OUTDOOR ENTERTAINMENTtradelinkmedia.s3.amazonaws.com/.../23/...Part_2.pdf · Martin lights and how...

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All 16 projectors are mounted on the top of purpose bui lt pylons, designed to integrate with the architecture of the monument. The pylons are a variety of heights between f ive and 10 metres, each about f ive metres wide.

Covering the f loor area was a real chal lenge as the projectors beam down at very steep angles, and some serious keystone correction was needed in the Dataton Watchout control system, which also faci l i tated al l the necessary edge-blending.

Watchout was chosen as the most appropriate control system for this project by Ashton, which is run day-to-day by a local site crew.

The l ighting specif ication includes 16 x PR300 Beam and 12 x PR-8802 f ixtures from PR Lighting, which are run from an Avolites T itan Mobile in conjunction with the Watchout system. Show audio is played out via a Tannoy system driven by Labgruppen amps.

The content origination was completed through UK based company The Projection Studio, and Tricolor India oversaw the projection instal lat ion on site.

India is one of Ashton’s favourite countries. He says: “It was real ly great to be back in India again and have the chance of real ising this amazing work in conjunction with some extremely inspirational people. We hope Tricolor India wil l be doing more video and projection instal lat ions in the near future.”


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AN INTERACTIVE ART LANDSCAPE FEATURING MARTIN PRO LIGHTING


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As an open space to accommodate community events and recreational activit ies, Tom Hanafan River’s Edge Park sits on the Missouri River, creating a border between Council Bluffs, Iowa and Omaha, Nebraska. Art ist Dan Corson recently designed a massive l ight show for the park, complete with complex characters and simple, intuit ive interactive games that span across the park’s f ive acres. HARMAN’s Martin Professional l ight f ixtures were instal led by Bandit Lites to i l luminate the art ist’s vision.

Inspired by European baroque knot gardens, the ever-changing l ight environment showcases choreographed sequences and patterns every half hour. Addit ional ly the piece interacts with visitors via thermal cameras and analytics program to track and “play” a series of simple, intuit ive and fun games. The motions of park visitors can control the l ighting and al low participants to be tracked with spotl ights. The l ight show has been cal ibrated to uti l ise a different colour palate for each of the three “park seasons” of the year: White, Brown and Green, coinciding with the snow, dormant grass and green grass states of the lawn.


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“The city was original ly expecting an artwork something along the l ines of a laser l ight show, but the potential for a more ambit ious interactive l ight environment was too great to pass up. I wanted a layer of activity that would engage visitors’ curiosity in the large space,” stated Corson. “I have been very impressed by the Martin l ights and how they ended up meeting the power, brightness and area needs of this piece.”

A total of 16 Martin Exterior 1200 Image Projectors with custom gobos mounted on 35-foot poles and four MAC II I Profi le f ixtures with custom gobos in Tempest enclosures mounted on 14-foot poles surround the 5-acre park to create the visual experience. A Martin MAX Module Cerebrum combined with a custom motion control system by David Beaudry of Beaudry Interactive runs the t iming and interactive l ightshow from a weatherproof station in the park.

Visual Terrain, Inc. worked with Corson to implement his vision. “With a project of this magnitude and a l imited budget, we were concerned about providing meaningful coverage for the exhibit,” stated Lisa Passamonte Green, CEO and Principal in Charge at Visual Terrain. “We tested many products in terms of brightness, pattern capabil i ty and movement prior to selecting the Martin f ixtures. The combination of their brightness, exterior housings, pattern and texture movement, and adjustabi l i ty won us over. We have a long history with Martin and continue to come back to them when they f it the project application. We look forward to using Martin f ixtures on our own future projects and those we do with art ists such as Dan.”

The biggest chal lenge of the project, according to John Jenkinson of Bandit Lites was the sheer size of the space. “On the f ixture side, every piece spec’d for this project was a perfect f it,” Jenkinson said. “The MAC 1200’s were one of the few tools that could have pul led off what we planned and the brightness and colors have performed perfectly.”

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SAE AUDIO FOR MELBOURNE’S NEW YEAR’S EVE CELEBRATION

SAE Audio provided the sound reinforcement systems for Melbourne’s New Year’s Eve 2013 celebration, “Night Live Sites”, which was organised by the City of Melbourne Town Hall.

The project consisted of four sites with mult imedia entertainment nests located in four different spots in the city: the Treasury Gardens, Kings Domain, Flagstaff Gardens and Docklands. Each entertainment nest had l ive music, visuals and pyrotechnic effects.

Event Towers, the company in charge of developing the entertainment nests, discovered the VP l ine array at the Prol ight+Sound Shanghai 2013 outdoor l ine array demonstration. As there was the Concert Sound Arena, they attended demonstrations from the main manufacturers, both Chinese and international. They f inal ly decided to go for the SAE VP active l ine array because:

• It is a compact/l ightweight system, making it suitable to f it in the most constrained spaces and two persons can easi ly r ig the system. The structure that Event Towers designed folded itself inside a small container, so there was not much space for a big system. Also, for Melbourne’s NYE event, al l four towers had to be set up by the same staff in four different locations in the city, so it was necessary for the team to work with a l ight enough system for ease and convenience.

• It is active, which makes it even simpler to instal l and uninstal l , and saves the amplif iers rack space.

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www.saeaudio.com

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• Its power. Event Towers was looking for a compact system that was able to go loud as well. The VP did the job thanks to the Mid/High section cabinet design and the high sensit ivity drivers used in the system.

• Its sound quality, which is always a factor when buying pro-audio. At the Shanghai show, they were able to conduct an A/B test with al l the main manufacturers, and they found that SAE’s sound was ahead of others being demonstrated there. There were real ly clear highs, precise punch and powerful subs. The European designed Class D power modules used on the VP also played an important role.

The sys tem was spec i f i ca l l y used fo r mus ic , as the re were DJs on each s i te m ix ing mus ic dur ing the event .

The PA and structure instal lat ions were done by Event Towers themselves. Init ial ly, sett ing up al l four structures in Melbourne took about a week. After this f irst experience, Event Towers was able to setup one structure in less than a day, including sound, l ighting, LED screens, etc. The sound system setup was done in two or three hours.

The city of Melbourne had already done simi lar events on previous New Year’s Eve celebrat ions but had contracted other event companies then. I t was not real ly convenient as they used to instal l stages on garden areas of publ ic parks, and they required a long t ime and a lot of labour for the instal lat ion, thus damaging the surface of the venue, disturbing vis i tors


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at the park dur ing setup and increasing the cost of these events.

Event Towers provided a better solution, as their setup could sit on small areas and is extremely fast and easy to prepare. Another advantage of Event Tower’s solution is the 360-degree coverage, so the audience can stay anywhere around it in the park – unl ike with a normal stage where the audience can only stay in front of the stage.

The system SAE Audio supplied to each entertainment nest consisted of:• One SAE Audio VP active l ine array system on each

corner (four corners) of each nest. • Per corner is: 4x V2208P mid/high speaker, 1x

V1212P low speaker, 1x V1218P subwoofer. • Per nest is: 16x V2208P mid/high speaker, 4x

V1212P low speaker, 4x V1218P subwoofer. • One SAE Audio LP26 loudspeaker processor.• One SAE Audio 1048 signal distr ibutor.• One SAE Audio 2008 power sequencer.

In total the system for this project (al l four nests) consisted of:• 64x V2208P• 16x V1212P • 16x V1218P• 4x LP26• 4x 1048• 4x 2008

For more information on SAE Audio, please visit www.saeaudio.com.


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CLAY PAKY MEETS LA BOHÈME IN GERMANY


Al l images: © [email protected]

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La Bohème, composed by Giacomo Puccini, was performed for the f irst t ime in 1896 at the Teatro Regio in Turin, Italy. It was an immediate success and is sti l l successful today. This was confirmed by its recent staging during the St. Margarethen Opera Festival in the Römersteinbruch (a Roman quarry). The quarry has been a UNESCO world heritage site since 2001 and is the largest natural stage in Europe. For this reason, it makes an impressive sett ing for operatic performances.

Lighting designer and programmer Michael Grundner, event designer Ernst Hainisch and production manager Christoph Trauner (the latter two from Mult isound) used 22 Clay Paky Alpha Profi le 1500s, along with an MA system to manage the l ights.


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Grundner underl ined that “the Clay Paky Alpha Profi le 1500s won me over with their great brightness and the way it is possible to change and shape their graphic effects”.

Regarding his l ighting design, Grundner continued: “From the scenic point of view, La Bohème takes place in a very intimate environment. Since the stage at St. Margarethen is very large and it was necessary to l imit the spaces in a precise way, we mainly used the Clay Paky Alpha Profi le 1500s for front and side l ighting. They were by far the best choice and the only one possible considering their brightness and the accuracy of their beam shapers. Although the opera began at sunset, and therefore in the dayl ight, these moving l ights were clearly visible r ight from the start.”


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WICREATIONS FOR MYLÈNE FARMER TOUR

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Photographer: Christophe Raynaud de LageProducers: Solvay for the 150th anniversaryDirector of Production & Scénographie: Y. Van Lancker for Y. Services

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Belgian based automation engineering special ists Wicreations designed and created f ive major automation elements for Mylène Farmer’s highly visual 2013 ‘T imeless’ tour, using a combination of bespoke and standard Wicreations products.

Mylène Farmer is one of the most successful French recording art ists of al l t ime. She has sold over 30 mil l ion records worldwide and had 13 number one hits in the French charts, eight of them consecutive, as well as working as a model and actress during a prol i f ic and successful career.

Wicreations, renowned for their innovative work in the entertainment industry, were approached by the tour’s Production Manager Didier Gaume and Technical Director Pascal “George” Meley, who have worked with them before on a number of projects, and asked if they could provide a number of solutions to help stage this spectacular show.

T imeless’s impressive stage architecture – nearly al l of which moved - was designed by the late Mark Fisher and needed many custom elements.

The show opened with Farmer appearing from within a ‘Particle Generator’ after a lengthy video intro that ramped up the excitement and tension to breaking

point; the upstage LED video screen was hung on a Wicreations WI Tracking system, which enabled it to be separated into six sections, al l of which independently moved; a rotating telescopic ‘spoon bridge’ was integrated into the stage f loor; a massive custom l ighting truss circle was f lown above the downstage area, and inside that was a second smaller circular truss also on motion control hoists – and f inal ly, the f i fth moving effect was 11 l ighting pods.

All the f lown pieces were control led by a hot-rodded Kinesys Vector control system operated by the Wicreations operator, running 57 motor channels and a total of 68 different motion cues.

This massive undertaking was project managed for Wicreations by Koen Peeters, who comments: “Working on the tour was a great chal lenge and an opportunity for us to use our imagination and expertise not just to f ind real ly creative custom solutions for the ambit ious production design – but ones that were practical to tour.”

The Particle GeneratorThis eye-catching effect came at the start of a show action-packed with visual moments and ‘wow’ factors. It was formed of f ive trapezoidal shaped video frames f lown and tracked on two Wicreations WI Tracks and 15

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zero-speed chain hoists. These 5 panels had to al ign with three more panels that rose up from the ground.

This shape had to be formed at a specif ic moment in the show for Farmer’s entrance onto the stage, and the f ive f lown panels then had to be able to move into several other configurations above the stage.

Crucial to the design was the mil l imeter accurate defining of the posit ional pick up points relating to the f ive frames, and this took numerous test runs at the Wicreations workshop, fol lowed by an extensive test period in Lyon, before determining the perfect posit ions to create the effect.

During the show, the panels tracked from a f lattened horizontal posit ion into the central ized ‘accelerator posit ion’, curving around to form the arc of the set piece with a few centimetres of air between them – and from there, they moved into a third ‘straightened out’ vert ical posit ion.

Spoon BridgeThis was another stunning ‘gag’ that enthralled crowds flocking to see Farmer’s sold out tour across five countries.

The Spoon Bridge remained hidden from the audience until the song “Bleu Noir” started, about an hour into the show, where it started with a handrail rising from the floor while Farmer stepped into the platform. The full telescopic mast then emerged from the stage floor and extended right out over the audience, panning from left to right and back again above the delighted crowds.

The bridge measured 11.5 metres in length and was constructed from standard aluminium tower sections, extended by a custom fabricated tapered section with its telescopic and rotating mast secreted below the stage. The central base unit was extremely compact, f i tt ing in a 2m x 2m scaffolding bay, and the complete spoon structure weighed 5.7 tonnes in total.

Its movement was run via an inbuilt set of hydraul ics, l inked to the Wicreations control l ing computer for super-smooth and accurate movement.

The platform at the end - f inished with LED panels - was rated to carry loads of up to 110Kgs (art ist plus equipment) with the t ip reaching a rotational speed of one metre a second.

A completely bespoke product developed by Wicreations for this tour, their concept drawings and designs convinced the client that this was the best solution for how they wanted to play out part of the show.

The Spoon Bridge was designed and robustly bui lt by Wicreations to be practical to tour and straightforward to r ig each day, breaking down into modular sections for easy transportation and maximizing t ime during load ins and outs.

Lighting CirclesThe 4 metre diameter ‘Lighting Circle’ was also designed for fast r igging and de-rigging, and so al l 36

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MAC Aura LED wash moving l ights travel led within it for convenience. To make this happen Wicreations also designed a special ‘ landing dolly’ into which the circle was f lown from the roof during the get out.

Once landed on the dolly, four catches were released, and using its four motion control hoists, the trussing superstructure hinged downwards on both sides of the dolly folding into the travel l ing posit ion. From there the whole thing could be wheeled on to the truck.

It was posit ioned and picked up each day using the reverse procedure.

A smaller 3m trussing circle was rigged within it containing smoke machines, and this was hung on three Wicreations motion hoists.

Lighting PodsTo build the 11 pods that were central to Lighting Designer Dimit i Vassi l iu’s aesthetics for the show, Wicreations started with standard pre-rig trusses and designed custom brackets to accommodate either one or two hoists, their control lers and al l the necessary diverters, etc. within the truss section.

This streamlined the pods for quick and easy set up and rigging each day. The 6 offstage pre-rig truss sections were equipped with a twin chain hoist (2x 250kg capacity) to ensure that the pods always stayed ful ly horizontal.

Lightweight aluminum doll ies were used to transport the pods and these could either stay attached to the PRT sections or be folded together and stacked away during the show.

Tracking LED screenA 19.2 x 8.64m large LED screen upstage formed the backdrop to the show and this was hung on a 30 metre WI Tracking system so it could be divided into six columns.

Newly integrated pick up units were uti l ized to bring the video screen as close as possible to the tracking truss – maximizing rigging height.

WI Stack Truss is a product that has been developed to integrate the WI Track extremely expediently without losing any space. Its versati le onboard connecting system means it can be used for either straight or curved tracking beams, which makes it the best and fastest tracking system avai lable on the market for touring purposes.

The result ing load in and load out t imes speak for themselves – with the load in of the ful l set (25 production trucks) real ized in only 12 hours, while the load out could be achieved in 3.5 hours!

The Wicreations touring team was Axel Van Bree, Erik Gielen, Thomas Van Keymolen, and Miro Kusik. The tour played 39 shows in 5 countries over three months and has received great acclaim as a visual and entertainment tour de force.

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TWO SOUTH KOREAN THEATERS CHOOSE ETC LIGHTING

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ETC has been increasing its presence in South Korea, with dealer C&C Lightway recently completing two new-build projects at the Cheonan Arts Center and at Guri Art Hall near Seoul. Both venues were outf itted with a ful l ETC l ighting system.

“Cheonan’s 1,642 seat grand hal l and accompanying 443-seat performing hal l host a range of different types of productions, including famous musicals such as Mamma Mia and Les Misérables, as well as bal let and opera,” says Oh-bum Kwon, design and engineering manager at C&C. “So the technicians were looking for equipment that would be truly versati le.” An ETC system was the answer. C&C instal led three Ion® control desks in the venue’s theaters, along with almost 300 conventional Source Four® and Source Four Zoom™ fixtures, a Unison Paradigm® architectural control system, and Sensor3™ dimming.

At Guri Art Hall, with its new 600-seat grand hal l and 280-seat concert hal l, the staff was looking for equipment that would be able to provide high-resolution fades and would be famil iar to both incoming and resident l ighting operators. They purchased over 200 Source Four f ixtures, a Paradigm system and Sensor3 dimming for the hal l’s two stages, plus four Ion desks to control it al l . ETC Asia general manager Wynne Cheung said: “The combination of Ion and Sensor3 provides 16-bit fades, which means Guri Hal l’s dimming is so smooth that the steps are imperceptible under normal circumstances.”

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Paradigm systems were chosen for both venues, because they al low complete control of a bui lding’s architectural l ighting. The buttons and LCD panels – which can be located anywhere in a bui lding while being connected to the main control system – are easy for anyone to operate, even untrained staff, so cleaners or security personnel can set an appropriate state where they work. “The systems are set up so that the board operator is in charge,” explained Cheung. “Other users would never be able to turn on the hal l l ights while concert l ighting is being control led from the desk. It makes everything real ly simple to use, while avoiding potential mishaps.”

Oh-bum Kwon, Design and Engineering Manager for C&C, says: “Both of these projects were very large and we needed to work closely with the construction and architectural design f irm, as well as the incoming technical managers, to ensure that they got the exact equipment they needed.” C&C, its project manager, Sang-in Kim, and f ield manager, Yoon-kyun Lee, advised the cl ients throughout the process to help them find the r ight products, and ETC staff made site visits to give demonstrations on a range of equipment before they decided on a system.

“We’ve had some great feedback from the technical managers at both centers, and reviews have even mentioned the impressive l ighting systems,” said Cheung.

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XL VIDEO SUPPLIES 2014 NATIONAL TELEVISION AWARDS

XL Video supplied a large high definit ion LED screen, media server control, projection relays and screen management for the hugely popular 2014 National Television Awards, hosted by Dermot O’Leary at London’s O2 Arena.

The 2014 NTAs has been hai led as one of the best to date.

While winners Ant and Dec, who are celebrating 25 years in show-business, won two awards, and Doctor Who collected 2014 NTAs for Drama and Drama Performance (Matt Smith) is in its 50th anniversary year, XL Video celebrated its own NTA landmark – as video production supplier for the 10th consecutive year for Indigo Television.

Photo Credit: Scott Davies

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XL Project Manager, Paul Wood, has worked on the NTA’s since the company was f irst commissioned to provide video back in 2005.

He says: “It was a great honor for us to be working on the NTA’s for the tenth year. During this t ime the NTAs has grown into a premium and much-loved event on the entertainment industry Awards calendar.

The 92 square metre Absen F-6 6mm high resolution upstage screen that XL supplied was integral to Set Designer Chris Webster’s stage design.

It is the f irst t ime LED has been used for this ( in the past it’s been projection), and it was scenical ly masked to appear as a 13 metre wide hemisphere.

The screen was used for the playback of TV show footage, awards information, stings and graphics etc., al l were replayed via XL’s Catalyst Media Server and Control system comprising 2 x Catalysts, 1 x “On the Air” playback machine and a broadcast feed via a Barco Encore control system. This was co-ordinated and run by Jonathan Bond.

Four projection relay screens were posit ioned around the O2 to ensure that everyone in the arena had a good view of al l the excitement and action unfolding onstage. The stage left and right screens were 26 ft wide, and two more in the centre of the auditorium were 20 ft wide. Al l relay screens were fed using the l ive TX broadcast mix.

In addit ion to Bond, XL had two projection crew and two LED crew working over a three day schedule. The f irst day was the bui ld day, fol lowed by a tech/rehearsal day then the main rehearsal/show day.

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ACME LIGHTS THE IDOL CONCERT IN SHENZHEN, CHINA

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I t was a night of bright l ights, song and dance at the stel lar IDOL Concert, which was held on January 14 at the Universiade Center in Shenzhen City, China. The concert boasted a sizeable stadium venue, a sol id l ine-up of performers, a top-level director, explosive song and dance performances, as well as an eye-catching stage design.

Integral to the success of this visual ly stunning musical event was ACME’s array of professional stage l ighting f ixtures. The leading stage l ighting manufacturer provided more than 600 sets of professional stage l ighting f ixtures on that night.

A l ist of its f ixtures included:• 76 sets of the XP-1500SZ 1500-watt moving spot l ights• 70 sets of the XP-1500WZ 1500-watt moving wash l ights• 38 sets of the XP-1500 BEAM 1500 watt moving beam l ights• 100 sets of the XP-5R BEAM 189 watt saber beam l ights• 150 sets of the BW-54-3RGBW IV with 54 pieces of 3-watt

CREE LED PAR l ights• 100 sets of the LED-MTX5B LED effect l ights• 32 sets of the LED-MTX25B IP LED waterproof matrix panel l ights• 32 sets of the BF-3000D high power 3000-watt strobe l ights• 4 sets of the signal amplif ier CA-DD12 and CA-DD4

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Supplying hundreds of l ighting equipment was by no means an easy feat for ACME – even with its wealth of experience in the f ield of stage l ighting – but its wide selection of rel iable stage l ighting f ixtures was able to showcase powerful beams, high l ighting output, excel lent colour-mixing effects, as well as f lexible and glamorous l ighting.

As far as stage l ighting went, ACME was able to meet the needs of the individual stars performing, and to al low the audience to witness the charm and charisma of the various “idols”. It resulted in an explosive showcase of festive song and dance – a definite musical feast for the 50,000 concertgoers who attended the concert that night.

For more information on ACME, please visit www.acme.com.cn.

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tarm SHOWLASER FOR VOLKSWAGEN

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The Volkswagen Group’s general meeting was a special event to mark its f i fteenth year running and has become a company tradit ion. This year, it was held on the evening preceding the opening of the 65th International Automobile Show (IAA) in Frankfurt.

tarm Showlaser, a German company recognised as one of the leaders in the f ield of innovative laser presentations since 1988, wowed the crowd from around the world with a spectacular laser show that accompanied a performance by English electronic pop duo, Pet Shop Boys.

The crowd of nearly 2,000 journal ists, VIPs, and group representatives experienced f irst hand an extremely complex staging that had been special ly developed for the evening’s show and that individual ly highl ighted every one of the group’s 10 makes.

Responsible for overal l technical planning was the German company, f i lmtec.

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Client: Volkswagen AGResponsible Department: Corporate CommunicationsEvent Manager: Claudius ColsmanProject Manager: Ramona GrützmacherPhoto Credit: [email protected]

BROADCASTTECHNOLOGIES

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COMMUNITY PRO FOR BURTON TOWN HALL

Burton Town Hall has recently upgraded the sound in the Main Hall of its Civic Function Suite with a Community loudspeaker system, designed and instal led by leading commercial and industrial sound special ists, PAS Sound Engineering. Central ly situated in the heart of the UK’s Midlands, Burton Town Hall is an elegant Victorian hal l bui lt in 1894. A mult i-purpose venue, Burton Town Hall plays host to a variety of events and provides an eye-catching backdrop for exhibit ions, festivals, trade fairs, shows,

parties and weddings. Excel lent acoustics also make it an ideal concert hal l with a seating capacity of 557. The main hal l, with its stage and balcony, forms the heart of the Civic Function Suite, which also consists of the Dove Room, Lingen Room, Trent and Rangemore Bars, Green Room and a catering kitchen. Bernie Boardman, PAS Sound’s Instal lat ions Manager, met with Ian Boam, Faci l i t ies Manager and Lynne Allman, Venue Manager, to be briefed on the requirements for the Town Hall. “As any contractor knows, having a


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helpful cl ient and a clearly defined specif ication goes a long way towards enabling a good job,” said Boardman. “Not only were Ian and Lynne very clear about what was required, but they closed the hal l so we could complete the instal lat ion without interruption.” “There were two key elements for this instal lat ion,” Boardman continued. ”The f irst was that previous systems in the venue had caused noise pollution issues in the surrounding area, so containment and control were essential. The second element was that the system and its instal lat ion had to be sympathetic to the architecture and structure of the bui lding.” The main equipment, Community, Symetrix and Formula Sound, was al l sourced from distr ibutor CUK Audio and Boardman worked closely with CUK’s Stuart Cunningham on the system design. The selection of ENTASYS 200 column-array systems met the hal l’s aesthetic requirements and its optimally focused wide horizontal and narrow vert ical dispersion ensured maximum sound level where required with minimal spi l l . “Simply adding a l imiter isn’t the answer,” explained Boardman. “If the sound level on the f loor isn’t high enough, the user frequently hits the noise level cut-off, which leads to very unsatisfactory performance. With ENTASYS we are able to achieve excel lent levels across the hal l, giving the performance the venue needs and leaving the noise l imiter to do its proper job of just being a safeguard. In addit ion, and to avoid the common but unpleasant cut when the SPL threshold is exceeded, we supplied a Formula Sound Guardian and integrated it with the Symetrix Radius so that the processor noticeably reduces the level but doesn’t completely cut the sound.” The loudspeaker system comprises two Community ENTASYS 212s at either side of the stage, two ENTASYS 206s on delay for rear of the room and two ENTASYS 212s for the balcony. The ENTASYS loudspeakers are supplemented by six Community VLF212 subwoofers in two three-box arrays, using the VLF-SAB array bracket, at either side of the stage. Community’s S4 Subwoofer Steering Simulation Software was used to configure the arrays. The loudspeakers are driven by three Powersoft M28Q 4-channel amplif iers.

Processing and control for the system is handled by a Symetrix Radius 12x8 processor with Dante networking, a Symetrix xOut12 Dante output expander and three Symetrix ARC-2e remote control panels. PAS incorporated the hal l’s exist ing Soundcraft FX16 mixer into the system and supplied addit ional TOA radio mics. “With careful and considerate instal lat ion, this is an excel lent system which has received a lot of praise for performance, aesthetics and ease of use. It equally meets the venue’s specif ied requirements when the system is used for independent events and by DJs in the venue.” Council lor Peters, the Council’s

portfol io holder for Service Commissioning, said “The sound system instal led in the Function Suite is a signif icant investment. The Council continues to offer a popular community venue while ensuring residents in the area are not inconvenienced by any background noise from events. Residents have advised us the new sound system is absolutely wonderful. It has given us peace of mind and made a big impact and improvement on their l ives. Our staff, Ian Boam and Lynne Allman, l istened to the concerns of residents, elected members and the police to f ind a solution and PAS took those concerns and del ivered a system that sounds impressive and yet is unobtrusive in the grade I I l isted bui lding.”


84 Apr-Jun 2014

Lighting and Visual Designer Luc Peumans of Genk, Belgium-based creative practice, Painting With Light, designed l ighting and visuals for the new series of popular TV music quiz show “Sing That Song”, which was recorded at Londerzeel Studios and broadcast weekly on national TV channel, VRT.

Recorded in front of a l ive audience and presented by Peter Van de Veire, two teams comprising a piano-playing captain and two singers – some very well known – batt led it out with their musical knowledge, improvisational ski l ls and talent. The overal l stage design fol lowed an international Sing That Song format with two pianos centre-stage and six screens upstage that displayed song tit les – then performed by the teams.

It was the f irst t ime that Peumans has l i t the show, directed by Ruben

PAINTING WITH LIGHT SINGS THAT SONG!


85Apr-Jun 2014

Braekvelt and Johan Verstuyft, well known as the country’s most prol i f ic music TV directors. He was brought onboard by the producers to help give the show a fresh, contemporary new look and worked closely with set designer Laura Vermeylen, who also works extensively in this genre of TV.

They made the init ial decision to incorporate LED technology in the set. “This was to bring a clean, colourful and styl ish look to al l the different camera angles but without being too busy,” commented Peumans.

At the back sides and extending al l around the stage was special ly structured Plexiglas with a series of individual ly pixel-control led LED str ips behind, custom designed by Peumans for this show and manufactured by Inventdesign in Amsterdam.

The set LED l ighting alone consumed 30 DMX universes and was control led via a grandMA2 console.

At the back of the stage were curved scenic arches internal ly l i t with more LED str ips - not individual ly pixel control led - and behind the arches were 70 x Barco MiStrips orientated in the opposite direction to the LED str ips behind the Plexiglas.

The pianos were both on l ight-box platforms under l i t by more DMX control led LED str ips. “This

was a simple idea that real ly worked well in making the pianos central to the action,” explained Peumans. “The key was using al l the LED sources as highl ights and atmospheric enhancers, rather than them becoming distracting or too dominant.”

The show was l it using 38 x Clay Paky Sharpies, 12 x Robe LEDWash 600s, 72 x Showtec Spectral M800 LED fixtures, 45 x 1 and 2K fresnels and 24 x Showtec Active Sunstrips, al l control led via the same grandMA2 ful l size console.

Graphic content for the gaming screens was also programmed by the Painting With Light team, using Widget Designer technology on their Coolux Pandora’s Box media server, which stored the relevant material and the general video content driving al l the LED l ight-sources in the studio. The gaming elements were MIDI tr iggered via the grandMA2.

Lighting was programmed by Painting With Light’s Niels Huybrechts and was operated for the series by Chris Leemans from VRT, and the Pandora’s Box was programmed by Kathleen Selleslagh.

This latest edit ion of “Sing That Song” ran for 13 weeks in a Saturday evening prime time slot, and the new look received much posit ive feedback, leading to the commissioning of a special New Year’s Eve show.


86 Apr-Jun 2014

Lecture hal l audio and onl ine content streaming in classrooms are just two of the tasks handled by Symetrix Solus and Radius 12x8 processors in Trondheim’s leading centers of higher education. The Symetrix devices were the selection of Atea, which has been providing integration services to two eminent col leges in Norway’s third largest city for several years now.

Boasting off ices throughout Scandinavia and Eastern Europe, Atea is a regional power player in IT and AV instal lat ion. During the last 12 months Atea has made increasing use of two of Symetrix’ latest products: the SymNet Solus 16 open architecture standalone DSP and the SymNet Radius 12x8 open architecture scalable DSP with support for Audinate’s Dante media networking technology.

“General ly speaking, the Radius 12x8 and Solus DSPs offer the processing power and versati l i ty required for academic-type instal lat ions,” said André Dominic Schorr, AV senior consultant/programmer at Atea. “In most cases, we are talking about general purpose lecture room audio, streaming and sharing of content, and f lexible routing to and from different lecture hal ls and teaching spaces. The Radius 12x8 and Solus

SYMETRIX SOLUS DSPs SHINE AT NORWEGIAN UNIVERSITIESAudio routing/processing in auditoria and classrooms across several higher education colleges in Trondheim is more flexible than ever before thanks to the latest generation of Symetrix open architecture DSPs.

16 are entirely capable of handling such tasks, but there is no doubt that Dante networking affords even greater f lexibi l i ty, so the level of interest in those solutions is definitely on the r ise.”

In the most recent phase of work at its two primary academic cl ients in Trondheim, Schorr and his team have instal led mult iple 16-in, 8-out Solus processors. “One of the real ly great aspects for this type of project is that with Solus you have a l ibrary of design templates that provides a sol id basis for most problems encountered in typical university instal lat ions,” he said.

Photo credit : Thor Nie lsen


87Apr-Jun 2014

But above al l , Schorr admires the processor’s open architecture design: “I come from a l ive sound background, and it seems to me that Solus’ design makes l i fe incredibly straightforward for al l types of engineers – it real ly is very easy to get to grips with. Then there is the processor’s rock-sol id rel iabi l i ty – speaking for myself, I have never experienced a system fai lure, which is precisely what you need when dealing with high-volume projects l ike these.”

In both col leges of higher education, the Symetrix processors have been integrated successful ly with an audio inventory that includes large numbers of RCF and Focal speakers, Sennheiser wireless microphones and Audix wired microphones. Cisco and Tandberg col laboration equipment, Crestron control solutions, Sony and Epson projectors and Samsung screens are among the other stalwart elements of Atea’s university instal lat ions.

“In our current and next phase of work, we are upgrading some auditoria and lecture hal ls that have not received signif icant attention for as long as 10 or 15 years,” said Schorr. “With the Symetrix DSPs we are confident that we have the tool to take these rooms forward confidently into a new era of technological ease and versati l i ty.”

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WORSHIPTECHNOLOGIES

Apr-Jun 2014

SAINT AGNES HOSPITAL RENOVATION INCLUDES UPGRADED CHAPEL SOUND

88 Apr-Jun 2014

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WORSHIPTECHNOLOGIES

Apr-Jun 2014

Founded by the Daughters of Charity in 1862, Saint Agnes Hospital is a ful l-service teaching hospital in Balt imore, Maryland with residency programmes in medicine and surgery. As part of a recent expansion programme, Saint Agnes renovated its chapel. The newly renovated chapel retains historic features l ike a circular stained glass window but includes new marble f loors and freshly painted walls. The hospital knew that the chapel would need a new audio system. The existing audio system had uneven coverage and poor sound quality, and the existing pendant loudspeakers did not match the chapel’s new appearance. Anne Buening, Vice President of Mission Integration at Saint Agnes, contacted Joe Schwartz of HP Electronics who recommended an audio system using a Community ENTASYS 212 loudspeaker. “I had worked with Anne on another church sound project using ENTASYS,” said Schwartz. “And I knew ENTASYS could do the job despite the acoustic diff icult ies presented by the new marble f loors and painted walls.” Schwartz designed a new audio system for the chapel using a single ENTASYS 212 on one side. His calculations showed that a single ENTASYS could cover the entire chapel well and he wanted to avoid a chal lenging wir ing path to the other side. He completed the system with a new DSP and power amplif ier, a pair of wireless microphones and a gooseneck microphone for the lectern. Anne Buening noted that the system was f inished in t ime for a special “Healing Hands” ceremony honouring three physicians in December. She commented: “Several of the hospital’s management staff were present at the ceremony and said they could hear everything very well.”

Schwartz added: “I was very pleased with the results. The single ENTASYS is discrete yet it covers the chapel very well and we were able to complete the job within the hospital’s budget. The affordabil i ty of the entire ENTASYS 200 series is unprecedented for this level of loudspeaker.”

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WORSHIPTECHNOLOGIES

Apr-Jun 2014

With a f lourishing network of worship faci l i t ies across southern Cali fornia, international ly and via webcasts, the Saddleback Church, with a congregation of tens of thousand around the world, has grown accustom to the bold sermons from Pastor Rick Warren in an excit ing atmosphere. Highl ighted by a wide variety of HARMAN’s Martin Professional l ighting f ixtures, the church has developed a type of service that has evolved from a single preacher on a stage to an al l-encompassing music and l ight show experience. Flashing l ights, passion-f i l led songs and roaring applause breaks are the norm for Saddleback.

Saddleback’s main worship center, out of the six in the Lake Forest, CA campus, boasts six MAC Viper Profi les and 18 Auras along the stage. The main worship center seats 3,000 members per service, averaging more than 17,000 worshipers per weekend. The addit ional worship areas on the Lake Forest campus range from 50-600 capacity l imits, offering different takes on the Church’s sermon for the day, whether a more tradit ional service, hard rock, or other genre, to keep parishioners entertained and engaged. Each of the remote campuses features a wide variety of Martin f ixtures as well.

HARMAN’S MARTIN PROFESSIONAL FIXTURES FOR SADDLEBACK CHURCH

90 Apr-Jun 2014

WORSHIPTECHNOLOGIES

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WORSHIPTECHNOLOGIES

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In-house l ighting designer, Alex Ful ler, has played a large part in the implementation of Martin l ighting f ixtures into Saddleback Church. “We’re here to provide an experience for the community, not just a stage for your average worship service,” stated Ful ler. “The Vipers perform perfectly once they’re up in our venues, and the Auras are workhorses that we can rely on week after week, without worry.”

A routine day of service in the main worship venue transit ions between the band performing f ive to six songs, regular and guest speakers and videos playing. Two 24x13-foot screens f lank the stage for an enhanced visual experience.

Recently, Saddleback has added satel l i te campuses in Hong Kong, Buenos Aires, and Berl in. In addit ion to creating del ightful, custom l ight shows for each sermon and concert, the church broadcasts each service l ive to its congregation around the world. “Our worship center has become more of a broadcast room, with thousands of people both participating l ive and watching abroad,” said Greg Baker, Global Technical Director, Saddleback Church. “Lighting is a huge part of broadcast and the Martin f ixtures

al low us to provide top-notch quality over our high-definit ion broadcast channel every day. Martin translates very well on air and that’s something our remote members appreciate.”

“The support system Martin has developed for its customers has sol idif ied my appreciation for its l ights. I’m a Martin fan through and through,” continued Ful ler. “Every type of f ixture in the industry eventual ly wil l require service and Martin is on top of it immediately. We are never down and can always rely on Martin no matter what our worship services, in any part of the world need.”

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PRODUCTSHOWCASE

Apr-Jun 2014

LIGHT SKY LIGHTING FOR THE VOICE OF LITHUANIA

The Voice of L i thuania, the most popular ta lent show in L i thuania, k icked off on December 7, 2013 once again and Light Sky’s Bumble Bee moving beam F230 ser ies was part of the stage l ight ing insta l lat ion on the TV Stat ion, a long with several large led display screens, LED rope l ights, taser l ights, a grand dome, a centra l large plat form, dig i ta l lamps, structure project ions and more.

The Li thuania TV l ight ing designers decided to use Light Sky’s Bumblebee ser ies l ights because of their h igh br ightness, fu l l and sharp beams, super ior speed, accurate posit ioning, funct ional i ty, compact design, as wel l as the qual i ty of L ight Sky’s after-sale serv ice. As one of the l ight ing designers commented: “Since using Light Sky’s products, there has not been any problem with the l ight ing f ixture. The high qual i ty performances absolute ly meet our requirement, we are very happy to work with L ight Sky.”

By Fly Dragon

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PRODUCTSHOWCASE

Apr-Jun 2014

About Light Sky LightingEstabl ished in 1993, L ight Sky has become a leading manufacturer in the stage l ight ing industry. L ight Sky won numerous l ight ing bids both domest ic and overseas, such as the 2012 South Korea World Expo, PSY’s Internat ional Concert 2013, Miss Universe Slovak Republ ic 2013, Areosmith Phi l ippines 2013 and Spr ing Fest iva l Gala 2012, the Same Song, as wel l as many CCTV stat ions. In 2009, L ight Sky establ ished a strategic re lat ionship with Shanghai Theatre Academy and Guangdong Univers i ty of Technology. Dur ing the same year, L ight Sky was recognised as one of the top f ive brands in the China stage l ight ing industry.

For more informat ion on Fly Dragon or L ight Sky, please v is i t en.l ightsky.com.cn .

94 Apr-Jun 2014

Qu-24 CompaCt Digital mixerBy Allen & HeAtH

www.allen-heath.com

Allen & Heath has introduced the 30 in / 24 out Qu-24 to its Qu series of compact digital mixers, which also includes the rack mountable Qu-16. Qu-24 features total recall of settings (including 25 motorised faders and digitally controlled preamps), an intuitive Touchscreen, Qu-Drive integrated multi-track recorder, dSNAKE for remote I/O and personal monitoring, multi-channel USB streaming to Mac, Qu-Pad control app, and iLive’s renowned FX library to deliver class-leading audio quality.

Features:• A dedicated fader per mic input channel• 24 mic/line inputs and 3 stereo inputs• 4 FX engines with 4 dedicated sends and stereo returns• 20 mix outputs including 2 Stereo Matrix Mix Outputs and 2 Stereo Groups with full processing• Patchable AES digital output with a further 2-channel ALT output• Dedicated Talkback mic input, and 2-Track output• High speed dual core DSPs provide comprehensive channel and FX processing, with ample room for future

processing updates and functionality• Five latest generation super-efficient ARM core processors run in parallel to efficiently deliver startling performance• Equipped with a high resolution (800x480) full colour Touchscreen • Qu-Drive, the mixer’s integrated 18-channel USB recorder, works with an external USB drive to record and playback

multi-track and stereo audio .wav files• A&H’s proprietary dSNAKE low latency audio connection enables the mixer to connect over a single Cat5 digital

snake to a remote audio rack, such as the AR84 or AR2412, and is compatible with the ME personal mixing system• Motorised faders provide total recall of mix levels and switching between layers

XONE:23 DJ mixerBy Allen & HeAtH

www.allen-heath.com

Allen & Heath has launched the Xone:23, a 2-channel DJ mixer packed with pro features that would normally be found in the booth of a top-rated club, including an enhanced version of the legendary Xone filter with resonance control, VCA faders, 3 band total kill EQ, illuminated switches, crossfader curve selector, with styling inspired by

the flagship Xone:DB4.

Features:• Equipped with the renowned analogue Voltage Control Filter (VCF) system offering Low-Pass and High-Pass

filters, frequency sweep and ‘mild to wild’ resonance control• An FX loop to connect to third party FX units, which routes back in through the filter system• The 2 stereo channels feature independent level controls for each input enabling up to four stereo sources to

be simultaneously routed to the mix, as well as the dedicated send and return system for external FX• The mixer can also be upgraded with the latest Innofader for enhanced scratch performance, available as an

accessory from Allen & Heath• The main mix output and mic input are on professional standard balanced XLR’s, and there is a dedicated

record output• Equipped with comprehensive monitoring facilities, including a booth output with its own volume control, a

cue mix control, and signal levels clearly displayed on the 9 segment peak hold meters• Includes soft touch, backlit controls, light-piped meters and a distinctive new shaped steel faceplate

95Apr-Jun 2014

ATLAS By Prism sound

www.prismsound.com

Internationally renowned manufacturer Prism Sound has unveiled its third new interface product. Complementing the company’s existing Orpheus, Lyra and Titan interfaces, Atlas offers the same no-compromise design and acclaimed converter performance

that users have long come to expect from Prism Sound’s high quality audio products.

Features:• Designed with Prism Sound’s latest and award-winning CleverClox clocking technology• Incorporates eight of the company’s popular mic pre’s as standard• Aimed squarely at multitrack recording applications• Offers recording professionals ultimate quality analogue and digital I/O for Mac or Windows PC at sample rates up to 192kHz

via a simple USB interface• Features Prism Sound’s new MDIO interface expansion slot• Specifically designed to meet customer demand• The unit draws on Prism Sound’s conversion and clocking expertise developed over many years in products ranging from the

AD-2 and DA-2 and the popular ADA-8XR modular converter to Orpheus and the latest releases, Lyra and Titan• Offers eight analogue inputs, eight analogue outputs plus S/PDIF and TOSLINK optical digital I/O ports• The optical ports can also be used for ADAT, giving a single Atlas unit a maximum capability of 18 concurrent input and

output channels plus dual stereo headphones • Features high quality digitally-controlled preamplifiers – eight for microphones and two for instruments, which are

automatically selected when the respective sources are plugged in• An assignable rotary control is provided for monitoring of output level control, which can be applied to any desired set of

output channels• Dual stereo headphone outputs are provided, each with its own volume control• Has a powerful built-in DSP engine, which provides high precision input and output conditioning functions, as well as a fully-

featured mixer for every Atlas output channel, including ADAT channels• Each output can be driven with its own zero-latency mix of input channels and DAW feeds, allowing flexible performers’

foldback feeds to be created, as well as stereo or 5.1/7.1 surround monitoring feeds, controlled by the front-panel rotary control if desired

• All of Atlas’ functions, aside from the front panel monitor and headphone level controls, are controlled from a dedicated Control Panel app, which opens on-screen

LYON linear SounD reinforCement SyStemBy meyer sound

www.meyersound.com

Meyer Sound has announced the self-powered LYON™ linear sound reinforcement system, the newest addition to the LEO™ Family of linear loudspeaker systems. Incorporating the technology of the LEO Family in a lighter and more compact package, LYON extends the advantages of highly linear self-powered systems to a broader range of venues and applications.

By combining this high level of linearity with a more flexible package, LYON will open up many more opportunities for listeners to experience the performance advantages of a linear system.

Features:• A system that stays linear across all frequencies and at very high sound

levels• Available in two versions: the LYON-M main line array loudspeaker and the

LYON-W wide-coverage line array loudspeaker • Complemented by the 1100-LFC low-frequency control element and the

Galileo® Callisto™ loudspeaker management system, the LYON-M can anchor a powerful system for installations in arenas and large auditoriums, as well as tours and festivals

• The LYON-W can serve as down fills to augment a LYON-based system• Both LYON versions can be used to provide supplemental coverage in a

LEO system

96 Apr-Jun 2014

d:facto™ VoCal miCrophoneBy dPA microPHones

www.dpamicrophones.com

DPA Microphones has unveiled new grids with gold and nickel finish for the d:facto™ Vocal Microphone. The new grids are available as accessories to existing systems and can be purchased as metal grids only or as total solutions with foam and pop screen. Additionally, the nickel option matches the finish available on the Sennheiser 2000, 5200 and 9000 wireless mic

systems and comes complete with corresponding adapters.

Features:• The d:facto line offers an extraordinarily natural sound with high separation and extreme

SPL handling, giving users unlimited possibilities for their performances• In addition to use with the wired DPA handle, the d:facto II provides singers and engineers

with the added benefit of a state-of-the-art adapter system, allowing seamless integration with many professional wireless systems

• With its superb linearity in frequency and phase, both on- and off-axis, the d:facto offers impressive definition and accuracy in reproducing a singer’s voice effortlessly, improving audio performance

• Its simple plug-and-play features allow it to reproduce an extraordinarily natural sound, capable of achieving the extreme sound level handling of 160 dB

• As with all DPA mics, the d:facto provides superior gain before feedback and a robust three-stage pop protection grid built into the microphone to remove unwanted noise

• It also boasts exceptional isolation from handling noise as well as the ability to accommodate extreme sound levels

d:fine™ 66 anD 88 miniature heaDSet miCSBy dPA microPHones


DPA Microphones has recently introduced its d:fine™ 66 and d:fine 88 Miniature Headset Microphones at the 2014 NAMM Show (Booth 7119). These new products join the original d:fine as well as the traditional 4066 and 4088 Miniature Headset Microphones under the company’s d:fine Headset Microphone family. With a contemporary look and feel, the new mics will carry on the sound capabilities of the microphone capsules from the classic 4066 and 4088, and the features of the modern d:fine mechanics, such as an advanced headset mount and

flexible ear hooks.

Features:• A total of four capsules, two omnis and two cardioids,

and three headset mounts, single-ear, dual-ear and personalized mount, the d:fine Headset Microphones Series offers something for every user and environment

• The new DPA d:fine 88 Directional Headset Microphone and d:fine 66 Omnidirectional Headset Microphone, which is recognized by the rounded capsule/housing of the 4066/4088 predecessors, is intended for use by actors, musicians and singers who require optimal sound and grid cleaning/changing options

• The d:fine Headsets that are recognized by their low-profile flat microphone head are perfect for presenters, speakers or hosts who require minimal visual impact

• The classic 4066 and 4088 are for users who prefer a more personal fit to the headset mount

d:dicate SEriES mmp-f moDular aCtiVe BoomBy dPA microPHones


DPA Microphones, the manufacturer of high-level reference and headset microphones, has recently introduced its new d:dicate Series MMP-F Modular Active Boom. Intended for use with the d:dicate MMC4011 Cardioid and MMC4018 Supercardioid mics for podium, floor stand or hanging applications, the MMP-F relies on the same technology as the

company’s MMP-E active cable.

Features:• Equipped with an active boom pole preamp,

the MMP-F is available in a variety of lengths and gooseneck options

• Fits to any modular d:dicate capsule and offers excellent radio frequency rejection, which is obtained through the DPA-designed impedance balancing with active drive

• The MMP-F Booms are available in 15-, 30- and 45-cm hanging/table/podium options and as 75- and 120-cm floor stand choices

• In addition to the MMC4011 and MMC4018, the d:dicate range also includes the MMC4007 High-SPL Omnidirectional Capsule and microphones from the familiar and well-loved DPA Reference Standard series, including the modular 4000 and 2000 Series

97Apr-Jun 2014

UDA 16By WorK Pro

www.equipson.es

UDA 16 is a new concept of modular column with Line array shape with an elaborate system of filters and 16 transducers with a wide frequency range.

Features:• Cylindrical waveform (Line Array effect),

reducing pressure at only 3dB each time the listening position doubles (minimum loss)

• Beam control or vertical dispersion in all the reproduction band of the column, to control at anytime the presence of undesirable effects induced by wall and ceiling reflections. In addition, it concentrates power on the area that has to be covered (minimizing the secondary lobes effects)

• Line Array column with 22º uniform vertical dispersion control (1260Hz-16KHz for one column, 630Hz-16KHz for two stacked columns)

• 140º horizontal dispersion• Minimum loss when the distance increases

(only 3dB each time the listening position doubles)

• Composed of 16 transducers of 2.75”• Suitable for outdoor applications• High speech intelligibility, being adequate for

speech and music applications• Modular design / possibility to stack units• Optional 70/100 V transformer

BLuELiNE Digital SyStemBy WorK Pro

www.equipson.es

A distributed audio system based on streaming using Ethernet. It is possible to transmit several channels (+ control) via Ethernet as data and with very low latency. It can be a simple transmission from one point to another or to multiple points,

but also a full multichannel system with control and alarm management.

Features:• Offers up to 64 stereo channels to distribute different audio sources with very low latency• Plug & play system makes it easier for users to set up and offers several intuitive solutions for locally

controlling each zone• Uses the OSC (Open Sound Control) protocol, making it possible integrate it in third-party systems• The whole system can be controlled by a tablet or a smartphone • Also includes an alarm system and paging function• Capable of installing local wall panels or the PoE (Power Over Ethernet) Technology it is based on

Z15 & Z18By WorK Pro

www.equipson.es

Features:• New series composed of 4 models, Z15 (single 15”), Z18

(single 18”)• Can be configured passive or active• Active ones add a 1000 W Class D amplifier (Z15 A and Z18

A) and a built-in DSP, which joined, achieve a perfect sound adjustment

• Designed to optimise the frequency response, adjusting it to the requirements of each device where it is integrated into

• Passive models add a single 15” woofer (Z15), which has a continuous power of up to 500 W @ 8 Ω and a single 18” (Z18) woofer that has a continuous power of up to 600 W @ 8 Ω

• Inclusion of two passive models and two active models allows the increase of the number of possible configurations, from an independent subwoofer reinforcement (passive model) to a self-powered system

• Able to make a Cardioid pattern configuration, which reduces (almost eliminates) the low frequencies radiation backwards, avoiding interferences and unwanted noises on stage

98 Apr-Jun 2014

HIGHLite Laser 12kBy digitAl Projection

www.digitalprojection.com

Digital Projection, an Emmy® Award-winning manufacturer of high performance projection systems, has announced the launch of the world’s first production high

brightness laser projector: the HIGHLite Laser 12k

Delivering a stunning 12,000 Lumen output, the HIGHLite Laser 12k boasts 20,000 hours of stable solid-state illumination with a WUXGA resolution. The projector was developed with an emphasis on ‘Fit and Forget’ – meaning that installers and system integrators can deploy the projector and need not worry about lamp changes or

expensive maintenance cycles.

It is perfectly suited for all vertical channels. Edge Blend is included along with geometric correction functionality. Fully active 3D with upto 144 Hz refresh rate offers flicker-free viewing. Dual HDMI 1.4, DVI and 3G-SDI inputs provides the very latest high speed video delivery. To complement all of this, HDBaseT connectivity allows for the transmission of uncompressed High Definition Video over a CAT5e/6

LAN cable. To suit every application, the lenses range from 0.77:1 to 6.76:1.

M-Vision 930By digitAl Projection

www.digitalprojection.com

Digital Projection, an Emmy® Award-winning manufacturer of high performance projection systems, has announced the launch of the world’s brightest single chip

DLP projector: the 12,000 ANSI Lumen M-Vision 930 WUXGA.

With a contrast ratio of up to 5,000:1 and fully active 3D with up to 144Hz refresh rate, the M-Vision 930 offers features normally associated with high-end 3-chip systems at a single-chip price point. The 0.96” DarkChipTM DMD, 6 Segment Colour Wheel and Dual 465W High Intensity Discharge Lamps produce unrivalled

image quality and brightness.

Dual HDMI 1.4, DVI and 3G-SDI inputs provide the latest high speed video delivery. HDBaseT connectivity allows for the transmission of uncompressed High

Definition Video over a CAT5e/6 LAN cable.

For complete versitility, Edge Blend and Geometric Correction are standard features of the M-Vision 930 WUXGA, including the ability to blend stereoscopic images. A complete suite of professional lenses offer throw ratios from 0.84:1 to

4.00:1 and all feature motorised shift and zoom.

99Apr-Jun 2014

A.LEDA B-EYE K10By clAy PAKy

www.claypaky.it

The B-EYE K10 version with rotating front lens makes its world debut at ProLight+Sound. By popular demand, Clay Paky has decided to add this important feature, which was previously only available on the K20 version. The K10 and K20 luminaires therefore provide identical features: same optics, same color engine, same visual and “beam” effects. Only the light output changes, since the B-EYE K10 is fitted with 19 LEDs, while the B-EYE K20 has 37. Both versions excel for their light output, higher than other LED fixture of same power category. Thanks to its light weight (only 15 kg), its small size and silent operation the B-EYE K10 is a very interesting luminaire for a variety of professional applications. It is particularly suitable for studio and theatre productions, where its unmatched versatility may be exploited.

A.LEDA B-EYE K10 CCBy clAy PAKy

www.claypaky.it

For those many professional users who wish to use the superior optical characteristics of B-EYE technology exclusively in the wash mode and do not need the mid-air and graphic effects, Clay Paky has created a simpler version, called the A.leda B-EYE CC (Color Changer). Unlike the full version, this fixture does not provide control of each pixel and does not have a rotating front lens. The A.leda B-EYE CC is therefore an extraordinarily bright LED-wash, with a perfectly uniform light field, a really wide zoom (from 4 to 60 degrees), and complete color and white light management. B-EYE CC fixtures are an indispensable tool in every show, where they make the utmost in modern colour wash technology. They are perfect for TV studios, theatres, tours, corporate events, showrooms and theme parks.

A.LEDA B-EYE K10 EASYBy clAy PAKy

www.claypaky.it

The B-EYE K10 version without front-lens rotation, which Clay Paky launched at Plasa 2013, has not been discontinued but it has been renamed the B-EYE “easy”, owing to its simplified features. This luminaire is highly suitable for all uses where special visual effects are not needed. As a washlight this version is identical to the full-feature B-EYE; it offers also individual LED, since this is essential for creating unique aerial effects in the beam mode. Versatility, light-weight, compact size, high output and outstanding performance/cost ration make B-EYE “easy” an very valuable alternative.

A.LEDA B-EYE K20By clAy PAKy

www.claypaky.it

The A.leda B-EYE K20 is a high performance wash light, a breathtaking beam light, and a creator of completely new spectacular visual effects. Its unparalleled versatility makes it an extremely interesting creative tool for all lighting designers. First and foremost A.LEDA B-EYE K20 is a perfect wash-light, generating beautiful colors and featuring an impressive, wide 6° to 70° beam aperture. The zoom however can be closed even further, down to as little as 4 degrees thus switching the light from a wash diffusion into a narrow and parallel beam. In this operating mode B-EYE becomes a “beam-light”, whose beam consists of an array of nearly indiscernible, individually controllable little beams. As in the B-EYE LEDs can be controlled one by one, the light beam is a pulsating bundle where every micro-beam has its own color and shade. A.LEDA B-EYE K20 finally introduces a totally unseen feature that turns it into a stunning effect light: the front lens can be rotated in either directions and at variable speed and many little beams are created, that can be unfolded or closed like petals. When colors and dynamic patterns are added, B-EYE generates countless kaleidoscopic projections, as no other LED fixture has ever done.

100 Apr-Jun 2014

ChauVet profeSSional ÉPiX SEriES

By cHAuVet ProfessionAl

www.chauvetprofessional.com

Designed for creating near effortless full-color pixel displays, the ÉPIX Bar 2.0 and ÉPIX Strip 2.0 are a one-meter bar and strip respectively that work together seamlessly and set up in minutes with minimal technical know-how. ÉPIX Bar 2.0 and ÉPIX Strip 2.0 can be easily controlled via industry standard Art-Net™ or ArKaos Kling-Net protocol. Up to four ÉPIX Strip 2.0 linear fixtures can be linked via network cables with a new hardware linking system. Featuring a wide 120-degree viewing angle, 25 mm pixel pitch and more than 2500-nit brightness, the ÉPIX Bar 2.0 houses 160 tri-color SMD 5050 LEDs and the ÉPIX Strip 2.0 contains 40 SMD 5050 LEDs for excellent color rendering. Each unit comes with both a frosted and clear lens cover, allowing the designer to further customize their fixtures to the application. Also included in the system is the ÉPIX Drive 642 (sold separately), which hosts the fixtures’ processing and power supply in one convenient device

and is required for their operation.

ChauVet profeSSional NEXuS AQ 5X5 anD

NEXuS Aw 7X7 By cHAuVet ProfessionAl


Members of the new Nexus Affinity™ Series, the Nexus Aq 5X5 and Nexus Aw 7X7 pixel mapping LED panels offer the ultimate flexibility to build anything from stage totems to large array displays – and they can be used in virtually limitless ways: to create high-impact aerial effects, as a stage wash or audience blinder, or for vibrant text and animated graphics. This makes the panels ideal for a wide variety of applications — from live events, touring and stage productions, to nightclubs and entertainment venues, to broadcast studio illumination. Projecting narrow beams and featuring a smooth dimming curve, the Nexus Aq 5X5 RGBW panel utilizes 25 x 10-watt quad color LEDs, while the warm white Nexus Aw 7X7 contains 49 x 3-watt 2,800K white LEDs. Both models are controllable via DMX, Art-Net or Kling-Net and can be used with an optional Affinity Rig Kit to further simplify the building

of large displays.

ChauVet profeSSional LEGEND 412Z By cHAuVet ProfessionAl


With an all-new, wide-ranging 8-33-degree zoom and the enhanced brightness of 12, 10-watt quad-color RGBW LEDs, this moving head wash fixture is more versatile and powerful than ever. Featuring fast precise pan/tilt movement and four zones of independent pixel mapping control, the Legend 412Z also offers flicker-free operation and road-worthy construction, making it an excellent choice for

everything from touring to broadcast/film applications.

ChauVet profeSSionalLEGEND 330Sr SPOT

By cHAuVet ProfessionAl


Utilizing an ultra-powerful 330-watt 8,000K Osram Sirius lamp, this moving head spot emits an amazing output for its compact size — up to 29,940 lux at 5 meters — while its precision optics and even field of light yield stunningly crisp gobo projection. Along with greater brightness, the Legend 330SR Spot offers designers a greater array of creative options, including a custom designed CMY color mixing system, 8-23-degree zoom, 22 gobos (8 rotating, 14 static), 8-facet rotating prism, dimmer, iris, shutter/strobe, motorized focus, and variable frost filter that allows it to do double-duty as a wash-type fixture. The Legend 330SR Spot can be operated on 21 or 27 DMX channels, and it includes 3- and 5-pin XLR connectors and Neutrik® powerCON®

connectors for fast, easy setup.

101Apr-Jun 2014

Xr 1000 moVing heaDBy Pr ligHting

www.pr-lighting.com

PR Lighting is planning a major launch at this year’s Prolight+Sound Show in Frankfurt for Spot and Beam versions of its new XR 1000 moving head. The fully automated system, housing an Osram HTI 1000 W/PS 1000W metal halide lamp, will receive its world debut.

Features:• Housed in an IP20, high temperature engineered plastic chassis• Boasts several advantages over competitive models. For example it is

brighter than a conventional 1200W discharge lamp, and with a weight of just 31kg it is both lighter, and smaller, than its market rivals

• Highlights of the powerful feature-set are seven rotating gobos and seven fixed gobos; a three-fact prism, soft frost and fire effect wheel, and a linear zoom with range of 9°-47°

• Other features include: 2800K-6500K linearly adjustable colour temperature; smooth CYM colour mixing system, plus CTO with macro; colour wheel with seven colours (plus white) and vari-speed bi-directional rainbow effect; step/linear colour changing; DMX linear focusing and zooming; 0-100% linearly adjustable dimming and 5-100% linearly adjustable iris (with macro); double shutter blades with shutter speed of 0.3-25 fps (with macro); other beam angles include 10°-21° (5° in high light) and frost effect 9°-31°

• The adjustable head movement itself offers 540° of pan and 270° (tilt)• Also offers a number of other useful features to facilitate operation.

These include: Use time display for the projector and the lamp respectively; English & Chinese Menu in LCD (brightness and contrast adjustable); Energy saving ballast; Sensor Diagnosis function; Input signal protection and isolation; Modular structure for easy maintenance; DMX512 wireless signal; Optional DMX512 transmitter and RDM

F1000 SPOT-50rBy fly drAgon ligHting equiPment co.,ltd

www.lightsky.com.cn

Features:• Voltage: 100V-240V (universal voltage) • E-Ballast: Original made in Germany Ballast• Lamp: Osram Lok-it HTI 1000 W/PS • Lens: High precision optical lens• Color Temperature: 6200K-6500K • Life Span: 750H• Color: CMYK color System• Gobo: 10 rotation gobo + 4 fixed gobo + animation range • Prism: 4 face prism • Frost: 1pcs frost filter, zoom from 10-60° • Focus: 0-100% liner adjustment• Zoom: 6.5-44 degree • Pan/Tilt: Pan 540°, Tilt 270°, automatically accurate position• Strobe: Double lens strobe (0.5-10 times/second) • Motor: 23pcs mute sound motor, 2pcs three phase motor, 16 bit driver• Control Mode: Standard DMX512 • Channel: 34 Channel • IP Rate: IP42• Feature: Remote control lamp’s on/off, Automatically adjust cooling fan

speed and enter into energy-saving mode when the strobe off.• Structure: Plastic • Size: 451 X 373 X 788 (mm)• Packing: Fly case packing • N.W: 37kg

AE 710 BeamBy Acme

www.acme.com.cn

Based on the Philips MSD Platinum 2R (AE-710 Beam), the AE 710 Beam is capable of delivering more powerful light output than other similar products, as well as giving more selection for users on light sources. It features a 3° beam angle and is specially designed with a triple 8 facet prism and trapezoid facet prism as well, which will allow different projecting effects. The AE 710 Beam is also equipped with 17 static gobos and is also capable of performing various gobo shapes with high quality and sharpness. It has smooth dimming from 0 to 100% among 14 dichroic colors and features more options for different kinds of brightness and colours, enabling it to reflect and/or correspond with a specific

background theme and requirement.

The energy saving AE-710 Beam is also a quality professional entertainment and stage LED lighting equipment for long throw applications. This high-power moving headlight provides strong light output of up to 24800lux at 20m and powerful beams for selected built-in programmes. It can also effectively create spot atmospheres. Applications include: stages, concerts, fashion shows

and clubs.

102 Apr-Jun 2014

SHOTLiGHT wASH fixtureSBy clAy PAKy

www.claypaky.it

Main Light Industries, Inc., the Wilmington, Delaware-based firm, which has become one of the largest rental houses in the country, has further expanded its inventory with Clay Paky Shotlight Wash fixtures. A.C.T Lighting is the exclusive distributor of Clay Paky lighting in North America. In the last two years Main Light, which serves all of the professional lighting industry, has acquired complements of Clay Paky Alpha Spot QWO 800s, Alpha Profile 800 STs, Sharpys, Alpha 700s and Alpha Spot HPE 1500 fixtures. Now, Main Light has continued to diversify its impressive Clay Paky offerings by investing in Shotlight Washes.

Features:• Shotlight Wash is a totally new kind of projector that combines an

extraordinary 1500W discharge lamp washlight and a 3000W Xenon lamp strobe in one device

• The two-wash/strobe functions are perfectly integrated and can be operator controlled with either simultaneous or separate operation and special effects

• The “strobe” function is provided by two semicircular Xenon lamps working independently, so they can flash together or separately at different frequencies

• Combines the wash and strobe elements in one fixture• The dual use of a wash fixture plus two insanely bright strobes give the fixture

twice the functionality

GTD-L1O11PBy gtd ligHting ltd

www.gtd-china.com

GTD-L1011P consists of 11pcs OSRAM 4-in-1 LEDs, linear color-mixing, built-in macros with a long lifetime of 50,000 hours, featuring 2700K/3200K/4500K/5600K/6500K/7200K adjustable colour temperature and 15° beam angle. It also boasts 0~100 per cent electronic linear dimming and fast strobe. Other features include: super brightness and compact size, IP 67 rated and super collimator lenses. It is suitable for use in theatres, entertainment venues

such as clubs, and for outdoor events.

harman’S MArTiN PrOFESSiONAL M6By HArmAnwww.harman.com

Martin Professional’s new M6 is a state-of-the-art lighting console that functions as a highly advanced visual control surface. Designed to control everything from conventional and moving lights to the most advanced media server, the M6 has been designed for today’s demanding multimedia shows and tomorrow’s challenges. Incorporating the latest available technologies with an industrial multi-core processor, solid-state drives and custom-designed high-brightness touch screens, the M6 is capable of delivering up to 64 DMX universes directly from the console’s network ports without using costly external processors.

Features:• 2 x Positionable BriteTouch™ widescreens (sunlight readable, multi-touch) • 2 x External DisplayPort touchscreens up to 1920x1080 per output • 2 x FastTouch™ 3.5” touchscreens • 1 x LiveBlender™ split T-Bar with • 8 x FastBlend™ RGB buttons • 4 x FastTrack™ linear encoders • 12 x FastDial™ rotary encoders • 1 x Dedicated dimmer wheel • 10 x Motorized playbacks with LCD displays and 4 customizable buttons • 10 x PlayPairs™ buttons with LCD displays • 12 x Sub Playback faders and • 12 x Sub Playback buttons • 2 x Main Go sections • 12 x F-Keys and 5 x FastKeys™ • Low profile housing with adaptable module layout • Show-ready boot up in under a minute • Up to 64 DMX universes directly from the console network ports

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