GLP & G-LEC Report Successful Launches at Pro Light &
GLP German Light Products launched a number of new
products at the recent PLS exhibition in Frankfurt, along with treating visitors to a sneak preview of some upcoming product
Reporting a busy attendance from
all four days, distributors and customers alike gave a great response to the new showings, in what was definitely an upbeat
Getting its official launch at the show
was the Impression X4S fixture, which is the 'Small' version of the Impression X4. Featuring the same 15 Watt RGBW LED's that
are used in the Impression X4 - just 7 instead of 19, it has the same homogenous output, the same stunning 7 to 50 degree
zoom range and the same pixel pattern capability, but all in a smaller body which is just 12 inches high and weighs just 12
lbs. It offers all the things you have always wanted in a small moving LED washlight, but could never get in a single fixture
- and it completes the feature set with fast 16 bit movement, electronic shutter control and smooth dimming.
Also getting its launch was the Volkslicht Spot unit which had
been previewed at LDI in Las Vegas. This is a scaled down version of the Impression Spot One, and features a 300W RGB LED
engine with smooth field distribution. Its feature set includes motorized iris, rotating gobo wheel, static gobo wheel, rotating
prism, and motorized focus all within a small body and a beam angle of 13 degrees. With a light weight of just 33 lbs. it
has been designed for the installation market or for applications with shorter throw distances than the Impression Spot One.
The first fixture getting its global preview
was the Impression V. This fixture uses the same Impression X4S housing, but instead of a LED light engine inside, it features
a LED Video engine inside using DLP technology. With an output of 100 ANSI Lumens, the Impression V offers a beam angle of 15 degrees. DMX control has been added for the red, green and
blue channels of the DLP system giving full color adjustment of any image or movie that's being played. There's also DMX focus
control to ensure that you get a sharp image, no matter the throw distance. The small size of the Impression V makes it great
for point of sale applications, sponsorship and corporate work. The playback files themselves are stored on an SD Card which
conveniently sits in the front of the fixture. Adding or changing the files on board is a simple process just requires an
SD Card writer - like most computers have these days - with no special equipment required. The SD Card contains 32 folders,
with each folder containing 32 still images and 32 video files - for a total of 1,024 of each. DMX control allows you to easily
select the specific file and folder that you want to play back.
its first preview was Impression X2. This is a fixed beam version of the X4S. Using the same 15W Osram LED's as the Impression
X4 and X4S, this new unit features fixed beam optics of 8 degrees in the same housing as the X4S, with the same common features.Finally, on the non fixture side, GLP also launched a new iPad
app for the impression X4. It brings up a graphic of the X4 front plate and allows you to create lens patterns by simply clicking
them on and off. When done, the screen displays the DMX levels you need to input to your desk to get the same image to appear.
You can also sort through the standard preset patterns and there's even a color picker for previewing. A great little tool
that makes pattern designing an absolute breeze. An iPhone and Android version will be following, but the iPad version can
be downloaded now from the App Store.
In addition to all of this, sister company G-LEC showed an updated version of its
Phantom 30 panel, which now incorporates electronics to run with the latest version of the GVP video processor. The GVP processor
offers a number of fast and intuitive operations including the ability to move and rotate output devices by indicidual pixels
for perfect accuracy
Also on display from G-LEC was a stunning 3D cube of
their leading Solaris product. Solaris is a 360 degree cable based video device, and in its stunning 3D configuration showed
how some absolutely stunning effects can be created.
Barten Makes Big Corporate Impression with GLP
When California-based Barten Production Services
recently provided technology reinforcement for the 2013 Mod Awards at the Four Seasons Hotel in Las Vegas, the set design depended heavily on Volkslicht Zoom and Impression Spot One LED
fixtures from GLP’s product range. Barten have been providing sound, lighting, AV, and production management services
for the event, which honors the best modular trade show exhibits and event designs, for several years.
Dave Barten’s eponymous company has a long association with the event, as it does with GLP —
having first been introduced to the German company’s unique LED solutions as a result of being the ‘trussing partner’
of Cosmic Truss, for which GLP is the distributor for the Americas. Today they own a quantity of Impression Spot One and Volkslicht
Zoom fixtures, which are regularly out on duty.
“The amazing thing was that at the MOD Awards we were able to handle
everything with two Spot One’s and six Volkslichts. The two Spot One’s managed to paint the set like half a dozen
lights — the optics and gobos were a real treat to work with and in such a small package it was great.”
Specializing in the trade show and corporate theater sector since 1989, Barten says
his business today is entirely LED centric. “We rarely use conventional fixtures anymore. I needed
to get these [GLP] fixtures into our playing field to see what they could do and how they would look within our applications.”
The Volkslicht Zoom initially stood out for its high performance-to-budget ratio.
Low power consumption and ease of deployment further sweetens the low budget projects,
and Dave Barten readily admits, “As for physicality, in trade shows and ballrooms you’re hit with either low ceilings
or 16ft height restrictions, and if you’re hanging a big mover it obscures too much of the sight lines.
Because these lights are small and bright they can really be superstars with 20% of the problems due to the low weight,
size, and power draw.
“With the cost element, every pound of gear is
charged so these advantages save our clients plenty of budget. As for features, these will do a lot more
than we will ever need them to in a corporate context.”
The GLP fixtures are fast and easy to rig with the Cosmic truss footplate or clamp
options and general stand-building templates, he says. “The Volkslicht is so small it fits into header beams and ceiling
structures quite simply. Being lightweight the stagehands can easily run up a ladder and install or grab a couple of fixtures
and quickly hang them on the truss — leading to further big savings for clients.”
As for the Impression Spot One, which Barten first acquired in December 2011, he concedes, “We are constantly
evaluating, purchasing and turning equipment. We have misfired once or twice in this ‘Holy Grail’
search for LED spotlights, but the Spot One has pulled us out of trouble.”
Cosmic Truss Offers Innovative Baby Tower System
Thanks to its innovative and creative design, Cosmic Truss’s F34 Baby
Tower allows for an unobtrusive ground support system to be used, making it particularly ideal for trade shows and TV use.
In fact due to its compact form factor, it is perfectly suited for any applications where locations are difficult to access
and where application with normal ground support is too big and heavy.
In addition to providing low profile visibility, the system also reduces transportation volume by up to 80%, compared
to traditional systems, providing huge economical advantages for the event producer.
The Cosmic Truss solution has overcome all the inherent problems
of a traditional ground support system, employing a smaller size leg with a larger size grid (which rides up once the leg
has been fitted into the corner of the grid).
Instead of being
conceived as a truss tower, Baby Tower is essentially a tube — designed to support a grid made of 12in box truss. The
legs are in sections and can be set to a maximum height of 7m while retaining a strong aesthetic.
The low-profile nature of the rig has already won favor with a host of event producers
and production companies specifying it for trade shows, outdoor promo concerts, marquee weddings, after parties and awards
States Mark Ravenhill, president of North American
distributors GLP Inc., “The less truss you have getting in the way, the better for everyone. A cool addition to the
Baby Tower is that there are no massive base sections, and once rigged into position, outriggers can be removed from base
sections where appropriate to reduce its footprint. It creates a lot more transparency.”
His views are endorsed by a key Cosmic Truss customer, turnkey production
company RK Diversified Entertainment of Upland, CA. Their general manager Doug Sturgis confirms, “We have been running
the Cosmic Truss Baby Tower successfully in our staging inventory for the
past ten months.
“We had been looking for a combination
of a more simplified system with great sightlines and ease of build and strike. This system fit the bill completely.”
Doug Sturgis had been introduced to the product by Mark Ravenhill
himself. “I could immediately see the ability of the system, and was impressed by its nice and somewhat unique design,”
“From a practical point of view it offered
ease of use at a reasonable cost, and as a lightweight, self-climbing system it was also great for indoor applications rigging
capacity is limited or cost savings need to be made.”
purchasing the F34 Baby Tower, RK Diversified Entertainment has found wide
use for the self-climbing system on corporate events for hanging lighting
and drape, as well as for outdoor concerts for flying lighting, audio and sunscreen, while straight truss has been used for
flying lighting in rooms where weight of points was limited.
was done in accordance with regulations BGV D8 and BGV C1.
GLP Impression X4 Makes its Mark with Volt Lites
Back in May 2010, Californian based lighting designer Matthew Shimamoto set up his rental company Volt Lites, with a
view to addressing a number of different market sectors. Based north of Los Angeles, he quickly established the company in
the international touring and corporate worlds, having subsequently worked on live TV
shows, music videos and numerous special events.
As a designer, he had often used fixtures from GLP’s LED impression range — but it was with the
launch of the new impression X4 LED moving head that he took the decision to invest in a product which combines power, flexibility
and practicality in a unique design.
Incorporating 19 powerful quad color RGBW LED's, each rated at 15W, the impression X4 offers a single homogenized color
output from its front lens across a wide spectrum — from deep saturates through to soft pastel shades — by incorporating
more of the white LED element.
Volt Lites were quick to adopt the new head
as Matthew Shimamoto confirmed. “Once [GLP president] Mark Ravenhill informed us that there was a new impression available
we immediately drove to GLP to evaluate and experiment with this fixture. We were so impressed with the performance that we
decided to incorporate the X4’s into our future designs.”
to purchasing, they decided to trial some of the fixtures on a new TV show that is set to air this month. “We already
knew the X4 looked great to the human eye, but we needed to see how they looked under the scrutinizing eye of the camera —
and they performed exceptionally well,” he confirmed.
range has always been a firm favorite of the designer, due to its size, output and overall sleek design. “We love the
fact that the X4 is the same size and shape as the Impression 120 RZ. The bug-eyed lenses and homogenized beam are crucial elements of its success. Adding the white channel and a fantastic zoom range helped
make the decision to purchase these fixtures that much easier,” Matthew continued. In fact some of the units were deployed
the first day that Volt Lites took ownership.
However, there were other positive
factors that the company was quick to pinpoint. “Weight is always a consideration
in the design process, and the eco-friendliness of the X4 also allows us to put these fixtures in environments where power
can be an issue. Our clients have expressed the desire to have a big impact type of fixture without the
headache of sourcing out massive amounts of power.”
benefits of the impressions X4, the Volt Lites director points to the homogenized beam and uniform lens color as being the
clear winners. “This makes the X4 a true wash light — and the wide range of beam sizes available from the zoom
simply reinforces its role as a usable wash source. The introduction of the white LED allows us to use
the fixture in a more TV friendly environment and the light weight and small footprint of the X4 enables the fixture to be
placed in a variety of positions.
“Finally, by utilizing the graphical
arrangement in the lens the designer can come up with unique and distinct looks which give the X4 even greater potential.”
Although this is their first purchase with GLP, the long-standing relationship
Matthew Shimamoto has enjoyed with the manufacturer gives him all the confidence he needs. “GLP’s professionalism,
care, attention to detail and overall excellent support reinforces the wisdom of our decision at Volt to purchase the Impression.”
And Mark Ravenhill adds the
comment, “We are experiencing tremendous popularity with the impression X4 and Matthew and his team are just one of
a number of rental and production companies who are latching onto its advantages.”
GLP Creates Magic in Las Vegas for the Music of Motown
When production for Smokey
Robinson presents Human Nature: The Motown Show decided to relocate from the Imperial Palace in Las Vegas to the nearby
Venetian Hotel, experienced lighting designer Steve Cohen received a call out of the blue from the show’s Creative Director,
David Rudder. “They had already hired a set designer [Andy Walmsley], and were interested in having me light the show
in the new space,” he recalls. “Although we had never met before, since I live in Vegas, it was easy for me to
see the show and see if we hit it off.”
for both the show’s male vocal group Human Nature and Cohen they did; but since the group wanted to come up with a whole
new look for their show, the designer had to choose his fixtures carefully to compensate for the limitations of the room and
budget, as well as the existing lighting infrastructure. So he selected six
impression Wash One, 12 impression Spot One and 16 impression X4 from GLP’s
award-winning portfolio to help create the dynamic.
designer found himself challenged with the technical infrastructure of The Venetian Sands Showroom, which takes its name from
the legendary showroom of the ‘rat pack’ era, and has a capacity of 750 seats. With a low trim height (18ft),
thrust stage but no side lights and “a roof populated by 40 older moving heads in various states of repair, with stock
gobos and lenses only suited for a much higher trim”, Cohen knew he needed some unique fixtures to fulfil his creative
intentions. And GLP came to the rescue.
Within a matter
of weeks Cohen was integrating his design into a complex set, including a rolling video wall and a huge lit ‘Motown’
logo, and with the house system on a slim budget, he knew, “It was going to be a challenging gig the whole way.”
With the inherent realities as they were, Cohen also knew he could still provide this show with the unique creative looks
which are the hallmarks of all Steven Cohen Productions’ work.
so, working with Creative Director Rudder, the direct involvement of Human Nature and Cohen’s team of video expert,
Curtis Cox and lighting programmer Mark Foffano, he set out on his quest to deliver a high end design to complement the music
and story this Motown show delivers.
“Once I realized
it would take some unique instruments to make this environment really work for the show, I approached [GLP Inc president]
Mark Ravenhill to see if the new Impression X4 was in full production,
as I knew I wanted those, as well as the Wash One and Spot Ones, which
I had a chance to test in a real world situation, having never used either type previously.
“One of the added benefits of these fixtures was that I was able to install the Impressions right on
the set as part of the design look, and utilize the wash and spots as ‘shin buster’
floor lights and under-scenery lights which gave the metallic and LED screens set design real dimension. This, plus the ‘in
your face’ looks from the set gave the show some real lighting dynamics that you could never have achieved from any
house hung system. These GLP’s really make this show work!”
The show production
itself has Human Nature, Australia’s #1 pop vocal group, reimagining the sounds of Motown. In a show presented by Smokey
Robinson, the acclaimed quartet and its seven-piece band, The Funk Foundation, offers a contemporary yet timeless take on
classic Motown hits, featuring songs by The Four Tops, The Supremes, The Temptations, Smokey Robinson and more.
Steve Cohen is certainly no stranger to earlier generation
impression LED moving heads, having used them on the last Blake Shelton tour as well as Billy Joel / Elton John, Sugarland, and Star Wars In Concert where he was production designer, working
alongside LD, Seth Jackson.
In fact, Steve Cohen is a real advocate
of the new wave of LED fixtures, describing his decision to specify the impressions as a “slam dunk”. “Finally,
there is real color,” he says categorically. “The Impressions have the best color I have seen out of a moving
head in many years. They are fast and interesting to look at, light weight, and have low power requirements — which
is the case with most LED lights — but the difference is that these have the qualities of ‘real’ light.”
“I had been reluctant to spec them as anything but special effect fixtures, but
now I think you can expand their application into areas where a standard moving fixture would normally be the weapon of choice.”
And of course the ratio of weight and footprint to output and efficiency add further
benefits — both for designer and the production accountant! “Anytime you can fit more s**t in smaller space, your
design has a bigger impact simply by the numbers of heads. So if you can put a lot of lamps in a truss, or have 50 floor fixtures
where before you could only fit 25, the impact to the show is obvious and the design can be driven by those increased numbers.”
The consequence, for Smokey Robinson presents Human Nature: The Motown
Show, is a set that is “clean, saturated and uncomplicated” and with a lighting design which efficiently
communicates the entertainment experience the show is striving for.
GLP Spot Ones and Wash Ones Enhance Saddleback Church
Described as an “evangelical Christian megachurch”
Saddleback Church in Southern California embraces high production values to reinforce its services.
Looking to remain at the cutting edge via an architectural makeover late last year, they took delivery of a quantity
of Spot One and Wash One LED moving head fixtures from GLP — commissioned by the then Lighting Director, Jon Griffin.
GLP Inc President, Mark Ravenhill, recalls, “Jon contacted us about the fixtures
when they were planning a lighting upgrade to their main stage — replacing the existing discharge lights they had been
running for many years. He had heard about the Spot One and could instantly see the potential of it for Saddleback.”
The main sanctuary at their 3,000-seat Worship Centre in Lake Forest has long glass
walls down each side and by conducting the demo at the peak of the day in high brightness conditions it allowed Griffin to
see how the fixtures would perform when confronted with vast amounts of light streaming in.
Aside from the impressive output and performance, other issues — such as the 5-year warranty on the light engine,
the internal workings, maintenance and ease of use — were also factored into the evaluation as was the critical silent
performance. Griffin inspected the construction quality, the sealed front chamber and saw the ease with which he could change
gobos and other items to customize the fixtures for particular events.
“By the end of the demo, he was able to see that both the Spot One and the Wash One could not only perform in
Saddleback, but would also save a large amount of money over the product’s life cycle,” stated Ravenhill. Noting
that there was no cost premium, despite the LED engine, Jon Griffin specified six Spot One and four Wash One fixtures in a
white housing (which is offered as standard), placing the order with GLP dealer, Cal Stage & Lighting of Santa Ana.
Jon Griffin’s first impressions couldn’t have been more positive. “They
are fantastic used architecturally, and I expect the church to order more GLP units when the scenic designs are finalized.
I've received so many favorable comments as they pop the color and provide more texture than our 700W [discharge] fixtures
ever did. I can't say how happy we are.”
But shortly afterwards
Jon Griffin left his position, and his role was taken by the church’s Technical Director, Greg Baker, who has been with
Saddleback for six years, and who had simultaneously been upgrading the video. He was equally complimentary about the impact
the new washes made to the walls.
“The Wash Ones also help light our Pastor during message delivery
— and during music [performed by band and vocalists on the 70ft wide stage], we move them to the offstage walls for
color. The Spot Ones we use for texture, mostly for color and design on these same walls. We use the gobos
— including a couple custom gobos — and the animation wheel for moving effects, and during the music we use the
fixtures to their full capability, changing our color palette and texture for each song.” Programming couldn't be easier,
he says, and Saddleback changes the scene presets every weekend to keep the dynamic fresh.
“We chose these fixtures originally for the complete package of features and these certainly give us the color
and contrast to cut through a very bright environment,” he concludes.
With eight locations in its Lake Forest property — and seven other regional campuses — on a typical weekend
Saddleback expects to host around 25,000-30,000 worshippers, all watching the sermon preached from the main Worship Center
… which is some weekly audience for the GLP moving heads!
Scene Change Invests in GLP Volkslicht
Scene Change, Australia's #2 AV company, have added a dozen
GLP Volkslicht zoom LED moving head fixtures to their lighting stock. The GLP Volkslicht zoom combines the best technology
features with the footprint and weight of a small and unobtrusive fixture.
The fixture has a motorized zoom, changing
its beam size from 10 to 26 degrees, whilst maintaining a strong output.
"We needed a small moving LED fixture that was fast and had a zoom," commented Vicken Hekimian, Scene Change Sydney
Director. "The GLP Volkslicht zoom was bright, fast and compact plus it was provided by Show Technology who supply great
after sales support and have always been very supportive of Scene Change. Having Show Technology as the supplier gives us
a lot of confidence in the product."
All of Scene Change's purchasing decisions
have to meet the following criteria: it needs to be excellent quality, be able to be installed quickly, be reliable and be
fit for the purpose. The GLP Volkslicht zoom meets those demands and more.
price was attractive too - the purchase price versus the rental return is great," added Vicken. "They're quick and
easy to install which is a priority for us as usually we have very limited time to set up a show and have short deadlines.
We need a reliable fixture that is easy to transport, can install easily and is quick to set up. These weigh only 8kg each
and four of them quickly pack away into a small case."
Often the venues that Scene Change work in have low
ceilings and larger moving head fixtures tend to look obtrusive and aesthetically wrong.
Volkslicht Zoom uses 60 Luxeon Rebel LED's in an RGB configuration to give a broad mixing palette of colors from its primary
saturates, through to the more subtle pastel shades.
"The color mixing is very good
and the dimmer curve is great," remarked Vicken. "Plus it has a white mode which can be useful."
GLP Announce New Distribution Partner for China, Taiwan and Macao
Light Products GmbH, a leading manufacturer of innovative automated lighting fixtures in the entertainment industry, is proud
to appoint Guangzhou Ruisheng Lighting & Audio Equipment Co. Ltd. as their exclusive distributor for China, Taiwan and
Ruisheng has offices in Beijing, Shanghai, Guangzhou and Chengdu and with nearly 70 employees has set course for becoming
the most prominent supplier of international professional lighting and audio systems in China. The innovative product range
from GLP, which includes the Impression Spot One and Wash One and the new Impression X4 add to their rich, quality oriented
Münz, General Manager of GLPs Asia Office in Hong Kong, said “Since we started GLP Asia 2 years ago we have really
been able to grow our business all across Asia. Our products are now used on stage with some of the most famous artists in
the Peak Tower, right here in Hong Kong”.
Munz will work closely with the staff at Ruisheng to ensure the highest level of customer service and
support, adding “Together with Ruisheng, I look forward to building the GLP brand to great success".
CEO of GLP GmbH, Udo Kunzler commented,
“This is a promising opportunity for our company. Our partnership with Ruisheng will allow us to bring our products
to one of the world‘s fastest growing markets".
Will Chen, President and CEO of Ruisheng added “This is a great step for our company. Our partnership
with GLP will allow us to introduce innovative and top of the line products into one of the world‘s most advancing markets".
GLP Adds New Office to Serve Latin American Market
German manufacturer GLP has added a new subsidiary office to its organization in order to better serve
the Latin American market. Based in Buenos Aires, Argentina, the office will be headed up by Sales Manager, Peter Hald.
“The Latin American
market has been growing with interesting speed in the past few years,” commented Mark Ravenhill, President of GLP US
Inc., continuing, “We have had plans for a Latin American operation, but needed to ensure that we had the correct structure
in place to support it 100%. We have that now and can ensure that customers benefit from our high level of customer service.”
Peter Hald commented, “I’m
delighted to be joining the GLP team. They really have a great product line up with leading edge technology which I can’t
wait to bring to the Latin American market.” Hald has recently been working in telecommunications, but is no stranger
to the industry, having previously worked at Danish manufacturer, Martin Professional for a number of years.
Speaking of the appointment, Ravenhill added,
“Peter is a great addition to the company. His knowledge of the Latin American market is a huge asset, and on a personal
level, it’s great to be working with him again.”
GLP Latin America
can be contacted at:
Soldado de la Independencia 1170, 7.B.
1426 Buenos Aires
Tel: +54 911 5174 2332
GLP Spot One Forms Cubic Sensation for Synthetica
Canadian new wave /indie band, Metric,
recently completed a successful tour in support of their fifth album Synthetica.
Long-serving LD Ian MacDonald designed
the lighting to be diverse — partly scaled to fit 1000-seat theaters, but sufficiently organic to upscale effortlessly
into arenas and amphitheaters. In the case of Synthetica this involved five different set-ups, and each included
GLP’s new Spot One LED moving heads.
MacDonald’s search for the Spot One was stimulated by his desire to have an all LED arena lighting rig. “This
is becoming the norm these days … less power and lighter fixtures are always a huge plus, especially when playing smaller
venues with limited power,” he said. “I was looking for an LED profile moving fixture that could be as good as,
or better than a standard moving light fixture.”
And GLP’s groundbreaking spot provided the solution. First introduced
to the fixture by Marty Anderson and Louis Racine from Midnite Hour Productions the LD was immediately aware of the Spot One’s
versatility. “I was particularly impressed with the beam intensity and the RGB color mixing,” he said.
rental company spent time testing and rigging the GLP Spot Ones in the cube design that MacDonald had conceived. Each GLP
Spot One was mounted in an individual cube which was then linked in pairs with caster wheels for easy transportation.
was pre-rigged in a 4ft x 4ft x 2ft cubic truss. The six upstage towers measured four cubes high (16ft), with each cube containing
an LED wash fixture, LED white strobe and four LED strips. The six flown vertical towers were three cubes long, each containing
a GLP Spot One (18 in total), an LED RGB strobe and four LED strips. The downstage right and left truss were made up of four
cubes with LED wash fixtures and LED strips. These trusses were custom fabricated for the tour by Midnite Hour.
themselves chose a specific color palette for the Synthetica tour consisting of blue, red, magenta and LED white.
“The great thing about the Spot One, is they have rich color — especially the reds,” noted MacDonald.
The Spot Ones were assigned a particularly
versatile role … variously functioning as solo lighting FX, crowd sweeps and band top lighting. Reviewing the show,
the LD said, “I really enjoyed the speed of the fixture and the gobo wheel selection. In fact I would totally use them
for future tours with Metric and other artists.”
He also praised the support provided by Midnite Hour — although since
the Spot Ones performed flawlessly throughout this was hardly called upon.
Cosmic Truss Launches Arch Systems for Those On the Go
Cosmic Truss has launched a modular truss archway system designed for mobile DJ’s.
to set up system features the F23 triangular truss and contains uprights with bases, angled sections and a top cross piece,
in a free standing design.
Modular in construction, the system is easy and fast to assemble and has a weight capacity of 485
lbs, allowing a huge amount of gear to be hung.
in a regular goalpost format, both configurations can be expanded using with additional F23 sections for an added touch of
Each section of truss is fabricated and approved
to the stringent TUV standard, along with the full range of accessory clamps.
These systems are perfect for a wide
variety of applications including all mobile applications, parties, presentations and point of sale, and for convenience the
system breaks down into sections that can ship with all standard carriers like UPS and Fedex.
GLP Pilots Tungsten to LED Transfer at Top Performing Arts Venue
Bloomington Center for the Performing Arts (BCPA) in Illinois recently carried out a technical upgrade that has seen a number
of GLP’s impression Spot One and Volkslicht Zoom LED fixtures replacing traditional tungsten heads.
These were supplied by GLP dealer, JR Lighting Design, Inc. following an experiment by the venue’s technical
manager Rodney Stickrod to see whether the new generation of LED lighting was technically capable of providing a full theatrical
BCPA had wanted to make the upgrade in its newly renovated 1,200 seat main performance auditorium. Having seen the
GLP fixtures at LDI in Orlando, he was introduced to Jason Reberski, President of JR Lighting Design Inc., who set up a demo.
traditional tungsten wash system, used primarily in saturated colors, consumed thousands of watts of electricity. “Aside
from energy savings, a brighter, more energy-efficient, flexible automated fixture system would also give Rodney and his team
the ability to reposition the fixtures and change their beam angle,” rationalized Reberski.
He was able to recommend the
Volkslichts since he utilizes them in his own production rental inventory. “They are quiet in operation and their performance
has been flawless”, he says. “The demo incorporated the Spot One, which to the best of my knowledge
is the world’s only 400 watt RGB-powered fully-featured automated profile luminaire.”
The BCPA staff were immediately
impressed. Said Rodney Stickrod, “I knew the power of the LED fixtures was getting close to being truly usable in a
theatre application but I was not convinced until I saw the GLP fixtures in our own space.”
“The Spot Ones we use more
as a traditional moving fixture with all the flash we can get. But with the ability to soften the focus and change the beam
angle it is a wonderful fixture for a special in a very nice moment in a production.”
In addition to ‘specials’,
with gobos and textured effects, the Spot Ones are projected on scenic pieces or on the BCPA’s massive cyclorama. The
animation wheel is an excellent feature allowing for non-linear water ripple or fire effects, and coupled with the LED engine
and the designer’s creativity, a myriad of effects can be created.
The Volkslicht Zooms are used primarily for their high intensity saturated color. For music events with exposed lighting rigs,
they can be used as blinders or beam lights, and as back light in a concert setting, while the combination of RGB color mixing,
zoom, and repositionability make for a very flexible system, note the two designers.
Says Stickrod, “The most
exciting thing to me about this fixture is the ability to also use them for ballet or traditional theatre back light. When
in a flood setting they are equal to a nice Fresnel fixture. And of course the ability to pick any color in the world to help
set the mood is nice as a designer.”
Other points noted by both men include the vibrant and
intense colored light output, the zooming functionality and attractive price points — and since BCPA stages more than 400 performances a year — durability
was also an issue. These combined attributes
enabled BCPA to secure 15 Volkslicht Zooms and five Spot Ones for the install.
Rodney Stickrod says that visiting
LD’s have so far been impressed, remarking on the speed of movement and quiet running of the Volkslichts. “In
fact we hardly ever hear the GLP fixtures — so far they have been amazing in this factor.”
for Jason Reberski, he says GLP had been “a joy to work with”, and the support had been excellent. “The
logistical side of GLP is a well-oiled machine and things like shipping, tracking, and delivery are a breeze.”
GLP’s New Impression X4 Forms Unique Festoon in Marc Janowitz’s My Morning
Jacket Set Design
Marc Janowitz, long time
lighting and production designer for Kentucky psychedelic rock band My Morning Jacket, has kept up his tradition of using
the evolving series of GLP impression LED fixtures by specifying 50 of the latest impression X4's on the band's current US
The LD admits to having been a fan
of the GLP impression since the first impression 90 and later the 120RZ zoom. But he says that by embracing new technology, the X4 provides a higher
level of functionality entirely.
Incorporating 19 quad color RGBW LED’s,
each rated at 15 Watts, in a breakthrough design, the X4 offers a single homogenized color output from its unique looking
front lens across a wide color spectrum and with high output. Janowitz could immediately see how he could put this feature
set, with its impressive 7:1 (7°-50°) zoom ratio, to good use.
Given a free hand with the band’s lighting he admits, “There is a tremendous amount of mutual trust —
but I have a pretty good sense of the type of visual landscape they are comfortable performing within.”
In fact he had originally been planning to put the 120RZ into
the new MMJ design until coming across GLP’s latest solution by accident … and in the nick of time. “By
chance, my associate, Ben Price, was prepping another one of our shows [also serviced by VER of Glendale] when [GLP Inc president]
Mark Ravenhill stopped by to show him the X4 back in May. I was in Europe and Ben called me in the middle of the night to
tell me about the fixture — he was so excited that he forgot about the time difference.”
The timing was perfect as Marc Janowitz was in the process of finalizing the set
design with the MMJ crew. “We managed to get the new fixture into the discussions just in time for everything to fall
On returning from Europe Marc
got to review the fixture at close quarters. “I could see right away what the potential was and didn’t need to
compare the X4 with other washlights. I needed to see that they were at least as bright and feature packed as previous impression
fixtures and no bigger or heavier.
the addition of the white LED and how it created an even better option for high transmission pastel colors — plus the
overall homogenized output sold me immediately. No more looking at red/green pixels when mixing ambers and oranges!”
The creative element is designed around a festoon-like hanging system, fabricated out of a modified truss ladder, which forms
the architectural centerpiece. These consist of ten soft, swooped hanging positions suspended between the trusses in the overhead
grid, with five of the X4’s on each. These festoons travel pre-rigged and cabled, and once the grid is hung, are fully
deployed in about 10 minutes.
Marc describes the
new X4’s as “bright, lightweight, diverse” and the zoom as “remarkable.” He qualifies this by
saying, “It enables me to use these fixtures for an overhead beamy washlight plus a groundrow cyc light … the
zoom is outstanding.”
One particular feature
that is working well within the MMJ design is the macro effects channel. “I utilize the center cluster only and point
all the fixtures out to the audience. Since the architectural structure of the design was meant to emulate strings of festoon
lights, I was able to create the look of bare bulbs hanging over the stage with the X4. I would go to this look during the
set break and then stay in it for the first few songs out of the encore (typically ballads or solo acoustic songs).”
Speaking of the impression footprint in general Marc relates,
“Since many of my clients require designs that will tour well in restricted logistical situations, such as bus trailers,
and rock clubs, the combination of minimum size, weight and power consumption is perfect. But they also pack an excellent
punch. “These are not just club fixtures — they hold their own just as well at 30ft trim as they do at 12ft.”
The lighting designer has already underpinned his commitment
to the new fixture by promptly deploying a further 28 X4’s in a different context on the Autumn tour with Trey Anastasio
Band. “I imagine I’ll be logging quite a few ‘lamp-hours’ on this line and its offshoots in the coming
months … so it’s a good thing they are LED!” he smiles.
GLP Impression Spot Ones on the Road with Jackson Browne
LD Steve Comer Discovers the hard-edge LED Spot he has been waiting for
GLP’s groundbreaking impression Spot One is among several of the German lighting manufacturer’s LED fixtures that are presently dominating high profile touring
productions in the US. However, while the impression series has extended its popularity with the arrival of the new X4 head it has been the new fully featured automated Spot which is being seen as the ‘holy grail’ by others.
Jackson Browne’s lighting director/production designer for four years, Steve Comer, is one who admits, “I
had been looking for an LED hard edge light for a long time, and when the Spot One came along it was just the fixture I’d
been waiting for.”
This latest tour expanded organically from its origins as a solo acoustic tour to an ensemble,
with more and more musician friends set to join him onstage. And this called for a more theatrically lit show where stage
positions and musicians could disappear into darkness, according to Steve.
Faced with carrying lighting on tour for
the first time in 18 months the lightweight/small form factor of the impression Spot One was a logical choice. “About
four years ago Jackson decided to shrink his footprint on the environment when he was touring and so we turned to LEDs for
our lighting rig. While we dramatically decreased our energy consumption I still had to to use standard ARC or tungsten sources
to get any sort of hard edges. So I had been waiting for the Spot One technology to arrive so that we could create a 100%
The 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.
First introduced to this innovative technology
by Bandit Lites’ Dizzy Gosnell he is using six of the fixtures with Jackson Browne — two on a mid-stage pipe and the other four
on an upstage pipe.
Despite using a relatively small package to reduce truck space it has given Comer the opportunity
to deliver a consistent show with a layered look, drawing on the house lights for all his front/key light. And with an audience
driven set list which changes nightly (drawn from a repertoire of around 200 songs), it definitely keeps the LD on his toes.
Spot Ones have all the functions that I need for my show,” he assesses. “They have a nice Gobo selection on two
wheels, a great zoom and a great color selection, with the white LED channel. But the big advantage I have noticed in the
LED optics is the lack of a hotspot as well as crisp hard edges.”
Steve Comer has been embracing GLP’s LED
solutions since the original impression 90 and RZ120 Zoom — when the decision was first taken by Jackson Browne to go
green. “I have always been thrilled with them,” he says.
And he values the relationship he has both with
the rental company and GLP themselves. “Bandit often go above and beyond to get the job done, and Jackson also has a
very long-term relationship with them. They are always there to support the Spot Ones as are GLP — and they’ve
not let me down.”
Expect to see the impression Spot One play an increasing role in Steve’s future productions.
“Since I have been pushing to get our tour 100% LED for four years and there has not been a hard edge option
previously, these have definitely filled a gap. They work really well in an indoor theatre environment, and the maintenance
on the road has been non-existent — they have run entirely problem free.”
"Gorgeous" GLP impression X4's Stun Celebs at VMA Awards
Tom Kenny debuts GLP’s white washlight to illuminate futuristic MTV set
Celebrating his fifth year of lighting the MTV Video Music
Awards, experienced LD Tom Kenny kept up his pledge of always trying to use new lighting technology in order to animate Florian
Wieder’s other-worldly landscape set.
This year it was GLP’s new impression X4 that was brought into focus at the Staples Center in Los Angeles, where acts including Green Day, Rihanna,
Taylor Swift, Pink, Alicia Keys, Lil Wayne, Frank Ocean and One Direction all graced the futuristic stage, which was lit by
a massive lighting rig containing over 5,000 light sources.
“The show itself has become a social network event and
a focal point of fashion — and so it was a fabulous place to show off this stylish new light,” remarked Kenny.
“It’s always a policy of mine to try out new technology and styles of lighting on the VMA’s and every year
we have a stand alone product that catches the eye. This year I needed a sleek white fixture to complement Florian’s
concept, and I knew the white finish of the X4s would fit the part perfectly.”
The 50 or so fixtures were supplied
by Video Equipment Rentals (VER) of Glendale, CA and it was their lighting manager, Susan Tesh who first introduced the LD
to the new washlights. VER have been Ton Kenny’s regular vendors for West Coast shows and he says he is fortunate that
the company has a policy of investment in new products.
The X4 itself features 19 of the new Osram Quad Optic 15W RGBW
LED’s (single LED’s each containing four colours), in a slimline body with no base unit. The impression X4 houses
a 7° to 50° zoom range, to provide a good beam spread and matrix effects, full color mixing including CTC and customizable
pixel patterns across its front face. On top of that it weighs just 17.5 lbs (7.75kg).
At the VMA’s, the X4’s
were hidden in the set and positioned behind the main ’string art’ onstage — “as well as anywhere
that we wanted some clever eye candy.”
Tom Kenny was able to make full use of the wide color palette, from soft
pastels to deep saturates. “The X4s not only gave me the modern out of this world look but when [lighting programmer]
Mike Appel zoomed them they gave an amazing beam that stunned us all. They delivered a great glow and beam to the area, and
the reds and oranges, in particular, were stunning.”
He said that having successfully test driven the impression
X4’s he will now specify them on all future projects. “Every year I try out new products and every year there
is one stand alone fixture that gets the artists talking. And this year two of the biggest pop stars in the world remarked
on how gorgeous the X4’s looked!”
GLP Launches impression X4
The new impression X4 from GLP brings power, flexibility and practicality in a breakthrough design.
Incorporating 19 quad color
RGBW LED’s, each rated at 15 Watts, the impression X4 offers a single homogenized color output from its unique looking
front lens across a wide color spectrum and with high output. By using quad color LED’s, the impression X4 features
a color range from the deep saturates through to soft pastel shades by incorporating more of the white LED element,
which has a native color temperature of 5600K, and is complimented by a variable color temperature correction channel.
unique feature to the impression X4 lies behind its ‘bug eyes’, with the ability to activate a series of pre-defined patterns across the
front lens. Using just a single channel, 250 pattern options are available which instantly turn the fixture into a great effect
for work into a camera lens, or audience gags. But, limiting designers to pre-programmed effects can be totally frustrating,
so GLP have added the ability for users to create their own effects, patterns and chases on the fly and record them into their
show. It’s all incorporated into a DMX profile that uses just 20 channels, so great features don’t come at a cost
of many channels.
Adding flexibility is a key, and the impression X4 turns things up considerably from previous fixtures
with an expansive 7:1 zoom ratio that ranges from 7 to 50 degrees. At its narrowest, the impression X4 features both a hard
and soft edged beam, allowing for aerial effects along with powerful color washes that can cut through cleanly on todays’
stages and studio floors.
As users have come to expect from GLP the impression X4 gives even and consistent color across
its beam at all angles. GLP’s tight selection process for its LED’s ensures this color quality not just within
any fixture, but also across different fixtures, now and into the future.
The cooling system for the impression X4 is
designed around a large back-shell which collects heat from the fixture and dissipates it using convection only for silent
operation. If you really want to pump up the heat, the impression X4 does have an onboard fan to ensure that it stays cool
enough to keep operating with maximum output.
With onboard electronic dimming, the impression X4 offers smooth full
range dimming across its entire output spectrum, and as it’s all electronic the impression X4 also offers a variable
strobe rate from 1-10 flashes per second, random strobe effect macros & pre-programmed intensity pulsing effects. The
electronic shutter also allows for absolutely instant intensity changes, or snaps to black.
The impression X4 features
16 bit pan and tilt movement with coverage of 660 degrees of pan and 260 degrees of tilt, with automatic feedback should the
fixture be knocked out of position.
The look of the impression X4 continues on from earlier GLP fixtures and features
a baseless design to keep the fixture as low profile and lightweight as possible. A floor stand is included with every fixture,
and for rigging the impression X4 can take a standard half coupler directly into its base, or use an optional omega bracket
attachment ensuring it can be operated in any orientation.
For ease of use anywhere in the world, the impression X4
comes with a fully auto sensing power supply which operates anywhere from 100-240V at 50/60Hz.
The impression X4 is
available in 4 way and 6 way flight cases as standard, or in single box packaging.
GLP's Impression Spot One Receives 2012 WFX New Technology Award
GLP's Impression Spot One fixture has won the WFX 2012 New Technology Award for Best
The leading LED spot fixture won in its category which is determined by Church
Production Magazine, Worship Facilities Magazine and Worship Facilities Designer Magazine editors, distinguished members of
the WFX Advisory Board, and WFX management. The award was presented to GLP’s Rick Fallon at the WFX show in Atlanta,
Georgia by Church Production Magazine’s Editor-in-chief, Brian Blackmore.
Impression Spot One is an LED based automated spot fixture with full color mixing and a flat field output, and includes a
full feature set of 10 to 32 degree zoom, 14 rotating gobos, motorized animation, rotating prism, iris, electronic shutter
and full range dimming with absolutely no flicker.
its introduction the Impression Spot One has received considerable success for its performance, design and price ratio. It’s
LED based optical system also offers substantial savings in maintenance requirements – both in terms of time and money
– as it runs inherently cooler than discharge technology.
Spot One has been specified into a number of houses of worship across North America as it offers so many advantages to the
technical running of a worship facility.
As the WFX judging panel put it, the WFX Awards are a unique symbol of achievement and leadership
and immediately set the winner apart from all others.
GLP Strengthen Product Range with New Releases at PLASA 2012
Once again, GLP will be exhibiting at the PLASA show in London and using
it as a launch pad for their latest LED fixture, the Volklsicht Spot, along with the UK premiere of their new impression X4.
G-LEC will also be present and showing the latest additions to their range of creative video solutions on
their stand located at 1-F8.
German company continues to play a very active role in the show, and in addition to showcasing its expanding portfolio, it
will also be helping to decorate the main PLASA entrance with their fully rigged ‘flower stands’.
Pride of place will be given to the new Volkslicht Spot on the stand though.
Treading in the
footsteps of the ground breaking impression Spot One, the Volkslicht Spot features a powerful 230W RGB LED light engine, and
the same optical principles allowing it to project a full spectrum from deep saturates to light pastel shades, with smooth
cross fades or instantaneous color bumps.
Spot offers a full feature set, including a wheel of 7 rotating gobos, 11 fixed gobos, a rotating prism, 16 bit pan and tilt,
motorized focus and a fixed beam angle of 13 degrees. Its compact size and lightweight design will be sure to impress though
and show visitors how it’s now possible to achieve stunning quality and output levels within a small package.
Receiving its UK premiere will be the impression X4. Incorporating 19
quad color LED chips creating a high output unit, the X4 features a 7:1 zoom ratio from 7 to 50 degrees with consistent color
mixing at all beam angles as users have come to expect from the impression range of fixtures. Its unique feature allows users
to program each individual LED on the fly and create dynamic, patterns, static looks and chases as and when they choose to
Also on display will be the impression Spot One which has firmly established itself at the cutting edge
of LED profile technology, along with its wash partner, the impression Wash One.
Meanwhile, G-LEC, originators of the semi-transparent video panel and popular Solaris system, will be showcasing
the latest additions to their GVP video processor. Available in three versions, including a PC version,
the GVP has been turning heads since it was first shown, due to its intuitive ‘What You See Is What You Get’ placement,
which offers easy to use individual panel scaling, and rotation control.
Bandit Lites LD's Back GLP's Spot One
Having maintained a long relationship with GLP Inc. since the original impression 90 (first used on the WWE circuit),
Bandit Lites has embraced every subsequent generation of the German company’s LED platform.
Recently they invested in next-generation Spot One technology — noting that this high power LED spot was the
first fixture of its kind to be released to the global market.
“The impression 90 was
definitely a revolutionary fixture at the time,” remembers Bandit Lites’ President, Pete Heffernan. He added that
this success was followed by the Volkslicht which has appeared on many of their tours, and has been particularly prominent
this year on tour with country star, Jason Aldean, and his Nashville based LD, Aaron Swetland.
are driven by the designer’s needs. We look at demand on a global basis and listen to our design partners — and
investing in the Spot One is a natural consequence of our collaborations.”
To that end, 28 of the new GLP fixtures have joined the inventory — giving Bandit the ability
to further increase their offering of energy efficient lighting. Despite their light weight, GLP fixtures are extremely durable,
as Pete Heffernan is quick to emphasize.
“These products stand up to the enormous demands of touring — meeting all those night in / night out
heavy duty requirements,” he says. “The rigors of the road force a fixture to be extraordinarily well-built and
dependable — and again the GLP fixtures come through with flying colors.”
with everyone demanding the next ‘green’ product, he states that GLP continues to lead the way in innovation.
“The product has a smaller carbon footprint and reduces the need for heavy cable, drawing less power and requiring less air conditioning.”
The Spot One first came to their attention after Seth Jackson had used Volkslichts with Selena Gomez last year. “He
was knocked out by the performance of the Volkslicht and after that several designers started to look more closely at
GLP, putting Spot One forward; as a result, the fixture just took off.”
Like their LD’s, Bandit Lites was impressed with the Spot One’s ruggedness, the excellent gobo projection
and the way it embraces cutting-edge technology.
The new LED moving heads have
already been out with Crosby, Stills, and Nash (with Jimmy Hatten as LD) with further tours of duty with Jackson Browne (LD
GLP Inc. were on hand to back them every step of the way. Pete Heffernan
is quick to praise their support. “Mark [Ravenhill] and AnnaLise [Laundrup] are true professionals and will do whatever
it takes to ensure the show looks 100%.”
In the case of Bandit, GLP flew their head technical guru, Carl Wake to Nashville for training on the
new products, and the Bandit President notes, “This is the degree of back-up and support that we appreciate with products
of this pedigree.”
Scenex Lighting Expands Range and Adds Custom Design Support
Lighting from GLP has recently increased their investment and range of flexible LED tapes, adding a full inventory with black
backing as opposed to the more common white backing which has traditionally been offered.
far higher level of discreteness, the black backing is perfect for use in staging applications, set pieces and other instances
where the LED tape needs to be kept as hidden as possible. The black backed tape is available for their full range of RGB,
white and single color LED tapes.
With the introduction of this new black line of products, Scenex has also
re-engineered its tape to now provide an IP67 rating, up from the previous IP55 level which allows a far greater tolerance
of dust, liquid and even outdoor conditions – offering a greater level of reliability to customers.
Following a recent run of major projects, Scenex has also added a significant
range of accessories, such as corner and angled sections, connector cables, and a wider range of power supplies and drivers.
Finally, the company has also added a full service design support facility from their Los Angeles based office. This facility
allows customers to come with an idea and get full assistance in the final creation and implementation of that idea or design.
The people at Scenex have already started the year with a number of projects and bespoke solutions, including major concert
tours, quick build set pieces for award shows, along with permanent applications in both commercial and residential environments.
This design support service is offered free of charge through GLP’s entire dealer network across the USA and Canada.
For more information about the range of flexible LED tapes, click here
GLP Joins Major Celebrations at US Capitol
PBS National Memorial Day Concert, honoring the service and sacrifice of service personnel, has become an American
tradition. Co-hosts Joe Mantegna (Criminal Minds) and Gary Sinise (CSI:New York) were
joined this year by an all-star line-up on the West Lawn of the U.S.
Capitol, including dignitaries, celebrated actors
and renowned musical artists, for a night of remembrance.
Staged by Capital Concerts, the nation’s leading
producer of live patriotic television shows, in order to produce these large-scale live outdoor television events its staff
are joined by a dedicated crew of hundreds of professionals. On the technical side these included lighting designer Bob Barnhart,
of Full Flood Inc, and lighting director, David Grill, who chose large quantities of GLP impression LED fixtures in their
armory of effects. These were all supplied by Martee Nuruddin at PRG’s Orlando office, along with the audio.
provided an essential component of a specially designed stage and band shell including the complete infrastructure necessary
to broadcast live in HD from the outdoor setting. However, this couldn’t prevent the show from being abandoned 40 minutes
in, due to heavy storms (following the performances of Daughtry and Trace Adkins).
Featured in the rig were 40 of the impression
RZ120 RGB Zooms, containing 120 Luxeon Rebel LED’s — providing an automated 10°-26° Linear Zoom. Like its forbear, the original impression 90,
the RZ120 has no base unit, and so provides both weight and rigging advantages.
This was the lighting team’s first outing
with the impression. Stated Bob Barnhart, “There are many LED products on the market but their applications
are not always interchangeable with the gear that has preceded them. In this particular case we needed
a color changing wash light that was small and fast — and this delivered.”
Twenty RZ120’s were placed on each side truss to illuminate
the tent roof, providing an excellent color wash from a lower power draw. Barnhart also remarked on the efficiency of the
primary color LED’s. “The GLP’s were a great improvement on what we have had before, from the stand point
of color saturation and intensity. One of the benefits of an LED product is that the intensity is not lost
in the primary colors.”
Five weeks later,
the same team also provided lighting for America’s national Independence Day celebration,
A Capitol Fourth, on the same site — with PRG again
responsible for providing inventory.
Hosted by Tom Bergeron (Dancing with the Stars) the television event features stirring performances
from the country’s biggest stars of pop, country, rock and Broadway. capped by a rousing rendition of Tchaikovsky’s
1812 Overture, with cannon fire, and dazzling fireworks display.
Bob Barnhart and Dave Grill have been doing both events for 15
years — and know that with little time to program and design TV specials (and no commercial breaks during the show to
allow the technical team to regroup), the collaborative relationship between lighting designer and lighting director is of
paramount importance. They were in agreement that the GLP LED units had been great for providing the color
washes on the roof of the tent — and that the overall output of the individual primary colored LED’s had been
Volkslichts and Spot Ones Shine at Wakarusa
For the fifth consecutive year, Synaesthesiax LD JC Campbell played
an active role in the four-day Wakarusa Music and Arts Festival in the Ozarks of Northern Arkansas.
was his first year with responsibility for lighting a complete stage; working for suppliers Midnight Lighting, he produced
the lighting plot for the Outpost tent, using large quantities of fast moving GLP LED heads to create the wow factor among the more conventional luminaires.
Promoted by Pipeline Productions, and held
in the picturesque Mulberry Mountain, the festival featured five stages in all — including Outpost, a medium-sized tent
with a self-climbing grid.
Suspended from the raked overhead trusses, JC Campbell used eight GLP impression Spot Ones and 12 GLP Volkslicht Zooms; four of the Spot Ones were evenly spaced on each section of US truss, while the Volkslicht Zooms were set in pods of three
on the ends of both DS trusses.
As with all festivals, the lighting dynamic needs to maintain its impact in daylight
conditions, through dusk and into night — but working in a tent all weekend the LD was fortunate in having to deal only
with bounce instead of direct sunlight.
“We ran lights for every act starting at 1pm,” he stated. “During
the day, the Spot Ones still yielded a sharp beam in the haze and had enough output to overcome any daylight bounce, while
still providing color on the roof of the tent. But one of the greatest daytime benefits was being able to reduce the temperature
on stage by not using the par cans — since the Volkslichts provided an excellent wash.”
He also noted that
the Volkslicht Zooms yielded “a beautiful amber and a stunning white”, while the reds of the Spot Ones were “unbelievable”.
In fact the generous color palettes of the GLP FX enabled him to provide sympathetic
lighting for the whole genre of acts — from Bluegrass (Del McCoury) right through to Dubstep (Mimosa), while other notable
acts appearing on the stage included EOTO, Keller Williams, Balkan Beat Box, Papadosio and Paper Diamond.
EOTO as being one of the performances where the Spot Ones really tied the room together. “I ran this as a minimalist
show, as there was a large, video-mapped lotus flower onstage with some incredible custom content rolling. The accuracy of
the Spot Ones allowed me to accent a video heavy production with beams and images without washing out the visual on the 14ft
x 24ft set piece.”
It was JC himself who had originally introduced Midnight Lighting to GLP’s technology
and started using their fixtures on tour four years ago.
“I am continually pleased with the performance of our
GLP gear,” he says. “The versatility of the Volkslicht Zooms is amazing — they provide a smooth even wash
for the bands and turn around and provide high speed aerials for the DJs.
“I had multiple touring LDs and PMs
who had nothing but good things to say about the Spot Ones. Their images are sharp and even, their feature set is complete
and efficient, their colors are rich and bright, their movement is fast and smooth — and this is before you consider
the maintenance cycle being virtually non-existent and how little power they draw.”
At Wakarusa JC Campbell was
assisted by a crew that included Tony Martucci and Cameron Beasley as Tech/LDs and Samantha Hamilton as Production Assistant.
Summarizing the impact of the festival rig, he stated, “It really exceeded my expectations with its versatility to light
a proper performance space day and night — in the middle of a field at the top of the Ozark Mountains.”
GLP & G-LEC Debut New Products
The combined booth of G-LEC and GLP will exhibit a full line up of products at the Infocomm 2012 show in Las Vegas from 13th to 15th June, including some new
debut products never seen before in the North American market.
Located in the Central Hall at stand C8345, this will
be the first time that both companies have exhibited at Infocomm together and surprises lay
in store for the visitor.
G-LEC will be showing its fully implemented new video processor system, the
GVP for the first time. The GVP is an advanced video processor unit for the G-LEC range of products that allows full control
over projected content and their relation to the playback surfaces in use, with pixel exact control, rotation, scaling and
much more. G-LEC will also be showing a range of its video products including examples from its Phantom range of video panels,
and the 360 degree Solaris video curtain.
For GLP, the attention focus will be firmly on the latest addition to the
award winning Impression range of LED fixtures, the impression X4. Incorporating 19 quad color LED chips creating a high output
unit, the X4 features a 7:1 zoom ratio from 7 to 50 degrees with consistent color mixing at all beam angles as users have
come to expect from the impression range of fixtures.
Also on display will be the impression Spot One which has
firmly established itself at the cutting edge of LED profile technology, along with its wash partner, the impression Wash
The ever popular Volkslicht and impression RZ 120 fixtures will also be on display, and following their recent
price reduction offer a higher value for money than ever before.
The Scenex Lighting brand of scenic lighting solutions,
distributed by GLP, will also be on display and feature their latest products with battery and wireless DMX fixtures amongst
others. The Scenex Lighting brand of products has been built up to offer practical and competitive solutions to the lighting
of today’s scenic areas, and now offers a full range of solutions, for both indoor and outdoor applications.
Truss, which is distributed throughout the Americas by GLP Inc., will show a range of its products, including lectern, stand
and display solutions which have been developed for the professional AV industry.
GLP Spot One and G-LEC Solaris give Le Poisson Rouge a Scenic
Le Poisson Rouge (LPR), the multimedia art cabaret founded in 2008
by Justin Kantor and David Handler, recently carried out its latest upgrade — boosting the technical infrastructure
with GLP’s impression Spot One LED and G-LEC Solaris video curtain.
Located on the site of the historic Village Gate in New York’s Greenwich Village, when the new owners took
over the interior was completely redrawn, and John Storyk (of Walters-Storyk Design Group), the designer behind Jimi Hendrix’s
Electric Ladyland Studios, helped design the room sonically.
The venue has since undergone various technical upgrades,
including remotely controlled HD cameras, culminating in this latest investment, with the acquisition of 12 automated Spot
One LED fixtures from 4Wall Entertainment Lighting, who have been providing LPR with high-level service for the past three
Said the club’s Director of Lighting, Jonathan Talley, “I had heard talk about about the new impression
Spot One from colleagues and designers coming through LPR and contacted Mark Ravenhill and Rick Fallon at GLP; from the very
beginning I was really impressed by their communication and service.
“I had been looking, and waiting, for this
type of fixture for some time. Powering movers is never cheap and we always want to be more eco-friendly as well as cost efficient.
Finding a fixture that can live up to and surpass moving heads allows us to do that, and as a replacement for our conventional
discharge spots they provide added flexibility.”
The onsite demo confirmed all the expectations. “Having
a true hard edge LED profile fixture with two fully indexable gobo wheels as well as great color mixing was impressive,”
continued Talley. “I also loved having the choice of either snap LED color changes or smooth dimming and color mixing.
When I saw how solidly and intelligently they were constructed I knew we needed them in our rig.”
With its ‘in
the round’ stage, the room allows for multiple setups. For instance in traditional stage setups eight Spot Ones are
placed on the back grid and four over the audience. “We love using these as front specials or to throw gobo projections
over the back wall of the stage,” he declares.
The feedback from Jonathan Talley’s crew has been equally positive. “At any given time at least one or two of
our staff is on a national tour and they all love designing with the Impression Spot One’s,” he confirms.
also notes the Spot Ones’ ease of maintenance, since the cooling fans are set up so that haze and dust don’t get
sucked through the optics and mechanics inside. “This makes keeping them going strong much more efficient and so I never
have that nagging fear that a fixture is going to break down at the last minute.”
As for visiting LD’s,
he says, the color mixing and sheer power of the fixture is what has been impressing them.
With NPR producing live videocasts
of select shows and VH1 also recently shooting a performance with the artist K’naan, the lighting director says that
GLP has helped them raise the bar and maintain production values at top level.
In fact the Spot One is providing equally
popular with artistes and patrons alike. “It is great to have a light with truly saturated colors bright enough to be
seen with ease by the audience — both on stage and on camera,” states Tally. “We have had promoters rave
to us about how much of a difference it makes, while artistes love performing under them because they don’t generate
as much heat as traditional moving heads. For us they are simply a lot of fun!”
Around the same time LPR also
acquired the impressive G-LEC Solaris fully flexible, cable based video curtain. “Everyone notices and loves it,”
says the venue’s lighting director. “We use it for as many shows as possible because of its wow factor.”
“Whether we are running visualizations, or a guest video artist is using it through his media server, the Solaris
system gets attention. I personally love the aesthetic because it doesn’t look like just another LED video wall, but
like a design element.”, Jonathan concluded.
GLP Spot One and Wash One at Mayday 2012
Once a year, the German and European Rave community undertakes a pilgrimage
to Dortmund in the Ruhr area of Germany – where, since 1997, Mayday is celebrated. Around 25,000 ravers attended this
year’s event to make the night into day and to celebrate trance, electro and hard beats.
Anyone who considers
Mayday to be just a big party, is entirely on the wrong track — the audience is highly critical, placing huge demands
on technology. In particular, the lighting design must be unique and impressive and the sound experience equally massive.
year, Wiesbaden-based company Schokopro took over the technology part in “the arena”, the largest of the three
venues of each Mayday. For one night, the dome of Westfalenhalle 1 was converted, under the direction of lighting and set
designer Thomas Gerdon of Gerdon MEDIADESIGN, into the “mother of all raves.”
Thomas Gerdon and his production
manager Bernd Goergen know the requirements of organizers I-Motion and the wishes of the crowd, as the team has already been
responsible for Nature One, Germany’s biggest outdoor Rave. On the main floor Gerdon and his staff knew exactly what
was needed: “Moving trusses, stunning looks, just something big,” he says, describing what he and his crew have
put together over four assembly days.
In Gerdon’s stage set, the designer relied on new technology from GLP,
using their latest generation Wash One and Spot One automated fixtures, both of which have powerful LED engines and convinced the designer with their fantastic rich colors.
both fixtures manage without the classic base, the design possibilities are of course enormous; there is nothing clumsy, it
just looks good,” he says. In addition, both the Spot One and Wash One are incredibly fast and agile, which is vital
in this genre. “In a nutshell, the two lamps are compact, powerful and extremely flexible — and thus are made
for such a job.”
A further advantage is that thanks to the LED engine in the Spot One and Wash One, the amount
of heat generated was minimized over the 15 hours of continuous operation, whereas some fixtures in the past had suffered
with thermal problems.
Besides using the two new GLP fixtures, Thomas Gerdon also used a large number of GLP impression
90’s set up over the main stage, “which rounded off the stage and completed the whole picture”, the LD concluded.
addition to the main arena GLP occupied, almost exclusively, the smallest venue at Mayday. In the ‘Casino’, where
there is traditionally more emphasis on sound and decorative elements than on solid lighting, eight GLP Impression 90’s,
from the portfolio of Gahrens & Battermann from Refrath, were enough to put the barrel-shaped decorative elements from
Giant Optix of Hamburg into the right light.
Germany's Most Unusual Circus Relies on GLP's impression Spot One
For nearly 20 years, Circus Flic Flac has been synonymous with artistic,
highly unusual entertainment and thrilling live shows. However, last year, Flic Flac ceased touring in order to concentrate
on single shows and special events — such as their spectacular Christmas circus in Nuremberg.
Between the beginning
of last December and end of January, the striking circus Big Top, colored in yellow and black was raised for more than 60
shows, with over 1,400 people attending each day.
Jens Berthold, CEO of Germany’s J&S Music, and Christian
Griebel, Technical Director for the show, set the specifications. “We needed highly reliable fixtures. Due to temperatures
dropping far below zero at night and going up to around 25°C during the shows, condensation was only one of the challenges
we needed to face. Furthermore, dust, heavy use of fog machines and constantly changing temperatures and humidity created
a highly demanding environment — not only for the fixtures, but for all the equipment used inside and around the tent.”
But in the brand new GLP Spot One, Berthold and Griebel had one significant advantage. “The whole LED and effect engine inside the Spot One is completely
sealed and thus resistant to such influences,” they noted. “In fact, we had not one single failure due to moisture,
dirt or low temperature during the two months.”
A total of 16 Spot Ones were used by LD Dennis Dellweg, alongside additional fixtures including 16 GLP impression 90, 12 GLP YPOC 700 CMY and 18 Scenex Lighting Fusion LED battens.
Dellweg was impressed not only with the reliability, but the creativity offered by these fixtures. “When it comes to
GLP’s Spot One, there are really no restrictions. Brilliant colors, sharp and focused projections and the high output
beam really stand out,” he commented.
“For a show like Flic Flac, there are no fixed plans or schedules,
it´s much more a steadily growing, organic piece of art. There is no set choreography — we start with an idea
and begin developing this during rehearsals — that´s how we realize the lighting design. Sometimes, the artists
come up with ideas or certain pictures they want us to integrate in our lighting design. Sometimes, it´s much more laissez-faire
and the artists let us do whatever we think best to complement their show. That is a very open minded process and highly creative
way of generating the appropriate lighting design.”
Within only one week for rehearsals and programming, Christian
Griebel and the staff at Flic Flac really crafted a living, organic piece of art – “this is because we do not
stop at the première, but constantly change scenes and setups to make it perfect. It´s pretty amazing to work
that way when you have such highly creative tools as the GLP Spot One at your side.”
GLP Spot One Enjoys Perfect Hong Kong Debut with CantoPop Stars
Hong Kong-based actor and Cantopop singer Leon Lai, recently enjoyed
a week of sell-out performances at the 12,000 seat Hong Kong Coliseum. Production support for the artist’s Leon X U
show, local rental staging company, AHM Engineering Co. Ltd, provided 28 of their newly-acquired GLP impression Spot One LED fixtures, to enhance the stage dynamics and give the groundbreaking fixture a spectacular Hong Kong debut.
AHM already owned
32 of the German company’s impression 120RZ, reporting nothing but good experiences within the first year, with zero failures. The fixtures have not only enjoyed a heavy
duty cycle within Hong Kong but also several events at the Venetian in Macau — urging AHM to consider further increasing
their stock of impression 120RZ’s.
Introduced to the Spot One late last year by GLP Asia General Manager, Michael Münz, AHM were so impressed that they immediately placed an order for 62 of the new fixtures.
first 28 pieces were delivered in less than two weeks from order to meet the Leon Lai show deadline. Michael Münz remembers,
“They literally came out of the airplane and went directly to the venue where they were installed out of the box and
onto the rig.”
Having only seen the Spot One in their warehouse previously all production crew involved were stunned
with the brightness and power of the beam — even in such a large venue as the Hong Kong Coliseum where the fixtures
were used all around a central stage, both as floor FX and on the outer edges of the trussing.
The reaction was scarcely
surprising since the Spot One is the first fixture of its kind to be released to the global market. Harnessing the output
of enough LED sources and being able to run it through the optical system of a spot fixture to create an even beam for RGB
color mixing (and focusable area for gobo projections) has provided LD’s with a new dimension to their creative palette.
by their initial success, AHM Engineering then provided a further 38 Spot Ones for another Cantopop exponent, Aaron Kwok,
when his De Showy Masquerade World Tour Live Concert arrived at the same venue.
Kwok is famous for his dancing performance
and extravagant stage design and AHM were happy to increase the presence of the Spot Ones to provide extra drama (in fact
the artist holds a Guinness Book of World Records entry for the largest revolving stage, measuring 10m x 9.44m).
crisp colors of the Spot One, coupled with the fast movement, provided the perfect match for this action packed performance.
Spots performed at a total of 21 shows in their first month of delivery, with no lamp adjustment necessary prior to their
first use on stage.
Mazon Chan, owner and founder of AHM, who had wanted to move his company further towards greener
and more cost-efficient products, is more than happy with their latest investment since it will enable them to reduce running
costs. And Paul Leung, Sales Director of AHM, adds that the five-year light engine warranty eases the burden on their budget
since they no longer need to calculate bulb replacement costs.
GLP Appoints Pacific Lighting for Singapore and Malaysia
Pacific Lighting’s Singapore operation has recently been appointed as exclusive distributor for GLP — in both the Singapore and Malaysian territories.
Pacific Lighting director Hugh Chinnick says he is delighted
at the future prospects this partnership offers to both companies. “GLP is a growing company, with a track record for
innovation and quality. We have been very cautious in entering the moving LED fixture market, but are confident that GLP will
successfully fit into our existing bespoke product range.” Fauzan Fadil, General Manager of Pacific Lighting (Singapore)
Pte Ltd, is equally excited at the prospects of dealing with another quality brand.
Michael Münz, General Manager
GLP Asia, added: “I am very happy to have Pacific Lighting on board with us. They are a very experienced and well known
player throughout Asia and the perfect match for GLP. Together with them we are looking forward to maintaining our rapid growing
Since the opening of GLP’s Asian Office little under two years ago, sales in the region have increased
dramatically. “Recently GLP fixtures such as the impression Spot One has started to appear on an increasing number of
riders from famous local artists such as Leon Lai and Aaron Kwok,” he stated.
Pacific Lighting, whose HQ is in
Hong Kong, is well known throughout the region, with strong contacts not only in the rental/concert industry but also theatre
and architectural markets. “These markets are particularly relevant to our latest product ranges due to the very low
noise level, and long lifetime and low maintenance characteristics of the impression series,” concluded Mr. Münz.
Unisson Structures Appointed Exclusive Cosmic Truss Dealer for Canada
Cosmic Truss has announced that Unisson Structures has been appointed as its exclusive distributor for the full range of Cosmic Truss products for Canada.
Founded in 1977, Unisson Structures remains
a family-run business today, with a clientele that has been consistently built upon its reputation for creative commitment
to their customers every step of the way and for their delivery of high quality and innovative solutions.
The addition of Cosmic
Truss to their product offering within Canada will allow Unisson to offer a more comprehensive solution range of trussing
and rigging products to their client base and the market as a whole.
Speaking of the appointment, Olivier Jobin, VP
of Business Development at Unisson said “Having Cosmic Truss as a line for Unisson Structures is a big advantage. We
can now offer a broader range of products. Clients will benefit from our service and know-how while, as always, obtaining
the best quality product at the best price.
Business Director for Cosmic Truss, David Park, added “Having Unisson Structures
represent Cosmic Truss in Canada is a great move forward for us all. A company with the depth of knowledge, experience and
commitment that Unisson has will be a massive win for all of our Canadian customers.”
Unisson Structures is based
in St-Roch-De-L’Achigan, Quebec and can be contacted by phone at (450) 588-7477, or via their website at www.unissonstructures.com
Pictured is Olivier Jobin of Unisson Structures.
GLP impression Spot One Completes all LED Rig for Dillon Productions
Dillon Production Services, based in Norcross, Georgia have added GLP’s impression Spot One fixture to their inventory allowing them to offer their customers a full energy efficient LED lighting system.
purchase of 18 GLP impression Spot One LED fixtures allows them to offer a full complement of both spot and wash based fixtures
of the latest technology and efficiency to their customers. The company recently held an invitation only open house
at their facility, giving them the opportunity to show off this new addition to their inventory.
In between sets
of the Atlanta based band “Papamichael’s World Group”, Matt Dillon, President of Dillon Production Services,
spoke to the crowd about his goal to take his company green by acquiring an all LED rig. He compared the power draw of the
rig, which included 18 of the new impression Spot Ones, 31 linear LED fixtures, 58 LED pars, 24 LED moving wash fixtures,
and 18 additional LED moving fixtures to “the equivalent of 6 hair dryers”, which drew cheers from the nearly
150 lighting designers, corporate customers and industry veterans who attended the event.
Matt commented on his
open house and new inventory, “It was a great event that helped showcase some of our new inventory, as well as allowing
people to see that technology in this field is going green and so is Dillon!”
Rick Fallon, Eastern Regional
Sales Manager for GLP added, “The impression Spot One introduces a new era of LED technology for high output fixtures. It is unique in bringing
the efficiency, output levels and feature set of conventional high powered discharge lamps to the world of LED – and
then some. When Matt reviewed the fixtures before his purchase, he not only recognized the environmental benefits of this
fixture, but also the low cost of ownership and set up that will contribute to his 17 year old company’s bottom line.”
Truss Cover Range now Available from Cosmic Truss
Cosmic Truss has added a range of stylish and practical truss covers to its' products.Available to fit any size and length of truss, including the full range of Cosmic Truss, the range of truss covers
comes in a variety of designs. With hook and loop fastening as standard, covers can be attached quickly and cleanly allowing
any piece of truss to be dressed up in no time at all and are ideal for presentation events, functions and set dressing.
The range of standard designs comprises contemporary graphics, along with soft
natural looking images to suit a variety of moods or events, and standard plain finishes.
For custom occasions, standard
plain covers can also be screen printed with specific logos or branding for corporate events or product launches.
For more information,
contact Cosmic Truss on +1 818 767 8899
Lawrence Upton has a Smashing Time with GLP's New Volkslicht Zooms
Lighting designer, Lawrence Upton recently extended his long relationship
with Smashing Pumpkins when the band took first to the American tour circuit, and then Europe, in support of their ninth album,
However, it was the first time he had used GLP’s impression platform, building 20 of the compact, lightweight Volkslicht Zoom LED heads into the set. And it certainly paid dividends.
Taking responsibility for the full stage design and dynamics, he set out in search
of the latest equipment available “to suit the vibe of the tour”, opting for the GLP fixtures after they had been
recommended by Kevin Forster at Epic Production Technologies, who supplied the rig for the American leg, and Craig Gaff at
The tour itself was picked up across the Atlantic by Neg
Earth, who maintained continuity with the GLP heads — ensuring that they performed as flawlessly in Europe and the UK
as they had in the States.
The LD is equally at home working
on both continents. For having grown up in the north of England he later moved to America specifically to work with the bands
coming out of the States, and is today based in Chicago (where the Pumpkins formed back in 1988).
For the Autumn tour, he worked alongside lighting programmer, Brad Schiller, with whom he has collaborated for a
number of years. “This was the first time I had used any of GLP’s fixtures, and I must say I after being recommended
them I was most surprised and impressed when I saw them,” says the LD.
The Volkslicht Zoom combines the best technology features with the footprint and weight of a small and unobtrusive
fixture. The fixture has a motorized zoom, changing its beam size from 10 to 26 degrees, whilst maintaining a strong output.
Using 60 Luxeon Rebel LED’s in an RGB configuration to give a broad mixing palette of colours, because of its size and
weight, Volkslichts also have incredible pan and tilt speed.
this context they were used to replace the traditional discharge wash light on a scalable set — designed to enable sections
to be removed, depending on venue size, without sacrificing the dynamic. Providing the basic color for every scene, the Volkslicht
Zooms had the desired effect of creating a good solid wash that could change color and position very quickly, and operate
problem free throughout the two legs.
“Although there was no particular
requirement to use low-energy fixtures, this was certainly an added bonus, which allowed me to use more Volkslichts on the
Overall, he said, he was delighted with the performance
of the fixtures. “They certainly exceeded my expectations and I definitely see a role for these on shows in the future,”
Announce Five Year Warranty for Latest LED Light Engine
In an unprecedented move, GLP have announced that the LED light engine used in their impression Spot One and impression Wash One fixtures now carries a full 5 year warranty.
The replaceable LED engine gives the highest
light output from a single RGB source in a Spot or Wash based fixture on the market today – and to ensure that
customers are confident in this latest technology, GLP have issued this new warranty. Being built on a ‘plug and play‘
integration level, the light engine itself is easy enough to replace, should it ever be required.
GLP’s Business Director, Kasper Gissel, commented “This 5 year warranty is something we are very proud to
share with our customers. We know the reliablility of our fixture range and the component parts, and we also know from our
customers that they are fed up with the wild and wacky claims we have seen from manufacturers in recent years regarding their
LED sources, so it was time to get serious with a simple, straightforward warranty“.
The 5 year warranty
covers the LED engines used in all fixtures within GLP’s impression Spot One andimpression Wash One fixtures.