Vari-Lite

Vari-Lite
Company type	Public (formerly)
Industry	Stage lighting
Founded	1980
Founder	Jack Calmes, Rusty Brutsché, Jim Bornhorst (engineer)
Headquarters	United States
Products	Automated stage lighting systems, intelligent lighting instruments, control consoles

Vari-Lite represents a brand specializing in automated stage lighting systems featuring variable color capabilities, extensively utilized across theatre, concerts, television, film, and corporate events. Their intelligent lighting instruments have established themselves as benchmarks for creating dynamic visual effects within the industry.

Origins

The roots of Vari-Lite date back to the late 1960s when Jack Calmes and Rusty Brutsché, college acquaintances and entrepreneurs, founded Showco. Initially, they built sound systems to support their Texas-based blues band. Identifying a broader market opportunity, they expanded into providing sound and lighting solutions for regional rock concerts. By the late 1970s, Showco encountered difficulties modernizing its outdated lighting equipment.

Development

In 1980, Showco engineer Jim Bornhorst uncovered that rotating dichroic filters could modify light coloration, resulting in the development of a motorized fixture prototype called the VL-Zero. This breakthrough integrated digital signal processing with automated control of lighting. Showco presented this prototype to Genesis, a prominent British band and key client, who invested $1 million to further develop the technology. This funding allowed enhancements to control consoles, power distribution frameworks, and digital data transmission systems. The commercial version, later named the VL1, was launched during Genesis's Abacab tour, signaling a pivotal advancement in Vari-Lite’s commercial success and industry presence.

Expansion and Development

Following incorporation as Vari-Lite Inc., the company secured international distribution agreements to expand its global footprint.

In 1987, the introduction of the Series 200 system featured the Artisan Control Console alongside new luminaires: the VL2 (an advancement of the VL1) and the VL3, which evolved from the VL-Zero. This lineup was complemented by the VL4—a brighter and more compact iteration of the VL3—and enhanced versions of the VL2 designated VL2B and VL2C. Additionally, a smaller backup console named Mini-Artisan was launched.

By 1994, Vari-Lite founded Irideon Inc. to target automated lighting solutions for architectural applications; this division was sold to Electronic Theatre Controls four years later.

The company went public on Nasdaq (NASDAQ:LITE) in 1997, issuing two million shares to reduce nearly half of its outstanding debt. Management alongside Genesis retained a 47% stake. Subsequently, Vari-Lite transitioned from a franchise model to establishing rental offices offering both proprietary products and third-party lighting gear.

In 2002, manufacturing and sales of luminaires were sold to Genlyte Group. Meanwhile, rental services and console operations continued independently, developing the Virtuoso control series before merging with Production Resource Group (PRG) in 2004. Genlyte was acquired by Royal Philips Lighting in 2008; under Philips’ ownership, Vari-Lite introduced the high-output LED VLX wash luminaire.

After separating from Royal Philips in 2019—when Philips Lighting rebranded as Signify—Vari-Lite along with its sister brand Strand regained independent status with renewed dedication to innovation and supporting creative professionals worldwide.

Awards and Honors

The firm has been recognized with three Primetime Emmy Awards for technical excellence: first in 1991 for Outstanding Achievement in Engineering with the Series 200 system; again in 1994 for the VL5 model; and later in 2001 for the Virtuoso console.

Litigation over Patent Violations

In 1989, Vari-Lite initiated legal action against Syncrolite, Inc. and its founder Jack Calmes, alleging patent infringement. Calmes countered by accusing Vari-Lite of withholding information about system development, which he claimed resulted in financial damages when he sold his Showco shares. The court ultimately ruled in favor of Vari-Lite.

In August 1995, Vari-Lite filed a lawsuit against High End Systems concerning patent infringement involving the Status Cue system. This matter was resolved through an out-of-court agreement.

By 1999, Vari-Lite secured a preliminary injunction against the Danish company Martin Gruppen A/S, prohibiting the importation, sale, and leasing of certain lighting products within the United States. Martin subsequently introduced updated products designed to fall outside the scope of Vari-Lite’s patents.

Control Systems

Since their debut, Vari*Lite consoles have been fully computerized, delivering digital multiplexed commands directly to lighting fixtures.

Series 100

Initially named The Vari-lite System, Series 100 operated on a patented communication protocol derived from RS-422, transmitting positional, beam, and color control data from a rack-mounted computer to as many as 32 luminaires (later known as VL1s) at a rate of 30 updates per second. Up to three such computers could be networked under a single console to manage as many as 96 luminaires.

Data transmissions were one-way and incorporated elementary error detection. To avoid visible glitches, multiple retransmissions were employed; however, when low- and high-numbered channels were placed close together, the refresh rate for a full 96-channel setup could become noticeable. Power and data distribution relied on six-channel passive repeater boxes connected via cables rated at 600 V to ensure safety with three-phase electrical systems. Channel addressing was set through thumbwheel switches, occasionally subject to tampering as pranks.

The designation Series 100 was adopted in 1987 coinciding with the introduction of Series 200.

Series 200

Launched in 1987, Series 200 introduced a proprietary two-way communication protocol that rendered each luminaire "intelligent" by allowing it to store positional, beam, and color information locally while simultaneously responding to centralized memory cues. This approach addressed processing limitations encountered when managing large numbers of fixtures.

This generation included VL2 and VL3 luminaires controlled via the Artisan console. Power and data were distributed through an ACS Rack connected to passive repeaters now featuring nine outputs each. A single ACS rack could support up to seven repeaters (totaling 63 luminaires), with multiple racks linked via master-slave arrangements.

Adoption of Manchester encoding enhanced transmission robustness, while polling mechanisms enabled feedback from individual luminaires. Nonetheless, physical cable damage or electronic noise from faulty fixtures could disrupt response signals, causing some units to appear offline—complicating data saving on standard 1.44 Mb floppy disks.

Although Series 200 was theoretically capable of controlling up to 1000 luminaires, practical constraints limited effective control to approximately 400 fixtures due to polling delays inherent in Artisan console hardware.

Ongoing software enhancements progressively improved programming capabilities for Artisan operators. The VL4 wash luminaire was officially integrated into the system lineup in 1991.

Series 300

By the late 1980s, the moving light market—initially pioneered by Vari-lite—had become established but remained constrained by expensive rental fees and the necessity for operators trained specifically on Artisan consoles. Despite holding patents, Vari-lite faced competition as other manufacturers introduced moving lights and DMX512-compatible control consoles. Additional market challenges included the considerable size and weight of moving fixtures, which limited rigging possibilities and reduced their suitability for smaller to mid-sized productions.

The Series 300 lineup was developed to overcome these limitations by advancing the Series 200 technology. It transferred the majority of processing tasks from the luminaires to a Vari-lite "Smart Repeater" (VLSR), protected by US patents 5209560 and 5329431. The VLSR differentiates between Series 200 and DMX512 signals—each controllable but not simultaneously—and converts incoming data into Series 300 commands sent along with power lines to the luminaires. One VLSR unit can manage up to six Series 300 fixtures via Smart Lamp Runs (SLR).

When processing Series 200 input, the VLSR stores cue data and outputs positional and color information as Series 300 signals, utilizing the Series 200 line for both power and data transmission. Under DMX512 control, the console handles cue information directly; meanwhile, the VLSR translates DMX input into Series 300 format in real time, drawing power from the Series 200 connection while receiving DMX through a conventional 5-pin XLR connector.

The initial Series 300 offerings included the VL5 wash fixture and VLSR introduced in late 1992, followed by the VL6 spot in 1994 and VL7 in 1998, each subsequently refreshed with updated versions. These products strengthened Vari-lite’s position in intelligent lighting by delivering advancements in both hardware design and control system innovation.

Series 100 Prototype Control Console

Only a single prototype was ever produced, incorporating two control sections: Direct Cueing, which allowed entry of a memory number triggered by a Go button, and Cross-Fade, enabling smooth transitions between cues using faders. This hand-wired system toured with acts like The Who, Paul Anka, and The Kinks before being retired in favor of newer Series 100 consoles and fixtures.

Series 100 Control Console

The finalized Series 100 console—commonly referred to as "the Vari-lite console"—introduced four methods of control: Direct, X-Fade, Chase, and Matrix. The Chase function automated sequences of cues with adjustable speed controls; Matrix divided cue intensities into eight distinct groups. It could store up to 256 cues: sixteen reserved for matrix use and 239 for other control modes. Two sets of sixteen programmable colour buttons ("Preset Colours") alongside two groups of sixteen allowed versatile operation. Later software updates incorporated "Selective Store," enabling operators to overlay colour or beam data onto cues without altering fixture positions. By 1986–87, it was typical for users to combine direct control, cross-fading, and selectively stored colour or beam chases simultaneously.

Artisan Control Console

The Vari-Lite Artisan console represented a significant leap forward from the Series 100 model. Weighing approximately 210 lbs (96 kg), it featured an ergonomic design optimized for programming efficiency. Connection to the ACS rack was via proprietary multi-connector "snake" cables that combined power supply, bi-directional control data, and intercom lines; dual snakes were commonly employed for redundancy. A major advancement was its bi-directional communication with Series 200 fixtures (VL2s, VL3s, VL4s), allowing real-time feedback on hardware status including lamp condition, power supply health, mechanical function, and temperature monitoring.

Fixture manipulation expanded across four parameters: Intensity, Color, Focus, and Beam—each controlled through encoder wheels paired with preset buttons for programming convenience. Pan and tilt functions utilized separate high-resolution wheels. The console offered twenty preset buttons across four pages dedicated to focus, color, and gobo settings; beam presets stored only gobo configurations requiring manual adjustment of iris and frost.

The fixture selection panel comprised one hundred numbered buttons plus an additional column to access up to one thousand fixtures—a groundbreaking scale at that time. These selection buttons displayed fixture intensity levels and online status through backlighting indicators. Programming large-scale shows demanded considerable physical effort due to this extensive interface.

An integrated LCD screen presented fixture icons along with their operational status; this display was later replaced by Macintosh computer integration in Artisan Plus versions. Centrally located below were numeric keypad grand master controls alongside playback faders: two cross-fader masters, two direct masters, two chase masters, and one matrix master—providing flexible cue playback options. Faders could be selectively masked by parameter using IFBC buttons to isolate intensity or other attributes during execution.

Unlike contemporary tracking consoles that record only parameter changes, Artisan continuously recorded all parameters but required fixtures to have an intensity value above zero (zero marked distinctly) to be saved within cues; unmarked fixtures defaulted to null states. Selective store functionality allowed filtering of fixture parameters for crafting complex chase effects.

On the right side were dedicated Chase and Matrix panels: the Matrix featured twenty faders controlling up to fifty patches distributed over one thousand channels for group intensity management—ideal for manual flashing using bump buttons positioned above each fader. The Chase panel accommodated up to two hundred programmable chases with sequence rates adjustable by operators; however, programming extensive chase sequences remained labor-intensive since each step corresponded to an individual cue. Positioned above these panels was the board control window used for cue recording and fixture management.

This console’s sophisticated capabilities substantially increased Vari-lite’s market presence by delivering unparalleled programming flexibility and comprehensive fixture management within live performance lighting systems.

Artisan Plus

Between late 1995 and throughout 1996, Vari-Lite enhanced the original Artisan consoles by introducing the Artisan Plus upgrade. This update involved replacing the control card cage with a contemporary CPU, substituting the monochrome touchscreen for a notebook holder, and incorporating a network interface panel. Visual feedback, disk management, and macro operations were handled externally by an Apple Macintosh PowerPC 6100 running Artisan DAta Management software (A.D.A.M.). Connectivity options included Appletalk/token ring, 10Base2 Ethernet, and a serial connection that allowed VLQ software to transmit commands and activate macros.

Mini Artisan Control Console

Initially designed as a backup to the Artisan console, the Mini Artisan delivered comparable functionality within a more compact design. Its power supplies and processing units were housed externally and linked via an umbilical cable. Often positioned backstage during load-in, it enabled early control of fixtures before switching operation to the primary front-of-house (FOH) console. The Mini Artisan did not support simultaneous online tracking with the main console; in failure scenarios, operators manually triggered cues on the Mini Artisan while technicians transitioned control.

The front panel replicated the Artisan’s configuration with board, manual, and chase control sections. Fixture selection was more constrained, utilizing three encoder wheels accessible through a shift key and two preset store areas for group select, focus, color, or gobo presets. Without any screen or external display, patching and cue programming depended solely on board controls and the numeric keypad. The Mini Artisan lacked a matrix section and was equipped with only two direct and two chase faders, restricting its capability for complex playback relative to the full Artisan console.

VL-Zero

The VL-Zero (VL0) prototype served as a dichroic color-fading wash luminaire; its original unit remains partially operational at PRG. It utilized twisting dichroic filters to alter colors—a technique later adopted for wash fixtures beginning with the VL3—although this approach proved unsuitable for profile spot optics as initially intended.

VL1

The VL1 (Series 100) incorporated a dichroic filter system consisting of three wheels each containing seven filters plus an open slot, alongside a fourth wheel featuring five beam apertures and two gobos. Pan and tilt movements were powered by servo motors, while intensity was adjusted via a front iris.

Its Upper Enclosure (UPE) contained the APS250 lamp power supply and a Data Receiver Card that converted console instructions into low-voltage signals sent to servo amplifiers controlling motor functions. It also facilitated remote lamp Start and Douse commands.

Initially equipped with the GE Marc 350 discharge lamp, Vari-Lite encountered supply shortages and quality inconsistencies that prompted replacement with less powerful 250W lamps such as the Osram HTI 250 and Philips MSD 250. These alternatives offered projected lifespans exceeding 1000 hours but were gradually retired as VL1 units approached end of service.

A total of 860 VL1s were produced between 1981 and 1984. Most units were dismantled; only a limited number remain in private collections or rental fleets.

VL2 / VL2B / VL2C / VL2D

The VL2 was introduced as the successor to the VL1, utilizing the bidirectional communication capabilities inherent in the Series 200 framework. It incorporated two 16-position color wheels (each containing 15 dichroic filters plus an open slot) along with a fixed gobo wheel featuring 10 positions, which facilitated straightforward custom gobo replacements. To expand creative possibilities, new glass gobos were developed.

Additional enhancements included a beam iris for adjusting beam diameter and a movable multi-element front lens to refine beam edges. The VL2 was equipped with an HTI-250 arc lamp powered by an updated APS250 power supply unit.

Its rapid color and gobo change capabilities remain among the fastest in automated spot luminaires, offering a distinct advantage in live production environments.

Ongoing improvements bolstered reliability, notably through the “X-mod” upgrade that resolved issues with the APS lamp power supply. Units receiving this enhancement were marked with an "-X" suffix.

The VL2B featured an upgraded light source: an HTI-400SE lamp paired with an APS400 PSU. It replaced the original pale blue filter with one for tungsten correction and improved the iris motor’s resolution. The rear panel was redesigned to hinge open for lamp access instead of relying on ventilation louvres.

With the VL2C, power was increased to 600 watts via an APS600-X PSU, necessitating a ventilation redesign to manage heat from the more powerful components. Although enhanced cooling fans addressed thermal demands, their noise generation caused issues in studio settings; removable baffles helped reduce sound but introduced overheating risks in warmer conditions. The processor board was also upgraded to support advanced Series 200 software features, including timing controls. Externally, ventilation louvres appeared on the head covers, and a smaller hinged color/gobo access hatch secured by Zeus clips was added.

In the late 1990s, some VL2Cs were adapted for DMX512 control using Vari-lite’s Smart DMX interface. Remaining units were generally sold to rental firms; however, limited availability of spare parts restricts their long-term use.

Following the discontinuation of the 600HTI lamp, the VL2D variant was introduced; certain VL2Cs were converted by EML/PRG to operate with the 700MSR lamp.

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This segment illustrates Vari-lite’s progression in product development, its commitment to technological advancement, strategic enhancements, and responsiveness to market demands—elements central to its business strategy, product lineup, and competitive stance within the lighting sector.

VL3

The Vari-lite VL3 marked the company’s initial venture into moving head wash luminaires, designed to illuminate broader stage areas with softer-edged beams that complemented the sharper spot output of the VL2. Launched in 1987 as part of the Series 200 lineup, it featured a larger (6" / 150 mm), convex frosted lens that set it apart from its predecessor. Although plans existed to offer a wider selection of lenses emulating PAR64 beam angles, this expansion did not materialize until the subsequent VL5 model.

Internally, the VL3 reintroduced twisting dichroic filters for smooth color transitions, enabled by simpler optics tailored for wash luminaires. It utilized a subtractive CMY (Cyan Magenta Yellow) color mixing system comprising three sets of independently rotatable dichroic filters. When all filters were open, white light passed through; rotating them produced a wide range of colors from delicate pastels to intense shades.

Beam diffusion and width adjustment were managed using three frosted glass vanes combined with motorized movement of the lamp base along the beam axis. The VL3 employed a custom tungsten lamp operating at 53 volts and 475 watts, powered by an innovative Induction Power Supply (IPS), distinct from earlier arc lamp systems.

While enabling gradual color shifts and soft washes unattainable by previous models, its tungsten lamp lacked sufficient brightness for long-distance projection and struggled with darker colors, limiting its use primarily to backlighting and special effects rather than front illumination. Starting in 1991, it was progressively replaced by the VL4. By 1994 most units had been converted into VL2B fixtures and subsequently upgraded to VL2C standards.

The VL3 gained significant exposure through extensive deployment during Pink Floyd's Delicate Sound of Thunder tour, underscoring its impact on live event lighting technology.

VL4

Promoted with the slogan Smaller, Lighter, Faster, Brighter, the Vari-lite VL4 represented the company’s second generation of moving head wash luminaires, launched for rental use in 1990 as an enhanced replacement for the VL3.

Approximately half the size and weight of its predecessor, the VL4 responded to industry demands for more compact moving lights. It incorporated a bespoke 400W short arc discharge lamp, an advancement from the VL2B’s design, paired with a chemically brightened aluminium reflector that delivered substantially greater output than the VL3.

The subtractive CMY color mixing system was a downsized variant of the mechanism found in the VL3. Beam diffusion utilized a tambour-inspired approach, featuring motor-driven vertical slats of frosted glass that moved internally across the front aperture. Additionally, beam width adjustments were achieved by shifting the motorized lamp along the beam axis within the reflector.

Intensity modulation was controlled mechanically via a shutter—necessary due to the non-dimmable nature of the discharge lamp—and complemented by a rapid-response "strobe" shutter integrated into the assembly. The VL4 also marked an upgrade to a 12-bit Motorola processor, improving upon the earlier 8-bit units used in the VL2 and VL3.

Despite these technological improvements, the compact format introduced reliability challenges, notably overheating and Pan/Tilt overshoot caused by its front-heavy head design. To address these issues, an extensive early-1990s upgrade initiative implemented over 135 modifications ranging from minor adjustments to complete Pan and Tilt mechanism rebuilds.

The APS400 lamp power supply encountered similar difficulties as previous models but achieved greater stability following the "X-mod" upgrade. However, unlike later fixtures such as the VL2C, the small housing prevented fitting a more powerful 600W lamp.

Due to growing competition from brighter fixtures and persistent maintenance demands, the VL4 was largely superseded by the VL5 within ten years. Only a handful remained operational beyond the early 2000s, with some units preserved for archival purposes. Lighting & Sound Services maintains one complete VL4 and one VL2C example in their collection.

VL5 / VL5 ARC / VL5B / VL5+ / VL5L / VL5 LED wash

Debuting in September 1992, the VL5 was Vari-lite’s third moving head wash fixture and introduced the Dichro-Tune radial CMY color mixing system. This innovation enabled smoother color blending and more uniform pastel tones compared to earlier models. Engineered to be lighter, simpler, more dependable, and cost-efficient, it was also the first Series 300 luminaire controllable via both Vari-lite Series 200 protocol and DMX512-A data through a Vari-lite Smart Repeater (VLSR).

The VL5 employed a remotely dimmed tungsten lamp powered by conventional stage dimmers, which reduced expenses and allowed a compact design with electronics housed within the yoke. It pioneered "cold mirror" technology in moving lights—reflecting visible light while transmitting infrared—producing a cool yet intense beam suitable for close-up use without heat damage. This feature made it especially favored in noise-sensitive settings like television studios due to its convection cooling and absence of fans.

The VL5 Arc variant incorporated a 575W discharge lamp lacking electronic dimming; instead, mechanical dimming was achieved using black metal diffuser vanes. Beam width control initially relied on an innovative but ultimately limited "Liquid Lens" system; this was eventually discontinued due to toxicity concerns and inadequate adjustment range. The VL5B offered an alternative filter set optimized for pale blues preferred in theatre and television applications, sacrificing some saturated green hues.

With production exceeding 3,500 units, the VL5 remains among Vari-lite’s most enduring and popular products because of its reliability, straightforward maintenance, and classic PAR64 Parcan-inspired aesthetics. Its fundamental head design influenced subsequent models such as the VL6.

VL5 Arc+ / VL5+ In 2008, PRG introduced enhancements to the original Series 300 VL5 that improved performance and reliability: new wiring harnesses; upgraded motor clutches; refined pan stops; replacement of linear actuators controlling color mixing and diffusion blades; enhanced ventilation and UV-resistant glass; a more efficient reflector; and updated Dichro*Tune color blades ensuring consistent coloration across units. The VL5 Arc+ also gained a solid-state ignitor reducing re-strike times to one minute alongside a lamp douse switch on the fixture itself.

VL5 LED Launched in November 2019, the VL5 LED wash modernized this classic luminaire by integrating LED technology while preserving its iconic silhouette.

VL5L / PRG 5L In 2022, PRG released the PRG 5L Wash luminaire—an LED retrofit utilizing original VL5 housings to maintain their distinctive appearance while upgrading performance. This retrofit replaces legacy components with a 340W RGBW LED engine positioned behind functional diffusion blades and a fresnel lens. It provides 16-bit RGBW color control along with new strobe effects enabled by LED capabilities.

The PRG 5L includes native DMX control without requiring a Smart Repeater by incorporating a compact upper enclosure housing DMX and True1 power connectors. A small color display on the yoke leg facilitates DMX address configuration. The fixture operates with 23 control channels and features either a quick-release truss hook plate or floor-mountable feet.

Though based on original 1990s-era VL5 units, the PRG 5L Wash offers lighting designers a nearly silent, compact wash fixture that merges timeless aesthetics with contemporary LED efficiency suited for modern productions.

VL6 / VL6B / VL6C / VL6C Plus

Introduced in mid-1994, the Vari-lite VL6 complemented the VL5 as a lightweight and economical moving head spot fixture. Classified as a Series 300 model, it was controllable via Vari-lite Series 200 data or DMX512 through the Vari-lite Smart Repeater (VLSR).

Its signature "cyclops" appearance incorporated two interchangeable wheels—one dedicated to colour and the other to gobos—each offering 12 selectable positions. This configuration enabled "morphing" effects by adjusting the motorized lens focus. Both wheels utilized dichroic filters, broadening the colour palette, although this feature was seldom fully exploited. Vari-lite developed a patented laser-etching technique to produce high-resolution glass gobos specifically for the VL6.

The fixture employed a custom HTI-400 discharge lamp, necessitating mechanical dimming and quieter cooling fans compared to earlier models. A dichroic "cold mirror" reflector was incorporated, and notably, the luminaire did not have an upper enclosure. The APS6 modular rack-mounted power supply allowed remote lamp powering through VLSRs, accommodating six luminaires per rack.

A dimmer module (C3) was engineered to simultaneously power both VL5 and VL6 lamps from a single PSU rack; however, voltage constraints in Europe prevented achieving full lamp intensity on VL5 units. Connecting VL6 lamps to dimmed supplies on mixed VLSRs risked damage, so VL5s generally operated with third-party dimmers while VL6s utilized APS racks, often controlled by separate VLSRs.

Thanks to its lightweight construction, the VL6 could move more rapidly than predecessors. The 1998 VL6B revision increased weight due to a broader 13–35° zoom lens and an additional rotating gobo wheel featuring 5+1 positions, requiring an external counterweight for balance.

The VL6C model upgraded lamp power to 600 W with improved cooling systems and enhanced APS6 power supplies. In December 2007, Production Resource Group (PRG) upgraded approximately 1,200 VL6Cs to accept 700 W short arc lamps. This overhaul improved airflow, wiring, connectors, and ignitor reliability—cutting hot restrike time from eight minutes down to one—and introduced a lamp douse switch. This enhanced variant is known as the VL6C Plus.

VLM

The VLM consisted of a double-sided mirror mounted within a VL5 yoke, uniquely designed for continuous rotation. Developed partly to mitigate moving mirror effects and partly as a distinctive visual element, it was produced in limited numbers.

VL7 / VL7B

The VL7 spot fixture represented a return to larger-scale design. As a Series 300 luminaire, it supported control via Series 200 data from an Artisan console or DMX512 through third-party consoles using a VLSR unit. It utilized the Philips MSR 700 SA lamp (5600K), powered remotely by upgraded APS6 supplies.

A notable innovation was the CVF colour system featuring two elongated dichroic filter plates that moved vertically and horizontally. Each plate contained three graduated shades blending seamlessly; one plate housed red, green, and blue filters, while the other held cyan, magenta, and yellow. US patents detail the CVF system's technology, which also included a fixed-position wheel mainly for gobos and a rotating gobo wheel with six positions plus a strobe shutter capable of speeds up to 7.25 Hz.

The VL7 introduced new collection optics designed to produce a flatter and more uniform beam compared to previous models prone to "hot spots," protected under patent rights. Its near projection-quality zoom lens offered an unprecedented 8:1 zoom ratio (5–40° beam angle) within a compact framework.

Despite these technical advancements, development delays and budget overruns plagued the VL7; although revealed in 1997, it was only released in 1998 with numerous early-stage technical problems. For instance, CVF drive gears made from materials with high specific heat capacity led to belt failures that required costly replacements. Expensive filter plates developed cracks without immediately affecting beam quality.

Even after mechanical repairs, the CVF system frequently generated unintended green hues during colour transitions—a persistent issue that operators mitigated through time-consuming programming techniques to preserve visual integrity.

Initial Series 200 control software was incomplete upon launch, limiting early operation primarily to DMX control via non-Vari-lite consoles. Maintenance proved challenging due to difficult access to internal components, particularly the Pan assembly.

The VL7 featured four cooling fans; although marketed as "virtually silent," fan noise remained perceptible to users.

The VL7B version replaced the fixed colour/gobo wheel with a four-leaf motorized shutter gate enabling beam edge shaping and rotation up to 50°, while increasing strobe speed capability to 8 Hz.

Overall, the VL7's large size, weight, audible fan noise, maintenance complexity, and initial reliability issues impeded its commercial success. By that time, competitors offered brighter fixtures with comparable features. Most VL7 units were eventually returned to rental inventories and rented only upon specific request.

VL2000 Spot Fixture

Launched in the early 2000s, the VL2000 spot series was introduced as a product for purchase rather than rental, beginning with the VL2201 model.

VL2201

A DMX-enabled iteration of the VL6b, this fixture incorporated an Upper Enclosure that contained the arc power supply for the MSR400 short arc lamp along with its electronic components. The lightweight design featured an 11+1 slot fixed gobo wheel, a 5+1 slot rotating gobo wheel, edge control functionality, a 3:1 zoom range, an 11+1 slot colour wheel, and a single blade dimmer capable of strobe effects. Its rapid colour and gobo wheel rotation speeds allowed for distinctive effects not possible with other spot luminaires. Electronic focusing enabled smooth transitions between gobos. The cold mirror reflector was designed to be adjustable for either flat or peaked beam shapes.

VL2202

Bearing resemblance to the VL6c, the VL2202 was an upgraded version of the VL2201 featuring a zoom range of 19 to 35 degrees, a faceted cold mirror reflector optimized for flat beams, and a more powerful MSR700 short arc lamp. Vari Lite provided an upgrade kit to convert existing VL2201 units to meet VL2202 specifications. Following this update, the VL2201 was phased out and the VL2202 was rebranded as the "VL2000 Spot."

VL2000 Wash Fixture

Initially introduced as the VL2402 and later renamed to align with the spot lineup, the VL2000 Wash maintains similar dimensions and design elements as its spot counterparts for consistent rigging. It employs an MSR700 lamp alongside an 11+1 slot colour wheel and a three-wheel CYM colour mixing system that delivers an extensive palette—distinct from earlier Dichro*Tune radial mixing technology. This fixture includes a single blade dimmer enabling strobe functionality and zoom optics ranging from 12 to 57 degrees beam angle. It operates solely through DMX control.

The entire VL2000 series has been discontinued and succeeded by the VL2500 range, which integrates combined spot and wash colour mixing, upgraded pan and tilt motors, and refined glass dimming capabilities. Numerous service components remain compatible across models spanning from the VL6 through to the VL2500.

VL2416 Wash Fixture

Although its model number suggests otherwise, the VL2416 was actually the first new luminaire developed following the VL7 and became informally known as the "VL8" within the United States. This model represented a pivotal change in Vari-lite’s business approach as it was their first fixture made available for direct purchase rather than rental only.

Its head design drew inspiration from the VL5 Arc, incorporating radial CMY colour mixing along with mechanical shutter dimming that supported strobe effects. The traditional liquid lens was replaced by novel zoom optics (covered by US Patent 6809869) utilizing two glass plates—one convex and one concave—that adjust beam width between 5° and 55° within a compact travel distance of less than 25 mm, enabling a swift zoom operation completed in approximately 1.2 seconds. Comparable technology can be found in early LED stage lighting systems from the early 21st century.

The luminaire functioned as a self-contained unit with its Upper Enclosure (UPE) housing both the lamp power supply and DMX electronics. Control of the VL2416 was exclusively via DMX protocol without compatibility with any proprietary Vari-lite consoles.

VL2500 Spot Luminaire

Building upon the VL2000 series, the VL2500 offered enhanced performance closely matching that of the VL3000. It maintained essential elements such as iris, zoom, and edge control, along with the 11+1 fixed gobo wheel and a 5+1 rotating gobo wheel inherited from the VL2000 spot model. The 11+1 colour wheel facilitated swift colour transitions, a hallmark of Vari-lite products.

Key improvements included comprehensive CYM colour mixing, a glass dimmer wheel covering the full range, and a twin blade shutter enabling rapid strobe effects—significant enhancements compared to the VL2000’s single blade dimmer/shutter mechanism. Additionally, pan and tilt motors were upgraded to deliver increased torque.

The upper housing contained a 700W MSR short-arc lamp power supply, a low-voltage electronics unit, and an LCD display PCB. Departing from the VL2000’s split control board layout, the main control PCB was consolidated within one yoke leg equipped with fan cooling. The opposite yoke leg housed the mains relay, tilt motor, and ignitor.

These technological advancements strengthened Vari-lite’s position in stage lighting innovation and broadened their product range to satisfy shifting industry requirements.

VL2500 Wash Luminaire

Physically matching the Spot version, the VL2500 Wash incorporated zoom, dimming strobe functionality, CYM colour mixing, and an 11+1 fixed colour wheel. The VL2500 series was eventually succeeded by the LED-driven VL2600 lineup introduced in 2017.

VL3000 Spot / VL3500 Spot / VL3500Q / VL3015 / VL3015LT Spot

The VL3500 shares many characteristics with the 3000 series.

The VL3000 Spot is a 1200W moving head fixture equipped with advanced features for its era: three rotating and indexable gobo wheels; a zoom range from 10 to 60 degrees; focus adjustment; full-range dimming via a glass dimmer wheel; a fast dual-blade strobe; an interchangeable fixed colour wheel; CYM colour mixing; and a variable CTO wheel. Its optical assembly is enclosed within a sealed metal casing to maintain lens cleanliness.

Operating in a single 28-channel mode, this fixture weighs 41 kilograms despite utilizing alloy and plastic materials. It includes integrated handles but does not feature pan or tilt locks, which can complicate handling without assistance.

VLX Wash

Launched under Philips' ownership in 2010, the VLX Wash employs LED technology and supports programmability.

VLM

The VLM (Vari*Lite Mirror) was created to overcome limitations in providing varied luminaires within a single automated yoke. It features a dual-sided metal mirror mounted inside a Series 300 yoke where tilt end stops were removed, allowing continuous rotation on that axis.

Although it found use in Belgian television productions alongside Robert Juliat 1200W profile fixtures, its production remained limited and it never achieved widespread adoption.

VLDi

The VLDi (Vari*Lite Dimmer interface) served as a 96-channel analogue interface operating on a 0–10 V scale, linking traditional dimmers with the Series 200 control system. Each device utilized 100 of the available 1000 control channels, thereby expanding the Artisan console's operational range. Despite this, many lighting professionals favored conventional consoles since Artisan primarily concentrated on moving lights and lacked features commonly used by traditional lighting operators.

Eventually, the widespread adoption of the DMX512 protocol led to the VLDi becoming obsolete.

The lowercase "i" in VLDi was retained to distinguish it clearly from Vari-lite Deutschland (VLD).

Mini ACS Rack

This is a single-output variant of the Series 200 ACS Rack, mainly intended for testing purposes and smaller installations containing between two and four fixtures.

Smart DMX

Created as a successor to the VLDi, Smart DMX converted Series 200 signals into DMX512 format, allowing Artisan consoles to manage third-party dimmers. This innovation helped reduce expenses by removing the need for extra consoles and operators when controlling standard stage lighting alongside VL5 fixtures.

UDM

An enhancement over Smart DMX, the UDM allowed Artisan Plus consoles to patch and operate up to 64 third-party moving fixtures through a single DMX-512 universe.

Floyd Droid

A bespoke effects device developed specifically for Pink Floyd’s Delicate Sound of Thunder tour. Four units—named Manny, Moe, Jack, and Cloyd—employed motorized mirrors to safely project multiple narrow beams over audiences without using high-powered lasers.

History

Established by Vari-lite in 1994, Irideon, Inc. focused on architectural lighting solutions featuring colour-changing fixtures designed to transform building illumination.

Its initial product lineup included the AR500 and AR5. After Vari-lite’s IPO introduced financial difficulties, Irideon was acquired by Electronic Theatre Controls (ETC) in November 1998. ETC finalized the development of the AR50 and introduced two additional models: the AR6 and AR250.

ETC still provides user manuals for certain Irideon luminaires.

Irideon Luminaires

Presented in order of release:

AR500

A large outdoor luminaire housed in a metal casing finished with grey powder coating. Its Pan and Tilt capabilities were manual, so it does not qualify as a true moving light. Colour control employed the radial DICHRO*TUNE system borrowed from the VL5, featuring diffuser vanes for beam width adjustment and black metal vanes for intensity modulation. It contained an internally powered 500W discharge lamp.

AR5

A compact fixture designed for indoor use with a 300mm head available in black or white finishes. All operational functions—including Pan and Tilt—were motorized, classifying it as a true moving light. Colour, Intensity, and Diffusion controls used scaled-down versions of AR500 mechanisms with eight vanes per set. The light source was a 35W discharge lamp powered internally.

AR6

A recessed, fixed-position variant of the AR5 intended to fit within standard ceiling tiles for downlighting applications.

AR50

A larger motorized model based on the AR5 design. Its development began while Irideon was under Vari-lite’s ownership and was completed after ETC took over.

AR250 / AR250C

These models represent compact adaptations of the AR500, featuring manual Pan and Tilt controls and equipped with a 250W discharge lamp.

External links