direct from: www.etnow.com Regulars Contents this month Jobs and Careers Web Directory Features Issue: 341 ARRI opens a mixed reality studio available for hire page 25 July 2021 An Alcons system has been trusted to deliver sound that complements its high quality food, service and entertainment in the Cirkus theatre complex. Aistenok Irkutsk Regional Puppet Theater recently upgraded its stage lighting and chose Elation Professional LED luminaires. Dark Matter Gallery Launched in Berlin page: 17page: 24 page: 2 page: 31 pages: 28 to 31 Robe lighting is delighted to be involved in Dark Matter, initially with the supply of Tetra2 and MegaPointe fixtures. Hawthorn has transformed into Encore! Visit our new hire website hire.encore-emea.com w: encore-emea.com t: 01664 821 111 e: hire-uk@encoreglobal.com Electro-Voice launches PREVIEW software for quick, precise loudspeaker coverage prediction Electro-Voice has introduced PREVIEW, a new platform-independent software application designed to configure Electro-Voice line-array loudspeakers for optimised coverage. The software provides efficient system setup by creating visualisations of coverage, SPL, frequency response and precise mechanical load calculations. More on page 6 Elation LED upgrade for Aistenok Puppet Theater page: 26 Alcons Audio Serves Up Quality Sound at The Cirkuscontents this month July 2021 page no. Features page : 4 page : 7 page : 10 page : 9 TECHNICAL STANDARDS FOR PLACES OF ENTERTAINMENT Revised in July 2020 Available now from www.etbooks.co.uk 19 New state-of-the-art WELT TV Studios Equipped with Robe T1 Fresnels The 98 Robe T1 Fresnel luminaires were chosen as a key element of the lighting design for several reasons including the overall quality, value, and form factor of the products. 20 Video Evokes Volbeat Live Show and its Niller Bjerregaard Design Powered by ChamSys A 40 universe Niller Bjerregaard light and video show was powered by the designer’s two ChamSys MagicQ MQ500 Stadium consoles. 21 White Light Puts on a Performance at Royal Conservatoire of Scotland The Royal Conservatoire of Scotland recently opened a brand-new rehearsal and performance space for its students and approached White Light (WL) to provide the lighting equipment. 22 Robe Triumphs at the Opera Lighting designer Christina Thanasoula lit a recent Greek National Opera production of “Juditha Triumphans” with the help of some Robe LEDBeam 150s. 24 Elation LED upgrade for Russia’s Aistenok Puppet Theater Aistenok Irkutsk Regional Puppet Theater recently worked with Light Power Design to upgrade its stage lighting and chose low noise, low heat Elation Professional LED luminaires. 25 ARRI opens a mixed reality studio available for hire in the UK ARRI has opened its new mixed reality studio in the UK. It is equipped with an LED volume comprising 343 square metres of LED wall, which was installed in partnership with NEP Live Events production and Creative Technology. 26 Dark Matter Gallery Launched in Berlin Robe lighting is delighted to be involved in Dark Matter, initially with the supply of Tetra2 and MegaPointe fixtures. 12 Robe Shimmers for Henk-Jan van Beek’s Eurovision Lighting Henk-Jan van Beek specified 740 Robe moving lights for the ESC, which made up over a third of the total lighting rig which came in at a count of 1,782 . 14 Second digital Prolight + Sound BIZLounge now available: round tables, video showcases and initial news about the fair In panel discussions at the Second Prolight + Sound BIZLounge, renowned representatives of associations, companies and venues scrutinise the most urgent issues currently facing the sector. 15 Austria for Life live broadcast charity show impresses with PIXERA Rezac HPP from lower Austria used AV Stumpfl‘s multi-award-winning PIXERA media server system for realising the projection mapping for the 90-minute-long live TV charity fundraising show was broadcast. 16 Brompton Technology provides technical backbone for 80six’s new Virtual Production Studios 80six, recently opened the doors to its virtual production studios in Slough. The VP facility boasts a preconfigured curved LED stage. Brompton Technology products are part of the studio’s high-end technical backbone. 17 Mamma Mia! Alcons Audio Serves Up High Quality Sound at The Cirkus An Alcons system has been trusted to deliver sound that complements its high quality food, service and entertainment in the Cirkus theatre complex. 18 Mountview’s Shakespeare In Love Gets Varied Looks from Adam King and Chauvet Professional A house rig featured over 40 Chauvet Professional fixtures. Among them were 15 Ovation E-910FC ellipsoidals, which served as the main face light and keylight into the peace, as well as 16 Ovation F-915FC Fresnels, which were used for top lighting, back lighting and silhouetting.from the editor direct from: www.etnow.com Entertainment Technology is published 12 times a year in conjunction with the leading industry portal www.etnow.com Editor: John Offord Technical Editor: Jackie Staines Published by: Entertainment Technology Press Ltd The Studio, High Green Great Shelford Cambridge CB22 5EG Telephone: +44 (0)1223 550805 Fax: +44 (0)1223 550806 Website: www.etnow.com email: editor@etnow.com © Entertainment Technology Press Ltd. Subscription Rates: Annual Subscription for 12 issues (UK): £27.50 Annual Subscription (overseas): £50.00 Subject to acceptance, subscription is free to UK based industry professionals. Subscribe online at: www.etnow.com/etmag/ Opinions expressed in Entertainment Technology are not necessarily those of the publishers. All rights are reserved and reproduction of any part in whatever form is prohibited without the prior permission of the publishers. etnow.com (entertainment technology news on web) is the industry portal site with news from around the world added daily under various sector headings coupled to an extensive archive. The site also features a books section where titles from Entertainment Technology Press can be ordered online via our secure Sage Pay credit card services. Issue: 341 AC-ET Helps the National Theatre Share the Load Safely Looking for a robust and flexible method of load monitoring across its three indoor spaces, the National Theatre, London, have recently invested in a Kinesys load measuring system to help them monitor their loads more carefully and add an additional level of safety. Since its opening in 1963, the National Theatre has produced well over 800 plays, staging a broad range of productions in London as well as touring extensively across the UK and internationally. Its wide-spread nationwide learning and participation programme supports creative education for young people through performance and writing programmes. In addition, the programme of talks, events and workshops opens up theatre to people of all ages. The company prides itself on making world-class theatre that is entertaining, challenging, inspiring and for everyone. Mike Rungen, the National Theatre’s stage resources manager commented: “After looking at a number of systems, we decided the Kinesys LibraCELL was the product for us. Having had experience of working with Kinesys products on a variety of projects previously, I was confident in its reliability and functionality. We have ongoing monitoring requirements over extended periods, and have found that the use of a wired system eliminated the need for battery replacement. We also liked the zero loss of rigging headroom thanks to the shackle construction and the ability to transmit the monitoring data over a wi-finetwork to allow remote access within each space.” The National Theatre purchased its Kinesys system from leading entertainment technology supplier, A.C. Entertainment Technologies (AC-ET). In addition to the LibraCELL system, AC-ET also supplied a Kinesys DigiHoist Controller and bespoke cabling from Tourflex Cabling to compete the system. Mike continued: “From the initial contact with AC-ET’s Ben Steppenbeck, it was evident that he had an excellent working knowledge of the product range and its practical applications; this made it easy to ensure that we had all the necessary equipment for what we needed to achieve. The short lead time between order and delivery meant that we were able to install earlier than expected which helped with familiarisation of the system for the end users in the venues.” Ben commented: “It is great to see such a major venue investing in the additional level of safety that load monitoring brings. The Kinesys system will give a clear view of loads, providing peace of mind for staff and visitors alike. It was my absolute pleasure to help Mike find their ideal solution and I am delighted these products ticked all the right boxes for this venue.” “With the system now in operation, we can more accurately monitor the loads imposed on both the structures and the lifting equipment, ensuring that our load estimations are reasonable and that loads in multi-point lifting operations are distributed evenly, adding an additional layer of safety to operations at the National Theatre,” concluded Mike. www.ac-et.comJuly 2021 news 4 ArtisticLicence.com The artLynx range Art-Net/sACN to DMX512/RDM duounoRJ45quad New team members and the launch of EEE Build as Triple E expands Triple E has announced the addition of two important members of staff as well as the exciting launch of a brand-new division of the organisation headquartered in Biggin Hill. The last few months have seen two significant appointments, namely Darren Green (right) joining the growing team of project managers and Rowan Coupe (below) as installations manager as he heads up the newly created ‘EEE Build’ division of Triple E. Both Darren and Rowan join the company with a wealth of industry experience, and both have a considerable knowledge of working alongside Triple E in their previous roles. Darren has a noteworthy background in theatre product design, engineering and project management working at notable companies including Theatre Projects, Harkness Screens, Hall Stage and Centre Stage Engineering. Darren has worked alongside the Triple E team on many projects in the past such as Fairfield Halls in Croydon. Now fully integrated into the Triple E team, Darren’s focus is on managing large-scale, high-value projects across the entertainment sector. Darren is also working with Triple E’s senior management team on the implementation of ISO 14001, ISO 45001 and ISO 9001 and enhancing operational procedures throughout the company. Commenting on Darren’s appointment, MD of Triple E, David Edelstein, “is delighted to welcome Darren to the company. He brings with him a wealth of experience and great knowledge in his field.” Another recent development for the company has been the launch of a new division EEE Build (pronounced E Build) with the appointment of Rowan Coupe to head up this important addition to the company structure. “We have become increasingly aware that our customers are looking for a one-stop shop for many of the projects we work on. The demand is there for a complete consultancy, manufacture and installation package of our track systems so it made perfect sense to bring installations back in-house with the launch of our brand new ‘EEE Build’ division,” expands David. EEE Build offers Triple E’s clients a direct installation service by a fully integrated Triple E team who have an in-depth understanding of the products they are supplying and installing. The new division will support their installation work by offering servicing, maintenance, LOLER, PUWER and PPE inspection on all manner of stage machinery and lifting equipment. Newly appointed installations manager Rowan Coupe is an experienced rigger who forged his early career at Earls Court in West London with world-renowned Unusual Rigging, progressing to project management and most recently as supervisor on some well-loved West End and touring shows. “I am very excited about joining the Triple E family and heading up EEE Build. It is a great new challenge to be working for another well-known industry name on the development of a brand-new division,” he explains. “Rowan is highly qualified in all aspects of rigging, permanent installations and crew management,” adds David. “Our new installations manager had to be competent in installation, inspection and maintenance. We knew Rowan had the skills that we required for this important role; it’s the perfect fit for him!” Through this new division and the wide network of contacts Rowan brings with him, the company is uniquely placed to offer a range of bespoke installation solutions for projects outside the industry such as crematoria, shipyards and private estates, alongside key industry installations in symphony halls, film studios, cinemas and installing new counterweight sets in theatres across the UK and in the West End. EEE Build is already fully operational, and the new company has been extremely well received by key clients. Brought in by Babcock to provide an access solution for its advanced manufacturing area of the business, Triple E provided a full design, supply, training service and installation by EEE Build. Samuel Barton, project manager at Babcock, said: “The project ran smoothly from conception through to design and installation. It was great to work with Triple E, especially the EEE Build installation team whose performance on-site was exemplary. I look forward to continuing working with Triple E, both to maintain and service our current platforms, and install new ones.” www.triplee.ltd Now on Screen: Your Flexible Seating Options Brought to Life A new online video series by the UK’s largest manufacturer of retractable seating aims to help venue managers understand how their space could look, work and feel. You’re looking to create a flexible venue, with different seating layouts for different events. But how do you get a real sense of the space as you design it? Not just from drawings or static photographs. The real key to getting under the skin of a space is in understanding how it moves: the folding away of the chairs, the roll of retractable seating platforms, the wheeling out of removable stalls. You can’t beat the experience of visiting a few venues to see this for yourself. But it can be difficult to visit at a time when the room is being reconfigured and, of course, over the last year, its been difficult to visit at all. Audience Systems has launched a series of short 'snack' videos called “Don’t Sit Still”. An ongoing series, its designed to help venue managers to get a true feel for retractable seating. The first video addresses the most common question that Audience Systems’ team are asked: “Exactly how quickly will I be able to change my space around?” Other questions the series examines include: “How might my seating look?”, “What are my options if I want to move the seating out of the space entirely?” and “How do I ensure that my retractable seating has a long life?” Finally, as its been more difficult for customers to visit recently, there’s a sneak peek at how the seating is made at Audience Systems’ UK factory. You can find the videos on Audience Systems’ YouTube channel at www. youtube.com/audiencesystems, look for the “Don’t Sit Still” playlist and on the Audience Systems website at www.audiencesystems. com/videos. Audience Systems would also welcome suggestions about what else you would like to see on film. You can email your thoughts to nina@audiencesystems. com – she’d love to hear from you.Issue: 341 news 5 ISCVE announces launch of Voice Alarm Standards The Institute of Sound, Communications and Visual Engineers (ISCVE) has announced the launch of its Voice Alarm Standards manifesto. The new manifesto has been borne out of research carried out by the Institute following a detailed questionnaire of more than 100 international companies working within the voice alarm sector. There are currently no laws requiring voice alarm systems to be installed anywhere in the UK. Fire detection in general must be ‘appropriate’ but this isn’t defined. A licensing authority can insist on a voice alarm system as part of the planning permission requirements, but mainly the take-up is ‘where it makes sense.’ With the launch of this new manifesto ISCVE is lobbying for a clearer UK legislature for this vital aspect of fire safety with the ambition of bringing it more in line with international practices. Neil Voce, lobbying chairman for ISCVE comments: “Our ambition is to promote the Voice Alarm Standards manifesto to and with the fire industry, regulators and licensing and authority bodies, stretching as far as the government, if we can. “We have added a lot of information to the ISCVE website covering the results of the survey we undertook, also a video interview highlighting the discussion on this topic and the manifesto document as an outcome. “One of our ideas is that the next time someone asks ‘where should a voice alarm system be installed?’ ISCVE members and the industry as a whole, will have a suitable well-documented response to offer, which we hope will be found to be invaluable,” concludes Voce. Jim Smith, associate director, AECOM adds: “Voice alarm (VA) systems have long been considered a grudge purchase by some businesses, and sadly we still encounter this attitude even in the wake of recent tragedies where such systems might have helped to save lives. The lack of definitive guidance and legislation regulating the design, installation and maintenance of these systems – or even the most basic guidance as to which buildings require voice alarm – does nothing to discourage this. Clear guidance is required to promote a culture where due care and attention is paid to providing safe environments through the use of competently designed, installed and maintained voice alarm systems. Well done ISCVE for taking an active role and the first steps toward trying to make this happen.” Jim Gilroy, audio systems manager, Protec Fire Detection comments: “A voice alarm system is a life safety system that has been proven, in many studies, to be significantly more effective in evacuating people from a building than traditional bells and sounders. None more so than in buildings open to the public where people may be unfamiliar with their surroundings. Hopefully, this initiative by the ISCVE will reach the decision makers and bring to fruition this long overdue legislation.” PLASA runs a second successful online programme for entertainment industry professionals PLASA ran a second online programme from 10-13 May, covering the most vital topics and trends for those who work across live events and entertainment sectors. Following the successful debut PLASA Online in October 2020, PLASA Online 2021 attracted thousands of industry professionals who signed up to watch the four-day programme which featured expert panels, technical sessions, and presentations on creative projects and products. The ABTT partnered with PLASA Online to host popular presentations each day. These included a panel of health and safety and production experts who discussed the challenges of returning to work, a talk with CREATEBritain co-founder Richard Woods who introduced the new features of the online platform for creative professionals, the 2020 updates to the Technical Standards for Places of Entertainment and Volume 1 of The Theatre Green Book, a collaborative publication for making theatre sustainably. Electrical expert James Eade topped the bill yet again, this time looking at the myths and misunderstandings of electrical safety. He answered several questions and detailed the importance of electrical qualifications, PAT testing requirements, earthing and phase separation. LSi magazine delivered two well-attended sessions diving into pioneering stage technology: James Simpson, author of the popular LSi column Future Tech, shared some of his favourite recent stories, including light fidelity, spatial displays, the ‘Internet of Things’ and haptic soundwaves, plus Rob Halliday and Ryan Metcalfe presented the CGI production of Romeo + Juliet which was produced using cutting edge digital technology during the pandemic to ensure the cast were kept separate. Both the technical and creative aspects of lighting were covered, with Wayne Howell of Artistic Licence troubleshooting RDM and DMX512, and lighting designer John Rayment sharing the experiences, lessons and application of technologies in live performance, including his work on the 2000 Sydney Olympic ceremonies. Not forgetting the most key topics, Brexit, Ecodesign and Covid-19 were addressed in interactive industry panels. PLASA’s MD Peter Heath sat down with representatives from Pearle and Viva La Visa to discuss the impact of Brexit on the touring community, as well as UK and European lighting experts to unpack the final changes made to the Ecodesign legislation. Plus, the #WeMakeEvents steering group shared the latest news and plans from the campaign to save the live events supply chain. In addition, there were plenty of exciting products on display throughout the programme, including Ayrton demonstrating the new Karif fixture, Shure giving a VIP preview of its new Wireless features, Vectorworks detailing how its Spotlight software can be used at every stage of the event design process, Highlite showing how LAMPY consoles allow you to create a great light show, and Broadweigh teaching the fundamentals of a load measuring system. Sophie Atkinson, PLASA’s head of events, commented: “Despite still having to wait for the full return of live events and entertainment, I hope that our second PLASA Online delivered the information and inspiration you were looking for in these still uncertain times. I welcome you to re-watch the sessions on demand and the PLASA team looks forward to welcoming you to PLASA Show in September from 5-7 September at Olympia London!” The PLASA Online programme will remain available to watch online. Find out more at: www.plasaleeds.com/plasa-onlineJuly 2021 news 6 Electro-Voice launches PREVIEW software for quick, precise loudspeaker coverage prediction Electro-Voice has introduced PREVIEW, a new platform- independent software application designed to configure Electro-Voice line-array loudspeakers for optimised coverage. The software provides efficient system setup by creating visualisations of coverage, SPL, frequency response and precise mechanical load calculations. PREVIEW features a full-colour 3D interface with user- friendly, flexible tools and a streamlined workflow. This helps specifiers, designers and audio engineers quickly calculate the ideal configurations and positioning of line arrays, as well as the angles between loudspeaker elements, amplifier drive and delay requirements, and other system design parameters. The software also recommends mechanically valid combinations of loudspeakers and rigging hardware. These combined features ensure that the arrays deliver the best possible performance in any venue, whether flown or ground stacked. PREVIEW provides a three-dimensional environment in which objects may be placed and manipulated anywhere. The user has complete control over rotation, scaling and translation and can also “see through” any surface that is viewed straight on. A set of practical tools helps the user achieve the optimal acoustical representation of a real space. Quick Map delivers immediate visualisation of the coverage density. The flexible auto dB range option maps the predicted SPL range across the full available colour range, maximising the visual detail simultaneously in all the displays. Virtual microphone positioning allows users to predict frequency response anywhere in the venue. The unique spectrogram display presents a vertical frequency response plot for each loudspeaker at the point at which its main geometric axis reaches the audience area. These plots are shown side by side, to help the designer assess how evenly the venue is covered in both level and frequency. The software also simplifies the creation of subwoofer arrays. The application also includes a detailed report generation function and a powerful project file database, providing users with detailed acoustical and mechanical information. This time-saving database allows specifiers, designers and audio engineers to import existing designs and to store new project files, drawings and templates. The first full public-release version of PREVIEW will support most Electro-Voice touring and install line-array models, including X1(i), X2(i), XLC, XLD and XLE, as well as complementary subwoofers. More models will be added in future versions. Windows and Mac OS versions of the software are available as free downloads here: https://products.electrovoice.com/emea/en/preview/ Optoma expands award-winning ProAV LED displays with plug-and-play FHDS130 SOLO LED display Optoma has announced its new fully optimised 130” FHDS130 SOLO LED display for boardrooms, classrooms, houses of worship, retail and hospitality. Pre-calibrated out of the box to ensure an optimised image for immediate usage, the FHDS130 delivers a clear, sharp and bright image, and can be installed quickly, dramatically reducing LED display installation time from days to hours. Expanding on Optoma’s award-winning line of direct view LED displays, the new 1080p FHDS130 SOLO LED display is an all-in-one solution for quick and easy installations, ensuring easier adoption for the growing LED display market. The global LED display market was valued at $6.3 billion in 2020 and is expected to reach $8.9 billion by the end of 2026, growing at a CAGR of 5%. The Optoma FHDS130 features a smooth viewing surface, wide viewing angle and a robust design. Featuring 1080p resolution, a 3000Hz refresh rate, 800 nits of brightness and a 5000:1 contrast ratio, the FHDS130 delivers a smooth, bright and clear image for a variety of ProAV and digital signage scenarios. More in line with a consumer electronic installation, it is powered by a single power cable, versus traditional, complicated LED display installations that require multiple cables and complex wiring set-ups. This powerhouse display also features low power consumption when powered on, and an eco-friendly <0.5W standby mode, conforming with ErP regulations to save energy and costs. When compared to a standard modular LED display, the Optoma SOLO not only costs a lot less to operate, it also saves an average of 1883kg of CO2eq per year, which translates to the amount of CO2 emitted by a car for over seven months. “The FHDS130 was designed to appeal to a larger install base and variety of usage cases with its easy out-of-the-box installation and high-value price point, said Leonardo Giuffrida, product manager at Optoma. “We’re excited to expand our award-winning line-up of LED displays, bringing together incredible performance, simplified installation and market-low pricing.” The Optoma FHDS130 can be easily mounted to walls with the included wall-mount and is also compatible with an optional motorised stand for mobility. Additionally, the height of the display on the stand can be adjusted with the touch of a button to optimise the viewing angle. The Optoma FHDS130 SOLO specifications include: full HD 1080p 130” LED display, high brightness 800 nits, built-in scaler switcher, 5000:1 contrast ratio, 3000Hz refresh rate, portrait mode, 140-degree viewing angle, RS232 control and HDBaseT, and a wide range of connectivity options: 2 HDMI, VGA, 3G-SDI.Issue: 341 news 7 NATEAC registration begins 15 June Registration for the North American Theatre Engineering and Architecture Conference (NATEAC) will open on 15 June, 2021. NATEAC 2021, a virtual conference, will take place on 20, 21 and 22 July, 2021. “After a year of experiencing and producing virtual conferences and events,” noted conference operations manager Frances Thompson, “we have put together an informative and entertaining event. The presenters are excited about the opportunity to reach an audience that might not be able to attend in person.” The three-day conference will feature 12 sessions, including the Keynote Address which will be given by Jennifer Mallard. Other session topics include: Three Ceilings – Megastructures after 20 years, This Old House – a look at the technology upgrades at Boston Symphony Hall and Design for All Genders – Inclusive Design for Practitioners and Patrons. The Conference registration fee is $145.00. Bill Sapsis, conference director commented: “Virtual events like NATEAC are considerably more challenging to organise than one might expect. The NATEAC production team has done a tremendous job putting this conference together.” NATEAC is a quadrennial event offering valuable information and insights into the design process for performing arts centres, theatres and other live event venues. The inaugural NATEAC took place in 2008 at PACE University in Lower Manhattan. NATEAC 2020 was initially postponed to 2021 and then, as COVID-19 continued into the Winter/Spring, was converted to a virtual event. Many thanks to our sponsors for making NATEAC possible. Chris Moylan stages world premiere of new Škoda Fabia with Elation Proteus On 4th, May Czech auto manufacturer Škoda presented its new Fabia to the world, the fourth generation of the popular car model. As no spectators were allowed to be present due to the pandemic, the release event was recorded for online viewing with several levels of the architecturally attractive DOX Center for Contemporary Art in Prague serving as a backdrop. Lighting design was by Chris Moylan from Optikalusion, who turned to Elation’s IP65 Proteus series to light the happening. The event took the audience through the DOX building while two moderators conducted interviews with company representatives and artists. Various video clips and a dynamic driving presentation rounded off the launch. The driving presentation as well as parts of the moderation took place in the building’s uncovered inner courtyard. Moylan, who has often worked with moving lights from Elation’s Proteus series, did not have to think long about which fixtures to specify for the project. “I’ve already used Proteus devices under the most adverse conditions without any problems,” he says. “I am a big fan of the series and am delighted that the Proteus Rayzor 760 has been added as another versatile and creative tool.” Moylan also took on programming duties together with Matthias Allgeier. Some 69 Elation Proteus Rayzor 760, 54 Proteus Maximus and 20 Proteus Hybrid luminaires were used on the project. While the hybrid models gave the show the classic beam look, the Maximus were used for effects and gobo texturing and handled the main lighting of the vehicles. With the Proteus Rayzor 760, however, Moylan formed the entire ambient lighting scheme, which included the facades and the Zeppelin ‘floating’ above the DOX. Lighting gear was supplied under the direction of Martin Litov from Pink Panther in Prague. The Proteus moving lights have been a staple of Moylan’s designs and didn’t let the designer down this time either: “It rained every day and we didn’t have a failure! IP65 lights are absolutely irreplaceable on these types of shows.” The main agency in charge of the event was Pure Perfection GmbH while brand specialists Schachzug served as a creative bureau. MacomNIYU GmbH carried out the technical planning. Starlite and Congaz were involved as film and media producers. photo: Chris Moylan / Optikalusion www.elationlighting.com Introducing the all-new Nanlux Evoke 1200 LED spotlight The Evoke 1200 is a revolutionary new 1.2kW LED fixture, which breaks free from the boundaries of traditional light sources. The Evoke perfectly combines stunning levels of illumination and incredible flexibility with the convenience of LED. Whether using the fixture as a powerful Fresnel, controllable spotlight, or a natural feeling soft source, this brand new, IP54 rated spotlight, out-performs almost any comparable luminaire. Created by the Nanlux technical teams and backed by almost 30 years of experience operating at the cutting edge of lighting technology, the Evoke 1200 has been designed specifically to meet the exacting requirements of cinematographers, live events, stills and broadcast professionals. At the heart of the system is a powerful COB delivering stunning levels of controllable, flicker-free light, comparable to that of an 1.8kW PAR or 2.5kW HMI Fresnel. Available as both 5600K and Tungsten 3200K models, the Evoke 1200 features an innovative, inter-changeable optic system allowing it to be easily configured, to satisfy almost any lighting requirement. The large aperture and sturdy fixings of the mounting system, allows users to quickly switch between optics, to sculpture, shape and modify the output with absolutely no compromise in beam quality, colour or intensity. Speaking about the new EVOKE 1200, Nanlux managing director, Nancy Zheng, says: “The Evoke really is an exciting development in the application of LED technology. The incredible output and creative abilities of the fixture, make it a highly effective, truly versatile alternative to traditional sources.” Quick to set up and simple to operate, the Evoke is fully dimmable from 0-100% in ultra-precise intervals of just 0.1%, and features a selection of onboard, creative effects including INT loop, flash, pulse, storm, TV, paparazzi, candle/fire, bad bulb, firework, explosion and welding. For added convenience, user settings and custom looks can be locked or stored for later use. The intuitive user interface with its easy-read 2.8 inch display, provides precision control over all aspects of output. Robert Kulesh, executive VP Nanlux Americas comments: “We are delighted to be expanding the range of Nanlux professional LED products with the addition of the Evoke. The team have done a fantastic job in creating a luminaire, which is able to not only compete, but to properly shine in the marketplace.” Robust construction, plus an IP54 rating, makes the fixture ideal for use in almost any conditions. The system also incorporates a sturdy, fast-fixing yoke to allow full pan and tilt with 360° rotation. Keeping the user in full control at all times, the Evoke supports both wired and wireless operation via Nanlink APP, DMX/RDM, Bluetooth and Lumenradio TimoTwo. Dual power and battery options further extend the flexibility of the system. Nancy concludes: “We are proud to support lighting professionals, all around the world, with our low energy solutions. Our product ranges are developed by listening to and properly understanding the needs of our industry. It is immensely rewarding to be able to help our customers achieve their artistic vision.”July 2021 news 8 dBS Solutions Adds First Martin Audio WPS System to Wavefront Precision Inventory dBS Solutions’ roadmap through Martin Audio’s evolutionary control technology shows no sign of abating. In 2014 they purchased an XD/DD combination rig for deployment on a successful theatre tour. This was followed by the acquisition of a 40-box Wavefront Precision Mini (WPM) system, specifically for the Mercury at Abbey Field pop-up theatre space in Colchester. This ran for an entire outdoor season and was a direct replacement for their old Martin Audio W8LM rig. Then in February 2020, immediately before lockdown, two hangs of 16 WPM, supported by flown SXF115 subwoofers and DD6 front fills, went out on the Queen Symphonic tour. Fast forward to the present, and after carefully considering all options, the company made its first investment in Martin Audio’s more powerful WPS system. “We’ve dipped our toe in the water with a package that will enable us to provide coverage for 2,000-plus capacity concert halls,” confirms dBS Solutions MD, Chris Bogg, taking up the story. “However, we will definitely be increasing that inventory.” His earlier entry into the world of Wavefront Precision had been driven by the fact that the Abbey Field site is surrounded by local residencies. “This called for a system that could minimise off site noise while maximising coverage in the tent.” dBS Solutions was able to use the unique Hard Avoid feature in the proprietary DISPLAY control software to equal benefit with the Queen Symphonic UK tour. “The balance of rock music in a classical environment is always a very difficult one, not least in some of the most reverberant performing spaces in the UK. We chose the WPM as the even coverage and on-stage noise levels were critical to the tour’s success.” Explaining further, he said: “In addition to the 35-piece symphony orchestra, there was a rock band and four West End musical vocalists. Traditional classical musicians don’t like a loud stage, and in terms of levels we were able to use Hard Avoid to remove much of that.” As to mitigating venue reverberation, he remarked, “I have never heard a system sounding so consistent across three or four levels [of a venue] or so tonally balanced, when compared with other systems we’ve used.” In summary, he said: “WPM has been amazing for us and it was the confidence we had in this that led us to invest in the bigger WPS system.” But it hadn’t been an automatic decision, as Chris Bogg had been well down the line to purchasing an alternative system before reverting to Martin Audio. “I decided to take a different view, and I’m pleased we stuck with the option we knew,” he admits. He believes the timing of his latest investment is perfect as the country slowly emerges from lockdown. “It will certainly help raise the profile of dBS,” he believes. “It gives us a larger system that really works in terms of our brand profile and ticks the rider boxes.” And the deal has been made sweeter by the fact that the Wavefront Precision series has recently been recognised with a Queen’s Award for Enterprise in Innovation. However, above all he is in love with Martin Audio’s unique optimisation technology. “We had already been aware of how fantastic WPM was at the point of purchase, as two of our techs had already done the training. It was the flexibility of being able to drive the system off the iKON amplifiers and the scalable resolution options that swung it for us. “If something less sophisticated is required we can drive the system in 2- or 3-box resolution, and carry less inventory, whereas we can use 1-box where a cleverer approach is required.” He is referring specifically to those reverberant concert venues. “That’s where Martin Audio really excels,” Chris Bogg exclaims. photo: Nathan Garwood “Shine a Light” Special Merchandising collection and final donation to charities Back in December 2020, Claypaky launched “Shine a Light”, a song dedicated to everyone in the entertainment industry. Together with the song, Claypaky decided to produce a limited “Shine a Light” merchandise collection and determined that all the revenues from the sales of this limited- edition merchandise, including the production costs covered by Claypaky, would be donated to support the entertainment and live events industry members impacted by the pandemic. Now it’s time to close the “fundraising” activity and to proceed with the donation to the three selected charities which are Behind the Scenes (USA), #handforahand (Germany) and Fondazione Cesvi for the Scena Unita project (Italy). Claypaky will donate by the end of May 2021 100% of the revenues equally shared to these funds and will also add some contribution in order to make the donation more substantial. The total amount donated will be 9,000 euro. Claypaky is grateful to all the colleagues, customers, lighting designers and friends who contributed so actively to the fundraising campaign by sharing the message on Social Media and by purchasing the Shine a Light merchandising collection. Without this huge support and the enormous sense of solidarity shown by all the people who took part into this operation, the donations would have not been possible. www.claypaky.com The North American Theatre Engineering and Architecture Conference announces Keynote Speaker Bill Sapsis, director of the North American Theatre Engineering and Architecture Conference (NATEAC) has announced that Jennifer Mallard (pictured), a principal with Diamond Schmitt Architects in Toronto, Canada will give the NATEAC Keynote Address. In keeping with NATEAC tradition, the Keynote will lead off the 2021 Conference on Tuesday Morning, 20th July. “Over the past three decades,” noted Bill, “Jennifer has been leading design teams and clients through the challenges of making civic buildings, including public libraries, educational institutions, and her favourite: performing arts centres. Her ethos and passion for large scale institutions, like the National Arts Center in Ottawa, and small, community based venues like the Regent Park Arts and Cultural Center in Toronto, are in wonderful alignment with the goals set out by NATEAC.” Jennifer added: “Seeing the spaces we help create being actively engaged with creative people, it’s why we do what we do.” Jennifer graduated from Carleton University in Ottawa and has worked with design firms on Ottawa, Vancouver, London and Toronto. Please visit http://www.nateac.org/ for more conference information.news 9 Issue: 341 Philharmonie Luxembourg Doubles its RIVAGE PM Presence In 2016, Luxembourg City’s Philharmonie Luxembourg became the first European classical concert venue to permanently install a Yamaha RIVAGE PM10 digital mixing system. It proved such a success that, in 2020, it added a RIVAGE PM7. With raked stalls and four seating ‘towers’ on each side, the 1,328 capacity Grand Auditorium at Philharmonie Luxembourg combines the acoustics of classic shoebox concert halls with the atmosphere of a Shakespearean theatre. The smaller Salle de Musique de Chambre features curved walls and can host audiences of 313 people, while the venue’s four foyers can also be used for performances. The venue has featured Yamaha digital mixing systems since it opened in 2005; initially a PM5D and M7CL-32, then a CL5 and the RIVAGE PM10. The superior sound quality of the RIVAGE PM10 was so impressive that, in 2020, the decision was taken to replace the CL5 with a RIVAGE PM7 system. “The audio quality of the RIVAGE PM10 system is excellent. We have been working with it since the first firmware version and the performance has improved with each update. Even complex set-ups are now easy to create,” says Thomas Leisen, a freelance mixing engineer who regularly works with the in house Philharmonie Luxembourg team. “The ability to separate the individual bays and thus work with two operators at the console is a good feature and, with the offline editor, new operators can get a good overview of the system’s functions and easily prepare set-ups. The system fully met my expectations and is a pleasure to work with. It’s also been well accepted by guest engineers, who quickly find their way around it.” “The system is very popular with the guest engineers,” confirms Marko Schneider, another engineer who regularly mixes shows at Philharmonie Luxembourg. “Many have worked on a RIVAGE PM system for the first time here. Their first action is always to take selfies with it!” The success of the PM10 system meant that the venue’s audio team started to look for a complementary system, which would be equally suitable for mixing monitors in the Grand Auditorium and as a flexible solution for sophisticated applications in the Salle de Musique de Chambre and foyer performance spaces. “When we invested in RIVAGE PM7, we also exchange our Rio3224-D I/O racks for the new D2 versions. This would give us two high end, 64 input systems - the PM10 with the RPio622 I/O rack and the PM7 with the D2 R-series racks. When combined, the two systems can handle FoH and monitors for our bigger productions in the Grand Auditorium,” says Hagen Tschek, Philharmonie Luxembourg’s senior manager stage operations. The new system was supplied by Amptec, Belgium and, despite the Covid-19 pandemic meaning that its use has so far been limited, the technical team immediately noticed a difference. “The combination of RIVAGE PM7 and the D2 I/O racks delivered a massive improvement in sound, thanks to the improved head amps,” says Marko Schneider. “Everything sounds clearer and, when using it for monitoring, gain sharing with the PM10 system works perfectly. Now all of Philharmonie Luxembourg’s mixing systems have the sonic quality to match its status as a truly world class venue.” With many thanks also to Laurent Watgen, head of technical division, Philharmonie Luxembourg and Orchestre Philharmonique du Luxembourg. In picture: Laurent Watgen (head of technical division) and Hagen Tschek (senior manager stage operations) with the Yamaha RIVAGE PM7.Next >