Pharos - Leaderboard - May 2024

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UK - In a joint technical initiative with Audinate and Lab.gruppen aimed at "providing the class leading performance and convenience of the industry standard Lake DSP and power of the Lab.gruppen PLM Powered loudspeaker Management system design platform", Turbosound has announced the release of its 20000Dp amplifier.

Based on the Lab.gruppen PLM 20000Q platform and featuring dedicated presets specifically designed by Turbosound's live sound engineering team for use with Turbosound's new Flashline concert touring loudspeaker system, the 20000DP provides four discrete output channels each rated at 4400 watts at 4 ohms, and offers significant advantages in sonic performance and user functionality.

The 20000DP also contains fully featured Lake Processor modules, each offer

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Europe - A grandMA2 light was chosen by lighting designer Paul Normandale and lighting director Glen Johnson for James Blunt's Some Kind of Trouble 2011/12 world tour which has just kicked off in Europe. Two grandMA2 light consoles are on the tour, running in full tracking back up, with networking provided via two MA NPUs (Network Processing Units).

The main reason that grandMA2 was chosen for this tour - apart from the fact that it is Johnson's current console of choice - is that they are using the desk's DMX merging facility to enable video content stored on a Catalyst media server to be run through 50 Martin Professional MAC 101 LED moving lights and 24 Sun Strip MR16 battens.

The grandMA2 takes in Art-Net from the Catalyst, allowing Johnson to merge four universes of DMX in the desk, and send colour and intensity information from the Catalyst out as standard DMX - v

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Australia - The Jands Ezicom production communications system has been a mainstay of the Australian entertainment industry for many years. Now, Jands has launched launch the new Ezicom family of products.

The new Jands Ezicom system is capable of delivering reliable production communications on stage and theatre productions of low to medium complexity. It's simple, logical control layout means it can be set up and operated by untrained users while still delivering professional performance, says the company.

The new line-up consists of the E101 single channel belt pack and the E401 four channel master station. Each E401 Master station can support up to 20 remote E101 belt packs, distributed across 4 switchable outputs. Connection between master station and the belt packs is via industry standard two core screened microphone cables.

The robust circuit design maintains high spe

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UK - Lighting designer Bob Bryan used almost 150 mission critical LED effects - as well as many conventional fixtures from the SGM catalogue to help animate BBC Worldwide's new Doctor Who Experience at London's Olympia Two.

The Doctor Who Experience offers an immersive walk-through adventure followed by a dynamic exhibition, featuring props dating back to the successful BBC TV first series in 1963. It includes authentic Tardis (police box) sets, never-before-seen costumes and re-creations of iconic recent sets, including the Pandorica as well as monsters spanning the generations from Daleks and Cybermen to Silurians, an Ice Warrior and a Zygon.

Visitors are invited to step through a crack in time allowing them to join the Doctor, currently played by Matt Smith, on a journey through time and space, encountering some of the best-loved and scariest monsters from th

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UK - ETC's Eos was the lighting desk in use for three of the four shows nominated for best lighting design, including the winner, The White Guard, lit by Neil Austin at the National's Lyttleton Theatre.

The National Theatre embarked on a programme to upgrade all its lighting control desks to Eos some three years ago, while Paule Constable took the decision to run Love Never Dies on Eos less than a year ago, declaring herself the desk's "biggest fan".

Control supervisor Sarah Brown moved from her previous position as a lighting programmer to being responsible for training all the staff in the use of the Eos at the National Theatre. "While I was an operator," she explains, "I was approached to ask what I thought of the desk - and I really liked the way it works. Our previous desks had reached the limits of their capabilities, and were takin

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