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: [email protected] – Web: www.sixty82-doughty.com

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 meyersound.com.

 

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.”

GLP JDC1

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.

Credits:
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

Trondheim Rocks festival ribbon charged with Alcons

Ils ont essayé sans maquillage, mais c’est bien grimés qu’on reconnait KISS. Show devant !

Headlined by Def Leppard, KISS and Iggy Pop, Alcons Audio pro-ribbon systems again succeeded in the difficult task of giving 19000 Trondheim rock fans the volume and clarity they wanted, while keeping levels outside the arena low enough.
Held in the grounds of the Norwegian city’s Dahl brewery, a big part of last year’s success was thanks to the Alcons pro ribbon systems used on both the main and second stages.

This year, the event’s sound was again supplied by Trondheim Lyd, with the power and coverage of the LR28 larger format line array modules again meaning that no delays were needed to cover the 109m deep audience arena.
Last year the system proved so efficient that this time a smaller main stage system was used, comprising 18 LR28 per side, 32 BC543 very high output cardioid subwoofers and 40 LR18 mid-sized line array modules for inner, outer and sidefills.

Le LR28. Deux 14” pour le grave, quatre 6,5” pour le médium et un ruban de 14” pour l’aigu,. 144 dB SPL Max entre 200 Hz et 10 kHz. Le tout en 65 kg.

Six VR12 mid-sized versatile monitors were used for front fill, with the system powered and controlled by 44 Sentinel10 amplified loudspeaker controllers. The secondary stage featured main hangs of 10 LR28 each, with 16 BC543 subs, all powered by 17 Sentinel10s.

As well as the exceptional audio quality produced by the Alcons pro-ribbon drivers, the directivity and all-natural cylindrical wavefront means that the sound pushes through any wind issues and can be very precisely aimed.

“After last year’s great success with the LR28 system, we and the festival management, Trondheim Stage, demanded the same high standard again. It was an obvious choice to use the LR28 for both stages this year,” says Trondheim Lyd audio technician Arnstein Fossvik.
“The LR28 is one of the fastest systems to simulate, rig and optimise. Combined with the exceptional sound quality, coverage consistency and high power, it’s ideal for outdoor rock festivals. The ALControl software also makes it easy to set up and optimise, as well as controlling and monitoring all levels.”

Le sub BC543. Trois18” en pur carbone, bobine de 5,3” dont deux avant en montage bass reflex avec un évent prenant 25% de la façade et un arrière pour générer la réjection pouvant aller jusqu’à 42 dB.

Because the nearest houses are just 20m from the arena, the noise regulations for Trondheim Rocks are strict. However, Alcons pro-ribbon systems meant the Trondheim Lyd team had no problems in complying with them, yet not compromising the audience’s enjoyment.
“We used horizontal sub arrays on both stages and, as the BC543s are self-contained cardioid subs, there was minimal sub-bass leakage outside the audience area.

The LR28 cabinets are also extremely directional, making it easier to keep the energy within the festival area,” says Arnstein. “Most of the band engineers had not heard the LR28 system before, but they were all very impressed by the high sound quality.” Arnstein concluded: “With the ample HF headroom available, corrections on the upper-high frequencies to compensate for the wet conditions, maintaining the high-fidelity and the full 1:10 dynamics, was a breeze.”

“As with last year, we wanted the back of the arena to be quieter, so people could talk while enjoying the bands on both stages, but to maintain the same high sound quality and intelligibility,” adds Trondheim Rocks festival producer Espen Hammer. “Like last year, we had a lot of good feedback from both the audience and press regarding the sound and no complaints at all from nearby residents.” Trondheim Rocks has been one of many highlights in a year full of them for Alcons pro-ribbon systems.

Def Leppard en pleine action. On voit distinctement les infills en LR18 et les deux longues lignes de LR28.

The week before the festival, the LR28 system had been used for Sting, earning generous praise, while other live events featuring Alcons systems have included the Milkshake festival in Amsterdam, Off festival in Poland, concerts and tours by Alan Parsons, Brian Ferry, A-Ha, Turbonegro, Luke Elliot, High as a kite, but also Underworld, Barbara Schöneberger and violinist Nigel Kennedy. The diverse range of artists underlines the versatility of the Alcons pro-ribbon sound systems.

More informations on :

The Alcons website
The festival
Le prestataire local Trondheim LYD

DWR to distribute KLOTZ AIS cables in South Africa

Germany’s KLOTZ AIS, synonymous with cable products of the highest quality since 1979, has appointed DWR Distribution as its new distribution partner for South Africa with immediate effect.
As a global leader in design, production and marketing of audio, video, multimedia and fibre-optic cables and cable solutions, Klotz AIS is active in 130 countries around the world.

Frederic Kromberg, KLOTZ (right) with DWR’s Bruce (left) and Duncan Riley (center)

Frederic Kromberg, Director of International Sales at Klotz visited DWR in Johannesburg to secure the deal. “KLOTZ cables have been available in South Africa well over 15 years, but as a strongly solution-oriented company, especially with rental companies, installers and broadcasting markets we are very excited to develop and expand the Klotz cable business in South Africa with the highly professional team of DWR. We believe this is a great opportunity for DWR to develop our extensive product range.”

Klotz AIS celebrates its fortieth anniversary this year and in those four decades has built an excellent reputation. Klotz is renown for high quality, durable products and meets the technical specifications both musicians and professional users expect from a cable and cable systems. “Once people have experienced Klotz they always come back,” said Frederic. “Very often underestimated, the interface between all your devices is as important as the devices itself.”

Said Duncan Riley of DWR Distribution, “I knew of the Klotz brand and always admired the quality. But I really got a good feeling when I met Frederic and realized that their company was as people orientated as what we are. It’s an honour to be the distributor for this professional company and fine brand and we look forward to many years to come together.”

(Back row) The DWR team, Annalise Hodgson, Kevin Stannett, Johnny Scholtz, Marlene Riley, Bruce Riley, Schalk Botha, Vincent van Niekerk, Richard Smith (front) Frederic Kromberg (Klotz) and Duncan Riley.

More information on the Klotz website, the the Klottz Fiber website and the DWR Distribution website

Lancelot rides with Iron Maiden

Robert Juliat is very excited that Robert Coleman, lighting designer for Iron Maiden, specified 6 (not 666!) Robert Juliat Lancelot 4000W HTI followspots for the band’s current Legacy of the Beast World Tour, which started with a 38-date European leg in May 2018.
This is not the first time Coleman has used Robert Juliat followspots, having also specified them for the band’s 2017 The Book of Souls world tour.

“I’ve always found Robert Juliat incredibly reliable,” says Coleman who, first and foremost, takes advantage of Lancelot’s 2°-5° zoom range. “Despite Lancelot being a long-throw followspot, it can easily handle the great variety of throw distances involved in touring different venues.
Sometimes we have outdoor shows where the FOH position can be quite close to the stage; other times we can be somewhere the size of the O2 Arena with the spots mounted on the backwall. The Lancelots hold up well in both situations. The zoom and the optics are good in either position. And obviously they are crazy bright!”

Copyright John Mc Murtrie

For the current Iron Maiden tour, Coleman has used the Lancelot followspots ‘in every configuration you can think of – FOH festival towers, the back wall of arenas, on catwalks…they have been everywhere you can imagine!” He specified six of the grand RJ beasts with the initial intention of carrying one as a spare, but this soon developed into allocating one Lancelot for each member of the band.
“We found six was the ideal number, with one sitting on the drummer to act as a working spare should anything goes wrong,” says Coleman. “It’s useful to have an extra spot up there, always ready to go, which we can use to add extra highlights when we want them, and to handle the occasional sightline issue when the size of the stage set presents a problem in some venues.
Some adverse angles mean we can’t always hit the lead singer with one spot at all times, so by touring six we have the capacity to double up and use two spots to avoid shadows. And, of course, that extra followspot has the important role of picking up the band’s mascot, Eddie, when he makes his big appearance!”

Lancelot’s HTI source is also a firm favourite with Coleman: “The lamp has a good colour temperature which is not too harsh on the band members. I found a nice colour combination of corrections which gives a good, fleshy skin tone that makes all the band members look vibrant, healthy, warm and human…and looks great on the IMAG too.”

The Robert Juliat fixtures have proved their worth during set up and transportation too as Coleman explains: “The Lancelots are easy to set up and much quicker than other followspots because the bulb travels within the unit and doesn’t need setting up, and the stands go together quickly. This frees up a lot of time during pre-show checks to do other tasks. Additionally, from my perspective the iris and the motion of the spot are always very smooth, which is what we are all looking for!”
The six RJ Lancelot units have been supplied for the entire tour by London-based Neg Earth Lights, which also supplied Robert Juliat for last year’s The Book of Souls world tour. “As usual, the Robert Juliat spots have been meticulously maintained to the point of perfection by Neg Earth which always helps,” says Coleman. “The thoroughness of their preparation keeps everything running perfectly.”

For more information on Robert Juliat Lancelot followspots and the full portfolio of RJ lighting fixtures, visit the Robert Juliat website

 

Yamaha Shows New Products And Updates At IBC2018

Yamaha has a digital mixing solution suitable for every type of broadcast need. All will be on show at IBC2018, including new products and updated firmware. Yamaha systems will also be mixing keynote speeches and other presentations throughout the show.

Yamaha Rivage

Yamaha’s RIVAGE PM10 and PM7 digital mixing systems have rapidly become the new byword for excellence in the large format console market. The facilities, audio quality, flexibility, high channel counts and ease of use are all proving a hit with engineers across the world. IBC sees the launch of updated firmware and two new interface cards for RIVAGE systems, which add features especially relevant to the broadcast market.

The HY128-MD

The HY128-MD is a 128-in/128-out interface which can be used to convert the output of a RIVAGE PM10 system to MADI, for transmission to a broadcast OB truck or to connect to a MADI-based mixing console, as well as providing asynchronous sample rate conversion for devices using different word clocks to be connected without noise and dropouts.

The HY144-D-SRC interface

The HY144-D-SRC supports up to 144 inputs/144 outputs via Dante with onboard sample rate conversion, adding convenience to systems where devices running at different sample rates need to be interconnected.
Meanwhile, the latest Version 2.20 firmware supports both the new cards and adds several new features for PM7 and PM10 systems.

A video from Yamaha explains the advantages of these two cards:


New Version 5.1 firmware update for Yamaha’s CL and QL series digital mixers directly supports the Sony DWR-R03D DWX digital wireless receiver – used extensively in both broadcast and live production environments – significantly enhancing the value of existing and future CL/QL-based audio systems to broadcasters.

Sony DWR R03D

In addition, the latest firmware for all Yamaha digital mixers means that they now feature multiple channels of Dan Dugan automixing, making them the ideal solution for all kinds of multi-microphone broadcast applications.

Another Yamaha broadcast-friendly update on demonstration is Version 1.1 firmware for the MMP1 studio monitor management system, which adds a range of refinements and support for the CB Electronics TMC-1 monitor controller.

Alongside these new developments, Yamaha’s stand at IBC will feature the industry-leading, fully integrated Nuage production system, R-series D2 Dante I/O units, RMio64-D Dante-MADI I/O unit, RSio64-D Dante-Mini YGDAI interface and SWP1 series network switches.

Nuage

The DZR12

Meanwhile, all of the Keynote speeches taking place in the Forum at IBC 2018 will be mixed on a Yamaha CL series console and those in Rooms E102 and G102 will be mixed on a QL series console, all three spaces also using with R-series D2 I/O racks.

The new DZR series loudspeakers will also feature in Room E102, where a 5.1 surround system will comprise four DZR10 and three DZR12 full-range loudspeakers, plus two DXS15MkII subwoofers. A separate voice system of two DZR12s will also be used, while four DZR10 will be used as stage monitors in the Auditorium.

Yamaha is exhibiting on Stand C71, Hall 8 at IBC2018, which takes place at the Amsterdam RAI from 14th – 18th September.

And More information on the Yamaha Audio website

Heidecksburg Castle Goes Paladin Green from Elation for St. Patrick’s Day

The Irish national holiday of St. Patrick’s Day is always celebrated on March 17th and the day is widely acknowledged by Irish and non-Irish alike. In Rudolstadt, Germany, event technology service provider LB-TEC was tasked with illuminating the famous Heidecksburg castle in the Irish national color of green and chose powerful Elation Professional Paladin™ lighting fixtures for the job.

©Tommy Pekruhl

LB-TEC has illuminated the city’s residential palace for years and has always used a large amount of LED washes, fixtures that had to be installed with cumbersome weatherproof protection. This solution was not only relatively expensive but also very time consuming. For the St. Patrick’s Day illumination, the company opted for a more practical solution and invested in eight Elation IP65-rated Paladin™ wash/blinder/strobe lights.

“We chose Elation’s Paladin because it’s a weatherproof light with high output and attractive zoom range. On top of that, the price/performance ratio was convincing,” explains LB-TEC owner Volker Schmidt. “In the future, we will use the units primarily for ambient lighting in outdoor areas, for effect lighting on stages and, as in the case of Heidecksburg, for barrel lighting at a great distance.”

©Tommy Pekruhl

The IP65-equipped Paladin is a versatile and powerful hybrid unit with twenty-four 40W RGBW LEDs that can be used as a bright wash light, full-color strobe, powerful blinder or great effect light. A motorized zoom offers full flexibility in the range of 6-32-degrees for adjustment of the beam to any application. LB-TEC was able to illuminate the entire city-side façade of the castle with only eight units, covering the entire facade in green.
Setting up the fixtures and adjusting the zoom took only a few minutes. The Paladins were placed about 200 meters away from the façade and although it was lit exclusively in green – so only 25% of the power was available – the building was intensively soaked in color.

Elation Paladin Video demonstration


More information on the Elation website