Sixty82: many steps to success

On the Sixty82 booth at Prolight+Sound, you didn’t know where to start from. This young brand – created in march 2018 by Dutch ol’timers professional trussmakers and aluminium afficionados – was presenting a bunch of new and various gizmos, alu-luyah !


Dynamism and inventiveness from Sixty82 for its second year of presence at Prolight+Sound in Frankfurt.

For once, and as we can remain very close to the ground sometimes, let’s raise the debate and step into this review with… a modular staircase! I know this ain’t that “sexy” a product, but this new model will show you the “staircase wit” (easy joke) of the handful of Mad Professors gathered in Sixty82.

Good enough, we meet Alain-René Lantelme from Axente, their french distributor, with his PhD-style resplendent beard 😉

Overall view of the Sixty82 Modular Staircase once assembled. Notice – top of the photo – the essential and typical Dutch accessory posed on the riser and bringing you full rewarding refreshness once you’ve finished bolting the stairs together.

SLU : Hi Alain, what’s up… the stairs? (laughs or consternation, tick the comment you prefer here)

Alain-René Lantelme : That’s exactly what we’re looking at here, we’re unveiling a totally modular staircase here, obviously called Stairs-Modular, where every stair is exactly the same, and allowing, once assembled, a total maximum height of 1.40 m.

SLU : What is the trick, then?

Alain-René Lantelme : Simply enough, the shape of each stair, with clever flat sides with a patented angle, allow stocking only one type of mounting piece, and not making mistakes forgetting this or that “start” or “end” element. All the stairs can fit anywhere into the global assembly. More, the load capacity is superior to the one of a standard staircase.

Stairs-Modular from Sixty82, a (stair)case that works! Once tightly bolted, rigidity and load capacity are increased.

SLU : How is it manufactured?

Alain-René Lantelme : It is made of birch plywood, with a non-slip layer (with embossed print) of phenolic resin. You can also have the same finish onto the risers, and more, you can ask for black embossed finish, instead of dark brown.

SLU : And is it more expensive than the standard staircase?

Alain-René Lantelme : No, because as a manufacturer, we’re making economies of scale (litterally), as we only have to produce the same element over and over. As we’re referring to risers, we also present here a clever new accessory, it’s the Multi-clamp, used to hold together tight risers from different heights.

SLU : As we’re celebrating in 2019 the very famous Neil Armstrong moon sentence, can we say, too, that “this is a small step for Sixty82, but a giant leap for the rental companies?” (embarrassed laughs)

Alain-René Lantelme : Great joke, hmm, let’s move to something different… As you’ve seen on our booth, we’ve had a very active year with many new products, so let’s turn to the new 39R truss, a bit like the 40 Series, but reduced in size, as the section is rectangular. So you gain 25 % in lorry volume, for the same (very efficient) load capacity.

The truly versatile wallmount Hang-On support from Sixty82

SLU : Can you say a word on accessories?

Alain-René Lantelme : The Hang-On is an universal support for any kind of transversal straight elements, but it can also rotate if needed! It is available in two types of finish, smooth satin or granite satin which is longer lasting and resists better to occasional bumps or shocks.
The two finish are priced the same, it is only a matter of choice and aesthetics. The Hang-On can support up to 900 kg, it is an interesting alternative to the T-Joint, and you can insert it anywhere in a whole truss construction.

The Wall Adapter can be fixed in two positions, either like figured here like a “chair”, or with the tubes positioned upwards. Its design is quite unique, for instance the width is the same that the truss it can support, the clamps position is adjustable. It can be connected to ladder, triangle or square truss, in M29S-T as well as in M39R. Its load capacity can go up to 500 kg.

Let’s keep going with Sybren Dijkhoff, who is going to show us bigger and taller metal animals.

SLU : Hello Sybren, what is this proud cross between an elephant and a giraffe thats occupies a good part of the back of your stand?

Sybren Dijkhoff : This is the Multibase Tower, a much appraised concept dedicated to a lot of applications. First of all, it can hang nice and easy a Line Array cluster, but not only that. It can wind up by itself with a hoist, it can also be part of Roof Systems. The base requires only a 3.80 m x 2.55 m space. It is designed to withstand the rough seaside conditions, qualified as WS4 certified by the German authorities.

Two views of the Multibase Tower standing in full pride on one side of the Sixty82 stand.

SLU : OMG, what a flock of newbies! Can we mention some other ones?

Sybren Dijkhoff : In view of sporting events or concerts, as we just saw we can easily hang Line Arrays to the Multibase Tower, we also became very interested in LED screens hanging, and we designed the LED Screen Support (with some space on the sides to hang sound systems, if needed at the same time).
Last but not least, we can also quote the Roof Systems: Booth82, one man alone can set it up, for small stages, and of course the big Arc Roof, that way we end this up with an impressive new product! (laughs)

More information on the Sixty82 Website.

 

Sporting team for L-Acoustics: Gino Pellicano and Dan Palmer as Sports Facilities and Consultant Outreach

With increasing demand for concert-level audio in sports arenas to elevate the live sports experience, L-Acoustics products have evolved to incorporate greater levels of control and integration as well as weatherization to match outdoor installation requirements.
In tandem with these product developments, the L-Acoustics team supporting this thriving market sector has also evolved, as recently evidenced by the appointment of Gino Pellicano to the new post of Application Manager for Sports Facilities and Consultant Outreach.

Newly-hired L-Acoustics Application Manager for Sports Facilities and Consultant Outreach Gino Pellicano (left) with newly-promoted L-Acoustics Business Development Manager, Sports Facilities – USA and Canada Dan Palmer (right).

To create the L-Acoustics Sports team, Dan Palmer has been promoted to Business Development Manager, Sports Facilities – USA and Canada, after 10 years with the L-Acoustics Application team. He will be working in tandem with Pellicano, who is also based in the manufacturer’s Westlake Village, California office and now oversees all technical support for L-Acoustics’ sports facility vertical market and its client base.

Gino’s background suited to fit the L-Acoustics install application team

Gino Pellicano, Application Manager for Sports Facilities and Consultant Outreach, L-Acoustics.

Pellicano is also tasked with leading the company’s outreach to major sound design consulting and integration firms across North America, both to educate and learn from this key community of sound design experts.
Pellicano joins L-Acoustics from Powersoft, where he served as the amplifier manufacturer’s market development and applications manager for North America.

Prior to that, he worked as a project engineer for Burbank-based Electrosonic, following several years spent as an applications engineer for Eastern Acoustic Works (EAW). Pellicano has also previously held design/consultant positions at both Technomedia Solutions and SIA Acoustics.

“Having worked for manufacturers of both loudspeakers and electronics as well as several leading systems integration and consulting firms, Gino’s background is uniquely suited to fit the L-Acoustics install application team,” explains Laurent Vaissié, L-Acoustics CEO – USA and Canada, who announced Pellicano’s appointment. “His technical acumen combined with organization and communication skills as well as his strong dedication are the perfect match to manage our technical support for the booming sports entertainment market.”

New role for Palmer

Dan Palmer, Development Manager, Sports Facilities – USA and Canada, L-Acoustics.

“Dan Palmer, in his new role, will be running in stride with Gino to manage all aspects of this vertical market for L-Acoustics moving forward,” Vaissié adds. “Dan has been instrumental in supporting system integrators, end users, and consulting firms over the past decade.
As a direct result of Dan’s work, L-Acoustics is now recognized as a major provider of audio solutions for sports entertainment. Dan and Gino will lead the way towards an even greater outreach and support for major sports facilities in the US and Canada.”

L-Acoustics Director of Application, Installations Cédric Montrezor shares Vaissié’s enthusiasm for this new “sports team” of Pellicano and Palmer. “Dan has been with L-Acoustics for over ten years as a respected colleague and leader in opening new markets for the company,” notes Montrezor.
“As his technical counterpart, Gino is well positioned to serve the needs of our current sports facilities clients, and to reach out to the broader consultant community.
With the widespread adoption of AVB for audio and the popularity of our P1 AVB processor, Gino’s electronics expertise constitutes a valuable asset to helping our end users and clients optimize networking and interoperability for their projects.”

InfoComm Seminar

At InfoComm 2019 in Orlando, Pellicano and Palmer will both be involved on a vendor-neutral seminar titled “Players and Perspectives in Sports Venue Sound System Integration,” which will be held in Orange County Convention Center room W414C starting at 9:00 a.m. on Wednesday, June 12.
This panel session will present the perspectives of various designers, integrators, manufacturers, and end users involved in major sports stadia worldwide and allow attendees to learn about the opportunities and challenges for sound system integration driven by rising expectations for immersive, AV-rich experiences.

For more details, click on this “Browse Education Session” link.

 

Vari-Lite VL6500, retro-style and brand new

Do you remember good ol’VL5 or even VL500, both proudly boasting a turbine engine look? This very recognisable design is a cross-mix with the look of the brand new VL6500, to create the future creature from the brains of Vari-Lite.
Why say “future creature”? Coz’ this newbie is not yet included into the manufacturer regular portfolio, and is still under development. As we were longing to come back from Frankfurt with actual news about it, we questioned our deep throat contact Jean-Martin Fallas, Product Manager for French distributor Freevox.

First close encounter with the Future Projector issued from the VL range.

The VL6500 is an evolution of the VL6000 Beam, this big searchlight lookalike fixture. This shows a strong will from Vari-Lite to propose, in addition to being an efficient machine, a nice look and feel allowing this unit to integrate nicely into a complet lighting set-up. From the roots of the VL5 and the VL500, it doesn’t use again their rotating fins system, except for the linear Frost, as the other features remain well hidden behind the big ellipsoïdal reflector, already part of the VL6000.

Let’s have a deep review of its functions, now… Without stepping into details, as these are not all unveiled nor definitive, we quickly learn that the color wheel used until now leaves way to a complete color mixing system. Ths module also includes a progressive CTO.
The already mentioned Frost, shown on the Prolight+Sound booth, will stay in the definitive version, and widens the powerful beam up to 32° angle. The rotating gobos wheel is also present, but utilised more for aerial patterns rather than perfectly focused images, as this is not a Spot. Same for the Iris and 1,500 W MSR Gold discharge lamp, these will stay.

The global very masculine look will remain unchanged, except for some tiny details on the head. Same goes for the weight (less than 30 kg). quite puzzling (in a positive meaning) considering the massive size/dimensions of the unit.
We won’t really learn much more at the time of this first contact with the two first ever manufactured units standing in front of us. More modifications of additions to the features? Date of actual release? Actual price? Wait and see, and stay tuned to SoundLightUp anyway…

More information should be available anytime soon on the Vari-Lite Website.

 

Powersoft Releases Comprehensive Training Video Series for ArmoníaPlus

Powersoft, the Italian manufacturer of professional power amplifiers, has just released a series of training videos on YouTube for their best-in-class audio design environment software ArmoníaPlus. The hour-long set of tutorials comprehensively covers the new features that Powersoft introduced with ArmoníaPlus when it was released last October.

Powersoft ArmoníaPlus extensively used at Coachella.

Aside from educating new users on the software, the goal of these tutorials is also to bring existing users who were familiar with its previous iteration, Armonía, up to speed.

Powersoft ArmoníaPlus: linking speakers to amps.

ArmoníaPlus’s redesign includes a single window interface with four main views and takes further advantage of intuitive hotkeys and simplistic icons to allow users to move between functions efficiently.

Users can move through four main steps: Design, Config, Tune, and Show, each offering a variety of functions and flexibility for different scenarios, as well as allowing users to audition different speaker presets easily. The YouTube tutorials cover all of these functions, as well as new features such as Shading, which allows the interface to reduce the gain of loudspeaker limiter thresholds coherently, keeping the balance between elements even if the system is limiting.

Powersoft US application engineer Rick Woida.

“When we were designing ArmoníaPlus, we wanted to make the system easier to use and employ,” said Powersoft US application engineer Rick Woida.
“We also wanted to make certain that we were still supporting our users who work with Armonía and allowing them to learn the new features over time.”

More information on ArmoníaPlus.

And here is the direct access to the ArmoníaPlus video tutorials.

 

French prestigious location for Showlight 2021 Lighting Quadrennial event

The next gathering for this quadrennial event, an unique lighting colloquium organised for lighting professionals by lighting professionals, will take place on 22-25 May 2021 in the beautiful French town of Fontainebleau. The main sponsor for Showlight this time will be the 100-year old French manufacturer of followspots and theatrical luminaires, Robert Juliat.

The Showlight committee searched long and hard for a setting worthy of Showlight’s reputation for fascinating locations, and settled on the historic town of Fontainebleau which lies 55.5km (34.5 miles) south east of Paris.

UNESCO World Heritage Site

A UNESCO World Heritage Site and famous for its medieval Château de Fontainebleau, a royal and imperial residence for more than 800 years, and surrounded by former royal hunting park, Fontainebleau Forest, Fontainebleau is a picturesque setting full of characterful bars and restaurants which will provide a popular and entertaining backdrop to the main activities of Showlight 2021.
The highly-anticipated conference will take place in the town’s Théâtre Municipal, directly opposite the Château de Fontainebleau, where delegates can enjoy the varied programme of conference papers delivered by professionals across many lighting disciplines. A small supporting exhibition will take place in the theatre’s foyer and courtyard between papers sessions offering superb opportunities to network and exchange ideas with other lighting professionals. The event will close with a Gala Dinner announced to take place in a stunning location.

Call for speakers

François Juliat, CEO of Robert Juliat.

Being so close to Paris, Fontainebleau is easy to reach, with good connections to airports and Eurostar terminals. You can already put the date in your diary now, and get planning your presentation papers as Showlight will be putting out a call for speakers in the coming months. Demand is always high so book your place early. Booking details will be released closer to the event.

“We are very excited to be selected as the main sponsor for Showlight 2021,” says François Juliat, CEO of Robert Juliat. “Robert Juliat is celebrating its centenary in 2019 so the fact that we can welcome Showlight and its delegates to our country at this time is very special. Showlight is such a unique event, and Fontainebleau is a perfect location – it is an unmissable opportunity for everyone in the lighting fraternity who is interested in light.”

“We are delighted to start the build-up to Showlight 2021 with the announcement of another lovely venue and a great sponsor,” says Showlight Chairman, John Allen. “It is always a much-anticipated event and I know people will be blocking out those dates in their diaries as soon as they see this announcement.

Emphasis on sharing knowledge and enjoying the inspiration

John Allen, Showlight Chairman.

Showlight’s emphasis is on sharing knowledge and enjoying the inspiration and variety our industry offers in a networking event without parallel, and our delegates and speakers enter into the spirit of it from beginning to end.

Where else do you have the chance to become involved in so many ways, with opportunities open to everyone – delivering talks, networking, learning and meeting a wide variety of people from the most experienced professional to the newest students and innovative manufacturers?
It’s an opportunity for all to take a few days out from our busy lives to enjoy the company of like-minded individuals in a beautiful setting.”

Anyone interested should sign up to the new Showlight Mailing List via the ShowLight Website to receive all the latest news as it happens, including booking release dates, and keep your eyes on the press and the website for invitations to present papers and for student opportunities.

Those interested in exhibiting at Showlight 2021 and taking up one of the many other sponsorship opportunities can enquire at [email protected].

 

Buddhist star has a (singing) bowl with DPA Microphones

The clarity, detail and natural sound delivered by DPA’s d:vote™4099 Instrument Microphone has enabled producer and engineer Mr.Chan Pui Ching to record 30 Singing Bowls being played by Chinese artist and wellness guru Mr. Tsang Man Tung.

Singing bowls with DPA d:vote 4099 microphones.

Singing Bowls are ancient instruments that have long been used in Buddhist religious ceremonies to accompany periods of meditation and chanting. They have become popular with music therapists, sound healers and yoga practitioners who use their steady and harmonious sound to create a sense of calm and relaxation.

An impressive collection of Singing Bowls.

“To capture the sound and full frequency range of the bowls, it was crucial to choose the right microphone early on in the process, at conceptstage,” Mr.Chan says.
“We decided to go with d:vote 4099 Instrument Microphones because they could deliver the results we wanted. We mounted them in the correct location and they perfectly captured a balanced mix of the high and low frequencies.

”Tsang Man Tung’s new album, The Seed of Sound, draws on his years of experience with Singing Bowls, which he plays and also teaches others to play. For this project, Mr. Chanwas given an additional test because Mr Tsang wanted the album recorded live.

Mr. Tsang Man Tung, one of the greatest Bowl players.

“This is not the first time I have recorded with Singing Bowls, but it is the most challenging one because, unlike other albums, almost all of the music on it was recorded live and without adding any effects at the post production stage,” he explains.

“More than 30 bowls were used, each of which sounds very different to our ears. Each bowl has a complicated radiating pattern because the radiation comes from the different sizes of the bowls and the material it is made of.
”With the help of d:vote 4099 Instrument Microphones, the live performances given by Mr.Tsang were captured and 39 tracks were recorded over a period of three days.
The album has now been released and is relieving stress and assisting personal meditation among Mr. Tsang’s followers”, concludes Mr.Chan Pui Ching.

The Singing Bowls CD artwork.

More information on DPA microphones.

 

Luminex, the 3.0 Network

An exhibition like Prolight+Sound in Frankfurt keeps showing us major technological innovations in the field of intelligent lighting fixtures and controllers.
In the past few years the new moving heads have relegated the not so old Mac2000 models to light years. Literally, the functions of the projectors have increased tenfold and the astronomical quantities of parameters to be treated have cornered the manufacturers of lighting desks further into the ground.

The Luminex French-Belgian team chases the in-depth demos of their new Nodes.

The amount of information to be processed has been multiplied by 20 in 15 years, not counting all requests for mixing video, lights, backup system and remote console. If the management of these data flows between peripherals got organized after all, thanks to the genius of some major players such as Wayne Howell, inventor of the Art-Net, or by the sheer importance of some manufacturers whose own protocols finally prevailed (MA-Net, Kling-Net, sACN), the day-to-day reality is still terribly … obsolete.

The great inventor Wayne Howell. His legendary discretion does not prevent him from also being the author of three essential books: Rock Solid Ethernet, Control Freak and Light Bytes. He’s also a very active member of the organisation team and inspirator for PlugFest.

Put the blame on the DMX512 protocol, so robust and easy to use that it still represents the vast majority of projector connexions, almost thirty years after its release in 1990: actually the standard name in full is DMX512/1990. To understand the technological outdating of this system, it is enough to remember that the DMX was standardized and distributed at the same time as the old Videotex first machines, such as the French Minitel. Fortunately, the consoles have evolved.

For a manufacturer like Luminex, involved in finding solutions to improve and replace old standards, it is clear that the DMX is bound to disappear in the medium term. At the time of renewing their range of MK2 Nodes, the number of DMX outputs no longer appeared as an end in itself.

The difference now lies in the processing blocks, because it is obvious that the future of connections will be made more or less dematerialized via the Ethernet network.
LumiNodes are interfaces thought ten years in advance. Naturally, they’re able to work with current set-ups, but they are mainly designed to anticipate future protocols and adapt to the increasingly densified networks in type of venues.

The Luminex demo rack with, from top to bottom and left to right, a LumiNode 12, a Gigacore10 switch, a LumiNode 4 and the fixed installation Gigacore 26i switch.

LumiNode

Until now, wether it’s sending or receiving data, mixing multiple sources, converting to one way or the other, or triggering internal modes or programs, it all went through the DMX ports. And that was enough until now for those with limited interfacing needs.

The LumiNode 4 is the most versatile unit in this range. Despite its compact format, it comprises a display with multiple indications.

However, whether in fixed installations or large tours, network operators are now faced with complex demands, such as providing multiple sources to mix, be it light control, video control, stage needs and emergency lighting for example.
The requests might also be to manage conversions between Art-Net and sACN data, more and more often outside the consoles that manage this aspect only by DMX512 universes, and whose parameters are rather succinct (for the advanced aspects of the network).

In practice, nodes are often inserted just to ensure a particular process, linking them to each other. This is why Luminex has built its new nodes, LumiNode, giving priority to processing blocks. These processing engines make it possible to ensure virtually all its complex operations without ever going through DMX ports.
The completely redesigned LumiNode interface, combined with the new network management software, Luminex Network Manager, provides unparalleled work and convenient organization for secure network management.

The LumiNodes come in 3 main models. The first one, the LumiNode 2, incorporates 4 processing blocks and 2 DMX outputs. The LumiNode 4 comprises 6 processing blocks and 4 DMX outputs. The LumiNode 12 has 16 processing blocks and 12 DMX outputs. Another peculiar LumiNode, the LumiNode 1, is designed as a Digital Siwss-Army knife for the Network technicians.

Each node includes RDM-compatible DMX ports with full optical and galvanic isolation, in the Luminex tradition and wealthy habits, with a RGB LED activity indicator. A 2-port EtherCon RJ45 switch is also included, with link, activity and use mode LED indicators. A contact closure also exists for fixed installations (in the event of an alert or an external command, it will be able to trigger a lighting data state internally, or any other action, in a future update of the firmware).

To give a didactic example, Luminex presented on its stand a case study of data flow transfer managed internally thanks to its Processing Engine.

The LumiNode settings are always accessible by any web browser, using their management web pages. A more advanced software, the Luminex Network Manager, will be unveiled in the forthcoming weeks, it will also configure and manage everything, individually or in batches.
This upheaval in the Luminex range, whose milestones will undoubtedly mark a crucial stage in the development of the networks associated with show technologies, will see the nodes and their softwares officially distributed in June. To face the first industry worries, each LumiNode can be switched on while choosing one of its two firmwares, the active firmware and an alternate-firmware, hence choosing to follow or not the latest updates.

With these processing blocks, new management modes have appeared: the forwarder function enables the conversion of one protocol to another among the following possibilities: DMX (from any DMX port of the node), ArtNet, sACN, BlackTrax, an instant data capture or another processing block.

The nodes interface, always available on the web page, is completely re-designed, based on the software Offline Editor Luminex. The identical DMX output assignments are now easily completed just by dragging and dropping.

It will also be possible, in the future, to capture a data stream in the LumiNode and play it in case of data failure, or from an external command.
Backup procedures are also made possible, with source by source back-up or by each universe in crossfade changeover.

Processing block cascades allow complex conversions or re-routing, for installations that have to meet particular constraints. Finally, in control rooms where several consoles coexist, HTP or LTP mixes are allowed up to 4 sources, by universes or by addresses’ batches.

LumiNode 1

This node with one DMX/RDM XLR5 output is, by far, the tool that many network technicians eagerly awaited. With its single USB port for computer connection, it will allow, via a future software update, direct RJ45 connection to the “trunk” of its light network, to be able to manage all the switches and VLANs, thanks to the LumiNet Monitor or Network Manager software.

But it can also be used, with the power of its 2 processing blocks, to test and set parameters “on the fly” to light ensembles in RDM, without console nor complex system. Its sturdy construction, its 1 Gb EtherCon port, PoE power supply and pocket size are all designed to support technicians in all situations.
In addition Luminex has decided to lower its price to the lowest possible level, below 200 €. This commercial promotion made it so popular with many people who discovered and enjoyed the LumiNode 1 during the Prolight show, that it is already out of stock.

LumiNode 2

Rather dedicated to light installations, the LumiNode 2 is the smallest node in the range. Its format is intended to be hooked on the truss in theater or fixed to the wall, thanks to its hanging support.

It is equipped with 2 EtherCon 1 Gb ports with integrated switch, 2 DMX / RDM outputs with activity RGB LED and 4 internal processors. It comes without a conventional power cable, as it runs thru PoE power supply.

LumiNode 4

The LumiNode 4 is the most versatile in the range. In the half-U rack format, it perfectly complements the Gigacore 10 switches for all touring and festival kits, but can also be hooked up thanks to its M10 screwing hole.

With 6 internal processors and 4 DMX / RDM ports, a 2-port EtherCon switch and one of the LED indications, it will meet the majority of needs. Its main advantage over the LumiNode 2 is the presence of a real front panel menu with adjustment dialing jog wheel and a color indication screen, as well as a PowerCON or PoE power supply via one of the Ethernet ports.

LumiNode 12

The LumiNode 12 is the most complete in the range, comprising, in a rack-mountable 1U format 12 DMX / RDM ports, 16 processors and 2 Ethernet ports, with color display and configuration jog wheel.

The software is also able to display all informations such as the power consumption of the PoE devices, the status of the ports for the RSTP protocol, the connected AVB devices and their status, and the multicast groups registered on the switch.

Less expensive than the Node8 from the previous range, it is likely to prevail in all important kits.
Like the LumiNode 4, it has an array of LED indicators, and a choice of PowerCON or PoE power supply.


Luminex has planned a two-year roadmap to develop its software. It will first allow the administration of switches, then will come in the future the settings of the nodes, and finally the RDM equipment connected to Luminex nodes.
The revolution is now launched.

More information on the Luminex Website.

 

dbTechnologies, low profile in style at Prolight and Sound

(L-R) Marco Cantalù and Enrico Gamberoni

Present in full force with their big VIO L212 system in listening test, the italians guys from dbTechnologies also unveiled in Frankfurt two self-amplified newbies, practical and very well thought out:

– The small point source VIO X205 loudspeaker,
– And the ultra-flat VIO W10 wedge monitor.

To answer our questions we met on their Prolight+Sound stand in Frankfurt the Product Specialist Marco Cantalù and Enrico Gamberoni, dbTechnologies’ engineer, as fluent in acoustics as in marketing, and therefore analysis and transmission belt between the two departments.

VIO W10: flounders, better behave!

SoundLightUp : Where did the idea of an ultra flat wedge monitor come from?

Marco Cantalù (dbTechnologies Product Specialist) : We had discussions with the San Remo Festival teams, television channels and event service providers and they all told us they wanted to have “invisible” products. So we almost played around the idea and decided to start by employing compact transducers, but and still able to offer pressure and frequency response sufficient enough for professional use, without being “rock’n’roll”.

Ever seen a wedge monitor passed under a steamroller? Here comes the VIO W10, shown here without its protection grille. The grooves in the front have no acoustic vocation, they’re just here to lose a little more weight!

SLU : Other brands have used arrays of 4“ transducers since ages…

Enrico Gamberoni (Analyst & Market specialist) : No doubt, but not in ultra flat, amplified wedge monitors with variable directivity. (laughs)

Marco Cantalù : So, we have four wide range 4″ and a 10″ extremely flat speakers. These five transducers are connected to a 4-channel DiGiPro G3 amplifier with a total peak power of 400 W. Two outputs of this amp are in bridge mode for the 10″, and the other two channels are used on the two 4″ external ones for one channel, and the last one on the two internally positioned 4″.

A detailed view of the plate comprising audio, network and sector input and output ports, but also the local settings including the directivity of the mid-frequencies lobe: standard, tight, wide and deported.

This amplification set-up allows, via the internal DSP, to vary the directivity electronically by adjusting delay and filters. We have 4 positions. A normal, one where the lobe is enlarged, one where it is tightened and a last one where it is pushed back a few meters away which gives a wider use angle.

These four presets are inserted and selectable directly from the W10, but as it has a network port, it can also be controlled remotely. The connectors are IP65, which gives it the opportunity of outdoor use, and it could in the future be used as well hanging on a wall to further reduce its space on the ground, for example in a small jazz club.

SLU : The loading volume is compact, and I do not see any vent…

Enrico Gamberoni : There’s none. We went for closed load. This wedge monitor is a complex project, as we have different time alignments with the five transducers, and bringing in a vent with its turbulences would have complexified the whole lot and reduced the efficiency of the electronic waveguide.

I told you this wedge monitor IS flat, here’s the proof. Pay attention to the additional slit underneath the bottom part of the cabinet, designed to let all the cabling (audio, mains, network) pass discreetly through the loudspeaker.

SLU : Is it ready to take all the beatings a wedge monitor usually undergoes?

Enrico Gamberoni : Absolutely. It’s easy to carry around, less than 14 kg lightweight, and its grille is reinforced and step-proof. You can walk on it, the transducers are well protected. The max. SPL is 126 dB and the frequency response reaches 68 to 14 000 Hz at -6 dB. This opens the doors to TV sets, events, and all cases where the « low profile », in every term, is of the upmost importance, and more important than strictly power and dynamics. This is typically a niche product, ready to meet a lot of needs and peculiar requests.

VIO X205 : versatile in a (small) box

Second new product unveiled at Prolight+Sound, coming in two models, the X205-60 and the X205 -100. This is a small point source speaker designed around a 1.4” driver with constant directivity waveguide, with either 60°x60° or 100°x100° directivity, and in both versions flanked by two low frequency 5” woofers.


The VIO X205-60 without its front grille. For better and faster recognition, the front grille, also acting as phase coupler for the two 5“ transducers, bears a “60 x 60” mark on its right. Otherwise, just look at the depth of the driver, if it’s recessed then it’s a 60° version.

SLU : Active or passive ?

Enrico Gamberoni : Active, 2-way. The filter acts @ 1.5 kHz. The amplifier module is also home made. It is a DiGiPro G3, same generation as the one inside the W10 wedge monitor, it is very flexible indeeed. The big advantage of this little loudspeaker is that it can reach 85 Hz at -3 dB with its two 5“, which means for a conference I don’t need anything else. Via RDNet, I can program in the on-board DSP a delay up to 20 meters, so its use as lipfill is very simple indeed.

Look above the VIO S218 stacks in the listening area, these are actual X205s.

The max. SPL is 126 dB. The two openings bring a lot of versatility. At 60° the throw is enhanced, at 100° it is more pleasant in close reach. It can be hung in any way you need, and has a bottom hole for pole mounting. Despite its size, the cabinet is made of wood and its total weight is 7 kg only. The number of applications is almost infinite, stage, theatre, event, worship halls…

The VIO X205-100 mounted on its yoke, one of the many ways you can install it. son étrier, un des nombreux moyens de l’exploiter. Notice the two vents top and bottom of the enclosure.

SLU : Enrico, your power and SPL data seem very reasonable…

Enrico Gamberoni : They are indeed. First of all, we made the choice to work with the same measurement norms on all the VIO range, dans the GLL files are downloadable directly on our Website. Regarding the max. SPL, we integrate pink noise during 5 minutes with a peak factor of 6 dB.

We do this in our anechoic chamber, where we have a robotized arm, allowing us to find the best measurement point in the polar field, then we position the microphone at 3.25 meters distance, and then recalculate the value at one meter. Regarding the power delivered by our modules, it goes the same way. We don’t artificially overestimate our data, since the watt by itself doesn’t really mean anything.

Four VIO L212 on their dolly, it is the VIO range flagship and a very nice unit, musical and rock at the same time.

Knowing what the unit can handle is no big deal, opposite to what SPL it can deliver. (laughs) It is the same with the settings of our protections.
We don’t fool around with the SPL war, limiting in multi-bands the low frequencies before the other bands, just to display some extra dBs, at the expense of the general rendering quality. When we start going into limitation, we do it over the whole spectrum to preserve the sonic balance.
More information on dbTechnologies Website.

 

Chauvet Ovation E 260 WW Profile: extensive SoundLightUp test

Chauvet has been focusing on professional products for some time now, offering innovative and effective lighting fixtures. Their Ovation range pairs LED sources with the highest standards of conventional fixtures. We chose to test the E 260 profile in the warm white version.

Chauvet Ovation E 260 WW Profile Spot.

The fixture

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The E 260 comes in different versions: WW, Warm White, and CW, Cold White.
We tested the E 260 WW, whose color temperature we measured at 3250 K, with a CRI of 97. That already tells us a lot…
The unit consists of two distinct sections: the light engine and the lens tube. The light engine includes the source, its cooling system and the electronics.
It features a barrel equipped with a set of four framing shutters and allows you to fit fixed-angle lenses (14°, 19°, 26°, 36°, 50°). It can also mount two zoom lenses (15°-30 °, and 25°-50°) which have shutters directly incorporated. We tested a unit with a 15°-30° zoom configuration.

Interior/exterior design of the fixture

The Ovation E260 WW in use.

The unit is long and tapered, with its lens accentuating its long-throw spotlight look. The very long yoke takes up vertical space (about 40 cm) when it is mounted, but offers the possibility to orient the fixture so that it can be positioned with no obstacles, especially when mounted horizontally with yoke underneath the body, or simply as a down light.

The lens is fitted into a circular mount – a bit like a camera lens – with a quarter turn and is locked by two knobs located on the light engine assembly. Unfortunately, the tightening is done directly with the end of the screws that clamp the lens mount, which means that you end up digging into the aluminum in different places very quickly.
It would have been sufficient to have a system of rounded shims on the end of the screws to ensure that they can be tightened without damage.
On top of the light engine, there is a large ring for attaching a safety cable.

The inside of the light engine assembly. To the right is the optical unit in its conical housing, and the heat sink on which the fan is mounted.

By dismantling the unit, we gain access to the inside of the light engine. This is spacious and airy. The front gives way to the large output lens, which is fixed with four screws directly in front of the LED source.
The source is about 3 cm in diameter, and is coupled using thermal paste to a huge heat sink, which is itself equipped with a large fan that covers almost all of its rear surface. The power supply is located at the bottom of the housing, and the control PCB is positioned against the rear panel.

The exposed LED source and, next to it, the optical unit.

At the rear is a handle for moving the fixture, the connection panel and menu controls.
The power supply is connected here via a PowerCON input with an throughput connector (remember that the unit absorbs less than 250 W, so you can chain a few of them on a single line!), and the DMX input/output connection is also duplicated on both XLR3 and XLR5.


The exposed LED source and, next to it, the optical unit.

The optical section is quite conventional and is based on the familiar operation of some standard traditional lenses, such as the double knob for moving the zoom and focus lens carriages, with the focus adjustable by extending a crank located on the larger knob. This adjustment is straightforward, smooth and precise.

A lateral inspection hatch that closes with a simple captive screw allows easy access to the lenses for cleaning. However, we don’t find any means of preventing the lens from falling accidentally. A small cable connecting it to the light engine would have been appreciated.

Just in front of the framing shutters is a sliding hatch, held in place by two captive screws, which allows access to the slot provided for a gobo holder. Closing the trapdoor prevents light from leaking out. The shutters are well designed. When fully inserted, they do not protrude beyond the maximum width of the fixture. In other words, when you lay the fixture flat, you don’t risk bending the ends of the shutters… No, really, this happens a lot!
The movement of the shutters, as you would expect, allows you to obtain any desired shape. It’s easy to work with them, nothing gets stuck (well, the unit is new, this would be bad…).
The barrel of the fixture can be rotated to allow the orientation of the shutters, to form a “diamond” if necessary.
A gel frame holder completes the unit, it allows the installation of gelatins with an output diameter of 17 cm.

Various views of the beam. In the shadows top right, you can just make out the theatre lighting designer Karine Tison on her scaffold, adjusting the fixture.

What’s on the menu

Configuration options for the E 260 WW can be accessed by means of a small display and four keys. You can select the control configuration between modes with 1, 2, 3, or 6 channels.
“6 canaux pour une découpe d’une seule couleur ?” S’interrogeront certains d’entre vous… Hé oui chers amis !
“Six channels for a single color profile?” Some of you may ask… Yes, my friends!
In addition to a 16-bit dimmer (thus, with a “fine” parameter), the six channels of the extended mode offer access to a strobe channel, an “auto-programs” channel that allows different programmed “flashes” to be triggered, a channel to adjust the speed of these “auto-programs”, and a channel used to remotely configure the four different dimmer modes, which range from OFF to curves 1, 2 and 3.
The 3-channel mode consists of dimmer, fine dimmer and strobe channels. The 3-channel mode consists of dimmer, fine dimmer and strobe channels.
The 2-channel mode is limited to dimmer and fine dimmer, while the 1-channel mode provides dimming from 0 to 100%. The 2-channel mode is limited to dimmer and fine dimmer, while the 1-channel mode provides dimming from 0 to 100%.


The dimming curve from 0 to 100%.

The dimming curve from 0 to 10%.

In the menu, the “static” mode provides access to direct local control (dimmer and strobe), and the fixture remembers this information, even after it has been turned off. This way, you can configure it and then turn on the projector whenever you want via a direct mains switch (I said a switch! Attention: not a dimmer!) and it immediately returns to its previously configured state. This is particularly useful in architectural, decorative and museological applications, for example.
The “Dimmer mode” function allows you to assign one of four different dimmer curves to the fixture. We’ll come back to this further on. You can select the operating frequency of the LEDs from six different settings (from 600 Hz to 25 kHz) via the “LED Frequency” tab. For some video applications, this can also be useful. You can also access information on the operating time of the device, the setting of the backlight of the display, etc. In short, there’s everything you need and more to configure this lovely luminaire!

Measurements

Derating: The derating curve. The output stabilizes quickly.

We turn on the fixture at full power and measure the illuminance at the center every five minutes to plot the derating curve, i.e. the attenuation of luminous flux due to heating.
The light output stabilizes between five and ten minutes with an attenuation of 7%, which is very good.
We can then perform photometric measurements at a beam angle of 20°, from which we can derive the luminous flux of the fixture.

At a distance of 5 m from the target, the illuminance at the center of the field reaches 11,180 lux when cold and 10,400 lux after derating. From this we obtain a luminous flux of 13,280 lumens cold and of 12,340 lm after derating from a single 230 W LED source! This is more than some equivalent fixtures with 2000 W lamps!
This is a big surprise because, although we know that many LED sources are now capable of quite amazing performance, we didn’t really expect such a “punch” from this product.


The light

Jocelyn Morel, the author of this article, in the beam of the Ovation E 260 WW. The fixture is located at 5 m, and the beam angle set at about 20°.

The light is clean, though its distribution is not perfectly uniform at all zoom settings. When zoomed in tightly, it’s impeccable; when zoomed out, there’s a little more light in the centre. The optical principle of this unit must be responsible for this phenomenon.
We can also observe in the haze, where the beam emerges, a kind of “rod” of light that forms at the centre of the beam (like a beam within the beam), which is slightly visible for several tens of centimeters in front of the lens.
Anyway, this is not a real defect, and it poses no real problem. It is just a characteristic of the fixture.
The flux is generally well directed and the focus is crisp and precise. The tight beam still requires at least six meters of distance for a clean and tight beam without any iridescence.

Some different aspects of the beam.


At less than this distance, a very slight orange halo encloses the edge of the beam. From about 17° and wider, this phenomenon disappears. As we noted above, the framing shutters are effective. The sharpness on all the shutters is really very clean, at short or long distances.

A difficult task for a profile: a beam firing at an angle (here about 45°) on an inclined surface; some compromise on sharpness is required. Our Ovation does quite well.

As for dimming, we tried the different dimmer modes. The OFF mode maintains the instantaneousness of LEDs, with a crisp and precise response to both ignition and blackout. The other three modes provide different emulations of the curve of a halogen lamp with an “inertia” that is faster or slower. The simulation is very accurate and realistic.

Since we are talking about emulation, let’s dedicate a few lines to discussing a key issue: the color shift. While a fixture like this, with an LED source at 3260 K, is capable of simulating the inertia of different halogen lamps, it is incapable of simulating the shift in color – the well-known “orange” as the filament is falling towards black. At 5%, 10% or 15%, the beam is obviously still fixed at 3260 K…
That being said, the real question is this: Is it really a handicap for our E 260 WW (and for all products using the same technology) to keep its base color over the entire dimming range? Because, if this is indeed the real difference from halogen, isn’t it actually by using halogen that we had a handicap of color that varied according to the dimming level?

I can already hear those who are nostalgic for halogens shed a tear “as a matter of principle” about the variation in color and the famous “warmth” of the incandescent filaments of their beloved lamps. Nevertheless, it was a real pain sometimes to get the desired color at the desired intensity as soon as you dimmed a little. Just think about the appearance of a Blue 119 at 15% on a PC or a profile… Or consider the head of an actor illuminated with a 201 that was ruined by a profile at 20%…

With a LED, the problem no longer exists; we obtain exactly the same shade at any dimmer setting. In fact, it “corrects” the “problem” that we had finally digested and considered as the “norm” that we couldn’t do anything to prevent… until now!
What if this famous “warmth” of the amber that comes down really only ever mattered on the blinders, the Moles, etc.? In other words, these are sources that mostly make sense when the filaments are slightly glowing and that are rarely used for color. For spotlights, instead, 90% of the time maintaining color temperature over the entire dimming range is a major advantage.


The weather protection of the IP65 version.

Another interesting thing to know is that there is an IP65 version of this profile. It differs from the standard model mainly due to the presence of small flexible caps that ensure the waterproofing of the cables and connectors, but also by its casing, which has been designed to allow cooling without allowing water to enter.

Conclusion

This is a very nice unit that delivers remarkable luminous performance. The future of the “conventional” is in line with everything the lighting designer expects from a usable and well-built profile in 2019, and one that will be there for many years to come.

What we like:

  • The luminous output by itself
  • The lm/W ratio

What we don’t like:

  • The absence of a safety cable on the lens
  • Screws that scratch the aluminum when tightening the lens

Ovation general

More information on the Chauvet Lighting Website.

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The closer, the better: innovative Meyer Sound LEO configuration for Michael Bublé

For the new Michael Bublé tour, the Meyer Sound LEO configuration has been altered to remedy monitoring issues and to provide a more intuitive experience for the audience. This “dual hybrid” audio configuration complements and enhances the production’s split staging.

After a four year touring hiatus, smooth pop megastar Michael Bublé has returned to his adoring fans for 91 shows in North America and Europe. Dubbed “An Evening with Michael Buble,” the 2019 edition relies — as have Bublé’s tours for nearly a dozen years — on a Meyer Sound system supplied by Montreal-based Solotech.

Although the core LEO Family loudspeaker components are similar to those used since Bublé’s 2013 outing, for this tour the configuration has been altered dramatically to remedy monitoring issues and to provide a more intuitive experience for the audience.

Dual hybrid” audio configuration

Essentially, this audio configuration nicknamed “dual hybrid” complements and enhances the production’s split staging: a large end stage accommodating a full orchestra and background singers (up to 38 in total); and a smaller B-stage centered in the arena and connected to the main stage by a catwalk.

The main stage audio system, which anchors the orchestra image and covers the bowl seating up to about halfway back into the arena, comprises typical side and main arrays, but with the main front arrays canted off to the side, as they are not directed for vocal coverage of the rear portion of the arena.
That job is handled by a separate multi-array system flown under the scoreboard, with the two most powerful arrays here covering the rear seating bowl by functioning essentially as a massive delay cluster whenever Bublé is performing on the main stage.

Making the “zero point” follow the walking singer

Michael Bublé’s B-Stage.

However, when Bublé walks out to the central B-stage, the “zero point” of his voice follows along, transitioning in sync so that, when he arrives, his voice is securely anchored directly overhead while the orchestra image remains at the main stage.

As explained by Craig Doubet, Bublé’s FOH engineer since 2007, the original impetus for this novel setup came from Bublé himself.
“Michael loves getting out into the audience on a B-stage, which he has done the last two tours, but he was having a problem with his vocal from the main stage PA bleeding into his mic and then going into his IEMs. It’s distracting when you have a delay of 125 to 160 milliseconds coming back into your ears when you’re trying to sing.”

Craig Doubet, FOH Engineer, Jonathan Trudeau, System Engineer/Crew Chief.

When preparing for the tour, Doubet had a brainstorming session with Meyer Sound Director of System Optimization Bob McCarthy, Senior Technical Support Specialist David Vincent and Digital Systems Product Manager Rob Mele to sketch out possible solutions.
The particulars were engineered in collaboration with the tour’s System Engineer/Crew Chief Jonathan Trudeau and Solotech Audio Projects Manager Patrice Lavoie.

“The upshot is that now Michael is never directly in front of a loudspeaker,” says Doubet. “When he goes to the B-stage, we move his vocal along using some newly developed software in GALAXY.
What’s more, in a segment of the show where a small band joins him at the B-stage to evoke his days playing clubs, the main stage system is turned completely off and we bring up a pair of back-facing LEOPARD arrays to create a self-standing, in-the-round arena system. Michael is now very happy. We’ve made him feel like he’s always singing at the zero point.”

The innovations also help foster a more natural and intimate relationship between artist and audience. “There’s never a disconnect between where you see Michael and where you hear his voice coming from,” says Doubet. “When you see him go over there, his voice goes over there.”

The main stage system for the tour comprises a total of 16 LEO and 44 LYON line array loudspeakers configured across the front/out and side systems.
Twelve low frequency control elements 1100-LFC are flown at the main stage, with front fill from eight MINA and two JM-1P loudspeakers and floor bass anchored by four 900-LFC elements.

The B-stage system comprises two long-throw arrays each with five LEO-M and six MICA line array loudspeakers; side arrays of 14 each MICA loudspeakers; and stage-facing rear arrays of eight-each LEOPARD line array loudspeakers. Flown subwoofers here are 12 700-HP, with two 900-LFC elements on the floor along with 7 MINA loudspeakers for front fill. System drive and optimization is supplied by a Galileo GALAXY 816 AES master processor networked via AVB with seven GALAXY 816 array processors.

This novel configuration aside, the basic elements of the system deliver as expected for Doubet.
“I grew up in this business with the MSL-5 and 6, which were for me the epitome of a vocal box.
LEO sounds like that to me, except it has more power and versatility. Here LEOs are configured to cover the upper decks and it’s beautiful up there — out front as it should be, but rich and smooth all the time.”

He applauds too the consistency of the whole LEO Family, including the LEOPARD arrays, out for the first time with Bublé. “I know I can tune all the boxes the same way and Michael’s vocal will be the same everywhere,” he says. “That’s really my focus for this tour.”

Overseeing all aspects of the intricate staging and AVL technology — filling 19 trucks — is veteran Production Manager Dean Roney, who filled that role on Bublé’s tours since 2005. From Roney’s perspective, Meyer Sound technology and support have proven critical.
“Because of the unique set-up, with around 50 hang points for audio, having all self-powered loudspeakers was essential,” he comments. “And, as usual, Meyer Sound support is awesome. Their team took care of a great deal of paperwork and programming in advance, so we were ready to go from day one.”

Also contributing to the sonic excellence of the tour, alongside Trudeau, are monitor engineers Marc Depratto and Louis-Philippe Maziade.

Michael Bublé’s monitor engineers: Marc Depratto (left) and Louis-Philippe Maziade (right).

“An Evening with Michael Bublé” launched on February 13 and toured North America through April 19. From May 20 through November 10 the tour alternates between Europe and North America, with additional dates around the globe through next summer to be announced soon.

“In a segment of the show where a small band joins Michael Bublé at the B-stage to evoke his days playing clubs, the main stage system is turned completely off and we bring up a pair of back-facing LEOPARD arrays to create a self-standing, in-the-round arena system. Michael is now very happy. We’ve made him feel like he’s always singing at the zero point”, concludes Craig Doubet, Michael Bublé FOH Engineer

(L to R) Francis Lussier, PA/Stage Technician, Jeremy Walls, PA/Stage Technician, Sebastien Richard, PA/Stage Technician, Craig Doubet, FOH Engineer, Jonathan Trudeau, System Engineer/Crew Chief, Marc Depratto, Monitor Engineer, Louis-Philippe Maziade, Monitor Engineer (NOT PICTURED) Charles Deziel, Patch/RF/Intercom technician.

More information on Meyer Sound.

 

Macca plays half a thousand DARTZ on Freshen Up Tour with Elation

Beatles legend Paul McCartney released his latest album Egypt Station last September and then promptly launched his “Freshen Up” world tour to support the album.
Paul McCartney lighting designer LeRoy Bennett, who has been with the star for over 17 years, dresses the nearly 40-song playlist in complementary visuals using a lighting, video and effects package that includes over 500 Elation Professional DARTZ 360™ luminaires. Lighting supply is by Upstaging.

Some 528 of the compact LED beam/spot lights are used in the “Freshen Up” show under the lighting direction of Wally Lees, who has been McCartney’s lighting director for 17+ years and serves as lead programmer for all his tours and events.

Dartz on pods

Located above the stage in three identical pods are 240 DARTZ, each pod comprising 80 DARTZ in 5 rows of 16 fixtures wide. The pods are located center stage and run upstage to downstage on the center stage line.
Located behind an upstage see-through video wall, approximately 50’ from the down stage edge, is a rear wall containing 288 DARTZ spread across 24 columns. Each column is 12 DARTZ tall and only becomes visible to the eye when the fixtures become active.

With a punchy output, 3-degree aperture and small footprint (11.2 x 7.7 x 17.9, 28 lbs), the DARTZ is proving to be an ideal luminaire for large light walls and pod configurations. Bennett has turned to the compact DARTZ fixture often of late, using them on his current Kelly Clarkson tour design, as well as Lady Gaga’s Las Vegas residency Enigma show.

Best when used in mass

Lighting Designer Leroy Bennett. Photo ©leroybennett.com.

Paul McCartney lighting designer LeRoy Bennett said of the narrow beam luminaire, “The DARTZ 360 is a bright, reliable, fast, and compact light source. It’s proven itself to be the best when used in mass.”

At 76, McCartney still gives a highly entertaining performance and “Freshen Up” has received stellar reviews. The tour has played dates in Canada, Asia, Europe and South America with a U.S. leg kicking off on May 23rd in New Orleans.

More information on Elation Lighting Dartz 360.

 

NEXO STM SERIES FOR LEADING BELGIAN ARTS CENTRE

The busy Vooruit arts complex in the centre of Ghent in Belgium has transformed a historic venue, built in years before World War I, into a bustling arts centre with an impressive variety of cultural events.
It has collection of different venues, all equipped with NEXO sound systems, but the jewel in the crown is the Concertzaal, where production company VDB-PA has just completed a permanent installation of NEXO’s modular STM Series line array.

Nexo STM installation.

Design and specification of the new front-of-house system for the 1100-capacity Concertzaal was managed by Thomas Coene and Jan Van den Brande at VDB-PA, and marked a step-change in the 15 year relationship between VDB and de Vooruit.
“They have been dry-hiring systems for many years,” says Jan Van den Brande, “they use their own team of technicians and came to us for the main PA, consoles and monitors, depending on the event. When Vooruit decided to install a permanent system, we were able to draw on our huge experience in this venue to guide them to NEXO STM, which they chose over several other high-profile loudspeaker brands.”

Thomas Coene, who started his career as a student at VDB-PA, was put in charge of the design, noting Vooruit’s priorities for its 100+year-old architectural interior when it came to installing the line array.

“The size and weight of the small STM cabinets was an important factor,” says Thomas Coene. “There is a wraparound balcony around the venue so we had to respect audience sightlines, and also the flying points can only carry 500 kilos per motor. We need to choose compact lightweight loudspeaker cabinets.”

Doing the job perfectly

Coene designed the arrays with 12x STM M28 cabinets on each side, the top three boxes directed at the balcony audience, and then, with a small gap to avoid reflections from the balcony itself, the lower nine cabinets are angled at the floor.
“We did think of using some of NEXO’s small ID Series cabinets on the balcony, but the carefully-angled M28 cabinets do the job perfectly, and the top three boxes can be switched off if there is no one in the balcony.”

12x STM S118 subs are installed under the stage, equally spaced and running in omni mode. The system runs over a Dante network, powered by NEXO NXAMP4x4 amplifiers. “I can definitely hear a quality difference in the networked system,” says Coene.
“Also we have the flexibility to place the console anywhere, on the stage or on the balcony, and when bands come in with their own console, it is very easy to patch it into the system.”

Easy operation is key to the Vooruit installation. “We’ve set it up so that it is really practical to use. Whatever kind of event – dance party, world music, alt-rock – comes in, it takes just 10 minutes to set it up.
I like to hand over the system as flat as possible so it needs minimal adjustment for the room, and then I leave it up to the engineer.

“The STM M28 system is incredibly powerful, with enormous headroom. I like the brightness of the sound, and that the dispersion is truly 90 degrees, which allows you to make very precise adjustments to remove any unwanted reflections. The scaling and modularity makes it a very easy system to design.”

Three other performance venues with Nexo

De Vooruit has three other performance venues in its complex, featuring a wide variety of NEXO systems. The largest of these is the Teaterzhalle, capacity 700, with its proscenium arch stage. Here a long-standing NEXO GEO S8 system has just been expanded to 12 a side, with an upgrade to its amplifiers in the shape of new NXAMP4x2 models, as well as ID24 compact loudspeakers for infill.

NEXO ID24s discreetly installed in the Art Deco café.

In the Balzaal, new NXAMP4x4 amplifiers have been added to power the 5-a-side NEXO GEO S12 and RS18 system, and in the Vooruit’s ‘club’, the Domzaal, there are NEXO PS15 point-source speakers paired with RS15 subs.

One of the most dynamic areas of the complex is the Art Deco café, with its long bar and high ceilings, which has been equipped with a NEXO ID Series system, 12 units of ID24 super-compact point source speakers teamed with 6x IDS S110 subs.

More information on NEXO.

 

Maggio Musicale Fiorentino debut for Claypaky Axcor Profile 600: LED Sight Story

The “Teatro del Maggio Musicale Fiorentino” hosted the return of Leonard Bernstein’s West Side Story one hundred years after his birth (from 13 to 22 December).
This musical theatre masterpiece is one of the most loved shows still performed today.

The Florentine edition was directed by Federico Bellone and produced by WEC (World Entertainment Company), thanks to an agreement with Music Theatre International (MTI). The book was newly adapted by Franco Travaglio, Jerome Robbins’s original choreography was reproduced by Fabrizio Angelini, and the music was provided by the Maggio Musicale Fiorentino orchestra and choir conducted by Maestro Francesco Lanzillotta.

Lighting designer Valerio Tiberi says he “drew inspiration for (his) work from the new adaptation and the atmosphere of the Upper West Side of New York in the mid 1950s.
For this occasion, I requested and used the new Axcor Profile 600 from the Claypaky Axcor series, used here for the first time in Italy.”

Two versions are available on the market: one with an extremely bright 500W 6500K white LED source, and the other with a colour temperature of 5600K and CRI of 90.
Axcor Profile 600 lights mean top-ranking performance, with excellent light quality and high luminous efficiency, increasable by up to 25% using a boost function.

The enormous stage and scenery recalled the urban jungle of New York, where the Jets and Sharks try to get the upper hand in an atmosphere of hatred and intolerance.
This goes on until it is broken by the star-crossed romantic love story between Tony and Maria and its tragic epilogue.

The performance of the six Profile 900s the theatre is equipped with was integrated with 24 new Axcor Profile 600s arranged both on the ground in the wings, and above the stage on the battens.

“I am definitely happy with the overall set-up I was able to give this lighting design, and with the entertaining, romantic choral scenes. However I particularly remember the endings of the First and Second Acts with great satisfaction, since I was able to illuminate them with precisely the light I was looking for.”

“The contrast between light and dark prevailed at the tragic end of the First Act thanks to the position of the units, and the angles, but above all thanks to the power of the white light from the Axcor Profile 600s, which proved to be a successful fundamental feature.
The same thing happened in the final scene of the second half – the most intense and dramatic one. This is also marked by the contrast between powerful white lights and long cutting shadows, which accompany the final clash between the actors, the arrival of the police, and the last moments of Tony’s life.”

The lights were programmed by Emanuele Agliati, who used a Grand Ma 2 console.
The Axcor Profile 600s were provided by Audiolux srl Milan.

More information on the Claypaky Website.

 

New China office for Brompton Technology

In a succesful inauguration, Brompton Technology, manufacturer of high-end LED video processors, has opened its new China office, based in High Tech Industrial Park, Nanshan, in the modern metropolis of Shenzhen, Guangdong Province.
The decision to open a dedicated China support office was made in direct response to requests from Brompton’s customers, with Shenzhen being the obvious location as the region is now home to the majority of LED panel manufacturers.

The Brompton Technology Asia team, from left to right, Pokman Chu, Account Manager, Summer Zhang, Office Assistant, Thomas Walker, Product Manager, Elijah Ebo, General Manager, Jack Fung, Lead FAE, Jacky Kwan, Senior FAE and Vivi Chiang, FAE.

“At the first few meetings I had with potential customers in China, there were two immediate comments made,”explains Elijah Ebo, Brompton’s General Manager (China). “I was told, ‘It’s nice to meet you, but we don’t speak English, so you’ll struggle to deal with us,’ and ‘London [where Brompton’s head office is located] is a long way away and the time difference is considerable. But if you had an office here…’”

As a fast moving, highly responsive company, Brompton acted quickly and within just a few weeks had employed two Chinese speaking Field Application Engineers (FAEs) to help its customers with system design and technical support, whilst Elijah, who is also learning to speak Mandarin, started travelling to China more regularly.

Considerable benefit

“We acquired the office space in August last year and we’ve already seen a considerable benefit,” Elijah adds. “And in addition to being on hand in Shenzhen we have recently added Chinese language support to all our processors, which can be accessed via the Language section of the Preferences menu, and are in the process of updating all our technical and marketing literature into Chinese as well as working on a new Chinese website.”
Both the new office and Chinese language support have had a big impact on how quickly and how many people the team can see. “Our panel manufacturer partners and customers appreciate the fact that we are now readily available for them to communicate with and offer support when needed and that we have both Mandarin and Cantonese speakers in our team,” concludes Elijah. “We are very much looking forward to welcoming many of our key customers to Shenzhen.”

More information on Brompton Technology.

 

New $100m Innovation Center at its Japanese Headquarters for Yamaha

Yamaha has been at the forefront of the professional audio industry for many decades. The corporation is committed to maintaining this position and, to achieve this, it has opened a brand new, $100m Innovation Center at its headquarters in Hamamatsu, Japan.
Designed to accelerate pan-Yamaha development of a wide range of audio-related products, the major project has brought together engineers who used to be located in different buildings inside and outside the Yamaha Corporation HQ.

Originally planned a number of years ago, it had to be postponed due to the 2011 earthquake. The project was reactivated in 2016 and is now complete after three years of intense work and construction.

The Innovation Center comprises three buildings. A new seven-story, 35,000㎡ engineering facility is complemented by refurbished manufacturing control and quality assurance departments. The new building hosts engineers, including those from Yamaha’s professional audio, Unified Communications, home audio and its musical instrument divisions.
By assembling them together in one location, Yamaha is aiming to making collaboration between engineers from different business units and disciplines more streamlined, to enhance development efficiency. Complementing this aim, the new contemporary and inspiring work environment will boost creativity, delivering superior innovations and benefits to customers.

This Innovation Center has a number of cutting-edge facilities to ensure that every Yamaha audio product delivers both the best sound and user experience possible. To ensure new products are evaluated both technically and subjectively, the engineering and testing rooms include:

– One of the largest anechoic chambers in Japan, measuring 9 m wide x 14 m deep x 13 m high.

– Speaker testing rooms with the highest quality acoustic insulation.

– A main recording studio (amongst several others) designed for engineers to bring in any audio I/O, mixing and processing equipment they choose.



Also available are vibration experiment rooms, ergonomic evaluation rooms, sensory rating rooms (for subjective product evaluation), and reverb chambers with adjustable 0.3 – 1.6 second reverb time.

The recording studio, session studio and experiment rooms are all linked with both analogue and Dante digital audio networks. The Dante network allows for running remote session in multiple rooms, making it possible to simultaneously record studio sessions in different monitoring environments.

More information on the Yamaha Website.