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Image: © Proyect-Arte
The bigger the production, the bigger the problems can be. More dates, cities, and miles mean less room for error and logistical pressure that demands very careful technical decisions. In this context, creativity isn't just about the show's design; it's also about building a system capable of replicating it precisely night after night.
And not all equipment is created equal. Choosing the right gear is no longer just a matter of browsing a catalog. Better Late Than NeverFor Romeo Santos and Prince Royce's European tour, this approach has led to working with two identical technical sets and with 60 Ayrton Diablo S integrated into the lighting design of Nesmar Cepeda.
There is one piece of data that explains the complexity of better than any equipment figure. Better Late Than Never: the calendar.
The tour has featured dates in Milan, Barcelona, and The Hague on three consecutive days. A week later, London, Cologne, and Paris followed, again with no rest between concerts. Later on, Murcia, Valencia, and Madrid continued in the same vein. Different countries, hundreds of kilometers between stages and venues that completely change in scale and configuration: indoor arenas like The O2, Lanxess Arena, and Accor Arena; stadiums like the RCDE Stadium and the Riyadh Air Metropolitano; festivals; and large outdoor spaces.
That's where the real engineering work begins.
Two identical sets to keep the show going across Europe
To maintain the pace of the tour without compromising the technical setup of the show, Project-Art They have worked with two completely identical sets, prepared to run in parallel throughout the entire process. While one of the systems is in production, dismantling, or being moved, the second can be moved forward to the next date.
The logistical advantage is clear, and so is the technical challenge. Duplicating a complete system only works if the design responds identically to both sets. Same tools, same programming, and the same ability to reproduce the visual identity from one city to another.
Leading the design and operation of the lighting is Nesmar Cepeda, responsible for a proposal that must remain consistent throughout the entire process, regardless of the venue or system that is operational on each date.
On a tour of this scale, every equipment decision is part of that continuity. And within each set, 30 Ayrton Diablo S They take their place in the lighting system: 60 units in total working on two identical configurations.
The presence of 60 Diablo S Within an international production of this scale, it continues to confirm that Ayrton is the best in a field he knows well: major tours where the technical demands leave no room for half-measures. And that's where Stonex wants to be, when the design has to hold up night after night: providing technology, expertise, and support to keep the show running city after city.
Why the Ayrton Diablo S makes sense within such a complex touring system
In touring, every kilo you carry also needs to be unloaded, moved, lifted, wired, dismantled, and put back on the road. When you multiply that operation by dozens of lights, two complete systems, and a tour that crosses Europe, the performance-to-volume ratio ceases to be a nice product feature and becomes a production decision.
Diablo S concentrates the tools of a profile into a remarkably compact body, allowing a designer to tackle a wide variety of projects. This is especially useful when the same show needs to be adapted from an arena to a stadium or an outdoor venue without changing its design language each night. The ability to modify beam angles, control the beam, cut off sections of the stage, or adjust color rendering within the same luminaire family provides flexibility to fine-tune the design to the venue without having to rebuild it entirely.
A luminaire capable of performing multiple functions simplifies that equation. Diablo S offers wide-range optics, a blade system, and a full color engine within a platform that is lightweight and energy-efficient.
There is also another, less visible issue: The two systems have to speak exactly the same language.
Ayrton has designed the Diablo S precisely around a very high balance between performance, size, weight, and efficiency. Its LED light source and compact form factor also reduce two particularly troublesome problems when deadlines are tight: the energy and heat load you have to manage, and the number of consumables associated with traditional lamp technologies.
Por eso 60 Diablo S make sense within a production like Better Late Than NeverNot because so many units make an equipment list more spectacular, but because they are part of an architecture designed so that creativity survives logistics.
Are you preparing for a tour or upgrading your lighting setup? We can work with you to study the entire system: lighting needs, loads, integration, operation, and technical support to find a configuration that makes sense both on stage and throughout the miles leading up to the show. Request a technical assessment of the project.
Stonex, official Ayrton distributor in Spain
Ayrton isn't chosen from a catalog. It's chosen when a project demands precision, optical quality, and real reliability.
At Stonex, as the exclusive distributor of Ayrton in Spain, we help you choose wisely: we analyze your needs, organize a personalized demo, and prepare a proposal tailored to your project.
