National historic landmark gets upgrade with ETC gear
Red Rocks Amphitheatre has attracted the attention of some of the greatest musical acts in the world since 1941. Everyone from The Beatles and the Rolling Stones to U2, James Taylor, and the Eagles has played Red Rocks.
Nestled just outside of Denver, Colorado in the tiny town of Morrison, where the Great Plains meet the Rocky Mountains, two giant rocks jut out from the earth creating an open-air performance venue that is nearly acoustically perfect. These monoliths not only create the perfect natural sound stage, but also provide a mesmerizing background for some impressive lighting effects.
In the spring of 2019, Barbizon Light of the Rockies completed the installation and programming of an upgraded lighting package at Red Rocks Amphitheater. Until 2019, large 400 W mercury-vapor lights lit the historic rocks and eight outdoor PAR 64s lit the audience.
“We had been working with Venue Director, Tad Bowman, of the city and county of Denver to look at LED products for the space for about three years,” says Pete Maurelli of Barbizon. “While we looked at a variety of fixtures from small to large, we recommended the ETC Desire D60X fixtures for two main reasons – the five-year warranty and ETC’s history of customer service.”
Maurelli also notes that the smaller size of the ETC fixtures offers better control and coverage of the rocks without visually interrupting the view. This is incredibly important for a venue that has such a monumental focus on naturally created elements. If one ETC Desire fixture were to fail, it’s a minor issue because of the impressive wash coverage the D60s provide.
The main control of the system at Red Rocks includes a full ETC Mosaic system with astronomical time clock features and local control. “We partitioned the controls so that visiting artists can control the lights on the rocks, while only Red Rocks staff and stage hands can control the house lights,” says Maurelli.
A full back up generator system and life safety system are included in the upgrades as well. The houselights are now part of the backup generator system and the ETC system provides a means for them to switch automatically in the case of power loss.
The completed system developed and implemented by Barbizon Light of the Rockies includes ETC fixtures designed to withstand the weather of an outdoor concert facility. The equipment includes 49 Selador Desire D60X Lustr+ luminaires, 24 Selador Desire D60XT tungsten luminaires, one Mosaic Show Controller 2, various button stations, touchscreens, gateways, and an emergency bypass system.
Electro-Voice and Dynacord sound system helps revive Roof Garden Ballroom at Iowa’s Historic Arnolds Park
Nestled on the shores of West Okoboji Lake in the heart of the Iowa Great Lakes resort region, Historic Arnolds Park has been a major vacation attraction in the Midwest since the 1800s. The park was renowned for its Roof Garden Ballroom, a large dance hall that attracted such artists as Jerry Lee Lewis, Johnny Cash, The Guess Who, the Glenn Miller Orchestra and many others during its heyday from 1923 to 1988. Today, it operates as a non-profit attraction to benefit the community.
On August 2, the new Roof Garden Ballroom reopened as a 1200-capacity multipurpose venue, with an authentic vintage look buoyed by a thoroughly modern sound system – Electro-Voice X-Line Advance X2 line-array loudspeakers powered by Dynacord IPX series DSP amplifiers. The system enabled the park to celebrate its history with a series of concert events featuring artists who played at the original venue. Tommy James & The Shondells had the honor of headlining the first concert in the redesigned Roof Garden Ballroom.
“Tommy James played the original Roof Garden six times going back to 1966, so they were the perfect act to open the new building,” notes Jeff Vierkant, CEO of Historic Arnolds Park. “It was a packed house. They put on a fantastic show, and the sound quality was incredible.”
Designed and installed by NLFX Professional (Bemidji, MN), the all-Electro-Voice loudspeaker system consists of twin eight-box X2-212 line arrays, with five 90-degree enclosures flown above three 120-degree versions. Low frequencies are supplied via six X12/128 dual-18” subwoofers. A set of four Fri-28LPM line the stage lip as front fills, ensuring full coverage in every seat.
Three Dynacord IPX20:4 DSP amplifiers drive the rig, with each capable of supplying up to 20 kW of power. These intelligent amplifiers also provide a built-in OMNEO/Dante interface for networking the system, plus FIR-Drive and additional system DSP for easy centralized control of the entire sound system. The entire system is controlled from a laptop via IRIS-Net software. Handy presets make it easy to operate the system while still affording the advanced control that touring engineers prefer.
According to John Lynch, FOH engineer for Tommy James and the Shondells, the Electro-Voice system was outstanding. “This was a really nice rig – really smooth, with tons of headroom,” he reports. “We run an old school rock ’n’ roll stage, with classic guitar amps and no in-ears. The EV system had the punch to get over that easily, yet with excellent clarity. And the subs are amazing. We were moving a lot of air – shook all the dust out of that room!”
The band’s monitor engineer, John Melasippo, had access to the venue’s new stage system, also courtesy of Electro-Voice. Available speakers include 10 Xw15A 15” floor wedges, with three Dynacord IPX10:8 DSP amps providing power along with network connectivity. One ETX-18SP powered subwoofer is also available as a drum monitor.
“We couldn’t have done this without NLFX Professional, who did a fantastic job,” notes Arnolds CEO Jeff Vierkant. “Ben Stowe really made sure we were well taken care of. He designed a system that sounds fantastic from every seat in the house. He also trained our local sound engineers on the system, and got it all installed and perfectly tuned on our short timeline. Great company.”
For Historic Arnolds Park, the re-opening of the Roof Garden with the X-Line Advance system marks the return of a classic venue that meets the needs of top-level talent to play amid the natural beauty of northwest Iowa. “From the opening number, the crowd was happy, the band was happy, and Tommy was happy,” adds John Lynch. “That’s what’s important. The sound system is a big part of that, and the EV rig helped make for a very smooth day.”
Symetrix’ Ease of Use Earns Raves at Arvada Presbyterian Church
Arvada began as a small town about seven miles northwest of Denver, less than six years before Colorado attained statehood in 1876. Incorporated in 1904, it once claimed the title of “Celery Capital of the World.” Today, Arvada is a thriving commuter suburb of 112,000 people. The Arvada Presbyterian Church goes back to Arvada’s early years, beginning in 1904 with a congregation of 14. Its current main building was dedicated in 1916, making it the second-oldest church building in Arvada. An education wing was added in 1952. As of 2016, the church boasted a congregation of 245 members.
Services are mostly traditional and feature a 20- to 30-voice choir. During the summer, the choir takes a break, and three to five praise singers lead worship. An electronic keyboard and an assortment of microphones are obvious concessions to modern technology. But behind the scenes, a state-of-the-art Symetrix Prism 12×12 DSP manages the church’s sound system, offering auto-mixing with a simple user interface, with access to deeper features when needed.
“The Arvada Presbyterian Church leaders developed their sound system over the years, as technology changed,” relates Dave Kistler, president of systems integrators Equalized Productions, which designed and installed the Symetrix system. “Their old system, which used an analog mixer, was being run by high school students. When the students went to college, two members of the congregation ran the system, which was okay until those two gentlemen retired and began traveling more often. So the church asked us to design a sound system that was completely automated and could be set up for a few different scenarios, using presets, so it would sound good without requiring somebody who’s knowledgeable about audio. They wanted access to the back end, with the EQs and limiters, but they don’t intend to mess with that for the most part. And they wanted a system that could be quickly and easily reset to its standard settings. Symetrix’ Prism DSP and SymVue software enabled us to provide all of that.”
The flow of the sound system is fairly straightforward. The church has an assortment of handheld and lapel wireless microphones, the lectern mic, choir microphones (pencil condensers), and wired mics for the praise singers, plus the electronic keyboard. All told, the system uses about 20 audio channels, so the Symetrix Prism 12×12 is connected via Dante to a Symetrix xIn 12 analog input expander, for a total of 24 analog inputs, leaving room for growth. The Prism’s analog outputs feed the church’s older Crown and QSC amplifiers, which in turn drive QSC speakers in the sanctuary and Atlas in-ceiling speakers in the lobby.
“After analyzing everything, we decided to leave the existing speaker and amplification system intact because it was robust enough and complemented the facility,” recalls Kistler. “That enabled us to avoid acoustical treatment. So the main item was the Symetrix Prism. We also added Slade power sequencing, so they can turn everything on and off from the booth, and we put an amp rack in the back room. They had traditional two- or three-gang faceplate floor boxes and had problems with people breaking the mic connectors, so we installed recessed floor boxes.”
For easy and intuitive control, the Equalized Productions team provided a Dell touchscreen PC running Symetrix SymVue software. “They log into their computer, launch the application, and enter in a four-digit PIN for security purposes,” Kistler details. “That brings up a screen that allows them to go into the front-of-house mixer, the stage floor-monitor mixer, and the choir monitor mixer, each of which is independently mixed in the Symetrix Prism using the touchscreen. Preset buttons call up the different situations they’ll encounter. For example, there’s a preset for the school year, when the choir is performing, and another preset for the summer, when the praise singers are performing with handheld, wired mics.”
Symetrix DSPs are Equalized Productions’ regular go-to systems, and the Prism proved an excellent choice for Arvada Presbyterian Church. “We choose Symetrix primarily for the ease of programming,” Kistler explains. “It just makes sense. SymView was the key component that allowed us to go into the mixer and control everything. Creating the back end is so much simpler than with other DSPs. With Symetrix, I can clean up the console, so when the client launches the virtual mixers, everything is simple. I can get rid of the Solo button, the Level button, and anything else they might hit that could mess things up. We label the mixers with the channel number that is associated with the floor box, and we create labels that makes sense to them, like ‘This is Pastor Bill’s mic.’”
Kistler’s team used SymView to enable the client to log into the mixing console, mix as they wish, and then reset the system with one preset. “They also have an Admin console where they can adjust the EQs, limiting, gating, and so on,” Kistler adds. “They didn’t want to control all that stuff but they wanted to be able to see it. So they have two separate SymViews that they can log into: One is for regular control and one is Admin.” By doing all mixing and processing in the Prism, Equalized Productions was able to remove not only the old analog mixer but old rackmount gear, such as graphic EQs. “We took 32 spaces of equipment down to 2,” Kistler details. “Overall the new system looks simple and appealing. During training, they wanted us to demonstrate messing the entire mix up and then resetting the system to get back to safety. The way we programmed the Symetrix system, they hit one preset button, and that happens. They loved it; they were raving about it. That’s what’s great about the Symetrix system.”
Eos brings the Moulin Rouge to Broadway
As one of this year’s most anticipated Broadway musicals, Moulin Rouge! The Musical has captured the hearts of critics and audiences alike. Its remarkable performances and production design combine to create a truly extravagant experience thanks to the talent on and off the stage—and, in part, to the power of Eos.
“ETC’s products are why we can make this show happen,” explains Lighting Designer Justin Townsend, “There is just so much data—nothing else could have driven the show.” Most people are familiar with the 2001 motion picture, a stylistic spectacle from the mind of Baz Luhrmann, so it was important to the musical’s creative team to make something that both honored the film and stood out for itself. “We didn’t want to just recreate the movie,” Townsend said, “but try to create a live Moulin Rouge experience.” The over-the-top scenery by set designer Derek McLane was matched by Townsend’s equally dazzling lighting design. “It needed to be bold, nimble, striking, rococo,” he explained, “And I’m tickled we were able to have such huge resources put into set electrics to make it happen. All around – we put the pedal down on all fronts in order to create something that could really sparkle and be unique.” With nearly 200 moving lights in the rig, LEDs, LED neon, actual neon, thousands of lightbulbs, and a huge amount of power in the footlights, the show required a control system that was up to the task. The answer was Eos.
“Any given show might have one really tricky element,” explains Lighting Programmer Brad Gray, “whether it’s pixel mapping, heavy on effects, or lots of discrete timing … this show was a combination of all the hard parts of every show I’ve done before.” As the flagship Eos family console from ETC, the Eos Ti provided enough versatility to program the complicated effects as well as the capacity to reliably control thousands and thousands of parameters in the rig.
One of the major advantages of the Eos software for Townsend and Gray was the ability to create a variety of Magic Sheets. Gray created 10 magic sheets that all interacted with each other—an enormous undertaking that included 6,000 channels. But once built, Townsend could then easily interact with the plots. “This was very exciting work we did. With the magic sheets and touchscreen monitors, it’s like we made our own app for the Moulin Rouge,” Townsend said. Gray adds, “One of the best parts about the Eos platform is that it’s so, so designer friendly. They can give direction and not worry about commands—it’s very conducive to how most designers work.”
The result is in the reviews—Moulin Rouge! The Musical opened on July 25, 2019 at the Al Hirschfeld Theatre on Broadway to overwhelmingly excellent reviews. ETC is proud to know that it continues to provide creative professionals the tools they need to translate their art to the stage without compromise. “I don’t see myself moving away from the Eos anytime soon,” Brad explained. Brad isn’t alone – Eos is currently the preferred platform for 27 Broadway productions.
High End Systems to Launch SolaHyBeam 3000 at LDI 2019
At the LDI 2019 exhibition, High End Systems will introduce the new SolaHyBeam 3000 automated fixture. With a feature set designed for beam control, aerial effects and raw power, the flagship luminaire has all the elements to cut through the haze and shine brilliantly in the world’s largest venues. Powered by an exceptionally efficient White Light LED engine, SolaHyBeam 3000 features a large front aperture and optimized long throw optics for superior light output throughout the fixture’s wide zoom range.
Automated Lighting Product Manager Matt Stoner commented, “We are so excited to have the SolaHyBeam 3000 added to our family of ultra-powerful premium quality fixtures. The SolaHyBeam 3000 specializes in a fantastic narrow 3.1 degree beam, turning its massive output and dazzling front lens into a powerful narrow beam. Whether used as a long throw front light (yes it has framing shutters) or for shining dazzling aerials across your rig, SolaHyBeam 3000 is a beam light unlike any other, a wash light with punch and versatility, and so much more. We can’t wait to see this fixture burning the skies on festivals and tours around the world!”
HES General Manager Becky Koester added, “Our development and product management teams did an exceptional job on defining and pioneering the narrow beam capability and unique lens effect that offer a unique tool set for designers and end-users. The SolaHybeam 3000 addresses a universal segment of the market that has been dormant the past several years. The early product previews have been remarkable.”
An ETC Company, High End Systems is a leading manufacturer of LED automated lighting and control products for the entertainment industry. For more information on High End Systems, visit highend.com. To learn more about SolaHyBeam 3000, visit highend.com/products/lighting/solahybeam.
Symetrix Enables Creative Solutions at New Life Community Church
A part of the Reformed Church in America, the New Life Community Church has been a member of the Artesia/Cerritos community in southeast Los Angeles County for more than 80 years. Most of the buildings on its current nine-acre campus were built in 1972, including a 620-seat Worship Center that hosts services, concerts, and other functions. With a stage ramp, single-level entry, a green room, and areas for props and wardrobe, the Worship Center is well equipped.
Recently, the Worship Center received a major remodel and technical upgrade, enabling the congregation to enjoy a more contemporary sound and look. The previously raked floor was filled in to achieve a flat-floor design, and new infrastructure was installed, including floor boxes, power locations, CAT5 cabling, mic and monitor lines, and more. To top it off, systems integrators TechArts of nearby Cypress, California, designed and installed a new Dante-enabled sound system based on a Symetrix Prism 12×12 DSP.
“The original install had two older Symetrix Express 8×8 DSPs, which used CobraNet,” begins TechArts programmer and associate designer Jason Vandergrift. “The current Symetrix DSPs are so much more powerful that we were able to replace both older units with one Symetrix Prism.”
One major goal of the upgrade was to improve the communications system. “There was an existing party-line-type, analog communications system that was part of the original install,” Vandergrift recalls. “It was noisy, and nobody was happy with the way it sounded. Also, with that type of system, everybody talks to everybody on Channel A or Channel B. Using the Symetrix Prism, we were able to connect a bunch of Studio Technologies 2×2 Dante audio communication devices to the network and program individual, discrete routings between them. We built everything into a mixing matrix in the Prism, and I programmed preset routings for the church’s various needs.”
The biggest issue was communications between front-of-house and the musicians onstage, but it was also important to provide flexible communications between the music director, FOH, and other volunteers. With the old system, there was no way for the music director to communicate to the sound engineer and lyrics person if, say, the band was going to skip a verse or a song, resulting in the wrong lyrics appearing onscreen.
“We also needed a system that worked with the musicians’ in-ear monitors and integrated with the talkback system they were already using,” Vandergrift notes. “With a Dante-enabled console and comm system, I could route the talkbacks into the comm system, managed with the Prism. Now the person at FOH and whoever is running lyrics or the video machine can talk directly to the music director and the production crew. We can route the FOH engineer’s comm mic to all in-ear monitors onstage. Unlike a regular talkback system, we have programmable, two-way communication. And the FOH engineer doesn’t have to dig through layers on a digital console to set up a PFL talkback.”
Routing everything through the Symetrix Prism also makes the talkback system less vulnerable. “In churches, volunteers break stuff and don’t even realize it,” avers Vandergrift. “Let’s say your talkback system is running from the FOH console, on a utility layer deep in the desk that nobody touches, and a volunteer recalls a mixer scene that doesn’t include the talkback routing. The engineer who is visiting that week has no idea that they’ve killed the talkback, and nobody can fix it. When you run it all through a Symetrix DSP, which nobody touches, you can set up a Symetrix ARC-WEB control system with a couple of presets for the comm system-I create Symetrix presets for all of the audio stuff-and the system will operate reliably.”
In addition to communications, the Prism handles the Worship Center’s PA speakers and more. “With Dante, I wasn’t limited to the Prism’s analog I/O,” Vandergrift observes. “Once audio was in the network, I set up all sorts of static routes in and out of the Prism for various purposes. For instance, I needed an ADC circuit for a broadcast mix because when the pastor was speaking the volume was too low, and the video volunteer didn’t understand how to set the volume. So I programmed a solution in the Prism.”
A devoted, long-time Symetrix DSP user, Vandergrift has a deep understanding of the products’ capabilities. “We use Symetrix on every project that requires a DSP,” he confirms. “They sound great, they’re inexpensive, and I can program them to do whatever we need. And they have a crazy amount of horsepower: With just one Prism, you can manage 64 channels of audio. The Dante-enabled Prism DSP was key to our ability to integrate the talkback and other audio systems at New Life Community Church.”
Symetrix releases Dante stage box
Symetrix has launched its Xio stage 4×4 Dante stage box, an audio-over-IP system that installs in NEMA 8-inx8-inx4-in electrical enclosures.
Four analogue microphone/line inputs and four line-level outputs are provided, converting signals to and from Dante for transfer over CAT5/6 cable from a stage or other source location to a Symetrix Radius NX, Prism or Edge DSP.
24-bit, 48 kHz A/D/A converters and Neutrik XLR connectors, being powered by a PoE injector or PoE network switch.
Signals can be routed by a Symetrix DSP once on the Dante network into multiple zones, with Symetrix Composer software enabling setup and control from a Windows PC.
Dubai’s Wavehouse Atlantis Enjoys Versatile Symetrix Audio Network
Located on Palm Island, between the Dubai skyline and the Arabian Gulf, Atlantis Dubai includes a world-famous resort, the world’s most Instagrammed hotel, award-winning restaurants, a waterpark, and much more. Wavehouse, Atlantis Dubai’s an all-encompassing entertainment venue, features zones for kids, families, and adults, including a bowling alley, kids play area, two-story arcade, projection room, restaurant, indoor/outdoor stage, indoor/outdoor bar, outdoor lounge area, and wave simulation pool. Whether you like to be active or want to kick back and relax, it’s all here.
Installing a sound system to serve a venue the size and complexity of Wavehouse was a major challenge. However, the team at Dubai systems integrator Pulse Middle East (www.pulse-me.com) was fully up to the task, thanks to its extensive experience providing AV systems to high-end venues in the region. Led by Managing Director and audio engineer Joe Chidiac, the Pulse Middle East team designed and installed a Dante-enabled audio system for Wavehouse based on two Symetrix Radius NX 12×8 DSPs and one Radius NX 4×4 DSP.
“We were brought in to design and install a sound system for live music, background music, and non-emergency paging that would have complete flexibility for the operator to play any source in any and all zones,” Chidiac recalls. “Having so many different entertainment functions, the sound system needed to be separated by function and music requirements, so Wavehouse was separated into 11 main zones for source selection and volume control. The 11 zones are then divided into sub-zones for additional volume control, allowing the operator access to 25 sub-zones to be able to cater for special events. Each individual zone can be monitored from the AV room speakers.”
The Wavehouse system is hosted on the hotel’s network, with fiber connecting two separate AV rooms connected to the main intermediate distribution frame. Connection points for Dante devices around the venue are on CAT6 cable. In addition to portable devices, audio sources include a Pioneer DJM900 DJ mixer with CDJ2000 multi-players, connected with an AVIO adapter; a Midas M32 console with DN32-Dante card; and several TV receivers plugged directly into the Symetrix Radius processors. On the output side, Powersoft amplifiers drive loudspeakers from TW Audio and Martin Audio.
“The Symetrix Radius makes it easy to manage the Dante network, and it’s extremely reliable,” comments Pulse Middle East Head of Audio Andy Morris. “Most DSP for the loudspeakers at Wavehouse was done inside the Powersoft amplifiers but it was necessary to set balancing and delays within the Symetrix Radius DSPs in order to be able to change these settings for different operation modes. Symetrix Composer software made it easy to integrate our Powersoft amplifiers and enabled us to set up the routing without having to use Dante Controller.”
The Pulse team also used Symetrix Composer’s SymView GUI authoring to create a control server. “We made custom control pages for each zone, plus a diagnostics page for problem solving,” details Morris. “Because it’s hosted on the hotel’s network, there is flawless wi-fi coverage throughout the venue, so the operators can sign in and control any zone from anywhere around the venue.”
Designing, building, and configuring the Wavehouse system and providing a user-friendly interface, while keeping up with the construction schedule, was no easy job. But using Symetrix Radius processors and Composer software, Pulse Middle East met every challenge. “We had to work on the installation in parallel with construction and interior design in order to finish on time but we got it all done, and the system performs fully up to our expectations,” Chidiac reports. “Our customer is very satisfied.”
ETC and High End Systems are set to impress at LDI 2019
ETC and High End Systems will exhibit the latest innovations in lighting technology in a combined booth at LDI 2019. Visitors will get the chance to see powerful fixtures, sophisticated controls, and intuitive rigging products in booths 325, 425, and 525.
Among the new in-booth products is the upcoming Augment3d programming environment. This exciting tool will be included in Eos v3.0 and enables programmers to control and design in a three dimensional space. Live demos of Augment3d will take place throughout the show.
The High End Systems booth will be packed with new automated and effects fixtures to view. The SolaPix family makes its grand entrance at LDI with an exceptionally bright wash. The HaloGraphic Pixel Definition featured in the SolaPix provides improved face definition with edge lighting on the pixel cells. For more unforgettable effects, TurboRay will turn heads with its many different looks as a washlight or hard edge beam. Additionally, SolaFrame 1000 and SolaWash 1000 make their first appearance at LDI this year. Booth visitors will also get a first peek at an upcoming addition to the Sola line of automated fixtures.
The ArcSystem family of LED house lights heads to LDI with the addition of a new Pro One-Cell High Output luminaire, packing more than 8,000 lumens.
For advanced networking solutions, visitors can learn more about the Response Mk2 DMX Gateways, offering easy-to-read status screens and a configuration interface on every unit. Rounding out ETC’s family of Show Control Gateways, the Response SMPTE Gateway is another new solution on display at LDI.
ETC and High End Systems will spearhead a number of sessions at LDI, including:
- ETC Console Training for Level 2 and Level 3
- Busking with Eos
- Working in an Augment3d environment
- Tuesday and Wednesday Hog 4 training
- A color chat with Product Technology Specialist Wendy Luedtke and Clifton Taylor
- Hue-more me with Wendy Luedtke on color and LEDs
Students are invited to the annual Student Session led by Nick Gonsman in room N258 on November 23 at 6:15 to discuss all things lighting with product experts from ETC.
ETC Dubai – The Studio opens with celebration
ETC celebrated the opening of ETC Dubai – The Studio with a launch event at the new premises in Dubai Media City. The new site, which consists of a black box space for product demonstrations and an area for console training sessions, welcomed industry professionals from across the globe to the inaugural event.
Attendees met with product specialists from ETC and High End Systems and received demonstrations of the newest innovations including High End Systems’ new automated fixtures SolaWash 1000 and TurboRay.
The latest member of the Sola Series, the SolaWash 1000 features a full framing system and is available with either an Ultra-Bright or High CRI engine. Alongside this was TurboRay, the distinctive fixture creates dynamic effects from its animation and gobo wheels and can be used as a powerful hard edge beam or narrow-angle washlight.
Visitors to the opening were also shown Augment3d in the space’s black box area. The award-winning 3D programming environment which is part of the Eos v3.0 software is designed to increase programming speed and dramatically improves workflow.
In addition to providing a base for product demonstrations The Studio will host regular training sessions in the region. ETC’s Eos and High End Systems’ Hog 4 console sessions are currently available for registration (etcconnect.com/Training) with more courses planned in the new year.
“We are thrilled to have ETC Dubai up and running with a space that specifically offers specialist product demonstrations, training sessions and a black box area. It is the only space in the region to provide this and we are delighted to expand our offering and sales support in the Middle East territory,” comments Regional Sales Manager for the Middle East, Mark Larcombe.