Ayrton’s first Ayrton Hybrid Beam to come out in the marathon of Ayrton Multi Twenty-One product launches, Karif comprises a 300W LED engine and an impressive 3° to 42° optical system.
Karif, a concentrate of effects
Introduced in sneak preview mode at London’s Plasa, Karif-LT is the first Ayrton hybrid Beam to be released in the Multi Twenty-One Ayrton project, an extraordinary marathon of product launches. Very close to the small spot / profile Diablo, at least for its external look, Karif comprises a 300 W LED engine and an impressive optical system of 3° to 42°, generating a beam of 13,000 lumens at 7,500K. Dedicated to graphic effects, Karif surprises with its 9 rotating gobos and its incredible concentric wheel of 39 fixed gobos. Two frosts, two prisms, an animation wheel, a CMY color mixing system plus 13 fixed colors and a flickering effect of the LED module complement each other perfectly inside this 24 kg fixture.
Highly enthusiastic, Chris Ferrante, CEO of Ayrton, introduces us to Karif-LT direct from London’s Plasa.
Green Hippo, creator of tools for the real-time manipulation of video for the AV industries, has announced the upgraded of the Finnish National Opera & Ballet (FNOB) stock of Green Hippo media server with the company’s latest Hippotizer V4 systems. The exclusive Finnish distributor of the brand, Msonic Oy, supplied seven Hippotizer Karst+ DVI, two Hippotizer Boreal+ DP and six Hippotizer Montane+ RTX servers – all with dual SDI input cards.
Johan West, video product manager at Msonic has specified the new servers. He is a long-standing Hippotizer user and is working closely with the FNOB since their first Green Hippo systems back in 2008. Since then, he has been responsible for training the opera house crew, as well as advising on the use of Hippotizer on many productions. He also provides all Green Hippo training and support for the FNOB team.
“A series of new pieces are premiering and the designer wanted to use Notch and live camera feeds mixed together with content, in realtime,” West explains. “This gave us some things to think about: camera feed latency, latency of LED/video projector processing/signal distribution. Everything specified had to meet some rules: latency had to be kept as low as possible, it had to be flexible and it needed to work with existing signal distribution formats.” He adds, “Hippotizer’s 3D toolkit, SHAPE, also plays a big role here. The opera house uses moving projection surfaces that are mapped using SHAPE. Also, some of the automation is pinned using automation objects in SHAPE.”
The servers have been specified to manage content seamlessly on the FNOB’s projection screens, as well as its newly-purchased ROE Visual CB3 LED wall. The main auditorium’s three Barco HDQ-2K40 projectors and Barco UDX 22 laser projector are run from one Boreal+ DP and one Karst+, each with a backup system, located in the control room rack.
Three Montane+ RTX servers are dedicated to the new LED wall, which is set to be used on the forthcoming productions, while another Karst is used for pixel mapping various fixtures via Art-Net. Again, all are fully backed up. Another Karst – again with backup – is used in Almin Hall, the opera house’s 500-capacity ‘black box’ auditorium, and yet another is based in the opera house’s 3D studio, where shows are programmed and tested.
Video programmer Heikki Riihijärvi, responsible for Hippotizer operations at FNOB, comments, “Because we are a repertory house, with one show rehearsing in the morning and another performing in the evening, we need a great deal of flexibility from our systems, and that has greatly improved with this Hippotizer upgrade. Also, as we are preparing to run 4k throughout the venue, the new servers give us the possibility to meet those expectations in the future.” He adds, “Everything has worked great so far and we haven’t reached the limits of the Montane+ RTX servers yet, so lots of future-proof there. And the support from Msonic has been great. Johan’s know-how and tireless response to calls and emails has been priceless!”
Allen & Heath has revealed its new 96kHz digital mixer, Avantis based on the XCVI FPGA engine. Avantis puts A&H’s technology in a 64 channel & 42 configurable bus console, with twin Full HD touchscreens, extensive I/O options and processing from the dLive mixing system.
Le châssis en métal intégrant les poignées
“Joining dLive and SQ, Avantis completes our trilogy of next-gen 96kHz consoles,” says Rob Clark, Allen & Heath’s Managing Director. “Avantis takes many of the features that have made SQ and dLive so popular, putting them in a standalone 64-channel mixer that offers a new UI experience, connectivity with our Everything I/O ecosystem, and the dPack option which gives you access to our advanced dLive processing options if and when you need them. “On top of that,” adds Rob, “we’ve taken a new approach with the industrial design, coming up with a full metal chassis that’s super-strong, lightweight and looks fantastic.”
Les écrans HD et le très grand nombre de paramètres affichés !
Encased in its alloy shell and tubular frame, the Avantis control surface is centered on the two Full HD touchscreens and their corresponding rotary controls. “Having two touchscreens isn’t a new concept, but we realised we could use it to unlock exciting new possibilities, which led us to develop Continuity UI,” says Andy Bell, Allen & Heath’s R&D Director.
“Within seconds of getting hands-on with Avantis, engineers are going to appreciate the seamless flow between the physical controls and the on-screen software. You can work gains and pans on the rotaries, then at the touch of a soft key switch to EQ or dynamics across the whole strip. The console also provides a highly configurable FastGrab tab on the right-hand side of each screen, offering another way to quickly and easily access control of aux sends, EQ, compressor and FX on the currently selected channel or spot channel.
The Avantis FX…let the fun begin !
“Ultimately, with Continuity UI, the engineer decides how they’d like to work, not the mixer.” While many users will choose to pair Avantis with the 48 in / 16 out GX4816 audio expander, Avantis is part of Allen & Heath’s.
Everything I/O ecosystem, which means whether you’re an owner/operator looking to build a compact system, or a rental company with existing Allen & Heath stock, Avantis allows true flexibility by connecting to a huge range of audio expander hardware. Avantis is also compatible with Allen & Heath’s range of ME Personal Mixers and IP hardware remote controllers.
Avantis connections panorama. Two optional cards are present, the superMADI and the Waves V3
For local I/O, Avantis is well equipped with 12 XLR analogue inputs, 12 XLR analogue outputs, plus AES (Stereo In, 2x Stereo Out). Two additional I/O Ports allow Avantis to benefit from the full range of current dLive option cards, including Dante (64×64 and 128×128), Waves, gigaACE, MADI and more, expanding the scope for system integration, FoH / monitor splits and multitrack recording.
Right out of the box, Avantis is loaded with processing tools designed to meet the demands of most users and applications, including compressors, EQs and Allen & Heath’s acclaimed RackExtra FX units (12 slots).
Deep compressors.
Upgrading to dPack expands Avantis further with additional dLive processing including the Dyn8 dynamics engine (up to 16 instances), DEEP Compressors, and the Dual-Stage Valve preamp. dPack purchasers will automatically receive all future DEEP and FX updates free of charge, future-proofing their investment.
Un combo puissant et abordable, Avantis et les stage GX4816
“In the gap between SQ and dLive, the mixer market is littered with 48kHz DSP-based ‘old-school’ consoles,” says Nic Beretta, Allen & Heath’s Head of Product. “Avantis brings next-generation performance across the board. Customers in venues, houses of worship, touring and the rental market are going to be seriously impressed by how well this ticks the boxes. It’s a really exciting mixer at a compelling price.”
This fixture is reminiscent of the High End Studio Color 575, one of the greatest successes and standards in show and television lighting from the 1990s to the present day. The Alchemy 5 is sort of a tribute to this fixture, the light qualities of which are still and forever recognizable.
As such, it offers everything that a lighting designer expects from a soft-edged wash beam, so smooth thanks to its Fresnel lens and its famous rotating “banana” beam shaper but, most of all, with the new possibilities that come from an LED source. We tested it in studio at French rental company Impact Evénement.
Lets check it out!
[private]
Physically, this unit is indisputably familiar to us in terms of its proportions, but in a very modern and revamped design. The large Fresnel lens opens wide at the front of the small round-edged squarish head, which is mounted on a rotating yoke on a fairly flat base. This fixture looks really good.
It is equipped with a six-color LED engine – red, green, blue, lime, amber, and cyan – with a total power of 450 W. This combination promises sumptuous colors, very deep and balanced hues, as well as flexibility of the whites. In terms of effects, Alchemy 5 boasts infinite colors, a zoom to widen and narrow the beam, two frosts, and the (famous!) rotating “banana” beam shaper. Now we’ve finished the tour.
The magnificent soft-edged beam of the Alchemy 5
Let’s see how the unit is designed
The fixture, opened up.
The head
The head of the Alchemy 5 can be disassembled by removing the two halves of the cowling, which are held in place by three 1/4-turn, flat-headed screws. The fit is precise and reassembly is easy. The inside is simple. At the rear is the source, i.e. the board with the LEDs, mounted on the heat pipe heat sinks, which are cooled by four large fans.
At the output end, we find a wheel that holds two frosts and two dichroic filters, and then comes the beam shaper, which is driven and indexed by a pulley. The zoom involves the displacement of the majestic Fresnel lens, mounted on a carriage driven by a four-screw system. Interestingly, when the fixture is turned off, the zoom automatically retracts and shifts slightly sideways, completely locked for transport.
: A view from the rear, with the fans.
And here are the heat sink vanes of the heat pipes, exposed once the fans are removed.
Just one thing: despite the recommendations in the manual to clean the filters and optical elements regularly, the construction of the head is not really well conceived to facilitate maintenance operations. All disassembly requires the use of torx screwdrivers of different sizes, without really providing for easy cleaning or replacement of the parts. So yes, in theory there is little reason to intervene, except that it is indeed necessary to clean up from time to time. This process will take time and attention to detail.
In its brawny little arms…
The yoke arms are protected by two lateral covers and two covers that surround the bottom of the yoke. The lateral covers can be removed by means of three torx screws. This reveals the tilt belt on one side – the motor is located in the base – and the electronics and pan motor on the other side. This is a good thing: the tilt belt can be easily changed. The yoke can be locked in pan and tilt by means of two buttons.
The base is equipped with two handles that are nicely integrated into the design of the unit.
The omega brackets and their offset possibilities.
The bottom of the fixture.
The bottom of the base incorporates the fixing points of the omega brackets for hanging the unit. These brackets, supplied as standard, will be appreciated by the “Lampies”. Three different positions per omega bracket allow for different clamp spacings, which is almost essential in most cases, especially when a fixture must be attached to a specific location and the crosspieces or other truss junctions require the luminaires to be moved. The underside of the base also has a fixing point for the safety cable.
The connector panel.
The panel has True1 connectors for power supply input and throughput (the unit draws about 450 W, so you can connect about five or even six units on a 16 A line), an RJ45 connector for network connection, and duplicated inputs and outputs for the DMX signal on XLR3 and XLR5 connectors.
the menu
The display and its four small keys for accessing the menu.
All the standard functions can be configured from the menu, starting with the DMX address, the mode (there are mainly three of them nowadays), the ArtNet/sACN configurations, the LED driver frequency setting (variable from 600 to 5000 Hz), the emulation of the inertia of a tungsten lamp, the management of specific color transitions, etc. Alchemy 5 is not short of resources!
Functions, light, colors, and beam…
The zoom.
Alchemy 5 delivers everything interesting that LED technology can offer, such as the ease of color management across the entire spectrum, the stability of the colors and the elimination of a large number of mechanical systems, around a very specific need: projecting the wash beam with a soft edge that amazed us all in 1994… and it does it very well.
At its tightest, the beam opens at an angle of about 10°. No, it’s not a pencil of 4° or 5°, it’s a real wash for lighting designers. Its 10 degrees suit it perfectly. As this beam is tightened, the front lens moves forward and carries with it a top-hat style snoot, which prevents certain spurious light. There is still a little bit of it, unfortunately, but nothing dramatic. This slight phenomenon disappears completely when the beam is opened up.
Wide zoom and tight zoom…
…the snoot moves forward with the lens.
The maximum aperture of the zoom is 45°. You can still achieve a little wider opening and softness with two frosts, one light and one heavier. This means that it should be possible to reach the 47° declared by the manufacturer with no problems. And finally, let’s not forget the famous beam shaper, indexable and rotating, which allows us to shape our beam into a “banana” and to orient it at will. It can even be rotated quite quickly, constituting almost a dynamic effect on its own. Sheer delight.
The beam is magnificent but it shows a slight (very slight) hole at its center, which is perceptible from a certain distance (say about 5 meters) by a particularly trained eye. This phenomenon is more visible on some color mixtures than on others. Sometimes it even seems that the flux does not follow exactly the same direction depending on the colors, though this is not the case in reality. We noticed it, but to tell you the truth, it doesn’t take much away from the qualities of this fantastic fixture, which you can see in this video.
Photometric measurements
The derating curve.
We start with the derating process: with all LEDs at full power, we measure the illuminance in the center every five minutes to draw the curve. With an attenuation of no more than 1.93% after five minutes of heating, we can consider the derating to be negligible.
Tight beam
At the tightest zoom angle, with all diodes at full power, we measure an angle of 10.63°, a center illuminance of 9,034 lux (8,860 lx after derating) and a flux of 8,900 lumens (8,730 lm after derating).
Wide beam with all LEDs at full power
At the widest zoom, corresponding to an angle of 45.8°, with all diodes at full power we obtain a flux of 9900 lumens (9700 lm after derating). The intensity curve is smooth with a small dip in the center.
Wide beam in white calibrated at 5100 K
As we take a look at the calibrated whites, we get the impression of more power, which is confirmed by the illuminance reading at the center. To be sure, we start again for a series of measurements taken every 10 cm on our target. Confirming our impression, the flux rises to 11,000 lumens (10,770 lm after derating) and the color rendering index is excellent: RA of 97. Here, the luminous intensity curve has lost its small dip in the center.
The color. Managing six primary hues
In extended mode, we have access to various systems that allow us to choose our colors. First of all, we can directly manage the six primary LED hues of the fixture: red, green, blue, amber, lime, and cyan. The “lime”, for those who don’t know it, is a kind of very tart citrus green. As for what DTS calls “cyan”, one could say that it looks like a 116, a fairly dense greenish-blue, a kind of “teal”.
Some colors obtained while checking the six primary RGBALC LEDs.
The combination of all these tones makes it possible to work in a balanced way. But it’s not that simple, other parameters are involved… First of all, you will have to choose at which color temperature you want to obtain your hues. A channel from 0 to 100% allows you to vary your “reference white” from 1,900 K to 10,000 K in a linear and progressive fashion.
Some of the different tones of white that can be obtained.
The variable white, from 1800 K to 10000 K. Linear and superb.
Then, you can apply a level of green (in background… kind of like you could choose the greenish aspect of a slightly tired MSR lamp, up to that of a new one and even further), allowing you to go all the way to a “minus green”, variable at will. Two additional colors, this time based on dichroic filters, are available on the wheel, which also includes the frosts. These are a Deep Blue and a Deep Red placed in the spectrum at the boundaries of visible light.
In general and in detail, the colors obtained are absolutely superb – especially the reds and amber that have never been seen with such substance on a beam of this type before! As for the whites, you can make ALL of them, and in all their little nuances, and with all these technical subtleties that can’t even be seen by the eye, but the result on the camera will probably make a difference.
Extrapolated CMY.
Another color method: the gelatin library
Alchemy 5 offers access to a bank of about 200 LEE gelatin references (on two channels in extended mode, approximately 100 per channel, only one of the two pages in standard mode), which can be called up directly by a simple DMX value. A good library is essential, or we print the library listing and enter the values!
We played for a while with these color banks. They are visibly very close to reality. Reality is very subjective, however: a gelatin will give a completely different light depending on the source, the condition of the lamp, (the condition of the gel itself!), the dimming of the lamp in question… in short, a LEE gel number, is not an absolute! But with Alchemy 5, you can undoubtedly reproduce what you want.
One channel also allows you to control the transition fade between hues, and another allows you to control the fade in the gelatin mode and also the fade between a gelatin and a color obtained from the mixing of the six primary colors. It’s more than complete. Probably too much, even… but here it is.
Operation and DMX channels…
Five modes are available to control our Alchemy 5.
The “CCT” mode, with 20 channels, provides access to all the functions of the unit, but only the colors of the LEE gelatin libraries can be selected.
The 13-channel “Expo” mode is a quite similar, but simplified, mode.
The 28 channels of the “Advanced” mode provide free access to everything. This mode allows you to control the color-mixing of the six primary colors with the various color options available: a complete, but very complex, mode. It can be easier if you use a very advanced console that can do the job for you (provided you have an extensive library), otherwise it can quickly become a puzzle.
The “basic” mode uses the same operating model as the “Advanced” mode, but with some functions omitted.
a fifth mode, called “CMY Emulation”, which was recently introduced, allows you to manage the machine as if you had a basic CMY fixture, with all the facilities that this implies. At the same time, you can play with the color temperature variation, the minus-green, and the recall of the LEE color libraries. In this mode, anyone can find his way around in a simple way, while still making the most of the full potential of the fixture.
Dimming: exemplary curves
The Alchemy 5 offers four dimmer curves. ” Quadratic”, “Gamma 2.2”, “S-curve” and “Linear”. The curves we have plotted are remarkable. Rarely (if ever, unless my memory fails me) have I obtained such clean and clear curves.
The dimming curve from 0 to 100% in Linear mode.
The dimming curve from 0 to 10% in Linear mode.
The linear setting produces an almost perfect diagonal, with just what it takes at the end of the range to avoid a visual “accident”, the quadratic setting is equally exemplary…
The dimming curve from 0 to 100% in Quadratic Mode.
The dimming curve from 0 to 10% in Quadratic Mode.
The strobe is ultra-efficient of course, since no mechanical elements are used to catch the flux as it passes.
The movements of the head
This beautiful beam obviously moves! It is not super-fast but sufficient to allow for perfect alignment, and to allow for nice movement effects, without any jolting, and with little noise. The whole fixture is pretty quiet overall.
Noise management
Alchemy 5 has two ventilation control parameters: an “operating mode” setting, and a “fan” setting. These can interact with each other according to a specific flowchart.
– The “Fan” setting: The “Constant” mode allows the same level of ventilation to be maintained regardless of the operating conditions of the LED sources. The “Automatic” mode provides autonomous control of ventilation, i.e. from the moment the source temperature reaches 40°. – The second setting: “Operating mode” settings, As a rule, what will be the default is the setting you have chosen in the “Fan” settings.
In “Silent” mode, the unit will slightly reduce the maximum possible speed of pan and tilt movement, and reduce ventilation by decreasing the power sent to the LEDs, including by optimizing the “Fan” setting you have chosen. Thus, it puts itself in a configuration where it will actually be rather quiet, in terms of ventilation, but also in terms of all mechanical noise.
Conclusion
The ALCHEMY 5 is a fantastic little fixture that delivers what some lighting designers have been waiting for a long time, a real wash that gets back to basics and, regardless of the trends, uses the latest technologies to produce a magical light. Despite all the references to the “classic” of the genre, DTS has created a very modern luminaire that has all the characteristics, including the quality/price ratio, to become a standard in the industry. This unit offers a remarkable beam, magnificent colors, whites that are gorgeous and moldable to perfection… In any case, I want some for myself!!!
The first Dr. Christian Heil Future of Sound scholarship has been granted to McGill University student Ben Creelman, who is pursuing a master in music in the field of sound recording, and the forthcoming will be granted yearly to students who demonstrate curiosity and dedication to shaping the future of sound.
From its founding, educational outreach has been at the heart of the mission at L-Acoustics, which has been a leader in developing training programs with high added value for end users, thereby ensuring quality deployment of L-Acoustics systems around the globe.
Christian Heil
“The professional sound industry has evolved greatly and I’m proud to have been able to contribute to that,” expressed Christian Heil. “It’s an honor to help young talent, through this scholarship, who will continue pushing the industry forward.”
L-Acoustics traces its beginning to 1977, when Heil, who holds a PhD in particle physics, attended a Pink Floyd concert and was inspired to serve the live events industry by creating and developing pragmatic solutions for sound professionals.
In 2001 Dr. Heil presented the “Wavefront Sculpture Technology” (WST) paper at the 111th AES Convention in New York, applying the principles of optical diffraction and wavefront propagation to the field of audio, and establishing the criteria for the effective coupling of sound sources. Heil’s ability to adapt concepts from outside the audio profession allowed for a scientific breakthrough that fundamentally changed the industry.
L-Acoustics V-DOSC
The resulting line source array, a leaner, lighter, and more cost-effective alternative to the existing “wall of sound” approach achieved greater throw, uniform audience coverage, directional precision, and clarity. Line array technology has become the industry standard, and its widespread adoption has enabled the live event industry to evolve to today’s massive arena tours and live music festivals.
Today, L-Acoustics remains dedicated its scientific origins, with 24 per cent of the team in R&D and application engineering across disciplines beyond pure audio, such as mechanical and fluids engineering, software, embedded electronics, and material science. In keeping with Christian Heil’s record of shaping the industry through creative, trailblazing innovation, the Dr. Christian Heil Future of Sound scholarship will seek out students with approaches that may question conventions or call upon bodies of scientific knowledge outside of the realm of audio.
Students having pursued an undergraduate course of studies in an area other than audio are encouraged to apply in the interest of enriching cross-disciplinary thinking and exchanges to further the state of the art.
“L-Acoustics has a long-standing involvement with AES, making regular contributions as an active member of the Technical Committee on Acoustics and Sound Reinforcement, publishing papers and contributing to tutorial and workshop sessions at conventions,” explains L-Acoustics Director of Scientific Outreach, Etienne Corteel. “Creating this new scholarship is an expression of our continued commitment to AES and to the evolution of the industry.”
“AES and L-Acoustics share core values,” concludes Don Puluse, president of the AES Educational Foundation. “The inauguration of the Dr. Christian Heil Future of Sound scholarship reinforces our commitment to fostering the careers of young talent who will contribute to the sound industry for years to come.”
Novelty will now accompanies its customers to all regions and export its know-how beyond the borders of Europe where it shines, providing the same high standard of know-how and quality in every Novelty agency wherever it may be located. Welcome to Novelty Middle East.
The information communicated last July, is now official. The management of Novelty France is pleased to announce the finalization of the acquisition of Iris LLC. Iris thus integrates as a subsidiary in Novelty France and becomes Novelty Middle East. Jacques de La Guillonnière will be President, Olivier Hagneré General Manager and Serge Huber Director of the 2 new agencies located in Dubai UAE and Dammam KSA.
Jacques de la Guillonnière
Olivier Hagneré
Serge Huber
Novelty immediately pushes its direct support by supplying a large inventory of state of the art equipment and technical – logistical back up to its two new locations. New investments such as 100 m2 of high definition LED walls including possibilities to curve, Video projectors, L-Acoustics audio, moving lights, not to mention all the specific lighting and led fixtures on rail, so much appreciated by our customers in the «luxury» segment.
All these investments are of course complementary to the existing material inventory and the logistical structures that were already in place. Combined, they will enrich future benefits some of which are already underway. As known, high end equipment is only a part of our service. It is more important to highlight the quality and commitment of our existing teams in place that guarantee the end result. The local teams will grow and further be trained to meet rising future demands.
We welcome the Novelty Middle East agency to the Novelty family, with a future full of great events !
Do not hesitate to contact Novelty sales teams on site : Serge Huber | Middle East Agency Manager +971 55 506 1788 for Dubaï | +966 53 781 5484 for Dammam | [email protected].
Heavyweight distributor at Plasa, Robe is almost the only manufacturer to invest in a full show at London’s Plasa, of which he has been an important sponsor for many years. This year saw the end of the famed ‘Adventures’ trilogy of shows in favor of a new session referring to cult movies of the 80’s.
The Plasa Robe stand.
Dancers inspired by Lara Croft, Indiana Jones and Jack Burton have turned into professor Emmett Brown and young hero Marty McFly for an accelerated musical, around a mythical DeLorean car and many special effects, flames, CO2 and fountains . In addition to the SuperSpikie, SilverScan and the waterproof iPointe launched at the beginning of this year, the “Return to The Future” show unveiled in exclusivity two new Robe projectors; the Tetra leds bar and the very first interchangeable LED engine moving head projector, 100% Czech made, the Esprite.
Esprite
Impatiently awaited by the entire Robe community, the Esprite is the first automatic projector with interchangeable Led module. This 650W WTE ™ (White Transferable Engine) light source, result of a long research work, is a Robe exclusive. This new concept comes from deep thoughts on the durability of LED projectors over time, at a time when the technology offers every year year a better lumen per watt ratio, quickly making previous generations obsolete.
Just having won an Innovation Award, Esprite made a great start at London’s Plasa.
For Robe, to be able to simply change the LED module, and not all the machine, proves to be essential. Easy replacements are provided in the event of breakdown, to make homogeneous different rental stocks, or to receive new future modules whose efficiency and effectiveness can bring up to 30% more light, with the same dimensions.
This long-term vision involves integrating the cooling block and providing an extra 100 W power supply more for future LED modules. The source change, or, to use a ReLamping-derived Anglicism, the ReLeding, takes place in just a few minutes, without complex calibration procedures.
In its original engine, the Esprite benefits from a boost mode and optics specially designed by Robe to produce up to 27,000 lumens of luminous flux. By controlling the light output and choosing among the three highest the CRI settings of 90, the Esprite generates an average of 18,000 lumens: an ideal positioning for theaters and standard scenes, pleasing them as well with the 27.8 kg of the device and its 150 mm lens.
The Esprite benefits from the innovations brought up by the Viva, the T1 and the MegaPointe to offer a 5,5 ° to 50 ° zoom, a CMY color mixing positioned just after the LED source to guarantee a beam spread and consistence of the colors without optical defects; two wheels of 5 colors each; two gobo wheels, 7 of which are rotating and 9 are fixed, taking on the best-selling Robe features; a set of CTO filters; a 6 facet prism; two 1 ° and 5 ° Frosts and an animation wheel.
The presence of a 4-color crest on the pastel color wheel shades now makes it easy to create multicolor animations. In addition, a 4-blade module inspired by the T1 ends up the wide range of effects available on the Esprite. Going even further, the ventilation ducts have been redesigned to prevent any dust spoiling the optics, while the setting of the optical hot spot associated with an optional lens will meet the needs of theaters with a convection of forms of gobos without hot spot.
While waiting for the official launch of the Esprite on the 9th of October at Robe Lighting France’s Happy Hours, Ondrej Hegar, Dress product manager, introduced it in as a preview for us at Plasa 2019.
RoboSpot
Esprite Vidéo présentation
Tetra
Named after the Tetragnathe spider, but stretched, the Tetra is a LED bar inspired by the Spiider cells. Like an unrolled version of the latter, the Tetra bar is composed of 18 RGBW 40 W LEDs, like as many pixels, of which the 5th and the 14th integrate the MCFE ™ (Multi-Colored Flower Effects) effect. With its tilt management and 4,5 ° to 45 ° zoom, Robe joins the hype around this type of projectors able to go from upside down light to light curtain, while offering a very graphic management of the lighting.
Thanks to a mechanical construction allowing an edge-to-edge installation, the Plasa Robe show was able to demonstrate the range of possible effects of this LED bar, integrating sACN, Art-Net or Kling-Net protocols to be controlled without any trouble by a Media Server like ArKaos.
As a nod to French users, Vincent Bouquet of Robe Lighting France offered a tour of the Tetra in almost native English.
RoboSpot
A new update of the RoboSpot system has been online for a few days. Simultaneous control of several sources, the Multi-Device Control is enhanced by a precision scale for height with high and low thresholds, as well as a new function, the MDC Intensity Maps. This option allows you to define several zones of particular light levels on stage and lets the RoboSpot automatically calculate the transitions between these different zones. A CTO channel is now available in the selection of color buttons.
Overcoming the flooded laboratory of “Back to the Future”, the RoboSpots are now an indispensable asset to Dress shows.
The PosiStageNet protocol used by Robe is able to send its real-time 3D positioning data across the network to integrate into different operating systems. Several RDM fixes have been defined to allow its use with special RDM splitters, called “Multiple Devices”.
Finally, the RoboSpot is now compatible with Viva ™ CMY, LEDBeam 150 ™, Spiider®, Tarrantula ™, Esprite ™, iPointe® and, above all, the SilverScan ™ projectors, making it the fastest automated tracking on the circuit.
Ayrton and ACT Lighting are happy to announce that, from 1 October, 2019, ACT Lighting will be the exclusive distributor of Ayrton in Canada. Over the past several years Ayrton has established itself in the market as an innovative lighting fixtures producer which are being used in numerous projects around the globe.
“We are excited to further our partnership with Ayrton to now service the entire North American market,” states Ben Saltzman, CEO of ACT Lighting. “Ayrton is the industry’s most innovative brand and market-leading manufacturer of professional digital lighting with unmatched quality and design. Ayrton’s product portfolio and development strategy are the perfect match for the ACT Lighting team.”
“As Ayrton continues to look forward, it makes sense to consolidate our North American distribution strategy,” says Chris Ferrante, Ayrton CEO. “ACT Lighting is the perfect partner, being the best placed company across the region, especially considering the incredible growth we have experienced together in the US market. We are looking forward to the broader partnership the Canadian connection will bring.”
“ACT Canada is very excited to be able to offer this industry leading brand through our full-service Canadian warehouse in Mississauga, Ontario,” adds Andrew Beck, Senior Vice-President of ACT Canada. “As in the US, Ayrton will strengthen and complement our existing product lines.”
With ACT Lighting, Ayrton is now partnered with a strong and reliable distributor and service provider across North America, with a good service and support organization and 26 years of experience.
Stated BroaMan MD Tine Helmle, “GB4D sold the most BroaMan equipment during the year, and among their many projects the two that stand out are the major exhibition and congress centres in Bordeaux and Toulouse.”
Gilles Bouvard pas peu fier avec son trophée.
Via participation at leading French trade shows SATIS and JTSE GB4D have also introduced BroaMan’s application engineered solutions, which integrate video, audio, IP, intercom and other data on a redundant low latency fiber infrastructure, to their many customers.
“We have been working with Gilles and Diane Hivert, who handles the distribution, for many years, and have enjoyed great cooperation and an enduring friendship,” continued the BroaMan MD. “They are extremely professional and accomplished in everything they do and we are looking forward to many more years of creating great projects together.”
Gilles Bouvard responded, “We knew of BroaMan thanks to our long association with Optocore. It was when we won the Kuwait shipyard project in 2012 that we started working with BroaMan product for the first time. We were beta testing the first Route 33 with two ring videos on a 5km loop. A LAN was needed to control the video projectors that were installed on the various video projection points, and so we had the start of the Mux22.”
The Mux22
GB4D subsequently developed two video routers for the World Rowing Championships in France in 2014. “This was our start with Route66, Mux22 and Repeat48 CWDM. Thanks to BroaMan technology, the video and audio distribution of the World Championships was a total success.”
The Route66
Dawid Somló congratule Diane Hivert
With optical networks at the centre of their activity, and a large stock of devices at their warehouse, GB4D is able to support its customers with around 80 Optocore and BroaMan appliances.
“We have an extremely close relationship with BroaMan and Optocore, and can discuss complex projects, as well as the future development of equipment adapted to the needs of our customers. They always support and respond to our requests,” continued Bouvard.
“We are very proud of this award and have some excellent projects lined up for the future, that will extend Broaman and Optocore’s reputation further into the audio-visual world.”
AED Group, distributor of Prolyte Group, just announced that the Dutch truss and accessories manufacturer for the entertainment markets cannot continue its activities and the continuity of the company.
The reason for what seems to be a bankruptcy filing would be a major restructuring that would have had an impact on the operational organization of the company, and thus would have jeopardized this company financial balance, resulting in the impossibility to carry its business.
AED France has not yet issued any announcement, but the parent company AED Group announces that no order for items already stock will be taken in charge. For more information, we advise you to ask your usual distributor.
Imagine following a sporting tournament, throttles in hand, in an Arena. Imagine former gamers turned light operators, hands on a computer, with mind in networks. Imagine that, at the slightest opportunity, young technicians rely on their RJ45s and tablets on the stages and on the TV sets. Imagine now a distro techie in front of his racks, with all his lines deployed. Their daily routine is phase balancing, leakage current calculations or peaks surges management; a mathematics without the right to error.
The C24 distro rack comes in several configurations.
Certainly the dimmed projectors have almost all disappeared, except that, between the management of LED power supplies, screen electronics or controlled motors, the situation has changed dramatically. A precision made compulsory by the security constraints when, at the same time, the potential sources of faults multiply.
This has become the obsession of the Swedish company StageSmarts: imagine an electrical conversion with racks not really “smart” (they do not yet think by themselves!), but ‘expert’. Their expertise range from the quality of the differential circuit breakers to the real-time monitoring software. Thus were born the PDU 400 A cabinet, then since a few months a compact version in 63 A, in a concentrate of technology, the ‘new generation’ C24 direct cabinet.
C24 – Compact with 24 circuits
The 4-pole circuit breaker is positioned on the back, above the 63 Amps input socket in Harting square format.
The cabinet C24 is a 63 A distribution rack with 24 circuits, 19 inch / 6U format, less than 30 cm high. A global reflection was conducted to save maximum space. The general power supply, for example, is achieved via a reduced ILME 4-pole + Earth chassis plug, which will be used with an adapter to P17 or others. It is located, like all the connectors, at the back of the unit with its circuit breaker, leaving on the front only the circuit breakers of the outputs, the test screen and the emergency stop usual red button.
63 A power supply and 32 A output
The main 63 A circuit breaker is from German industrial brand Doepke, a reference in electrical safety, with ultra-fast disconnection in case of system fault. The glass fuses located above protect the electronic part of the rack.
For the input stage, the main 63 A Magnetic Thermal Breaker 63 A, or Main Breaker, comprises a measurement unit upwards to perform all tests before switching on. Moreover, it is protected by a transformer-rectifier capable of withstanding accidental surges.
On the monitoring display, the user can access, among other data, the currents (total and on the neutral), the voltages between phase and phase or between phase and neutral, the power in kilowatt per heure and the operating temperature.
The industrial Socomec tester is positioned under the emergency stop button, protected from the accidental hazards by a special ring.
A complementary 32 A output via a P17 chassis plug on the rear, for an ancillary fixture. It is protected by a hydromagnetic differential circuit breaker with a separate differential circuit breaker, adjustable from 30 mA to 300 mA with test and reset features.
The adjustable differential circuit breaker of the 32 A output, underneath reference X1, tops the P17 chassis plug and sits next to the locking key position.
In case of use with specific loads, such as a motor remote control or LED screens, the differential can be deactivated by a locking key. This precaution is associated with an operation indicator located on the front panel, along with the 32 A disconnector.
24 independent 16 A outputs
Several configurations are available for the 24 direct output channels, on Harting 6 or 8 circuits connectors, Socapex 6 circuits, or on PowerCON chassis plugs. In all cases, circuits from 21 to 23 are duplicated on PowerCON chassis plugs, while last circuit #24 is available on an IEC chassis plug. to be able to connect directly other small ancillary items.
Shwon here in its Socapex version, the C24 allows an easy reading of the circuits, with circuits from 21 to 24 duplicated for direct supplies. An earth plug sits under the 32 A output for electrical conformity, whenever needed.
The 16 A output circuit breakers use high quality hydromagnetic circuit breakers against overloads, with a high tolerance against earth leakage, better power handling and total independence from ambient temperature differences. They work in B and C curves, in order to support the long cable lengths up to the projectors.
The readability of the circuit breakers is optimal, with silk-screened indication of the phase used by each output.
Each circuit breaker is grouped with a ground leakage differential for human protection and uses the 2 poles to be disconnected in total isolation. They are very precise 30 mA differential circuit breakers whose tolerance threshold does not vary, and which will not be triggered at 15 or 20 mA after some uses, as might happen on other racks. This protection (certainly more expensive) allows to use each output to the maximum of its capacities without worry, and to isolate them individually to avoid that a fault on one circuit might take down a whole multi-circuits installation.
The circuit breakers used here are industrial military versions, stable and reliable whatever the conditions (-10° to + 40°), dust and moisture-proof.
For a better visualization of the problems, the circuit breakers can have three positions: at the very top, normal operation, in case of short-circuit they cut the mains and put themselves in a low position, in case of differential problem they cut themselves and stay in position average.
Control sensors and indicators are associated with each output, with load indicators to identify the state of the load at a glance. If there is no load, the LED is off. In charge it goes green. In case of inrush current, if the circuit is approaching overload, the led will flash red. If this limit is exceeded the circuit breaker cuts out and the LED indicator goes red.
Safety and monitoring
Novelty brought by StageSmarts, very aware of what security means, is the protection against failure of the neutral. To prevent a relentless surge caused by the loss of the neutral, the system is able to detect any breakage of the neutral and will instantly trigger the ultrafast disconnection of the general power supply. Built with sensors, the PDU 36/48/72 racks are integrated with control and management software. In the future an external control unit will also be available to control up to eight C24s.
The port RJ45 port on the rear panel allows complete communication of all data available from the rack’ sensors to any computer in the network.
The C-Series software allows you to view a large number of values from your computer. In real time will be displayed the load of each output, the supply voltages and currents, plus the neutral data, the temperature and the status of the main circuit breaker. In a serious accident, the data of the last 15 minutes will be kept for the further analysis.
The latest update of the SmartPDU software has, since this spring, undergone quite of a large number of patches and additions. It is thus possible to import and export settings in Excel list format. Voltmeter supervision is integrated. Navigation is improved with several direct accesses. The power consumption per output is displayed and in total, the name of each output with the color codes of the connectors, then the list of all connected cabinets in fast display. Finally the erasure of the old lists and a total reset or in blocks become possible.
Utilization
This rack will naturally find its place in fixed installations to adapt to any kind of technical room, or in high-tech tours filled with projectors and LED screens, with strict requirements of safety and operation. The presence of a differential per output and a preventive monitoring and data recording are very important assets, whose cost is not so extravagant to ensure operations without stress. The C24 will undoubtedly be particularly appreciated by new generation power management techies, navigating between the network, managing power supplies and constant monitoring.
Channel outputs / 16 A : 24 x 16A on, at your choice: 4×19-pin “Socapex”, 6ch/connector. 4×16-pin “Harting”, 6ch/connector. 3×16-pin “Harting”, 8ch/connector. 3×24-pin “Harting”, 8ch/connector. 24 x Neutrik Powercon TRUE1. 24 x Neutrik Powercon (grey).
Protection : Differential circuit breaker CD1 Line RCBO type-A, 1 Pole + N 6kA 30mA
Powersoft, the world leader in lightweight and energy efficient amplifier platforms, announced that it has appointed industry veteran Tom Knesel to the position of General Manager, North America. Knesel, who will be located at the company’s US headquarters in Kearny, NJ and who will start on 7 October, will report directly to Luca Giorgi, Sales & Business Development Director, Powersoft. He announcement follows the successful relocation of Powersoft’s North American headquarters two years ago, and coincides with the company’s increased focus on the systems integration market and launch of the Mezzo amplifier platform earlier this year.
Tom Knesel, General Manager, North America, Powersoft.
“We are very pleased to welcome Tom into the Powersoft family,” commented Luca Giorgi. “Two years ago, we began a significant restructuring of our U.S. operations, which included relocating our headquarters to the east coast, hiring new operational and sales staff, and realigning our entire North American sales rep network. Having successfully completed these tasks, we are perfectly positioned in this region for sustained growth and net new revenue opportunities.”
“Tom brings over two decades of industry experience to his new role as GM, as well as a solid understanding of the overall competitive market context,” Giorgi continued. “Further, he shares the same family values as our organisation and is committed to leading our US team towards increased success in the U.S. Before joining Powersoft, Knesel was Regional Business Development Manager, Americas, for MUSIC Tribe and responsible for driving revenue and managing the Americas for the company’s commercial audio brands — including Midas, Klark Teknik, Lake, Lab Gruppen, TC Electronics, Tannoy and Turbosound. Prior to that, Knesel spent several years in the manufacturer, design and systems integration markets, serving in both sales and executive roles at companies including Ashly Audio, AE Global Media and others. Knesel studied engineering at Southern Polytechnic State University.
“I am truly excited to be joining such an innovative, close-knit team of professionals,” said Knesel. “The most distinguishing factor in Powersoft’s brand is its passion. This factor, combined with the experience of our US team and the market- leading innovations coming from our home office in Italy, will continue to differentiate us in the North American region. I look forward to playing an integral role within our global team and helping to accelerate our success.” Luca Giorgi, who has served in a dual role for Powersoft as GM, North America and Sales & Business Development Director for the past two years, will relocate to the company’s global headquarters in Florence, Italy at the end of December, and now that the transition is complete, will continue in his role as Sales & Business Director for the global organisation.
“This is an exciting time for Powersoft and we welcome Tom to our global executive team,” commented Luca Lastrucci, CEO and co-founder of Powersoft. “Our continued growth in this region, combined with our increased focus on the systems integration market, make this an opportune time for Tom to be leading the North American team.”
The software evolves quickly while keeping its intuitive ease of use and opening to all markets. Version 5.4 is a very good example of this opening and version 5.5 includes new modes for Blend, playback and new ratio options.
Surface control in DMX, the big step forward for version 5.4.
Version 5.4 brings DMX control of surfaces, a surface being a predefined pixel universe, a kind of virtual output that, in a lighting desk, is managed like any Fixture (projector / source). The console accesses three categories: an effects generator, color settings and mixing with other surfaces (Blend). It is thus possible to create effects either by the generator of the surface or by the console effects generator.
The DMX chart for one surface.
Being able to control the color settings via a lighting desk (or any type of DMX controller in general) is very interesting to create color effects and select a base for the generator. Moreover, in my opinion, it is also very useful to calibrate the color of video sources (LED screen, video projector, LED bar or LED strip).
In addition to the advantage of centralizing all the corrections, it also allows to save them and update them back in the next set-up without having to recalibrate each source one by one. The last type of parameter allows to choose how the surface will interact with others (addition, subtraction, replacement…) and the surface’ dimmer, another way to create effects quickly and simply from the console.
The second new feature in this release is compatibility with Pioneer’s Pro DJ Link. The latest versions of the Japanese brand’s turntables can send Time Code, BPM and Metadata information to media servers over the network, and fully control a show by synchronizing music and video.
Grand VJ becomes compatible with DJ Link from Pioneer.
Version 5.5
The Belgian brand is not resting on its laurels, it version 5.5 now incorporates new modes for Blend and playback functions as well as new ratio options. The 6 new modes of the Blend function are Difference, Exclusion, Darken, Lighten, Screen and Overlay. They increase the possibilities of interaction and creation between the media, thus giving more diversity to the shows. With the new playback mode, it is possible to separate the intensity of the layer and the “playback” and “stop playback” features of the media as soon as the intensity of the layer drops. This active mode by default can of course be disabled.
The third feature is a 1/1 ratio that keeps the original size of the media output instead of extending it to the size of the output. This avoids distortion and ratio calculations between media resolution and output ratio. When the 1/1 mode is engaged, you can then position the media in the output wherever you want or need with the dedicated tool.
Here’s a video where ArKaos explains all the new features of version 5.5.
With the 2019 opening of the ‘Wonder Box’ indoor amusement park, the Paradise Fun-City complex has become the largest entertainment site in South Korea and features Amadeus speakers throughout its public spaces.
An external view of Paradise City.
Amadeus has announced the install of more than 200 of their speakers in the ‘Paradise Fun City’ complex located in front of Incheon International Airport, the largest hub airport in Northeast Asia. The install of the complex’s media infrastructure was designed, built and supervised by C2 Artechnolozy. With the 2019 opening of the ‘Wonder Box’ indoor amusement park, the Paradise Fun-City complex has become the largest entertainment site in South Korea.
Inside the Wonder Box amusement park, one of the 200 Amadeus speakers.
C2 Artechnolozy was deeply involved in the design phase of the newly opened Paradise-City phase 1-2 project which includes ‘Chroma’, the largest club in East Asia which encompasses three separate nightclubs, Wonder Box, and the boutique hotel Art Paradiso. The complex also features the ‘Art Garden’ and the ‘Paradise Walk’ areas.
C2 was responsible for designing and supervising the entire resort’s audio, video, and lighting systems, as well as the design, development, and supervision of the EBGM System (Enhanced Background Music). In addition, the company was responsible for the design and construction of both the Chroma staging system and the audio, video, and lighting systems for the recently opened Wonder Box. Paradise City’s plan was to build a media infrastructure that differentiated itself from existing hotels and convention areas and C2 has delivered.
One of the Control Rooms featuring Merging Technologies high resolution audio solutions able to deliver the Enhanced BGM.
“From a media point of view, the facilities of existing hotels and convention centers seem to lack a lot of options to represent an ‘Art-tainment’ Resort, which combines art and entertainment,” stated Dongyup Kwak, the CEO of C2 Artechnolozy, who ended up building state of the art integrated media infrastructure with few limits for each of the venues in Paradise City.
“C2 first wanted to upgrade the BGM, which is delivered to all facilities,” added Kwak. “However, the system for emergency broadcasting could not be changed. So we focused on the main spaces of the facility and differentiated it from the existing BGM system. We named this system Enhanced BGM (EBGM), it is the first and greatest example of the world’s highest quality sound for background music.
A meeting room where working must be a pain, and listening a DXD stream a wonder…
We applied the DXD sample rate to go beyond the sound quality limit of 48 kHz of existing hardware-based DSP sound source transmission and control systems.”
The EBGM system is based on the Ovation Server, Horus, and Hapi interfaces from Swiss manufacturer, Merging Technologies. The system is capable of up to 384KHz or DXD (DXD – Digital eXtreme Definition at 352.8KHz) via the AES67 RAVENNA network. The 352.8KHz DXD EBGM was applied to 69 zones with 145 outputs, including four buildings and three outdoor spaces, and is the first time anywhere in the world that a background music system supports and operates at DXD/384KHz quality throughout a whole resort area.
Inside the Art Paradisio boutique hotel lobby, a pair of sub + C series Amadeus sporting a specific fabric to match the overall style.
Utilizing Apple’s iPad and Ovation’s Web Server functions, C2 designed the control interface so that each space within Paradise City can be individually controlled for its volume and channel, as well as for selecting sound sources of various genres through channel selection. With the iPad control system, the user can create a playlist to suit the location and taste, or it can be set to play back the selected music in a random order.
The engine room featuring Powersoft amplifiers probably hidden inside specific racks.
In order to reproduce differentiated sound sources with the highest quality, C2 chose Amadeus speakers. After long discussions with Amadeus, the integrator chose Amadeus C Series (initially designed by Amadeus for the Paris-based Chaillot National Theater), PMX Series speakers, and ABB 15 and ML 12 SLIM bespoke subwoofers.
Powersoft power amplifiers are applied throughout the boutique hotel Art Paradiso to power the speaker system. “Amadeus and Powersoft were the best choices to harmonize the quality of the sound source,” noted Kwak. The Art Gallery at Paradise City is equipped with hanging tracks, power, and network terminals, with Amadeus PMX 5 D and ML 12 D active speakers to enable installation flexibility depending on the needs of the art installation. “The Amadeus speaker is the only one that can satisfy both the luxury and high quality of hotels and art galleries.
The system uses the AES67 DXD format for the EBGM system as well as a separate operation using a Dante Network. The art gallery is also set up to utilize projectors with an HD Base-T network to provide an optimized infrastructure for media art,” explains Kwak.
The Wonder Bow Control Room, once again an amazing installation for providing high resolution background music.
C2 studied the interior and architectural design of Paradise City with Professor Kim Ji-kyung of Tuneworx, and specified the ideal speaker arrangement for each space, including the Cimer Spa, Art Garden, Paradise Walk, the Chroma ticket booth, and the Highline Park area. In the ‘Cimer Spa’ section of Paradise City, Amadeus PMX5 and ML12 Slim subwoofers were installed along with other complimentary speakers and audio equipment necessary for the indoor/outdoor environment.
The very heart of the complex.
There are two more buildings on either side of a wide square across from the hotel and spa buildings. One of the two buildings is the Wonder Box indoor ‘amusement park’. C2’s team managed the Wonder Box project: John Kim was Executive Manager, Suk-Hoon Lee was the Project Manager and designed all the audio, video and lighting systems including integration, Taechan Moon was in charge of AV construction. Joshua Jeon was in charge of whole 2D-3D design, and designers Eunjung Kim and Yunhee Choi Jeongeun worked on the 2D-3D simulation and design of the AV system.
The Serasé restaurant lounge bar. If needed, the high quality SPL is guaranteed.
C2 collaborated with Canada’s Moment Factory, which is in charge of the content, it took over one year to prepare and finally open Wonder Box on March 31, 2019.
Wonder Box is equipped with over 60 Amadeus speakers with Powersoft amplifiers and 6 Ovation servers from Merging Technologies for the show control and audio control. It also equipped the space with 14 Panasonic 21,000 ANSI laser projectors projecting two large indoor screens of curtains which are 33 meters in length and 9 meters in height. The site also has two 10,000 ANSI laser projectors and two Grand MA 3 Consoles, one full size and one Compact XT for the lighting. The system can create immersive AV using the audio, video and lighting system.
One of the most striking things about all of the installs at Paradise City is that the sound, video, and lighting control systems have redundant components created by C2 design, so that if some part of a control system fails, the lights, sound or video can still continue to be controlled without downtime.
No way to find somewhere else such PA in a gym…
C2 Artechnolozy was involved in many aspects for Paradise Fun-City from design, through supervision, and construction, and also many of its operations. The company manages the day-to-day directing and operating of the club’s systems, under the direction of Kim Nam-hoon, C2’s staff, and several partner companies, they run all the technical systems and produce a slightly different show every hour. Dongyup Kwak, concludes, “The Paradise install was a huge challenge for us, no one has ever done a project this large in Korea.”
Paradise City was first opened at the end of September 2018, and with the opening of Wonder Box on March 31, 2019, the entire project was fully opened. As a biggest single site of its kind in Korea, it was difficult to build such a media infrastructure, but C2 has overcome all of the project’s difficulties and has completed and stabilized the many audio and visual systems.
Amadeus Speakers are featured throughout the Paradise City complex:
Amadeus PMX 5 MKIV: 28 units Amadeus PMX 5 D: 32 units Amadeus PMX 8 MKII: 16 units
Amadeus UDX 8: 42 units Amadeus ML 15 MKII: 10 units
Amadeus C6: 12 units Amadeus C15: 16 units
Amadeus ML 12 D: 10 units Amadeus ML 12 SLIM: 24 units Amadeus ABB 15: 12 units
“Martin Audio has appointed Vardhaman Megatech as its exclusive distribution partner for India” says David McKinney, managing director of Generation AV, who undertake Martin sales strategy, account management and technical support in the Asia Pacific territory.
“VMT has a strength in all the vertical markets that Martin Audio is present in including both Touring and Installation,” David stated. “ VMT are headquartered in Mumbai but have teams all across the country and are set up to ensure Martin Audio customers have quick support across all parts of India. “Having a dedicated team will enable VMT to provide special support and attention to all Martin Audio customers in India. We are proud to be working with such an established distributor, with a rich history in professional audio.”
Martin Audio will join VMT’s Distribution Division, which is focusing on building a nationwide distribution network, thereby enabling transparent and quick logistics, support and sales. “VMT Distribution was set up with the goal of ensuring the presence of high-quality brands in the rapidly growing Indian sub-continent. In particular, we aim to promote growth in the two and three tier cities,” said Mitul Soni, National Sales Manager, VMT Distribution. “We are absolutely honoured to work with Martin Audio and are confident of replicating their global success in India.”
His sentiments were echoed by Sushil John, Executive Director, VMT Distribution. “Martin Audio is a perfect match for us. Their vision to innovate and produce world leading equipment matches our values of providing the best in music technology to our customers. We’re excited by what the future holds for us.”
VMT will receive full support of Generation AV, who have been boosted by the arrival of the experienced Sanak Pandit; he will work hand in hand with the VMT team to provide on the ground support for Martin Audio’s customer base. Said David McKinney, “Sanak has a strong background in the touring market from his time at SD Audio and V&P Sound, and so he is able to hit the ground running. Sanak will be based in Bangalore.” VMT say they are particularly excited by the arrival of WPS, the fourth model in the award winning and best-selling Wavefront Precision optimised line array series.
Dom Harter, Martin Audio MD, rubber stamped this. “With the expansion of the Wavefront Precision Series, and the versatility of the MLA series generally, Martin Audio now has a full line up for the touring and performance market. It is therefore gratifying to see that VMT will be drawing on its long history and strong relationships in the market to focus their efforts on these segments. “VMT and Martin Audio will work closely together to ensure we offer top class support to all Martin Audio customers in India. It bodes well for an exciting future.”
On aime :
On regrette :
