Welcome to another episode of the Mod Scenes podcast. I’m thrilled to talk to you today about some of her interview innovations, uh, specifically in our TMX moist, uh, products. So normally during this podcast, we talk a lot about our stage backdrops, um, and our modular scenic products. Uh, but today we’re going to focus on our DMX voice. Sorry, you mentioned voice. Um, also commonly referred to in the industry is kinetic lighting, um, or one of the coolest products that we have, uh, they’re demons control by a standard lighting console. Uh they’re they are a kinetic light that moves up and down based on a DMX signal, uh, at the end of the, uh, the Kevlar wire that moves up and down, you have an led light that’ll light up, uh, 16.1 million different colors. And so lots of flexibility on, uh, being able to create the exact color that you’re looking for.
So, yeah, so with our metaphor, uh, obviously them in themselves is quite a, uh, uh, quite a, um, innovation, sorry, quiet innovation. So our DMX voice, our kinetic light fixtures, um, they, uh, they accept three and five then, uh, so you can easily jump in and out of them, uh, with, uh, you know, whichever type of DMX cable your inventory has. Um, they also, uh, they also stopped, uh, they also are power con in Bruce. You can jump multiple units together, uh, so you can jump up to 20 units together. Um, all of them have electronic brakes. So if you have a power failure, they’ll stop within a 16th of an eighth of an inch. Uh, so they’re really quick to stop to make sure that you’re safe, uh, whenever you’re using them. Um, so, but, um, further than the actual units themselves, which have a ton of innovation built into them already, uh, I’d like to talk a little bit about, um, our process for, for when we use them and how we save time and serve you well.
Uh, so whenever we do a rental forearm, you mentioned voice, uh, we provide, uh, our technicians, our technicians will come and set up your voice to ensure that you have a flawless, uh, ensure you have a flawless, um, event, make sure all the voice work correctly as they should, uh, and make sure that, um, your exact vision is realized through the programming setup and operation of the DMX voice. Um, so those DMX winches, uh, or DMX voice, um, they, uh, uh, whenever we set them up, uh, we set them up according to your specifications. So say, uh, one of the, one of the events have done is been, uh, it was a grid. So we did a nine by nine grid. Uh, I, I’m sorry, it’s 10 by nine it’s on 90 minutes. Um, you know, 10 by 10, a hundred units. So with those units, uh, we spread them out eight feet evenly, so there’s eight feet horizontally, eight feet vertically.
Uh, obviously that’s quite a trust grid. Um, so we laid those out, uh, clamped them up, put the boards on, uh, adjusted everything so that everything, uh, had a perfect alignment side to side. Um, but there’s a couple of key things we did to make sure things were quick. Uh, so obviously we come prepared, uh, so we have extra spares. So if any units had any issues at all, uh, if during transport, you know, something, something to come loose or, uh, something just didn’t seem right about the end, then maybe there was a, uh, as with any, you know, the actual lighting fixture, sometimes things don’t work, maybe, uh, uh, uh, power card, especially when you have so many units. Um, so if any didn’t work, we quickly replaced them. Uh, just swap them out for another unit. Uh, we had pre-built trust tapes. Uh, so that’s a, um, it’s a, a non adhesive tape that has a start point marked.
Uh, so you put that at the end of your trucks, tape it onto the end of your trust. And every eight foot, we had a mark for the specific unit, uh, DMX voice unit specific mark for it. So he could lay out the units quickly, um, along with the unit number, uh, and location, it would have to give them X, uh, channel and the DMI, uh, channel, so where it would be addressed in the universe. So we knew how to wire it quickly. Uh, everything was split up into universities by trust. So it made Daisy chaining them really easy. Um, let’s see, what else. Um, we also, as I said, we came prepared with everything we would need that included, um, boxing wrenches to make rotating the units really quick. Uh, just a single turn on the clamp, and we could rotate the entire unit, uh, to make it hit the correct location.
Um, then we also, all of our, uh, all of our voice, we have cable packages that are included with the voice rental and stage backdrops, uh, and specifically, uh, power con and five pin data. Uh, so with our, uh, with our voice, uh, with our voice setup, uh, and with our, um, our power con jumpers, we actually have those so that they’re they’re manufactured so that the power con and data are loomed together. So it’s running, it’s like running one cable as opposed to two, which cuts down on time significantly. Uh, we also had preplanned home runs where they would all drop, uh, and drawings to ensure that everything came out quickly and easily. Um, another difference between our DMX voice and other, uh, DMX winches on the market, uh, which there not many of is, uh, the physical build of our units. So our units, uh, have a steel body.
So they’re, uh, they’re very durable. They have a steel body. Um, they have molds, uh, they have multiple screws, they have a safety built into the carriage, so that safety actually bolts directly to the carriage. So if anything were to fail with the clamp stage backdrops, uh, safety would hold the entire unit together. Uh, we use actual seek lamps, so heavy duty C clamps, as opposed to, uh, a smaller, uh, unadjustable, uh, smaller, an adjustable half coupler. Uh, so a lot of the units use, uh, two half couplers, uh, which are mature, interesting clamps. Um, but they do require two hands to require two hands to hang, and they are that limit your layout, whereas specifically around like trust, um, many times with these units now your trust is aren’t going to match up. Exactly. So you’re going to be trying to work around the cross-members and other parts of trust to make everything look symmetrical.
So the C clamp allows you to get a little bit closer. Uh, you see a little bit more flexibility on where you can actually put a clamp. Um, let’s see, what else. Um, and then also another innovation that we have with our image voice is they’re built to be able to ride in a HUD trusting. So HUD trusting is a, uh, is one of the different brands of it, but it’s a, it’s a trust type that, uh, allows fixtures to ride specifically in the, um, in the trust. So in the trust, the, uh, um, and the trust the units set, uh, so you can literally roll in your trust, bolt together, plug in your cables and fly it up as opposed to having to hang at each end and fixture individually. Uh, it makes it a lot quicker process if you were in a time crunch and you’re looking to have the system operational in a matter of an hour or two, as opposed to a day, uh, or, you know, multiple hours, eight hours for a hundred minutes.
Um, in addition, uh, all of our units have the ability to set a, uh, to set, uh, set up varied, uh, low limit. So this is a digital and note within the controller, uh, in the physical unit. So, uh, for example, uh, our RGE DMX voice, um, we can set up a limit for those, uh, at, um, selections of three meters, six meters in nine meters. So with that, uh, um, every three meters we can limit how high, uh, how high or how low, how low specifically they can go. Uh, we want to make sure that, you know, we set that limit above the base value for wherever your lowest point is. So for example, if you have a six meter tall stage, or it’ll say six and a half meters tall stage, you’d set that to six meters and then your DMX, regardless of where your DMX went, your unit, the note could not go lower than six meters.
Uh, so that’s another innovation that keeps, uh, uh, keeps the DMX boys from actually touching the ground. Uh, obviously it keeps the people around it safe, uh, as with any BMX, uh, fixture voice Fisher. You should keep it from, um, you should keep it from, you know, being, uh, directly underneath the, directly above people, um, with any ringing, uh, apparatus that’s moving, uh, it’s not, uh, it’s not appropriate to have it directly above somebody. Uh, you should always have plan that so that, you know, there’s holes around people. And then there’s essentially like a safe zone, uh, in case something were to fail. Uh, but that is not something that obviously happens, um, much at all. So, um, I think in the, uh, I think in the last probably 50 rentals we’ve done, uh, we’ve we haven’t had a failure, um, of a unit, uh, again, cause we always check the units and make sure to put them through their paces, uh, before they actually go into a show setting, they’re always checked in, uh, our shop after a show and checked out, um, uh, before show.
So we made sure twice that they’re operational and correctly operational then onsite since our techs are there. They see that the warning signs, if there’s something, it doesn’t look quite right, they’ll swap it out for one of the spares to make sure that you have the most, uh, pristine show. So, uh, onto, um, onto some other options, because as I mentioned, there are other DMX voice, uh, and other DMX motors, uh, that are, uh, DMX, uh, motors that, um, that’ll, that can move up and down, uh, with control from a lighting console. Um, so I want to kind of, uh, kind of touch on that a little bit because, uh, you know, uh, probably from our podcasts, you know, quite a bit about our DMX voice, um, and about how we do medical lighting, uh, but there is other, um, there’s other companies out there, and I’d really love to show, uh, to speak a little bit about them to compare, uh, our different services and make sure that there’s, uh, uh, you know, you know, honestly, um, what you can expect from, uh, us and the industry and other companies.
So you can make an educated decision on who is the best to, uh, you know, to trust with your stage backdrops, uh, with, uh, your specific, uh, project. So let’s dive in. So, um, I’m going to do a real quick recap on our products. So specifically on the mod scenes DMX voice, we have two different versions, RGB controlled version. So that’s a whole, it’d be either a whole orb or a whole tube that, or a whole cube that’s has control of red, green, blue. So you can call her to get 16.1 million colors, uh, and they’re, uh, a very bright, uh, lightweight led, uh, look incredible, the DMX, uh, VMX voice unit. It takes three and five and in, uh, power con in and through, uh, it’s a Kevlar coated cable. So it’s super strong. Uh, the power and data are all contained in the control cable. So you don’t have to worry about having a battery operated light.
Um, uh, so yeah, so that’s a quick overview of our product. So let’s look at, uh, one of our competitors product specifically rose brand. So rose brand is a very reputable theatrical supply company. Uh, they are based, um, uh, out of New York, um, but they have multiple offices. Um, they, uh, they’re a sales company. They are not really a rental company. They do some rentals, but, uh, for their doing Mexico is they don’t actually rent those fixtures. Um, so they actually, uh, they’re a district us distributor for a company called Walberg. So Walberg is believe it makes their voice. I believe in Denmark, I may be incorrect about that, but it isn’t, it is in, uh, Europe, uh, that their, um, that their voice or made, uh, they, uh, they can use, I believe that their power setup is for power control. One, uh, as far as their data, I believe it’s five pen, um, which is both really good, uh, ways to do it.
Uh, one thing about their products though, is they don’t have any off the shelf, uh, LNG type fixtures. So, uh, they have a pretty good, uh, lifting capacity. So their smallest unit is there a winch five, which is a five kilogram, uh, lifting, uh, uh, lifting weight so they can lift five kilograms. Uh, but the, the winch five does not have a power or data, uh, signal cable. The, a winch 10 LX is the first in their line and has the light, the lightest in their line and has a power, uh, has power included in the cable. They do not have power and data though. So although you can provide power to your fixture. So for example, for example, if you wanted to provide by power to, um, like let’s say, uh, on a starer led to a wireless led to, uh, and you wanted to provide power so that you don’t have to worry about changing in and out, uh, you would have to, uh, you have to wire a connector on the bottom.
Uh, you have to rewire what your power supply inside the actual unit. Uh, so there’s actually, there’s quite a bit of electronics and going through and resetting those up or setting those up in general for a, uh, uh, TMX or voiced, um, movement thing. And since they don’t have a rental, you don’t really have a good option for, uh, control for those. So with it though, um, their pricing is quite expensive. Uh, so for purchase for a, which 10 LX is approximately $2,500, uh, so you can see it pretty quickly adds up. Um, so let’s talk about another company, uh, kinetic lights. So they are based out of Germany. Uh, they are one of the industry leaders as far as kinetic lighting goes. Uh, but, uh, one thing that, uh, is really not super well known in the industry, uh, is that they are actually all based out of Germany.
So all of their texts, which is awesome. Um, but, uh, it makes it very expensive whenever you’re doing a DMX voice set up in the United States because those texts have to fly, uh, from Germany to the U S uh, to set up. So you’re looking at multiple days of hotels, flights per diem, um, expensive lights, uh, obviously, uh, their staff is going to get paid that entire time. Uh, so flight, uh, you know, the flight days, uh, travel days. And, uh, and then the, the setup, the, uh, uh, the run of the show. Uh, so with our, uh, with our technicians, the way that pricing works out is you paid for the initial setup day and the initial and the, the, the strike day. Uh, and, um, and you can choose whether or not you want to have a tech on site, typically with a, uh, uh, hoist rental of over 30 units.
We keep attack, uh, on call in your city. So, uh, we have texts spread throughout the country to minimize the cost. Uh, so, uh, we have text-based in, uh, Florida, uh, Oklahoma, uh, California, um, and a couple on the east coast of various cities, uh, Philadelphia, Boston, um, but our techs are pretty well-versed and easily probable to wherever you want. Um, so yeah, so let’s look at, uh, let’s look at, um, one other competitor. Uh, so there’s one other company that makes, um, that does an X voice lighting, not particularly company is called white void. So a white, white void actually uses, uh, another one of ’em our competitors units, white void use, uh, utilizes, uh, units from, um, either it’s from kinetic lights. So those a T I mean, technically they are two different companies, uh, but they work in conjunction and white void is more of a design firm.
Uh, so, uh, whenever you’re hiring them, you’re hiring a central hire kinetic lights with the added costs of a design firm. Um, so yeah, so, um, and as we mentioned, so we mentioned kinetic lights or their travel, uh, their, their texts are based in Germany. We haven’t really talked about their fixture as much, so their fixtures are a little bit smaller. Uh, they’re made of a aluminum, uh, housing. It’s not quite as strong as our steel houses. Uh, it’s still, it’s still a good, a good fit for specifically what they’re doing. Uh, their units, um, their units are, uh, are similar, but, uh, one big key is the power and data do not flow down cable. You actually have to have wireless, uh, wireless LEDs, wireless DMX, uh, to control, uh, to control the led. So the hard part with this is that, uh, we are using CLI uh, with wireless.
You’ve got to take the units down at the end of the day and charge them, uh, to bring them back and to bring them back to the usability. Uh, whereas our fixtures, since everything is integrated, you can use them. I mean, they don’t have a duty cycle, so you could theoretically use them, you know, three, 400 hours in a row without stopping no need to recharge batteries. You don’t need to troubleshoot a wireless DMX that may be having issues. Uh, it’s a really solid, uh, repeatable process, uh, using our DMX voice. So, uh, I hope this has been an insightful podcast, and although we didn’t go over our stage backdrops products going over our DMX voice and specifically our competitors, kinetic gliding and, uh, kinetic lights, um, and, uh, uh, white void and rose brand, uh, specifically the Walberg voice, I hope that has really opened your eyes and shown you how our products stand out.
Our products, uh, can really benefit you in a much better way, uh, than our competitors, uh, past the physical products. Um, really our, uh, our, our service is second to none. Uh, we’ll make certain to take care of you. Uh, as I’m, as I mentioned in a previous podcast, our goal is to serve you. Uh, we put a really high priority on, um, on making that a big deal with what we do. So, uh, we would love to chat with you. We would love to talk to you about how we can serve you best your upcoming DMX, voice rental, or purchase. Um,
I love a chat with you. You can reach Out to us. Um, the via phone at (530) 723-6421. Again, that’s 5 3 0 7 2 3 6 4 2 1 or via email, um, at Steven and Mazzi is.com. And you can learn more about our DMX voice, uh, how we’ve used it to serve clients like Chick-Filet, um, Willow Creek, church, life, church, uh, and multiple other corporate clients at, uh, modscenes.com. I’d really love to chat with you, and I’m looking forward to serving you and providing stage backdrops.