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 www.robe.cz

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 etcconnect.com

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 www.robe.cz


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 www.lionelrichie.com
Sound Image can be found online at www.sound-image.com
More on Klang, visit www.klang.com




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 etcconnect.com/Explore-Eos-v3-2


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 nahart.jp

For more info on the GEO M modules, please visit nexo-sa.com/systems/geo-m/modules/


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 etcconnect.com/library

And Find more ETC apps at etcconnect.com/Apps


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 www.ayrton.eu