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REVIEWED
REVIEWED: Ape Labs Apelight Maxi V2 Tourpack
Business is booming in the battery-powered lighting market and has been for the last decade or so. The biggest players have found countless ways to deliver new products with updated technologies, especially when it comes to wash and uplighting effects.
Design elements such as IP ratings, wireless control, compact form factors and many more have set the standard for these fixtures – and the Ape Labs Maxi V2 is no exception.
As the name suggests, the Tourpack 6 is a pack of six ApeLight Maxi V2 units contained in a sturdy yet lightweight flight case. The DC power supply sits in the pre-cut foam inlay, already routed to each charging slot, with an additional slot to store and charge the CONNECT battery-powered transceiver and antennae (sold separately). Fully loaded, the entire case weighs just 18kg, which is remarkable in comparison to other complete systems. That's just 18kg for six uplighters, charging accessories and control options! The case itself is exceedingly small at just 54cm wide and 37cm deep – as charging flight cases go, it takes up very little space.
The first thing I noticed on the lights is that there are no displays, menus or control buttons. In fact, the only button on the fixture is the on/off switch, alongside a 16-19V DC socket for charging. Very conveniently, these are placed on the opposite face of the bracket arm, so they stay hidden when in use, especially when using the brackets to angle the fixture. The Maxi V2 fixtures are very small at just 13.7cm x 13.7cm with a height of 6.5cm. They’re lightweight too, with each Maxi V2 weighing in at 1.7kg – a fraction of what modern uplighters typically weigh, even with the stainless-steel construction.
The Maxi V2 features three individual quad-colour 15W LEDs (red, green, blue and warm white) with an output around 2700K. They work perfectly with venue decor or for use as front lights for performers without looking too saturated. All three of these LED assemblies help provide the 15-degree beam angle of the fixtures. However there are separate optics available in the form of 10-, 25- and 45-degree lenses, which eliminate the need to purchase different uplighters for different uses due to beam and field angle limitations. The chosen lens sits behind a scratch-proof acrylic pane which looks sleek and is easy to clean.
The battery life is stated as 14 hours (run time) on full charge. My longest test with the entire Tourpack 6 and transceiver was 10 hours on a mix of single- and two-colour mixing, with no degraded performance and each fixture still at full brightness at the end of the test. I can safely say this was the longest I have seen a battery-powered fixture run without a gradual decline in output.
It’s worth noting that this is also with control over 2.4GHz; the additional draw of the automatic signal repeater means I believe the fixture could run even longer on a full output. The repeater is another brilliant feature of the Maxi V2, as it means not all the fixtures need to be within range of the transmitters to work, regardless of whether you use the remote control or the DMX- or app-controlled transceiver. Each fixture simply needs to be within range of another fixture running on the same transmitter, which makes much easier work of lighting multiple rooms or awkwardly shaped buildings with obstructions.
2.4GHz is now a standard in wireless control. This applies to both the remote control and the CONTROL transceiver, and is where the lack of menu comes into play. These fixtures can be assigned into groups on the remote control and the reason I make a point of this is that the control isn’t infrared. Because it operates over 2.4GHz, you no longer need to position yourself over an IR sensor to make changes. As long as the remote control is within a 30m range of any fixture, each and every group can be controlled.
You can use the remote control to set static colours, change colour programs and the speed at which the programs run, control dimming, and trigger music mode. Typically we find that sound-to-light modes follow a pre-set scene within an automatic program, which results in sound activation until either the program is changed or the final ‘scene’ loops back and starts over again. With these, you have a more controlled solution for a high-energy sound active mode. Activating the mode results in the dimming of the fixture to give a gentle glow, with each parameter still modifiable whilst in a static colour or program. When the built-in microphone detects music, the brightness of the fixture jumps up to maximum before slowly dimming down. This is the type of lighting control I like to see on a sound-active mode, as it combines the sophisticated look that comes with controlled lighting whilst delivering a high-energy look for your dancefloor.
An alternative to remote control is the CONTROL DMX transceiver. This includes 3-pin XLR sockets for DMX in and out, if you plan to use it with an external lighting console. The transceiver serves multiple purposes, including Bluetooth control, which unlocks much more functionality. On opening the app you get a full colour palette, a function to save custom colour mixes for recall, four banks of group control blackout, and program speed and brightness control. Ape Labs’ unique music mode can also be controlled from the app and has options as to how your lighting responds to music.
Custom programs can also be saved through four individual cues, with selectable colours and adjustable fade and hold times on individual cues. If you need inspiration, you can also access programs published by other ApeLights users via the 'Browse Community Programs' option. The next window in the app is called ‘Scenes’. Scenes can take static colours or programs and apply them to individual groups for triggering at the same time. Every scene you make will give you the option to program all four groups of fixtures and you can even add your own programs.
To set up DMX control with the CONTROL transceiver, simply head into the ‘Devices’ tab, tap on the fixture you wish to control, set the channel mode to either 4, 7 or 8, set the DMX address, and then apply settings. Then rinse and repeat for as many fixtures as you need – it’s that easy!
It’s worth noting that the fixture operates in 8-bit control when set to the 4- or 7-channel modes, but in 8-channel mode you get the 16-bit control that makes colour fades and dimming much smoother (perfect for slow fades and enhanced colour mixing). DMX control also relays to fixtures further afield with the built-in signal repeaters, if the fixtures are already linked but out of range of the transceiver.
One of the coolest features of the app control is the ability to synchronise custom pre-sets to a cloud-based account, if you’re already signed in. This eliminates the need to reprogram or manually transfer show files and is an invaluable feature, especially for multi-op businesses.
When it comes to using the Maxi V2, it’s a significant step up from other similar lighting fixtures on the market. Control is seamless between fixtures using the app, with no lagging or dropping out. Ape Labs state a range of up to 1200m when used in 2.4 Ghz mode in direct line of sight, however the maximum distance I could test this to was approximately 100m due to the venue I was in – although the system still outperformed others I have used.
The colours of the Maxi V2 are vibrant, with the red, green, and blue segments operating at 622.5nm, 522.5nm and 457.5nm (nanometres) respectively. The blue segments are where I have seen some RGB fixtures fail, not just in terms of battery uplighting but also mains powered and even LED moving head washes too.
To skip through the technical jargon – the blue is incredibly deep and is comparable to some of its highest profile competitors.
Ape Labs have astounded me at the flexibility of these fixtures: the process of setting them up and assigning their groups, learning the controls of the fixtures and where to look for functions both on the remote control and through the Ape Labs CONNECT app, and how easy it is to configure the system to operate over DMX. I genuinely can’t think of any way to streamline the process of lighting control any more than Ape Labs have already done.
Lighting technology has come a long way over the past few decades and will continue to evolve. There are plenty of uplighting packages, battery technologies and wireless control systems available to buy right now, but none seamlessly integrate these technologies as well as Ape Labs have done, not just with one product line but more a whole product portfolio.
Design elements such as IP ratings, wireless control, compact form factors and many more have set the standard for these fixtures – and the Ape Labs Maxi V2 is no exception.
As the name suggests, the Tourpack 6 is a pack of six ApeLight Maxi V2 units contained in a sturdy yet lightweight flight case. The DC power supply sits in the pre-cut foam inlay, already routed to each charging slot, with an additional slot to store and charge the CONNECT battery-powered transceiver and antennae (sold separately). Fully loaded, the entire case weighs just 18kg, which is remarkable in comparison to other complete systems. That's just 18kg for six uplighters, charging accessories and control options! The case itself is exceedingly small at just 54cm wide and 37cm deep – as charging flight cases go, it takes up very little space.
The first thing I noticed on the lights is that there are no displays, menus or control buttons. In fact, the only button on the fixture is the on/off switch, alongside a 16-19V DC socket for charging. Very conveniently, these are placed on the opposite face of the bracket arm, so they stay hidden when in use, especially when using the brackets to angle the fixture. The Maxi V2 fixtures are very small at just 13.7cm x 13.7cm with a height of 6.5cm. They’re lightweight too, with each Maxi V2 weighing in at 1.7kg – a fraction of what modern uplighters typically weigh, even with the stainless-steel construction.
The Maxi V2 features three individual quad-colour 15W LEDs (red, green, blue and warm white) with an output around 2700K. They work perfectly with venue decor or for use as front lights for performers without looking too saturated. All three of these LED assemblies help provide the 15-degree beam angle of the fixtures. However there are separate optics available in the form of 10-, 25- and 45-degree lenses, which eliminate the need to purchase different uplighters for different uses due to beam and field angle limitations. The chosen lens sits behind a scratch-proof acrylic pane which looks sleek and is easy to clean.
The battery life is stated as 14 hours (run time) on full charge. My longest test with the entire Tourpack 6 and transceiver was 10 hours on a mix of single- and two-colour mixing, with no degraded performance and each fixture still at full brightness at the end of the test. I can safely say this was the longest I have seen a battery-powered fixture run without a gradual decline in output.
It’s worth noting that this is also with control over 2.4GHz; the additional draw of the automatic signal repeater means I believe the fixture could run even longer on a full output. The repeater is another brilliant feature of the Maxi V2, as it means not all the fixtures need to be within range of the transmitters to work, regardless of whether you use the remote control or the DMX- or app-controlled transceiver. Each fixture simply needs to be within range of another fixture running on the same transmitter, which makes much easier work of lighting multiple rooms or awkwardly shaped buildings with obstructions.
2.4GHz is now a standard in wireless control. This applies to both the remote control and the CONTROL transceiver, and is where the lack of menu comes into play. These fixtures can be assigned into groups on the remote control and the reason I make a point of this is that the control isn’t infrared. Because it operates over 2.4GHz, you no longer need to position yourself over an IR sensor to make changes. As long as the remote control is within a 30m range of any fixture, each and every group can be controlled.
You can use the remote control to set static colours, change colour programs and the speed at which the programs run, control dimming, and trigger music mode. Typically we find that sound-to-light modes follow a pre-set scene within an automatic program, which results in sound activation until either the program is changed or the final ‘scene’ loops back and starts over again. With these, you have a more controlled solution for a high-energy sound active mode. Activating the mode results in the dimming of the fixture to give a gentle glow, with each parameter still modifiable whilst in a static colour or program. When the built-in microphone detects music, the brightness of the fixture jumps up to maximum before slowly dimming down. This is the type of lighting control I like to see on a sound-active mode, as it combines the sophisticated look that comes with controlled lighting whilst delivering a high-energy look for your dancefloor.
An alternative to remote control is the CONTROL DMX transceiver. This includes 3-pin XLR sockets for DMX in and out, if you plan to use it with an external lighting console. The transceiver serves multiple purposes, including Bluetooth control, which unlocks much more functionality. On opening the app you get a full colour palette, a function to save custom colour mixes for recall, four banks of group control blackout, and program speed and brightness control. Ape Labs’ unique music mode can also be controlled from the app and has options as to how your lighting responds to music.
Custom programs can also be saved through four individual cues, with selectable colours and adjustable fade and hold times on individual cues. If you need inspiration, you can also access programs published by other ApeLights users via the 'Browse Community Programs' option. The next window in the app is called ‘Scenes’. Scenes can take static colours or programs and apply them to individual groups for triggering at the same time. Every scene you make will give you the option to program all four groups of fixtures and you can even add your own programs.
To set up DMX control with the CONTROL transceiver, simply head into the ‘Devices’ tab, tap on the fixture you wish to control, set the channel mode to either 4, 7 or 8, set the DMX address, and then apply settings. Then rinse and repeat for as many fixtures as you need – it’s that easy!
It’s worth noting that the fixture operates in 8-bit control when set to the 4- or 7-channel modes, but in 8-channel mode you get the 16-bit control that makes colour fades and dimming much smoother (perfect for slow fades and enhanced colour mixing). DMX control also relays to fixtures further afield with the built-in signal repeaters, if the fixtures are already linked but out of range of the transceiver.
One of the coolest features of the app control is the ability to synchronise custom pre-sets to a cloud-based account, if you’re already signed in. This eliminates the need to reprogram or manually transfer show files and is an invaluable feature, especially for multi-op businesses.
When it comes to using the Maxi V2, it’s a significant step up from other similar lighting fixtures on the market. Control is seamless between fixtures using the app, with no lagging or dropping out. Ape Labs state a range of up to 1200m when used in 2.4 Ghz mode in direct line of sight, however the maximum distance I could test this to was approximately 100m due to the venue I was in – although the system still outperformed others I have used.
The colours of the Maxi V2 are vibrant, with the red, green, and blue segments operating at 622.5nm, 522.5nm and 457.5nm (nanometres) respectively. The blue segments are where I have seen some RGB fixtures fail, not just in terms of battery uplighting but also mains powered and even LED moving head washes too.
To skip through the technical jargon – the blue is incredibly deep and is comparable to some of its highest profile competitors.
Ape Labs have astounded me at the flexibility of these fixtures: the process of setting them up and assigning their groups, learning the controls of the fixtures and where to look for functions both on the remote control and through the Ape Labs CONNECT app, and how easy it is to configure the system to operate over DMX. I genuinely can’t think of any way to streamline the process of lighting control any more than Ape Labs have already done.
Lighting technology has come a long way over the past few decades and will continue to evolve. There are plenty of uplighting packages, battery technologies and wireless control systems available to buy right now, but none seamlessly integrate these technologies as well as Ape Labs have done, not just with one product line but more a whole product portfolio.
The full review can be found in Pro Mobile Issue 118, Pages 80-82.
