also used 7 x Astera AX2 PixelBars to illuminate the studio background in Versuni’s corporate colours. All lights were programmed and run via a grandMA3 on PC command wing.

The commercial was directed by Pierre Nivière, the DOP was Marlon Fokker, the best girl was Tara Bisoen and the sparks / LX was Joep Fransen.
Ryan commented that they all enjoyed the teamwork and collaboration of producing a great-looking commercial for the client. On another recent commercial, he used 2 x HydraPanels on a stand that was swiftly moved to cut between different camera angles, again proving their ultimate usability.

Ryan notes that the magnetic diffusion filters that come with the lights are exceptionally quick to add or remove as needed, and the battery power of all the Astera ranges has always impressed him. “Being 100% wireless with DMX control is brilliant – you have all the options.”

He has been using Astera products since the AX1 first hit the market a few years ago and has become a firm advocate of the brand for all the above reasons. “I use Astera on every shoot and every day now. I think the brand is extremely strong, they are innovative, in tune with the market and make excellent products.”


Astera HydraPanel Video Demo


For more info, you can visit the Astera LED

 

Ayrton Eurus light up The Netherlands’ Tivoli Vredenburg

The Tivoli music venue at Vredenburg, one of the most well known music venues in The Netherlands, recently installed 64 Ayrton Eurus S Profiles within two of its halls – Ronda and De Grote Zaal – via Ayrton’s exclusive distributor in The Netherlands, Ampco Flashlight Sales.
This large venue built in 2014 has six unique halls with a total capacity for 7500 people. De Grote Zaal, the original building from 1979, was built as a Symphony Hall with a seating capacity of 1717, or standing room of 2000.


“Being a symphony hall, many orchestras perform here,” says Jolijn van Iersel, Lighting Technician for the venue, “but the stage also hosts pop and rock shows including, in 2003, the Rolling Stones. More recently the likes of Iggy Pop, The Four Tops, Wadruna, Phillip Glass, King Crimson, Nils Frahm, Steve Hackett, The Temptations, Paul Carrack have also played here.” De Grote Zaal also hosts corporate events and award shows.

Ronda, also with a capacity of 2000 and in use since 2014 for rock, pop and dance events, has a more intimate feel: “Everywhere you stand is quite close to the stage because the hall is wider than it is deep.

Artists that have performed here include Billie Eilish, Wilco, Massive Attack, Level 42, Mogwai, The Hives, Feist, One Republic, Angie Stone, Rudimental, and Ben Howard.”

The team at Tivoli was looking to update its aging lighting system which used discharge lamps. “The fans were quite loud as well, which created a problem for performing orchestras. It was time to update the lights and look into the newer technology,” explains van Iersel.

“The basis of what we were looking for was a light that would at least equal our existing fixtures and be rider proof. In addition, it had to be up to date with LED technology, have shutter blades, and be future proof with, for example, an Ethercon port. Our preference was for a white LED source with CMY and, most importantly, the ability to be very quiet.”


Having worked with Ayrton lights before while touring, Ayrton was not new to van Iersel who was keen to see what Ayrton could offer that would match these criteria. “We’d been researching lights for a while already but, like the rest of the world, Corona slowed everything down.
We investigated several brands, working with Ampco Flashlight Sales which organised extensive demos and shoot outs to help us find the right product, and discovered the Ayrton Ghibli, Khamsin and Huracán. It wasn’t until we went to PLASA London in 2022, that we saw the Eurus.

“Eurus immediately grabbed our attention because of its size and because it met all our demands. Amongst all its features, we looked specifically into the colour mixing and CRI, the diversity of the gobos, and the working of the blades.
And most importantly we checked the output in Silent Mode, and tested for fixture/fan sound in that setting. It ticked all our boxes!”

The Eurus fixtures are rigged in each venue for use as stage lights, front lights and as floor packages, handling the diversity of use across two very different performance spaces with ease. “In Ronda, for the dance and rock shows, we use the full force of the light and add a few more into the hall for dance events. The speed of Eurus is good for those shows, and the light has a good balance with the other fixtures in the rig.


“The throw distance in both venues is about 25m, but in De Grote Zaal you hit the crowd quicker because of the arena setup. This is also why we chose the Eurus as the beam is perfect for this distance. And for the classical performances in De Grote Zaal, in super silent mode, there is still plenty of light output to illuminate everything nicely.”

Feedback on Eurus from technicians and lighting designers has been very positive. “People enjoy working with them,” confirms van Iersel. “Our own technicians like them, and we’ve had really good reactions from visiting crews as well. Everybody is pleasantly surprised by the physical weight of the light. They like the colour mixing, the variable CTO wheel and the variety of the gobos.
Our dance operators in particular are very enthusiastic about the clearly different looks they can achieve switching between gobos, and how well the light output holds up. The difference between the narrow beams and how wide they can go is a much liked feature too. The same goes for the framing package.”


The durability and reliability of Eurus has also been a key bonus for the venue techs: “Our new Ayrton Eurus S are a relief for our technicians,” confirms van Iersel. “The internal design is solid and reliable and they’ve proved very durable and continue to do their jobs as expected.
Ayrton provided us with in-depth maintenance instructions for quick troubleshooting if necessary, and we are delighted with the service we received from Ampco Flashlight Sales as our lighting supplier. The communication has always been really straight forward and accessible, which is key for us as a solid base for working together.”


Ampco Flashlight Sales is the exclusive distributor for Ayrton in The Netherlands www.ampco-flashlight.com

For more information on Ayrton Eurus and the full portfolio of Ayrton LED and laser-sourced fixtures, visit www.ayrton.eu

 

Two distributors for Ayrton in South Africa

Ayrton is excited to announce a new distribution partner for South Africa Planetworld. Planetworld will be closely supported by current distributor, Bespoke Entertainment Solutions to ensure Ayrton’s current and prospective customers receive the very best in products, service and support.


The team at Planetworld will work with Bespoke Entertainment Solutions to promote and support Ayrton in South Africa.

Planetworld, already a well-established company in the consumer audio market, and familiar to the entertainment industry through its distribution of leading audio brands, recently launched its new Pro Division. The Planetworld Pro Team, formally Wild and Marr, is responsible for supplying both technical design and equipment into the Pro AV Systems and Live Entertainment markets. Ayrton will become the second major LED brand to strengthen its product portfolio, complementing its Leyard LED screen representation.

“The entire team at Planetworld and I are beyond excited to be adding Ayrton to our growing portfolio of world class brands. Ayrton’s rich history of producing class-leading lighting solutions combined with Planetworld’s distribution, marketing and sales capabilities gives us the ability to truly amplify experiences across the entertainment industry in Africa,” states Planetworld CEO, Maurice van Heerden.


Bespoke Entertainment Solutions, which has an outstanding knowledge of the South African entertainment market at grass roots level, and long-standing experience of the Ayrton product range through its technical director, Suren Lutchman, will provide support services to Planetworld in a partnership that ensures Ayrton’s opportunities are maximized across Sub-Saharan Africa.
“It has been and will continue to be a great pleasure and an awesome experience working with the Ayrton team in establishing the brand in South Africa, especially post-Covid,” says Lutchman. “The partnership with Planetworld will be an exciting new endeavour and we look forward to working closely with the team to carry the Ayrton brand forward.”


“To combine Suren’s sure-fire competence in the field and his service expertise, with the incredible team and infrastructure offered by Planetworld is such an exciting prospect,” says Michael Althaus, Ayrton’s Global Sales Director. “Not only will the new partnership strengthen the Ayrton presence exponentially in the South African entertainment sector, but it also offers huge potential to the install vertical.”

The new distribution collaboration starts with immediate effect.

Planetworld can be contacted at:
Office: 17 Commerce Crescent, Sandown, Sandton, 2031
Warehouse: Nr 3 Ruacana Street, Waterfall Commercial District, Cnr Beatty & Old Pretoria Rd, Buccleuch, 2090
Website: www.planetworld.co.za

Bespoke Entertainment Solutions can be contacted at:
19 Hengilcon Avenue, Blairgowrie, Randburg, 2194, South Africa
Web: www.bespokesolutions.co.za


For more information on Ayrton, visit www.ayrton.eu

 

L-Acoustics Launches LC16D Network Audio Converter

LC16D is a high-capacity AES/EBU- and MADI-to-Milan AVB audio network converter housed in a compact and rugged 1U chassis. With up to 80 legacy format inputs and outputs, LC16D can interface with up to 128 channels to and from the network.

It offers dynamic mapping of audio channels and comprehensive synchronisation options, all controlled via an intuitive, embedded web interface. LC16D features flexible power options, with the innovative use of Power over Ethernet and seamless Milan AVB audio connections, providing robust redundancy features as standard.


LC16D is simple to use

The embedded web interface enables full control and monitoring from any device with a web browser and internet connection. The ten user configurations make storing and loading different channel mappings easy, while comprehensive clocking options make synchronisation effortless and distribution of clock sources across connection formats possible.

LC16D acts as a bridge between legacy digital formats and a Milan AVB network, offering expanded connectivity and audio interfacing options in a budget-friendly format. It has a wide range of applications in the rental, corporate, and fixed installation markets, as well as for broadcast, residential, and recording studios.

At festivals, large-scale broadcasts, or other special event applications that use several interfaced digital consoles, LC16D’s integrated asynchronous sample rate converters on each AES/EBU input eliminate the need for complex synchronisation management, allowing digital consoles to continue using their independent clock domains.

This simplifies the connection process and creates a plug-and-play AES/EBU-to-Milan AVB interface while also expanding the connectivity capacity of the drive system.
LC16D can be used as a floating converter for fixed installations deployed anywhere a legacy digital connection needs to interface with a Milan AVB network.

Scott Sugden.

The combination of AES/EBU and MADI inputs allows any digital console to be connected simply and efficiently, while the converter’s outputs can be utilised to generate and distribute additional feeds as required.

“The first ever network converter from L-Acoustics, LC16D bridges legacy formats to the future of networking,” said Scott Sugden, Director of Product Management, Electronics at L-Acoustics. “The powerful, feature-rich, and cost-effective LD16D will ease and accelerate the adoption of the Milan AVB protocol.”

LC16D will ship in Q4 of 2023.


View the LC16D launch video below:


For more information about LC16D, please visit the L-Acoustics website

Robe Deutschland GmbH is distributing Avolites in Germany

Robe Deutschland GmbH, a wholly owned subsidiary of Robe Lighting s.r.o., has taken over exclusive responsibility for the sales and service of all Avolites products on the German market as of November 1st, 2023.

Dieter Gross, CEO of Robe Germany, commented, “Following the acquisition of Avolites by Robe it was a logical step to hand over sales in the region to Robe’s German subsidiary. We respect Trendco’s excellent work over the decades and thank them for their harmonious cooperation during the handover period.”

Tillmann Schulz, Sales and Business Development Manager for Avolites at Robe Deutschland GmbH.

Tillmann Schulz has been appointed Sales and Business Development Manager for Avolites at Robe Deutschland GmbH. He is passionate about the Avolites brand, and notes, “Robe has been using Avolites control products internally for a long time and I am delighted to be representing these new, user-friendly solutions in the German market.”

In collaboration with Robe Germany’s product specialist and technical sales Martin Opitz and business development manager Jens Langner, Tillmann will also offer Avolites training and create further tutorial and learnership opportunities.
Technical support will be provided by the service department of Robe Deutschland GmbH in Neuching near Munich.

The entire Robe Deutschland team is excited about the addition of Avolites to the product range: “This is a great opportunity for us with an outstanding set of products, and we’ve appointed a hugely talented and enthusiastic individual in Tillmann and look forward to a great long-term working relationship,” stated Martin Lönner, COO of Robe Deutschland.

“Integrating Avolites’ strong products into the Robe lighting ecosystem enables us to respond comprehensively to ever-increasing demands for creative, intelligent lighting solutions,” adds Jens Langner.
With immediate effect, Tillmann will be the first point of contact for all matters relating to Avolites. He is looking forward to this new collaboration and to showcasing current Avolites innovations like the D9 full visual control console, the T3 portable solution and the PRISM range of live production tools to a wide variety of lighting and visual designers all over Germany.

For more info you can visit www.robe.cz

 

NEXO co-founder Michael Johnson passes away

Michael Johnson, who co-founded NEXO and served as its Managing Director until 2008, has passed away. Establishing the company alongside Eric Vincenot and Thierry Tranchant, “Micky” contributed to the expansion of NEXO over nearly thirty years, travelling the world and engaging with customers. He was not only an entrepreneur but also a patron of arts, music and theatre and an avid art collector.

Please join us in remembering Micky and the legacy he leaves behind.

 

Ayrton Rivale Profile video demo

Rivale Profile is a phenomenon in the world of motorised spotlights. In terms of luminous efficiency, with its new-generation 450W LED engine, it significantly outperforms its 650W Ghibli predecessor.

Full-featured and extremely versatile, with an extra-wide 4-52° zoom, a motorised profile module, IP65 rating and continuous Pan Tilt rotation, it weighs just 28 kg in a compact case.

Here is a video presentation by Ayrton

AYRTON – Rivale Profile – Presentation from Ayrton on Vimeo.

More on the Ayrton website

 

HARMAN Pro To Acquire FLUX SOFTWARE ENGINEERING

HARMAN Professional Solutions, the global leader in audio, lighting, and video and control technologies, announced today it has entered into an agreement to acquire FLUX SOFTWARE ENGINEERING (“FLUX::”), pioneers in immersive audio production, audio processing plug-in design, and audio analysis.

The acquisition will broaden HARMAN Professional’s offerings across multiple applications with world-class immersive technology, in addition to establishing a foundation for future innovation by bringing together FLUX::’s team with the hardware and software engineers of HARMAN Professional. When closed, the purchase will include FLUX::’s immersive, processing, and analysis solutions across live production, installation sound, content creation, and post-production.

Brian Divine, President of HARMAN Professional Solutions.

“The FLUX:: acquisition is part of a technology investment HARMAN Professional is making to bring outstanding immersive experiences for live and recorded productions,” said Brian Divine, President, HARMAN Professional Solutions. “From creation to real-time immersive delivery, we aim to empower artists, designers, and engineers with a comprehensive product offering across the entire system. The foundational technology developed by the talented FLUX:: team opens many opportunities for future integration with our portfolio of brands.”

France-based FLUX:: was founded in 2006 by then seasoned sound recording engineer and current CEO, Gaël Martinet, for the purpose of creating intuitive and innovative audio software tools. Now, the portfolio of nearly 20 products is used globally by talented professionals across many applications.


SPAT Revolution.

FLUX:: SPAT Revolution is a powerful object-based and perceptual immersive mixing solution providing artists, sound-designers, and sound-engineers the tools to design, create, and mix outstanding real-time immersive experiences.

FLUX:: Analyzer is a modular RTA-system providing an extensive range of analyzer options for any audio analysis and measurement application.

FLUX:: Processing includes a comprehensive suite of plugins including channel strips, EQs, dynamics processing, and more.


Gaël Martinet, founder and CEO of FLUX SOFTWARE ENGINEERING

“The future integration of our software technology with HARMAN’s industry leading brands make for exciting opportunities not only for touring applications, but for installed audio where spatial audio will play an increasingly important role,” said Gaël Martinet, Founder and CEO of FLUX SOFTWARE ENGINEERING.
“We’ve been pioneering and engineering immersive audio solutions for many years and to be among these HARMAN brands, namely JBL, which developed some of the earliest loudspeakers, is very compelling for our team and for customers.”

Closing of the acquisition is anticipated before the end of 2023.

For more information visit the FLUX Audio website

 

Ayrton Cobra lights up the Marrageddon Festival

Marrageddon, the hugely successful first hip hop festival from King of Rap, Marracash, involved two massive concerts in the two cities that are symbolic of the rapper: Milan and Naples.

Ayrton Cobra extends to the furthest reaches of the grounds at the Marrageddon Festival.

Marrageddon gathered no less than 84,000 people at the Hippodrome La Maura in Milan on 23 September and more than 55,000 at the Hippodrome di Agnano in Naples on 30 September, turning both into unprecedented shows.
The festival hosted not only the big names of Italian rap Fabri Fibra, Paky, Shiva, Salmo, Guè Pequeno, Lazza, Madame but also dozens of emerging artists, integrating fireworks, lasers and 1,000 square metres of LED wall, as well as suspension cables to fly Marracash above the dance troupe.


Lighting designer Giorgio De Cassan of Ombra Design, who was entrusted by the rapper with the entire creative direction of his Italian tour, lit this revolutionary event. The LD opted for 40 Ayrton Cobra laser-sourced fixtures, supplied by Mister X Service.

“Ayrton was chosen for the quality and reliability of its lights. This is by no means the first time I have used Ayrton, and I take every opportunity I can to include fixtures from this brand in my designs.
“We chose to use Cobras for their highly collimated beam, which helped me to reach even the furthest sectors of the open race courses without losing the sharpness of the beam. Thanks to their IP65 protection rating, it was possible to position them on the stage wings outside the cover of the roof and they worked perfectly despite the storm that hit us in Milan.


“With Lorenzo De Pascalis, the project’s show designer, we opted for a classic festival design but with very aggressive trims on the main trusses, which also allowed the lights to play a leading role without being overpowered by the 1000sqm LED wall. In this way the LDs of the artists prior to the headliner could easily adapt their show to the rig, while for the main act we were able to make use of 18 variable speed motors to break up the design and achieve particular looks.


“The Cobras were instrumental in widening the lighting design beyond the confines of the roof space. In fact, it was necessary to adapt the width of the lighting design to the amount of people and the colossal size of the venues. Thanks to the high power of the Cobras’ laser source and their high degree of weather protection, it was possible to have motorised effect lights in those locations that were completely exposed to the elements.


“There is no moving head with which you can achieve a cleaner look than with Cobra. This was the eighth project where I had the opportunity to work with this unique machine and I will definitely use it again. One goal we have set ourselves for the next projects is to get enough Cobras to use it as the only beam fixture in the rig.

“A particularly critical scene for the show was during Marracash’s ‘no love songs’ number, where the lights had to be able to dialogue with the red laser beams without overpowering them. On this occasion, the Cobra’s laser source in combination with the red colour filter came in very handy. It was possible to focus a very narrow beam and at the same time be very bright, despite red being a notoriously difficult colour to bring out.

“As far as programming is concerned, they are extremely versatile and I find the fixture profiles really well made. Personally, I find this product very reliable and, from memory, don’t remember ever having to change one because of problems. In Milan, we even encountered a big thunderstorm with hail that did not disturb the Cobras in the slightest.”


Credits:
Creative and Show Designer: Lorenzo De Pascalis
Project Manager: Giulia De Paoli
Art Director: Emanuele Bortoluzzi
Light Designer: Giorgio De Cassan
Creative Producer: Giovanni Greco
Technical Director: Giacomo Narduzzo
Video Programmer & Operator: Andrea Voglino


For more information on Ayrton Cobra and the full range of Ayrton LED and laser-sourced lighting fixtures, visit www.ayrton.eu

Ayrton is distributed exclusively in Italy by Molpass. For information on Molpass visit www.molpass.it

 

LAGOONA by NOVELTY project

It’s no longer a rumor… NOVELTY is pleased to announce the signing of an exclusive negotiation with the company LAGOONA.

Based in Strasbourg (67) and Belfort (90) – LAGOONA is a technical service provider and integrator in sound, lighting, video and stage structure, with an equipment park that already includes industry standards.

The NOVELTY-MAGNUM-DUSHOW Group aims to continue its policy of supporting customers in various regions. The agency LAGOONA by NOVELTY will also benefit from the entire technical, logistical and administrative infrastructure of the Group, and will become our first establishment in the Grand Est region.

The management and all LAGOONA’s teams will remain unchanged.

Jacques de La Guillonnière
President Novelty-Magnum-Dushow Group

Christian Lorenzi
Deputy General Manager Novelty-Magnum-Dushow Group

Olivier Hagneré
Deputy General Manager
Novelty-Magnum-Dushow Group

 

The new Hyperstar ETC

ETC introduces the High End Systems Hyperstar, a new companion to the Lonestar automated luminaire. Powerful and compact moving light Hyperstar is optimized for projection versatility, Hyperstar will help lighting designers create beautiful designs for a wide variety of venues.

Hyperstar is the same size as Lonestar, and is just as bright, compact, and affordable.
The new Hyperstar has been optimised for versatility in projection, enabling you to create a wide range of lighting designs for a whole range of shows thanks to its luminous flux of over 15,000 lumens from a 290 W white LED source.


Son faible poids de 21 kg et ses dimensions compactes sont des atouts en toutes situations.

While the Lonestar has already made a name for itself for its projection capabilities and cutting quality, the Hyperstar, which is just as compact and bright, is even more affordable and does away with the profile module to incorporate even more effects possibilities instead.
With 9 rotating gobos, 11 fixed gobos, an animation wheel, a double frost and a double prism, lighting designers have an almost infinite choice of volumetric effects and gobo projections for unique textures and morphings.


Une température de couleur réglable de 1800 à 7000 K par le CTO progressif.

By superimposing the projector’s various effects, users have access to a huge range of possibilities, thanks to its extensive zoom range (3.5° – 55°) and its colour capabilities, which combine linear CMY and CTO trichromacy with a colour wheel.


To learn more about Hyperstar, look at this video


Tania Lesage, Market Manager at ETC, describes the Hyperstar system in the following terms: “This is a projector designed for shows of all types and sizes. With its power, innumerable effects and colour capabilities, the Hyperstar demonstrates ETC’s commitment to unrivalled professional quality and service, all in an affordable format and price range”.


Le binôme Spot Hyperstar (à gauche) et Profile Lonestar, de même format, même flux et même système colorimétrique.


More information on the ETC website

 

US band Tedeschi Trucks tour with Hippotizer-driven LED battens

Floridian rockers Tedeschi Trucks’ summer 2023 tour staging was dominated by soaring horizontal LED battens which displayed pixels of video content, driven by Hippotizer Karst+ MK2 Media Servers. The battens were interspersed with LED fixtures to create a dazzling series of audience blinders, colour and sweeping effects to set the scene for the band’s brand of American blues rock.


The lighting design and programming was delivered to the tour by Infinitus Vox, headed by Tony Caporale, who used a Hippotizer Karst+ MK2’s NDI feed to his Depence R3 pre-viz software. This meant that during pre-production, he could view all of the lighting and video design together, before controlling the Media Server via a grandMA3 console.

“Since pixel mapping was the main focus here, the Karst+ MK2 was the right Hippotizer for the job,” says Caporale. “It offers flexibility – I’ve used this machine on heavily timecoded shows to doing a good old fashioned rock show like this one without timecode. I’m comfortable with it in many situations we face in production.”


For a show requiring large amounts of video content displayed via LED battens, Caporale took advantage of the Hippotizer PixelMapper feature, which was designed to bring creative video to lighting fixtures. The content was created by Danny Clarke from Gateway Studios and Production Services, as well as stock content manipulated for the creative design of the show by Caporale.


“I discovered a lot of ways to blend the pixel mapped content with the existing programming in the Pixel Lines, which was quite fun,” he says. “If I left PixelMapper engaged but layers at 0, the original programming would play nicely. Then, I had the option to blend the pixel mapped content with the DMX programming but assigning the layers to a temp fader on the MA3 to allow seamless blending between the two.

This preserved the colours to match the rest of the other lighting fixture programming. If I wanted the pixel map to full take over dmx programming I would push the temp fader on the MA3 to full and would match the exact content.”


One date on the tour saw Tedeschi Trucks play the famous Red Rocks Amphitheatre in Colorado, where 303 magazine’s review said that “the show was pure spectacle, colours dancing across the rocks while some of the most talented musicians alive sent souls soaring over the horizon.”

“The Karst+ MK2 gave me flexible usage for the LED battens where I could program them via DMX and also use PixelMapper,” Caporale continues. “Since this is a jam band and there are extensions to the music, using PixelMapper allowed me to use fresh creative looks in the bars so it wouldn’t get stale. In addition, Hippotizer’s Fade On Layer feature has been a favorite since it has been released. I love the resources it saves and keeps things smooth.”


Caporale says one of his favourite moments in the show was when he programmed thin symetrical content following though the RGBW pixels in conjunction with a DMX chase through the atomic portion of the LED battens. “The variables I had with the lights made it so fun,” he says.
Green Hippo’s Technical Product Manager Nick Spencer provided support for the tour. “I appreciate his technical support making sure the pixel maps were in good shape along with the networking calls we had together,” adds Caporale.

More information on the Green Hippo website

More than 300 GLP fixtures featured at Madrid’s Coca-Cola Music Experience

Created back in 2011, the Coca-Cola Music Experience (CCME) set out to become the first Gen-Z focused music festival, creating a strong link between the brand and teens through their passion for music.
Twelve years later, it has fulfilled that aim, as the recent two-day festival, which was held at the Caja Mágica (Magic Box) in Madrid, proved. Taking place in front of 23,000 people, it was accompanied by a simultaneous live stream.


Situated in the Manzanares Linear Park, the multi-functional space was designed to embrace all the scenic, technical and artistic elements expected of a TV gala and a music festival. Entrusted with the lighting design was the in-demand, locally based LD and programmer, CaCo García, who has wide experience in lighting large-format one-off events such as this.
He selected a vast armoury of more than 300 GLP fixtures, which were supplied by PRG. These comprised 120 JDC1, 50 impression X4 Bar 10 and 72 impression X4 Bar 20. However, it was the newer impression X5 Wash – of which 60 fixtures were deployed – that he singled out for special praise.


“Since GLP is a benchmark for quality and good performance in all its equipment, the combination of different fixtures deployed more than covered all our needs. Devices such as the X4 Bar 10 or 20 and the JDC1 offered us infinite possibilities,” he remarks. “But I should give special mention to the impression X5 Wash for its power, optical system and light quality. The X5s have ergonomics that facilitate full integration into lighting and set designs.”

Features of GLP’s latest next generation wash light template include 19 powerful 40W RGBL LEDs, which deliver enormous power, while the light source was designed to offer an expanded and more comprehensive colour gamut, incorporating the new iQ.Gamut algorithm.

This enabled board operator Miguel Hidalgo, aboard his grandMA desk, to give full rein to a dynamic, ever-changing lightshow, as CaCo explains: “With 10 hours’ duration on each day, it was important to be able to offer variants and alternatives for each performance. The overall design itself was marked by round shapes and the transmission of energy, in all its different variants, while creating an immersive experience for the entire audience.”

He said this was achieved by programming pixel-mappable fixtures like the impression X4 Bars and JDC1 “in their optimum DMX working modes in order to provide many programming possibilities. Consequently this enabled us to project an almost infinite number of lighting variables.”

It certainly provided the perfect scenic backdrop for the 30 acts, who were introduced by Spanish radio DJ and TV personality Tony Aguilar. These included leading Spanish and international artists, including Ozuna, Quevedo, Lali, La La Love You, Yungblud, Nil Moliner, María Becerra, Ava Max, Maikel Delacalle, Dylan, Luc Loren, Paula Koops and Ters. All succeeded in energising the daily audience of 25,000 revellers with their high-octane performances.

Others involved in the technical team included Óscar Fernández (festival director and production manager), Juan Manuel Lázaro (video operator), Francis Viñolo (artistic director), Cristina Agulló (scenography) and Alex Aparicio (technical and band coordination).

More information on the GLP website

Benvenuti GTX 12, 10 & GTS 29, the new TT+ Systems from RCF

The flagship product line of Italian manufacturer RCF’s professional loudspeakers, the TT range (for Touring and Theater) has always enjoyed a prominent presence in Italy, and everywhere else where higher quality and budget need to go hand in hand.
Over the years, the renewal of the large TT line arrays and subwoofers has led the R&D team in Reggio Emilia to consider offering the choice between internally and externally amplified enclosures.
The arrival of the XPS 16K, a superb new touring amplifier as impressive in terms of processing as it is in terms of power, has put an end to the debate. All that was left to do was present the new models of heads and subs, and that’s precisely what brought us to Italy for three days. We weren’t disappointed!


The lawn surrounded by the technical and administrative facilities of RCF, where the two new systems are deployed, as seen from a drone. The common FoH is in the middle.


The launch event for this new product family was organized in three parts.

– First at the RCF headquarters where, in between two downpours, we listened to the GTX 12 and GTX 10, each with and without the new GTS 29 sub.
– Next, during a dinner at a local winery we had a long listen to the GTX 10 “driven” by a group of musical monsters accompanying a female singer, all mixed to perfection by Lucio Boiardi Serri, Lead Application Engineer for RCF.
– Finally, we finished off at the Olympic Stadium in Rome for a concert by Luciano Ligabue, one of Italy’s biggest stars, listening from the golden circle facing the GTX 12.


From left to right: Michele Begotti, Engineering Support Group, Lucio Boiardi Serri, Lead Application Engineer, and Francesco Venturi, Engineering Support Group; three highly skilled technicians who explain every aspect of GTX, from the software to the amplifiers and the loudspeakers themselves.

The description of the GTX system highlights the new precision transducers that RCF designs and manufactures in Reggio Emilia, as they do all the speakers in the professional product lines.

We were able to visit the factories and, here as elsewhere, it’s women who wind the coils, assemble the moving components and glue in the domes, with a skill and precision that no machine can match, to bring to life what will become loudspeakers.


One of the few images that we can publish of the transducer factory.

There are too many secrets surrounding the manufacture of the transducers, as well as the construction of the cabinetry and the final assembly, so we won’t go into too much detail on this aspect of our article. Just know that there’s a strong sense of professionalism at every level, with elaborate Quality Control and, as we say in Italian, “spietatezza” – ruthlessness.

The new GTX and GTS transducers offer around 2 dB more sensitivity than their predecessors, as well as improved power handling, greater excursion, improved resistance to aging, better temperature control and, of course, perfect adaptation to the project for which they were specifically designed.


The other strong point – indeed the very reason for the existence – of the GTX is the XPS 16K amplifier, which we’ve already discussed at length in our articles XPS Series, RCF high-power 4-Channel DSP amplifiers and at Installation innovations from RCF.

RCF chose a power rating of 4 × 4000 W at 2.7 ohms and, with the help of Pascal Audio for the Class D power modules, gave it the ability to sustain a 200 ms burst simultaneously on all four channels at 50 Hz, with a peak coefficient set at 7 dB and a total harmonic distortion of 1%.


The brains and the brawn of GTX, the XPS 16K amplified controller.

In addition to its muscles, this amp also has plenty of brains, fast and operating at 96 kHz without any restrictions, offering 40-bit processing and 32-bit routing. It’s got FIR filters, all the bass shaping, diaphragm excursion control, dynamic equalization, multi-band compression, atmospheric and distance compensation algorithms – nothing is left out.

Last but not least, RDNet – RCF’s monitoring and control platform for amplifiers and powered loudspeakers, now in version 5.0 – offers total control and ease of use, closing the gap with the competition. What’s more, it’s now even simpler to use this software, as connections are made directly via TCP/IP from a computer with a simple network cable, using the 1 GB router present in all XPS units and bridging the subsequent ones. Last but not least, Shape D3D rounds out the TT+ software package for design and simulation.


GTX 12

GTX 12, or rather its skeleton, a little distorted by the angled view of this shot…

GTX 12 is a traditional-looking 3-way, 4-channel line-source enclosure that has benefited from a host of improvements in all areas, such as the 4PATH resistive waveguide that loads two ND895s.
This is a new driver with a 3″ ridged titanium diaphragm and a 1.4″ throat, attached to an aluminum-wound Kapton moving element, all bathed in the flux generated by neodymium magnets.

The 109 dB sensitivity is complemented by its ability to reach down as low as 700 Hz. Each driver covers 5° vertically, 10° for both, and the fixed horizontal radiation is 90°. The total impedance of the high frequency channel is 16 ohms.

GTX 12 without its front grille.

Positioned as closely as possible to the waveguide in a coplanar configuration, four 6″ midrange drivers with neodymium magnets and 2″ voice coils handle two octaves and present a total impedance of 8 ohms.

The GTX 12 rigging hardware is simple and well designed, with its captive pins and, as required for large configurations, the option of working in tension or compression. Here you can see the manual compression hoist attached to the pullback frame you can see under the bottom box.

The bass is delivered via a pair of 12″ speakers with HyperVented construction, 3.5″ internal/external voice coils, and neodymium magnets that give them all their power (and they’ve got it, as we’ll see during the demos and at the Olympic stadium in Rome).

The 12″ cones receive the same treatment as the 19″ ones in the subs, to lighten them, strengthen them and make them responsive and devoid of any intrinsic resonance.
Driven in groups of three enclosures by each XPS 16K, each individual 12″ with its own amp channel, GTX 12 delivers a usable maximum SPL of 148 dB, and reaches down to 35 Hz at -10 dB.

Finally, we should point out that the rigging operates in both tension and compression, which is useful for very long arrays (a maximum of 24 boxes can be flown), and that the accessories available to facilitate the use of GTX 12 and 10 are numerous and well designed.


GTX 10

GTX 10, a classic and very effective two-way configuration, as we’ll see later.

GTX 10 is the 2-way version, without the four mid-ranges, and with a single driver, appropriately upgraded to 4″, and two 10″ woofers in place of the 12″. Smaller and lighter, at 31.5 kg (less than half the weight of its big brother), this loudspeaker boasts a remarkable 143 dB maximum SPL, and goes down to 42 Hz at -10 dB, which is quite a feat.

The two bass transducers are baby 12″ units scaled down to 10″, while retaining the same responsive pedigree, thanks to their neodymium magnets, inside/outside coils and heat-dissipating design.

The GTX 10 without its front grille. To say the least, the two 10″ have plenty of room to breathe.

Handled with an iron fist (in a velvet glove) by the Bass Motion Control (BMC) algorithm, these perform to the best of their ability, in phase with the waveguide, which also performs this task.

The NDT995, the magnificent 4″ driver used in the GTX 10, as powerful as it is delicate.

The new NDT995 4″ driver with 1.4″ throat is a masterpiece of power and finesse. Capable of starting at very low frequencies, it rises very easily to the extreme treble, despite the 15° vertical and 110° horizontal diffusion. The larger 4PATH waveguide has also been designed using finite element analysis.

With two active voices, GTX 10 takes full advantage of XPS 16K, so six units can be powered, rather than three, using an A-B switch on the rear of the enclosures and a third connector to tap the output to power them. Three boxes on the four “A” conductors of the multicore, and three others on the “B” conductors.


GTS 29

The configuration of the two 19″ transducers in the GTS 29.

A pleasant surprise of the day, this passive, dual 19″ subwoofer complements RCF’s 18″ and 21″ active range, thanks to the many advantages it offers, as described in detail by Lucio Boiardi Serri and Michele Begotti: “The eighteen-inch cone is the standard in the market, offering the best compromise between excursion, SPL and size, as well as impulse response to the audio signal.


The LN19S400, a mighty 19″ unit combining all the best RCF has to offer in terms of sound.

“Over the years, the demand for low-frequency SPL combined with the increasing power of amplifiers has pushed for greater excursion, requiring very solid, heavy diaphragms and suspensions, but also a reduction in radiating surface area and, consequently, in the amount of air displaced.

“R&D went back to the drawing board and proposed upscaling the cone to 19″, in order to preserve and even improve the suspension required for the desired excursion, while re-establishing the piston needed to move the air, without increasing the mass of the moving assembly or sacrificing responsiveness. The perfect balance between 18″ and 21″.

“For this new HyperVented transducer, the quadruple 4″ aluminum inside/outside coil on a fiberglass former is 44 mm long, which, together with the quantity and quality of the neodymium magnets, guarantees an XMax of 56 mm without any risk of breakage, since it is protected by Bass Motion Control technology. GTS 29 delivers a maximum of 148 dB and a low limit of 25 Hz at 10 dB. Each sub requires one channel of XPS 16K, so four units per amp.”

GTS 29 with and without front grille. Note the pair of connectors on the front.

Of course, the two 19″ speakers benefit from a rigid birch plywood cabinet with extra-large laminar vents, noise-reducing grille and internal layout, and ease of use with six recessed handles and dual 8-pin IP68 P-COM connectors on both front and rear panels for cardioid configurations. Last but not least, its weight of 96 kg means that it can be used to assemble 16-unit arrays on a single flying frame.


TTR 16K, a genuine Touring rack with three XPS 16K.

TTR 16K

Passive loudspeakers mean amplifier racks, and RCF has done it right with the TTR 16K. Housing three XPS 16Ks (or 16KDs for Dante), this touring rack features a 32 A/400 V power supply with splitter, an analog and AES/EBU patchbay, and space for a network switch to carry RDNet and Dante.


Listening Sessions

The listening sessions are an essential part of the presentation of a new sound system and the impression it makes on the press, dealers and potential buyers alike, and it’s an understatement to say that some manufacturers don’t always do a great job at this.
So, RCF went all out with three different sessions: a listening session at the factory, a more “intimate” live session at a dinner party, and finally pulling out the big guns with a concert in a stadium in front of 82 GTX 12s, even if the subs weren’t the GTS 29s.

Listening at the factory in Reggio Emilia

The listening session at the factory, on a lawn that is constantly being trimmed by self-propelled mowers, was provided by a left/right set-up consisting of twelve GTX 12s flanking fifteen GTS 29s in five 3-unit cardioid stacks, and we were free to roam from the towers supporting the arrays all the way to behind the FoH position, a distance of over 80 meters.
As for the GTX 10s, they were positioned laterally, looking like baby chickens on a field too big for them, and had the honor of opening the proceedings.

GTX 10

Six little boxes and four subs in the open air, and yet some really good sound, all powered by three XPS 16Ks, one per side and a third one for the four subs, i.e. one full TTR 16K Touring rack.

From the very first notes, you’re hooked. It sounds good, precise, without any distortion and, above all, with a high end of rare finesse and clarity. Without subwoofers, the six enclosures on each side do their utmost to generate and project low frequencies, and the funny thing is that, with a little bit of limiting, they manage to do just that! With nine elements, it would have been possible to obtain a minimum of coupling and an array length worthy of the name.

The six GTX 10s. A single cable for all six boxes, the third connector being used to feed the bottom three units.

RCF’s intention seems to be to have them play the role of “supplementary system” in this listening, but we’re convinced that GTX 10 can do much more than that. Lateral decay is smooth, with a treble that doesn’t seem to want to stop. The 4″ driver has plenty of potential, and it’s put to good use.

The bass holds up well up to about 35 meters, beyond which it’s the four GTS 29 subs that reinforce and “extend” the GTX 10s, but the impression of power, sharpness, dynamics and fidelity is there… all the more so because the top boxes are set to reach the end of the field, and the treble succeeds. 55 meters, outdoors. Hats off to them! There’s nothing to criticize either about the fluidity of the connection between the 19″ and the 10″, the two complement each other perfectly.

GTX 12

GTX 12 is built like a big full-range system, and the impression without subs is again quite impressive. The 12 units per side generate a coupling and projection in the bass that would have warranted being set 3 dB lower, but the least we can say is that we’re blown away by the wall of sound that emanates from the two arrays.


The permanent structure with the arrays of GTX 12. On the ground, the five cardioid stacks of three GTS 29 each.

While GTX 10 is sharp and clean, GTX 12 is big and sometimes a little harsh. As we move away, we notice the impression that befits a “large format system”, but it lacks a little brilliance and level in the treble, and a little less bass, which masks the low midrange and hinders the polar pattern somewhat.

The range reaches 85 meters (the end of the lawn) without any major color changes, which in open air is a very good result, and the polar pattern is even, except for a small irregularity at around 30°, which should be corrected, since the GTX 12 preset was still in the process of being refined in mid-July, when we had the chance to listen to it.


A view from the rear of the system, showing the size of the lawn and trees 85 meters away.

Adding in the subs once again confirms the very fine quality of the low and infra frequencies delivered by GTS 29, but also the imbalance in the demo, with a little too much low end in the heads and a few dB too much in the subs. Finally, the choice not to roll off the heads generates a sort of traffic jam between two different types of low frequencies, which are certainly in phase, but end up masking everything else! Ahh, marketing ;0)


The fifteen GTS 29 facing all of RCF’s guests. It’s pushing so hard that the clouds are giving way to sunshine.

We got behind the system while it was playing, and while the GTS 29 cardioid setup does a good job of cleaning up behind the wall of subs, some bass is present and is generated by the heads, which, like all non-cardioid systems, are virtually omnidirectional in the low frequencies. The fact remains that GTX 12 has great potential, which will need to be refined in terms of presets in Reggio Emilia, and a spaciousness which, once adapted to its needs, will prove highly effective – as we’ll see the next day in Rome.


Listening to GTX 10 and GTS 29 at Venturini Baldini

In the evening after the presentation at the factory, we were invited to a musical dinner in the hills surrounding Reggio Emilia, at the Venturini Baldini winery. An open-air stage was set up where we were greeted by a professional band with a singer as talented as her accompanists, all reproduced by the same GTX 10 and GTS 29 we heard a few hours earlier.


A small stage but huge talent; there’s no better way to enjoy a system.

It’s even better, because it delivers a live, dynamic sound, admirably mixed by Lucio Boiardi Serri and with the “classic” sources of drums, bass, guitar and Rhodes. It’s very open in terms of compression, allowing us to better understand the system’s electroacoustic performance.

Great sound, the product of a great band, a great mixer and a great system.

The dinner almost broke up because at every table we kept turning our heads, keeping quiet to listen and getting up between courses to go to the console to compliment Lucio and absorb what every concert should be.

The true sound of a big studio with the right spectral balance. Mention should also be made of the GTS 29, which delivers a full, clean attack and great infra-bass potential.


On the same day, we also had the chance to visit RCF’s huge new logistics center, operational since early 2023, where 25 forklifts and up to 80 people were brought to a standstill to allow us to wander through the immense corridors. On either side, up to six levels of thousands of pallets of finished products and tens of thousands of parts used to manufacture them are stacked up, perfectly labelled and arranged vertically.


Endless corridors for endless stock. Facing the camera in his white shirt is Emanuele Conti, RCF Supply Chain Manager.

A few figures will make your head spin. 18,000 pallet spaces, 150 × 110 meters of floor space for 20,000 m² of storage area. We’re talking about 1,000 new products leaving the factory every day, which explains the size of this warehouse.

We were also able to experience the famous Campovolo, now the RCF Arena, a part of the Reggio Emilia aerodrome where Ligabue and, for some years now, other international artists have been holding gigantic concerts. Since 2005, Ligabue has held the attendance record with 165,234 ticketed spectators. At the time, it was just a huge field of grass.


An aerial view of the RCF Arena on the day of a concert, an immense space capable of safely accommodating 100,000 people.


Listening at the Olympic Stadium in Rome

The next day, which happened to be Bastille Day, we set off for the Italian capital and its huge Olympic stadium to attend a Ligabue concert. After some hard bargaining, we were able to get down onto the pitch in the “golden section”, so as to have more direct signal than reverberated signal.
It should be noted that Rome’s Olympic Stadium has a honeycombed concrete roof, creating staggered, harsh and non-linear reflections. It’s really like an AMS RMX 16, and a real nightmare for evaluating a system when there’s a reverb that should be reserved only for snare drums from the 1980s!


Rome’s Olympic Stadium and its very, very noisy roof.

Big, solid and very rich, the sound delivered by the GTX 12s was, in some respects, a reflection of what we’d heard the day before, but with even more impact and power, thanks to Ligabue’s sound engineer’s heavy use of dynamic processing of all kinds.


Emanuele Morlini, Pro Audio Product Manager for RCF, manning Ligabue’s system.

Despite this, the engineer had the good sense to make plenty of room for Luciano Ligabue’s voice, which came through with perfect intelligibility – a real feat in a venue with acoustics so unsuitable for amplified sound.

Since the subs used here are 21″ models from the previous generation, we won’t comment further on this listening experience, other than to certify the GTX 12’s suitability for large spaces, with a real ability to propel sound over long distances.


The flown and ground-stacked FoH system at Rome’s Olympic Stadium. The main arrays are 21 × GTX 12, the outfills are 20 × GTX 12 and the subs are 72 × TTS56-A, dual 21″ models, each with 7 kW of power.


Interview with Alberto Ruozzi

An early arrival in the Olympic Stadium in Rome left us a few hours to have some excellent pasta prepared on the spot in our lounge, as well as a few minutes to interview Alberto Ruozzi, RCF’s Executive Sales Director.

Alberto Ruozzi, Executive Sales Director for RCF.

SLU : Can you confirm the figure of 1,000 speakers leaving your factories every day?

Alberto Ruozzi : On the average, because it’s a constantly changing number. We’ve reached 18,000 products per month. And that’s just for loudspeakers, no more than 15% of which come from outside Italy.

SLU : That leaves us with 85%. So you have several production facilities in addition to Reggio Emilia…

Alberto Ruozzi : Ahh yes! Just for the molded cabinets of our loudspeakers, three factories work to order, with the flexibility that the market demands. Each site is capable of working on several models at the same time, which allows us to rapidly ramp up production. Made in Italy, at the level we practice it, demands quick adaptability.


The NDT895, the 3″ driver created by RCF for use in pairs aboard the GTX 12.

SLU : But what’s the secret to not offshoring too much?

Alberto Ruozzi : Essentially, the vertical integration of our technologies. We know everything about a loudspeaker from the transducer that we make to the power cable, which gives us the ability to control the chain of manufacturing costs right down to the last screw, and that’s what makes RCF so unique on the market.

SLU : The growth of RCF and its group seems solid, as evidenced by your ultra-modern logistics center, but the factory nestled in the heart of the company headquarters seems a little undersized…

Alberto Ruozzi : It’s true that we’ve put a lot of emphasis on logistics, which is the big investment for 2023. The old center was totally outdated and hampered our growth.


The RCF logistics center, or “how to free up energy”. Note the visitors’ bus, or “how to bring everything to a standstill”!

As far as our headquarters and its production lines are concerned, if you look closely, we have parts that are in 4.0, that is with biometric operator recognition, with ultra-modern robots… But it’s also true that transducer production requires know-how that only highly skilled workers possess (female workers, especially – ed. note) and tools sometimes made to measure by our teams. It’s less impressive, but the quality of our products is built on this experience.

SLU : Can you break down RCF’s production into sectors by percentages?

Alberto Ruozzi : We have two main segments that do roughly the same volume: Retail, i.e. simple products, essentially portable plastic speaker systems, and Touring, which includes the HDL and TT+ series line arrays, for example. In third place we have Performance, products designed for installation.
In 4th and 5th place, at roughly the same percentage, we find Transducers sold as components, and Commercial Audio, so products for use in stores, railway stations, etc. The 6th and last category includes a fairly heterogeneous range of products, including consoles, studio monitors, sound cards and other equipment.


Ligabue performing with GTX 12.

SLU : How did you work your way up to TT, and what was RCF’s first line array?

Alberto Ruozzi : The first TT was born in 2006, the TTL33-A, which was the only one in this new family. It was also our first line array model in absolute terms, and for its time, it was a great success, opening the door to point-source models and subs. Later came the TTL55-A, representing our entry into the world of touring and large venues, as seen here.

This product was also a success, but not as much as we would have liked in Europe and especially in the United States, for which RCF wasn’t yet mature enough. Producing the TT products gave our company the skills and knowledge of the market that led us to launch the HDL range, which proved to be a huge success.
The idea is to play the Made in Italy card, keeping the idea of the amplified loudspeaker but choosing polypropylene to give sound companies and integrators a simple, high-quality system that pays for itself much more quickly.
We’ve invented a new market by popularizing a type of loudspeaker that, until now, had always been out of the reach of most people because of its price. RCF has opened the door to sound services that use vans instead of trucks (he smiles), to companies where the purchaser is also the user.

SLU : If we add up all the RCF line array boxes sold so far, we’re talking about 200,000 units…

Alberto Ruozzi : That’s a plausible number. I wouldn’t rule it out. It’s no secret that RCF is the world’s largest manufacturer of all line array models.

You can eat GTX too!

SLU : How did you get to TT+?

Alberto Ruozzi : The GTX, or the continuation of the TT, is a project that began to take shape in 2019. The continued success of the HDL models is evident, but so is the beginning of a decline in interest in the TT models, also due to competition from the latest, more powerful and modern HDL models. So we needed to offer a new solution that clearly outperforms HDLs in every respect.

The first decision was to go back to a passive enclosure, in order to be able to supply it with as much power as possible, and also to move closer to the demands of the market. As experts in active and passive loudspeakers, we know that built-in amplification needs to be highly calibrated to the transducer, sometimes holding back performance and weighing down the system.

So we concentrated on the amp for these new models and all those to come. We wanted this amp to be capable of delivering its power over bursts of 200 ms, to ensure its efficiency, regardless of the load and the model of speaker being driven. We did the same with the DSP resources, the network and the resilience in case of failure, which took us three years to achieve.
The loudspeakers followed, with the aim of offering more than just SPL, more than the usual war of numbers that can be made to mean many things (he smiles). We decided to offer products with a very extensive frequency response and a sound with as little distortion as possible, taking advantage of the remarkable quality of our amp. And for GTX 12, a full-range response and high level down low to be able to project it.

SLU : Touring also means adapting to customers’ requirements. For example, are you thinking of offering your GTS 29 in a single 19″ version?

Alberto Ruozzi : Absolutely! The single 19″ is planned with and without rigging hardware. The USA needs this type of sub because it hangs easily with the main system, and many small theaters there have size and weight limitations. Last but not least, it will make a great complement to the GTX 10.

SLU : Are the GTXs in production and, if so, will the TT equivalents be discontinued?

Alberto Ruozzi : Mass production officially starts in September 2023, and orders can be placed immediately. The first deliveries will be made in September.

We have very ambitious production and sales forecasts, as demonstrated by an order for 250 units for a major project in 2024 and the fact that we have just equipped the Stuttgart football stadium in Germany entirely with bi-amplified GTX 10, which is quite a feat for a stadium.

It’s a simplified version of the GTX 10, but with the same transducers and waveguides tailored to the venue. We’re very proud of the fact that we won the tender and the listening tests against a local company that’s very well known in the industry (smiling).

To answer the 2nd part of your question, in the long term we plan to take a number of older TTs out of the catalog, especially since some of them are almost old enough to move out and live on their own (he smiles). But we’ll always be able to deliver supplements of these systems if a customer should require them, just as we have spare parts available to enable those who wish to continue using our older products to do so without risk.

SLU : One last question. This summer at the RCF Arena, Italia Loves Romagna, a big event was held in aid of the disaster victims in your region, Emilia Romagna, with a great line-up of artists. Was it done using GTX and who was the sound service?

Alberto Ruozzi : The sound company was Agorà, and yes, it was GTX and GTS 29, 410 elements in all, flown in four arrays for the main and sides, as well as ten delay towers, so that all the technical crews and sound engineers for all the artists who performed on the stage could have a good listen to it.
As a sponsor, RCF provided the PA, which meant that it didn’t have to come the ticket revenue, and a lot of money was raised for the flood victims. Feedback was very encouraging, and Agorà used the system in a test phase for almost a year.


Conclusion

Reliable, simple and affordable, Reggio Emilia’s line arrays are now in a class of their own, backed up by flawless power, a top-notch software suite and a powerful, precise electro-acoustic section that delivers excellent sound.
100% professional gear. Whether this will be enough in a highly competitive market where some players have taken the lead with highly innovative and/or cardioid products, the answer is in the hands of the decision-makers, and above all in their ears. Listen to the GTX 10 with the GTS 29 as soon as you have a chance, and you’ll have the beginnings of an answer.

And for more information on TT+

 

Ayrton Cobra lights up Baglioni’s “a TUTTOCUORE” tour

© Ivan Pierri

A large consignment of Ayrton Cobra laser-sourced fixtures accompanied the hugely successful “a TUTTOCUORE” tour from Italian singer-songwriter and musician Claudio Baglioni, which started on Sept. 21, 2023 from the Foro Italico in Rome and continues throughout Italy until February 2024. The high-level Rock-Opera is presented in three huge spatial dimensions, extending its reach horizontally, vertically and in depth.


© Ivan Pierri

The show, which has as its central theme the heart as the one and only reliable clock, integrates different artistic disciplines, bringing together hundreds of artists, performers, choristers and dancers, as well as a strong lighting component, projections of landscapes, faces, shapes and silhouettes. Everything is intended to help give the audience a direct connection, not through the mediation of screens, but through authentic sensory perception.

Ayrton Cobra

Illuminating this grand event is lighting designer and DOP, Ivan Pierri, with as many as 450 lighting fixtures, including 108 of the very powerful, laser sourced Ayrton Cobra supplied by Italian rental company, Agora. Cobra is a unique versatile fixture that incorporates all the waterproof features while remaining easily accessible and light weight.

“I chose Ayrton because of the excellent quality of the product. It is a versatile beam that also performs as a spot, and is very strong on colours. Plus, it is IP65, a key feature for an outdoor tour,” says Pierri.
“The Cobras were basically placed to frame the stage and to backlight the performers. Definitely the most valuable weapon at our disposal to create a three-dimensional setting to serve the performer on stage.”

“In terms of concept development, this is not a classic tour. There were 100 performers on stage including dancers and other artists. The challenge was to proceed in parallel with two different levels of language, theatrical and musical, trying to integrate and amalgamate them. The lighting design had to open up spaces and expand the boundaries of the stage to embrace the audience,” he explains.


© Ivan Pierri

“The Cobras were excellent in designing geometries and perspectives that immersed the audience in the aesthetic and expressive world created on stage by Claudio Baglioni’s music and Giuliano Peparini’s choreography and stage direction. What was most gratifying about using Cobra was the possibility of using it both as a spot and beam and its strength and quality in the use of colours.”


Vittorio De Amicis, CEO of Agora, adds: “At the beginning of the year we decided to invest in a good number of Ayrton Cobras as we saw that Ayrton is increasingly in demand and recognized on the international scene. To date we are very pleased to have taken this step, and this tour by Baglioni is just one of the important jobs in which our Cobras have been successfully used. Ayrton products are truly state-of-the-art and very reliable, and are supported by Molpass with whom we have been working for years in excellent synergy.”

For more information on Ayrton Cobra and the full range of Ayrton LED and laser-sourced lighting fixtures, visit www.ayrton.eu