Strand Lighting

Price wherepurchasedUK £1.40USA $2.25

SEPTEMBER 1990 VOL.1 ISSUE 3

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CLIFF RICHARDLOOKING AT LIGHTS

SPECIAL PRODUCTS PREVIEW ISSUENEW FORUM FOR LIGHTING DESIGN

IN THISISSUE

3 TELEVISIONITN snaps-up EC9O

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INTERVIEW

PREVIEW

INTERVIEW

PREVIEW

See the full range ofStrand architecturallighting

FEATURE

SPOTLIGHT

tion of many others introduced since

the ‘Strand Spectacular’ event of three

years ago. Once again there are several

milestone products.Whereas Cantata with its new 1.2kw

lamp and unique rotating gate set new

standards for professional luminaires,

today the new Quartet stands set tofollow its illustrious Patt 23 and Pattern123 predecessors as a distinctive design

for the more compact venues.Strand’s new MX control desk pack

ages surface mount electronics withina sleek injection moulded casing, creat

ing a quality bench mark for memorydesks that are well within the budget of

most stage or studio venues. A MIDI in

terface enables musicians to call uptheir own lighting cues.

Strand’s Premiere control system nowgives the architectural designer asophisticated programmable solution todynamic lighting within the built en

vironment. And we chart the progressof EC9O, a true digital dimmer, as itbegins to enter service with the majortelevision companies and theatres.

Our technical feature looks at SMX —

a new digital communications protocol,which will be the essential link betweenthe control desk, dimmers and lumin

aires with the increasing deployment of

distributed intelligence. Also, we havenot forgotten the importance of studentdrama with productions and installations at schools and news from danceand theatre to round off this issue.

finally Lights!, once again is able tobring special offers to its readers in theform of stencils for lighting designersand a repeat of our popular sweatshirtoffer. See page 15 for details.

Who better to open this year’sPLASA exhibition in Londonthan that ageless performer

Cliff Richard? During his time as a singer, film, stage and TV star he must haveseen more light changes than most.

hen the English National Operaset off from its London base fora tour of Russia, the company

did so in the knowledge that Strandtechnology was travelling there andback with them — courtesy of Stranddealer Luff Light and Sound.

Luff supplied two Galaxy 2 systems.in specially-constructed rugged flightcases. The Galaxys themselves wereadapted to ensure they could withstandheavy-duty use on the tour.

The ENO divided its technical groupinto two teams. Playing venues atMoscow, Leningrad and Kiev; one teamremained with the Company, while theother went on to set up the next show.

GEMINI 2+S

ince its introduction at PLASAlast September, Gemini 2+ withits new Plus features has gone

from strength to strength. More Geminiconsoles have been installed this yearthan in any other in its history, including such prestigious venues as theRoyal Academy of Dramatic Arts, London, four systems into Canel Plus, Paris,

Ballet Opera De Lyon and BBC Studiosin Manchester and Birmingham.

Key to this recent success are Gemini2 + ‘s new features: 340 control chan

nels, dual colour video displays, increased system memory, non-dim

assignment in patch and others. A full

colour brochure and specifications are

available from your local Strand agent.• See Dancing The Light Away p.10.

Cliff will open the exhibition at Olym

pia at noon on Monday, September 10,

followed by a ‘walkabout’. The exhibi

tion actually opens on Sunday the 9th,

and runs until Wednesday 12th. (Photo

by Sue Andrews)

ONUSNEWS IN BRIEF

A ssue 3 of Lights’ u5my

FROM RUSSIAducts introduced this Autumn

and reviews the progress and applica- WITH LUFF

Lighting forum formed

Premiere — first word inarchitectural lighting

How the new Quartetrange was designed

12 PREVIEW

Designing-in reliabilityfor MX

SMX — the new lightingprotocol

SPECIAL OFFERS!PLUS — your Strandcontacts worldwide

Lights! is the official journal of Strand

Lighting Limited, Grant \Thv, Svon Lane,

lsleworth, Middlesex, TW7 5QD, England.

Telephone: 081-560 3171. Fax: 081-568 2103.

Telex: 27976. © 1990 Strand Lighting Ltd.

Vol.1, Issue . ISSX 0958.’217

CLIFF SAYS: LOOK AT THE LIGHTS

Editorial adviser: David Brooks, RSc., cfng, MIff, DMS.

Edited, designed and produced by: Ledger Bennett Communications Group,

HayWoOd House, Lake Street, Leighton Buzzard, Beds., LU7 8RS, England.

Printed in England.

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HERE IS THE NEWS...ITN HAS INSTALLED AN EC9OD trand’s revolutionary EC9O

dimming system, reported extensivelv in the last issue of

Lights! has taken off in a big way, withthe first major order going to Independent Television News for its new studiosin central London.

The studio, on the site of the formerTimes building in Grays Inn Road, isdue to open on Christmas Eve. Themove from ITN’s existing four sitesaround Wells Street marks the dawn ofa new era for the company, which isnow committed to becoming ‘muchmore commercial’ in its business approach. This means that the company’sstudios have to be of a sufficiently highstandard to allow them to be hired outfor independent productions.

Within the new complex, ITN willhave four studios, two of them both260m2 in area. ITN already uses aGalaxy 3 system and an M24 and iscommitted to a policy of continuing upgrading of facilities.

Given that the basic business of ITNis gathering and presenting news, heavyinvestment in a system such as EC9Omay, on the face of it, seem excessive.Yet when you consider the scope ofproblems the production team is likelyto face, it quickly slips into perspective.

‘WE ARE IN THE BUSINESSOF LIVE TELEVISION ANDALL THE ATTENDANT PROBLEMSTHAT BRINGS

ITN employs about 1000 people andin addition to its central London headquarters, has bureaux in the UnitedStates and Moscow.

Project engineer Phil Holland explained, ‘The very nature of newsmeans that you never know in advancewho is coming in for an interview. Thispresents a host of technical problemswhich have to be dealt with.

‘For example, we do not know untilthe last minute if the people coming inare black, white, bald or what colourclothes they are wearing. We are in thebusiness of live television and all the attendant problems that brings. Duringthe course of a day, across the network,we are presenting a total of eight hoursof live television.’

The point was expanded by BuildingServices Manager Jim Mitchell. He said,

‘Very often when they start running thenews they do not know how it is goingto finish, if a late news item comes in.This presents problems which need arapid response, since it is livetelevision.’

There are enormous changes aheadin the broadcasting environment withthe passing of the Broadcasting Bill.ITN will be a profit centre and is confident that it will continue to be the mainsupplier of the news for ITV.

Jim Mitchell, who is overseeing thenew technical installation, said, ‘Wehave just got to run as a commercialenterprise. The philosophy is that if wehave a studio, then we will use it.’

In ITN’s case it was a question ofperfect timing that presented the opportunity for EC9O. The company wasin the process of concluding a new contract for PIP dimmers but because EC9Owas at that time in an advanced stage ofdevelopment by Strand R + D engineers,Strand’s Alan Luxford suggested that itmight be more suitable.

‘THERE IS NO DOUBT THATEC9O IS REVOLUTIONARY. WEWERE STAGGERED BY ITJ

Working at such a frantic pace, ITN’smost urgent problem is the lack of timefor experimenting with lighting levels.Any alterations to the lighting oftenneed to be immediate and exact, whichis where EC9O comes into its own.

Phil Holland explained, ‘The beautyof the EC9O system is that, for example,if there was a news flash, then someonecould walk into the studio withoutknowing anything about the Galaxy

and just push a button in the back-upcontrol station and there would be apre-set fade for them.’

But the Strand involvement did notstop at merely providing and installingthe necessary hardware. For withStrand’s in-house expertise, the company was able to assist ITN’s ownengineers in designing the new studios,and worked closely to devise the layoutand technical configuration.

The changeover from the presentstudios at Wells Street to Grays Inn Roadwill be a masterpiece of organisation.Throughout the move, the ITN bulletinswill keep on the air at regular intervals.

ITN’s existing Galaxy 2 system is being up-graded to a Galaxy 3, with a faultreporting facility. This allows theGalaxy to receive a constant up-datefrom EC9O about faults, should they occur anywhere in the lighting system.The existing PTM dimmers, installed byStrand in 1968, have been up-graded.

Jim Mitchell explained, ‘The wholeapproach to lighting has changed in recent years. The younger ones who arefar more adventurous are coming to thefore now. The change has come aboutin the last 18 months and it is mainlydue to the fact that new technologygives lighting designers new ideas.

‘As far as EC9O is concerned, there isno doubt that it is revolutionary. Wewere absolutely staggered by it.’

The first programme to go on air using the EC9O system will be Channel 4news at 7p.m. on December 24th.

•Jutia Somerville — as seen on screen.

• New orders for EC9O systems have nowbeen received from London WeekendTelevision and from BBC South West.

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SET UP WITH THEINTENTION OFBECOMING THEPROFESSIONAL BODYAND VOICE FOR THELIGHTING INDUSTRY, THELIGHTING FORUM ISGAINING GROUNDRAPIDLY, PARTICULARLYIN THE ARCHITECTURALFIELD. HERE WE FINDOUT WHAT IT IS ANDWHAT IT DOES.

LIGHTING EXCELLENCEny profession worthy of thetitle needs an official governing

-a body to act as both its mouthpiece and its watchdog.

Although there are separate associations for lighting designers and lightingmanufacturers, there has not, untilrecently, been an association that encompasses the lighting industry as awhole. But when you consider thatlighting is one of the younger professions, having made the quantum leapfrom the almost-dark ages to the age oflight in little more than a hundred years,this is not so surprising.

The Lighting Forum was establishedfour years ago by lighting designers andconsultants as a totally independentassociation in Britain. Its principal aimis ‘to advance and stimulate lighting excellence’.

Current president of the LightingForum is Peter Hucks, senior lightingdesigner at Lighting Design Limited,based in Hammersmith, West London.

He explained. ‘What we wanted todo was to bring lighting designspecialists into closer contact with thelighting industry and to provide clientswith a both’ to advise them on suchmatters as terms of engagement, ethics

unashamedly on architectural lighting.He went on, ‘Lighting designers often

have to go through the whole designprocess with architects to get them toappreciate what we are trying toachieve. We provide expert support tohelp architects become more efficientwith their designs and more effectivewith their lighting solutions.

‘Our intention is to broaden thescope to include all aspects of lightingdesign, including theatrical, film andtelevision.’

Further credence is given to the workof the Forum by the fact that it is affiliated to the Chartered Society ofDesigners, who indeed nominally‘house’ the Forum and provide it witha headquarters in Bedford Square,London.

‘Links with the Chartered Society ofDesigners are proving invaluable,’ saidPeter. ‘Its Colour Group — which meetsto forecast trends in colours for product. industrial and commercial design— is. for instance, in discussion with usto establish joint seminars and projectson the effects of lighting on colour.’

In line with the professional statussought by the Forum, the long-term aimis to establish it on a par with the RIBA.

TFOI

and professional practice. Prior to theForum we operated without anygeneral set of standards to work to.

‘An important benefit of the Forumhas been the opportunity it has givenlighting designers to meet with lightingmanufacturers and other designdisciplines to swap ideas and to discussfuture trends and needs.’

So far the emphasis has been

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Plans are in hand to devise a practiceboard, bearing the Lighting forum logo.This would be displayed on constructionsite hoardings, alongside the boards ofarchitects, engineers and surveyors.

On the educational side, plans are alsobeing finalised for a BTEC course inlighting, leading to a nationally recognised qualification within Britain withthe Wimbledon School of Art being thefirst venue. The curriculum for the courseis currently being formulated.

LAS PROFESSIONALS WE ARETHERE TO BE AS HELPFUL ASPOSSIBLE TO OUR CLIENTSJ

for the time being, the Forum sees itsprincipal role in the promotion ofprojectexcellence, and on a more mundane level,as a clearing house for enquiries. Architectural practices, for example, can contact the Forum’s information officer,Diane Goslar, or the Chartered Society ofDesigners, for advice on lighting designers who are members of the Forum.Architects and designers can then selectthe most appropriate member from listsgiving profiles of the individuals andpractices.

As professionals we are there to be ashelpful as possible to our clients to ensuretheir projects are successful. Sometimeslighting designers don’t discover theextent ofthe role they are expected to playin a project until they receive the 1:50scale drawings. This can be a problemwhen estimating the fees. However, we

have to give the best to our clients andbear in mind the whole time that we alsohave to relate to the end-user, and meet hisneeds as well,’ he said.

It is a philosophy which obviouslyworks. Peter has found that on thestrength ofthe workhe has carried out forone client recently, two further projectscame his way.

However, for the foreseeable futurethere will continue to be a gulf betweenarchitectural lighting and theatrical/filmlighting. It is, quite simply, a matter ofmoney.

As Peter explained, ‘On the architectural side we are used to workingwithin very strict budgets. I think we areprobably more inclined to look for value

for money and the maintenance aspectwhen we start on a project.

‘What we found with the theatricalside is that designers tend not to look atthe sharp end of the business. They justdon’t have the hard and fast rules wenormally have to abide by.’

‘WE ARE INCLINED TO LOOKFOR VALUE FOR MONEY WHENWE START A PROJECT J

Nevertheless, members of the Forumare doing their best to find commonground between all branches of thelighting industry, in the belief that allthose who earn their living from lightingwish to see it raised in status and thestandard improved. ‘Eventually we hopethat the divisions which currently existbetween the various branches of theindustry will vanish.’

The Lighting Forum can becontacted at:

29 Bedford Square,London WXIB 3EG on

071-631 1510, orcontact Diane Goslar on

071-359 8783.

• Guildford Business Park, Surrey: Metal halidetights are used to highlight theflat white elevationsat night. This contrasts with the daytime scenewhere the blue-tintedglass cladding isdominant.

• Whi tebrook Park, Maidenhead: Metal halide down lightsprovide general lightingfor the receptionarea to give an overallfresh, cool white tight. Photosprovided by Lighting Design Limited.

• Hotel Conrad, Dublin: Low uoltagefittingsgivean extra depth by uplighting the barrelvault ssteelribs and downlighting theplanting on the steps.

Members of the Forum includeconsultants such as: Lighting DesignLimited and The Lighting Practice, whileaffiliates and ‘friends’ include StrandLighting, Building Design Partnership,YRM Engineering and Middlesex Polytechnic.

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p

espite the variation in lightingcontrol boards, they all haveone important factor in com

mon. An operator.For designers working in architec

tural environments, creating dynamiclighting solutions requires the ability tocreate and record lighting scenes withsophistication equal to those of anentertainment board. However, thereplay of cues is not in the hands of anexperienced operator. Instead, it will bethe user of a building, perhaps a waiterin a restaurant, the hirer of a functionsuite, or the building janitor whopushes a button to recall lightingscenes.

Lighting designers often interpret thearchitects’ concepts in the design office,probably working from plans ratherthan within a completed building. Acontrol system which combines thecapability for imaginative lighting withsimplicity of use is called for. Premiere— a new concept in architecturallighting control — is Strand’s answer.

THE DESIGNER’S VIEW

Creativity is the key to Premiere’s appeal to lighting designers. Because of itsversatility, the lighting designer is ableto allow his creative skills free reignwithout many of the constraints imposed by standard preset programmablesystems. Stations can be changed ornew ones added at a later date, withoutwiring changes. Detail programmingdecisions can be taken in advance of installation.

Sitting down at a Personal Computer(PC) in the design office, rooms can beassigned and labelled, the channelsidentified, lighting intensities set, andput into presets, operating times decided and the data stored on a 3 ½ inchdisc for transfer to the system’s programme module. Of course on site, thedesigner may wish to make a fewchanges once the real circumstances are

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viewed. No problem for Premiere, asthe program can be modified there andthen, from a remote hand-held terminalwithin the room, by using an off-linePC, or by a command station whicheven prompts the user through the reprogramming steps.

Flexibilit combined with simplicity;Premiere provides the means fordesigners to realise lighting effectspreviously too complex or expensive toachieve.

THE TECHNICAL OVERVIEW

Premiere is a series of standard components linked together by a Local AreaNetwork (LAN) to create customisedlighting control for any building application. From hotels and restaurants,churches and cathedrals, to museums,theme parks and conference centres,Premiere can be planned to meet architectural lighting control needs.

Premier’s C-LAN (Control — LocalArea Network) is a 4-wire low voltageconnecting data highway, carryingdigital information; either the advanced SMX protocol or DMX5I2, betweena central systems processor, remote control stations and dimmers supplying thelighting loads or relays in a buildingmanagement system.

Control stations can be wired on tothe C-LAN in ‘daisy-chain’ or star configurations and, because it is a 4-wirelink, station types can be interchangedor added for system variations or expansions during the life of the building,without the need for re-wiring.

Heart of the system

At the heart of Premiere is a central processor module containing the systemconfiguration which co-ordinates theoperation and supervision of dailyoperations and diagnostics. Controlsystem functions such as presets, labelsfor pushbutton LCD displays and cur-

rent operational status originate fromthis central processor and can be additionally monitored by a remote PC orBuilding Management System.

The initial configuration of thesystem can be done in the field or on aPC running MS DOS 286 and thendown loading the configuration via theoptional 3½ inch floppy disk whichcan also be used for library storage. Theuser can, at any time, modify the current operation, presets and control stations on a real time basis.

The central processor possesses anastronomical time clock to execute fixed or variable event commands, which

ElNUMBER ONE INARCHITECTURAL

LIGHTING

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• The easy-to-use Premiere controlpanel showing lighting statesfor a variety of rooms.

can be programmed to occur on aspecific day or date. Commands can becopied on to other days or dates, eitherindividually or on a group basis, andtime offsets to deal with changes fordaylight saving (such as BST or GMT)are included.

Each processor has 128 channelsavailable which can be divided acrossup to 32 independent rooms, with eachroom or area having up to 128 presets.The system is capable of driving up to512 dimmers, or 96 dimmers for asmaller system.

Presets can be manually played backby pushing control station buttons, orautomatically programmed using theprocessor events clock. Each preset canhave an individual fade up or downrate. They can be linked together for‘Looping’ effects with programmabledwell times. These ‘looping’ effects canoperate singly or continuously. Fadeand dwell times can be programmed inone or two ranges — from 0.1 secondsto 30 minutes or 30 minutes up to 9hours in 1 second increments.

In order to identify channel, room,individual preset or groups of presets,eight character descriptions can beassigned which appear on the set-upVDU monitor during configuration orat LCD (Liquid Crystal Display)Premiere control stations.

Premiere has programmable groupfunctions or ‘macros’, each consistingof up to 50 steps. These macros areglobal, affecting control across the entire system, selected subordinate groupsof rooms, or individual areas.

The macro functions can be initiatedfrom control outstations, system timeclock, supervisory PC or from otherdevices via the system RS485 Ethernetcompatible input. The latter, for example, from a supervisory BuildingManagement System (BMS) computer.

The ability to divide or combinerooms, for example in a hotel conference suite with partitions, is achieved by the systems’ ‘Combine’ or ‘Link’modes, which can be manuallyoperated from the room partitionswitch panel, or by micro-switcheslocated in partition walls.

Another useful feature is an inputreceptacle for a telephone modem,which can give remote or off-site accessand control of the operating system.

Visible fastenings banishedApart from the visual effect of the programs within the lit environment, control stations are usually the only visibleelements of any architectural controlsystem. For this reason, the designshould be elegant and functional.

Premiere stations all have a clean softwhite fascia, with all visible fasteningsbanished. They are available in varioustypes, combining low profile push buttons and theatrical style faders. Thinred lines, which are illuminated byLEDs on selection of a function button,give ‘at a glance’ reference to the current lighting state or assist in locatingstation positions at low ambient levelsor in blackout.

Each control station possesses itsown independent address on the C-LAN, set by a rotary dial on the back ofthe station, with up to 16 stationsallowable on each C-LAN. Control station operation functions are set up during the system configuration. Programmed assignments may be allocatedto each station in groups or ‘templates’of up to 16 functions. Again, thesetemplate groups may be manually activated at a local control station, orautomatically by the system time clock.

Master stations have a 10 key numericentry keypad to address channels,presets, rooms, channel levels and to settime clock functions. There are a further six function buttons provided tooperate programming commands.

Programming actions are shown on a16 character back-lit LCD display. Portable programming stations enable alighting designer to set up ‘looks’within the space he is lighting.

Other Premiere stations include awide selection of familiar features —

combinations of faders with presetpushbuttons, ‘raise’ and ‘lower’ and‘ON/OFF’ functions, plus key switchoptions and special devices. A new LCD

display station has eight push buttons,each of which can have a 16 characterlabel or description assigned to it.

PREMIERE FEATURES:• Addressable stations up to 16on each control line• Wireless control options

2 twisted pairs of wire for upto 16 control stations• PC compatible, configurationand real time monitoring• Client billing, monitoring• Astronomic Time Clock• Controls up to 512 dimmers• 128 channels• 128 presets per channel• 3½ inch floppy disk storage(optional)o Screwless faceplates• 32 rooms of control per programmodule• 10 Year Memory Loss Protection• Photocell option• Controls any type of dimmer• Occupancy sensor compatible• Control Station Templates• Two simultaneous fades perroom• System Master Control• Modem/Telephone (in ModulesP-200/P-2020)• Compatible with 256 relayPowermaster System• RS485 Interface for BMSInterfacing

Premiere is already in use in theMoscone Center and the SheratonPalace Hotel, San Francisco.

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• Premiere configuration — screen displayfor station assignment.

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WHERETHERE’SWILL

THERE’SA WAY

QUARTET - THE DESIGN STORY Of STRAND’S NEW LUMINAIRE RANGEn the world of industrialdesign, one thing you can counton is variety. Not only do you

have to find practical solutions toclient’s problems but you have to endup with a product which is aesthetically pleasing. Enter Will Bentall.

Will is a senior partner with LondonAssociates and in recent months hasbeen tackling the design problemsassociated with an injection-mouldedcat feeder, an exhibition hall whichfolds out of an articulated trailer,surgical lasers and, most importantly, anew luminaire for Strand, the Quartet.

So how is a luminaire designed? Howmuch market research is carried out todetermine need and how does the basicshape evolve, let alone the workings?

Will explained, ‘We like to becomeinvolved in a project as soon as possible — in this instance, it was as soon asStrand’s R+D team knew what the optical path would be.’

In the case of the new Quartet range,the optical design has been basedaround a 650W lamp. It will replace thewell-known Minim range, which hasbeen limited to use with a 500W lamp.

Quartet project leader, George Patterson, is a member of Ian Thompson’sR+D group at Kirkcaldy and prior toLondon Associates design involvementhad already determined the fundamental optical arrangement and would laterbe responsible for the development andtesting of every aspect of the product.Not only did optical systems for fresnel,prism convex and profile versions haveto be developed, but thermal considerations, electrical safety and mechanicalfeatures alt needed to be explored and

proved before the first prototype couldbe built.

The market for such a luminaire isseen as small theatres and schools.What was needed was something tocapture the affection of the lightingworld, in much the same way as the oldPattern 23 and 123 luminaires had donein the 1950’s.

Naturally enough, this called for totalco-operation and constant exchange ofinformation between Will and theStrand R+D department in Kirkcaldy,Scotland, where the practicalities hadto be assessed and workable solutionsfound.

Will began the design with basiclayout drawings of the optical systems.

He said, ‘I have to imagine it as anassembly. In this case it was to be arange of products, of which there arefour, so four sets of information wouldbe needed.

‘As soon as we know the requirements of the various pieces westart to discuss how the range of products is broken up into components.We managed to get one lamp housing tosuit the whole range.’

To illustrate the complexity of theproblem. Will produced an explodeddrawing to demonstrate the complexity of the assembly and the vast numberof parts.

One of the instructions from Kirkcaldy was to reduce greatly the numberof components in the new luminaire.

Will explained, ‘We had to stand backand concentrate on making four different items in one product range.’

The result was that all four luminairesin the range have a common lamp-

house. Having the same rear end meantthat the production line would be taking large volumes. This allowed the production team to allocate a biggerinvestment in tooling for the lamphouse components than would otherwise have been possible.

Varying methods open to the team included: die casting, extrusions ormouldings. The final decision was toopt for aluminium die-casting for therear end and extrusions for the front.Having settled this point, the next stagewas to look at the end-user needs andthen work as much of that information

• Wilt Bentatt

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and detail into the die-casting as possible, to cut the number of basic nuts andbolts. Production manager BillCrawford’s role in the Strand team tookon a special responsibility for planningthe introduction of Quartet into production at Kirkcaldy.

Strand’s product manager for Quartet, Mike Cawte, said, ‘There was a greatdeal of teamwork throughout the project. It wasn’t just a question of Willproducing the design and handing itover to us. We were constantly back andforwards, sharing ideas.

‘Every credit must be given to theR+D team who not only provided avaluable input in the initial creativestages of Will’s work but then went onto take total responsibility fortranslating the agreed design into theproduct you see today.’

I THERE IS NO REASON WHYA BEAUTIFUL PRODUCTSHOULDN’T BE CHEAPER THANAN UGLY ONE AS LONG AS IT ISWELL ENGINEEREDJ

Prior to producing scale woodenmodels to use in the final debate onphysical appearance of the Quartet,Will spent many hours talking tolighting technicians and seeing at firsthand how they handle lamps in a working surrounding. This information wascrucial in deciding, for example, howthe housing would open to allow lampchanges.

Will explained, ‘If you have a seriesof products on the market with similaroptical properties you have to provethat your product is better than someone else’s. The luminaire has to survive on a number of points. Above allit has to be good at getting the light onto a stage. If your luminaire doesn’t lookas good as someone else’s, then peoplewill make a very quick judgement.

‘A similar judgement can be made if

the price is too high. The whole time inthe design stage you are literally working to design money Out of it.

‘There is no reason why a beautifulproduct shouldn’t be cheaper than anugly one, as long as it is wellengineered. We also wanted to thinkthat in five years time, the StrandQuartet will still be the one that peoplewant to pick up.’

As to the overall shape of the newluminaire, Will said, ‘A lot of the shapehas come as a result of the lamp traypivot point and the need for easy lampreplacement when up a ladder.

‘The ideal pivot position will provideclearance for lamp and other components and happens to be located inthe cooler lower part of the lamp tray,providing an ideal position for incorporating the handle.

A plastic moulding was determinedas the most effective way of isolating

the operator’s handle from heat andpower, allowing air to circulate aroundareas liable to retain heat and providinga suitable access point for the cable.

Given that there is so much inputfrom Strand R + D staff, why use an outside design consultant?

Will explained, ‘One thing we arevery good at is visualising the end product, while someone who is working indetail the whole time can find it difficult to stand back and take an overallview. Then if you change one thing onthe design the effect on other components can be co-ordinated. The arrangement worked very well withoutcompromising the design.’• London Associates have won a major design award this yea the BritishDesign Award, for their work on thenew Planet Safe for Chubb. This is afire and security safe weighing half theamount of traditional safes.

QUARTET - A LOOK AT THE FINER POINTS• Quartet sets new standards inluminaire design and construction

• Exciting style derived fromergonomic and operationalrequirements

• Designed to conform to IEC 598— 2.17, the international standardfor luminaire safety

• Bridges the gap in performanceterms between Minim — which it

replaces — and Prelude

• Outstrips Minim in terms ofquality and features

• Available in four models — 2 2/40Variable Profile Spot; 250 FixedAngle Profile Spot; Fresnel and PCSpot

• Profiles fitted with beamdistribution adjustment

• Smooth lens adjustment

incorporating unique toggle-actionlocking, is fitted to profiles

• All models incorporate anintegral handle arrangement inadvanced engineering plastics toprovide a comfortable operatingtemperature and access for inputwiring

• Handle pf)sition provides pivotpoint for lamp tray to give excellentaccess for lamp replacement

• Strand’s design team: draughtsman Dougie Hunter (left) and design engineer GeorgePatterson on the CAD system.

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The Northern Ballet’s UKtour earlier thisyear wascarried out with the aid ofa‘touring’ Gemini 2 + system,plus a designers riggercontrol. 156 ways ofAct6muxoutput dimmers werepackedintofive dimmerflight caseswith their own mainsdistribution and built-in deskdistribution system. Thisallows desk and dimmers to beused anywhere in the world.

The Gemini 2 + was handedover to the company white atSadlers Welts, London andbecame afirmfavourite withthe Ballet’s 150-strongtechnical team.

hen in doubt ask the expertsthat is the maxim which

has paid off handsomely forSwansea’s Grand Theatre, where existing Strand Lighting controls have beenupgraded to make the theatre one of themost technically advanced in Wales.

When the Grand’s Galaxy controlsystem became due for re-evaluation,theatre technical staff, working inconjunction with Strand distributorLight Relief, of Cardiff, carried out astudy of theatres to see what wasavailable on the market.

The conclusion they reached wasthat the best solution would be to upgrade the existing system to a Galaxy 3.Existing Strand Permus dimmers havebeen converted by Light Relief to amultiplex operation and additionaldimmers can now be provided on stagefor complex productions.

ritish television’s annual chariB ty fund-raising marathon, theTelethon, staged over the May

Bank Holiday weekend, owed itslighting excellence to a large input fromStrand dealer Luff Light and Sound.

The Telethon, which involved con-

The Grand’s refurbished system nowincludes: theatre and standard playback, programmable effects, 20 presetmasters, an alpha keyboard, twin colourVDU’s, a printer, twin output modules,twin channel modules and full back-up.

One of the benefits of the Galaxymodular approach is that the system hasthe ability to be upgraded and reconfigured. It can also be expanded tocontrol PALS fixtures and colour changeunits.Note: The Grand Theatre, opened inJuly 189, is considered to have had‘the longest and most distinguishedhistory ofalt Swansea theatres It hasbeen home, at various times, toproductions including Sir HenryIrving, Ivor Novetto, Jessie Matthews,Kenneth Williams, Richard Burton,Edward fox, Pat Phoenix andMarianne faithJull.

tinuous live television, was staged at theLondon Arena.

Luff Light and Sound provided24-hour a day cover from its technicalstaff on-site.

Lighting control was by way of144-channel Galaxy system.

DANCING THT THE GALAXY LOOKSLIGHT AWAY GRAND IN SWANSEATaking a show on tour andmaintainingyour normalhigh standards oflightingcouldprove difficultfor eventhe most experiencedCompany. fortunatetyfor theManchester-basedNorthernBallet Theatre, it is aprobtemthey have overcome, withStrand expertise.

• Aspart of the customer service, Strand representatb es ran a fam itiarisation ‘ coursefor technicalstaffto explain hon the new lighting controls can be used to maxim uni effect.

• Graciela Kaplan and FrancescoVitticich trip the tightíantastic in theNorthern Ballet Theatre’sproductionofLiaisons Amoureuses. TheCompany’s tour ofthe UK, with its newStrand ‘touring’ Gemini 2 + systemincluded a performance before HRHThe Princess of Wales. Lighting designtt’as by Paul Pyant.

TELETHON STINT FOR GALAXY

to

HOMING-IN ON THE RANGED verything you need to launch

your architectural lightingschemes into the 1990’s —

that’s the promise with this, our currentrange of dimmers, control stations andluminaires.

From left to right they are:Back row: 20 Amp Unidim; 5A

Microdimmer; fluorescent Multi-

dimmer (manual); 20A Microdimmer;tungsten Multidim (preset) and the StalkSpot with ‘saucer’ attachment.

Middle row: Finesse dimmer; 3-gangfader; 1-gang rotary; 1-gang preset;6-gang fader and master; 6-gang preset;Microdimmer preset and 4-fader; takecontrol and infra-red receiver; and aninfra-red transmitter.

Front row: preset select and bar-graph; Minicube; Bullet; Minispot profile, with an example of a dichroic 12Vlamp, Minispot ‘barndoor’; EyeballSpotlight; Cube Spotlight, and a ‘wall-washer’ downlight.

For more information on these products, please complete the relevant cardat the back of this issue of Lights!.

A MIDSUMMERLIGHTS DREAMA new Strand lightinginstallation at aprivate schoolin Buckinghamsbire is soadvanced that it’s now on a levelwith manyprovincial theatres.

Now the investment by theschool in new technology isbitmediately starting topay offfor already Marshalls, theamplifier and loudspeakermanufacturers, have hired theschool’s baltfor apromotionalevent and the school has stageda successfulproduction ofAMidsummer Night’s Dream,using the lighting tofulldramatic effect.

school with about5O girls and260 boys. There is also apreprep school, so the complete agerange ofthepupils isfrom threeand a halfto thirteen and a halffrom there, by way oftheCommon Entrance Exam, pupilsgo on to schools such as Oundle,Bloxham, Rugby, barterbouse,Stowe, Harrow and Eton.

Strand representative BrianMyers was on hand to giveexpert advice which led to theschool installing Tempuscontrols and dimmers, plusfourbars oftuminaires.

English and drama masterPaul Wakefield explained, ‘Wefeet that we areprobably theenvy ofmany schools now, withsuch aprojessional lightingsystem installed.’

Swanbourne House school wasfounded in 1920 by aformerhouse master at BradfieldCollege, Lionel Evans. On anestate owned by Cdi: Jobnfreemantle, son ofLord Cottestoe,it is now a co-educationalprep

II

THE MX RANGE IS STRAND LIGHTING’S LATEST TWO SCENE PRESET-i-MEMORY CONTROL BOARD. A NUMBER OF SPECIFIC DESIGN GOALS WERESET FOR THIS RANGE. IT SHOULD BE: SUITABLE FOR USE IN ALL COUNTRIESWITHOUT MODIFICATIONS; SIMPLE TO OPERATE; POWERFUL; RELIABLE ANDVALUE-FOR-MONEY. HERE WE SEE HOW...

RELIABILITY IS A DESIGNER FEATUREesigning a manual/memory

I control desk for use in smallervenues presents the engineer

ing team with a host of problems.Such a board must be capable of doingmany things while remaining virtuallyfoolproof and totally reliable at alltimes.

Building-in the many features thesystem needs is relatively simple.Designing-in reliability is another matter. And yet reliability is the feature ofStrand’s new MX range which crops uptime and time again.

But first — what is the MX range andwhat does it do?

Its role is to meet the need in themarket for an international-standardversatile board suitable for smallervenues such as clubs, pubs, studios andtheatres. It blends both manual andmemory controls in one easy-to-usesystem.

Not surprisingly, it is the smallervenues which often have to ‘accommodate’ — although until now, ‘suffer’might have been a more appropriateword — the widest possible range ofacts and uses, often at the hands of avariety of operators with varying levelsof experience.

This is where MX comes into its own.Part of the design brief was that MXshould be simple to use and international in operation. Software includedas a standard package with MX comesin English, French and German; it isversatile enough to offer up to 48 channels of two-scene preset faders, electronic patching for up to 512 dimmers,allows rapid recording of up to 192memories in four pages and has 24 realtime programmable effects.

One of the biggest boons for the‘small band’ level of use is that a MIDIinterface allows the playback of lightingstates and effects from musical instruments. Performers can pre-set theirown lighting ‘looks’, without the needfor a lighting operator.

While they play their music the MIDIsignals may control changes in lightingrather than just the music beat, which

until now has been the norm in discosand concert halls.

As for the reliability of MX, this wasdesigned-in at the earliest possible moment, with each component part beingexhaustively tested even before theR+D stage was completed. This ensured that when MX was finally puttogether, there would be no questionmarks over the reliability of any of theelectronics.

The product specification said thatthe switches had to operate mechanically and electrically for at least 1 millionoperations.

A test was carried Out where a sample of ten of each selected switch wassystematically bashed with solenoidsfour times a second until destruction. Atight mechanical size criterion limitedthe range to approximately half a dozentypes. Most were expected to last thenight. Only two did. Some fell by thewayside before a tenth of their specifiedlife. Fortunately there were survivors.The type selected in fact lasts over twomillion operations before destruction.

FADERSThe faders were also required to operatethrough a long trouble-free life. Thetarget here was 100,000 full cycles. Aruthless test treadmill was constructed.Several samples of the type selectedwere cycled for days on end. Unfortunately during one test, in the middleof the night, the test rig seized. The rigwas worn out, but proved that thefaders would last around 250,000operations before giving up. Even onceseized they still work electrically!

ELECTRONICSMuch is written about the perils ofunreliable electronic systems and the effect of electronic smog. The impendingEC legislation in 1992 is anotherpressure to build reliability and electronic cleanliness into our products.

The main threat to a lighting controlsystem is from mains-borne interference. This can be aggravated whenthe dimmers are placed close to thecontrol, and connected to the same

U Built-in reliability — the MX control board.

power outlet. Some countries and someinstallations are more troublesome thanothers. Knowing that MX would betoured from venue to venue, country tocountry throughout the world, R+Dengineers needed to exceed the absoluteworst of all conditions.

Conveniently Strand can reproducethese environments in the lab. Theenvironmental specification (based onIEC 801-4) stated that tests had to exceed2000 volts ofverv fast risetime transientson the mains connected directly to acomplete system, hooked up to dimmers.

During the test, special precautions aretaken not to shut down the wholecompany by upsetting every computer inthe building! The specification, ifexceeded, makes the unit almost totallyimmune.

Should there be realty seriousproblems, causing everything in sight tofail, many safety features are incorporated into the electronic design.

There is the ubiquitous watchdogtimer, which the software has to ‘kick’several times a second to prevent theprocessor from being reset, and moreimportantly, a unique memory lockingfacility, which actually prevents theprocessor from scrambling the valuableinformation that has been recorded.

Furthermore, in the event of this databeing corrupted, the user is informedbecause each scene etc is individuallychecksummed. Every time you switch onMX, it checks the validity of the storedinformation.

The other main electronic assistance isprovided by comprehensive powerfailure detection circuitry. This ensuresthat the processor is always warned ingood time if the power droops or failscompletely, allowing it to ‘cleanup’ after

itself, leaving no tasks undone when thepower is restored. These are justafew ofthe special features ofMX.

One important feature of the controlPCB is that the majority of componentsare surface mounted. This assemblymethod was used for two reasons:

Firstly using conventional methods itwould have been impossible to pack thefunctionality of the control section intoone PCB; this would have made manufacturing and assembly more difficult,and affected reliability through use ofmore interconnections.

Secondly, this method ofmanufactureis more reliable than conventionalmethods, because it is more difficult tomake a good surface mount PCB. A badone will never scrape through test,because it simply won’t work. Theprocess is therefore a catalyst for all sortsof quaLity control. These are, briefly, theuse of a BS5’50 approved process,automated assembl and automated test.

SOFTWARE

Reliability can be designed into softwaretoo. One of the keys to this was to adopta system design with easily understoodmodules and high level interfaces.

This goal was achieved by using the Cprogramming language and the debugtools on SUN workstations. Less than 1%of the code in MX is written in error-prone assembler, meaning that it could bedeveloped onaworkstation without thehindrance of the actual 1’IX electronics.

Approximately 11% of the total coderesident in every unit is purely for testpurposes. Most functions use the lowlevel interface software as well, so testroutines amount to quite a large total. Aswell as allowing the factory to test theunits thoroughly, the user may accessmost of these routines via the menu. Ifthere are any serious faults detected theseare logged and may be printed out,allowing us to track any faults quickly in

the field. Furthermore, 18 of the 32possible tests can be and are performedevery time the system is turned on.

The use of standard interfaces in thesoftware enabled Strand to compile easilythe menu software to run on a PC andsend demo disks around the world beforelaunch.

It was also decided to use the MS-DOSdisk format for the memory card, thebudget not, unfortunately, allowing theluxury of a real disk drive. This featuremeans that newer systems will not makeold data obsolete. Research shows thatthird party access to stored data is veryimportant for the customer. By using asuitable third party PC plug-in card drive,the user can access his data meaningfully.

FEATURES OF THE MX 12,24,48

•12, 24, or 48 channels of twoscene preset faders

QElectronic patching for up to 12dimmers

4)Flash buttons operate in solo,pile-on, or inhibitive modes, andat selected levels

4Split crossfader with LED display

ORapid recording of up to 192memories in four pages forplayback on scene masters or viathe Sequence Fader

OSplit time fader for timedcrossfades between two scenepresets and/or Sequence Fader

iLive or Blind memorymodification

Dunique ‘Hold’ feature for twoscene operation in combinationwith Scene Master operation

24 real time programmableEffects with pre-programmed orimprovised control

OPre-programmed Effect Typesincluding Chase, Build, Cycle,Flicker, Random and Audio/MIDIinput

MIDI interface permittingplayback of lighting states andeffects from musical instruments

GMenu driven 4 x 20 LCD hackiltdisplay

..)Software selectable multiplexedoutputs: SMX, DMX512, D54,AMX192 all included in thestandard console

ØOptional Memory Card forlibrary storage

QEnglish, French and Germanlanguage software included asstandard.

I MX LCD display

• Ricbard farthing, Project Team Leader

13

debate is taking place amongstan elite group of research anddevelopment specialists, con

cerning the future of communicationsstandards for professional entertainment lighting equipment.

To many interested lighting enthusiasts, the talk of data transmissionspeeds, refresh rates and the use ofvarious acronyms, may suggest the issueis merely of academic interest.

But ever since Strand’s David Bertenshaw presented his SMX paper, proposing a new digital protocol to the 1989USITT conference in Calgary, Alberta,the question of communications standards has taken on a new importance.So what is SMX and why do we need it?

SMX stands for Strand MultipleX, anew protocol devised by Strand’sBritish and American R + D experts andpublished openly as a specification forthe entertainment lighting industry toimplement. In simple terms, it enablesequipment such as dimmers, controldesks and automated luminaires fromdiverse suppliers to communicate or‘talk’ to each other. But why a new

standard?

INTENSITY

To understand this, consider howlighting control desks enable us to adjust intensity levels at all. At its simplest,an analogue system comprises a manualcontrol desk, wired by signal cable to adimmer pack, in turn putting Out a

variable voltage to power luminaires.Moving a fader on the control desk

will create a DC voltage output betweenO and 10 volts to control directly the firing angle of the dimmer’s thyristor andthe energy to the lamp.

It follows that each output will require its own dedicated wire to the dimmer pack. Fine for the smaller stage andstudio situations or for basic manual architectural control, but very clumsy forlarge numbers of channels. Enter themultiplex solution.

Multiplexing is a technique whichallows many electrical signals to betransmitted along a single wire in sequence. Signals representing differentdimmer levels can be transmitted oneafter the other many times a secondalong the same wire. The potential wiring nightmare is elegantly resolved.

With multiplex control, fader levelsare converted into multiplexed signalsby sampling each fader such that eachsample represents the intensity of thelight. These samples of each signal inturn are transmitted along the controlwire.

At the dimmer, a demultiplexer decodes the signals and routes the correctcontrol voltage to each dimmer sequentially. The rapid sampling of the dimmer signals ensures that lighting levelskeep up with the changes, as they arerequired; for example, for a fade orwhen a potentiometer is moved.

Between signals, the demultiplexerholds the levels so there is no flicker. Inevitably, the evolution of multiplexinghas resulted in different and generallyincompatible standards between manufacturers. Strand has used systems suchas D54 and AMX 192 for example.

UNIVERSALA move to regularise this potentiallychaotic situation and provide a universal standard for multiplex communication resulted in the USITT DimmerStandards Committee publishing DMX512.

The ready acceptance of DMX 512,particularly in the USA, has demonstrated the benefit of a common standard but its limitations are perhaps inherent in its intention of providing alowest common denominator solutionto digital communications.

Its original purpose, to provide adigital alternative to the analoguemultiplex scheme described above hasbeen well met. DMX 512 benefits havebeen an easier and more stable systemto install with greater immunity to noiseinterference.

However, despite the original designers leaving a ‘window’ open for expansion, its very focused goal as a console to dimmer link has caused severaltechnical inadequacies, leaving itunable to be developed for the changing needs of the market.

Its degree of precision, error checking capabilftv and security of communication, bandwidth options, bidirectional communication, logicalroom on the data link and message intelligence are all found lacking forvarious reasons.

PROGRESSThe need to overcome such shortcomings are found in progress with lightingequipment itself. We are no longer concerned solely with light intensity control — a single parameter. Motioncontrol for equipment such as Strand’saward winning PALS System demonstrates the need to control not only intensitv, but pan, tilt, focus and colour.And for automation to evolve, controlcapabilities must inevitably extend tomore functions.

Strand engineers have already publicly demonstrated the technical feasibility of hi-directional communication forPALS using the new SMX protocol. Increasingly the need to communicateback to the operator will be demandedin order to liberate the full performanceof new equipment such as Strand’sEC9O digital dimmers (see Lights!volume 1 issue 2).

In short, there is a need to communicate considerably more data; bothcommands to the lighting equipmentand status and confirmation reportsback. Such communication requiresrigorous standardisation in the protocols to carry the data, separated fromextensible protocols which allow current and future data needs to be addressed.

A standard which can handle thisnow and still be expanded for data requirements as yet unforeseen is thereason for SMX. As the debate continues to Britain’s PLASA conference,the universal adoption of SMX represents an opportunity to bring order tothe future development of the entertainment lighting industry.

,p60K

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ights! offers readers the chanceto buy designer stencils, an invaluable aid to drawing

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UNITED KINGDOM

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See insert card for order.

David Brooks, Strand Lighting LimitedGrant Way, Syon Lane, IsleworthMiddlesex TW7 5QD, United KingdomTelephone: 081-560 3171Telex: 27976. fax: 081-568 2103

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Rod Gilbert, Strand Lighting264-270 Normanby RoadSouth Melbourne, Victoria 3205, AustraliaTelephone: (03) 646 4522.fax: (03) 646 5020 (Int). (03) 646 6727 (Ext)

CANADAPeter Rogers, Strand Lighting2430 Lucknow Drive, 15, MississaugaOntario L55 1V3, CanadaTelephone: (416) 677 7130. 1-800-387-3403Telex: 06-968645. fax: (416) 677 6859ith the end of summer in sight

111J (at least in the Northern Hemisphere), here is your second

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Styled in the USA, the fleecy-linedolyester/cotton sweatshirt is availablein large sizes for that modern generouslook and is suitable for both men andladies. The specially-chosen ‘LightingCrew Red’ colour, plus the tastefullyhighlighted Strand Lighting and Lights!logos are sure to make you stand out inthe crowd.

To order, simply fill in the couponbelow, cut-out and send with yourcheque or postal order for £11.80 to:Sweatshirt Offer, Strand Lighting Ltd.,

FRANCEBernard Bouchet, Strand Lighting france S.A.26 Villa des Fleurs,92400 Courbevoie, Paris, FranceTelephone: (1) 47 88 66 66Telex: 611921 f/Strand f. fax: (1) 43 3371 75

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Grant Way (off Syon Lane), Isleworth,Middlesex, TW7 5QD.

Offer applies to UK only. Please allow28 days for delivery.

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tTo: Sweatshirt OfferStrand Lighting LimitedGrant Way (off Syon Lane)

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Please send me ‘Lights!’ sweatshirt £9.90 each, plus £1.90 eachto cover post and packing. Available to UK readers only.

I enclose a cheque/Postal order )r:

Cheque/P.O. No (Block letters please)

Name:

Address:

Phil O’Donnell, Strand Lighting Asia Limited802-4 Houston Centre, 63 Mody RoadKowloon, Hong KongTelephone: (852) 3-685161Telex: 44953. fax: (852) 3-694890

Andrea Molinari, Strand Lighting SpADivisione TradingVia Paola Albera 82, 00181 Roma, ItalyTelephone: 06-785 3544Telex: 620178 Luxian. fax: 06 780 9018

Bill Groener, Strand Lighting18111 South Santa Fe AvenueP0 Box 9004, Rancho DominguezCalifornia 90224, USATelephone: (213) 637-7500

Telex: 664 741. Fax: 213-632-5519

1f4

Rick White, Strand Electro Controls2975 South 300 WestSalt Lake City, Utah 84115, USATelephone: (801) 487 6111Fax: (801) 466 1003

Heinz Fritz, Strand Lighting GmbHSalzbergstrasse 23340 Wolfenbuttel-SalzdahlumWest GermanyTelephone: (05331) 30080Telex: 95641. fax: (05331) 78883

,z

Postcode

Telephone No:

L

WEST GERMANY

15

Why Strand’s new EC9O

uN, London WeekendTelevision and BBC South

EWestareamongthefirsttospecify and install Strand’snew EC9O digital dimmer.

— And many other leadingtelevision companies,

theatres and opera houses are following in theirfootsteps...

Why?Because digital dimming offers improvedperformance, greaterflexibility and higherreliability than ever before offered in a dimmer.• Full system integration when used with aGalaxy control system.• Dimmer status/fault reporting-back facility.• Faster response than analogue systems.• No potentiometers to trim or adust.• Output curve remains constant withoutmaintenance.• Automatic sensing of input protocol (EC9Oaccepts DMX512, AMX192, D54and SMX).• Selection of output curves.• Maximum output voltage can be selected forany dimmer or group of dimmers.• Up to 32 lighting presets may be recordedand stored in the dimmer rack.• Electronic patching simplifies circuit to dimmernumbering.• Patented load cable compensation feature.With features like these, it’s no wonderthat EC9O is making the news. For moreinformation, contact us today at theaddress below.

Strand LightingStrand Lighting LimitedGrant Way, (Off Syon Lane), lsleworth, Middlesex TW7 5QD,United Kingdom.Telephone: 081-560 3171. Telex: 27976. Fax: 081-568 2103.

See page 15 for other Strand Lighting offices.

is makfrg the news...