Nice surprise indeed! >two new 15” et 10” loudspeakers on board, each one available in Wide or Focus version, all this with a new subwoofer, the first 21-inch ever for L-Acoustics. The four speakers will begin with an A, hence A10 and A15, the subwoofer with KS, that gives KS21 to our ears.

The A Series, now complete, as it will be available end of this year when the A10 officially are as well.

ARCS is the acronym for Arrayable Radial Coherent System, a radially mounted coherent system. It is not designed as a variable curve speaker, but with a fixed curve, while incorporating the DOSC patent.

L-Acoustics A15 et A10

The roll-off is a classic one, with 3 dB per a doubling of the distance, while keeping the same tonal balance.
Years after the original ARCS, a version II was launched, then the Arcs Wide et ARCS Focus versions appeared in 2012 for more versatility and lower price.
Seven years later, here they go for a total refurbishment of the whole range.

We take advantage of the presence of Fred Bailly on the L-Acoustics stand at Frankfurt Prolight+Sound exhibition to ask him for a full review of the new products.

Fred Bailly on L-Acoustics stand with the KS21 + A15 stack.

SLU : The A Series were born quite quickly after the previous WiFo. Did the latter had to undergo a correction?

Fred Bailly (Touring Application Engineer) : ARCS WiFo is very popular indeed, but the weight of the units appeared to be a weak point, due to the ferrite magnets of the two transducers and a large enclosure, as well as a certain lack of accessories.
So we did improve all this, while adding the 10-inch model which is going to deliver the same SPL of the WiFo but more versatile, lightweight and in a much smaller size.

The A Series also opens the door to rental and production companies wishing to get professional gear simple to get to grips with, but upgradable with a few add-ons for larger events, and finally step into the L-Acoustics Network.

KS21, the first 21-inch to join the L-Acoustics inventory, still very compact. It features the successful laminar ports from the popular KS28.

SLU : Let’s start with your new 21-inch subwoofer. It can be driven by the LA4X as well as the LA12X, does this mean that it doesn’t comprise a transducer as “difficult to handle” as the 18-inch inside the KS28?

Fred Bailly : The two transducers inside the KS28 are wired in parallel mode, and thus are considered as a global 4-ohm load. The LA4X delivers the same power at 4 ohms and 8 ohms, as it is primarily designed for 8 ohms. This explains why the KS21, boarding a single 21” in 8 ohms, is working on one output of the LA4X, but a pair of KS21 can be loaded on one output of the LA12X.
This new range of speakers is not strictly limited to any processed amplifier in particular, for instance LA8 will also incorporate the A Series & KS21 presets.

SLU : Where does the KS21 fit in your range?

Fred Bailly : KS21 is the natural low-end extension of the A Series, with a -10 dB bandwith from 31 to 100 Hz with a Max SPL of 138 dB.

SLU : It is quite small for a 21”, what is the load type inside?

Fred Bailly : Reflex type. The speaker is positioned straight, it takes all the front space, only a small part is hidden by the wooden plate. It is only slightly bigger than a SB18.
The latter system is a double port load where we have energy gain at 90 HZ, whereas the KS21 is designed with a single port dernier. Whar we couldn’t reach with a 18″, we now have it with a 21″, we get more SPL with a simpler load.

Stacked by fourn KS21 offers a slight upfront directivity. On this graph, each change of color figures a 3 dB attenuation.

The same stack in cardioid mode. The loss in distance is not much compared to the “cleanness” and lack of side-spill.

The hanging points are held in place by very powerful magnets. As always, to unlock the axis, you have to pull backwards once you’ve pressed the button. Very secure indeed.

We also kept the curved shape of the half of the port of the KS28 with a design very close to of our standard sub’s one. The difference is that we went for a bentwood like on the X Series, so it’s as lightweight as our wedge monitors (49 kg). We thought about the mutual hanging between boxes with quick, simple and sturdy hinge fittings, lockable when deployed or at rest.

The A15 stack shown on one side at Frankfurt exhibition. The difference in loading volume for the 15″ is easy to observe between the Focus and (on top) the Wide versions, same for the curve, with 10° for the Focus and 30° for the Wide.

SLU : Is this subwoofer versatile?

Fred Bailly : it is specifically designed for the A15 and the up-and-coming A10, but you can use it with another speaker if you wish. It is fitted with a hole for mounting pole for upper speaker.

SLU : Does the 21” have similarities with the transducer in the KS28?

Fred Bailly : No, it has nothing to see, it’s not at all the same product and the internal tuning is totally different. KS28 goes a bit lower and has a larger internal load.

SLU : How are the A15 and A10 speakers positioned in the L-Acoustics existing range?

Fred Bailly : As previously with WiFo (Wide and Focus, the former ARCS models) there are two different angles available. A15 Focus has an angle of 10° whereas the ARCS Focus was 15°, and the A15 Wide remains with a 30° aperture.
The principle is a 15” or a 10” with the same DOSC-loaded 3″ driver and L-Fins magnetic guides to vary the directivity between 110° and 70°, plus the option to use an asymetric mode. These loudspeakers only exist in passive mode.

The L-Fins on two A15s. On the Focus one below, they are in 70° mode. On the Wide unit above, they’re configured in nominal 100° mode. Asymmetrical combinations can be achieved as well.

The horizontal directivity is the same on an A15 Wide (110°, 70°, and assymetrical) with 3 dB less SPL because of the bigger vertical directivity, as we switch from 10° to 30°, and the low frequencies have smaller load, as the case shape, narrower at the back.

One way, amongst others, to configure a left/right by tightening the upper Focus at 70° to help get a longer throw without touching reflective surfaces, while the Wide box below is in 110° mode to give a better nearfield coverage in the pit.

A10 Wide and Focus units installed under a plexiglas cover to symbolise its long-term availability… and to hinder photographers ;0)

SLU : How could you gain some more SPL with A15 Focus, compared to ARCS II, your “big” bi-amplified model?

Fred Bailly : The preset is not made the same way. ARCS II was mainly designed for “dB(A) SPL”, whereas A15 and A10 are designed to comply to our variable curve products, with a sonic contour similar to K2. When comparing a stack of 5 K2 with 4 A15 Focus, you get a very similar curve, with only SPL difference.

SLU : What will happen with ARCS WiFo and ARCS II, then?

Fred Bailly : The market will decide. These three models are still on offer. This reminds me of what happened SLU : A15 is available right now in both version, why wait for the A10?

Fred Bailly : This will leave us some time to finish the development on the A10. We planned to launch first the A15, and then the A10, and we’re sticking to that. the smaller model will be available 4th quarter of 2019 with all the accessories for vertical or horizontal or array hanging, and these need a complete refurbishing.

Two ways of using and hanging A15s. Soundvision will be vital more than ever. Version 3.1 already includes the A Series and KS21 data.

SLU : What is the market these new products are aiming for?

Fred Bailly : All small to mid-size entities not needing variable curve line arrays. The A Series, and especially the A15 in 70° mode, can be stacked and cover up to 45 meters, a 4,000 audience, and at the same time a single pair could be used for 50 people without sub.

SLU : How many presets did you design for the A15?

Fred Bailly : Only one, despite all the possible combinations. It is obvious that, depending on the number of enclosures, their positioning and the use of their L-Fins, you might have to adjust some levels, but all these tools are available in the Network Manager.

The vertical polarity of the A15 Focus…

… and of the A15 Wide.

One A15 on the assembly line in Marcoussis.

The two A15 Focus and A15 Wide constant curvature enclosures and dedicated KS21 subwoofer are available early may 2019. For both A10 models, you’ll have to wait until autumn 2019 (october/november), even though you could have a preview of them under a plexiglas cover in Frankfurt.

We’re going to listen ASAP to this new range in the musical forest near Marcoussis, and we’ll post our imporessions like we did for ARCS WiFo … 7 years ago! OMG how time flies … You could add that 144 dB SPL for the A15 Focus and 141db SPL for the A15 Wide, with a widened bandwidth, doesn’t make ARCS II look younger at all, with its 142 dB SPL needing two amp channels…

More information on the whole ARCS Series on the L-Acoustics Website.

Claypaky is pleased to announce the opening of its US Sales and Operation Center. The company, which is known for placing great value on personal contact with its clients, will now have a local team of American lighting experts providing a high level of customer service for Claypaky products.

Pio Nahum, Claypaky CEO.

Leading the new team are respected lighting industry veteran George Masek as well as Dennis Knopf, former Senior Sales Manager at Osram, the parent company of Claypaky.

“Finally, our American customers can enjoy all the benefits of our direct presence in the United States,” says Pio Nahum, CEO at Claypaky.
“We are going to offer them attractive sales options as well as US-based technical support after their purchase.
We want to ensure that customers enjoy an exceptional return on their investment through the highest functionality of their equipment”.

“The multi-decade experience of our American team, combined with the ability to innovate – for which our brand is famous, will all be directly available to users there,” Francesco Romagnoli, North America Sales Manager explains.

Francesco Romagnoli, Claypaky North America Sales Manager.

“This will be followed by opening an advanced technical assistance center, these new developments will enable Claypaky to immediately serve our customers in the best way possible.”

“I’m so impressed with the technological leaps that Claypaky is making – they are doing some truly revolutionary things. It is a great pleasure to have the opportunity to share these directly with the dealers, artists, and technicians that we know in the US” added George Masek.

“I am thrilled by this new professional opportunity,“says Dennis Knopf, “it will allow me to bring the solid experience I gained with Osram Entertainment Group to the Claypaky customers. I am very pleased to be part of the new North American team. With the global team of Claypaky and OSRAM we will be able to supply and support the entertainment industry with innovative products never seen before”.

George Masek, Claypaky US Sales and Operation Center.

Dennis Knopf, Claypaky US Sales and Operation Center.

More information on Claypaky products.

Swedish melodic death-metallers, Soilwork, have kick-started 2019 with a bang – in the form of a co-headline tour with Finnish metal giants, Amorphis. Performing 31 shows in 35 days across mainland Europe, Soilwork were supported by an Allen & Heath SQ-5 digital mixer running FOH and monitors.

Allen & Heath SQ-5 at FOH.

The band’s full set-up includes an SQ-5 at FOH, with two DX168 I/O Expanders positioned on stage. Monitors are controlled from FOH, with an iPad placed on stage for the backline tech to make minor adjustments.

Tommy B at FOH with his SQ-5 console.

Tommy B (FOH & monitor engineer for Soilwork) purchased the SQ-5 system, commenting, “Having mixed on most compact consoles, the Allen & Heath SQ series is by far the best.
In the past, other manufacturers had set the standard for price friendly consoles, but the SQ just blows everything out of the water!

With the SQ-5 I get great preamps, sharp EQ, super FX and with the DEEP compressors, it really adds that extra special something to the system. Plus, using the custom user layers makes a 30ch band seem like a walk in the park to control.”
The highlights of SQ for Tommy are the per channel DEEP processing capabilities, which he makes full use of.

“I absolutely love the compressors! I use the Peak Limiter 76 for vocals, its attack and release really suits the lead singers vocal style, it also helps to keep his vocals in the centre of the mix the whole time, as his mic positioning can sometimes be off”, he comments.

Soilwork live – with nicely compressed vocals – in Wiesbaden, Germany.

“I use the Opto on my drum group – heavily compressed – as it gives an extra kick to the drums in the main mix.
With SQ’s low latency, it is possible to have L/R signals and groups in the mix at the same time, without any latency issues.
I also use the Opto and the Tube Stage Preamp (with added Hi Drive) for the kick as it adds this great distortion, which means I can get this really heavy kickdrum sound with only one mic.”

Tommy B concludes, “I also use the 16VU on bass as it also has great compression but still gives the bass a powerful sound. The overall mix is combined with the Opto compressor; its slow attack and release keeps my mix together and adds the last and final punch.”

More info on SQ digital mixing consoles.

Twenty-four Astera AX1 PixelTubes were utilised for one of 20 stunning site-specific lighting installations created by individual artists for the first UMBRA Light Festival in Vitoria-Gastiez, Spain.

The beautiful, vibrant and highly multicultural historical capital city and seat of government of the Basque Autonomous Community in Alava, northern Spain, came alive for three days, offering creatives, visitors and lighting enthusiasts from all over Spain, Europe and much further afield a chance to redefine the city and see it in some new, exciting and reimagined urban contexts.

UMBRA was organised by ARGIA 3 Asociación Cultural and curated by a new collective comprising Rafael Gallego, the principal of Aureolighting, Joaquín Pérez-Goicoechea, founding partner of AGi Architects and stage lighting designer, light artist, and founder of Studio & Light Carlos Torrijos – three individuals, all passionate about lighting.

One of the technical sponsors was EES, Astera’s Spanish distributor who are based in San Sebastian. They made the AX1’s available which were utilised by Carlos Torrijos for his own work at the festival, “Buscando la Vida” (Searching for Life).
It was staged in the former water reservoir next to the Palacio Montehermoso, a 16th century stately Renaissance building – one of two special underground spaces that became immersive light works during the event.

The Palacio was linked to the ancient Depósito de Aguas (Water tank) by an underground corridor added in 1885. Since 1991 Palacio Montehermoso has served as a cultural centre for the city and region, and during UMBRA this extensive underground corridor with its imposing vaulted architecture was opened to the public allowing them to access the 1.365 m² large hall of the former water reservoir.

Vertical lines soaring from the floor

Carlos Torrijos’ light-and-sound piece was based on vertical LED lines soaring from the floor, created with the AX1s stationed at strategic points around the vast area.

Their energy-conscious wireless battery powered operation was ideal, and even when standing in the open, the tubes became absorbed in the space.
These illuminated the massive structural arches which were a masterpiece of Renaissance engineering. The movement of the light up and down the Astera tubes was inspired by the rise and fall of the water in the tank.

Reemphasizing the relationship between lighting and physical space, the work was also aimed at getting an emotional response from guests in terms of extracting the light everyone has within them from the ‘silence’ that is so often the norm.
The thought-provoking ambience created as people were bathed in light was intended to encourage the existential process of pulling positive energy from inner darkness, searching the soul to find new meanings and ideas.
Emphasising the form and functionality of the room – a dark, closed off space – with light also helped explain the history and relevance of the location.

PixelTubes: expedient housing, blending unobtrusively

Carlos chose to use the PixelTubes for the work because he wanted a clean and pure light in an expedient housing and something that was expediently packaged that would blend unobtrusively into this extraordinary environment.
The AX1 produced the large amounts of light required but occupied minimal space. It was the first time he had used an Astera product and was extremely impressed with the results, reckoning that the AX1s are an “original and different” light source with “great possibilities” for light art installations like this, and for more conventional entertainment-based applications.

He’d like to use the Tubes again and experiment with having greater control over the effects and operation for the next work. “I loved the reflection of the colours on the architecture and the dynamism of the actual light emanating from the Tubes”, Carlos Torrijos concludes.

EES themselves were delighted to be involved in the first of what will hopefully become an annual event. Having recently added Astera to their product portfolio which features other premium brands, they like Astera’s diversity and the many new possibilities their ingenious wireless technology brings for lighting projects.

The first UMBRA Light Festival was a massive success, pulling many people into Vitorio-Gastiez and creating a real buzz of excitement and creativity, and boosting an appreciation of the many unifying effects of lighting on social interaction.

Morte information on Astera products.

“Mixing just four inputs in an arena show is one of the greatest challenges of my career,” shares Ken “Pooch” Van Druten about his gig with rapper Travis Scott, who is currently touring in support of a pair of Number Ones: his latest album, Astroworld, and the single “Sicko Mode.”
Now on the second North American leg of the “Astroworld – Wish You Were Here Tour,” Pooch reports that audio for a pair of DiGiCo SD12 consoles for both house and monitors is piloting Scott’s sonic voyage.

FOH Engineer Ken “Pooch” Van Druten (left) and Monitor Engineer Justin Hoffman at the tour’s DiGiCo SD12 monitor desk (photo credit: Mathew Zimmer).

Pooch is best known for nearly three decades supporting heavy rock artists—including System of a Down, Iron Maiden, Pantera, and almost ten years with Linkin Park—but, as the music world has changed, he’s moved into pop, supporting Justin Bieber’s last tour, and hip-hop with Jay-Z before joining up with Scott.
He’s been a noted DiGiCo user since his time with Linkin Park, so although this latest gig may seem like part of a continuum, it’s very different in one way: channel count.

Mixing four consistent inputs

“Starting with Linkin Park, input needs started to increase rapidly, and with both Bieber and Jay-Z, that kind of exploded,” Ken “Pooch” Van Druten says.
“The DiGiCo SD platform has been a crucial part of my toolbox for dealing with shows that often seemed to be bumping right up against the max channel count of the consoles. But, with Travis, I have just four consistent inputs: a left and right from the DJ and vocal mics for the DJ and Travis, plus occasional guest vocal mics.”

Supporting a pair of recent chart-topping Number Ones—the album Astroworld and the single “Sicko Mode”—rapper Travis Scott is one of the hottest touring artists right now (photo credit: Mathew Zimmer).

Modern pop production has become incredibly dense and there is an ever-increasing pressure on artists and the engineers who support them to recreate every nuance live. On past tours, Pooch has pointed to the quality and depth of onboard tools, plus workflow and Waves integration, as big reasons for choosing the DiGiCo SD platform.
When one is wrangling close to 200 input channels, workflow and the ability to access tools almost instantaneously are self-apparent.

“In some important ways—namely the density of production—Travis’ music shares some basic characteristics of the artists I’ve been working with for more than a decade. But this tour is different and, in many ways, a lot more difficult.
When you have 192 inputs and there’s a sonic issue with one of them, there are ways to make the issue less apparent. When all of the density is coming to me as just a left and right input, if there’s an issue, there’s no place for a humble sound guy to hide.”

Challenging gig

Making a challenging gig even more so, Pooch had no time with the artist and—more important in terms of the sounds coming into the SD12—the DJ. He joined the tour on its third show when a decision was made to replace the engineer who had done all of the production rehearsals and the first two shows.
That meant no time to work with the DJ to custom craft his tracks to make them more big-PA-friendly. Also, despite the compact size of the SD12, there was no room for audio at a traditional front-of-house position.

“This is a 20-truck tour,” he explains. “There’s a lot of PA. The sheer number of double-18-inch subs is pretty stunning and, just from a hearing fatigue standpoint for engineers, that kind of low-end energy presents its own challenge. But the stage has multiple thrusts and there is a B Stage right where front of house would usually be.”

Clair Global is carrying two DiGiCo SD12 consoles with Travis Scott on his “Astroworld – Wish You Were Here Tour” (photo credit: Mathew Zimmer).

For Pooch’s first gigs, the SD12 was situated on one side of the room, on the concourse separating the lower and upper seating areas in a typical arena.
When the tour got into some arenas where even the concourse was not a viable option, Pooch opted to move backstage using a pair of near-field monitors as his sound source.

It worked well enough that it’s become the default mixing position. The only audio gear out front is a single stereo measurement mic. The stage design also means that Scott spends almost the entire show with an open vocal mic working in front of a Clair PA that regularly clocks in at around 130 dB C-weighted.

Constant danger of feedback

“Between the constant danger of feedback and the nature of Travis’ music, which is very dense, probably the most important tool for me is the onboard DiGiCo multi-band compression.” Pooch is a well-known Waves user, and he does use some of their plug-ins for Scott’s often-extensive vocal effects, but he’s currently using only DiGiCo onboard multi-band compressors, which are available on all input channels and output busses as standard. “They are probably the most important tool I have for this tour,” he says.

The hip-hop world—and increasingly the pop and country worlds—are all about collaboration and constant change. Between remixes, guest appearances and even some artists re-sequencing the tracks on an album after it’s been released, this music is never really “finished.”
Scott is as well known for his work with other artists as he is for his own songs—he recently guested with Maroon 5 for the Super Bowl halftime show, as one example—so some of his ever-changing set material might come from a single verse, or even a full lyrical track, that he contributed to a hit by Drake, Kanye, or someone else.

Collaborating with his DJ, Scott often weaves these vocal snippets into brand new tracks, so the first time that they’re ever heard is by tens of thousands of fans—and Pooch—in front of a massive PA.

Multiple snapshots per song and extreme EQ and level changes

House sound for Travis Scott’s tour is mixed by Pooch backstage using a DiGiCo SD12 desk, pair of nearfield monitors and video display.

“One of the hardest things about working with songs that have never had a life outside of the studio is that there is often a hard disconnect between what sounds great in a pair of studio monitors or headphones and what works in a big PA,” he continues.
“That means that there are multiple snapshots for every song and the EQ and level changes can be pretty extreme. The multiple instances of multi-band compression on the outputs are, in many ways, my only safety net.

The DiGiCo compression is smooth and musical. Even if, out of nowhere, I get a new track that has a lot of high-mid content that sounds great in the studio but can be grating in a big PA, the SD12’s on-board compressors can clamp down on it in a way that’s not obvious to the audience. That gives me time to make more precise and subtle EQ adjustments, then save those for the next time the song makes an appearance.”

Pooch started his long audio career in the studio and migrated to mixing live when the artists he was working with asked for his help on the road. That path has made him almost uniquely qualified and comfortable with presenting complex and dense soundscapes in a live setting, but this tour is more of a challenge.

“You’d think that with just four inputs, this would be the easiest gig in the world, but I’m sweating every show,” he concludes laughing. “Being able to get to specific tools very quickly, along with the quality of the SD12’s onboard compression are crucial for a great audio outcome. I wouldn’t want to do this kind of show on a console other than a DiGiCo SD.”

More information on Clair Global.
See more details on Travis Scott’s upcoming tour dates.

Toward the end of 2018, Cameo celebrated the introduction of its ZENIT range to NicLen GmbH’s huge rental park, and over the course of the last few months, Germany’s largest DryHire provider has turned the heat up several times more—most recently with its battery-operated ZENIT B200 Outdoor Washlights.

NicLen guys happy to receive Cameo new products for their rental inventory.

With its latest investment, NicLen makes a strong statement and has further diversified its Cameo portfolio. NicLen’s DryHire portfolio now includes the OPUS S5 LED Spot Moving Heads, the OPUS SP5P LED Profile Moving Heads, the AZOR B1 LED Beam Moving Heads, the ZENIT W300 LED Outdoor Washlights, and the F2 T & D LED Tungsten & Daylight Fresnel Spotlights.
The stock of ZENIT W600 LED Outdoor Washlights has also been further increased.

Opus twins

CAMEO S5 Profile LED moving head.

CAMEO S5 Spot LED moving head.

NicLen was particularly impressed not only by the bright, vibrant colors of the compactly-sized and powerful Cameo OPUS® S5 Spot Moving Head, but also by its huge light output of 17,500 lm, its linear CTO correction, and its wide zoom range of 6° to 46°.

Thanks to its numerous control options (DMX, RDM, Art-Net, sACN, W-DMX™), the spotlight can also be easily integrated into a wide range of different setups. To achieve accurate, precision lighting—including a wide range of effects—the OPUS® S5 is complemented by the OPUS® SP5 Profile Moving Head.

Azor, sharp as a razor

CAMEO AZOR-B1 Beam LED moving head.

Another innovation at NicLen is the Cameo AZOR® B1—a powerful Beam Moving Head with an extremely narrow 2° beam angle and motorized focusing. Based on its cold white 100 W LED, the AZOR® B1 achieves an impressive illumination intensity of 180,000 lx at a distance of three meters.

Besides 17 static gobos, the product also features a circular octuple prism and a linear sextuple prism, both of which can be rotated and indexed. To complete its wide range of features, the AZOR® B1 includes a fast strobe function and a low-noise, temperature-controlled ventilator.

Fresnel revisited

CAMEO F2-T LED Fresnel projector.

Presented exclusively for the first time just months ago at the LDI Show in Las Vegas, the F2 T (Tungsten) and the F2 D (Daylight) Fresnel Spotlights have already been introduced to NicLen’s rental park.
With immediate effect, DryHire customers from trade shows, theater, broadcasting, and the movie industry, who are looking for a replacement for conventional 1-kW Fresnel spotlights, can now benefit from the huge potential offered by the two new Fresnels.

The RDM-compatible spotlight features a 240-Watt daylight LED with 3,200 K (F2 T) / 5,400 K color temperature (F2 D) and generates a softly contoured ray of light with a seamlessly adjustable beam angle of 15° to 40°.

In addition, the Cameo Fresnel Spotlights from the F range offer four dimmer curves with 16-bit resolution and selectable responsivity. A choice of six different pulse width modulation frequencies up to 25 kHz ensure flicker-free operation.

Real all-rounders

Nico Valasik, Niclen-GmbH CEO.

“Thanks to our latest investment in the Cameo portfolio, we are in a better position to meet the diverse needs of our customers,” explains Nico Valasik, CEO of NicLen GmbH alongside Jörg Stöppler. “In particular, we regard the OPUS Moving Heads as real all-rounders.
Their performance and the variety of features they offer are impressive.

In recent times, we’ve really found the Cameo brand has become a worthy addition to the established manufacturers. Cameo’s innovative approaches and uncompromising technology have resulted in truly impressive products, which meet the demands of the modern-day lighting industry.”

The Cameo OPUS® S5, OPUS® SP5P, AZOR® B1, F2T(D), and ZENIT® W300 spotlights will be soon available in NicLen’s DryHire rental portfolio.

More information on Niclen GmbH and Cameo lighting products.

L-Acoustics, worldwide leader in premium professional sound solutions, and L-Acoustics Group, a family of companies focused on the design, manufacture and commercialisation of L-Acoustics sound systems, proudly announces the future acquisition of a majority stake in DeltaLive UK (Delta Sound Incorporated (UK) Ltd.), a specialist in audiovisual services and rental.
This operation follows the November 2018 acquisition by L-Acoustics Group of HGP, a manufacturer of precision sheet metal, and its sister entity, API, specialised in powder coating.

Christian Heil, President and founder of L-Acoustics (right) and Paul Keating, cofounder of DeltaLive UK (left) announce the acquisition of DeltaLive UK by L-Acoustics; show here with Island, L-Acoustics Creations personal auditorium.

For the founders of DeltaLive UK, Paul Keating and Mark Bonner, this transaction coincides with the sale of their Dubai-based operations, Delta Sound LLC to PRG, heralding a turning point in the history and activity of the company.

For L-Acoustics Group, the acquisition of DeltaLive UK vertically reinforces its expertise in all areas of professional audio, from conception through to manufacturing and operation in the field, widening the possibilities for fresh creative and collaborative approaches to the deployment of audio and visual technologies to enhance the audience experience.

At BBC Proms 2018, DeltaLive deployed an L-Acoustics system to offer L-ISA Hyperreal Sound technology for the Royal Albert Hall’s most anticipated event of the year.

DeltaLive UK has been a long-standing customer of L-Acoustics as a member of the L-Acoustics Certified Provider Network. DeltaLive UK uses L-Acoustics state-of-the-art sound solutions in association with all components of the audiovisual chain in a wide range of services, providing a rich and challenging environment for the systems.

DeltaLive UK enjoys a well-deserved reputation for top-quality service for prestigious projects ranging from BBC Proms, to the opening and closing ceremonies of major cultural and sporting events, to Royal and public events, and more.

The relationship between L-Acoustics and DeltaLive UK had recently been strengthened by the introduction of L-ISA Immersive Hyperreal Sound, a trailblazing technology that paves the way towards the future of sound.
DeltaLive UK deployed L-ISA technology in high-profile events such as the award-winning sound production of BBC Proms 2018 at Royal Albert Hall.

DeltaLive is expected to further development of L-Acoustics Creations, a new business segment catering to the highest audio standards in lifestyle, design, and sound art applications, including Island, the ultimate personal auditorium; Here DeltaLive installs an Island in China.

“Welcoming DeltaLive UK into the L-Acoustics Group of companies was a natural next step in our already productive relationship, but DeltaLive UK’s positioning within the group and in relation to L-Acoustics Network of Certified Providers is totally unambiguous,” states Hervé Guillaume, CEO of L-Acoustics Group.

“DeltaLive UK will continue to operate independently under the joint management of Mark Bonner and Paul Keating, with no change to the services or conditions of sale, rental and production that the company has been providing over the last thirty years.

“The medium-term strategy is for DeltaLive UK to venture into markets that have hitherto remained unexplored by L-Acoustics, with the commissioning of private and professional multichannel auditoria such as Island or Ocean, featuring best-in-class L-ISA technology under the banner of ‘L-Acoustics Creations’.”

Christian Heil, President and founder of L-Acoustics

Christian Heil, President and founder of L-Acoustics, relates: “Technologies are currently becoming more complex and often challenging for service companies. L-Acoustics is a pioneer in multiple audio-related fields and connected activities.
We therefore need partners who are consistently in touch with end-users and can assist us in refining and validating our offer to better align with the escalating standards of high-level show production. DeltaLive UK brings a wide range of opportunities, and its geographical proximity to our UK offices in London will allow us to fulfill this mission.

“There is no question of us ever interfering in the provision of services or developing large-scale rental solutions,” continues Heil. “The economic rationale that led us to make this acquisition is our total commitment to our nascent L-Acoustics Creations business segment, the purpose of which is to propose our very best technologies for lifestyle, design, and sound art creative applications.
Thanks to the work ethic and charisma of Paul Keating, I believe that DeltaLive UK will be the driving force behind this new and exciting activity.”

Mark Bonner (left) and Paul Keating (right) cofounded UK audiovisual services and rental company Delta Live.

Commenting on the acquisition Paul Keating adds: “Delta has always had a strong professional and friendly relationship with L-Acoustics. Excuse the pun, but very much the French Connection. This year is our thirtieth year and we felt it was time to move the business forward for the future.
As Hervé mentioned, nothing will change in terms of the day-to-day management of the company, and the excellent team at DeltaLive UK will continue to exceed customer and audience expectations.

“L-Acoustics is a great fit. With the company’s leading technology and reputation for the highest quality audio products and performance, we are excited by our next phase of development,” enthuses Keating.
“In particular, the revolutionary L-ISA technology will strengthen our specialist audio services to clients. At a personal level, I am really looking forward to the challenge ahead and working closely with L-Acoustics, growing their private, lifestyle and sound art sector. Exciting times ahead!”

More information on L-Acoustics and on Delta Live UK.

Amadeus has announced the install of over 172 of their speakers along with the company’s HOLOPHONIX immersive audio processor at the newly opened, and completely remodeled 560-seat theater, La Scala Paris.
Amadeus was deeply involved throughout the renovation process helping to design the sound reinforcement system that would allow the theater’s productions a boundless array of audio control and choices, all with the very highest audiophile-level sound quality.

The electro-acoustic sound reinforcement system was designed specifically for La Scala Paris by Amadeus – in collaboration with composer Philippe Manoury and scenographers Patrice Buniazet and Richard Peduzzi.
The result is an outstanding sound system with modularity that enables an almost limitless number of configurations and possibilities for all types of performers and theatrical presentations.

La Scala by night.

La Scala Paris is an art theatre house, presenting all types of creative trends with the highest degree of invention.
The theater has re-created itself with a complete renovation and remodel, which started in the spring of 2016 and opened two years later in 2018.

During the renovation and design, the theater had a constructive dialogue with many of today’s top artists in every discipline to help create a platform for their creative productions. Many of the artists came to visit the theater’s location in Paris and helped model the performance space by expressing their wishes.

Inspired by the extraordinary story of the theater’s location and its ambitious artistic direction, many of the artists who visited created a La Scala program–and became ‘La Scala Paris residents’; their creations will be shown throughout forthcoming seasons.
Theatre, dance, circus arts, music, and visual arts will be welcomed within the new walls of this place of memories, eagerly looking forward to shining for Paris’ audiences.

Gaetan Byk, Marketing Manager at Amadeus states, “La Scala Paris has been thought of as a fundamentally different type of theater, because of its programming, its artistic expression, its technical scenography, and the associated technologies that bring productions to life.
The sound was an essential piece of the renovation, on the purely acoustic, mechanical, and electro-acoustical diffusion levels.”

Amadeus’ Gaetan Byk (left) and Thierry Coduys, with Holophonix processor.

The audio setup is built around HOLOPHONIX spatial sound processor, designed by Amadeus in collaboration with STMS Lab (Sciences et Technologies de la Musique et du Son), located in Paris.

It is supported by CNRS (National Center for Scientific Research), Sorbonne University, French Ministry of Culture, and IRCAM (Institut de Recherche et Coordination Acoustique / Musique).

A screen capture of the Holophonix software, showing La Scala and the impressive number of speakers ready for any kind of algorithm and immersive use.

The HOLOPHONIX processor creates an extremely advanced platform, which is able to mix, reverberate and spatialize sound content played from various devices using several different spatialization techniques in two or three dimensions.
It allows users to select and combine these techniques (or algorithms) in real time.

The sound and acoustics-related choices made for La Scala by the owners Mélanie and Frédéric Biessy were decided upon after they met with artists like Philippe Manoury, Philippe Hersant, and Philippe Schoeller.

Melanie Biessy, co-owner of La Scala.

Frederic Biessy, co-owner of La Scala.

“We wanted to build a system that would be able to adapt to any live show and any concert – even the most acoustically and sonically challenging,” states Frédéric Biessy.
“Our meetings and exchanges with IRCAM were also a key factor in transforming La Scala into a facility with unique acoustical specifications. The hall’s acoustics and sound reinforcement system are at the core of our project, and it makes La Scala even more than a concert hall.”

“To bet on the success of a multidisciplinary performance space implies that, in every domain, the tools are the most demanding and the most adapted to the quality and the demands by the artists invited to perform there.
All the artists who have performed at La Scala in the past four months have confirmed that their needs were met,” concludes Biessy.

La Scala Paris Sound Reinforcement System details

Spread around in a hemisphere shape, enveloping the viewers and adapting to the geometrically shaped building – all while controlling the technical and aesthetical constraints in the Grande Salle, the new sound reinforcement system at La Scala Paris uses 172 speakers designed and built by Amadeus at their Paris headquarters.

The audio setup has been largely inspired in its philosophy by the system installed within IRCAM’s variable acoustics hall (called ‘Espace de Projection’) for research on high-end sound field recreation systems, including Wave Field Synthesis 2D and Ambisonics 3D sound. This IRCAM space features nearly 339 speakers designed and manufactured by Amadeus from 2008 to 2012.

Specially designed Amadeus speakers, with front panel slanted, while the coaxial transducer is aimed downwards.

Some speakers, especially those fixed on the two upper catwalks, were designed specifically by Amadeus for the La Scala Theater. The speakers installed on the first catwalk are set at 6.5m height from ground, with the front panel slanted, while the coaxial transducer is aimed naturally at a 30 degree angle to get an optimal overlap in the listening area sweet-spot; on the second catwalk, the front panel of the speakers are tilted at 45 degrees.
Three speaker ‘antenna’ systems are fixed under every balcony as delayed systems. Each ‘antenna system’ is made of 12 Amadeus ‘PMX 4’ coaxial speakers, evenly distributed over the whole width, with an inter-source distance of 1.25m.

Amadeus ‘DIVA M²’ line array.

A frontal high power line array system is also part of the global system. It is made of 18 Amadeus ‘DIVA M²’ (pronounced M-Squared) speakers, a new model in the Amadeus product range.
Several different speaker configurations are used at La Scala: the main L/R is made of 2×9 DIVA M², the L/C/R is a 3×6 DIVA M² setup, and a multi-diffusion setup consists of a 6×3 DIVA M².

The HOLOPHONIX poly-algorithmic processor offers a quasi-unlimited number of buses (or ‘spatializers’), and each one can run an embedded spatialization algorithm, including Higher-Order Ambisonics (2D, 3D) Vector-Base Intensity Panning (2D, 3D), Vector-Base Amplitude Panning (2D, 3D), Wave Field Synthesis, Angular 2D, k-Nearest Neighbor, Stereo Panning, Stereo AB, Stereo XY, Native A-Format Ambisonics, Native-B Format Ambisonics, and Binaural.

In the Grande Salle, three Wave Field Synthesis (WFS) spatializers are used to precisely drive each delayed speaker ‘antenna’ system under the balcony, according to differentiated spatial positions.
A Higher-Order Ambisonics 3D bus drives the speakers installed as a ring around the audience, on the first and second level catwalks, and on the ceiling. A Vector-Base Amplitude Panning (2D) bus drives the loudspeakers placed at the balcony level, behind the audience.

Depending on the project being presented at the theater, speakers can be discretely added: they are managed by an Angular 2D or k-Nearest Neighbor spatializer, or directly routed to a physical source through the HOLOPHONIX processor system.

The whole sound system is amplified and processed by DSP amplifiers developed by Powersoft. They handle all fundamental system parameters: EQ, time alignment between different sections, limiters, fine-tuning, and speaker thermal protection.

“It was a fascinating and thrilling challenge to imagine a unique sound system, tailored to La Scala Paris – a true technological gem. The Scala Paris is the first theatre in France to combine a variable acoustics system, built with modular two-sided panels (absorber/diffusor), and an extremely sophisticated immersive sound system utilizing 172 loudspeakers, ” says Thierry Coduys, Chief Technology Officer who was intimately involved in the creation of the HOLOPHONIX processor.

Scenographer Richard Peduzzi, in charge of the visual identity of La Scala.

Renowned scenographer, painter, designer, and furniture creator Richard Peduzzi designed the whole interior architecture, from the ‘Scala Blue’ (created by Argile) to the Grande Salle furniture, lighting, boxes, stairs, rails, railings, and passageways.

Peduzzi, along with Amadeus and Argile, worked together to manufacture all the installed speakers (except for the mobile items) in a special ‘Bleu Scala’ finish; a subtle blend of resins and blue-grey pigments, which makes the speakers appear both dark and bright at the same time.

Sound Designer and Composer Philippe Manoury, in charge of the sound identity of La Scala.

Philippe Manoury, long time prestigious Ircam institute collaborator and renowned French composer and sound designer, was in charge of the sound identity of La Scala, and worked in close collaboration with the Amadeus team.

“Technologies linked to immersive and spatialized sound are now coming out of laboratories to enter various entertainment venues.
They embody a new audio revolution, as an integral component of avant-garde visions in many French institutions such as La Scala Paris, le Théâtre National de Chaillot, le Théâtre du Vieux-Colombier, Les Champs Libres, and others.

All these performance spaces were among the first to believe and invest in these immersive audio technologies,” concludes Gaetan Byk.

La Scala team.

More technical information on the complete range of Amadeus speakers and the HOLOPHONIX processor, and Powersoft amplifiers.

Perpendicular and vertical were the key words, with unusual hanging points or tilting.
For the inauguration of Museo del Novecento, a remarkable modern history museum in Venice, Italy, Marco Mazzon Sound & Lights turned to their inventory of Elation Paladin™ hybrid LED luminaires to light an extraordinary vertical dance show by Compagnia Il Posto that took place across the dazzling ceramic-tiled façade of the building.

Located in M9, a new urban regeneration district in Venice Mestre, Museo del Novecento, or Museum of the 20th Century, is a place where Italians can rediscover the drama of the previous century to understand how best to build the future.

Innovative museum using multimedia and interactive technology

As the innovative and emotionally engaging museum uses multimedia and interactive technology in its storytelling, it was only appropriate that the creative inaugural show was illuminated using an innovative, state-of-the-art luminaire.

Marco Mazzon Sound & Lights, who also served as lighting designers on the project, required a powerful color wash light that could project up to 20 meters from the ground with the possibility of varying the zoom angle.
Having purchased a number of Paladins from Elation’s Italian distributor Audio Effetti prior to the event, the versatile RGBW luminaire with zoom fit the bill perfectly.

Multifunctional fixture with minimum light spill

The Paladin is multifunctional and can operate as a blinder, strobe or powerful wash light.
For the Museo del Novecento opening, its dynamic wash capability was clearly on display with four units used to bathe eight vertical dancers positioned 20 meters above the ground in a variety of shades.
Moreover, because it was important to control and limit the amount of light spill on the façade, the fixtures were equipped with barn doors to better direct the beam.

Not surprisingly, there are special challenges in lighting an outdoor vertical show that takes place at such a height; one is getting enough illumination on the performers while minimizing shadows. Audio Effetti says that Marco Mazzon Sound & Lights have used Paladins on similar projects though to project 30-40 meters so brightness was not a problem.
As far as the elements, because setup and fixture mounting occurred the day before the event, waterproof fixtures were an absolute necessity.
The Paladin, with its IP65 rating to withstand adverse weather conditions without the need for protective covering, made weather factors a non-issue.

The event came off without a problem and the aerial performers executed their dance to perfection and the delight of the crowd.

More information on Elation Paladin.

Wonderfruit is an annual arts and music festival. Two years of epic audio generates potential global rollout with L-Acoustics L-ISA Immersive Audio System in this wonderful place.

12 hangs of three Kara plus an SB18 were placed in a dodecahedron configuration facing the centre of the structure, with a 115XT HiQ below each hang to allow for nearfield coverage.

Two years ago, Hugo Heathcote, one of three directors of Polygon Live, and his Polygon co-visionaries Archie Keswick and Nico Elliot entered into discussions about a new immersive audio concept to be delivered for a festival environment.
Searching for the right technical partners to bring their 360° audio vision to fruition, the Polygon trio discovered that L-ISA had everything they required.

The destination for L-ISA was Wonderfruit, an annual arts and music festival that takes place at The Fields of Siam Country Club, near Pattaya in Thailand’s Chonburi Province.
The team first delivered its vision, the Polygon Live stage, in December 2017, allowing festival-goers to experience a fully immersive event, bringing together futuristic sensory technology that synchronised touch, holographic visuals, light and spatialised sound in an all-encompassing festival environment.

The Polygon Live stage at Wonderfruit.

Polygon deployed L-ISA technology for its interactive Polygon Live stage for very good reasons, as Heathcote explains: “Not only does L-Acoustics make the best loudspeakers, they’re way ahead in the development of immersive audio technology.

With our incredibly talented team collaborating with the team at L-ISA, and working alongside festival Founder, Pete Phornprapha, we produced a programme, from inception to delivery, for a completely new and innovative stage at Wonderfruit.”

Wonderfruit and bamboo structure

The success of the new concept meant that at its second outing, in December 2018, the team could build on the previous year’s achievement.
This time, it moved on from just playback in the stage’s 25m diameter bamboo structure, to live performances, allowing L-ISA technology to be utilised by some of the world’s leading underground House and Techno DJs over a four-day period. “From an audio point of view, the goal was to give our DJs and producers the ability to spatialise their content when playing live,” Heathcote explains.

“The design was very much led by the desire to not only achieve the highest quality audio that would encompass everyone who visited our stage, but to maximise our ability to freely move audio within our custom speaker configuration.
So we went for a hemisphere of loudspeaker sources, encompassing the audience with surround and overhead layers.”

The L-ISA system design was a collaboration between Polygon Live and Director of L-ISA Labs, Sherif el Barbari. L-Acoustics Application Engineer, Alvin Koh, also worked closely on the project alongside sound designer and immersive mixing specialist, Davey Williamson, who has been involved in complex L-ISA designs such as SPYSCAPE experiential museum in New York City.
“Davey’s proven ability to execute both a technical and creative delivery on L-ISA projects was an invaluable asset to us,” Heathcote says.

Dodecahedron configuration

Height elevation was achieved with eight 115XT HiQ in a ring, all facing directly downwards.

The team deployed 12 hangs of three Kara with an SB18 atop each hang, all positioned in a dodecahedron configuration facing the centre of the structure, with a 115XT HiQ below each hang to allow for nearfield coverage.

The height elevation consisted of eight 115XT HiQ in a ring, all facing directly downwards.

Sub enhancement was delivered through 16 SB28 as a central configuration, comprising two rows of eight in horizontal orientation. System control was via a DiGiCo SD824 Core 2, which sent a MADI stream of 64 sources to the L-ISA Controller. System calibration was carried out by system engineer Matt Gush, with direction from Williamson.

“The results exceeded all expectations,” Heathcote concludes. “The sound was the best we had ever heard – the system was a joy to work with and performed beautifully.
We’re at the beginning of an exciting journey and so look forward to pushing the L-ISA technology as much as we can, with the goal of producing truly extraordinary experiences. Huge thanks to Christian Heil, Sherif El Barbari, and the entire L-ISA team for entrusting us with their flagship technology.”

Having successfully deployed the system for a second time, Polygon Live is now looking to roll out the concept globally.

The Polygon Live stage at Wonderfruit.

More information on L-Acoustics, and click here for our interview of creator Christian Heil.

disguise is now shipping the new vx 4 server which has been engineered to play back video at higher quality and resolution than ever before. Previewed at Integrated Systems Europe 2019, it won the Installation Best of Show 2019 Award.

The vx 4 is optimised for playing up to four times uncompressed 4K60 using its high-performance NVME RAID drive array; as well as the capability of playing lossless 10-bit video. Additionally, it can capture either 16 3G-SDI sources, or four 4K sources (2160p60).

With the introduction of r15.2 and the vx 4, disguise now supports HDR content, and provides a means of applying colour profiles. Consisting of a colour space and a gamma curve, users can now set a colour profile to their content, or capture images and disguise does the real-time conversion.

“High dynamic range and 10-bit pipelines offer more clarity, more image detail and more flexibility on what can be brought out of the image after shooting. Media servers are now part of the conversation about colour space and can perform an essential role in HDR workflows.
At the top end of the spectrum this involves being able to support 10-bit, uncompressed image sequences, live HDR cameras and performing colour space conversion on the fly” says Sarah Cox, Director of Community at disguise.

Award-winning vx 4.

The vx 4 also offers users a choice of content quality using industry recognised codecs, from delivering high quantities of compressed content to the higher visual fidelity of uncompressed image sequences (TGA, TIFF and DPX).
The new flagship pro range server has even more network bandwidth with dual 25GbE and dual 10GbE ports; enabling faster media file transfer and higher resolution networked live video capture.

Like other pro range servers, the vx 4 is ultra rugged with a cross-braced stiff chassis and isolated core components. The new chassis design also features a new hi-res OLED front panel for more detailed system information.

“The vx 4 is our most powerful server to date, and has been engineered from the ground up to deliver uncompressed playback and even bigger video than before. Building on the legacy of the pro range, it’s the most robust hardware we’ve built.
We’ve put it through extensive shock and vibration testing to ensure it meets the demands of Touring and Live Events.” says Thyge Haarberg who has led the engineering of the vx 4, and other hardware products at disguise.

The vx 4 also features disguise’s unique VFC technology, which allows users to output DisplayPort, DVI, SDI or HDMI without changing the system, as well as mix signal formats and resolution types in the same project, with guaranteed frame synchronisation and near-zero latency. The vx 4 ships standard with the latest in disguise’s VFC technology, the HDMI 2.0 VFC cards.

More information on disguise series.

This third day of the Prolight+Sound exhibition is slowly waking up as the stands walls still resonate with the merry fading notes of last night parties. No visible trace, however, of these nocturnal excesses in the halls 12.0 and 12.1 of the Frankfurt Messe dedicated to our industry.
The all-German efficiency and their keen sense of organisation and cleanliness will surely be missed if, as rumors swell, Barcelona could win the ISE / Prolight Grand Slam after 2020. If this should happen, we’ll not miss the german climate: as the day before, pours continuous rain over our stooped shoulders. No matter, the SoundLightUp teams will stop at nothing to ensure the freshness of their news.

Day 3 – After Party

The Vari-Lite 6500.

In force on the Vari-Lite stand, two journalists for a single projector: the VL6500. The spirit of the VL500, iconic moving head from the 2000s, has decided to re-emerge this year with this new device with a resolutely contemporary look reminiscent of the design and most of the features of the powerful VL6000 plus (among others) a frontal frost with fins reminiscent of the famous VL500.

Hasty passage in front of the PR Lighting aquariums where snorkel several waterproof projectors, “IP65” is a very fashionable word indeed this year, including the spotlight Aqua 480 WBS and its LED buddy Aqua LED 600 Spot.

Interesting discovery on the Swisson booth, where the 2019 motto is simplicity. The XES-2T6 is a premanaged gigabit Ethernet switch, with two linked ports for redundancy and six others the user can freely allocate among the ten available VLANs. Ideal for light multi-network configurations.

Madrix version 5.1.

Madrix unveiled version 5.1 of their pixel-mapping software. In addition to the updates of their effects banks, we’ve been mainly attracted by the native integration of BlackMagic cards and NDI and Spout video streaming protocols inside.

The Follow-Me tracking system moves to a higher dimension with the transition to full automation.

Follow-Me sensor and anchor.

Thanks to their sensors and anchors, no less than fifty artists can be followed in real time by slave moving fixtures, with automatic offset of the azimuth, the zoom and the dimming following all the stage possible drops and level steps. Impressive!

The German emperors of the carefully-controlled pixel Schnick Schnack Systems were preparing to give a award a prestigious world award to their distributor LedBox, for its installation in the Roissy CDG terminal of a classy 3D sculpture of which each pixel is controlled independently.

The LedBox team waiting for the Lighting Design Award on the Schnick Schnack Systems booth.

On the Highlite huge stand, the Infinity range of Profile projectors, developed in collaboration with Robert Juliat, continues to take on the lion’s share. The same fine dimming electronics and the same 7-LED engine are incorporated in two new cycloramas, including a 300 W with a clever adjustable and retractable anti-glare shutter.

Day 3 – the Messe, a mass of newbies

A little nod to the frenchies of DMG Lumière, now fully incorporated in the Rosco inventory with the latest-born, Maxi Mix, a large LED source with infinite hues developed specifically for the cinema market, with its full range of accessories for diffusion and hanging purpose.

DeSisti remains well in the race with its dedicated range for TV sets, with new versions of the Fresnel Led F10, the SoftLed 2XL for ambient lighting, and a new architectural LED Ludi range.

Coemar Othello.

On the nearby stand, Coemar showed all the subtleties of Ledko Fullspectrum HD Profile, whose new menu declines a brand new software.
Still in development, the expected evolution in motorized Fresnel will be called Othello and will also be available in many versions.

The Chroma-Q Brute Force.

The minutes flow quickly and our presence on the show reaches to its end, when suddenly we are caught in a colossal mass of light that leads us to the Chroma-Q booth. Here is “Brute Force”, a huge LED projector with 6 Studio Force II, dedicated mainly to the film industry. You can trust us, his name was not chosen randomly…

Last but not least, the Italian “Knight of Lights” Claypaky, whose demo show includes his latest projectors and heavy-weight models preview. Part of it is the Wash version of the Axcor 600, equipped this time with a framing module, as well as the sparkling new HY B-Eye, whose 40 W LEDs make the K25 and K15 the most luminous LED Wash fixtures of their category . Success seems also guaranteed for the small Mini-B, a concentrate of B-Eye in a pocket size, ultra-fast and punchy.

The grand finale gives way to the star of the show, the Xtylos, an amazing Beam equipped for the first time worldwide with an exclusive laser source. 300 W of power consumption and a beam probably never seen before, at the same time of high density, with very saturated colors and able to shrink its beam below 0.5 °!

Claypaky Xtylos, the first ever Laser Beam moving head.

Stay tuned for Day ‘ report…

Belgian rock band Triggerfinger played four highly energised, sold-out shows at the beautiful Roma concert hall in Antwerp … marking the European live performance debut of Robe’s new SuperSpikie moving light.

The band’s lighting designer is Erwin Van Lokeren and the lighting and audio equipment was supplied by rental specialist Splendit.
The SuperSpikies were part of their most recent investment in Robe technologies, and these were the first of the small and super-bright luminaires to be delivered in Europe, supplied by Benelux distributor, Controllux.

Last year Erwin started working for Triggerfinger, a constant presence on the Benelux rock scene since 1998. They decided to play these five showcases at the Roma rather that one large gig in one of the cities arenas.
Roma is a well-known and loved arts and cultural hotspot in the vibrant Borgerhout area of Antwerp, originally built as a cinema in 1928. The intimacy and warmth of the venue makes it a firm favourite for artists and audiences from all over Belgium.

When it came to choosing fixtures, Erwin wanted lots of different and more idiosyncratic lightsources and compact fixtures. When Splendit confirmed they would have their SuperSpikies delivered in time for the show, he incorporated 17 into his design.

Massive impact for small size

Twelve were in the roof rigged on the rear house bars, and five more were positioned upstage on the floor – all having a massive impact for their small size!

The SuperSpikies set overhead were used for back and general lighting and the floor units for silhouetting the band and shooting through the backline into the audience … for which they were highly effective.

“It was great to be using this brand-new tech” commented Erwin Van Lokeren who thought the output was “amazing” especially with the narrow beams.
Erwin uses Robe a lot in his work. He thinks the products are “awesome”, extremely reliable and that the brand is constantly bringing new and interesting products to the market.
He had not actually used the regular Spikie yet, and was super impressed with the characteristics of the ‘super’ version!

The band are relatively traditional when it comes to lighting requests, however they also gave Erwin creative freedom to bring his ideas and suggestions to the table.
He kept it simple and uncomplicated in the same oeuvre as their uncompromising, gritty, hard, driving rock sound. Only three colours – red, blue and a variation of whites – were used throughout the two hour set, evoking confident and well-defined looks.

Not a show of colour bumps of whizzy effects

It wasn’t a show of colour bumps of whizzy effects. Instead, he used the different texturing and qualities of the fixtures to sculpt the show and create shapes and ambience, keeping pace with the power of the band and the tension and emotion building right to the end of the set.

They are not overly keen on video, so projection appeared just in the last three songs, which was the encore, so lighting worked hard as the main visual effect. Erwin appreciated the rich dark reds and blues of the SuperSpikies, and he also used the flower to boost the dynamics.

Custom made fixtures

Nonabeams, Svobodas revisited.

Erwin used several other interesting fixtures on the Roma shows including Nonabeams, a tuneable white LED fixture made especially for Splendit inspired by the classic Svoboda.
The backdrop was up-lit by static LED wash units which were also deployed along the sides of the stage and either side of the forestage.

Meanwhile 5×5 RGBW LED panels in the roof provided alternative top lighting with more of these pointing upwards from the deck. He also hooked in to the Roma’s house spot and LED wash moving lights, running everything through his Chamsys MQ80 console.

He’s worked with Splendit for around five years and they are always his go-to rental company when he has influence over the choice of rental partner.
“Everything to do with the company is quality – the kit, the crew, the personal contact and the whole service … all of it is excellent” he stated. Even the band noticed and remarked on the neat and tidy stage cabling!

Splendit was founded in 2009 by Marijn Broeckaert and purchased their first Robe moving lights six years ago. They have rapidly established themselves as one of the busiest and best respected technical production rental companies in Benelux.

More information on the Robe Superspikie.

Collective Marathon for our journalists in the Prolight+Sound Halls 12.0 et 12.1. in Frankfurt, devoted since this year to lighting, special FX and trussing technologies, but turning at dawn into spontaneous festive spots.

Day2 – It’s raining Main

First welcoming stop at Chauvet booth, where the new Maverick MK3 Spot & Mk3 Profile confirm the move upmarket for the Miami brand. With a 800 W LED engine and a lot of features, they were almost leaving the smart Epix Stripled solutions and Colorados into the shade, just joking…

Chauvet Maverick MK3 Spot and Profile.

Robert Juliat Maestro.

Robert Juliat, specialists in tracking and 3D engineering, are, as always, very impressive with their knowledge and high level of technical assets.
The SpotMe ecosystem evolves even more for complete integration with all kinds of consoles and set-ups, thanks to the Maestro, positioning 3D PosiStageNet server, and their partnership with ZapTrack to automate a good part of the 3D calibration.

After two years of intense R&D efforts, the Probox F-2500 has finally come to life and was launched by Wireless Solutions of Sweden. It’s a big wireless DMX512 4-channel transceiver with no less than 4 inputs and 4 outputs, and Art-Net, sACN et RDM compatibility.

Probox F-2500 from Wireless Solution.

The Arri EB Max clever series allows the user to plug different power heads to its electronic ballasts. The self-recognition patent delivers instant adjustment of the output power and the frequency.

At the back of hall 12.1 we discover a huge colorful truss building. Welcome at SGM and its assembly of LED matrixed bars.

New “yet unnamed” SGM projector.

Here stands proudly only one new product, but we will not know its name nor complete tech specs, as it’s unveiled quite confidentially, a kind of old days DCA powerful beam coming out of a quite massive moving head.

Before a short break, let’s talk about motor controllers with the Sonoss guys, showing the latest intelligent motor remotes, clever and full of bells and whistles.

Sonoss motors remote.

They showed us the whole concept with the dedicated protocol they developed for wireless operation.

The Cameo booth was logically integrated in the Adam Hall stand, as it is their lighting brand, we therefore had to make a detour in hall 8.0, dedicated this year to Pro Audio. This means some hasty visitors, looking for lighting products in Halls 12.0 and 12.1, might have lost a good occasion to attend a clever presentation of the 2 new products here.
First, the mid-range but well-featured Opus S5 Spot moving head, unstripped in a transparent protection, then the Washer B200 color changer, showing its outdoor capabilities, even for very cold winter or countries, as it was inserted in a block of ice, which will melt in two days, they say.

The Cameo Washer B200, cool item in its ice block.

As this unit has a very tightly closed body, it will not suffer from it anyway, the LED component loves low temperatures.

The Moscow-based creators of Sundrax were back on a booth niftly situated close to the Robe extravaganza, driven by Dimitri Louste, with a very complete display of their four ranges of boxes and interfaces, some of them designed for wall insertion by electricians.

The PowerGate ARMA.

Their numerous installations for the Bolchoï or the Kremlin led them to design all kinds of exclusive solutions to transmit the data any possible way: optic fibre, wireless (proprietary system), and piggyback on the mains network.
The latter solution, the PowerGate ARMA, is more and more demanded by installers who cannot add anything to an historic and classified castle or place, while not able ,nor wanting to use a wireless transmission of the DMX512 signal.

Day2 – Before Party

Hallelujah! The long-awaiting prayers of the 3D designers have been answered by the almighty Wysiwyg engineers, as the R43 release was there in pride and majesty.
The changes are not only cosmetic, but the real changes are hidden underneath, with the full 64 bit compatibility available end of June, with a special attention given to maximum use of all the multicore, RAM and graphic cards the modern PC world can provide. The very first feature to benefit from all this is a real-time fully-integrated video recorder.

The two young and enthusiastic founders of Portman were proudly showing their new Mini-P1, a 7-hexagons quite big projector, where halogen lamps glow nicely, embedded in colorized reflectors.

The Portman booth.

In a different alley, the french manufacturer RVE was launching no less than 6 new units, Fresnels and PC models, all brightly incorporating different sources of various power, with their legendary very precise and smooth dimming, even in the lower values of incoming DMX data.

Whoever likes travelling and exotic names will recognize Ayrton’s favourite game of finding wind names for its new models, presented here in full musical perfectly timed show. It was starring the profile et wash Diablo et Levante Profile and Wash models, and unveiling the first waterproof d’Ayrton mowing head, the Perseo.
The journey finishes with the very impressive and well-named Huracan, a tornado of yet unseen power and combined effects. Its exclusive “double color mixing system”, associating CMY and CTO/CTB/CTP, will be examined in details by SoundLightUp soon.

Perseo : The first waterproof Ayrton Profile moving head.

Huracan by Ayrton, impressive kit of power and innovations.

“And now for something completely different”, the new C24 distro rack from StageSmarts, crammed with intelligent protection on each output and dedicated specialized circuits.

The ZerOS server.

In the same area of products, Zero88 were proposing PSU boxes designed as switchable dimming packs or distro items. The BetaPacks 4 are available with a wide choice of chassis plugs, and complete the self operating ZerOS server, a rack-mounted lighting console.

Switch and node from ELC.

Silvio Ciben, Swiss representative of ELC was glad to premiere the presentation of two brand new products, very versatile multi-functional boxes to make your network work in any condition.
The SwitchGBx 8T is an itelligent 8 ports switch, and the NodeGBx 4T is a DMX512 4 outputs node + switch dedicated to touring applications. From the same group, the digital Green-Go intercoms was boasting a nice collection of improvements and benefits for their items.

The MA3 nodes range.

The Talk of the Town for lighting techies was obviously the new 0.92 version of MA Lighting soft3. The functions inventory keeps growing month after month, with, amongst many others, and live-controlled effect generator, the first version of their integrated video server, and up-and-coming Layout and Time Code sections.
At the same period end of summer, and in conjunction with the user-version of soft3, the whole range of standard Node MA standard and OnPC will be available, as well as the Wings OnPC.

Before we run to join our industry friends on their booths packed with DJs and bands, a last presentation of GDTF demonstrates the sheer power of the 3D import and export MVR format. A sketch drawn on Vectorworks with the GDTF libraries of the manufacturer is exported in less than one minute for a GrandMA3.
This includes all the 3D elements, the trusses, et of course all the projectors in the right format, perfectly in the right position, with correct patch and mode all set. The other way around is made possible, showing the ergonomics of the future lighting true standard.

Party on! And stay tuned for Day 3 report…

Rent-All, with its head office in Bemmel, has taken over Phlippo Group, based in Lier, Belgium. This concerns Phlippo Productions, Phlippo Showlights and its branches in Germany and the Netherlands, including the total rental stock.
With this acquisition, Rent-All is taking a further step in its strategic policy of being “Your equipment supplier in Europe”.

Rent-All warehouse.

Through this acquisition, Rent-All will have a considerably larger stock of equipment at its disposal, so that it can respond even better to the wishes of the customers by means of a wider and stronger range of materials, fully up-to-date, to meet every market demand.
Rent-All states “This choice to create an even larger scale is a next step in our commitment to be your one-stop shopping partner for light, sound, rigging and video.”

The housing of Phlippo Productions in the Netherlands will be integrated into the current location of Rent-All in Amsterdam in due course. Phlippo Germany will transfer to the Rent-All location in Castrop Rauxel, Germany.
From the Belgian Lier, Rent-All can supply the Belgian, but also the French, dry-hire market even better.

Phlippo warehouse.

Phlippo Showlights will continue under the name Rent-All België bvba. Philippo Productions will continue, as it has for 55 years, to provide its customers with high-quality productions.
The complete team of more than 65 people, consisting of warehouse, production, account and technical staff, will remain intact and will enthusiastically serve their individual markets and customers as always.

Rent-All has built a reputation of versatile dry-hire rental company in Europe for 26 year for rigging, light, video and audio equipment, supplying a wide range of equipment from stock for, amongst others, theatre, television, concerts and fairs.
In addition to its head office in Bemmel, Rent-All has branches in Amsterdam, Castrop-Rauxel (Germany) and Nurnberg (Germany), and now also in Lier (Belgium).

Phlippo is in the entertainment industry since more than 55 years of experience. Philippo Productions produces more than 600 shows per year and makes every event a statement through the use of audio, light and video. Their motto is “Experience makes the show”.

More information on Rent-All.