Prolight+Sound 2024, From 19 to 22 mars 2024

With less than two months to go before it opens its doors at the Frankfurt exhibition centre, Prolight+Sound sees the return of some heavyweights from the audio industry. The lighting and stage equipment industries, for their part, have clearly understood the importance of this exhibition in terms of international trade, and have reserved their product launches for it.


Of the 27,556 visitors to the 2023 Prolight+Sound, 47% came from outside Germany.
For almost 40% of visitors, this is the most important trade fair in the world. And more than 50% of the trade visitors were top-level decision-makers. Survey reveals 85% satisfaction rate.


In a constantly transforming event industry, Prolight + Sound is helping to shape change and providing impulses for the future. From 19 to 22 March 2024, the leading trade fair for the event & entertainment technology industry will open its doors to focus on innovation, inspiration and networking.

With a clear commitment to the sector and a broad spectrum of technological innovations, the event proves its reputation as an important international meeting place for manufacturers, decision-makers and creative minds from all areas of event technology.
The promising development in the event industry and the positive feedback from the sector are reflected in the manufacturers’ commitment to Prolight + Sound.


A large number of well-known companies have already declared their participation for 2024, including

Adam Hall, Adamson, ADJ, ALFA-SYSTEM, Algam, Altimate, Area Four, ARTTHEA, ASM, Astera, Aura Audio, AV Stumpfl, Avolites, Ayrton Lighting, BÜTEC, Cast, ChamSys, Chauvet, Claypaky, CLF Lighting, Coemar, ComputerWorks, CSI Audiovisuel, Das Audio, Dataton, Digital Projection, DTS, Elation, ETC, Eurotruss, FACE Bvba, Follow-Me, Gerriets, GLP, Harmonic Design, Highlite International, InEar, inoage, JB-Lighting, Kupo, KV2, Kvant Laser, L-Acoustics, Lawo, Lightpower, LMP, LumenRadio, Luminex, MA Lighting, Madrix, Major, Martin, MDG, Meyer Sound, Milan, Mipro, Movecat, Music & Lights, Music & Sales, Neutrik, NTi, Osram, Portman, Prolite, RCF, Riedel, ROBE, Robert Juliat, ROE, Rosco, Roxx, RVE, Sfat, SGM, Smoke Factory, SICA, Sixty82, SpotlightSRV, Steinigke, TAIT, TMB, Tronios, Unilumin, Vari Lite, Verlinde, Vision Ears, Vireless Solution, Zactrack… and more to be discovered on the prolight+Sound website


Mira Woelffel

Mira Wölfel, Director Prolight + Sound, emphasises: “We are creating an internationally oriented stage in the heart of Europe where the industry comes together to develop innovative ideas for the future and to set trends.
At Prolight + Sound, the industry not only underlines its economic importance, but also its awareness for sustainability, networking, creativity and the promotion of young talent.”


Uniting the industry: The main goal of Prolight + Sound 2024

In the face of impending recession and a growing demand for sustainability, the event industry finds renewed optimism through mutual support and collaboration. Prolight + Sound 2024 recognizes this spirit and aims to position itself as a catalyst for new alliances and innovative solutions.
The fair aspires to be a melting pot, bringing together creative minds from all corners of the event technology world. At the heart of the sector for 29 years, Prolight + Sound remains at the forefront of industry discourse. The event is a true community get-together, a global family where professionals can connect and explore the latest advancements.

Wide-reaching platform for the industry

Whether concert stages, opera houses, clubs, museums, theme parks or worlds of experience: Prolight + Sound presents the entire spectrum of technological innovations from the world of event technology and provides them with an internationally relevant platform.
Sound, studio and production equipment, as well as media and camera technology, are once again at home in Hall 11.

One of the highlights is the newly developed Image Creation Hub: In cooperation with the Bundesverband der Fernsehkameraleute e.V. (BFVK – Federal Association of Television Camera Operators), a unique area is being created for everything to do with moving pictures. The heart of the site is the Speakers Area in the style of a television studio.

Hall 11 will also be the stage for innovations in DJing and digital live performance, complemented by various audio demo rooms and workshops.
In Hall 12, everything revolves around lighting and theatre equipment, projection and display technology as well as event services, equipment and planning.
The outdoor area will attract visitors with spectacular live presentations of outdoor solutions for audio and display technology as well as mobile stages, tents and inflatables.



Focusing on the Future: Trends and Innovations

As the public’s appetite for entertainment grows, evidenced by this year’s vibrant festival season, Prolight + Sound 2024 aligns itself with the future, focusing on the sustainability concepts and the promotion of young talent.


©Messe Frankfurt Exhibition Gmbh.

The Prolight + Sound Experience: ‘Glitz and Glamour’ meet Business: The upcoming show promises a vibrant mix of glitz, glamour, and serious business. Attendees can anticipate an exceptional keynote programme, captivating live performances, exclusive community nights, and upgraded red carpet award ceremonies. Prolight + Sound 2024 is where the international event technology family convenes.


Key Highlights: What to Expect

– Theatre + Light: Europe’s largest trade fair for lighting in the event industry, showcasing the latest products by key players from nearly 40 countries. In addition, ROBE will celebrate their 30thanniversary at Prolight + Sound 2024 with a spectacular area.


©Messe Frankfurt Exhibition Gmbh-Mathias Kutt.

– Expanding the Audio Sector: Key players such as RCF, L-Acoustics, HK Audio, DAS Audio, and Meyer Sound will present exciting innovations. At the new Audio Bar, visitors can try out high-quality headphones from well-known brands in a relaxed bar atmosphere. The Live Sound Arena will showcase sound reinforcement systems under realistic conditions.


– Performance + Production Hub: The innovative hub for product experience, knowledge transfer, and entertainment will be expanded to a 3,000 m² area including a newly built Soundbox, that will be brought to life by an array of high-calibre live performers.


©Messe Frankfurt Exhibition Gmbh-Mathias Kutt

– Enhanced Educational Programme: The Prolight + Sound College will consist of three bilingual colleges (EN/GE): Camera College (in cooperation with the BVFK), ProAudio College (in cooperation with the VDT e.V.) and the VPLT College.

– The Prolight + Sound Knowledge Hub will include the Prolight + Sound Conference (in cooperation with the VPLT), I-ESC (International Event Safety Conference) with a curated, bilingual programme, the Manufacturers’ Forum and the Main Stage, where an array of high-calibre keynotes will be presented by renowned speakers.

– Emphasising Sustainability: “Green Sessions” in collaboration with EVVC, are-designed Future Hub as an Urban Garden, and guided tours on sustainable event technology.


©Messe Frankfurt Exhibition Gmbh-Mathias Kutt.

– Image Creation Hub: A new moving image area, developed in cooperation with the BVFK (Federal Association of Television Cinematographers), featuring workshops, exhibitions, and daily talks on cutting-edge topics.
At an accompanying exhibition, visitors can experience the innovations of renowned brands (for example, Canon, Sony, Sumolight and many more).

– Promoting young talent: Future Hub (Hall 11) is the central contact point for young event talents.

©Messe Frankfurt Exhibition Gmbh

It consists of the Campus (where educational institutions present specialised courses of study), Career Center (a meeting hub between professionals and companies with vacancies), Start-up Area (a low-cost presentation opportunity for young, innovative companies) and the Networking Lounge (which invites young and seasoned professionals to relax, connect, and exchange ideas in a cozy Urban Garden setting).

The Future Talents Day (on 22 March) shows occupational fields in the industry to trainees and students.

– Upgraded community events and awards: Prolight + Sound 2024 introduces new community events, including three community nights at exclusive locations in Frankfurt City, among them the Champions Bar at the Marriott Hotel.
The Opus / Sinus Award Ceremony transforms into a glamorous red carpet gala dinner at the Steigenberger Icon Frankfurter Hof (21 March).

– New visitor groups: Prolight + Sound is further opening up new target markets and visitor groups, among them Scandinavia, amusement parks, churches, theatres & playhouses and rental companies. 1,000 theatres from all over Europe are invited, including 50 French theatres.


Meet the Maestros: Guest Speakers and Performers

Prolight + Sound 2024 boasts an elevated keynote program with luminaries such as:

– Holoplot : on the groundbreaking immersive audio system they created for The Sphere in Las Vegas
– Genevieve Cleary : Award-winning creative director on “The Power of Sound”
– Stefan Weil : CCO of Atelier Markgraph on “Music makes the people”
– William Ellis & Prof. Tim Wall : talk about their “What is your One LP?” project
– Gregor Tresher & Edgar Dirksen : on their careers, being a producer, running a label etc.
– Stefan Luppold et Patrick Haag : will explain the “Success factors for events”
– Yasi Hofer : about live performing and touring life
– Renowned live performers, including award-winning: DJ Emanuel Satie and guitarist
Yasi Hofer (Helene Fischer band and others), promise to elevate the entertainment quotient. The full programme, including further speakers and performers, will be announced in the coming weeks.


Free Access to Knowledge and Innovation

All lectures, workshops, product demos, and the PLS Community Nights are free of charge for visitors with a valid ticket.

Prolight+Sound : From 19 to 24 mars 2024 – Location: Messe Frankfurt – Website : Messe frankfurt

 

CHAUVET MAVERICK STORM 4 PROFILE, A STROKE OF GENIUS!

We couldn’t miss the first 1250 W LED source! But if it is also installed in a fixture capable of singing in the rain, what more could you ask for? A list of parameters as long as my arm? Many protocols that would make a network administrator green with envy? Complete connectivity? Simple and quick disassembly of modules? And why not aim for the moon too?



Chauvet : What if we proposed all of that?

SLU : Could you give us the moon too!?

Chauvet : All of it, except for the moon…

SLU : OK and, when is all this ready for?

Chauvet : It is already available!


A strong and beautiful baby!

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For this new source, the American brand hit very hard. It was thanks to the collaboration between the Chauvet United States and European teams, who collected and then cross-referenced the requests from rental companies and users that this project saw the light of day.

The two “love handles” are ideally placed for easy lifting and handling of the fixture.

We will start at the beginning and make it clear that the Storm 4 Profile is mainly intended for large venues. On the one hand, it’s a pretty baby that measures 836 mm from the top of the head to the bottom of the base unit.
It is also well built with a width of 469 mm from handle to handle! It must also be said that the midwife cleaned her glasses twice to check the 46.5 kg of this sacred baby!

To carry it, no problem, two additional handles have been added to the yoke to facilitate movement. If there is a lack of space, they can be removed using 4 BTR screws.


The IP Tester by Chauvet.

It is important to point out that from birth the newborn was clean, we did not detect any air or leaks of light. Like the entire Storm range, it is IP65 and waterproofing requires the application of permanent internal pressure.

It is also part of this new generation of IP sources that can be opened. Thanks to the “IP Tester”, which is, basically, a compressor with a pressure controller.
On the one hand, we can check that everything is going well, but also automatically recreate the right pressure in the head and yoke.
This allows you to check that all the casings have been reassembled and that the seals have not moved at all.


From head to toe

The compressed air connector is located on the rear of the base, just above the USB socket which is used for updates. It is possible to modify the software version on several fixtures if they are connected via DMX. We don’t always think about it, but this socket can also be very useful for connecting a USB lamp if you need to do a little maintenance or tidy up in a dark area.
There are also two XLR 5 sockets for the DMX signal, a Seetronic PowerCON power socket, and two RJ45 In and Out connectors for the ArtNet and the sACN. The Storm 4 is also controlled via W-DMX and is RDM compatible. If you use the CRMX Protocol in G4S mode, you can use the Chauvet Micro T-1 TRX G6. Of course, all connectors are IP65 and should be capped if not in use.


Do you prefer square ones, round ones, or flat ones?

Just like the rear panel, the front panel of the base unit can be dismantled from the front (not from above) and held by 8 screws. This is a detail that seems practical to me for maintenance. On the front of the base unit, the LCD screen displays the status of the fixture. You can also view the menu and modify the options using the 6 navigational buttons.


The baby is already in full adolescence, screen and buttons!

As a practical little tip, if you need to work on the fixture, a long press on the two top buttons (when the machine is in place) deactivates the pan and tilt parameters. We can thus control and check parameters without the risk of being disturbed by the head movement.

Here you can see the electronic board. for the tilt function. The other is where the big three-phase motor is for the pan function.

The side covers of the yoke “arms” are held in place by 10 screws each. This is the most effective way to maintain uniform pressure all around the seal.

As on the majority of fixtures, we find, on one side the head drive (tilt) but for once with a motor management card plus a strand of cables, and on the other, the power supply cable runs with two electronic cards. We can also see in this arm, the imposing three-phase stepper motor of the Pan parameter.

Each of the head covers is held in place by 8 screws. As with the “arms” of the yoke, it is necessary to have regular and complete contact between the two covers and the structure of the head to ensure that the pressure is maintained and to guarantee sealing.

The laws of physics mean that the overall architecture of the head does not differ from other sources. At the back are the light source and its cooling, then the settings compartment, and finally the optics.


This is how we see that everything is precise. We cannot say that the Storm 4 lacks cooling!


At the very rear of the head, the enormous radiator cools the 1,250 watts of LEDs. It is crossed by a flow of air generated by 6 fans, 3 above and 3 below. It is also crossed by a series of pipes in which a fluid circulates in a liquid state which vaporizes by absorbing thermal energy emitted by the hot light source.


Keeping its cool!

The vapor/steam then circulates to the cooling system where it condenses to return to a liquid state. Placed against the radiator, the LED matrix is on the border between the rear section and the first compartment.

It’s clear that, like at home, the more space you have, the more stuff you have! The Storm 4 is far from having the size of a wimp and one might have expected to find a little empty space in the settings compartment, but nope. Not even room for my baby finger!

On the other hand, we note that dismantling the 2 parameter blocks is easier than in certain smaller machines. Thanks to two “large” screws that can easily be loosened with a flat head or Phillips screwdriver, you can replace the parameter block without removing the fixture from the truss or pipe and thus maintain optimal precision on the focused points for your show.

The first module, closest to the light source, are the 6 CMY trichromic flags (2 per shade) and the 2 CTO flags. On the color side, there is also a wheel with 6 slots accommodating 1 CTB, a CRI corrector, and 4 colors. The solution of dichroic glasses glued close to each other was used, it allows a better transition between the slots and a much better reproduction of two-color beams.


On the first module, on the light source side, in the middle of an array of motors, we can see 4 of the 8 CMY and CTO flags.

Just above is the effect wheel with one axis for insertion and the second for continuous rotation. And finally, 2 wheels of 6 rotating gobos. We also note the presence of 5 fans allowing all of these little “busy-bodies” to operate without a problem.


On the other side, the color and effect wheels as well as the 2 gobo wheels.

The gobo size.


On the second module, it is “simpler” but just as busy. This is where the 4 framing shutters are located which each use 2 motors. The module supporting all of the framing shutters is of course rotatable. The last parameter is the iris.

In the upper part of the head, the zoom moves between two sections and of course along with the focus. There are also 2 diffusers and 2 prisms. We can notice a metal plate that can be placed in front of the zoom. This is the “Sun Shield” which helps protect the optical components when the sun passes through the 188mm lens.


Having studied among machine tools and technical drawing desks, I am always in awe of the framing shutters modules.

The Iris is a parameter that is very heat-sensitive.


There is a constant at Chauvet, the design of the base units of all its fixtures. Even if there are variations in size, we always find the rectangle with the 4 corners rounded inwards to form the handles. The moving heads are also very similar with some differences depending on the size of the Pan motor. We find the oval shape as well as the alternation of exterior circles with interior rounded angles (a little reminder of the base unit).

It is often the grooves that, in addition to the position of the series name, identify the model. On the Storm 4 Profile, they are shallow, unlike those of the Force 3 Profile, but present in quantity on all sides. They allow it to slim down the rather potbellied silhouette. I find it well proportioned with a balanced mix of lines and curves which enhance the hidden strength of this fixture.


Our first steps

Thanks to the 6 buttons on either side of the screen, using the menu is very easy and user-friendly and there are a multitude of options! To avoid any errors, access to the menu is lockable. If a colleague forgot to remove the option and you don’t want to read the manual, the code is 0920! To facilitate basic configuration, the choice of address, protocol, and mode are at the start of the menu.
Even if we often use the option in the controller/lighting desk, we can also reverse the pan and tilt in the fixture but we also have a choice of 3 ranges of movement for each of the two axes. As long as it’s logical, we might as well put the screen rotation with the pan and tilt inversion, even if I would have preferred a shortcut on 2 buttons, always more practical than searching in the menu, with your head upside down.

Among the most interesting options, the menu offers different “Move in Black” options, a total reset, and 5 other resets by parameter type, 3 menu memories that can be automatically synchronized with the Storm 4 Profiles of the same DMX line, and 5 fan speeds!

Video presentation



With a single fixture and a complete universe at my disposal, I have the luxury of choosing the 55-channel mode. Controlling via ArtNet works on the first turn of the wheel. Of course, I roughly direct the nose towards the white target and @ Full, then “Wow! Now that is a slap in the face”! One thing is for sure, there is no shortage of light!

Both pan and tilt parameters are well managed. I tested the movements with several speeds, tilt alone, pan alone, and a combination of the two. Given the weight of the head, one might have expected problems, but the big three-phase stepper motors make it possible to obtain smooth movements with slow or rapid transitions and smoothness at the ends of the movements.

On the optical side, the aperture range is very close to that of the large and small sharp edge beam. We regret a somewhat short amplitude but it is more than sufficient for the vast majority of uses. Depending on your working habits, or what you want to do, there is a “Minimum Zoom Focus” option which offers complete independence between the two settings or automatic focus adjustment when the zoom approaches its minimum value. You can also add the iris to obtain a tight beam/pin spot of light.


From 5 m away we can obtain a sharp-edged circle of 5m to 60cm in diameter, and using the Iris it can come down to 20cm.

The base white is at 6855 K (according to our measurements) with a CRI of 72. Even if I prefer to work with slightly lower white temperatures, this value increases the visual impact. The CRI is within the range of most of the fixtures commonly used in shows.


Now, concerning the color settings. As we have seen, the Storm 4 benefits from a CMY three-color process with dichroic glass flags/blades. The insertion of colors is discreet and we can therefore work with pretty pastels. It also produces beautiful saturated shades even if the base white limits the depth of the reds a little.


A small taste of what the trichromic flags can do.

4 colors and 2 correctors on the color wheel.


The 2 CTO flags can roam at will in the beam of light

We can also play around with the progressive CTO to warm up the white or, a color. The color wheel includes 4 shades that are difficult to obtain with trichromacy, a corrector that allows you to obtain a CRI of 91, and a CTB. The combination of all these parameters gives us a wide range of colors and the power of the source makes it possible to bring out certain saturated hues quite nicely.

It’s always a pleasure to have at least 2 rotating gobo wheels. With 2 x 6 rotating gobos we are at ease, especially since the choice of images is intelligent. They are often effective in projection and volumetrics with a good range of luminosity and finesse. Certain combinations of 2 gobos are very interesting with the possibility of playing on several focal lengths. We also have pretty water or fire effects by adding color.

Added to this is the possibility of superimposing one of the prisms with one or two gobos. The first 5-facet prism produces a circular multiplication and the second, with the same number of facets, multiplies the image along a line. Finally, the effects wheel, which can be used alone or with the gobos and/or prisms, producing a linear animation, adds dimension to the rotation of the gobos. The Storm 4 has a complete range of stackable parameters to create many effects and adapt to the different atmospheres if needed for a show.


12 indexable and rotating gobos give you a new dimension.

Whether in a circle or a line, it’s always x 5.

The framing shutters module is also one of the settings that I find effective. Each shutter can completely pass through the beam but, depending on the zoom aperture, we still manage to have an acceptable sharpness on several shutters, with the advantage of having an almost homogeneous defocus on all sides.
Of course, if your zoom is wide open, a large cut will not be possible but with a little practice, you can anticipate and position the fixture in the right place to get an optimal result. The complete module is indexable over 120°, this is, in my opinion, the minimum so as not to have too many problems with cropping when playing with the pan and tilt axes.


Watch out it’s shuttering!

The last mechanical parameter is double, light and/or medium. These are the 2 frost filters that are separate on two parameters. I find it wise to choose these diffusers which correspond perfectly to most common uses. There is also a virtual setting that may be interesting, “Virtual Shaking”. It’s a sort of “chaser” in the LED matrix which generates flickering effects. You can simulate an old movie/film, a laser beam, or shine in a gobo.


The frost: without, light or medium.


Here comes the downpour of numbers

Derating

The derating measurement shows that despite its 1,250-watt LED source, the flow stabilizes in 10 minutes with 3.42% attenuation of illuminance in the center.
Just to be sure, but also to go and enjoy some Sushi, we leave the fixture on for a little over an hour. Upon our return, we have the same value.


Faisceau 20°

We start the measurements with the reference aperture at 20°. At the center of the target, we note 26,420 lux after derating (27,355 at cold start) and between 8,100 lux and 10,400 lux at the edges of the beam. The luminous flux reaches 53,720 lumens (55,620 lm cold).
If I’m not mistaken this must be our highest score in the Spots and Profiles category! No incident is visible on the intensity curve. I can also tell you that with the CRI corrector, the white temperature drops to 5900K, and with the CTO at full 2900K.


Small sharp-edged beam

The following series of specs concern the smallest sharp-edged beam (without using the iris) but the measurement range limited to 99,999 lux of our Minolta lux meter was exceeded by the illuminance of the Storm 4. At this aperture, the Chauvet photometric readings indicate an illuminance at the center of 131,608 lux at 5 meters and a flux of 26,678 lumens for an aperture of 6.6°.


The widest sharp-edged beam

For the widest zoom, we can take a look at our lux meter which displays at the center of the target 3,852 lux after derating (3,990 lux cold start) and 1,000 lux at the edge. The flux reaches 53,600 lumens (54,500 lm cold start) for an aperture of 53.13°. The intensity curve is nicely drawn.


An encouraging storm!

The Storm 4 is built to tackle the great outdoors. Very bright, it offers a complete range of functions with an avalanche of rotating gobos, a torrent of colors, and a deluge of effects. Development and manufacturing deliver a quality product that seems built to last. The value for money makes it a very attractive fixture that should very quickly be found on the largest stages on earth and, perhaps one day, beyond!


We like:

  • The powerful light output
  • The value for money
  • The very extensive menu

We miss:

  • The possibility to invert the display via a shortcut with the menu buttons

General Specifications

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ETC strengthens its sales team with new position for Matt Cowles

ETC has announced the promotion of Matt Cowles to Associate Regional Manager for the UK and Ireland. In his new role, Matt will continue to manage sales activities for key accounts in the region whilst assisting Regional Sales Manager, Jeremy Roberts in developing stronger relationships with ETC’s dealers and specifiers.

Matt joined ETC in 2019 as a Field Project Coordinator, managing projects across the UK and providing technical sales for ETC’s customers. Prior to this, he had over 17 years of experience working in the industry.


Regional Sales Manager for the UK and Sub Saharan Africa, Jeremy Roberts comments: “Matt has made an exceptionally positive contribution to the work of the ETC London office with his customer focus, technical ability and care for colleagues.
This new role will allow him to become more proactive in the increasingly busy UK market; assisting in managing key accounts, and continuing to grow relationships with the rental market and lighting community, building upon the success of recent years.”

For more info about ETC, you can visit the ETC website

Ayrton Diablo and Mistral for Japan’s legendary pop singer

Ayrton Mistral and Diablo were chosen for Hiromi Go’s 50th Anniversary tour concert special.

Hiromi Go, the super-legendary Japanese pop singer, celebrated his 50th anniversary in 2022. He toured all the country throughout the whole year to meet his fans and share the celebration.
In the final month, December 2022, a special prestigious tour “Hiromi Go 50th Anniversary Tour, The Final Countdown in 2022” took place. Mainly composed of his ballads, this proved extremely popular, and was performed with an especially luxurious stage setting.


This special concert was revived in 2023 for a special one night show at Nakano Sun Plaza Hall, this time not only to celebrate Go’s 50th anniversary, but also to commemorate the concert venues’ 50th anniversary and its very last year. The Sun Plaza Hall, which had served as a landmark concert venue for many famous artists in Tokyo for half a century, finally closed in the summer.


Naomasa Kajiura, an award-nominated lighting designer for PRG Japan, who has supported Hiromi Go’s tours for decades, chose to use Ayrton Diablo and Mistral as main set-up for this special staging.

“Not only for this show, but also for other shows, these devices are small and compact, yet offer excellent brightness and functionality, and enable dynamic performances” he says.


Ayrton Diablo

Ayrton Mistral


“This is especially true in Japan, when these types of tour are conducted mainly in local concert halls, where there is a tendency for those concert halls to have weight limitations on the load the trusses can safely hold. In these situations, Diablos and Mistrals are especially useful: they still offer great brightness with low power consumption. That is why I felt these fixtures would be best for this show.


“In addition to which, the fixtures are perfect not only as a beam intended to light the space, but their compactness allowed me to set the fixtures directly on the stage, even in the smaller halls. This allowed me a wide variety of expressions on the floor, and at the same time use it effectively to light the singer.

“On a different occasion, I had the opportunity to use Perseo and Huracán fixtures in a major large stage setting, and they were great! Their LED source showed comparable robust brightness among other fixtures, even against the large screens that formed the background.”


PRG Japan has been the local exclusive distributor of Ayrton since 2019. “We feel that Ayrton’s extensive fixture lineup can be used in a variety of ways to suit the characteristics of each venue in different Japanese entertainment scenes,” says Naomasa Kajiura. “More and more they shall become the preferred choice of Japanese lighting designers in the near future!”


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

Ayrton is distributed exclusively in Japan by PRG Japan. For information, visit www.prg.com

 

Soweto Theatre Invests in Robe Esprites

The colourful, funky, eye-catching architecture of the Soweto Theatre stands at the centre of Jabulani, an area fast developing into a bustling future CBD. For the last 10 years, the venue, designed by Afritects, has provided a buzzing performing arts hub and forum for creative expression reaching into the heart of the local community.


In 2023, the lighting department, headed by Nkululeko Mazibuko, received 12 new Robe Esprite moving lights as part of a technical upgrade which was co-ordinated by the venue’s technical manager, Lebugang Andrew Mnisi.

The lights were delivered by Robe’s South African distributor, DWR, and join the original Robe LEDWash 300 and 600E Spot moving lights that have been working hard in the theatre since it opened in 2012, together with the LEDBeam 150s that were purchased in 2019. The Esprites, which will be deployed in the Soweto Theatre’s largest closed performance space, the Gibson Kente Theatre, are “a big leap forward,” says Nkululeko.

The Theatre hosts a diversity of theatrical and drama performances and is also regularly used for concerts, music-based TV programmes, gospel shows, musicals, DVD shoots and festival events so Esprites were chosen for their multipurpose nature.
They are also bright enough to be rigged on the outside amphitheatre stage. Now at the back part of the Theatre, this was Soweto’s original performance space and can accommodate up to 10,000 people in its current format, complete with sweeping views of the hills and south part of the city.

Esprite fitted all their criteria for a bright profile LED fixture that was versatile, with good gobos, robust, well engineered and with good longevity. The LED light source was important to save power which is a constant challenge in South Africa with daily load shedding.

Soweth Theatre technical manager, Lebugang Andrew Mnisi (L) with DWR’s Kevin Stannett (centre) and lighting designer Nkululeko Mazibuko (right)

The Esprite’s TE, transferable engine, technology was another key point for both Nkululeko and Lebugang for whom the concept and possibility of replacing or being able to swap out the LED engine makes perfect sense. Lebugang also mentions that being able to use them as a follow spot if needed was another bonus. Nkululeko could hardly contain his excitement as the new fixtures were delivered!

He lights many of the shows there and loves the fact that the Esprites will “allow us to broaden our imaginations with all their features so we can really push the boundaries of what is possible to evoke with lights and lighting.”
He thinks that Robe’s product development is generally “innovative” when it comes to creating tools to allow people like him to “create magic onstage”, and that having them on the rig will enhance the whole theatre and performance experience for those onstage and in the audience, a craft he describes as a “fine balance” of environmental authenticity, illusion, and emotion.

The theatre’s programme also includes many community productions, and everyone there enjoys giving these a professional presentation. “These new fixtures will help us make people’s work look great, and that’s what we enjoy making happen,” he added.

Soweto Theatre’s general manager, Vincent Motau, commented, “Soweto Theatre is constantly improving its technology to broaden the horizons of an artist’s creativity while also limiting the problems that they might encounter. As a result, our theatre practitioners now have more time to contemplate and expand their creativity.

“Robe, the recognised leader in moving light technology, has made another major leap in innovation, and the Esprite Profile LED automated luminaire has a fast-change, low-cost, transferable light engine ingeniously solving the problem of performance longevity for those preferring the higher brightness of white source LEDs as an obvious replacement for old and ageing stock of discharge workhorses.”

Soweth Theatre technical manager, Lebugang Andrew Mnisi (L) with DWR’s Kevin Stannett (right)

DWR’s Kevin Stannett, who looks after the Soweto Theatre account, highlights that getting a luminaire like Esprite in house also makes sense from a cross rental perspective. “If they need to increase the quantity for a specific show, the stock can be augmented as there are already plenty of Esprites in circulation.”

Both Nkululeko and Lebugang understand the importance of good tech support and having a great relationship with the supplier, in this case DWR, something that has been built up over the last decade.

“Our schedule is constantly busy with shows going in and out every week, so we have to keep going, and if anything needs swapping in and out or fixing, then that has to be now!” noted Lebugang, to which Nkululeko added that “consistency and reliability” is a given with DWR. Lighting control is grandMA.

Both Lebugang and Nkululeko have worked at Johannesburg’s famous Market Theatre, groundbreaking in welcoming “all races” onstage and in the audience during the apartheid era of racial segregation, during the early parts of their careers.

The Market is known as a hotbed of independent thought and imaginative expression and has touched the lives of so many of South Africa’s truly great actors, creatives, technicians, producers, directors, and theatre professionals over the last 50 years. It also now has an extensive rig of Robe T1 Profiles and Washes.

Lebugang has also toured internationally with several shows and started at the Soweto Theatre when it opened in 2012, initially as a sound engineer. In 2014, he became technical manager.

Nkululeko studied business at the University of Johannesburg, became involved in the drama group there as an actor but found he enjoyed backstage activities and technology more than treading the boards! There was no-one doing light or sound at the time, and the system was prehistoric, but he made it work and became fascinated with the power and energy of lighting.

After graduating, he applied for an internship at the Market Theatre, learned a massive amount about lighting and design and made some important contacts, working as a freelance LD for a while before joining the team at Soweto Theatre in 2012.
Everyone at the Soweto Theatre is dedicated and passionate about their work, community and how music and theatre can have a positive effect, engaging and uniting people, ideas, and societies.

For more press info on Robe lighting, you can visit www.robe.cz

 

Anthony Hazelden chooses Ayrton for Burna Boy’s Love, Damini Tour

Grammy Award-winning global super star, Burna Boy, brought his Love, Damini Stadium tour to the 80,000 capacity London Stadium last summer in front of his largest solo audience to date, simultaneously becoming the first ever African artist to headline a UK stadium.


The tour celebrated his sixth album “Love Damini”, with his electrifying performances, and dramatic production and lighting designs from Anthony Hazelden of Live Lighting.


Ayrton Domino LT

Hazelden chose a quantity of Ayrton Huracán LT, Eurus Profile and Domino LT fixtures as the mainstay of his London Stadium rig, which were supplied by London-based Colour Sound Experiment. Ayrton is distributed exclusively in the UK by Ambersphere Solutions.
“We went with all-Ayrton gear because their products are all LED-sourced,” he explains. “Another major reason for our choice was our need for high power output, but also some IP-rating and the Domino LT meets all of those needs.
Most of the shows I design now are heading towards IP fixtures. Crucially this allows us to place units around the stage or the stadium which is something we just couldn’t do before.”

Hazelden rigged 40 Huracan LT as the main flown spot fixture on stage, with 30 Eurus Profiles at centre stage lining the risers, all within the protection of the stage roof. 32 of the IP-rated Domino LT fixtures were rigged on the FOH delay towers, cat walk and B stage, and in the stage right and left wings all in areas that have no weather protection as the units’ IP-rating afforded all the protection that was needed.


Ayrton Huracan LT

Ayrton Eurus Profile


“By having a range of Ayrton fixtures, we could be sure the colours matched nicely without having to make many changes,” he explains. “We could also have the same gobos across all the fixtures which made the lighting states look a lot more uniform.


“Because there were so many wash fixtures, I needed spots that would be very bright, and able to cut through with amazing aerial and beam effects. The light output from these units is incredible: some of the looks where the units face towards the roof of the stadium and light the whole structure looked stunning!”

Burna Boy’s Love, Damini tour continues across North America until March 2024.



Credits for Burna Boy at London Stadium:

Lighting Design: Anthony Hazelden
Chamsys Support / Programmer: James Harrison
Colour Sound Experiment Project Manager: Jordan Dormer
Colour Sound Experiment: Haydn Cruickshank


For more information on Ayrton Huracán LT, Eurus Profile, Domino LT and Ayrton’s full range of LED and laser-sourced lighting fixtures, visit www.ayrton.eu

Ayrton is distributed exclusively in the UK by Ambersphere Solutions

Colour Sound Experiment can be found at www.coloursound.com

Midwich Portugal to Distribute Robe

Midwich Portugal, part of the Midwich Group, is thrilled to announce the addition moving light manufacturer Robe Lighting to its exclusive distribution portfolio for the Portuguese market.

Based in the Czech Republic, Robe develops and manufactures moving lights and LED lighting technology for the professional entertainment, performance, and broadcast industries and for architectural and architainment applications.
For 30 years, Robe has been producing innovative and trailblazing tools for designers and creatives working in and across these diverse and dynamic disciplines. The products are proudly ‘Made in Europe’ and known globally for their quality engineering and inventive features.

In addition to technical excellence, Robe is known for its people-focused approach to business, its commitment to sustainable production and its interest in developing a range of related opportunities that will encourage present and future industry professionals to grow and evolve their craft.

Midwich Portugal welcomes Robe with open arms. The brand will be integrated into the Portuguese market by a fully dedicated team. Robe will strengthen the company’s market positioning and reinforce its philosophy of offering the highest quality solutions combined with the best customer service and attention to detail.

Ingo Dombrowski, International Sales Director for Robe Lighting s.r.o., commented: “There is a saying, ‘Nothing beats a winning team!’, and I think there is nothing better than giving a winning team more responsibilities! A well-developed market like Portugal needs a strategic and analytical approach, and we already know this is integral to Midwich Group’s Spanish branch, so it is a completely logical step to widen our collaboration to include Portugal.”

Pere Castro, Managing Director Midwich Portugal, added: “We couldn’t be happier with the addition of Robe to our catalogue of top solutions. After more than a decade of successful partnership with Robe in Spain, now having such a great, supportive, and loyal partner in Portugal is excellent news. Together with the recent announcement of the ‘Avolites – A Robe Business’ ranges being added to our Portuguese portfolio, we can consolidate and strengthen our philosophy of offering top brands and service!”

For more info about Robe lighting, you can visit the Robe website

 

Adamson VGt: The Future of High-Performance Audio


Jochen Sommer, Director of Operations EMEA.

Adamson is proud to announce VGt, the first cardioid, large-format line-array module, with onboard Class-D amplification, Milan AVB and full DSP, in the Vergence Group; setting a new standard for high-performance audio products with seamless integration.

“VGt represents more than a technological advancement; it’s the next level in sound engineering, designed to deliver unparalleled power and sonic performance.” “VGt isn’t just changing the game, it’s redefining it.”

Innovative Technology Meets Exceptional Design

Brock Adamson, President & CEO.

At the heart of VGt lies our patented mid-range technology, which redefines the capabilities of a line array system. Combined with onboard class-D amplification, redundant and daisy-chainable Milan AVB, and comprehensive DSP, VGt delivers astonishing power and clarity while maintaining a surprisingly compact size and weight.

“Over the years, we have always managed to innovate with designs that lead the field in loudspeaker development, with a focus on mid-range.”

“When I envisioned the M140, the concept was to bring the power of our ground-breaking M200 transducer to a concentric line array enclosure, while improving on the performance. What our team has managed to produce with the VGt outperforms the best that the market has to offer.”

The patent-pending M140 MF compression drivers introduce cutting edge technologies redefining the quality of the mid frequency range. Both the M140 and the 3” HF compression drivers are loaded to critically optimized sound chambers producing a slightly curved wavefront.


The M140 MF driver covers the range from 300 Hz to 4 kHz, just like the soft domes of studio monitors, the best solution for clear voice reproduction.


The horizontal coverage, a pipeline from 150 Hz to 18 kHz.

The LF section contains both direct and directional components to achieve a multi-mode low frequency dispersion pattern. VGt is designed to provide uniform 90° horizontal coverage across its entire frequency range, while outputting an impressive SPL with ultra-low distortion.

Customizable Sound Coverage

Understanding that every venue has unique acoustic challenges, VGt offers variable low-frequency coverage patterns. Users can choose from various cardioid or non-cardioid configurations to tailor sound coverage precisely to their needs.

3 different low-frequency presets.


Efficient Rigging System

A closer look on the Autolock rigging system, as well as the onboard Class-D amplification, intelligent networked DSP endpoint and connections including power, analog audio and redundant network containing Milan digital audio and AES70 control data.

Our Autolock© rigging system allows a single technician to quickly and safely set up an entire system.

This innovation streamlines the process, saving time and labor costs.

A Complete Ecosystem

VGt is more than a standalone product—it’s part of a comprehensive ecosystem. This includes brackets, dollies, accessories, and covers, all designed to work seamlessly with our Array Intelligence software.
This powerful combination enhances design, deployment, control, and monitoring capabilities in both mobile and installation environments.

Optimization Without Compromise

From the start, VGt users will benefit from Adamson’s Optimization feature, ensuring broad-band coverage correction without adding any latency, for an optimal listening experience.
Using the ArrayIntelligence software allows for seamless combination of VGt with CS-Series, while the Adamson Bridge closes the gap to integrate all legacy ground amplified systems.

ArrayIntelligence meets every need in terms of design, monitoring, remote control, tuning, optimization, and much more.


Pieter van Hoogdalem, Business Development Strategist.

“After years of in-house development and testing, the launch of VGt starts a pilot phase with a handful of exclusive partners extensively using the VGt on the road. The first deployments received nothing but positive feedback.”

“Throughout the year we will be organizing live demonstrations to give everyone ample opportunity to experience VGt in action.”

Maximized Efficiency

Four VGt on the new dolly.

The dolly design optimizes truck space and includes a flat-top platform option for additional stacking flexibility, accommodating both 3-high and 4-high dolly configurations. With energy efficient and lightweight electronics in each loudspeaker, rack-space is drastically reduced.

As an example, an array of 18 VGt require 4 rack units, and only 6 power and network homeruns.
In contrast, current rack amplified arrays similar in size, require more than 20 rack units and offer less headroom and control.

As speaker cables are virtually eliminated in VGt there is no speaker cable loss and even long home runs are possible without impacting quality.
By getting rid of most rack space and transporting all space consuming accessories on the dolly, VGt forms the tightest truck pack possible, reducing environmental impact.

Versatile Bracket Solutions

An underhang bracket expands VGt’s functionality, allowing users to fly CS10 under the VGt. It also doubles as a pull-back frame and a secure point for the array during harsh weather conditions.


A glance below the grille reveals one of the 13″ at the front and the 10″ in charge of bass directionality and forward energy addition, both sporting Adamson’s trademark yellow Kevlar cone.

VGt is not just another speaker; it’s a large-format line array enclosure including 8 transducers and 5 amplifier channels that’s been meticulously crafted for use in arenas, stadiums, festivals, performance halls, and more. This groundbreaking product is set to transform the way audiences experience live sound.



Specification

  • Frequency Range (+/- 3dB): 50 Hz – 20 kHz
  • Nominal Directivity (-6 dB) H x V: 90° x 6°
  • Maximum Peak SPL: 151 dB
  • LF Component: 2 x ND13-S 13” Kevlar Neodymium Driver
  • Directional Component: 2 x ND10-LM 10” Kevlar Neodymium Driver
  • MF Component: 2 x M140 Kevlar Compression Driver
  • HF Component: 2 x 3” Compression Driver
  • Rigging: Autolock™ Rigging
  • Connection: 2 x etherCON™ – passive continuity when powerless, Analog XLR3 in & thru, powerCON TRUE1 TOP in & thru
  • Height Front (mm / in): 338 / 13.3
  • Height Back (mm / in): 286 / 11.25
  • Width (mm / in): 1306 / 51.4
  • Depth (mm / in): 562 / 22.1
  • Weight (kg / lbs): 85 / 188
  • Colour: Black & White (Standard), RAL Colours (On Demand)
  • Amplification: 5 channel Onboard Class-D, SMPS, 10 kW peak
  • Processing: Onboard, controllable through proprietary software

To have more on VGt

 

ETC gear selected for new and advanced Al Hadath TV studios

ETC dealer, Oasis Enterprises have supplied ETC control, networking and fixtures for Al Hadath’s brand new broadcast studios in Riyadh, Saudi Arabia.
The Al Hadath news channel, which specializes in both regional and global current affairs, has launched its new studio as part of an ongoing expansion of the channel’s operations in the region.


Oasis Enterprises worked with Al Hadath to achieve its requirements of a creating a modern, dynamic space that is equipped with the latest advancements in LED technology.

Their fixtures of choice were ETC’s versatile ColorSource Spot jr’s, these were controlled by Eos Apex selected for its powerful color tools and award-winning software.

They also chose Response Mk2 DMX Gateways for networking and powerful data distribution in the studios. These were installed following a year of planning for the modern space.


“Our goal was to enhance the visual experience and flexibility of the studio and we did this using the superior capabilities of ETC’s products. Using the Eos Apex console – the latest in the field – brought great value for the project and fulfilled the operator’s requirements,” comments Oasis Lighting System Manager Karim Abdel Massih.


ETC’s latest line of Eos consoles offer a powerful programming surface packed with advanced technology allowing for easy manipulation of color on-camera; with its designer tools allowing for effortless adjustment of skin tones.

The ColorSource Spot jr’s small form factor and stylish design makes it a flexible fixture for any sized space, perfectly tucking into the ceiling of the newsroom, and its flicker free mode ensures perfect UHD content. The system runs on a backbone of Response Mk2 DMX Gateways for data distribution, allowing for easy configuration and error reporting over RDM direct from the console.

“The Al Hadath studio project reflects our commitment to pushing the boundaries of technology; creating an immersive and dynamic space for unparalleled visual experiences,” adds Karim.

ETC Regional Sales Manager for the Middle East Mark Larcombe comments: “We are thrilled to see ETC gear at the new Al Hadath studios. The impressive newsroom is sure to be a leading studio in the region and we are happy to be a part of their latest expansion plans using advanced technology. Thanks to Oasis Enterprises and the Lighting Manager of Al Hadath, Mr Safwan Harcouss for all of their work and support on this project.”

For more information about ETC, you can visit the ETC website

The world’s largest cinema image sensor for Sphere


Sphere Entertainment Co. revealed new details on its work with STMicroelectronics a global semiconductor leader serving customers across the spectrum of electronics applications, to create the world’s largest image sensor for Sphere’s Big Sky camera system.
Big Sky is the groundbreaking, ultra-high-resolution camera system being used to capture content for Sphere, the next-generation entertainment medium in Las Vegas.


Postcard From Earth as seen inside Sphere.

Inside the venue, Sphere features the world’s largest, high-resolution LED screen which wraps up, over, and around the audience to create a fully immersive visual environment.

Big Blue on a gyrostabilized head attached to the underside of a helicopter, ready for the filming of Postcards from Hearth.

To capture content for this 160,000 sq. ft., 16K x 16K display, the Big Sky camera system was designed by the team at Sphere Studios, the in-house content studio developing original live entertainment experiences for Sphere.
Working with Sphere Studios, ST manufactured a first-of-its-kind, 18K sensor capable of capturing images at the scale and fidelity necessary for Sphere’s display.

Big Sky’s sensor, now the world’s largest cinema camera sensor in commercial use, works with the world’s sharpest cinematic lenses to capture detailed, large-format images in a way never before possible.


Deanan DaSilva

“Big Sky significantly advances cinematic camera technology, with each element representing a leap in design and manufacturing innovation,” said Deanan DaSilva, lead architect of Big Sky at Sphere Studios.
“The sensor on any camera is critical to image quality, but given the size and resolution of Sphere’s display, Big Sky’s sensor had to go beyond any existing capability.
ST, working closely with Sphere Studios, leveraged their extensive expertise to manufacture a groundbreaking sensor that not only expands the possibilities for immersive content at Sphere, but also across the entertainment industry.”


Alexandre Balmefrezol

“ST has been on the cutting edge of imaging technology, IP, and tools to create unique solutions with advanced features and performance for almost 25 years,” said Alexandre Balmefrezol, Executive Vice President and Imaging Sub-Group General Manager, STMicroelectronics.
“Building a custom sensor of this size, resolution, and speed, with low noise, high dynamic range, and seemingly impossible yield requirements, presented a truly novel challenge for ST one that we successfully met from the very first wafer out of our 12” (300mm) wafer fab in Crolles, France.”


Hidden inside his body, a ST’s 316-megapixel, hence 18K sensor.

As a leader in the development and manufacturing of image sensors, ST’s imaging technologies and foundry services cater to a wide range of markets, including professional photography and cinematography.

Big Sky’s 316-megapixel sensor is almost 7x larger and 40x higher resolution than the full-frame sensors found in high-end commercial cameras.

The die, which measures 9.92cm x 8.31cm (82.4 cm2), is twice as large as a wallet-sized photograph, and only four full die fit on a 300mm wafer. The system is also capable of capturing images at 120 fps and transferring data at 60 gigabytes per second.


Viewing the various shots from Big Blue after filming in the Alps.

Big Sky also allows filmmakers to capture large-format images from a single camera without having to stitch content together from multiple cameras avoiding issues common to stitching including near distance limitations and seams between images. Ten patents and counting have been filed by Sphere Studios in association with Big Sky’s technology.

Darren Aronofsky’s Postcard from Earth, currently showing at Sphere as part of The Sphere Experience, is the first cinematic production to utilize Big Sky. Since its debut, Postcard from Earth has transported audiences, taking them on a journey spanning all seven continents, and featuring stunning visuals captured with Big Sky that make them feel like they have traveled to new worlds without leaving their seats in Las Vegas.


More information about The Sphere Experience is available at thesphere.com
And more info regarding STMicroelectronics

 

175 x Chauvet Professional Fixtures for the Big Night

Talk about truth in advertising! Big Nite DC, which bills itself as the largest NYE convention hall party is indeed “big” in every way. The event draws around 10,000 party goers, spread out over two ballrooms and 12 additional spaces.
The main ballroom, which serves as the hub of the evening’s festivities, measures 45,000 sq. ft. and has 270-degrees of floor-to-ceiling glass windows affording stunning views of the Potomac River.


Animating the big event this year, as it has in the past, was an upbeat and colorful lighting and video design from Evan Kirkendall and the team at Harford Sound LLC.
“Every year we challenge ourselves to create a fresh, new design in the primary ballroom,” said Kirkendall. “We get to design this large rig from the ground up, so we really like to push ourselves each year.”
Although lighting Big Nite DC is “loads of fun,” it is not without its challenges. Aside from the usual issues of lighting entertainment in a ballroom, such as fixed ceiling height, and very limited rigging options, Kirkendall and his team also had to contend with a room that was… well, BIG, next to the size of its stage.


“The overall stage size is quite small, compared to the size of the room, “ said Kirkendall. “A key goal of ours was to make the stage look as big as possible, while working within the limitations imposed by its size, and the ceiling height. We wanted to put the largest video wall possible on stage this year, but we also needed to make room for lights.
So, we ended up building the widest possible video wall we could do but kept it on the shorter side so we could essentially frame it with lights and then build ‘wings’ from the top to make it look massive. I think the overall layout worked really well!”

Helping Kirkendall, crew chief Steve Wozniak, and their team meet this challenge was a collection of over 100 Chauvet Professional fixtures, plus 72 F4XIP video panels taken from Harford Sound’s own inventory.
The convergence of video and light created a dynamic and varied visual panorama that engaged partygoers the entire evening. “Our in-house video head, Sam Choiniere, ran the entire show,” said Kirkendall. “We had a mix of sponsor content, client logos, DJ logos, live camera feeds, and the most importantly the midnight countdown on the wall.

Sam ran everything through our media server with Resolume to create a very exciting show using a mix of in-house created content and stock content overlayed with the live camera feeds and logos. We also had an ArtNet merge the lighting console and video world so Sam could control the on-stage Color Strike M and Colorado Solo Batten fixtures for seamless colors between video and lighting.”

Chauvet Color Strike M

There were 28 Color Strike M motorized strobe-washes in the Big Nite DC rig, as well as 16 COLORado Solo Battens.
The design team positioned five Color Strike M units on each side of the video wall, and arranged all of the batten units below it, to create a colorful frame.
The remaining Color Strike Ms were flown in blocks of blinders and strobes, providing LD Zack Slater with a limitless opportunity to create compelling looks.

Slater also used the rig’s 34 Maverick Storm 4 Profile fixtures to create some memorable NYE specials.

Maverick Storm 4 Profile

“We had eight Storm 4 units on deck, and six per truss in the air,” said Kirkendall. “The incredible output of these fixtures was the star of the show. They could easily throw massive beams 300-plus feet to the rear of the ballroom and had no issues overcoming the video wall’s brightness.

“A lot of smaller fixtures have gotten lost in the video wall in previous years when we did Big Nite, but the Storm 4s had no issues keeping up,” he continued. “Our team loved being able to focus gobos so precisely to create incredibly sharp, massive looks with any color combination. Even the darkest colors still cut through everything else going on in the air.”

The entire evening in all the various rooms was busked by the Harford Sound team, which in addition to Choiniere and Slater, included Jackson Craig, Holly Jorgensen, Jake Horanoff, Gabe Odachowski, Milo Matunis, Izzy Ladrillono, Oliver Nelson, Robby Gossweiler, Hayden Behr, Matt Vivlamore, and Zach Kreiner. Together, they put in a solid week prepping and doing previz for the NYE event. Unlike in some projects, they actually got to run what they created at Big Nite DC.


“Oftentimes, we spend a bunch of 10-hour days building these cool rigs, run them a little in the daylight, and them watch somebody else create all these awesome looks in the dark,” said Kirkendall. “At this event our team actually gets to run the show they built. It was quite the rewarding experience”

Not to mention, a great way to start the new year!

For more info on the Chauvet Professional website

RCF Celebrates 75 Years of Authentic Performance Sound

For 75 years, RCF has pushed the boundaries of audio innovation. Founded in 1949 by a group of passionate engineers, RCF’s heritage is rooted in a relentless pursuit of superior sound quality and technological advancement.

RCF’s fully integrated approach leads the way in the professional audio industry today. With R&D, manufacturing, and distribution all under one roof in Reggio Emilia, Italy, RCF can rapidly turn ideas into market-ready solutions. This vertical integration model gives an unparalleled competitive edge in quality, reliability, and value.


RCF the transducers factory back in the seventies.

Part of the transducers assembly line today. Rest assured, the ladies’s magic hands are still on duty for the pro line.


RCF’s versatile product portfolio includes everything from installation-grade speaker systems to portable PA solutions and large-scale line array technologies. Flagship offerings like the new TT+ Audio GTX series redefine the standards for clarity, control, and setup speed in demanding touring and fixed install environments.


RCF’s huge new logistics center.

Beyond products, RCF provides full-cycle support capabilities to integrators, engineers, and end users. The in-house acoustics team, RCF ESG, assists with complex design projects, while the Audio Academy shares applied knowledge with the global pro audio community.

Arturo Vicari, RCF CEO.

“I am proud to lead a company with such a rich heritage and bright future. There is no way I can’t be filled with pride for what we have achieved together as RCF over these past years and all that is still to come” comments Arturo Vicari, CEO.

The solid technical expertise, built on 75 years of history, its modern manufacturing facility, and its continuous technological improvement make RCF a fundamental reference for all audio professionals and enthusiasts. RCF distributes products directly in the United States, France, Germany, Benelux, Spain, and the United Kingdom, plus a network of over 120 trusted professional distributors throughout the rest of the world.

Italian pop rock star Ligabue at his 2023 summer concert at Rome’s Olympic Stadium thanks to the new TT+ Audio GTX series.

RCF MILESTONES

1949 – RCF is established in Reggio Emilia, focusing on advanced ribbon microphone designs and innovative transducers, soon to become a reference for international speaker manufacturers.
1955 – RCF starts building an extensive range of Commercial audio products for airports, railway stations, hotels, hospitals, schools and public places.

1970 – RCF becomes famous for its line of Hi-Fi speakers, followed by a line of Car Stereo products.

1996 – RCF enters into professional audio, creating ART 300-A, one of the very first two-way amplified portable speakers to be launched in the worldwide market with extraordinary success.

1998 – RCF is acquired by an International Group and remains part of that Group until the end of 2003.

2004 – The company is acquired by a group of shareholders historically linked to RCF, opening a new era of growth.

2006 – The professional offer of products grows quickly with solutions for the Install market and the Touring and Theatre applications creating the RCF TT+ line.

2010 – RCF Audio Academy project begins. A dedicated Educational section is organized in RCF premises with the aim of providing education in acoustics and audio subjects to students and professionals.

2012 – RCF launches HDL 20-A, a line array in a composite material that quickly became the single most-sold product in RCF’s history.

2015 – RCF enters the digital mixing console market developing M 18, an innovative Wi-Fi mixer for musicians and professionals.

2016 – Launch of the HDL 50-A, a very successful large format Line Array.

2017 – New forefront automated production line. Introduction of the FiRPHASE 0° phase processing in all RCF active speakers.

2018 – Launch of the EVOX JMIX8, an active two-way array music system with a powerful remote controllable eight-channel Digital Mixer.

2019 – RCF celebrated its 70th birthday in spectacular fashion with “A Night in Laguna” at the famous old Venice Arsenal.

2021 – ART 9 series delivers a stunning breakthrough in audio performance with new RCF technologies such as FiRPHASE, Bass Motion Control, True Resistive Waveguide, and M-Brace.

2022 – The revolutionary XPS 16K DSP Amplifier paves the way for an extended range of high-class externally powered systems and power-agnostic RDNet management

2022 – RCF Arena opens. Equipped with more than 400 RCF TT+ speakers and approximately 2 Megawatts of sound power, it serves a 103,000-person audience with optimal acoustic clarity.

2023 – The new TT+ Audio brand embodies Italian expertise and creativity for the most challenging audio applications to set a new benchmark for professional audio systems.


To find out more about RCF and their presence at NAMM and ISE, visit the RCF website

 

SONOSS launches ALTIMATE, its brand of smart lifting control

When Sonoss began marketing its digital motor remote controls with group memories and its hybrid contactor controllers (at GL Event in 2021 for the Grand Palais Éphémère), it bore (just like its classic remote controls) the Sonoss brand.

To commercially separate its activities as a distributor (Luminex, SGM, etc.) and manufacturer, Philippe Coudyser, CEO of Sonoss, has filed a separate brand covering its range of lifting controls, developed and manufactured in Lille. Altimate was born, ready to take on the world.

Manuel Lauwerier, technical director of Sonoss, presents the range of products here:



Altimate is distributed in France by Sonoss and will be distributed throughout the world via interested distributors based on contacts made at international trade shows where the brand will exhibit, including Prolight+Sound in March.

Ugo Knaff, head of Marketing, took the opportunity to suggest identifying the products in 3 ranges with simple and easy-to-remember names.

The entire Altimate range.

– Altimotion range for smart remote controls and hybrid contactor motor controllers. The remote previously referenced RT72-20G-W-WL now bears the MotionPad reference and its number of channels

– Altivision range for the scale and its accessories

– Classic range for analog remote controls and controllers


Here the MotionPad 24 channel remote control, using HF via the receiver/transmitter MotionControl or hardwired to the motor controllers for complete control.


Remote for permanent installations, the MotionHall.




The VisionCell scale measures weight at the rigging point in real-time. It is autonomous, can be used with any type of lifting device, connected to a digital Altimate remote it makes work easier than ever.

Let’s get back to how this innovative brand has developed an entire autonomous eco-system for lifting. After the range of group memory remote controls and its hybrid contactor controllers, the team launched a VisionCell connected scale.

An HF transmitter/receiver, between the remote control and the scale, ensures dialogue for optimized lifting management. The connection can also be hardwired.

With the desire to facilitate the work for rigging technicians, several announced functions are now implemented. The Identify function allows you to locate the load cells attached to the trusses and to change their assignment using the remote control. They respond with a light signal.


The scale is powered by a lithium battery which is automatically recharged in dedicated cases; a relief for the technician who no longer has to manage batteries and their replacement. In a kit including a large number of rigging points, the time saved is significant.

From the remote control, it is also possible to define an underload or overload alarm for a large number of load cells to identify a problem, always by emitting a light signal.
The load cell, designed to be waterproof, is awaiting its IP54 certification.

Visit their website to find out more about Altimate and its control solutions for stage rigging

 

THE SMALL BLUE PLANET

Seen from the sky, it is breathtakingly beautiful, majestic, and silent. What if this was the paradise promised to us if we were good? Has a prankster reversed the pages in our book of life?
When in doubt, let’s work twice as hard to be happy and to bring happiness, give a little more than we take and do rather than say, especially in these times when man shines too much by his negative sides.

In paradise we imagine there is always love, nature, and friendship, but also art and thrills of pleasure thinking of everything that happens in our professions to increase the attractiveness of the live shows and the happiness of the spectators. 2024 promises to be full of new developments.
It’s a true constellation of events, technicians, services, technologies, fixtures, places, and innovations that we will talk about and bring to you every day on a silver platter. Wherever you are, on a tour bus or a ski lift, we will be there. Thanks to you and for you.

In 2024 in SLU, the immersive will be in all flavors, from Lompal to the Théâtre du Temps with Gaïa, from Pitto Cha to the Lido. New laser sources will tear the sky apart. The acoustics of the rooms will change with a click. Mériadeck (an Ice Rink housing concerts in Bordeaux) will have multi-diffusion sound. The LED sources will exceed 1,200 W. The speakers will amplify, lengthen, and tame the bass.

`Rivale, Storm4, LTX, and IP65 will chase away water, not Lux. The sound of Vegas will make you dizzy. The Voice of Johnny (Hallyday), The Playback Engineer, Jehenny Beth, CQLP, your talent will shine so brightly. A new dry-hire company from Brittany will arrive on the market and the Olympics will dust off your parks. And all this is just an appetizer of what is being prepared for us in 2024.
So it’s true, you probably won’t be able to read our articles everywhere in the galaxy because we still don’t know if there is life on Mars and/or beyond, on the other hand, we will be omnipresent on the little blue planet and we even have a surprise in store for you very soon. A big one and, as always, it is free.

Happy (and healthy) New Year from the entire SLU team.

 

Novelty-Magnum-Dushow Group now Established in Portugal

Novelty is pleased to announce the acquisition of the company CHS – Creative Productions. Founded in 1994, this company co-founded by Carlos Esteves is specialized in technical services for festivals, concert tours and events.

CHS is now part of the Novelty-Magnum-Dushow Group and becomes the reference agency for Portugal (CHS by Novelty – Novelty Portugal).

The executive team includes Jacques de La Guillonnière as President, Olivier Hagneré and Christian Lorenzi in General Management, and Carlos Esteves, co-founder of CHS, who will continue to lead the team.

CHS by Novelty-Novelty Portugal will benefit from the entire infrastructure and support services of the Group to ensure clients the same expertise. The Group will support this new Portuguese structure by investing in new audiovisual equipment and relocating to new premises, 30 minutes from the center of Lisbon.


Carlos Esteves

Carlos Esteves, Head of the Portuguese subsidiary says: «It is an honor to join the Novelty-Magnum-Dushow Group, to serve the Group’s clients in Portugal, and to expand our technical offerings in the Portuguese market.»

We welcome the CHS by Novelty-Novelty Portugal teams in the Group.

Feel free to contact our teams: Carlos ESTEVES | Director | [email protected] | + 351 212 321 926