The Axon Media Server, powered by the award-winning DL.2 graphics engine, provides you with all the cutting edge functions of the DL.2—including Collage Generator™ and Curved Surface Support—with the flexibility of choosing your own output device. Axon can feed video to DL.1s, LED panels or large format projectors.

It’s the flexible solution for those who already have their own video display device, and want a world of unlimited image possibilities.

Axon ships with more than 1,000 stock media clips and has 200 folders for custom media clips.

Stock Content is locked down using the XP Embedded Operating System. That means all stock content is protected and consistent among all units. The XP Embedded O/S also protects Axon from drive corruption and O/S degradation over time. With the on-board content management software, you are able to move and manage the local media as well as any Axon or DL.2 on the local area network.

Axon and DL.2 use the same graphics engine DMX protocol (a HUGE bonus when programming)—they operate the same way from a DMX console or via Art-Net.

In recent years, we have seen a huge increase in the amount of video that is being used in concert touring and event applications. Video is accounting for a larger part of the budget, but is still a visual element to be coupled with the lighting.

In previous years, any video system had to have a dedicated crew with dedicated equipment, often with a Video Director who was responsible for what was seen on any screen and when.

Things have evolved from here, many events now require a single Visual Designer, rather than two separate entities. The role of Visual Designer is an evolvement of the Lighting Designer as they have been the main creative person, as opposed to a Video Director who has been more of a playback coordinator.

Producing a Media Server such as Maxedia, which has integrated DMX control, gives full control of both the lighting and video elements of a show to the Lighting Designer enabling the creation of complete cohesive visual looks.

Producers and directors in theatre and television, technical directors, event managers from leading agencies and well-known lighting and multi-media designers are all betting on the award winning innovative performance of the Pandoras Box Media System from coolux.

Edirol Motion Dive .Tokyo Performance Package

EDIROL announced a new visual performance package for the visual artist and performing musician. Designed in collaboration with Digitalstage, the EDIROL “motion dive .tokyo performance package” is the combination of Digitalstage’s world-famous motion dive .tokyo software and a specially designed console, the MD-P1. This console represents the first time MIDI control of motion dive is possible.

Edirol Motion Dive .Tokyo Performance Package's software takes a unique approach to visual performance by using a familiar DJ style interface that allows for the mixing of two visual sources with a DJ style crossfader, switches and effects.

EDIROL created a unique USB powered console specifically for Edirol Motion Dive .Tokyo Performance Package. The MD-P1 Console duplicates the software interface of motion dive and adds the benefit of being able to manipulate multiple parameters at the same time. The MD-P1 Console was conceived for use with notebook computers with side placement of connectors, and a small portable design.

The MD-P1 Console also features a MIDI input port for connection of V-LINK compatible Roland instruments and workstations as well as EDIROL controllers. By activating the V-LINK function on the instrument, pre-programmed settings are called up for instant integration with motion dive .tokyo, giving the musician control of visuals from his or her music instrument.

Tomoyasu Hirano, President of Digitalstage, says, “Digitalstage has been an innovator in the development of visual performance software since 1998 with our motion dive software. We are extremely pleased to join with the leader in audio and visual performance hardware, EDIROL/Roland, to bring a new era of software and hardware integration to the visual performance scene.”