www.glp.de: German Light Products - Latest News http://www.glp.de/ Latest News en www.glp.de: German Light Products - Latest News http://www.glp.de/EXT:tt_news/ext_icon.gif http://www.glp.de/ Latest News TYPO3 - get.content.right http://blogs.law.harvard.edu/tech/rss Tue, 24 Jun 2014 11:24:00 +0200 GLP impressions selected for new Hospital Live Room http://www.glp.de/index.php?id=news_det&L=1&tx_ttnews%5Btt_news%5D=314&cHash=a90a074a1211eafe74dcdde92f65a043 Richard Martin Lighting installs new Oak Room at Covent Garden club. The Hospital Club, the private members' club and creative arts venue in London’s Covent Garden, has unveiled the Oak Room, a new 100-capacity live performance and showcase space. 

Designed by the award-winning Russell Sage Studio, the Oak Room will serve up an eclectic range of outstanding entertainment for members, from DJs and live performances (featuring some of the UK’s best music acts) to high-end comedy, cabaret and jazz nights.

Lighting suppliers, Richard Martin Lighting (RML) have supplied an all GLP impression solution, equipping the room with 12 of their special chrome GLP impression 90’s. At the same time, key music events will be recorded for broadcast through select media partners.

Said RML’s Gemma Jaques, “I opted to use the impressions because in the initial planning meeting the interior designers wanted something that looked aesthetically pleasing and worked with their plans for the room.

“Because of the room’s low ceiling height the units needed to be LED and relatively small. We were free to use whatever fixtures we thought were the most appropriate in our inventory — and that was clearly our special chrome impression 90. The RGB heads were originally commissioned specifically for television use — but the aesthetic was perfect for the Oak Room. “It’s important that the fixture is seen as a visual effect in its own right as well as what it can do as a colour changing wash,” continued Gemma.

Aside from its compact size attributes, thanks to its 90 Luxeon K2 high performance LEDs (30 per colour), the impression 90 reaches a light output that is higher than a washlight with a 575W discharge lamp while it can pan through 660° in 2 seconds, with 300° of tilt.

In addition, GLP impression series heads are virtually silent running, have no heat dissipation and boast extremely low power requirement.

Stated Dom Munroe, Head of Event Operations, "The versatility and high output of GLP's impression lights not only offer us enormous colour-changing flexibility from a wide palette, but being compact and lightweight they are easy to rig and economical to run and maintain. With the wide range of acts that we are presenting in the Oak Room this is just the kind of versatility that we wanted."

And CEO, Sue Walter, added, “It is not often a new event space opens in Central London which has literally never been seen before. The Oak Room will be integral to The Hospital Club’s ethos of showcasing and supporting emerging talent. We are excited to have secured such a diverse range of new and established acts from the beginning, and we will continue to give members, artists and guests a uniquely Hospital Club experience.”

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impression 90 i-corporate Tue, 24 Jun 2014 11:24:00 +0200
GLP X4's Dazzle Eurovision's Audience http://www.glp.de/index.php?id=news_det&L=1&tx_ttnews%5Btt_news%5D=312&cHash=8649c0e24b387065a04f59e894427c5b Several hundred GLP impression X4 LED moving lights were specified by LD Kasper Lange on behalf of... Lange was supported by Danish rental company LiteCom and Production Resource Group (PRG) with the GLP fixtures themselves sourced from PRG’s inventory. These lights were selected by the LD for the impact they would create when suspended on eight long pieces of truss, with around 2m space in between — specifically deployed as audience effects lights.

The impression X4 derives its high brightness from the 19 RGBW high output LED’s. In its slimline body, with no base unit, the fixture houses a 7°-50° zoom range, full colour mixing (from soft pastels to deep saturates) including CTC and customisable pixel patterns across its front face.

Commented Kasper Lange, “Right from the beginning I had been looking for a powerful RGBW LED wash for the audience light. I have been using GLP impressions for the past four years and am particularly impressed at the output, zoom and stability of the X4 fixtures.”

And LiteCom’s Balder Thorrud, agreed. “The X4’s made a very nice and effective light, offering good production values when used in large quantities. The zoom was used to create effect and the flood feature for the audience.”

The impression X4 also boasts a useful library of effects and all the cues were programmed at the desk by Timo Kauristo, Gubi Schmidt and Johnny Thinggaard Sørense, while PRG’s project manager Matthias Rau provided product support.

Images and content could be delivered to four different display surfaces, including an LED back wall measuring 110 metres wide by 13 metres high. There was also an LED floor, a ‘Cubus’ — 18 metres tall, set with LED panels and forming part of the stage design and a film that could either be transparent or opaque (to take projection).

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impression X4 i-tv i-rental Im Slider auf Startseite anzeigen Tue, 03 Jun 2014 13:39:00 +0200
GLP celebrates two golden decades http://www.glp.de/index.php?id=news_det&L=1&tx_ttnews%5Btt_news%5D=309&cHash=777d06a47fca42081f6a25c60eab3bb0 When Udo Künzler first set up German Light Products (GLP) in 1994 the disco boom was still running... He found the perfect solution — a product that straddled both applications. But after pioneering a hybrid that captured all the market requirements for fast mirror scanning with a pan and tilt housing (the revolutionary Patend Light) he could little have forecast that two decades later the company would be at the forefront of LED technology, leading the series of ‘impression’ fixtures onto some of the highest profile concert tours on the planet — and at the same time building an industry sub-brand almost as big as GLP itself.

Based in the Karlsbad-Karlsruhe region of Baden-Württemberg, Künzler had been working as an electronic technician at Siemens, keeping one eye on the activity of his uncle, Hartmut Braun, whose B&K Showelectronic had become a major supplier to the nightclub market (as well as being owner of the 1400-capacity Galaxis nightclub). It’s easy to see how a young technician, working in the fairly impersonal environment of a multinational engineering conglomerate, could become seduced. “I would help Hartmut install discotheques in the summer months using scanners and helicopters and became infected by this,” he rationalised.

After completing his compulsory national service, he returned to civilian life 15 months later and decided not to take up his original post at Siemens. “I wanted to create something I could see a result from and Hartmut needed more help at B&K ... so I became an employee.”

He was soon head of the technical dept, modifying fixtures including early lighting pieces from Taiwan and China, and making them fit for purpose, as well as installing high profile nightclubs such as Chic in Gran Canaria.

Scanners particularly intrigued him and in 1993 he came up with the concept for the Patend Light.

“This was a completely new idea,” he said, “and directly led to the formation of GLP. We were aware that Vari-Lite was available for rental only and had the idea of developing a fast scanner, running a moving head and 360° beam rotation in pan and tilt mode.“

Housing a 575W and later a 1200W discharge lamp on ultra-fast Roto Head the aim of the fully-featured Patend was to deliver smooth slow movements and incredibly fast rotations.

Udo was so excited by the idea of the Patend, that in 1993 he proposed the idea of starting a dedicated and specialized lighting company. “So we formed German Light Products and I became a shareholder with Hartmut, starting from a small 200m2 workshop in the B&K warehouse, with two technicians.”

But such was the complexity of the Patend that it would take time to develop, and sensing the need to start generating cash flow they opened their account with the much simpler and more conventional Startec 2000 scanner, launching it to great acclaim at Frankfurt Musik Messe in 1994 (before Prolight+Sound had broken off as an independent show). This existed in two versions — the 575HMI and 250W halogen.

This had the desired effect, and although the scanner was hardly an original idea GLP enjoyed good sales to discotheques and small rental companies by handling all production and design in Germany.

All the while they continued to work on the Patend Light 575, combining moving head and scanner technology, and by 1996 they were ready to launch this at the PLASA Show in London. In fact so excited was one world famous lighting company on seeing it that their R&D director wanted to buy the company on the spot. “The only problem,” reflects Udo, “was that we didn't own the IP on the technology — so the deal fell flat.”

The chassis of the original product was aluminium while the scaled down Mini was in a plastic housing. “We spent a lot of money with a design company to fine tune the aesthetic. The reaction at PLASA couldn't have been better — the only problem was that by now there were other moving yoke products on the market [in the era after Vari-Lite], including Martin Pro whose Mac became the moving head bible for everyone.” However, they retained the 575, 1200 and Mini Patends which became quickly recognisable and extremely popular, so that today they represent icons of the period. One who adopted it was Tim Brennan at PRG who installed several in a Las Vegas club.

Other fixtures followed, most notably the Max, the Mighty Scan and the Pocket Scan 100W halogen with laser diode, which sold extensively in the US where a major wholesaler was distributing their products at the time. Mini Startec II then extended that family, and GLP produced its own dedicated DMX controllers (such as Show Designer SD1 and SD2 and Startec 2000 controller). Other popular catalogue items included the Joy 150 and 300 in 2000 and later in 2004, the successful Junior Scan.

Encouraged by their ability to pioneer technology, at the beginning of the new millennium GLP undertook the huge challenge of developing their Blue Tools platform, which should have been a world-beater.

“The idea was for a moving head with a special design and bi-directional rotation — a moving head, scanner and wash light combined,” remembers Udo Künzler. “We made the design and engineering and we had wanted to make the electronic power supply ourselves but outsourced the work. The product never got finished ... it was too complicated making the electronics to drive the discharge lamp, so we abandoned it.”

It was a huge disappointment not only to Udo but also to their new R&D man (now head of R&D), Markus Salm — who had previously been a customer of the company (and in fact owned some of the large Patend lights). Although he has subsequently spearheaded the successful impression campaign this first experience proved to be a baptism of fire.

Ironically, to recoup the heavy investment forfeited in the Blue Tools project GLP then developed Ypoc (you don't need to be a master of anagrams to work out how that name was derived). Instead of pioneering technologies they decided it was safer to resort to a ‘me too’ approach, with a basic 250W moving head spot and wash, followed by 575 and 700 versions. “This was a big success for us in 2002, and helped us to recoup the investment on the earlier product,” stated Künzler. The sales of Junior Scan two years later further added to the currency of the company.

Along the way GLP unexpectedly diversified into football and goal line technology via the start-up vehicle, Cairos Technologies. Udo Künzler was one of four founding directors along with Hartmut Braun (an idea that grew out of a chance bar room conversation following a football training session). The target was the 2006 World Championships and GLP was folded into Cairos while their R&D team worked feverishly on developing a new technological approach to determining whether a ball had crossed the goal line. The company later bought back its independence in 2010.

However, the investment the company received from its major shareholder had enabled GLP itself to expand. The funding helped them kick-start the impression programme and enabled them to recruit the highly experienced Kasper Gissel as Business Director in October 2007 to lead this new LED adventure. “He brought a lot of positive energy and created a completely new structure, bringing onboard some of the biggest rental companies,” recalls Udo.

In fact the Dane had been one of the key members of the old Martin Professional team as Head of International Business Development, and his network of contacts immediately reaped dividends. “We had to engage with LDs in order to make the impression a professional LED light,” he says, “ensuring we had an even beam, smooth dimming and that it was flicker-free for TV use.” Thus GLP became the first in the world to have a professional LED wash light.

Success was not long in coming and LD’s and rental companies were soon adopting the various iterations of the new GLP impression 90. But as Ypoc 700 became the company’s final discharge moving head, how had this new excursion into the brave new world of LED taken root?

“We had seen some other LED moving heads but they just weren’t sufficiently powerful,” remembers Udo. “We already had the idea of making a wash light but didn’t like the way it was being done and had to find a way that differed from the ‘three dot’ approach. We spoke to Osram and Lumileds, looking for a chip that would work, and design wise we realised we didn't need a big base, so we could make it lighter.

“We believed that if the product was small, easy and lightweight we would be giving the market what it wanted. This quality of light had not been seen before — it was far superior and produced a very good white.”

They opened their account with the impression 90 in 2007, so embarking on the most exciting chapter in their history. High profile endorsements were not long in coming.

The globally telecast United Nations Climate Change Conference in Copenhagen (COP15) in Autumn 2009 featured over 1000 impressions lighting two big halls (courtesy of Seelite A/S) — used entirely in white in view of their energy saving levels. This was the point at which GLP knew they were pursuing the correct path in developing a new generation of fixtures that could deliver world-class quality.

The initial impression 90 was followed by the Meisterstück, which the company quickly discontinued, since it had now considerably raised the bar in its quest for perfection, and decided that the colour consistency achieved fell short of the new standard. However, the more commercially priced Volkslicht, with no compromise on feature-set, became a major hit (nowhere more so than in the States, where it was affectionately known as the ‘Volkswagen’).

“The thing with impression was that the entire fixture was made by us using standard parts and it has been a big success,” considers Udo. In fact the 120Rz Zoom showed immediate advances, using Lumileds’ Rebel LEDs (transitioning from the K2 used on the original impression 90). This smaller lamp enabled 120 sources to populate the same space as the previous 90 K2’s, increasing output and providing a zoom facility.

Some 200 pieces were used on the popular ZDF TV show, Wetten, Dass out in Mallorca, and with Kasper Gissel, and Mark Ravenhill in full flow, rental companies started beating a path to their door. In Europe major hire operations such as Procon (now part of PRG) and Glenn Roggeman’s AED Rent came onboard. And after leading LDs such as Jerry Appelt and Ollie Olma adopted it, requests came in thick and fast.

But what about on the other side of the world? The company also realised it badly needed representation in the US, and another high profile recruit was Mark Ravenhill, the Martin Professional stalwart, whose lighting designs over the years had won many accolades.

Mark Ravenhill had joined the company in 2009 — a year that was to prove pivotal for GLP. A former colleague of Kasper Gissel at Martin Pro, he was anxious to move to the US with his family. “We decided to set up the US office and Mark loved the idea right away,” says Udo. “That year the impression was everywhere and it was an easy decision for him to make.” And based on his experience and huge network of contacts, Mark himself wasted no time in building up a top sales team to start penetrating many of the major/multinational and medium sized rental houses across the States.

In the same year GLP decided to extend their display options by purchasing the beleaguered G-LEC. The creative video company had made a name for itself with unique products such as Phantom, the first semi-transparent video panel that first appeared in 2000, and Solaris, a cable based video system, which offers designers creativity in both 2D and 3D applications.

“We had known the company for a long time — they had been first to develop the transparent screen and curtain and had the same customers. We had good contact with [G-LEC MD] Lars Wolf and they are based only 30 minutes away.”

In fact Solaris was used at the NBA All Star Game, on tour with The Chemical Brothers and Rascal Flatts, and in music videos by acts like One Republic. G- LEC has subsequently undergone a repositioning process and will launching a new range of products, starting at Frankfurt 2014.

One challenge that has confronted every manufacturer in the industry is where to best centre their production in order to match performance with price — without the risk of plagiarism, IP theft or shipment of a bad production batch. The Ypoc, was one example of a product that had been successfully manufactured in China while a second production unit in Slovakia today handles controllers and commodity items.

But with the impression GLP were determined to minimise the risk. “Initially the factory we were using was doing OEM work for a number of companies, which left us exposed, so now we only do the pre-assembly in China before the product returns to Germany where the electronics are designed and then Slovakia for final assembly. This way we don’t give the innovation away.”

And Markus Salm adds, “Now that we are handling the entire design, rather than outsourcing to external industrial designers, it is a better solution all round, and we know that everything is working well.”

In 2010, the impression Spot One became the industry’s first high output RGB LED spot fixture, followed by the impression Wash One, which was again ahead of its time. The key differentiator was that while some RGB units on the market were very low in output other LED fixtures had better output but were not RGB; it was the combination that made Spot One so unique.

“It was a bit like saying ‘the electric car is coming,!’” states Udo Künzler philosophically. “We focused heavily on this ... we thought it would be the next big thing. The LED market had changed and four colour RGBW chips were enabling the colour to be mixed in the LED. We used the traditional moving head design and incorporated new technology — all led by Markus.”

But while sales have simmered rather than soared, just as GLP had earlier reverted to the safety of Ypoc this time they returned to their earlier impression platform, producing two stupendous products based on the upgrades in LED technology, since a generation had now passed and the first LED products were ready to be retired. These were the X4 and smaller X4S. PRG in mainland Europe recently ordered a vast quantity of X4’s for the German market alone, and this number was doubled Europe wide to replace the old impression 90.

Helping to drive the new business this past few months has been another high profile industry professional, boasting a 20-year career with Procon (PRG). Based in Hamburg, Oliver Schwendke joined as new Key Account Manager following the merger between Procon and PRG. Arriving in time for last autumn’s PLASA Show in London he is quickly reconnecting GLP with

some of its historic customers and most influential designers in the industry. In particular, he sees the midrange rental companies as fertile ground and also big technology-led events that the German speaking markets are renowned for, such as motor shows.

Meanwhile, in conjunction with GLP’s optics specialist, KaiChang Lu, Markus Salm is pushing the envelope ever wider. The result of this will be another new impression destined for Frankfurt launch this spring called the X4L.

“This is a cross between the impression XL and X4,” he explains. “It contains 37 LEDs but is the first to have separate control of the colour for every LED and also has a much faster zoom.

“Most products have no separate modules so repairing them becomes a nightmare but have designed the X4L so it is modular.

As for the future, he acknowledges that while you can’t keep expecting LEDs to get forever brighter, maintaining the relationship with the LED manufacturers is crucial. “In any case, sometimes you can’t make use of the brightness they offer because the source is too big. We need a small source but as bright as possible which is why we use our own optics rather than outsource.”

“One LED with four colours was an innovative step which we had originally asked Philips to do with the Rebel LEDs — but this kind of change doesn't happen all the time.

The new X4L will mark not only the start of the next chapter for GLP but also the next decade. Everyone is excited, including Oliver Schwendke. “This will fill a major need in our portfolio,” he states. “It is a bigger fixture combining higher brightness, and with all the advantage of the impression X4 optics.”

GLP’s journey from humble beginnings has certainly been a fascinating one — and it is far from over. Today the company sits with products in London’s West End and on New York’s Broadway, on many number one rated global concert tours, on a huge range of TV shows — and at corporate presentation events on a daily basis. It has three strategic bases — in Los Angeles, Karlsbad and a Hong Kong base run by Asia general manager, Michael Münz.

It is the perfect platform from which to take on the next 20 years.

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News Im Slider auf Startseite anzeigen Wed, 12 Mar 2014 14:49:00 +0100
GLP’s new Volkslicht Spot brings Spot One’s AWARD-WINNING TECHNOLOGY to a wider market http://www.glp.de/index.php?id=news_det&L=1&tx_ttnews%5Btt_news%5D=301&cHash=a2ea465d2d130c0fe60c169d485a412e GLP announce the launch of their latest LED based Spot fixture, the Volkslicht Spot. GLP’sBased on the ground-breaking and award-winning impression Spot One, the Volkslicht Spot is a smaller, lighter and less expensive version aimed at a wider fixed installation and rental customer base

 

Explaining the design rationale, GLP GmbH CEO, Udo Kuenzler, states, “The Spot One has proven a big success in long throw applications but we believe the Volkslicht Spot will appeal to entertainment venues, corporate event spaces, cruise ships, theme parks and houses of worship who don't require the same throw distance. With a single fixed beam of 15 degrees, the Volkslicht Spot has been able to maintain a powerful output despite its compact footprint and reduced price.”

 

This is because the fixture features a 300W RGB LED engine which offers high output through an efficient optical system with clear gobo projection, even field distribution and smooth dimming without any color shift — all contained in a spot fixture format.

 

With near silent operation, the Volkslicht Spot has also been designed to impress operators who are keen to embrace the low maintenance and easy operational aspects of leading edge LED technology.

 

Aside from its fixed beam angle, the feature set includes a motorized iris, rotating gobo wheel with seven positions plus open, a static gobo wheel with nine positions plus open, a rotating prism, motorized focus, 16 bit pan / tilt movement, and high speed electronic shutter — all within a small body so that it can be rigged discretely and in any orientation. Its light weight (just 33lbs) makes it perfect for permanent installations — particularly where the shorter throw distance is required.

 

 

In conclusion, Kuenzler says, “We are pleased that via the Volkslicht Spot, we will be able to make our cutting-edge LED technology available to a new set of venues and rental companies, who can maximize the performance by taking advantage of a full feature set, while at the same time enjoying the low maintenance and running costs of the fixture.”

 

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VOLKS|LICHT SPOT News Wed, 20 Nov 2013 11:02:00 +0100
JR Lighting Design provides Christian Life Center with GLP impression X4S LED system http://www.glp.de/index.php?id=news_det&L=1&tx_ttnews%5Btt_news%5D=297&cHash=63544e9f861c2103e8a9fa80d1dadabb When the Christian Life Center (CLC) in Tinley Park, IL, wanted to supplement its existing... “The stage needed a backlight system, (as the church also handles video broadcasts), as well as a repositionable ‘special’ system — and it needed to integrate with minimum impact on the existing power infrastructure,” he recalls.

The church itself supports a multi-cultural congregation of 1,000-1,500 people and the lighting would be deployed to highlight celebrants, officiating clergy and guest speakers as well as provide impact for performing bands and musicians.

Jason selected 12 of GLP’s impression X4S fixtures to handle basic lighting needs — principally backlight as well as ‘special’ keylight. “But the added advantage is that they can also be used for effects and color washes,” he notes.

Initially the Church’s Media Director, Eduardo Marroquin, had become aware of GLP after visiting the WFX worship facilities expo almost two years ago and as a result the package was specified to include the impression X4S.

These LED heads are virtually maintenance free, boast extremely low running costs, and being ultra-compact also carry weight/size advantages. But the designer is also extremely impressed with the moving head’s technical attributes.

Reberski notes, “For starters, the 7°-50° zoom in such a small fixture is very impressive and beneficial to its use in this application. The RGB+W homogenized LEDs offer an added benefit in that the addition of white light to the mix enhances the quality of certain color mixes and as such the CRI (Color Rendering Index) of the white light — which is absolutely crucial to providing good skin-tone and scenic color rendition.

“In addition the X4S units have a zoom function that offers a sharp beam at its narrow 7° output — this achieves a super tight, mid-air beam effect. In fact I designed and programmed a DVD taping for Christian singer Brandon Roberson at CLC last month and used that feature to great effect.”

While four of the impression X4S units are placed on the FOH front-light position, and used for color washes, fill light and (when zoomed down) repositionable front-light specials, a further two are placed on the mid-stage lighting position and offer backlight for the downstage apron, keylight for the upstage area or top-light for the mid-stage area. The remaining X4S units are placed on the upstage lighting position and are utilized primarily for repositionable backlight, washes, architectural-style scenic ‘grazing’, and blinder/beam effects. 

For the upgraded control aspect of the install JR Lighting Design specified and provided a High End Systems Nano Hog 4 console.

In operation, Jason Reberski reports that the X4S is extremely fast and responsive. “But despite the fast movement speed it is very smooth and ‘theatrical’, in slow, calculated moves,” he appraises.

“I am 100% satisfied with the X4S. In fact it was easy to see that they were excellent for the application at CLC and having personally programmed them for a large show I can certainly say that they are workhorse fixtures for small to medium applications.”

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News impression X4 S Im Slider auf Startseite anzeigen Mon, 30 Sep 2013 11:32:00 +0200
GLP impression X4S makes touring debut wirh Toby Keith http://www.glp.de/index.php?id=news_det&L=1&tx_ttnews%5Btt_news%5D=295&cHash=0434c202e4d8d1d16bd1b5285534bd93 Seth Jackson designs Hammer Down set around 83 of the new LED fixtures Looking to create a new stage ambience for country legend Toby Keith, long-time LD Seth Jackson has become the first production designer to use GLP’s new impression X4S LED wash light.

He has specified 83 of the compact ‘S’ fixtures, which introduce a new level of functionality, incorporating RGBW homogenous color mixing, a 7 to 50 degree zoom range and high output level within a smaller footprint than the original X4. Supplied by Bandit Lites, they dominate the set for Keith’s current Hammer Down tour.

Jackson had been seeking a fixture with the ability to travel in the new Bandit GoGo Truss, a modified version of the 20.5” standard truss, developed by Dizzy Gosnell and Mike Golden (hence ‘GoGo’). “We needed the lights to sit in the center of the truss and keep our vertical towers centred with weight,” he explains. “GoGo allows the lights to simply live inside the truss (six X4S per 10ft section), making them much easier to manage and much safer. With the reduced cross members the lights have a clear shot.”

Since they form the core of the show the technical attributes of the X4S needed to match the physical advantages. “I was completely impressed with the X4S,” Seth admits. “It is bright, it is fast, the color system has a lot of flexibility, and they are rock solid. 

“They are the most striking visual element, in fact they are the ‘set’.”

There was a clear reason why this was so important. Since the tour has been visiting more out of the way places — rather than the well trodden shed circuit — a scalable production offering fast build time became a clear positive. “From the earliest conversations about this tour we knew we had to have maximum flexibility, as low a power draw as we could get away with, and a lot of ability to shift trim heights, stage widths, and so on,” says the designer.

“We created a show that could stretch wide, narrow down, gain height, or squeeze down without the look changing. With everything contained in those trusses it has become a much more simple process.”

The design itself is based strongly on a linear vertical line of fixtures — using just a few support trusses. It’s certainly a far cry from Toby Keith’s dramatic concept stages in the past. “After several years of doing spectacles on a grand scale, including a 24ft tall jukebox, everyone had a sense that we needed to drastically take a different direction,” Seth Jackson explained. 

“I turned to my co-designer, Nathan W. Scheuer, who had never seen a Toby show, and said to him ‘don't study anything, don't look at past shows, just sketch your ideas based on the music.’ 

“We decided to play on these vertical elements, with virtually no set, and to reduce the visual appearance to smaller profile lighting fixtures in greater quantity, on this plane.”

Lighting director (Eddie ‘Bones’ Connell) has taken the lead on programming the actual songs: having been on the road with Toby for 15 years, he knows the material better than anyone.  “He has a tendency to want to ‘shake the heads off those things’, as he puts it.  He tried hard, but no avail!

“What Bones is doing with them is amazing.  We are getting such giant looks out of this relatively small rig, and such energy from their speed and response. 

“The other great thing about the X4S is power.  What we have been able to save having 83 of these guys instead of more traditional fixtures is extraordinary.”

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News impression X4 S i-touring Im Slider auf Startseite anzeigen Tue, 03 Sep 2013 17:35:00 +0200
Cory Fitzgerald pilots Impression X4 to Mars http://www.glp.de/index.php?id=news_det&L=1&tx_ttnews%5Btt_news%5D=291&cHash=451354824f19655463929080dc406e6f 27 GLP moving heads on Unorthodox Jukebox tour Described by Rolling Stone magazine as among the greatest live acts presently touring, Bruno Mars has been out on the road supporting his platinum Unorthodox Jukebox album — which officially became the fastest selling album by a recording artist in 2012.

His production design team once again on this arena tour is Cory FitzGerald and LeRoy Bennett, who have worked with the artist since the 2011 Hooligans in Wondaland tour.

Stepping up to larger arenas this time around, production has upscaled accordingly, and Cory has again turned to GLP’s impression LED moving heads. Having had wide experience over a number of years, this time he has built 27 of the popular impression X4’s, supplied by VER of Glendale, into a retro-style set redolent of the '70s & ‘80s, including a 6ft mirror ball.

The designer has worked through several generations of GLP’s premier LED fixtures down the years — starting with the original impression 90 and RZ 120 zoom. The profile of these was raised when they featured on Lady Gaga’s Monster Ball tour 2010 — along with the white light versions.

“I think the X4 is a natural progression — and a great fixture for tight places or smaller shows,” believes the lighting designer, adding that the compact size has enabled them to be built into the mirror ball for the latest tour, as well as being used inside the band risers. “They are great lights — very fast and bright — and work well alongside the video elements and discharge lamps. It has a great zoom and I particularly like the fact that there is a separate white LED.”

Working closely with the artist himself to deliver a dazzling stage scenography (supporting eight backing musicians) Cory has incorporated a large video wall, some pyro effects and many other lighting based elements — knowing that the X4’s had the muscularity to hold their own.

Behind the lens, the X4 offers 19 RGBW LED’s, each rated at 15W, providing a homogenized beam with high output that can cut cleanly through modern stages, while a 7:1 zoom ratio offers a fully variable beam — from a tight 7° to a wide 50°. Additionally, the X4 delivers high output with even color mixing, offering a wide color palette and the ability to individually control the intensity of the 19 LED’s, allowing unique looks and animations to be programmed on the fly.

Finally, its baseless design, 16-bit movement, light weight and low power consumption complete an enviously economic feature set.

Summing up, Cory states that “the X4 is a great asset to the arsenal of lighting fixtures; they pack a lot of punch for their size and weight and are very versatile.” 

He highlights the many attributes of the new generation of LED’s, ranging from efficiencies to sheer touring economics. “Most importantly the LED based fixtures continue to get better and better,” he says. As if to prove the point, he is already working with the next-generation, smaller sibling, the X4S — programming a tour with Swedish duo, Icona Pop.

As for the Bruno Mars tour, this now moves to Europe where fans can expect a similar electrifying stage production.

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News impression X4 Im Slider auf Startseite anzeigen i-touring Fri, 23 Aug 2013 00:00:00 +0200
Spot One & Wash One enhance worship at Lifegate Church http://www.glp.de/index.php?id=news_det&L=1&tx_ttnews%5Btt_news%5D=293&cHash=14ddd0d82205194f12053edbf2f738f4 The progressive Lifegate Church in Omaha, which was founded back in 1975 as Trinity Church... The progressive Lifegate Church in Omaha, which was founded back in 1975 as Trinity Church Interdenominational, is a growing organization, with an average congregation of 1900 people attending its weekly services.

With its theological roots in the Christian and Missionary Alliance, and a sanctuary that seats around 1350 people, Lifegate’s technical production values need to match that of a concert like atmosphere.

Currently in the process of moving to a multi-site model on a new campus, the church recently took the decision to remodel its existing stage and lighting, and upgrade its video delivery system from SDI to HD.

This included the installation of state of the art impression Spot One and impression Wash One LED moving heads from GLP in an investment driven by the Church’s Executive Director, Creative Communications and Technology, Robert Wilson.

It was local GLP dealers Heartland Scenic — who meet around 80% of the Church’s lighting needs — that steered Wilson towards the GLP solution.

“I was looking for yoke fixtures because of their capability to enhance our worship experience,” he explained. “I was focused on several features: brightness, color range, gobo options, flexibility, ease of use and maintenance.” He attended a demo at Heartland — whom he describes as “a major player in the Omaha market who have always done an excellent job” — and also witnessed a video demo of the impression Spot One. Instantly impressed with the attributes of GLP’s innovative LED head, he ordered four of these and a further pair of impression Wash Ones.

Installed by the Church’s technical team, the four impression Spot Ones are mounted on truss towers flanking the stage, with the impression Wash One fixtures positioned downstage on the floor, with all lighting (including over 30 LED battens) controlled from the front of house booth.

Generally used to provide atmosphere for the worship set, the impression Spot One was the first fixture of its kind to be released to the global market. By harnessing the raw power of numerous LED sources and running it through an advanced optical system GLP has created an even beam for RGB color mixing at the same time achieving a focusable area for gobo projections. The result is a true hard edge LED profile fixture with a packed graphics engine that includes two fully indexable gobo wheels.

Boasting a similar baseless yoke, and 400W RGB LED light engine, impression Wash One offers a 6°-60° zoom range — but the key differentiator is its innovative 3° narrow beam mode and its unique variable soft-edge beam control that allows softness adjustment. Another attribute is the beam shaping function that enables the user to illuminate only the parts of a stage that need to be lit.

Speaking of the GLP fixtures, Robert Wilson couldn't be happier. “These are great lights that deliver consistent brightness through the color spectrum with all the capability of a yoke fixture. The gobo wheels as particularly impressive with the added features. 

“We are just beginning to discover all their attributes, but from what we have been able to use them for so far, the results have been awesome.  They are a great fixture with the anticipated ease of maintenance providing an additional benefit.”

The fixtures play a vital role as Lifegate Church continues its new campus development for the 3000 or so members of the church community — which boasts a total of four rooms that are all rigged with dual screen projection, stage, full band set up and digital audio.

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impression Spot One impression Wash One Im Slider auf Startseite anzeigen Fri, 09 Aug 2013 00:00:00 +0200
impression x4 with Fleetwood Mac http://www.glp.de/index.php?id=news_det&L=1&tx_ttnews%5Btt_news%5D=289&cHash=0ac11f0a5c4bc6c5272dbbccbb711c7e Designing shows for artistes ranging from Sheryl Crow to Fleetwood Mac over a long period,... Earlier this summer, PRG supplied production for the evergreen Fleetwood Mac’s LIVE 2013 48-city Stateside arena tour — and this time Guthrie requisitioned 36 of the new generation LED moving heads.

The impression X4 itself features 19 of the new Osram Quad Optic 15W RGBW LED’s in a slimline body with no base unit weighing just 17.5lbs. The fixture offers a 7° to 50° zoom range for variable beam spread and matrix effects, and full color mixing including CTC and customizable pixel patterns across its front face — all essential attributes for a forward thinking production designer.

The association between Paul Guthrie (of Toss Film & Design) and Fleetwood Mac dates back to 1999 when he worked with lead singer Stevie Nicks, before co-designing the band’s 2003 tour with their veteran LD Curry Grant and Bruce Rodgers (of Tribe Design). He then took over the reins entirely for their 2009 and 2013 tours.

Curry’s own history with the band dates back to 1974, and since he had always used PRG as his preferred service provider Guthrie saw no reason to break with tradition. “I love their attention to equipment, service and crew,” he says.

Sensitive to the persona of the band, and their desire to carry the show themselves rather than being driven solely by the stage dynamics, the LD concedes that each member first needs to be individually catered for, before everything combines into a single production. “We try not to revisit things each time, but each member has his or her own likes and dislikes, plus there are a number of basic principles we need to adhere to on each production — such as how we light them for camera and the fact we can’t use any haze.”

With a pedigree extending over two decades Paul Guthrie had become an early adopter of GLP’s pioneering LED technology, using the original impression 90’s soon after they were released and moving onto the impression 120 RZ zooms in 2010, when Sheryl Crow went on tour. “I had been looking for a small LED wash light at the time, and these made exactly the right impression,” he said.

But as time marches on so product technology evolves. And when it came to speccing the latest Fleetwood Mac tour a number of attributes attracted him to the new generation impression X4 — notably the obvious economies to be had from the size, weight and power draw as well as the quality of colors and dimmer curve, he says. “The pixel effect of the X4’s is the most unique attribute used.”

This versatility has enabled them to perform different functions, as the LD explains. “I had some X4’s rigged high in the mother grid — for overhead effects, 16 on an upstage truss to provide upstage wash and also tone a white drape that is used for the middle section of the show … and then some on the floor under the band risers. They integrate perfectly with the conventional 1200W and 1500W [discharge] fixtures.”

Getting them to and from a gig is also a breeze, he notes. “The packaging is great — having six heads fitted in each small road case that would normally hold two lights is a great advantage.” And he confirmed that every fixture worked from first show to last without issue.

Board operator Rich Locklin also adds his endorsement that the lights are both easy to programme and fast to respond.

The two and a half hour show itself, which resumes in Europe in the Fall, is built very much around greatest hits — but the band is also promoting its current four-track EP Extended Play — their first new recordings in over a decade.

Overall, Paul Guthrie says he has been “extremely happy” with the performance of the impression X4’s on the road. “Now that the marketplace is flooded with choices for LED lighting it is difficult to criticise a light that is well designed and well built with feature sets catering to users that want good color rendering and smooth transitions,” he says.

 

And for lower budget tours such as Sheryl Crow — which combine promoter supplied lighting rigs with a touring floor package — they can be even more valuable. “I am using ten X4s with Sheryl and these additional impressions provide me with a super versatile effect light as well as a great wash light — taking up minimal truck space and requiring minimal current draw.”

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impression X4 News Im Slider auf Startseite anzeigen i-touring Wed, 31 Jul 2013 10:56:00 +0200
Pulse Lighting pull triple duty with 12 of the versatile LED fixtures http://www.glp.de/index.php?id=news_det&L=1&tx_ttnews%5Btt_news%5D=287&cHash=8cad0164376ceb354f35c1f28c76d6b4 Using 12 of GLP’s versatile impression X4 LED fixtures, Washington DC-based Pulse Lighting recently... The show, which also featured Cypress Hill, was scheduled for broadcast live on AXS TV the same evening.

Set up by brothers Paul and Preston Hoffman in 2005, Pulse Lighting were asked to light the Californian-based ‘fusion’ band in their own right for the first time. “The management knew we had experience of the venue, and in running concert lights for broadcast,” said Preston.

The day of the event — April 20th — was also significant since it is the day when counter-culturists celebrate the love of cannabis, as Preston explains. “With cannabis legalized in the state in 2013, the 4/20 show was historic for everyone involved in that culture. It is no secret that Slightly Stoopid is a pro marijuana band so this event was monumental — and they really wanted to make it a special for their fans.”

And the GLP impressions helped ensure that dream became a reality. The Hoffmans’ experience with the German manufacturers’ ground-breaking LED platform dates back to the very beginning, and the launch of the original impression 90 in 2007.  “At the time, it was an amazing product — but it is unbelievable how far that technology has advanced in such a short time since then.”

Preston further experienced the high value of the Volkslicht Zoom on tour with Furthur and featured them in a music venue called The Hamilton in Washington DC.  However, the Red Rocks show was the first time he had used the new generation impression X4’s. “And I was very impressed with everything about them,” he said.

“For small tours lacking in large budgets but requiring high visual impact they are perfect — the great part about this type of product is its flexibility.”

To exemplify the point Hoffman was able “to pull triple duty” from just 12 fixtures — “and In all three categories the X4 did great!” he reports. In particular, he wanted to see how they would perform as a wash/beam/effect light, suspended directly behind the band where the cameras would pick them up. 

But first of all he tested the zoom … and was immediately blown away. “This fixture zooms down to a 7-degree tight beam and then zooms out to a really impressive wide 50-degree completely flat field of color,” he noted.

“Next I played with the color mixing and I have never seen such rich even color come out of an LED fixture. Lastly I played with the matrix effects. I think this functionality is innovative and cool and a great trick to pull out at the right time. 

“I used them to wash the rocks behind the band as well as add beams in my big looks and also used the matrix effects for a little eye candy when appropriate. I was especially impressed by the quality of light that the X4 produced — delivering a perfectly uniform beam with unbelievable colors. LED fixtures often have problems with yellows and ambers however this fixture made those colors beautifully and without the pixelation.

“I also especially like the lens on this fixture because it softens the source so it is less harsh and distracting than most other LED fixtures.”

As for control, they were easy to program and highly responsive. “One thing that I often find with moving LEDs is there are about four or five good colors but the X4 allowed me to have more subtle color variations and I could use the full spectrum. As a result they looked just like a dichroic mixing light, which was useful when working with cameras because subtle shifts of color are necessary to eliminate clipping.”

Pulse Lighting were working through local technical production and event management specialists, Brown Note Productions (who provided all the lighting, including the X4’s), and Preston Hoffman was full of praise for their professionalism.  “In my opinion they have some of the most cutting edge equipment in Denver.”

In summary, the lighting director says this was a project he couldn’t have felt more proud of. “I have been on a personal quest to find the best moving head LED on the market that can be a multifunctional, lightweight and power efficient fixture. 

“Doing a one off at Red Rocks is very challenging and most of the time I am trying to get big looks out of small rigs without impacting too heavily on the budget. Having a fixture like the X4, which could play several roles on the rig, really brought Red Rocks to life.”

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News impression X4 Im Slider auf Startseite anzeigen i-touring Tue, 25 Jun 2013 10:04:00 +0200