High End to unveil Solawash 1000 at Plasa London

The SolaWash 1000 automated luminaire is the newest member of the Sola Series from High End Systems. SolaWash 1000 is available in two versions; either with an Ultra-Bright engine producing 20,000 field lumens or a High CRI Engine featuring incredibly accurate color rendering.

High End SolaWash 1000.

The fixture includes a full framing shutter system, CMY/CTO linear color mixing system, a seven plus open position replaceable color wheel, iris and dual Linear Frost systems for medium and heavy frost. Sharp edge focus performs throughout the entire 12° – 55° zoom range. A TM-30 Filter boosts the Ultra-Bright engine to 85+ CRI.

Automated Lighting Product Manager Matt Stoner commented, “The SolaWash 1000 offers an elegant feature set for our users. Whether you are using the fixture as an Ultra-Bright wash light with framing, a High CRI key light for face lighting or even a wide and soft edge wash fixture, the SolaWash 1000 is designed to give designers a great light, a wide gamut of pure and even colors, and a beautifully simple feature set.”

“From a feature perspective, the SolaWash 1000 is a wash light with the best of the basics: fantastic color mixing possibilities, great output and near-silent operation,” adds High End Systems Brand Manager Tania Lesage. “The fixture is designed with fast serviceability in mind, and is of course equipped with High End Systems’ patented lens defogger. SolaWash 1000 will be a great complement to our SolaFrame 1000.”

The SolaWash 1000 will be launched at Plasa London on the ETC/High End stand, September 15th-17th.

More information on the High End Website.

 

Open air and open sound: Nexo line arrays for Europe’s greenest concert hall

In Nuremberg, Germany, a large PA system comprising elements of 4 different NEXO line arrays entertained audiences of 60-75,000 per night at the Klassik Open-Air Music Festival .
In Phase Event, one of the primary rental suppliers of NEXO systems in Germany, designed and supplied the system for this biggest classical music open air event in Europe.

This unrivalled success story started in 2000, on the occasion of the City of Nuremberg’s 950th anniversary. Three free open air concerts performed by the city’s two major orchestras were intended to be a great party in the Luitpoldhain park. The event was modelled on similar concerts in New York’s Central Park and particularly on the “Proms in the Park” in London’s Hyde Park.

The idea was that even people who normally do not listen to classical music could get together in a relaxed atmosphere, free of charge, to get to know “their” orchestras. Due to the musical quality of the Nuremberg State Philharmonic Orchestra and the Nuremberg Symphony Orchestra, the ambience of Luitpoldhain and the relaxed atmosphere, these concerts have evolved a culture of an evening picnic culture by candlelight, culminating in a firework display.

The 2019 Klassik Open-Air programme is now in its third consecutive year with NEXO systems, and also included the Big Band Jazz concerts, which take place every other season in the Luitpoldhain park. This open-air auditorium, often called Europe’s greenest concert hall, is 400 metres wide, asking the main PA to throw 300m to the back of the audience area.

In Phase Event CEO Ernst Sieber and his team rely on their NEXO STM Series modular line array to provide the main PA for this large-format outdoor show, making only minor alterations to the system design that has seen them successfully through three annual festivals. For example, the 2019 edition increased the number of delay towers for the growing audience area, as well as the addition of a small number of STM B112 bass modules and STM S118 subs into the main PA to enhance the bass response for the Big Band jazz performances.

Main PA hangs each side use 16x STM M28 compact ‘omni’ modules, flown underneath 3x STM M46 main modules. The 4x B112 bass modules are flown in a separate array behind the main hang. In front of the stage, a combination of 16x STM S118 and 8x RS18 subs are groundstacked, running in cardioid mode.
Additional M28 cabinets, plus some PS15s, were used for outfill, and PS15-R2s provided four small sidefills.

Around the huge natural auditorium, there are fourteen delay towers deploying a range of NEXO line array systems: some with GEO S8, some with GEO M10, and some with GEO M6. As Ernst Sieber points out, “the absolute phase linearity of all the NEXO systems makes it possible to achieve this set up, and do so in a relatively short time. They all achieve a high range with superb audio performance at the highest level.”

All PA was running on optical fibre over a Dante network, controlled by NEXO/Yamaha amps and consoles. At front-of-house, mix engineer Florian Denzler was using a Lawo MC236 console with Yamaha CL1 as a Matrix and 4x Lake LM44 drives.

More information on Nexo lines of products and on In Phase Event GmbH.

 

Newbies’ galore for Elation in 2019! And more to come…

Elation stand, Prolight+Sound 2019.

One, two, three, four, fiv… in total, seven new products were introduced on the US manufacturer’s stand at last Prolight+Sound exhibition, plus three new models (at least!) to be unveiled during next Plasa show in London, all this for 2019! For a start, let’s begin with the models already available with Frederik Afif, one of the Commercial Managers of this never stoppin’ brand.

Let’s start with the headliner named Proteus Maximus, a hybrid Wash/Beam projector, but also a Profile (with 4 motorized blades), with a waterproof protection index (IP) of 65. The LED source of this beautiful baby, close to 80 cm high (head pointing up) is close to a kilowatt (950 W to be exact), and promises up to 50,000 lumens at the output of its magnificent 180 mm diameter lens.

An imposing heat exchanger is fitted in the Proteus Maximus to dissipate the heat generated by the 950 W of the LED source.

Frederik Afif beside the new Proteus Maximus.

The optical system has been designed to generate a slight hotspot that increases the efficiency of the projector in Beam mode, says Frederik Afif. The zoom range is wide, 5.5 – 55°. With a linear CMY + CTO color mixing system, a 6-color wheel, a High CRI filter and a UV filter, an animation wheel, two glass gobos wheels, two prisms (circular and linear), iris, 2 progressive Frosts, it is particularly well equipped and necessarily a bit heavy, as IP65 rated: 52 kg!

Some steps away, let’s have a look at the newcomers: Da Vinci, Monet et Van Gogh from the « Artiste » series.

The Da Vinci, which corresponds to the smallest power of the series with its LED engine of 270 W, however announces a luminous output of 12,000 lm. This spot has all the functions expected on a Pro moving head: CMY + CTO, linear wheel of 7 colors including a CTB filter and a UV, two gobo wheels, one animation wheel, two prisms (circular and linear), Frost, iris and 6-48° zoom.

In addition to its CMY color mixing system, Monet comprises 3 RGB filters and a linear CTO.

The Monet uses the same 950 W LED source as the Proteus Maximus, and almost all its functions, but its Spot/Profile optical system delivers a light output slightly less than the announced 45,000 lumens. It is also more lightweight: 42 kg.

The Monet embeds two significant innovations. The first is all about the colors generation with the “SpectraColor Flag System”. Here are some explanations: the colors are generally obtained via a subtractive trichromatic system, using 3 primary colors, cyan, magenta and yellow (which we obviously find here too).
To have red, for example, we have to push the parameters of yellow and magenta to 100 %. This configuration requires the use of at least two filters that the light must pass through, causing additional loss of power.

The SpectraColor system has 3 additional filters (+ a CTO) dedicated to red, green and blue, all variable in saturation. Thus light passes through a filter to generate a color with a consequent gain in brightness. Another noticeable point is that framing system’s blades are mounted on a rotating cassette that can rotate continuously!

The Van Gogh is equipped here with a clear PC-type lens.

The last fixture in the “Artist” range, Wash Van Gogh, is compact (669 mm high) and integrates a white 380 W LED source @ 6200K, with a CRI of 92, generating a luminous output of 16,000 lumens.
This model which also has motorized blades, a linear CMY + CTO, a wheel of 7 colors including a UV, a Frost, and is delivered with two different lenses, a PC, and a Fresnel.
The Zoom has an range of 7-55° with PC lens and 11-66° with Fresnel lens. Its weight is 28.5 kg

The second part of this hunt for novelties is devoted to the “Fuze” series, a very complete range of fixtures designed for smaller budgets.
The Fuze Profile CW is the most “simplistic” version of the range, giving up the CMY color mixing system in favor of two colored wheels. It uses a 380 W white LED source and has a module of motorized blades, for a weight of 23 kg.

Coming from a series aimed to smaller budgets, the new Fuze Profile has a sober look that is no less professional.

Second variation in this range, the Fuze Profile is fitted with a RGB + Mint (light green) + Amber LED source.
Its parameters have a virtual corrector to raise the color rendering index up to 92. Also equipped with motorized blades, its luminous output reaches 9,000 lumens.

Finally, to end this review, the Fuze Spot retains the characteristics of the Profile very closely, by skipping the framing system, resulting in a loss of 4 kg on the scale (21 kg for this moving head).

More information on the Elation Website.

 

Orchestra Filarmonica della Scala in open-air with L-Acoustics K Series at Piazza Duomo

Open-air concerts always bring in extra magic, especially in a prestigious place like Piazza Duomo in Milano (Italy). Each summer since 2013, Milan’s world-famous Teatro alla Scala has transformed Piazza Duomo, the Italian city’s central square, into an open-air concert hall where the Orchestra Filarmonica della Scala give a free classical performance for residents and tourists.
An L-Acoustics K Series system was supplied by Italy’s premier rental company, Agorà, which has provided audio and lighting to this stunning event since it first started.

25,000 people flock to Milan’s world-famous Teatro alla Scala for the Orchestra Filarmonica della Scala free open air concert.

Under the baton of maestro Riccardo Chailly, this year’s set list included Dvořák’s Symphony from the New World No. 9 and works from Italian composer, pianist and conductor Nino Rota, best known for his Federico Fellini and Luchino Visconti film scores.
With 25,000 concert goers packing the 17,000m2 piazza and the evening broadcast live on RAI 5 in HD, Front of House Engineer Fabio Venturi was tasked with designing a system that would deliver even coverage across the entire space and provide an audio experience on par with the beauty of the music and the setting.

Concert plan one year ahead

“I am generally aware of the plan for the concert around a year in advance, as the orchestra has a very long-term planned schedule,” says Fabio Venturi. “I work together with Agorà’s System Engineer, Daniele Tramontani, an authority in Italy in this field with huge amount of experience with orchestras projects. We usually start planning the system in March and the Filarmonica gives me full discretionary power on the audio setup.”

While the Filhamonica grants Venturi full freedom, it was vital that the maestro’s vision for the performance was fulfilled, so his ultimate goal was to achieve a satisfying sound level for every moment of the program, from the softest pianissimo to the most bombastic fortissimo.

The piazza’s monuments and ancient street lights, imposed architectural limitations: L-Acoustics Soundvision was used to achieve an accurate prediction of audience coverage.

Venturi and Tramontani had a number of obstacles to overcome to achieve this. The piazza itself, with its monuments and ancient street lights, imposes architectural limitations, whilst tram traffic at its edges, which was not stopped for the concert, along with the substantial size of the audience would create a significant level of ambient noise.

“To reach our goal of perfect coverage and to preserve the quality of the sound throughout the performance, we focussed a lot of attention on the PA design well in advance of the concert,” Venturi explains. “L-Acoustics Soundvision 3D acoustical simulation software allowed us to achieve an accurate prediction of audience coverage in terms of SPL and frequency response, which saved us a substantial amount of time further down the line.”

Hundred condenser mikes and dozens streetlights

The position of the main PA in relation to the stage, where more than 100 condenser microphones were placed for the orchestra, was also very important as it was vital to ensure there was sufficient headroom for the concert whilst mitigating bleed into the microphones.
“The presence of the ancient streetlights was limiting both in terms of finding the perfect position for the PA towers and to reach an optimal height,” Venturi adds. “We used different solutions to smooth out this problem, including hanging curtains at the side of the main PA to protect the orchestral microphones from picking up unwanted sound from the speakers.”

Venturi and Tramontani’s final design placed the main hangs of 10 K1 atop five K2 stage left and right, along with side hangs of 12 K2 positioned at the outer edge of each of the two screens that flanked the stage, and a centre fill of six Kara. Kara was also the choice for front fill – eight cabinets being placed at even intervals behind the scrim at the front of the stage – and delays.
The latter were positioned towards the rear of the piazza and comprised two hangs of 10 Kara, one left, one right, covering the rear of the square, further hangs of 12 Kara either side to cover the rear sides and a hang of eight as a central delay.

Riccardo Chailly listening session

Venturi reports that the results achieved were exactly as predicted in Soundvision and, most importantly, that Riccardo Chailly was delighted with the results he, Tramontani and the Agorà team had achieved.

“The maestro was able to listen to the concert’s rehearsal, which was directed by his assistant,” concludes Venturi. “He was standing in the square, moving to different positions to make sure the coverage was the same across the entire piazza. He told me his overall impression of the audio was excellent. We had achieved our aim and the Agorà team and I were very satisfied!”

K1 and K2 were used for main and side hangs with Kara deployed for centre and front fills.

More information on L-Acoustics K Series and Soundvision software.

 

City Theatrical Multiverse: Made in Broadway, and ready for Europe

City Theatrical is an old respectful Broadway company with more than 30 years of innovation in US stage lighting, in particular musicals, but, a bit like the star of Hello Dolly, she knows how to make a come-back now and then with new ideas, then return to the game sometimes unexpectedly.
On the occasion of the compatibility update of the DMXcat software with the Multiverse, let’s go back in detail on this powerful multi-universe transmitter, launched in Europe in its latest version during the last Prolight + Sound show in Frankfurt.

The Prolight+Sound City Theatrical stand in Frankfurt, Gary Vilardi (left) and his Blitzkrieg team of two, aiming to take the European market by storm, whatever the Swedish competition…

They made a very smart move only a few years ago with the DMXcat, a nifty battery operated bi-directional compact box with wireless BlueTooth control from any smartphone, and were very much involved with the development of pixel-per-pixel controlled Ledstrips for musicals, theatre or music shows with their QolorPIX and QolorSTRIP ranges.

So, I was keen to find their booth at latest Prolight+Sound and ask straight to Gary Vilardi my ritual “Wazzup Gary!”

SoundLightUp: Hi Gary, I’m still waiting for the actual definitive launch of the Pathway in its full-blown version (ol’ private joke between us, ED.), so anything else really new? (smiles)

Gary Vilardi, City Theatrical Marketing Director: You’re damn right Bruno, it should be finished anytime now, it will definitely help create next generation lighting networks with open system products that harness the power and convenience of Ethernet.
In the meantime, we’re presenting here, for the first time in Europe, a brand new concept that will create a true Wireless DMX transmission revolution! Here is the Multiverse, with 10 complete DMX512 universes sent simultaneously from the same box.

SLU: I think I remember your ShoW Baby model already could transmit 4 different universes at the same time, is this one a bigger brother on steroids?

Gary Vilardi introducing proudly the two sides of the Multiverse environment, hardware with a Multiverse, and software with the already famous DMXcat app, now directly connecting your smartphone to the latter.

Gary Vilardi: Yes… and no, as it is a much bigger box anyway, with four antennas. Of course, we kept the compatibility with the ShoW Baby. By the way, in its latest version the ShoW Baby can handle 6 universes in total!
The Multiverse patent derives from the fifth generation of our wireless DMX developments, so we do know what we’re talking about here… (smiles)

SLU: How does it work, then?

Gary Vilardi: First of all, it relies on an intelligent real-time management of all the DMX data sent at the same time : we deliver more data, but using less radio energy. To do this, we reimagined wireless DMX globally, and discovered that we could reduce the amount of radio energy used for wireless DMX by more than 90%, using an innovative new radio system and by improving how we broadcast and merge all the DMX/RDM data.

As most wireless DMX systems broadcast all 512 DMX slots per universe whether there is anything patched into them or not, Multiverse automatically designates only the DMX slots it needs to broadcast, thereby saving unneeded radio energy. We call this Auto Dynamic Limited Burst. At the same time, Multiverse uses what we call MDMX to reduce, in many cases by over 90%, the data transmission requirements for a show.
For instance, on a Broadway show, there are a lot of DMX universes where not much is happening at certain moments: set-up static color for a while, LED strips embedded into stage costumes, even generic lighting for a whole song or drama act. Of course, we still make sure we keep perfect fidelity in this kind of mission critical show environment.

SLU: This all makes sense, Gary, but then you’re not compatible at all with the very popular (in Europe, that is) Swedish « standards » Lumen Radio CRMX® and Wireless Solutions W-DMX®?

An example of a DMXcat app aplication, now directly online with the Multiverse via your iOs or Android smartphone. You can notice here a total and bi-directional control of a Multiverse, and a Multiverse Node.

Gary Vilardi: By all means, not at all ! (laughs) But we don’t care, for projectors’ manufacturers we can supply the Multiverse Module, tiny ultra-compact TRX PCB they can fit in any fixture.
For those who just to use our own standard with other wired fixtures, we can provide the Multiverse Node, you can see some units here and there fixed to our stand’s truss, it’s very flexible with several ways to hang it or hook it up.

To complement these informations, I have to add that all our system is RDM compatible, we even added an extra “reliability” layer called MRDM, allowing both DMX and RDM to operate at the same time. This opens up new benefits for lighting users, not available from a wired system. (or you would have to add an “intelligent” Node somewhere to filter out the unwanted or messy data, Ed.)

SLU: Some people might remember that you were given a « Best Debuting Product » Award during latest LDI show in November 2018, what’s really new in this updated version of Multiverse?

Gary Vilardi: We improved it a lot for European users, for instance, the 900 MHz is not used over here. We also added a very handy and useful feature, the direct control by the DMXcat app. This is where the 4th antenna comes in… You don’t have to get a DMXcat to control and manage a Multiverse box, just download the DMXcat into your smartphone, and there you go, both in DMX512 and in RDM.

SLU: Isn’t it a bit risky to open up this remote control by Bluetooth, then? There are more and more DMXcat users out there in our industry, and now if you say you can even use just your smartphone, would that be too many control attempts on the same set? And I’m not even referring to jokers, dummies or malicious people?

Gary Vilardi: No, there’s no danger here, as several Multiverses can operate at the same time. Then, we also have equipped the Multiverse with the SHoW Key Security feature, locking any system and password protecting it from any other Multiverse systems operating in the area, accidentally or not.
On Broadway you don’t mess around with the unexpected, « The Show must go on! » (laughs)

More information on the City Theatrical Website.

 

Less sound outside, better sound inside: Changwon NC Park Harman installation

To deliver premium sound across every seat while minimizing sound leakage to neighboring residential and commercial areas while delivering powerful, arena-filling sound as efficiently as possible, TechData Co., Ltd. recently installed an end-to-end JBL Professional networked audio system at the Changwon NC Park baseball stadium.

Changwon NC Park is a 22,000-seat baseball stadium which opened in 2019, replacing Masan Stadium as the home of the NC Dinos professional baseball team. The stadium features four tiers of seating that curve around home plate, leaving the outfield side open to the air. To deliver premium sound across every seat while minimizing sound leakage to neighboring residential and commercial areas, Changwon NC Park required an ultra-focused, efficient and highly scalable sound system.
To achieve the client’s goals, TechData designed and installed an extensive HARMAN networked audio system featuring JBL loudspeakers, Crown amplifiers, Soundcraft mixing consoles and BSS signal processors.

“Since the stadium hosts highly competitive baseball matches, the client needed a sound system that could not only ensure even distribution of sound throughout the stadium, but also contain the sound within the stadium—a critical requirement due to the proximity of residential areas,” said Seung Duk Seo, Technical Manager at TechData Co., Ltd.
“The stadium also needed something slim and inconspicuous to install, so JBL Intellivox series speakers fit the bill. As a result, perfectly horizontal coverage control provides sound to where it is needed, but also reduces leakage of noise outside of the stadium.”

The HP-DS370 columns, technology concentrates capable of delivering 105 dB peak SPL at 30 m distance between 140 Hz and 18 kHz, thanks to their 16 amplifiers driven by the same number of DSPs to vary the vertical directivity, while the horizontal directivity is fixed 100°. Two of these 6.5” are coaxial to bring precision and definition for the high frequencies.

To ensure even sound coverage throughout the seating areas with minimal spill and wasted energy, TechData selected JBL Intellivox HP-DS370 active beam shaping column loudspeakers.
The HP-DS370 uses 14 6.5-inch coaxial drivers to project consistently over a targeted area, delivering powerful yet extremely focused sound. A slim, unobtrusive profile and IP55-rated enclosure make the Intellivox arrays an ideal fit for the outdoor environment.
TechData also deployed JBL AWC82 compact two-way loudspeakers with 8-inch coaxial drivers to supplement the main speaker arrays, as well as ASB6125-WRX dual 15-inch subwoofers to provide full low-end energy.

Crown DriveCore Install and I-Tech Series amplifiers provide ample power for the extensive loudspeaker system, with network connectivity via BlueLink and HiQNet. Crown DCi 2|1250N, 2|600N and 4|1250N models form the bulk of the system, featuring proprietary DriveCore technology for extreme efficiency.
TechData also deployed Crown I-Tech 4x3500HD amplifiers, which feature advanced OMNIDRIVEHD processing and flexible I/O options including analog, AES3 and CobraNet.

Soundcraft Si Impact and Vi2000 mixing consoles provide enough inputs and powerful DSP for the complex mixes required for games and events. Intuitive features like Faderglow technology and the Vi2000’s hands-on Vistonics interface streamline complex mixing tasks, increasing efficiency.

The sound room with (right) a Soundcraft Vi2000.

The entire audio system is seamlessly connected via a state-of-the-art digital network of BSS signal processors. TechData selected the BSS BLU-806 for its highly configurable I/O and high-bandwidth, fault-tolerant digital audio bus. BSS BLU-326DA I/O Expanders and BLU-BIB Break-In Boxes add additional branches to the network, creating a highly scalable and expandable system.

“The dual requirements of sound coverage and containment within the stadium required a prudent solution, which is exactly what we found in the cutting-edge HARMAN audio systems,” said an audio engineer spokesperson at Changwon NC Park. “The issue of noise complaints was a major concern when the project was in the design stage, but since the completion of the project, the NC DINOS and city officials have been very satisfied with the overall result.”

Ramesh Jayaraman

“Elevating Experiences for our audiences has been the hallmark of HARMAN Professional Solutions iconic brands. Combining Innovation with advanced technological solutions, our partner TechData worked closely with the customer to facilitate a successful installation and presented the best possible solutions to suit the customer requirements,” said Ramesh Jayaraman, VP & GM HARMAN Professional Solutions, APAC.
“It is always a pleasure to partner with TechData, and we thank them for their strong customer focus, innovation and technical ability in providing world class solutions and enhancing customer satisfaction”

More information on the Harman Website.

 

Wireless Solutions ProBox F-2500 in G5

The ProBox F2500 at Prolight+Sound exhibition, after two years of development.

The ProBox F-2500 represents the fifth generation of Wireless DMX transceivers created by the Swedish guys at Wireless Solution, who sign here their most accomplished device and concept.

ProBox F-2500, Generation 5

Looking like a 19-inch rackable processing unit in 1U format, it can be used as a transmitter, as a receiver or as a repeater, depending of its mode. Being the only product in this range able to manage four individual and distinct DMX universes in “Double-Up” mode, it has two spatial diversity antennas, offering a long throw of up to 700 m.

The ProBox F-2500 can be used at the same time as a receiver and a transmitter, thanks to its « One-Button » menu, using the same routines of the previous versions.

With this new technology, the famous G5, you use several frequencies in 3 bands: 2.4 GHz, 5.2 GHz and 5.8 GHz, to transmit DMX512 data signals, including a complete support of RDM.
Another innovation is the native recognition of Art-Net II and III protocols, of the sACN and, as an option, a Wi-Fi card can be inserted to communicate directly with light remote control apps on tablets or smartphones.

The use of the AFHSS (stands for Adaptive Frequency Hopping Spread Spectrum), seeking busy channels to further reduce interference, is coupled with the Data-Safe system to protect the data from interferences, and eventually correct transmission loss.

Equipped with an universal 90/260 V 50-60 Hz supply thru PowerCon input and an ancillary 12 V DC supply, the ProBox can be used anywhere in the world.

This true wireless DMX highway is used directly by using the 5-pin DMX connectors on the front or rear panel, or by sending an ArtNet or sACN signal in the RJ45 EtherCon socket.

Compatible with the former G3 and G4S technologies, it can be used with the majority of Wireless Solution’s partner brands, such as ADB, Claypaky, Portman, Chauvet, Elation, Robert Juliat, Cameo, Starway, etc. Supplied with two tri-band antennas with a gain of 3dBi, the ProBox F-2500 is equipped with N-type antenna connectors, allowing the use of any type of antenna picked in the Wireless Solution accessories range, for coverage of up to several kilometers .

Its list price should be less than 1,700 € HT, depending on countries, just ask your local distributor

More information on the Wireless Solution Website.

 

Immersive record: 152 Optocore preamps for French National Day Celebration at Eiffel Tower

A powerful networking solution has been designed and installed by Radio France (French National Radio Broadcasting Consortium) & Importer Gilles Bouvard using Optocore and BroaMan products for the National Day Grand Concert on the 14 juillet at the Champ de Mars, just in front of the Eiffel Tower.

The Grand Concert de Paris takes place every year at the foot of the Eiffel Tower, in the Champ de Mars. This year, a crowd of 300,000 people assembled to listen to the concert and see the impressive firework display, while a record audience of 3 million viewers tuned in to watch the spectacle on television.

Specialising in the delivery of large-scale shows around the world, Gilles Bouvard Events and Shows (GB4D) regularly uses Optocore and BroaMan fiber optic converters for the construction of networks over long distances, particularly in the Champ de Mars, where they have been hired by Radio France since 2015.

But as requirements evolve in line with the technological advancement, a highly innovative approach was adopted this year to build on the site wide Optocore redundant optical loop backbone that has been deployed for the previous four years. To capture the audio this year, no fewer than 152 Optocore X6R preamps (FX and TP) were in use.

This was the result of earlier successful trials: “We had conducted several experiments with Radio France before the event, including the recording and capture of a jazz concert in 2018, with immersive sound, using a 22/2 multi-channel mix, Gilles Bouvard explained.”

Two Route 66s, then two X6R preamps and two V3Rs.

The idea itself emanated from Pascal Besnard and Bruno Lompech from Radio France, resulting in the BroaMan / Optocore equipment for this extraordinary concert being installed at La Maison de la Radio.

Bruno Lompech takes up the story. “Before thinking about mixing 22:2 specifically, I thought of the huge possibilities of audio network coverage that Optocore offered, and I proposed it to our engineering department as an alternative to other more audio-oriented IP systems. From a standard concert we could imagine something way more innovative than a simple stereo mix to our FM transmitters.”

The audio recording was made using 48 Optocore preamps wired to a LAWO console for the antenna sound (directed by Stéphane Desmons). The concert was mixed by a Yamaha Nuage post-production console for the immersive sound.

“It was crazy!” exclaims Gilles Bouvard. “Everything was connected via a [BroaMan] MUX22-IVT/MADI, for audio and video.”

Gilles Bouvard

The effect on listeners was devastating. Tuning in to the live concert in Studio 105, they were immediately immersed in a 16:2 sound. The distribution of audio stems to the 18 inputs of the immersive sound converter was handled uniquely by the MUX22 IVT / MADI.
Meanwhile, a BroaMan Route 66 16/24 video router retrieved HD SDI camera signals, distributing the video to the sound engineers in all studios, and broadcasting the concert to the Dailymotion video-sharing platform, with images and sound immersively mixed in 22:2.

As Lompech explained, “We arranged to distribute to other studios because ultimately we wanted to be able to operate any mix from any of our studios to any or all of the mixing booths.”
Gilles pays tribute to Hervé Déjardin of Radio France and Pierric Charles for their work on this project, while François Lund (of GB4D) accompanied Gilles Bouvard in the implementation, alongside Diane Hivert, who is responsible for BroaMan / Optocore distribution in France.

Bruno Lompech also credits Hervé, whom he describes as “one of the world’s leading specialists in this technology.” He explained, “He saw the opportunity to mix live for our networks on the net, at the same time as mixing for our Radio Frequency Modulation (FM Radio) antennas, a mix more elaborate than the simple stereo mixing tradition. This was made possible not only by the quality of the Optocore preamps, but also the speed of distribution of audio channels from one studio to another, with almost zero latency.”

One of the secret studios in the heart of Radio France where Hervé Desjardins plays around with sound, his mind in the clouds and his hands on a Nuage… (bilingual pun, Ed.)

Once proof of concept was established, the BroaMan / Optocore topography was immediately earmarked for the Grand Concert in Paris. The relationship between Radio France, the expertise of the GB4D team and deployment of Optocore technology is based on mutual trust. “The process becomes easy; however, that said, nothing is left to chance in the preparation of equipment in our premises,” says Gilles. “Having the confidence of Radio France has the effect of putting more pressure on our shoulders. In that regard, credit goes to Titou Victor, who worked with me on this great concert, and Greg Poirier and François Lund in our workshops.”

In addition to Bruno Lompech, who is retiring this year, Gilles also singles out Laurent Fracchia, one of the sound directors of Radio France, who was stationed in the OB truck for the Grand Concert de Paris.
This 5.1 truck has already been equipped with 120 LAWO preamps. “But we are often asked to provide somewhere between 48 and 96 Optocore preamps for events, depending on the recordings to be made. This can take the mix total up to 216 preamps.

Optocore preamps quality is very high, and so it does not make any difference to Radio France’s sound engineers whether they use LAWO or Optocore preamps, especially when Optocore gain and phantom can be controlled directly from the LAWO console,” continues Gilles.

GB4D detailed 144 preamps for the stage—120 for FOH and 24 Dual Mic preamplifiers for solo monitors.
In addition, eight FOH preamps were used for the on-site public ambient sound, in addition to the live radio and television sound recording.

At the same time a multitrack recording was performed on a 128-channel Pyramix from the FOH console, facilitated by the additional MADI ports (3 and 4) on BroaMan’s bidirectional Video and Data MUX22-IVT/MADI converters, and M12—an Optocore MADI router with eight MADI ports.

It was Laurent Fracchia who realised the final sound mix for radio and television. He had prepared a rescue mix of four stereo groups that was distributed in MADI in the Yamaha DM1000 as a back-up if necessary. The console was implemented on the Optocore network to manage TV commercials and wireless microphones for pre-show presentations, and was also used to broadcast the soundtrack of the fireworks. In addition to X6R-FX-16MI and X6R-TP-16MI preamps for stage capture, a V3R-TP-8MI was used for ambience microphones.

The Optocore network also distributed audio stems for the Adamson broadcast systems.
Devices used for Stage Left, comprised an X6R-FX-8AES/8LO, and for Stage Right broadcasting, a V3R-TP with eight AES port and eight analog outputs (these were wired in backup on the amplifiers).
The French National TV channel was connected by an Optocore DD32R-FX, equipped with two older X6P-8MI/8LO for the sharing of resources, as well as by an X6R-FX-16AES-SRC and DD32R-FX.

“The FOH broadcast processor was interfaced in the network via a DD32R-FX for AES streams, and an X6R-FX for analog backup on which was wired a V3R-TP-8MI to capture the atmosphere,” says Gilles. The four mixing consoles were connected to the MADI network, with two interfaces: BroaMan MUX22-IVT/MADI and Optocore M12.

As to the dual redundant fiber network, GB4D again conceived the transmission in two optical rings which he described as a “false star” (thus described because the ring was created in the Optocore Stagebox).

The first loop connected the FOH controller, the stage left broadcast and the stage left preamp rack. A second loop, deployed from the Optocore stage right preamp rack, connected the Radio France 5.1 and France TV OB vans.
Elsewhere, GB4D used a new Optocore AutoRouter simultaneously at another big French National Day concert in Toulouse, where they were responsible for the audio and video network, deploying the signal distribution on 14 points of sound and eight SDI points, requiring the installation of 6 km of fiber.

In conclusion, Bruno Lompech described the Paris experiment as “a complete success.” He said, “We were able to prove that from a dedicated event to a media source, thanks to Optocore’s intelligent and transparent distribution we could create a multitude of events simultaneously.
“All this was made possible thanks to the commitment on the ground of our teams, those of Radio France, but also the control of the technology by the teams of GB4D, who fully believed in our project. In parallel, the possibility of passing the video via the network between the different mixing and listening points has brought us enormous satisfaction, with a sufficiently straightforward implementation to fully convince us of the quality of the Optocore and BroaMan devices.”

More information on the Optocore Website and on the Broaman Website.

 

The prodigious graphical possibilities of the Ayrton Huracan-X in video

Young French Light DesignerAlexis David designed this show to demonstrate all the graphical possibilities of the Profile Spot Huracan-X, enjoy this video just below. Gobos yet unseen, double CMY, effects wheel with multiple positionings, CMY effects wheel, and, last but not least, its impressive 50,000 lumens light output.

AYRTON – Huracán-X from Ayrton on Vimeo.

More information on the Ayrton Website, and read more about this fixture in the most recent SoundLightUp article “Huracan-X, a storm named Ayrton”.

 

794 GLP fixtures for Indochine last Stadiums Shows designed Jean-Christophe Aubrée

The French production designer Jean-Christophe Aubrée has taken over the lighting for two major stadium shows, featuring legendary French band Indochine (enjoying a remarkable almost 40 years career), with aver 1,000 fixtures, including 794 GLP impression X4.
All were supplied via PRG France from their bases across Europe.

It was a comfortable position for Aubrée, to find himself in. Having previously worked with other well-known artists, and formerly operated in an assistant design capacity with Indochine, he stepped up for the last two shows of the long-running 13TOUR, which had hit the road back in February 2018. The LD then was Thomas Dechandon.
Nicola Sirkis, Indochine’s leader, decided to create a whole new show for these two last stadium dates as a big surprise and experience for the fans. And helping provide a fitting finale were well over 1,000 lighting fixtures, including 794 GLP impression X4. All were supplied via PRG France from their bases across Europe.

Lighting roof

The vast majority of the X4’s were consigned to the lighting roof with another 36 populating the cross-shaped stage and proscenium edge, creating volume and depth, and 36 of the smaller impression X4 S positioned around the band on stage.
Jean-Christophe Aubrée has regularly turned to GLP’s LED solutions on festival rigs across Europe. “Most recently, I have been using the impression X4 Bar 20 and the awesome JDC1 hybrid strobe to create very interesting looks,” Jean-Christophe Aubrée says.

At the Stade Pierre-Mauroy in Lille, where the shows took place to sell out audiences of 30,000, the lights were hung 30 meters high, and therefore needed to deliver full power.
“I was looking for a reliable product that would achieve consistency over 758 units without any variation in terms of colour or dimming curve. Accuracy was my major concern as they would be responding all together, as one huge piece of light.” This synchronicity and choreography was an essential element.

Shapes, abstract, graphic

“The X4’s zoom helped me a lot, even at this height, turning this big lighting piece into many different shapes, sometimes abstract or at some point graphic.”
Another concern, he said, had been the mounting system – but again GLP was equal to the challenge. “When you have 722 fixtures following a precise layout it is so nice to have an easy and space saving clamp system, as with the X4, making the setup highly efficient.”

As Nicola Sirkis was looking for this stadium experience to be as immersive as possible, Aubrée was tasked with “making the audience forget about the place, land lose the feeling of dimension and distance.” Aside from the 50 x 15 m video screen, onto which live video images of the band (and other effects) were projected, it was the 72 x 34 m lighting roof, containing the 722 impression X4, that held the key.

“This roof sometimes washed all the audience in a static way, as a big architectural piece, and sometimes more dynamically to involve the audience in the band’s energy. It was a cross between modern architecture and a sci-fi vision, helping the audience to feel they were somewhere other than a regular stadium venue.”
“At some points in the show I got the feeling the lighting roof was way closer than it actually was, and it was a nice feeling to lose my bearings in this way. But the most exciting part was lighting the band themselves, he said. “This is what created the biggest onscreen impact from the live broadcast cameras – the energy pulsing 20 times bigger and brighter.”

Discreet and bright, side and back lights

“It was nice to have such a tiny fixture as the X4S, so discreet on stage but also very bright. I used them as side and back lights to light the band and create depth of field for all the cameras shooting the stage and broadcasting the images onto the screen.”

“These GLP fixtures were reliable, particularly considering the high temperatures we experienced in the stadium. They are powerful, flexible and most of all very smart in terms of mounting solutions, menu setup, and programming mindset. When working with that many fixtures it is nice to have something so easy and efficient to set up.”

“When we turned all the roof fixtures on together for the first time we were so happy to have every response tight and smooth. Sometimes the roof was lit with regular cues and sometimes through pixel-mapping; both methods were super fluent and all in sync.”
Jean-Christophe Aubrée credits the close relationship built up with production and Nicola Sirkis in particular for the success of these shows. “This helped to push the project and ideas further than we had ever imagined.”

He was also fortunate to have such an accomplished crew. This comprised Laurent Boillot and Antoine d’Halluin as project managers, and Matthieu Bruni and Patrice Giono (lighting crew chiefs), surrounded by a team of 20 top technicians. “They all helped to make my work so fluent,” concludes LD Jean-Christophe Aubrée.

More information on GLP fixtures.

 

A Dozen Years at Outside Lands’ Main Stage for Meyer Sound in San Francisco

Widely heralded as one of America’s premier music and arts festivals, Outside Lands has been staged every August since 2008 in San Francisco’s expansive Golden Gate Park. Since the event’s inception, audio for the “Lands End” main stage has been delivered through a Meyer Sound system as supplied by legendary Bay Area rental company UltraSound.
2019 also marked the eighth time UltraSound has deployed a LEO® Family line array system to support the headline acts, which this year included Paul Simon, Childish Gambino and Twenty One Pilots.

Photo ©Steve Jennings.

This twelve-year run at Lands End underscores the close working relationship the sound providers have forged with the festival’s promoters, Another Planet Entertainment and Superfly. “It’s a relationship that goes back to the beginning of Outside Lands,” says UltraSound Director of Operations Josh Osmond. “Since this event is held right in the backyard for both our company and Meyer Sound, it just makes sense. It’s been a no-brainer for us all the way around.”

Speaking on behalf of Another Planet Entertainment, Production Director Mary Conde notes, “In the beginning, when we were carving out roles and responsibilities for vendors, I was insistent on using UltraSound and Meyer for the main stage. We knew that the quality had to be there, it could not fail, and it had to be great from the first note to the last. I’m happy we made that decision, and every year it just gets better.”

High audience levels while confining sound within the boundaries

View of the delay towers. Photo ©Steve Jennings.

Prior to this year’s event, the promoters held several community meetings to address concerns about sound bleed into adjacent residential neighborhoods. As a result, the LEO Family system at Lands End was reconfigured to maintain uniformly high levels across the audience area while better confining broadband sound within the festival boundaries.
The main front arrays of, per side, 13 LEO over three LYON™-W line array loudspeakers were boosted by two sets of largely down-firing delays. The near set comprised three towers, each with 11 LEO over three LYON-W loudspeakers; the far delay system had two towers, each with six LYON-M over six LEOPARD™ loudspeakers. This configuration enabled maximum control of level adjustments, when required.

Rounding out the full range complement were side hangs each with 10 LYON line array loudspeakers (six LYON-M and four LYON-W) plus 16 LEOPARD for front lip and L/R front fill. Dual flown gradient arrays of nine each 1100-LFC low frequency control elements joined with 10 1100-LFC elements in a 5×2 ground arc to deliver low frequency punch.
VIP areas were served by a mixed inventory of 34 loudspeakers including UPA-1C, UPJ-1P, LEOPARD, CQ-1 and UPM-2P. The VIP DJ system comprised six LINA line array loudspeakers coupled with four 900-LFC low frequency control elements.

Similar rig for Kenny Sellars

Kenny Sellars, Twenty One Pilots FOH Engineer. Photo ©Steve Jennings.

The LEO Family system was a welcome sight for Kenny Sellars, FOH engineer for Twenty One Pilots, as the band had toured with a similar rig the prior year. Read previous SoundLightUp article here.

“It’s always nice to walk in and see a familiar rig, because then you know what to expect,” says Sellars. “One thing I always appreciate about a Meyer Sound PA is the self-powered aspect. I can’t say enough about the transient response, how fast and tight everything sounds.

When your speaker cable is a foot long, you don’t lose much between the amp and the speaker. I can pick out and hear a depth in my mixes I don’t always get from other PAs.” Sellars also loves the system’s bass impact. “The low end information I get from the 1100s is impressive. When the kick drum hits, it just slaps you right across the chest. It’s everything I’ve always wanted from subs.”

UltraSound also equipped The Barbary tent, a “comedy and variety” venue hosting an eclectic mix of acts including Mike Birbiglia, Tony Danza and Jimmy O. Yang. The system here was anchored by eight LEOPARD line array loudspeakers per side, bolstered by two CQ-1 and four UPM-2P loudspeakers, and with four 900-LFC elements for deep bass.
“The Barbary stage has become a very popular venue,” reports Mary Conde. “We have great stand-up comedians along with a series called D.A.V.E. – Discussions About Virtually Everything. Usually it’s one person with one microphone and there’s no room for error. It has to be right from the get-go.”

Collaborative approach

(L to R) Ryan Lewis, Ian DuBois, Jeremy Miller, Tom Lyon, Scott Tkachuk, Andrew May, Aharon Lund, Andy Kaiser. Photo ©Steve Jennings.

Over the past dozen years, the working relationship developed between the main stage sound providers and the event promoter illustrates a collaborative approach to problem solving and enhancing the audience experience.
“We work closely with Mary and Another Planet on next year literally from the day this festival ends,” says UltraSound’s Osmond. “Every year we strive to improve, and we continue working through the year to make the next edition even better.”
“I’m always pleased by our partnership with Meyer Sound and UltraSound,” concludes Mary Conde.

A third Meyer Sound system was deployed at the GastroMagic stage, in this case as supplied by McCune Audio/Video/Lighting of South San Francisco. Here, the aromatic mixture of food talk (Molly Baz, Roy Choi) was spiced by music from the likes of Cherry Glazerr, Ella Mai and Adam Duritz. The system here tallied 16 LEOPARD line array loudspeakers and six 900-LFC low frequency control elements.

The Outside Lands Festival celebrates the San Francisco traditions of excellent and eclectic music, fine food and drink, engaging and extravagant art, and the exploration of new ideas. It takes its name from the far western parts of the city, today including most of Golden Gate Park, that were once largely covered by sand dunes and considered uninhabitable by early settlers.

More information on Meyer Sound.

Let’s enjoy a beer at the end of this article in the Relix Roadie Lounge at Outside Lands 2019. Cheers, mate! Photo ©Steve Jennings.

 

Mucho Colorado for Glasto: Chauvet rocks on lotsa stages

36 and still rockin’ and well! The 36th edition of the Glastonbury Festival was sprinkled with vivid colors and dazzlingly bright light, with the help of a lot of Chauvet Professional Colorado fixtures, from the Pyramid Stage, where LD Tim Routledge used the Colorado Solo Batten to accent a stirring performance by headliner Stormzy, to the magical Flying Bus Stage and Greenpeace Field, to the jam-packed Acoustic Stage.

@Timmsy

Chauvet Professional fixtures enlivened some of the festival’s biggest acts and most popular attractions. On the main Pyramid Stage, a massive collection of Colorado Solo Batten fixtures helped outline the architecture of the set and provided immersive color washes from multiple directions.
At the Unfairground, the GLX Productions team, led by managing director and lighting designer Glenn Gridley, used an extensive array of Maverick fixtures to create transformative moments. This was most notable on the Flying Bus Stage, where they conjured up an engaging and surreal effect with help from 12 Maverick MK Pyxis, 12 Maverick MK1 Spot and three Maverick MK1 Hybrid units. Positioning these fixtures inside and under the bus, they endowed it with a glowing other-worldly vibe.

Maverick fixtures also had a transformative effect on the festival’s Greenpeace Field, where the Bailes+Light team relied on the IP65-rated Maverick Storm 1 Wash to create an eco-friendly forest of light. Adding to the wonderous outdoor panorama were Colorado Solo Batten, ÉPIX Strip IP, Colorado Panel Q40, STRIKE 1 and STRIKE P38 fixtures, along with F4IP video panels.

@Timmsy

Rob Sangwell and Simon Johnson of Fineline Lighting added a powerful punch to the Acoustic Stage for artists like The Mavericks and Keane with a festival rig that featured 16 Maverick MK3 Spot and 18 Maverick MK3 Wash fixtures. The quality of the color and the intense brightness of the Maverick fixtures made Fineline excited to include these lights as an essential part of their Glastonbury plans.
Apparently, visiting LDs shared this enthusiasm. When Landon Bloss, lighting director for The Mavericks (Grammy-winning country band), first saw the Maverick MK3 Spot on the Acoustic Stage, his reaction was, “What on earth are those?” He says that he thought that the brilliantly bright fixtures “must be lamps” and never expected they were really LED units. But Glastonbury has a tradition of serving up great surprises… and on this stage that didn’t just happen for fans, but visiting LDs too.

More information on the Chauvet Professional Website.

 

Ligabue at his best on nine-stadium tour with 236 RCF TT+ speakers

Believe it not, non-italian readers, but Ligabue, famous (and long-lasting!) Italian rocker has reached a 29-year career at the top of the charts. He’s just finished his Start Tour 2019 with an impressive stage set up in nine Italian stadiums with his five-piece band.
Following a risky vocal chord operation just over a year ago, Ligabue returns on the stage with his electric guitar, his powerful voice, a brand new stage, and no less than 236 RCF TT+ speakers.

RCF TT+ system, here with 236 devices, all interconnected to the RDNet management software, now in version 3.1.

The sound system is RCF’s trusted TT+ system, consisting of a total of 236 devices, all interconnected to the RDNet management software, now in version 3.1, that controls and monitors every component of the system.
“We have been using Ligabue’s TT + system for a long time and I am very satisfied with the results we get at every concert. Since the introduction of the FiRPHASE algorithms in the DSP, the system has improved the performance even more and always guarantees me the neutral and pleasant sound I am looking for. ” states the FOH engineer Alberto “Mente” Butturini, alongside Ligabue for many years.

Ligabue 2019 Stadium Tour stage front view.

The sound system designer Emanuele Morlini describes the audio system: “The main system combines 24 TTL 55-A modules for the MAINS suspended in L & R configuration with 100 Hz cut-off frequency (total 48 modules).
Then we have 12 TTL 36-AS subwoofer modules suspended behind the mains in L & R configuration. Operating in a range of frequencies between 60 and 100 Hz (total 24 modules), they are able to extend coverage on low frequencies over the entire listening area.” Twenty TTL 55-A modules have been set up to extend the coverage up to 180° on the Left and Right sides (total of 40 modules).

The low frequencies are managed with 60 TTS 56-A subwoofer modules in straight-line – on cardioid stacks of three modules – with 100° electronic arc. The external segments, made discontinuous by the presence of two frontal runways, are balanced with some tweaks on the RCF RDNet management software. The subwoofers on the extreme sides have been rotated offstage in an EndFire configuration for coverage beyond 180°.

Threequarter view giving an idea of the solutions chosen for ideal horizontal coverage.

How can you adapt the sound design for a stage that is 58 meters long, 22 deep? The backdrop of the stage is a mighty metal structure that supports the three LED screens that recall the two “L” of the artist’s name and a huge amount of light sources to create impressive visual effects.

“The coverage of the first few rows is backed by 16 TTL 33-A modules used as frontfills on the front stage. In addition, 4 clusters of 12 TTL 55-A modules were used as DELAY systems in the stadiums where there were no delays on the spot (all with the exception of Milan and Rome), “explains Morlini showing the sound system draft.

Winning pair: Ligabue & RCF.

“Thanks to this conformation the SPL coverage is stable and without significant cancellations throughout the entire listening area. At the same time, excellent attenuation on stage is guaranteed to have a dry sound for the microphones and optimal acoustic comfort for musicians.”

“I would like to be able to pilot this system more often. The quality of the system is remarkable and still valid even more than 10 years after its introduction on the market.” concludes Alberto Butturini.
“I am happy to have had the chance to help in the optimization process of this system. RCF is doing a good job with large systems.”

More information on RCF TT+ System.

 

TPMEA Award Winner LD Aaron Russ triggers Protec Dubai investment in Robe

The largest and most prolific full production company in the Middle East and globally one of the largest is the Protec Group’s Dubai branch.
It has started investing in Robe moving lights in the last two years, a move that’s seen a range of fixtures – including BMFLs, Pointes, MegaPointes, Spikies and RoboSpot systems – delivered and deployed on various projects.

Protec’s Aaron Russ (left) with Elie Battah from Robe Middle East (right).

The company, founded in 1999 by Steve Lakin, delivers innovative and imaginative full technical production solutions across entertainment, leisure and commercial sectors – from corporate presentations to music festivals – throughout the UAE, Middle East and UK / Europe. With fully operational branches in KSA, UAE and the UK, Protec is delivering world-class events across the UK, Europe, the Middle East, Africa & Asia.

The Robe huge investment has been spearheaded by Protec’s head of lighting Aaron Russ, recent winner of the 2019 TPMEA Award for Lighting Designer of the Year. As that implies, Aaron is also an accomplished production lighting designer and takes on this role – often collaborating with a team of designers – to creatively light up event spaces varying from intimate shows to stadium spectaculars.

Lighting Designer Aaron Russ with 2019 TPMEA Award for Lighting Designer of the Year.

He thinks the products are generally well designed and have been engineered to make life as easy as possible for those using them. The crews greatly appreciate the fact that they are not “needy lights.”
From the design perspective, Aaron says the optics are “impressive” and he likes flat beam field, the gobo selection and the fact that they make good workhorse lights for both theatre and rock ‘n’ roll.

He cites the Opening and Closing Ceremonies of the Presidents Cup Football in the Hazza bin Zayed Stadium, Al Ain as a good example, where he positioned 24 x BMFLs on one of the balcony handrails at the top of the seating bleachers shooting a long way down to the field-of-play. “They were completely still – rock solid – which was noticeable compared to some of the other lights on the job!” he confirmed.
In addition to these creative advantages of using these Robe units, he appreciates the great service and support from Robe Middle East which is headed by Elie Battah.

“Robe has come a long way, especially in the last five years,” he observes. “When I arrived at Protec from New Zealand, it was the launch of the BMFL (ca. 2014) that really alerted me to how much Robe had advanced in a short time.”
Aaron explained that it was a case of the right product at the right time with Robe. Obviously, they had other moving lights in stock up until this point, but the first batch of 96 x Pointes were sourced to replace a competitor beam light product, together with 48 x Spikies on the same order.

LD John Featherstone, Lightswitch.

Then in 2018, for the ground-breaking Opening Ceremony of the Qiddiya Theme Park in Riyadh, KSA with a design by US-based LD John Featherstone of Lightswitch, they needed a powerful wash light … and purchased 24 x BMFL XF Washes with the barn door module.
“Every design we receive from John specifies a lot of Robe,” commented Aaron, and he has been a big champion of the brand in the US across his portfolio of work.

Also delivered by Robe Middle East with this second batch of luminaires were another 24 x Pointes and 12 x MegaPointes, followed (no pun intended, ED.) by two RoboSpot base stations with two BMFL Blades luminaires and separate motions cameras used as remote-controlled follow spots on which he comments: “I love them, they work really well, especially outdoors in adverse weather conditions.”

Robe is now regularly on his event and show designs. This includes the Opening Ceremony of the Nas Sports Challenge at the Nad Al Sheba Sports Complex in Dubai, a high-profile gig that Protec approached with its characteristic enthusiasm, zest and vision.

Example of stage installed by Protec, with the help of “some” Robe fixtures.

Robe wise, he utilised Pointes, MegaPointes and RoboSpots amongst other fixtures, and the RoboSpots turned out to be the stars of the show! The event was staged in a room with no follow spot rigging facilities other than flying a special truss, and the 6 to 8 hours show standby times meant that having operators up there for that long was totally impractical.

A young football star needed highlighting as he showed off some of his playing skills and when his performance position was changed right at the last moment … Aaron was still able to get two of the RoboSpots to point almost vertically down to cover his new area, a feat that would have been impossible using conventional spots.
“They are fantastic ace to have up your sleeve,” Aaron Russ concludes.

More information on Robe products.

 

Hermes Music flies in as Mexican Distributor for Adamson

With a long and faithful presence on the Mexican market, Pro Audio Comercializadora, a division of Hermes Music, is appointed as the exclusive distributor from Adamson Systems Engineering. The partnership leverages Pro Audio Comercializadora’s decades of service in the Mexican pro audio market and further bolsters Adamson’s position in the Americas.

Hermes Music General Manager Juan Perches & Adamson CEO Marc Bertrand;

Founded in 1996, Pro Audio Comercializadora serves the pro audio, DJ, broadcast, and recording markets with a catalogue of brands producing cutting-edge technology.
Based in Mexico City, Pro Audio Comercializadora will work in close collaboration with Adamson’s Canadian headquarters to develop educational programing, provide client support, and propel further growth in the national market.
Uriegas states that customer and user support will be at the core of their efforts from the outset, with plans already in place to deliver Adamson’s globally-standardized Applied Certification training in the near future.

“Pro Audio Comercializadora has been in the professional market for several decades, and in that time, we’ve watched Adamson become a market leader in terms of innovation, product performance, and brand profile,” comments Raul Carlos Uriegas, Director of Pro Audio Comercializadora. “The development of their various patented and proprietary technologies over the years makes it clear Adamson is proud and passionate about the audio industry, and that’s exactly the kind of company we want to partner with.”

“A very important part for us is to assist those who have trusted Adamson over the years, regardless of the origin of the sale,” he asserts. “Pro Audio and Adamson share a common bond in the way we care for our customers, and we plan to live up to both companies’ reputations with education opportunities and second-to-none service and support as part of the Adamson Network.”

One example of a Show Production done by the Hermes Music team.

Uriegas says in closing that his team is looking forward to working in tandem with Adamson based on their shared core values. “We see ourselves as an extension of the Adamson brand, and take great pride in the opportunity to represent their principles and overall vision in our country.”

“We’re glad to know that our present and future partners, customers, and users in Mexico will have the support of an esteemed company like Pro Audio Comercializadora and Hermes Music,” asserts Adamson’s James Oliver, Director of Sales and Marketing. “They take pride in a client-first mentality and have already shown their dedication to working together to ensure we have strong support in this very important market.”

More information on Adamson Systems Engineering and on Hermes Music.