A virtual press conference from Sound & Video Contractor

Archive by David Steinberg

Clay Paky Sharpys and Sharpy Washes, Elidy LEDs and grandMA2 Consoles Accompany Bruno Mars Around the World on his Moonshine Jungle Tour

Singer-songwriter Bruno Mars has been getting rave reviews for his Moonshine Jungle Tour, which will continue to play dates around the world through March 2014. The tour reads like an inventory of equipment represented by A.C.T Lighting, including a grandMA2 console, Chromlech Elidy LED matrixes, and Clay Paky Sharpy and Sharpy Wash fixtures. All are exclusively distributed in North America by A.C.T Lighting.

“We were tasked with creating a world for Bruno and his band to inhabit,” says lighting designer Cory FitzGerald who codesigned the tour with Roy Bennett. “Bruno has a lot of sounds and pushes past a lot of genres, so he needed an environment that would accommodate all his music. The lighting fixtures help a lot with that. We have 276 panels of Elidy, 42 Sharpy Washes and about 80 Sharpy beams plus two grandMA2 full-size units s – and we’re very happy with the rig.” VER supplied the tour’s gear.

The Moonshine Jungle Tour marks the first time FitzGerald is using Elidy LED matrixes, the first in the world capable of projecting volumetric graphics. “I like them a lot, and they look awesome,” he reports. “The Elidy panels are built into the stage deck and risers – the front side of all the risers and the stage is composed of Elidys, all in geometric shapes. Since they’re transparent, you can shoot through them with fixtures behind them, which is great.”

The versatile Sharpy Washes are “used for everything,” he says. “They’re the main wash for the show, and we have 36 overhead and six on the floor. We built a ceiling, and the Sharpy Washes are so small that they can be recessed in it and still shoot through.

“They also have a great zoom range and can do amazing beam effects,” he adds. “It’s great to have the option to go super wide or super narrow. The fact that they can color mix is a life saver.”

FitzGerald also made room for a number of Sharpys in the rig. “I can’t remember the last time I did a show without them,” he says. “They’re well established and high powered. With prism, frost and gobos I can get a lot of looks out of them. I have them everywhere on the show: overhead, on the back wall of light, on the floor. We even have 14 gold Sharpys on the deck.”

Controlling the full complement of almost 8,000 lighting ‘fixtures’ on the show are two grandMA2 full-size units with 6 npus and “lots of universes,” says Fitzgerald. “We have 16 universes of just Elidy fixtures. We’re running all the video servers via ArtNet; grandMA2 has the ability to scale that big. Although grandMA2 is standard these days for shows, it’s still amazing. It’s working as expected with no surprises. It’s great to have a console I can rely on to handle everything so well.”

Dave Marcucci is the touring lighting director for the Moonshine Jungle Tour.

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Electrosonic’s Conte and Kent to Moderate Lighting and Projection Technology Session at TEA’s SATE ’13

Chris Conte and Paul Kent of Electrosonic will moderate the session, “The Death of Halogen and the Rise of Coherent Light,” at SATE ’13, the Themed Entertainment Association’s (TEA) annual experiential design conference. The two-day event is slated for October 3 to 4 at the Savannah College of Art & Design in Savannah, Georgia.

SATE ’13 is expected to draw creative thinkers, producers, suppliers and decision makers in the attractions industry. Among the speakers scheduled to address attendees are visionary architect Chuck Hoberman, the Warhol Museum’s Josh Jeffery, Walt Disney Imagineering’s Asa Kalama, and Roger Gould and Liz Gazzano of Pixar Animation Studios. MK Haley of Disney Research is the Technology Chair of the conference.

“The Death of Halogen and the Rise of Coherent Light” will look at the history of technologies traditionally used in themed environments, and then move on to address recent advances in lighting and projection technology. The panel will discuss how these technologies can be applied in new and creative ways in the world of themed entertainment.

“The session will look at the emerging technologies for the sources of illumination in immersive environments,” comments Kent. “For both lighting and projection, the change from halogen to laser will have an impact on both the design and production of these environments. Our session will take a look at the major changes in technology that have advanced the entertainment industry over the years, and we will also look forward to where we see it going.”

Chris Conte is Electrosonic’s Vice President of Entertainment and Paul Kent is a senior consultant in the company’s entertainment team. The panel that Conte and Kent will moderate mixes manufacturers, designers and end users of the technologies. Currently they include Ray Hole of Ray Hole Architects Ltd. (as a virtual attendee), Bryan Boehme of Christie Digital, and David Gray of Oasis Enterprises, Dubai.

Learn more about SATE ’13 visit sate2013.blogspot.com

About Electrosonic
Electrosonic is an international audio-visual company that creates tailored, state-of-the-art solutions for a wide range of markets including theme parks, museums, control rooms, and corporate meeting rooms. Since its founding in 1964, Electrosonic has built a strong reputation for working on complex projects, both large and small, and has developed lasting partnerships with customers and suppliers. Beyond complete integrated systems, Electrosonic provides a comprehensive scope of services including technical design, projector lamp sales, maintenance and operational support.

Learn more about Electrosonic. Visit http://www.electrosonic.com

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Clay Paky Lighting Fixtures Wrap a Summer on the Road with the 311 Unity Tour 2013

Omaha-based alternative rock band 311 completed its summer Unity Tour 2013, and a large complement of Clay Paky lighting went along for the 26-show ride coast-to-coast. The tour marked the eleventh consecutive summer the band has headlined amphitheaters across the country.

Lighting designer Joe Paradise created the show design to “get the most bang for the buck,” he says. “I was looking for the most output and the most efficient fixtures. We had 62-foot wide trusses, which were as wide as we could possibly use wherever we went. And lots of layers of lights.”

AG Lighting provided the fixtures, which comprised 24 Clay Paky Sharpy Wash 330s, 16 Clay Paky Alpha Spot HPE 1500s and 25 Clay Paky Alpha Beam 1500s.

“This was the first time I’ve used almost an entire Clay Paky rig,” Paradise points out. “There was a great quality of light and good color throughout the rig; the gobos and prisms were great and worked well. It was the kind of look I always want from all my lights.”

Paradise used the Sharpy Washes as “traditional washes on the downstage trusses for practical illumination; I set the zoom at what I thought was a good coverage. I chose them for the low wattage of the lamp; considering their size and wattage the output is amazing and they’re incredibly durable. The color was astonishing and the speed on pan and tilt was unbelievable. And weighing next to nothing we were able to go thousands of pounds lighter on the rig without suffering any loss of output.”

Paradise positioned the Alpha Spot HPE 1500s on three straight 40-foot trusses scattered in a pattern in groups of four. “They were staggered and filled in all the holes,” he says. “They provided different fan looks, and I love the color on them. The beam is crisper and clearer than anything I know of – better than any profile fixture I’ve seen.”

He arranged the Alpha Beam 1500s in a staggered grid on hinged trusses, which were underhung from the upstage trusses. In addition, eight 1500s were placed on the floor. “I like them a lot,” Paradise says. “I love the colors – their saturation is amazing. And they give an alternative big, beefy beam look that’s very powerful. You can get a really bright, thick beam that has a throw forever.”

Bobby L. Grey, who served as assistant lighting designer and programmer reports that, “the Clay Paky gear was great and reliable” for the duration of the tour. He singles out the Sharpy Washes as being responsible for “taking out between a ton-and-a-half and two tons out of the rig. They saved a ridiculous amount of weight and power. Last year’s fixtures were clunky and didn’t have the power. But the Sharpy Wash was the brightest I’ve ever seen. Through the entire tour I don’t think I swapped a single spare.”

Bobby “Junior” Jones was the master electrician for the 311 Unity Tour 2013.

Francesco Romagnoli, Clay Paky Area Manager for North and Latin America, comments, “It’s great to see the team of 311 designers coming to Clay Paky for their fixture needs. This is a very well designed show and we’re proud to be a part of it.”

A.C.T Lighting is the exclusive North American distributor for Clay Paky.

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Alcorn McBride Equipment Helps Lure Visitors to New Fishing-Themed Gallery at The History Museum in Hood River, Oregon

The Luhr Jensen & Sons Gallery has opened at The History Museum, Hood River, Oregon with an array of Alcorn McBride equipment supporting A/V installations in the permanent exhibition. The product list includes a V4 Pro controller, a DMX Machine, three DVM8400HD video players and three AM4-EA audio players with built-in amplifiers. This A/V gear helps chronicle the nearly 75 years that the fishing tackle manufacturer resided in Hood River.

An avid angler, Luhr Jensen Sr. made fishing lures in his home workshop before launching the company in 1932. The firm rapidly expanded and remained family owned until 2005. Son Phil Jensen has long been active with The History Museum and has served as a board member and benefactor.

The new gallery features a 22-foot long mural, three video screens displaying vintage Luhr Jensen photos and other media, and a display of fishing rods, lures, spinners and other fishing gear and equipment manufactured by the company.

Visitors trigger motion sensors that launch the audio and video components of the gallery taking them on timed walk-through of the company’s history, from Jensen’s first lures to the company’s growth and innovation.

“The room is fairly small but has a lot going on,” notes Vinnie Cavarra, owner of Media Matrix Productions who served as sound and video designer and integrator. “There are eight or nine zones in the gallery from the large mural with its corresponding sounds to a factory exhibit and small theater in a rowboat where visitors can see what’s going on underwater.”

Cavarra selected Alcorn McBride DVM8400HDs to supply video to the exhibits. The AM4-EA Digital Audio Machines deliver ambient and background audio to the space. The DMX Machine controls lighting levels in the gallery, while the V4 Pro controller automates the entire system, kicking off the AV presentations and interactively guiding visitors through the exhibition.

“I’ve been using Alcorn McBride equipment since 2000 and knew it would perform reliably in this new gallery,” Cavarra says. “In addition, Alcorn McBride’s customer service and support are extraordinary. They’re wonderful people to talk to and help me through any questions that come up.”

The exhibit designers for The Luhr Jensen & Sons Gallery were Larry Watson and Peggy O’Neal of Ko-Kwow Arts and Exhibits, North Bend, Oregon.

About Alcorn McBride:
Founded in 1986, Alcorn McBride is the leading manufacturer of show control, audio and video equipment for the themed entertainment industry, and a rapidly growing provider of audio and video systems for retail environments and transportation applications. Staffed by some of the industry’s best engineers and backed by outstanding customer support, the company has demonstrated great agility in bringing new designs to market. A hallmark of Alcorn McBride products is their durable, zero maintenance design. The company’s products provide consistent, reliable operation for audio and video playback applications worldwide. For more information, visit www.alcorn.com.

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Main Light Expands Its Extensive Clay Paky Rental Inventory with New Shotlight Wash Fixtures

Main Light Industries, Inc., the Wilmington, Delaware-based firm, which has become one of the largest rental houses in the country, has further expanded its inventory with Clay Paky Shotlight Wash fixtures. A.C.T Lighting is the exclusive distributor of Clay Paky lighting in North America.

In the last two years Main Light, which serves all of the professional lighting industry, has acquired complements of Clay Paky Alpha Spot QWO 800s, Alpha Profile 800 STs, Sharpys, Alpha 700s and Alpha Spot HPE 1500 fixtures. Now, Main Light has continued to diversify its impressive Clay Paky offerings by investing in Shotlight Washes.

“A.C.T Lighting provides some of the best support within the industry. Our longstanding relationship with A.C.T, along with the superb products they distribute for Clay Paky, make our latest purchase a win-win situation for us,” says Main Light’s head of client relations, John DiEleuterio.

Shotlight Wash is a totally new kind of projector that combines an extraordinary 1500W discharge lamp washlight and a 3000W Xenon lamp strobe in one device. The two-wash/strobe functions are perfectly integrated and can be operator controlled with either simultaneous or separate operation and special effects. The “strobe” function is provided by two semicircular Xenon lamps working independently, so they can flash together or separately at different frequencies.

“The Shotlight is very unique combining the wash and strobe elements in one fixture,” DiEleuterio explains. “The dual use of a wash fixture plus two insanely bright strobes give the fixture twice the functionality – something you don’t see in any other fixture. And they’re Clay Paky, which means they’re high quality.”

He notes that Main Light also saw a market opportunity to get out in front of other rental houses with the desirable new fixture. “Our clients will use them as very specific design elements. They will be perfect for certain artists and electronic music.”

Over the years, Main Light customers, including the Red Hot Chile Peppers, the Ultra Music Festival and the Electric Daisy Carnival, have become fans of the company’s extensive Clay Paky inventory.

About A.C.T Lighting

A leading importer and distributor of lighting products, A.C.T Lighting, Inc. strives to identify future trends and cutting-edge products, and stock, sell and support their inventory. The company provides superior customer service and value for money to all of its clients.

For more information call 818-707-0884.

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Evolve Media Group Adds Lightware MX-FR33L Modular Matrix Frame to Rental Inventory

Evolve Media Group has taken delivery of a Lightware Visual Engineering MX-FR33L Modular Matrix frame for its rental inventory. This addition is the third Lightware acquisition for Evolve; the company also has two 16×16 Lightware Slim routers. Its new Lightware MX-FR33L is a 33×33 digital crosspoint router frame with redundant power supplies, built-in control panel and CPU2 processor board. Lightware U.S.A. is the US distributor for Budapest-based Lightware Visual Engineering products.

With offices in Orlando and Atlanta, Evolve Media Group is a one-stop, high-end video equipment rental company servicing rental and staging firms across the country.

“We rent to other rental companies and to rental and staging companies when they need larger routers for big events – and the 33×33 is a lot of router,” says Tyler Mayne at Evolve Media Group. “Other routers have compatibility issues, but the Lightware products have been solid and solved issues we have had with different router brands.

“Typically, routers are the brains of a job and have to be well constructed,” he notes. “Lightware routers are very rugged. We ship gear everywhere, so it has to be well built and ready for the road. We’re very happy with it and have experienced no problems whatsoever.”

The MX-FR33L purchased by Evolve is populated entirely with DVI HDCP boards. The HDCP matrix offers many additional features, including pixel accurate reclocking and a second pixel accurate reclocking chip on the input and output cards to compensate for low or weak signals; an advanced frame detector to show timing parameters of the input signals; and HDCP shut off. Colorspace conversion is available on the outputs. Users can set the output mode for HDMI or DVI so the monitor gets a constant bit rate for a cleaner switch between sources. In addition the DVII-HDCP-IB converts analog inputs to digital HDMI signals and handles HDCP with all the features noted above.

About Lightware U.S.A.

Lightware U.S.A. is the US distributor of professional AV products manufactured by Lightware Visual Engineering in Budapest, Hungary. For more information on these products, visit www.lightwareUSA.com.

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A.C.T Lighting Supports Stagecraft Institute Las Vegas 2013 with Clay Paky Fixtures and grandMA2 Consoles

Sometimes what happens in Vegas leaves Vegas. Just ask the participants of Stagecraft Institute Las Vegas 2013 (SILV) who left town with valuable knowledge about live entertainment production they didn’t have before. Once again, A.C.T Lighting, the exclusive distributor of Clay Paky and MA Lighting in North America, was pleased to be among the representatives involved with SILV providing equipment and participating in sessions.

SILV annually strives to fill a need that traditional schools cannot provide. In a full range program made up of a series of eight independent one-week summer sessions, which begin in early June, students receive valuable training for employment in state-of-the-art live entertainment production. SILV takes a hands-on approach to education with working professionals sharing their knowledge and experience about what it takes to develop today’s skills.

“SILV is a great program that attracts some really talented young people who have a future in the industry,” says George Masek, vice president of automated lighting at A.C.T Lighting. “The event helps create a solid knowledge base and trains future users of Clay Paky fixtures and grandMA2 consoles. It also strengthens our bonds with the designers and programmers who staff the classes.” Many instructors hail from Disneyland, Disney Imagineering, Cirque du Soleil, anddomestic and international concert tours, he notes.

Chaos Visual Productions provided a large complement of Clay Paky fixtures to SILV 2013: six Sharpy Washes, 18 Sharpys, 18 Alpha Spot HPE 1200s, six Alpha Spot HPE 300s and 12 Alpha Profile 700s. On the control side A.C.T Lighting supplied three grandMA2 consoles.

“SILV 2013 was the biggest I’ve seen yet in terms of equipment and participation,” says Masek. “The response to the quality and performance of the largely Clay Paky rig was very positive. The gear worked exceptionally well, especially considering the heat of the venue and the fact that everything ran all day for weeks.”

Accoridng to Director Jane Childs “Watching the students go from bad (watch your finger) typists on a console to full-out on-the-fly-touch-typing while watching the images they were producing was truly amazing. This is the kind of hands-on learning experience that my husband Donald envisioned when we started SILV!”

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Clay Paky Sharpys Work Packed Houses at the 2013 ESSENCE Festival in New Orleans

Crowds turned out in record numbers for the 19th annual ESSENCE Festival in New Orleans. A-list artists including Beyoncé, LL Cool J, Jill Scott, Tamia, Janelle Monáe, and others packed venues throughout The Big Easy. The festival was staged by ESSENCE Communications and produced by Solomon Group, a New Orleans-based entertainment production company, which supplied various equipment including Clay Paky Sharpy lighting fixtures to eight stages across town.

Francesco Romagnoli, Clay Paky Area Manager for North and Latin America, comments, “This is a very high profile and exciting event to be involved in and we’re proud to be a part of it. The Solomon Group is a very talented company and we’re proud to be working with them.”

“With support from VER, Solomon Group supplied gear to several stages, including five in the Mercedes-Benz Superdome, two in the Ernest N. Morial Convention Center and one in Woldenberg Park,” says Matt Foucheaux, Senior Production Manager at Solomon Group. “We used a total of four grandMA2s. The Main Stage at the Superdome had two grandMA2 full-size units accompanied with two fader wings. Both the Center Stage and the Empowerment Experience Stage in the Convention Center had grandMA2 Lights.”

Foucheaux deployed 65 chrome Clay Paky Sharpys for the Main Stage at the Superdome, which he says looked striking against the black truss that Solomon Group utilized onstage. “We built vertical columns between the LED screens and hung Sharpys inside of them to create the ability to show some really powerful aerial beam looks,” he says. “We also hung some above the IMAG screens, which were programmed at times to rake would go out into the audience.”

Foucheaux and festival programmer, Ryan Stumpp, built many presets that would help the guest designers. Since there was such limited time to program, it helped for these designers to come in and have a good amount of presets in their back pocket” “All of our NPUs and networking for the main stage was behind the stage which was around 350′, so we utilized a fiber network to carry all 22 universes of data”

A.C.T Lighting is the exclusive North American distributor for Clay Paky.

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WorldStage Teams with Artist Rafael Lozano-Hemmer on “Voice Tunnel”, A Large-scale Interactive Art Installation

The New York Department of Transportation’s Summer Streets 2013 arts festival featured many unique installations but none more unusual than Mexican-Canadian artist Rafael Lozano-Hemmer’s “Voice Tunnel,” which opened the 1,400-foot vehicle tunnel on Manhattan’s Park Avenue to pedestrians for the first time ever. WorldStage filled the interactive art installation’s needs for an extensive lighting package and a custom audio system that delivered the once-in-a-lifetime experience to art lovers of all ages on three Saturdays in August.

The tunnel, which runs on Park Avenue from 33rd to 40th Streets and date back to the 1830′s, featured a sound and light installation that came alive when pedestrians spoke into a microphone at the center of the tunnel triggering 300 pulsating spotlights and 150 loudspeakers. Called “part architecture, part performance art” by one critic, “Voice Tunnel” invited the public to play with the very unique space around them.

WorldStage had previously teamed with Lozano-Hemmer on “Pulse Park” in Madison Square Park, “Levels of Nothingness” at the Guggenheim Museum and “Pulse Room” at the Madison Park Conservancy Gala. “We love working with Rafael,” says WorldStage president Joshua Weisberg, “He challenges us technically and the results are always magical.”

And the feeling is mutual. “I’ve worked with WorldStage in the past and been very pleased,” says Lozano-Hemmer. “Our collaboration process for ‘Voice Tunnel’ was great – I got WorldStage involved at the beginning to make sure my numbers and logistics were right. When I work with WorldStage I can get all of the lighting, staging and sound from a single source. My projects are all about the integration of these elements in unique ways, so to work with a company that’s comfortable with all the AV disciplines is very beneficial.”

WorldStage provided 300 Source Four Lekos, 150 self-powered 50w speakers and many miles of cable for the tunnel. The artist said he didn’t want to create “a big intervention” in the tunnel. “It’s quite pretty with beautiful rock shapes and metal cladding so I didn’t want to bring a big installation into it.” Instead he preferred to “work with something more ephemeral, like lights” and sounds that would “create a sense of choir.”

WorldStage mounted the spotlights along the tunnel floor base, sitting on 18″ curb at either side of the tunnel and spaced six feet apart, to produce glimmering arches of light. Pedestrians were able to influence the lights’ intensity by speaking into an artist-supplied intercom at the tunnel’s center, which recorded their voices and looped them. The trailing voices of the last 78 participants were heard as pedestrians strolled through the tunnel; the voices were played back on 150 loudspeakers, one beside each light arch and synchronized with it. As each new participant spoke into the intercom, older recordings were pushed one position down the light array until they left the tunnel. In this way the content of “Voice Tunnel” changed constantly. Lozano-Hemmer described the voices as “quiet…more like little memories of the tunnel.”

Josh Weisberg likened the experience to “visiting an old cathedral in Europe where the light is streaming in and you hear the low murmur of tourists’ voices out of which you can pick a lot of individual voices. It was a swirl of light and sound activity, sometimes chaotic, sometimes calming and sometimes totally absent.

WorldStage staff audio engineer Kate Brown led the team that worked with the artist’s programmers to craft a unique audio solution for the installation. She opted to use a digital audio network run over fiber optic cable to eliminate noise induced by the extensive runs of lighting cable and achieve a distance not possible over copper. Each group of 8 to 16 self-powered speakers was connected to a Yamaha Rio digital stage box. The Rios were connected to the fiber switch network, which was linked to the artist’s computer. The computer was outfitted with a RedNet sound card to output 75 streams of audio into a matrix that Brown configured using Dante network protocol. The 150-channel matrix output then fed the individual speakers.

Some 30 WorldStage crew members were on site for the install, which had a very short load in. “We had to pull an overnight prior to each Saturday exhibition, and install the system from scratch each time” Account manager, Terry Jackson points out. “It was a monumental amount of work, but we had Phil Alfieri and a great crew from Local 1 and they really made it happen..”

Lozano-Hemmer says, “one of the things I love about WorldStage is that they maximize the impact of the show for the available budget. This show was a big one, but WorldStage is able to respond to any size budget and get the most out of it.”

At WorldStage Terry Jackson, who handled the account is vice president and director of lighting, Daryl Carmen was brought in to manage the production and Erik Perry, WorldStage senior project manager, was the site manager.

WorldStage Inc., the company created by the merger of Scharff Weisberg Inc and Video Applications Inc, continues a thirty-year legacy of providing clients the widest variety of entertainment technology coupled with conscientious and imaginative engineering services. WorldStage provides audio, video and lighting equipment and services to the event, theatrical, broadcast and brand experience markets nationally and internationally.

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Electrosonic Completes Final Phase of Global Immersion Acquisition and Launches New Immersive Theater Website

Electrosonic announced today that it has completed the final phase of its previously announced Global Immersion acquisition. The Global Immersion team of digital giant screen cinema and planetarium experts is now part of Electrosonic’s Entertainment business and will operate under the Electrosonic brand. A new website that highlights Electrosonic’s immersive theater solutions can be found at: www.ElectrosonicImmersion.com

“The acquisition of Global Immersion in 2012 provided Electrosonic with a talented team of professionals with deep experience in the giant screen and planetarium markets,” says Jim Bowie, President of Electrosonic Group. “They have helped expand our range of markets serviced, and ensured that Electrosonic continues to build on its reputation of delivering the best visual systems in the world. We look forward to providing exceptional value and innovation to the giant screen and planetarium markets as they transition to digital systems and expand the range of content that can be displayed.”

Electrosonic delivers an extensive range of services to the immersive theater market including theater planning, design, integration, specialist media and software, and maintenance. State-of-the-art integrated systems have been developed and optimized for the unique needs of each immersive theater environment. The GSX(tm) Giant Screen Cinema series, for giant screen flat, curved and dome theaters, offers the highest display performance and the broadest range of content compatibility in the market. The Fidelity(tm) range offers an optimum balance of performance, reliability, functionality and value for today’s digital planetarium. In addition to leading edge theater technology, Electrosonic offers a comprehensive immersive media and show library to ensure that theaters have access to the best content.

Electrosonic also offers tailored support services to meet each theater’s unique operational requirements. Support services include a 24/7 network operations center and a cost-effective projector lamp replacement program.

About Electrosonic
Electrosonic is an international audio-visual company that creates tailored, state-of-the-art solutions for a wide range of markets including theme parks, museums, control rooms, and corporate meeting rooms. Since its founding in 1964, Electrosonic has built a strong reputation for working on complex projects, both large and small, and has developed lasting partnerships with customers and suppliers. Beyond complete integrated systems, Electrosonic provides a comprehensive scope of services including technical design, projector lamp sales, maintenance and operational support.

Learn more about Electrosonic. Visit http://www.electrosonic.com

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Stay up to date on the latest technology news. Select press representatives post company news several times a day. Check back often to get the latest news on product releases, mergers and acquisitions, and product applications. To be included in this virtual press conference, please contact The Wire.

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