Elation IP65 lighting for Montana’s inaugural Peak to Sky festival

Jereco Studios designs and supplies robust, professional lighting rig for iconic rock lineup

When your inaugural event has rock icons like Mike McCready (Pearl Jam), Chad Smith (Red Hot Chili Peppers), Duff McKagan (Guns N’ Roses), Josh Klinghoffer (Red Hot Chili Peppers) and Taylor Hawkins (Foo Fighters) on the bill, let’s just say you’re off to a good start. But you also know you need to deliver lighting worthy of that all-star status, and in a western environment where harsh weather is to be expected. That was the challenge local event producers Outlaw Partners and lighting suppliers Jereco Studios were up against at the first annual Peak to Sky festival in Montana in early July.

“We knew going in that we would have to put together a package that would be fitting of some of the biggest names in rock n’ roll,” says Frank Douglas of Bozeman-based Jereco Studios. With at least 75% of the live production done by Jereco Studios during the summer months outdoors, Douglas says that in southwest Montana at least 75% of those shows experience some degree of inclement weather. “From sustained high winds, to hail, to rain, to snow, our most exposed fixtures need to be able to withstand that. Elation has led the way with their large selection of IP-rated fixtures.”

Guitars and grandeur

The 4th of July weekend Peak to Sky festival, curated by McCready, featured two days of world-class rock under the striking backdrop of Lone Mountain in Big Sky, Montana. Produced by award-winning media and events company Outlaw Partners, fans witnessed history as multiple hall of famers took to the stage as an ethereal sky and picture-perfect sunset played out in the background. The festival also featured multi-Grammy Award-winning artist Brandi Carlile and Seattle-based female rockers Thunderpussy.

Lighting setup

Douglas, who served as lighting designer, programmer and lighting op with lighting design and programming assistance by Lauren Plant, says a wide, symmetrical combination of spots, hybrids, washes, and effect fixtures were chosen to populate a Stageline SL320 mobile stage provided by Rocky Mountain Rigging. The downstage electric housed all Elation IP65 fixtures (8 Proteus Hybrid, 8 Proteus Rayzor 760 and 2 DTW Blinder 700IP) with the midstage holding LED moving head effect lights. The upstage electric held 8 Elation Rayzor 760s while the upstage deck housed LED moving head effects as well as 12 Elation SixPar300s, 2 DTW Blinder 700IPs, and a pair of ADJ Mega Flash strobes.

The IP65 rating of the Proteus Hybrids and Rayzors, along with the DTW Blinders, were key to their downstage placement and role in the rig. “The new Proteus Rayzor 760s have excellent output and zoom all the way out to 77 degrees for total coverage at any distance, making them an ideal wash fixture in their standard mode,” said Douglas. “I normally like to put spots/hybrids on my upstage electric and deck, but the Proteus Hybrids have proven to be a versatile go-anywhere beast. In beam mode they cut through the sky, giving it that big rock show feel, yet they also thrive in spot mode, and at that distance from the cyc were used for crisp gobo projection and animation.”

The LD says the upstage Rayzor 760s wound up being a perfect choice for mirroring the large LED moving head effect lights. “I ran the upstage Rayzors in pixel mode, which were plotted in 2D to control each cell,” he says, “making for much more pleasing dimmer and color effects, as well as pixel mapping alongside the LED effect lights in their extended mode.” The potential for rough weather dictated that the Proteus Hybrids work from the downstage truss and not surprisingly the wind kicked up and there was rain on and off throughout the weekend. “Still, all of our Proteus tanks were completely unscathed.”

Useful as a simple wash or specialty effect light, the Rayzor 760 can pan & tilt continuously and along with its patented SparkLED pixel sparkle effect, provides designers ample opportunity to be creative. Douglas describes one of his favorite looks using them. “I was definitely looking forward to utilizing the infinite pan and tilt of the Rayzor 760s. My favorite look using that was to write an effect using the infinite tilt and fanning out the offset and rate to achieve a spider-esque look of continually cascading light beams. I was able to incorporate the new SparkLEDs just by selecting a bunch of my favorite looks from their built-in macros, then manipulating their rate with a fader. It was nice to know I could still get excellent utility from the SparkLEDs even without needing to run them in the full extended 80 channel mode.” Rounding out the rig were SixPar 300s, which provided upwash onto a cyc, while another pair of DTW Blinders were positioned directly behind Chad Smith and Taylor Hawkins’ drum risers to create a silhouette when blacking out the rest of the rig.

The future of entertainment lighting

Douglas says he has used Elation Platinum Spot and Beam fixtures previously in his career and has always had good experiences using Elation gear. “Elation has been at the forefront of developing LED and weatherproof fixtures, which are the future of entertainment lighting,” he said. “Since we are sticklers for efficiency and robustness, choosing Elation was a no-brainer.”

Douglas ends by saying he feels lucky to work for a company like Jereco, which affords him the opportunity to work with premium equipment and very talented individuals. “Our live production crew is one of the best around and they make my job the best a guy could ask for.” That Jereco crew consists of Jeremiah Slovarp (Owner), Stephan Gueguen (Technical Director/FOH Engineer), Matt Grayson (Monitor Engineer), Garrett Stephens (StageLine Tech), and “the most integral piece to our lighting world our L2, Lauren Plant.” 

With 5,500 people attending the two-day, sold out event in Big Sky, the inaugural Peak to Sky festival was a big success. After the festival, McCready, who took part in a number of classic jams throughout the festival such as renditions of Aerosmith’s “Sweet Emotion,” David Bowie’s “Ziggy Stardust,” Prince’s “Purple Rain” and an epic Led Zeppelin medley, said he hopes to make the festival an annual event.

Lighting Equipment:
8 x Elation Proteus Hybrid™
8 x Elation Proteus Rayzor 760™
4 x Elation DTW Blinder 700IP™
8 x Elation Rayzor 760™
12 x Elation SixPar 300™
ADJ Mega Flash™
2 x Antari F4 Fazer™

Photos:  Kene Sperry

For more information, contact:

Elation Professional US
6122 S. Eastern Avenue
Los Angeles, CA 90040
Tel: (866) 245-6726 (toll free)
Tel: (323) 582-3322

Elation Professional EUJunostraat 2.
6468 EW Kerkrade
The Netherlands
Tel: +31 (0)45 546 85 66

Elation Professional Mexico
Av Santa Ana 30,
Parque Industrial Lerma,
Lerma, Mexico 52000
Tel: +011 52 728 282 7070

Clear-Com Unveils FreeSpeak Edge: The Next Generation of Digital Wireless Intercom

Advanced wireless intercom solution is purpose-built to harness the full capabilities of 5GHz and IP

Clear-Com® is proud to announce FreeSpeak Edge™, the latest addition to the industry-leading FreeSpeak™ family of digital wireless intercom solutions. FreeSpeak Edge is the most advanced wireless intercom system, delivering the best audio quality and enhanced performance in some of the most complex live performance environments. The system also gives the user more control and customization options, thanks to advanced frequency coordination capabilities and intuitive design features in the system’s transceivers and beltpacks.

Built from the ground up, FreeSpeak Edge is the result of extensive feedback from existing FreeSpeak II power users, incorporating recent advances in the fundamental technology, leading to an all-new 5GHz chipset that features an exclusive radio stack development which has been optimized for intercom. FreeSpeak Edge also leverages state of the art audio-over-IP developments in its architecture, utilizing AES67 connections between the transceivers and the host intercom frame for exceptional flexibility in deployment.

“FreeSpeak Edge is the future of advanced wireless communication,” said Bob Boster, President, Clear-Com. “While some manufacturers are trying to improve incrementally on existing solutions, we have leapfrogged right to the edge of what is possible with wireless intercom technology today, in readiness for tomorrow’s increasingly demanding requirements. We often hear talk of so-called game-changers, but FreeSpeak Edge is the real deal.”

The 5GHz band is an ideal choice for large scale communications, as it can be managed with frequency coordination for reduced interference and offers the widest range of RF channels available for exceptional scalability. Its higher frequencies mean there’s more bandwidth for data which allows for finer control, additional audio channels, more robustness, lower latency and better audio quality.

FreeSpeak Edge leverages all the power of 5GHz technology to perform flawlessly in even the most challenging venues and high multipath environments. The system takes advantage of Clear-Com’s exclusive RF technology which uses OFDM to provide a robust transport layer that is immune to most forms of interference. FreeSpeak Edge delivers the clearest 12kHz audio quality with ultra-low latency and is highly scalable with the technology and bandwidth to support over 100 beltpacks and 64 transceivers to accommodate the largest productions. It can be combined seamlessly with FreeSpeak II 1.9GHz and 2.4GHz systems, providing three bandwidths across a single unified communications system.

FreeSpeak Edge transceivers and beltpacks offer more customization and control than ever before to accommodate increasingly complex communication needs. The beltpack’s ergonomic design includes asymmetrical concave/convex top buttons for identification at a glance and touch operation; eight programmable buttons; rotary controls on both sides; and a master volume control and flashlight on the bottom. With a mic and speaker for headset-free or desktop operation, the beltpack was designed with today’s production needs in mind. Each ruggedized transceiver supports 10 beltpacks and includes attenuation and external antennas for custom RF zones as well as wall and mic stand mounting options. The system delivers the robustness and reliability that customers have come to expect from the award-winning FreeSpeak range.

FreeSpeak Edge is available for demonstration, along with a wide range of ClearCom’s trusted intercom solutions, on Booth 10.D29 at IBC2019. FreeSpeak Edge is scheduled to ship in January 2020.

Contact details: Kyle O’Hare
P: +612 9582 0909
E: KO’Hare@jands.com.au https://www.jands.com.au/article/123/article/123/article/123/clear-com-unveilsfreespeak-edge-the-next-generation-of-digital-wireless-intercom


Well, it is that day again. It is rather sad in a way that we need a day to ask people, R U OK. We should be asking this question every day. We need to constantly make sure our work colleagues, friends and family are traveling well. We need to be more aware of the people around us.

Starting an R U OK? conversation? Use these four steps:
1. Ask R U OK?
2. Listen
3. Encourage action
4. Check in

Mental health issues are very important, especially in our industry. We have either suffered problems or know someone that has. so we need to be aware of possible issues in our fellow workers and there need to be work practices put into place to offer help and assistance. Management needs to have systems in place for their workers and the staff need to feel that they can get help without stigma.

A lot of crew feel isolated, they working strange hours, often long, with little social interaction with others outside the industry. They are in the back of the mind when is the next gig coming from that will pay. Financial hardship is often a major cause of anxiety. As you can imagine work-life balance is not brilliant for those in the entertainment industry. Having suffered extreme anxiety, there was not much help around at the time. Now there is plenty of resources around and a lot of workplaces are aware the problem is real and can assist or at least point you in the right direction. The first step is to realize you have a problem and not be embarrassed in acknowledging you have a problem and looking for help. some people have turned to drugs and alcohol, but that is not the answer. As soon as you realize you have a problem seek help. And, if you notice a workmate looking like they are not coping ask, R U Ok? Don’t wait until the 12th of the 9th. Everyday should be R U OK Day.

Support Act
24/7 WELLBEING HELPLINE: 1800 959 500

13 11 14

Suicide Call Back Service
1300 659 467

1800 55 1800

1300 845 745

Obsidian Control Systems to show powerful NX 4™ with DYLOS pixel composer at 2019 PLASA

Obsidian Control Systems is pleased to be joining with UK distribution partner Entedi September 15-17 at PLASA in West London where the new NX 4™ lighting console with DYLOS™ pixel composition engine will be available for demo. Designers, programmers and operators are invited to Stand H40 for a look at this powerful console in the intuitive ONYX™ platform and experience the creative possibilities with DYLOS.

NX 4

NX 4™

Equipped with a range of professional features and using the latest in industrial components, the NX 4 is designed to handle even the largest show with ease. With a well-arranged combination of motorized and manual faders, along with an array of playback buttons, the NX 4 offers 44 total playbacks in a compact yet extremely powerful package. 

Fast boot times, instant operation and the ability to process 64 Universes right inside the console without the need for costly external processing networks result in unprecedented power in this form factor.


DYLOS aims to provide new and innovative ways that far exceed the capabilities of regular pixel-mapping systems and is the first of many exciting steps for the ONYX™ platform to provide a comprehensive toolset of dynamic fixture animation, exciting content generators and powerful media playback. Based on a full 3D environment and powerful DirectX graphics processing, the DYLOS engine has been designed from the ground up for power and performance to manage thousands of fixtures and parameters with ease.


ONYX is a powerful yet easy-to-learn lighting control platform designed for both hardware consoles and PC systems. It is a rebranding of the well-established M-Series control platform and is designed for use with all new ONYX and existing M-Series hardware. Obsidian Control Systems products are distributed exclusively by Elation Professional worldwide and are available in various sizes to accommodate any scale and budget. More information on Obsidian Control Systems and the ONYX platform can be found at www.obsidiancontrol.com.

For more information, contact:

Elation Professional US
6122 S. Eastern AvenueLos Angeles, CA 90040
USATel: (866) 245-6726 (toll free)Tel: (323) 582-3322

Elation Professional EU
Junostraat 2.6468 EW Kerkrade
The Netherlands
Tel: +31 (0)45 546 8566

Elation Professional Mexico
Av Santa Ana 30,
Parque Industrial Lerma,
Lerma, Mexico 52000
Tel: +011 52 728 282 7070

Robe Launches New ESPRITE LED Moving Light

ESPRITE pioneers a new era in LED engines!

This very bright and precise moving light is the first to use Robe’s ground-breaking new generation 650W WTE™ (White Transferrable Engine) light source.
It has been fully designed, developed, patented and manufactured by Robe in its factory in the Czech Republic to ensure optimum performance.

ESPRITE™ is the first in a new series of Robe luminaires to feature a fully replaceable / transferable white source LED engines!

This high-performance luminaire can potentially replace old and entire fleets of workhorse discharge fixtures.

Offering a cost-effective and easily changeable LED engine, Robe has eliminated the white source problems of unpredictable life and performance inconsistency.

The LED module holds a host of useful data in addition to the date, serial number and usage … which can be accessed via a free mobile App.

The crystal-clear, extremely bright and hugely economic WTE™ LED engine signals another wave of true lighting evolution!

Thanks to this powerful LED light source and a highly efficient optical system, the fixture is outputting 27,000 Lumens. With this amazing power and a way-cool set of features, the ESPRITE™ will stun and impress users working across all lighting disciplines.

Other design innovations include a new cooling system that removes any airflow over the optics, resulting in reduced residue deposits and vastly extending the periods needed between cleaning sessions.

A 5.5 – 50° zoom range provides a high-quality flat-field beam, combined with fabulously smooth CMY colour mixing, extremely fast bumping colour wheels and a unique coloured prism for producing a new level of effects and animations.

Versatility can be maximised with effects like the animation wheel, variable CTO, two colour wheels, rotating and static gobos, a 6-facet rotating prism and a selection of 1°and 5° frosts.

Together with a set of accurate framing shutters, and invaluable LED ‘adjuster tools’ like C-Pulse™ flicker-free management for optimisation with the latest HD and UHD cameras, the unit also has L3™ (low light linearity) dimming for perfect results in the most demanding of performance conditions.

All these factors ensure that ESPRITE™ will enjoy great longevity and provide the excellent maximum short, long and extended ROI that’s synonymous with Robe products.

Robe’ s reputation for quality, innovation and design has been built over 25 years and is the result of constantly asking questions and listening to feedback from end-users on all levels. This has enabled the brand to constantly and continually redefine the boundaries of technology.

ESPRITE make its exhibition debut at the PLASA show in London Olympia, 15th – 17th September, where it will be on show and in action on Stand D40.

Jands Pty Ltd
ABN 45 001 187 837
40 Kent Road
Mascot, NSW, 2020

 02 9582 0909

Bleak Dot 2 News

It seems that the future for the Dot 2 is bleak. MA Lighting has ceased production of this model due to the fact that one of the critical components is no longer available. The key component means they can longer supply this model to the market.

They will also fade out production of all other products associated with the DOT2 range.

Software updates and our full MA support services including spare parts are unaffected. Please contact your MA distributor to discuss remaining availability or alternative current and upcoming MA solutions. We apologize for any inconvenience this may cause.

Standard rig or not?

This is a thought that often crosses my mind. Should venues have a standard lighting rig, and then clients have to work with that basic design and then add only a few specials to create their lighting design. Or should it be a total black box and each company rigs and de-rigs their lighting requirements.

Both ideas do have their benefits and problems. so is one is more correct than the other. This is a thought process I go through quite often through the many years I have been in the game. Every time we have a new client I get the question is there a standard rig. Most of my clients are really happy that the can build a light plot that works best with their show. But what about shows that are in for only one or two nights at the most. now we do not have many of these, but for venues that get a lot of this type of booking is the standard rig better for them. as you can see there is a dilemma. If the venue has a mixture of booking then what is the best solution.

From a lighting designers point of view it is very nice to start with a blank slate, putting lights where I want them to be. It is much harder designing around a lighting rig that is in place. Trying to fit what they have decided is the best for their venue. It can at times stifle creativity as some designers will take the easy way out instead of asking if the rig can be stripped. Or course there is the cost in re-instating the rig.

In the total lack box situation, I have asked by clients about the standard rig, and when I reply we do not have one and that they need to start from scratch, i sometimes get the statement “can yo pt one in fo us’. Tat idea often fades when I mention that we have to ass the cost onto them. Occasionally they think the venue should pay to put t in an then remove. If the clients wants to pay to have a standard rig installed I am happy to do so, but then i say why not pay me to put up your lighting design? That does illicit interesting responses. Some companies have no lighting designer, they just want someone in heir company to program and operate the lights, sometimes just operate and attempt to use any programming that is still in the desk.

So it all depends on the type of productions that book your venue. also depends how as a venue you want to operate. What is your core market. If you are aiming for the independent theatre companies and professional theatre areas, a black box approach is the best. The client installs the rig they want. The directors vision is them adhered to. With a standard rig you have to compromise. As a lighting designer,this is not the compromise I like but I have to deal with it.