After more than 30 years in the live event industry, I have come to a conclusion that may sound surprising to people outside our world.

When clients choose production partners, suppliers, and subcotractors, price is rarely the deciding factor.

Budgets matter. Procurement departments compare quotes. Negotiations happen. Every project has financial constraints

But when the final decision is made, something far more important usually tips the scale.

Trust.

Not the kind of trust you find in marketing brochures or corporate mission statements.

The practical kind

The kind that is earned at 2 a.m. during load-in.

The kind that is built when things go wrong.

And in live events, things always go wrong.

A truck gets delayed

A flight is cancelled

A venue changes the rules

The weather turns

A key piece of equipment fails

A client changes the concept two days before the showw

Anyone who has spent enough time in this industry knows that flawless projects exist only on paper. The reality of live production is constant adaptationn

They are not buying LED screens, lighting fixtures, media servers, staging systems, or technical drawings

They are buying certainty.

The certainty that somebody will answer the phone.

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The certainty that somebody will find a solution.

The certainty that the show will happen.

Over the years, I have seen countless situations where a supplier won a project despite not having the lowest price.

The reason was simple.

The client trusted them.

Trusted them to deliver.

Trusted them to stay calm under pressure.

Trusted them to solve problems that were never included in the original scope.

Trusted them to do whatever was necessary to protect the event.

That trust has enormous value because events are unique.

Unlike manufacturing, software, or retail, there is no opportunity to hit “undo.”🤗

A product launch cannot be rescheduled because a supplier underestimated the workload.

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That reality changes how decisions are made.

The interesting part is that trust also explains why winning new clients is often so difficult.

Many companies assume the biggest barrier is pricing.

The real challenge is that a new client simply does not know you yet.

They do not know whether you will answer the phone at midnight.

They do not know how you react when a problem appears.

They do not know whether you become part of the solution or part of the problem.

And honestly, they have no reason to know.

Every website talks about quality, experience, and commitment. From the client’s perspective, everyone sounds the same

The breakthrough happens only when trust is established

A moment when they stop asking, “Can they do it?” and start saying…

“They will make it happen”

That is the moment every production company is trying to reach.

Not because it guarantees the next projectc

But because it changes the relationship entirely.

The conversation is no longer about price alone.

Looking back on three decades in this industry, I have become convinced that trust is the most valuable asset any company can build

Technology changes.

Equipment evolves.

Market conditions shift.

But trust remains remarkably constant.

It is built slowly, project by project, crisis by crisis, year after year.

And once it exists, it becomes the foundation on which long-term partnerships are created.

All of those things matter.

Someone trusted someone else to deliver.

And they did.

What you think ?

The flight cases are rolling out, the trucks are packed, and the summer festival season is officially shifting into high gear. As the industry braces for the months ahead, the conversation in production offices always drifts to the same question:

what’s actually driving the next generation of live shows?

If we had to boil the upcoming season down to a single theme, it’s this: impact without the excess. Productions are getting relentlessly smarter and more modular.

Here are the three signals I’m watching closely as the tours hit the road:

• The Quiet Integration of Algorithms: We are past the theoretical debates about artificial intelligence. Right now, algorithmic tools are quietly doing the heavy lifting in our actual, day-to-day workflows. From automating base CAD drafting and accelerating pre-viz content generation, to optimizing rigging points and power distribution, these tools are fundamentally changing how technical decisions are made before a single piece of gear is hung.

• The Rise of True Hybrids: Truck space is at an absolute premium, and manufacturers are finally rethinking what a single fixture can (and should) do. We are seeing a massive pivot away from “one-trick” lights. Take the new GLP TWYN—it blends wash, strobe, and pixel-driven mapping into a single moving head. The goal is simple: squeeze maximum creative yield out of every single DMX channel and rigging point.

• Transparent LED Taking Over: Solid, massive walls of video are heavy, power-hungry, and act like giant sails on an outdoor stage. Transparent LED curtains (blow-through screens) are rapidly gaining ground as the flexible, lightweight alternative. They give stage designers the ability to build massive scale and depth, without the logistical nightmare of traditional LED panels.

Ultimately, all of these trends point to a shift in priorities. For rental houses, production managers, and lighting designers, the calculus has changed.

We’re no longer just asking, “Will this look incredible?” We’re asking: “Can this scale across different venue formats? Does it travel efficiently? And can my crew rig it repeatedly, night after night, without burning out—while still delivering a show the audience will never forget?”

Read our take on AI, transparent LED curtains and GLPs new TWYN fixture and let us know what your take is.

In professional lighting, it is becoming increasingly difficult to introduce a fixture that genuinely brings something new to the table.

Many product launches are evolutions of familiar formats: a brighter wash, a faster strobe, more pixels, better optics, or a higher IP rating.

TWYN is a dualface moving head with two independent lighting systems. On one side, it offers a high-quality RGBL wash based on technology known from the Creos and X5 Series. On the other, it delivers a hybrid strobe concept inspired by the JDC Burst 1. In practice, this means two very different creative tools brought together in one compact IP65-rated fixture

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That is what makes TWYN interesting not only as a new product, but also as a practical long-term investment for rental companies, production houses, clubs, touring productions, festivals, and event environments.

Two fixtures in one — without losing the concept

The idea of a “2-in-1” fixture can be risky. In many cases, it results in a product that does several things, but none of them exceptionally well. TWYN takes a different approach because GLP has not simply combined random features. The company has brought together two established creative platforms with strong market recognition: the wash character of GLP CREOS and the effect-driven strobe DNA of JDC Burst 1

This matters because TWYN is not an isolated experiment. It is a logical extension of the existing GLP ecosystem. For lighting designers, programmers, and operators, that means greater predictability, easier integration into existing designs, and stronger visual consistency across rigs that already include GLP fixtures.

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The wash side uses a 3x3 lens array with nine 40W RGBL LEDs and a zoom range from 4° to 53°. It provides homogeneous washes, smooth color mixing, and a consistent light character across the full zoom range. The opposite side features a hybrid strobe system with 36 high-intensity white LEDs and 480 RGBW LEDs in surrounding segments, allowing both powerful strobe hits and graphic pixel-based effects.

In one fixture, TWYN offers a tool for shaping space with light and a tool for creating rhythm, impact, and visual energy.

More visual layers from a single rigging point

The real creative potential of TWYN becomes clear when both sides are used simultaneously. One side can work as a wash, illuminating surfaces, scenic elements, backgrounds, or architecture, while the other operates as a strobe, beam, or pixel effect.

This opens up a different way of thinking about lighting design. Instead of planning separate fixture types for wash, strobe, pixel effects, and visual accents, some of these functions can be consolidated into one product. The result is more creative flexibility from fewer fixtures.

For rental and production companies, this is not only a creative advantage. It is also a logistical one: fewer units to purchase, fewer cases, fewer rigging points, less cabling, lower transport volume, and reduced load on truss structures. At a time when transport, crew time, build efficiency, and weight limitations are as important as fixture performance, this kind of consolidation has real value.

Consistency within the GLP ecosystem

One of TWYN’s strongest arguments is that it is not a standalone product without context. GLP has spent years developing a recognizable language across its fixtures — in terms of light quality, color behavior, pixel structure, segmentation, control philosophy, and repeatability.

GLP’s iQ.Gamut technology also plays an important role here, ensuring consistent colors, stable white points, strong pastels, and saturated primary colors. In larger systems, this kind of repeatability is crucial. Especially in rental and touring environments, a fixture needs to look good not only on day one, but remain predictable across seasons, productions, and mixed inventories.

This is where the difference becomes visible between a short-term effect fixture and a product designed to work for years.

A product for years, not just a trade-show moment

Many fixtures create excitement during a launch, only to become difficult to place in everyday production work a few months later. TWYN has a stronger chance of avoiding that problem because it responds to several practical market needs at once.

It is multifunctional, but based on proven GLP technologies. It is IP65-rated, making it suitable for both indoor and outdoor use. At 16 kg, it remains compact considering its functionality. It can be used free-standing or mounted vertically or horizontally on truss. It has also been designed with fast transport and efficient setup in mind, including the GLP DRX Dual Sleeve and the ability to transport up to six fixtures in a standard case.

All of this suggests that TWYN is not just an eye-catching effect. It is a fixture designed for real-world work: touring, events, clubs, festivals, TV productions, mobile stages, and temporary installations.

Competitive pricing as a strong investment argument

There is also another important factor: price. TWYN appears to be very competitive from an investment perspective, especially when viewed not simply as a single moving head, but as a fixture that combines functions that would normally require multiple separate units.

For rental companies, this may be particularly important. A fixture that can serve multiple applications and fit into many different production types has a better chance of working regularly. And regular utilization is what ultimately drives return on investment.

Why TWYN is worth testing

GLP TWYN is interesting because it brings together several things the market is clearly looking for: strong visual impact, flexibility, system consistency, brand reliability, IP65 protection, and sensible operating economics. It is not a fixture designed only to look impressive at a trade show. It is a tool that can simplify rig design, reduce fixture counts, and give lighting designers a new way to build more complex visual layers.

For users already working with GLP products, TWYN feels like a natural extension of the existing ecosystem. For those looking for a new hybrid effect fixture for rental, touring, clubs, or event production, it should be one of the more interesting units to evaluate. GLP TWYN will be soon available in A-RENTAL

If you are planning to invest in a new creative hybrid fixture, GLP TWYN is definitely worth putting on your test list. The combination of two iconic GLP worlds in one compact, weatherproof, and competitively priced fixture could be exactly the kind of direction modern rigs need.

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AI is becoming an increasingly powerful tool that can support us in many areas — from planning and design to content creation and communication..

…it will not build the stage for us:

That is still our world so, check if AI can replace your role in eco-system...:

The summer season is starting, and from what we hear across the market, many companies in our industry are getting busy again.

And honestly, that feels good

After the last few years, it is clear that people still want real experiences. They want concerts, festivals, shows, theme parks, gaming arenas, immersive spaces, live events, and places where something actually happens in front of them.

Not only on a screen. Not only in an app. Not only in a headset.

And this is an interesting moment to talk about AI

Because AI is everywhere now. Even people who do not use it every day have probably tested ChatGPT, Gemini, Midjourney, or some other tool just to see what it can do. And yes — it can do a lot.

Sometimes it is impressive. Sometimes it is strange. Sometimes it gives you something useful in ten seconds that would normally take an hour.

I don’t think the answer is as dramatic as some people make it sound

AI will definitely change how we work. It will help with planning, documentation, calculations, concept development, presentations, schedules, offers, content drafts, and many other things that usually eat up time. In some areas, it will make teams faster. In others, it will force people to raise their level.

But AI will not build a stage.

It will not arrive at a stadium at 6 a.m. It will not unload trucks. It will not put LED cabinets on the wall. It will not hang lighting fixtures, fly the PA, run signal cables, check power, solve rigging problems, or stand on site when the plan suddenly meets realityyy

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And our industry is full of those moments.

A drawing can look perfect. A render can be beautiful. A concept can impress the client. But then someone has to translate it into real life. Someone has to look at the venue, the access, the roof loads, the crew, the schedule, the safety rules, the budget, the weather, the local conditions, and say: yes, this can be done … or no, this needs to change

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That part is not just about information. It is about experience.

In many ways, our industry is closer to construction than to software. Of course, we use advanced technology. We work with media servers, LED screens, lighting systems, automation, networks, projection, audio, show control, and all kinds of software. But the final result is physical. It has weight. It needs power. It needs transport. It needs people. It needs time. It needs responibility

That is a big difference.

In the IT world, we alredy see how much AI is changing the job of software programmers. Not eliminating all programmers, of course, but changing the profession very quickly.

Simple coding tasks, junior work, documentation, testing, debugging — a lot of that is already being supported or partly automated. The value is moving higher: architecture, product thinking, system understanding, security, decision-making.

A lighting designer may use AI to explore ideas faster.
A project manager may use AI to organize documents, schedules, and risk lists
A technical director may use it to compare options or prepare first drafts
A sales team may use it to write better proposals
A creative team may use it to build moodboards or concept directions

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Great. That is useful

But at some point, the question is no longer: “Can we generate it?”

And that is where the real industry begins.

This is also why I think the future is quite positive for people who understand both technology and reality. The market is becoming more professional.

Clients expect better preparation, better safety standards, more documentation, more structured cooperation, and partners who can take responsibility from idea to execution. Sometimes it may feel like more paperwork, more rules, more procedures. But overall, it is a healthy direction.

Because bigger and more ambitious projects need more serious teams.

And entertainment is definitely becoming more ambitious.

Theme parks are no longer just about rides. Museums are no longer just about objects in glass cases. Hotels, malls, cruise ships, cinemas, sports venues, and gaming spaces are all looking for more immersive, multimedia-driven experiences.

LED screens are becoming part of architecture. Lighting is becoming part of storytelling. Audio is becoming more spatial. Content is becoming interactive. Venues are becoming more like living media environments.

Location-based entertainment is growing because people want something they cannot download.

That is very important.

COVID made this very clear. For a moment, everything went digital. But when the world opened again, people came back to physical experiences with huge energy. Concerts, festivals, live shows, entertainment venues — all of it came back because humans are not only digital beings. We still want shared moments.

And shared moments need infrastructure.

They need stages, screens, lights, sound, rigging, control systems, power, logistics, production planning, technical teams, and people who know what they are doing.

So no, I do not believe AI will simply “take our jobs” in entertainment technology.

But I do believe it will separate people who adapt from people who don’t.

AI will be the same.

It may remove some boring work. It may speed up preparation. It may help avoid mistakes. It may make small teams more efficient. It may give better structure to projects. It may help people think through problems before they become expensive on site.

But it will not replace judgment.

And in our industry, judgment is everything

Knowing when something will not work, even if it looks good on paper.
Knowing when the schedule is too tight.
Knowing when the client’s idea needs to be adjusted.
Knowing when the risk is too high.
Knowing how to fix a problem at midnight, with the opening tomorrow morning.

This is the craft.

Because as entertainment becomes more technological, the gap between a nice idea and a working installation becomes bigger. More screens, more media, more interaction, more safety requirements, more systems talking to each other — all of this creates complexity. And complexity needs people who understand it.

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So maybe the better question is not: will AI take our jobs?

Maybe the better question is: how can we use AI to become better at the work only humans can really do?

Because the future of our industry will not be less physical. It will probably be more physical, more immersive, more technical, more demanding, and more connected with digital tools at the same time.

AI will help us think faster.

But someone still has to build the thing.
Someone still has to stand in the venue.
Someone still has to take responsibility.
Someone still has to turn the idea into a real experience.

And for people in entertainment technology, that is actually good news.

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There is a moment in the event industry that many technicians know very well.

You have worked on dozens, maybe hundreds, of productions. You know what a night load-in feels like. You know how a crew behaves after fourteen hours on site. You know where signal problems usually start.

You know why “it is just an LED screen” is never just an LED screen. You know how quickly a good creative idea can fall apart if someone has not planned the timing, rigging, power, logistics, access, crew, safety or system configuration propery

This kind of knowldge does not come only from training sessions, catalogues or product presentations

It comes from the battlefield

From arenas, halls, stadiums, festivals, conferences, TV studios, esports events, exhibitions, concerts and corporate shows where everything has to work…. and it has to work on time.

And this experience can become the begining of the next stage of your career.:

But at some point, your experience may become more valuable than your hands.

You can move from “I instal it” to “I plan how it should be installed.”
From “I follow the plan” to “I create the plan.”
From “I fix problems on site” to “I predict problems before they happen.

That is a very strong career path

Your technical experience is more valuable than you think

A good technician sees things that many other people do not see.

When looking at a stage design, an experienced technician can often say immediately: access will be a problem here, this will take longer than planned, this LED configuration makes no sense, the sgnal path should be different, the system can be simplified, the budget is being spent in the wrong place, or the client can get the same effect in a smarter way

This is not “just practical experience”

This is design value. Planning value. Production value!

That is why technicians with real field experience can become excellent project managers, technical project managers, system designers, production coordinators, technical consultants or technical directors

They can still take part in live productions, but from a different position - not only as the person doing the physical installation, but as the person guiding the process.

And the industry needs people like that

Physical work is NOT forever….. but experience keeps growing

Technical work in the event industry is demanding. Everyone who has spent time on site knows this is not a calm 9-to-5 job

There are nights. There are fast turnarounds. There are heavy elements. There are tight deadlines. There is pressure. There are moments when decisions must be made quickly and mistakes can be expensive.

And that does not have to be a problem.

Actually, it can be the moment when your real value starts to grow.

Someone who has installed huge LED screens for years understands their real limitations better than someone who has only seen the specification sheet. Someone who has worked on live productions knows what pressure on site really means.

Someone who has been part of the crew will usually plan better, because they understand what is realistic and what only looks good in a drawing.

This is the moment when you can start moving from mainly physical work into planning, coordination, design and project management.

Not to leave production behind.

But to take a higher level of responsibility.

A technical project manager is not just a person with a spreadsheet

For many technicians, the phrase “project manager” can sound a bit too office-like. Someone sitting behind a laptop, writing emails, building spreadsheets and telling the crew to “work faster”.

But in proper technical production, a real project manager is something very different.

A technical project manager does not need to personally install every part of the system.

But they need to understand how the system should be installed.

It is a bit like being a conductor. You do not play every instrument yourself, but you need to understand how the whole orchestra works.

In event production, the “instruments” are LED screens, lighting, audio, rigging, media servers, automation, staging, power, networks, signal flow, transport, scheduling and people.

A good technical project manager makes all of this work together.

Moving into planning does not mean leaving technology

Quite the opposite.

Very often, this is when your technical knowledge starts to create even more value.

You can develop toward LED system design.
You can specialize in signal flow and media servers.
You can manage international productions.
You can become a technical project manager.
You can work on event design, esports, exhibitions, immersive installations, museums, theme parks or permanent AV systems.
You can become the person who takes a client brief and turns it into a real, buildable technical plan.

This is still technical work.

Just on another level.

The industry needs people who understand both the site and the plan

Event production is becoming more complex. LED systems are bigger. Media servers are more advanced. Shows are more integrated. Clients expect better results, faster delivery and more control over the budget.

This means the market needs people who can connect practical knowledge with planning.

People who understand how equipment behaves in real life.
People who can prepare a technical plan before the crew arrives.
People who can optimize systems instead of overcomplicating them.
People who can communicate clearly with both technicians and clients.
People who can see the whole production, not only one department.

If you have spent years on site, you already have a huge part of this knowledge.

The next step is to learn how to use it in a different way: through planning, documentation, coordination, communication and responsibility for the bigger picture.

At ARAM, we are looking for people like this

At ARAM, we work on demanding productions in: events, esports, immersive projects, multimedia installations, LED screens, AV systems and complex technical productions.

That is why we are interested in people who have real technical experience and want to take the next step.

If you have worked on site, if you know equipment, if you understand production, if you can think logically and want to grow into a more planning-focused role — we would be happy to hear from you.

You do not need to know everything from day one. Nobody is born a project manager. But if you have a technical mindset, production experience, willingness to learn and the ability to take responsibility, that is already a very strong foundation.

English is a big advantage, because more and more projects are international. Openness is also important: openness to learning, to working with documentation, to speaking with clients, to planning ahead and to looking at a project from a wider perspective.

Maybe this is your next step

The event production industry needs people who not only know how to install equipment, but also understand why, where, when and how it should be installed.

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It needs people who know the reality of the site, but want to start leading the process.
People who can combine practical experience with organization.
People who have worked hard, learned a lot and now want to turn that experience into a bigger role.

If you feel that you have already spent a lot of time on productions, that you know this industry from the inside and that you would like to explore work in planning, technical design or project management — get in touch with us.

No matter when you are reading this article, it is worth reaching out.

At ARAM, we are always open to speaking with technical people who have knowledge, experience and the ambition to take the next step.

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IP65? Must be better than IP54.
IP54? Probably safer than IP20.

Simple. Except… not really.

In the world of stage lighting, live events, and LED systems, IP rating is less about “better” and more about trade-offs. And if you ignore those trade-offs, you can easily end up with gear that’s harder to service, runs hotter, or even fails faster — despite having a higher rating on paper.

Let’s break it down.

How to read IP ratings (quickly)

Every IP rating has two numbers:

IP = [solids][liquids]

For example:

• IP20 → basic protection

• IP54 → dust + splashes

• IP65 → dust-tight + water jets

The first digit is about solids (dust, debris, fingers).
The second digit is about liquids (rain, splashes, pressure).

Sounds straightforward — but the implications are where things get interesting.

The first number: solids (dust & ingress)

The solids rating is often overlooked, but it defines how “sealed” the fixture is.

• IP2X → protection from fingers or large objects

• IP4X → protection from small tools, cables

• IP5X → dust-resistant (but not sealed)

• IP6X → completely dust-tight

At first glance, IP6X seems like the obvious winner.

But here’s the catch:

Dust-tight usually means air-tight.

And air-tight means:

• less airflow

• more heat buildup

• no natural ventilation

In other words, better protection from the outside… but potentially worse conditions inside.

The second number: liquids (where decisions are made)

This is what most people focus on — and for good reason.

• IPX3–4 → splashes, light rain

• IPX5 → water jets (real outdoor use)

• IPX6 → strong jets, heavy rain

• IPX7–8 → immersion (rarely relevant for stage gear)

For most live production scenarios, the real conversation happens between:

IP20 vs IP54 vs IP65

IP20: the underrated indoor workhorse

IP20 fixtures have no protection against water and minimal protection against solids.

That sounds like a limitation — but in reality, it comes with serious advantages:

Pros

• excellent airflow → better cooling

• simpler construction

• faster servicing

• lower weight and cost

Cons

• strictly indoor use

• sensitive to dust and humidity

In controlled environments like:

• TV studios

• theatres

• conference venues

IP20 is often the most efficient and reliable choice.

Not because it’s protected — but because it’s designed to breathe.

IP54: the quiet sweet spot

IP54 sits in an interesting middle ground.

It protects against dust (to a degree) and splashing water from any direction — but it’s not sealed.

Pros

• usable outdoors (with some limits)

• allows airflow and humidity exchange

• lower risk of internal condensation

• easier maintenance than sealed fixtures

Cons

• not fully dust-tight

• not ideal for extreme weather

• limited protection in heavy rain or cleaning scenarios

This is where things get practical.

For:

• outdoor events

• temporary stage setups

• semi-covered installations

IP54 is often the most balanced solution — even if it doesn’t sound as impressive on paper.

IP65: the sealed solution (and its hidden costs)

IP65 fixtures are fully dust-tight and protected against water jets.

They’re built for tough environments — and in many cases, they’re absolutely necessary.

Pros

• full outdoor capability

• resistance to rain and harsh conditions

• ideal for permanent installations

Cons

• limited airflow → higher internal temperatures

• risk of trapped humidity and condensation

• outgassing from internal components stays inside

• more complex servicing (resealing required)

• heavier and more expensive

Here’s the part that surprises people:

An IP65 fixture doesn’t eliminate moisture — it can trap it.

Once humidity gets inside (and it will, over time), it has nowhere to go.

That’s why in real-world use, especially in touring or rental environments, IP65 fixtures can introduce different types of failure risks than lower-rated ones.

So… is higher IP always better?

Short answer: no.

Better question:

What environment is the fixture actually going into?

Because every increase in IP rating comes with a cost:

• reduced airflow

• more complex design

• harder servicing

• higher price

You’re not just buying protection — you’re choosing a design philosophy.

A practical way to think about it

If you strip it down to real-world decisions:

• Indoor, controlled environment → IP20

• Outdoor events / mixed conditions → IP54

• Permanent outdoor / harsh exposure → IP65+

The mistake is using IP65 everywhere “just to be safe.”

In many cases, that safety comes at the expense of:

• performance

• serviceability

• long-term reliability

The takeaway

IP ratings are not a quality scale.

They’re a set of compromises.

And in stage lighting, LED systems, and live production, the best choice is rarely the highest number — it’s the one that matches the environment, the workflow, and the reality of how the gear will be used.

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Because sometimes, the fixture that breathes… lasts longer than the one that’s perfectly sealed.

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In modern touring production, the LED screen is no longer just a visual surface. It is a structural element of stage design, a canvas for visual storytelling, and often the largest technical component of the show.

Over the past few years, transparent LED curtains have become a standard tool in large-scale concert productions.

They allow designers to build massive visual environments while maintaining depth, lighting integration, and architectural openness of the stage.

For producers of global tours, the expectations are clear:

the system must be reliable, fast to deploy, mechanically robust, and visually flawless.

That is exactly why we invested in one of the world’s leading transparent curtain.

A world-class holo-transparent LED system

A-RENTAL now offers nearly 3,000 m² of INFiLED HL3978, one of the most advanced transparent touring LED systems currently used in global productions.

In practical terms, it represents the level of engineering that touring professionals expect:

• high refresh rate for camera-safe performance

• excellent color and brightness consistency

• lightweight touring-optimized cabinet design

• extremely fast installation and serviceability

• robust mechanical locking systems designed for touring conditions

But the strength of the system goes far beyond electronics.

The true difference lies in the hardware engineering — the mechanical design that determines how quickly and safely large LED structures can be built on site.

For stadium or arena touring schedules, that detail matters.

Designed for large-scale touring environments

The Infiled Holo 3978 platform was designed specifically for touring productions where speed, reliability, and modular flexibility are essential.

Key characteristics include:

• approximately 50% transparency, allowing full lighting integration behind the screen

• lightweight cabinets optimized for large suspended structures, only 7,5 Kg

• precise mechanical alignment for perfectly flat screen surfaces

• the ability to build curves, angles, and complex stage geometry

• fast module replacement during touring operations

This makes the system ideal for:

• stadium and arena touring

• large festival main stages

• stage cubes and immersive scenography

• layered lighting and video designs

Transparent LED structures allow production designers to create massive visual surfaces without visually closing the stage — a technique now widely used in modern touring shows.

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Scale matters

For global tours, availability of equipment is often as important as the technology itself.

A-RENTAL currently operates one of the largest inventories of transparent touring LED in Europe, with close to 3,000 m² of HL3978 available for rental.

This scale enables:

• full stadium-scale video structures

• multi-stage festival deployments

• simultaneous touring productions

• redundancy and backup capacity when required

For touring producers, this means logistical certainty.

Large inventories ensure that systems can be configured exactly as designed, without compromises forced by equipment limitations.

Touring-level standards

In international touring, equipment selection is never only about specifications.

It is about operational reliability.

All systems in our inventory comply with strict touring standards, including:

• international safety certifications

• fire-safety compliance

• weather resistance suitable for outdoor touring environments

• full redundancy and serviceability

Equally important is the human side of the system.

Our rigging, LED engineering, and commissioning teams have extensive experience working on international productions, touring shows, and large-scale events worldwide. They understand the expectations of global tour production environments and operate within the same professional standards.

For touring teams arriving in a new territory, that experience matters.

A-RENTAL: technology and production

A-RENTAL operates as a specialized dry-hire and large-scale LED rental platform, focused on providing touring-grade equipment to production companies and technical suppliers.

• dry hire for touring systems and equipment supply

• local production support for touring shows entering the region

• full technical delivery and integration when required

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Built for producers who already know the difference

Experienced touring producers understand that large-scale shows depend on a combination of technology, logistics, and people.

The right LED system is not only the one with the best specifications — it is the one that installs quickly, runs flawlessly, and integrates seamlessly into the production workflow.

That is the standard we aim to deliver.

With one of the largest transparent touring LED inventories in the region, backed by experienced engineering, A-RENTAL provide a platform ready for international touring productions.

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Largest transparent LED curtain in top configuration — now available for dry hire and large-scale collaborations.

3000m2 one batch !

If you are looking for a large-scale transparent LED curtain for your project, available in a single batch, with top-tier quality, designed for demanding productions that require:

- reliability

- speed of installation

- consistency at scale

- and zero compromise

then A-RENTAL currently offers:

• close to 3000 m² of INFiLED Holo series

• available for rental and large-scale collaborations

The A-RENTAL inventory is based on INFiLED transparent LED curtain (Holo series) — one of the most advanced systems currently used in large-scale touring and event production.

This is not a typical “LED curtain”.

It’s a system designed to combine:

- low weight and flat form factor

- high structural rigidity

- fast and precise mounting system

- and real creative flexibility

In practice, this means you can use it not only as a classic large LED backdrop, but also to build:

- cubes and spatial structures

- multi-plane scenography

- segmented LED elements

- immersive installations

The system is:

- lightweight and easy to rig

- shallow — integrates easily into stage structures

- mechanically stable — holds alignment at scale

- and designed for fast, repeatable builds under production conditions

It’s a product engineered for real-world use, not just visual effect.

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One of the largest transparent LED inventories in the region

A-RENTAL currently operates:

almost 3000 m² of transparent LED curtain (INFiLED Holo series)

single batch — full system consistency

top-tier configuration, Novastar A8S Pro - ready for touring and large events

This is not a mixed inventory

It’s one unified system designed to scale — from mid-size setups to very large concert and event productions.

Built for projects that need scale and quality

This is a solution for projects, companies, rental houses, and partners who:

- have large projects

- need additional LED capacity

- require consistent panels across big surfaces

- cannot afford mixing batches or systems

Full system, not just LED

Beyond the LED curtain itself, A-RENTAL provides a complete production-ready package:

- supporting structures

- rigging systems

- chain hoists from CHAINMASTER

- cabling and signal infrastructure

- power distribution systems

Available as:

dry hire

or with technical support on demand

This allows you to:

- integrate into your own production

- or scale up quickly when your internal resources are not enough

Designed for real production workflows

The system is configured for professional use:

- latest NovaStar receiving cards (Novastar COEX-compatible)

- stable, high-quality image processing with super hight refresh rate 7680Hz

- consistent performance across all panels

Additionally:

- fully certified system

- includes required structural documentation and approvals

- ready for use in demanding production environments

Everything is:

new, unified, and production-ready

Logistics without limits

A-RENTAL supports projects:

- across Europe

- and internationally

With experience in:

- cross-border logistics

- large-scale transport

- time-critical deployments

When this becomes relevant

This kind of setup becomes critical when:

- your project requires hundreds or thousands of square meters

- consistency across the screen is essential

- timelines are tight

- and you need a reliable partner, not just additional equipment

The bottom line

At this level, it’s no longer about “having LED”.

It’s about:

- having enough of it

- having it in one system and one batch

- and being able to deliver it without compromise

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If you’re scaling a project

If you are working on:

- a large tour

- a major event or concert

- a stadium production

- or a complex scenography installation

and need:

- large quantities of transparent LED

- consistent, single-batch system

- complete technical package

• TUV approved!

A-RENTAL is ready to support.

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Transparent LED curtains are no longer a niche

- depth

- integration with lighting

- openness of space

- and scenographic flexibility

But with that shift comes a new challenge.

The illusion of choice

Today, the market is full of transparent LED solutions.

At trade shows, almost all of them:

- look impressive

- deliver similar visuals

- offer comparable specifications

- promise flexibility and efficiency

And on the surface, the differences seem minimal.

Sometimes almost invisible.

Where the real differences appear

You see it:

- during load-in

- during overnight builds

- when time is running out

- when alignment is not perfect

- when something doesn’t lock properly

- when wind starts affecting the structure

- when the crew is racing to be ready for rehearsals

That’s where “similar products” stop being similar.

Testing the market properly

When we set out to select a transparent LED system for large-scale productions, we didn’t rely on presentations.

We tested.

- 12 different LED curtain systems

- from leading manufacturers

- often multiple models per brand

On paper, the differences were small.

In practice, they were not.

When experience takes over

The real turning point wasn’t a spec sheet.

It was conversations with people on site:

- technicians

- LED crews

- rigging teams

- operators responsible for delivering the show

People who:

- build under time pressure

- need perfect alignment

- need systems to work at a fixed hour

- require redundancy

- and cannot afford surprises

Once we factored in their experience, the list narrowed quickly.

From 12 systems to: 2–3 solutions that were truly viable for large-scale touring

What actually matters

At that level, the decision is no longer about specs. It’s about behavior.

- how fast it builds

- how well it holds geometry

- how predictable it is at scale

- how it behaves under real conditions

- how much risk it introduces into production

The structural dilemma

At that point, the choice becomes strategic.

Wind-braced systems

They are:

- strong

- stable

- proven

But also:

- heavier

- deep

- limited in creative use

- often designed for one large screen only

Classic LED curtains

They are:

- lightweight

- flexible

- fast

But:

- less stable when big!

- harder to build IMAG

- require backbone structure’s for very large screens

What we were actually looking for

We didn’t want either extreme.

We were looking for something that could:

- scale to very large, IMAG-like led surfaces

- but also break down into smaller creative elements

- remain flat and lightweight

- be easily integrated into existing stage structures

- allow flexible configurations

- and still be structurally reliable under real conditions

In simple terms:

From screen to system

What we were really looking for wasn’t just a screen.

It was a system. Something that allows:

- large led backdrops

- segmented designs

- vertical LED lines

- cubes and multi-plane structures

- integration with scenography

Without locking the production into one format.

Why this matters for touring

For tour producers and large event teams, flexibility is not optional.

Every show is different:

- different venue

- different stage

- different creative direction

A system that only works as one large wall quickly becomes restrictive.

Reliability is built on details

In large productions, reliability doesn’t come from one feature.

It comes from many small ones:

- connection precision

- panel rigidity

- alignment consistency

- service accessibility

- mounting flexibility

- system predictability

Individually, they seem minor.

Together, they determine whether:

- you are ready for rehearsal

- or still solving problems

The decision

In the end, we chose a system that:

- does not require wind-brace structures

- is flat and lightweight

- can be flown easily

- remains stable and predictable

- and allows creative, modular use

Scaling without compromise

This approach allows you to:

Go big

- stadium-scale backdrops

- wide, cinematic LED surfaces

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Stay flexible

- vertical strips

- segmented stage elements

- immersive layouts

- cubes and creative forms

All within one system.

A shift in how LED is used

We are moving

from: > screens

To: > spatial tools

It’s about building space, depth, and experience.

The bottom line

Choosing a transparent LED system today is not about specs. It’s about understanding:

- how it behaves on site

- how it integrates into production

- and how much risk it removes

Because on large tours:

• everything looks good at the trade show

• but only a few systems actually perform under pressure

If you’re planning your next production

If you’re looking for a large-scale LED system — whether for dry hire or full-service delivery — feel free to reach out.

We’ll help you choose a solution that works not just in theory, but where it matters most: on site.

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Walking into the lighting hall at Integrated Systems Europe this year, I had a strange feeling of déjà vu.:

For those of us who have spent decades in this industry, Frankfurt was the meeting point for nearly 30 years.

And while the name and location may have changed, the atmosphere in Barcelona made one thing clear: our industry still needs these moments when the whole community comes together.

Trade shows like this compress months of conversations into just a few days.

You meet partners, reconnect with colleagues, discover what others are working on, and get a real sense of where the market is heading.

February was also a perfect moment for it — just before the production season starts, when people still have the time to travel, meet, and talk.

What I’m seeing right now is encouraging

The stage lighting market continues to grow strongly, and the multimedia and LED curtain segments are developing in interesting directions as well.

At the same time, the market seems to be stabilizing. We know which brands deliver real quality and which technologies have become industry standards.

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Products which become a market standards

Personally, I remain a strong believer in products designed to last for years — not seasonal devices that change model or functionality every year.

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Interestingly, many premium brands that once felt out of reach are adjusting their pricing.

Today, a lot of high-quality equipment is becoming much more accessible and aligned with the realities of production and rental markets.

I’m very curious about your perspective.

How do you see the industry evolving right now?

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Working with experts from the world of live events who understand the latest advancements in audio-visual (AV) and lighting technology can make the difference between a standard venue and a truly immersive, memorable experience.

Creative and technical expertise in one package

Blending creative and technical expertise is crucial to creating a multimedia space that captivates audiences. Professionals with a background in live events are well-equipped to understand the unique requirements of concerts, exhibitions, and corporate events. They know how to translate artistic concepts into technical realities—whether through the right lighting design, acoustic planning, or the integration of dynamic video elements.

By collaborating with those with experience in creative design and technical production, you ensure that your space can adapt to various uses while maintaining a consistent and engaging atmosphere. The ability to create flexible spatial arrangements, provide high-quality solutions, and install reliable technical infrastructure makes it possible to host diverse events without compromising quality.

Advanced technology and seamless integration

Modern multimedia spaces often require sophisticated solutions, such as creative led screens, trusses for hanging lighting and equipment, advanced lighting control systems, and carefully planned setups. Professionals from the live events industry bring a wealth of knowledge to integrate these technologies seamlessly into the venue's architecture.

For example, a robust lighting system using ArtNet protocol can ensure stable data transmission. In contrast, high-quality lamps ensure optimal lighting for every scenario—from small performances to large-scale productions. This expertise allows the space to evolve along with the needs of different events, making it truly versatile.

Creating memorable experiences with AV technology

The goal of any multimedia space is to create an environment that feels immersive and alive. Professionals who understand audio, lighting, and visual technologies can craft an experience that resonates with audiences. Well-designed multimedia systems can ensure that every word and note is heard clearly, while the right lighting can transform the mood of the space in seconds, providing an emotional impact that connects with visitors.

Using technologies like stage solutions, lighting and multimedia systems, and flexible technology arrangements, event professionals can quickly transform spaces to suit the needs of each occasion. This adaptability is key to creating immersive and engaging environments where audiences can lose themselves in the experience.

Why it matters

Creating a multimedia immersive space is not just about having the right tools—it's about knowing how to use them to bring a vision to life. Collaborating with experts who understand the demands of live events and have deep technical knowledge can help bring out a space's true potential.

These professionals are adept at integrating historical features with modern technology, ensuring that the space is functional, visually, and acoustically compelling.

A truly immersive multimedia space can adapt to the changing needs of its audience, providing a dynamic and memorable experience. Working with experts who bring together creative vision, technical expertise, and an understanding of live events is the best way to achieve this goal.

If you want to create a multimedia space that is more than functional—one that truly comes to life—consider collaborating with professionals who know how to merge art, technology, and experience into something extraordinary. RM

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Immersive spaces & theaters as anchor attractions

Remember where we met?

When people think about the events industry, they usually picture artists, speakers, venues and audiences.

Rarely do they think about the technical companies that build the stage, power the screens, design the lighting and deliver the sound.

Yet behind every major conference, concert, esports tournament or brand experience stands a capital-intensive technical backbone: the audio-visual-lighting (AVL) and entertainment technology sector.

For those inside the industry, this is obvious.

For outsiders — especially financial observers — it remains surprisingly underexplored.

A sector that survived — and rebuilt

COVID-19 was the largest shock the live events industry had ever experienced. Projects stopped overnight. Revenue streams collapsed.

And yet, contrary to many early predictions, the majority of professional technical production companies survived.

Why?

Because this is not a purely “soft” services industry. It is an asset-based, expertise-driven sector with:

• significant equipment ownership

• long-term supplier relationships

• deep technical know-how

• diversified client portfolios

Many companies restructured, optimized cost bases, renegotiated financing and preserved core teams.

Today, the sector is not only operating again — in many regions it has surpassed pre-pandemic activity levels.

COVID was a shock. It was not a structural collapse.

A capital-intensive industry built on equipment investment

Technical production companies are fundamentally investment platforms.

Their competitive advantage is built on:

• high-end LED screens

• intelligent lighting systems

• professional audio systems

• Stage automation systems

• media servers and control technologies

• rigging and stage engineering equipment

• logistics fleets and warehouse infrastructure

Equipment cycles are constant. Resolution increases. Power efficiency improves. Control systems evolve. To remain competitive, companies must reinvest regularly.

This makes the sector capital-intensive — but also structurally stable.

Unlike trend-driven digital sectors, demand for physical event infrastructure is recurring. As long as live events exist, technical execution is required.

And events are not disappearing.

Fragmented, but not fragile

Globally, there are large international players operating across continents. However, the sector is not dominated by a handful of monolithic corporations.

Instead, it is characterized by:

• several global leaders

• a strong layer of medium-sized regional champions

• a growing ecosystem of specialized small technical companies

This fragmentation creates both competition and resilience. No single player controls the market.

At the same time, expertise barriers prevent random new entrants from scaling easily.

The underestimated power of dry-hire and rental houses

One of the most important — and often misunderstood — pillars of the sector is the dry-hire / rental house model.

Dry-hire companies specialize in renting professional equipment to production companies without providing full technical crews. They maintain large equipment fleets and act as infrastructure providers to the broader market.

What makes this model particularly interesting is scalability

Small or mid-sized production companies can, through rental partnerships, execute extremely large-scale projects without owning all required equipment.

By leveraging rental networks, they can deliver:

• stadium-level LED setups

• large lighting rigs

• multi-stage festival deployments

• complex multimedia installations

For the market as a whole, this creates flexibility and capital efficiency.

For rental houses, it creates high asset utilization and recurring revenue streams.

Pain points — but structural stability

This is not a frictionless industry.

The sector faces:

• pressure on margins in competitive markets

• high upfront capital expenditure

• financing constraints during downturn cycles

• labor intensity and reliance on skilled technicians

However, these pain points are well understood within the industry and have not prevented long-term growth.

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Demand is structurally tied to human behavior: gatherings, concerts, conferences, sports events, political summits, corporate launches.

Unlike purely discretionary consumer goods, live events are deeply embedded in business, culture and entertainment ecosystems.

That gives the technical production sector a level of structural demand stability that is often underestimated from the outside.

Scale does not require being gigantic

Another misconception is that success in this sector requires becoming a massive global corporation.

In reality, many medium-sized companies operate sustainably and profitably by:

• specializing in certain event types

• focusing on specific geographic regions or market segments

• building strong rental partnerships

• investing strategically in high-demand equipment categories

This hybrid ownership-plus-network model is one of the sector’s most powerful dynamics.

Why this matters for outsiders and observers

For those outside the industry, technical event production may appear as a service layer attached to entertainment.

In reality, it behaves more like infrastructure:

• asset-based

• technology-driven

• recurring demand

• scalable through networks

• resilient across cycles

The post-COVID recovery demonstrated something important: the sector did not disappear. It recalibrated and resumed growth.

And while individual companies may not always reach the scale of global tech giants, the collective market — supported by global event growth and continuous equipment reinvestment — represents a stable and expanding economic segment.

What technical production companies actually do

For clarity, technical production firms in this space typically:

• design and engineer stage environments

• integrate lighting, LED, sound and control systems

• manage large technical crews

• coordinate logistics across cities and countries

• invest millions in equipment fleets

• ensure safety, compliance and precision under live conditions

It is engineering, logistics and creative execution combined.

For those inside the industry, this is daily reality.

For those outside it, understanding the scale of equipment investment and operational complexity often changes the perception of what this sector truly represents.

A mature but growing backbone of live experiences

The entertainment technology sector has its challenges. It is competitive, capital-intensive and operationally demanding.

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But it is also:

• resilient

• structurally embedded in global event ecosystems

• supported by recurring demand

• increasingly professionalized

• and expanding alongside the experience economy

For investors, strategic partners and financial institutions, it may no longer be sufficient to view technical production as a background service.

It is a backbone industry — powering live experiences at scale.

And it continues to grow. RM

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In modern show lighting, very few fixtures achieve true “industry standard” status. Most products enjoy a few strong seasons before being replaced, upgraded, or forgotten.

It became a global benchmark — not just a popular strobe, but a fixture that reshaped stage aesthetics across touring, festivals, television, esports, and large-scale events. Designers integrated it into creative language.

Rental companies built inventory around it. Technical riders began listing it by name.

Now, its successor — GLP JDC-1 Burst — steps into a uniquely demanding position: not just replacing a product, but following a modern classic.

RENT JDC1 Burst

This is not a cosmetic refresh. It represents the next evolutionary step in hybrid strobe architecture.

Why the original JDC-1 became a benchmark

To understand the significance of the JDC1 Burst, we need to understand why the JDC-1 mattered.

The original fixture introduced a hybrid format that combined:

• High-intensity white strobe lines

• A powerful RGB LED plate

• Continuous pixel control

• Blinder capability

• Wide tilt movement

It blurred the line between strobe, wash, blinder, and effect light.

More importantly, it introduced creative density. Designers could build full visual moments using rows of JDCs — from punchy festival hits to subtle camera-friendly looks for broadcast.

Its durability and output consistency made it rental-friendly. Its visual identity made it rider-friendly.

That combination is rare.

The challenge of designing a successor

Creating a successor to a fixture like the JDC-1 is not about adding incremental features. It is about preserving what made the original essential — while pushing performance to match contemporary production demands.

Since the original JDC launch, the industry has changed:

• Higher camera frame rates

• Larger LED volumes

• Brighter daylight festival stages

• Heavier touring cycles

• Increased demand for pixel-mapped effects

A modern hybrid strobe must now function as both a visual impact tool and a programmable architectural element.

This is where JDC-1 Burst positions itself.

JDC-1 Burst: evolution, not replacement

The Burst keeps the hybrid DNA intact — but enhances the core attributes that matter in real-world production environments:

1. Increased punch and visual density

The fixture delivers higher peak intensity and sharper visual articulation, allowing it to compete in high-brightness LED environments and open-air stages.

2. Refined strobe architecture

The white strobe component remains central — but with improved response, consistency, and visual snap. This matters for time-coded shows, broadcast sync, and modern music genres that rely on precision hits.

3. Pixel flexibility

Designers today expect fixtures to function as programmable video elements. The Burst continues the tradition of pixel control across its RGB plate and linear strobes, supporting high-resolution mapping and media server workflows.

4. Touring-grade engineering

Durability and repeatability are not optional in large inventories. The Burst continues GLP’s philosophy of long-term production stability and hardware consistency — critical for rental scalability and cross-rental compatibility.

Why hybrid strobes remain essential

Despite rapid innovation in beams, washes, and LED screens, hybrid strobes remain foundational to stage design.

They serve five key roles:

1. Musical accent and impact

2. Audience blinder energy

3. Architectural matrix building

4. Video-synchronized pixel surfaces

5. Transitional visual punctuation

Few other fixture types can move so fluidly between aggression and structure.

That versatility is why the JDC platform became embedded in global production culture — and why its successor matters.

Market implications

When a successor to an industry-standard fixture launches, the impact extends beyond product specifications.

It influences:

• Rental purchasing cycles

• Rider language

• Touring design templates

• Inventory standardization

• Cross-market compatibility

Large-scale deployments signal confidence. When significant quantities enter a market and immediately integrate into live productions, it indicates that designers and rental houses view the fixture as infrastructure — not experiment.

The JDC-1 Burst is positioned within that category.

Technical specification

A fixture built for long-term relevance

One of the defining aspects of GLP’s strategy is product lifecycle stability. In a market where fixtures are often revised or replaced quickly, long-term consistency benefits:

• Rental houses (inventory longevity)

• Designers (rider confidence)

• Cross-hire ecosystems

• Spare parts logistics

• Global show replication

The original JDC proved that stability builds standards. The Burst continues that philosophy.

Why GLP JDC-1 Burst ?

The GLP JDC-1 Burst is not attempting to reinvent the hybrid strobe category.

It reinforces it. By increasing output, refining response, and maintaining the core hybrid architecture that made the original iconic, it steps into the role of successor with clarity rather than nostalgia.

In an industry that constantly chases novelty, true standards are rare.

The JDC platform remains one of them.

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That’s why we developed all-in-one dry-hire LED packages, designed specifically for technical production companies like yours.

More than just LED tiles

With us, you don’t just rent tiles – you rent the entire solution. Each package can include:

• LED tiles with spares,

• circle or square truss systems,

• chain hoists and rigging accessories,

• power distribution,

• signal processing and controllers,

• all necessary cabling,

• detailed manuals or even installation support.

This means you receive a ready-to-deploy package – everything engineered to fit together and optimized for fast build-up and teardown.

Creative led elements

Engineering support included

We know your clients are demanding and expect guarantees. That’s why our rental service also covers the engineering side of the job:

• static calculations for rigging and load-bearing structures,

• full build drawings,

• technical documentation tailored to your project.

You get the paperwork you need to satisfy venue requirements and safety regulations – without spending days preparing it yourself.

Creative setups made simple

Whether you need flat LED walls, curved setups, cylinders, cubes, or custom shapes, our packages come with clear technical drawings and parameters. You’ll know exactly what can be built, how it will look, and what it will weigh – before you arrive on site.

Built for professionals

Our goal is simple: to make your life easier as a technical production partner. We may provide the hardware, the calculations, the drawings, and the support, so you can focus on delivering flawless events.

If you’re looking for reliable dry-hire LED solutions with everything included, get in touch with our team and we’ll prepare a tailored package for your next production.

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ISE this year was not just about new product launches for GLP. It was about direction.

With GLP TWYN, GLP WildWash 12 and GLP impression FR2, the company demonstrated something bigger than incremental innovation. It showed a clear and consistent evolution of strategy:

And that combination is what turns products into standards.

GLP TWYN – a logical evolution, not a hybrid experiment

The headline release at ISE was undoubtedly GLP TWYN.

But TWYN is not a random wash/strobe hybrid. It is a deliberate fusion of two proven platforms:

• the wash DNA of CREOS

• the strobe architecture of JDC1 Burst

The same LED philosophy.
The same optical logic.
The same matrix-driven design approach.

The result is something designers immediately recognize: consistency.

Consistency of color across the GLP ecosystem.
Consistency of output behavior.
Consistency in performance when integrated into larger rigs.

For lighting designers, that means predictability.
For rental companies, that means flexibility with fewer fixture types.
For productions, it means creative freedom without technical compromise.

Combining wash and strobe in a single, intelligently engineered unit reduces complexity while expanding possibilities. That is how market standards are built — not through gimmicks, but through thoughtful integration.

GLP TWYN is already appearing in specifications and touring discussions. And that momentum is not accidental.

GLP WildWash 12 – the modern workhorse

For years, the industry has had a benchmark when it comes to reliable, durable wash fixtures — the kind of unit that becomes a long-term backbone of rental inventories.

Today, the market is looking for the next-generation equivalent:

• IP65 rated

• robust enough for touring

• consistent in color quality

• brand-backed

• positioned for volume investment

This is precisely where GLP WildWash 12 enters the conversation.

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It does not try to be the most extreme fixture on paper. Instead, it focuses on what truly matters in daily operation:

• durability

• environmental protection

• modern RGBL color mixing

• compact form factor

• long-term reliability

WildWash 12 feels engineered to become a dependable backbone fixture — the kind that works season after season, across tours, festivals and permanent installations.

And that is often far more valuable than chasing specification extremes.

GLP impression FR2 – compact, lightweight, strategic

A particularly interesting move is the introduction of GLP impression FR2.

Compact.
Lightweight.
Versatile.

FR2 signals something important: GLP is intentionally expanding into segments that demand agility and scalability — corporate productions, broadcast environments, mid-scale touring and installations.

This is not about lowering standards.
It is about extending access to GLP-level engineering into broader applications.

For rental companies, that means a fixture that can be deployed in volume without compromising brand credibility or performance expectations.

Accessibility without compromise

GLP has long been recognized as one of the world’s leading lighting manufacturers. Its fixtures are widely specified by designers and trusted across major productions.

This is not a departure from quality.
It is a deliberate evolution toward wider accessibility.

Premium engineering, system consistency and touring-grade durability are now offered in a way that supports scalable investment strategies.

When a premium brand becomes realistically accessible for larger deployments, market dynamics shift.

And that shift is already visible.

Durability and retained value matter

In rental and production environments, purchasing decisions are never based solely on specifications.

What matters just as much:

• mechanical durability

• color consistency over time

• production reliability

• long-term operational stability

GLP fixtures have built a reputation for maintaining performance over years of heavy use. They hold their parameters. They remain serviceable. They stay relevant.

Durability is not marketing language — it is business logic.

GLP is a market standard

The portfolio presented at ISE reflects a clear trajectory:

• functional integration

• family-wide ecosystem coherence

• IP-rated durability where it matters

• scalable positioning

• engineering continuity

GLP is increasingly scalable, volume-ready standard across touring, rental and installation markets.

GLP products are not only present in production companies worldwide — they are also widely available through major rental networks.

This includes A-RENTAL, the largest dry-hire lighting rental company in Eastern Europe, serving clients globally.

The presence of GLP fixtures within large international rental ecosystems reinforces their position not just as a specification choice, but as an accessible, deployable standard for productions anywhere in the world.

For companies planning future investments, this portfolio deserves close attention.

Test it. Run the numbers.
Evaluate it within your ecosystem.

Because the combination of engineering credibility, system consistency and real-world accessibility is rare.

And right now, GLP is delivering exactly that.

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ISE Barcelona 2026 is one of the key moments of the year for the AV, event, and integration industry. For ARAM, AV LIGHT, and A-RENTAL, it is not only about technology and products, but above all about meeting people in person, exchanging experience, and talking openly about real projects and real equipment.

If you are attending ISE this year, we would be happy to meet, talk, and show you what we actually do — without sales pressure and without marketing noise.

Why meet us at ISE

All three companies operate in closely connected areas of the AVL industry:

ARAM – stage and system design, engineering, consulting, and complex AV solutions for events, installations, and immersive spaces

AV LIGHT – professional lighting, LED, and visual technology expertise

A-RENTAL – professional AV equipment rental for events, productions, and installations

ISE is a great opportunity to:

• meet the people behind the companies

• talk about real-world use cases and challenges

• learn what equipment and technologies we actually work with

• discuss upcoming projects for 2026 and beyond

Sometimes a short face-to-face conversation is far more valuable than weeks of emails.

Where ISE takes place

ISE Barcelona is held at: Fira Barcelona – Gran Via
Av. Joan Carles I, 64
08908 L’Hospitalet de Llobregat, Barcelona

This is the newer and larger exhibition venue, located southwest of the city center.

How to get to Fira Barcelona – Gran Via

From Barcelona Airport (El Prat)

• Taxi

  • Travel time: ~10–15 minutes

  • The fastest and easiest option, especially with luggage

• Metro

  • Line L9 Sud

  • Get off at Fira or Europa | Fira

  • Direct connection from both airport terminals

From the city center

• Metro

  • Line L9 Sud → stations Fira or Europa | Fira

  • Line L8 (FGC) → station Europa | Fira

• Train (FGC)

  • Lines S8, S33, R6, R5

  • Stop at Europa | Fira

• Taxi or ride-hailing apps

  • Widely available and reliable in Barcelona

  • Expect longer travel times during peak show hours

Walking between halls

Fira Gran Via is a large venue. Wear comfortable shoes and allow extra time between meetings — halls are connected, but distances can be significant.

Exhibition Interactive Map

Tips for visiting ISE

• Plan meetings in advance if possible — ISE days get busy quickly

• Allow buffer time between halls and appointments

• Use public transport when possible during peak hours

• Take breaks — the show is intense and physically demanding

See you in Barcelona

If you are attending ISE Barcelona 2026 and would like to meet ARAM, AV LIGHT, or A-RENTAL, feel free to reach out or simply stop by for a conversation.

In most cases you can meet us at GLP > Hall 6 > booth 6M900

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No sales pitch — just people, experience, and technology that works in real projects.

See you at ISE Barcelona 2026.

ARAM Insights

ARAM | A-RENTAL | AV LIGHT: who we are and what we do...

In the world of entertainment and technology there’s no room for chance. What counts is experience, access to the right tools, and reliability…

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8 months ago · 1 like · ARAM

Every once in a while, a lighting tool appears that doesn’t just add another feature — it changes the way designers think. The new E-Frost for GLP Creos is exactly that kind of upgrade. And while it may look like a simple accessory, in practice it behaves more like a creative instrument: one that transforms a fixture from powerful to poetic.

For anyone who loves playing with beam, texture, atmosphere and visual storytelling, the E-Frost unlocks a whole new world.

A frost that behaves like no frost before it

Traditionally, frost filters have been static: you attach one, the light softens, and that’s that. The E-Frost refuses to play by those rules.

Instead, GLP introduced something unexpected:

Three independent frost segments made from Smart Glass — a technology that shifts from clear to diffused in milliseconds.

What does that mean for lighting designers?

It means a beam that can harden, soften, split, breathe, pulse or melt into the background… on command. It means light that doesn’t just change — it performs.

The CREOS was already a creative beast. Now it can shapeshift.

Before E-Frost arrived, the GLP Creos was already known for its versatility — a fixture that could be a tight 4° beam one second and a wide, rich wash the next. It could act as a backlight, a graphic element, or even a giant LED bar when used in clusters.

But with E-Frost, the Creos gains something far more artistic:
the ability to change its personality instantly.

• Clear mode: razor-sharp, architectural beam.

• Full frost: smooth, dreamy wash that fills the space like mist.

• Segmented transitions: new kinds of atmospheric effects that feel almost cinematic.

You’re no longer switching between looks — you’re blending them, sculpting them, choreographing them.

Lightwaves, pulses and living textures

Because each frost segment can move independently, designers can now create effects that simply weren’t possible before:

• a soft ripple drifting across the fixture,

• a frost wave that pulses with the music,

• a beam that dissolves gradually, like ink bleeding into water,

• subtle animated textures that turn a stage into a living canvas.

This isn’t beam, wash or effect lighting anymore.
This is light storytelling.

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White Frost or Black Frost: choosing the mood

GLP offers two versions of E-Frost — each one shaping the atmosphere differently:

White Frost

Bright, creamy diffusion — perfect for big stages where you want light to bloom.

Black Frost

More controlled, more elegant — ideal for theatre, TV or art installations where reflections and equipment visibility must disappear.

Same hardware, completely different emotional tone. Designers love this.

Built for the real world, not just the catalog

Of course, this is still GLP, so the engineering is as serious as the artistry.
The E-Frost is fully IP65, built for heat, cold, rain, dust, wind, haze — everything the touring world throws at a fixture.

Clip it onto a Creos, plug it into FX.Port, and you’re ready to create.

And in Poland, the entire Creos ecosystem — including the new E-Frost — is available through AV LIGHT, the official distributor of GLP.

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Why the E-Frost matters

Because great tools don’t just make work easier — they expand what’s possible.

The E-Frost doesn’t ask designers to choose between sharp or soft, bold or subtle, graphic or atmospheric.
It invites them to explore the space between those states — the transitions, textures, and emotions that bring a show to life.

It turns the CREOS into something more fluid, more expressive, more alive.

And for anyone who designs with light, that’s the kind of upgrade that doesn’t just change looks. It changes ideas.

Looking to buy o rent GLP CREOS ?

RENT or BUY

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Over the last 10–15 years, the entertainment lighting industry has undergone a revolution.

The rapid development of LED technology, increased competition, and the emergence of many new manufacturers have made the range of stage equipment more diverse and significantly reduced prices.

This has opened the door to new equipment investments for various entities, such as stage technology companies, technical production companies, local cultural centers, clubs, and other entertainment venues. However, it has also brought challenges related to durability, secondary market value, and the actual alignment of specifications with user needs.

Short-term or long-term investments?

A decade or two ago, purchasing stage lighting was considered a long-term investment. Devices from reputable brands were known for their high quality and could be used for 10 years or more. Today, the situation is different.

Many new products, particularly those from brands in the B and C segments, are designed with shorter lifespans in mind. The pace at which improved or new models are introduced to the market often leads to equipment quickly losing value or becoming unsellable, with its market value approaching zero within just a few years.

Public institutions like theaters and cultural centers face particularly difficult challenges. Technical production companies also has to calculate their ROI according to the product lifetime and other factors.

For these entities, purchasing decisions are made for the long term, and the processes for replacing or reselling used equipment are far more complex. Therefore, they should opt for products from reputable, well-established brands in the A segment, which guarantee quality, durability, and reliability over time or choose cheaper products and probably stay with it forever.

For example, the GLP JDC1 has been on the market for eight years in an unchanged version.

Secondary Market: What happens after a few years?

One key factor when investing in lighting equipment is not just its functionality but also its value after a few years of use.

Products in the A segment from reputable brands retain their value on the secondary market, allowing companies to recover part of their investment when selling them. In practice, this means companies can partially fund new equipment purchases with the proceeds from selling older models.

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The situation is different for cheaper devices in the B and C segments.

Manufacturers often release new versions of models every year or two, making older devices rapidly lose value and become difficult to sell. This translates into greater risk for users investing in such products, as rapid depreciation directly affects their business – the device needs to pay for itself and generate profit before it is sold and replaced with a newer model.

In other words, after a few years, many of these models are unsellable, while products from A-segment brands like GLP, ROBE, or CLAY PAKY retain up to half their purchase price and are easier to sell on the used market.

Specifications vs. Reality

A common issue in the stage lighting market is the discrepancy between the technical specifications provided by manufacturers and the actual performance of the equipment. As the saying goes, paper can hold anything, but reality is often less forgiving.

Equipment that promises high uniformity of illumination or compliance with specific standards on paper may not deliver on those promises in practice – akin to the infamous "Volkswagen scandal," where compliance was met only during testing. It’s essential to analyze, test, and consult other users rather than blindly trusting manufacturers.

It’s also worth comparing multiple batches of the same device, as products from the B and C segments ordered months apart often exhibit variations in color temperature, particularly noticeable in white light.

Fortunately, verifying the actual parameters of equipment is not complicated. A light meter, an experienced lighting designer, and a few tests can determine whether a device performs as the manufacturer claims. Issues such as uneven illumination, color temperature inconsistencies, or actual light output often become apparent during tests, helping to avoid disappointments and poor investments.

However, it’s impossible to predict how a device will perform over time, which is why seeking advice from others and checking forums and reviews is equally important.

The role of lighting designers

Lighting designers play a key role in selecting lighting equipment. They know best which devices perform well in practice and can assess whether a particular model will meet stage requirements.

An increasing number of designers are open to using cheaper alternatives to top-tier products, especially in institutions and smaller projects with limited budgets. However, their expectations for these devices remain high – the equipment must work reliably, provide even illumination, and deliver the required light quality.

Unfortunately, many devices in the B and C segments frequently face quality and reliability issues, which significantly affect their usability. Servicing costs money, and warranties don’t last forever.

Key Questions Before Purchase

When choosing lighting equipment, consider the following questions:

• How long is the equipment intended to be used?

• Does the device truly meet its technical specifications?

• What are the resale possibilities after a few years?

• Will purchasing cheaper, less durable equipment be more cost-effective in the long run?

For example, the Martin Quantum Profile has been on the market for years and remains valuable as a used product till now in some regions.

My point of view

The lighting market today IMO offers vast opportunities but also demands greater caution when making purchasing decisions.

Users – whether event technical production companies, theaters, or cultural centers – must balance price, durability, and quality.

The role of stage lighting designers and thorough equipment testing is crucial to avoid disappointments and technical issues. It’s also worth monitoring what is specified in riders versus acceptable substitutes (or unacceptable ones).

For public institutions, purchasing equipment is a long-term decision, making reputable brands often the only viable choice. Don’t be swayed into believing that new brands are always cheaper and better. Like every brand, they have their standout products, but a good, durable product comes at a price, and the investment lasts for years.

On the other hand, technical production companies must approach investments more flexibly, analyzing equipment lifecycle and resale potential rather than just its features and effects. Often, it’s truly worth buying better equipment rather than a cheaper “alternative” or an imitation.

Finally, following trends, conducting tests, consulting multiple independent lighting designers, and observing the investment patterns of major rental companies in Europe can help make informed decisions. These companies invest in equipment that has already gained market acceptance or is likely to do so. The ability to rent additional devices as needed also matters.

Ultimately, well-chosen equipment is not just a tool but an investment in quality, reliability, and professionalism – critical factors for any event.

About the author:

I have over 30+ years of experience in creative and technical production of esports, entertainment, immersive exhibitions, events, and a wide range of audio-visual installations and technologies. I’m involved in three companies: A-RENTAL - dry-hire, ARAM - technical production & AV LIGHT - distribution

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GLP is expanding its portfolio with a modern family of LED blinders that is quickly making its way into riders and rental company inventories.

The Matrix Eye 2 and Matrix Eye 4 bring a fresh approach to the classic blinder effect: they deliver the iconic tungsten-style punch, but with the full power, color control, and efficiency of LED technology — all in a robust IP65 housing ready for any outdoor environment.

Matrix Eye 2 — compact, versatile, and surprisingly powerful

The Matrix Eye 2 is a two-cell (2-Head) LED blinder equipped with RGBAL LEDs that offer natural color rendering, excellent skin tones, and smooth color mixing. Key features include:

• output up to 22,600 lumens,

• wide beam and field angles (60° / 100°),

• authentic tungsten emulation with smooth dimming,

• IP65 for outdoor use,

• modular design allowing multiple units to be linked together.

It’s an ideal fixture for concerts, small to mid-size stages, TV productions, creative installations, and events that require both power and clean color performance.

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Matrix Eye 4 — a high-output workhorse for large-scale productions

The Matrix Eye 4 doubles the power with a four-cell (4-Head) configuration designed for stages needing maximum brightness and wider coverage. It offers:

• output up to 45,200 lumens in Boost mode,

• uniform optical field and wide light distribution,

• full RGBAL color mixing,

• natural and precise tungsten-style dimming,

• IP65 protection and a modular, cluster-friendly frame.

This model is perfect for festivals, stadiums, TV broadcast environments, and high-end events where performance, durability, and flexibility are key.

Why the Matrix Eye series is gaining attention

• IP65 – fully outdoor-ready.

• RGBAL color – not just a “white blinder,” but a creative lighting tool.

• Tungsten emulation – the classic warm punch LDs expect.

• Modularity – linkable design for larger creative setups and blinder walls.

• Color consistency – aligns perfectly with GLP’s newer fixtures like the X5 series and Creos.

The Matrix Eye 2 and Matrix Eye 4 combine classic aesthetics, impressive power, and modern functionality. They are already entering Polish rental inventories and are expected to become one of the most widely used blinder solutions in 2025.

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If you are looking to buy blinders, check out AV LIGHT, official distributor of GLP.

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