October 2012 Issue
Buyer's Guide

LED PAR Fixtures

LED PAR FixturesPAR fixtures have long been a staple of stage lighting. Before the moving light, before video screens, PAR cans were the clear choice to provide color washes, color blinding effects and even low LOW res patterns behind performers.  It may have taken a huge number of fixtures, dimmers and power, but it was done.

To  download a PDF of PLSN's Oct. 2012 Buyers Guide, CLICK HERE.

The PAR fixture as we know it has grown up and transformed into something that, technically, is not a PAR at all, but similar in shape to the venerable fixtures we all know.  PAR-style LED fixtures, once scarce, have flooded the market, covering every price point. From the less expensive to the top of the line, LEDs in a PAR are here to stay.

Just like their big brother the PAR, LED PARs provide excellent washes, backlights and sidelights.  Call them the good old standby for filling a hole.  Compared to a moving light or the LED PAR fixtures cousin, the LED Profile, the LED PAR can be thrown in at a significant cost savings.

Did I mention the cost savings in energy? Compare a PAR64 to almost any LED PAR, and you are using about one-fourth the energy. Depending on the color mixing system of the LED PAR, we are also getting a MUCH wider range of colors, even when compared to a PAR64 with a gel scroller. Another thing to consider when switching to LED PARs: eliminating the need for dimmers. Since we are using less energy and dimming is controlled at the fixture, say goodbye to banks and banks of dimmers backstage.

There are a number of variables to consider when researching LED PAR fixtures.  While many look the same, the LEDs used can vary greatly — not just the wattage per LED, or even number of LEDs, but the style.  There are single-color LEDs and multi-chip LEDs to consider.

With a conglomeration of single LED sources, you see the individual LED colors coming out the lens. With multi-chip LED fixtures, the color is mixed before it emerges from the front of the fixture, so the output color looks similar to the color onstage — an important consideration for backlighting applications.


blog comments powered by Disqus
 

More Buyer's Guides

  • Automated Lighting Consoles (November 2014)
  • Chain and Motor Hoists (October 2014)
  • LED Luminaires (September 2014)
  • Media Servers (August 2014)
  • Lighting Apps (July 2014)
  • Video Distro Devices (June 2014)
  • Fog and Haze Machines (May 2014)
  • White Light LED Fixtures for TV and Film (April 2014)
  • Wireless DMX Transmitters and Receivers (March 2014)
  • Lasers (February 2014)
  • Ultra Portable Lighting Consoles (January 2014)
  • Portable Dimmer Racks and Rack Mountable Dimmers (December 2013)
  • LED Display Panels (November 2013)
  • Beam Projection Fixtures (October 2013)
  • Followspots (September 2013)
  • LED Lekos and Profile Fixtures (August 2013)
  • Truss Products (July 2013)
  • Media Servers (June 2013)
  • Automated Rigging Systems (May 2013)
  • White Light LED Fixtures (April 2013)
  • Lighting Design Software (March 2013)
  • DMX Distribution Companies (February 2013)
  • Automated Lighting Consoles (January 2013)
  • Hazers and Foggers (December 2012)
  • Custom Road Cases (November 2012)
  • LED PAR Fixtures (October 2012)
  • Wireless DMX Transmitters & Receivers (September 2012)
  • Hazers (August 2012)
  • Lasers (July 2012)
  • LED Display Systems (June 2012)
  • Portable Power Distro (May 2012)
  • White Light LED Fixtures (April 2012)
  • Lighting Apps (March 2012)
  • Chain Hoists (February 2012)
  • LED Lekos and Profile Fixtures (January 2012)
  • Followspots (December 2011)
  • Media Servers (November 2011)
  • Automated Profile Fixtures (October 2011)
  • Truss Products (September 2011)
  • Lighting Design Software (August 2011)
  • Ellipsoidals, ERS Fixtures and Lekos (July 2011)
  • Club Lighting Effect Fixtures (June 2011)
  • Exterior Lighting Fixtures (May 2011)
  • Networking Tools For Lighting Systems (April 2011)
  • LED Automated Luminaires (March 2011)
  • Automated Lighting Consoles (February 2011)
  • Automation Systems (January 2011)
  • Heavy Duty Aluminum Truss (December 2010)
  • Fog Machines (November 2010)
  • RDM Control (October 2010)
  • Large Format Automated Lighting (September 2010)
  • Conventional PAR Cans (August 2010)
  • PC-Based Controllers (July 2010)
  • LED Video Displays (June 2010)
  • Modular Staging (May 2010)
  • Moving Yoke LED Fixtures (April 2010)
  • Portable Power Distribution (March 2010)
  • Automation for the Theatre (February 2010)
  • Smart Phone Apps (January 2010)
  • Moving Yoke LED Fixtures (December 2009)
  • Haze Machines (November 2009)
  • Portable Dimmers (October 2009)
  • Color Scrollers (September 2009)
  • Automated Lighting Consoles (August 2009)
  • Moving Mirror Fixtures (July 2009)
  • Hi-Res Video Displays (June 2009)
  • Roof Systems (May 2009)
  • White LED Luminaires (April 2009)
  • Automated Rigging (March 2009)
  • Off-Line Editors for Lighting Consoles (February 2009)
  • DMX-to-Ethernet Tools (January 2009)
  • Fog and Haze Machines (December 2008)
  • Low-Resolution LED Displays (November 2008)
  • Automated Lighting (October 2008)
  • Lighting Design Software (September 2008)
  • Truss Towers (August 2008)
  • Portable Power Distribution (July 2008)
  • Media Servers (June 2008)
  • Transistorized Dimming (May 2008)
  • TV, Film and Studio Lighting (April 2008)
  • Lights, Borderlights, Striplights, Multi-circuit Lights (March 2008)