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How to save energy with LEDs – sample calculation

July 28th, 2010 Posted in worth knowing Tags:

You do not need the gift of second sight to forecast a truly bright future for LEDs (Light Emitting Diodes). Advantages like low power consumption, long life, brilliant light radiation or low heat emission give all the aces to the diodes.
The advantages of the diodes are often praised. Yet, what is the use of dull theory? What do these advantages really tell us? A question we have asked ourselves. Thus, we present you a concrete example which precisely shows the financial difference between an LED and a halogen lamp. To answer the question as clearly as possible we list the individual expenses of these two different lamps and directly compare them against each other. This is a fictitious calculation and the individual expenses may vary. Yet, they clearly indicate were the differences are and why LEDs are worth their money.
In our example a building’s outside facade is to be illuminated with 10 spots. For our comparison, we use a common 300 watts halogen spot and a EUROLITE LED FL-24 with 24 1 watt LEDs. The spots are to light five hours a day and in the course of five years. Generally, we would like to point out that there are also quality differences with LED products which may influence the luminance and life. For our example, we use high-quality LEDs under optimum ambient conditions (temperature, etc.).
As alluded above, the numbers for maintenance and energy costs are not absolute. However, our example will demonstrate where you can save with diodes. In particular, it is maintenance, which does not apply to LED lamps at all, and energy costs. The latter are more than 90 percent higher for halogen lamps. Which is no wonder as we compare a 300 watts lamp with an LED spot with 24 watts. And despite a wattage that is more than ten times higher, we did not detect a loss of illuminating power with LED lamps. Only the purchase price of devices operated with LEDs is considerably higher. Still, the higher investment pays off. For you can save almost € 11,500 with LEDs after only five years. Absolutely convincing arguments for the use of LEDs.

Purchase Halogen spot 300W EUROLITE LED FL-24
Purchase price € 15 + € 1.70 = € 281
Incl. lamp € 16.70 x @ 10 spot = x 10 spot =
Recom. sales price! € 167 € 2,810
Energy costs 5 h x 365 days = 5 h x 365 days =
In summer/winter 1,825 h x 0.3 kW 1,825 h x 0.025 kW
Average 5 h 547.5 kWh x 0.18 ct = 45.63 kWh x 0.18 ct =
€/y 98.55 €/y 8.21
x 10 spots = x 10 spots =
€ 985.50 € 82.10
x 5 years = x 5 years =
€ 4,927.50 € 410.50
Lamp life Target 1000h – Real 700h Target 50,000h – Real approx. 40,000h
Burning life in 5 years 5 h per day x 365 days x 5 years no replacement
= 9,125 hours
700 h life
= 13 replacements
x 10 spots =
130 replacements
Costs per lamp replacement OMNILUX no maintenance
by an electician € 1.70
– travel costs 0.5 h x € 36
– preparation 0.33 h x € 36
– replacement 0.33 h x € 36
– follow-up work 0.33 h x € 36
– travel costs 0.5 h x € 36
Total € 73.34
x 130 replacements in 5 years =
€ 9.534
Purchase € 167 € 2,810
Energy € 4,927.50 € 410.50
Maintenance € 9,534 – –
Sum total costs in 5 years € 14,628.50 € 3,220.50
More expensive compared to the LED spot € 11,408

Eurolite LED PAR-64 RGBA receives top grades in test

July 13th, 2010 Posted in EUROLITE Tags: , , ,

German magazine Soundcheck tested the new LED PAR-64 RGBA spot for its July issue – with best results.

With its new 10 mm LED spot Eurolite finds a remedy for the difficult output of warm colors of conventional LED spotlights. How? With amber colored LEDs in addition to the primary colors red, green and blue: “This creates an additional warm orange color”, the periodical mentions. Thereby, the spot provides “a broader range of colors looking more softly and naturally in the yellow and red spectrum”. Even the usually extreme color transition from red to green can be covered by this diode, the testers observe.
Besides harmonious color transitions, the fourth color has another advantage: “If we mix all colors to a white color, the amber diodes will create a cozy and warm white which is similar to incandescent lights”.

Apart from an outstanding color combination, the new spot offers further advantages compared to conventional devices. The controller persuades the Soundcheck team: “The small DIP switches were replaced by a full menu with display and buttons”. Thereby, the spots allow a considerably easier setting of DMX with more possibilities. For example, much more color mixtures can be adjusted directly at the device: “This is ideal for using the spot as static light without control”. But the spot also persuades the testers in stand-alone operation: There is a larger variety of stand-alone programs with sequences and color changes and they are easier to adjust,” the journal says.

The magazine also tested the matching LED operator 2. One of the especially positive things they noticed was the easy handling – “without any programming effort”: “The handling of the LED operator 2 is really easy and fast to learn – even for novice users”. A special benefit: the operator can control a smoke machine with two DMX channels (by pressing a button). The Soundcheck crew recommends the controller as an excellent “entry-level device”, which is applicable for stages as well as for bars or lounges.
A similar large variety of applications offers the Eurolite LED PAR-64 RGBA spot: “In fact, the spot can be applied wherever the former 300 watt parcan 56s have been used”. For example, by the recommendation of the testers, the spots is ideal for smaller stages and hobby musicians.

With its new RGBA series, Eurolite now offers spots with a warmer color temperature – similar to incandescent lights and their red colors. By adding the color amber, which is composed of red and yellow, the ordinary RGB color mixing can be “warmed up” individually with the fourth color. So it’s not surprising, that also the Soundcheck team was convinced of these advantages – and the RGBA spot passed the testing with top grades.

EUROLITE LED PAR-64 RGBA spot, alu, 10mm


Monitoring – more important than many believe

Even in music, as is so often the case: “Trust is good, control is better”. The acoustical controlling option addressed here is called Monitoring (lat. monere, to monitor, to warn). Essential for stage or studio musicians, if good sound is of particular importance.

Let’s tread the boards, as the world’s a stage, and devote ourselves to live monitoring on stages. One may ask why this is necessary. Other than perhaps on very small stages, the PA – or rather guitars and drums – are usually so loud, that the singer can’t or the keyboarder barely hear themselves. In order to change the situation and to allow for control over one’s own performance, it is advisable to install a monitoring system. It is a separately managed sound system, isolated from the PA. The musicians receive a similar auditory impression over the loud speakers as the audience does, making it easier to hear themselves and to better coodinate the musical interaction.

Studio monitoring, on the other hand, has a different emphasis. It naturally deals with controlling options, but on a much more sensitive level. On stage, the priority is good musical interaction and a means to check the overall impression, while in the studio everything centers on the quality of the individual signal, in other words of the respective instrument. In this case the sound of the recording and the subsequent editing are monitored. The point is, to reproduce the respective audio signal as exact as a microphone, an amplifier or another sound generator would emit. In order to achieve this, several factors must be considered.

Of overall importance is the right choice of speakers. There’s no getting around special monitor speakers disposing of good impulse reproduction as well as low reverberation and for which a linear frequency output ist essential – in other words, frequencies are neither raised nor lowered. Since one sits right in front of the speakers in the studio, they should moreover dispose of a wide emission angle and the sound properties should not alter within the working parameters of the sound technician. Equally important is the correct positioning of the speakers. If the sound should reach the listener directly, without hindrances, it is advisable to mount the speakers on tripods or on the wall. If mounted on a table or at the end of a mixer, distorted reflection could occur. The speakers should be oriented toward the listener and in this manner ideally form an equilateral triangle between the speakers and the technician.

In general, the rating of the amplifier should be larger than that of the speakers, in order to avoid distortions. Furthermore, larger amplifiers offer a higher damping factor and are able to produce precise and fast transmission of voltage peaks.

The selection of monitor speakers for stages is equally important. Similar to studio monitors, they should have a linear frequency response if possible, yet here it is more important to achieve a greater performance. One difference is demonstrated in the emission angle. As opposed to the broad studio version, a targeted emission angle is preferred on stage, as each musician uses his own speaker. A word about the design: it visibly differs from the studio speakers. A horn is used, not a dome tweeter, furthermore one side is sloped so the monitors can be laid on the floor in order to resound upward.

In-Ear monitors are being used more and more on stages, instead of speakers. These are small ear plugs with a fine earpiece, which take over the function of speakers via a wireless link. The advantages are clear. On the one hand, the musician can move freely and always receives an unaltered signal. On the other hand, technicians need to lay less cable and transport fewer speakers. Additionally, In-Ear-Monitoring protects against acoustic feedback, which could occur when, for example, a microphone again picks-up the amplified singing of an artist, which is played back over the speaker monitor.

Whichever version you choose or require, the right equipment is important so the performance isn’t distorted and as a result, inferior.

Our product recommendation:

OMNITRONIC IEM-500 In-ear monitoring set

The IEM-500 is a wireless in-ear monitoring system with excellent sound and full user comfort. 16 frequencies in the low-interference UHF band can be adjusted. Due to a limiter in the transmitter input, the ear is completely protected even in case of extreme clipping. The system can be operated in mono and stereo mode and is thus qualified for many applications such as live music, theater use and voice transmission. The multifunctional LCD screen indicates all operation modes. The transmitter features a headphones output with adjustable output level in order to monitor the signal sent to the musician at the FOH. The set comes fully equipped with transmitter, receiver, headphones and 483 mm mounting kit (19″).

Steinigke at TrendSet

July 8th, 2010 Posted in EUROLITE, EUROPALMS Tags: , ,

From July 10 to 12 the international trade show for living, tableware and lifestyle takes place at Munich fair grounds. Pay us a visit in hall B2, stand number F 24.

Steinigke at a show for living and the like? Sure! In the end we have got a trademark for this special field: Europalms. That is why in Munich we are concentrating almost exclusively on Europalms and its novelties.

These include the latest artificial plants for outdoors (with the best quality ever), current trick fountains, Halloween articles and the Christmas assortment 2010 which has just arrived – links to some of the novelties can be found below.

Twice a year, always in January and July, TrendSet takes place in Munich. With more than 1100 exhibitors and 35000 visitors it is one of the largest trade shows of its kind. This summer TrendSet celebrates its 96 run (more information about the show under

Pictures of the TrendSet 2009