A new washlight steps in the Ayrton family, able to sculpt light like the Bora, but as small as the Merak, which means a mere 60 cm height (head pointing up), and weighing only 22 kg. Levante is a true wonder, delivering 20,000 lumens thanks to its 300 W led engine.
For stage applications, one should better go for the S version and its bigger luminous flux, and its 6500K color temperature with a quite standard CRI of 70. For studio applications, the TC version will be a better choice with its 5700K reference white and an excellent color rendition (CRI 90).
If you can’t wait to actually see it at Prolight+Sound exhibition in Frankfurt early April, Ayrton unveils it on this video:
Just like the Bora, Levante stands out of the crowd with its framing module, but this time miniaturised, in which each of the 4 blades is positionable on all the usable beam field, to frame any object whatever the projector position is. It also comprises a 7 rotating gobos wheel to widen its scope of applications, an iris with 15% to 100% variable aperture, and a progressive Frost providing a large choice of diffusing variations.
With a 138 mm diameter front lens, the optical system boards 13 lenses for a very wide zoom from 6.3° to 58° (9:1 ratio) and an even beam without hot spot. A main asset for color rendition is the CMY color mixing system, the progressive CTO, and the complementary 7 colors wheel.
Icing on the cake, to really meet all the lighting designers’ requirements, an additional diffusion filter is inserted into the lenses, to soften or even erase the beam edge, but without changing its angle! That is something stunningly new indeed…
Now outfitted with a pair of Allen & Heath dLive S7000 mixing systems at front of house and onstage for monitors, plus an S5000 standing-in for broadcast needs, Wave Church’s Great Neck Campus in Virginia Beach, Virginia, recently completed a major audio upgrade. Engineered and implemented by Virginia Beach-based S&S Productions, the system improvements bring new levels of control and flexibility to the campus.
A Wave Church Service with well-named Dave Bibel at FOH with an Allen & Heath dLive S7000.
Future-proofing the system was addressed in the upgrade, as was the need to provide the volunteer staff with gear that was intuitively easy to use. “Even if you’ve never seen them before, Allen & Heath dLive control surfaces have an air of familiarity,” S&S Productions’ Cory Sprenkle relates. “A world of control opens up on the touchscreens that’s as simple as the smartphones we use every day. Our volunteer operators were up-and-running in no time with little instruction.”
The 12-inch capacitive touchscreens on the dLive control surfaces feature dedicated “widget” areas that can be set up to keep track of scenes, meters, FX, and other user-created control functions. Scenes are widely used at the Great Neck campus by all system operators, including Sprenkle, a member of the church himself.
“Every operator has a different way of doing things,” he adds, “and with the dLive systems we can customise our template of controls, save it, and even import it within other shows so we can always mix in the fashion we’re used to.”
There were other benefits too, including the ability to monitor and control the church’s Shure wireless microphone systems directly from the dLive interfaces or via a laptop computer using Allen & Heath dLive Director software.
With 64 busses available at each control surface, stereo mixes became a routine reality in both the house and onstage, where over 14 IEM mixes were created. Networking capabilities were expanded with the use of Waves, Dante, and AES I/O cards, the latter of which were used to carry digital input to the system amplifiers. As a safeguarding measure, each of the new dLive mixing systems is equipped with dual redundant, hot-swappable power supplies.
An Allen & Heath dLive S5000 Mixes Broadcast at Wave Church.
Further complementing the upgrade was an Allen & Heath DM64 stage box and several DX32 and DX168 expanders. “We can use 128 inputs simultaneously,” Sprenkle points out, “with far more than that available throughout the building. Fortunately, our DX32 and DX168 expanders will keep up with just about anything—including future dreams—for years to come.”
Lighting designer Joshua Cutts was thrilled to drive a grandMA3 light for the Idols South Africa 2018 finale of the 14th season, hosted at Carnival City in Johannesburg. Hot on the hills of American Idols – the singing competition which has enjoyed 16 seasons since initially being aired in 2002 – Idols South Africa has already season 15 already confirmed for 2019.
The team worked together for the ninth consecutive year and comprised of Dream Sets, who were the full technical supplier headed by Project Manager Eben Peltz, lighting and set designer Joshua Cutts from Visual Frontier with Gavin Wratten once again the Executive Producer and Director. The broadcast was aired on the Mzansi Magic Network.
One arm operation
Deciding that Idols would be the ideal opportunity to test the grandMA3 light, Cutts approached Duncan Riley of DWR Distribution, MA’s distributor in South Africa, and he enthuses what a cool experience it was. “Still running on grandMA2 software, it’s still the same desk for now but with new hardware. It worked out pretty well because I broke my arm before we loaded in, and only had one arm to program with. The console was small enough for me to reach every button with one arm”, says Cutts laughing.
Joshua asserts that, from a hardware point of view, the new console rocks. “I was very impressed with the work MA Lighting have done on the buttons, faders, and the whole tactile experience, which I think is what they wanted to achieve.” “The buttons were softer and easier to use, the faders were more responsive and the touch screen very accurate.
The grandMA3 light integrated well with my grandMA2 light, the MA NPU (Network Processing Unit), MA VPU (Video Processing Unit) and MA 8Port Node. It worked seamlessly with the system and never gave any problems.”
With his arm not working as it should, and Idols being such a high-pressure show, Cutts was grateful to ask Christopher Bolton to assist him. “I decided to fly Chris Bolton up from Durban to help me programme,” explained Cutts. “It’s the first time I’ve done that this year. I operated because I know the show so well, but he helped me get the information into the desk which was the tricky part. We used full on time coding. Because it’s such a tight show and we’ve being doing it so well for such a long time, Gavin Wratten and our team worked very closely together.”
Sketching shapes, circles and squares
For the set Cutts sat down with Wratten and sketched some shapes. “We had done circles and squares before and we wondered what shapes we should do this year,” Cutts recalls. “We started with triangles which we found were not enough of a shape. So, we extended them and made them abstract triangles. I had to think of a way to make them interlink amongst each other. It was less about a construction of major set pieces and rather about using existing stock to achieve something.”
The end result was the tallest set the team had ever created in Carnival City’s Big Top Arena, reaching almost 13m high. “It was a challenge to rig, but I gave the drawings to Eben Peltz from Dream Sets and he and the rigging team built it perfectly, exactly as per my drawing, which I find amazing. Eben and I know each other so well that we can preempt what the other is going to do. I know what will help him in his job and he knows what challenges I might give him, so we work together to solve it.”
Merlin PA Hire supplies EV X2 and Dynacord TGX amps for all-OMNEO workflow on sold-out UK tour. Versatility of X-Line Advance X2 line array delivers “perfect sound” across varied venues. FOH engineer Mark Clements praises “crisp and precise” X2 performance and “massive headroom” of TGX.
Front of House engineer Mark Clements
Platinum selling vocal harmony stars The Overtones sold out concert halls across the UK when they set out on a 26-date tour at the end of 2018, accompanied by long-term front of house engineer Mark Clements. For technical production specialist Merlin PA Hire, the sheer variety of venues on the tour meant that the sound system had to be as flexible as possible while still delivering the clarity of performance required for the precise and detailed Overtones sound.
Mark Clements, the band’s engineer for nine years, asserts: “The guys are very particular about what they want and for me it needs to be precise – crystal clear vocals and the ability to retain the character of their individual voices. It’s not a broad-spectrum EQ, it’s very defined for each performer and there’s a lot of time spent riding the faders.” Most importantly, Overtones shows are renowned for inspiring audiences to leap to their feet and dance in the aisles.
Dynacord TGX-20 amplifiers rack, ready for fully OMNEO workflow, combining Dante audio transport with OCA control.
Delivering the all-important blend of versatility, performance and power was an Electro-Voice X-Line Advance X2 line array system driven by one of the first Dynacord TGX-20 amplifier set-ups to hit the road. In choosing to use the already award-winning Dynacord TGX amps, Merlin PA’s Neal Allen also adopted a fully OMNEO workflow for the tour, combining Dante audio transport with OCA control.
Merlin PA’s Neal Allen confirms: “It was a leap of faith. The TGX amps arrived two weeks before we came away and this was our first time using OMNEO* all the way through – a fully Dante workflow. But everything worked flawlessly.”
FOH was a mixture of EV X2-212/90 and X2-212/120 elements, plus XLE181 in-fills and front-fills and X12-128 subwoofers.
Depending on each venue’s size and load bearing capacity, Allen specified a configuration to suit with a mixture of EV X2-212/90 and X2-212/120 elements, plus XLE181 in-fills and front-fills and X12-128 subwoofers. Five Dynacord TGX-20 amps per-side were housed in the rack. “When you’re preparing for a tour you need to think about the biggest venue and the smallest venue and select a system that will cater for both,” he says. “Truck space is always at a premium, so you need flexibility in the speaker rig and the amplifiers. That’s what we get with X-Line Advance and TGX.”
Mark Clements adds: “The X2 sound is crisp and precise. It also throws for days and the detail is top notch. With the TGX amplifiers, the headroom is a massive improvement and they sound great. They’re also very easy to use – with the software everything is accessible in a second.” For the band, meanwhile, achieving what they call “the perfect sound” in the auditorium means they can focus on their performance. “We couldn’t do what we do without our technical team and without the equipment they use,” reasons Lachie Chapman. “On our tour, every night we have people up on their feet from the second song – literally every night. I think that’s testament to the amazing sound that we have.”
The VaryscanP18 is undoubtedly a product that will leave its mark on the history of lighting, just as the VaryLED 3*84 and the A7 Zoom did before it, because JB Lighting was the first to reach the 1000 watt threshold with an LED spotlight. In addition to a powerful beam, the German manufacturer has built in a comprehensive range of functions that make the P18 the solution for any situation. Comfortably installed in the showroom of La BS, we discover this fixture, lent to us for the tests by Varyance, the French distributor of the German brand.
JB Lighting is one of the brands that I particularly like. A Hop-o’-My-Thumb in the midst of ogres, this manufacturer has always been a pioneer in developing innovative products and is still manufacturing in Germany. With the P18, the brand has gone all out to offer a complete spot that rivals the most powerful models and allows JB Lighting to offer a product designed for “big” rental companies.
Journey to the center of the P18
A very interesting volume-to-weight ratio for such a complete 1000 W unit.
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The P18 has a stout look and, despite its base – which lightens the overall styling – and a slightly tubular head, it is still quite blocky. It is nevertheless compact (W 435 x H 754 x D 307 mm) and lightweight. Weighing in at 32 kg, it is one of the feather weights in its class. In terms of design, the base and yoke are identical to those of its little brothers, P4 and P7. The configuration of the head has been adapted to integrate the cooling system of the LED module and all the control electronics.
On the front side of the base, the control section of the fixture consists of a touch screen – the display of which can be rotated 180° – and four keys. With no power supply, simply press the left key to open the menu. You can tell that this menu has been designed for the users. The first two tabs are the reset to factory settings and, then, the recall and storage of the selected settings. The third tab is also very important: the DMX address. For this reason, there is direct access via the up/down keys.
Then, a large submenu provides configuration options related to the control and parameters of the unit. It is here that you choose the DMX mode and control protocol – DMX, ArtNet or Wireless – as well as the dimmer curves, the driver frequency of the LEDs and one of the five ventilation modes, including the boost mode that delivers the most light.
The next menu contains everything related to maintenance and service (reset, test, etc.). The penultimate section is interesting: it allows local control of the fixture via one or more programmable parameter settings that can be sequenced at a definable rate. The last item we find is all the information about the fixture. The fact that the Enter button is on the right and the navigation buttons in the center required a little time for me to adapt, but as the menu is clear, simple and complete, I quickly got used to it.
The connection panel.
Passing by the right or the left, you will inevitably come across one of the two handles integrated into the base, then to the connection panel on the opposite side from the display. As a little original and space-saving feature, the PowerCON In and Out connectors are located on the sides of the rear panel. The mains-through connector is always appreciated; it of course makes it possible to supply one or more other units, but it also allows you to maintain backup power points accessible for maintenance or for replacing another faulty power supply at the last minute.
For DMX/RDM, the JB Lighting team chose to use XLR5 In/Out connectors, which made it possible to implement two EtherCon connectors for the Art-Net protocol and to ensure the redistribution of the Art-Net signal to other network devices. There is also a micro-USB socket for updating the fixture and a ventilation grill that provides air circulation as close as possible to the sensitive components.
Under the hood on the effects side, everything is well ventilated and protected.
Moving on from the base to the head, we make a quick little pit stop at the yoke. No surprises here, just effective, well-proven and traditional. Alongside the cable routing to the head, one of the arms contains the pan and tilt control board and the three-phase hybrid stepper motor, which provides the quality of the rotation of the yoke.
In the other arm is the drive system of the head (belt and cogwheel), with the motor positioned in the longitudinal section. At JB Lighting they don’t do things half-heartedly, so there is a locking system for both axes, which makes it possible to carry it alone, despite its size and its reasonable weight.
We finish our trip from bottom to top at the head. To remove one cowling, simply turn four screws half a turn. There’s a little trick to opening the head on the gobo side. Position the display in front of you and turn the yoke so that the tilt lock is on your right.
All of the electronics are grouped on the other side.
If you remove the wrong cover, you will come face to face with the electronics. This is composed of three circuit boards: two for the control of the effect motors and one for the power supply and control of the LED array. A fourth card dedicated to the control of the framing system is attached to the module itself. In the event of a failure, you don’t ask questions, you just quickly change the module.
The “Deutsche Qualität” can be recognized at a glance. The workmanship is meticulous, everything is in its place and nothing sticks out. We also notice that the entire optical path is enclosed, either by modules or by a metal plate. On the one hand, this prevents light leaks and, more importantly, it channels the heat from the 1000 W of LEDs. It is also specified that the source must not be located within 0.5 meters of flammable materials.
Cooling is provided by six large fans attached to the heat sinks of the array, plus an impeller specifically dedicated to the components closest to the source. While we’re talking about ventilation: for once, it’s not traditional. Let’s start at the rear of the head because I think the heat sink is awesome! And it’s huge…
At the rear end of the head, the superb cooling system that maintains the temperature of the 1000 W of LEDs.
It consists of three double heat sinks, two thin alloy ones and one thicker one on which the LED array is mounted. They are crisscrossed by a multitude of copper tubes, through which a refrigerant fluid circulates for optimum cooling.
As for the effects section, the head is divided into two large compartments. In the rear compartment, the space is entirely dedicated to removable modules, while the one at the front is divided in two: first a space for prisms and frosts, and then the focus. The zoom is mainly in the area of the frosts, but its course starts in the first compartment. It is therefore necessary to verify its position before removing the framing module.
The module closest to the source is the first to be removed. Here we find the gobos. This module must be removed in order to change them, which leaves more space for work.
The eight color flags of the CMY+CTO module, with their specially designed shape for optimal distribution.
On the source side of this module are the CMY filters as well as the CTO. The system used here is the most common for spotlights, each brand bringing its own personal touch that it improves over time. On the other side of the plate is the color wheel with six interchangeable filters. Then there is the animation wheel, which embodies a new concept. This wheel is divided into two sections, one that produces horizontal undulations and the other that produces vertical ones.
On the other side, the color wheel, the gobo wheels and the double animation wheel.
This is an interesting idea, which allows you to have both water and fire effects on the same wheel and a single movement. The disadvantage of this system is that it deprives us of a continuous effect in a single direction. The last two features of this module are a wheel with eight static gobos, and another one with six rotating gobos. It is possible to replace the gobos of the two wheels and even to interchange them, keeping in mind that the size of the image of the static gobos is 2 mm smaller than that of the rotating gobos. With the exception of one position, the whole original kit is made up of metal gobos but I haven’t read anything that says you can’t use glass gobos.
The second module houses the framing shutters. It comprises nine parameters: four blades, each with motorized movement on two different axes, plus the rotation of the entire module. This type of mechanism is not very complex. What makes the concept challenging is to have two operating simultaneously but not necessarily symmetrically, in a small space, at a very high temperature and with precise repositioning each time a memory is recalled.
The mechanism of the framing module – as interesting to look at as it is to use!
On the other side is the board that controls the module. You can also see the iris.
Once these two modules have been removed, we discover the lens that homogenizes the light from the array of LEDs and, through it, we can see some of the collimating lenses of the LEDs themselves.
The lens and a part of the LED array.
In the second compartment, the prisms are positioned on the same focal plane. Therefore, they are not superimposable or usable simultaneously. Then there are two frosts, one that softens the edges of the beam and another that blurs the entire beam. In this space, you can also access the zoom.
The forward compartment of the head, where optics, prisms and frosts are located.
An additional protective plate must be removed in order to access the last optical element, the focus lens. This ensures that this element is better protected from dust and greasy deposits from smoke machines. The space is large enough to offer easy access to the lenses, which is very convenient for maintenance.
Around the P18 in Eighty Minutes
A few screw turns later, all the elements are now back in their proper places. The time it takes to connect the power supply to the socket and the DMX connector to the console, and we can begin another adventure. There are two control modes to choose from: one with only pan and tilt in high resolution and the rest at 8-bit control – 42 parameters for controlling the fixture; and a second mode with many more 16-bit parameters – including dimmer and color mixing – and 62 DMX channels. Of course, I choose the 62 channel option. I blow a little smoke into the room so I can see the beam and its impact. Even if it isn’t easy to judge a fixture without any other source for comparison, the power is obvious. At 50% zoom, the beam is dense and uniform. The sharpness is very precise all around, without any color variation. We can see a slight halo of light in projection but it is not visible in the mid-air beam, neither with to the naked eye, nor on the videos.
A sharp, precise and uniform beam!
I create a memory with the dimmer at 0% and another at 100% to test the dimmer function, which in this case is electronically controlled by the power supply of the LEDs. I then put the two memories in a sequence with transition times ranging from 0 to 20 seconds. The P18 passes the tests with flying colors. JB Lighting is one of the pioneers in LED sources and shows perfect mastery of this issue. The Strobe channel is just as well done.
In terms of movement, the P18 does quite well. The slow movements are not jerky and the diagonal test is trouble-free. Fast movements are just as well managed, and I didn’t expect it to be so fast. Even with quick stops, the stopping positions are both clean and precise. It is also possible to create dynamic effects with simple movements, but also by using a chaser or effects generator.
The colors on the wheel are carefully chosen to complete the CMY system, and are well arranged. The red at the beginning and the Congo at the end enable good combinations of effects. As for the CTO, it fulfills its function very well, though it would have been interesting to have a channel with preset whites. I like the CMY mixing, and my reference color, red, is unanimously approved. It is dense and bright. The other hues are not to be underestimated, which makes it possible to have a very nice palette of colors, regardless of the density of the hues.
The bright colors of the color wheel, with an H-CRI corrector in the middle.
Two examples of the progressive CTO, out of the 65,536 available values.
A very limited selection of the possibilities of the CMY color mixing.
As usual, the German manufacturer’s R&D department paid particular attention to the quality of the optics. We measured the tightest sharp beam at 6.55° (7° reported in the brochure) and the widest sharp beam at 51.2°, which is slightly below the official 56° figure that usually indicates the widest unfocussed aperture.
The P18 is equipped with a high-quality optical system.
The zoom was clearly not designed to provide dynamic effects. On the other hand, we obtain very nice openings, even over very long transition times. Visually, the rendition is very attractive, from the smallest to the largest opening.
Used for projection, it has a beautiful spread over the entire zoom range. No hot spots are visible at the tightest sharp beam angle, and there is just a slight decrease in brightness around the perimeter of the widest sharp beam, a combination hardly used to illuminate a surface. The focus is at the same level of quality as the zoom, with a crisp sharp focus over the entire circumference. To best maintain the shape of the beam, the iris consists of 18 blades. It allows for a very fine beam. We measured a small, sharply-focused iris at 13.3 cm at a 5 m distance, which is rare.
As you can see in the video, the use of two frosts is interesting. You can either blur just the edge of the beam with the Soft Edge filter or blur the beam completely.
The quality of the optics makes it possible to obtain very beautiful images with gobos. They are sharp and well defined, even with the zoom open at maximum. While not entirely unique, the package offered by JB Lighting has the advantage of being truly optimized and versatile. All the gobos are suitable for many applications and cover the majority of requirements.
A versatile selection of gobos, usable in all situations.
The rotating gobos, including one in glass.
You can of course use the prisms to create effects by multiplying the images of the gobos. However, their usefulness is limited because, as soon as the zoom opens past 50%, the effect is truncated. The animation wheel is very well done. It allows you to create beautiful atmospheres and very nice decorations.
The combination of animation wheel and glass gobo, with a touch of Brest blue, allows for a very attractive immersion in an aquatic environment.
Using the second half of the animation wheel with the second fixed gobo and a color effect warms the atmosphere.
The shutter blades are straight and sharp in pairs.
The final feature is the framing module, which I find particularly effective. The fully closing shutters are straight and allow for linear and precise profiling. You can obtain identical sharpness of focus in pairs of two shutters. In combination with the Soft Edge frost it is very nice, and the velocity of this module is amazing! The movement of the blades is fast and it can very easily create dynamic geometric effects.
The Race for Lumens
But enough chatter, because to postpone this fateful moment when we move from the pleasure of the eyes to quantitative matters, I chat and I babble; in other words – in order to keep the discussion in the right tone – I digress. We let the array of LEDs have a little rest, since it has been subjected to quite a workout. I take this opportunity to point out that we are testing the standard version, equipped with a 7000 K source, rated at 56,000 lm with a CRI >70. There is an optional 6000 K, 47,500 lm version with a CRI of more than 90.
We ran all the tests in a single session in boost mode and, then, in normal mode, we performed a second derating as well as a flux measurement at 20°. In both boost and normal modes, the flux stabilizes after 10 minutes, with attenuation of 6% and 7% respectively.
This excellent result confirms the efficiency of the LED management system. 6% derating in boost mode: it sets a high bar for the competition! The curve in normal mode is almost identical, with a derating of 7%.
Boost mode – beam at the tightest sharp zoom setting.
With a cold center illuminance of 57,450 lux (54,000 lux after derating), the beam tightened to 6.55° is uniform and punchy, a big stick of 19,630 lumen (18,450 lm), as shown on the luminous intensity diagram.
Boost mode – 20° beam.
The flux reading at 20° is our standard of reference, and we measure 13,700 lux at the center (12,880 lux after derating) and obtain a flux of 30,750 lumens (28,900 lumens after derating)! This goes and brushes up against the flux of the most powerful discharge lamp fixtures. JB Lighting reports 34,000 lumens, or 10% more, which seems largely realistic when you consider that the measurement is performed in an integrating sphere that takes into account all the light right at the exit of the head. It is also probably possible to squeeze out a few more lumens by opening the zoom a little more.
Boost mode – beam at the widest sharp zoom.
At the largest sharply focused beam size, we measure 2,235 lux at the center with the source cold (2,100 lux after derating) and half of this value at 10 cm from the edge, as shown by the smooth and flat luminous intensity curve. The flux is therefore 29,440 lumens (27,670 lm after derating).
Normal mode – 20° beam.
In normal mode at our reference value, the flux remains very high, at 28,560 lm.
Le dimmer The last two series of measurements are related to the linear curve of the dimmer.
The linear dimmer curve from 0 to 100%.
From 0 to 10% the progression remains constant.
Between 0 and 100%, the progression is perfectly linear. Between 0 and 10%, we find a smooth onset between 0 and 2%, followed by a constant progression.
The Adventures of Captain Jürgen Braungardt, CEO/founder and owner of JB Lighting
The P18 is an impressive accomplishment, which demonstrates that JB Lighting has resources and can hold its own against its competitors. Again, it was a huge gamble, not only in terms of the light source but also from an optical and a mechanical point of view. This unit has an excellent price/performance ratio, especially in terms of the number of features. It combines the functions and qualities of a Profile and a Spot, a great advantage for rental companies and halls that do not have the choice between cheese or dessert. In terms of the optics, it is also a great success, the beam is uniform and punchy. The 1000 watt source is perfectly managed; 6% derating at this level of power is quite an impressive feat. The result is a versatile product that can be adapted to almost any requirement. This little test with only one machine was just too small of a taste; I look forward to being able to test it in a full-scale setting!
The french Grenoble born (and still based) brand Vokkero, whose communication systems are highly appreciated in the world of high-level professional sports, has adapted since last year its technology for the Live show industry with the Guardian Plus hands-free full duplex intercom system, and now aims to go worldwide with it.
From the R&D department of mother company Adeunis, specialized since in industrial IOT electronics, the brand Vokkero was created ten years ago to answer the requirements of a tender from FIFA, world’s soccer official organization. They wanted the best possible voice optimized hands-free, full duplex system in very noisy environments like soccer stadiums. Anyone who’s ever attended a First League match in an arena such as Camp Nou, Stade de France, Old Trafford, or the like, will understand. This worldwide contract drove Vokkero to acquire a solid experience in the world of high performance professional sports, as they designed and manufactured since then the official system of communication of football referees of the whole world.
The Guardian Plus, specially derived from the sports’models, allows any user to create in seconds a permanent intercom system, with clear and intelligible communication. After the successful French launch of the new version of the Guardian Plus, Vokkero Business Development Manager Jérôme Henry is now looking for more distributors worldwide, and will be presenting the whole range at next edition of Prolight & Sound in Frankfurt from April 2nd-5th on their booth Hall 8, G80.
Sync at a glance
The charging base, with a clearly visible button, can synchronize at once 4 belt devices on the same frequency, thus ensuring increased safety and productivity for work teams. For larger teams, extensions (of three devices each time) allow sync on more beltpacks still, since there is no limit of the number of simultaneous users. Another strong point is the existence of many accessories, including a 4-wire adapter for already existing wired systems, to oneself from any wire connection with the resident installation, but without changing it.
The patented integrated Vokkero noise filter gives clarity and intelligibility to the system and is the key of its intelligibility, with a bandwidth of 16 kHz. This digital audio filtering with intelligent noise suppression of the noisy work environment takes account of the very fast changing noise surroundings of concerts or live entertainment events. The small downside that this system generated, was that by its effective analysis of the signal before any return of speech transmitted, a minor latency was created, hardly audible, but Vokkero claims to have reduced it even more.
The long range in free field (interesting for festivals, “Son et Lumiere” installations, etc.) can reach 1.2 km, but remains very variable for indoor use depending on the types of walls, buildings, etc. It is obviously much easier to transmit through windows or plaster walls than through reinforced concrete walls with metal rods inside.
The battery life of the rechargeable battery is long enough for most applications, up to twelve hours. Design, final assembly and QC are all made in Grenoble, in the French Alps.
Sixty82, a Dutch, British and French alliance of innovative industry leaders, specialized in the design and manufacture of the next generation trussing and staging systems has announced an exciting new partnership with the highly-regarded and well-renowned Dutch distributor, Senci.
In partnership with the existing distributor network in the Netherlands, Senci will offer Dutch customers optimized access to the full range of Sixty82 products. This partnership will focus on expanding the Sixty82 product line across the Netherlands as well as enabling the company to provide the growing demand for craftsmanship and technical know-how. This agreement further iterates both companies’ enthusiasm to drive growth and extend relationships with its customers.
The decision of Sixty82 to mandate Senci as the new distribution partner for the Netherlands was based on their existing customer base as well as a dedicated sales force and customer service team. “Besides offering technical knowledge and a broad product portfolio, Sixty82 particularly valued the close relationships we have with our customers as well as our access to the growing markets for the trussing and staging industry.
Sixty82 CEO Fokko Smeding
“We are excited that we can name Senci as our new distribution partner, as it is a highly regarded player in the industry,” says CEO Fokko Smeding. “They have a dynamic and experienced team, that can deliver the expanding demand for top level support.”
Carlos Rego, CEO of Senci, comments: “It is impossible to miss the growing success of Sixty82. With their in-house experience and knowledge of the industry they deliver a wide range of high-quality products. With our mutual drive to reach an unrivalled level of quality, and the simplicity of purpose that comes with that, we believe that together we can change the current industry standards.”
Old english tradition, indeed ! It’s panto time again in the UK… with the slapstick, craziness and innuendos flying as fast as a foam pie in the face… At Blackpool Grand this year, putting both beauty and some beast attitude into the show, lighting designer Andy Webb specified 81 x Robe fixtures – 98 per cent of them LED sources – for a brand-new version of the classic tale produced by UK Productions for the 2018-19 season.
It’s the fourth consecutive year that Andy has lit the famous UK seaside resort’s panto, which was directed by Damian Sandys with whom he also worked on the 2017-18 production. This was a huge advantage to the fluidity and creative flow of this year’s show, together with knowing the venue, a beautiful original Matcham house that is notoriously tight for space when installing the complex modern productions of the 21st century.
Lighting panto as a genre
Andy chose Robe as his main lighting fixtures for several reasons. “I’ve spec’d and worked with Robe on numerous shows and I know the products really well” he explained, adding, “there is a great choice of fixtures, their LED light sources are of an excellent quality and overall the kit is super reliable”. He relishes the chance to light panto as a genre which is seriously fast-paced and offers huge scope for colour, melodrama and fun – simultaneously playful, exciting and scary – all great ambiences to embellish with light. Lighting a brand-new production for the first time was also really exciting, and it offered the opportunity to set the ground rules and create some spectacular signature elements.
To give the Beast’s character more gravitas and depth, Andy introduced some proper darkness and foreboding to his castle domain. That darkness was also an imaginative starting point for the lighting to evolve, as they needed to be able to flip between this state and a host of bright mischievous lighting for the comedy scenes – of which there were plenty! Lighting was also used for other metaphors – throughout the show, as the Beast slowly but surely falls in love with main female protagonist Belle, more lights and festoons, etc, are introduced to his castle environment transforming it from a dingy, grubby den to a brighter more vivid and alive space.
Andy started with ten Robe DL4S Profiles, eight distributed between LX bars 1 and 3 with the other two rigged at FOH. Eight Spiider LED wash beams are also on LX 1 and 2 as Andy wanted a BIG lush wash lighting effect covering the whole stage.
Three DL4F fresnels on back light bar – LX3 – create a look that has become one of Andy’s ‘classic’ panto scenes; “the fresnel lens as a back light really brings a different take and quality of light to the picture” he said. On the same rear LX bar are six ParFect 150s and two Robe LED Strobes used for lightening effects critical to the big fight scene, helping the audience to feel every push, shove and punch.
On the final upstage LX bar are another four LEDBeam 150s utilised for special pickups at the back of the set and for set dressing – in conjunction with two VIVA Spots and one VIVA CMY on the same bar – plus another two VIVAs on the pros perch (FOH). Four LEDBeam 150s on the house bars either side of the pros point into the audience for blinder effects and movement cues. As with all pantos, audience interaction is fundamental to the genre.
Andy also reveals he was inspired to capitalise on these side pros lighting positions after working on the ‘Cirque Robe’ live performance show at the 2018 Prolight+Sound expo in Frankfurt… with Lighting Designer Nathan Wan. There is also an LEDWash 300 on both pros’ bars for the low-cut shadow work in the castle scenes and for those featuring The Beast.
A total of 20 x ParFect 100s and four ParFect S1s are deployed in various positions including eight at FOH acting as a contrasting set wash, with the rest on side stage boom ladders for cross stage lighting and a pair upstage swooshing across the Cyc. Traversing the stage floor at the front – in the footlights position – are four CycFX 8 LED battens which provide excellent moody shadow lighting onstage and swing around into the audience for dramatic specials that build excitement at strategic moments in the narrative.
Do not light the flying wires
Just offstage of these each side is a Spikie. Andy has used the Spikie flower effects to help enhance the magical moments in the storytelling, like when the good fairy is working her spells for peace and harmony to prevail. They also give a nice low cross light for The Beast’s reveal and for his transformation back into a Prince!
Just two of these small fixtures were all that were needed to play an integral role in the production, as Andy needed a neat and compact source zoomed in to 4 degrees so the (performer) flying wires weren’t caught in the beams! Next to the pros arch each side was a Robe Pointe – the only intelligent discharge fixtures in the show! These were unleashed for wizardry effects and in particular – in conjunction with three half mirror dishes – what Andy calls his ‘magic zap’ effect where super-fast beams of light zap between them, ping-pong style! This was devised to create the effect without using pyro. The Pointes were also used for their more standard beaming effects into the crowd.
A single Robe MiniMe effects projector rigged in the upper balcony came into play during the Beast transformation scene, running sparkling video content. Andy was impressed considering the unit was over 40 metres away from the stage and focussed tightly into the Beast’s chest. Again, the call was for a small and very controllable fixture to avoid revealing the flying wires. The intelligent lights were supplied by CEG Hire & Productions from Cambridge, and Andy also used the house generics – Source Four profiles at FOH and PARs on some of the side booms.
312 cues for a panto show
As with all his designs the cues are multi-layered and complex! There are 312 cues in the show, all of which Andy programmed into an Avolites Tiger Touch II console which is being operated by the house LX team for the run of 59 shows which went smoothly until the end of January.
Unsurprisingly, the biggest challenge was shoehorning the required programming for a West End style design into three days on site which included Andy doing live updates during the dress rehearsals. Known for his near OCD attention to detail, one of his keys to achieving this was to be well prepped and another was using all the Robe kit.
“This has been a massive bonus for me as it’s offered so many creative options” he stated. He has also enjoyed being back at the Blackpool Grand: “Knowing the house crew – and them knowing you and your MO is also a great help”.
ALMA International (Association of Loudspeaker Manufacturing and Acoustics), owner of AISE (ALMA International Symposium & Expo), has entered into a co-location agreement with AVIXA (the Audiovisual and Integrated Experience Association), owner of InfoComm. The two organizations offer content for the audio industry, but in complimentary ways that will benefit participants who take advantage of the education, exhibitions, and networking that make AISE and InfoComm outstanding events.
AISE2019 takes place on June 9 & 10, 2019 at the DoubleTree by Hilton Universal in Orlando, Florida. InfoComm’s conference schedule runs June 8 to 14, with exhibits open June 12 to 14, 2019 at Orlando’s Orange County Convention Center. Attendees can expect ALMA’s acclaimed technical and business content with over 30 hours of education in two packed days along with exhibitors and attendees from around the world.
Next step in dynamic evolution
Barry Vogel, Executive Director of ALMA International.
Barry Vogel, Executive Director of ALMA International, states: “ALMA International’s move to co-locate with InfoComm is the next step in the dynamic evolution of the Association in seeking to broaden our exposure and service to professionals in the Audio and Loudspeaker Technologies industry. The ability to attend two exciting and beneficial events in one productive trip makes the combination that much more compelling.”
InfoComm is the premier audiovisual and integrated experience event, attracting 44,000 attendees from over 100 countries, and featuring more than 500,000 square feet of exhibit space, 1,000 exhibitors, and more than 150 conference sessions.
David Labuskes, CTS®, CAE, RCDD, CEO of AVIXA.
David Labuskes, CTS®, CAE, RCDD, Chief Executive Officer of AVIXA, adds: “We look forward to having ALMA’s AISE2019 co-locate with InfoComm 2019. AISE delivers content that complements well our focus on audio solutions that improve customer experiences.” ALMA will present two conference sessions at InfoComm.
To encourage participation in both events, attendees of AISE are eligible for a free exhibit pass to InfoComm and attendees at InfoComm are eligible for a free exhibit pass to AISE. Both require promotional codes which are available at the InfoComm and ALMA websites. Look for further announcements as the events draw closer in only a few months’time.
Pink continues her Beautiful Trauma World Tour with Claypaky Scenius Unico and Mythos 2 fixtures shining a light on the American singer’s extraordinary talents. ACT Lighting, Inc. is the exclusive distributor of Claypaky lighting in North America. « As with all Pink shows the lighting design needs to be versatile,” says Baz Halpin of Burbank’s silentHOUSE who is the Lighting Designer/Production Designer and Director of the show. “Pink is equal parts rock show, theater show and aerial cirque show.
With so many facets to the treatment of each of the songs the lighting design and the fixtures chosen need to have enough flexibility to fulfill the needs of each discipline without sacrificing the qualities required. The fixtures needs to have enough punch and response for the highly-cued rock sections. For the theatrical/dance sections the need for quality of subtle colors and even fields are more important, while for the aerial numbers the need for the fixtures to create a sufficient light level without ever blinding or dazzling is paramount. »
Halpin obtained 93 Scenius Unicos and 118 Mythos 2 for the tour from SOLOTECH. “Since late 2017 we have been enamored with the Scenious range,” he explains. “The Unico, as a well rounded multi-purpose fixture, I believe it is unmatched. As a key light, a long-distance fixture and a powerful beam-based aerial fixture, the Unico in particular delivers at the highest level on all the demands I have place on it. The Mythos 2 is another fixture that we rely heavily on. As a universal small but powerful beam fixture it slots nicely into that category.”
Mythos 2 for aerial beams & graphics, Unicos for other needs
Halpin has mounted the Mythos 2 on automated trusses and pods over the stage. “These are primarily used as aerial beam fixtures for musical dynamics and creating graphic ‘pictures’,” he says. “The Unicos are used for the majority of other needs: key and side lighting of performers, lighting and modeling of scenery and lighting of the aerial performers. The key factors that the Claypaky fixtures afford us are brightness, reliability, versatility and quality.”
Halpin notes that, “given the power of the fixtures we don’t make changes from Pink’s arena shows to stadiums. For the most part, the fixtures perform just as well in outdoor environments. Under the fantastic watch of Dean Roney and the team from SOLOTECH, the fixtures have been holding up very well. The care and attention that the lighting crew take in their work is exemplary.
According to Associate Lighting Designer Eric Marchwinski, “the toolset of the Unico provides exactly what we need for our application without overcomplicating the feature set. The simplicity of the fixture design helps streamline the programming, and the versatility allows for a more unified look no matter the placement in the rig. Additionally, the Scenius line has always had the fastest optical train – zoom, iris, shutters – we have ever seen in a profile or spot unit. This opens the door for a lot of interesting musical programming opportunities outside of the typical or more common effects.”
The third floor of Taipei’s Nan Shan Plaza – the second tallest skyscraper in Taipei after Taipei 101 – has been created as a vast and open exhibition space. With ceilings at an impressive 8.5 metres in height, the venue occupies a total of 56 square metres but, features no beams or support columns, creating a challenge to any sound design proposal.
With the prestigious space earmarked by Taipei City Government to host an event cooperative to the New Year fireworks countdown, the challenging space required a sound system that was compact and stable, offering excellent sound performance, which to audio installation company, Imagepro System Technology Corp., Ltd., signalled Powersoft amplification. Victor Shih of Powersoft’s distributor in Taiwan, Seapower Technology Co Ltd., working hand-in-hand with Imagepro’s Yung-Chin Hsu and the Plaza’s project leader Wen-Shan Tseng, planned and designed a discreet sound system in accordance with the requirements of the space, built around the efficiency of just three Powersoft amplifiers, controlled by Powersoft’s simple and easy-to-use, Armonía Pro Audio Suite software.
Armonía Pro Audio Suite software from Powersoft.
In just two months the team had created an audio environment with in-depth but simple control that delighted the customer. The event management team within the Taipei Nan Shan Plaza, are, ‘very happy with high quality of the Powersoft products and the excellent sound performance.’
The main PA serving the exhibition hall is comprised of a left and right pair of Peavey VR-112 line-arrays featuring four cabinets per side, each flown with a VR-218F sub. This high output array was matched with a single Dante enabled Powersoft X8 amplification system.
Amazing efficiency
Powersoft X8 amplifier: more than 40,000 W on 8 channels.
As Imagepro’s Yung-Chin Hsu explained, “We considered only the Powersoft X8 for this position, as the top amplifier in the world! Providing eight channels of up to 41,600W output power under the impedance of 2 Ohms: this is amazing efficiency that only Powersoft can reach so easily.”
Transforming the multi-functional space from an art exhibition hall into an arena with more punch, a further 16 Community DP8 pendant speakers are ceiling-flown. Powered by a Powersoft Quattrocanali 2404 DSP+D four-channel matrix amplifier, this supporting audio system can be mixed in with the main system for flexibility and high-quality added reinforcement for press conferences and larger events.
Stage monitoring
With stage monitoring also accommodated and powered by a single, highly efficient Powersoft M-Series M50Q DSP+ETH system – a leader in its class – the exhibition hall scales up in capability to host world-class exhibitions and concerts. Performers and audiences will enjoy the highest quality of audio no matter the size of scale of event due the overall sound quality animated by Powersoft amplification as well as the flexibility and control inherent to the Powersoft systems.
The patented Powersoft SRM (Smart Rails Management) technologyis featured in all Powersoft audio control systems, which maximises efficiency and drastically reduces power consumption in any load and usage conditions. Whilst Powersoft’s X Series leads the way in amplification with its innovative integration of a worldwide compatible power-box and a full feature DSP, Quattrocanali stands equally from the crowd, offering the lowest thermal dissipation in the industry, reducing the need for external cooling devices.
Advanced DSP capabilities
With the advanced DSP capabilities of the amplification linking seamlessly with Powersoft’s Armonía Pro Audio Suite software, the operator is granted in-depth control and monitoring of the full audio path. With Armonía, a remote, decentralised location gives the ability to tailor the sound and manage the system.
However, within the venue, the easy-to-use Powersoft’s Armonía interface ensures the simple transition to each different audio set up as even non-technical operators can easily switch to the right audio configuration determined by the style and size of event. This is a feature that ensures all events, including the recent New Year countdown fireworks, will dazzle and inspire.
Obsidian Control Systems and Capture Visualisation are excited to announce a new global partnership agreement to include a Capture license with every ONYX console, allowing all NX console owners immediate access to the popular and powerful lighting design and visualization software. Every NX2 and NX4 lighting console will include a download of the latest version of Capture after a simple online registration.
Users will receive an unrestricted standard license of a Capture Edition depending on console type. All licenses are eligible for upgrades through Capture or any of its authorized resellers. Obsidian Control Systems and Capture Visualisation will be enhancing connectivity between ONYX and Capture over time for a seamless workflow and true plug-and-play experience, including synchronized patching and real-time autofocus.
Obsidian Control Systems product manager Matthias Hinrichs.
“Capture has been a great partner for Elation over the years and we look forward to strengthening this even further as we evolve the ONYX platform,” says Matthias Hinrichs, Obsidian Control Systems product manager .
“Visualization is an important part of the console programming workflow and we are happy to partner with this leading visualizer. The Capture team is great to work with and is fully dedicated to the visualization needs of the market. We know our users will benefit from the increased cooperation between our companies.”
Capture sales director Vangelis Manolis.
“The team at Obsidian Control Systems and the ONYX platform come with years of expertise in advanced lighting control so the decision to bundle a standard Capture license with every console feels rewarding,” adds Capture sales director Vangelis Manolis. “It must also be rewarding for ONYX users since on top of visualization they will be able to work with design, reports, paperwork and presentation features, amongst others.
Elation has been a successful Capture reseller for years, and therefore we trust that the partnership with Obsidian Control Systems will also succeed in adding value when Capture and ONYX are used together by our mutual end users.”
Obsidian NX consoles range @ ISE 2019 in Amsterdam.
Obsidian Control Systems’ ONYX platform was launched in 2018 and has recently begun shipping the powerful and compact NX2 console to its customers. At NAMM 2019, it introduced the next generation NX4 with enhanced playback options and motorized faders, a first in its class.
Capture 2018 is a comprehensive real-time lighting and video visualization software with world-class library support and rapidly growing user base.
Formed in 2003, Parkway Drive are an Australian metalcore band from Byron Bay in New South Wales with an international following. Fresh from back-to-back ARIA (Australian Recording Industry Association) no.1 spots, the band’s Reverence tour in support of their sixth studio album kicked off in Canberra in October 2018 and, hailed as their best live show to date, proved a total sensory overload. Parkway Drive delivered their most fire laden show yet, which included a spinning, flaming drumkit and, of course, employed 16 Ayrton Ghibli LED spots for the main beam fixtures.
Lighting provider for the Australian leg of the tour was New South Wales-based ei Productions who purchased the Ayrton Ghibli units just prior to the start of the tour. “This was a complex show with lots of lighting, moving staging and pyro flames, and it relied heavily upon the Ghiblis to provide much of the lighting’s punchy looks,” commented Neale Mace, managing director of ei Productions. “The fixtures were chosen by the band’s lighting designer, Steve Granville, after he heard we were looking at them, and I don’t think I’ve seen a light (especially an LED-based one) have so much punch and colour output, not to mention its zoom.”
Super bright with perfectly flat field
Granville positioned the Ghibli fixtures across three flown trusses where, Mace remarked, “they looked incredible! Having seen this show, I’ve never seen an LED based fixture that is as bright as the Ghibli. They also have intense colours and can produce beautiful air / beam effects,” he added. “We didn’t actually use the motorised framing feature on this tour, but it’s great to know that we can also use them for front truss profile work when needed.”
LD Steve Granville agrees: “The Ghibli is the first LED profile fixture I’ve seen that is super bright and has a perfectly flat field that doesn’t drop off over a distance,” he says. “The prism and zoom are nice, the gobos are really good, and the colour mixing is great. I didn’t get into the framing but had a play with it and would love to use it soon on a tour.”
ei Productions continually looks to expand and update it production inventory and, after seeing the new Ayrton products at some overseas trade shows, decided to add some Ayrton Ghibli units to its stock. The decision process was carefully researched as the team at ei looked at several options that would fulfil their requirements for an LED-based spot / profile that had motorised framing shutters, before deciding on Ayrton.
Few options on the market
“There are a few options on the market,” says Mace. “However, as we mostly look to comply with local and overseas lighting riders, we needed a product that was going to be universally accepted, and right now, Ayrton is an extremely popular brand with their products being used on lots of shows. We also have experience with the Ayrton brand as we already own a lot of Ayrton MagicBlades which have been a rock solid product for us. “As usual, Show Technology (Ayrton’s exclusive distributor in Australia) has provided amazing sales support in getting us demo fixtures and answering any and all of our stupid questions!”
Steve Granville’s design for the huge and dramatic Parkway Drive rig featured a lot of firepower from other fixtures, but the Ghibli fixtures were able to hold their own: “The Ghiblis cut right through them, even in some of the rooms with higher trim height,” confirms Mace. “Out on a tour, they performed flawlessly every night and being trucked across four States and a Territory didn’t faze them a bit. “The Ghiblis are amazing! There’s a lot to like about these fixtures and although this tour didn’t use all their features, it certainly proved to us (and anyone who saw the show) that they’re a great light and I know we’ll be ordering more.”
Pixel mapped Magic Blades
Also included in the Australian touring rig were 64 Ayrton Magic Blade-R fixtures which Granville ran in full extended mode, running the pixel mapper and content through the High End Hog. The manner in which they were setup was, in Steve’s words, ‘big and offensive’.
“The MagicBlades were arranged in a big block on touring frames and I got so many looks out of them,” he said. “It’s nice to have the options in extended mode where I can, for example, have them all on and use them to wash the stage, and then swap to just having a single cell on to give me a totally different look. I’ve had this design out for nearly two years, in one configuration or another, and I’m still finding new things to do with them. I will no doubt add them back into another design in the future.”
MagicBlade-R units set on fire every two minutes
Steve admits his MagicBlade-R units were quite badly treated on tour as they were rigged on touring frames, thrown around by their hydraulic lifts and nearly set on fire every two minutes! But, he says, they were solid throughout with very few failures. “I think we toured Europe the last time with only two spares,” he added.
Parkway Drive’s Reverence tour travelled across Australia from October to November 2018 and is currently touring Europe until the end of February before transferring to America between April and May 2019.
Adamson Systems Engineering has announced the appointment of professional audio industry veteran Marc Bertrand as its Chief Executive Officer (CEO). Bertrand will lead Adamson’s global operations from its headquarters in Port Perry, Ontario, as company Founder Brock Adamson assumes the role of Chairman.
“It’s a tremendous honour to be leading a company as respected and reputable as Adamson – especially amidst an exciting time of growth and continued innovation,” begins Marc Bertrand. “We have one of the most passionate partner networks I’ve ever seen, and close collaboration has led to considerable growth in key territories in recent years. Their connection to the product and the people that support the network provides a solid foundation as we build on Brock’s vision and proven approach to manufacturing with a host of new products and innovations in 2019 and beyond.”
Marc Bertrand.
Bertrand spent a decade with Tannoy North America beginning in the mid-1990s, eventually serving as Managing Director for five years. Then, in 2009, he became the CEO of TC Group Americas, overseeing a catalog of brands including Tannoy, TC Electronic, Lab.gruppen, Lake, and others through to 2016.
Following his time with TC Group Americas, Bertrand assumed an advisory role with Adamson before formally joining the company in November 2017 as Managing Director Americas, attracted by the entrepreneurial and energetic management team at Adamson.
James Oliver.
In his new role, Bertrand plans to continue building the Adamson brand in the vital North American market while maintaining its strong presence in Europe and supporting its growing Asia-Pacific market position.
“Since I joined Adamson, I’ve worked with Marc both in his role as CEO of TC Group Americas and within our organization. Together, we formalized Adamson’s system approach through the standardization of the Lab.gruppen infrastructure. This experience led to Marc gaining a deep understanding of the needs of our network and Brock’s vision. Our history of working together will make it easy to support him as he transitions into his new role,” states James Oliver, Director of Marketing and Sales.
“The core group at Adamson is focused and skilled,” Bertrand adds. “Our ability to continue the exponential growth that the organization has experienced under the leadership of Brock Adamson is undeniable.”
Brock Adamson.
In closing, Brock Adamson comments: “In his time with Adamson thus far, Marc has proven that his esteemed reputation in our industry is well-earned, and that his strengths as a leader complement our direction for the future.”
Talking about future developments, Adamson Systems Engineering has already been very active indeed recently, with the launch of the new CS-Series, the world’s first family of mobile loudspeakers to feature onboard Class-D amplification, DSP, and Milan-ready (AVB) network endpoints. The CS7p was the first pathfinder early 2019, but it seems the Port Perry R&D guys have more to come, stay tuned…
PLASA has announced a free-to-attend seminar covering the latest developments in the EU Ecodesign regulations on 28th February in Lille, France. The seminar is part of PlugFest, a technical event for lighting protocol interoperability, but is open to anyone who may be impacted by the regulations. It will be presented by Adam Bennette (ETC) and Ludwig Lepage (Robert Juliat).
The Ecodesign lighting regulations have been looming over the stage and studio lighting sectors for several months, culminating in a vote at the EU Commission in December 2018. Following the vote, the European Entertainment Ecodesign Coalition (a group of European entertainment associations) stated that “further exemptions for the live performance, lighting design and film sectors guarantee that the vast majority of stage and studio lighting can continue to be used.”
This statement will be explained further during the seminar in addition to sector-specific guidance and forecasts for the future.
To find out more and confirm your attendance please visit: plasa.me/ecodesignatplugfest and register free of charge for this seminar.
The rest of the Plugfest seminars, workshops and conferences, from February 26th to February 28th, is subject to regular payment and registering.
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