Chauvet Acquires ChamSys


SUNRISE, FL, USA– (For Immediate Release) – Chauvet & Sons LLC has announced that it completed the acquisition of ChamSys Ltd., the Southampton, UK-based designer and manufacturer of lighting controllers. ChamSys provides Chauvet a strong presence in the controller market that complements its CHAUVET Professional lighting fixtures and LED video panels.

“We are very excited about the opportunity to join forces with ChamSys,” said Albert Chauvet, CEO of Chauvet & Sons LLC. “ChamSys has a well-deserved reputation for innovation, quality and value, the same principles that are at the heart of our own Chauvet brands. Together ChamSys and Chauvet are now in a position to better cover and serve worldwide markets.”

ChamSys will continue to operate as an independent business unit from its facility in Southampton, UK. ChamSys founders Chris Kennedy and George McDuff will remain as Managing Directors of the company and, together with Sales Director Tony Cameron, will continue to lead its current staff of software and hardware engineers, operations, sales and support teams.

The ChamSys industry standard MagicQ series of lighting control products will continue to be sold by the company’s current network of distributors, except in the USA, where Chauvet will sell and support ChamSys products from its Sunrise, Florida, headquarters. The CHAUVET Professional sales team will assume responsibility for ChamSys sales in the USA. They will have the full-time support of Phil Watson, former CEO of ChamSys, Inc. who has been named ChamSys USA Director.

“We’re committed to maintaining the ChamSys brand and its reputation for excellence by supporting the vision and culture of its management team,” added Albert Chauvet. “At the same time, we’re also looking forward to building ChamSys in the USA and making this outstanding line of controllers available to an even larger market.”

ChamSys Managing Director Chris Kennedy echoed this enthusiasm. “Chauvet and ChamSys share similar cultures, a strong sense of respect for our customers, an appreciation of our staffs and a powerful drive to be the best in our markets,” he said. “This partnership is clearly a logical step for both companies. We deeply appreciate that Chauvet is committed to building on our 14-year heritage so that ChamSys becomes even stronger in the future.”

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About Chauvet
Chauvet & Sons LLC, headquartered in the USA with offices in the UK, Belgium and Mexico, is a leading global provider of professional luminaires, trusses, controllers and related equipment. The company has a diverse portfolio of brands and award winning products that meet the needs of customers across all sectors of the lighting market ranging from concert touring to festivals, theater, broadcast, corporate and architectural applications. All brands under the Chauvet umbrella share a commitment to value, innovation and performance.
For more information, visit http://www.chauvetlighting.com

About ChamSys
Based in the UK, ChamSys Ltd. was founded in 2003 by a group of designers and product developers seeking to create a lighting console that offered greater flexibility. The company’s MagicQ range has set an industry standard used in some of the most prominent concert, theatre, broadcast and club applications around the world. ChamSys has recently launched its new top of the range MagicQ MQ500 Stadium console and will be showing further additions to the Stadium range at PLS Frankfurt.
For more information, visit http://www.chamsys.co.uk

Press Release: upgrade to the Hog 4 OS – v3.6.0. Out in the wild


Well it seems it is time to upgrade your Hog. High End have released the latest Hog 4 OS – v3.6.0.

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This new version has some new and improved features for all of you keen Hog users. So download and update your consoles and PC’s to be the latest. I will download in the next few days and see what the improvements are. So for the moment here are a few new features to keep your appetite whetted.

Batches
Batches can contain one or more Lists or Scenes and can be assigned to a Playback Master. Once assigned to a Master the Playback bar will show status for all of the included Lists or Scenes.

The Batch preferences allow for each Batch master fader to scale Intensity / playback rate / effects rate or size for all of the contained Lists or Scenes. Lists and scenes may be assigned to multiple Batches to allow for separate Intensity / Playback Rate.

The Batch directory can be opened by using the keyboard shortcut (pig+open+list), Lists and Scenes are added to Batches by moving one or more items at a time From the List or Scene Directory into a slot in the Batch Directory. Batches are assigned to Masters by using the move function.

Effect Spread
A new effect offset control mechanism has been added to the 5th encoder wheel of Hog 4 and Full Boar 4 consoles when the effect kind is selected.

The effect spread is a simple way to spread the effect offset evenly among the selected fixtures. For example, an effect spread of 100% evenly distributes the effect offset values for the currently selected fixtures from 0 to 360 degrees so that every fixture within the selection has a unique offset.

The effect spread value is not stored in cues, scenes or palettes. Instead the effect spread is treated as a front-end tool to establish individual offsets among selected fixtures.

Auto Patch For Media Servers
AutoPatch is an easy way to quickly detect and patch fixtures that are connected and properly configured on the console’s FixtureNet port.

The following fixtures are currently supported by Hog 4 OS for autopatch:
Arkaos MediaMaster (Software v5.0.3), High End Systems Axon HD (Software v1.0.3), High End Systems Axon HD Pro (Software v1.0.3), High End Systems DL.HD (Software v1.0.3), High End System MMS-100 (Software v1.0.3)

Hog 4 OS will use the information supplied by the fixtures to:
Schedule the fixtures.
Patch the fixtures to the appropriate dmx channels using the lowest available Hog universe.
Establish an ArtNet output mapping to the fixture in the art-net outputs tab of the DP8000 node settings window.
In Australia contact Lexair on the numbers below.
If you have any questions or problems please don’t hesitate to contact Alex on 0418 691 509, Renaat on 0477 539 222 or Tony on 0477 539 247.

 

Press Release:Barco in discussions over sale of High End Systems to ETC


Copy of what arrived in my inbox this afternoon.
Kortrijk, Belgium, 2 March 2017 – Barco and ETC announced today that they are in the midst of serious discussions wherein ETC would acquire High End Systems, Barco’s lighting activities, part of the Entertainment division. While the timeline for the completion of this acquisition is still unknown, both parties are committed to moving forward with a successful transaction.
Wim Buyens, Senior Vice President of Barco’s Entertainment division, commented, “For Barco, the envisioned divestment of its lighting activities is in line with its strategy to sharpen the focus on its core activities. We believe joining forces with ETC would enable High End Systems to realize its full business potential, while providing ongoing support and opportunity development for its customers, and we appreciate ETC’s commitment to maintain High End’s operations in Austin and fully support the development of High End’s products.”

Fred Foster, ETC CEO commented today, ““ETC has been executing a strategy to grow our company. We want to offer our employee-owners opportunities for greater personal success and continue to give our customers innovative products and services. We see adding HES to the ETC family as an opportunity for both of those things. Our plan is to continue High End operations from their current location in Austin, TX. High End products like the Sola family of LED automated fixtures, Wholehog consoles, and Axon media servers are innovative tools for the live-events industry. Our intention is to make the investments needed in order to restore these products and the High End brand to market-leader status.”

Foster continues, “We place a high value in not only the High End products, but also the employees that will join our ETC family with the completion of this acquisition. Both companies have similar core values when it comes to innovation and I know working together will be a great success.”

More information will be announced in the coming weeks, as it becomes available.

About ETC
ETC is a global company dedicated to manufacturing the most innovative lighting and rigging products and providing industry-leading service. ETC employs over 1000 people across 10 countries, in 11 corporate, and several home offices. ETC posted sales of 300 million dollar in 2016.

About Barco
Barco, a global technology company, designs and develops networked visualization products for the Entertainment, Enterprise and Healthcare markets. Barco has its own facilities for Sales & Marketing, Customer Support, R&D and Manufacturing in Europe, North America and APAC. Barco (NYSE Euronext Brussels: BAR) is active in more than 90 countries with 3,500 employees worldwide. Barco posted sales of 1.102 billion euro in 2016.

For more information, please visit the Company’s website at www.barco.com

A Fringe bump in?


No matter what Fringe you are performing at, it is really important to get your act together. Well you would hope so. But not always the case. Recent bump in that I had to do was rather interesting. Now this show had a successful season in another city a few before it arrived here. So I thought, this won’t be to bad. They will have audio, vision all sorted out. It will be just a matter of plotting lighting cues to match the directors intentions. Wrong. Plotted lighting cues, but was not handed a script to put notes ins – okay they will cue me -specifically the audio/vision operator will. That is okay I am use to that. Then they have several problems with QLab on two MACs. It was fun to watch. The audio and video was not ready on either MACs and there was licensing issues.  So an hour later than planned we start rehearsals, the AV guy inserted into his electronic copy of the script the points the lighting went, when the director remembered. This I printed they next to discover than some of the cues were missing. No matter I will fix that during the first performance. That was more like a full dress rehearsal with an audience and critics, but we survived dodgy sound fx and lighting cues slightly out of time. But that is the joy of working on Fringe shows, coping with the unexpected with very little time.

Asked to work for free – Ethical?


As a freelance technician/ Designer I rely on clients for my income. Now this is important during the busy part of the year in Adelaide. We have a multitude of shows. So everybody is looking for crew, designers etc., to work their shows. But it seems that some folks have decided that maybe they can replace these folk with students, volunteers. This includes some well know producers/companies. I understand trying to keep the costs of a production to the minimum. This makes it difficult for those that charge money to make a living. Bills need to be paid and food bought. The quality of service is often related to the price charged. You get what you paid for.

What can be also rather annoying is as a freelance paid professional you are asked for a quote to design/operate their and they client then states that they are looking for a student/volunteer and do I know one. This happened a couple of years ago. Was not happy about this. IT still seems to happen still, not just where I work but at other venues. The other classic you might get asked to operate for nothing as they forgot to include it their budget, they did not realise that is was not included in venue hire etc. They obviously did not read the terms and conditions or have a vague understanding of what is involved in putting a show together. To forget to budget really is rather a sad state of affairs and you wonder what other skills are they missing. It often starts with the statement “we only need the lights come up at the beginning and go down at the end, you sure you cannot pop in to help for an hour……………….each night for 2 weeks” Or they expect a staff member who is onsite to do the job -an usher, bar person, venue manager.

Some companies need to understand that to get the level of expertise you need you have to pay a reasonable fee. The professional will have the knowledge and expertise to solve problems on the spot – will the student/Volunteer necessarily have that knowledge, will they have the commitment if the are not seeing any money at the end.

Some say it will look good on your resume, you will gain new skills (which you wont if you are not being training at the same time), this does not put food on the table or pay the bills. If you are presenting a professional piece of theatre, with professional talent you need to pay for professional technicians etc to make the dream come alive for the audience.

Not all fringe type productions are like this, this is a small minority. But this attitude is not good and those people that step up to these roles do not realise that the maybe damaging the industry. If you undersell yourself, everybody then starts to expect a low or free rate. We seen this happen in the production equipment hire industry, let it not happen in the freelance tech industry. There are even those that have other day jobs in the “real” world that seem happy to undercut or do it for nothing – stop it. Charge a decent fee.

Also a big thank you to the productions that seem very happy to pay reasonable fees and don’t complain. We appreciate you, you often make our lives easier. To the others there is training available in budgeting and production.

Mad Adelaide Time


It is that time of the year in Adelaide. People have to much choice in entertainment. But it also means that venues, technical staff, suppliers are stretched to the limit. We have equipment going to pop up venues, traditional venues. Basically anywhere a show is there is bound to be some gear from a hire company. Technicians are rigging, focusing and making magic for people from around the world. So what is happening? Adelaide Festival of Arts, Adelaide Fringe, WOMADelaide and Clipsal 500. This is the busiest time in Adelaide, you can just tell as a visitor, the streets are crowded the traffic is nightmare. The only problem is those involved in a lot of the shows actually don’t get a chance to see what others are doing. There are shows at the same time each evening and if like me, the techs at least have to be at the venue 7 days a week for the entire Fringe. So unfortunately techs and other creatives don’t get a chance to see what others are doing. We don’t get a chance to learn from others and get inspiration.

So you can see that people are being keep busy and making money. Well we hope there are, there is a couple of cases of producers getting students in to operate shows for nothing or well under a decent pay rate for an experienced technician. Lets hope this not a common practice. Everybody is presenting professional events and therefore needs to pay accordingly to their crew, cast etc.

But here’s to the success of all of the events in Mad March.

SHURE INTRODUCES INTELLIMIX® P300 AUDIO CONFERENCING PROCESSOR AT ISE 2017


Unparalleled sound quality and intuitive setup and operation for conference rooms

At this year’s ISE, held February 7 – 10 in Amsterdam, Shure introduces the IntelliMix® P300 Audio Conferencing Processor, a new digital signal processor created specifically for conferencing applications. The P300 offers Shure IntelliMix DSP algorithms that significantly enhance the audio quality in video meetings, a variety of connectivity options, plus seamless operation with Shure Microflex® Advance™ and Microflex® Wireless microphone solutions for AV conferencing.

Team collaboration in the modern agile workplace has expanded from purpose-built videoconferencing rooms to impromptu meetings held in flexible workspaces throughout the office, but premium audio processors – and the programming and setup they require – are not always cost-effective for these rooms. The IntelliMix P300 is a compact, simple to install solution providing professional conferencing technology that offers just the right set of features to create a highly intelligible, collaborative meeting experience in these spaces.

The new processor connects up to eight Dante microphone channels to a room video system, USB soft codec, or mobile device. Each channel supports multiple IntelliMix DSP features, including Acoustic Echo Cancellation (AEC), Noise Reduction, and Automatic Gain Control, plus best-in-class automatic mixing. These features provide full duplex communication for echo and noise free meetings.

The fixed architecture provides simple and intuitive setup, resulting in less DSP programming and commissioning time onsite. The USB connectivity enables the P300 to be used with common soft codec programs such as Skype and BlueJeans, while the 3.5 mm connector means anyone on a mobile phone or tablet can easily bring any remote participant into the conversation. Its compact half-rack footprint enables discrete installation behind a display, under a table, or in a credenza.

“Great audio should not be reserved for boardrooms- it should be in every room,” said Paul Gunia, Product Manager at Shure. “The Microflex Advance and Microflex Wireless product lines are the most innovative microphones on the market. We strove to develop a powerful yet simple to configure DSP that complements our networked microphone systems. A conference room designed with Microflex and an IntelliMix P300 processor will provide our customer a full Shure audio solution, without requiring extensive program training or installation considerations. Now any size room can fully support a quality audio conference call.”

In addition to the IntelliMix P300, Shure is introducing the ANIUSB-MATRIX and ANI22 at ISE. The ANIUSB-MATRIX provides flexible routing of up to four Dante audio inputs and one analogue input to a room video conferencing system or a soft codec. This device is ideal for accommodating small to medium sized rooms intended for audio and video conferencing. With fewer features compared to the P300, the ANIUSB-MATRIX offers the ideal performance, connectivity, and affordability for videoconferencing where a premium microphone solution is desired, but acoustic echo cancellation of a hardware or software codec will be used. The ANI22 provides Dante-to-analogue signal routing that enables two audio channels to be routed on and off a Dante network. These additions to the ANI family increase the connectivity options available to users of Shure’s Dante-enabled microphones.

For more details go to http://www.shure.com/americas/ise-2017

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