"By the gravemonds in the park of Borre where the mighty rulers of the Norwegian Vikings lived, feasted and were laid to rest, we invite you to 3 days of metal, folk, pagan, dark ambient, night hall clubs, mead, craftbeers, museum, seminars, guided tours, Viking village and battles on historic grounds - join us!"
The Association of Lighting Designers har dratt igang en kampanje for og få lagt til ett unntak fra ett nytt lovforslag i EU som kan få dramatiske konsekvenser for store deler ev eventindustrien og kulturbransjen. Forslaget vil føre til at svært mye av det scenelyset som i dag eksisterer, ikke lengre vil kunne benyttes.
For mange vil dette kunne bety kroken på døra da invisteringsnivået som må til blir for høyt. Dette vil igjen få store ringvirkninger og bli ett stort tap for scenekultur og tilhørende bransjer og industri.
For og gi din støtte til saken og skriv under på denne kampanjen startet av ALD. Husk at alle stemmer betyr noe!
Hele saken kan leses her: https://www.ald.org.uk/resources/savestagelighting
Hurtigversjonen av hele saken kan du lese i 10 korte trekk nedenfor!.
1. Nye forskrifter er foreslått med virkning fra september 2020 som setter krav om minimum virkningsgrad på 85 lumen per watt og ett maksimalt standby forbruk på 0.5W på alle lyskilder (pærer og lamper med fast kilde) som skal selges i EU.
2. En tidligere versjon av denne forskriften omfatter et unntak for scenebelysning. Det er ikke direkte videreført i det nye regelverket, selv om de tar med unntak for videoprojeksjon, og foreslår et unntak for scenebelysning, så ser de ut til å ha totalt misforstått behovet for effekt og lysnivå for de fleste teatrale lysarmatur.
3. Ingen wolfram/tungsten pærer oppfyller dette kravet. Svært mange LED-baserte event/show lamper oppfyller disse kravene. Etter September 2020 vil ingen ny produksjon av slikt utstyr kunne leveres til EU.
4. Produsentene antyder at grensene for optisk design og LED-effektivitet betyr at de ikke lengere vil være i stand til å produsere visse typer pærer/lamper som oppfyller kravene etter september 2020.
5. Reglene stopper deg ikke fra å bruke eksisterende armaturer. Men nye pærer kan ikke leveres til markedet, og når du ikke kan få nye pærer, vil eksisterende armaturer bli verdiløst skrap. Det er ukjent hvor lenge eksisterende lagre av lyspærer vil være tilgjengelig.
6. For mange vil bytte av eksisterende inventar, bety å erstatte all dimming og styrings infrastruktur.
7. Alt dette for en strømsparing som i beste fall kan bli marginal, når man medregner måten event lamper normalt benyttes, og besparelsen vil trolig oppveies av den økte mengden avfall, pluss den energien som kreves for å produsere og distribuere nytt
8. Sentrale verktøy for en lysdesigner vil gå tapt i EU, noen for alltid
9. Dette vil dramatisk påvirke arenaer og produksjoner av alle typer og skalaer, inkludert nye og eksisterende produksjoner.
10. Det er svært få føringer for hvordan en teknologi som ikke er utrygg å benytte skal totalt forbys i ett marked.
Like Save Stage Ligthing på facebook: https://www.facebook.com/SaveStageLighting/
Vi i ces er på prolight+sound i frankfurt.
- CES er norsk distributør av Amadeus, og er på plass på Hall 3.1, stand B15.
Amadeus lanserer i år blant annet Holophonix, en helt ny og revolusjonerede 3D prosessor for lyd.
Les mer om dette spennende produktet her: http://www.cesolutions.no/nyheter1/amadeus-lanserer-holophonix-soundprosessor-pa-prolight-sound-2018
Ønsker du og møte oss for og se nærmere på ett av våre agenturer, Amadeus eller Admiral Staging Solutions?
- kontakt Sindre på +4748884848 eller Robert på +4741511451.
At the 2018 Prolight + Sound trade show in Frankfurt, France-based Amadeus, one of the premiere manufacturers of high-end sound reinforcement systems and custom studio speakers, has debuted a new hardware processor system, HOLOPHONIX™, designed for live sound spatialization and immersive experiences. The HOLOPHONIX processor brings together several different spatialization techniques including Wave Field Synthesis, High-Order Ambisonics, Distance-Based Amplitude Panning, and more, enabling intuitive placement and movement of sources in a 2D and/or 3D space.
“Development of the HOLOPHONIX system is undoubtedly the most ambitious and the most exciting project we have initiated for a very a long time,” comments Michel Deluc, Amadeus’ R&D Manager.
The new system allows the user to select and control a series of highly advanced 2D and 3D sound algorithms designed at IRCAM-based STMS Lab (Sciences et Technologies de la Musique et du Son), located in Paris, and supported by CNRS (National Center for Scientific Research), Sorbonne University, French Ministry of Culture and IRCAM (Institut de Recherche et de Coordination Acoustique/Musique).
Amadeus’ relationships with IRCAM started in the late 1990s. Over the years, Amadeus has designed more than 339 custom loudspeakers installed within IRCAM’s variable acoustics hall (called Espace de Projection) for research on high-end sound field recreation systems, including Wave Field Synthesis 2D and Ambisonics 3D sound.
“This project brings together a plurality of talents from the most prestigious French musical, theatrical, and scientific institutions – and their experience and knowledge are as rich as they are complementary,” says Gaetan Byk, Amadeus’ Marketing Manager. “Our long-term and close relationships with the teams at Paris-based IRCAM Institute, and their trust in Amadeus for almost 15 years, has inevitably led us to get closer to integrating into the HOLOPHONIX processor a large part of their technologies related to the spatialization of sound.”
Thanks to the HOLOPHONIX project, Amadeus has gathered and utilized with the best technological, scientific and pure research resources, and some of the top French user-experts in the field for live spatial sound. “We wanted to offer our future users a simple, intuitive and ergonomic tool, perfectly optimized considering the needs and demands in the theatrical, musical and performance fields. The cooperation of contributors from prestigious French institutions, among them, the first users and beta-testers of our spatial sound processor, was essential,” explains Byk.
Amadeus also collaborated with several top engineers from world-renowned institutions, including Jean-Marc Harel from La Gaîté Lyrique Theater, Marc Piera from Chaillot National Theater, Dominique Bataille and Samuel Maitre from the Théâtre du Vieux-Colombier – one of the three theaters of the world-famous Comédie-Française – and Dewi Seignard from Les Champs Libres Cultural Center in Rennes.
Michel Deluc worked closely with software designers Thierry Coduys, and Guillaume Jacquemin, co-inventors of the digital creation-oriented ‘IanniX’ graphical sequencer, based on a system designed by famed modernist composer Iannis Xenakis.
Bernard Byk, co-founder of Amadeus, commented on the HOLOPHONIX sound processor's design by quoting the French poet Voltaire, “The superfluous, a very necessary thing.” Adding, “This unique audiophile-grade sound spatialization processor deserved a distinguishing ornament, more than enough yet essential, embodying its intrinsic properties and features. Machined in three dimensions from an aluminum block in a process taking more than twenty hours, the front panel design of the HOLOPHONIX hardware embodies all the technology embedded and hidden within this unique tool.”
The HOLOPHONIX processor is housed in a 3U-height chassis, machined from aluminum and anodized. Its front panel is machined in three dimensions from an aluminum block, its style drawn from the aesthetic and technical aspects of Amadeus' audiophile Hi-Fi product development.
The hardware is fully redundant, comprising dual redundant power supply units and solid-state drives, for a complete reliability. HOLOPHONIX is Dante-compatible and can integrate with standard commercial DAW software as well as Dante-enabled devices providing an added control layer.
“The technological gains offered by the Dante protocol and its widespread adoption by professionals led us to consider its implementation within our systems,” says Michel Deluc.
Besides its standard Dante compatibility, the system can also be configured on request for MADI, RAVENNA, or AES67 formats.” The input/output matrix of the HOLOPHONIX processor allows the user to choose the rendering mode for each of the incoming channels. It natively handles 128 inputs and 128 outputs in 24-bit/96kHz resolution, but can be extended to 256 or 384 inputs and outputs,” Deluc explains.
The processor is structured around a powerful multichannel algorithmic reverberation engine. It allows users to combine several different artificial reverberations, homogeneously combining sound materials and fine-tuning the perceived sound depth. Reflection calculators allow the user to create several virtual sound spaces.
“The HOLOPHONIX processor creates an extremely advanced platform which is able to mix, reverberate and spatialize sound contents played from various devices using several different spatialization techniques in two or three dimensions,” says Thierry Coduys, Chief Technology Officer who was intimately involved in the creation of the HOLOPHONIX processor.
As a musician, a multidisciplinary artist, and a producer, Thierry Coduys has acted as the sound engineer for some of world’s most acclaimed modern composers including Pascal Dusapin, Karlheinz Stockhausen, Philip Glass, Steve Reich, Luciano Berio, and pianists and performers Marielle and Katia Labèque.
The hardware offers a quasi-unlimited number of spatialization buses, each one able to run one of the different sound algorithms available, including: Higher-Order Ambisonics (2D, 3D) Vector-Base Intensity Panning (2D, 3D), Vector-Base Amplitude Panning (2D, 3D), Wave Field Synthesis, Angular 2D, k-Nearest Neighbor, Stereo Panning, Stereo AB, Stereo XY, Binaural.
“This allows to the user achieve control of the sound sources using different techniques. For each project, the algorithms get evaluated, listened to and selected on site, according to their coherence with the main electro-acoustic system and the artistic expectations of the composer or performers,” says Thierry Coduys
“The Binaural algorithm has been designed to help engineers and producers prepare their production using a conventional pair of headphones, giving them the experience of a full 3D image of their mix, and to design sound object trajectories. The processor also includes around a hundred head-related transfer function (HRTF) available in the SOFA file format,” adds Thierry Coduys
The head-related transfer function (HRTF), also sometimes known as the anatomical transfer function (ATF), is a response that characterizes how an ear receives a sound from a point in space. The Audio Engineering Society (AES) has defined the SOFA file format for storing spatially oriented acoustic data like head-related transfer functions (HRTFs).
The HOLOPHONIX processor also works with show control software and many popular DAWs that are compatible with the Open Sound Control (OSC) protocol – including Ableton Live, Cubase, Digital Performer, IanniX, Logic Pro, Mandrin, Max, Nuendo, PureData, Pyramix, QLab, Reaktor, REAPER, Reason, Traktor—allowing composers to add a control layer to existing software, hardware or network systems used for original in-situ creations, such as installations or performances involving graphic, video and/or sound content.
Technical details of the algorithms the HOLOPHONIX hardware system controls reveal its power and depth:
• VBAP (Vector Base Amplitude Panning) 2D or 3D
The VBAP technology utilizes the data for each specific speaker position. It uses the three speakers closest to the desired position of the source. This approach is based on the directional component of the vectors corresponding to the two or three speakers placed closest to the sound source.
• DBAP (Distance-Based Amplitude Panning) 2D
The DBAP technology is based on amplitude panning, applied to a series of speakers. The gain applied to each speaker is calculated according to an attenuation model based on the distance between the sound source and each speaker.
• High-Order Ambisonics 3D
The Ambisonics technology also utilizes the data for each specific speaker position. It recreates an acoustic field by de-composition/re-composition based on spherical harmonics.
• WFS (Wave Field Synthesis) 2D
The WFS technology can rebuild a sound field over an extended area. It recreates a wavefront by superposing secondary sound waves radiated by a speaker array.
Riktig utstyr og kompentanse = gode resultater.
For og levere en trygg, driftsikker og god løsning så trenger man dyktig personell som kan lage løsninger basert på rett ustyr og på riktig måte.
Hos oss finner du prosjektledere, teknikere og riggere som har ett godt renomee og innehar mange års fartstid i bransjen og den nødvendige kunnskapen for og levere etter våres normer. Vi er svært opptatt av å ivareta sikkerheten for alle involverte parter og er alltid på hugget for og sette sikkerhet øverst på lista.
I tillegg bruker vi utstyr fra annerkjente produsenter hvor all dokumentasjon er i orden. Dette koster kanskje litt ekstra i forhold til de rimeligste løsningene på markedet, men i det lange løp så er dette det eneste forsvarlige å gjøre når konsekvensene er så store vis noe går galt.
Er du arrangør så anbefaler vi at du setter deg inn i denne veilederen fra DSB.
Les hele nyhetsaken på denne installasjonen nedenfor
Paris, France — March 6, 2018— Amadeus, based in France, one of the premiere manufacturers of high-end sound reinforcement systems and custom studio speakers, has announced the install of the company's newest array speaker, the DIVA M², at the prestigious Paris Gaite Lyrique Theater digital arts and modern music center. Initially equipped by Amadeus for the theater's 2011 re-opening with the company's EtherSound-enabled speakers, DIVA XS and XL Series, among other Amadeus models, La Gaite Lyrique decided to upgrade its Front of House speaker system in the facility's Large Hall and naturally has chosen the newest Amadeus DIVA M² array speakers (pronounced "M Squared"). Along with the fourteen DIVA M² loudspeakers, Amadeus has also installed four new DIVA M² SUB bass complements, paired with Lab.gruppen amplifiers and LAKE controllers.
The Large Hall performance space at the theater features a 750-person standing capacity (with over 300 seats), an adjustable stage with multiple heights, configurations and surfaces, and 46 independent visual screens spread out over the four sides of the room to create a total immersion experience for the audience. The Large Hall includes telescopic tiers of bleachers for seating, which can be folded away sideways. Projection screens can be mounted at various levels on any of the four walls, and a large variety of audience and stage setups can be accommodated.
"The growing demand from artists, as well as producers for immersive video setups, brought us to look for a more discreet sound system," states Jean-Marc Harel, Sound Department Manager at La Gaite Lyrique. "We wanted speakers placed in a configuration minimizing the projected shadows on the visual screens, but without compromising on the power, on the sound pressure level and the clarity and quality of the sound itself. This is why we became interested in the newest Amadeus DIVA M². Both the speaker's size and harmonious visual aesthetic perfectly matched our equipment needs."
Harel adds, "The power and size ratio of the new DIVA M² array speakers compared to the older version is really impressive - even compared to the Amadeus DIVA XL that we used during the past few years. Its new built-in technologies, including the new proprietary waveguide, paired with its coaxial drivers and linear-phase crossover filters - featuring a steep 96 dB per octave cutoff slope - help to offer a total linearity throughout the theater's listening area."
"Thanks to these new capabilities, we have been able to rethink the layout of the main FOH clusters by adding two Amadeus DIVA M² SUB bass complements in line with the main speakers which are hung on the same bumper. The new subwoofers can be adjusted from 0-to-10° which really helps control the low frequencies beam," explains Harel.
Digging deeper into the technical benefits of the speakers and the sound system design, Pierre Le Cardinal, FOH Mixing Engineer at La Gaite Lyrique, adds, "The ease of adjustment of the new variable curvature rigging system, which is based on a 'logarithmic structure' of inter-element angles, along with its reduced weight, bring a real added value allowing us to quickly implement different configurations for each audience - whether they are standing, sitting, using the telescopic bleachers opened or closed - within the Large Hall concert area. This new speaker installation perfectly meets our integration constraints for the concert hall, as well as our ambition for a qualitative evolution of the sound - thanks to a higher sound pressure level, more dynamic response, and better coverage definition across the entire audience."
The Gaite Lyrique is entering a new era with this technological upgrade. The City of Paris has bestowed the management of this exclusive showcase for digital arts on SEGL. The new management of the Gaite Lyrique initiated deep changes in equipment and programming. "The Amadeus DIVA M² speakers allow us to confidently offer excellent sound reinforcement for every international artist who performs at the theater and to satisfy the most demanding productions in various music genres including rap, pop or EDM, which are some of the centerpiece styles of our programming," concludes Harel.
In 1862, the same year as Paris' renowned Theater de la Ville and Theater du Chatelet were debuted to the public, the Theater de la Gaite Lyrique was also inaugurated. Nearly 150 years later, this important venue of Parisian culture was brought back to life after being closed to the public for over twenty years. In 2011, la Gaite Lyrique returned to the forefront of modern theater presentations under an initiative by Bertrand Delanoe, Mayor of Paris, and Christophe Girard, Deputy Mayor in Charge of Cultural Affairs, who were motivated by the desire to bring this leading venue of Parisian culture back to life. Within the modern theater building there are now 5 levels open to the public, and 2 private levels that host workspaces reserved for the artists. In total, the theater has a capacity for 1,400 people.
"Since its reopening in 2011, the Gaite Lyrique has stood out by its commitment towards creation and innovation, establishing digital culture at the center of this Parisian undertaking, while at the same time meeting with a high level of acceptance from the public," relayed Bruno Julliard, First Deputy Mayor of Paris.
"With the deep conviction that artists should play a part in the emergence of a more fraternal and collaborative society, the Gaite Lyrique will welcome all those who share this ambition, at the crossroads of artistic creation and scientific, technological and social innovation," added Mr. Julliard. "The Gaite Lyrique is an extraordinary venue for the creation and the promotion of today's music, whether amplified, DIY, experimental, immersive or international. It is a stepping stone of choice for voices whispered, raging, low-tech, or carried by the most advanced technologies in the field of sound and image."