World-class gymnastics on the road: PRG turns to GLP for the latest touring production of Feuerwerk der Turnkunst

For the past 34 years, the Turn- und Sportfördergesellschaft mbH (Gymnastics and Sports Promotion Organisation), a subsidiary of the Niedersächsischer Turner-Bund e.V. (Lower Saxony Gymnastics Association), has been celebrating Europe’s most successful gymnastics show, Feuerwerk der Turnkunst (the Fireworks of Gymnastics), attracting attention to committed young talent.

From the end of December 2023 to the end of January 2024, the organisers staged the Heartbeat tour, a passionate homage to the legendary dance films of the 80s, such as Dirty Dancing, Flashdance and Hair. The tour included 36 performances in 22 German cities, with over 200,000 visitors in total watching the energetic gymnastics and artistic shows.

PRG supervised the tour, complete with lighting, sound and video technology, as well as rigging, and was responsible for all the special structures and technical planning.
For his lighting design, Marc Brunkhardt turned to GLP’s impression X5 Compact and impression X4 Bar 20 in order to illuminate the playing area for the artists, performers and gymnasts evenly and in a sport-appropriate manner (it was particularly important, for example, not to blind the athletes during their often very demanding performances).

The PRG team met these various lighting challenges with a total of 44 impression X5 Compacts, the smallest – and yet surprisingly powerful – member of GLP’s latest X5 Series. On the one hand, a total of 16 impression X5 Compacts were used as trackers in the rig, in groups of four in a ‘follow-me’ system, while a further 20 impression X5 Compacts backlit the transparent LED strip.

GLP impression X5 Compact were positioned behind the barrier for a great visual job but in a very discreet way.

Tom Kaczmarek, account manager for PRG, says: “The X5 Compact was the perfect fixture, especially for the application behind the barrier, and also did a great job visually.
We favour these devices for their high performance despite their small form factor, their very low weight, the speed, and the zoom of 3.5 to 60 degrees. Wherever space is an issue, we turn to the X5 Compact.”

A total of 300 impression X5 Compacts are currently available at PRG Germany. In addition to the X5 Compact, impression X4 Bar 20s were also installed behind the LED barrier. “Due to the suspension behind the boards, all the technology was not visible to the spectators,” continues Kaczmarek. “Here, too, the Bars’ compact dimensions were a decisive factor in our choice.”

For more information about GLP Lighting, you can visit


Ayrton Cobra lights up Milan’s D’Assago Forum for The Kolors

Les Ayrton Cobra lors du concert de The Kolors le 3 avril 2024 à l’Assago de Milan, où ils ont annoncé leur nouvelle tournée internationale.

On March 3, the Italian pop-rock band The Kolors gave an unforgettable performance at the Forum d’Assago in Milan before announcing their new international tour which will touch, in addition to Italy, countries including Switzerland, Poland, Germany, Lithuania, Slovenia, and Belgium.

The lighting for the concert was designed by Francesco De Cave who chose 120 Ayrton Cobra laser-sourced fixtures for the event, supplied by the Italian service company, Agorà.

Ayrton Cobra

Cobra features a native contrast never before achieved by a digital light source, an incredible 0.6° beam angle, and an extreme focus range that allows the shape of the beam to be adjusted to suit operation at any distance XT -Focus™.

“I have already used Ayrton fixtures for many tours and programmes: Eurus, Domino, Perseo, Cobra etc…” states lighting designer, De Cave. “This time I chose Cobra as the special feature in the lighting design precisely because of its double value as both beam and spot.

“The concept of the project originated in a circular design that entirely enveloped the band, an embrace of light that perfectly suited the band’s musical genre – electronic music but with an ‘80s touch.

“The main element of the scenography was a mirror ball from which the band then emerged. There I concentrated around 70 Cobras in a circular manner to create an embrace of light that blended perfectly with the music and energy of the concert,” continues LD De Cave.

“The beam function allowed me to create this enveloping sunburst effect while the spot guaranteed a powerful light output which enhanced the band’s stage presence and allowed me to use the cobras throughout the concert.” The lighting effects produced amplified the emotional impact of the show.

“Ayrton’s Cobras offer a lot of possibilities, especially with their speed of movement and zoom capability,” concludes De Cave. “I had used them previously during Laura Pausini’s tour, and thanks to their zoom I was able to recreate the effect of the crowd’s applause by narrowing and widening the beam in time.”

The choice of Ayrton proved to be a winning one, confirming the versatility and high performance of these fixtures.

For more information on Cobra and Ayrton’s full range of LED and laser sourced lighting solutions, you can visit

Ayrton is distributed exclusively in Italy by Molpass. For information on Molpass visit

Instagram: @francescodecave
Sito web:
Service Company: Agorà



On the Shure stand at ISE 2024, wireless systems were in the spotlight. While we wait for the next developments in WMAS systems, to which Shure is making a major contribution by obtaining the right to use powers of up to 100 mW from the American FCC, let’s take a look at all their new wireless products.

The most uncompromising content creators will be able to enhance their mobile activities with total freedom of movement thanks to the combination of the new SLXD5 portable digital wireless receiver and the SLXD3 plug-on digital wireless transmitter, both of which join the SLX-D series.

For the record, the SLX-D digital wireless systems provide UHF transmission of a 24-bit digital audio signal with a dynamic range of 118 dB, and are compatible with the Shure Wireless Workbench and ShurePlus Channels software. They feature 32 channels per 44 MHz band and a range of 100 metres. In increasingly unpredictable production conditions, even in on-location or touring work, the SLX-D portable systems offer first-class RF performance and high spectral efficiency.

The SLXD5 mounted on a DLSR.

The SLXD5 portable digital wireless receiver delivers the RF performance of the SLX-D system in an extremely compact format, suitable for use on the move anywhere. It also features Multi-Mic mode, which makes it easy to manage and monitor several sound sources from a single receiver, as well as infrared synchronisation, which makes it easy to link receivers to transmitters for instant configuration. Simple and practical, it can be carried in a bag or mounted on a videocamera or DSLR.

The new SLXD3 plug-on digital transmitter turns any XLR source into a wireless transmitter compatible with the SLX-D series. It provides phantom power for use with condenser microphones.

The SLXD3 transmitter as close as you can get to a shotgun microphone for a discreet, lightweight configuration.

It’s an ideal solution for wireless links from boom-mounted microphones. Naturally, when combined with vocal mics such as the SM63L or SM58, it makes an outstanding interview microphone. The SLXD3 plug-on also allows you to integrate your favourite, or simply readily available, transducer into an SLX-D HF system.

Its robust metal casing features a patented locking mechanism to ensure a reliable connection with no risk of disconnection. SLX-D portable systems are ready for immediate use as soon as they are switched on.

The ultra-compact SLXD5 receiver pack, with the battery door wide open.

The SLXD5 portable receiver automatically searches for the optimal frequency and pairs it with the transmitter in a matter of seconds using infrared synchronisation. The SLXD3 and SLXD5 feature bright OLED displays where users can monitor battery life, audio level, RF quality and frequency.

“Whether you’re a videographer, film-maker, vlogger or mobile journalist, the quality of your work may evolve along with your requirements. If you’re starting to be successful, or if you just want to go further in content production, 2.4 GHz wireless solutions are no longer enough, and you’re going to have to move up a notch in equipment quickly if you don’t want to find yourself constrained in terms of quality, range, battery life and, above all, frequency availability in an increasingly complex and saturated RF environment”, explains Thomas Delory, Channel Manager for Shure France.

“Easy to setup and simple to use, the SLX-D portable digital wireless systems combine Shure’s innovation and technological know-how to offer professional, semi-professional and amateur mobile content creators a real solution in a range of high-performance, reliable transceivers at a competitive price.”

Axient Digital

The Axient Digital series now also includes a plug-on, with the new ADX3. Ideal for mobile video shoots or electronic news gathering in complex, RF-saturated environments, the ADX3 transforms any XLR microphone into a portable Axient Digital ADX series wireless microphone, offering the same audio and RF performance and advanced control as the AD3, with the addition of ShowLink technology.

The Axient Digital Series.

Whether the ADX3 is connected to a handheld microphone or mounted on a boom, in the field or on a film set, ShowLink provides complete real-time control of all transmitter parameters, including interference avoidance, via a robust and reliable wireless connection (2.4 GHz with diversity reception) directly from the receiver in a trailer, case, on a camera or in a OB van.

All the power of Axient Digital and ShowLink in the ADX3 plug-in.

“At Shure, we were determined to be able to offer another transmitter with ShowLink technology to broadcast and film professionals who use the Axient Digital system and who may be required to work on major productions or special shoots.

The ADX3 and its accessories, the broadcast mobility kit.

Having a transmitter that can be controlled remotely and being able to change frequency or gain in real time, without having to disturb actors, commentators or presenters, is extremely attractive and crucial for technicians in the field. Especially when they’re on the road and in an environment where the available frequencies are increasingly limited. At the most critical moments and under the most critical conditions, the ADX3, along with the entire Axient Digital range featuring ShowLink technology, offers ideal recording conditions,” says Thomas Delory.

The ADX3 is compatible with the Wireless Workbench software.

The ADX3 is compatible with Shure’s Wireless Workbench® software for quick and easy configuration. With continuous real-time analysis via the AD600 Digital Spectrum Manager, sound engineers can avoid RF interference by manually switching the signal to an available standby frequency, or by programming the system to automatically change frequencies. The ADX3 works perfectly with the ADX5D two-channel portable receiver as well as with the Axient Digital AD4D and AD4 rack-mount receivers.

The ADX3 features a robust metal construction that is resistant to dust and moisture, and an OLED display with an intuitive control menu. The unit’s patented locking system ensures a reliable connection that interfaces easily with hand-held and shotgun microphones, improving mobility during remote broadcasts and on TV and film sets.
The ADX3’s operating modes optimise performance. High Density mode increases the maximum number of channels in the system, while Standard mode offers optimum coverage with low latency. AES-256 data encryption ensures secure transmission and a line-of-sight operating range of 100 metres.
The ADX3 comes with two rechargeable SB900 lithium-ion batteries, each providing up to six and a half hours of continuous use, accurate measurement and no memory effect. The SB900 battery can be recharged via a USB-C port. The transmitter can also be powered externally via the USB-C port or by two AA batteries.

Shure Corporate

The corporate and educational sectors haven’t been left out either, with the presentation of the Microflex Wireless neXt 2, a cleverly designed wireless system that is unique on the market. It’s a plug-and-play, easy-to-use, high-performance solution that instantly equips any room with two wireless microphone links.

Microflex Wireless neXt 2, two wireless links for a hybrid meeting space.

The MXW neXt 2 is easy to integrate thanks to an all-in-one access point that combines a wireless receiver, charger, on-board DSP and the audio connections.
It can be networked or used as a standalone system, with a full set of audio, Dante, analogue and USB connections, to simplify interfacing with a computer, PA system or videoconferencing codec.

The microphones are linked to the access point at the touch of a button. Setting up a complete system takes just a few minutes, thanks to automatic frequency selection. It operates in DECT 1.9 GHz mode and offers a range of 50 m.

MXW neXt 2 base accommodates MXW2X and MXW6X model transmitters.

“When you need, for example, to install two wireless microphones in classrooms, workspaces or small auditoriums for use in video conferencing or otherwise, the process can quickly turn out to be much more complex than you might imagine.

Apart from the number of transmitters and receivers required, as well as the cabling, many questions arise for non-technical users who also need an audio processor and very rarely know which frequencies they need to use.
For AV/IT professionals, the investment in time and energy is substantial.”

“In the end, because of this multiplicity of products, the initial cost is often considered too high relative to the requirement,” explains Enrique Borges, Senior Market Development Manager, Shure France. “Now, with Shure’s new MXW neXt 2, anyone can access the exceptional audio performance of Microflex® Wireless at an affordable price, all in an easy-to-use and convenient format.
“Audio capture and processing are now integrated into an intuitive, reliable and flexible all-in-one audio solution. It’s simple to setup, easy to operate and delivers dramatic cost savings. There is no equivalent on the market.”
The MXW neXt 2 offers a choice of three types of wireless microphone, each with a high-resolution LCD matrix display for monitoring the remaining battery life and the quality of the wireless connection.

The MXW1X hybrid transmitter pack.

The MXW1X hybrid transmitter unit with a built-in omnidirectional capsule and an input for a lavalier or headset mic, the MXW2X handheld microphone with interchangeable capsule or the MXW6X boundary microphone, available in black or white and with a cardioid or omnidirectional pick-up pattern, can be preconfigured to handle multiple applications with ease, and can all be charged in the same base station. The battery life is excellent, with up to 17 hours for the transmitter and boundary mic, and 28 hours for the handheld mic.

With its direct connectivity to videoconferencing systems and seamless integration with MXA multi-capsule microphones, the new Microflex Wireless neXt 2 is ideal not only for hybrid applications requiring audio capture of participants in the room, sound reinforcement of the presenter and broadcast of audio from the remote site, but also for live broadcasting or recording. This feature helps improve communication conditions, promoting a sense of parity between face-to-face and remote participants in the hybrid era.

The DSP features echo cancellation, ambient noise reduction, automatic gain control and equalisation. One-button recall presets for presentation, conference and live modes configure the system so that both face-to-face and remote participants hear everything they need to hear.

Further information can be found on the Shure website



Sixty82, a leading innovator in the design and manufacture of trussing and staging systems, is excited to announce the strategic partnership with AMEG Group, marking them as the exclusive distributor for Kazakhstan. This collaboration signifies Sixty82’s ongoing commitment to expand its global distribution network and deliver superior solutions to the Kazakh market.

AMEG Group, renowned as the premier AV company in Kazakhstan, exemplifies the pinnacle of service excellence and industry expertise. This alliance is poised to set new standards in the entertainment sector, marrying AMEG’s local knowledge with Sixty82’s cutting-edge products.

“We are delighted to partner with AMEG Group, spearheaded by the seasoned Evgeniy,” expressed Fokko Smeding, CEO of Sixty82.
“Their profound market understanding and commitment to quality make them the ideal representative for our brand in Kazakhstan. We look forward to a fruitful collaboration and the mutual growth that lies ahead.”

Evgeniy Davydov, Sales Director at AMEG Group, shared, “Being chosen as the exclusive distributor for Sixty82 is a great honour and responsibility. Their innovation and quality are unmatched, and we are eager to integrate their solutions into our market. This partnership is a significant milestone for us and the local entertainment industry.”

In a move to solidify this new alliance, Sixty82 has appointed Henry Schuil as the dedicated account manager for Kazakhstan, underscoring the company’s dedication to the region. Demonstrating an immediate commitment, Marc Hendriks, Sixty82’s Technical Director, and Henry Schuil recently led two successful seminars in Astana and Almaty, in cooperation with AMEG Group. The events saw a turnout exceeding expectations, facilitating invaluable discussions with end-users about their unique needs.

For more information about AMEG Group, you can visit


Welsh National Opera sings the praises of MDG ATMe haze generator

Opéra Ainadamar produit au WNO en 2023 © Credit Johan Persson

Welsh National Opera’s Head of Lighting and Sound, Ben Naylor, was delighted to take possession recently of an MDG ATMe haze generator with a digital theFAN unit, both housed conveniently in MDG’s purpose-built Vertical Flight Case.

Opéra Ainadamar produit au WNO en 2023 © Credit Johan Persson

Naylor explained his choice of MDG and this combination of equipment which was supplied by Robe/MDG UK.
“We have been looking for a better consistency of coverage of haze for a long time, as the hazers we’ve used in the past have looked patchy and generally produced more haze in the wings than on stage!
The MDG ATMe with flight case and fan not only gives us fantastic haze coverage on stage, it is a safe and efficient way to tour the equipment.”

The Vertical Flight Case is a bespoke design with fitted compartments that hold an ATMe haze generator (or any of the Me1, Me2 or MAX 3000 fog generators), theFAN, two, 9kg (20lb) CO2 bottles, a 4L bottle of MDG Neutral fluid and a handy tool drawer all in a plug-and-play unit of rugged construction that can be simply and safely used for transportation then rolled into position.

The ATMe, theFAN and Vertical Flight Case were purchased for WNO’s general inventory, rather than a specific production. “We do a lot of co-productions with other opera companies and we see MDG specified on many of the productions we work on.
It’s also noticeable how, over the past five years, more and more lighting designers are asking for MDG products too.”

Naylor and his tech team have been very impressed with their neatly packaged and moveable new products, and with their ease of use on tour.

“The ATMe and theFAN are very easy to use, and, being built into a single flight case, moving them from venue to venue is a dream.

The maintenance is straight forward and having a spare gas bottle and all the spares in the flight case means we don’t have to worry about the gas running out, and its extra safe for touring.

Opéra Ainadamar produit au WNO en 2023 © Credit Johan Persson.

“I can honestly say the ATMe is the best hazer we have ever used, in particular its consistency to produce and fill the space with smooth, even haze. It has surpassed our expectations and travelled well over this last tour. During this season the ATMe has gone from heavy, rock-style haze for our family concerts with lots of beams on show, to very little and subtle amounts of haze for our operas.”

Naylor concludes, “We continue to experiment with the product and where to position it in each venue, but we generally position it downstage in one of the wings and we’ve had no complaints in any of the venues we’ve toured to. It’s really working very well for us.”

For more information on MDG haze, fog and low fog products, visit the MDG website and visit Welsh National Opera


Astera applied with Zeal at Neverland Illuminata

Over 300 Astera NYX Bulbs and 80 x Titan Tube wireless LED lighting fixtures dazzled festive guests visiting the spectacular “Neverland Illuminova” Christmas trail at Wellington Country Park near Reading in the UK. This was a special lighting and visual experience concept developed and delivered by the team at show production and technical specialist, Zeal.

Luke Dyson

The 1.5-kilometre trail followed the journey of the character Hope as they discovered their imagination travelling through various areas of visual interest with land, features and foliage speckled, coloured and bathed in light that could be absorbed, interpreted and sometimes interacted with live.

The NYX Bulbs were installed in two areas, the first of which was called “Play.” Here they were used in festoon style, strung overhead on scaffolding and catenary wires, and programmed as conventional lights and into a variety of colourful scenes, chases, and effects, boosting the ambience and anticipation of people walking around the trail.

The second area was the “Finale” where they were also rigged in festoon style, but this time had video content played through them transforming them into single pixels that were synched to lighting focused on the trail’s main visual feature, a 20 metre wide by 8 metre water screen that summarised the story.

NYX Bulbs

As the trail paths opened out into this larger Finale space, the Titan Tubes were deployed sitting vertically on floor mounts, outlining, and delineating about 12 metres of pathway.
In conjunction with the NYX Bulbs rigged above, the Titan Tubes had the same video content running through them and the two sets of luminaires opened the way to the viewing area.
As the projection show finished, everyone walked forward and out of that area via another narrower pathway, also outlined with Titan Tubes.

Steve Hough, Managing Director at Zeal, explained how they utilised a “very practical” hybrid combination of wired power and wireless data to run the fixtures around the trail. “These Astera fixtures are a great solution for this type of scenario” he said, adding that the quality of the Astera light output and the intensity of the colours are all “excellent characterisers that distinguish them from other products on the market.”

They specifically wanted a softer and more nuanced appearance to mark out the pathways than something like LED tape would have given. “Titans enabled us to add a truly magical and mystical touch to the ‘guiding walkway idea which we simply could not have achieved using anything else.”
He added that the IP rating made the Asteras ideal for the environment. As everyone knows, the English winter is almost guaranteed to be cold, wet, and inhospitable, although this does not dampen enthusiasm for the growing popularity of light trail type installations like this.

Luke Dyson

The biggest challenges of Neverland Illuminova, noted Steve, were the fact that it was outdoors, and weather aside, all the other logistical elements that brings, like long distances to cover, both technically with wiring and data cabling / networks and physically, with walking and rigging lights and projectors, etc., together with the short winter daylight hours compressing the timescale.

On site, they had a month to complete the installation and set-up. Creatively, the galvanising aspect is the amount of detail required in designing the lighting and visuals alongside the fun and interactive parts that enabled people to chase shadows and change the colours of the lighting at certain points depending on their movements, etc. This whole process started being planned in February.

However, overall, the project ran extremely smoothly. It was a massive hit with the public, also acclaimed for its slightly different approach to a standard light trail. “The idea was to present a narrative that offered focus, depth and a bit of a thought process to engage people,” stated Steve.

Lighting, the complete fixture / pixel count site-wide ran into the several thousands, was controlled via a grandMA3 full size console, with video running through a timecode-triggered Resolume server. Zeal, a company that combines imaginative design with technical production, started investing in Astera in 2020.

The NYX Bulbs were purchased from Astera’s UK distributor Ambersphere Solutions, initially an investment for a previous lighting project at Longleat Safari Park in Wiltshire. The Titan Tubes joined the inventory in 2022 to help facilitate the look for rock band Kasabian’s tour of that year and Nick Gray from Renegade’s lighting design, which required 243 tubes to dress a series of scenic cubes.

NYX Bulbs: Video presentation

For more info about Astera LED, you can visit the Astera website


Jeroen van Aalst Joins Robe International Team as Key Account Manager

Popular Dutch pro lighting sales and technical specialist Jeroen van Aalst has joined the Robe International sales team as key account manager where he will be energising and coordinating sales in several important markets including The Netherlands, Spain, Portugal, Croatia, Slovenia, Malta, Turkey, Israel, and South Africa.

Jeroen will be working closely with the Robe distributors in all these regions, overseeing and supporting their initiatives, coordinating information, ensuring all communications channels are fluid and fully functional, assisting in client relations and exploring new ideas and markets in conjunction with their teams.

Already a well-known industry figure across The Netherlands, Jeroen has made many friends and contacts working long-term for the dynamic sales, distribution, installation, and project management company, Controllux, which is also Robe’s Benelux distributor.

He is known for his positive demeanour, uplifting smile and for being a bit of a technical nerd! Jeroen’s affable personality has opened many doors in business and established numerous lasting friendships. He enjoys both the intricacies of nurturing relationships and the buzz of being a deal-maker.

Jeroen commented, “After 23 fantastic years with Controllux, I wanted new challenges, and this is a perfect solution! I will still be dealing with some of my excellent colleagues in The Netherlands in this new Robe role … alongside my talented existing plus some new co-workers at Robe!
“I am hugely excited to continue working with such great people and an innovative and market-leading lighting brand!” His relationship with Robe goes back to when the Czech company was an aspiring OEM moving light manufacturer in the early noughties, immediately before ‘Robe’ was launched as a brand.

Robe lighting s.r.o. CEO Josef Valchar stated, “It’s brilliant to welcome Jeroen onboard our diverse international team! We will enjoy his energy and enthusiasm for our brand, his human and people-focussed approach to business and his technical acumen, qualities we value highly and that align with our future vision and strategies.”

Controllux’s Marc Frijters noted that he is “happy and very proud” that Jeroen has seized the opportunity to join the Robe international team with whom he already enjoyed a close working relationship! “It is a little sad that he’s leaving us after so many years of loyal duty, but as Robe account manager for The Netherlands, we and our customers will receive even more dedicated attention from him,” concluded Marc.

Benelux has consistently been among Robe’s top-performing European markets. For a relatively compact country in terms of land mass, there is a huge amount of activity in theatre, TV, live events and productions and much creativity. Robe is strong in The Netherlands’ rental company network which has a great reputation for excellence, and the country has a proliferation of theatres, live music, and multi-purpose performance venues.

Jeroen looks forward to growing this and all his other markets. “I will be embracing eight vastly different cultures, learning all their special requirements and taking care that Robe stays in touch and at the sharp end of all involved in the success of the sales and support structures in each one.” Jeroen’s appointment kicks off 2024 for Robe which promises to be every bit as outstanding a year as 2023.

For more info about Robe Lighting, you can visit

Stonex announced as key distributor for Hog 4 consoles in Spain

ETC distributor Stonex has announced the addition of the Hog 4 line of consoles to its portfolio. The announcement establishes Stonex as an important player in the distribution of the Hog product family in Spain.

With over four decades dedicated to professional lighting and stage engineering, Stonex continues to play an essential role in the industry by introducing ETC’s Hog 4 consoles to its portfolio. This decision marks an achievement in the company’s growth and highlights its commitment to innovation in the ever-demanding professional lighting sector.

ETC’s Hog consoles are recognised around the world for their high standard of large-scale, automated lighting control. Their tools are designed for programming efficiency which is demonstrated on the world’s biggest and most demanding shows as well as smaller events and spaces. Stonex will distribute the full range of the Hog 4 line including the Hog 4-18, Full Boar 4, Road Hog 4-21, HedgeHog 4X and more.

Marketing & Commercial Director at Stonexl Paloma Expósito says: “One of the highlights of this collaboration is ETC’s ongoing commitment to improving Hog console technology. Since 1994, Stonex has been an ETC distributor in Spain, combining its experience in the sector over the years. The entertainment industry is constantly undergoing significant transformation, with a growing demand for technologies that are not only efficient but also adaptable to the specific needs of each event.
The integration of ETC’s Hog 4 consoles into our portfolio is another step towards meeting the demands of the future and ensuring that Stonex remains a leader in the lighting industry.”

ETC Regional Sales Manager Konstantinos Vonofakidis comments: “We are thrilled that our Hog 4 product line will be distributed by Stonex in the Spanish market. Stonex have been a partner of ETC’s for several years and have achieved remarkable success in sales, as well as always providing an extremely high level of support and training for our users.
With their expertise and commitment to excellence, I am confident that the Hog 4 line of consoles will be extremely successful in the local market. The Hog 4 platform is one of the best and most comprehensive automated lighting control platforms in the world and we are determined to continue developing it with new features and innovations in the future.”

Pour plus d’information sur ETC, vous pouvez visiter

LD Systems launches new TICA Series for the installation market

LD Systems has launched a brand-new product range specifically for the installation market. The TICA Series offers compact solutions for any size project that are flexible, easy to install and packed with features that deliver better sound and control.

LD System TICA Media Players.

The series includes everything from media streaming and mixing preamplifiers to a range of amps with different channel and power outputs. There are also Dante networked audio interfaces, transformers, headphone amplifiers and control interfaces.

LD System TICA Headphone Amplifiers

Installers can build entire systems using workhorse products from the series, or alternatively, the TICA Series can be integrated into an existing installation providing additional connections or zones. They’re small, functional, single purpose products that are accessible and extremely easy to install.

LD System TICA Transformers.

“Our DIO Dante interfaces have expanded our Dante portfolio and we expect that integrators will be keen to try these new products,” explains Gabriel Alonso Calvillo Product Manager, Integrated Systems. The DIO 44 and DIO 22 Dante interfaces feature four-step gain control and 24V phantom power per channel. Additionally, all interfaces have signal indicators and can be daisy-chained together.

LD System TICA Dante Converters.

“With the TICA Series we’re also offering several mini amplifier models with low or high impedance outputs,” says Gabriel. “They feature different input connections and simple third-party control options via GPI or voltage-controlled inputs.”

The AMP 205 is a two-channel mini amplifier that combines its compact size with passive cooling and high efficiency. It’s powered by a 2 x 50W Class-D amplifier, features 4 ohm outputs and has a user-friendly front panel.
The AMP 106 T is a 1-Channel 60W Class-D amplifier that can drive low impedance or 70/100V line loudspeaker systems. Its small form is ideal for installers that are working on projects that have limited space, or where aesthetics are important.

LD System TICA Amplifiers.

The TICA Series has been designed for hospitality, retail, corporate and education applications. All the products are extremely compact, allowing them to slot into any project with ease. You can install them under tables, behind screens and in ceilings, or installers can use the 1U TICA rack tray to put four devices next to each other. The TICA Series gives integrators the ability to build a system that fits the exact project requirements with minimal rack space.

LD System TICA monitoring.


LD System TICA Tech Room.

LD System TICA Conference Room

LD System TICA Restaurant.

“The TICA Series has been designed for both trained professionals and users that don’t necessarily have high levels of technical knowledge. The series is unintimidating as the products are easy to use and don’t have many confusing controls.
TICA isn’t too complex for a consumer, and it doesn’t look too consumer-focused for professional installers,’ Gabriel adds. “It’s a very exciting development for LD Systems, as we can now offer installers a high-quality, convenient and cost-effective solution for a wide range of projects.”

The TICA Series is available now.

further information with:


Robe North America is Distributing Avolites in the USA

As of November 1st, Robe North America (RNA) is the exclusive distributor for Avolites in the United States of America. The Davie, Florida-headquartered company will provide full sales, service (including warranty related), training, and technical support following Robe sro’s recent acquisition of the console and media server manufacturer.
Avolites USA product manager Brad White and product specialist Kade Behm, already well-known industry wide, will work alongside the very proactive Robe North America teams taking care of all things Avo related.

Avolites USA product manager Brad White (left) and product specialist Kade Behm(right).

Lorienn Cochenour, CEO, Robe Lighting, Inc. commented, “We are very excited to welcome Brad and Kade to Robe North America, where their energy, enthusiasm, years of industry experience and excellent knowledge of Avolites products will be a strong foundation … as one of the most globally recognized lighting and visual control brands joins the Robe family!”
Brad brings over 30 years’ experience and passion consulting on the design and production of dynamic live and architectural events to RNA, the last 10 of which have been dedicated to the sales and promotion of Avolites products. Entertainment is in his DNA!

Kade has been a lighting professional for 29 years and an Avo user since 1996. For the last seven years, he has been Avo’s trainer and support in the USA, so he brings essential continuity, among many talents, to the new structure. Kade started his career in nightclubs and moved on to touring and has lit everything from presidents to royalty, motorcycles to tractors, and everything in between. You name it and he’s probably pointed a light at it!

Brad and Kade will be working remotely and covering different regions of the USA, working alongside the existing extensive RNA sales network. This smooth transition enables Avolites’ existing and new customers to have the advantage of access to greater and more comprehensive resources across the USA that will maintain, promote, and advance the brand and its technologies that have been popular since the 1980s.

Avolites’ sales director, Clive Standley together with technical director Dick Ollett and field engineer Rob Steel first established Avolites US in 1982 based in Chatsworth, Los Angeles. They then introduced the first micro-processor driven concert touring lighting desk, the legendary Avo QM500-90, followed by the first high density touring dimmer rack, the FD20A x72 channel, both truly landmark innovations of the day!
More recently, Avolites has enjoyed steady growth in the USA over the last decade, primarily in the concert touring sector, in multi-purpose venues, nightclubs, theme parks, houses of worship and among companies servicing corporate events.

Avolites MP Paul Wong commented, “We’re seriously excited to be tapping into Robe North America’s local infrastructure and their established team, and I believe this initiative will inject a new energy into the Avolites brand, attracting new customers and benefitting our existing loyal followers in the US!”

Brad, Kade and RNA are looking forward to this new collaboration and to showcasing current Avolites innovations like the D9 full visual control console, the T3 portable solution and the PRISM range of live production tools.

For more info about Robe, you can visit


Robert Juliat Sully chosen for the transition of Chaillot to LED

Chaillot – Théâtre national de la Danse, one of France’s six national theatres, is currently renovating its Salle Jean Vilar. The work is part of a dual drive to improve energy consumption and modernise stage design tools, including the replacement of existing lighting fixtures to ensure an early and carefully considered transition to LED technologies.

Built in 1937, the TNC is an exceptional venue in Paris because of the unique place it occupies in the history of live performance in France with the creation of the Théâtre national populaire founded by Firmin Gémier, and subsequently supported and developed by Jean Vilar. It is also part of world history since the Universal Declaration of Human Rights was signed here in 1948.

Chaillot – Grand Staircase © Patrick Berger

Today, a cultural institution 100% dedicated to dance, in an iconic location facing the Trocadéro fountains and the Eiffel Tower, the Theatre completed the renovation of the Salle Gémier (390 seats) in 2017. It is now the large Jean Vilar auditorium (1200 seats) that is the focus of attention to improve the comfort of spectators, artists and technical teams.

The theatre’s lighting equipment consists of a large number of conventional Robert Juliat fixtures, including the popular series of 1kW 600SX halogen profiles. Since the beginning of the year, some of these halogen profiles have been converted to LED using RJ Sully modules, chosen in a fixed warm white version (650SX WW) and also in a 4-colour version (650SX 4C).

Technical lighting team from Theatre National Chaillot – left to right: Morgane Diedrich, TNC electrician, Romain Bianchi, casual electrician, Florence Salino, head of electrical services and Sébastien Dué, lighting manager. © Robert Juliat

“We attach great importance to improving our technical equipment in line with an eco-responsible approach,” stresses Florence Salino, the theatre’s head of electrical services. “To do this, we are carefully studying all the technical solutions currently available, so that we can support this transition with full knowledge of the facts.

“Initially, we’ve started this process with the Sully modules, which are perfectly in tune with current environmental issues. They mean we don’t have to throw away quality equipment that is still in perfect working order. What’s more, having the choice of sourcing locally is a criteria dear to our values.”

For the time being, the Sully profiles have been installed in the Salle Gémier. Their optical qualities and performance replace their halogen predecessors in every respect, with lower energy consumption.

While waiting for the renovation of the Jean Vilar room, it is the Gémier room which receives the profiles converted to Sully.

Those profiles converted to colour LEDs (Sully 4C) incorporate the RJ Color operating system, which offers comprehensive colour management. This gives users complete freedom to configure their luminaires to suit their working habits and needs.

In addition to a CCT setting from 1700K to 10000K and 300 gel references in its memory, RJ Color gives access to controls for Delta UV, transmission, saturation and virtual gel transition time.
It is also possible to work in direct colours (RGB, CIE X Y or HSB), to favour quality or brightness depending on the mode chosen, or to vary white and colours according to intensity, like a tungsten source to simulate the filament.

The Sully modules were recommended and supplied by So What & Co, an authorised Robert Juliat distributor.

More information on the Robert Juliat Sully range and LED conversion solutions can be found at Robert Juliat website


KLANG Brings New Tech to Lionel Richie’s Monitoring

It can take a while to get a group of people to embrace a new way of doing things, and it certainly doesn’t help when a two-year-plus-long pandemic complicates the process. However, it is easier when the new way is so undeniably amazing that everyone really does embrace it.

That was definitely the case when Lorin White, brought on as the monitor engineer for the precursor set of shows for Lionel Richie’s current “Sing A Song All Night Long” tour, was ready to take off in 2020. The multiple Grammy Award winner and his band only managed to get one show in before the world shut down.

Fortunately, White recorded that show, which became the basis for his initial experimentation with KLANG’s immersive IEM mixing system.

A tablet running KLANG:app sits to the left of the mixing console.

“During the lockdown, Group One sent me a KLANG-equipped DiGiCo SD12 so I could do some test some mixes from that recording while at home, and I really liked what the KLANG system could do,” White recalls. “But I was also the new guy on the team at that point. Some of Lionel’s band members have been with him for over 20 years, so they’ve become pretty settled in their mixes over that time frame.

However, I knew that the DMI-KLANG would make a huge difference in the way everyone would perceive the sound onstage. In fact, it could change the way they experience those same songs they’ve been playing with him for so long; it’s that powerful. But you can’t just walk in and say that.”

Indeed, White’s sensibilities are as keen as his mixing ear. The entire band had been on IEMs already and were comfortable with the system they were using; what he had to do was convey the additional creative potential that KLANG’s 360-degree capabilities could bring to their stage experience.

“There are no loudspeakers onstage at this show, so it was all about showing how another approach to IEM could provide an advantage,” he says. During some shows in Europe, with relaxed spacing between gigs, White decided to first approach Richie’s longtime musical director, Chuckii Booker, with the idea of using the DMI-KLANG on the upcoming “Sing A Song All Night Long” tour with special guests Earth, Wind & Fire.
“I had developed the band’s trust in my monitor mixes, so that kind of paved the way for this,” he says. “I invited Chuckii over to my world and explained the binaural approach that KLANG uses; how that changes the perspective onstage, opens up the sound, and lets everyone hear themselves and everyone else in a new way. It was a chance to move beyond stereo.”

White had waited for the right moment, and it paid off: Booker was quickly all-in on the use of the DMI-KLANG for the upcoming tour. From then on, White focused on presenting it in a similar fashion to other key members of the band. “One at a time, the band members came by to check out the DMI-KLANG, and they all got it,” he says. “Bass player Ethan Farmer gave me a thumbs up and said, ‘You blew my mind—this opened up new apartments in my head!’”

Lorin White with a DMI-KLANG card-equipped DiGiCo Quantum7 console.

For the current 21-date North American tour, Sound Image, a Clair Global brand, has supplied White with a DMI-KLANG card-equipped DiGiCo Quantum7 console, while FOH engineer Gordon Mac is mixing the shows on a Quantum338. As expected, the introduction of the KLANG platform has led to a few subtle but significant dynamic changes to arrangements of some classic songs as the band have begun to experience them and each other in a completely new way.

“The monitor mixes are no longer on just a stereo plane; things can go up and down as well as left and right,” White adds. “The whole 3D aspect of KLANG has brought a new level of clarity onstage, while simultaneously helping to lower the overall IEM levels. It’s not an exaggeration to say that DMI-KLANG has changed everything for the better.”

Lionel Richie’s “Sing A Song All Night Long” tour with special guests Earth, Wind & Fire kicked off in Minneapolis, Minnesota on August 4 and wraps up in Highland, California on September 16. The run will be followed by a six-show October residency at Wynn Las Vegas’ Encore Theater.

For more details on Richie’s upcoming shows, visit
Sound Image can be found online at
More on Klang, visit




At the Robe stand, the fixtures are ready to take on all weather conditions.

I stands for Idea, for IP, for Innovative. At Prolight+Sound Joseph Valchar, CEO of Robe, once again presents a constantly evolving series of luminaires, here a premium IP65 option on the Czech brand’s flagship fixtures, while releasing a completely new concept, and, a crazy futuristic floor cable-run protection, presented here by Vincent Bouquet, technical director of Robe Lighting France.

The iSeries

The iPainte, iEsprite, iForte, iSpiider, iBeam350, or even the iTetra2, you will have to get used to this little vowel in front of the name it means a lot at Robe. An “i” represents several technologies used to seal the fixtures to prevent the infiltration of water or dust particles, like the show ”All Environnements” created by Robe for Prolight+Sound 2023.

On a real stage, 9 meters wide and visible from 270°, a couple of dancers/actors and an acrobat tried to entertain the huge audience of the Czech stand by contorting themselves between the hundreds of Robe fixtures; an excuse to multiply the On a real stage, 9 meters wide and visible from 270°, a couple of dancing actors and 1 acrobat tried to entertain the huge audience of the Czech stand by contorting themselves between the hundreds of Robe projectors; an excuse to multiply the completely crazy stage effects.

A curtain of rain, flames, projections of (fake) snow, and heavy smoke, nothing was spared for the fixtures, which bravely resisted everything and went through 25,000 memories in a crazy upbeat rhythm. The highlight is the iSpiider seen under massive rain and volumetric projections in the mist, a fascinating kaleidoscope of 3D gobos.

Overview of the iSeries models, from left to right, iForte, iEsprite, iPainte, and iBeam.

Apart from the obvious work on the partitioning of each part of the fixture and the use of connectors or waterproof parts, Robe has particularly worked on two issues. Managing residual humidity inside the machine, and staying within acceptable weight constraints, despite the new covers of the fixtures.

With slightly larger bodies, especially the base unit, but without hindering the setup positions, this covering is designed as a shield against all types of weather. To keep its IP 65 rating, while maintaining access to the internal elements for maintenance, a change of gobos, or the LED source, the technician must ensure that they have correctly reassembled each screw and each seal.
A self-test program is integrated into each model of the iSerie to check its tightness by blocking the ventilation for 3 minutes. If it detects a loss of pressure, an alert warns the technician of a leak and asks to resume reassembly. An operation was certainly possible before but with the use of a separate test box/briefcase in the workshop.

The air humidity is between 30 and 50%. To stay between 3 and 7% inside the fixture, Robe has opted for moisture absorption with silica cartridges in the yoke, which should be changed between every 1 and 2 years depending on the conditions of use… These systems are coupled with the proprietary RAINS™ technology (Robe Automatic Ingress Neutralization System) which analyzes in real-time and then controls the temperature, humidity, and pressure to eliminate all traces of liquid.

The new design of the iSerie, certified IP65, with its lens treated against any deposits.

Finally, to cope with all conditions of use, the lenses benefit from the parCoat™ patent, a hydrophobic and oleophobic beading treatment to immunize the optical elements against water and oil; while the composition of the covers and external protective covers of its projectors with an alloy of magnesium and aluminum acts as a dust repellent while reducing the weight of the assembly.

Nevertheless, these modifications lead to weight gain, especially noticeable on the smallest devices. The difference is barely noticeable between a Forte and an iForte (1.5 kg difference), but 6 kg separates the PainTE from its waterproof counterpart.

In addition to this IP65 certification, the iSerie range offers two additional improvements. Firstly the inclusion of an NFC chip to scan, examine and configure a fixture using the “Robe Com” App for iPhone and Android Google Play. Secondly, POLAR+™ technology, a specific standby mode where, even sitting in the snow, the fixture continues to perform certain vital functions to allow it to operate down to -50° Celsius.

All the models accessible in iSerie remain available in the standard version. This applies to the following fixtures: iPainte, iEsprite, iForte, iBeam350, iSpiider, and iTetra2. The waterproof versions go into production this summer, to be available at the start of the school year. Their prices will be on the increase compared to non-waterproof models. The fixtures keep the same characteristics, in terms of function or luminous flux, DMX charts, or ergonomics.

Footsie, the right size that fits

How can a cable tray/cover be surprising? Simple, by letting Robe imagine a futuristic remake, which combines both a cable protection tray and a luminous LED footlight, all IP65. The Footsies are 2 slightly domed plates, 2 or 4 ‘feet’ wide, all covered in black metal except for a strip of LEDs dividing them in the middle.

Franck Veber, Robe Lighting France, the Footsie fits well.

The Footsie1 is 63 cm (approx 2ft) wide and has 24 diodes while its sister, the Footsie2 is 123 cm and has 48 LEDs. They can be assembled together or with corner and straight pieces to form a flowing path at the edge of the stage, barely 52 mm (approx 2 inches)high.

The connection between the cable trays/covers is made with quick hookups, their setup and dismantling are easy thanks to the integrated handles at the back, and several corner pieces are available at different degrees. Robe can even offer custom versions, and why not models without LEDs to fit into the cable trays…

Each of the parts incorporates 2 hatches lengthways at the front and rear to conceal the runs of the microphone, speaker, or data cables all along, with outlets provided at each end of the covers. The front hatch will be reserved for the power supply and DMX control of the LEDs of the Footsie, with their waterproof PowerCon and DMX copies.

The Footsie1, with the cable tray open.

The lighting provided by the LED strip is the ‘footlight’ type and can tilt forwards to be more homogeneous. In this case, an integrated cover makes it possible to completely hide this light from the eyes of the public.
This shield is called SPREADTM (Shield Protection, Reflection Elimination, Diffusion), and has two additional filters to be inserted above the LED sources: striated diffusions, with a soft rendering.

Diodes are available in 3 types. A warm white, around 3600 K, with a CRI of 90; a variable white between 2700 K and 6500 K, or an RGBW module. The variable white model is the closest to a traditional footlight, the colored one will be mainly used for particular effects, the mixture giving a fairly harsh/strange look with this angle of lighting.

Depending on the DMX mode chosen, the LEDs can be controlled in 1, 2, or 4 zones for the Footsie2, with a separate CTC setting and mag/green correction for the RGBW engine.

The Footsie can be fitted with an additional diffuser. The blue leds allow the artists to place themselves onstage in the dark.

Last but not least feature is the presence of blue safety lights to indicate to the entertainers where the footlights (and the edges of the stage!) are, and, allow them to take their place in the dark easily.
Presented in a pre-series version in Frankfurt, these astonishing devices, between decorative elements, futuristic footlights, and beaconing, are giving a jab at the lighting industry.
Robe Lighting is going back to its roots, the search for innovations without any taboos, where it was not expected.
The Footsie is controllable in DMX, and RDM and also have an NFC chip for wireless configuration

They will be available as of September.

T11 Profile MFS

With its range of profile spots and moving lights for the theater, Robe has developed several models of specific fixtures to the needs of performance halls, theaters, and, other venues.

La T11 Profile MFS is a compact Follow Spot for small theaters.

The T11 profile now doubles as a Follow Spot version, with the T11 Profile MFS. Presented in Frankfurt, this special model, for the short throw theaters, has a 350 W LED source, with emulation very close to a tungsten source and variable white between 2700 K and 8000 K.

The dimmer fader can be placed at different places on the Follow Spot.

The MSL-TE source can easily be replaced, and has a high CRI of 95, with a very good response in TLCi and TM30. The fixture can be controlled entirely manually, with a zoom range of 5 to 50°, an internal shutter system, an iris, and removable frosts of 1° and 5°.

A wide handle in the shape of a crossbar makes it easy to guide it from both sides. A wired remote control gives access to the control of the dimmer, but it and various parameters can also be controlled from a console.

The T11 Follow Spot is already available

For more information the Robe Lighting website


Claypaky Volero Wave + Panify, a spectacular and original effect

We couldn’t wait to try this unique machine unveiled in France at the end of 2022 by Claypaky. It is a “bar” of 8 concentrated beams that can each rotate independently.

We have chosen to present it to you in its “full size” version, with the Panify accessory (a rotating Claypaky base allowing it to be motorized in pan with continuous rotation) because this is how it will allow for the most spectacular range of effects…


Although the two devices are sold separately, the set formed by the Volero Wave and the Panify is indeed a unique fixture. At first glance, the machine is big. It is one meter long, about thirty centimeters high. Perched on its rotating base, this fixture takes up quite a bit of room (and weighs nearly 35 kg). And it is the physical aspect that makes this fixture interesting to look at, it is part of its visual signature. The one-of-a-kind “wingspan” allows for great effects.

Colored wave effects.

The Volero Wave has 8 extremely tight beams and can be “played” with in many different ways, either for an overall effect, by creating a sort of “harrow” of light that can be adjusted at will, or by using each of the beams as an almost independent element, whether in intensity, color or tilt.

Variety of uses in red.

Used it without the Panify, the Volero Wave is already of great interest. The ability to connect several devices will make it possible to create a beautiful “blade” or curtain of light, with multiple absolutely parallel beams whose impact and luminous possibilities are obvious. Note here that the beams are really very tight with a fixed angle of under 3°.
The name Volero Wave inevitably refers to this “wave” effect that one can consider creating with an effects generator and which will produce a magnificent effect. I would also like to draw your attention to a feature that I think is essential: the tilt can go very “low” And that is really good…

Video presentation

We often, even very often, complain about fixtures (especially motorized LED bars) whose tilt movement is too short to create a flyout above the audience (I have this problem right now on a tour!), or able to descend far enough to make to create a wall of light onstage when the fixtures are rigged on trusses. On this point, thanks to Claypaky, it’s excellent. Lighting designers REALLY need tilts that exceed 180°. Here, at 220° it is very good.

Different beam effects.

With the Panify with infinite pan rotation, you of course give your Volero Wave one more axis, but above all you give it an extra axis to play with allowing for a variety of visual aspects. Where the stationary machine will achieve effects that are certainly varied but always from the same angle, the motorization of the pan multiplies the possibilities substantially.

We can consider a great diversity of volumes, and mixtures of beams, especially with a whole set of fixtures. Only one of these fixtures has already made me smile but with a certain number of them… I can’t wait. No zoom on our Volero Wave but 3 frosts of 1, 2, or 3.5° (optional) are available to “soften” the sharp-edged part of the beam a little (in my opinion they are a waste!).

Waves of white light.

The light output, Each source uses a 40 W RGBW LED. The CTO is created independently by the fixture, it is an emulation and an electronic extrapolation (and it is very effective). On such a tight beam, the 40W is particularly punchy. We might find it a little like the effect of the Shar Bar from which the optical system of the Volero is inspired, but more powerful.

Color effects.

Dimmer curve from 0 to 100%.

Measurements are limited on this type of light source. At 5 meters, the projection of a beam on the target has a diameter of 23 cm, which corresponds to an angle of 2.6° and the output in the center reaches 7,800 lux.

We have also drawn the dimmer curve which is quite to our liking.


The Volero Wave is controllable in DMX-RDM, ARTnet, and sACN. In DMX, the Volero Wave is controlled by 20/37/38 channels. As with the “B-Eye” type devices from the Italian manufacturer, the device can be separated from its “pixel engine”, which will be controllable in 24 or 32 channels separately, for example, to work with each beam as a single pixel.

The Menu of the Volero Wave.

The most basic mode (called “standard”) controls the bar in 20 channels. In this case, we have access to an RGBW + CTO + dimmer + strobe for the entire bar, with an independent tilt for each beam.
A color macro channel allows you to choose the desired color for the whole on a single channel, but no internal library with color or effect combinations will be accessible in this mode.

The “shape” mode, using 38 channels, is a version that in addition provides a whole range of internal effects possibilities via an integrated pattern library and two-layer color management. Effect patterns in each RGBW color offer the possibility to choose a colored effect and animate it based on another color for the background.
For the integrated patterns, we will have the possibility of choosing them from a library of around forty effects, and then assigning them an execution speed, a “fading” to give them more or less of a soft transition in the animation, and a “transition” parameter to switch from one effect to another with also more or less flexibility.

The “Advanced” mode, in 37 channels, controls it all entirely on three layers. Each of the layers will be controllable in RGBW + CTO, (a main layer and a background) each has its strobe and its dimmer, and we always have a set of pre-programmed animation patterns with their adjustment channels, making it possible to obtain a third beam effects layer.

The Panify menu screen.

The assignment of the “Pixel engine” makes it possible to control each source as a separate pixel. Two modes for that. Either in 24 channels to manage each “head” in RGB, or in 32 channels to manage each head in RGBW.

Pour le Panify, 5 canaux sont nécessaires : 2 canaux pour le pan et pan 16 bits, 2 pour la rotation continue (rotation et sens de rotation), et un dernier canal pour faire éventuellement un reset à distance et contrôler les 3 modes de vitesses possibles.

Techniquement, le Volero Wave et le Panify se contrôlent comme deux machines différentes dans la console, mais il est bien sûr possible d’adapter une librairie très facilement pour obtenir une seule et même machine à piloter. Pratiquement, il faudra assigner et paramétrer chacune des machines indépendamment. Une adresse sur le Volero Wave, et une autre sur le Panify (vous ferez le calcul en fonction du nombre de canaux, ou de ce que vous dira la console).

Construction of the fixture

The bar is quite sturdy and weighs 20 kg. It does not have carrying handles but the base of the device is quite easy to grip. The heads are small and are spaced about 2 centimeters apart and the ends of the bar are only one centimeter thick, allowing several bars to be connected together without any difference in the spacing being noticeable.

Connecting the Panify and the Volero Wave.

On one side, there is the menu with its control buttons to assign the fixture and configure it, as well as the two connector panels. One is dedicated to the power supply and includes a PowerCON True1 input and output, as well as the main switch of the device. The second, located on the other side of the menu, concerns control with a DMX input/output in XLR5 and two RJ45 connectors.

Under the fixture, there are two possibilities for the omega clamps at the ends. They allow you to install something to hang the fixture or place it on the ground. To place the Volero Wave on the ground, it is necessary to use two omega’s with small rubber tips, the safety wire, and the safety hook preventing putting the fixture directly on the ground.

Up close look at the assembling of the Volero Wave and the Panify.

It is also on the same omega connection locations that we will attach the long metal plate necessary to bolt the Volero Wave onto the Panify. The connection of the base to the head is done by cables: one True1, and two DMX, so that everything can work.
It is a pity that these safety hooks protrude under the base, because a simple “flush” access, with a small internal sunken area, would have sufficed to put the fixture on the ground simply by putting 4 small rubber pads in place, like on any moving head, without any particular accessory (in addition, you can easily find space on this fixture for the safety wire…).
On the menu screen and the side of the connectors, towards the end of the fixture, a single notch for a quarter-turn system takes a small special Omega for coupling bars in perfect alignment. We will have to be careful not to lose all these omega clips and clamps!

Each head consists of a rounded shell that sits in a concave reflector with square edges. The LED source sits in the center of this reflector, itself surmounted by a small mirror that sends its light output back to the bottom of the reflector. A hard plastic screen protects this part of the fixture.

The LED source in the center of the reflector, above is the mirror for the reflection.

Up close view of one of the 8 heads.

The motorization of the head is done on the side, where each unit receives a pulley that conveys the movement of the step-motor located in the base unit, via a notched belt. At the back of each small head, a fan cools the components likely to heat up.

How it is packed for travel

If the complete fixture once assembled is completely operational, we must think about how to pack it all for touring, the flight cases offered by Claypaky only include the Volero Wave, without the Panify… The assembling of it all takes a little time, and even if the omegas are removed to separate the rotating base from the LED bar, it is necessary to unbolt the large assembly plate… In short, on tour, the solution will be to transport the mounted assemblies in specific baskets trolleys, or carts.

The Volero Wave beside the Panify.


The Volero Wave is a very original fixture. Its impressive wingspan, its characteristics, and its ultra-tight beams make it an incredible tool. Coupled with Panify, it is capable of new effects that will be quickly exploited by lighting designers looking for new visual horizons. This fixture is ideal for exacerbating their creativity.

What we like:

  • The concept
  • The power of the beams in white or in a color
  • The great possibilities once coupled with the Panify

On regrette :

  • No flight case is available for the Volero + Panify
  • The amount of accessories needed

General tech sheet



ETC Eos v3.2 brings powerful new programming features

ETC’s flagship Eos lighting control family grows more powerful with every free software release, introducing features that streamline and improve the design team’s workflow.
Eos v3.2 – the latest major update – is no exception, bringing great tools to quickly adjust fixture-, device and session-level settings, as well as huge expansions in the Augment3d programming environment.

As modern lighting systems grow to encompass more and more controllers and devices, easy access to network configuration controls is paramount. Eos v3.2 brings several key settings from the shell into the Eos application proper, allowing them to be saved in the show file and adjusted in real time without leaving your session or stopping output.

Device settings are also now stored in profiles within the show file, allowing you to bind devices for quicker configuration. With the template file feature, easily starting from a known point is as simple as starting a new show.

Output protocol settings have also been brought into Eos and have been significantly expanded to support advanced configurations for dynamic and static systems large and small laying the groundwork for future system expansion.

Color control has also received significant upgrades in the new software. You can now set color configurations for your fixtures, allowing Eos to control them with ease.
As you use and build LED fixtures, Eos dynamically generates a gamut, giving you use of the color tools with any fixture from two-emitter white light fixtures to eight emitters and beyond.
The software also adds native and virtual CIE XY controls via the color tools and command line to keep you up to date on any communication path your fixtures and your team may use.

The most dynamic new control feature can be found in Augment3d, the award-winning 3D-programming and visualization environment built into the Eos software. The new Zones feature offers a revolutionary way to let your 3D environment affect your lighting. Don’t want moving fixtures to land on the projection screen? Would you like the lights to turn blue every time they move offstage or go dark when they pan over the audience?

Zones allow you to define regions in your model space and automatically affect fixture behavior when they intersect with the zone turning intensity off or on, triggering macros, or applying presets or palettes.

You can even attach a Zone to a moveable scenic element in your model allowing the Zone to intersect and affect the behavior of static fixtures as well as movers. Programming complex behaviors has never been simpler.

A 3D programming environment is only as good as its model, and Eos v3.2 makes getting started in Augment3d easier than ever. ETC teamed up with Vectorworks to implement direct MVR import for fixture and model data no more plug-ins. In addition, you can import glTF from other drafting suites, as well as the 50+ file formats Augment3d already supports. And with the upcoming Augment3d Scanner app for iOS & Android, you can use your phone or tablet’s built-in AR tools to scan your space and instantly create an Eos-compatible model.

Eos v3.2 adds a massive suite of tools that elevates your design and programming, letting you work not just faster but better. With additional quality-of-life improvements system-wide including new features like macro search, cue alerts, focus palettes that follow Augment3d objects, the new software is bound to be a game-changer, no matter which Eos Family console you use..

Learn more at