East Eventz, reached Pawel ‘Spider’ Pajak, and PERCEPTO [LAB] to design and deliver creative solutions for a one-off concert and they chose Ayrton MagicPanel-FX and Khamsin-S fixtures to provide contemporary, densely-coloured and dramatic effects for this special evening. The two-artist featured were singer Dawid Podsiadlo and rapper Taco Hemingway, and was the polish gig featured was sold out with an attendance of 60,000 people.

Spider tells us why he choses to use Ayrton’s technology for this event: “This is not the first time I’ve used Ayrton products – I’ve been using them successfully for quite a few years.
I first started with MagicBlade-R then moved to the FX versions, and have also used MiniPanel-FX, MiniBurst and MagicPanel-FX. I have also adopted Ayrton’s range of more classic, but still distinctive, moving lights, starting first with Ghibli, and this year added one of the latest releases, Khamsin-S, and I want the brand to become even more available in the Polish market.

“I really like multifunctional fixtures with maximum pixel control options so I can use them, not only as lighting fixtures, but also as part of low-res video surfaces.
I always use them in the highest mode for the maximum creativity. I’ve been able to rely on Ayrton fixtures for several years on so many different productions, from club tours and special events, right up to large scale stadium shows.”

The lighting was supplied by Transcolor and included 64 MagicPanel-FX and 44 Khamsin-S fixtures. Spider tell us more about his design and how he preferred to use the fixtures:
“The MagicPanel-FXs were hung in four groups of 16 pieces each on separate truss structures run by Kinesys motors. Each structure consists of three trusses joined together as one structure, corresponding with the whole stage and multimedia design. The MagicPanel-FX were used for various truss looks, both as lighting effects and in combination with the video content as low-res screens.

“The Khamsin-S fixtures were rigged on four straight trusses above the stage and also powered by Kinesys motors. Each truss consists of 8 Khamsin-S which were used to produce numerous beam and stage lighting looks based on different truss positions above stage.

“Another 12 Khamsin-S fixtures were positioned on the upstage floor to create key looks from behind the band and with the effects being highly visible throughout the show. They also produced some beautiful silhouettes. “Khamsin-S fixtures are definitely top of my list these days when considering powerful and effective LED based spot luminaires.”

Spider stated his preferred uses and features in the Ayrton fixtures for this concert: “I really liked the moments when the banks of MagicPanel-FX fly in and out, and transform rapidly from lighting fixtures in one moment, into moving low-resolution screens that run content alongside the video screens. The whole set up of 64 MagicPanel-FXs on four separate truss elements gave me a lot of creativity and were fun to use.

“I find the pixel mapping features very attractive and useful. With a matrix of 25 pixels you can really create many different looks, and by using groups of pixels for different purposes during a song, you have a lot of options.
The variable zoom is very useful, particularly on a single pixel, as you can have a nice single, strong, beam of light or an eye-catching diffused point of light, both of which also work well in a group.”

Spider was also happy about the reliability and usability of the Ayrton units. “I can’t complain! They are extremely reliable and most definitely worthy of touring. Some of the on-board macros are very useful, especially when time is at a premium. Ayrton products are one of my first choices and have been for some time.

There are so many fixtures on the market and you need to choose the ones that can help you shape the show according to the creative concept and be effective and attractive at all times. The MagicPanels are one of those tools that give me a lot of creative possibilities and lighting tools like the MagicBursts are still unique on the market.”

A delighted Spider stated, “I’m very happy with the performance of all the Ayrton fixtures that I’ve used for this show. They were very important for the whole lighting design and helped to create the very spectacular and vivid stage looks throughout.”

PERCEPTO [LAB] can be contacted at Perceptolab website, Instagram and Facebook

For more information on Ayrton’s full range of LED lighting fixtures, visit Ayrton website

The first drone light show ever done in Mexico has been performed by Verge Aero, the specialist in high performance drone light shows. Together with Sky Precision, a local partner, Verge Aero has put in place a system of 150 drone lights to create moving, color-changing pictures in the sky in order to open the performance of Dutch DJ Martin Garrix, and celebrate Mexico’s Día de Muertos (Day of the Dead) at the FIG19 hot-air balloon festival.

The FIG19 balloon festival provided the setting for Verge Aero’s sophisticated drone light show technology to deliver Mexico’s first ver drone light show. © Verge Aero

The FIG (Festival Internacional del Globo) hot-air balloon festival, which was founded in 2002, takes place each year in the city of León in central Mexico. It has become one of the leading balloon events in the world.
The organizers this year were keen to provide a cutting-edge visual treat for visitors and called on Sky Precision to deliver it. Taking up the challenge, specialists from Verge Aero and Sky Precision thought of a custom choreography to accompany a set of four songs, including an opening number by Mexican guitar maestros, Rodrigo y Gabriella.

Escandra Salim Alle, CEO of FIG says, “We are excited to have hosted the first drone show ever here in Mexico. The show content was amazing, Verge Aero did an excellent job. The enormous crowd loved the drone show and our social media had a blast!”
As with every public drone light show, the primary concern for all involved was safety. Emerging from their protected safe landing zone, the drones took to the air to create colorful, dynamic, pre-choreographed movements and shapes including guitars, balloons, flowers – and, of course, the iconic, grinning Día de Muertos skull – in the sky above the performance stage.

Israel Canino, CEO of SkyPrecision says, “We are really satisfied by the professionalism and responsiveness shown by Verge Aero. They performed an amazing show, no matter the changing circumstances in a short time. We’ll definitely keep working with them on many shows in the future.” This ground-breaking aerial performance delivered an unforgettable treat for the audience. At a festival where balloons of all colors, shapes and sizes fill the daytime sky, Verge Aero and Sky Precision showed that airborne entertainment of a different kind can now fill the night-time sky.

More info on Verge Aero

The Netherlands saw the debut of the Robe’s new ESPRITE LED moving lights at the high-profile AMF event staged in the Johan Cruijff ArenA. This event, showcased five days of electronic music conference sessions, debates and live events related to the 2019 Amsterdam Dance Event (ADE).
The AMF totalised 40.000 visitors and some high energy sets from David Guetta, Armin van Buuren, Tiësto, Dimitri Vegas & Like Mike, Alesso, Don Diablo, Timmy Trumpet and many more.

Photo Courtesy Alda

The production design was created by Maarten Hoogland from organiser ALDA, who is also the overall production manager and Andre Beekmans from creative visual design practice, The Art of Light.
The look featured a series of ‘crosses’ and other large geometrically-shaped video pieces flown 360 degrees round the Ajax stadium, and involved approximately 1000 lighting fixtures. Around half of these were Robe, supplied by a combination of Flashlight (the over-stage fixtures) and The Purple Group (lighting around the ArenA).

Photo Courtesy Alda

Andre and his team at The Art of Light have lit AMF from the very first edition in 2013, and in this time the show has developed a signature lighting design which is used as a base, with different variations and ideas introduced to make each year’s set up distinctive and different.
The stage end production was 120 meters wide, and full perimeter trussing facilitated lighting, audio and video positions around the venue floor (usually the football pitch) and the first tier of seating to complete a fully immersive experience.

Photo Courtesy Alda

The centre of the arena was filled with 8 long trusses (lengthways orientated) which were sub-hung with 40 x shorter moving trusses on 80 Cyberhoist axes, all rigged with lights. These flew in and out at strategic moments through the event.
“The idea was to create a massive nightclub atmosphere in a stadium,” explained Maarten, “for which we needed to be able to close the space right down and make it feel intimate at times, whilst still providing all the WOW factors expected by an AMF audience in a stadium.”

Photo Alive Coverage

In addition to this, for lighting, Andre considered the ‘standard’ rider lighting requirements for each of the artists – all used to their own eye-catching productions.
Always interested use new technology, he was happy to have the opportunity of integrating the 38 x ESPRITES into the design.
They were deployed on the perimeter trusses around the edges of the arena and used as effects spotlights and for back and side light onto and into the audience.

Photo Alive Coverage

“The ESPRITE is a very a complete and powerful spot,” commented Andre afterwards. He frequently specifies Robe for his various projects and enjoyed weaving Robe’s latest LED moving light – launched only last month – into the bold, vibrant lighting scheme.
The ESPRITES worked very well with the BMFL Blades and BMFL Spots on the rig, all needed for their power due to the 13-metre trim height of the perimeter trusses.

Photo Alive Coverage

The ESPRITE is a powerful LED light source and the first LED moving light with a fast-change, low-cost transferrable light engine.
Fully developed at Robe’s factory in Europe, this solves any performance longevity issues for high brightness LED fixtures and makes ESPRITE a viable and far more cost-effective and energy-efficient alternative to ageing ‘workhorse’ discharge lighting fixtures.
For AMF’s beam fixtures – essential for any dance / electronic event – 72 Robe Pointes were rigged over the stage / DJ booth area and worked together with another 240 beam moving lights which were rigged out in the arena.

Photo Alive Coverage

For wash lights, Andre spec’d a combination of Robe Spiiders – with 224 on the plot – and their larger LED wash product, Tarrantula.
The Tarrantulas were used for potent rear lighting onstage, with some Spiiders in the over-stage trusses and the majority spread out across the lengthy audience trusses.
One hundred and eight Robe LEDBeam 150s were positioned all around the perimeter truss, their remarkable brightness for the tiny size of the unit holding its own!
In addition to all the moving lights, Andre had plenty of strobes, LED wash / strobe / blinders and conventional blinders. Stretched in between the gaps of the three large video ‘crosses’ above the stage were multiple LED strings (installed by 4Light), and the cross shape video panels themselves were outlined with LED strips and battens.
It was a case of being and thinking stadium BIG and club ‘intimate’ simultaneously. As a lighting and overall design concept this worked spectacularly well to present AMF 2019 which ran from 9 p.m. to 6 a.m., and the energy, music, visuals and great vibes kept pumping! The lighting control was grandMA.

Video content was created and delivered by EyeSupply with the LED screens and video hardware from Pixelscreen and audio was supplied by Purple Group, Jari van Leerdam from Backbone was the technical production manager with an eye on all the tech disciplines, working closely with Maarten.

Photo Willem Jan Smulder

The biggest overall challenge for the event was the short load-in time and the logistics that had to be crunched to make all of this happen sequentially, as, due to the Ajax football match schedule, the grass pitch could only be covered for 24 hours.
This entailed some ingenious rigging solutions and the application of that famous practical and lateral thinking for which this industry is renowned says Maarten with a big smile!

All the side and overhead trusses were prepared around the edges of the pitch and utilising the seating stands, so immediately the stadium roof was closed these were moved into place and picked up on pre-hung motors. Once the long trusses were floating in place, the 40 motion trusses had to be were sub-hung, a complex job needing yet more time! All the rigging was completed by Flashlight and Frontline rigging.

Photo Willem Jan Smulder

On the get-out, this was even tighter! All the production elements over the pitch had to be struck and de-rigged by 8 a.m., two hours after the event had finished – so ArenA staff could uncover the grass and re-open the roof … a goal achieved by some fantastic teamwork and excellent advanced planning!

For more product and general info, check the Robe website

NAMM 2020 sees DiGiCo reveal the latest of Quantum consoles, the all-new Quantum 3 38. Like Quantum7 and 5, Quantum 3 38 represents a dramatic leap forward in power and connectivity with the same speed that Quantum users have come to rely on in a smaller format console.

Michael Aitchinson

“With Quantum3 38, we have ensured that we are providing a next generation console that works in synergy with our Quantum Engine,” says Michael Aitchison, DiGiCo’s Senior Electronics Engineer.
“We focused our R&D team on user experience, learning from the last 20 years, with our continuing main objective of merging new with familiar.”

Quantum 3 38 is based on seventh generation FPGAs and includes 128 input channels with 64 busses and a 24 x 24 matrix, all with full channel processing.

There is a new look and feel dark mode application and three 17 inch 1000 nit, high brightness, multitouch screens, allowing both the meter bridge and soft quick select buttons to be displayed on each screen.

There are also 70 individual TFT channel displays and the floating Quantum chassis features 38 x 100mm touch sensitive faders laid out in three blocks of 12 fader banks, plus two dedicated user-assignable faders, each complete with high resolution metering.
A new level of local audio connectivity and performance comes via the “Ultimate Stadius” 32 bit ADC and DAC conversion, which are built in to Quantum 3 38 as standard, alongside six single or three redundant MADI connections, dual DMI slots and a built-in UB MADI USB recording interface.

Mustard Processing, Spice Rack, Nodal Processing and True Solo, all launched last year for the Quantum 7, are also standard on the Quantum 3 38. Mustard processing is a set of channel processing strips that work alongside standard Quantum channel processing.
Each Mustard processing strip provides a choice of two pre-amp modellers, a four-band EQ (including all-pass filters), four different boutique style compressor models and a gate/ducker. Quantum 3 38 is equipped with 36 mono Mustard processing strips which can be used on any channel type.

ChillI 6

The Spice Rack, meanwhile, supports plugin style native FPGA processing options, allowing you to build a rack of up to eight insertable processors.
The first of these is the Chilli 6 – a six-band multi-band compressor which allows full control of all parameters, including DiGiCo’s unique, patented, release shape control, which means Chilli 6 is perfect for shaping vocals and instruments as well as focusing on problem frequencies.

Austin Freshwater

“The entire system architecture is new and exciting,” concludes Austin Freshwater, DiGiCo’s General Manager, “but just to recap on a few cool highlights, we have improved transparency of audio, provided more audio toys, bigger, brighter multi-touch PCAP screens, increased visual feedback and an all new worksurface architecture!”

More information on the Digico website

German world market-leading fiber network specialists, Optocore, have appointed Dusseldorf-based United Brands GmbH also kown as United B, as their new German distributors with immediate effect.

Pictured left to right. Florian Myrus, Director, Optocore; Tine Helmle, Director of Sales & Marketing, Optocore; Jens ‘Bubbes’ Steffan, Head of Sales, United Brands; Miguel Augusto, Product & Sales Manager, United Brands.

The move was a logical one for both parties. Said Tine Helmle, Optocore Director of Sales & Marketing, “With the expansion of our product portfolio such as Festival Box, AutoRouter and our Madi series United Brands was a perfect match. Due to their expertise and long-time experience in install and live events they bring huge potential in placing Optocore as the main sound distribution network on the market.”

Jens ‘Bubbes’ Steffan

And United B’s Jens ‘Bubbes’ Steffan, who will largely oversee the Optocore account, said, “Of course we were familiar with Optocore technology through our distribution of DiGiCo [digital consoles]. So it was just a small step to contact Optocore. The company has a lot of very interesting products, which perfectly match our customers’ demands.”

Discussions had started back in early March, he said. “We think Optocore is the only really professional solution for transporting audio in the digital domain. Based on our high standards with DiGiCo and Adamson, it is a perfect fit with all our other brands.”

He anticipated a positive response from the professional live market, including installation, festivals, theatres … “anywhere that flexibility and high-quality sound quality are essential.” The main potential will be both as part of package with DiGiCo systems or as stand-alone Optocore systems with Festival Boxes or AutoRouter.

The Festival Box

United B has wasted no time in getting started. Having already received formal Optocore training they have purchased a demo system and stock comprising Festival Box Petit, AutoRouter, DD32R-FX, DD4MR-FX and X6R-FX in different versions.
“We will use all of these options to create awareness,” he concludes. United B will be systematically introducing clients to the new portfolio, with two key dates in January: Hamburg Open 2020 (January 22-23) and United B Winter Summit (January 28-29) earmarked for further exposure.

Summarised Tine Helmle, “This is the start of a new chapter for us in Germany and one which offers exciting prospects for both parties.”

For further information about visite the Optocore website

The exclusive local distributor in Singapore, Total Solutions Marketing Pte Ltd, sold 24 Ayrton MiniPanel-FX and 18 Ayrton Diablo-TC fixtures to the lighting design company, Roadie Pte Ltd. It is an opportunity to find out what persuaded them to make this choice.

Onion Low, Enqi Chee and Tan Chin Koon from Roadie with some of their new Ayrton Diablo-TC and MiniPanel-FX fixtures.

Roadie’s professional team design lighting for productions, shows and events locally in Singapore or internationally. They were pleased to tell us more about the fixtures they purchased for their futures linghting creations and why Ayrton was the chosen brand: “As lighting designers who are constantly on the ground, we look out for multiple factors in our equipment quality of light, flicker-free LED sources, uniqueness, versatility and form factor are vital.
The quality of light from both Diablo-TC and MiniPanel-FX is superb. The fixtures have high energy efficiency, with an impressive output and great colour rendering. Both fixtures also dim smoothly, are flicker-free and broadcast-friendly, which are all crucial for our purposes.”

Ayrton Diablo-TC

Giving more and more detailq, the team added: “A key point of Diablo-TC, which helped to win us over, is the inclusion of framing shutters. All this is jam-packed into a small, lightweight and sleek body. And for MiniPanel-FX, the square face, lens type and individual pixel control combine for a unique look that makes the fixture truly versatile. Plus, the ease of fitting it into our design concepts gives it an edge over the other LED washes available in the market.”

The Roadie team explained that both sets of fixtures were initially chosen with specific shows in mind. “Thanks to Ayrton and Total Solutions Marketing, we managed to receive our fixtures just in time to bring them out for the first projects, with only short lead times from ordering to arrival!
The shows included a live-streamed/broadcast religious event, with MiniPanel-FX, and a live-streamed corporate event using Diablo-TC. Both fixtures have gone on to power through various other types of projects, from corporate to concerts, broadcast and more.”

Ayrton MiniPanel-FX

Now that the team has had good experience using their new Ayrton fixtures, they are convinced of their suitability for any rental company: “Our first batch of Ayrton products, purchased in July 2018, were 12 MiniPanel-FX. This light is unique in that it can be used in a typical LED wash setting, for creative solutions and more, and one year on, we are still finding new ways to use the fixture.”

“Aside from its versatility, it is fuss-free in terms of maintenance. Other fixtures on the market use an external zoom, but MiniPanel-FX’s internal zoom has proven to be more stable and requires less maintenance while still providing an impressive zoom range.”
“Diablo-TC can be used for most applications and it looks great even before we turn on the fixture! The compact body combined with its high output makes it one of our top choices for small and mid-scale projects.”

Feedback from Roadie’s technicians was equally positive: “Diablo-TC and MiniPanel-FX are easy to set up being compact and lightweight. The low power consumption means that a single circuit can now power more fixtures while still providing high output, saving time and effort on additional cabling. This makes it easier to keep the rig and the venue looking neat and clean.” Further benefits mentioned the LumenRadio compatibility and RDM which proved helpful when fixtures are located in difficult to reach positions. “Overall a set up can be completed more efficiently, faster and with less physical effort.”

When asked about using Ayrton fixtures going forward, Roadie were enthusiastic. “To have more Ayrton fixtures in our inventory would be great. As a company focused on lighting design, we work with various projects across the spectrum that require the versatility of these kind of fixtures. Both are now mainstays for supporting our different upcoming projects. Our question would be, what next from Ayrton? Ayrton has not disappointed in our search for multi-use luminaires and we are excited to see what they do next!”

More informations about Ayrton Roadmap in the next three year. An article we published on September 2019.

For more information on Ayrton’s full range of LED lighting fixtures, visit the Ayrton website

The NYU Tisch School of the Arts production Legally Blonde was lit by Lighting designer Mason Delman with Elation Artiste Picasso™ moving heads. The performance praised the multi-functionality and responsiveness of the high-performance LED profile luminaire.
10 Artiste Picasso fixtures were provided by 4Wall Entertainment in New York, with Al Ridella as key account manager. It took placed at the Skirball Center in November.

LED profile’s multifunctionality provides both flexibility and time efficiency

Delman got in touch with Elation and 4Wall in August looking for a profile fixture for the musical and whittled it down to the Artiste Picasso or Artiste Monet. “This is a theatrical show and the Picasso fit in well. It was a bit smaller and we didn’t need the extra bells and whistles that the Monet has,” he said. “Being compact was convenient and better fit our needs.”
At roughly 2 ½ hours, Legally Blonde is not a short, easy-to-light pop musical yet a fairly complicated show as Delman stated. “Most musicals that are adapted from movies are a bit more intricate than a show written for the stage because they tend to have many locations and quick scene jumps, even in a single number. That necessitated a fixture that could fulfill a number of roles.”

On top of that, the designer explained that the schedule was extremely tight with only 12 hours of tech time and 6 hours for a dress rehearsal. “Because of that, we needed a fixture that could do what we needed it to do quickly and the Picasso fit the bill.”
With speed of the essence, a feature of the Picasso that the designer says was a big time saver was the auto focus on the gobo wheels, as well as the fast zoom and ability to quickly call up saturated reds or blues using the CMY color mixing system and color wheel. “All of this led to speed, which was absolutely the name of the game in this case.”
Part of Elation’s award-winning Artiste series, the 23,000-lumen Artiste Picasso houses theatrically useful design features like graphics, animation wheel and framing. Ten Picasso units, spread across the 40-foot wide stage’s three staggered electrics, positioned and repositioned as required to create smooth transitions between moments.

“In one number we had two of them focused on a table and another six doing individual special spots making shapes on the stage or table,” Delman says, “and then very quickly we had to have them in a nice wash for an outdoor scene.
Within a few seconds they were back in place, gobo and color switched and ready to come back on for this backlight scene. The smooth transition of the zoom, iris, and color change was really nice. They were fast and it was nice to be able to trust that the fixtures would reset in time.” Used in every scene “in one way or another,” the Picasso’s multifunctionality provided both flexibility and time efficiency.

Despite positioning at relatively low trim heights, Delman says the fixtures’ noise level was very low. “The space is pretty compressed but you could not hear the difference in the house whether the power on the Picassos was on or off. We had them on top of the band and behind the actors and we did not pick up any sound in our mics.”

Tisch New Theatre is a, participatory theatre club open to all students that puts on one full-scale musical each year. All NYU students campus-wide can take part in the production, giving performance students the opportunity to collaborate with other students. Legally Blonde ran from November 1-3 at the 850-seat Skirball Center for the Performing Arts, one of the theatre on the NYU campus.

And you can learn more about Tisch New Theatre and about Mason

For more information about the product, visit the Elation website

With the v2.0, L-Acoustics releases a significant update for its L-ISA Immersive Hyperreal Sound technology that will enable users to monitor the positioning of any tracked object in a 3D view. 4 tracking technologies will also function within the L-ISA ecosystem.

Coming into the new year, L-Acoustics is pleased to reveal the January release of a significant software update for its L-ISA Immersive Hyperreal Sound technology that will enable users to monitor the positioning of any tracked object in a 3D view. With L-ISA Controller version 2.0, source parameters—including Pan, Width, Distance, and Elevation—can be mapped and scaled to all certified tracking systems.

Guillaume Le Nost

Speaking of which, in tandem with the L-ISA v2.0 update, L-Acoustics announces that it has officially collaborated with four tracking software providers whose technologies can now function within the L-ISA ecosystem.
These include Modulo Pi’s Modulo Kinetic, TTA’s Stagetracker II, Robert Juliat’s SpotMe and CAST Software’s BlackTrax Tracking Solutions.

“After delighting millions of spectators on thousands of shows around the world, L-ISA is the live event production industry’s most realistic, robust, and frequently used immersive audio solution,” notes Executive Director, Creative Technologies Guillaume Le Nost. “With our latest software and recent tracking system partnerships, the incredibly natural audio reproduction of L-ISA, paired with the smooth and precise real-time tracking of visual elements on stage is guaranteed to raise the Hyperreal Sound bar even further for our audiences.”

New features include the ability to have Real-Time Tracking Protocol positioning data output format (RTTrPM) converted to Open Sound Control (OSC) protocol in the L-ISA OSC Bridge, as well as the addition of having advanced parametric options within the L-ISA Trackers settings page.

Robert Juliat SpotMe 3D Tracking device installed on a Cyrano followspot.

Robert Juliat’s Spot Me is a manual, user-friendly 3D tracking device relying on a followspot operator. With a fast and easy set-up, SpotMe is able to produce tracking information in real-time with no emitters or cameras.

Integrating PosiStageNet (PSN) positioning data output format, PSN is easily converted to OSC in the L-ISA OSC Bridge.

BlackTrax Server and Beacon Stringer.

Previously compatible with L-ISA’s earlier software, BlackTrax is a camera-based 2D and 6D tracking system that now offers improved integration within v2.0’s infrastructure.

The ModuloKinetic UI by Modulo Pi.

Designed by Modulo Pi, Modulo Kinetic is a high-end fully integrated media server solution. The new v3.3 of Modulo Kinetic includes full integration of L-ISA, enabling real-time interactions between video and spatial audio.

The spatial audio system is now included in Modulo Kinetic’s extensive library of preloaded devices, allowing bidirectional interactions between Modulo Kinetic and L-ISA. In addition, KineMotion, the tracking module within Modulo Kinetic, becomes a certified tracking system for L-ISA.

The L-ISA plugin for StageTrackerII by TTA.

Conversely, Stagetracker II is a radio frequency-based 3D tracking system for audio, video, and lighting that natively uses the OSC communication protocol and supports PSN.

Offering an intuitive L-ISA setup page within its software user interface, Stagetracker II can be reliably used in any environment—indoor or outdoor—and RF tags can be conveniently hidden underneath costumes and clothing.

For more details on L-ISA Controller software v2.0 and its related tracking system partner collaborations, visit L-ISA Immersive website

A Wall of X4 Bar 20 and JDC1 high-power strobing was designed by Stu Dingley for Atlanta rapper. Lighting designer Stu Dingley moved to California in 2018 to get closer to the location of the shows and artists he is working for.

Photo credit Craig Mitchell

Recently he was approached by Meggan Mckenzie, creative director for Atlanta rapper Young Thug, to work alongside her in creating the production and lighting design, and bringing her ideas to life. He was soon dipping into the GLP toolbox in search of his solutions, coming up with the JDC1 hybrid strobes and impression X4 Bar 20 battens.

Dingley said: “We wanted first off to be able to box in his riser and really close the stage down but also have enough power in the rig for the really energetic moments. As it was a co-headline tour [with Machine Gun Kelly], we incorporated some automation to be able to change up the looks between acts to give the artists two different performance spaces under the one rig.”

Photo credit Craig Mitchell

And the JDC1 was important to this concept. “I think these are probably the best strobe units out there at the moment, so it was always going to make it into the design. We used these along with the X4 Bars, which are the only units that can create that seamless wall of light for the cage looks whilst still cutting through the smoke and everything else in the rig.”
Inventory was supplied by Orlando-based LMG, with whom the LD has worked in the past. “They always deliver a great service, so it was really nice to work with them again on this,” he states.

The service company supplied 51 x X4 Bar 20s and 32 x JDC1s. The X4 Bars formed the ‘cage’ and outlined all edges of the riser and ramps, whilst the JDC1’s were outrigged in an array on two 20ft finger trusses, with both the cage and fingers using automation. All the units ran in maximum channel mode.
Reviewing the performance of the GLP fixtures, Stu Dingley confirmed that “the JDC’s did a great job of providing an overhead wash and when the trusses moved into a 45 degree position, the strobe element really provided the energy.” He added: “I’ve been using both the X4 and JDC1 on a variety of projects recently, mainly concerts and TV work, so I know them well.”

Photo credit Craig Mitchell

Summing up GLP generally, he said: “They are a super innovative company and their product ranges regularly bring something different to the market. Certainly, the JDC1 changed the game for a hybrid strobe, just as the X4 Bar series did before that.”
As to the shows themselves, James Washer was the lighting director and programmer using a grandMA2. “He did an outstanding job,” reports Stu. “There were over 50 tracks to programme in the song pool and rarely a setlist to follow … all without timecode due the unpredictable nature of the performances.”

More information about GLP Products on GLP website

The new flown and ground stacked d&b KSL-SUB will provide a small, lightweight format that extends the frequency response of a KSL System down to 36Hz with “exceptional dispersion control, impressive low frequency headroom and unmatched performance for its size”.

The KSL-SUB.

This directivity-controlled, smaller format sub allows venues of all size to experience very accurate, smooth and punchy bass response, says the company. The KSL-SUB and KSL-GSUB subwoofers operate with two forward-facing 15” drivers and a single, rear-facing 15” driver which, driven with two-way active amplification, provide uncompromised cardioid directivity control.

Measuring 100 x 90 x 45 cm (39.4” x 35.4” x 17.7”) in size, and with a weight of 82kg (181 lb), the KSL-SUB delivers an output of 139dB driven by d&b D80 amplifiers. The KSL-GSUB has a streamlined form: minus the KLS-SUB standard rigging hardware.
It stands at a diminutive height of just about 45cm, easily allowing for under stage deployment. Using a new KSL-SUB adapter frame the KSL-SUB can be deployed above KSL-Tops as part of a flown array.

Werner ‘Vier’ Bayer with the KSL-SUB older and big bro !

Completing the comprehensive System package – and designed to fit within standard sized shipping container and trucks – the KSL-SUB is available in touring carts with protective covers.
The hybrid KSL-SUB touring cart allows users to leave the KSL flying frame on top of the KSL-SUB adapter frame below the subwoofers during transportation if they choose.

“The KSL subwoofers are the next step in d&b‘s continuing obsession with innovation, efficiency, performance and directivity control,” says Werner ‘Vier’ Bayer, product manager, d&b audiotechnik. “The KSL-System is growing and we will soon introduce new options for permanently-installed applications. Watch for integration-specific KSL cabinet design options and an addition to the d&b installation amplifier portfolio to be announced at ISE 2020 in Amsterdam.”

The KSL System is designed for sound reinforcement needs of all kinds, mobile or installed, from largescale arenas, stadiums and festivals to medium scale applications such as clubs, theaters, houses of worship and performing arts venues.
KSL-SUB is expected to ship in spring 2020

More information on d&b Audiotechnik website

After the spectacular Plasa show in London last September, French professionals have given a very warm welcome to the Esprite, this ultra-complete LED Spot moving head with swappable source.

The Esprite was the flagship of the Robe stand on the JTSE ehibition in Paris.

The JTSE exhibition was the right opportunity to make a comeback for this refreshing projector and unveil to their loyal customers the Tetra2 LED bar, an improved version of the Tetra unveiled last September.
We are happy to welcome Vincent Bouquet, Product Lighting Manager at Robe Lighting France once again in front of our camera, we hardly need to present him anymore!

The Czech soul of Robe

The interchangeable light source, or Led Transferable Engine, is the heart of the Esprite projector.

No need to showcase the ESPRITE, this Spot fixture 100% manufactured in the Robe factories, from the body to its LED source. This true digest of Czech know-how is the culmination of the unique vision of its leaders, Josef Valchar and Ladislav Petrek.
By favoring short circuits, local employment and precise narrowing of the range to offer some of the most sustainable products on the market, Robe Lighting has become in a few years the major player in the market, while retaining its integrity and its soul.
The first French deliveries to vendors, we’re talking MVision and MatchEvent here, as well as international sales, confirm the enthusiasm for the Esprite. Orders are complete until March 2020, with thousands of units to be produced from Czech workers.

Tetra2

The very first Tetra2 bars have drawn full attention of the Robe booth’ visitors.

The first presentation in France of the Tetra2 took place at the JTSE exhibition. After some modifications, the Tetra LED bar unveiled at Plasa returns with a new function.
Still motorized in tilt, with its 18 x 40 watt LEDs and its 2 flower effects identical to those of the Spiider and Tarentula, it now hosts a separate zoom in two parts.

These two focal lengths open independently from 4.5° to 45°, passing without transition from a narrow wall of light to a global Wash light. The colorimetry remains identical, with an additive RGBW color mixing system and calibrated whites from 2,700K to 8,000K.
The name Tetra2 leaves little doubt as to the forthcoming release of a Tetra1 model, a smaller sister of half a meter derived from the original one-meter bar. The first deliveries are scheduled for early 2020.

More on the Robe Lighting Website

The RCF TT+ flagship active systems designed for high-grade sound reinforcement TT 2-A II, TT 052-A II, TT 1-A II, TT 051-A II, TT 5-A II are shipping and will be compatible with the older version upgraded with the RDNet card.

The upgraded TT+.

TT+ speakers are the RCF flagship active systems designed for high-grade sound reinforcement. The onboard two-channel amplifier, the RCF Precision transducers coupled with the constant directivity horn provide extensive coverage and perfect linearity.

The RDNet card

Thanks to the latest firmware, your old speakers – upgraded with the RDNet card – will be fully compatible with Version II TT+ speakers.
The innovative transducers’ design of the RCF TT+ series ensures extreme power-handling, making these compact speakers the right choice for high demanding applications.

The onboard DSP provides linear phase filters and crossover, system equalization, polarity control, fast limiter, RMS limiter and configuration control from the back panel or advanced remote management via RDNet. The speaker’s rigging is fast and easy with the advanced quick-fitting accessories such as the clamp mounts, pole mounts or the horizontal brackets.

More on RCF website

Since 2016, a dedicated research team was formed at ETC to work on future technology and product to improve fixture specialised in light for use on camera. The findings from this study on color perception come together in the family of fos/4 panel lights, now available from ETC.

Each of the three panel sizes (small, medium, and large) deliver brightness in two array options. The Lustr X8 array incorporate a deep red LED to its mix that enrich the spectrum by enhancing skin tones and giving new depth to blues, greens, and ambers.

The Daylight HDR is a tunable white light array that, using a calculated selection of LEDs from the X8 color system, produce a natural warmth when rendering skin tones and is optimized for output in cooler temperatures. These soft lights offer a shocking level of brightness, and selectable CCT between 1,900 – 10,450 K. All without compromising on color quality.

The full-color screen and tactile encoders on the user interface were designed with the cinematic workflow in mind. fos/4 gives nuanced color control from the full-spectrum color picker within the UI, letting you choose how you mix each color. Use the Tune function to choose brightest, best spectral, or a hybrid of the two. Save your customized color palette to one of the many programmable presets.

The industrial design of the fos/4 panel is ergonomic. Features include the Griprail, a bracket that acts as a mounting location for the fixture as well as for the numerous accessories found on a shoot. Handles that double as safety cable locations, rounded corners, and an industrial gray finish add to the visual appeal without compromising functionality.
Additional features include NFC configuration from your mobile device, Multiverse Wireless control from your console using City Theatrical’s Multiverse transmitter, and a suite of effects that you’d come to expect from a fixture of this caliber including emergency lights, beacon, camera flash, and party. And like all ETC products, fos/4 Panels are made in the United States, come with an impressive fixture warranty and a customer support promise.

More about fos/4 and how it’s changing the way you light for camera at Studio ETC Connect
3 live events are going to happen around the world in early February 2020. Register here to see the product closely.

L-Acoustics announces the new Kara II modular line source, with the addition of Panflex, giving Kara four-in-one directivity: one box handily covers any audience geometry. L-Acoustics will make available a kit to upgrade existing Kara with Panflex.

For three decades, L-Acoustics has consistently developed pragmatic audio solutions that enable audio professionals and artists to elevate the audience experience. For a decade, the Kara line source has been the star of countless live performances and permanent installs the globe over.
Kara II morphs to fit any design, offering consistent coverage and SPL distribution with precise focus in four different directivity patterns: 70° or 110° symmetrical and 90° asymmetrical, steering to either the left or right. In its 70° configuration, Kara II packs a full 2 dB more than in 110°.

The success of Kara has never ceased to increase, more than 45k Kara sold worldwide, earning the loudspeaker best-seller status at L-Acoustics and in the professional audio industry. Last year saw record-breaking sales for the lightweight, elegant enclosure.
In a nod to the wide audience of Kara owners around the globe, L-Acoustics will make available a kit to upgrade existing Kara with Panflex.

Florent Bernard

Florent Bernard, Executive Director of Application Design at L-Acoustics explains, “Kara has been a perpetual best-seller for a reason. Its lightweight, diminutive form factor and strong, consistent SPL distribution make it the perfect tool for a plethora of events or permanent installs.

9 Kara II topped by 3 SB18. Look closely the first 6 Kara II. They are set at 70° and take advantage of a better reach and SPL whilst the bottom 3 are wide open.

When we introduced Panflex to the industry, our clients told us this was the only thing missing from Kara. We listened, and the new Kara II brings our medium-format line array into a new era of added directivity and improved polar stability.”

Kara II is a powerhouse enclosure, meeting the needs of any audience geometry and morphing to fit any design, offering consistent coverage and SPL distribution with laser focus.

As with all L-Acoustics K Series line arrays, Kara benefits from decades of research and development into quick and safe rigging, making it the reference in the market for rapid and optimized deployment.

Kara II for rental ships in March 2020, and can be seen at NAMM in L-Acoustics meeting room 17208. Kara II for install will ship later in 2020.

More on L-Acoustics website