Jands realigns distribution strategies with an eye to the future

Jands Pty Ltd, a leading Australian distributor of audio, lighting and staging products announced today one of the outcomes of a strategic review of their business. This review commenced early in 2017 with the purpose of developing a company structure and product strategy that will see Jands best positioned for the future.

This process encompassed a companywide review of both Jands’ business strengths and the strengths of its key suppliers. As a result of this review, in July Jands began an internal restructure designed to better align the organisation to the strategies and product roadmaps of its key suppliers. Numerous new roles have been created, with many having already been filled, to further strengthen Jands’ reputation for education, training, product support and to improve the customer experience in key markets. As part of this process Jands also undertook a strategic review of its key supplier relationships to ensure that Jands is truly aligning with partners who have similar strengths and strategic vision.

As a result of this review, and due to diverging priorities and strategic direction between both parties, Jands determined it will no longer represent HARMAN Professional Solutions in the Australia territory. By mutual agreement with Harman this will take effect on 1st February 2018.

Paul Mulholland, Managing Director of Jands said “my association with Harman commenced in 1971 when I purchased my first JBL loudspeaker for use in the Jands rental business. This association continued through the appointment of Jands as the Australian JBL Distributor in 1984 and onto the representation of the entire Harman audio portfolio. In the past year or more it has become apparent that Jands business philosophy and product strategy is no longer aligned with Harman and out of respect to the long and successful relationship I determined it is best for both parties that we part.”

Jands will continue to support current owners and supply Harman Professional Solutions product in the market until 1st February 2018.


See what all the talk is about at Elation LDI Booth 2315

Elation Professional will be carrying momentum from a successful PLASA show to LDI Booth 2315 in Las Vegas, where the company will again be a Front Row sponsor of North America’s leading trade show for entertainment technology. LDI 2017 will give lighting professionals the opportunity to see for themselves what the buzz around Elation’s latest award-winning luminaires is all about.

Held from October 17-19 at the Las Vegas Convention Center, Elation will be showcasing at LDI three luminaires in the award-winning Artiste Series of full-featured theatrical-grade LED moving heads for the creative LD. The Artiste Dali™ features a new LED / Laser Phosphor light engine that gives greater spot and beam capabilities from one fixture while the Artiste DaVinci™ delivers an exceptional combination of power, color and projection possibilities. The third in the series, the Artiste Picasso™, one of the brightest and most feature-rich profile LED fixtures to hit the market, will see its world premiere at LDI.


Elation will also be showing the new Dartz 360™ for the first time on American soil. A unique, full color-mixing LED beam/spot fixture with gobos and effects, it offers all new projection possibilities from a narrow-beam luminaire. Other innovations on display will include the KL Fresnel™ Series, a new line of warm-white LED Fresnel lights that provides all the warmth of tungsten halogen with all the benefits of LED. Also showing will be the Chorus Line™, a new range of multi-purpose LED batten wash luminaires that takes strip lights from static, single-purpose wash lights to more maneuverable effects that fulfill a number of purposes in a single show.

Elation will also be showing its popular and award-winning Proteus™ line of IP65-rated arc-source moving heads (Proteus Beam™ and Proteus Hybrid™) as well as other cutting-edge luminaires in its broad product line.

Elation is pleased to be sponsoring a seminar at LDI by renowned lighting designer Jonathan Smeeton to be held on Saturday, November 18th from 1:30pm-2:30pm. The seminar, titled “From Concept to First Night,” will address the tasks involved in taking original ideas to fruition for successful production design and is free to all LDI attendees. For details, visit http://www.ldishow.com/ldi17/Public/SessionDetails.aspx?FromPage=Sessions.aspx&SessionID=1019147&SessionDateID=1001134

The Elation team looks forward to another great LDI show. If you haven’t registered yet for LDI 2017, make sure you do so. Get your free badge pass using Elation promo code E66 at https://www.compusystems.com/servlet/ar?evt_uid=821&oi=JPeLC%2F9%2FQA%2FHoIiGjo9vog%3D%3D&company_code=E66.

Artiste Picasso™: The Artiste Picasso marries creative expression with the latest in high-tech innovation – the perfect combination of art and engineering. One of the brightest and most feature-rich profile LED fixtures on the market today, a new 600W Cool White LED engine combines with an advanced optical system to produce a powerful, crisp output of over 22,000 total lumens. Exceptionally quiet for use in noise-sensitive applications, Elation has packed a full list of features including zoom, framing, CMY, CTO, gobo wheels, animation, prisms and more, in a discreetly compact design, making the Artiste Picasso ideal for stage environments of all types.

Artiste Dali™: The Artiste Dali™, a 2017 PLASA Innovation Award winner, is a full-featured moving head with new LED / Laser Phosphor light engine that gives greater spot and beam capabilities from one fixture. The unique hybrid light engine combines a 300-watt LED source and 100-watt Laser Phosphor source for improved spot/beam functionality. The Laser Phosphor source produces a denser beam with a level of brightness not possible with LED alone. By combining the two sources, users get a spot with extra punch (15,000 lumens) in an energy-efficient solution. Features include eFly wireless DMX, CMY+CTO variable color mixing, color wheel, rotating and static gobos, prisms, animation, zoom and frost.

Artiste DaVinci™: The award-winning Artiste DaVinci is a full-featured, high output, theatrical-grade LED moving head spot luminaire that produces an output of over 13,000 lumens, comparable to 700W discharge lamp fixtures. A newly designed 300W LED engine with advanced zoom optics is at the heart of this enhanced performance and energy efficient luminaire. The Artiste DaVinci offers full CMY color mixing, seven dichroic colors, two gobo wheels and a 360° bi-directional animation system for greater design freedom.

Dartz 360™: The Dartz 360™ is a unique, full color-mixing LED beam/spot fixture with gobos and effects for new projection possibilities from a narrow-beam luminaire. A single-source 50W RGB LED engine produces a powerful and tight 3-degree beam for smooth, color-mixed beam effects similar to a discharge lamp. Extremely bright for its wattage and size, a combined LED engine source/optics package provides better field and brighter output than previous multi-chip LED “beam” solutions. The Dartz 360 is also compact and phenomenally fast with continuous 360° pan and tilt movement added to the gobos, dual prisms, frost and remote focus.

KL Fresnel™ Series: The KL Fresnel Series is a new line of warm-white LED Fresnel lights that provides all the warmth of tungsten halogen with all the benefits of LED. Available in 50W, 150W and 350W models, a 3000K fixed color temperature and high CRI of over 97 mimic ideally the output of Tungsten halogen lights. All KL Fresnel models house a motorized zoom and include barn doors and a filter frame.

Chorus Line™: With the new Chorus Line™ of flexible LED batten luminaires, strip lights have graduated from static, single-purpose wash lights to more maneuverable, adaptable lighting effects that can fulfill a number of purposes in a single show. This new range of multi-purpose LED batten wash luminaires features a wide motorized zoom, dynamic 220° tilt axis movement and the power to compete with LED video. Chorus Line is available in two versions, the 8-pixel bar Chorus Line 8™ and the 16-pixel bar Chorus Line 16™. Both luminaires house 40W RGBW LEDs with full pixel control and are ideal for use as visual effects, foot lights, wash lights, cyc lights and more.

Proteus Beam™: Proteus Beam™ is an award-winning, IP-rated, discharge-lamp beam moving head. Proteus is a next-tier product line of IP-rated moving lights built specifically to empower designer creativity. Compact, robust and budget-friendly, it is designed to unleash creative vision and excel under any conditions. Housing an advanced optical system with focus, it includes an internal thermal cooling system and can be controlled remotely from up to 2,000’ away via built-in wireless DMX. CMY color mixing, color wheel, rotating replaceable gobos, static gobos and rotating prisms are some of its many features.

Proteus Hybrid™: Proteus Hybrid™ is an IP-rated, 3-in-1 discharge-lamp hybrid moving head that can be used as a spot, beam or wash luminaire. Proteus is a next-tier product line of IP-rated moving lights built specifically to empower designer creativity. Compact, robust and budget-friendly, it is designed to unleash creative vision and excel under any conditions. Housing an advanced optical system with focus, it includes an internal thermal cooling system and can be controlled remotely from up to 2,000’ away via built-in wireless DMX. CMY color mixing, color wheel, rotating replaceable gobos, static gobos and rotating prisms are some of its many features.

for further information:



Do you say anything?

We often attend events that have been lit by our acquaintances. But have you ever attended an event where you have gone “oh my god” but not in a good way. So do you mention your reaction. How do you react when they ask you for an opinion. This can certainly be difficult. Do you say “that was certain a new take on it” or do you try an avoid them for a while, cross to the other side of the street. Or are you the one that will tell that it was crap and maybe they need to find a job in audio. This can be a difficult position for us technicians. We don’t want to discourage people in the industry, but we also want a certain standard.

Now if the designer/tech is starting out, they be very open to criticism as long as it is not derogatory. We have a duty to encourage up and coming technicians, designers etc in this industry. But there are some who are in for the “prestige” and think lighting design is just some cool programming on a console. They don’t understand the basic function of lights, the art of focusing and the use of colour. Often they are more interested in the technology not the creative use of the technology. They could be great system techs but not good designers.

So the next time you see a colleagues lighting and you don’t like -think before you say anything. Design might not be their forte but they might be a great programmer.

What are your thoughts?

CSC – Show control software -a Review

Sample software set up

Sample software set up

This software has been around for a while, so I decided to give it ago. I was looking around at software for Windows that worked in a similar way to Figure 53’s QLab. I stumble across this offering, and since they had a free version I thought I would try it out on a small production I was doing. Well I have been putting it through its paces.Now have used for two productions and it works well. The free version is not really limited and you can actual achieve a very sophisticated show using this version. Obviously if you pay money you then unlock a whole raft of extra features. You do need to read through the instructions in the first instance as you put together your first show. But it does not take long before you have a decent soundtrack for your show up and running. It has a good number of features available. Such as:

Easy to use and read cue-list system
Insert and delete cues at any point in cuelist, at any time
Send cues in order, standby, jump cues or recover any position, any time
Intuitive, modular based workspace

Building a show can start with simply building your cue list and as you obtain the sounds you need you just add them to the cue you need. In the free version you can have up to 8 sound playing in each cue, you can position them where you like, with fades etc. You also have the ability to loop effects and define the in and out positions of the loops.


Once you have built your soundtrack you can then nuance each effect, with start and end points, loops level changes. If it is a multi- sound cue you can move each of the tracks start positions and levels, and pan to create a cue that works. This can be changed at any time. There is a wave viewer that allows you to set these loops and start and finish points.

If you need to rearrange your cues that is pretty easy. As with most software packages the more you use it you more you you find out how versatile it is. It does not take long to build complex soundtracks that complement your production. You can also vary levels of the sounds within a cue while operating the show. This is great feature especially if some other element in your show has changed.

If you upgrade by purchasing the various licenses you find you can even control digital mixing consoles etc. The implementation of the midi part is available with purchase of the full package. I was not able to test this, but on reading the instructions it seems that this is a worthwhile addition to the software. According to the website

MIDI control is supported in the form of standard MIDI messages, MIDI Show Control, MIDI Machine Control and customizable strings of System Exclusive commands. MIDI Sequences can be recorded to enable capture of modern digital mixing desk’s fader movements, or for live recording of sound effects sequences using samplers and keyboards.

Also from their website it mentions all the ways events can be triggered.

Events can be triggered by remote control button boxes, MIDI commands, TCP/IP network messages, and triggers can even be based on the system time clock. Multiple computers can be networked together to track a master and send network chat messages to each other.

The External trigger list allows 4 additional cuelists to be constructed allowing event triggers such as switches in props or MD click track start buttons to be integrated into the system with ease. All events are safeguarded to occur at the correct time only through the use of cue regions.

So my thoughts on this software? Well it is a great package to use. It works exceptionally well. I have had two other technicians operate it and they also very impressed. It is easy to use and very easy to make quick changes to your show file on the fly. In fact I have a theatre interested in buying the software. It is certainly cheaper than buying a MAC to use QLAB. So leap over to the website and download a copy and see what you think, as you will be able to use the free version as long as you like. This gives you the opportunity to do a few shows and when you are read go ahead and buy a copy.

For more information and to download go to:


Lycian Followspots are back in Australia and New Zealand!

Lexair Entertainment is proud to have been appointed the exclusive Australian and New Zealand distributor for American followspot giant Lycian Stage Lighting.

Lycian followspots are found in venues and production rental houses the world over. As the industry leader with over 50 years’ experience in followspot design and manufacturing, Lycian have a well-earned a reputation for high quality, reliable and robust products. As North America’s largest followspot manufacturer, Lycian also boast the widest range of followspots to suit every venue from the largest stadium to the smallest school hall.

“Lycian is proud to announce it has established a relationship with Lexair Entertainment to distribute Lycian followspots in Australia and New Zealand” said Steve Lerman, director of sales for Lycian Stage Lighting. “We believe Lexair will aggressively market Lycian followspots and are happy to join their growing stable of entertainment products. I look forward to working with a company that is dedicated to customer service because that is our root belief.”

Lexair is extremely excited to introduce Lycian’s latest product range to the Australian market, and to support their strong base of existing Lycian owners and users in the region.

“Lycian are the most reputable followspot manufacturer in the world, and we’re very happy to be working with them”, stated Alex Mair, Managing Director of Lexair Entertainment. “Their product quality and excellent reputation directly aligns with our ethos of representing only the best brands into the Australian and New Zealand markets.”

For More information contact:

Lexair Entertainment

Tuckwell Place

Macquarie ParkNSW 2113


The importance of Emergency Procedures by Roderick van Gelder

Thanks to Roderick for allowing to repost his newletter from the Australian Entertainment Safety Resource Guide

One of the most interesting pictures from the Tomorrowland fire in Spain was the one below, it shows the evacuation plan on the huge video screens on stage.
This is a concept I have been promoting for a long time and it is good to see it in use and working well.  All reports show that 22,000 people were evacuated from the site without injuries.  Whilst the cause of the fire may be a much longer investigation, this incident again shows the importance of having solid emergency plans in place for ALL events and productions.For an Emergency Plan to be effective, there are three stages:
1 – Prepare the plan.  This should involve as many stakeholders as possible to make sure that all instructions are practical, realistic and understood.  For larger events it may be advisable to include the Emergency Response Services.  And obviously if the venue has an implemented emergency plan then that will be the template for the event plan.  Clause 43 in the WHS Regulation outlines the details you need to address.
2 – Explain the plan to all staff and contractors to make sure that everyone on site is aware of their responsibilities within their work area.
Make sure everyone understands the Emergency Colour Codes as defined in Australian Standard 3745. Don’t be tempted to make up your own set of unique codes.  These colour codes are also used by the Emergency Response Services and using different codes could lead to confusion.
3 – Make sure you can show the Emergency Procedures to your audience if needed.
This is where the huge video screens can be of great help.  Whether permanently installed in large stadia, as part of the stage design for concerts or even the screen for your PowerPoint presentation, all can be used for getting the Emergency message across.But always make sure you have an Emergency Plan for your event.  Often that can be the venue plan, you still have to make sure all your staff and contractors understand it and know what to do.  It saves lives, it is worth looking into.Further reading: http://www.safework.nsw.gov.au/health-and-safety/manage-workplace-safety/emergency-plans
Reference: AS3745-2010 https://infostore.saiglobal.com/preview/as/as3000/3700/3745-2010(%2ba1).pdf?sku=1439257
Note that this is a preview only, unfortunately you have to purchase the Australian Standard to meet your legal obligations under the WHS legislation.

On the subject of emergencies, I recently came across this article by Steve Adelman.  Just posting the link here as ‘food for thought’.  I have just received the book and will comment further in a future newsletter.

Other emergencies

Often people think that emergencies evacuations are the only thing to worry about but there are many other situations which are classified as emergencies that need planning and a thought out response.
Here are just a few pointers of things to look at.
A – Medical Emergencies.
When you have large crowds of people in your workplace it is only a matter of time that someone needs medical attention.
Clause 42 requires you to provide First Aid for your workplace and that can include calling an ambulance.
Do you and your staff have all the required information handy when you call ‘000’?
Information such as the full address INCLUDING the nearest cross street?
If in a large complex or a temporary site, do you have someone who will meet the Emergency Responders at the entrance to take them to where help is needed?  For you ‘Blue Stage’ may be very clear, for an Emergency Response Team not so much.  In an emergency every second counts so it is important to make sure they can find you.  For more remote locations, have map references or GPS coordinates ready.
B – Weather
When running outdoor events weather becomes a very important part of your emergency planning.  Not just wind gusts that can play havoc with your structures on site, rain, hail and thunderstorms will require well planned responses.  And again, communication is important to avoid panic and take people to safety in an orderly manner.  Use the video screens to post warnings whilst the music is still playing.  Make sure someone is in contact with the Bureau of Meteorology or a specialist weather service for updates on forecasts.  Again, time is the difference between success and failure.
C – Bomb threats
Maybe unlikely but you still have a duty to consider the response to a bomb threat at a mass gathering.
Do your research, make sure all listed contact phone number holders have received instructions on what to do if they receive a bomb threat phonecall.  Have clear systems in place to determine who responds to the threat, who takes command and decides what actions to take.

These are just some of the things we need to think about and plan for.  Talk to your team, discuss what is covered and what isn’t.  Check who knows the plans and actions and who may need a refresher.  Put is on the next meeting agenda and discuss.


Any suggestions for topics in future newsletters or comments about this one will be much appreciated.
Please send me an email here: AESRG@stagessafety.com

 Copyright © 2017 Australian Entertainment Safety Resource Guide, All rights reserved.
At some point in time you expressed an interest in the Australian Entertainment Safety Resource Guide. This newsletter is to keep you up to date with development.

ARX’s new Network DI Dante Network audio interface: press release

The new Network DI from ARX is an analog breakout box using the popular Dante network protocol to extract audio from a network and convert it to Transformer isolated analog audio, suitable for connecting to mixing consoles and other devices requiring an analog source.

The new Network DI from ARX is an analog breakout box using the popular Dante network protocol to extract audio from a network and convert it to Transformer isolated analog audio, suitable for connecting to mixing consoles and other devices requiring an analog source

A Mono switch on the front panel provides Left and Right analog summation for applications requirig a mono signal

The Network DI is housed in a heavy duty all-steel chassis finished in attractive matt textured polyurethane, with hardwearing epoxy screen printing and slip resistant rubber base pad.

Security features include an optional bracket kit for under-table mounting.

Dante Overview: A look at how the Dante Network system and protocols are changing the world of Audio Networking is here

The Network DI is designed to receive audio channels from a Dante network and provide studio quality, low latency audio via balanced XLR output connectors to analog audio equipment.

Thus any audio available on the network can be converted to Analog and routed via the Network DI to, for example. an amplifier, or powered speaker(s), mixing console, digital signal processor and many other analog audio devices.

Dante Audio In

  • Input Connector 1 x RJ45 Ethernet
  • Sample Rate 44.1KHz, 48 KHz (default), 96KHz
  • Bit Depth 24 Bits
  • Network Speed 100 Mbps
  • Power Consumption 2 Watts max.
  • Power over Ethernet Class 1 802.3af POE PD compliant

Analog audio out

  • Output Connectors 2 x Male XLR connectors, Pin 1 Chassis ground, Pin 2+, Pin 3-
  • Output impedance 150 ohm balanced, 75 ohm unbalanced
  • Output Level +4dBu @ 0dBFS
  • Frequency Response 20Hz – 20 kHZ +- .5dB
  • Dynamic range < 100dB
  • Signal to noise < 100dB
  • THD <.01% at +4dBu
  • Features: Mono Switch L & R summation
  • Construction: All-steel chassis, fibreglass PCB, epoxy printing, slip-resistant rubber base pad
  • Precision engineered
    With a couple of exceptions, all products in the Audibox range share a common footprint and manufacturing platform. Offset lid screws enable close side-by-side mounting of multiple units.

Meanwhile, Back in the USA.

The Walt Disney Company recently took delivery of several ARX products including the BSX-16 Broadcast Splitter, Blue DI, USB-DI, USB-I/O and the USB-I/O VSR Direct Boxes.

ABC Television in New York just took delivery of ARX Iso Splitters to add to their production resources.

ARX products are distributed in Australia by:

The Resource Corporation P/L
PH: 03 9874 5988