Titan Fitness is an independently owned fitness studio in Coogee, a coastal suburb of NSW, Australia, that prides itself on being a unique experience with a dedicated team of instructors and experts plus state-of-the-art facilities focussed on offering the highest standards of equipment and inspiration to its members.

Multiple platforms are available to educate, inspire and assist members to recognise their “inherent beauty, genius and self-worth,” making it much more of a lifestyle journey than a pure exercise mission.

The sought-after fully-equipped 4-floor facility has been open since 2009, and its Spin Studio has recently seen the installation of 24 x Astera AX1 Pixel Tubes in a ground-breaking new LED lighting installation.

These were supplied to installers Aeromic by Astera’s Australian distributor, ULA Group.

Aeromic has been supplying and manufacturing audio and AV products to the fitness and professional health industries since 1994, and Titan Fitness has been a client for some time, explained Andrew Zarounas, Aeromic’s director and co-owner.

He and Titan Fitness CEO Mets Analin share a passion for the industry and a flair for being innovative, different and pushing the envelope.

Mets approached Andrew about the potential lighting installation, wanting to ensure that Titan Fitness stays at the forefront of the game. “Any gym can have the same equipment and classes, but not everyone has the same focus on ensuring that every customer’s experience and interaction is the best and most positive possible,” he stated.

He and Andrew have both noticed lighting playing more of a role in fitness spaces with some of the progressive overseas operators, and they recognise the positive benefits that lighting, colours, etc., can have on moods and an environment.

Mets specifically wanted lighting in the Spin Room where he thought it would be invigorating and energising to have different lighting states, colours and sequences available to the instructors as they developed their classes.

Andrew compiled a plan of what he thought would work well and look good utilising the AX1s, then he and Thor Andre, ULA’s technical sales & support specialist, got together and finalised the design.

Two Pixel Tubes are mounted vertically in each corner of the room, with four rows of four tubes rigged in the ceiling above all the spin machines.

All the tubes are controlled via an ART7 AsteraBox CRMX interface and an iPad running the Astera App.

Andrew selected the Pixel Tubes after conversations with Mets, and because “they create great lighting effects without needing complex DMX programming!”

In the world of fitness, simplicity is essential, and the AX1s allow a large variety of lighting sequences to be accessed at the touch of a button, which was a key factor in the decision.

He’d first seen the AX1s and other Astera products at InfoComm 2018 in Las Vegas and was delighted when The ULA Group was appointed as a distributor earlier in the year.

He underlines the importance of the relationship with the distributor.

Thor visited the site several times to get the installation just so and to answer all the questions that arose during the process. “Without that fundamental relationship, I may have chosen different products,” stated Andrew.

In fact, he and Mets were so impressed with the Asteras after the first onsite demo, that they placed the order the same day!

The combination of the quality of the product, the fact that it is IP65 rated – spin studios have a high humidity – and the App control were the main three features clinching the decision.

The installation also needed to be easily operable by fitness trainers and managers and other non-technical staff, and the App-based control is a big hit with the instructors.

“The Astera App is a perfect solution,” enthuses Thor. “Coupled with the sound-to-light functionality, it works beautifully and doesn’t put people off exploring the many possibilities.”

A range of different sequences specifically for Titan Fitness have been programmed including walk in, warm up, cool down and high energy states which can be activated, changed and controlled at the tap of a button in the app.

Some of the sequences are sound-to-light triggered. The Astera ART7 interface box listens for 32 discrete frequencies in the music, so when sound-to-light is applied it produces a very dynamic effect.

Everyone is delighted with the results. “Music and lighting are extremely important in our setup – it really does enhance the workout for our members and instructors,” commented Mets, who adds that they have seen an increase in class numbers since the lighting was installed.

Thor sees great potential for this style of lighting system: “It is all about making it fun and interesting for those working out, and professionals at the cutting edge of the commercial fitness industry like Metz recognize that.”

In conclusion, he highlights how the whole ethos of a fitness centre has shifted from somewhere people dragged themselves to almost for a penance to an active lifestyle choice and a social hub where individuals can get motivated by other members and staff.

“Titan Fitness is trailblazing with this Astera investment, all helping to make this an even more exciting and fresh environment.”

Photos – courtesy ULA Group.

Sleep & Eat, Europe’s leading design and innovation event for the hospitality sector, returns on 19th – 20th November. With the theme for 2019 of “Social FlexAbility”, the show will be exploring one of the most challenging issues of our technology-enabled age through Sleep & Eat Sets – concept guestrooms, restaurant and bar – and the Sleep & Eat Conference. As in previous years, the event will also feature an international exhibition, bringing back world-renowned manufacturers and introducing newcomers to launch their latest collections and showcase their most design-led products. Visitors can also expect a range of experiential spaces tapping into art, innovation
and young design talent.

“With the rise of electronic and social media, people are starting to disconnect from each other both by accident and choice. In the future, designers will be in the vanguard of combatting this social interactional shift by providing hospitality guests the opportunity to reconnect with others in-person and, indeed, to re-connect with themselves. The challenge for hospitality designers will be to provide flexible spaces where users can activate the social experience of their choice. This year, we will be asking our design collaborators to share their vision on how this might become reality in a hospitality setting.”

Mark Gordon, Brand Director, Sleep & Eat The Sleep & Eat Conference
“This year, in recognition of the continuing convergence between hotels, restaurants and bars, the event’s previously separate conference streams are being merged into one Sleep & Eat Conference, curated by Heleri Rande.

“Bringing the Sleep and Eat theatres together will capitalise on the synergies between them. They should be complementary and together assist in generating greater revenue. The entire hospitality scene is on the move and we have an exciting opportunity to bring this to life on stage through our keynotes and panel discussions.”

The Sleeper Bar
The pop-up Sleeper Bar, beloved by visitors as the place to gather, network and socialise, is to be created this year by Michaelis Boyd, the London and New York based architecture studio recognised for its sophisticated, design-led approach and emphasis on sustainable and environmentally conscious materials and building techniques.

“We are both really looking forward to designing the Sleeper Bar. On our previous visits to Sleep & Eat we have been very impressed by the strength of the designs and the themes and we are excited to be adding our own spin this year. The theme of FlexAbility means we will be designing a dynamic and social hub for all this year’s visitors.”

Alex Michaelis and Tim Boyd, founders of Michaelis Boyd

Last year saw the introduction of ‘Eat’ to the acclaimed Sleep event, adding a further raft of hospitality industry influencers, entrepreneurs and global brands. The show welcomed a record number of designers and buyers from across the hospitality sector, including an increase of 24% in international visitors. Sleep & Eat 2019 returns to the National Hall, Olympia London, on 19th – 20th November.

Register for a complimentary pass now at www.sleepandeatevent.com.

Luxor Live is a funky music and performance venue in central Arnhem, the Netherlands with a colourful history that started in 1915 when it was opened as a film theatre. Architect Willem Diehl was responsible for its spectacular art deco look and features, which has also earned it ‘listed’ status. It was purchased by the Municipality of Arnhem in 2002, fully renovated and re-opened in its current format in 2008.

Last year a serious investment in Robe moving lights saw 12 x Spiiders, 12 x DL4X Spots, 8 x LEDBeam 150s and 4 x DL4F Fresnels join the lighting rig to help ensure that the 300-plus shows staged there every year can benefit from top quality LED moving lights, explained head of lighting Fon Sanders.

The main hall capacity is a cosy 700 including the balcony, and the stage is scalloped out of an elegantly curved auditorium which features an individually pixel-controlled LED architectural lighting scheme that highlights the interesting shape and original ceiling art and sculptural features. There is also a small hall in the first floor with 200 capacity.

The venue is currently operated by a not-for-profit organisation (Luxor Live) and subsidised by the city of Arnhem, and the DL4Xs and DL4Fs were their second recent Robe addition following the Spiiders and LEDBeam 150s that were shipped early to arrive in time for Luxor Live’s 10th anniversary in September 2018.

When the venue was first reopened in 2008, some Robe ColorSpot and ColorWash 250 ATs – 10 of each – were installed. They served really well, but after 10 years of hard labour … it was time to upgrade and modernise.

Fon and his team started thinking about what they wanted in a modern fixture.

LED was high on the list to reduce power and maintenance. They needed brightness, good colour mixing and a proper zoom, but most important was that any fixtures had to be truly versatile and properly multifunctional to deal with the extremely eclectic programme of shows. These include concerts and dance events / club nights encompassing every genre of music – techno to trance, acapella to alternative rock, reggae to R ‘n’ B – also including spoken word events plus conferences and presentations. You name it … they do it!

Fon was impressed with how versatile and dynamic Robe fixtures are generally. “There’s definitely a lot of thought going into how the lights can be practically used in different scenarios,” he commented.

He thinks Spiiders are a “fantastic” LED wash, and on top of that, there are the extra effects with the central LED flower and the pixel rings, etc. But it’s still a proper LED wash.

He thinks the wide zoom range of the LEDBeam 150s is ideal for dance parties on one hand, and for lighting more intimate seated shows like jazz “all with the same fixture.”

Fon had used various Robe products before working at Luxor Live five years ago, but not any of the ones that they have bought.

For Fon, the DL4X is a flexible spot producing a nice solid beam when irised down that also functions well as a stage wash with a frost filter applied. “We needed to have cool gobos for club nights but enough refinement to be able to light theatre shows appropriately.”

They considered other options as well but kept returning to the scalability and breadth of the Robe ranges which allows an incremental stepping up of products.

Onstage, the lights are rigged on three trusses, the upstage of which can be trimmed at up to 4.5 metres and the front two if necessary up to 7 metres, although it’s not standard to have them that high.

With a compact amount of available stage and roof space, small fixtures were needed. Anything above the audience has to be rigged by the crew on a genie lift, so they wanted lightweight units as well to make this a practical task to handle.

Taking all these overall requirements into consideration, Robe ticked all the boxes every time!

“It’s a great rig for this venue and we keep getting lots of positive comments from visiting LDs,” says Fon with a big smile.

While most artists will bring their own LD or operator, Fon still enjoys lighting interesting concerts and techno parties, and there is a pool of regular freelance LDs called on for most events as required. For lighting control, there is an Avolites Arena and a Pearl Expert Pro in the main hall and an Avo Quartz for the small one.

Luxor Live has worked with Robe’s Benelux distributor Controllux since 2008 and has developed an excellent relationship for service and support which is such a vital part of the equation for any busy live music and show venue.

Photos: Louise Stickland

Above: Steuart Padwick, ‘Talk To Me’ – to be unveiled for the first time at designjunction 2019

From 19-22 September, as part of this year’s designjunction, multi-award winning British designer, Steuart Padwick will showcase ‘Talk To Me’: a powerful and engaging two-piece interactive installation which will be situated along King’s Boulevard in King’s Cross. These large-scale works, standing over 5 metres high, are in support of the mental health anti-stigma campaign, Time to Change.

Light and sound elements will be incorporated into the installation by international consultants Hoare Lee, with a default breathing sound coming from each figure. When someone approaches one of the pieces from the front, they will trigger a proximity sensor and the “burden” will begin to crack and emit a glow of light. This cracked structure graphically lessens the weight and the piece will start to say some positive, uplifting words which have been specially written by a diverse cross section of people including notable poets and writers. Through ‘Talk To Me’, Padwick hopes to illustrate the importance of reaching out a hand to someone who is bearing the weight of an issue – through communication these burdens can be lessened.

“Many of us carry issues/burdens that hold us down and hold us back. For some, these are crippling, and for some even lead to taking their own lives. These burdens can start so young and appear insurmountable, unresolvable. But often communication is the key to unlocking the journey forward. Even when the burden is not overtly holding them down it is rarely far away. That is why one piece has the burden clearly on the shoulders, and with the other sitting piece, the burden is to one side – perhaps forgotten for a moment but always near”
– Steuart Padwick

“We know that being open about mental health, and ready to talk and to listen, can change lives. We’re thrilled to be supporting ‘Talk to Me’, which will act as an unmissable reminder of the power of hearing and being heard. You don’t have to be an expert to talk – just being human, empathetic and caring is enough.”
– Jo Loughran, Director of the mental health anti-stigma campaign Time to Change

“Steuart Padwick’s designs are both thought provoking and accessible, they have a natural scale and confidence that is sympathetic with the city while they still coming across as very human. It is this erudite combination that allows him to deal with serious issues in a way that opens and provokes a conversation that needs to be had around our mental health and wellbeing.”
– Marcel Baettig, CEO Bow Arts

Above: Steuart Padwick in front of his ‘Head Above Water’, designjunction 2018
Photography: Luke Walker/Getty Images

designjunction is delighted to be welcoming Steuart Padwick back to this year’s show, following the success of last year’s installation ‘Head Above Water’ which overlooked the Thames on the Southbank. Created in support of Time To Change, ‘Head Above Water’ was welcomed to national-acclaim through it’s efforts to open up the conversation surrounding mental health.

Visit www.thedesignjunction.co.uk for more details.

A new EU regulation[1] means that online fulfilment houses will be required to take responsibility for compliance documentation, if there is no appointed manufacturers’ representative.

The new compliance and enforcement regulation

The “Regulation on market surveillance and compliance of products” requires companies to appoint an economic operator in the EU. The economic operator must verify that compliance documentation has been prepared and is available for market surveillance authorities.

Impact on producers

Crucially, the regulation applies to all producers of relevant products, including those located outside the EU.  If the producer is based in the EU, they are regarded, logically, as the economic operator.  But if the producer is not located in the EU, and then does not appoint an importer or authorised representative to perform this role, then the responsibility automatically falls to an online marketplace or fulfilment house, where one is involved in arranging the transaction.

Scope of the regulation

The regulation applies to an exceptionally wide range of legislation affecting electrical products, including the Low Voltage and Machinery Directives, and RoHS/REACH.  It also includes compliance with extended producer responsibility directives on WEEE, packaging and batteries.  The regulation enters into force in July 2021.

A response to sustained pressure

Commenting on the news, Recolight Chief Executive Nigel Harvey said “It is great to see online marketplaces and fulfilment houses at last being held to account where non-compliant product is sold through their platforms.  For too long, some have avoided tackling the issue, even when non-compliance has been brought to their attention.  We are delighted that the Commission and Member States have responded positively to the sustained campaign from Recolight and our European Trade Association, EucoLight to raise awareness of the problem. ”

UK system preferred

He added “Although an improvement, the proposed system is not watertight.  UK enforcement bodies could still struggle to take action against an appointed economic operator based, for example, in certain East European countries.  So, when it comes to tackling the online non-compliance of product with WEEE, packaging and batteries, we very much prefer the UK Government’s approach, as outlined in their packaging regulations consultation.  That is to make the online marketplace responsible for the compliance of all product for which it facilitates the import into the UK.  It is simpler to enforce, and less burdensome for producers based outside the EU.”

Impact of Brexit

“Clearly we do not know if the UK Government will implement the requirements of the new regulation if/when Brexit takes place.  But it certainly becomes even more important to tackle online non-compliance soon, to avoid the risk of the UK becoming a dumping ground, once the EU starts to address the issue in 2021.”

PLASA has announced its line-up of seminar sessions in the run up to the PLASA Show 2019 (15-17 September, London Olympia). In collaboration with top industry figures and influential brands, this year’s programme presents an array of impressive creative achievements as well as many salient industry issues and will prove once again to be a key part of the show experience.

As ever the programme is free to all visitors at the show, with free registration open until 30 August after which a £12 fee will be introduced.

Audio journalist and consultant Phil Ward will lead a panel of industry figureheads – Chris Hill from Wigwam, Jim Griffiths from Vanguardia and Steve Jones from d&b audiotechnik – to campaign for ‘Equal rights for audio!’ They will assess how live performances, including the recent Spice Girls reunion tour, can neglect audio in the rush for spectacular video, lighting and set design.

Moving from concerts to theatre, Shure will present the future of audio for theatre productions, in association with Curtain Call. This panel will explore how the advancement of technology, such as wireless and lavalier mics, continues to influence performance and push the industry forward.

Addressing the people in pro audio, Women in Music will host a session on how to survive and thrive in the live music industry. They will share tips on how to gain recognition, create an impressive CV, keep busy during the slow season, and prevent burn out when on the road.

Continuing on this theme, Rose Bruford graduate Tom Harrison will speak on the lifestyle of technicians. Working on the road is notoriously hazardous for diet, sleep and exercise, but Tom is equipped with the latest research and insights to help those interested in leading healthier and more sustainable lives.

James Simpson, 3d visualisation designer for the Royal Albert Hall and the author of LSi magazine’s Future Tech column, will present his favourite research from the past year, including Blockchain; intelligent nail varnish; 5G; Big data; the Internet of Things; Fortnight – the new concert venue; and his most popular piece – ‘Can a drone be turned into a moving light’.

Vectorworks will present their latest software which can be used for the entire design and production for a medium sized concert, as well as the new GDTF and My Virtual Rig (MVR), a new data transfer file format introduced by Vectorworks, Inc., MA Lighting and Robe lighting, specially designed for the entertainment industry to streamline workflows.

Also looking at safety in production, Harry Box from UK Rigging and Sean Pagel from PSI will ask “Are we training people to be too safe?” The speakers will discuss whether purpose-built venues and dedicated rigging systems have led to complacency and professionals who rely on perfect working conditions.

Following a run of unseasonable weather which has impacted the festival scene, Norbert Tripp from Area Four Industries will address LED screen support structures – what a load-bearing structure looks like, and how they behave during high winds.

In addition to their dedicated audio lounge, L-Acoustics will host a seminar on their innovative L-ISA Immersive Hyperreal Sound Technology. Using case studies (Mark Knopfler, alt-J and EartH Hackney), their presentation will focus on scalability and portability from a mixing studio content to a full-scale live performance.

Out Board ‘s session will ask “What’s immersive?”, unpacking the motives, expectations and realities of immersive spatial audio and showcontrol for live performance, presentation and experiences.

The latest regulations and guidance will be addressed at the show, including PLASA’s Lightning Safety at Outdoor Events guidance, the ABTT’s Technical Standards for Places of Entertainment, Lifting Operations and Lifting Equipment Regulations (LOLER), and BS 7827 for large venues and stadiums.

Alongside the programme, visitors can enjoy an abundance of audio demos, including lounges for L-Acoustics, RCF and Sound Technology as well as a KV2 Audio demo room and a main space featuring Void Acoustics, Shermann Audio, Aura Audio, Adam Hall and OHM.

New for this year is Stage to Studio, in association with Sound On Sound and Headliner magazines. This dynamic new feature will see bands performing live whilst being recording and mixed by renowned audio engineer Simon Todkill.

More seminars will be announced in the coming weeks. For more information about the programme and to register for the show www.plasashow.com

Avraham Tal is one of the best known and most successful contemporary Israeli singer / songwriter and multi-instrumentalists – known for the amazing power and distinctive texture and colour of his voice – as well as for constantly developing and reimagining the style and flow of his music.

His 2019 tour takes a more electronic clubby vibe than previously, and with that, he wanted fresh input on the lighting front and a spec including Robe MegaPointes, Spiiders and BMFL Spots.

Avraham had a dream one night about being able to ‘play’ the lighting concurrently to his instruments onstage … and that’s where the visual concept for this tour started!

He wanted this to be achieved without the mechanical precision of timecode but with a more organic process, something that produced a fabulously rich and rhythmic live visual environment … to feature on his live shows over the next year.

Co designers Eran Klein & Omer Israeli of Cochavi and Klein Light Architects proposed a scheme – including Robe moving lights – which was chosen to help explore and develop this idea and these new directions for the stage presentation.

Cochavi & Klein (Eli Cochavi and Eran have been friends since 1996 and business partners since 2003) are well known for their imagination and aptitude to bring new visual dimensions to corporate and experiential events and as atmospheric engineers for parties and dance events, so this touring show was also a new direction for their creative talents.

They and Omer Israeli are all great fans of Robe technology and share a great synergy which helped produce something special for this tour, together with input from Madrix programmer and tour LD / operator, Naor Bonomo.

A major part of this creative chemistry was focussed on finding a new way of synching lighting and video with elements of the music, utilising MIDI over Ethernet into the grandMA2 lighting console via a magic little ‘boom box’ device that Naor spec’d and programmed.

Different lights can be ‘played’ per song, and instruments triggering the action can be assigned via the lighting console, all of which makes the process live and completely harmonious with the music and the vibe of the moment. This setup allows the artist to improvise whenever he feels like it, without timecode dictating the schedule!

The lighting console also triggers the Madrix controller running the mapping on the LED tubes.

This way, when Avraham plays his Ableton MIDI Push “piano” for example, different notes can be paired with different lighting effects, allowing him to literally ‘play’ the lights and to flip dynamically from doing so on one set of lights … to another.

The overall look of the show was inspired by multiple aspects including vintage 1980s style DJ light boxes, and the lighting rig is designed with six distinctive and different layers or levels, all of which can work together or individually. They can also be combined or stripped back as the set unfolds, revealing a surprise for every number.

This includes the 18 x Spiiders rigged above the main section of the stage and a layer of BMFL spots stationed upstage denoting the back of the set.

On other levels are a row of Sunstrips along the front of the stage in the footlights position; a striking wall of LED tubes immediately behind the band; a layer of strobes and some modern versions of classic 1980’s multi-light balls on moving head yolks … as well as some Jorgos RGBW triangular tiles.

The artist wanted a bit of a studio / jam session vibe, so the four backing musicians are all positioned on an upstage riser with the LED tube wall behind them … and the Spiiders up on the rig above.

The Spiiders are linked to the lighting MIDI control, and several piano parts ‘play’ effects utilising the fixtures’ individual ring control, sparking random twinkling, chasing effects which work extremely well.

Eran says of the Spiiders: “They are very powerful, versatile and brilliant for creating that really precise ‘digital’ feel that we want for the show but without the movement being really robotic”.

Seven Robe MegaPointes are positioned directly above the band for individual key lighting, and three for back-lighting Avraham.

Another five BMFL Spots on the front truss provide the main front key lighting – as the artist prefers to work without follow spots in order to have a better connection to the people and the immediate environment – hence these and the warm glow of the Sunstrips from low down.

Four BMFL Spots on the floor at the back shoot through the band, the LED tube wall and the rest of the set. These are very important to the look, amplifying lighting instruments like the LED wall that are acting as physical set pieces, and boosting the overall perceived depth of the stage.

Another two MegaPointes are positioned on each side of the stage to make the stage space appear a bit wider and to backlight guest musicians positioned on either side of the stage.

The big aesthetic challenge for the set and lighting design is to help shift the artist from one musical headspace into another, and overall to emphasise his new music and a new epoch of creative energy.

Cochavi & Klein designed the set. The production manager is Lihi Gindin, the lighting director is Ziv Holtzman and the project manager is Dor Aichner. Sound is designed by FOH engineer Amotz Nachmany.

Lighting and sound equipment is being supplied by Hakol Bakol, with some of the Robe and the Jorgos fixtures supplied by Danor Theatre & Studio Systems and the LED tubes & Madrix from KO. Pixel Studio created the video content.

Photography by Lior Keter.

Harvard Power Systems Limited has been recently formed following the purchase of IP and related assets of the company Harvard Technology Limited to re-establish sales of the popular Harvard LED drivers and LED light-sources.

Now part of Gallant Lighting, a global group of companies, the new Harvard business will operate from its sales and engineering base near Leeds UK whilst all production has been relocated to its specialist electronics manufacturing facilities in India.

Gallant Lighting also recently acquired Venture Lighting India which will bring significant and comprehensive manufacturing expertise to the group.

The UK based Harvard Power Systems business retains a group of key personnel from the previous Harvard Technology company and will benefit from their extensive knowledge and skillset in the product engineering, material procurement and technical design & development of the well-respected Harvard LED product portfolio.

“Harvard has a long history of first class products and excellent product development. We are very excited to be re-launching this great range of products and to build upon these with the latest state-of-the-art designs such as our CLi15 and CLi40 high specification LED drivers” explained Mark Needham, Managing Director of Harvard Power Systems. “Our lower cost base production and proven history of our Venture Lighting India manufacturing facilities will enable us to confidently produce the highest quality, UK designed and engineered LED lighting components to offer an increasingly competitive marketplace”.

Working with both historical and newly introduced OEM and distribution customers in the UK and across mainland Europe, Harvard Power Systems will concentrate on its range of LED Drivers and LED light-sources while partnering with industry leading providers of controls, connected lighting and IOT enabled devices to incorporate into its drivers and product packages.

For more details on the developing Harvard LED product range, visit the Harvard website www.harvardpowersystems.com or email sales@harvardps.com for any further information.

IMAGE: Harvard Power Systems Limited has been recently formed following the purchase of IP and related assets of the company Harvard Technology Limited to re-establish sales of the popular Harvard LED drivers and LED light-sources. Pictured front is Mark Needham, Managing Director of Harvard Power Systems with the company management team.

To demonstrate its support for Leeds Pride ASDA’s head office in Leeds city centre came out once again in the movement’s traditional bright rainbow colours, with the help of TechLED and 4-wall. The parade aims to encourage involvement in the celebrations of the LGBT+ community and helps to create awareness around achievements and legal rights.

To achieve the required look in ‘statement’ high quality as befits the head office of a supermarket giant, 4-Wall’s Ben Perrin specified SGM Q7 wide-angled LED flood fixtures to be distributed evenly under the eaves of the building perimeter. For the building entrance, the tighter beam angle of SGM P5 architectural LED wash lights area, highlighted the features of the entryway.

Perrin’s choice was based upon the two-fold suitability of the products to the job, explaining the SGM fixtures are, “… really wide-angled, really soft, really bright, produce really good pastel colours and because they feature in-built wireless control, they ensure the install and removal was really quick.”

SGM’s Q7 is a multifunction flood light with blinder and strobe capabilities. IP65-rated for outdoor use, it features 2000 RGBW SMD LEDs. Featuring a colour temperature of 5,700K, and a high output of over 25,000 lumens, its wide beam angle of 110-degrees gave a vibrant wash to the ASDA building from the fewest possible fixtures – to further ease the installation time.

The SGM P5 gives the same high-performance RGBW colour, in this instance through a 43-, 21- 15- degree interchangeable lens. Activated by wireless DMX, the colours swirled through a slow rainbow chase.

ASDA’s supportive pigmentation was in place for just three nights, aglow from 9pm to 4am Friday to Sunday. Speed was certainly of the essence for the set-up installation. ASDA has a 3000-strong workforce on site which means access to the building exterior via the car park is fully restricted until after 5pm. Extensive pre-planning by TechLED and the 4-Wall team was key to an unproblematic set up by the installation team.

Perrin reveals, “We’d planned this job really well in advance, so we knew if we hit any problems, we had time to fix things really quickly.”

Within two hours, the lighting fixtures were secured to the building. Two Lumen Radio CRMX transmitters link the wireless LEDs to a Whole Hog 4 positioned in an outside control cabin, completing a fully outdoor installation.

TechLED’s managing director, Gordon Addison, said, “ASDA head office is happy once again with the statement we’ve created on its behalf. They turn to TechLED for a professional job and with 4-Wall we executed this within the very short period of time we are allocated for installation. The quality of the light show stood out as a real statement next to other building trying to achieve the same effect.”