2 + CASE 250W lamp beam pair with a 2° angle at 103,000 lux, an 8+16-facet dual prism and 19CH of DMX.
$1,319.00
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250W Lamp, 2° Pencil Beam103,000 Lux @ 10 m
A discharge engine and tight angle that LED beams still cannot match
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8+16-Facet Dual PrismTwo Rotating Axes
Both prisms layer onto the beam for dense aerial patterns
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13 Gobos, 14 ColorsFrost And Rainbow
Split color, rainbow and frost built in for quick look changes
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RGB Halo Ring For AmbienceIndependently Controlled
A color glow around the aperture so the fixture reads when the beam is off
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2 Fixtures + 1 Road Case$1,319 The Pair
A working beam line arrives in one box, protected and matched
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$1,319.00
The beam angle is 2° — about as tight as a moving head gets. Out of the lens, 250W of lamp delivers 103,000 lux at 10 meters, which is why the beam stays solid and hard-edged all the way across a room instead of blooming into a cone. In a haze-filled club or a festival field, a 2° beam draws a defined line in the air: the effect the crowd actually reacts to. This is the category of fixture you hire when the brief says 'aerial beams', not 'wash the stage'.
The fixture carries an 8-facet and a 16-facet layer on Prism1, plus a 16-facet rotating prism on Prism2. Turn them on and one beam becomes a fan of beams sweeping the room; stack them and you get the dense multi-layer look that normally needs two or three fixtures pointed at the same spot. For a chorus, a drop or a build, that is the fastest way to go from one hard beam to a wall of light without touching anything else.
A 13-gobo static wheel handles pattern projection, and the 14-color wheel covers the palette plus open. Split color puts two colors in the beam at once for a two-tone look, the rainbow effect sweeps the full spectrum on one channel, and frost softens the hard 2° edge for moments when a full-beam blast is too much. Every one of those is a separate DMX channel, so you can move between them mid-song.
A ring of RGB sits around the main lens and runs independently of it. Keep the 2° beam white and hard on a performer while the halo holds a slow color bed, or drive both together for a single saturated statement. On a wedding, a corporate set or a church stage, the halo is what stops the fixture reading as purely aggressive — it gives the room ambience without giving up the beam.
19 channels cover pan, tilt, color, gobo, both prisms, frost, dimmer, strobe and the halo ring as separate parameters. Pan travels 540° and tilt 270°, both with 16-bit scanning, and Pan/Tilt is selectable as 8-bit or 16-bit smooth. 16-bit keeps a slow sweep clean rather than steppy; 8-bit frees channels when the universe is crowded. DMX, Master-Slave, Auto and Sound modes are all built in.
The light source is a 250W lamp rated for 2,000 hours, not an LED array. Two things follow from that. First, the output: lamp beams deliver the hard 2° edge and the 103,000 lux at 10 meters that designers ask for by name. Second, it is a maintenance item — plan lamp replacements into the fixture's running costs rather than expecting a decade of service. The upside is a hard 2° lamp look that LED beams do not reproduce.
At 14.8 kg (32.63 lb) in a 340 × 257 × 505 mm (13.4 × 10.1 × 19.9 in) body, the fixture is compact enough for a small truss and heavy enough to need proper mounting. The 2PCS & 1 ROAD CASE package at $1,319 ships a matched pair already protected for transport, which matters if the rig travels — two beams either side of a stage is the standard aerial look, and this is that rig in one order.
The beam angle is 2° — about as tight as a moving head gets. Out of the lens, 250W of lamp delivers 103,000 lux at 10 meters, which is why the beam stays solid and hard-edged all the way across a room instead of blooming into a cone. In a haze-filled club or a festival field, a 2° beam draws a defined line in the air: the effect the crowd actually reacts to. This is the category of fixture you hire when the brief says 'aerial beams', not 'wash the stage'.
The fixture carries an 8-facet and a 16-facet layer on Prism1, plus a 16-facet rotating prism on Prism2. Turn them on and one beam becomes a fan of beams sweeping the room; stack them and you get the dense multi-layer look that normally needs two or three fixtures pointed at the same spot. For a chorus, a drop or a build, that is the fastest way to go from one hard beam to a wall of light without touching anything else.
A 13-gobo static wheel handles pattern projection, and the 14-color wheel covers the palette plus open. Split color puts two colors in the beam at once for a two-tone look, the rainbow effect sweeps the full spectrum on one channel, and frost softens the hard 2° edge for moments when a full-beam blast is too much. Every one of those is a separate DMX channel, so you can move between them mid-song.
A ring of RGB sits around the main lens and runs independently of it. Keep the 2° beam white and hard on a performer while the halo holds a slow color bed, or drive both together for a single saturated statement. On a wedding, a corporate set or a church stage, the halo is what stops the fixture reading as purely aggressive — it gives the room ambience without giving up the beam.
19 channels cover pan, tilt, color, gobo, both prisms, frost, dimmer, strobe and the halo ring as separate parameters. Pan travels 540° and tilt 270°, both with 16-bit scanning, and Pan/Tilt is selectable as 8-bit or 16-bit smooth. 16-bit keeps a slow sweep clean rather than steppy; 8-bit frees channels when the universe is crowded. DMX, Master-Slave, Auto and Sound modes are all built in.
The light source is a 250W lamp rated for 2,000 hours, not an LED array. Two things follow from that. First, the output: lamp beams deliver the hard 2° edge and the 103,000 lux at 10 meters that designers ask for by name. Second, it is a maintenance item — plan lamp replacements into the fixture's running costs rather than expecting a decade of service. The upside is a hard 2° lamp look that LED beams do not reproduce.
At 14.8 kg (32.63 lb) in a 340 × 257 × 505 mm (13.4 × 10.1 × 19.9 in) body, the fixture is compact enough for a small truss and heavy enough to need proper mounting. The 2PCS & 1 ROAD CASE package at $1,319 ships a matched pair already protected for transport, which matters if the rig travels — two beams either side of a stage is the standard aerial look, and this is that rig in one order.
| Input power | AC 100–240V |
| Power frequency | 50/60Hz |
| Power consumption | 320W |
| Fuse | 6.3A |
| Voltage range | Universal — works on US and EU mains |
| Source | 250W lamp |
| Average lifespan | 2,000 hours |
| Beam output | 103,000 lux at 10 meters |
| Color wheel | 14 static colors + open |
| Color effects | Split color, rainbow, frost |
| Linear dimming | 0–100% linear dimmer |
| Strobe | 1–25Hz |
| Beam angle | 2° |
| Prism 1 | 8-facet + 16-facet rotating |
| Prism 2 | 16-facet rotating prism |
| Gobo wheel | 13 static gobos + open |
| Color wheel | 14 colors + open, split color, rainbow, frost |
| Halo ring | RGB halo ring, independently controllable |
| Protocol | DMX512 |
| DMX channels | 19CH |
| DMX connector | 5-pin XLR input/output (or 3-pin) |
| Power connector | Tru1 input (or PowerCon) |
| Control modes | DMX / Master-Slave / Auto / Sound |
| Pan | 540°, 16-bit scanning |
| Tilt | 270°, 16-bit scanning |
| Pan/Tilt | 8/16-bit smooth |
| Display | LCD color display with 5 buttons |
| IP rating | IP20 — indoor use only |
| Housing color | Black |
| Working ambient temp. | −10°C to 40°C (−14°F to 104°F) |
| Dimensions | 340 × 257 × 505 mm (13.4 × 10.1 × 19.9 in) |
| Weight | 14.8 kg (32.63 lb) |
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