The following fixtures are now offered to a 20% extra discount on top of your ordinary discount!

S350
The new GLP impression S350 is the next generation of LED Moving Head Profiler, with an uniquely designed full spectrum light source, which makes primary color more intense, pastel colors more natural, and colored objects and skin-tones more lively.

E350
The new impression E350 is the brother of the impression S350 LED Moving Head. With its 30% brighter LED engine and very narrow iris, the fixture fits for a variety of applications. With a color temperature of 7.500K, it is able to create sharp midair effects and bright gobo projections.

KNV Arc & KNV Cube
The KNV from GLP comes in four variants, the KNV Cube, KNV Arc, KNV Dot and KNV Line. Each housing can be used independently, or combined seamlessly to provide massive fixture design options.

Featuring 1, 5 or 25 high-powered pixels with white and RGB elements and a combined output of more than 50,000 lumens, each KNV is equally happy used as a pixel-mapped surface, strobe, blinder, washlight, and more.

IP54 housings allow KNV units to be used year round, in even the most inclement conditions and climates. An included DMX pattern generator offers multiple effect libraries, with multiple controls creating a vast array of graphic options.
 

Picture: Sofia Blomgren

During the summer of 2019, Veronica Maggio performs at different festivals around Sweden and just like the last three years (with an exception in 2017), Anders Heberling is the man who designs the lights. The overall theme for this year’s scenography & costume is mirror or reflecting materials, an idea that inspired Anders after some shows last year.

"Last year (at shows in corporation with H&M at Cirkus), we made a huge infinity-mirror. Then the idea of making this at other light sources and adjust for festivales, came to mind."

In his design, Anders chose to use 20 X4-Bar 10 and 8 X4L with a custom-designed mirror glass to enhance the reflecting theme.
 

Picture: Anders Heberling

"The reason I chose these, was because the plexiglass easily could be switched to custom made half-mirrored variants. In other words, the fixtures still let light come through while working as mirrors at the same time. This in combination with an LED-wall covered with the same plexiglass made everything feel consistent."

The fact that these fixtures also gives great colors and nice pixel macros made GLP’s lights the obvious choice.

When the idea was about to be tested GLP provided equipment for borrowing to send to the plexiglass-supplier for testing. After that, new glass for the lights was ordered via GLP, something Anders appreciated a lot.

Operator and programming was managed by Nikolaj Brink and Bright Rental provided the fixtures.
 

After working with Darin during spring 2018, it was once again time for Hampus Jigehamn to manage the light design, this time during May 2019 for the Arena Tour at Globen, Scandinavium & Malmö Arena.

Together with Sacha Jean-Baptiste the stage design was developed with the idea to create a form of clarity with pure shapes & most of all, a centre or corridor for Darin to move in.

In his design Hampus chose to use GLP’s X4 bar, in total 107 X4 Bar 20 and 4 X4 Bar 10 as well as JDC-1 and he describes how they were placed. "21 X4 bar 20 were placed in a truss US (21m wide) and 20 X4 Bar 20 on the floor DS (20m wide). The remaining X Bars were placed in the 12x6m big box across the stage. Besides that, we used 70 JDC-1 at the back of the stage, placed as two grids of 7x5 on either side of the LED-wall."

Why these exact fixtures were used was partly because his liking for the X bar but also because of Sacha. "I have always liked the X Bar. I like general straight lines with lights, and the X Bar works best like that. I also like the simplicity of the lamp, in comparison to for example a moving head where you get a thousand different features while you maybe only use ten, you get to use the X Bar to the fullest."

"Sacha had fallen in love with the JDC-1 as a fixture and I love it too because you don’t need to see a square plate while using the ”strobe pipe” and additionally you can set colour markings with it."

Bright Group Sweden a long with United Stage delivered the equipment and the crew from GLP assisted with knowledge about firmware and likewise.
 
During the summer of 2016, Hampus also used GLP’s products for the tour with Miriam Bryant. At the moment he will enjoy parental leave for a while before he’s out on tour with her again. Although this is the first year they won’t be using any GLP products, Hampus says he would not be surprised if he used them again in the future!

Finally, Hampus wants to thank the production company, management, light-sound-video-laser-crew, Sacha Jean-Baptiste, Victor Rundlöf (Green Wall Designs AB) and of course, Darin.

Pictures: Stina Stjernkvist

When Swedish House Mafia (SHM) decided to reform after five years, providing the Ultra Music Festival in Miami with its surprise headline act, production designer Andy Hurst was brought in to design the extravaganza.

Already the show designer for Axwell and Ingrosso, two of the band members, he immediately turned to GLP’s LED catalogue, procuring 60 JDC1 hybrid strobe and 96 impression X4 Bar 20 from PRG in Las Vegas, knowing that SHM would be the closing act. “As the festival main stage design was changed one month before the show we had to work quickly to get a new SHM design signed off and ready in time,” he explained.

His main challenge was to interface with the existing house rig, supplied by AG Light and Sound. “We had to have our entire system set in 35 mins.
In that time we had to fly our back wall, set our custom DJ riser and roll in our lighting, laser and pyro package.”

Hurst is no stranger to GLP’s advanced solutions, having specified their products for many years on other acts with whom he has worked regularly, such as Prodigy and Faithless.

“I had seen the JDC1 at LDI and was impressed with the brightness and ability to provide lots of different effects,” he said. “We ran them in full 68-channel mode using all the attributes.

“The strobe effects were used to drive beats and nuances within the tracks, which they did perfectly.”

The Bars were used in a giant wall of light behind the artists on the 20ft x20 ft x16ft truss cube platform and also for a light wall on the DJ booth, where they were also used in full DMX mode.

Andy Hurst had the opportunity to pre-programme the show at DMD Studios, with GLP supporting this by providing some fixtures to check programming in real life, along with the full size virtual rig that was created in the studio. “Having the fixtures when programming is always essential for me … as good as pre vis is, you can’t beat the real thing.”

And with more than 150 GLP elements joining lighting, laser, flying set pieces and pyro, it is no surprise that Andy Hurst was able to confirm that “the show was very well received and the guys loved it.”

Having been operating lightshows for the Gothenburg-based In Flames since 2011 (and been designing their sets since 2014) Stormby wanted to focus on the artwork that the band had been developing for the current European tour.

“I wanted to use a lot of video and set elements,” he said. “There is a lot of artwork and figures/elements to look at and my idea was to create an atmosphere and style that really represents the band; you should be able to see a picture and immediately tell that this is an In Flames show.”

No fewer than 65 JDC1 hybrid strobes have been helping him in his quest, with Soundforce supplying all the In Flames gear, while Black Box was responsible for the overall shared package with FFDP, whose LD John Santos co-designed the flown rig with Fredrik Stormby.
 
The rig itself is dominated by 65 JDC1 hybrid strobes. Admitting he had little experience of GLP solutions until recently, Stormby states, “Like so many others I found the X4 Bar series to be an extremely useful fixture — and then I heard about the JDC1, and had the opportunity to try one out.” He was soon test driving around 36 of the heads at a private party in Cannes.
 
“This gave me the confidence to specify them for In Flames,” he admits. “We needed a bright LED strobe that we could pixel-map but also get a ‘clean’ white strobe from. So the JDC1 turned out perfectly, and it’s a decision I have not regretted.”
 
Distributed across all the LX trusses and ladders they are used as blinders, colour washers, pixel-mapping effects and strobe. “Therefore they play a major role in the show,” he confirms. “We run them in full channel mode.”
 
Asked what features really stand out with the strobe, and he replies, “Everything”. By explanation the designer states, “This is a completely different product compared to a Xenon strobe, but I think it mimics the output of a Xenon strobe very nicely in white, due to the dedicated row of white LEDs.”
 
The In Flames tour has been the latest project in an eminent career which has seen Fredrik Stormby and his Green Wall Designs team working with various Swedish and international artists, at the same time acting as programmers and content creators for events such as the Eurovision Song Contest and various TV shows, Festival shows, Theatre and Corporate events. He praises GLP for their back-up. “They have been generous with their support when we have needed it,” he says.
 
As for the JDC1, he summarises by saying, “For what we are doing on this tour it is perfect — I am very happy with its ease of operation. It was up against a few really well known LED strobes and I think it provides a great combination between the best colour mixing models and those that mimic a Xenon strobe in white.
 
“This can do both of those things extremely well.”
 
Supporting Fredrik Stormby and John Santos are Ishai Mika (In Flames programming), and the In Flames light crew comprising Christopher Engström, Rebecka Erixon, Krister Hedgren and Markus Pittlik. For Black Box, Carla Lumme was Lighting Crew Chief, Dominik Müller, Systems Designer & Dimmer, and Till Bredthauer, Head rigger.

Below you can read about a high-profile event that took place in Cannes during the summer months. 30 pieces of JDC1 were used and the result you have here on film and also a review by competent Light designer Fredrik Stormby.
Enjoy!

"I recently had 30 units of the new GLP JDC1 hybrid Strobe for a private event and my overall experience is indeed very good.The fixtures were used as eye candy, color wash and strobe effects and pixel mapped from a hippotizer.
To start with, this is an incredibly bright fixture, both the RGB colour cells and the white strobe strip. I like the way the fixture is divided up in full channel mode, even the white strobe strip can be divided to 12 cells and added to the pixelmapping, which adds to the versatility of the fixture.
The dimming curve performs very well and colours are nice and even. Most important to me in this case, was the performance when pixemapping.
I think the fixture responds very nicely and performs very well even if the dimming level is brought down to a minimum.
The tilt function is very precise, smooth and fast and is also a great function of this unit. I will gladly specify and use this fixture again as a very all round and good looking strobe hybrid.” 

Fredrik Stormby
Light and content designer, programmer, operator
Green Wall Designs AB

Last month we told you about Palle Palmé and the 99 X-Bar 20 that were used on Diggiloo. This time Palle is relevant as the lighting designer at Tomas Ledin's show that had premiere September 15 and runs until December 16 at Circus in Stockholm. From next year you can se the show at Rondo in Gothenburg, premiere January 18. 
This month we just want to show you some pictures we got from Palle and I was quick to ask him just one qustion, how did you work with the 50 pcs of X4 Bar 20 this time?
- I have used them as a side and top curtain effects in the stage house. Half of them will be placed in the sides of the set, possible to move sideways in and out. And the other half on top bars possible to move in and out of sight for the audience.
Now see for yourself and enjoy Palles work!
 

For the 15th consecutive year, Swedish LD Palle Palmé has provided spectacular lighting for the Diggiloo outdoor summertime tour, with 59 X4 Bar 20’s and 40 X4 Bar 10 from GLP dominating the ever-changing stage set.
Having worked on the event since its inception in 2003 (when it appeared only in Båstad), Palmé says that despite the number of famous artists appearing all receive equal billing — “and that is the success of Diggiloo.”

Heading the roster this year has been Robin Bengtsson, winner of the Swedish Eurovision Song Contest, performing alongside Tommy Nilsson, David Lindgren, Wiktoria, Charlotte Perelli, Jessica Andersson, Bruno Mitsogiannis, Andreas Johnson and Özz Nujen throughout the 22 gigs.

Palle Palmé has again turned to GLP’s super-versatile X4 Bar battens — an effect he has used on at least five occasions since November 2015. “I was originally given a demo by [Swedish GLP representative] Daniel Rudén featuring all the new fixtures including the X4 Bar 10 and X4 Bar20,” he stated. “All were spectacular units.”
“The zoom and the tilt range on the Bars is amazing, and then you have a fantastic light output as well. I have not seen any unit on the market so far that can stand comparison. I know that other brands are looking at this but as someone said, ‘Why compete with those battens when GLP has already made the best possible?’”

Diggiloo relies on a series of scene changes with different colours introduced, which is where the X4 Bars come in. “I have tried to place them as big as possible in the rig,” the LD explains. “This is both above and on the stage floor, over and under the video screen, and as clusters on both sides of the screen, as well as the side trusses. All in all, we try to embrace the entire stage with those battens.” The lights are run in Single Pixel Mode (88 channels).
And they are used in a multitude of different modes. “Because it is an outdoor show, and the first act appears in daylight, I use them mostly as a white light effect on the stage with not so much tilting, zooming and colour FX. That is introduced with the second act when the sun has gone down and it is dark.”

“Overall I think that the XBar 10 and 20 really bring something else to the set dynamic than the ‘normal’ moving light does. You can use them as stage wash, set wash, audience blinders, curtain effects, etc. If you use them intelligently they are a great tool for all kinds of show, regardless of whether it is a musical, concert, opera, ballet or a drama. They will surprise the audience everywhere.”

All the technical inventory, including the lighting, was supplied by Swedish company Bright with the exception of the video, which is from Mediatec.

Pictures: Malin Nilsson

GLP had much to celebrate at this year’s Frankfurt Prolight + Sound, where their profile reached a new zenith.

Aside from unveiling two revolutionary new products, the company did light up it's largest Frankfurt booth ever (#4.0, G20), incorporating a new version of the inspired lightshow designed by Los Angeles-based designer, Matt Shimamoto (Volt Lites) which has so impressed visitors to America’s premier LDI Show in recent years. At the same time GLP launched the much-anticipated JDC1, a true hybrid LED strob!