22 Jan, 2020 | Electro-Voice
Electro-Voice has shown its first powered floor monitor, the PXM-12MP, a 12-in powered coaxial floor monitor that is acoustically optimised for a 55 degrees floor angle.
The PXM-12MP features coaxially aligned 12-in LF and 1.75-in HF transducers with a 90 degrees horizontal angle.
The monitor can be installed as fill, delay or mounted on a pole, working as a sound system for short throw applications.
Subwoofers can be connected when extra bass is required, with the PXM-12MP including several x-over settings for ELX200 and EKX subwoofers.
A built-in Class D 700 W amplifier is featured, capable of reaching a maximum sound pressure level of 129dB.
Electro-Voice’s QuickSmart DSP is also included, featuring a backlit LCD panel and a push-button encoder with IIR/FIR settings. Digital three band EQ features are integrated, with different factory presets for a variety of application modes and five individual user presets.
A recessed connection panel is located on the side of the speaker for access when used on a pole, featuring two XLR/TRS combo mic/line inputs, an individual phantom power option, a stereo RCA AUX input for playback of music sources and an XLR THRU input used as part of a distributed sound system.
An XLR MIXOUT output allows the cabinet to be used as a three-channel mixer that can send the mix to another loudspeaker, with the PXM12-MP’s integrated cable management feature reducing clutter.
The monitor is also housed in a 15mm plywood enclosure with an EV-Coat, finished with a powder-coated steel grille.
20 Jan, 2020 | ETC
What’s
Next? In 2016, a dedicated research team was formed at ETC to advance
the technology of future product offerings. The team’s first primary
project was to create the best light for use on camera. The findings
from this multi-year, industry-wide study on color perception come
together in the family of fos/4 panel lights, now available from ETC.
Each of the three panel sizes (small, medium, and large) deliver unrivaled brightness in two array options. The Lustr X8 array adds a deep red LED to its mix that brings a richness to the spectrum by enhancing skin tones and giving new depth to blues, greens, and ambers. The Daylight HDR is a tunable white light array that, using a calculated selection of LEDs from the X8 color system, delivers a natural warmth when rendering skin tones and is optimized for output in cooler temperatures. These soft lights offer a shocking level of brightness, and selectable CCT between 1,900 – 10,450 K. All without compromising on color quality.
The
full-color screen and tactile encoders on the user interface were
designed with the cinematic workflow in mind. fos/4 gives nuanced color
control
from the full-spectrum color picker within the UI, letting you choose
how you mix each color. Use the Tune function to choose brightest, best
spectral, or a hybrid of the two. Save your customized color palette to
one of the many programmable presets.
The
industrial design of the fos/4 panel provides an ergonomically friendly
tool that’s meant to be seen. Features include the Griprail, a bracket
that acts as a mounting location for the fixture as well as for the
numerous accessories found on a shoot. Handles that double as safety
cable locations, rounded corners, and an industrial gray finish add to
the visual appeal without compromising functionality.
Additional
features include NFC configuration from your mobile device, Multiverse
Wireless control from your console using City Theatrical’s Multiverse
transmitter, and a suite of effects that you’d come to expect from a
fixture of this caliber including emergency lights, beacon, camera
flash, and party. And like all ETC products, fos/4 Panels are made in
the United States, come with an impressive fixture
warranty and a 24/7/365 customer support promise.
fos/4 is what’s next.
13 Jan, 2020 | ETC
A Chorus Line is a classic because of its depiction of the versatile,
fantastically-talented chorus dancers. Now, a new production at Washington
D.C.’s Signature Theatre has put their own stamp on the show with a new vision,
new choreography, and a new lighting design that features the versatile,
fantastically-talented ColorSource Spot from ETC.
“The goal was to keep the soul of the show, but put it in a new wrapper,”
says Lighting Designer Adam Honoré. “We wanted to fight the idea that it had to
look like we were in a theatre — complete with borders and lighting instruments
— or even in a rehearsal room. We wanted it to be just about each individual
character. We wanted to capture all 18 leads as bodies moving through
space.”
The original line on the stage floor was incorporated literally and
metaphorically into a new set that was (if possible) even more stripped down
and angular than the original. The scenic design “stretched” the stage along
the line to deliver an almost Cinemascope, wide-screen feeling. Literally, the
line was embedded into the set in various locations as LED tape hidden under
milk-white plexiglass. “The multiple lines disappear when you choose to light
them or not,” explains Honoré. This allowed him to move the line around stage
to create a fantastical environment when characters would tell their story, and
practically it gave the illusion of a deeper stage. When the light line moved
upstage, characters had a lot more room downstage of the line to tell their
story.
But the crisp, three-sided box of scenery meant that there was no way to get
lighting on to the stage from top lighting or high side positions. Honoré
didn’t bat an eye. “I just said ‘If you can get me 14 ColorSource Spots we can
do a show.’” He took the fixtures and put seven on each side of the stage,
eight feet off the ground in the boom light position. “We lined them up and
kicked them on, and they were amazing. They felt like really nice Kander side
lights.”
The ColorSource Spots were on the entire show and contributed to the
contemporary aesthetic of the show without disrupting its classic feel. The
ColorSource Spots let Honoré create looks that were big, exciting and flashy —
super-saturated with deep blues, punchy and nice for the montage — but also
ones that contained a range of subtle shades and corrections that allowed
Honoré to dial in exactly the right look during solo numbers. “For a lot of the
show I got to use a range of color correction for skin, or moonlight blues, to
create these stunning looks on stage,” he says. “They didn’t feel like LEDs. It
felt like a show in 2019, but using 1975 colors.”
And getting the right color appropriate to the ‘70s palette was obviously
incredibly important to Honoré and the entire design team. “We spent about a
day or day and a half doing a lot of picking of colors and color matching,
looking at the subtle undertones of costumes,” says Honoré. “We’d add a little
more purple or green, or subtract some here and there to make the costumes look
more becoming. That was the most important piece of the show. The ColorSource
fixtures work really well when you want to play with percentages or color.
Other instruments if you make just a small change to one set of diodes — take
away two percent of green — the output varies wildly. But in ColorSource it
fades so nicely. It’s very helpful when you’re getting specific with color.
They’re fine-tuned to desaturate without destroying color composition. With the
ColorSource, every color feels authentic thanks to how they have all the diodes
working together. That’s what made them feel so much more charming to look at.”
A Chorus Line will remain a classic no matter how you
envision it, and Honoré would like to keep envisioning it with the ColorSource
Spot. “I’ve used the whole gamut of other companies’ instruments, but the color
mixing is never as good or looks as charming on skin tones as with the
ColorSource. The CS Spot did so much more than I needed or asked for. These
instruments are underappreciated. The light really works with you and gives you
the range of color and dynamics you’re looking for.”
10 Jan, 2020 | Electro-Voice
Built in 2009 and extended in 2018, the main chapel at
Gangryeung Church in the city of Gangryeung-shi, Gangwon-do Province,
South Korea is now equipped with a new Electro-Voice sound system,
thanks to an installation by Muple (Hanam-shi, Kyounggi-do, South Korea)
with assistance from regional Bosch/Electro-Voice product specialist
Lee Hosung.
The new system was specified to bring consistent audio
coverage and clarity to the expanded chapel seating area for regular
services, with enough dynamic headroom and SPL capacity to accommodate
contemporary Christian musical performances – all with a focus on
excellent vocal reproduction.
“After carefully considering the
church’s performance requirements, budget and architecture, it was clear
that models from the EV-Innovation family of installation-dedicated
loudspeakers would be the right choice to precisely cover all parts of
the chapel with consistent sound quality,” says Lee Hosung.
The
main system includes six EVA-2082S/906 dual-element full-range
line-array modules (90°H x 6°V coverage), two EVA-2082S/1220 (120°H x
20°V) and two EVA-1151D 15” subwoofer line-array elements. Each
full-range EVA module features two low-distortion 8” woofers and four
1.25” titanium-diaphragm HF compression drivers mounted to two Hydra
planar wave generators. For additional sonic fine-tuning at Gangryeung
Church, EVA-AM attenuation modules were used to shade array output over
the front part of the chapel.
An ideal choice for house of worship
installations, EVA is a true line array that offers all the benefits of
concert-type line arrays without their cost and complexity. EVA’s
extraordinarily efficient crossover and driver design minimizes the need
for external DSP and allows two full-sized arrays to be powered by a
single amplifier – all adding up to significant cost and space savings.
Ultra-compact
dual-8” EVU loudspeakers are used as fill speakers to cover the under-
and upper-balcony areas and the far sides of the sanctuary. Designed to
complement the other members of the EV-Innovation family, EVU models are
small enough to be discreetly installed in the tightest of spaces in a
vertical or horizontal orientation, helping to ensure complete coverage
across the venue. Controlled coverage is enhanced via a rotatable 90° x
50° Constant-Directivity waveguide coupled to a small-format
high-performance compression driver.
“The new system has plenty of
headroom to accommodate any performance scenario in the chapel, while
providing the focused directivity required to avoid any architectural
obstructions,” adds Lee Hosung. “Even at higher SPLs, the room’s
acoustics have been controlled successfully, so speech intelligibility
is maintained throughout. In addition, the EVA and EVU models are
acoustically and aesthetically matched, for consistency in both tone
color and visual styling. Our partners Muple have a very strong
reputation in the church market, and this installation represents their
commitment to proving an optimal combination of performance and value
for their customers – all with the assurance of quality and reliability
that comes with the EV badge.”
9 Jan, 2020 | ApexPro News
A change is as good as a rest, or so they say!
After 10 years at The Hillfox Centre, ApexPro has decided that a move is required.
Although
Hillfox has been our home for over a decade, recent changes to the Centre have
given us an opportunity to rethink our requirements and location.
So, during
January and February we will be relocating to our newly designed premises, A6
Deco Park Northlands.
We apologise in advance for any delayed communications as our phone lines and overall connectivity will definitely be disrupted during this period. We will be issuing direct cell phone numbers soonest to minimise the impact.
Our new premises will include dedicated showroom and training spaces with dedicated service and project environments.
We are
seriously looking forward to the change and welcoming you to our new world
during March 2020.
Thank you
for your understanding.
8 Jan, 2020 | ETC, High End Systems
After
more than two years of renovations, the celebrated Théâtre du Châtelet
in Paris has recently reopened its doors to
the public. With the intention of restoring the venue to its original
splendor, the project saw the inclusion of an array of products from ETC
and High End Systems.
Christophe
Leuba – one of the venue’s two lighting managers who assist lighting
director Renaud Corler – recognized the
potential of ETC Eos consoles after attending an ETC training session.
“I loved the event and as soon as I got back to the Châtelet I arranged
an ‘Introduction to Eos’ session for our entire team,” says Leuba.
Several
other desks were considered, but Eos family consoles emerged as the
best solution for the theatre. “Thanks to their
simplicity, it’s obvious how to make a patch,” says Leuba. “But it’s
the color tool that really stands out. With the level of color control
they offer, there is no comparison with other consoles at the moment.”
Subsequently, two Eos Ti consoles were installed in the theatre’s control room – one of which is used in the audience during
creation phase – and a more compact Ion Xe 20 was chosen for use elsewhere.
Even
though decision-making for lighting control and power control was not
connected at the outset, the Eos consoles chosen
complemented the Sensor3 Power control system selected, with both
product families originating from ETC. “It’s really convenient to be
able to control the dimmers from the consoles,” says Bernard Maby, the
theatre’s other lighting manager. “In addition, it’s
very nice to have the feedback directly on the desks.”
The electrical room features seven Sensor3 power control racks fitted with 582 modules, plus 24 modules in an additional
rack for lighting. The team opted to work in sACN for communication between consoles, dimmers and fixtures.
Technical
solution provider Dushow was appointed to supply the lighting, and
began with a demonstration featuring all the
key brands of the sector. “The Dushow demo was superb because it was
very objective,” says Leuba. “The High End Systems SolaFrame 3000 stood
out thanks to its power, but also its color quality and full-frame
shutters. This led to an investment in 46 SolaFrame
3000 fixtures.”
The
venue already had a dozen Source Four LED Series 2 Lustr luminaires and
the team chose to add 60 units of the same
model, equipped with 25–50 ° zoom optics. “It’s a great fixture with
quality tungsten emulation,” says Leuba. “And the color management with
Eos is just amazing. It consumes nothing and it makes beautiful color!”
It’s fitting that the 72 ETC fixtures are proving to be a perfect accompaniment to the SolaFrame 3000s for Théâtre du Châtelet’s current production – An American in Paris.
