ETC launched a new family of multi-venue fixtures. Building on the popular ColorSource line that is lighting schools, houses of worship, hotels, and theme parks around the world, ETC announced ColorSource V. This trio of fixtures includes ColorSource Spot V, ColorSource Fresnel V, and ColorSource Spot VXT.
The roman numeral “V” in ColorSource V hints at the five-color array of red, green, blue, indigo, and lime. This combination of emitters makes it possible to produce the softest pastels and bold, punchy colors from the same fixture. In addition to the array, all ColorSource V fixtures include Multiverse® wireless DMX/RDM, NFC for remote fixture configuration when used in collaboration with ETC’s free Set Light app, and increased brightness from the past ColorSource line.
ColorSource Spot V is shipping now and takes the place of the previous ColorSource Spot luminaire. Just like with Spot, ColorSource Spot V uses the same lens tubes, barrels, and accessories as ETC’s other spot fixtures, including the iconic Source Four incandescent fixture. If you have ETC’s CYC or Fresnel adapters in your inventory, Spot V works with those as well.
ColorSource Fresnel V delivers the technology of ETC’s premier Desire Fresnel fixture at an accessible price point. Incorporating a true microFresnel lens and motorized 13-44 degree zoom control both via DMX and manually from the back of the fixture from both the back of the fixture, Fresnel V is truly a workhorse for every theatre. ColorSource Fresnel V is expected to begin shipping in January of 2023.
ColorSource Spot VXT is the outdoor fixture you’ve been waiting for. With impressive brightness, and the same color mixing technology as the other ColorSource fixtures, this IP65-rated fixture brings the drama to your outdoor spaces. The same wireless feature set streamlines setup and configuration, but the best part is, VXT also utilizes the same lens tubes, barrels, and accessories as your other ETC spot fixtures.
ETC will begin taking orders for ColorSource Spot VXT in early 2023, and it is scheduled to begin shipping in late Q1, 2023.
Find out more about the Colorsource V family HERE.
Introducing High End Systems Halcyon, the next generation of automated framing luminaires from ETC. Created to meet the needs of rental operations, theatres, and opera houses, Halcyon is a family of framing fixtures designed for the exacting demands of lighting production. Offering reduced cost, reduced weight, and increased output, Halcyon fixtures are each best in class and engineered to fit into every spec for every design.
High End Systems Halcyon
Offering matching feature sets and performance across all fixtures, the Halcyon range consists of Gold, Titanium, and Platinum. Halcyon Gold outputs 31,000 lumens and is ideal for short to medium-throw applications. Designed for medium to long throws, Titanium outputs 40,000 lumens. And for the most extreme light at the farthest distances, Platinum offers unprecedented light output at 55,000 lumens, with an incredible 75,000 lumens in boost mode. With a new industrial design, each Halcyon fixture is smooth and sleek enough to blend into your rig.
Halcyon has two LED engine options for maximum versatility. The e Halcyon’s color mixing system uses tighter, next-gen gradient dichroics and a linear mixing curve supported by ETC’s renowned color science for smooth and even colors, both in and out of focus.
With full curtain framing on four focus planes and extended framing rotation, Halcyon provides all the tools to perfectly shape every show. A new, custom-selected package of patterns brings a full library of aerials, rotational effects, breakups, diffusion, and prisms. ETC’s Trifusion system brings a wide range of diffusion with a single control channel, maintaining maximum output and even frost distribution across the field, and a smooth transition from a sharp edge all the way to a heavy wash. A continuously variable rotating animation wheel with linear insertion allows programmers to now control the animation’s angular position. Patented Whisper Home technology employs a dual sensor system, allowing Halcyon fixtures to home with little movement, while also being quiet, fast, and precise. Halcyon is backed by ETC’s industry-leading customer service and is competitively priced without sacrificing on features or performance.
Automated Lighting Product Manager Matt Stoner comments, “The High End Systems SolaFrame changed how people do things in our industry, and we are excited to continue the revolutionary product line in our new Halcyon products. Over years of customer feedback and fixture usage we have learned so much and the Halcyon family is the culmination of that feedback, and a leap forward in smaller, less expensive, lighter, and better performance.”
Market Manager Tania Lesage adds, “There are thousands of venues around the world looking for lights with sharp projection, a versatile gobo package, and lush color mixing; that is exactly what we bring with this new framing family. High End Systems Halcyon was created by our award winning automated design team with three decades of experience. If Halcyon piques your interest, come see us live at LDI, JTSE or MEET, or get in touch with your local dealer or rep for a demo.”
RTS ODIN matrix with 64 ports easily coordinates stadium video board production elements and accommodates OB trucks when needed
ROAMEO wireless intercoms enable coordination across entirety of 19,000-seat stadium
Production engineer Cole Mayer and team rely on RTS intercoms for both in-game and digital/social media content creation and coordination
Burnsville, MN, Oct 2022 – When Major League Soccer’s Minnesota United FC franchise opened Allianz Field in 2019, the team’s vision was to create the best-possible fan experience within the 19,400-seat venue. The responsibility for coordinating the technical side of that lies largely with production engineer Cole Mayer. He relies on RTS intercoms to ensure that all game day events – from team introductions to halftime events and, most importantly, the stadium’s massive video display throughout the game – go off smoothly and as scheduled.
According to the Mayer, the in-stadium show on the video display is the centerpiece of their in-game content. “We produce our own show in real time, so it’s essentially the same as a telecast, but with the audience being inside the stadium,” he explains. “Our production control room is right next to the press box, and includes a switcher, two replay machines, plus clips, graphics, and audio – including a DJ.”
An RTS ODIN (OMNEO digital intercom) matrix is a critical tool for coordinating the in-game presentation. Minnesota United runs a 64-port ODIN frame with about 15 KP-4016 keypanels spread around the control room, along with three DKP-4016 desktop units. ODIN’s OMNEO capability allows the intercom to be part of the stadium’s Dante audio network.
Stage managers stationed throughout the stadium utilize RTS ROAMEO wireless beltpacks to coordinate the timing of various production elements during games. “The ROAMEO packs are a really key tool for us. It’s like having a keypanel on your hip,” notes Mayer. “We have wireless access points set up all around the stadium to keep us in direct communication, so everything happens smoothly and on cue, whether it’s directing the on-field camera, the team walk-out from the tunnel, halftime entertainment, etc.”
Mayer also points out that ROAMEO’s plug-and-play connectivity gives him the ability to expand his productions as needed. In fact, he has a spare AP-1800 access point on hand for just that purpose. “That’s the luxury of ROAMEO,” he states. “Wherever there’s a network connection, I can create wireless communication. I just configure a port on the Dante network, and the access point will service all of the beltpacks entering that space. So if we have a private event in a luxury suite, or even out in the parking lot, we can provide the same production quality as our in-game presentation.”
Since Allianz Field opened in 2019, RTS flexibility has made life easier when producing outside events, including live broadcasts, from the stadium. “We’ve done a number of bigger events here, and I’ve come to really appreciate how easily our network ties into broadcast trucks, most of which also use RTS,” notes Mayer. “Our regular game-day productions are pretty stable, but whenever I have a new challenge, I just call RTS and they will walk me through whatever’s needed.”
As a huge soccer fan who went to school in the Twin Cities, Cole Mayer feels fortunate to be working in his field for the team he loves. “Everything we do is produced in-house, from the in-game fan experience to podcasts and all kinds of video content,” he notes. “Having tools like RTS intercoms is critical to creating the kind of compelling content that Minnesota United fans deserve.”
Photo: Olivia BastonePhoto: Olivia BastonePhoto: Olivia Bastone(L-R) Josh Osmond, FOH Engineer; Ryan Cornelius, Systems Engineer/Crew Chief. Photo: Olivia BastonePhoto: Olivia BastonePhoto: Olivia Bastone(L-R) Ryan Cornelius, Systems Engineer/Crew Chief; Josh Osmond, FOH Engineer; Tyler Harris, PA Tech; Kevin Hu, Monitor Tech; Tucker Arbuthnot, PA Tech; Francois Pare, Monitor Engineer. Photo: Olivia BastonePhoto: Olivia BastonePhoto: Olivia BastonePhoto: Olivia Bastone
Cementing their status as one of this year’s premier concert draws, The Lumineers zigzagged across the continent this summer on the North American leg of their “Brightside World Tour.” Playing a mixture of sheds and arenas along with the occasional baseball stadium, the band delivered their trademark blend of alt-folk and Americana through a Meyer Sound LEO Family reinforcement system supplied by Escondido, California-based Sound Image.
Production Manager Sara Full, a pivotal player on The Lumineers’ team since 2013, emphasizes the key role of audio reinforcement in maintaining the band’s popularity. “The Lumineers’ music transitions between stripped-back moments and momentous builds, and capturing those dynamics in a way that translates uniformly — from the first fan in the pits to the last in the upper 300s — is essential to fulfilling expectations and making sure fans will come back for more. Our collective desire, band and crew, is to produce amplified sound in an arena that is comparable in quality and clarity to what the audience would hear acoustically. Simply put, the Meyer Sound system reproduces what the band is doing with purity but translates it to a large audience.”
Full also gave a tip of the hat to Sound Image for their role. “Jesse Adamson, our Sound Image representative, has been working with us since 2016 and has been diligent in making sure we have the best technicians with the proper training and skill. Sound Image also has done a great job of supporting us overseas, helping to ensure that we have access to the same Meyer Sound boxes worldwide.”
The Lumineers’ live mix benefits from the experience and practiced ears of veteran FOH Engineer Josh Osmond, who has also been with the band since 2013.
“The most important factor for me is consistency,” says Osmond. “The mix itself is subjective, and once the band and I are on the same page as to what the show should sound like, then it’s up to me to make that sound as consistent as possible, night in and night out. That’s where using the Meyer Sound systems has really paid off. With the linear phase response of the LEO Family and the flexibility available through Compass control software, Meyer has given me all the tools necessary to achieve this goal.”
Osmond is also a fan of Meyer Sound’s inherent self-powered architecture. “Self-powering has a number of benefits, including requiring less truck and floor space. It also eliminates long speaker cable runs from the amplifier on the ground to the speakers in the air. As a result, there is a transient response that other boxes don’t have.”
As configured for most shows, The Lumineers’ touring rig comprises left and right main hangs of, per side, 12 LEO line array loudspeakers over six LYON-M line array loudspeakers. Side arrays are 16 LYON each (eight LYON-M and eight LYON-W), the 270 hangs each deploy 14 LEOPARD compact line array loudspeakers, and six LEOPARD loudspeakers form the center array. Nine 1100‑LFC low-frequency control elements are flown per side as steerable cardioid arrays.
Locally sourced delays were added for most baseball stadium shows, though the final show at Chicago’s Wrigley Field posed a particular problem as venue management would not permit delay towers, only limited ground-stacked systems on roll-in carts.
“Those delay stacks had limited uptilt to reach the steep upper levels, so the main system had to do more work to cover those seats,” says Osmond. “I received several comments from band management and friends who listened from these areas, and they said it sounded as if they were down at front of house. The LEO Family is known for doing a fantastic job in long-throw situations, and it really proved itself on this show.”
For optimization and signal distribution, the system utilized eight Galileo GALAXY Network Platform processors, all linked on an AVB network running the Milan protocol. The fully redundant network, implemented on a quad-core fiber link, has a primary network with AVB only and a secondary network carrying AVB, RMS system monitoring, and Compass control. The quad-core link allows connection of both the stage right and stage left racks to the FOH master processor with no additional switch hops.
“The biggest advantage of AVB over analog or AES3 is having fewer connections,” says Ryan Cornelius, the tour’s systems engineer. “I can route our entire drive signal flow over two cables. It’s also more flexible, as I can reroute or add inputs to the GALAXY processors with a couple of mouse clicks, rather than digging through the back of the rack for tie lines.”
Other key members of the audio crew are Monitor Engineer Francois Pare, Monitor Tech Kevin Hu, and PA Techs Tyler Harris and Tucker Arbuthnot.
Though with early roots in New Jersey, founding band members Wesley Schultz and Jeremiah Fraites relocated to Denver before breaking through with their chart-topping single “Ho Hey” in 2012. The 2022 tour, supporting the band’s fourth studio album, Brightside, launched with a European leg in late winter. The North American leg, spanning a total of 52 shows in 49 cities, kicked off in Jacksonville on May 17 and wrapped at Wrigley Field in Chicago on September 3. “Brightside World Tour” placed consistently among Pollstar’s top 10 tours throughout the summer.
This multi-sport games gathered around 3,600 athletes from over 100 countries. The World Games was originally planned for 2021 but postponed to 2022 due to the COVID-19 pandemic.
The production company ISB produced the television signal and were also in charge for selling the worldwide broadcasting rights. Close cooperation with the Olympic Channel also ensured that stories of the Games were transmitted to all parts of the world.
ISB deployed AEQ’s AoIP CrossNet Intercom System for the technical coordination and for the Commentary Audio a combination of the AEQ Olympia 3 AoIP Commentary Units and portable IP AudioCodecs Phoenix ALIO were used. Additionally the Olympic Channel in Madrid were using the AEQ VENUS 3 IP Codecs with local AoIP for the commentary program audio and coordination with commentators in Birmingham.
On the other hand, there were federations with their own technical equipment such as the World Flying Disc Federation opted for the new AEQ TALENT ultracompact IP audiocodec for their Commentary and production coordination.
AEQ Olympia 3 represents a breakthrough in Commentary Systems, providing greater flexibility and adaptability to different event sizes. This way, Olympia 3 has been designed to suit large events with hundreds of commentary positions at the same venue, as well as more modest installations where it may operate as a stand-alone unit or in an OB Van linked to an AoIP Intercom System.
AEQ Crossnet is a compact, intercom matrix with IP connectivity, based on Dante technology, compatible with the new AES 67 standard, carrying high quality audio suitable for broadcast. It also has high quality balanced analogue audio inputs and outputs and includes support for Kroma’s legacy IP panels and interfaces with compressed audio, and for Kroma panels with digital audio link.
AEQ Phoenix ALIO is a dual stereo channel portable IP audio codec. It has been specifically designed for sports broadcasts. Its design, compact, and resistant to pressure, shock, and even liquids, is optimized for use outdoors where treatment cannot always be sufficiently careful. This portable mixer consists of four microphone inputs with switchable phantom power, two line inputs and outputs, two headphone outputs, volume control and TX/RX mix, individual bass and treble control adjustment for each input channel, plus full duplex communication, with one stereo channel back and forth.
With the opening late last year of its new Sound Arts room, Semillero Estudios in Guadalajara became the first post-production facility in the state of Jalisco to offer Dolby-certified mixing in the Atmos HE (Home Entertainment) immersive sound format. In addition, the new mixing room is distinguished as the first in Mexico outside Mexico City to offer the Atmos HE capabilities using a full 9.1.6 Meyer Sound spatial sound monitoring system.
“Producers and music artists have been very impressed with what we can offer here in Guadalajara,” says Álvaro Arce, founder and director of Semillero Estudios. “A big part of that is the Meyer Sound monitoring system. You can take it to very high SPLs yet it never distorts. It sounds beautiful and it translates well into headphones, where much of the music content in spatial audio is heard lately. You can mix quickly and trust the system without a doubt.”
Arce established Semillero Estudios in Mexico City in 2013 principally for music recording, but the availability of top-notch musicians along with a fast-growing film and video business in his home city of Guadalajara convinced him to make the move back home in 2019. The first studio in the new location also was focused on music recording, but when the music was destined for integration into surround soundtracks the mixes had to be done in Mexico City.
“At first we were thinking of doing a smaller room with only 5.1 capability,” Arce recalls, “and then expanding to an Atmos room later. But our architect Gabriel Beas, acoustic designer Alejandro Lepe, and Carlos Cuevas from Dolby convinced us it would be more cost-effective to go to a larger Atmos room in one phase. I’m glad we did. With the surging demand for immersive music mixes, thanks largely to Apple, we’ve been very busy.”
The Sound Arts mixing room is equipped with three Meyer Sound Acheron Designer screen channel loudspeakers, with six HMS‑5 surround loudspeakers for the laterals (wide, surround, and rear) and six more for the overhead front, mid, and rear. A single X‑800C cinema subwoofer supplies low-frequency effects.
“I’ve always liked Meyer Sound speakers for their amazing headroom and precise imaging,” says Arce. “I recall when we were using the Dolby tool for measuring sound pressure levels, to make sure we could reach the levels we needed in the subsonic frequencies. That’s when I realized a big difference with Meyer Sound, because with the other systems we considered we would have needed two – or even four – subwoofers instead of one.”
Arce also cited the worldwide acceptance of Meyer Sound monitoring systems in major film and video post-production studios, as well as the high level of customer support available in Mexico. “I received a lot of help on design and speaker selection from Antonio Manzo, head of sales for Mexico, as well as from Magu [Mauricio Ramirez] and Oscar Barrientos, who have been friends for years. The Meyer team was incredibly supportive through the whole process, and that can be a real game-changer.”
The mixing platform in the room is an Avid S6, with separate computers for Pro Tools and the Dolby Atmos rendering unit. A Focusrite ISA preamplifier and Neumann U87 microphone allow for the insertion of vocal or synth tracks during the mixing sessions.
The new room opened during the Guadalajara Film Festival in October of 2021, and as part of the festivities, Oscar-winning sound designer Carlos Cortés and re-recording mixer Jamie Baksht (both for The Sound of Metal) came to the studio to teach a master class.
Since opening, the room has been constantly busy with film projects, in-house productions, and immersive music remixes, with Arce and chief engineer Caleb Sevilla taking on the lion’s share of mixing duties. The studio quickly attracted the attention of several notables in the Latin music business, including guitarist/composer/producer Kiko Cibrian, known for his work with Luis Miguel and Christian Castro, among many others. “Kiko lives in San Diego, but he loves the sound of the room here,” says Arce.
Most mixing in the Atmos format has been for music, again driven by the demand for immersive products on the Apple Music platform. The Sound Arts Room has hosted mixes of feature films and documentaries as well, though most are rendered in the 5.1 format. One exemplary project mixed by Oscar winner Carlos Cortés was a “cinema minute” advertising clip for IWC watches featuring American football legend Tom Brady.
Semillero Estudios and associated staff have an extensive list of credits for original music composition, music production, sound design, and post-production mixing, with projects including feature films, television series, and immersive music mixes. The majority of projects are for distribution in Mexico, but about a third are distributed throughout Latin America with some also appearing on Spanish language outlets in the United States.
