10trhsary
annive n
editio
grandMAgazine
Spring 12 I English
Celebrating mobility
© Ralph@Larmann.com
grandMA2 joins “autoSYMPHONIC”
Mobile
Memorable
Merry
MA Lighting introduces the
MA onPC command wing...p3-5
Southeast Asian Games play
with grandMA2...p12-13
grandMAgazine celebrates
its 10th anniversary ... p20
I editorial I
Looking back – and forward – with pride
Dear friends of MA,
When we introduced the MA onPC command
wing to our worldwide distributor network,
we were thrilled by the praise we received
for the product. Although we were sure
that the MA onPC command wing would be
well received, we never anticipated so much
enthusiasm.
It was equally well received by you and was
one of the most discussed topics on many
internet platforms. Thank you for that!
The official start of delivery to the market was
another milestone that we have now passed,
so get your wings too.
To introduce our new MA family member to
you in detail, we have dedicated three pages
of this current issue of grandMAgazine to the
product. Get a closer look there and visit the
webspecial on our website where you’ll get a
lot more information.
Speaking of information – with this edition we
are celebrating 10 years of grandMAgazine.
It is hard to imagine that our first edition dates
back to PLASA/LDI 2002. These past 10 years
have been filled with a lot of product developments, amazing projects and a constantly
improving MA System. 2002 saw the launch
2
of the real-time 3D visualizer and professional
pre-programming tool grandMA 3D and a
remote control for PDAs. With the software
version 4 gobo and fixture preview were available on the grandMA.
During the following years, the grandMA
evolution has continued in close contact
with the market. The overall development
has seen grandMA transformed from just a
single product into a whole system. Following this came the grandMA2 – with even more
possibilities, power and performance.
I started this editorial with the MA onPC
command wing and at this point I will also
end on it because it is the latest development
in our long history of products for you, our
customers – but for sure not the last. So thank
you for your ongoing support and let’s stay in
close contact.
Yours truly,
Michael Althaus
I product info I
Mobile, flexible, irresistible
MA onPC command wing
• Real-time control for 2,048 parameters
in combination with grandMA2 onPC
(up to 65,536 parameters as backup in
the MA system)
• Command section similar to grandMA2
layout
• 2 A/B faders (100mm); main executor
• Level-Wheel – dimmer
• Individually backlit and dimmable silent
(clickless) keys
• Light, handy and rock solid, only 6kg
• Plug & Play: simply connect to your
notebook
• Integrated universal power supply
• Ergonomic design
The MA onPC command wing paves the way for mobile use of the highly flexible and power­ful
grandMA2 control system. In combination with the free of charge grandMA2 onPC software, the
MA onPC command wing is a portable 2,048 parameter control solution that can be used in nearly
any location – and all for an affordable price.
Designed as the perfect hardware expansion to the grandMA2 onPC software, the MA onPC
command wing enables the look and feel of the software to be as close to a real grandMA2 console as possible. Thanks to the MA onPC command wing – incorporating the command section
of the grandMA2 consoles – it has never been easier to use the grandMA2 onPC software. With
a simple USB connection between the MA onPC command wing and the computer running the
grandMA2 onPC software, all inputs and outputs of a grandMA2 console are available to the user.
DMX, Midi, Timecode and Analogue Remote are all on hand directly at the MA onPC command wing.
Wherever it is physically difficult to use a grandMA2 console, the MA onPC command wing, in
conjunction with the grandMA2 onPC software, enables the customer to program or playback
within the grandMA2 world.
Therefore the MA onPC command wing is ideal to be used as a backup solution within the
grandMA2 system, as powerful control solution on the road or for smaller theatres, shows and
clubs or for pre-programming.
Just connect via USB to any notebook or PC
running grandMA2 onPC
Parameter Count & DMX Output
If you are in need of a compact, powerful control solution for an affordable price there is no way around the MA onPC command wing. In combination
with the grandMA2 onPC software it offers 2,048 control parameters of DMX already. If that’s not enough you can even expand your parameter count up
to 4,096.
Please note: When using MA 2Port Nodes (onPC or onPC PRO) for parameter expansion, they only count once and only the one with the most parameters
is added. If you add a second MA 2Port Node you won’t get more parameters, yet additional DMX connectors.
Could you think of a more flexible and convenient way to program and run your show?!
3
I product info I
Unique features
• 2,048 parameters – up to 4,096 parameters possible
• XLR 3pin for LTC (Linear Timecode)
• 2 DMX out & 1 DMX in (XLR 5pin)
• Slot for Kensington Lock
• Midi in/out (Midi-Timecode/Midi-Note)
• USB 2.0 port
• Analogue remote input
• Integrated universal power supply
• P lug and Play: Just connect via
USB to any PC or notebook running
grandMA2 onPC
• E rgonomic design:
Optimised work angle for fast and
easy programming
• Look and feel as known from the
grandMA2 consoles
• Individually backlit and
dimmable silent (clickless) keys
546 mm 21,5 inch
70 mm 2,8 inch
395 mm 15,6 inch
4
6kg
• L ight, handy & rock solid:
just 6kg to easily carry away
I product info I
MA onPC command wing
• 6 fader executors (60mm)
+ 18 fader executor buttons
• 6 button executors
• M
astersection with 2 A/B faders
(100mm); main executor
• C
ommand section similar
to grandMA2 layout
Specifications
Connectivity
Real-time control for 2,048 parameters in combination with grandMA2 onPC
(up to 65,536 parameters as backup in the MA system)
2 DMX out & 1 DMX in (XLR 5pin)
18 fader executor buttons
Timecode (XLR 3pin)
6 fader executors (60mm)
Analogue remote input
6 button executors
USB 2.0 port
6 page buttons (Channel / Fader / Button)
Slot for Kensington Lock
Midi in/out (Midi-Timecode / Midi-Note)
4 encoders
2 A/B faders (100mm); main executor
Level-wheel – dimmer
Grand Master fader (60mm)
Art. No
120120
Dimensions (w x h x d)
546 x 395 x 70 mm, 21,5 x 15,6 x 2,8 inch
weight (kg)
6
Blackout button
Main executor area (GO+ / GO- / PAUSE)
PSU built in; 90–230V (50–60Hz)
Temperature range 5°–40° (rel. humidity non condensing)
Scope of delivery
Dust cover, USB cable 2m, Power cable
5
Celebrating mobility
grandMA2 joins “autoSYMPHONIC”
The multimedia “autoSYMPHONIC” show ended celebrations for the
125th birthday of the automobile in Mannheim, Germany. An audience
of 17,000 attended the spectacle that traced the history of cars and
gave an insight into their future development.
For the show, the whole Friedrichsplatz was transformed into a concert
stage area of 65,000 square meters. Entertainment included a gig by
leading band “Söhne Mannheims” in addition to the “autosymphonic”
6
show that was specially commissioned for this event and performed by
the SWR Sinfonieorchester Baden-Baden. One hundred percussionists
joined in by opening car doors in time with the music, or turning on
windscreen wipers as well as playing on wheel rims and other car body
parts with sticks.
Horst Hamann’s multi-media show used lights and lasers to illustrate
the history of automobiles. Lighting designer Thomas Gerdon, opted for
© Ralph@Larmann.com
a grandMA2 system for control, comprising 4 x grandMA2 full-size and
4 x grandMA2 light consoles, 4 x MA NPU (Network Processing Unit)
and 18 x MA 2Port Node.
effects for the design. It also reflected the symmetry and closeness of
the space and included its buildings and features into the overall visual
picture.”
“I made the decision to go with the grandMA2 because there are
no comparable consoles and it is extremely straightforward to use”,
commented Gerdon. “Throughout the entire pre-and-live programming
phases and the final show everything worked completely smoothly,
totally underlining my decision to use the grandMA2.”
“The technical and musical dimensions of the event were truly unique”,
continued the lighting designer. “Our MA network went everywhere,
utilising 36 DMX universes output by the MA 2Port Nodes.”
Gerdon explained his lighting design: “Firstly it followed the concept
of art director Horst Hamann who provided the basics and essential
Sascha Matthes, Matthias “Matze“ Meyert, Thomas Dietze, Matt Finke
and Timo Weinhold worked as lighting operators. The overall technical
direction was by Jens Diefenbach of m:con Mannheim, also the general
contractors. Lighting equipment was supplied by EBS Light GmbH.
7
I show case I
One network
German TV broadcaster SWR installs MA System
The SWR (“Southwest Broadcasting”) was
established in 1998 through the merger
of Süddeutscher Rundfunk (SDR, Southern
German Broadcasting and Südwestfunk (SWF,
Southwestcast) and has main offices in three
cities: Stuttgart, Baden-Baden and Mainz. It
is among the top three broadcasting organizations in Germany.
Now the SWR has finished its new “Funkhaus”,
a high tech building that was started in 2008
which is a huge step forward for the broad­
casting organization in the direction of multi­
media formats, as well as one of the best
equipped broadcasting centres worldwide.
Studio Hamburg MCI GmbH and Despar
Systeme AG are the companies mainly responsible for the installed lighting technology in the
8
new Studios A, B, C and D. A whole MA System
solution was specified by the SWR, based on
their very good experiences with grandMA
control over the past five years.
For this reason five grandMA2 light and two
grandMA2 onPC were specified for control,
plus four MA VPU plus (Video Processing
Units) with HD-SDI for video control, 12 x
MA 2Port Node, flush-mounted as networking
components and six dimMA Digital Dimmer
cabinets – 3kVA 400µs – together giving 476
circuits of dimming.
Claus Werner, head of lighting at the SWR,
commented: “Based on our good experiences
with the grandMA in the past years, we
made the decision to stay with the brand
and use the latest grandMA2 technology. The
consoles have extraordinary references and
have proven themselves extremely reliable.
Furthermore the MA dimmers make sense
because of their bidirectional communi­
cation with the grandMA2 consoles. With
the MA VPU we have completed our
MA network, and now will benefit from a
uniform network that communicates via the
MA-Net2.”
Content distribution to the huge LED surface
areas in studios A, B and D is demanding.
The studios run 197 DMX-universes (A), 130
(B) and 54 (D) respectively – although the
displayed content is not high-res. The LED surfaces are primarily used for displaying colour
gradients, graphics and low-res content.
I show case I
High-res content is mostly realised by the
use of green screen technology. The SchnickSchnack-Systems video strips have a pixel
pitch of 10cm and are controlled by DMX512
via Art-Net. The contents for each studio are
sent from the MA VPU plus that is controlled
by a grandMA2 light. For easy and fast displaying of the content, the pixel mapper function
of the MA VPU plus is used, which makes it
possible to assign the content to the big LED
surfaces – for example the ‘horizon’ in Studio
A, which is a surface area of 350 square metres.
The overall LED surface of all the studios is
720 square metres.
B 144 dimmer circuits, Studio C 72 dimmer
circuits and Studio D 90 dimmer circuits. The
dimmers are installed in two rooms where the
MA VPUs are also located. This centralization
reduces noise emission in the Studios, ensures
optimised air conditioning and connects the
dimmers via the shortest cable routes with the
studios. Furthermore all dimmer processors are
fully redundant.
Project team:
Project Manager Studio Hamburg MCI
GmbH, Hamburg: Christian Nayda
Project Manager Despar Systeme AG,
Mainz: Dirk Henze and Christoph Kreckel
Planning of Lighting: Bernhardt Schreiber
und Claus Werner, SWR Stuttgart
As all the grandMA2s are running on the
MA-Net2 there is a flexible choice as to
which console can control which studio. The
SWR owns three direction rooms that are
each equipped with a grandMA2 light. It is
possible to control each studio from each
of these three direction rooms. To avoid an
operating error, e.g. two direction rooms
trying to control one studio in parallel, each
studio has its own address range and a monitor that displays which studio is available. So
to access a studio, the grandMA2 has to be
configured for this address range and the
clearance has to be approved.
Studios A and B additionally use a
grandMA2 light in the actual studio for the
setting mode, while Studios C and D rely for
this purpose on the grandMA2 onPC software
installed on a laptop.
In addition, the studios have MA 2Port Nodes
installed at different locations which are used
for flexible input / output of DMX data on the
MA-Net2, and are fully integrated into the
MA System. They can be configured quickly
and easily via the grandMA2 consoles.
A huge dimmer installation was needed for
the massive amount of conventional lights.
Studio A needs 180 dimmer circuits, Studio
9
I show case I
“All Lit Up”
© Steve Thomson / WOWstockfootage.com
grandMA2 for Opening Celebration of the IRB Rugby World Cup 2011
The IRB Rugby World Cup was the biggest
sporting event ever to be staged on New
Zealand shores. It kicked-off with the Opening
Ceremony at Auckland’s Eden Park, broadcast
to a global television audience estimated at
over 50 million. An estimated 20 0,000 people
crowded the Auckland waterfront precinct to
take in the visual spectacle aptly named “All Lit
Up”. Lighting designer David Eversfield relied
on a grandMA2 system for control.
While the show’s lighting design in the stadium
was created by Paul Collison, who worked with
a grandMA2 system as well, Eversfield and the
Opticshock team used 1 x grandMA2 light, 1 x
grandMA2 onPC and 3 x grandMA 3D for the
lights spread across the city.
Eversfield explained: “The waterfront show was
pre-programmed using grandMA 3D where
extensive use was made of the ability to have
complete 3D models of buildings to create the
skyline. As there was a great desire to keep the
show as a surprise, only small parts of the rig
were turned on simultaneously in the weeks
leading up to the show. Much time was spent
calibrating the orientation of the fixtures in the
model to the physical install on the buildings.
10
grandMA 3D was essential for viewing the
show from different parts of the city, allowing
focus positions to be tweaked without hours
of travelling across the city. When onsite,
grandMA 3D also proved a useful fault-finding
aid as it provided rich visual feedback of what
the console was telling the lights to do.”
“Across the city we had 25 different sites
where lights were installed and they could
be as varied as the rooftops of buildings, the
ends of wharves, historical museums and the
tops of port cranes”, described Eversfield. “It
sounds relatively simple, because there were
only a small number of lights at each location,
but there were so many locations, each with
its own access issues, rigging problems, power
supply and so on.”
proved to be challenging. A custom wireless
network was built in order to control the
lighting system across the city and between
the buildings. The show was able to be broadcast directly over the network while a custom
back up system was developed and supplied
by Artistic Lisence. Art-Net playback devices
at each site would have the show loaded into
them remotely from the control room. This
could then be played locally if the network
failed or became unstable.
Jonny Cross worked as operator, Kain Jones was
the lighting project manager. Head of lighting
was Mike Skinner, assistant head of lighting
was Brian Mahoney. Kyle Pharo was responsible for the lighting network. Mike Mizrahi of
Inside Out Productions was the event producer.
As pyrotechnician worked Martin Van Tiel. The
show was produced for the Auckland Tourism,
Events and Economic Development.
Methods used to access these diverse sites
ranged from pushing hand trolleys up stairs to
mobilising cranes and helicopters. The production also featured lighting and pyrotechnics on
Auckland’s iconic 328metre (1076 feet) high
Sky Tower.
The core of the lighting production was New
Zealand-based but equipment was sourced
from as far afield as China, Germany and the UK.
Co-ordinating a lighting system distributed
over a 3 kilometre (1.86 mile) wide area also
The system was assembled by the Opticshock
team in New Zealand.
I show case I
Performance installed
grandMA2 for Korea’s new state-of-the-art musical theatre
Recently built, the Blue Square in Seoul,
a major theatre in the Republic of Korea,
relies on a MA Lighting system that combines
grandMA2 and grandMA “series 1” consoles.
The new building was especially designed to
stage only concerts and musicals which differs
it from most theatres in Korea that are built as
multipurpose halls.
Kim Hong Sik, CEO of Hansam System Co. Ltd.,
MA Lighting’s exclusive distributor in the
Republic of Korea, commented on the choice
of the MA products: “MA products are known
as the most reliable and popular among lighting designers in Korea so it was an obvious
choice to vote for grandMA. Furthermore we
wanted a future-proof lighting control solution
with plenty of headroom for upgradability to
incorporate powerful new features and functionality. Also the grandMA2’s ability to seamlessly integrate video sources of all types into
the visual equation, and making these straightforward to program, were a reason to install
these consoles.”
Altogether 1 x grandMA2 light, 1 x grandMA2
ultra-light, 1 x grandMA full-size and 1 x
grandMA light were installed in the building
to control a mixtures of ADB dimmers and
spots and Martin moving lights.
11
I show case I
The quest for gold
Southeast Asian Games go with grandMA2
The Southeast Asian Games is a series of sporting events held since 1959 every 2 years almost
without fail. The key objective is to boost the
cooperation and understanding between the
countries forming the South East Asian region
by promoting sports and healthy competition
in particular amongst young people.
Hosting the SEA Games for an unprecedented
4th time since its inauguration in Bangkok,
Indonesia had high ambitions to once again
be a perfect host and claim the trophy of being the most successful participating country.
Careful planning went into choosing Jakarta
and Palembang as host cities.
Planning for the Opening Ceremony started
many months in advance. Lighting consultant Bernard Chew chose grandMA2 consoles
12
for lighting control because he knew of
the size and importance of the show. Using
grandMA2 onPC and grandMA 3D to plan
and visualise the event, he was able to
conceptualize the show and make necessary
suggestions.
For him the support of MA Lighting was key.
Although a lighting programmer for more
than 20 years, this was his first intensive
encounter with an MA system. However it
proved solid and intuitive, giving him plenty
of confidence, and ultimately it was the
support that convinced him to choose MA.
“MA provided us with the fixture library in an
instant, and this kind of help was absolutely
crucial to us!” confirms Chew. That is why he
also wholeheartedly recommended the con-
soles to Mr. Hendra Lie, the owner of rental
company Mata Elang and the undisputed
“King of Stage Lighting” in Indonesia.
The Organizing Committee also brought in
Paul Collison from Australia (well known and
respected for his work on the Beijing Olympics,
the Shanghai World Expo Opening, X-Factor
Australia, the Opening Ceremony of the 2011
Rugby World Cup and Singapore’s National
Day Parade to name a few). Collison was
acting as a lighting supervisor whilst also helping the programmers working on the three
grandMA2 consoles. “I was very impressed at
the ability of the three programmers to change
their ‘single cue per fader’ mentality and
really grasp the tracking cue list abilities of the
grandMA2 system” he states. “Timecode was
an added complication, however by the end,
I show case I
they saw the benefits of a sensible tracking
sequence all cued to a single Timecode show.
It certainly made a huge difference to the
quality of the final show”, states Collison.
The two grandMA2 full-size consoles, a
grandMA2 light plus two MA NPU (Network
Processing Units) were provided by Mata
Elang and Kompas TV. Kompas TV already had
some experience with the grandMA2 desk,
but Mata Elang received their two
grandMA2 full-size and MA NPU just one
week before the show.
Mata Elang is the largest rental company in
Indonesia and also provided over 1000 lighting fixtures, ranging from LED wash lights
to moving lights to search lights as well as
several large scale video screens. The fixtures
were split into three ‘worlds’ to enable the
three programmers to work independently
on their own range of lights, the results of
which were merged into one showfile running on Timecode. The added benefit was that
if one console had failed, the system had fully
redundant backup. The show only used less
than ¾ of the actual capacity of the system,
and the MA NPU workload never exceeded 8%,
showing its exceptional capabilities.
The system had 34 DMX outputs available
straight from the factory, but the team decided
to run a few universes over ArtNet as well, allowing these outputs to also benefit from the
automatic fallover protection of the consoles.
Says Hadi Suroso (Lighting designer and main
operator), “The show was a great challenge
for us as we had only just started learning the
consoles. We were lucky to have Paul Collison
there to teach us and the show turned out very
well. I have to thank a lot of people involved
with the SEA Games, particularly show director
Mr. Indra Yudhistira, Paul Collison as our mentor, Bernard Chew, both the Kompas TV and the
Mata Elang crews ... and most of all, my partners working on the consoles – Juni Purwanto
and Dedy”.
13
I show case I
“The Final Qountdown”
grandMA2 raved into 2012
“The Final Qountdown” ended 2011 for the
Trance and Techno scene in the Netherlands.
Taking place in Amsterdam’s Heineken Music
Hall the event was organised by Q-Dance.
Lighting designer Tamil van Draanen was keen
on giving this event, the last version of a series
of Qountdowns, a special mood. Using a
grandMA2 full-size and a grandMA2 light
as backup gave him the assurance needed to
accomplish his mission.
Programmer and operator Martijn van
Summeren stated, “We chose the grandMA2
consoles for two main reasons. First because
of the extended Timecode function. The show
contained seven timecoded shows, one of
which was nearly 15 minutes long. Second
because of its rich and varied programming
features.”
“Macros helped me to create the show quickly,
and the Effects Engine gave me the creative
freedom that I needed to create a dynamic
show. The console is the heart of any show,
and it should never be a limiting factor for
14
the creativity of a designer or operator. The
grandMA2 did its job very well.”
“The basic idea was to create the look and feel
of a casino entrance. Many video screens were
used to mimick a classy Las Vegas like effect”,
continued Draanen. “We worked right up to
doors on the programming, and about two
minutes before the show started, the desk did
not contain any attribute bumps or dedicated
executor buttons. Two minutes later, 20 colour
executors, 20 gobo executors and 25 colour
and gobo bumps were programmed into the
desk with the clever usage of Macros.”
Vantagepoint supervised the project with
project manager Marcel Binnenmarsch.
Rent-All provided the lighting and sound
equipment. Rolight Theatertechniek BV is the
MA Lighting distributor in the Netherlands.
I show case I
Gavin DeGraw and David Cook
grandMA2 light on US Tour
Singer-songwriters Gavin DeGraw and David
Cook, the latter an “American Idol” winner, are
co-headlining a US Tour and a grandMA2 light
is going along for the ride. DeGraw and Cook
plan to visit 22 cities on a continental swing.
DeGraw is performing songs from his fourth
album, “Sweeter,” and Cook appears in support
of his most recent album, “This Loud Morning.”
Lighting designer/director Scott Warner is responsible for maximising a limited lighting rig
so all the bands appearing with DeGraw and
Cook have a unique look. He also serves as the
programmer and operator for the tour bands.
Warner is also a first-time grandMA2 user.
He’s using the console to control not only
Clay Paky Sharpys but also an array of Robe
REDWash, Martin 700, Atomic Strobes and
Lowel Omni lights.
“I saw the grandMA2 light at LDI and loved
the look – it’s a great-looking console and
people come up to me to say how cool it is.
It’s also very fast; I don’t have to wait for
anything. I like the touch control and bump
buttons. It feels good running the show, more
fun – like sitting at a Mac computer.” He also
likes having access to more DMX universes on
the grandMA2 light.
Instead of using conventional vertical trusses,
Warner opted to create a three-level wall of
truss at the back of the stage. “With three
levels it looks like I have three layers of
light,” he explains. “It gives me a nice wall
of lights. On the top level I have nine Sharpy,
and I frame the bands with them.”
“The Clay Paky Sharpy is a fantastic light, and
I love that I can instantly move them around
so if something is sounding cool on stage, I
can go to it,” he continues. “I’ve never used
Clay Paky lights before, so the Sharpys are a
great introduction. The bands love them too –
during sound checks everyone comments on
them. They call them ‘lasers’!”
A.C.T Lighting is the North American distributor
of MA Lighting.
15
I show case I
Dramatic lighting
Maná tours with grandMA2
Maná is a pop rock band from Guadalajara, Jalisco, Mexico, whose
career has spanned more than three decades. They have earned –
amongst others – three Grammy Awards, five Latin Grammy Awards
and five MTV Video Music Awards Latin America. Accompanying their
current “Drama e Luz” world tour that started this year is a grandMA2
system, comprising 1 x grandMA2 full-size console, 1 x grandMA2 light
and 2 x MA NPU (Network Processing Unit).
Lighting designer Luis Pastor says of the grandMA2: “After working for
six years with the grandMA ‘series 1’, I can say for sure that grandMA2
has an improved graphical user interface. The flexibility of the user configurable views and layouts, as well as the bitmap effects and all the
improvements in programming and operation are really great. After six
months of hard touring I can say it is a very safe and reliable system –
we’ve never encountered a problem with the consoles or the MA NPU.”
“This level of adaptability and stability offered by grandMA2 consoles
is perfect for the productions in which I am involved”, continues Pastor.
“It is excellent when you can sit next to the programmer and ask for
complicated sequences, macros or effects without making everything
too complex. Much time can be saved with this comfortable user interface, and in conjunction with MA’s networking capabilities, it gives me
all the performance I need.”
16
The grandMA2 was used to control a lighting rig including 42 x Philips
Vari*Lite VL3000 Spots, 16 x VL3500 Washes, 10 x VL3500 FX and 10 x
Vari*Lite VLX plus two media servers.
Frankie Janssens worked as lighting assistant and Paulo Lebrao as lighting programmer. The video content was designed by Luis Pastor and
Ricardo Olguin, and edited by Ricardo Olguin and Javier Ugarte, with
equipment supplied by PROCOLOR, Mexico.
I show case I
Generation change
ORF switches to grandMA2
In a major technical upgrade, the ORF center in
Vienna has changed all its grandMA “series 1”
consoles to grandMA2 consoles. The MA NSP
(Network Signal Processors) were also replaced
by MA NPU (Network Processing Units), and
furthermore, the ORF has invested in new
grandMA2 fader wings.
Altogether the Austrian national public service
broadcaster now owns 4 x grandMA2 full-size
consoles, 17 x grandMA2 light consoles, 15 x
MA NPU, 9 x grandMA2 fader wings as well
as 6 x versions of the grandMA onPC software
solution.
Engineer and project manager for the upgrade
Manfred Wagner explains why the grandMA2
was chosen: “We had plenty of good experiences with the grandMA ‘series 1’, so for this
reason the grandMA2 was a pretty logical
choice. The grandMA2 is not only extremely
reliable but also offers powerful backup solutions and is a perfect option for TV projects,
because we can’t afford failures! Additionally,
the consoles and MA NPU give the performance we need for the sophisticated studio
lighting set up as well as the flexibility to
control a variety of lightsources – conventionals, moving lights, LEDs and video.”
a grandMA light for the studios and a
grandMA full-size at the director’s stand.
The generation change was completely
smooth and enhanced by the fact, that
we had already been working with the
grandMA2 in our OB vans, so our lighting
team was trained on the new consoles.
“Switching to the grandMA2 light means
we have the same type of consoles in the
studios as well as at the director’s stand”,
says Wagner. “Until the upgrade, we had
The MA equipment was delivered by
Lightpower GmbH and the installation
undertaken by Gelantec, Gesellschaft für
Elektronik und Anlagentechnik mbH.
Engineer Karl Nöbauer is the studio’s chief
operating officer for productions and
Engineer Reinhard Traxler is head of lighting
production.
17
I show case I
Flexibility guaranteed
Adrienne Arsht Center for the Performing Arts votes for grandMA2
A pair of grandMA2 lighting consoles was
recently installed by Miami Stagecraft at the
Adrienne Arsht Center for the Performing Arts –
one for the John S. and one for the James L.
Knight Concert Hall. Miami Stagecraft also
upgraded the hall’s entire network to 1Gbit to
promote fast, high-speed response time.
“The space is designed to host everything from
symphony orchestras to Willie Nelson, Cindy
Lauper and BB King,” says Tony Tur, head electrician at the Knight Concert Hall. “We were
running another console, and a lot of people
were asking for the grandMA2. I attended a
grandMA2 training course and really liked
the console’s features and versatility. It was
the kind of technology we needed, capable of
accommodating a rock show, a symphony or
a musical comedy, and meeting the needs of
their designers.”
Steve Welsh, vice president of Miami Stagecraft,
echoes Tur’s observations that many touring groups appearing at the Knight Concert
Hall were accustomed to using grandMA2. In
18
addition, “because of the way the hall is
configured there are very few conventional
lights,” Welsh points out. “The space is highlydependent on moving lights mounted to the
ceiling and that also helped tip the scales in
grandMA2’s favour.”
Welsh notes that in order to give the grandMA2
fast, high-speed response time, the hall’s entire
network required an upgrade. “grandMA2 runs
flawlessly on a gigabit network,” he says, “so we
upgraded the whole system to be 1Gbit capable.
The movable ceilings feed data down to fibreoptic cables even when they’re moving – we
had to upgrade all that to 1Gbit with industrialgrade components.”
Will Murphy, A.C.T Lighting technical support,
says that the hall originally had “a big fiber
network and all these little gangbox two-universe nodes around the space. When Tony (Tur)
fell in love with the grandMA2 they needed to
decide what to do with the existing network.
So we started to talk about what would make
their life easier.”
He explained to Tur that “MA-Net2 is the only
protocol in the industry with frame-synchronous DMX. If you have a properly-designed
gigabit network, no matter how close or far
apart ports are, everything is going to be frame
synchronous: the frame comes out of every
port at the same time regardless of length. No
protocol but MA-Net2 can do that and deliver
two-way communication.”
Tur specified a grandMA2 console with an
MA NPU (Network Processing Unit) and a
second unit with 18 MA 2Port Nodes. “Tony
chose to go all-MA to get 100 percent support,” Murphy says.
Tur reports that the grandMA2s and network
are “working great. We just ran BB King and
a couple of symphonies, and it’s been very
smooth. The grandMA2 gives us the versatility
to do everything. That’s just what people were
requesting.”
A.C.T Lighting is the exclusive distributor of
MA Ligthing in North America.
I show case I
A grand final
© Daniel Ekstam
grandMA2 was a hit at Swedish “Idol”
“Idol” is a Swedish reality-TV talent competition airing on TV4. It
debuted in August 2004, and became one of the most popular shows
on Swedish television. Part of the Idol franchise, it originated from the
Pop Idol phenomena created by British entertainment executive and
impresario, Simon Fuller, first shown in the United Kingdom in 2001.
This year’s Swedish edition was the final one. There won’t be a new
season next year, so to make it as spectacular as possible, lighting
designer Per Ax voted for a grandMA2 control system.
This comprised 1 x grandMA2 full-size and 1 x grandMA2 light consoles,
4 x MA NPU (Network Processing Units) and three touchscreen computers, with grandMA2 onPC software running as backup. It all performed
faultlessly while controlling 450 LED fixtures and moving lights from
Philips Vari*Lite, Color Kinetics, Clay Paky and Martin Professional as
well as a whole bunch of conventionals.
key lights. The consoles were running in the same session but separate
worlds, each with its own grandMA2 onPC backup station consisting of
a Mac Mini with a touchscreen.”
Per Ax explained his design: “The basic idea of the lighting design was
to position lights around the stage and set to make the different venues
look even more luxurious and big. I wanted also to have a design that
was adaptable for the many different songs performed and the moods
they encapsulated. Because this is a major TV show in Sweden, with
cameras shooting in all directions it was also important that lights
were visible 360 degrees around the arenas.”
Ulf Jansson worked as moving light operator, Morgan Brown operated
the media servers. All lighting, sound and transport was provided by
Music&Lights from Västerås.
“Because we were working for a live TV show with millions of viewers
there was really no room for glitches”, continued Winerdal. “The setup
was designed with that in mind, and all the FOH electronics and dimmer signal distribution were on UPS-regulated power. At FOH we used a
grandMA2 full-size for the moving lights and a grandMA2 light for the
© Daniel Ekstam
Lighting designer’s assistant and head electrician Tobias Winerdal commented: “I have worked on Swedish Idol for seven years. We started
out with another console and used it for a few years. We moved on to
the grandMA full-size ‘series 1’ in 2007 and there was no turning back.
This year we used a grandMA2 system for the first time and it was a
perfect choice!”
19
We proudly present the 10th anniversary edition of our grandMAgazine.
To
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A
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In the first edition, published for PLASA/LDI 2002, MA Lighting started
this journey that has taken us through many fantastic projects, numerous product releases and a host of inspiring interviews with some of
the most famous people in our industry.
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Back again
Backstage
Back-up
iTunes Festival relies on grandMA2
for the third time..p3
Teatro Argentino opts
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Safer and more powerful networking
with the MA-Net2...p18–19
grandM Merry
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© Ralph
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I internal matter I
The story so far
10 years of grandMAgazines
14:1
Seit
e 1
tio
nal
ng
.
Autumn 11 I English
zine
rating
Spring
12 I En
glish
grandMA2 masters 42,000 parameters
at Eurovision Song Contest 2011
the most impressive pictures, and of course to all our readers throughout the years.
If there is something you’ve been missing in grandMAgazine, please
send us your ideas on possible future inclusions. We’ll draw three
winners out of all e-mails we receive – and send you a prize.
During the past years we have constantly worked on improving
the magazine to make it as informative and entertaining for you as
possible. The picture gallery above gives an impression of how
grandMAgazine has changed over the years. If you would like to read
all the back issues and join us on a historic journey, you should visit:
http://www.malighting.com/grandmagazine.html
You’ll find digital editions of all issues there.
Please send your mail to marketing@malighting.com subject:
grandMAgazine.
Right now, we would like to say a big “THANK YOU” to all of you out
there who have participated in grandMAagazine and supplied us with
http://www.facebook.com/MALightingInt
We are looking forward to it.
By the way – we are always interested in what you are doing out there –
either if these are pictures of you and your projects or something else
you would like to share with the rest of our big MA family. Please visit
our Facebook channel and share it with us:
I internal matter I
A valuable time
MA distributor summit in Paderborn
Over 50 participants from all over the world joined the MA Training
Week in Paderborn and took the time to discover the powerful features
that the MA System has to offer. In spite of the freezing cold tempera-
tures outside, all attendees quickly warmed up to the training contents.
The topics covered included the grandMA2 software updates, the brand
new MA onPC command wing and various service trainings.
Additional location in Germany
MA University training programme at Lightpower, Paderborn
From the beginning of September 2011, MA Lighting, its German
distributor Lightpower and the media academy once again offer all
current and upcoming grandMA2 users in Germany access to the
renowned MA University training program in Paderborn. This is in
addition to the training program that is offered in cooperation with
the media academy in Berlin, so customers now have an additional
choice of location to visit for their training.
MA online tip
All training dates are published on the Lightpower Website
(www.lightpower.de). More information about the MA University can
be found there as well, together with full details of the training, including an in depth explanation.
Stay in touch with MA
www.ma-share.net
You can find us in the web also on YouTube, Twitter and Facebook.
Have a look at:
Do you already know the MA share-net? It was founded to let all
grandMA users help improve the quality of the fixture libraries in the
grandMA series of lighting consoles.
You can use this forum to download fixture libraries that might not
yet be ready in the latest desk software, or if you don't find what you
are looking for, you may create a new file yourself and then upload it
together with your comments/info on the file.
www.youtube.com/user/MALightingInt
twitter.com/MALighting
www.facebook.com/MALightingInt
21
I people I
Interview
MA Lighting meets Sha Xiaolan
Sha Xiaolan is the director of the China Stage Artist Academy
Lighting Art Committee and the top level stage designer for
Dong Fang Song & Dance Ensemble. In 2008, Sha Xiaolan was
the chief lighting director of the XXIX Beijing Olympics’ Opening
and Closing Ceremonies and the XIII Paralympics Opening and
Closing Ceremonies. For his involvement he was awarded the
Beijing Olympics and Paralympics Special Honor Award issued by
BOCOG in September 2008. In 2010 Sha Xiaolan worked as the
chief lighting designer for the Opening and Closing Ceremonies
of the 16th Asian Games in Guangzhou as well as the Opening
and Closing Ceremonies of the Shanghai Expo. Sha Xiaolan was
awarded the Scientific and Technological experts title issued by
the Publicity Department of the CCP Central Committee in 2009.
Furthermore he received the ‘Wenhua Prize’, ‘Five Top Project
Award’, ‘Gold Eagle Prize’, ‘Starlight Prize’ and ‘Lotus Award’.
There are many projects running on MA Lighting products which
we cover regularly in grandMAgazine. In addition to the technical
realisation of these projects, MA likes to take a more personal look
at the people, their lives, ideas and aspirations. This time we met
Sha Xiaolan.
2. What/who has inspired you along the way?
I’m always watching and studying a lot of world-class dramas, song
and dance productions, operas and so on. I am deeply influenced
by these and they inspire me with a further comprehension of stage
art.
1. How did you first become involved in lighting?
In 1985, I attended Shanghai Theater Academy, and majored in Lighting
Design. That was the start of my lighting life.
3. What are the most memorable or enjoyable moments of your career?
The 8th August 2008, the moment when the flame for the 2008
Beijing Olympic Games was lit.
Paralympics 2008, Beijing, China
22
© Paul Collison
I people I
Olympic Games 2008, Beijing, China
4. Which show/event has been the most challenging or
interesting and why?
Again the XXIX Beijing Olympics Opening Ceremony. The games had
wide international influence and far-reaching significance.
5. Three best things about your job?
1. Meeting many nice people.
2. Forming a highly efficient team to co-ordinate the realisation.
3.Constantly meeting new challenges which makes every project
more meaningful.
MA Lighting International GmbH
Managing Director: Michael Althaus
An der Talle 24-28
33102 Paderborn · Germany
6. How do you imagine shows might look in 10 years time?
There will be more and more utilisation of multimedia technology and
virtual reality technology in our future performances.
7. If you were not working in lighting, what would you be doing?
I have never thought of that and I have no idea.
Tel: +49 5251 68 88 65-10
Fax:+49 5251 68 88 65-88
E-mail: info@malighting.com
www.malighting.com
“Characters build fine works, fine works reveal characters”
Sha Xiaolan
© MA Lighting International. All technical
specifications are subject to change without
notification. We do not assume liability for
any incorrect information in this magazine.
Version No. XII.01
23
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running a small club or theatre, want to join the huge grandMA2
family or simply look for a smart backup or preprogramming solution.
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MA Lighting International GmbH
An der Talle 24-28 · D-33102 Paderborn · Germany
sales@malighting.com · www.malighting.com