Prolight + Sound 2020 will welcome Star LD Mikki Kunttu for a keynote

From 31 March to 3 April 2020, PL + S will welcome its 25th anniversary edition of Prolight + Sound in Frankfurt am Main. For all professionals from the lighting-technology sector it’s a highlight right on its opening day. Mikki Kunttu, Award-winning lighting set and content designer, will give a keynote speech at the show.
In this lecture, the ‘Swan Lake’ ballet at the Royal Danish Ballet designer will offer insights into his work and milestones of his career whereby particular emphasis will be given to his internationally acclaimed work.

Le concepteur lumière et scénographe Mikki Kunttu

Mikki Kunttu ©Tevy-AG

An extensive presentation at Prolight + Sound will be given for the initiator of the lecture and organisation partner Lightpower GmbH. The keynote lecture will take place at the ‘Theatre + Light Stage’ in Hall 12.0 at 16.30 hrs on 31 March 2020. Afterwards, Mikki Kunttu will take questions from the audience.

“We are proud to welcome one of today’s most influential personalities for the creative use of professional event technology as our keynote speaker”, says Prolight + Sound Director Mira Wölfel. “With his innovative ideas and readiness to branch out in extraordinary directions, Mikki Kunttu has generated valuable impulses for the sector over recent years.”

“For all of us in the entertainment industry Prolight + Sound is the top event of the year and it’s a great honour to be invited for a keynote. I’m very happy to deliver a speech about a project so dear to me, where the elements of lighting design, set design and screen content came together in a very special way.”, explain Mikki Kunttu.

Mikki Kunttu: Incredible designs around the world and in Europe

le concepteur lumière et scénographe suédois Mikki Kunttu ©Kaapo Kamu

Mikki Kunttu ©Tevy-AG

Finnish designer Mikki Kunttu is an important actor in the field of theatre, live-entertainment, television and visual arts since the end of the 1990s.
During his career, he imagined designs for over 100 modern dance productions. Moreover, Kunttu is also known for his work in the tour and concert sector with designs for artists such as Nightwish, Michael Monroe, Hanoi Rocks and Apocalyptica.

For television, he was part of the decision makers in the design teams for the Eurovision Song Contest in 2007, 2013 and 2016. Kunttu has also operated on visual-art projects, as well as lighting and projection installations, such as ‘Reflections’, ‘Oratoribus’ and ‘Grace’ for Helsinki’s ‘Season of Light’ Festivals from 2009 to 2011. He is the joint founder and initiator of the festival together with the City of Helsinki.

Mikki Kunttu is a multi awarded lighting designer. Among which the New York Dance and Performance Awards (‘Bessie Awards’) in 2006 and the Koura Award of the Finnish Broadcasting Company in 2007. At present, he sets up in Canada, where he has created designs for Cirque du Soleil’s ‘ALEGRIA – In a New Light’, ‘Scalada: Stelar’ and ‘Vitori’.

Mikki Kunttu is the production designer (sets, lighting and video) for Finnish National Opera’s new production of Wagner’s ‘Ring’. The first of the four operas, ‘Das Rheingold’, opened in August 2019. The next ones are set to follow during 2020 and 2021.

All Prolight + Sound visitors and journalists are invited to the keynote lecture.

The Prolight + Sound will take place from 31 March to 3 April, 10 to 18 hrs.

Full details about Prolight + Sound and ticket booking can be found at Prolight+Sound Website. And further information about the life and work of Mikki Kunttu

Swedish House Mafia Flies High with Kinesys

Everyone is talking about the recent Swedish House Mafia show staged by Live Nation Middle East at the Diriyah Festival in Riyadh.
This saw a specially designed 2019 touring stage / set created by SHM show designer Samuel (Sam) Tozer working under the Vision Factory brand, recreated in the Kingdom of Saudi Arabia (KSA) by Gabriel (Gabe) Fraboni, founder and creative director of LA-based design studio PHNTM LABS … for this landmark performance.

Full technical production – audio, video, lighting, rigging, trussing, etc – for the Diriyah Season Stage, the Festival’s headline stage and international music venue, was supplied by Dubai-headquartered mediaPro International.
This included a Kinesys automation system, used to move three 5-metre diameter signature circular trussing rings made from Alutek 40x40cm heavy duty product, each symbolizing the three artists – Steve Angello, Axwell, and Sebastian Ingrosso – making up the Swedish House Mafia.
The SHM gig concluded a whole month of high profile Diriyah Festival events including the opening round of the ABB FIA Formula E Championship plus a host of weekend music events culminating in the Swedes showing the world once again how to take the concept of DJ performance into new dimensions of awesomeness.

mediaPro International’s Hugh Turner handled the pre-production and co-ordination of the technical and automation elements of the show with Gabe Fraboni and the team at PHNTM LABS, and liaised with SHM’s own Kinesys operator Giulio Ligorio and production Rigger Liam Beech and Matthew “Mattie” Evens, director of Nocturnal Touring and Rooted Productions and production / tour manager for SHM.

Kinesys was on their original spec for the rings, and MediaPro has a growing inventory of Kinesys kit. Hugh comments that even if the automation had been an open spec, they would have specified a Kinesys system anyway based on their growing investment in the brand and its inherent safety and reliability factors. However, they were also delighted to be able to supply the SHM’s exact production requirements.
The three rings were absolutely integral to the show design and performance and were suspended above a special DJ booth which was part of the integrated set / stage, cantilevered outwards 5 metres from the edge of the stage. Upstage at the back was a massive 56-metre-wide by 15-metre-high LED screen.

The rings were flown from a special 10.5-ton mothergrid of approximately 20 metres wide by 6 metres deep, suspended from a combination of three large 120 and 130-ton Grove cranes at a height of 24 metres above the cantilevered stage.
The reach of the cranes – 60 metres – needed to extend over from behind the screen structure and suspend the mother-grid at 24m in its show position. Added to this challenge was building the entire mother-grid with Kinesys sub hangs on the ground in front of the cantilever stage, before it was lifted to its final operational height, involving a further extension in the distance away from the crane.
With safety paramount, the cranes were spec’d to never exceed 70% of their capacity in any given parameter during the lift and lock-off procedure. A special crane / lifting operation expert was commandeered from the UK to oversee this part of the operation.

Clad with black socking material, once dark the three truss circles appeared to be floating in thin air and the lighting effects coming from them seemed to come from some magical intergalactic source. Rigged from the inner and outer bottom cords of each circle were 52 x GLP Impression X4 Bar 10 LED battens – 156 in total.

On the top cords, edging the perimeter of the circles were 34 x EK Color Ranger Q27E LED wash lights – 102 in total. Also mounted from the inner top cords of the circles were 12 x ER BB4 lasers per ring – 36 in total. All this plus associated cabling added up to around 1.8 tons in weight per circle, with the dynamic loading factor increasing this to 2.2 tons per circle.

Each circle was suspended from four 1-ton Lodestar / Liftket motors each driven by a Kinesys Elevation variable speed drive unit, with three half-tonne Lodestar motors also powered by Kinesys Elevations utilised as tracking cable picks for the three circles.
All 15 motors – the 12 on the three circles and their respective cable picks – were fitted with Kinesys LibraCELLs for constant and dynamic load monitoring using LibraVIEW. A Kinesys Vector system with fully redundant backup was used for control.

All the Elevations were powered from an Array PD-ES with data distribution via an Array 485, with the LibraCELLs powered from the LibraPro power/data hub with integrated data distribution. An Array IP8 Ethernet switch linked the entire system … ensuring that all the Kinesys elements communicated with each other, reported back and could be viewed via the Vector control interface alongside the integrated LibraVIEW live load monitoring system.

A Kinesys Mentor 4 was also used across the whole system for additional safety and SIL3 compliance, which enabled safety devices – in addition to the emergency stops – to be on foot pedals as well as hand operated switches, necessary as the rings were moving directly above the artists.

The Kinesys system was run by Giulio from stage left for the show working in conjunction with a spotter on stage right, as the rings moved and tipped and pitched in numerous directions multiple times throughout the show creating plenty of visual WOW factors in their own right.

Also closely involved in all the automation planning, load calculations, etc. with Hugh was mediaPro International’s head of rigging Colin Silvers and SHM’s head touring rigger, Liam Beech, with mediaPro International’s overall site production manager Stephan Voster.
The Cantilever Stage was built by StageCo Germany with the black steel structure in KSA constructed by Al Laith. Lasers were by ER Production and BPM SFX from the UK took care of the spectacular array of SFX.
The Show Producer was Jim Digby of Showmakers for Live Nation Middle East.

More on Kinesys website or on Kinesys USA website

A Record-Breaking Tribute Concert in Stockholm honoured Avicii

Paul Normandale lights the stage with GLP for DJs, orchestra, choir and guests. Nearly 60,000 fans went at the Friends Arena to pay their respects—an all-time Stockholm record for a single show. The music producer, Tim Bergling (better known as Avicii) who died so tragically back in April 2018, was honoured recently with a tribute concert in Stockholm.

Photo Ralph Larmann

The show was organised by request of Tim’s family following his passing. He wanted a celebration of the artist’s music presented as the fulfilment of an idea Tim had to have his music performed by a live band and orchestra.
Among the all-star line up of guest artists who also paid their own tributes were Aloe Blacc, David Guetta, Kygo, Nicky Romero, Dimitri Vegas & Like Mike, Adam Lambert, Rita Ora—plus long-time Avicii collaborators Carl Falk, and Vargas & Lagola.

Photo Ralph Larmann

From a technical perspective the production values were befitting of the occasion and the main show was streamed live on Tim ’s Facebook and You Tube channels.

GLP Nordic’s Daniel Hellsten was hired as a production designer and production manager by event producers Panos Ayassotellis and Michael Jobson, on behalf of the Tim Bergling Foundation.

“Getting the production up in time became a challenge, given the fact that we only had 36 hours from first truck loading in at the venue to artist standing on stage for rehearsal with full camera production. But we gave it our all and the entire crew did an amazing job working side by side with each other to make it in time,” Daniel explained.

Photo Ralph Larmann

The highly experienced Paul Normandale was appointed by Tim’s former tour manager Michael Jobson specifically to handle the lighting. “He asked me to get involved having seen the work I had done with other clients,” told the former, “although I never had the pleasure of working with Tim.” And since the show was live streamed the LD also had the task of lighting the entire show in real time.

Meanwhile, Daniel Hellsten wasted no time in putting an outline production design together featuring many new GLP LED products. “My original design involved a lot of GLP fixtures,” he confirmed. “When Paul got involved, he tweaked some numbers and positions, but overall he was happy with the choice of GLP fixtures.”
The inventory was largely provided by rental company, Bright Group Sweden with assistance from MoreTec / MoreRent and GLP themselves. This included large quantities of GLP impression FR10 Bar, JDC1, X4 Bar 20 and Bar 10, KNV Cube and Dot, and HIGHLANDER Wash.

Photo Ralph Larmann

Prior to the tribute show, five of the world’s leading DJs each played a 30-minute set under the same lighting rig, with some of the fixture programming, which was masterminded by board operators, Daniel Löfgren and Hunter Frith on a couple of grandMA2 consoles, retained for the main show.

Photo Ralph Larmann

Paul Normandale stated that in addition to the DJ sets, the lighting also had to cater for TV broadcast, the principles and band. He said that Bright had done “a remarkable job”.

Show direction was in the hands of Harry Bird, MD of multimedia company Comix, Helena Dillén and Tom Harrison (Comix) in collaboration with the promoter, producers and Daniel Hellsten.

Of the two hour-long show, Hellsten concluded, “The event was a huge success in every way. It was truly beautiful how we all came together to make this work. A perfect way of celebrating Tim and his musical legacy in front of this huge crowd, along with millions watching the live streams. As a friend of Tim and the people around him I’m proud to have done my part to help make this show celebrate him and his music, as well as raising awareness of a very important issue.”

Photo Ralph Larmann

Adding his own testimonial, Paul Normandale described the event as “amazing”. He said, “I was happy to provide whatever skills I could to bring the obvious depth of feeling in the room to fruition. “I have worked [with GLP fixtures] on many occasions, and it was nice to see the new products in a real stadium setting. They performed extremely well indeed.”

All proceeds from the concert went to the Tim Bergling Foundation, created after Bergling’s death to advocate for the recognition of suicide as a global health emergency.

Photo Ralph Larmann

More information on GLP website


L-Acoustics rolls out throughout the globe L-ISA Auditoria

L-Acoustics is rolling out L-ISA Auditoria designed to stringent specifications in strategic locations around the globe where demonstrations, training or mixing sessions of L-ISA Immersive Hyperreal Sound technology can be accessed.

The Big Blue movie being pre-mixed with L-ISA in a rehearsal studio near Paris.

“To support the development of L-ISA technology in the professional audio market, we have developed pre-determined systems for either mobile or permanent L-ISA Auditoria which can be deployed to support existing partners, artists and potential clients,” explains Cédric Montrézor, executive director of applications at L-Acoustics.

Cédric Montrézor

“The network of L-ISA Auditoria around the globe is designed to exacting standards to guarantee the natural, intimate spatialized experience of L-ISA Immersive Hyperreal Sound technology.”

Two versions of the packages are available: a frontal system that delivers the resolution required for optimized source localization, immersive effect and the width required for an effective demonstration of reverb and the same configuration plus complementary overheads which enhance the immersive experience and demonstrate the 3D capabilities for direct sound and room engine.

Etienne Corteel

“Over the past 12 months, we have trained 160 high-profile sound designers and mixing engineers in over 25 seminars, which is over 75 days of training in total,” adds Etienne Corteel, L-Acoustics Director of Scientific Outreach & Education.
“Rolling out additional facilities allows our partners to organise training seminars at their own locations with an L-Acoustics certified trainer and represents an important next step in making L-ISA training available to a wider audience of professionals.”

To date, in addition to the facilities already in place in L-Acoustics head office in Marcoussis, France, its L-ISA headquarters in London’s Highgate, Delta Live in Surrey, UK, and L-Acoustics’ US office in Westlake, California, 15 L-ISA Auditoria have been completed.

These are situated at Certified Providers Sonoruss in Moscow, Matrix in Denmark, Finland’s Audico, Seoul’s Klausys, Pro Music in Prague, Germany’s Babbel & Haeger, Groh-PA and Wilhelm & Willhalm, LMG in Orlando and New York’s See Factor, and with China’s Rightway in Taipei, Chengdu, Guangzhou, Shanghai and Beijing.

The Paris Folies Bergère now L-ISA ready and featuring the new A15 and KS21.

The auditoria serve as demonstration venues, training sites and are also available as a place to prepare mixes for future projects. DeltaLive!, which has delivered a fully immersive experience for three years in Thailand’s Wonderfruit festival, has served as pre-production headquarters for electronic artists to prepare their immersive mix for the festival.

For details on this project, please watch the video:

For more information about L-ISA training, please visit L-Acoustics website


Meet Sting, d&b Soundscape & A-Series for The Last Ship LA opening

Sting is taking centre stage at Los Angeles’ Ahmanson Theatre to bring his powerful musical, The Last Ship, to the West Coast deploying a d&b Soundscape immersive sound system and a comprehensive A-Series loudspeaker system.

Le Théâtre Ahmanson à Los Angeles. On devine 6 clusters de quatre A-Series accompagnés par autant de V-SUBs.

The show tells the story of two childhood sweethearts set to the backdrop of the collapse of the shipbuilding industry and features an original Tony®- nominated score with music and lyrics by Sting, who will also perform for the month-long duration of the show’s LA residency.

Sebastian Frost

Providing an unmatched sound experience to create the various scenes and acoustic moods for the performance is a system designed by Sebastian Frost and supplied by Stage Sound Services. It continues to utilize d&b En-Scene object-based mixing and En-Space room emulation software running on the DS100 system processor and a comprehensive d&b A-Series loudspeaker system. Frost has been associated with the production’s latest iteration since 2017.

His work deploying Soundscape with En Scene and En Space and harnessing it with his vision of how the musical should be experienced has delivered an emotional experience that resonates with audiences on a deeply personal level. Previous productions of The Last Ship, in Canada and on tour in the UK, have used a large number of distributed point source loudspeakers across the theatre.

For the Ahmanson Theatre main system, six hangs of A-Series augmented array loudspeakers were deployed. “The biggest transformation for this set of shows is the use of the new A-Series. It provides us with lots of power and it took far less time to configure the room and gave us an even greater level of coverage,” explained Frost.

He summed up what he believes what makes Soundscape so compelling. “The audience doesn’t necessarily know what happened, but everyone comes out saying the voices are fantastic. It has changed the possibilities of sound design throughout the genre.”

Stage Sound Services has also been with the production since its latest inception and will continue to handle the system for the LA show which includes the use of d&b’s new A-Series augmented arrays. Combining variable splay angles, two approaches to acoustic optimization, and advanced waveguide design, the A-Series addresses the applications where coverage flexibility in both the horizontal and the vertical is paramount.

To learn more about The Last Ship musical and its use of d&b’s Soundscape technology:

To take a sneak peek at Sting singing and explaining the story behind The Last Ship:

More information on the db Soundscape website

Brian Divine as Division President of HARMAN Professional Solutions

With a 15-year background in the Professional Solutions division, Divine brings deep experience in operations, engineering and product development, along with the key verticals served by HARMAN Pro.
HARMAN Professional Solutions, the global leader in audio, video, lighting and control systems, today announced the appointment of Brian Divine to President of the Professional Solutions division, effective immediately.

Brian Divine

As president, Divine will be responsible for overseeing the division’s worldwide operations, strategy, product roadmap and performance across all eleven brands.
Divine’s elevation to the role is culmination of a nearly 20-year-career working in the professional audio, lighting and video control industry.

In his 15 combined years at HARMAN Professional, Divine worked closely with distributors and customers in nearly all of the entertainment and enterprise vertical markets the division serves in roles overseeing customer service, sales, engineering, marketing and product management. Divine was most recently Senior Vice President for Products & Customer Solutions in the Professional Solutions division and Vice President of Product & Program Management, respectively.

“I am honored to accept this role, and do so with great humility and awareness of the awesome responsibility of carrying forward HARMAN’s iconic brands that were built over the course of, in some cases, nine decades,” said Brian Divine, President, HARMAN Professional Solutions.
“The pro industry is in my DNA as my career was built though dedication to HARMAN Professional Solutions and its employees, channel partners and customers. These influences will directly impact the direction of the division as we look towards a robust roadmap committed to, and aligned with, customer needs for leading-edge pro products in audio, lighting and video control.”

More on the Harman groupe website


Distribution company SIXTY82 Doughty Asia replace Prolyte Asia Pacific

Prolyte Asia Pacific, also known as PAP, is pleased to announce its transition into SIXTY82 Doughty Asia (SDA). The distribution company will maintain its focus on supplying the urgent demand for trussing and staging products or solutions.

Cor van der Sluis, Fokko Smeding, Menze van der Sluis, Jesper van der Sluis, Xavier Drouet, Jerome Brehard, Rainier Smeding

“For the past 15 years we have operated under the name PAP, however, due to recent events in the industry, PAP has decided to take a step forward and start a fresh chapter with new partners,” states Menze van der Sluis, managing director of PAP, and one of the first people employed by Prolyte in its early days.
Van der Sluis played an important part in the development of the company and, with nearly 25 years of experience, has become renowned within the entertainment industry.

Widely known for its products, reliability, and education, along with a focus on safe working practice, customer satisfaction, and service, PAP has been a player in the Asian market for more than 15 years. “These values are essential to our organization and will remain firmly in place now that we have transitioned into SDA.”

Marc Hendriks (CTO, SIXTY82) – Menze van der Sluis (Managing Director, SDA) – Fokko Smeding (CEO, SIXTY82)

To ensure the continuation of this philosophy and to secure the ability to innovate, PAP and Doughty have decided to regroup with SIXTY82, forming SIXTY82 Doughty Asia. “SIXTY82 was the best and only choice for catering to the high standards of the extensive PAP customer base,” confirms van der Sluis.

Spearheaded by the original founders of Prolyte, Fokko Smeding (CEO) and Marc Hendriks (CTO), SIXTY82 is armed with an approach toward product development and is even more focussed on the specific needs of the Asian market.
“To continue to support our customers in the way that we have been doing for so many years now, this was the only possible way forward,” says van der Sluis. Together, these pioneers and visionaries have had leading roles in the development of innovations for trussing and staging that have shaped the entertainment industry as it is known today.

SDA Customers can expect to find the same team of experienced and motivated experts, with an exciting new name and even better trussing, staging and rigging products and solutions. Also worthy of note is the fact that Sixty82 trusses are compatible with products previously supplied by PAP. In line with their existing policies, SDA guarantees full distribution coverage to all APAC countries, delivering products and support unrivalled in quality.
“Our goal is to improve every aspect of our customers’ experience continuously. Expanding our sales network, supporting personnel, and being close to where our customers are is a key initiative towards achieving that,” says SIXTY82’s CEO, Fokko Smeding. “Having the SDA team support us is incredible and ensures that our customers in the APAC region will get the best possible treatment.”

Sixty82 Network is crewing up.

SDA can be contacted at the following address:
Lot 59-1, Jalan 51/205 – The Highway Centre, 46050, Petaling Jaya, Selangor, Malaysia.
Tel. +603 7781 3357/3552 – E-mail: – Web:

And for more information, visit Sixty82 website


Nexo P8 & P10. The art of declination

When you’re a hit creator, the next logical step is to produce another one. P12 forged the path of the versatile coaxial reinforcement/wedge solution from Nexo. P8 and P10 open new horizons, offering a more compact, lightweight and practical design, to within a few dB and Hertz.

All the punch of the P12, yet in a compact, lightweight and affordable form factor.

Remember: P12, it’s 20 kg of laminated poplar and birch, a new generation 12 inches long excursion coaxial transducer, a neodymium magnet and a 3” driver, offering a range from 60 Hz to 20 Khz, 138 dB SPL max in passive mode, and 140 dB SPL max in active mode.
Furthermore, P12 offers optional magnetic horn dispersion adapters, bringing the standard 60° x 60° high frequency dispersion to 90° x 40° or 40°~100° x 40°. Let’s sum it up: P12 is 12”, 20 kg and 138 dB.

P10, a passive only loudspeaker, succeeds in the feat of losing 2 dB only of SPL Max at 136 dB, while keeping enough frequency response from 63 Hz to 20 kHz (-6 dB) to perfectly interact with another product of the range, the L15 sub. At the same time, the device can be used as a stand-alone wedge or for close monitoring application.

The optional magnetic horn dispersion adapter can be rotated at 90°

The long excursion 10” cone and the 1.7” driver are sparkling. However, the size scales down to 50 x 38 x 27 cm and the unit now weights 15 kg.
Another good news: Once the front panel has been removed, the standard 100° x 100° directivity can be modified by inserting an optional magnetic horn dispersion adapter, offering a 110° x 60° angle.

A preset automatically adapts the coherence and the coverage, whatever your choice. The P10 and the L15 sub converge at 63 or 85Hz.
As expected, phase is compliant with the entire low frequency reinforcement range from Nexo, except when the device is used as a wedge, where latency matters. Let’s sum it up : P10 is 10”, 15 kg and 136 dB.

Eventually, P8 is the proof that if you can do more you can do less, and small is not beautiful only, it’s useful as well! Passive only and ridiculously small, P8 offers a more than reasonable response in the low frequency range from 66 Hz to 20 kHz (-6dB), while still delivering a 129 dB SPL Max.
Sizing 43 x 27 x 25 cm and weighting 12 kg, this loudspeaker can be hidden or placed everywhere, especially since its long excursion 10” embeds a 1.5” driver offering a standard 100° x 100° dispersion but can be equipped with the same magnetic and rotative horn dispersion adapter P10 offers as well.

P8 is the proof small is clearly useful.

A preset automatically adapts the coherence and the coverage. The P8 and the L15 sub converge at 66 or 85 Hz and again, phase is compliant with the entire low frequency reinforcement range from Nexo, except when the device is used as a wedge, where latency is minimized. Let’s sum it up : P8 is 8”, 12 kg and 129 dB.

P10 and P8 are 8 ohms models, and can be powered through any amplifier brand with the DTD Controller, or via the Nexo NXAMP controller, which can drive one P10 per channel with the 4×1, two with the 4×2 and three P10 per channel of the 4×4 amp. P8 is powered per two through a single channel of the NXAMP 4×1, per three with the 4×2 model and up to four with each channel of the 4×4 amp.

All the family from P8 to L15.

We asked Joseph Carcopino, Nexo’s R&D manager, a few questions about this new and smart coaxial series. He responded to our questions with his legendary frankness.

Joseph Carcopino

SLU : Versatility is the key word of this range. Was this a market demand?

Joseph Carcopino : Yes of course, especially since Nexo wants to keep a strong reputation in compact, powerful and versatile speakers.

SLU : Do P12, 10 and 8 have a close color at the top of the spectrum?

Joseph Carcopino : Yes and no, for sure we took care when creating the presets to have a nice consistency within the range, but we’re not going to try to have a 1.5” drive to sound like a 3”.

SLU : Is L15 about to be the reference subwoofer for the P range? Will it offer presets per cabinet?

Joseph Carcopino : Yes, it allows the production companies to harmonize the stocks and to avoid to have multiple references. I think there is nothing better than the size/weight/SPL ratio of the L15. There are no presets per cabinet because they all have the same signature in terms of acoustic phase, everything is perfectly phased on the whole spectrum. On the other hand, there are different cut-off frequencies to adapt to all cases.

SLU : Do the P signs the end of the PS?

Joseph Carcopino : Not at all, the “mythical” PS remain in the catalog and are still produced, nevertheless they should slowly fade over the years after more than 25 years of good service!

SLU : How did you tune the P8 and P10 ? Such like a wedge without asking too much low frequencies, or more like a large band reinforcement?

Joseph Carcopino : We have two types of presets available for each speaker: A FOH preset when doing the PA, either in wide band or in crossover mode, and an ideal monitor preset in wedge mode, with a very flat response, rolled-off in the low end, which provides excellent gain before feedback and a minimal latency, always in wide band or with a high-pass. And I forgot, all this is duplicated as we have 2 types of horn we can install in the cabinet: 100 ° x 100 ° or 110 ° x 60 °.

SLU : When will P8 and P10 be available?

Joseph Carcopino : Expected January 2020.

SLU : Can we imagine a last declination to the bottom and to the top of the P range?

Joseph Carcopino : Why a last one?!

Product presentation video by Joseph Carcopino

More info on the Nexo’s web site

The High End SolaHyBeam 3000 wins with ETC

Launched just one year ago, the ETC France company distributes not only the ETC consoles and projectors, but also all the High End range.
It is with great pride that we welcome in our small improvised studio at the JTSE exhibition in Paris, Nicolas Da Canal, sales manager at ETC France, to ask him to tell us about several essential releases, the SolaPix range and mainly here the SolaHyBeam 3000.

High End SolaHyBeam 3000

As an European exclusive, High End unleashes some serious beast with the SolaHyBeam 3000, a long-range hybrid LED moving head. Exceptional projector by its size and its weight, the SolaHyBeam is equipped with an incredible 750 watt LED source, capable of emitting 37,000 lumens in constant flux through its huge 210 mm lens.

On the High End booth at the JTSE, the SolaHyBeam had a special place.

Particularly comfortable in arenas or on very large stages or sets, this projector combines a huge angle from 3° to 56° with a wide range of features.
In addition to the rich CMY color mixing system, with progressive CTO corrector and 5 saturated color filters plus a TM-30 filter, the SolaHyBeam 3000 has a wheel of 7 graphic rotary gobos, a framing system module with 4 blades with full insertion, a 16-blade iris and three prisms combinable on two different levels. A special system called “Tri fusion” allows to merge 3 frosts in a linear fashion.

The menu and the full DMX, RDM, ArtNet and sACN connections are still there present, as well as the carefully designed ventilation system and its 4 modes: Standard, Studio, Continuous and Studio Continuous. The SolaHyBeam will soon be available in two versions, Ultra-Bright for maximum power, High-Fidelity for total and faithful color compliance.

High End SolaPix

The SolaPix 19 as displayed on the ETC France stand

ETC France was showing for the first time in France the SolaPix 7 and SolaPix19, Wash moving heads with unprecedented potential for graphic creations.
Lovingly nicknamed “Pancakes” by their users, the SolaPix models allow spectacular effects thanks to their arrays of 7 and 19 RGBW 40-Watt LEDs, but also by the combined use of the HaloGraphic system and the Flex Effect generator.

All the details can be read following our former news thread

More information on the High End Website


Meyer and Solotech join forces for the new Colosseum at Caesars Palace

Following a summer hiatus for significant technical and design upgrades, The Las Vegas Colosseum at Caesars Palace relaunched in September. The tradition continues with a Solotech supplied LEO Family system anchored by LYON arrays and much, much more.

The Colosseum featuring a brand new video wall, lights and, of course, Meyer Sound system. Photo @Erik Kabik

Originally completed in 2003 to house Celine Dion’s record-shattering residency “A New Day,” since first opening, The Colosseum has relied on Meyer Sound reinforcement systems supplied and installed by Solotech, a global leader in AV solutions and services.

The tradition continues with the latest generation of audio technology as a new, Solotech-supplied LEO® Family system anchored by LYON™ arrays has been installed to support the award-winning venue and ensure that guests have an unmatched live entertainment experience with some of the world’s most celebrated superstar talent.

Among the world’s most celebrated superstar talents, Journey tested and approved of this brand new venue ! Photo @ Steve Jennings

Keith Wright of Production Specialists of Las Vegas (PSLV), who represented Caesars Entertainment as a consultant on the project, was fully aware of the storied success of The Colosseum.
“Meyer and Solotech had proved themselves with 16 fantastic years in that venue,” Wright recalls. “They knew this room better than anybody else, and through all that time their support was unmatched.”

Overall scenic and AV design was again entrusted to world-renowned Montreal theater designers Sceno Plus, but with Wright supervising the specifics of AV design and integration. Solotech was again selected to supply the Meyer Sound system, and this time also handling the video and lighting as well.
Playing an early but pivotal role in securing Solotech’s participation was Francois “Frankie” Desjardins, currently the company’s vice president of R&D, who was a principal designer of the widely heralded original Meyer Sound system at The Colosseum.

The brand new and mostly hanged Meyer Sound System built around twin arrays of 16-each LYON. Photo @ Steve Jennings

“Although I was not involved in the system design this time, I felt it was important for Solotech to provide this new system,” he says. “The Colosseum is an iconic theatre and certainly one of the most celebrated entertainment venues anywhere in the world. We wanted to continue as part of that tremendous success story.”

Desjardins expressed confidence in the decision to select a Meyer Sound solution for The Colosseum. “The first system had served the room for more than 15 years, so reliability and longevity were important factors in the selection of the brand-new audio system.

The center « shower » of 2 x 6 LEOPARD closing the gap left by the main hangs and the centre sub group of 1100-LFC mechanically and electronically set to pull down the beam. Photo @ Steve Jennings

Once given the design, we worked to ensure the installed system would achieve all goals with hopes of exceeding expectations for guests of the all-new Colosseum. We always strive to achieve the best of the best. People remember your most recent project, not the one from 15 years ago.”

The new LEO Family system was built around twin arrays of 16-each LYON line array loudspeakers with a center hang of 2 x 6 LEOPARD™ line array loudspeakers. Forceful low end is supplied by 18 1100-LFC and 7 x 2 900-LFC low-frequency control elements hanged behind the LYON.
Completing the design are four UPQ-D1 loudspeakers, six LINA™ loudspeakers, and 26 UPM-1P loudspeakers for fill and delay systems. Eight Galileo® GALAXY™ processors are linked via an AVB network, and the main arrays utilize Meyer Sound’s exclusive Low-Mid Beam Control technology for uniform front-to-back response.

“All the video, audio and lighting systems here can work in unison or separately, depending on how the acts want to use them,” says Solotech Project Manager David Cerullo. “We have fiber optic connections for both audio and video so if we need to send audio cues to video or lighting, that can happen.
It’s powerful and incredibly flexible, and from my perspective, it’s an extremely impressive improvement. The Colosseum is probably the best sounding and best visual theater on The Strip right now, and we are so proud of the work we’ve contributed to this beautiful venue.”

Photo @ Steve Jennings

Cerullo also commended project partners PSLV, IATSE Local 720, and Meyer Sound for smooth teamwork that enabled completion of the complex project within a compressed seven-week window. “The people from Meyer Sound were here from the day we walked in until the day we finished. They showed tremendous support not just for us at Solotech, but also as a vendor to Caesars Entertainment by working so closely with PSLV. All in all, it was an amazing collaborative effort.”
One of the first resident acts to test the new Colosseum was legendary American rock band Journey, which dominated the schedule through most of October. Journey returns for four more shows at the end of December, including New Year’s Eve.

Keith “Meaux” Windhorst, Journey FOH Engineer. Photo @ Steve Jennings

“The guys on stage love the feel of this room and the way it enhances their performances,” said the band’s FOH Engineer Keith “Meaux” Windhorst.
“They’ve said many times how great it sounds on stage and that’s a reflection of what’s happening out here as well.”

The response of the system is familiar to Windhorst as Journey has been touring with a similar LEO Family rig in recent years. “There was a comfort factor, right out of the gate,” he relates.
“You run up that first fader and it’s immediately right in the ballpark. It sounds fantastic, it sounds familiar, and that’s what I’m looking for.”

Windhorst’s sentiments were echoed by the band’s co-founder and lead guitarist Neal Schon. “From the moment I walked on stage I felt this was an amazing place to play,” he says. “We love the way that it has an intimate feel for a big venue. You can see people quite far back into the room. I can tell the sound is good because I can see that they are getting it, that we are connecting with them through this great sound system.”

Take 4 minutes of your time. This video is brillant : Link here

Following the renovation, Caesars Entertainment assumed operational control of The Colosseum and began its partnership with Live Nation, the number one live entertainment promoter in the world. To ensure a smooth transition, Caesars Entertainment then delegated responsibility for both the AV overhaul and continuing production management to Production Specialists of Las Vegas (PSLV).

Since opening in 2003, The Colosseum has welcomed nearly 10 million fans and changed the live music experience on the Las Vegas Strip by pioneering the modern artist residency model and successfully welcoming entertainment’s biggest superstars to the city.
Although it boasts a capacity of 4,300, no seat in The Colosseum is more than 145 feet from the stage. The current lineup of resident artists includes Jerry Seinfeld, Keith Urban, Mariah Carey, Reba, Brooks & Dunn, Rod Stewart and Sting with more exciting announcements to follow.

Photo @ Steve Jennings

More information is available by visiting


Argyros Arts Center Redefines the Possible with Meyer Constellation

Located in Ketchum, the principal city of Idaho’s Sun Valley resort area, The Argyros Performing Arts Center has installed a Meyer Sound Constellation acoustic system together with a direct reinforcement system based around LINA compact line array loudspeakers.

The Argyros Arts Center offers a large spectrum of performances in its 462-capacity theatre, ranging from dance, film, comedy to drama and concerts by local and touring classical, jazz, blues and pop/rock musicians. To provide the optimum acoustic environment and transparent amplification for all events, The Argyros has installed a Meyer Sound Constellation acoustic system together with a direct reinforcement system based around LINA compact line array loudspeakers.

“The Argyros has been hugely successful and a game-changer for the arts in our community,” says Tim Mott, vice president of the governing organization’s Board and a tireless advocate for the new venue since its inception. “People just rave about the theatre, and the acoustics in particular. Constellation ensures the best environment for all artistry, everything from the Sun Valley Music Festival Orchestra to Branford Marsalis, Robert Cray and the chanting of Tibetan monks.”

A retired Silicon Valley entrepreneur, Mott volunteered for the role of project coordination on behalf of the Board in early 2016. As soon as the basic structural dimensions of the theatre were determined, he flew to San Francisco to huddle with the noted theatre and AV consulting firm Auerbach Pollock Friedlander.

When outlining anticipated programming to the consultant’s team — Principal Len Auerbach, Project Manager Howard Glickman and Theatrical AV Systems Designer Ben Strange — Mott emphasized the need to accommodate a range of performances without compromising the aural experience for any. The discussions quickly focused on an active acoustics solution.
“Once we agreed that was the direction to go, there was general consensus that Meyer Sound Constellation would be the preferred choice among the available options,” recalls Strange. “In the end, it’s amazing how much we were able to pack into this relatively small footprint. The flexibility Constellation affords is truly remarkable.”

Adaptable to events of all kinds, The Argyros theatre has raked tribune seating that can be retracted to open a flat floor. Three staging options are available, and an expansive tension grid allows open-ended choices for soft goods and set pieces.

The fully loaded technical room with from left to right the D-Mitri Constellation part, then more Meyer, Dolby & DiGiCo and on the right, the video tools.

To accommodate these changes acoustically, Constellation has base presets for the various room configurations, which are then augmented with the desired acoustic settings for the performance genre of the day.

The base Constellation system comprises 58 full-range compact loudspeaker (MM-4XP and UP-4XP) along with 16 MM-10XP miniature subwoofers. An additional 12 loudspeakers (HMS-10 and HMS-5) serve a dual role for Constellation as well as for surrounds in cinema mode.
At the heart of the system are the 12 modules of the D-Mitri digital audio platform, including three modules dedicated to hosting the patented VRAS acoustical algorithms — one for each of the three acoustical zones. Twenty-four miniature cardioid microphones, on retractable or motorized reels, are deployed for sensing of the ambient acoustic environment.

Dual hangs of nine-each LINA line array loudspeakers anchor the direct reinforcement system, with UPQ-1P and UPA-1P handling, respectively, the upper center and lower center coverage. Fill loudspeakers for side galleries and alternate staging are UP-4XP and UPJunior-XP loudspeakers, with abundant deep bass supplied by dual cardioid arrays of three-each 750-LFC low frequency control elements. Two Galileo GALAXY 816 network platforms provide drive and optimization while two RMServers facilitate comprehensive remote monitoring.

The two sub arrays lost in the middle of hidden fixtures. Nice architect choice but not the easiest when you have to set them…

Oklahoma City-based Ford Audio-Video was selected as the supplier and integrator, with Ford’s Jim Tassey coordinating on site with the team from Auerbach Pollock Friedlander. Upon completion, day-to-day operations were entrusted to Samuel Mollner, technical director for the center. For Mollner, Constellation’s array of acoustic possibilities has been a revelatory experience.

The venue’s flat floor once the seating retracted

“Constellation has changed the way I think about audio,” he relates, “because we can adapt the acoustical environment to suit the performer. For example, we had a group in here doing 12th century Gregorian chants, and we could create the environment for which the chants were composed.

For the Sun Valley Music Festival last winter we had six different acoustic environments in one evening, including a contemporary piece originally composed to be performed inside a concrete grain silo. We programmed a special Constellation preset for that one.”

Mollner is similarly impressed with the capabilities of the direct reinforcement system. “Since we’ve opened, I think a visiting engineer has changed our base tuning on the LINA arrays only once. Most are blown away by the LINAs. They do exactly what you expect them to do, and do it very well.”

After serving six months as interim executive director, Tim Mott turned over the reins of management to his son, Casey Mott, in May of 2019. The younger Mott was grateful to inherit a venue with cutting edge technology that places Sun Valley at the forefront of excellence in performing arts.

More on the Meyer Sound website

Marc Janowitz unique design for MMJ with GLP workhorses

My Morning Jacket (MMJ) has been serving up its own unique brand of rock music for more than two decades, starting from Kentucky nd then going worldwide. Piloting their lightshow for over 13 years, Light Designer Marc Janowitz of E26 Design has been frequently drawing on different generations of GLP LED solutions to meet his requirements.
He has expanded his GLP toolbox on a recent occasion, adding X4 Bar 20s and JDC1s to his usual Impression X4 range inventory, to form innovative pixel mapped crystal shaped pods across the back.

Photo: Jay Blakesberg Photography, Inc.

Being the first LD to take the original impression X4 on the road when it was launched, the GLP impression range has provided him with a solid workhorse. “From X4 S to X4 XL and all in between, the wash lights have been part of my toolbox for many years. Now adding the X4 Bars to that the family just makes sense.”

Before embarking on a limited four-date run in August, MMJ had been on hiatus for 17months. This was the reason for an unique new scenography. This short leg included one show at the Capital Theatre in Port Chester, New York to celebrate the 20th anniversary and reissue of their first record, two shows at Red Rocks Amphitheater (Colorado), and a further show at Queens’ Forest Hills Stadium. Marc notes “From shop prep to the end of the tour was less than three weeks. We wanted to make sure that the first shows back after so many months looked new and fresh.”

GLP X4 Bar 20

Marc started the whole concept from the band request for different ‘shapes’ of light. “I therefore updated the design and added six pods across the back. Each pod had a crystal shape with the outline of the shape, incorporating, among other fixtures, X4 Bar 20s with a JDC1 in the centre.” As some of you SoundLightUp readers might already know, JDC1 is now a GLP flagship as a hybrid strobe.

Marc described the addition of the X4 Bars to the design as “seamless”. Explaining this, he said, “The show already had so much carry-over programming with the X4 and X4 S from previous MMJ tours and I wanted to build from that. Because the engine is the same, the colour space and the reaction time of all the fixtures melded together seamlessly, and the X4 Bar 20 was the ideal tool for that application.”


He also remarked, reviewing the JDC1 hybrid, “While I’ve always loved a good xenon strobe I felt it was time to add more versatility and variety to the arsenal. I’d been impressed by the JDC1 since I first had my face melted by it at LDI a few years back.
In fact I still have the sunglasses,” he quipped. “I was glad to finally get to take them out for a spin.

Speaking of his pixel-mapping design for both X4 Bar and JDC1, he explains that the X4 Bar 20’s were used in pixel mode, sometimes mapped to the internal pixel mapper in the Wholehog desk, and at other times as conventional light curtains. “I enjoyed using them just a few pixels at a time for some songs then full linear for others,” he said.

“I also ran the JDC’s in 68-channel mode so that I could break up the face and make it sparkle. They were part of the Hog pixel map as well—they are impressive in their abilities as white strobes, colour strobes, eye candy, motion inducing, or even just as audience or stage wash.” The equipment was supplied by Pulse Lighting. “They provided great support,” appreciated Marc. “Paul and Mikey, being LD’s themselves, have a knack for predicting what a designer might need and helping to prepare for that ahead of time.”

Marc stated that an essential part of his team was assistant LD/ FOH tech, Chase Nichols. “He’s instrumental in the process, as I serve a dual role on this tour as both Production/Lighting Designer and Production Manager. Knowing that Chase is keeping the lighting moving along while I’m keeping the tour machine running makes the whole process manageable.
He’s also a great programmer and can help offer insight and create looks and effects that I then implement into the show.“ Marc concludes: “In fact the entire MMJ crew is really top notch—it’s a great family vibe out there … band, crew and fans.”

More on the GLP website

8 Grammy Award Nominations and 2 DiGiCo Consoles: Lizzo!

The artist behind the Billboard Hot 100 hit “Truth Hurts”, Lizzo, is just wrapping up her -Cuz I Love You Too Tour- accompanied by a pair of Clair-supplied DiGiCo SD12-96 consoles for FOH and monitors, handled by Brandon Blackwell and Loreen Bohannon.

Lizzo has made her mark on the music industry. Completing her music-industry conquest, the Cuz I Love You Too Tour has sold out all of its shows since it began this past April, with some venues demanding additional performances. All of these shows were mixed via two DiGiCo SD12 96 consoles at the front-of-house and monitor positions, provided by Clair Global, which is also the SR provider for the tour. Brandon Blackwell helmed Lizzo’s FOH console while Loreen Bohannon handled her monitor duties.

Brandon Blackwell at FOH for Lizzo on a DiGiCo SD12 96

“I started with Lizzo in late May of this year when her tour was in between legs, but since then we have been super busy, doing just over 90 shows in the past six months,” says Blackwell. “For this tour, I specified a DiGiCo SD12 96 for FOH. I have been on a SD12 the entire year with my other clients, but I was super excited for the new update to 96 inputs and 48 busses. With the extra I/O, I was able to add some extra key FX sends and returns, and also more parallel groups to my mix.

“As usual, I have paired my DiGiCo console with a Waves SoundGrid setup. While Waves is taking care of processing my vocals, subgroups and EFX, most of my heavy lifting of processing the playback tracks is being taken care of onboard the console. For each playback channel, I am using the dynamic EQ and multiband compressors to shape my mix. Snapshots are a big part of my mixing, so I really enjoy having all of these settings change when I hit ‘next.’”

Blackwell adds that having the same consoles at FOH and stage left has made the tour’s workflow vastly simpler and more efficient. “I’m a big believer of cutting out the traditional analog splitter, and this tour has followed suit,” he says. “Both of our consoles and the stage rack are on a fiber loop, and all of our inputs go directly into the SD-Rack, which has six new 32-bit Mic Pre-amp cards and one AES/EBU input card.

With this setup, we have taken full advantage of those features that are unlocked when using an Optocore loop. Loreen has control over the gains, and I use the digital trim with gain tracking engaged. We also use the Con Send and Receive feature to move key audio sources between both desks. And since the crowds can get up to 115 dBA at FOH, we rely on the chat feature a lot. It has to be one of my favorite management features of the DiGiCo platform.”

Lizzo performing, Loreen Bohannon takes care of the monitors using the very same setup used at FOH : DiGiCo and SoundGrid.

Blackwell further says that the DiGiCo consoles, in conjunction with a DiGiCo Orange Box multi-format interface, have also made track playback during performances much more reliable and straightforward. “The progression went from a DJ rig to an Ableton playback setup, but we decided that MADI would be the next step,” he explains.
“Thanks to our playback operator, Hugo Marcotte, we made the leap to a full redundant MADI setup with an analog backup. Hugo is sending 32 channels of audio over MADI and analog into our Optocore loop using an Orange Box with DMI-OPTO and DMI-MADI-B cards installed. This allows both of our consoles access to the MADI stream.

“To make sure that both the MADI and analog channels are both working properly, I use a macro that switches between the two input sources. This macro has come in handy the one time we had an issue with the MADI stream losing word clock. The switch between the sources was seamless and the show continued on while we fixed the MADI word clock.
I have always been a fan of using fewer audio conversions, so with the MADI playback and our microphones running over AES, everything that comes out of the PA is digital and clocked all the way up to the amps. This is a first for me but I can really hear the difference and it sounds amazing!”

Lizzo monitor engineer Loreen Bohannon setting up her SD12 96 for a show.

Monitor engineer Loreen Bohannon, who began with Lizzo in April ahead of her Coachella appearance, is also a dedicated DiGiCo fan, having been out previously with SD10 and SD12 desks with Michael Bolton.
Bohannon’s Lizzo stint began with a compact SD11, a perfect fit for the smaller rooms on the tour’s early dates, and it also came with DiGiCo’s legendary support.

“DiGiCo was absolutely crucial to my success on that tour, always being available for me when I ran into a tech issue,” she recalls. “They always had it quickly resolved and provided excellent support, which is critical when you are the only audio tech on the tour.”
As Lizzo’s popularity grew, so did the shows. “The SD12 was already my favorite console from my Bolton days, and I was more than excited to add this to our gear and get the new software update to 96 input channels!” she says.

Bohannon also praises the SD12’s more practical operational aspects: “One of my favorite features on DiGiCo consoles is the ability to lock cards, determine how you share the split and the general control you can have in the stage racks. It is a wonderful feature to have when you are sharing racks, not only for my safety in monitors, but also for anyone else on the loop. Not being able to grab an output card by accident is a great relief when you have to patch quickly!”

Loreen Bohannon stage left on Clair’s DiGiCo SD12 96 desk

Both Blackwell and Bohannon give the SD12 credit for the tour’s technical success, but also for how it lets the artistry shine through. “The dynamic EQs, the quiet 32-bit head amps, integrated UBMADI for multitrack recording and playback, virtual soundcheck through the console, everything on the DiGiCo contributed to a smooth show,” says Bohannon. “I love the consistency I am able to provide for my artists from the DiGiCo platform.

For a list of Lizzo’s upcoming live performances, visit Lizzo Music website
Clair Global can similarly be found online at Clair Global website
For more information, go to Digico website


MAG Audio launched MAG MUST, a New Scalable System Solution

MAG Audio launched the MAG MUST, an innovative system solution based on the Wasp line array model and created to optimize the stock and shipping capacity for rental companies, during a special event at the NSC Olimpiyskiy Stadium, Kyiv, Ukraine.

The audience facing the system and the stage. Pretty far by the way.

MAG MUST, short for Multiple Uniform Sound Technology, is a scalable line-array based solution to create a uniform sound dispersion in a hall or arena of any size. A turnkey solution for the customer, MAG MUST is the total package, complete with every piece of equipment necessary starting from speakers and amplifiers to cases and cables, not to mention free training, technical support, and marketing support.

The Wasp, two 8” and a 2,8” driver, 22 kg and existing as a 70° for a long throw and 110° for short, is the key component of the MAG MUST package.

MAG’s CEO Alexander Khasin explains it best: “Today’s sound rental companies often have a diverse clientele with diverse needs, forcing them to have a wide variety of speakers and arrays to fit varying event sizes and spaces.
They have to have in stock a multiplicity of products. With MAG MUST, you have a one-stop line and array that can serve the needs of any client, regardless of the event’s demands. MAG MUST will save invaluable time and money by offering streamlined services in the form of a singular product.”

MAG MUST offers the opportunity to optimize the stock while offering maximum flexibility in both logistics and storage and is based on the versatile and compact WASP line array, which has been proven to show excellent results in small venues and large concert tours alike. WASP cabinets are supported with a range of raised or ground-stacked subwoofers.

The stage with an impressive end fire array of 48 H24 stacked in front of it, some very powerful hybrid horn subs reaching 149,5 dB of SPL Max. Also easy to spot, the first raw of delays and in the very middle of it, the FOH.

MAG MUST takes advantage of the state-of-the-art amplification solution provided by Powersoft, with whom MAG Audio shares a long history of partnership, most notably with the most advanced cinema subwoofer in the market today, the THOR. Powersoft X series amplifiers provide MAG MUST with a flexible speaker architecture, so users receive a complete system capable of handling any event from the get-go.

Some of the highlighted MAG MUST advantages include:

– A « one system fits all » array, removing the need for a diverse stock or complex logistics.
– A scalability for the deployment of a distributed sound system, which, especially for large events like stadiums or city squares, will dramatically reduce the amount of reflected sound and reverberation time.
– An optimal usage of a rental company’s stock, with a single system, allowing the equipment to spend more time at events, and less time sitting in a warehouse
– A more gradual business growth, allowing companies to purchase additional equipment which will be 100% compatible with their current products, providing business owners with maximum flexibility in their investment choices.

The stage with the two endless main hangs comprising of, per side, 24 Wasp and behind them, 12 S-12 low extension cabinets.

One large demo took place at Kyiv’s NSC Olimpiyskiy Stadium featuring up to 176 Wasp, 68 S-12 bass extension cabinets and 48 H28 subs. Ease 3 shows the quality of the sound pressure level obtained on the targeted zone.

12 hangs of Wasp charged by his low extension companion S-12 and turbocharged thanks to 48 H28 subs, can deliver a uniform sound pressure level within 3dB on a very large zone.

Check the Mag Audio short movie of that very day at Kyiv’s NSC Olimpiyskiy Stadium.

MAG Audio, headquartered in Bila Tserkva near Kiev in Ukraine, is the largest speaker manufacturer in Eastern Europe. Since its creation in 1991, it’s one of the few manufacturers producing its own transducers and high-frequency drivers, using components from world-class suppliers.
Today, MAG Audio produces a wide range of passive and powered speakers, including portable, installation and rental & touring systems. Made exclusively in Europe, MAG Audio’s products are known for their sound quality and power capacity, backed up by a 5-year warranty, and with a flexible pricing policy.

For more information, please visit Mag Audio website

CLF Lighting at Untold Festival

Untold, one of the world’s best and biggest dance festivals was recently produced for just the fifth time. This Festival attracts people from all over the world, both by its bill of leading artists as well as its extraordinary visual production.
The mainstage is located inside the Cluj Arena stadium in Romania and almost all stages were designed with a lot of CLF fixtures.

One of the trusses charged with Ares.

Lighting Designer André Beekmans (The Art Of Light) was responsible for designing the mainstage. Chris Das (Four Aces) took care of production management and design of the secondary stages.

The main goal was to achieve and elevate the light design in comparison to anterior years. Fourteen trusses with CLF Ares and Orion fixtures were added to the Arena setup.

“We used the Ares to create a massive audience wash, which worked really well for the live stream as well as pictures. We used Orions as effect lighting and its spot/beam functionalities meant it was the perfect fixture for creating spherical effects to hype up the crowd”, says Beekmans.

CLF Ares

CLF Orion

The stage itself had to be suitable for touring artists with their own floor kits. The house rig ensured the whole stage had a combination of spots, washes and beams. The wings of the stage were filled with scenery.

CLF Yara fixtures took care of the small details, whereas Ares fixtures functioned as main scenery wash. Chris Das: “Every time, the Ares surprises me in terms of their output and intense colors. Moreover, the flexible diffusor kits make it very easy to find the right balance.”

CLF Aorun

Aorun beams were used as effect lighting for the complete mainstage: “The Aoruns really helped extend the stage visually into the arena itself. We are very familiar with using CLF fixtures and the possibilities they offer and we use them for many other shows, like Amsterdam Music Festival for exemple. These fixtures were also very much appreciated by visiting guest LDs”, concludes Beekmans.

Beams Aorum nestled in the scenic setting.

Because of their heavy duty housing, excellent colors and high output, we decided to purchase Ares, Yara and LEDbar PRO fixtures. We plan to deploy them in Romania throughout the summer. For example at Neversea Festival, Afterhills, Hifi and Mioritmic.
Our next event is Chouette, a small business-focused event on a beautiful new location in Gilau Transilvania near Tarnita Lakelake. We will be deploying 140 Yara, 24 Ares and 48 LEDbar Pro fixtures there”, says Das.

LD mainstage: Andre Beekmans – The Art of Light
LD secondary stages: Chris Das – Four Aces
Production Management: Chris Das – Four Aces
Operating: Koen van Elderen & Jaap Kamps – The Art of light

More on the CLF Lighting website