Archive for Month: March 2019
ApexPro Demonstrates the New SolaFrame 1000
High End Systems, an ETC Company, recently launched the latest addition to the SolaFrame family of automated framing fixtures, the SolaFrame 1000. South African distributor of ETC lighting solutions, ApexPro, has demonstration units of the fixtures, just two weeks after its European launch.
Mathew Lewis, ETC product manager at ApexPro, spoke to ETECH at a demonstration of the new fixture, hosted at the University of Johannesburg Arts and Culture Centre on 06 March.
“The High End Systems Solaframe 1000 is the first product that is the result of the combined research and development of the High End Systems and ETC teams, following ETC’s acquisition of High End Systems two years ago,” explains Lewis.
SolaFrame 1000 is designed to be a workhorse automated framing fixture, which is highly versatile and can be used for both installation and rental markets, for medium-sized venues.
The Solaframe 1000 delivers 20,000-lumen output, full framing shutters, rotating and fixed gobo wheels, multiple colour systems, 12°-40° zoom, and animation effects, which is suited for all professional production environments. Lewis concurs, stating that “the fixture offers a good value proposition, as it is a high-end lighting fixture that is well suited for either the rental or installations markets and is competitively priced, especially if you look at its impressive range of features.”
Available in Ultra-Bright and High CRI versions, the SolaFrame 1000 ships with a TM30 Filter that boosts the Ultra-Bright engine to 85+ CRI. Other features include Iris and Light Frost, Rotating Prism and High End Systems’ patented Lens Defogger System.
ApexPro currently has demonstration units available at their Johannesburg offices. If you would like to find out more, or book a demo, kindly contact Mathew Lewis at email@example.com or call him on 076 057 7571.
Opéra Garnier upgrades to ETC Eos
In 2017, one of the most prestigious venues in France, the Opéra Garnier, updated its lighting consoles to a selection of ETC Eos desks. The Eos consoles were unanimously chosen by Jacques Giovanangeli, the head of the lighting department, and his team of 42 lighting professionals.
The previous console lacked the technological capabilities required for modern moving lights, and needed replacing to keep up with the venue’s demands. Fully aware of this, Jacques and his team began research to identify the best option and narrowed the search down to three potential consoles and conducted demos of each. They compared the different interfaces by paying attention to the ergonomics of programming a show, the ease of use of moving lights, and the precision of color control.
The switch to an ETC Eos system was strongly encouraged by the whole technical team. The design quality, adaptability to the opera, and color tools made the Eos family stand out. ”The reason for this choice was based on more than just the quality of the product,” notes Giovanangeli. ”I frequently travel to operas and theatres in France and abroad. I found Eos consoles in many places, such as the Bolshoi in Moscow, the Teatro Real in Madrid, the Staatsoper in Vienna and many other prestigious places like The Royal Opera House in Covent Garden in London and the Metropolitan Opera in New York. The combination of the technical endorsement from my team and the observations I made on each journey led to us choosing Eos.”
”Co-productions continue to increase between the major opera houses and many lighting engineers work mainly on Eos consoles. With Eos, we can anticipate what’s coming by sharing files,” comments Giovanangeli.
In total, four Eos family consoles joined the Palais Garnier with three Eos Ti desks, two in the control room and one in the workshop. A Gio @5 is also on stage if an engineer would like to operate lighting from the stage. The whole system communicates in ETCNet3 (ACN) and the main console controls all the fixtures over sACN. To complete the installation, 2 RVIs (Remote Video Interface) are also available from the stage.
This RVI system enables remote viewing of the console screens and local programming of the Eos system. This allows the opera house to offer the production manager a tool to view the desk’s displays from the stage making interactions with the lighting technicians easier.
Approved in early 2017, the integration of the consoles in the Opéra had to wait for the summer break. With the renovation of the control room also taking place in late August and early September, the technicians had to work quickly to transition the consoles. Giovanangeli says, “The installation of the consoles was completed in record time and the team managed to release the first show, which was a large production, without any pitfalls.”
Jérôme Denime, one of the two opera lighting team leaders, adds, “We had to learn this new work environment and develop new habits. For example, previously we had to set all the spotlight parameters in each cue. Now, as Eos works with “tracking” logic, the parameters follow from one cue to another. There is no need to edit them entirely since they track from the previous position. It is much easier, but we had to get used to checking the states so that there aren’t any mistakes. The interface is very useful for tracking the state of the fixtures. In the end, the switch has saved us time overall. We are already completely comfortable with the system and we are still discovering new functions, especially as updates come out.”
A training program made the transition smooth for the entire lighting staff. The teams were able to get gradually accustomed to the new interface before putting on the first show and tackle the 860 dimmers with more than 100 moving lights.
In an effort to continuously improve training efforts, ETC France is currently revamping its training program to better serve its end users. The new ETC subsidiary will improve the provision of trainings through its network of partners.
Over the past few months, many French venues have also chosen Eos consoles, such as the Opéra de Bordeaux (Dushow installation) and the Opéra de Versailles. ETC offers consoles appropriate for the theatre market with the Eos system and the touring market with the High End Systems Hog 4 range. With ETC France, these internationally renowned consoles will have even better support throughout France.
ETC returns to CABSAT, Dubai
ETC is heading to CABSAT, in collaboration with regional partner Oasis Enterprises, from the 12-14 of March at Dubai World Trade Centre.
Visitors to the tradeshow will have the opportunity to see ETC’s latest lighting and broadcast-friendly product range as well as demonstrations in a studio-style set up in room ‘Hatta-G’. This will include ETC’s award-winning and flagship lighting control desk, Eos Ti, renowned Source Four LED Series 2 Lustr array and ColorSource Pearl lighting fixtures.
The Eos Ti’s operating system hosts powerful magic sheets, easy-to-navigate software and the large-format multi-touch displays with a substantial programming surface. Source Four LED Series 2 Daylight HD and Tungsten HD luminaires will also be on display at the event, bringing visitors high definition lighting with the brightest output.
In Hall 2 (C2-10) alongside Oasis Enterprises, ETC will showcase further products including an EchoTouch controller, Gio @5 console and Irideon FPZ and ColorSource CYC lighting fixtures.
EchoTouch – a compact stand-alone one-universe wall mounted touchscreen controller that can output sACN or DMX and makes recalling or editing preset looks easy. The Irideon family of fixtures have exceptional output for their small size and an attractive design, with a range of color temperatures and 90+ CRI option.
High End Systems’ Road Hog 4 and the SolaFrame 750, will also be on display at CABSAT this year. The SolaFrame 750 is the most compact framing fixture in the Sola Series family of automated tools and offers the widest array of effects currently available in a fixture of its size.
Join ETC at CABSAT 2019 in Hall 2 C2-10 and Hatta-G between 12-14 March to meet with ETC staff and discuss your lighting project or product needs.
ETC Congratulates the 25th Annual Thea Awards Recipients
Every year, users of ETC’s architectural and entertainment control systems earn industry awards for excellence. This year is no different. The Themed Entertainment Association recently announced their 2019 Thea award recipients, and ETC had a hand in a few of the Thea Award-winning projects.
“We’re so proud of our partners recognized with a Thea award this year,” said Karl Haas, Architectural National Sales Manager at ETC. “These winning projects are a testament to the diversity and versatility of ETC’s products. We appreciate the design team’s trust in us and will continue to work to produce lighting system solutions that they can depend on and bring their customers delight.”
ETC’s Unison Paradigm and Mosaic, Sensor3 power control technology, and Source Four LED Lustr+ fixtures were the behind the scenes on several projects, helping other worlds come alive for hundreds of riders, visitors, and passengers around the world. ETC commends the innovative, imaginative talent of our partners recognized this year.
Since 1994, the Thea Awards “bring recognition to achievement, talent and personal excellence within the themed entertainment industry.” In addition to recognizing industry luminaries and classic parks, TEA gives Thea Awards for Outstanding Achievement (AOA) across several categories. The awards will be given out at the Thea Awards gala, April 13, 2019. A complete listing of 2019 Thea recipients can be found here.
ETC congratulates all the recent Thea recipients and is honored to be part of their success.
Two stadiums, one sound solution: Electro-Voice and Dynacord system design a winner for Texas school district
- Five weatherized Electro-Voice EVH and EVF loudspeakers provide full-range coverage for 8,000-seat stadium
- Dynacord C3600 amplifiers provide power, DSP and FIR-Drive speaker optimization for cohesive, full-range audio
- Southwest Building Systems delivered cost-effective service with a single system design custom-integrated into two similar stadiums
“We’ve had nothing but awesome reactions from everyone. People are blown away by the sound. Now we can really get the place rocking, from the time the team comes out of the locker room and all through the game.”
When legendary Texas football coach Mike Spradlin joined Magnolia Independent School District in suburban Houston as Director of Athletics in 2016, he set about upgrading the football experience at the district’s high schools. Part of that plan was the installation of new video scoreboards and sound systems at both Magnolia and Magnolia West. Southwest Building Systems (Sillsbee, Texas) was engaged to design and install new sound systems at both facilities.
“Our old systems were just a few horns mounted on top of the press box. They sounded terrible, and music was out of the question,” says Robert Patty, Sports Information Coordinator for the district. “We wanted to create more of a college-type game day experience, to get the fans and players pumped up.”
The goal was to deliver full, even coverage in the bleachers, with clear, high fidelity sound quality for game announcements, music, and sponsor video commercials. Southwest Building Systems designed a PA system featuring long-throw Electro-Voice loudspeakers powered and processed by C Series amplifiers from EV’s sibling brand Dynacord. The same system was installed in both stadiums, which have virtually identical bleacher and scoreboard layouts.
The system is based on three EVH-1152D/43 coaxial loudspeakers, a two-way, horn-loaded design that delivers up to 139 dB SPL. This highly directional 40 x 30 version provides the tight dispersion required to deliver clear sound throughout the 8,000-seat venue. Two 1152s cover the home side of the field, with the third handling the smaller visitors’ bleacher section. Two EVF-2151D subwoofers provide low frequency support.
Power is provided by four Dynacord C3600 amplifiers, with integrated DSP and FIR-Drive to optimize loudspeaker performance (Dynacord amps are optimized for use with EV speaker systems). One is dedicated to each biamped EVH-1152D, while the fourth amp powers the two subwoofers. One interesting problem posed was the fact that there are no other buildings near the scoreboard. As Brent Thornhill, President of Southwest Building Systems, explains, “Normally we house the amplifiers in a nearby fieldhouse, but that was over 500 feet away. We wanted to put the Dynacord amps close to the speakers, so we came up with an outdoor-rated, climate-controlled rack room to put them in. We call it The Fridge.”
The speakers feature Electro-Voice’s fully weatherized design option, with fiberglass cabinets, powder-coated stainless steel grilles with hydrophobic mesh, and water-tight input panel covers. The loudspeakers are housed in an enclosure above the new video scoreboard, providing further weather protection while keeping them out of sight.
“We like to provide a sleek, integrated look to our end zone systems,” says Thornhill. “The enclosure has a special black fabric cover that blocks out the wind-driven Texas rain but doesn’t interfere with the sound. We printed them with the school logos, so they look like part of the scoreboard.”
As a final touch, the announcer’s microphone in the press box was outfitted with the Electro-Voice PC Desktop-18, a gooseneck design with sturdy, weighted steel base and selectable pick-up pattern from the PolarChoice range.
Fans, teams, coaches and administrators of both the Magnolia Bulldogs and Magnolia West Mustangs are impressed with the way things are sounding:
“We’ve had nothing but awesome reactions from everyone. People are blown away by the sound,” reports Robert Patty of Magnolia ISD. “Now we can really get the place rocking, from the time the team comes out of the locker room and all through the game. Our superintendent was there for the first game, and came over and told me, ‘Man, this sounds like a rock concert!’
It’s really brought our whole football program to a higher level, just like we hoped. We couldn’t be happier.”
Bosch intros LB20 series loudspeakers
Bosch has introduced LB20 commercial loudspeakers for indoor and outdoor use with a wall-mount system designed to save time. The compact loudspeaker series for installed applications includes 4-in, 5.25-in, and 8-in 2-way models with a matching dual-10-in subwoofer.
All LB20 models contain Bosch-engineered components and are suited to retail environments and hospitality settings such as bars, lounges, patios, pool areas and restaurants. They can also be used in conference and meeting rooms, fitness clubs, performing arts and sports venues and houses of worship. All models are paintable and IP54 certified for weather resistance; an IP65 weatherproof version is available for the 5.25-in loudspeaker cabinet and the subwoofer models.
The new wall-mount system allows and installer to attach the wall-mount, which has a built-in bubble level, and terminate the cables inside. It can then be painted for protection until construction is completed. The cover is removed and the pre-wired speaker with adjustable arm is slid onto the wall-mount and locked into place.
Symetrix Announces Composer 7.1
The What: Symetrix is used its appearance at Integrated Systems Europe (ISE) to debut a new version of Composer, its configuration software for Radius NX, Edge, Radius, Prism, and Solus NX DSPs. Composer 7.1 for Windows adds support for the Visionary Solutions PacketAV Duet video encoder and decoder, Symetrix T-5 Touchscreen controllers, and PD-1 Telco Dialer. A host of other software improvements makes system design and management more flexible.
The What Else: All programming and routing of Visionary Solutions PacketAV Duet video encoders and decoders is now directly integrated within Composer 7.1. In addition, Composer indirectly supports select third-party non-Dante encoders/decoders that use the same control protocol as the Duets.
Like Symetrix ARC controllers, the T-5 Touchscreen can control every user-facing function of an installed AV system using Symetrix’s SymVue interface. As with Symetrix DSPs, integrators can now manage any T-5 Touchscreen from Composer, as each device has its own IP address on the network.
Composer 7.1 also supports the PD-1 Telco Dialer, which lets meeting leaders dial remote attendees into conference calls using a traditional telephone keypad rather than a touchscreen.
Composer 7.1 adds several workflow enhancements. Time/date and special character export in the SymVue for Web interface is now present. New sizing handles (horizontal, vertical, and a corner handle for sizing the entire window at once) allow resizing of objects in control screens on the fly. This and expanded design sheet sizes make it easier to optimize installed systems for different remote-control scenarios, including T-5 Touchscreens, smartphones, and tablets.
A new crosspoint audio delay is available in the Super Matrix for mono matrix modules. The Site ID field has been increased to 65535 addresses, allowing different groups of DSPs and other devices to coexist on the same network without interfering with each other; two devices in different groups can use the same remote controller number. For diagnostics and system design, Composer 7.1 can now trace signal paths backward and forward simultaneously. Editing of module channel names have been further improved, featuring expanded copy-paste ability.
As in previous versions, systems integrators can diagnose any device in a Composer-designed system by simply launching a web browser and entering the device’s IP address.
The Bottom Line: All of the above features add up to an expanded universe of use cases for Symetrix networked AV systems and let the installer scale systems to meet clients’ needs quickly and efficiently.
The Overtones hit all the right notes on tour with Electro-Voice X-Line Advance and Dynacord TGX
Platinum selling vocal harmony stars The Overtones sold out concert halls across the UK when they set out on a 26-date tour at the end of 2018, accompanied by long-term front of house engineer Mark Clements. For technical production specialist Merlin PA Hire, the sheer variety of venues on the tour meant that the sound system had to be as flexible as possible while still delivering the clarity of performance required for the precise and detailed Overtones sound.
“The guys are very particular about what they want and for me it needs to be precise; crystal clear vocals and the ability to retain the character of their individual voices,” explains Clement, the band’s engineer for nine years. “It’s not a broad-spectrum EQ, it’s very defined for each performer and there’s a lot of time spent riding the faders.” Most importantly, Overtones shows are renowned for inspiring audiences to leap to their feet and dance in the aisles.
Delivering the all-important blend of versatility, performance and power was an Electro-Voice X-Line Advance X2 line array system driven by one of the first Dynacord TGX-20 amplifier set-ups to hit the road. In choosing to use the already award-winning Dynacord TGX amps, Merlin PA’s Neal Allen also adopted a fully OMNEO workflow for the tour, combining Dante audio transport with OCA control.
“It was a leap of faith,” confirms Allen. “The TGX amps arrived two weeks before we came away and this was our first time using OMNEO all the way through, a fully Dante workflow. But everything worked flawlessly.”
Depending on each venue’s size and load bearing capacity, Allen specified a configuration to suit with a mixture of EV X2-212/90 and X2-212/120 elements, plus XLE181 in-fills and front-fills and X12-128 subwoofers. Five Dynacord TGX-20 amps per-side were housed in the rack.
“When you’re preparing for a tour you need to think about the biggest venue and the smallest venue and select a system that will cater for both,” he says. “Truck space is always at a premium, so you need flexibility in the speaker rig and the amplifiers. That’s what we get with X-Line Advance and TGX.”
Mark Clements adds: “The X2 sound is crisp and precise. It also throws for days and the detail is top notch. With the TGX amplifiers, the headroom is a massive improvement and they sound great. They’re also very easy to use, with the software everything is accessible in a second.”
For the band, meanwhile, achieving what they call “the perfect sound” in the auditorium means they can focus on their performance. “We couldn’t do what we do without our technical team and without the equipment they use,” reasons Lachie Chapman. “On our tour, every night we have people up on their feet from the second song, literally every night. I think that’s testament to the amazing sound that we have.”