In the vibrant tapestry of South African theatre, the quest for lighting solutions that offer exceptional quality, versatility, and cost-effectiveness is relentless. The partnership between ApexPro, one of South Africa’s leading distributors of professional stage technology, and ETC’s Halcyon series of lights stands as a beacon of innovation and performance in this quest. Here’s why ETC Halcyon lights, distributed by ApexPro, are transforming the South African theatre scene:
Tailored Solutions for Diverse Productions
The ETC Halcyon series, known for its adaptability and high-quality output, meets the diverse needs of South African theatres. Whether it’s a grand opera, an intimate drama, or a vibrant musical, Halcyon lights can be configured to create the perfect ambiance. ApexPro’s deep understanding of the local theatre landscape ensures that these lights are not just sold but matched precisely to each production’s specific requirements.
Unparalleled Support and Expertise
ApexPro’s distribution of ETC Halcyon lights comes with an invaluable addition: unmatched local support and technical expertise. This means that theatres across South Africa have immediate access to professional advice, installation assistance, and after-sales support. This level of service is crucial for the smooth operation of theatre productions and is a significant factor in the preference for Halcyon lights in the region.
Energy Efficiency Meets Cost-Effectiveness
In an era where sustainability is key, the energy efficiency of ETC Halcyon lights stands out. These lighting solutions reduce the carbon footprint of theatre productions and make using alternative power sources possible during load-shedding. ApexPro’s commitment to promoting environmentally friendly and cost-effective products aligns perfectly with the needs of South African theatres, making Halcyon Lights an ideal choice.
Cutting-Edge Technology and Training
Through its partnership with ETC, ApexPro ensures that South African theatres have access to the latest in lighting technology. Moreover, ApexPro offers training and workshops on using and optimizing Halcyon lights, empowering local technicians and designers with cutting-edge skills. This focus on education and technology transfer enriches the local theatre industry, fostering innovation and creativity.
Strengthening the South African Theatre Community
By choosing ETC Halcyon lights from ApexPro, theatres are not just investing in superior lighting solutions; they are also supporting a network that values community, education, and the growth of the arts sector in South Africa. ApexPro’s involvement extends beyond distribution to actively participating in the development of the theatre community, making Halcyon lights a choice that benefits all stakeholders.
The collaboration between ApexPro and ETC in bringing Halcyon lights to the South African theatre market is a game-changer. It combines world-class lighting technology with local expertise and support, making these lights a superior choice for theatres across the country. As South African theatre continues to grow and evolve, the partnership between ApexPro and ETC ensures that it does so in the most visually stunning, cost-effective, and sustainable way possible.
At the 2024 edition of the Prolight + Sound tradeshow in Frankfurt, ETC will showcase brand-new products and give a series of presentations on stands C39 and C41 in Hall 12.0.
Throughout the week, visitors to ETC’s stand will have the chance to explore the latest lighting, control, stage machinery, and more technologies. Attendees will first see a brand new entertainment lighting fixture, new Hog software, and a preview of Eos lighting control software with expansion processing on stands C39 and C41.
ETC product specialists will also host a series of mini-presentations on the stand during the four-day tradeshow. These sessions will delve into whole system solutions and integration, explore how to make workflows more efficient, and examine some of ETC’s advanced technologies.
Attendees will also get a chance to see the latest in stage machinery, including a Prodigy P2 hoist system, in action on the stand. New automated fixtures including the recently launched Ministar and best-in-class Halcyon fixtures will be on the stand. Visitors can also see ETC’s X8 color array with the latest in LED lighting – Source Four LED Series 3, fos/4 Fresnel 10” and 5”, Desire Fresnel and more.
“Prolight + Sound is always a great opportunity for us to meet users and customers in person, share ideas and have hands-on experiences with our latest offerings. We look forward to welcoming visitors to our stands at the show.”
ETC Market Manager Rory Fraser-Mackenzie
Recognized as a global entertainment technology shows for lighting, stage, events, and more, the annual Prolight + Sound show will take place from 19-22 March at the Messe Frankfurt.
New 21-inch Driver Is Paired with the Innovative Technology of the PANTHER Line Array Loudspeaker
Meyer Sound announces the 2100‑LFC low-frequency control element, a powerful new loudspeaker that extends the advanced technology of the PANTHER large-format linear line array loudspeaker down to the lowest limits of audibility.
By pairing a potent Class D amplifier with a single, all-new 21-inch driver with four voice coils, the 2100-LFC produces a linear acoustic output suitable for the most demanding applications. With an extended frequency response from 30 – 125 Hz, this class-leading performance is achieved in a loudspeaker that is more than one foot (30 cm) narrower and about 20 percent lighter than the 1100‑LFC product.
“The 2100-LFC shares the core design philosophy behind our breakthrough PANTHER line array,” says Meyer Sound Senior Product Manager Andy Davies. “With the 2100-LFC we’ve had the same goal of making a lighter and slimmer self-powered cabinet with all the performance the industry has asked us for while bringing it to the market at a lower initial cost than the previous generation. With PANTHER and the 2100-LFC we now have a complete, full-bandwidth solution for high-impact sound reinforcement in large-scale portable and installed applications that meets the practical and budgetary demands of the modern industry.”
NEW DRIVER, CLASS D AMPLIFIER, AND FOUR VOICE COILS
Achieving the ambitious performance goals of the 2100-LFC required the development of a new 21-inch cone driver and a new high-power Class D amplifier. For the driver, the Meyer Sound engineering team built on the experience gained from the dual voice coil 18-inch driver in the 900‑LFC, but here stepping up to four voice coils. The new driver benefits from an all-new Class D amplifier rated at 1200 watts maximum continuous power, with peak power of 8000 watts.
“Like all sub-bass loudspeakers producing very high levels over hours of use, the magnets and voice coils can get very warm and that affects the linearity of the output,” notes Davies. “But since we have AC power on board, we are able to engineer cooling systems not just for the amplifier but also for the magnet and voice coil assembly. So, the output of the 2100-LFC maintains a linear response no matter how hard you drive it.”
The frequency and phase response of the 2100-LFC is tailored to complement not only PANTHER but the entirety of Meyer Sound’s linear line array products. This makes the 2100-LFC a great fit for customers who already own 900-LFC or 750‑LFC products and want to expand their inventory.
REDUCED WEIGHT AND SIZE
Reducing the weight and size of the cabinet ensures flexibility, giving greater freedom to fly arrays using fewer or smaller motors. When coupled with the weight savings already achieved by PANTHER, this means productions are faster to rig and easier to fly in a wider range of venues. This flexibility also allows users to bring the highest levels of low-end performance to even the smallest venues, and do so with a product that could be touring into stadiums the next day.
Like the 1100-LFC, the 2100-LFC has symmetrical rigging hardware, allowing easy mixing of front and rear orientation in cardioid arrays. However, the narrower cabinet profile of the 2100-LFC allows for a much more efficient truck pack, with three-high stacks fitting three across in USA or European semi-trailers. “The stacks are a bit higher than other models in the LFC family, but that’s usually wasted space up at the top,” observes Davies. “Overall, it’s a far more efficient use of truck space, and when you add the savings in space PANTHER has already contributed, we are dramatically reducing the cost of touring logistics.”
Preliminary specifications for the 2100-LFC low-frequency control element give measurements of 42 inches (107 cm) wide, 24 inches (61 cm) high and 26.5 inches (67 cm) deep. The enclosure is premium multi-ply birch with a textured finish. The grill is powder-coated stamped steel.
SEAMLESS SYSTEM MONITORING AND CONNECTIVITY
The 2100-LFC also incorporates the same standard dual input module as PANTHER, offering both a Milan AVB endpoint for digital audio and monitoring telemetry, plus an analog input for backward compatibility with existing systems. System monitoring and connectivity is handled by Meyer Sound’s acclaimed Nebra software package. The 2100-LFC will also benefit from the product integration functionality in the Galileo GALAXY series of processors, ensuring seamless audio integration with all generations of Meyer Sound self-powered systems. All connections on the module — network, AC power, and analog XLR input — are via Neutrik TOP (True Outdoor Protection) connectors with an IP55 rating, making weather protection a standard feature.
“A sub-bass unit with a single 21-inch driver is something we’ve wanted to offer for a number of years because of the size and weight advantages as well as the sonic benefits,” says Davies. “Finally, technology and engineering have caught up with our ambitions. We set a high bar with the 1100-LFC, which set a new standard for power paired with accuracy and musicality. We expect the 2100-LFC will deliver a level of open, transparent, and linear low-frequency power that will again raise the bar for the industry and redefine what is possible.”
The Meyer Sound team responsible for the design, specification, and testing of the 2100-LFC was led by Engineering Director, Acoustical & Mechanical, Katharine Murphy Khulusi. “We are excited to continue to push the boundaries of performance. The 2100-LFC will be in the same performance class as the 1100-LFC in a lighter, more compact package. The extended frequency response gives 35 percent extra usable range. This launch continues to take our new products into the future.”
Genelec Japan recently held a vibrant local launch event for the 8381A and introduced our new UNIO Platform and 9320A Reference Controller. To give you some insight into the experience, Genelec Strategy Advisory Officer Lars-Olof Janflod has gathered a few highlights below.
“Key team members from both Genelec Japan and our headquarters in Finland joined forces in Tokyo to officially introduce the 8381A Adaptive Point Source Main Monitor to Japan, with a well-attended hands-on listening event at the city’s legendary King Records Sekiguchidai studio complex. King Records, founded in 1931, were one of the very first studios in Japan to invest in our 1035A monitors, which they installed in the early ‘90s. Today, all four of their suites are equipped with 1035s.”
“The event, held in Studio 2 and led by Genelec R&D Director Aki Mäkivirta, ran over two afternoon sessions and gathered over 80 highly knowledgeable attendees. Aki started us off by shedding light on the design ideas behind the 8381A, and we followed up with a hands-on control room demo where each participant was invited sit at the desk and choose their reference material. The group of participants featured a healthy mix of mostly younger generation engineers alongside a few well-known and highly respected industry veterans. It’s safe to say that, across the board, reactions were very positive indeed.”
“Following the 8381A’s introduction at King Records, a separate session was held at Genelec Japan’s office and Dolby Atmos suite to introduce our new UNIO Platform and 9320A Reference Controller. Aki, once again, led the way for a similar mix of young and more-experienced engineers, who relished the opportunity to form a greater understanding of UNIO and try out the unique, highly consistent listening experience it offers between in-room and headphone monitoring.”
As a bridge to UNIO, our compact 9320A Reference Controller enables you to create, optimise and manage a single, liberating workflow – for professional loudspeaker and headphone monitoring options, from stereo to immersive, which are easy to access, trust, and cross-reference, wherever your work takes you.
ETC, a global leader in lighting solutions, is thrilled to introduce OneTrack by ETC, a versatile track lighting system, designed to deliver unparalleled flexibility, capability, and reliability for a wide range of installations. OneTrack by ETC offers two 20-amp circuits that can be independently switched or dimmed, providing ultimate control over lighting setups. Its robust data circuit, integrated directly into the track, ensures seamless compatibility with low-voltage dimming, via DMX, 0–10V, DALI, and other signal types.
With standard lengths of 4-, 8-, and 12-foot (1-, 2-, and 4-meter), OneTrack by ETC caters to diverse spatial requirements. Designers will appreciate the array of coupler options, empowering them to create imaginative lighting patterns with ease. OneTrack’s intelligent hardware design ensures secure mechanical and electrical connections, even when mounted vertically.
“We are delighted to partner with A.A.G. Stucchi and introduce the OneTrack by ETC track lighting system to our customers,” said Ned Keitt, Product Manager at ETC. “This -product empowers lighting professionals to achieve stunning results in any installation, particularly when paired with our exclusive OneTrack Backbone to combine the best features of track lighting and performance luminaires.”
ETC’s Source Four Mini LED, Irideon FPZ, Irideon WLZ, and Desire D22 luminaires will soon be available with OneTrack adapters, enabling seamless integration of these popular fixtures. Moreover, OneTrack by ETC supports an extensive range of LED track fixtures from various manufacturers, ensuring compatibility and versatility for lighting designers and specifiers.
A beloved Michigan tradition for over 40 years, the 2023 Detroit Jazz Festival featured over 60 performers, spontaneous late night jam sessions, and 350,000 attendees; online viewership of the festival topped 2.5 million live views. Now a division of Display Group, Fantasee Lighting has been providing lights and design to the festival for over twenty years. Celebrating his tenth year as Jazz Fest Lighting Director, Jon Weaver specified High End Systems SolaPix and Lonestar fixtures for this year’s event.
Before COVID shuttered the physical festival in 2020, the festival would stream the headliners on the mainstages, and broadcast three sets on local TV every year. When Jazz Fest returned to a live event, Weaver insisted that the event be lit as a broadcast show outdoors. The lighting rigs were designed to be able to overtake the sun, and still be impactful on television from noon until the headliners came on after dark.
Jon says as more events have become film studios with a live audience, Fantasee Lighting was quick to invest in the SolaPix 7 and SolaPix 19 XT fixtures. “The SolaPix are very versatile fixtures that give a beautiful smooth wash for the stage in a small package. From the front, they provide a beautiful balanced wash for cameras at any temperature. In colors, they have the output to saturate the entire set without having to turn down the front wash required for the cameras.”
36 SolaPix 19 XTs were the primary lighting on both main stages for both camera and color. 20 SolaPix 7s were used on the smaller stage for the same looks and effects in a smaller package, to bring consistency across the sites.
“The fully mappable face adds dynamic effects and looks, without having to add a bunch of effects fixtures. They can be driven by both the lighting console and the media servers independently, which simplifies complex system designs and allows these features to be utilized in much smaller shows for large impact.”
Over the past year, Fantasee also invested in a fleet of Lonestar fixtures. Jon says, “The Lonestar has become the workhorse of our corporate lighting systems. For years, we’ve needed a framed luminaire for use in smaller venues, and most manufacturers were only putting framing shutters in their largest fixtures. Frankly, these were overkill for many of the events, and usually meant that we would only put in a few fixtures to accomplish the specific needs for shutters. The Lonestar is the perfect physical size with tons of output to fulfill this need. The price point of these means that we can use more fixtures for less cost. Fantasee will use these to fill out the entire rig, which allows the designer onsite ultimate flexibility to make consistent looks across the system. At the Detroit Jazz Festival, Fantasee used Lonestar on the small stage to give the impact of the large format fixtures, scaled down to the appropriate size for this small stage.”
Weaver adds that the two main stage consoles were dictated by the respective lighting designers, while the other two spaces were controlled by Hog 4 because of its versatility and stability for the broadcast. The Absopure Waterfront Stage was run with a Full Boar, while the Anchor Desk Studio setup was run on a Roadhog.
Fantasee utilized ETC’s Studio HD Fresnel and D40 Daylights to fill out the Anchor Desk Studio set hidden in the festival complex. Artists gave interviews from the set for uninterrupted content for the stream during set changes. The festival had three uninterrupted streams running daily.
Account rep was Nicole Morris; Weaver served as Lighting Director and handled the Amphitheatre Stage, with LD Zach Schneider covering the main stage, Travis Krajewski serving as LD for the Waterfront Stage, and Kasey Lynne handling the site lighting. Joining them on the crew were master electrician Holly Lloyd-Dunk and E2 Jordyn Meyers.
For the past six years, Weaver has been at the helm of the company’s Installation and Integration division, designing lighting, rigging, and show control systems. When Fantasee Lighting was purchased by Display Group in May 2022, audio and video was added to their offerings for install.
In closing, Jon says, “I have always especially enjoyed lighting for Jazz. There are many styles of jazz, and it exudes the cultures from with it originates. The most important element is designing a versatile rig that looks just as good at noon as at 10 pm. And with over 300,000 people attending in person, it is sometimes easy to forget that the larger audience sees this show through the lens of the camera!”
