What was on Show at Jands @ Home

Soundcraft had on display si Series Digital Live consoles. This is a really nice console, maybe a bit on the large size. But it does have that nice solid feel to it. This desk does offer an easy upgrade path from a analog system. With this console you can take it out of the box and plug it straight in. The desk has all of the necessary analog connectors on the back. The layout is pleasant and easy to follow, a lot of it is self-explanatory especially if you are familiar with digital consoles and even if you were not, it would not take long to get a mix happening. Specs are below

• 48 or 64 Mono inputs
• 4 Stereo inputs
• Left/Centre/Right outputs
• 24 bus outputs (Aux/Group)
• 8 Matrix outputs
• 12 VCA’s
• 8 Mute Groups
• 4-band fully Parametric EQ with high and low cut filters.
• On-board dynamics
• Four independent Lexicon processors
• A physical output and meter for every bus.
• 8 assignable analogue inserts for additional outboard equipment
• 4 expansion slots for AES/EBU and/or MADI
• HiQNet connectivity
• Dual redundant power supply option

Si Series by Soundcraft

Shure’s UHF-R wireless microphone system was on display. To many this might be just another wireless system but as with technology there are always improvements and this set up represents Shure’s continued effort to improve an already good system. These are solidly built units that should easierly survive the rigours of touring.  Qouting from thier brochure “

Offering you more productivity, more reliability and more control, UHF-R is premier wireless technology that helps you master the complexities of large-scale wireless installations. UHF-R takes wireless to a completely new level.

Unparalleled control for complex installations. UHF-R automates setup and control operations to save you time and effort on even the most complex networked installations. UHF-R’s usability innovations include networked Automatic Frequency Selection with group scan, infrared automatic transmitter sync and smart menu-driven system operation for fast setup and intuitive operation.

Superior RF performance and reliability for every installation. With 3000 selectable frequencies across 75 MHz of bandwidth, UHF-R provides up to 40 simultaneous compatible systems per band. Advanced Track Tuning Filtering Technology, by shifting the RF filter along with the selected frequency, allows you to deploy this added bandwidth without audio degradation or interference. All UHF-R components – including the compact, sweat-resistant bodypack – are engineered to withstand the abuses of the road. You can rely on UHF-R for consistently reliable performance, always.

Crystal-clear audio that sounds more like wired. Shure’s patented Audio Reference Companding delivers crystal-clear audio transmission, far superior to conventional wireless. Unlike other wireless systems, Shure uses a variable companding ratio that responds to the audio level – eliminating wireless artifacts and substantially increasing dynamic range.

I think their words say it all. You can also get some great accessories. It also has two bodypacks  transmitters with switchable RF power. Also available is a variety of handheld mics such as SM58, SM86 etc. A very versatile system. Visit the Jands website to find out more.

Clear-Com were displaying the Encore Party-line  and Tempest Wireless comms systems. Now Clear-Com have been around for a lon time in the industry and their gear gets better and better. I have always been a fan of thier systems so it was nice to see what improvements they have been made over the years.

The Encore system is an improvement on the wired system that they have always made. And what a versatile system it is. It is also extremely robust and would take a rock’n'roll beating and still keep working. There are a lot of bits and pieces so that you can assembly a system that is just right for your situation.

Encore Wired System

The Tempest Wireless intercom products are also very neat. They do not work in the same frequency band as your wireless mics, so that you will not have problems with the frequency allocations. They work on the 2.4GHz band using digital frequency hopping technology. The system is very comprehensive. You can name beltpacks, control who mics are open etc all via software loaded on a PC or from a base station.

Tempest Wireless System

ETC also had some lighting desks on display.  There were 3 desks from the Eos Series, the Ion Control Desk, Element Control Console and the Eos Control Desk. As with all ETC desks these are well built and very functional looking.  They have a desk to suit everybody. A look at the tech specs will show you have useful these desks will be.

Eos Control Desk

Complete control of conventional and moving lights, LEDs and media servers. Supports multiple users with partitioned parameter control and full backup, multiple playback faders and cue lists in a tracking, move fade environment, with unique tactile response direct selects and encoders.

applications

• Theatre
• Television Studios
• Houses of Worship
• Corporate Theatre
• Exhibits
• Special Events
• Touring

features
• 4000, 8000, 12,000 or 16,000 Outputs/Parameters
• 10,000 control channels
• 12 Discrete Users
• Partitioned Control
• Master playback pair with motorised 100mm faders
• 10 100mm motorized faders x 30 pages for configurable
faders, submasters, masters and grandmaster control
• 2 full size LCD touchscreens for display, direct selection and
context sensitive control
• LCD direct selects with tactile response
• Four discrete palette types (IFCB)
• Presets function as “all palette”
• Effects provide dynamic relational and absolute progressive
behavior
• Central information area (CIA) accesses electronic alpha
keyboard, Hue + Saturation colour picker, gel picker, browser
and other controls
• 1 context sensitive LCD touchscreen with six associated
force-feedback encoders for non-intensity parameter control
• Configurable high-density channel display, with format and
flexi-channel modes
• User configurable topographical channel views
• List views of all record targets
• Mouse-less navigation of displays
• ETCNet2 and Net3 (powered by ACN) network protocols
• Show import from Obsession, Express/ion, Emphasis, Congo
and Strand 500/300 Series via ASCII
• Multiple MIDI and/or SMPTE Time Code Inputs, MIDI Through
and Output, Analog/Serial Inputs

Ion Control Desk

features

• 1024, 1536, 2048, 2560 or 3072 outputs
• 10,000 channels
• 4 Discrete Users
• Master playback pair with 60mm faders
• Four discrete palette types (IFCB)
• Presets function as “all palette”
• E ffects provide dynamic relational or absolute
progressive action
• Central information area (CIA) accesses electronic alpha
keyboard, Hue + Saturation colour picker, gel picker, browser
and other controls
• Configurable high-density channel display, with format and
flexi-channel modes
• User configurable topographical channel views
• List views of all record targets
• Mouseless navigation of displays
• ETCNet2, Net3, Artnet and Avab UDP network protocols
• Show Import via ASCII from Obsession, Expression, Emphasis,
Strand 300/500
• In/Out: local DMX512 x 2, MIDI In/Out, Networking DMX,
MIDI, SMPTE, SERIAL and contact closure via Net3 Gateways

Element Control Console

FEATURES
• 1024 Outputs
• 250 or 500 Channels
• 40 or 60 Fader versions, pageable as channel or
submaster control
• Master Playback pair with 60mm faders, GO, STOP/GO BACK
• Intensity, Focus, Colour and Beam Palettes
• Stepped, Relative and Absolute Effects
• Hue+Saturation Color Picker and Gel Picker for LED, CMY
color mixing
• ETCNet2, Net3, ArtNet and Avab UDP network protocols
• Show import via ASCII from Obsession, Express, Expression,
Emphasis, Strand 300/500
• I/O: local DMX512-A (2 output ports), MIDI In/Out, Ethernet
• Distributed DMX, MIDI, SMPTE and contact closure via
Net3 Gateways

ETC also manufacture the popular Cono, Congo Jr, Smartfade and SmartFade ML. ETC products are extremely popular.

Also on display was the Vari-Lite VLX led wash light. LEDS are certainly improving. This lantern shows the way that LEDS could be heading, if no other technology knocks them out. A very nice piece of kit.

Vari-Lite VLX

Jands New Modular Lighting Bar…The JLX-PRO was also on display. This is a very useful for new venues being set up. This is pre-wired and all you do is rig it and run power from your dimmers to it. You can also have DMX and data in the bar as well, Jands offer it in several configurations. so there is bound to be one suitable for you. due to its modular nature it can be cost effective and you can build on the system.

Features

• Proprietary extruded aluminium spine for strength (Registered Design No. 302249)
• Durable construction & black low sheen finish.
• Distributed Loads of (up to) 100kg/m & Point Loads of (up to) 100kg.
• Three module lengths (2.35, 3.5 & 4.7m) and three outlet densities (low, medium & high) for simple user customised solutions from standard building blocks.
• Kits for flying from ropes or chains, for suspending from battens and for fixed installations.
• Industry standard Socapex cables, headers & tails.
• 10A (standard) & 20A (optional) outlets available.
• Compatible with Jands WM range of patch panels.
• User configurable Extra Low Voltage compartment using Jands SB plates and universal inlet kit.

   

  

  JLX-PRO Modular Lighting Bar

Jands also had some other interesting staging products on display. Jands are one of the big players in fitting out theatre venues and and they have the resources to back it up. They have some very interesting gear that will make a techie life so much easier and also reduce the OH & S issues with flying of scenery and the like. Items such as P 250TH servo – which is a motorised steel band hoist, H550P-VX – which is their Pile wind motorised hoist, controllers for these hoists.  This is some serious kit which I wish I had in some of the venues I worked in.

So you can see that Jands had a reasonable amount of gear to show off. Some of it I have not mentioned or otherwise this post would have gone on forever. But I will repeat myself and say I hope Jands will do this again for Adelaide, as this sort of thing is rare here.

For those that want more information I suggest you visit the Jands website and they will help you solve your technical needs. They can be contacted at Jands

or

Jands Head Office operates from 8:00am to 6:00pm, Monday to Friday, Australian Eastern Standard time.

Jands Pty Ltd
ABN: 45 001 187 837

Jands Head Office
40 Kent Road
Mascot NSW 2020

Postal Address
Locked Bag 15
Mascot NSW 1460

Main Phone Number: (+61) 2 9582 0909
Main Fax Number: (+61) 2 9582 0999

Maxim Lighting Desks -by LSC Lighting Systems

maXim Console

Maxim Lighting console Review

The maxim lighting desks designed and manufactured by LSC Lighting Systems have been around in Australia for quite a number of years. These desks are often favoured by schools and community venues. They offer a reasonable degree of flexibility in the way they are used. You can quite easily busk a show for a one night stand or you can program a reasonably complex show into the system for repeatability night after night. The desk has solid, robust feel. Unfortunately the colour scheme from my point of view is a bit bland, it would be nice if things like the record button etc. had different colours from the rest of the buttons. This would them stand out, especially when you are tired, you sometimes need all the help you can get. But before we get into to much detail lets look at its features.

Features

Six models available; 24 fader MAX/S to 120 fader MAX/XXL.

Optional PaTPad moving light controller.

Single preset and two preset fader operation.

Fully proportional softpatch out to 512 (1024) output channels.

25×7 dot matrix LED display shows scrolled messages for effective reporting.

Electronic labelling function for naming Scene, Chase, Stack and steps of Stacks.

Stack playback master and effects buttons for full control of sequences.

Up to 500 steps of a Stack can be recorded with true dipless crossfade.

Each step of a Stack can be recorded as a Scene, Chase, Channel or a Snapshot of the output.

Steps of a Stack can be linked automatically.

Individual In (Up) and Out (Down) fade times, programmable for every Scene and step of a Stack.

Up to 250 steps of a Chase can be recorded as Channels, Scenes or a Snapshot of the output.

Scenes and Chases can be run concurrently on lower bank of preset faders.

Nine pages of non-volatile memory for Submasters on MAX/L, MAX/XL and MAX/XXL models.

Multi-page SGVA colour video output displaying desk status, memories, patches, and help menus.

Edit facilities include fade and speed times, channel levels, add/remove of steps/patch allocations.

Power “brown-out” protection.

USB Flash Disk storage for show back-up. Optional on MAX/S and MAX/M models.

Software upgradeable via USB Flash Disk.

CE and Ctick approved.

Details

As you can see from the above list of functions the desk has a lot going for it. You can get this desk in a variety of flavours from the small 12/24 channel to the 60/120 channel desk. There is an optional patpad controller available for some of the desks. The patpad is a control surface designed to control moving lights and the like. The desk is built very solid and should survive the rigours of touring or use in a school.  The desk is laid out in the standard 2 preset format with the addition of a 3rd bank of faders next to the preset masters.  The only one of the series that this is not true for is the MaXim S which is the smallest model in the range.  The range of models is:

• maXim S (12/24).
• maXim M (24/48).
• maXim MP (24/48 with PatPad).
• maXim L (36/72).
• maXim LP (36/72 with PatPad).
• maXim XL (48/96).
• maXim XLP (48/96 with PatPad).
• maXim XXL (60/120).
• maXim XXLP (60/120 with PatPad).

There are  3 Modes of operation for this desk:  Preset, Where the desk works in manual 2 preset mode.
Wide, where you can double the number of available channels.
Scene, where the Red Bank of Faders act as Scenes.

In all modes the Bottom row of faders acts as scenes except on the 12/24 model which does not have this row of blue faders. So you can see there are a range of options for the lighting operator. You can use the desk as a 2 preset system with a whole load of scenes recorded. An example would be to have a whole series of colour washes recorded as scenes and then use the presets for specials – great for busking. If using the desk in wide mode you then have access to a wide range of channels, not easy to operate a show from but great for setting up shows and you can then record the resulting lighting states into the blue faders as scenes. But you can also record scenes on the second preset faders as well. So you could record all of your scenes on this preset and your chases on the bottom presets or your intelligent lighting cues on the bottom faders and your generics on the second preset. so you can see that this desk is only limited by your imagination.Once you have recorded your show you can then stack the cues into what ever sequence you require, you can then play this stack back on the stack master.

Each scene or state that you record can also have fade times recorded with it. When you then put these scenes into a stack the states will playback with those times. Also within a stack you can set in and out times if you did not do that will recording the states initially. Or you can use the manual time faders for playing back the stack. You can also use these time fades for manually playing back scenes or presets.

With this desk you can also record chases sequences easily. This desk has the ability to do a lot just as a lighting desk. Editing states is no real drama. Just press the edit button, select the scene you want to edit, you then use the top preset to modify the levels, when you are complete just hit the edit button again to exit. You can edit live or blind.

There are only a couple of niggly thinks that annoy me. One is the display on a monitor is a little crowded, it would be nice if you could arrange the elements on the screen in the way you want to improve your workflow. Another thing that would be nice if it could change is the labelling of the scenes that occurs. I understand why it is the way it is, but it would be nice if you could re-label them. You can label a cue but it is not the dominant info on the screen. If you label the cue it should be easily seen on the monitor so you know where you are in a production. Lighting operators like their memory cue number to match a stage managers and be easy to call. The standard scene label is not easy to call, it follows this format -R1.02 – this means Red preset page 1, fader 2. So you can see that it is difficult to call LX R1.02 GO.  If this could be changed or the labels assigned by the operator made bigger and bolder, it would be easier.

Another feature that I have not had a chance to try out is the PatPad section, which is designed for programming moving lights etc., Reading up on this area it looks like a great but relatively easy process. There are videos available that show you how to program movers. When I get a chance to user some movers with one I will write a review on the process.

conclusion

I have only scratched the surface of what you can do with this desk. Apart from a couple of niggles I am very happy with the desk. It is well built. It performs like you would expect it to. Software is easy to update. And the manual is not to bad to read. This desk will give you many reliable years of service. It is great to see equipment of this caliber coming from Australian designers and manufacturers.

I would rate this desk 8 out 10

Contact:

LSC Lighting Systems

Lighting Design 101 part 2 ” The Usable Properties of Light”

In the first part of Lighting Design 101 we looked at the aims of lighting. In this section we are going to look at the usable properties of stage lighting. These are the controllable properties that light has.

1. Intensity – this is the quantity of light. Dimmers are used to control the intensity of light. The human eye can adjust to a wide range of levels of intensity. Therefore it can be assume that intensity is relative. The eye compares the present lighting intensity with what has happened before. an example of this phenomena is when a theatre’s house lights dim and go out, the eyes adapt to the darkness, then the stage lights come up to an intensity that might not be that much brighter than the house lights previous level. But since the eyes had adjusted to the darkness the light seems to be very bright when compared to what it was before hand. This creates the illusion of bright light, and it is something that a lighting designer can take advantage of. You don’t necessarily need lots of light to create a bright scene you just need to have the skills to use intensity to create that illusion.

2. Colour – colour must be carefully controlled in a theatrical lighting situation. To control the colour of the light you use specially dyed sheets of plastic in front of the light. There is a huge range of colours available. This gives the lighting designer a whole of palette to work with. You can use colour to create moods and evoke locations. Colours like blue and blue tints can give you the feeling of coolness whereas yellow or red can give you the feeling of warmth. But a “cool ” light will only appear cool if there is a “warm” light to compare it with. So it does act a bit like intensity, you need something to compare it with.

3.Distribution – where does the light come from? Where does it go? These are questions that relate to the distribution of light. For everyone to see, special lighting conditions are needed. You can change the distribution of light to highlight an actor within a group of performers, or you could have strong yellowish light streaming through a window on stage while the rest of the stage is bathed in a low level cool wash. These are examples of distribution of light.

4.Movement – intensity, colour and distribution are not static properties of light. They are subject to change and this change is called movement. Movement is used to shift emphasis, show a break in time or underline a climax. Too many changes can be a distraction and to few could lead to boredom due to not aiding the production.

As you can see from this post and the previous post that stage lighting design can be quite complex when you take all these factors into consideration. But once you have a basic understanding of these it starts to make sense and then becomes easy. But not only do you need to know the properties of light but you also need to know about the various type of lights that you have at your disposal. So the next Lighting Design 101 will cover a variety of lantern types.

Lighting Design 101 part 1 “The Aims of Stage Lighting”

Lighting is an integral part of a stage production.  Without light the performers cannot be seen. But once there are visible what next can you do with lighting? Well there are several key factors that you need to take into consideration for an effective lighting design.  The first key factor is to read the script several times to get the mood of the piece. Some scripts will have very obvious info about the lighting, with others the key will be in the text. but just because the information is in the script does not mean that you need to follow this. You also need to chat with the director about their vision for the show. Your lighting design needs to complement the directors vision. You need to be working of the the same page.

There are some basic ideas that you need to think about when you re designing theatre. Some of these ideas I have got from the Legendary Francis Reid, and I have used them myself when I am designing lights for a show. Another great source of ideas about stage lighting is Richard Pilbrow. You could sort of think of them as rules but remember rules are meant to be broken occasionally especially if you get the result that you are after. Remember to think outside the square.

So the basic principals are:

Visibility – this is really the first basic requirement of lighting. Audiences need to see the actor as well as hear them. If you cannot see the actor they are usually difficult to hear. So visibilty of the performers and the stage is important, but we can also use selective visiblity to emphasise various key elements within the show. Also the level of illumination can also give the audience clues about the show. The brightness of a scene is only relative to what has gone before.

Indication of Setting – this is were you use the lighting to indicate whether the scene is indoors or outdoors, day or night and weather conditions. This is rather simplistic but as you experiment with light you will find more ideas for the indication of the setting.

Creation of Mood – here you are attempting to use the lighting to sway the audiences feeling. You are trying to make them happy or sad, maybe a romantic mood. You can create moods by the careful use of colour or lighting angles. Also could be referred to as atmosphere. This is very important if you want the audience to feel anything towards the play

Element of Composition – here you are relying on the use of colour, light and shade.  You can use the distribution of light to affect what the audiences sees. A production viewed from the front can look a little flat. Therefore the role of the lighting designer is to bring back that 3rd dimension. This can be achieved by lighting from the sides or the back. generally light in theatre does not come from the front. In fact lighting from different angles can lend a certain solidness to the production. It can make it more “real” or make it more surreal. The best way to find out more is to experiement with lights from different angles and observe what happens. And then you can add the use of colour.

Using these basic aims you should be able to create on stage something that is going to look good. Finding the right balance is going to take time and practise. But good lighting is the art of complementing what is happening on stage without distracting from it. When you achieve this you have done a great job.