Lighting Designer Giovanni Pinna deploys 40 TWYNs as the connective link across a number of fixtures, with Lucidiscena supplying more than 300 GLP products for Italy’s largest live production of 2026
Vasco Rossi is one of Italy’s most enduring live artists, a singer-songwriter who has sold more than 35 million records and whose stadium shows are among the largest productions in the nation. His 2026 tour spanned multiple stadiums from north to south across the country, including two special productions at the Rimini area Romeo Neri Stadium, each requiring a month of preparation alone.
The rig built for the tour deployed more than 700 fixtures in total, more than 300 of them from GLP, across a stage designed to fill Italian football grounds night after night. At the heart of the GLP package was a four-fixture concept developed by lighting designer Giovanni Pinna. This included the GLP TWYN, the GLP JDC Burst 1, the GLP Creos, and the GLP impression X5 IP Maxx. These four distinct products were chosen to function as a single, unified system.
LD Giovanni Pinna has been Vasco Rossi’s lighting designer for more than 30 years, and his experience spans the full breadth of live production. He’s worked on concerts of this scale to fashion shows, architectural installations, and with international touring artists including Bruce Springsteen, Prince, and Frank Zappa.
The 2026 tour rig was shaped by a design philosophy Pinna has refined throughout his career. Use the minimum number of fixture types to simplify programming, sharpen the visual result, and gain flexibility under the time pressures of major production. “Today, I’ll use two or three fixture types maximum,” he says. “That makes it easier and quicker to programme. I think it looks better too.”
The complete GLP inventory, made up of 40 TWYNs, 100 JDC Burst 1s, 40 Creos, and 136 impression X5 IP Maxx, was supplied by Lucidiscena, an Italian dry hire specialist operating since 1999 and led by CEO Pino Loconsole. For Lucidiscena, the Vasco Rossi tour represents a major milestone in the company’s expansion, marking a phase of exponential growth. While continuing its historic equipment supply for opera houses and major theater productions, the company now fully covers the Italian live concert and large-scale events market, while increasingly providing dry hire services for massive productions abroad.
The TWYN is a dual-face moving head in which each face is designed to correspond directly to one of the other fixtures in Pinna’s system. One face replicates the wash behaviour of the Creos, with a 3x3 RGBL LED array, a motorised zoom from 4° to 53°, up to 4,060 lumens of output, and calibrated colour reproduction via GLP’s iQ.Gamut system. This is the same colour engine shared across the Creos and the X5 Series.
The opposite face of the TWYN mirrors the strobe and colour-plate performance of the JDC Burst 1, with 36 white LEDs delivering 22,800 lumens and 480 RGBW LEDs delivering 12,400 lumens. That structural symmetry was the source of Pinna’s interest from the outset. “When I saw the TWYN, what impressed me was that it had two sides with two different fixtures all in one,” he says. “Putting the TWYN between the JDC Burst 1 and the Creos made a very strong connection.”
The 100 JDC Burst 1s provided the impact layer across every stadium. Each fixture delivers 49,000 lumens from its strobe beam line and 33,800 lumens from its RGBW colour plate, with a motorised 185° tilt and 1,200 RGBW LED pixels across 48 individually controllable segments. “I love the JDC Burst 1 for its power and features,” says Pinna. “With Vasco Rossi, we’re talking about an artist who has a very strong musical impact. And the output of the fixture matches really well with this artist and this environment because it’s all stadiums. I have 100 of those JDC Burst 1s on my set.”
The 40 Creos units, each producing 10,800 lumens from 18x40W RGBL LEDs across a 4° to 50° zoom range, provided the wash and bar layer. The Creos’ identical pixel pitch across units allows them to be clustered into seamless, homogeneous LED bars. This formation was particularly effective at the stadium scale, while simultaneously the fixtures remained individually programmable for dynamic looks.
The 136 units of impression X5 IP Maxx completed the system with a wash and beam layer capable of reaching beyond the stage and into the stands. In performance, the X5 IP Maxx provided a scale of illumination that extended the visual impact of the rig well beyond what the other three fixture types alone could achieve. “They completely filled the stage with light and incredibly powerful wash beams,” says Lucidiscena CEO Pino Loconsole. “At certain moments, they were even able to light up and colour the entire stadium and the audience, pushing the final visual result to a whole new level.”
In practice, the TWYN functioned as a dynamic multiplier within the rig. “The TWYN is the connection between Creos and JDC,” LD Giovanni Pinna explains. “If I’m working with the Creos, I can bring in the TWYN with the LED face. If I’m working with the JDC Burst, I can bring in the TWYN as a JDC. It’s complementary and helps a lot. It’s really about the connection of the two faces among the group of three fixtures.”
The result was a rig that could be programmed as a coherent whole rather than as four separate fixture types. “By minimising the types of fixtures you’re using, and by using the TWYN to connect the Creos and the JDC Burst 1, that gives me twice as much of one type or another, depending on which side I’m using on the TWYN,” says Pinna. “It speeds things up and makes everything look better together. That connection between the two faces blends all three fixtures and helps them look like one unified setup.”
Lucidiscena invested in TWYN stock specifically to meet Pinna’s specification for the tour, coordinating with GLP’s Italian distributor Alto Lighting to secure inventory in time for the production. “I was already deeply fascinated by the TWYN’s technology,” says Loconsole. “When Giovanni requested them for the tour, we immediately got to work with GLP to make it happen. The first units arrived just in time. And based on their performance on the tour, we are already expanding their presence in our inventory.”
Across ten main stadium shows and the extended Rimini productions, a total run of approximately two months encompassing setup, rehearsals, and live concerts, the GLP fixtures performed without a single failure. “The TWYN proved thoroughly battle-tested, delivering an exceptionally high level of reliability,” says Loconsole. “From a maintenance standpoint, it is very straightforward. It is a small, compact, and powerful machine. And being IP65-rated, it is completely sealed and extremely easy to clean.” The TWYN’s 16 kg weight and continuous 360° pan and tilt also made it straightforward to handle and redeploy across a tour of this scale.
The broader impact of the four-fixture concept became clear in the weeks after the tour concluded. Lucidiscena received a rental enquiry for a major national television production that the company could not fulfil, as every TWYN in inventory was already committed to another show. “During the Vasco tour, we received a request for a major show on a national TV network that we unfortunately couldn’t support because the units were already fully booked,” says Loconsole.
For a fixture that had arrived on the market just in time for its first major stadium deployment, it was rapid and unambiguous validation. “This year, the stage was much more powerful and bright than in previous editions,” Loconsole reflects. “The TWYN turned out to be a fantastic discovery and definitely made a massive contribution to the overall success.”
