Eventec Acquires LSW

Eventec logo

As of today June 09, 2022 Eventec has acquired LSW.

The LSW trading name and its brands and distribution rights has been acquired by Eventec.

They are currently in a transitioning phase and LSW enquiries will be assisted by the Eventec team.

Wharfedale, Soundking, Light Emotion, Sunlite, Daslight and the ESP Technology brands will be continued to be supported by Eventec.

They appreciate your patience and look forward to assisting you on-going.

For any clients with LSW dealings offered prior to 9th June 2022, please contact the Eventec team so that we can discuss with you how to proceed moving forward.

COVID effects

Well, it seems that with COVID being around so long, that theatre has turned to streaming of their productions. People sit in their homes in their pajama’s watching the latest production from their favourite theatre company. They can chat, drink, and eat without disturbing the rest of the audience. They can often pause the playback to have a pee. Now when we could not get out or there was a limit on audience sizes this was great. Although we are now returning to normal and theatre benefits from having a live audience, but audiences are slowly forgetting the manners needed to be in a live audience.
Streaming is not the same atmosphere for cast, crew, and the remote audience. I am not sure if we need to carry on with this way of seeing shows. Audiences are returning, they are wanting live events. It is time to wind back the live streaming instead of live audiences. We have audiences wanting to sit in the theatre and enjoy some good theatre.
But there has been a change in the way the audience act. On recent shows that I have worked on, I have observed that the audience conduct is quite different from before COVID. It is like the audience have lost their attention span. They cannot even be trusted to turn off their mobile phones, they talk to the people next to them during the show. Recently I have seen folks check their messages etc whilst the show is going. So, it looks like we will need to return to training the audience. It seems reminding them in the foyer and having notices in the foyer and the program does not work.
Here is hoping that audiences get back into the rhythm of enjoying live theatre without the electronic distractions that are part of our life.

Launch of ETC’s Eos Apex consoles

I got up sort of early to watch the launch of the newest member of the EOS family from ETC. These new consoles are the flagship of the EOS range. The did arouse the feeling of console envy. I look forward to the time I can get behind one of these consoles and test drive it. It is designed for operator comfort and not an engineer’s layout. Things look like they fall naturally under your hands, even us left-handed folk should be able to easily operate this desk. The idea of haptic feedback seems to be rather smart, you get feedback of a task whilst looking at the scene. Also loved the idea of 2 touch screens,27′ and 4K would mean a lot less eye strain.

As production continues to resume around the world, lucky programmers will be greeted with a powerful and elegant new lighting control desk: the Eos Apex console. With three sizes to choose from – the Eos Apex 5, 10, and 20 – this latest release ushers in the next generation of ETC’s flagship controls line.

A lighting control desk is more than just a powerful piece of hardware – it is your home away from home when you’re working on a show. Eos Apex consoles prioritize the user experience with creature comforts to ease those long hours behind the desk. The massive multitouch displays offer generous screen real estate for Magic Sheets, Direct Selects, and Augment3d models, and feature eye-strain-reducing 4K resolution. The displays articulate on a dual-axis and feature a 160-degree viewing angle, so you can see all your tools and data from anywhere along the programming surface. With an ergonomically redesigned wrist-rest, book lights built into the sides of the desk, hand-holds for easy carrying, and drawers and charging ports for your accessories, Eos Apex is the ultimate workspace for high-level programmers.

The luxurious innovations extend to the programming surface as well. New-to-the-industry technologies provide programmers access to their most-used tools – right on the face panel. The familiar Eos Family programming keypad has been enhanced with a touchscreen that thumps with haptic feedback when you press your soft keys or mapped content. Eos Apex also introduces customizable Target Keys for your Direct Selects, which boast individual OLED displays that can be customized with images, icons and text. The encoder area from the Eos Ti console has been expanded to include eight mini-encoders and a navigation dial to easily switch between parameters. The five, ten and twenty motorized Playbacks on each Apex console (respectively) now boast an additional, separately-mappable scroll wheel for on-the-fly programming. With more buttons, encoders and Playbacks than ever before, Eos Apex makes fast, hands-on programming a breeze – all while maintaining the familiar, sophisticated look and feel that users of the family love.

A powerful lighting desk demands a powerful system, and the Eos Apex line delivers with brand-new components to build out your lighting network. The Eos Apex Processor provides the power of an Eos Apex console in a portable, rack-mountable box that makes an ideal primary or backup controller or remote programming station. When you need a portal into your lighting system but not the processing power, the new Eos Remote Interface lets you view and edit your system from anywhere in your venue.

Apex consoles themselves are built with flexible system-building in mind, allowing you to mix and match your DMX and show control ports on a per-show basis using customizable widgets. In addition to standard etherCON Gigabit connections, all Apex-class controllers also feature SFP+ ports that are compatible with the latest high-speed copper and fiber networks. Eos Apex consoles and Processors provide 24K output, allowing them to control complex rigs with ease. And because shows keep getting bigger and bigger, expansion processing options are already in the works as the next phase of Eos development.

The Eos Apex line ushers in a new era of control and comfort for professional programmers. Though the new consoles directly replace the Eos Ti and Gio in ETC’s currently-shipping lineup, those desks will continue to receive new software updates, as well as the full benefit of ETC’s industry-leading customer service and support for the duration of their long lives in the field.





This is a great initiative to save our industry. One that we all need to get behind. Over the last 18 months or so it has been a real struggle for those employed in the entertainment industry. This includes performers, designers, lighting, audio, stage manager, ticket sellers. Everyone in the industry has been impacted. Whether you are in a lockdown state or not, the industry Australia wide has been hit. There has been little help from the government to keep going. The only way to survive seemed that we need to become a football team and we could then do what we want.

This is self-funded campaign by the industry, there is no government support. The so-called government support has gone to the large commercial companies, the small companies, theatre collectives, small venues etc have received no additional help to continue. I know from personal experience that I may not be around much longer in this industry. Work has dried up, so the sooner people get fully vaccinated the sooner we can return to work. We can go full steam ahead with being creative and getting audiences and enjoying our efforts.

For more info, click the link


Theatre Safe Australia (TSA) Continues Scenery Workshop Legacy at Adelaide Festival Centre

21 July 2021 – Stolen from TSA website

Theatre Safe Australia (TSA) is excited to announce the addition of an advanced scenery workshop to our operation from 1 August 2021. Formerly operating under the ownership of the Adelaide Festival Centre Trust, the workshop in South Australia has been the country’s leading commercial set builder, handling 65% of all theatrical scenery work in Australia. Striving always to build out complementary arms of our business, TSA is headquartered in the Gold Coast and is one of Australia’s major suppliers of entertainment and theatre technology.

From August 1, Theatre Safe Australia will commence to operate a scenery workshop in the former Adelaide Festival Centre premises at Regency Park, South Australia.

Theatre Safe Australia will continue the legacy of Adelaide Festival Centre’s Scenery Workshop, employing many former Adelaide Festival Centre staff, the workshop will continue to provide high-quality scenic builds to clients, adding the support of a dynamic young company focused on continued innovation in the industry. This new chapter for Theatre Safe Australia creates an operational team whose commitment to providing top tier service and high-quality solutions is matched with decades of experience and now, the ability to take a production fully from concept to reality by acquiring the facilities previously owned and operated by Adelaide Festival Centre Scenery Workshop.

The new TSA Scenery Workshop will complement the venue services, production support and product solutions that Theatre Safe Australia already provides within the Australian and worldwide market.

Director of Theatre Safe Australia, Stuart Johnston: “We are very excited to be bringing such a talented and experienced workshop on board and look forward to what the future will bring. TSA will continue to provide the high-quality services clients expect from both companies and use this expansion to continue to innovate with the technology available in the manufacturing and set construction space.”

Theatre Safe Australia (TSA) is an Australian based company that exists to create solutions for the entertainment industry. TSA is motivated by supplying, creating and designing theatrical automation and engineering solutions for our clients and providing service that exceeds expectation. We craft solutions to fit every aspect of the diverse industry in which we operate, from large scale productions and corporate events, to local and regional based companies, theatres and schools. TSA’s goal is to create a tangible difference to the quality and safety of production and events being created and delivered in Australia.

Since 1979 Adelaide Festival Centre has provided automation and scenery builds for productions including Phantom of the Opera, Matilda, Billy Elliot, Singing in the Rain, Hairspray, Cats and Moulin Rouge! as well as countless others. This prolific production history has been achievable though a workforce and a workshop that pride themselves on the quality of their build, an understanding of the changing dynamics of the entertainment and theatre industry and a willingness to always go above and beyond to fulfill producers and clients’ requirements.

Read more about the Scenery Workshop here.

Mobile Phone Saga

How many years have mobile phones been around? How many years have we been telling audiences to either turn them off or onto silence ot of respect to others. Yet the same thing keeps happening. The glow of phone screen as the house lights go down. People taking selfies with the set as a backdrop. Even people twitting or Facebooking during a show. Surely out audiences have not hot that dumb that they think it is thier right to use a phone during a stage production.

Are we going to have to put staff to check people have turned of their phones or maybe do what schools are starting to do. Collecting thier phones from audiences in the foyer before the show starts and then letting them retriving after the show.

It can not be that hard to remember to put phone on silent or turn it off. It also seems all age groups are guilty of this.

As much as we love audiences coming to see the art we produce they need to not destroy other peoples enjoyment of the event. Besides the phone issue, there are the people chatting during an intense scene on stage or even replying. Must not forget the noisy eaters, this is not just something that happens in the cinema.

So if you are one of the audience that ae guilty please stop, be mindful of others.

Working for Exposure

As the local arts festivals get closer and companies are busy rehearsing their productions, the “would you work for free” rears its ugly head. We see this every year; the cast is being paid and suddenly they realise that they need a lighting/audio operator, and they hope to get one for free. Exposure if offered as an incentive to them, exposure might create more work, but it does not pay the bills.
Now if the show is a true amateur production, everybody doing it for love and as a hobby, I do not have an issue with them have someone keen to do the lighting and audio. It is a great way for them to learn and the social aspects are great. But when it comes to shows where the cast are paid, either profit share or award rates, and they are expecting techs to work for nothing, that is totally wrong. This becomes an “us and them” situation. It is very demeaning to the tech who has spent and money learning their craft like actors do. Then they join a show and be the only ones not getting paid. They need to be on an equal footing, all getting something or all getting nothing.
There is a mentality among a very small minority of companies that techs are happy with just the acknowledgment. The concept of getting exposure is a falsehood. Exposure of this kind basically indicates that you are willing to work for free and you will most likely not get any paid work. It should be up to the technicians to decide if they want to offer their services for free, and that would be most likely to amateur companies. I have done the same, there is a couple of amateur companies I am happy to do the job for nothing.
These companies often use the line “we did not budget for someone, it was an error” or “we did not know we needed a tech” when they hire a venue. All venues would have this in the standard terms and conditions.
So, if you are a tech and they offer you a gig, for the exposure and fun, but everybody else is getting a cut – SAY NO

Adelaide Fringe 2021

So the Adelaide Fringe next year will look a lot different. A lot fewer acts, about 800 it seems compared to the usual 1100. This could mean more audience to see them, they won’t be spread thinly on the ground.. The Garden and RCC will be much smaller, with fewer venues. Does mean less work for some of the techs, hopefully only SA techs will be used in preference to any that travel from interstate to work. Let’s keep it really South Australian, and make it exciting. Audiences may be asked to buy the empty seats to help artists and venues. We will be at 50% capacity at least, though maybe it would be wonderful if this increased. The average 42% of houses are sold. So we just need the public to spend a couple of extra dollars and get it to 50%.

The only thing we don’t want to see is acts trying to underpay their support staff. Especially using the excuse that COVID has made it hard to pay techs etc. It is hard for everybody, but they all need to be paid. This is rare but it does happen. I have been asked to work for nothing as the exposure would do my career good. The answer was NO. I don’t think this artist will be in 2021 Fringe.

We all need to work together and make this a great Fringe. Small does not mean lesser. Let’s make it one too remember for years to come. Let’s tell our friends, family, and workmates to open their wallets and buy a ticket of 2 to see some great Fringe shows and remember the Fringe is all around the city, not just at one or two locations.

Bring on the Fringe and to hell with COVID.

Audio Magic Part 1

As an audience, we sit there immersed in the show, and the sound washes over us. The audio seems so perfect we don’t really notice it, as good audio should be. Why is the audio so good, surely it is just sound effects and music. This is the art of the sound designer, to build an audio track that complements the show and lifts it that extra mile.

So what is involved in making that magic sound effect. Often it is not just enough to record the actual sound and just play it back. Often a recording does not sound right. So why does it not sound right? and what needs to be done?

Often when we hear a sound we also have a series of visual cues that supplement what we hear, we also have the memory of sounds in our mind and we are comparing what we hear with this other data. So the audio designer will tweak the audio, maybe add some effects, maybe make a sound that sounds similar but works better.

Now if this sound effect is there to build a mood within the show. The sound designer might add various effects etc to set the mood. Maybe a drone underneath the show to put the audience on the edge. Or add unusual elements into the sound to trigger a response within the subconscious memory of the audience. This might be a sound that is discordant to the action on stage.

This is all part of the audio design. So how does the audio designer approach a show and decide on the the form of the soundtrack that will complement the directors vision.

First off, read the script a few times, get it under your skin. Next how preliminary discussions with the director on what direction they think the audio should go. You both need to work together and be on the same page. If it is going to be loads of conflict maybe it is not the right production for you to design. So once you have talked through with the director it is time to go back through the script and work out your basic ideas and lay down some basic tracks and effects. This will help to consolidate the ideas and hear what may or may not work. Then off to the director for their thoughts on the initial audio.

NEXT part – Music and putting effects together.

Double Standards

In South Australia, we are seeing the return of theatre. But only the state-run theatre company at a state-funded venue. It seems no other venue is really open, and there are no stage productions or musicals happening.

The main reason that some of the other venues are not staging shows is the fact we have the 1 person per 2 square metre rule and people need to stay 1.5metres apart. Okay, that does sound reasonable until you realize that the State Theatre production at the newly refurbished Her Majesty’s theatre is running at 50% capacity. That seems to works out to less than 1.5-metre distance and 1 person per 2 square metres. The audience here is arms-length from each other, sitting in a checker-board pattern.

So how is this occurring? Now some of the other venues can run shows at reduced capacity, but it is a lot less. The capacity works out at around 25%. Some shows might happen soon, but most are waiting for the time we can increase the audience numbers.

If you use the online calculator you can work out the area and the total number of people allowed into a venue, but staff are not included in this number. Theatre is a defined public activity and there according to the SA government website

The density requirement of 1 person per 2 square metres applies for Defined public activities. The maximum number of attendees at a place of business will be determined by its size.
These requirements apply only to patrons, not staff.

So why does there seem to be different standards for the various venues? Are other large venues around 500 seats doing the 1 person per 2 square metres and 1.5metre apart? Why does the state government not release any information on a way out for SA’s art industry? Why are they not supporting the Arts Industry, why is there not a visible Department for the Arts? As a theatre technician and lighting designer, I would love to get back to work, I would like to know what the roadmap is for our industry.

We have an audience waiting to return to venues around SA and the rest of Australia. If you read the Audience Outlook Snapshot you will see that there is a growing trend of people wanting to return to see live theatre. In fact, they seem to be comfortable id they could return to some of the smaller venues of under 250 seats. Though there have been some comments of people enjoying a little extra space to sit in. So that is one blessing. I have included a link to this document below.

So hopefully soon we will see each other in a venue near you.