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Futurelight EYE-60 – LED there be Washlight!

February 23rd, 2010 Posted in FUTURELIGHT Tags: , , ,

51841337fFuturelight now offers a more compact version of its flagship EYE-108 RGBW – the new LED moving head EYE-60 RGBW. The EYE-60 comes with all features that have made its older brother a convincing tool for all professional light designers.

The EYE-60 just like the EYE-108 offers high luminosity at a low weight and low energy consumption as well as trendsetting color mixing out of the four components red, green, blue, and white for even more color mixing options. Adding a fourth primary color brings a variable color temperature. The difference between the two state-of-the-art multifunctional spots is the number of 3-watt LEDs that was reduced from 108 to 60 (22 x red, 17 x green, 15 x blue, and 6 x white). This equals 250 watts with standard spots with discharge lamps.

Up to 14 EYE-60 RGBW can be operated with a single 16-ampere IEC outlet and including the suspension weigh only a little more than 100 kilograms. This makes the washlight most suitable for a sophisticated light design even on small stages or at crowded venues with limited budget and power supply. With its compact size, running smoothness even at high speed, and high luminosity the EYE-60 RGBW is applicable particularly for galas and fairs, and is simply a must as economic alternative for rental companies and light designers that need to set value on parameters like brightness, weight, power consumption, and speed.

All settings on the washlight can be made quite easily and are well readable thanks to its clearly arranged LCD screen. The ESDC function (easy service data check) of the battery-backed control panel ensures the readout of operating hours and various other parameters at any time – even without mains supply. A time-saving feature for rental companies often faced with a large number of devices.

The EYE-60 RGBW weighs less than 8 kilograms and can be operated at 100 to 240 volts due to its switch mode power supply. Power consumption is at 250 watts maximum. Further highlights of the new spot are a versatile strobe effect with up to 25 flashes per second, a random function, and not less than 56 programmed scenes for the operation without controller. Music control can be done via the built-in microphone at any time. The LED’s beam angle is 28°.

Since 2004, the washlights of Futurelight’s EYE range have been reflecting the zeitgeist with the best available technology. Currently, a more favorably priced range is also available besides the EYE-60 RGBW and the EYE-108 RGBW: the EYE-90 RGB, the EYE-54 TCL, and the EYE-36 MK2. LED there be Washlight!

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EUROLITE LED KLS-800 – Ever increasing brightness!

February 23rd, 2010 Posted in EUROLITE Tags: , , , ,

kls800_.effectWith the LED KLS-800 TCL DMX, Eurolite presents the new top model from the revolutionary line of LED-Compact Light Sets. As light-weight as its predecessor, the same housing, but considerably brighter.

The KLS-800 is comprised out of four individual, flat and separately directional spots with seven Tricolor-LED-chips (TCL) each. Every TCL-chip is fitted with three LEDs having a rated power output of 1W each. Advantages of this multichip-technology enable a substantially more homogeneous color mixture than is possible with individually installed LEDs. By the way, the loss of light output through the integrated converging lens is negligible. The compact light set accommodates 28 TCL-chips, each having a 3 Watt power output. The achieved light output is comparable to a conventional spot-bar comprised of four PAR-56 in various colors.

The compact set really lives up to its name: the total weight of the LED KLS-800 including bar, TV pin, and the complete cabling is round about 9 kilograms and can be transported comfortably by a single person in the included carrier bag. Thanks to the low weight and the completely pre-fitted bar, installation is simple, even for the not so technically inclined. This makes the LED KLS-800 especially attractive for solo entertainers and other small performing groups with own equipment as well as for technical service providers with mobile discos and rentals.

Control can be carried out either via the optionally available foot switch with long connection cable or via any standard DMX-controller. The compact light set occupies 15 DMX channels. The Eurolite DMX LED Operator 4 is a specially developed controller, with which all functions can be easily accessed. This enables comprehensive use of the system without the tedious familiarization with the subject matter.

A further benefit of the LED KLS-800 is the very low power consumption, which lies at about 160 Watts. Hereby, as well as the minimal heat emission of the LEDs, it encourages use of the compact sets even in the smallest locations, without having the performer or the public to work up a sweat. Moreover, in contrast to its conventional prototypes, the LED KLS-800 does not promote annoying interference in the sound system, in case light and sound need to share an electrical circuit at an event location with limited power supplies. Facts which make the LED KLS-800 a real alternative to conventional spot-bars.

When EUROLITE brought the first compact LED light sets on the market in the summer of 2008, it produced a real sensation in the mobile event-technology sector. The revolutionary product range was quickly and consequently expanded by means of customer requests, so that meanwhile the user has six versions with varying configurations to choose from, including the top model LED KLS-800 TCL DMX. Several complete sets with stand enlarge this range even more.

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Prolight & Sound 2010 in Frankfurt

Steinigke_ProlightSound-08_01The days are passing by and the preparation for ‘Prolight & Sound 2010’ in Frankfurt is in full activity. In our fairoffice and fairstoreroom is a coming and going of our staffmembers, who planned our booth and it’s almost impossible to understand your own words. Everybody builts, puzzles and plans.

Also the production of the new catalog is in time because of our busy members.
In spite of the many news we will be able to give our customers a lot of information-material in this year.
Which products are new in our programm, you will get to know directly at our new location in hall 11, stall A11 and A05 of the fairground Frankfurt.24th 03 till 27th 03 2010 you can experience our captial additions as well as the product of your fairteams’ hard work.
But till then there’s a lot to do and we are looking forward to salute you at “our fair”.

Steinigke Showtechnic goes more and more into the direction Web 2.0

ScreenThose who have followed us last year, have certainly recognized some changes. On the homepage of our shop are for examples some recent tweets shown that provides you with news from our company. But there is just a selection of information reported. The whole informationtail you can look up directly on our diffrent Twitter-Accounts. Here we collected our news for you in german and as well in english. If you don’t have a Twitter Account yet and don’t want to miss out on our news you can just read them easily as a RSS-Feed in your prefered Feed-Reader.

For everyone who is on Facebook we have made some fanpages of our brands. Here you also get the necessary information about our company, our brands and even about individual products. Become a fan of our LSD-curtains for example and invite others to become a fan of us.

When it’s about moved pictures you should check out our YouTube channels. Watch our latest product-videos and rate them. On our all in all four channles you can find more than 450 videos in total by now.

And you can not only watch them but also integrate them in your own online shop, wesite or auction to inform your costumers as well about how a product works or looks like when it is in action.

And of course we have our blog for you that will inform you about us and our products in every detail.

But the most important with all those internet platforms is: They don’t only work one-sided but make it possible to participate in the things that are happening. Comment our blog-posts, rate our videos, answer our Tweets etc., because then we can all profit by them.

The ones who aren’t that well versed in these modern instruments are also very welcomed at ours. We are pleased to stand by your side to explain you every detail as good as we can. If you tinker with the idea to use this platform for your comany too we would be pleased to share our experiences with you. You can approach us for that. We will also be at Prolight & Sound to inform you about this subject.

Line array in theory & practice – part II

February 17th, 2010 Posted in PSSO, worth knowing Tags: , ,

11040900gThis second part of our line array series deals with the physical aspects of such sound systems. Quite a complex subject yet we have tried to give you a comprehensible access.

The basic problem of every sound reinforcement system for large venues is the fact that an individual speaker cabinet cannot supply the complete audience with the required sound pressure level. Even if the audible transmission range between 20 Hz and 20 kHz is separated into five or more different speaker sizes, the necessary characteristics required for audiences with thousands or even a hundred thousands of people cannot be produced – even with the latest technology.

Furthermore, destructive interference occurs even when using only two speakers at once. Interference occurs when sound waves from two different sources overlap and lead to undesired amplification or elimination of parts of the frequency range. The aim of every sound reinforcement system is to minimize destructive interference and to provide the desired signal level at every position in the audience are.

For reaching this aim, speaker clusters were used for a long period of time where several technically identical speaker systems are horizontally and vertically grouped together. Due to sophisticated cabinet constructions and the use of horns in front of the individual drivers, the efficiency, i.e. the realistic electric power converted into sound pressure level, could be increased while reducing the interference areas within the crossover areas between the individual speaker systems to an acceptable level and thus getting closer to a physically ideal point source.

The sound pressure level is reduced by 6 dB for every doubling of the distance from the speaker system, although this only applies to ball waves, i.e. undirected sound sources. Especially in closed rooms, a point is very fast reached where the diffuse sound, i.e. the sound reflecting from the walls and ceiling, reaches the same level as the direct sound from the speaker system. From this point on, the destructive interference is so strong that the acoustic performance can only be recognized in a strongly falsified manner. This distance is referred to as critical distance. One solution is applying delay lines where the transmitted signal is “refreshed” before the critical distance, thus enabling a large or longer audience area at large venues. Nevertheless, the delay speakers must reproduce the signal with a delay as the speed difference between acoustic and electric signal transmission is already audible from only 20 meters away. This is where the name “delay line” comes from.

Another disadvantage of this procedure is the significant sound level loss even among the first meters of the audience area. According to the already cited formula, the sound pressure level at eight meters distance is only one eighth of the level in one meter distance from the speaker system clusters. Often, this problem was solved by more volume which is not only a health hazard in the stage area, but may also have a negative effect on the sound quality and sound level on the stage and which can no longer be recommended with today’s emission guidelines.

linearray1Line arrays are the next logical step in this chain of cause and consequence. With line arrays, it is possible to minimize the basic problems of conventional cluster systems. With line arrays, it is possible to minimize interference between the vertically aligned speaker systems by a vertical dispersion of less than 15°, to increase the coverage and to keep the sound pressure level constant for the maximum number of people in the audience by curving the system, i.e. setting the individual components at a specified inclination angle. Furthermore, line arrays can realize a larger horizontal dispersion angle than horn systems.

In order to realize this, some physical problems need to be solved. While the vertical alignment of several low speakers or mid speakers is easy and already applied in the column speakers as described above, more problems occur with higher frequencies. Thus it is not possible to realize the necessary, very low distance between high speakers via standard horn speakers or cone speakers. This distance between the speakers and the number of signal sources in vertical alignment and the curving angle is very important for the acoustic aim of the line array technology: the production of a coherent wave front.

In order to reach this aim nevertheless, so-called wave guides are used. They enlarge the output of the individual sound source which makes a very low distance between several vertically aligned sound sources possible. Additionally, these wave guides modify the delays of the sound waves in the transmission area of the hi speaker in a way that building a coherent wave front is possible.

With an ideal line array, a sound pressure level loss of only 3 dB for doubling the distance could be realized, in reality and depending on the system and the number of elements used, this value lies somewhere between the ideal 3 dB and the 6 dB of a cluster system. Thus using delay lines is still necessary especially for larger venues, but within a higher distance to the main PA. The reason is the improved directivity of the systems in comparison to conventional horn speakers.

linearray2Introducing line arrays led to a reduction of individual speakers up to one quarter which provided additional resources for lighting and video technology. With the introduction of the DMX protocol in 1990, it was especially the concurrent digitization of the lighting technology that considerably benefited from the smaller and lighter sound reinforcement systems.