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


More power for SIGNAL IDUNA PARK with RCF

In another technical upgrade, the SIGNAL IDUNA PARK (SIP) operator has expanded the stadium’s sound system with more than 128 RCF loudspeaker elements.

With a total capacity of 81,365 spectators, the temple, as the fans affectionately call it, is the largest stadium in Germany and the home ground of football club Borussia Dortmund (BVB). The south stand, in particular, which seats around 25,000 BVB fans and is thus unparalleled in Europe, provides massive support for the players on the pitch during home matches.

The sound system in the area of the long stands was already modernised in 2013 with new RCF line array systems. To further improve the performance and acoustic illumination of the arena, the sound systems in the corners of the SIP and the pitch area have now been renewed.

Norbert Labudda

For this purpose, fulfil engineering GmbH installed 12 line arrays with 128 RCF HL 40 passive loudspeaker units and 4 TTS 36 passive subwoofers. 8 x RCF HL 2290 and 8 x RCF HL 2260 units were also installed for the sound reinforcement of the playing area.
The passive systems draw their power from 24 Powersoft multi-channel power amplifiers. The entire Signal Iduna Park stadium is now equipped with 358 RCF loudspeaker systems with more than 500 kW RMS output.

Norbert Labudda, Managing Director of fulfil engineering GmbH, comments on using the system: “Our company installed the first RCF units in Signal Iduna Park back in 2013. In the process, the corners were deliberately left in the old stock The venue operator decided to complete the sound reinforcement system to further finalise the performance and acoustic illumination of the arena in view of the 2024 European Championship.

We chose passive elements from RCF, which, in addition to uncomplicated and safe rigging, have an optimal IP class and whose performance meets the client’s high demands.
After all, the system is installed in a stadium whose extraordinary atmosphere is famous and is also the venue for a semi-final match as part of the European Championship 2024.”

More information on the RCF website


NEXO Equips New Naha Cultural Arts Theatre

The Naha Cultural Arts Theatre is a new cultural center in the capital of Okinawa Prefecture, the tropical island group south of mainland Japan. Built to replace the aging Naha Civic Centre, the new venue is located in the heart of the vibrant tourist area and contains both large and small theatres seating around 1600 and 300 people respectively, both of which are equipped with NEXO sound systems.

GEO M10 line arrays with MSUB15 subs are flown left, central, and right above the stage in the large theatre, with additional clusters left and right and NEXO ID24s used as under balcony auxiliary speakers.

The three flown GEO M10 line arrays with MSUB15 and the two M10 arrays topped by two MSUB15 and acting as infills, visible at the left and right of the stage .

The GEO M6 hung as L, C, R in the small theatre.

Small clusters of NEXO GEO M6 are hung L, C, R in the small theatre, with NEXO PS10s used as side speakers and ID24s again used to cover seating areas under balconies to ensure even audience coverage throughout the venue.

Amplification and processing for both systems are delivered by 3 racks of NEXO NXAMPMK2 powered processors.

The NXAMPMK2 powered processors.

“We chose NEXO as this setup allowed us to build a full digital system with Dante encompassing everything from the Yamaha consoles to the power amps” says Hiroyuki Fukazawa, Manager (Sound Engineering) at the Culture Promotion Division, Civic Culture Department, Naha City.

“This is the key advantage of NEXO. The NEXO speaker system also allows us to suspend subwoofers alongside speakers, providing better sound and a better sense of localisation. Another reason was my own sense of familiarity with the NEXO speaker system, having used it at my previous place of employment. Personally, I just love how the speakers sound.”

A closer wiew on the GEO M10 arrays hung in the large theatre.

Commenting on the performance of the system, Naha Cultural Arts Theatre Sound Engineer Ryoko Hirano says, “When I heard the main speaker in the large theatre, my first impression was ‘Wow, what a beautiful sound’. Not only do the speakers deliver a faithful rendition of any song, regardless of genre, I must admit I was taken aback by how such small speakers can produce such a powerful sound, almost as though the sounds are sent flying through the air.”

For further information on the Naha Cultural Arts Theatre, visit

For more info on the GEO M modules, please visit


New ETC Library App Makes Technical Documentation More Accessible

ETC has released a new ETC Library App, making ETC documentation accessible from one convenient location. Through the app, users can easily view, and share datasheets, brochures, and other standard technical documentation for all ETC products.

The ETC Library App replaces the former ETC Product Portfolio and is hosted on an entirely new platform. Users can expect improvements in both speed and search functionality on the app, with the ability to look up documents by part numbers and more.

The cloud-based platform also saves storage space for users, allowing them to directly download only the files they need. The new app makes it simple to create a collection of documents and share them via email, text message, and more.

The ETC Library App is now available with all ETC product datasheets and with plans to continue expanding documentation and language options.
Users who previously had the ETC Product Portfolio software downloaded on their desktop will need to download the new ETC Library App for current documentation. Users who had the Product Portfolio app on mobile devices will simply need to update the app.

To download the ETC Library App, please visit

And Find more ETC apps at


Stage Right Lighting invest in 38 x Ayrton Perseo

Stage Right Lighting in Virginia Beach, Virginia expanded its Ayrton lighting inventory with 38 Perseo IP65-rated compact, multi-function luminaires, which have been flying off the shelves, according to Production Manager Doug Arble.

“We’re based in the Tidewater area, which consists of seven cities, and from May to October we’re outdoors with concerts and special events,” he reports. “We were looking for a multi-function light with an LED source and an IP rating.

We needed something that wasn’t excessively heavy that we could throw into a pre-rigged truss and use as a downstage wash or upstage profile, something that had gobo effects and framing shutters, which are in big demand on riders these days.

ACT brought us some Perseos for a shoot out with other IP-rated fixtures, and afterward we decided to buy a compliment of Perseo Profile units and Perseo Beams.” Several years ago Stage Right purchased several Ayrton Mistral-TC LED spot luminaires, which Arble says have been “fantastic for corporate ballroom and theatre projects.”

From May to October Stage Right works in venues ranging from 2,500-seat theatres to 20,000-seat amphitheatres as well as on mobile stages set up temporarily for festivals.

Ayrton Perseo Beam

Starting this spring Stage Right used Perseo fixtures in the overhead package for The Trinity of Terror, a modern hard rock tour featuring Motionless in White, Black Veil Brides and Ice Nine Kills at the Chartway Arena at Old Dominion University in Norfolk.
One dozen each Perseo Profile and Perseo Beams also lit up a Neon Trees concert at Kaplan Arena at William & Mary University. “A lot of lighting designers have heard about Perseo, haven’t had a chance to try it yet and are happy to find them in our inventory,” notes Arble.

Perseo fixtures were next deployed on the day-long, high-energy FM99 Lunatic Luau 22 festival at the 20,000-seat Virginia Beach Amphitheatre where bands Disturbed, The Pretty Reckless, Dirty Honey and more performed. “We provided all the lighting for the festival, including 16 Perseos in the air, then added 10 more Perseo Beams in a floor package for Disturbed,” says Arble. “That resulted in Disturbed asking us for more Perseo floor packages for a couple more shows coming up.”

He points out that the Perseo units were ideal for a day-long festival where they could be used in many different applications. “They got used every which way,” he says. “They really cut through and looked fantastic. All of the bands’ LDs were happy with them.”

That gig was followed by Memorial Day weekend’s Patriotic Festival in downtown Norfolk with Morgan Wallen and Kane Brown headlining at the Waterside Drive outdoor concert zone. “Our Perseo Profiles and Beams supported the ground package for festival lighting,” Arble explains. “The holiday weekend’s Friday show, inside Scope Arena, also featured our Mistrals for a Jon Pardi concert.”

The Perseo fixtures even created aerial effects at Mount Trashmore, a city park in Virginia Beach, for a remembrance ceremony marking the anniversary of the town’s mass shooting in 2019. “We set them up on a hill so they could shoot beams in the air overnight, one beam for every life lost in the shooting,” says Arble. “They were great at that as well.”

Stage Right just wrapped a Patti LaBelle concert at The Sandler Center for the Performing Arts in Virginia Beach where “the lighting designer had a great time with our Perseos,” Arble reports. “We’ve found that it doesn’t matter what kind of floor package bands and artists might bring the Perseos match their intensity and mix well with every type of fixture we have seen so far,” he adds.

Arble points out that Stage Right has deployed its Perseo units for “R&B artists, country, metal, alternative rock even Broadway star Kristin Chenoweth and opera legend Renee Fleming performing at the Virginia Arts Festival in Norfolk and they always work out great!

“We’re very happy with the fixtures and with the customer service we get from ACT. We enjoy our relationship with the ACT team and hope to keep building on it as we purchase more fixtures.”

More information on Ayrton Perseo and the full portfolio of innovative Ayrton LED products can be found at

The Razzmatazz, hallmark of Catalan nightlife

The entrance of Razzmatazz, an institution of the nightlife. ©Razzmatazz.

The Razzmatazz, the biggest nightclub in Spain, has five rooms each with its own style: rap, techno, disco, and many other styles of music, the largest room the “Sala 1” has a capacity of 2000. Be it for theme evenings, concerts or “corporate” events, the eclectic and spacious venue can host it all.

Razzmatazz’s technical team.

Xavier Prats, Technical Director at the Razzmatazz, pragmatic, confirms that to be that flexible “The team has to manage the production, entertainment, security, the bar and of course the technical aspects”.

In line with this philosophy, during the Covid years, the crew was busy checking their entire kit and updating parts of it, modernizing it. For Xavi and Magda, the lighting director, to host prestigious entertainers one needs top-of-the-line equipment. Hence, along came the Robe MegaPointe, Tetra 2, Smarty Hybrid Elation, and IVL Square Minuit Une, controled by a brand new grandMA3, joining the hefty L-Acoustics sound system.

A great sound and light for Amelie Lens, a big name in the Techno scene. ©Razzmatazz

Since 2000 the nightclub has evolved well and its success is proof of it, and it is quite visible that the neighborhood is changing also. The old abandoned industrial buildings are progressively changing into, or replaced by, nurseries, luxury apartments, or brand new co-working spaces. That isn’t a problem, “the neighborhood changes and we adapt” says Xavi walking in a hallway as we tour the venue.

Magda Kozlowska

Magda Kozlowska started at the Razzmatazz as a freelance for Light Lumina, a longtime technical provider for the Razzmatazz. Over the years the nightclub has come to own its equipment.
She then joined the team full-time and evolved to become the manager of the lighting department.
Despite some long days, doing the installation and the technical support, she has been able to make it work out with her personal life, always being onsite for the key parts of the events.

Xavier Prats

Xavier Prats began at the Razzmatazz in 2008 as a sound engineer and at times as a DJ. Later he managed the technicians in 2012, then on to Technical Director two years after, overseeing lighting, video, and sound.

Self-taught and having a passion for the technical side he is very attentive to understanding and mastering the use of the entire equipment, and has an inclusive personality.

Logically the tour starts with “Sala 1”, the largest space in the venue. It can host a large amount of “clubbers” or major international stars in a concert-type setup.

The rider of Sala 1 was designed to be as flexible as possible and familiar to lighting designers with its Beam/spot Robe Pointe, Wash GLP Impression 120, Elation Proton 3K and Smarty Hybrid hanging on two square decks in concert configuration.

Xavier Prats : When bands come here they need a powerful kit, easy to run and with top-notch equipment.

Magda Kozlowska : Our politics are also to always supply the equipment that is listed on our “rider” (technical specifications). If, for example, a MegaPointe stops working we can replace it immediately. It’s one of the things that has built the confidence that people have in the Razzmatazz.

SLU : How did you decide on what equipment would make up your basic onsite kit?

Magda Kozlowska : The rider includes 12 x RobePointe and some GLP Impression 120 washes. From our experience and research, we found that these fixtures make for a good basis for most Lds.
They can easily match them with fixtures to be floor mounted or rigged to our trusses. There are ETC Source 4 Jr profiles for the front lighting.

On the other hand, the Robe Pointe and the Elation Proton 3K strobe are essential to accompany the performance of concert artists.

ETC Source 4 Jr hanging on the front deck.

Two MDG Atmosphere fog machines installed on either side of the room preserve the material without compromising on the quality of the effects. A winning choice at all levels.

We have changed our old smoke machine for the MDG Atmosphere to keep the equipment as clean as possible, which we are very satisfied with. There is one close to the stage and another on the dancefloor, just above the DJ booth.
The central trussing grid is usually reserved for the nightclub/dance-floor area, it may be used for the concerts, however, it may not be modified.

The central grill dedicated to the lighting of the Dancefloor adorned with its brand new equipment: an IVL Square Minuit Une and 12 x Smarty Hybrid Elation. These devices will soon be joined by 12 x Robe Tetra 2 bars On the left of the image, we can guess the control room.

SLU : I noticed that the DJ booth is located on the same level as the dancefloor

Magda Kozlowska : A few years ago the concept of clubs changed and the DJs turntables moved from the stage to the dancefloor we wanted to keep up with the new concept of being in the middle among the clubbers. It was cool for us to create a very big booth on the dancefloor, it was also quite expensive.
We had to continuously move the equipment from the dancefloor to the stage which was very tiring for the crew. We had to rethink the kit to create a very powerfully lit booth with Elation Cuepix led panels and it is very cool.

The DJ booth surrounded by CuePix Elation panels.

The first nice surprise in the Dancefloor kit: an IVL Square by Minuit Une, the up-and-coming French company, reigns in the middle of the rig.

The IVL Square Midnight One generates a wide variety of graphic or immersive effects in the center of the dance floor.

SLU : A laser fixture in a club, the Phenix rises from its ashes

Xavier Prats : Yes, however, we chose it because it isn’t a conventional type of laser. The concept of its mirrors allows the laser to surround the spectators, giving it a whole new look different from the conventional lasers.

Magda Kozlowska : And it also has the advantage of not damaging people’s eyes. We are very happy with it, and personally, I really like it. It is very lightweight and can easily be moved to the DJ booth or the stage.

On the dancefloor, there is a huge pyramid of empty Elation Smarty Hybrid boxes, that reminds me vaguely of a Boxing Day after Christmas celebrations. Shiny new fixtures throughout the dancefloor grid are ready to blast their light output to the beat. The crew has also dry-hired some Martin Atomic Strobes installed in various places.

Some nights, we turn the stage into a VIP area or a professional dancer holder, while the audience dances to the DJs mix around his booth on the dancefloor.

Magda Kozlowska : It was a lot of technical work, we didn’t have the electrical mains, nor the signal in that spot on the dancefloor to do it quickly, but we really wanted to give the people a special experience.

Xavier Prats : Then after doing some tests, we also ordered 12 x Robe Tetra 2 that we should be receiving next September depending on their availability. We have thought of installing them either three groups of four or maybe four lines of three fixtures on tubes in the central grid.

Magda Kozlowska : That will complete the new dancefloor setup. For the moment we want to invest our time programming the lighting, and then train the operator to know the system and the desk because he will be running the shows for the nightclub, so time is flying…(laughter) We are delighted with this evolution.
Programming for electronic music is quite intense, the music fades in and out at certain times, and the lighting has to be able to follow. It’s what we explain to the kids that come for tryouts, it’s a question of following the music and not necessarily knowing how to create complex effects.

Xavier Prats : It is very important to have a feeling for the music to follow the changes ranging from calm moments and then building to a lighting and musical blast-off. The reputation of the nightclub needs an amazing electro-night ambiance.

In concert configuration. ©Razzmatazz


SLU : How do you control the entire kit?

Magda Kozlowska : Recently, a few months ago, we went grandMA3.

Xavier Prats : There are three different sources video, sound, and lighting. For this sector, we have chosen the Art-Net protocol with a DMX hub for the lighting fixtures.

Magda Kozlowska : We updated our cabling to CAT6 quite late because of the existing DMX network, however with more and more requests for a protocol network we preferred to put a separate cable dedicated to lighting and not just share one network for all three stations (video, sound, and lighting), like we did.


Xavier Prats : And for the sound, we have 4 CAT6 lines for the DANTE, the Lake, and for the amplified L-Acoustics controllers up on the balcony. We have an L-Acoustics kit installed in each of the three main rooms. In “Sala 1” we replaced the Kudo with the new K3, in the next room we have the Kara system and in the 3rd room “Lolita” we use the A15 system.

The FOH (front-of-house) sound desk in the biggest room is the new Avid S6L-32D and, we just bought another one a month ago for the onstage monitors. We had been using Venue Profiles for the past 14 years. It was time for a change! (laughter) We have a Midas Pro 2 at FOH with an SC48 Avid on monitors in the second room. The third room is fitted with a Midas Pro 1.

Ohh an old fashioned patch!

SLU : What does the audience want in sound, quality, and/or a very powerful system?

Xavier Prats : It depends on the type of entertainment. For a concert, they are looking for quality, precision for the instruments and voice(s). For clubbing, they want to “feel” the music, literally, hence a lot of acoustic pressure in the low end! It’s the bass that gets the people up and on the dancefloor.

SLU : So, there isn’t a “perfect recipe

Xavier Prats : Never! (laughter) There are always some people who love the sound and who don’t. As a solution, we have, different sound engineers for different types of events. The sound must be true to the types of music in the rooms, and the different setups should be comfortable for the musicians and/or DJs.

For the DJs, we have a classic monitor system of two SB18s and three Karas, and some side fills. The two types can be moved to the DJ booth or on stage depending on the request. The DJs are happy with it because it is very powerful (laughter). They want a lot of sound pressure. So be it, onstage we all wear ear protection.

In clubbing configuration we are guessing the impressive monitors on both sides of the DJ. ©Instagram @la1razzmatazz.

SLU : How do you change the speaker system, between a concert and clubbing?

Xavier Prats : There are two different installations possible. For our “club” sound, it’s a quadraphonic system using mainly five K3 on each side and two rear reinforcements using three K3s each, and it all balanced between the front and rear for dancing in the middle. For concerts, we stick to a left/right balance with the five K3s on each side of the stage. It is all enhanced with eight SB28 subs fitted under the stage, that are used in both setups.

Alvaro Escudero in the powerful light of against the CuePix Elation of the DJ booth. ©Razzmatazz

SLU : What is your policy when hosting events?

Xavier Prats : After the setup and system calibration, we have measured the output, and made specific adjustments for corporate events, concerts, and clubbing. When the touring technician arrives in the room, we show him the setup and presets, then allow them to make changes where needed. Some prefer to have the subs moved closer or to use a different front fill. It all depends on the type of band and their tastes. We offer a stage monitor system made up of 12 L-Acoustics X12 wedges for the entertainers.

The amplifier rack with the Lake matrix processor and the LA8 amplified controllers.

SLU : Who controls the overall sound level when hosting a DJ?

Xavier Prats : We are dealing with professionals, however, we talk with them before the show, and request they don’t go too much into the red zone to have the best sound possible for the audience.

We always have control of the output and have limiters at the sound desk. In general, the DJs are preoccupied with their mix and trust our judgment for the sound level. We have yet to encounter a problem with any of them. Until now.

We sometimes have some difficulty with requests for the equalization being quite powerful, however, nothing too difficult that a discussion doesn’t easily fix. We always want them to be comfortable with the sound, they sometimes want more or less subs.


Adrian, video technical manager, gives us a tour of the “Sala 1” installation.

Adrian : We use Resolume, enabling the visuals to be more interactive and reactive to the sound. The video content changes depending on the type of event: Pop/Grunge on Saturdays or Electro/Techno in the Loft.

Xavier Prats : “In “Sala 1”, we have a Vivitech laser 20KD projector. It allows for multiple configurations like projecting behind the DJ or company logos on the floor for the corporate events.

Video performance in projection. © #razzmatazz #Instagram

SLU : The video banks, are they created in-house?

Adrian : Yes we have a department dedicated to just that, using such software as Cinema 4D or After Effects.

Les effets

SLU : Do you use any special FX?

Xavier Prats : “Some CO2 launchers and confetti machines encompassing the dancefloor, supplied by Catalan company, Oh! Fx.

Magda Kozlowska : The control of our special FX is done by our in-house lighting crew. and it is in no way connected to the lighting desk, avoiding any human error. The CO2 jets are prepared to the liking of the performers and touring crew and activated at the correct predefined moment. It adds that “WOW” factor for the audience.

The Loft, the Lolita room, and the Sala 4 and 5

A bar area open as needed completes the range of rooms offered by the Razzmatazz.

The Razzmatazz is divided into five sections. The largest room is “Sala 1”, flanked by “Sala 2” known also as the “Loft”, and the “Sala 3” called the “Lolita” are both of medium capacity. Two other smaller spaces, designed more like long bar-type rooms, are available for the event if needed.

There is brand new rider. The Loft, with a capacity of 940, is more berlin-techno style. It has a Kara L-Acoustics system including subs: five Karas on each side of the DJ setup with two delays in the center of the dancefloor to cover the sound reflection caused by the arched ceiling, as Xavj says “difficult to mix”. The system is controlled by a Midas Pro 2 at FOH and an SC48 Avid.

Depending on the entertainment we can install a proscenium into the room, and, if planned in advance, a big projection screen behind the DJ.

SLU : Do you often use rear-projection? Are led screens sometimes more suited?

Xavier Prats : Rear-projection pollutes the stage/dancefloor area less and also is easier to control ensuring a great quality of output. Not to forget it won’t cast unwanted shadows of the lighting gear on the arched ceiling.

The lighting kit is made up of 8 x Claypaky Axcor Led 300 Spots, 6 x Elation Razor Washes, 6 x SixPar Led200, 8 x Elation Proton 3K strobes very bright in white, and some SGM Q8 that have received positive votes from our entire crew…
The Sala 3, also called Lolita, has an L-Acoustics A15 system. Its 4-point PA system is used for clubbing whereas only the front points are used for a concert setup. The system is under the control of a Midas Pro 1.

Xavier Prats : In this room, we decided on MAC 250s by Martin, Chauvet Q-Spot 260 leds with 4 x Par56 for the front lighting and 20 x ParLed installed in the stage grid. Room capacity is 200 max. Two other rooms can be configured for clubbing or private events.

The Razzmatazz, the organization runs like clockwork

Having so much to offer is what has made the Razzmatazz successful. Its hosted world-renowned stars: David Byrne, Coldplay, Orbital, Pulp, The Strokes, Kanye West, Blur, Belle and Sebastian, Richie Hawtin, Jeff Mills, Kraftwerk, Paul Kalkbrenner, Justice, and Skrillex. And others that were lesser-known when they played here, such as the Arctic Monkeys, Franz Ferdinand, Cut Copy, and The Gossip.

Xavi is in constant contact with Jaoma, Magda et Adrian, three managers looking after sound, lighting, and video respectively. When a renovation is decided, they all meet with production to define which parts of the kit should be changed or moved to adapt to the entertainers’ needs and to keep up to date with the new technologies.

Xavier Prats : We function in the same way a big festival does. Once a month we meet with the Booking manager to draw up a list of the different scenic requests for the upcoming events. It might be a disco mirror ball for a disco event, or a “Dark” lighting mood with some strobes for a techno night.

Magda Kozlowska : And every Wednesday there is a meeting with the production and technical managers to discuss our plans in more detail for the following weekend. Each department sends an email with the installation, programming time, and eventual rentals requested by the technical touring crew and the performers’ needs.

SLU : How many are you in total?

Xavier Prats : We are roughly a hundred people, 40 of that is the technical crew, including free-lance technicians (i.e. Light Jockeys, editors note). With our wide variety of events, the venue may stay open for 24h in one stretch, so we need more staff to have two separate crews.

SLU : How does it work out with the light Jockeys?

Magda Kozlowska : There are two separate lighting crews for a concert, one for the load-in and setup and one for the show and loud-out. Since we know the tastes and strong points of each of our light jockeys we can book the one best suited for the event. We must regularly hire younger ones, approximately the same age as the clubbers with loads of energy to last all night.
In Spain and especially Barcelona there are more and more specialized schools. We can hire kids (early 20s of age) who have already obtained a good basic knowledge and would like to have some hands-on experience. In a “club” situation it’s less visible if there are some mistakes made, than in a concert.

Xavier Prats : We have a partnership with a public school specializing in sound, lighting, and video. During their school years, the students are required to do 3 to 4 months of apprenticeship. However, for our events with major performers, we always call-in a more experienced technician.

SLU : How is the after-sales service when a fixture or other goes (breaks) down?

Magda Kozlowska : We do monthly cleaning and maintenance, if there is something we can’t fix ourselves we prefer to contact directly the customer service department of the manufacturer. Lastly, we dry-hire whatever is needed, to respect the “Rider” we sent to the technical managers touring with the bands or other performers.

Xavier Prats : Our most faithful supplier is Light Lumina, they were with us when the nightclub was called the “Celeste” (editors note: this club was previous to the Razzmatazz). So…well it’s been 13 years of good service.

Magda Kozlowska : We have built a good relationship, and they are in our price range.

The Razzmatazz is ready to go for summer. Ready to get people dancing, and clubbing to our lighting rigs beats long into the night in one of Barcelona’s best nightclubs! Now that is a great plan. The team uses their combined knowledge and is always striving to make each event even better, with quicker get-ins and get-outs, perfectly maintained equipment, planning, etc…
At the top of their list is the experience for the audience or the clubbers, which has been essential to the reputation of the Razzmatazz, the hallmark of Catalan nightclubs.
Once the shipment of 12 Robe Tetra 2s has arrived, the last cornerstone of this premium kit, which is treasured by Magda, Jaoma, Adrian, and technical director Xavi Prat. We salute the energy and great synergy of this incredible crew.
After personally enjoying the Razzmatazz “experience”, a few years ago, I highly recommend this club, they know how to keep their shows an artistic and technical experience to remember.


Ayrton Magic Blade FX Create Dynamic Lighting for Jack White’s Tour

The former White Stripes frontman currently wowing fans with “Jack White: The Supply Chain Issues Tour” has 82 Ayrton Magic Blade FX fixtures delivering dynamic effects lighting on stage.
Matthieu Larivee, who serves as the tour’s Creative Director and Lighting and Production Designer, obtained the Magic Blade FXs from Solotech Nashville. ACT Entertainment is the exclusive distributor of Ayrton lighting in North America.

The world tour celebrates two new Jack White albums, “Fear of the Dawn” and “Entering Heaven Alive.” The North American leg kicked off in Detroit in April and will wrap at the end of August in Kansas City. It then heads to South America with much of the same lighting rig, including the Magic Blade FXs.
Each Magic Blade FX features seven RGBW high-output LEDs that can be individually controlled to create airborne virtual scenery or illuminate sets and performers. It is equipped with a revolutionary FX optical zoom system that has no visible moving parts and a fixed transmitting lens.

Ayrton Magic Blade FX

The Jack White tour marks Larivee’s first use of Magic Blade FXs for a tour although he has used them on individual shows. “A few lights do some similar things, but they don’t offer the full breadth of effects that Magic Blade FX does,” says Larivee, who is a Creative Producer and Partner at Montreal-based Luz Studio, a group of talented designers and production specialists who create cohesive and immerse environments. “The Magic Blades were the one fixture on the design that I didn’t want to accept any substitutes for.”

Larivee explains that White enjoys playing arenas and more intimate theatres on his tours so the scale of the show had to be adjustable to the venue. “The concept is a 40-foot wide stage-on-a-stage that fits both arenas and theatres. In theatres the stage fills the space; in arenas the stage doesn’t look small because the outside of the design with the Magic Blades defines and extends the space.”

White likes to be in close proximity to other band members, “so everything is super tight” on stage, notes Larivee. For every tour cycle White picks a dominant colour – blue for “The Supply Chain Issues Tour” – which is the focus for his on-stage world. And since the artist is formally named Jack White III he likes to have groups of three feature into the lighting and set design.
This tour has a linear design with Magic Blade FX fixtures mounted on sets of three towers, stage left and stage right, at the outer edges of the stage; additional Magic Blades form a horizontal band that spans the top of the curtain. A flat videowall serves as a backdrop behind the band. “It doesn’t act as a video screen per se,” says Larivee. “We created the video content too, creating a rhythm that doesn’t overwhelm the audience using set extensions and merging virtual lights with physical lights.”

Larivee felt Magic Blade FX would give him “the big look” he wanted to create via set extensions and lighting. “The fact that the Magic Blades have an optical zoom system means I can use them to wash the stage and light the band; I can do chases with every pixel and create starry effects. The way they spin endlessly is great support for some of Jack’s very modern music with wah-wah pedal guitar effects. Other light bars that spin are very narrow so they look like EDM or club fixtures. But Magic Blades go really wide!”

More information on Ayrton MagicBlade FX fixtures and the full portfolio of innovative Ayrton LED products can be found at


Ayrton Domino S and Perseo Profile hit the road with Coldplay

Grammy Award-winning Coldplay has completed the North American leg of their Music of the Spheres World Tour where Ayrton Domino and Perseo fixtures illuminated the stadium show from coast to coast. ACT Entertainment is the exclusive distributor of Ayrton lighting in North America.
Coldplay’s world tour supports their ninth studio album of the same name. The North American dates kicked off in April and wrapped in June; the tour will play Europe this summer and South America in the autumn. It has an innovative sustainability theme with each show powered exclusively by renewable, super-low emission energy.

© Steve Jennings

“Misty Buckley and Phil Harvey, the Co-creative Directors of the tour, developed a production design and creative direction inspired by Pythagoras’s Music of the Spheres theory,” says Lighting Designer Sooner Routhier of Sooner Rae Creative, who began working with Coldplay in 2019 on their Everyday Life album campaign.
“There’s a specific diagram that displays the arcs and movement of the solar system and its celestial bodies that we leaned on for inspiration. Thus, the architecture for the lighting design and the cuing of the system is heavily based on spheres, circles and arcs.”

Buckley explains that she and Harvey took as their starting point the Pythagorean theory that the sun, moon and planets create sounds and harmonies that are not audible to humans but can be heard by our souls. “We then explored music in space and went into a whole amazing creative wormhole of time, space, music and aliens, which led to the concept of alien music festivals in space, love, people and togetherness. It was a really mad and wonderful creative thread.”

© Steve Jennings

Sketches became CAD drawings with Buckley and Harvey keeping at it “until the geometry worked,” she says. “Then we added the alien hieroglyphics and all the different languages associated with the planet map on the album artwork. Each planet has its own language, concept and emotion. We created renders of this world and concept that led to building a scale model so we could visualize the production design in the context of the stadium. This is always the most exciting part as the band gets to see it in real space.”

Domino, the most powerful motorized blade edge spotlight in the Ayrton IP65 range with 1000W of white LEDs.

Routhier chose 66 Ayrton Domino S and 74 Perseo Profile fixtures for her lighting design for the unique show. Upstaging Inc. of Sycamore, Illinois, the lighting and trucking vendor for the tour, provided the fixtures.
Routhier positioned 24 Perseo fixtures on top of the large, upstage moonrise screen, a videowall in the shape of a moon or sun cresting over the horizon. Forty-eight more were on audience PA delay towers at Front of House.

Twenty-four Domino fixtures were positioned on the floor upstage in front of the moonrise screen, ten served as side lights from the stage pylons and 32 were across the stage apron and side satellite stages. “We used them for large gobo looks, to paint the audience in light and as general effects lighting,” says Routhier.

Perseo Profile, IP65 rated, is equipped with a 500W 8000K cold white LED motor.

“We love the fixtures. They’re punchy, have an incredible assortment of beam and gobo features, and they’re rated IP65. Because of the band’s sustainability efforts, we worked hard to choose companies with healthy, eco-friendly practices and fixtures that could withstand the elements.
IP65-rated fixtures meant fewer manhours spent swapping out fixtures, less transporting of parts via post, and fewer parts used to fix lights that can’t withstand the weather. We’re also very impressed by Ayrton’s sustainability practices as a manufacturer.”

Shaheem Litchmore, who acted as the Lighting Operator and one of Lighting Programmers, declares that, “From start to finish these fixtures worked their magic. Different systems of Perseos and Dominos were creatively orchestrated to provide accents to the music and create an all-around vibe. One of my favourite moments in the show was the beginning of the song ‘Fix You.’ Chris [Martin] knelt in the middle of our B stage and, in a silhouette, was washed in an enchanting gold gobo backlight provided by the 24 upstage floor Dominos as well as 24 of our shelf Dominos. It was truly a perfect display of the power and elegance of the Domino fixtures.”

Lighting Programmer Joe Lott “really liked the look from the Perseos over the moonrise screen for the song ‘Viva La Vida.’ It’s where we had the Perseos in their widest zoom creating a really nice flared light source above the LED screen, which snapped colour and intensity following the beat of the music. It was very simple but really created the look of the song.”

He calls the upstage floor Dominos “a real workhorse in the design. It was great to have such a bright spot fixture on the floor to give us a strong backlight through the band even with plenty of gobo texture and deep saturated colours.”
Lott also felt that “having 48 Perseos spread out across the audience PA delay towers gave us a lot to work with. It allowed us to create some great looks where we threw gobo texture over the audience and lit up the whole stadium.”

© Steve Jennings

According to Litchmore the Ayrton fixtures “performed beautifully” and “creatively were a workhorse” for the tour. “Powerful backlight looks were provided by the upstage Dominos and Perseos while amazing audience lighting and effects were delivered by the Perseos in our audience towers.”
Their robust construction and IP rating were definite advantages, too, he adds. “We had our first bit of rain during our Philadelphia show, and the weather picked up during the load out. But we did not lose a single light. The fixtures stood tall against a nor’easter rainstorm and won. With these lights in our rig, I’m never worried. They’re rock solid!”

“It’s been tough this year. Nobody can debate that. Upstaging and ACT have a longstanding partnership, borne from the mutually held values of exceeding expectations and sublime customer service. That’s not debatable either. I’m convinced that this partnership, and these core tenets helped us put a challenging tour on the road during challenging times.
But make no mistake! Core tenets aside, this project was a labour of love. I’ll say it now, as I’ve said before ACT is an absolute pleasure to work with. When we’re working together, I know we’ll hit our deadline,” concludes Matt Gohring of Upstaging. David Kennedy was the Special Effects Designer for the tour and Matthew Kemp also served as a Lighting Programmer.

More information on Ayrton Perseo Profile and Domino S fixtures and the full portfolio of innovative Ayrton LED products can be found at



Almost 1,000 GLP lighting fixtures – a near record in terms of brand deployment – were called on when the 2021 Valorant Champions esports tournament (VCT 2021) reached its conclusion in Berlin. Organised by the video game developer Riot Games, 16 teams from around the world competed for the honour of champions.

Held over a 12-day period, the offline event – which was broadcast on international streaming platforms such as Twitch and YouTube – took place in three locations, with the 4,500-capacity Verti Music Hall hosting the grand final following the knock-out stages.

Lighting director Michael Straun had been brought in by Swedish production designer Tobias Rylander and was working on the event for the first time.
Fixtures from right across the GLP portfolio were deployed, including FR10 Bars, Fusion Stick FS20s, X4 Bar 10s and Bar 20s, and JDC1 hybrid strobes, with PRG Germany sourcing this vast inventory.

Michael Straun explained that prior to the final, a sound stage in nearby Potsdam had been requisitioned for the knock-out stages: “Alongside that, we had to light the opening ceremony outside on the platz and we also had [production] set-ups ready in local hotel rooms in case players tested positive for Covid-19.”

Working alongside creative producer JB Blot, Tobias Rylander brought all his experience to bear, working across all settings, while Michael Straun was tasked with fulfilling the role of creative lighting director and programmer. Meanwhile, American collective 22 Degrees was brought in to conceive the broadcast lighting, Will Gossett as designer and Mark Humphrey and Chris Herman as programmers.

Straun revealed that it was the first time he had lit an audience-free live show purely for broadcast. “We used a lot of concert techniques and focused heavily on keylight and the scenic lighting balance rather than optimise it for camera only,” he explains.

“We added depth by using different colours in the keylight. For example, for broadcast you would normally run X4 Bars at a lower level than at a concert, but with the 22 Degrees team we worked hard to push the levels, finding a balance between intensity and shading. This meant that the light curtains could be seen clearly on camera.

“We ran everything in full-pixel mode, with individual control of each cell, and with the Fusion Bars we made sure we had the highest resolution possible for dimming purposes.”
In total, 930 GLP fixtures were provided for deployment across the three venues, Michael Straun continues: “For the knock-outs we had 108 X4 Bar 10 and 14 of the JDC1s – everyone’s favourite strobe.”

He added that his experience when touring the X4 Bars had always been nothing less than brilliant – borne out by the fact that the team specified no fewer than 544 of the fixtures at the Verti Music Hall, mostly set on angled trusses, he says: “Tobias designed these angles carefully so we ended up with massive monolithic trusses.” In addition, 60 of the shorter X4 Bar 10 battens lined the runway along with 14 JDC1s.

“We also used 90 Fusion Stick FS20 on the floor,” he continues, “because they were a good non-moving solution that we could focus manually on the ground and just leave in one set position.”
But in some respects, one of cleverest deployments was outside on the platz, where 96 impression FR10 battens really showed their merit. “Tobias and I are both big fans of the FR10 and designers generally love this linear light curtain,” he enthuses.
“It is an evolution of the X4 Bar 20 and is great for a bit more punch outdoors when you are up against LED screens. Here, they managed to shoot through [the screens] with no problem, and on top of that we could also create ‘rooves’ above the stage.”

The winning team of Rylander and Straun has long been proven since they first came together around 2013 on the XX tour. Other shows with the 1975 and FKA Twigs, and the XX’s Armory show in New York, further consolidated the relationship. And during that period GLP fixtures have never been far from either designer’s toolbox.

“It’s really nice to be back together as part of a team you can trust,” Michael Straun concludes. “This event was a really nice experience, as everyone was so supportive. It’s nice to work with producers who thank you every day.”
Now he’s looking forward to the same team regrouping for the next season. “GLP fixtures will be staple for the future when it comes to producing a linear light curtain,” he adds.

For more information, you can visit the GLP website


Ayrton MagicBlade FX on NBC’s new American Song Contest

Full Flood Inc. has chosen Ayrton MagicBlade FX lighting fixtures for NBC’s new, eight-episode American Song Contest, the domestic answer to the hugely popular and long-running Eurovision Song Contest. Volt Lites supplied the MagicBlade FX units, which are exclusively distributed in North America by ACT Entertainment.

Hosted by Kelly Clarkson and Snoop Dogg, American Song Contest will feature 56 live original song performances by artists from all 50 states, five US territories and the nation’s capital. It debuted on March 21 and wraps with a finale featuring the winning performance on May 9. Episodes are also air on, Peacock and Hulu.

Lighting Designer Noah Mitz and Lighting Director Will Gossett, both from Full Flood, are using 144 Ayrton MagicBlade FX for American Song Contest, which shoots on the Universal Studios lot in Los Angeles. “That’s by far the most MagicBlade FX fixtures we’ve ever used in an array such as this one,” says Gossett. “We’ve used MagicBlades on other shows in linear arrangements to border scenery or align with trusses, but it’s great to have such a visual impact in the vertical plane like we do on this show.”

Each MagicBlade FX fixture features seven squared 65mm transmitting lenses and a revolutionary FX optical zoom system. The RGBW high-output LEDs can be individually controlled to create airborne virtual scenery or illuminate sets and performers.

American Song Contest has “a uniquely-shaped performance environment” by Production Designer Julio Himede in the style of a forced perspective roadway, which terminates in an upstage wall comprised of various interchangeable lighting elements.
“The set has to support 56 performances, each with a bespoke design, over the eight shows,” explains Gossett.

“The MagicBlades comprise most of three independently sliding light walls; the three pieces can be configured as one wall element or used in different combinations.
There is a grid of 54 MagicBlades in the centre wall and 45 MagicBlades in each of the left and right walls. The fixtures are yoked out 90º to maximize the variety of looks achieved through different pan positions”

MagicBlade FX fixtures were a logical choice to meet the needs of American Song Contest. “They are very versatile and we have yet to reach a limit to the patterns and effects that the MagicBlade FX can achieve in various position and zoom configurations in combination with clever programming by Patrick Brazil,” says Mitz.

“MagicBlade’s unique fixture face – linear with pixels – almost feels like dots moving freely through the upstage space,” Gossett adds. “And we have full pixel control, which adds an element of mystery, too. Sometimes there’s more negative space on the walls; sometimes a sequence of pixels gives a unique sense of motion for slower moments in songs – they don’t always look like lighting effects. But the MagicBlades also have a lot of horsepower to push light out of the wall when we want that intense presence.”

Lighting Directors/Programmers Patrick Brazil, Rob Koenig, and Darien Koop masterfully command a network of grandMA2 consoles in addition to Capture software in an extensive previs process for the set and lights. The consoles remain on site for the current run of shows and additional previs. ACT Entertainment also is the exclusive distributor of MA Lighting products in North America.

Gossett says, “It was quite fun when the entire production team participated in the first camera look-see day, and they saw the wall come alive and go through some looks and effects. It’s not every day that people stop and say, ‘Whoa! What are those fixtures?’ That many fixtures creating patterns and almost bending light is not what people are used to seeing.”
Other members of the lighting production team include Tyler Ericson (Assistant Lighting Director); Matt Benson (Gaffer); Mark Marroquin (Best Boy); David Russell, Janos Bode, Ben Lewis, Jeff Geisser (System Techs).

More information on Ayrton MagicBlade FX and the full portfolio of innovative Ayrton LED fixtures can be found at


Proteus Maximus fulfills key visual role at Expo 2020

Woodroffe Bassett Design creates breathtaking visuals at Al Wasl Plaza and other Expo entertainment venues. Elation’s Proteus Maximus has been employed on top name shows and events since launching in 2019 but none perhaps as impressive as Expo 2020.

In September 2021, Dubai saw the beautiful opening ceremony of Expo 2020, the kickoff of the world’s premiere international exhibition event that ran through March 2022. With 192 participating countries a part of the journey, Expo focused on ‘Connecting Minds and Creating the Future’ explored through the themes of Sustainability, Mobility and Opportunity.

Al Wasl Plaza

Woodroffe Bassett Design (WBD) served as Lighting Design Consultants on Expo 2020 with WBD Founding Partner Adam Bassett lead in the process. The initial brief was to transform Al Wasl Plaza, a 67-meter-tall, 130-meter diameter structure with 252 video projectors and an immersive sound system, from a spectacular garden into a live event venue.
Al Wasl Plaza, the beating heart of the Expo, hosted an ambitious daily program of shows, concerts and ceremonies, which changed nightly over the Expo’s six-month duration. WBD designed a house lighting rig that integrated into the structure with the clear direction not to detract from the beauty of the architecture.

Outdoor rated

While Expo was open to the public during the winter months, rehearsals and programming in the outdoor dome was carried out at the peak of the Dubai summer. It was recognized from the outset that the harsh summer environment would place a lot of stress on all parts of the lighting system and that, where possible, all fixtures needed to be outdoor rated.

“One of the driving factors behind our fixture choices was their proven ability to withstand harsh environments,” Adam Bassett commented. “We needed not only for the fixtures to operate in extreme heat but also withstand sandstorms and torrential rain over an extended period, operating 24 hours a day without the need for regular heavy maintenance. The Proteus Maximus was one of the fixtures that confidently matched up to the challenge and we were delighted to see the units live up to the promise!”

Elation Proteus Maximus

Two thirds of the way up the dome were mounted 159 Elation Proteus Maximus LED moving heads that sat outside with a custom shade to protect them from direct sunlight.
Around the perimeter of the trellis were 42 projection pods, below which a further 82 Proteus Maximus hung along with other lighting fixtures. WBD worked closely with Agora, the lighting supplier for Al Wasl Plaza, who in turn worked with Elation distributor Audio Effetti.

WBD executed a number of ambitious shows in the Al Wasl Plaza, 40 by the end of March, with some of the most notable Al Adiyat: The Story of a Boy and His Horse, Diwali and the stunning Sami Yusuf performances of ‘Beyond the Stars’.
Along with the house shows that were delivered throughout the exhibition, the venue was host to a number of external lighting teams bringing in concerts and special events. In addition, WBD were asked to provide the lighting design for the Expo Daily Productions in Al Wasl Plaza, led by Principal Designer Terry Cook.

Other venues and Expo pavilions

Eight other entertainment venues fell under WBD’s scope, among them the Jubilee Stage lighting design. Inspired by a contemporary music festival main stage, music acts, spoken word, dance and comedy acts performed beneath 200+ moving fixtures including Proteus Maximus. Also, the Dubai Millennium Amphitheatre, a more intimate multipurpose venue with an emphasis on theatrical events, featured 180+ moving fixtures consisting of Proteus Maximus and other lights. Neuman and Muller supplied lighting for both the Jubilee and DMA stages.

Several of the country pavilions offering immersive cultural experiences utilized Elation lights as well, including 29 Proteus Hybrid LED moving heads by Novelty Group for the French Pavilion, and Elation luminaires from Intersonic Oy for the Finnish Pavilion, amongst others. Throughout the four years that WBD spent supporting this extraordinary project, they had the pleasure to work with an extremely talented and diverse team both locally and across the globe.

Specific mention goes out to five individuals who led and supported WBD’s journey at every turn: Tareq Ghosheh, Chief Events and Entertainment Officer; Amna Abulhoul, Executive Creative Director; Kylie McOmish, Vice President – Production & Operations; Kate Randall, Vice President- Ceremonies & Programming; and William Ainley, Vice President Technical. The principal consultant team for Expo included Adam Bassett and Simon Fraser of WBD, Piers Shepperd of Wonder Works and Scott Willsallen of Auditoria.

Full team for WBD:

Principal Consultant and Lighting Designer Adam Bassett
Senior Technical Consultant / Head of Lighting Simon Fraser
Lighting Designer / Deputy Head of Lighting John Coman
Systems Consultant Greg Pittams
Cover Deputy Head of Lighting Ben Pitts
Lighting Director Eneas Mackintosh
Lighting Director Alex Marshall
Senior Lighting Programmer Chris Lose
Lighting Programmer for New Year’s Eve show Daniel Gündner
Resident Programmer / Systems Supervisor Brendan Albrey
Resident Programmer Matthew Jones
Resident Programmer Aaron Russ
Lighting Designer for Daily Productions + Special Events Terry Cook
Lighting Programmer for Daily Productions + Special Events Fraser Walker
Assistant Lighting Designer for Daily Productions Max Weir
Assistant Lighting Designer for Daily Productions Aiden Bromley
D3 Programmer Lucy Ockenden
D3 Specialist Show Creator Stephan Hambsch
Design / Studio Manager Miriam Bull
Project Administration Liz Sinclair
Logistics Support Sophie Croft

For more info about Elation Lighting, you can visit :


LD Systems unveils MAILA at PL+S 2022

MAILA is not just a product – it is a scalable sound reinforcement system that sets new standards in user-friendliness and flexibility in the professional rental market.
MAILA combines the best concepts of sound reinforcement technology in one system. The basis is formed by four basic elements: the MAILA SAT satellite module, the MAILA COL column module, the MAILA SPA amplifier module, and the MAILA SUB subwoofer.

With these elements, MAILA enables scalable, flexible system configurations for a wide range of sound reinforcement applications. This extends from precise stereo speech reinforcement without subwoofers, to larger conferences and club gigs, to flown line array systems for professional live sound reinforcement at festivals with variable subwoofer arrangements on the ground.

In addition to the system flexibility, MAILA impresses all round with its sophisticated features and technologies that noticeably simplify the life of every sound engineer.
SmartLink+®, for example, enables wireless connection (power + signal) as well as automatic detection of the individual modules via robust aluminium rails, while the invisible LogoLink® antennas offer wireless connection with ranges of up to 30 metres under practical conditions.


Using the free MAILA App (iPad OS), each MAILA system can also be configured quickly, easily and in detail – including the calculation of SAT angles and wireless system updates.

With the patented EasySplay® mechanism, MAILA takes user-friendliness in the line array sector to a whole new level.
This mechanism allows users to adjust the tilt of each satellite almost infinitely between 0° and 8°. The angle can be adjusted with just one hand via a rotary handle, even under load.

In this way, every MAILA system offers an innovative and flexible concept for adapting the sound coverage to any sound reinforcement situation at any time. The result is a large, scalable sound for almost any application.

The MAILA system is built around four basic elements

Le MAILA SAT comporte cinq tweeters à dôme de 1” montés sur un support assurant le couplage avec un HP de 6.5”placé derrière.


The MAILA SAT satellite speaker – which comes in a unibody aluminium enclosure – is a genuine line array element and houses five 1” tweeters in front of a 6.5” midrange driver, arranged in coaxial design based on Advanced WaveAhead® technology.

Via the SonicGuide® (two combined waveguides), the speakers in the MAILA SAT are brought together with virtually no interference. The result is a classic line array dispersion pattern with impressive throw and energy density. On the rear side of the housing of each MAILA SAT is the rotating handle for the EasySplay® mechanism.

MAILA COL avec ses quatre woofers actifs de 6,5” et un amplificateur DSP à 4 canaux d’une puissance totale de 2,5 kW pour alimenter la colonne elle-même et les satellites MAILA SAT.


The MAILA COL full-range column module, with its four 6.5” active woofers, doesn’t just provide an extended low-mid range – it also includes a 4-channel DSP amplifier with 2.5 kW of total power, which drives both the column itself and the MAILA SAT satellites.

In this way, MAILA sets with a column module can be used as a ground stack variant or as a flown array consisting of MAILA COL and up to eight MAILA SAT units per side particularly useful for festivals and fixed installations.

On the ground, the use of MAILA COL provides a further advantage: the interposed column module allows ground stack sound reinforcement to be implemented that is significantly higher (up to 3.2 metres) than conventional systems and, with its greater throw, enables uniform sound coverage even in the far field.


MAILA SPA is the only MAILA module without integrated loudspeakers – and yet it is an integral part of the MAILA concept. MAILA SPA is an amplifier module in an elegant unibody aluminium design.
It features an integrated 1.25 kW power amplifier with SysCore® DSP for driving up to eight MAILA SAT satellites.

MAILA SPA, un module ampli et DSP de 1,25 kW.

Via the SmartLink+® system, the satellites can be easily plugged in and wirelessly supplied with audio and power. In addition, the SmartLink+® technology allows independent determination of the installed satellites for optional automatic or manual DSP processing.

As with the MAILA COL column module, MAILA SPA allows users to implement ground stack configurations with a spacer rod (included in the MAILA S set), as well as flown systems with the EasyMount+® mounting adapter.

Une vue indiscrète du pack ampli et du montage passe-bande avec les deux 15” Lavoce embarqués dans MAILA SUB.


MAILA SUB forms the basis of every MAILA system. This 2.5 kW double 15” high-performance subwoofer is a bandpass design and delivers a massive and powerful bass foundation in any application with its SysCore® DSP.

The acoustic concept of the MAILA SUB is based on a planar wave bandpass design with quarter wave horn and symmetrical driver design.
Due to the opposing arrangement of the two 15” loudspeakers, the MAILA SUB allows for exceptional impulse compensation, resulting in powerful and precise low frequency output.

MAILA – The sets

LD Systems offers MAILA in five sets, each with customised basic configurations and accessories: While the smallest MAILA system (in the SMALL configuration) already delivers an extremely powerful, active full-range stereo system with 7.5 kW of total power, the large, flown MAILA XL and MAILA XXL systems will easily cover clubs, large conferences or halls, as well as medium-sized festivals. Some jobs require a big line array. For everything else, there’s MAILA.






Baptiste Languille

Baptiste Languille, Senior Global Brand Marketing Manager LD Systems: “Let’s face it: until now, no one in the professional rental market had LD Systems on their radar.

Now, MAILA is here, offering a flexibility and ease of use that has never been seen before. I am absolutely convinced that MAILA will establish itself worldwide as the ideal complement to large, bulky line array systems.”

Viktor Wiesner

Viktor Wiesner, Senior Product Manager, Pro Audio: “Finally, the cat is out of the bag! MAILA is starting to make history. MAILA is a system that you have to see, hear and touch to realise the full added value.
That’s why we cordially invite anyone and everyone who is interested to come to us in Neu-Anspach for a detailed demo, to see for themselves, and to meet the LD Systems development team.”

More information on the LD Systems website


GLP fixtures out in force on Idles’ UK tour

Multiple award-winning lighting designer Ed Warren called on a range of GLP’s products when it came to lighting Idles’ tour – despite the fact that this Bristol-based noise-rock band have historically kept their stage lighting to a minimum.

Warren has worked with the band since their first album, Brutalism, back in 2017, through to a landmark gig at Ally Pally and the Glastonbury live stream last summer. “Previously they only brought me in for the bigger shows as they wanted to stay true to their DIY roots,” he explains. “But now they recognise that lighting makes a big difference and are stepping up their game with every album.”

This time around they again played a number of O2 Academy-sized venues, moving to multiple nights at the larger capacity Brixton Academy, Victoria Warehouse Manchester and Cardiff Motorpoint Arena, where the basic house rig/floor package combination made way for a full production show, involving 20 GLP JDC Line 500, 28 X4 Bar 20s and 18 JDC1 hybrid strobes on the floor.

GLP impression-x4-bar-20

GLP JDC Line 500


“I have used GLP since the initial Impressions as they make great lights; this time I wanted to give the JDC Lines a whizz,” continues Warren. He contacted rental company LCR, and it supplied full inventory and support.

Explaining his design rationale, Warren says: “When a band is playing various-sized rooms, I look at the venues we are going into and produce a rig that will work everywhere. By working from the ground up it gives the tour manager and production manager less of a headache.”

The last tour was largely tungsten-based, but the latest album, Crawler, with its sparser sound, required an augmented approach: “I wanted to complement that with something low-key but powerful such as a big strip of lights behind the band to provide colour and replace the video wall from the last tour. That just wouldn’t have worked practically this time.”

Enter the JDC Lines, set on a crossbar at the rear of the band, while the remainder of the trusses are on Kinesys-automated motion control.
The GLP X4 Bar 20 battens are fixed to a trapezium-shaped truss, while the 16 JDC1 strobes carry out a basic function on the floor.
Additionally eight X4 Bars were placed horizontally and used as side light.

“I didn’t want to over complicate things, so I programmed the floor JDCs in normal mode,” Warren explains, “whereas the X4 Bar 20s and JDC lines were set in full pixel mode. They were pixel mapped as there’s some jazzier stuff going on such as a full rainbow chase.”

However, the tour was not without a hitch, as Ed Warren explained. “I was meant to be at Brixton for production rehearsals and the first four shows, but I tested positive for Covid-19 a few days before. As a result I programmed the whole show at home and sent the file to [board operator] David McIntyre.

It was a squeeze to programme 32 songs in three days, but everything turned out okay. As I’m a ChamSys user, Dave agreed to use an MQ500 on tour, otherwise he would have needed to re-programme on site. Everything was fantastic: the GLP fixtures, were bright, colourful, uncomplicated, perform well and are rock solid. The band and management were delighted.”

In closing, he gives full credit to LCR. “Ryan and Steve Bliss have been brilliant, with lots of suggestions on the best way to rig, and were very hands on. It’s the first time I’ve used LCR and I’m extremely happy.”

More on the GLP website