Robert Juliat delivers from all angles at Chichester Festival Theatre

Robert Juliat lighting fixtures have been spotted covering all angles of the stage from front to back at Chichester Festival Theatre in recent months.
The new production of Gypsy, which transfers soon to London’s Savoy Theatre, employed four Robert Juliat Le Cin’k Fresnels, each fitted with 5000W tungsten lamp bases, in Mark Henderson’s flexible lighting design. Hired from White Light for the season, these helped to cover a busy stage with multiple areas of focus, including three moving trucks.

Lara Pulver (Louise) et Dan Burton (Tulsa) dans Gipsy. Photo Johan Persson.

Lara Pulver (Louise) et Dan Burton (Tulsa) dans Gipsy. Photo Johan Persson.

“We find Le Cin’k to be brighter and slightly narrower than the 5kW units we previously used which, in their rigged position, is good because control is important in a thrust space,” says the Festival Theatre’s head of lighting, Sam Garner-Gibbons. “Being a completely exposed rig, unit size is critical for aesthetic reasons and the compact RJ units are absolutely perfect.”

The Le Cin’k units were rigged on ladders up stage left and right and on the bridges immediately above them to provide, as Garner-Gibbons terms it, ‘splendid three-quarter backlight’.
Designed to theatre specifications, Le Cin’k has a double slot front cassette for coloured filter which guarantees no light spill while an optional, silent fan preserves the life of deeper coloured filters.

For Gypsy, Garner-Gibbons fitted the Le Cin’k units with 12” Rainbow PRO scrollers: “A major bonus of the Le Cin’k units is they use smaller 12″ PRO scrollers which are much more reliable than the 15″ units we needed before. So, in addition to the better light output, we saved on colour cut-sizes, had fewer filter replacements and used less man-hours.

“The Le Cin’k’s are much loved by all LDs and now appear in our season rig plan each year,” he continues. “We currently only run them as 5000W tungsten fixtures but I can see that the flexibility delivered by the alternative lamp bases would be enormously useful to us.”
The Le Cin’k is a unique range of 250mm Fresnel lens spotlights with removable, and interchangeable, lamp compartments. A single lamp house can accept any of five kinds of lamp – 2000W/2500W tungsten, 5000W tungsten, 1200W and 2500W HR discharge lamps. Le Cin’k is versatile and quick to transform, saving on storage space and investment in fixtures which can only perform one function.

Lara Pulver (Louise) et Dan Burton (Tulsa) dans Gipsy. Photo Johan Persson.

Lara Pulver (Louise) et Dan Burton (Tulsa) dans Gipsy. Photo Johan Persson.

Le Cin’k is not the first Robert Juliat fixture to find a home at Chichester Festival Theatre.

Two Robert Juliat Lucy 1200W HMI followspots were also used on Gypsy having been part of the Festival Theatre’s lighting inventory since 2010. The Lucy spots were mounted on the front-of-house bridge in newly created followspot positions, designed and built by Delstar Engineering as part of the new overhead grid during the recent RENEW project. “These positions were built specifically to accommodate the Lucy spots,” says Garner-Gibbons, “which have the same form factor as the Robert Juliat Ginger 2.5kW tungsten spots we’ve had in the Minerva Theatre since 2006.

“The Minerva has a higher proportion of plays than the Festival Theatre, and the Ginger suits the shorter throw distance.  However, several musicals have taken place there in the last 4 or 5 years, such as The Pajama Game which recently had a run in the West End, and we have simply been able to swap and run the RJ Lucys in there without having to change the operating positions. It’s hugely helpful and means the choice between tungsten or discharge sources rests entirely on the creative requirements of the lighting designer.”

All Robert Juliat followspots share exceptional quality of beam, dimming ability, gobo projection and outstanding output, all wrapped in an ergonomically pleasing package. Long and short throw versions with different wattages and lamp types mean there is a Robert Juliat followspot to suit any venue or usage, from schools and small venues to the largest spectaculars and arenas.

Robert Juliat is distributed exclusively in the UK by Ambersphere Solutions and worldwide via Robert Juliat’s extensive international family of distributors. A list of these and details of Robert Juliat’s extensive lighting portfolio can be found at www.robertjuliat.com

About Robert Juliat:
Robert Juliat was founded in 1919 and is still a 100% family-owned company today. The company is the renowned manufacturer of top quality lighting fixtures based around superb optics and ergonomic design.  All Robert Juliat luminaires are designed and built 

 

 

 

With 450 Source Four Mini LED

ETC lights! Camera! Action! at the Hollywood Costume exhibition

A visit to the recently opened Hollywood Costume exhibition at the Los Angeles County Museum of Art (LACMA), lit with ETC Source Four Mini fixtures and powered by ThruPower power control, will make you forget all you ever knew about museum visits – and may change forever the way you view exhibitions.

ETC Source Four Mini luminaires were used to light the Hollywood Costume exhibition at the Los Angeles County Museum of Art

ETC Source Four Mini luminaires were used to light the Hollywood Costume exhibition at the Los Angeles County Museum of Art

The costumes receive as much direction and attention as the actors who once wore them. The creators of these remarkable displays realised that without great lighting, sound and video, costumes are just old clothing once inhabited by a famous person; Here, the costumes on show inherit the charisma of the stars who wore them. Many convey the sense of joy and confidence that an actor might have felt inside such a creation.

Costume designers rarely get the recognition they deserve. Like editors and writers, their work is often overshadowed by directors, producers and actors. In modern-dress movies, the public assumes that costumes can be found at the local mall. This exhibition is a narrative that defines the pivotal role of the costumer in the creative process, with each step of the process meticulously displayed on acrylic projection surfaces with synced audio tracks.

Super Heros costumes

Super Heros costumes

Lighting designer Trevor Burk of Visual Noise Creative gives the costumes something they never had before – a sculpted theatrical look with front, back and side light.
Burk was brought in early to the creative process. He chose a discreet black pipe grid over a traditional truss to draw attention away from the ceiling and lighting fixtures. He knew upfront that strict controls of colour temperature and intensity would be imposed on his design. “The curators wanted no more than 50 lux of light on each costume.

Meryl-Streep costumes

Meryl-Streep costumes

I chose to run the ETC fixtures on individual dimmer channels for maximum control,” says Burk. Backstage, the rows of ETC’s new compact 96-way MP Rolling Racks with ThruPower could serve a touring Broadway show with one very important difference: the entire lighting rig uses only 60 amps of power – the same power draw as a single-film Fresnel used in the original movie.

Le Source Four Mini LED

Le Source Four Mini LED

At the heart of the design are 454 ETC Source Four® Mini LED Gallery fixtures. “This fixture perfectly met my needs. Apart from a couple of ARRI LED L7C and L5C Fresnels, we use the Source Four Mini everywhere – it is punchy even from a 6.7m trim height, and gives a razor-flat field,” says Burk. “For programming, we used an Eos console and a wireless network so that three focusing teams could control channels with an iRFR app.” »

Associate lighting designer Phil Kong adds: “The show is controlled by an Ion RPU [Remote Processor Unit]. Operations staff can recall presets, start up and shut down lighting and projection, and can control party-space colour and intensity via an ETC Mosaic Tessera Panel Controller touchscreen that sends UDP triggers to the Ion.” In other words, the push of the button will set in motion some Hollywood magic and a string of memories.

More information : http://www.etcconnect.com/

 

Jack Calmes, the founder of Showco and Syncrolite, passed away

Jack Calmes, the founder of Showco and Syncrolite has died at the age of 71. One of the concert production industry’s true pioneers, Calmes was also a musician, promoter, live music venue owner, artist manager and film and television producer.

Jack Calmes pictured at Syncrolite in 2011

Jack Calmes pictured at Syncrolite in 2011

In the mid-60s, Calmes and friend Angus Wynne co-founded Showco in Dallas, Texas, and set about putting on music shows. Among their early successes was a University party in Dallas headlined by Chuck Berry.

Showco also brought The Beach Boys, Bob Dylan, Janis Joplin and the Doors to Dallas. In 1967 Calmes and Wynne opened a Dallas music venue, Soul City, played by stars such as Stevie Wonder, Fats Domino, Chuck Berry, Little Richard, Ike and Tina Turner and Jerry Lee Lewis.

The pair sold their interest in the venue the following year and concentrated on Showco, promoting the Texas International Pop Festival in 1969. Despite a good reception, the festival lost money, Showco failed and Wynne and Calmes parted company. Calmes, along with Jack Maxson and Rusty Brutsché, regenerated the business in 1970 with a focus on live sound, and went on to build Showco into the most successful concert production company of its day.

As a musician himself, Calmes focused on quality sound for his clients, understanding that house PA systems on the music venue circuit were not up to the job. Showco developed and built all its own sound systems, even building their own mixing desks, for clients such as Led Zeppelin, Three Dog Night, Steppenwolf and Genesis, servicing many of the biggest US tours of the 1970s. As well as its sound systems, the company was involved in various innovations in staging and lighting.

By 1980, Showco was employing 150 people and turning over about $5m per year. In 1981, Showco engineers developed the first colour-changing, moving light, the Vari-Lite, which famously debuted with Genesis in Barcelona in 1981.
Calmes, who resigned as president of Showco in 1980, produced a number of film and live television shows, including a global satellite broadcast of The Who in 1982, later released as the documentary The Who Rocks America. In 1984 he founded another famous name in show production, Syncrolite, developing high-powered, DMX-controlledXenon searchlights which have appeared on high-profile shows all over the world ever since.

 

Question de Son’ Studios in Paris Choose Amadeus for Acoustic Design and Speakers

When researching how to capture the much sought-after sound and vibes of classic 1970’s studios, Question de Son owners Jordan Kouby and Frederic Vectol reached out to Amadeus for both the acoustic design and custom studio monitors for both Studio A and Studio B.

Amadeus et studio 'Question de Son’

The team at Amadeus, led by designer Michel Deluc, satisfied all their needs. Question de Son is now one of the most respected studios in France, and a “favorite Paris recording studio.” The two pairs of custom Amadeus monitors feature dual 15-inch low frequency woofers, a 3-inch mid range and a 1.5-inch Beryllium tweeter, with 4,000 watts of tri-amped power – 2,000 watts of that assigned to the dual low frequency drivers.
Based in France, Amadeus has become one of the premiere manufacturers of custom studio speakers, as well as high-end sound reinforcement systems for live and installed sound; with a focus on Europe and Asia, the Company continues to expand. 

“Many recording studios try to face the record industry crisis by simplifying their installations – gear, maintenance, less investments, essentially ‘in the box’ mixing setups. At Question de Son studios, we resolutely try to go the other way. We build up vintage audio peripherals, our microphone collection goes from the 1940’s to now, and some of our musical instruments date from our grandparents’ generation,” states sound engineer, producer and Question de Son Studios’ co-founder Frederic Vectol.

Amadeus et studio 'Question de Son’ Defining the type of studio they imagined, Jordan Kouby, sound engineer, producer and Question de Son Studios’ co-founder, adds, “We share the vision big studios had back in the 1970’s – the Golden Era of the recording studios.
At this time, there was no compromise. These studios everybody keeps talking about with nostalgia even today all shared common foundations: good acoustics, a huge mixing console, top-quality peripherals, a dedicated team of ‘in-house’ engineers, and a lot of vibes. This is, for us, the most pertinent recipe to keep on making big records today.”

The studio has already hosted artists such as MeShell Ndegeocello, Anthony Joseph, Micky Green, Elliott Murphy, Ayo, Keziah Jones, Martin Solveig, BabyShambles, and many others.

Describing his experience at Questions de Son, engineer Etienne Colin (‘The Artist’ Original Motion Picture Soundtrack, OSS 117 Soundtrack, Jacques DUTRONC) says: “The Studio B’s Amadeus monitors are really very interesting. They offer not only a high quality for passing-by label executives and customers, but also a high level of comfort for the mixer, all day long, without fatigue. Question de Son won their bet: close field speakers and big monitors are really coherent. And there’s never a bad surprise when we listen to our mixes elsewhere. A special mention is given to the ATC dome, always precise, never aggressive.” 

Continuing to describe their process in building the studios, the co-founders offer, “The studio’s acoustics were a priority for us, a matter we were not willing to compromise on,” says Jordan Kouby. “That’s why we called Michel Deluc. We had worked 5 years in our first studio, and we had especially understood how important acoustics and monitoring systems were in our control rooms.” Frederic Vectol offers, “That’s why we asked Michel to design the main loudspeaker system and the acoustics together.” 

Amadeus et studio 'Question de Son’ Recalling his connection to Amadeus, Jordan Kouby adds, “We had discovered Michel’s work several years before in producers’ Tefa & Masta studio, a place where we completed technical tasks such as wiring and mixing desk installation.

Michel DELUC had designed the acoustics and a custom monitor pair there, and the final results were very impressive. As soon as we made the first sketches for our new studios, we contacted Michel, with these very positive memories in mind. We then discussed a lot about the studio design and the monitors. When I first showed Michel some outlines, we already had strong ideas about the kind of sound we wanted. Our common inspiration came from studios such as Electric Lady Studios in New York.”

Commenting on the speakers he wished and co-imagined, Jordan Kouby says, “One of our ideas was to build the speakers with ATC 150 dome midrange speakers, a double TAD 1601b 15-inch boomer, and an Esotar 330 tweeter. We also considered using TAD compression drivers with horns, but we quickly abandoned this idea.
Michel finally came back to us with his ultimate design. Its style and technical characteristics immediately astonished us. We then had to wait a little more than a year to complete the studio building and to finally get our two pairs of monitors. We had to launch a first experimentation phase to choose the most appropriated tweeter and to break in the loudspeakers. But the results already seemed most interesting: stereo image, precision at all the frequencies, and a very comfortable listening experience.”

Amadeus et studio 'Question de Son’

Having worked at Question de Son, engineer Jeff Ginouves (Michel Petrucciani, Aldo Romano, Kellylee Evans…), states, “I have already recorded and mixed several albums in Question de Son studios. The big Amadeus monitors are essential to our work, thanks to their sonic qualities, their balance and their precision.”
Detailing his discussions and choices about the speakers, Jordan Kouby concludes, “About the tweeter, our common final choice was a 1-inch beryllium Scan Speak D3004/664000. This speaker is at the same time very precise and very pleasant to listen to. No listening fatigue, even after several days of work with the monitors. After several months of break-in, a final tuning was necessary. Since then, we are absolutely delighted with the listening quality on our control rooms, as all Question de Son’s customers are. We get nothing but praises and compliments about the acoustics, the monitoring systems and the comfort of working in our different studios.”

Amadeus et studio 'Question de Son’ Today, Question de Son is one of the top choices for studio recording and mixing in Paris, and in all of France, “When I’m recording, I look for a good room with a variable acoustic environment, good vintage and contemporary analogue equipment in top condition,” adds engineer Steven Forward (Paul MCCartney, Ray Charles, Depeche Mode, Johnny Hallyday, Serge Gainsbourg, Stéphane Eicher, Laurent Voulzy, Florent Pagny…).
He continues with his required list for productions, he says he needs “…state of the art digital recording technology, a choice of classic microphones and reliable monitoring in a clean tight control room. I find all these qualities at Question de Son, and that’s why, very simply, it’s become my favorite Paris recording studio.”   

Specifications for Amadeus’ studio monitors at Question de Son

The Amadeus 4-way Custom Monitoring System is equipped with one 1-inch dome tweeter made of a 99% pure beryllium diaphragm and a large roll surround, improving the perception of transients and other micro details in the audio; one 3-inch ATC soft dome mid-range driver which combines high sensitivity with extremely low distortion; and two 15- inch low-frequency TAD direct radiating woofer, which features a cone diaphragm made of a tough and lightweight material that is capable of withstanding high amplitude levels without deformation.
Each custom studio monitor is built around a unique internal reinforcement structure, designed to neutralize any ‘standing waves’ and to suppress energy loss caused by vibrations. Each speaker’s multi-layer panels combine a subtle blend of woods, high-density bitumen, ‘elastomers’ (polymers) and mineral fillers.

  • Amplitude Linearity (± 2dB): 30 Hz – 20 kHz Cut-off Frequencies (-6dB, free-standing): 24 Hz – 30 kHz
  • Max. Continuous SPL (1 meter): 130 dB
  • Transducer (HF): 1 x Beryllium 34-mm Soft Dome tweeter 
  • Transducer (MID): 1 x ATC 75-mm Super Dome mid driver
  • Transducers (LF): 2 x TAD 375-mm bass drivers 
  • DSP Type: Analog Devices SHARC DSP with 40-bit floating point data allowing
  • Amplifier (HF) Output: 1 x 1000W (8Ω) with PFC System and Power Limiting Mode 
  • Amplifier (MID) Output: 1 x 1000W (8Ω) with PFC System and Power Limiting Mode
  • Amplifiers (LF) Output: 2 x 1000W (8Ω) with PFC System and Power Limiting Mode 

Amadeus et studio 'Question de Son’

About Amadeus
Amadeus develops, manufactures and sells a wide range of high-end sound reinforcement loudspeakers, studio monitors and various signal processing interfaces that combine its own custom innovative technology with stylish design, for the professional audio industry.
Created in 1992 from the collaboration between the French designer Bernard BYK and the scientist and musician Michel DELUC, the Amadeus brand has grown to become a leading supplier of high-end audio solutions and services for theaters, opera houses, museums, recording studios, research centers and touring concert sound rental operations. All development and product manufacturing is centralized in Amadeus headquarters in France, with field offices and authorized distributors located in Europe, Asia and UAE.

For more information :
Question de Son : http://www.questiondeson.com and Amadeus : http://www.amadeusaudio.fr

 

 

 

 

 

 

 

Nexo appoints Jean Mullor as new CEO

Jean Mullor

Jean Mullor

NEXO enters the new year of 2015 with a new CEO, as Jean Mullor takes over the reins at the leading French loudspeaker manufacturer.

Yoshi Tsugawa, who has guided the company for the past three and a half years, is returning to Japan, where he takes up new responsibilities as the General Manager for Band & Orchestra products in the MI & Audio Sales and Marketing Group of Yamaha Corporation.

New CEO Jean Mullor comes to NEXO from Yamaha Music Europe, where he has spent nearly 4 years as Managing Director of the French subsidiary, in charge of the domestic distribution of musical instruments, commercial audio products, audio video products and music schools network development.
Trained as a lawyer, Mullor brings with him a wealth of management experience.  A lifelong passion for music has taken him from US petrochemical giant Mobil to Yamaha Corporation, joining the French branch in 1992.  Over the years, he has augmented his legal expertise with HR, logistics, finance, sales and marketing departmental experience.

Speaking of his appointment, Mullor describes it as “a remarkable opportunity to join a company that has a 30-year record of technical achievement and an industry-leading reputation.  With its flagship technology making inroads at the very top of the international market, and a slate of new products scheduled for release, these are exciting times for NEXO, and I’m looking forward to being part of its talented team.”

Test

SSL: Live 500 digital console (1)

In 2013, just before a PL+S in Frankfurt there was rumor that SSL was up to something and the announcement was like a bomb going off… SSL was presenting a live digital console for the first time. At last! The console, the result of many years of observation and experience surveys, should include everything that is the current standard for digital consoles for live performance but also incorporate new and innovative technologies.

SSL Live 500 jukebox

Who hasn’t dreamed for a moment of having access to the same type of technology for applications in live shows that is available in a console used to produce a studio project and to be able to reproduce live what was done in the studio?

Digital Technology for Live

A live console and audio transport technology

2013 marked the public presentation of a new SSL product, their first console designed for live performance. This console is based on a new processing platform called “Tempest”, which incorporates many technological innovations. The primary idea behind it was to create an ergonomic mixing environment and a human interface that would facilitate creative and technical processes.

This console includes a touch screen of comfortable dimensions, but this is more than a touch screen: it allows a multi-touch approach, like a tablet. The console incorporates visual and ergonomic concepts such as Eyeconix and the Focus Fader, which we recognize from the Duality console. 

It is also equipped with the brand’s proprietary technologies, such as SuperAnalogue™ microphone preamplifier technology, adapted for live applications. It features the effects library – well known in the studio – adapted to live applications. It also features high-pass filters on all signal paths and, also, the proprietary SSL Blacklight II technology for multiplexing multiple MADI connections.

2014 marks the release of a new evolution of the software for this SSL console, Version 2, and the availability of an off-line editing software, but also the availability of a system of digital audio transmission based on IP known as MADI-Bridge, which bridges the gap between MADI and Dante.

The SSL environment for live sound is now revealed

La SSL Live 500

[private]

The SSL Live 500 comprises a mixer surface with a number of controls, and two screens. It features a certain number of inputs and outputs incorporated into the control surface and it can be connected to a number of remote racks with inputs and outputs, available in various formats. Audio processing is carried out within the console.

SSL500 Side View

The start of something special for SSL

Many of the technological concepts that are applied today in the music industry, in broadcast and post-production were developed by SSL and these may eventually be excellent tools in the live production field, provided that they can be adapted to the “Live” specs for reliability, ergonomics, quality and resistance to various stresses (mechanical, thermal, etc …).

So let’s take a detailed look at what makes up the SSL Live 500 system.

Processing power

The Tempest system consists of a mix engine or core using patented SSL technology called OCP (Optimal Core Processing). This core can provide the console with all the power it needs to cover all necessary configurations or combinations. The processing system is fully integrated into the control surface. The processor uses a 64-bit floating point architecture, a 96-kHz clock and I/O converters operating at 24 bits.

Architecture

The effects have their own processing resources, which are dynamically allocated. The rest of the available power is allocated according to the type of configuration specified.

SSL500 Architecture ConsoleThe console has 192 channels of processing at 96 kHz. These channels can be assigned at will as inputs, stems, aux sends and masters. They can also be freely assigned as mono, stereo or LCR. 144 channels are available in ‘Full’ mode and 48 channels are available in ‘Dry’ mode.

One mono input occupies one channel, one stereo input uses two channels and, of course, in LCR will occupy three channels. In addition to the channel mixer, there is a separate system for the 36 x 36 matrix, which can receive modulation-processed outputs from the inputs, stem groups, and masters.

The matrix can be divided into four smaller matrices, as needed. The 36 matrix outputs have high-pass and low-pass filters, four bands of parametric EQ, a delay line (maximum of two seconds), an all-pass (phase) filter system and, finally, two insert points that can be connected either to internal (virtual rack) or external processing. Of course, the order of the blocks in the processing chain can be changed on the fly.

The console has MADI inputs and outputs, thereby allowing it to interface with the SSL Live-Recorder option.

The control surface

The main idea in the design of the control surface was apparently to create a model that would make the work-flow intuitive. The user interface is well thought out, with a balance between hardware and touch-screen control elements.

SSL500 Surface Control

Hardware & Touchscreen

It is centered around a comfortably sized touchscreen. This screen is the nerve center for the control of the console. It provides a visual representation of each element and provides access to various system configurations and access to the effects rack. This touch screen is multi-gestural (uses combinations of more than one finger) or multi-touch, the same concept that is found on tablets.

SSL500 Control Surface Tactile MultiTouchThe touch screen technology is not new per sé, but the addition of multi-touch technology provides for an innovative interface using multiple contact points. This system captures the position of different fingers on the surface and the tactile force applied. The multiple simultaneous contact points are interpreted by the software.

This feature opens up the use of a wealth of gestures and commands, and allows the user to interact with the software using intuitive movements. The brightness of the screen makes it visible even in daylight conditions. A separate and independent menu allows instant visualization of all signal paths (VCAs, Stem groups, Aux sends, etc.). This display allows a global vision of the situation at a glance, without resorting to searching through banks or layers

The central screen is used in conjunction with quick-access potentiometers with contextually-assigned functions. These controls are located in the master section. These controllers can be assigned, depending on the context, to control individual EQ settings, parameters, effects, etc..

Secondary Display

The secondary display at the right of the work area is mainly used to extend the management of the current channel parameters, without having to occupy the central screen. It is a 7.5” (diagonal) TFT color touchscreen, surrounded by 15 rotary encoders for setting EQ, dynamics, pan, effects inserts, etc.

The Fader Tiles

These panels provide access to the commands and controls located in the audio signal chain. There is, of course, a color coding system that allows instant and intuitive recognition of the type of control. Each tile has 12 motorized 100 mm faders, Solo/Mute selection keys, and Query keys (which allow the user to instantly check what is routed to and from the fader).

Each fader is flanked by a 14-segment electroluminescent level meter, as well as independent indicators for compression and gate functions. To the right of the fader area, a series of buttons allows access to the various layers with individual label displays.

The layers

SSL500 Control Surface Layers BankingEach fader tile is organized into five selectable layers.

Each layer has five vertical banks and each bank has a dedicated selection key (banks and layers are color-coded and have a text box that can be configured by the user).

Inputs can be arranged in any order with this type of structure.

Focus Fader

SSL500 Control Surface Focus FaderThe surface includes a special fader strip located in the master section, perfectly positioned so that it falls underneath the right hand of the operator.

This fader can be locked to a specific input or it can follow the current input selection, which allows the user to select an input with the left hand and make an adjustment with his right hand with extreme ease and speed.

External monitor

SSL500 Control Surface System MonitorThe external monitor shows the different signal paths such as inputs, auxes, stem groups, VCAs, masters and solo, with level meters, clipping indications, etc.

When you wish to have a look at the routing structure of the various signals, you probably don’t want to interrupt the main console display or move within a layer.

An artfully designed, articulated boom arm allows the attachment of an external monitor on the left or the right side of the console.

SSL500-Control Surface SoloTalkbackSolo and Talkback

Solo and talkback have independent and autonomous controls. Two buses can be connected, via a small matrix, to three solo channels, which can be used for various applications like wedge, headphone, and in-ear sends.

The console also has two independent talkback buses.

Color functions

Each fader has a strip of LEDs whose color indicates the signal type (Aux, VCA, etc.). The colors are user-definable.

Eyeconix

SSL500 Control Surface EyeconixThe console is equipped with the technology Eyeconix, which allows the user to assign and display a bitmap for each input channel for quick and intuitive visual identification.

An extensive library of Eyeconix symbols is available in the console’s memory.

The work flow

As human beings, we are all inherently different, therefore the approach to a particular task will differ from one operator to another. This console features two approaches that can even be combined: control completely via touchscreen, completely via hardware or a combination of the two.

Full or Dry Inputs

Each channel has its own processing power; channels can either be ‘Full’, with complete processing, or ‘Dry’, for channels that do not necessarily require as much processing power.

Each ‘Full’ channel has all the standard processing power available, with features such as low-pass and high-pass filters, 4-band parametric EQ, compression with modeling of the warmth created by valve, expander, gate, delay, pan and all-pass filter, plus two insert points.

The so-called ‘Dry’ inputs do not include processing, but are equipped with two insert points, and consume much less processing power. The configuration window on the touch screen allows quick and rather intuitive parameter adjustment.

Stem Groups

SSL500 Stem GroupThe Stem groups include functions similar to those of the subgroups but provide a set of additional features that are not necessarily found in other consoles, hence the name Stem Groups.

Each is a hybrid mix bus, which incorporates the familiar characteristics of subgroups, inputs, auxes, and matrix buses and combines them into a powerful tool. The Stem Group offers very powerful routing functions within the mixing engine of the console. These groups can be assigned as mono, stereo or LCR, and they are available in Full and Dry mode.

The order of the processing blocks

SSL Live 500 allows the user to define or redefine, in real-time, the order of the audio processing blocks of an input, a Stem Group or the masters.

SSL500 Blocs DeTraitement

The user interface lets you just drag and drop the elements of a processing block into any point in the audio processing chain. This system offers flexibility and incredible creativity.

VCAs, mute groups and masters

Any fader can be assigned to a VCA group. The Mute groups are on a series of buttons that occupy an area in the Master section. These mute group buttons can be assigned in the blink of an eye.

“Spill” Deployment

SSL500 LCR DeploiementYou can hide individual channels within an LCR or stereo path under a single fader and, as necessary, redistribute them to adjacent fader strips to perform individual adjustments. This saves a lot of space in the control surface, but also offers great flexibility for handling multi-channel elements.

The automation

The console allows the storage of an “infinite” number of scenes, using a filtering mechanism to determine what will be read back and what will not in the scene recall, globally or individually.

SSL Live-Recorder

Unlike other solutions, the Live-Recorder can export/import native projects (.ptf) directly from ProTools™ and to/from Apple™ and Steinberg™ software in XML. This connection is established using an optical MADI interface, allowing it to be carried out over relatively long distances (hundreds of meters).

Live-Recorder can interface with any MADI device such as digital console or an audio distribution infrastructure (Riedel, Optocore, etc.. Live-Recorder can record up to 128 channels at 24 bit/48 kHz or 64 channels at 24 bit/96 kHz. It operates using Soundscape V6.2 software.

The single rack unit Live-Recorder has four front-loading RAID bays pre-equipped with two SSD drives. It connects to the console via two optical MADI 64 ports. It supports MTC and MMC via MIDI over Ethernet.

Integrated effects

Effects Rack

The effects rack includes seven categories of studio-quality mono, stereo or multichannel effects: Reverb, delay, modulation, EQ, compressors, etc…The effects rack has its own processing power. Depending on the type of effect used, it is theoretically possible to use up to 96 effects simultaneously.

Les EQ

  • G-Flex EQ, a graphic equalizer available in versions with 8, 16, 24 and 32 filters
  • • A parametric EQ with 10 or 6 bands.

Dynamics processing and delays

SSL500 FX dynamics CBSSL500 FX Delay

le Warmth & noise et Audio tools

SSL500 FX WarmthSSL500 FX Toolbox

The user has access to pure frequency generators, noise generators, an SPL meter, a Phase scope and an FPPO (fixed point per octave) FFT analyzer!

Modulation

Here we find various standard such as flanger, band-split flanger, envelope flanger, classic phaser, chorus, etc..

SSL500 FX AutomixAutomatic mixing

It allows the operator to set a relative mixing level between 12 microphones and to obtain quick and clean crossfades between them according to their input levels.

The on-board local I/O rack

  • Frequency Response 20 Hz – 20 kHz ±0.05 dB, maintaining ±1.3 dB down to 10 Hz.
  • THD: 0.005% over the entire band
  • D/A conversion at 24 bit/96 kHz
  • Microphone preamp gain controls with a resolution of 16,000 steps.

Live 500 console can be used without a stagerack because it has a number of inputs and outputs directly aboard the control surface.

  • 16 mic/line inputs,
  • 16 line outputs
  • 4 pairs of AES/EBU inputs and 4 pairs of outputs all equipped with SRC (sample rate conversion).

Note : : there is space to add modules for an additional 16 line inputs and 16 line outputs.

SSL500 Back

  • 2 dedicated mic/line talkback inputs
  • 4 headphone/monitoring outputs
  • 2 redundant pairs of coaxial MADI connections
  • 2 redundant pairs of optical MADI connections
  • Additional MADI (I/O) port usable as an “FX Loop” for the connection of external equipment such as a computer
  • The rear panel obviously has connectivity for MIDI, LTC, word clock and GP I/O (general purpose input/output logic connectors)
  • The standard configuration does not include the SSL Blacklight II interface but it is possible to add this option on request.
  • The console features two power supplies operating in full redundancy.

Remote inputs and outputs (stage rack)

A choice of different racks is available for connection to external devices in AES/EBU and MADI. The interconnection between the console and the stage rack is carried out over MADI. Control of the gain of the mic preamps is conveyed via MADI.

Note : For simple configurations, a standard MADI coax cable is used to connect the console to the analog and/or AES/EBU stageracks. In configurations for applications that require a larger number of channels, the proprietary SSL format Blacklight II permits a reduced number of cables.

The “stage racks”

ML 32.32 analog stage box

It is possible to add additional ML32.32 racks in order to have more audio channels.

The rack is equipped with :

  • SSL500-ML32.32 BackD’une paire de connecteurs Coax MADI permettant l’interconnexion avec la surface.
  • A pair of MADI coax connectors, allowing interconnection with the control surface.
  • A pair of MADI coax connectors for redundant operation or for splitting.
  • GPIO connectors
  • WordClock connections

Note : As an option, you can add analog splitters in the form of 32 XLR-3F connectors, which are patched before the active electronics of the microphone preamps but after the phantom power.

D32.32 AES/EBU digital stage box

SSL500 D32

SSL500 D32 Back

Blacklight II

The proprietary SSL Blacklight II protocol can carry 256 channels at 96 kHz – equivalent to eight MADI connections – in bi-directional mode via a single multimode fiber optic connection. A MADI hub located in the stage rack handles the distribution of the MADI signal via coaxial connections to different analog and AES/EBU Stage Boxes, to a second SSL console or other MADI devices.

Blacklight II MADI concentrator

SSL500 BLACKLIGHT II

Each connector can carry 256 digital audio channels at 96 kHz.

SSL500 BlackLightII Back

The rear panel of BLII.D features 8 pairs of redundant MADI coax connectors, which can be extended to 16.

Measurements

The “SuperAnalog” preamps of the SSL500 exhibit an excellent level of common mode rejection. We measured respectively 91 dB, 91 dB and 79 dB at 40 Hz, 1 kHz and 10 kHz, using the conventional method (i.e. with balanced source impedances on each line), and throughout the gain range.
This is always an essential parameter for a high level console, which guarantees good integrity of low-level microphone signals despite lengthy connections.

The input impedance of the balanced input, in the MIC setting is 4.32 kΩ and, with the PAD engaged or in the LINE setting, it goes to 11.3 kΩ – quite appropriate values. As for equivalent input noise, we measured -127 dBu (unweighted) and -129 dBu (A-weighted), with a source impedance of 150 ohms.
This is good, and expected, for a console of this class but it is not the strongest point of the SSL. It should be noted that we took these measurements in a pretty noisy environment and we have to consider the placement of the test instrument (AP525) and cables (short).

Figure 1

Figure 1 : Response at extreme gain, with a low-cut at 80 Hz at maximum gain.

The gain is adjustable from +18 to +73 dB – a range of 55 dB – which is standard. With the pad, which attenuates by exactly 20 dB, the gain range thus extends to 75 dB, from -2 dB to 73 dB.

As shown in Figure 1, the frequency response remains the same regardless of the gain setting, from minimum to maximum. At most, one can see a slight attenuation at the lowest frequencies (-3 dB at 10 Hz), but it is 73 dB of gain – staggering! The analog stages are of excellent quality.

Note from this curve that, while working at 96 kHz (64-bit floating point DSP) internally, the analog filtering limits the bandwidth to about 23 kHz (-3 dB) before digital filtering that occurs at less than fs/2 (48 kHz), as it should.

Figure 2

Figure 2

Figure 2 shows the frequency response, with a low-cut activated, and the variation of the group delay produced.

In terms of distortion, we obtain, once again, very good performance. On a “slice” of input to direct output (4 dBu) with medium pre-fader gain (40 dB), THD is 0.0015% at 40 Hz and 1 kHz, while at 10 kHz it is 0.008% (test band 80 kHz); at minimum gain (18 dB) with +16 dBu at the output, we measured 0.001% from 40 Hz to 10 kHz.

With the output at the digital clipping level (+18 dBu output), it tops out at 0.1%; the “clipping” is soft and can not “wrap”. The intermodulation products, in the worst case, remain below 0.008%. The maximum line input level is +30 dBu.

Figure 3

Figure 3 : FFT on a slice of a line input of 0 dBu at 1 kHz.

Figure 3, a Fast Fourier Transform analysis performed with a line input signal of 1 kHz at 0 dBU (and 10 dB) of post gain suggests a dynamic range of around 115 dB

La raie de la fréquence d’échantillonnage à 96 kHz en bout de bande est à -110 dB.

The peak of the sampling frequency at 96 kHz at the end of the range is -110 dB. Note that the peak at 24 kHz remains at -110 dB. Very nice.


Figure 4

Figure 4 : the same FFT for AES input/output.

We did the same thing with the AES input at -10 dBu (Figure 4).

The distortion is not measurable in the audio band (not with certainty by the test instrument) and the FFT speaks for itself.

The base of the plotted line is due to the windowing of the FFT but the dynamic range is approximately 120 dB.


Figure 5

Figure 5

Finally, Figure 5 provides information on the overall latency, AD-DA (direct output), MADI via the external rack and with full processing. It is low, less than 1.4 ms in total, of which 100 μs is attributable to the network connection.

In the second part, we will see the virtues of 64-bit floating point signal processing, especially for dynamics and effects processing.

But we can already say that we are dealing with a real thoroughbred racer.


We would like to thank the Juke Box team that hosted us three times in the studio dedicated to this console in order to carry out the tests. In a second part, we will examine the details of operation and the software (with the addition of the console software V2 and the off-line editing software released in June), the remaining measurements (EQs, effects and dynamics processing) and a review of the construction.

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Robe Lighting Appoints Craig Burross as Western Region Sales Manager

Craig BurrossCzech Republic-based lighting manufacturer Robe Lighting has appointed Craig Burross as Regional Sales Manager of the Western United States, effective November 17, 2014.

Burross, based in Austin, Texas, was most recently with Barco/High End Systems as the National Sales Manager for North America.

Due to customer demand and increased popularity, Robe Lighting is expanding its reach in the U.S. under CEO Bob Schacherl. This is one of several strategic steps the company is making to provide Robe clients better sales support and enhanced customer service.

“About a year ago Bob Schacherl and I were speaking and I said, it would be great to work with you again,” said Burross.  “Along with Bob, I have also known Harry von den Stemmen for many years as well.   I’ve always had the utmost respect for both Harry and Josef and their collective accomplishments globally with Robe.  What really makes this an easy decision for me is my existing friendship with the Robe US sales team.  Our goals are clearly aligned for supporting and prospering with Robe clients here in the United States.  I’m elated to be a part of further growing this respected brand.”

Burross has more than 25 years of prior industry experience on a variety of sales teams including High End Systems, Vari-Lite and Victor Duncan.

Bob Schacherl said, “I have had the pleasure of working with Craig for almost 15 years. He has a great personality, incredible energy and passion for the industry.   His historical success throughout his career is widely known. As a result he has built an extensive list of contacts and developed long-lasting relationships with dealers, lighting designers and end users that span the nation.   We expect Craig to have an immediate impact on our business and we look forward to an exciting LDI.  We’re thrilled to have him on board and he is a fantastic addition to the Robe team.”

Burross may be reached by cell phone at +1 954 494 1419
and by email at [email protected]

 

News from Plasa

Ayrton NandoBeam S9 and its optimized optics

Ayrton NandoBeam S9At Plasa, on a busy stand that was part of the “village” of Ambersphere (Ayrton’s new UK distributor) and where the new Radical range was putting on quite a show, the S9 arrived to join S3 and S6, completing the NandoBeam family.

S9 incorporates 55 Ostar Stage 15 W RGBW LEDs (825 W total). Able to go from beam to wash, from 8° to 40°, this fixture uses a particular optical system that allows it to be very compact with respect to its output and to emit a uniform, sharp edged beam.  

This optical system was developed in-house by Ayrton and consists of two parts: a moulded piece 280 mm in diameter made up of 55 lenses, and a piece that is perforated like a honeycomb where each cell is framed by individual anti-glare vanes.

This system allows this fixture to maintain a constant luminous flux, regardless of the setting of its 5:1 zoom; and that’s a feat! It also eliminates undesirable reflections.

NandoBeam S9 was born for the stage and for television productions. It gets its power from an amply-sized, 1000 W power supply (with PFC) that offers over 95% efficiency, and from an LED cooling system that employs a second-generation heat pipe (with liquid exchanger), assisted by a fan that guarantees the stability of the light output in continuous use. 

Ayrton NandoBeam S9 LentillesThe 55 LEDs are arranged in five concentric, independently-controllable rings, including the central LED, with pre-programmed animation macros. NandoBeam S9 can be controlled via DMX, RDM and Art-Net, and comes with a Lumen Radio DMX and RDM receiver card as standard equipment. 

And even if Ayrton maintains the possibilities for graphic effects, what stands out ahead of everything else is a serious and powerful traditional wash/beam with an 825 W LED light source and rapid movements, optimized for maintaining very compact dimensions and with a particularly simple and elegant design.

NandoBeam S9 will be available in early 2015 at a price of € 7,140, excluding tax.

Factory tour

Osram Opto Semiconductors, the stage lighting leadership

The exceptional 15W OSRAM OSTAR Stage RGBW is one of today’s most widely used multi-chip LED emitters. OSRAM has always closely collaborated with its innovative and responsive customers to identify their needs and develop great solutions.

With feedback from preferred customers like Ayrton, OSRAM optimized the Ostar SMT in the current four color form. (Ayrton was one of the first to bring an OSTAR Stage based fixture to market, in the Wildsun™500S, a powerful wash light. This was followed by a whole family of beam-projector luminaires, like the award winning MagicPanel™602). OSRAMs customer policy has paid off: since the OSTAR Stage was launched two years ago, the world’s biggest manufacturers of moving luminaires have switched over to this SMT LED component: Ayrton, Clay Paky, GLP, JB-Lighting, Martin, etc.

Osram

How did the OSRAM OSTAR Stage come into being and what makes this LED different from the competition? We decided to ask the German manufacturer’s technology and marketing team. They were happy to answer our questions.

The headquarters of OSRAM Opto Semiconductors is in Regensburg, Germany. We went there with Yvan Peard, founder and CEO of Ayrton and Antoine Leveau, Sales Manager for OSRAM West Europe. The company’s sole focus over the last 40 years has been on developing a variety of Optoelectronic components for all types of market, as evidenced by thousands of international patents filed under its name.

OSRAM Opto Semiconductors in Regensburg

We were met by Marion Reichl, Media Relations Manager, who organized a meeting with the technical and marketing staff and a visit to one of the four chip production facilities.

A world leader in LED technology

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During the meeting, Michael Wohs, Vice President, Sales, Europe & Emerging Markets, with 2013 sales figures in hand, told us that OSRAM Opto Semiconductors’ was one of the leading manufacturers of optoelectronic semiconductors in the world. The company is the sales leader in the automotive industry, in optical sensors, and industrial lighting and is in the top five in sales of urban, industrial and domestic lighting. It ranks in the top two suppliers for the projection and stage lighting industry. The company generated over €1 billion in sales for 2013 (up from €899 million in 2012). This represents 18% of OSRAM’s total turnover.

Osram Opto semiconductors employs a staff of more than 7,300 worldwide and has three production sites: Regensburg in Germany (~ 2,000), Penang, Malaysia (~ 5,000), and the new 100,000 square meter facility in Wuxi, China, which opened in early summer 2014. The company expects to employ up to 2000 more people by 2017.

Customer support, marketing strategy, quality assurance, procurement, human resources and purchasing, are integrated at “Application Centers” located in the US (Sunnyvale, California and Northville, Michigan), China (Hong Kong, Shanghai, Wuxi), Japan (Yokohama), and Europe (Regensburg).

OSRAM Opto Semiconductors has a shared#2 in the market for packaged LEDs

OSRAM Opto Semiconductors’s turnover evolution from 2010 to 2013


The company has undergone a startling evolution, from the first radial LED in 1977, used as a simple red or yellow indicator light, to the innovative blue LED with SiC technology in 1988, and then to the first soldered surface-mounted LED in 1990. OSRAM also beat the world record for efficacy the 2008 with a white LED generating 136 lumens / Watt, (lm/W), at 350mA, and again in 2011 with a warm white LED at 142lm/W. The manufacturer is also one of the first to have perfected 6-inch epitaxial wafers, remaining competitive in a highly aggressive market.

An OSRAM employee shows the new wafer size: left- a new 6 inch wafer, right – the conventional 4 inch wafer

With 40 years of experience and know-how and awards to prove it has mastered all phases of LED manufacturing, OSRAM Opto Semiconductors invests more than 10% of annual turnover in R&D. It also explains why this company holds thousands of international patents and reinforces its world-class position in technology and quality—the company is indeed growing faster than the market.

A small part of the Osram Opto Semiconductors museum with the first Radial LED.

Antoine Leveau told us : “Today, in 2014, we have already reached 150lm/W, with a potential from 180 to 210lm/W, depending on the color temperatures. OSRAM has already gone beyond the potential of many other light sources, including metal halide.

The use of LEDs is already widespread, and let’s not forget some of its more interesting features such as resistance to shock and vibration, which simplifies transport, the absence of fragile filaments, and a greater life expectancy than with traditional lamps…

We have a very strong position in conversion technology for LEDs and lasers, as OSRAM has always used them (phosphors) in lamps and fluorescent tubes.

They are similar to the types of phosphors used in making white LEDs. They are covered in the patents we hold and also are strongly tied to the manufacture of chips and their encapsulation. This has allowed us to hold our strong IP position as well as sign licensing agreements with various other important market players.”

Osram Phosphores

A new converter mix that OSRAM is currently testing in its development laboratory provides a pleasant warm white light.

Osram, in all the LED markets

Wolfgand Lex (Vice-Président & General Manager Visible LED) emphasizes  just how much LEDs have become a part of our daily lives with this piece of trivia: “Do you know how many LEDs you encounter in one day from the moment you get up in the morning until bedtime ?

By the time you’re done with breakfast, you have already seen 27 LEDs just by using your appliances. Then you can count 15 more in your car. A single traffic light is made up of 15 LEDs, and there are several hundred in a highway traffic sign. You arrive at your workplace. Then there’s the lift, your computer screen, and your mobile phone… In other words, by sunset you will have come across 140,000 LEDs if you live in a large European city and certainly many more if you are in Asia.

all the LED apps we meet during a day

Osram Opto Semiconductors application areas


Since 1990, OSRAM Semiconductors’ turnover has doubled and the LED market continues to create new applications. By transporting photons, we transport emotions—and in color.

Osram estimates based on McKinsey Report 2012

Stefan Morgott, Senior Expert in Application, helps our customers optimize use of our LEDs and orients them toward solutions that they have never even dreamed of.

This service is the key to our business model because we are not limiting ourselves merely to selling as many LEDs as possible. A close relationship with the customer is really essential for doing business.

We are the only ones to provide the full spectrum of light colors  – and additionally infrared light—efficiently and in a compact format. We are amongst the biggest manufacturers worldwide to cover all important lighting markets.”

Birth of the OSTAR Stage RGBW

When it comes to stage lighting, the OSRAM OSTAR Stage LED is clearly the industry leader. Wolfgang Schnabel (Marketing Manager Industry & Visible LED) has shown us that the quest for efficiency focuses primarily on light projection applications and notably the miniature video projectors, or being integrated into mobile phones, among others. Moreover, there is a full synergy between the applications, as you might guess.

Wolfgang Schnabel : “ The study of projection applications started in 2002. We had a 4x1mm2 lightsource that could be used in LED projection, that time in big size projector cases, but with only 25 lumens. This was a start in 2005, and further on we developed a complete portfolio around this LED, because we needed higher output. For example, today, only nine years later, LED projectors achieve more than 1000 lumens. Using a diffrent OSRAM OSTAR  for another application the projectors can be incorporated into phones.

The OSRAM Opto Semiconductors Headquarters

During projection, they encounter a problem called “etendue.” This is a characteristic of a projector’s optical system that determines how much area (mm²) and respective  luminous flux from an LED source you can actually project onto the wall. Etendue is a fixed relationship, which never decreases, in any optical system. Our product was developed to offer the best possible etendue for a certain image size. The same problem exists with stage lighting systems. 

So we developed and promoted our OSRAM OSTAR Projection (RGGB) product to help stage lighting customers solve the problem of zooming the LED. At that time, the minimum spot angle they could obtain with an LED source was around 18°. Using our source instead, they were able to reduce this to 9° and double the light in this smaller area. This was only possible because we covered our chips with a  flat glass instead of silicone, to preserve the etendue.  All of the other competitors at that time used silicon encapsulation on top, which destroys the etendue of the chip.

Suddenly people like Yvan at Ayrton came to us and said: ‘your LED line is very good. It offers optic benefits, but one color is missing.’ So they asked us to build the RGBW. This was the real starting point. From then on we produced OSRAM OSTAR Stage (RGBW), red, green, blue and white. That’s our history: and so we were involved in both projection and stage lighting.

But we are not only talking about projection and stage lighting: We now have a medical product using OSTAR technology, which is a multi color LED source achieving a very high CRI, and our OSTAR products found the way to the automotive industry. Today we are creating headlamps for cars, and we have a similar wide portfolio for the whole industry. We have used the synergy of our OSTAR technology package in all areas.

SLU : What more is Ayrton asking you to do ?

Wolfgang Schnabel : They are asking us to double or triple the power of the current models. This is currently a 15W package, but they are asking for a 45W package. We are following Ayrton’s request, because Yvan Peard is very creative. He’s very innovative. He has one product idea after the other and he is always asking, ‘can you do this? Can you do that?”.

SLU : So, is Yvan the best in his field ?

Wolfgang Schnabel : I would say that he is the most creative and the quickest. […] Sometimes he had product ideas that he worked on for three years, and he was always ahead of the technology. When finally we were able to develop a source he needed, he could then go back to projects he’d thought of years ago. He is very, very creative. I just wanted to show you an example of the projector inside this phone…”

Using a mobile phone from a distance of about 1.5m, Wolfgang Schnabel projected a video onto the 60cm x 45cm wall of the meeting room, and the result was very bright, and with very good contrast. Really impressive!

Wolfgang Schnabel : “Even here where it is not very dark, you can get quite a nice picture… I can even do a presentation with slides directly from this phone. This phone has been on the market for a year and a half. All of this is incorporated into a phone, but this clearly requires a very efficient LED. What this means for Ayrton is that, as we work on the efficiency of our LEDs, we are continually developing more efficient systems with more output, using less power. Our whole current product range for entertainment and projection uses this same technology.”

SLU : How can you increase efficiency ?

Wolfgang Schnabel : Basically, we buy substrates from vendors. Then we are doing the epitaxy, where we structure the chip, process it, and put it into a package and the result is that today we have 55% output efficiency with a white 1mm² LED. We will never get 100%, because one hundred percent efficiency would be like a perpetual mobile. But we work to eliminate the losses. We are working on better epitaxial design. We work on reducing extraction losses from the chip by improving the chip’s surface design. There are also electrical losses, like contact and resistance, so we work on the contact design. No one knows how close we can get to 100%. But every step toward100% helps the application either to save energy or getting brighter. So it is crucial to work on the technology.”

What distinguishes OSTAR Stage products from the rest of the market?

Antoine Leveau talked about the advanced technology that went into the OSRAM OSTAR Stage: “We’ve developed specific color wavelengths that allow us to obtain very good saturation for scenic applications. Another feature supported by our chips’ clean technology is their surface emission: more than 95% of the light is emitted towards the top of the chip and not to the sides, unlike the competition. This makes it possible to use the center of the chip itself and endows it with incomparable optical properties.

Osram Ostar SMT

The exceptional 15W OSRAM OSTAR Stage RGBW. You can see its flat glass surface that allows an optimized flow extraction

We have developed a flat glass surface to protect the semiconductor that allows not only very good coupling with secondary optics but also optimized flow extraction. The stage lighting market requires a very tight beam and, ideally, very effective zoom dynamics. Thanks to the flat optics, the chip yields the most faithful image possible, and the ratio between the size of the chip and the secondary optic, i.e. the collimator, is the lowest possible. We still need to protect the semiconductor, usually either with resin or with a ceramic casing, and there are various technologies available in terms of material.

Our OSTAR Stage is exposed to the air, protected only by a glass surface. This saves changing the index between the different environments. The light emitted by the chip travels through the air, then the glass, and the air once again, before reaching the plastic of the secondary optics. And if we had used resin (common in approximately 99.5% of components produced worldwide), there would be a loss of luminous flux and emission toward the sides, hence less efficiency. This is why our OSTAR Stage is quite successful.

SLU : What binning* do you guarantee your customers ?

* Binning : The sorting of both chips and finished LED packages by a color and brightness group in order to maintain color consistency within a finished product. Each LED can be tested for specific characteristics such as luminous intensity, luminous flux, forward voltage, dominant wavelength and chromaticity. Upon completion of assembly, LEDs are measured for brightness and color and then placed into “bins” according to their intensity group and their color group. The binned LEDs are then placed onto reels for shipment. –
See more at http://LEDlight.OSRAM-os.com/technology/fine-white-binning/#sthash.qQ8Jrelg.dpuf

Antoine Leveau : They have a choice. In the Stage application for Ayrton for example, we deliver well-defined binning to meet their need for consistency: wavelength mono bin for blue, green and white because red is less sensitive, and flux mono bin on the red and white. We also produced two to three flux groups on the green and blue.

This optimizes Ayrton’s an optimum response in terms of the production process and ensures delivery of a fairly low number of configurations. With a four-color mix, there is always a problem of making the products homogeneous. The requirement is that all the luminaires produced have good color response. If a customer needs to add to his fleet of fixtures, the new models will have the same color and flux characteristics as the ones that were supplied maybe a year before.

SLU : At an extra cost, obviously ?

Antoine Leveau : Yes, because this is the customer’s choice. Ayrton anticipated this need, and the discussions I had with Yvan Peard helped establish this system in Germany.

SLU : Do all your customers who manufacture stage projectors choose this option ?

Antoine Leveau : Some have found another solution and others have a work-around using different calibration systems. Everyone finds what works best for him

SLU : What percentage of variation are we talking about ?

Antoine Leveau : We make wavelength groups with a 3-nm gap and flux groups of ±11%. There are thus very few software corrections to implement. In one delivery, the characteristics of a component are very accurate with a single color bin and a single flux bin. In one reel delivered, there is one single component characteristic. Then from one delivery to the next, there may be a small variance which will be corrected by the product software.”

Power increase

The new OSRAM OSTAR Projection Compact 2×2 version for projection applications expand the performance range at the low and high ends. OSRAM OSTAR Projection Compact is ideal for pico projector applications, whereas it is designed for applications in high-power projectors such as those in home cinema systems and mobile projection systems

To meet the demand for a greater luminous flux, OSRAM has developed a new diode called the OSRAM OSTAR Projection Compact.

Antoine Leveau : “The OSRAM OSTAR Projection Compact meets this requirement for more and more flux. We must increase the efficiency with greater light extraction and this is a thoroughly technological issue, so we are doubling the size of the chips.

The Ostar Projection Compact is a 2mm2 chip per color as compared to 1mm2 for the Stage, which will respond to other stage luminaire applications. When we double the surface of a chip, we quadruple its capacity in terms of current, which produces more flux. Finally, the same response must occur on the optical chain. If the flux is higher, it has to be used effectively by the optical chain, whether for an interface with secondary optics or a mixer according to the application.

SLU : What happens to the thermal drift in terms of flux and colorimetry ?

Antoine Leveau : This is an important point. We are working on optimizing the thermal resistance of our component enclosures. We are already 20% lower in thermal resistance than the competition. For our customers this means saving 20% in the sizing of materials and in energy expended to extract heat. This is not negligible. Our solution is the choice of materials.

On the ceramics we use, we solder the chips on their substrate rather than glue them. This makes for optimal heat extraction. Sometimes this choice of materials is more costly, but the solution meets the needs of our customers. Often, people only look at the initial flux and don’t take into account all the related parameters. You can decide to use one type of silicone for the best possible light extraction, but this choice could impact the life expectancy or persistence of the color

SLU : Has this technology been used in the OSRAM OSTAR Stage ?

Antoine Leveau : Yes of course. We know that these products are confined to very small environments. They have to be fairly simple to implement. And since these products can be used for video projection and integrated into mobile phones, you can be sure that we’re not trying to squeeze a giant aluminum radiator inside (laughing)! Lowering thermal resistance is a permanent challenge for our R&D department.

SLU : Any other innovations ?

Antoine Leveau : We are working on a “Converted Green” which consists of depositing green phosphor on a blue LED. We obtain a green light by secondary emission whose spectral characteristics shows a peak in the blue range and a significant rebound effect in the green. This is not a saturated color with a very narrow peak but with wide green coverage. The flux is almost twice as high.

This is useful, either for an application involving mirrors and therefore a loss of flux, or for an application that requires more flux for less power and heat.
We have gone over to thin-film for the AlInGaP technology and we are using UX3 technology, with a better injection of current into the chip. This achieves greater stability when hot. So we decrease the flux variations between cold and hot with purely a surface emission that is always optimized for more efficiency.”

Visiting a chip production facility

Marion Reichl offered us a guided tour of one of the production facilities, notably where epitaxy is carried out. This is the initial stage of structuring the chip: depositing layers of semiconductors on substrate. Epitaxy, the growing achievement of 40 years of experience, is performed only in Germany.

We could only see the machines from a distance, down a corridor protected by glass. This floor was occupied by a huge white room where technicians wore antistatic clothing and sometimes full-coverage outfits that were color-coded to differentiate between the men and the women.

The building had three levels, with two production floors separated by a floor reserved for air-renewal filtration systems and gas containers used in epitaxy. We spoke to Johannes Völkl, Director LED Production. Seeing that we were disappointed in being denied access, he explained just how clean this room was, he commented.

Johannes Völkl : The cleanroom class” is 100—this means that there are less than 100 particles bigger that ½ micron in one cubic foot of air. In reality, if the machinery is working properly, we should have less than 10. This is continuously being monitored.

This cleanroom has holes at the top and bottom so that clean air can flow in through the top and take all the dust and remove it through the other holes. Then the air crosses a double-layered floor, comes up and passes through a number of filters. It is condensed and evaporated several times and then mixed with fresh air. This means we completely change the air in the room six times every hour.

SLU : What is the chip production process?

Johannes Völkl : We bring in the sapphire wafers from outside and make several thin layers on them to produce the light. It is basically a p–n junction, but actually much more complicated. For these tiny layers we need huge, expensive machines.

The key is that no oxygen is involved. There is no vacuum because we need certain gases to react to form the layers. We use ammonia, which is nitrogen mixed with hydrogen, and also gallium or indium with hydrogen. We bring these gases together and place them on the hot surface of the wafers.

The hydrogen is removed and the gallium and the nitrogen stick to the wafers. It is very simple. Not easy, but simple. The problem is removing the hydrogen. It is very difficult to remove the hydrogen and leave the gallium and nitrogen. Then we have to mix very small amounts of other gases to form the light emitter.

The LED production steps

An epitaxy machine is made of five segments: One is for temperature control; two segments are gas cabinets (the gases enter from the bottom into these cabinets where the mixing occurs); another is the reactor segment; and the fifth is the “handkerchiefs” segment, which the operator opens to place the wafers on the plate. Then the plate is transferred to the reactor.

An OSRAM employee places 6 inch wafers manually in a plate for a coating unit

The reactor rotates, the gasses enter, and it heats up to a temperature between 600°C and 1000°C. On the wafer you obtain a layer, and in the center of the area is the light emitting area. For example, this can be based on gallium arsenide or gallium nitride.

It is very difficult to make it homogeneous, but I think we are among the best in the world at it. Our LEDs are very high quality with nearly no failure rate, and we are competing with the best. We have been making epitaxy for LEDs since 1970… I think we know our stuff! The layer itself has a thickness of 3-5 microns, or one–tenth the thickness of a hair.

On this layer you need to have contact so that current can flow from the front to the back. Therefore, we first need metals on these layers—special metals that can form a contact. Then there are more layers, and a final one for soldering.

Warm white light or cold white light can be produced depending on the ratio of the phosphors. A lab technician at OSRAM Opto Semiconductors carefully weighs the different phosphors

LEDs are automatically encapsulated in the LED assembly of OSRAM Opto Semiconductors


This results in a complete wafer. Then this has to be cut. Some LEDs types are still cut with a blade that can split a human hair. The more recently developed LED types are now cut with lasers.We can cut across a very tiny distance, even a few micrometers away from the chip, and it is very stable and very straight. Each operator must sign off and comment on every operation being processed. This so that we can evaluate any production deviation. Over here you have the testing equipment for the layers, which uses lasers to measure the thickness of the layers.

An employee performs a visual check on the electrical connection between an LED and the substrate

A technician checks the crystal structure of a substrate material


We also have chemical machines that etch and clean the wafers. 50% of the success of the semiconductor production process is in cleanliness. We are one of the most environmentally friendly production sites. We have received prizes from the government for our high environmental protection rating. This is also true for our recycling of water, heat, air and metals. We recycle our exhaust heat.”

Quality control

Antoine Leveau satisfied our curiosity about quality assurance, which we assumed was strict.

Antoine Leveau : “We have implemented programs such as “Zero Tolerance To Defect” with the objective of applying this quality philosophy to all phases of component manufacturing, both in engineering as well as production. We take into account all elements that could affect our products. Today we are below 1 ppm at the production level (one product failure per million parts), so it is very low. Often, in conventional industry we often refer to about 100 ppm.

We consider that as either a direct initial failure or a flux variation (Vf) of ± 50% or 20%.
In the development cycle, we single out three production batches that we sample from. And on these samples, we then perform a qualification test: 1000h at 85°, 1000h with a thermal cycling from –40° to +85°, 1000h at 85° with 85% humidity. We also test their ability to be re-soldered five times. Thus we conduct a battery of tests beforehand to ensure that the product is reliable.

Then it is put into production. At the end of the process, we systematically test all of the nearly 10 billion components produced, twice. We perform two tests to verify the binnings and to ensure that they meet the specs on the data sheet. We then perform a rather complicated qualification procedure on our components. We subject them internally to stress tests using thermal cycles at high temperatures and levels of humidity. This is make sure that they will continue to function properly regardless of the application environment”

Armed with solid know-how and the ability to come up with new projects in new application environments for greater performance, OSRAM Opto Semiconductors is a future-oriented company that is always prepared for change. The company has therefore decided to invest in its industrial production capacity in Asia to maintain its competitive edge and respond to all types of markets. It wants to increase its output volume while placing a high premium on quality. Its customers, regardless of their market position and size, have expressed satisfaction with the company’s high level of service. Ayrton is perfect example

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Led Profile Projectors

ETC Source Four Led, a family of four

With its new Led projectors made to replace the existing traditional lighting, ETC blows the hot and the cold on the light.
The American manufacturer took all his time to develop those products, setting the specifications on very high standards to fulfill even the most difficult Lighting Designer requests with its family of four LED luminaires: Tungsten 3000K, Daylight 5600K, Studio HD with a range from 2700K to 5600K and with its five colors and the Lustr Series 2 with his matrix of 7 different LED colors.

ETC Source Four LED

A full panel

The principle of the Source Four profile, which debuts was in 1992, is to have a single light source body on which you could put different optics. This idea has been preserved on the new LED range, and it has been pushed even further, being able to use the old optics with the new LED profile. In this way, it’s possible to order only the light source and continue to use the old Source Four “nose”. Another very important specification of this fixture was to be designed for a very wide market, from ballet to rock, passing thru theater or architecture.

ETC had to develop several array of light to obtain the maximum quality on a wide colorimetric panel. The Source Four Led range is made of 5 fixtures, and 4 of them will be tested today. All of them are composed by an array of 60 Luxeon Rebel 2.5W Led.

The Source Four CE Tungsten’s LED have all a 3000K color temperature, while the Source Four CE Daylight’s LED are calibrated to 5600K. The 2 other type tested have different LED colors in their array. The Source Four Studio HD fixture has been developed to produce a range of white from 2700K up to 6500K and can be used, even if it’s not his primary function, to create colored ambiences with its 5 LED tints (Red, Red Orange, Mint, Blue, Indigo).

The last fixture, called Source Four Led Lustr Series 2, has 7 colors (red, lime green, amber, green, cyan, blue and indigo). The difference with the previous model (Lustr+ Series 1) is due to the fact that the White LEDs have been replaced by Lime Green and the Red color has been reinforced to obtain a better flux with the most used colors.

The LED Source developed by ETC

The LED Source developed by ETC


All the optics of the HPL range are compatible with the LED fixtures


Philips and BTR Screws

Without having to dismantle anything, we do find a condenser in the lighting box! It’s the first time that the American manufacturer uses this kind of optics. With the lighting source composed by 60 LEDs this is an essential solution to diffuse an even light.

One of the major news at ETC, the condenser !

The connections are made thru two XLR5 connectors for DMX and RDM distribution. To power up the fixture, there is a PowerCON IN/Thru option.

two screws and we have access to the main part

One of the advantages of the low power consumption of the LED Sources is that it is possible to power up several fixtures on the same power line. Ultimately this should allow to make serious saves on power cables.

The first step of the disassembly is very simple; the fixture’s housing is removed easily by removing 2 BTR screws, then it’s possible to access to the two parts that most likely would require maintenance: the power supply and the PCB.

the power supply with the spare fuse


the PCB with the most part of the fixture’s electronics


The rest of the disassembly is a little more difficult due to the volumes optimization. By removing the four screws that are holding the optics and the back of the projectors, it’s possible to see the cooling system. On one side there’s a fan fixed on the fixture back, and on the other side an impressive aluminum radiator.

the fixture’s back and the fan


the impressive radiator


The opening of the optical system is also a little tricky, but the curiosity takes over. It allows to discover the mirror system that ensures the optimum color mixing.

the optical system: six mirrors that mesh the LED colors

On the other side of the optical system’s tunnel, a plate with sixty lenses to channel the LED light is present. It is easily removed and reveals the circuit with all the sources.

the sixty lenses


the sixty LEDs

The software part

ETC pushed really far the fixture’s software capabilities, which ends up in a very multi-functional and very easy-to-use fixture. The display is complete, with the DMX mode, DMX address, status and the ultimate: the DMX chart of the DMX mode used. It’s interesting and ETC it’s the first company to think about it.

The menu is very well conceived and well stocked. The settings are divided in three parts, from the most basic to the most complete.
The first one is for the DMX address.
The second, for the “Quick Setups”, that allows the selection of the built-in presets. By choosing the Studio Mode, it’s possible to manually control the white color temperature even when DMX is not connected.
The third part, “Advanced Settings” allows to set all the options via six other menus.

the display with several information

In the “DMX settings” part, it’s possible to address the fixture, and then, for the multicolor series, to select one of the five DMX chart (only one for Tungsten and Daylight). The choice is complete with the possibility to activate or deactivate the Strobe and Fan functions, or choose automatic fan mode.

A lot of topics have drawn my attention. The seven colors handle is not an easy one, so the modes have been well thought in order to be able to control it in different ways. Two special channels exist: the “White Point” parameter to define the white color temperature ant the “Tint” parameter to handle the green/magenta balance.

Every DMX chart corresponds to a different way to handle the colors. The HSI mode allows working with Hue, Saturation and Intensity while with HSIC mode allows you to add control of White Color Temperature. You can also work in RGB mode if you like to.

The Studio mode favors working with white light while the last one, called “Direct”, is a straight control of the basic fixture’s parameters. The last important point is DMX channel “Plus Seven on/off” when the “Plus Seven” option is activated. This option activates, depending on the fixture model, five or seven extra channels, which directly control the LEDs. This feature allows saving DMX patching space or more control over the colors.
On the other side, the “Plus Seven” activation deactivates the factory color calibration and it’s possible to see a color difference between fixtures. You can also find the “Data Loss” option in this menu, which defines the fixture behavior in case of DMX loss.

The “Led settings” menu holds five parameters:

  • Output, to choose Led Power mode handling
  • Regulated, the one that we used during our test, allows to combine light output and minimum ventilation. Also, this option provides the best color consistency.
  • Protected, is useful for long-term use with a large number of LEDs at 100%
  • Boost, favors power, allows to get maximum output but compromises color homogeneity and light flux regularity.
  • Curve,  handles the LED’s ignition and extinction curve. Choice between four different dimmer curves: standard, incandescent, linear and quick. The second one permits to simulate in the most realistic way tungsten’s filament thermal inertia.

The back panel with buttons for travel in a very extensive menu.

Our friends from Broadcast will highly appreciate the “Output Freq” function regulating the frequency between 920 and 1500Hz with also a “High 25K” mode at 25000Hz.
“Red Shift“ simulates the color temperature shift while the intensity fades out, just as tungsten lamps, and in the same menu you’ll find the “White Point” color temperature setting.

The “Preset and Sequences” part it’s dedicated to a stand-alone use. The “Focus” function overtakes the DMX values and to sets the fixture at 70%, which can be very useful when operating alone without access to the console.
The Presets are light states which have also different fade times. They are all editable on the fixture itself or by DMX capture. And best of all, it’s possible to copy and paste the presets from one fixture to another in the same network! The Sequences are Preset steps. The “Quick Color” menu allows rapid selection of a color without DMX signal.

The “Diagnostic Menu” allows fixture parameters control as well as input signal. The last settings are made in the “Local Settings” menu. The last tab in the menu is far from being the least useful as it provides copies of all fixture parameter, excluding the DMX address, to all the other fixtures in the DMX network.

Another big software development is about RDM protocol. A lot of settings and test can be managed from a console, a peripheral or RDM compatible software. ETC pushed far this development as it is possible to upload the fixture library into an unknown console with RDM features.

Impressed

It’s time to check if during the reassembly, I didn’t switch the mirror position! To check that, I’m going to make a quick stop at Impact Evenement’s ShowRoom, which have been very kind to host and lend us the necessary tools to test all the devices.

We install all the fixtures on stands and turn them on, all equipped with the same 19° optic. The first impression is amazing. We are totally surprised by the power and especially by the light quality. The second big surprise is the silence of the fan. Fortunately there’s the projector’s light output to confirm that the projector is working! We have to get our ears few inches to the engine to hear the fan humming.

ETC Source Four LED

The four fixtures. In the middle the Tungsten, on the right the Daylight, on the left the Studio HD, and bottom the Lustr Series 2, all regulated in cold white (except the Tungsten which can’t)


The four fixtures. In the middle the Tungsten, on the right the Daylight, on the left the Studio HD, and bottom the Lustr Series 2, all regulated in hot white (except the Daylight which can’t)


As usual with LED projectors, we start with derating test. We turn on the sixty LED sources at 100% and we measure the center enlightenment over the time: first measure after 30 second to avoid considering the starting peak, then every 5 minutes. The enlightenment remains almost at full no matter which fixture we are considering. This first test is very interesting for the video world.

Derating

Derating Daylight

Derating lustr2


the almost null derating shows the constant Source Four Led light output

Derating StudioHDDerating Tungsten


Photometric measurements

We already know the 750W Halogen series power, but the use of a condenser changes the rules, especially when associated with sixty led sources! The light is even, the hot point effect has completely disappeared. Depending on color and optics, there are some imperfections on the Lustr 2 model on the beam edge but nothing crippling, and those disappears with the provided diffuser. It can be placed into the gobo slot. The lighting measurements have been made with a 19° optic.

Source Four Lustr 2

Flux ETC Lustr2 EN

ETC CI

The Lustr 2 is the most powerful profile of the range with 2785 Lux in the center and light beam of 4487 lumens. The lighting intensity curve confirms that the hot spot has disappeared. Also, it shows good beam uniformity over the range.

Source Four Tungsten

Flux ETC Tung EN

The Source Four Tungsten with 2084 lux of center enlightenment and 3500 flux lumens is the range least powerful profile.

Source Four Daylight

Flux ETC Daylight EN

The Daylight has 2340 lux in the center and 3825 flux lumens.

Source Four HD

Flux ETC HD EN

For the Studio HD, we measure an enlightenment of 2300 lux in the center and 3538 flux lumens.

Dimmer

Led intensity variations are very well managed and the four different curves cover most needs. The combination between the “Incandescent” and “Red Shift” options allows a superb halogen fixture simulation.

Dimmer standard ArcDimmer IncandescentDimmer linearOn the colorimetric side, nothing to complain; rendering of the two monochromatic profiles are excellent and can be married easily with other traditional fixtures.

The Studio HD is a very good compromise. With five LED colors, it has a very good white range, and while it is not its strongest field, it can be also used to generate colors.

The Lustr 2 on its side has been designed to deliver the largest color range possible. It handles easily both pastel and saturated colors. The different color control modes make programming easy by adapting the fixture to the personal programming style.

the wide color range of the Source Four LED Lustr Series 2


Gamme couleurs Source Four LED Serie 2 Lustr Gamme couleurs Source Four LED Serie 2 Lustr Gamme couleurs Source Four LED Serie 2 Lustr


Gamme couleurs Source Four LED Serie 2 LustrGamme couleurs Source Four LED Serie 2 LustrGamme couleurs Source Four LED Serie 2 Lustr


Gamme couleurs Source Four LED Serie 2 LustrGamme couleurs Source Four LED Serie 2 Lustr


ETC Couleurs EN

Very good results with the shutters

The last element to test is the shutter module.

The result is very good. There is not perfect sharpness on the shutters, but not far from there.

But MORE

LED CYC CE, the cyclorama optic that is adaptable to the LED Source Four fixtures

In addition to being compatible with the Source Four full range optics (Zoom 25/50, Zoom 15/30, fixed beams of 5°, 10°, 14°, 19°, 26°, 36°, 50°, 70° and 90°) the Source Four LED has a new feature: the new CYC optic.

The results are as exciting as for the profiles. The light is evenly spread and with the use of the Studio HD or Lustr Series 2 it is possible to light up a Cyclorama with a wide range of color and few light sources.

The next feature of the range will be a Fresnel optic. It’s under development and should be presented soon. We are only missing a PAR optic to replace from the ACL to the PAR WFL in order to have a full and consistent ETC LED range.

The LED beauty

This new range it is an excellent surprise on all levels. The development work has been meticulous, and we feel that at each stage the expectations of the customers and end users have been taken into consideration.
The range is very consistent and can meet the majority of applications. One of ETC’s feats was to make mechanically compatible the standard halogen fixtures with the LED fixtures, but more, the fixture’s light quality allows the new range to be used with any fixture.

The best proof of the product quality is that the sales are constantly increasing, not only with the old range aficionados, but also on a wide new range of customers like TV sets where the Standard Source Four weren’t presents. We can also find those fixtures for rent in several French rental companies.

General ETC EN

ETC DMX

 

 

 

 

 

 

 

 

News from Plasa

Robert Juliat ‘s Merlin 2.5 kilowatt HMI followspot for touring

At its world premiere at Plasa, Merlin showed off unique features that put it ahead of the pack and that will enchant an entire population of rental suppliers and followspot operators: a zoom ratio of 4:1, a reinforced frame, a cooling fan and, on top of that, it talks…

Ludwig Lepage et Merlin...

Ludwig Lepage and Merlin…

At the stand hosting Ambersphere Solutions (Robert Juliat’s distributor in Great Britain), Robert Juliat Product Manager, Ludwig Lepage explains to us, “Up until now, our spotlights have been developed for theater applications and, for years, they have been touring around the world in road trunks where they were dragged and manhandled from trucks and containers, damp as can be…

We carefully noted all the feedback from users of Lancelot, Cyrano and Aramis… and took it all into account when we developed Merlin, a follow spot that is truly suited for touring”.

Reinforced frame
Whereas, in a conventional spotlight, the whole body serves as a frame, Merlin has two aluminum rails with intermediate plates that make up the load-bearing frame. The French manufacturer has built in four lifting points (marked in pink), and four carrying handles. The cover is hardly more than a finish and, if it takes a blow, it can be easily replaced.
Another new feature is that that this cover is now made out of stainless steel (and so is the hardware), therefore it is more resistant to shocks and, especially, to humidity. Merlin is therefore fit for humid countries.

Robert Juliat ballastThe switching power supply is incorporated, ultra-low profile and attaches to the spot via an electrical interface and two screws; therefore, it is easy to remove for service. When Merlin comes out of its custom flight case, it plugs into a 16 A line via a powerCON TRUE1.

Ludwig tells us that Merlin will be produced only in a flicker-free version with electronic ballast, as every concert is now subject to video recording. What’s more, even with all this, it is no heavier than Cyrano: 80 kg. 

The ballast is secured and connected to the device. Above the iris control, note one of the four pink lifting points and, left, one of the handles. At the top right of the image, you can see that a viewfinder is incorporated, to the delight of spot operators. 

Robert Juliat Merlin Zoom3°–12° Zoom
Merlin’s Zoom is unique. It covers a range of 3°–12°, without having to change the module. This is the first time that a zoom features a ratio of 4:1 with only two groups of lenses.

The 3–12° range is particularly useful, as artists now often use thrust stages or even “B” stages in the midst of the audience, on which they are not at the center of the room on the main stage – a situation that requires being able to significantly open the beam.
For the record, the zoom range of Cyrano is 3°–8°, while that of Aramis is 4.5°–8°.

Double shutter
Merlin has a manual, two-blade mechanical dowser/dimmer that ensures minimal deviation from the color temperature with dimming. The dimming level has dual indicators: on the mechanical control, and on the display of the ballast.

An optional dimmer/dowser accessory can be added – motorized and controlled by DMX – that allows synchronized blackouts. Everything is pre-wired to accommodate this without modifications.

La commande de l'iris, à la fois souple et précise.

La commande de l’iris, à la fois souple et précise.

The position of the iris has changed, and has a convenient control used to manipulate the iris while moving the spot. Vertical and a horizontal shutters are available to avoid spilling onto the front row (especially the horizontal) or for picking out a line of singers. The gobo holder can be removed. It locks on in perfect safety, without risk to the audience just below the spotlight.

Like Cyrano, Merlin has a variable frost and Robert Juliat’s proven color changer. There is also a cool accessory – a gooseneck lamp to illuminate the barrel of the spot, which is powered via USB (also convenient for charging smartphones). 

Control
Merlin has a built-in electronic monitoring system connected to sensors. Placed in the lamp house and in the power supply, they allow intelligent temperature control by the fans. At Plasa, the display read 33° C in the lamp house. This is new: Merlin remains cool.

But that’s not all… the spotlight displays other fault messages and protects itself. In case of danger, for example an unsuitable supply voltage like 380 V, the power turns off.
The dual lamp-hour timer also indicates when it is time to re-lamp the spotlight. Lamp strike can be controlled via DMX or wireless DMX, as you choose. The wireless antenna is well protected in a small housing. Merlin is also RDM compatible. 

An “Eco mode” feature
If either the iris or the dowser is closed completely, Merlin goes from 2500 W to 1500 W after an adjustable preset time. The Eco mode is also controllable using a button on the spot. This feature allows the lamp to be stuck before the show with reduced consumption.

Merlin has many advantages that should ensure it worldwide success. Availability is scheduled for February 2015. 

 

 

Preview

Clay Paky Mythos, more than a million… lux, that is!

The new Clay Paky spot

Clay Paky leads its competitors at a cracking pace. Six months after the Super Sharpy was presented at Prolight+Sound, topping the headlines from Plasa is Mythos, a compact spot with a power consumption of only 500 W and an incredible punch, like the Super Sharpy.

Soundlightup was invited to a preview presentation of the Beta version by Clay Paky France before Plasa, and we had time to get out our Minolta lux meter and perform some flux measurements.

This new fixture is part of the new Prima range, along with the LED strobe, Stormy, and Super Sharpy to which Mythos is a natural follow-up.

Aside from the lens, it is Super Sharpy's twin

Aside from the lens, it is Super Sharpy’s twin

Mind you that, when we say Beta version, it means that a few points have not yet been finalized and will still evolve before the delivery of the first production models, therefore we will wait for the final production version before publishing our final opinion. We will offer our full review as soon as we are able to examine a production fixture.

Apart from the front lens, Super Sharpy and Mythos are identical and use the same lamp, a 470 W Philips MSD Platinum 20 R. Without a doubt, the first thing one notices about this spot is its ratio of power to luminous output.
The result is stunning! After the first dimmer opening it is a treat for the eyes, literally and figuratively. The beam has a power that one simply does not expect from a spot that consumes less than 500 watts and is only 61 cm tall.

Mythos win a Plasa Award for innovation

The tests and video

Mythos uses the same movement system as the Super Sharpy. The movements are fast and accurate on both axes. It takes only 1.48 seconds for it to cover 180 degrees on each axis. The management of slow movements can still be improved and Massimo Piccinini, the sales support engineer from Clay Paky who conducted the demonstration, confirmed that the motor controls of the two axes – along with dimmer and color mixing management – was being finalized and would soon be ready and included in a future update.

On the module we can see the new color wheel/three color mixing system, and the effects section.

On the module we can see the new color wheel/three color mixing system, and the effects section.

The color module is particularly ingenious. It consists of three wheels, each made up of two separate sections. 

One half of each is used for progressive CMY color mixing filters, while the second half is split into five locations with color filters that the CMY system does not provide: warm, cold and minus green correctors, plus a frost to diffuse the hot spot and a particularly effective UV (Wood) filter.

This solution combines fifteen color filters and CMY color mixing in a minimum space. The choice of color location and color correction that can be added to the CMY system has been carefully designed to minimize any inconvenience that this system could create.

Mythos wheel color

As far as effects go, Clay Paky did not skimp on features. The projector wheel includes 18 fixed gobos. They are directly cut into a disc of metal that can be easily interchanged, as it is held in place magnetically.  The rotating gobo wheel has 7 positions. There is also an animation wheel and two rotating and indexed prisms.

The very effective UV (Wood) filter allows us to showcase the work of Gérard Dezeuzes

The very effective UV (Wood) filter allows us to showcase the work of Gérard Dezeuzes

Like the color system, the optical system has also been the subject of some particularly ingenious development.

As the two gobo wheels are quite far from each other, they had to find a technical solution to be able to get each into focus.

Clay Paky’s engineers found a solution to this by mounting both the front lens and the zoom lens on the motorized focus carriage. This solution provides a sharp fixed gobo over a range of 6–30° opening and a sharp rotating gobo over a range of 11–50°.

With no gobos inserted, you can obtain a minimum zoom angle of four degrees. As the animation wheel is placed between the two gobo wheels, morphing effects can be easily created.

On paper

Although the projector is a Beta version, with all the risks that implies, we could not resist performing a first set of measurements to confirm our initial impression of a beam on steroids!

From left to right, Sharpy, Super Sharpy, Mythos

From left to right, Sharpy, Super Sharpy, Mythos

With the Mythos’ optical system, this task is not so simple, because you can five different reference beam angles: minimum zoom with focused fixed gobos, minimum zoom with focused rotating gobos, wide zoom with focused fixed gobos, wide zoom with focused rotating gobos and the Beam setting. As the narrow-beam modes for the two different gobo positions are fairly close to one another, we measured the luminous flux for the more narrow of the two zoom angles.  We naturally supplemented these measurements with others made at our reference value, an angle of 20°.

Flux measurements – 20° beam angle

It is with the latter that we begin, as a reading at this reference angle can provide us with, simultaneously, a first impression of the luminous output and the uniformity of the beam, and allow us to evaluate the product in comparison to other fixtures.

Our first measurement, at the center of the beam, already holds a big surprise! The meter shows 56,600 lux! An exceptional reading, especially for a 470 W lamp… measurements at every 10 cm along two axes give us a calculated total flux of 23,129 lumens, the lamp being rated for a flux greater than 23,000 lumens, without greater precision.  The luminous intensity curve shows a major hot spot. If it is necessary to attenuate this, the first color wheel has a diffuser.  The result is nonetheless impressive as, with this luminous output, this fixture can easily hold its own in many rigs and replace a spot with a 700 watt lamp. 

The first measurements confirm our first impressions!

Mythos Flux 20 EN

Mythos CI 20°

Wide beam flux measurements (sharp focus for fixed gobos)

The subsequent measurements are performed at the maximum zoom setting for sharply focused fixed gobos. The illumination at the center is halved: 27,100 lux. On the other hand, with a total flux of 23,347 lumens, we see a more uniform distribution of the light.  It is obviously not perfectly uniform, as that is not the whole concept of the fixture, but the luminous decay is much more regular than it is at 20°. We measure an angle of 29.74°, confirming the nominal 30° reported by the manufacturer.

At 30°, the hot spot is attenuated but there is still plenty of luminous flux!

Mythos Flux large Petit EN

Mythos CI Large Petit

Wide beam flux measurements (sharp focus for rotating gobos)

We then perform another set of measurements at the largest zoom setting that allows for sharp rotating gobos. The difference in the zoom aperture is large, we measured an angle of 46.55°. These results are double-edged. The first result is a significant loss of illuminance. We obtained a total flux of 17,043 lumens, which is quite a disappointing figure, considering the previous results. The second point is more positive. It relates to the hot spot which is much less pronounced at this beam width.

Better distribution of luminous flux but with a sacrifice in intensity!

Mythos Flux large Grand EN

Mythos CI Large Grand

Tight beam (minimum zoom for sharp fixed gobos)

Thinks start to look better again at the tightest possible zoom setting for focused gobos, and our smiles came back very quickly. At our first reading, the result is through the roof and exceeds the capacity of the meter. We are forced to use a 10X filter to be able to measure the illuminance at the center of the beam: 736,000 lux! The luminous flux reached 27,383 Lumens! Here there is no photo, but plenty of photons! The intensity drops off very quickly: it falls to 1/3 of the center illuminance at the second ring and to 1/5 at the third. At this zoom setting there is an opening angle of 4.87°.

736,000 lux at 470 Watts… need we say more?

Mythos Flux Serre Petit EN

Mythos CI Serre Petit

The tightest beam (without gobos)

The last session of measurements concerns the tightest beam.  This didn’t take us very long, as the illuminance at the center exceeds 1,000,000 lux and, for lack of a 100X filter, it was impossible for us to measure the luminous flux!

Pending

For a pre-production unit, I was very surprised by the results! Mythos is clearly a performer who will combine beam and gobo effects. This is an excellent compromise between a Beam and a Spot fixture. As with all compromises, though, there is room for improvement and, in applications like theater or ballet, it could not replace a moving fixture designed to have a beam that is as uniform as possible. But this was clearly not the goal with this fixture and, except in some specific applications, it will do the job and more.

The ratio of weight, dimensions and power to light output is incredible, and we should soon find this little gem in lighting rigs around the world! We had to bow to the Mythos, but this is not our final word! This break will give us time to acquire a filter and give technicians at Clay Paky time to refine this superb machine! The second round will be coming soon…

Mythos is a great tribute to Pasquale “Paky” Quadri, founder of the Italian company, who recently passed away. Its powerful beam will be our link with his star in the heavens.

Mythos General EN

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Elation TVL 3000 for Abbey of Saint Wandrille, France

It’s not often that an institution over 13 centuries old receives a lighting upgrade but such is the case with the Abbey of Saint Wandrille in Normandy, France, a Benedictine monastery founded in the year 648 that has installed Elation TVL 3000 II dynamic white light LED luminaires in the Abbey’s church.

Abbey Saint-Wandrille

An important part of the Abbey, which has produced an amazing 30 saints over the centuries, is an old 13th century barn that was carefully transported to the grounds by monks nearly 50 years ago to serve as the monastery’s church. The 48m long by 16m wide structure is 14m high and built of oak, a large wooden building for its age. The Abbey sought to improve the church’s indoor lighting with more state-of-the-art illumination but as silence plays a central role in the Benedictine tradition, absolute silence was a must.

The three versions white warm white and cold white variable of Elation TVL 3000 II.

“There could be NO noise, absolutely! The fixtures had to be completely silent,” says Alain Cornevaux of ESL of France, lighting supplier and Elation partner on the project. “After contemplating and testing several fixtures, which weren’t quiet enough, they came to the conclusion that the TVL 3000 was the right choice.”

Besides the requirement that the new lighting fixtures be silent, a high quality of white light was vital as was discretion in lighting placement.

“We proposed the TVL 3000 II dynamic white version also for its level of brightness and quality of variable white light,” states Jean Michel Vergniol from the ESL sales team, who worked closely with lighting designer Philippe Rabuteau from company Profil Scene on the project.  

Abbey Saint-WandrilleThirty-five TVL 3000 fixtures are mounted on a series of oak beams along the nave of the church, each fixture drawing a low 72W of power and using silent convection cooling technology to eliminate fan noise. “It also has adjustable barn doors and includes different beam angle lens kits, which were very useful during installation and positioning,” Philippe says of the bright, color temperature adjustable luminaires.  

The fixtures, which blend 24x 3W warm white and cool white LEDs to produce a uniform projection of flat white light along the length of the church, are used to complement and match natural light that penetrates the building from narrow rectangular and bay windows.

Maintaining the spaces architectural sanctity by discreetly placing the lighting units so they could not be seen from the baptistery was also an important requirement. The TVL 3000’s small size allowed that to be possible. When entering the Abbey church, the sightline to the altar and visual purity of the church’s beautiful oak frame has been preserved.

Installed in April of this year, the new Elation lighting is another bright chapter in the Abbey’s storied history and certainly one of the more historic lighting upgrades to be found anywhere.

More information about the TVL 3000 :
http://www.elationlighting.com/ProductDetails.aspx?ItemNumber=1829&Category 
And
www.elationlighting.eu

 

 

 

AT PLASA 2014

Robert Juliat Unveils New Followspot

Robert Juliat will exhibit at PLASA 2014 with its exclusive UK distributor, Ambersphere Solutions, where a new Robert Juliat followspot will be unveiled. 
Rumours of a new product from these masters of followspot design have been permeating the industry over the last few months.

Robert Juliat poursuite

PLASA 2014 will give visitors the first opportunity to see the new model which has been created to reflect the specific requirements of those working in the touring, live music and large event market – indoors and out. Designed to complement to Robert Juliat’s Grand, Compact & Ultra-Compact ranges, the new followspot is the result of in depth consultation with rental companies and professional followspot operators.

Easy to transport, install and maintain, the new model incorporates Robert Juliat’s superlative optical and ergonomic qualities into a robust package that beats the rigours of touring. The new followspot is the rugged four-wheel drive complement to Robert Juliat’s range of followspots. “It’s a wizard solution that truly is born to be bright!” hints Robert Juliat CEO, François Juliat.

Robert Juliat Sponsors Knight of Illumination Awards
Robert Juliat is proud to announce its support for the Knight of Illumination Awards by sponsoring the event for the second year running. The glittering occasion, now in its 7th year, moves location this year to the Troxy Theatre and promises to be another entertaining evening in celebration of outstanding lighting design. “The Knight of Illumination Awards is an opportunity to showcase some of the best our industry has to offer.

Robert Juliat’s reputation is built on quality and creativity and we feel it important to encourage and support the pioneers of entertainment lighting by sponsoring these Awards,” says François Juliat. The Knight of Illumination Awards is jointly organized by Clay Paky, the STLD, the ALD, and Ambersphere Solutions.

Robert Juliat will be exhibiting in the Ambersphere Solutions Area on Stand R80.

More information  : www.robertjuliat.com

 

LumenRadio and ACME in CRMXchip partnership

This September LumenRadio adds ACME to their growing CRMXchip family. ACME, one of the largest enterprises known worldwide for its specialization in the field of lighting, will now include CRMXchip as a standard feature for their existing and future professional product line. 

LumenRadioACME


LumenRadio has been working very closely with ACME during the last couple of months to include the CRMXchip in some of ACME’s current bestselling products, such as XP-1000SZ/WZ, XP-16R Spot and Beam, as well as CM-600Z.

LumenRadio ACME CRMXchip

“We are very pleased to be in an OEM partnership with LumenRadio. ACME always strives to be in the technology forefront and CRMXchip will help us with just that. With a wireless receiver as a standard feature, our customers will now benefit from having wireless DMX control integrated tightly into the fixture.

Also, we are proud knowing our customers get the most reliable wireless solution on the market,” explains Thomas Su, director of product & resource strategy, at ACME.

Both LumenRadio and ACME believes the partnership is heading towards a very bright future, and that the partnership has a tremendous potential.
Jessica Björk, sales & marketing manager at LumenRadio comments, “We are very excited about this new partnership and the great potential that comes with it. ACME has been around for over 29 years as a manufacturer of professional lighting products and I think it’s fair to say that so far they have exceeded the industry’s expectations in every area. This is just the beginning and I’m confident that we will see more from this partnership in the near future.”

more informations : http://www.lumenradio.com/