News, reviews & great ideas from your GearSource Team!

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GearSource® Licenses Asian Partner to Launch GearSource Asia


GSA2Gearsource®, the Global Leader in used production equipment, is poised to create immediate growth of double digits throughout its Asian markets with the launch of in June.

“While we have grown our business consistently on a global level, our team have always eyed Asia as a large market with enormous growth potential” quoted GearSource® founder and CEO, Marcel Fairbairn. “We will dedicate our team and resources to make sure this venture lives up to the market potential as we look forward to doubling our global business in the next 2 years”.

GearSource® Asia is based in Singapore under seasoned industry veteran, Don Chan. Don has spent 25 years establishing his business and looks to maximize our collective network and long-standing credibility through the power of GearSource® branding and systems. Chan says: “We are proud to be representing GearSource throughout Asia and although we have already developed a strong used equipment market on our own, by utilizing the GearSource® platform, we are confident we can expand quickly throughout Asian markets”.  

1GearSource® was founded in 2001 by Production Gear Veteran, Marcel Fairbairn with the goal of growing while cleaning up the used production gear business. The company has always prided itself on first establishing a unique, stable, efficient and highly trustworthy platform while many of it’s competitors were glorified rolodex brokers. Since it’s beginning, GearSource® has grown to add locations in Europe and Mexico. Each of its offices operates a unique and independent website that remains connected to a proprietary shared database in the USA. Recently, the company began to roll out its new business services platform, branded “G-Suite®”, that empowers GearSource® staff and, more important, it’s users, to conduct business more efficiently and with much more power. Within a few short months, the system will add full proprietary CRM and advanced listings and order management facilities and then, the G-Suite App will launch enabling users to experience a more streamlined and efficient resource for managing, buying, selling or just researching used gear values.

If you have any questions about this release, GearSource® or GearSource Asia please contact our Marketing Department at or call 866-669-GEAR

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5 Stage Lighting Techniques from Karla with the Drama’s Teachers Network.

Screen Shot 2017-05-03 at 2.08.57 PM“The biggest constraint I have is that I don’t have any sort of lighting rig set up in my classroom,” says Karla. “The same goes with my sound set up. In liaising with the music department I could arrange to have all the sound equipment set up. Likewise for the lighting rig that we use at Presentation Night. I do find, however, having these constraints forces you to be creative and still conveys the intended message of the lesson without having to go through lengthy set-ups and organization.” A few simple resources are needed and away you go.

Some things you might like to try in your classroom are:

1. What’s the Purpose?

Discuss with your students what they think the purpose of stage lighting is. There are generally speaking, four main purposes:

  • To help the audience see the actors clearly;
  • To concentrate attention on a particular part of the stage (focus);
  • To create a particular atmosphere (incorporate colour, lighting direction);
  • To create special effects (e.g. strobe, UV, gobos).

Break down some of the technical words here, like “gobo,” “strobe,” “specials,” “hanging plot,” “rig” etc. More often than not, students know what they are they just don’t know the technical term for it.

2. The Importance of Colour

Spend time looking at the symbolic meaning behind the use of certain colours. Ask students to consider what mood or effect is created on stage when these colours are used. You may like to show clips to assist the students understanding of this. Karla has found, that teaching this in the senior school, many students have been learning about the meaning of colour in their visual literacy units in English when in junior school so their background knowledge is more often than not, more than substantial on this.

3. Experiment with Lighting Direction

One day, Karla was rummaging through her resource room when she found a light on a tripod stand. She thought it was meant to be used for photography classes. Suffice to say, Karla now uses it for Drama lessons 😉 It works well because it is light and portable. If you don’t have something like this, torches (flashlights) are also an excellent way to explain the effect of lighting direction and its effect on meaning. Choose a student to be your actor and have them stand in the centre of the space. Make sure your light has a reasonable extension cord attached to it and move around the room to show lighting the actor and its effect on meaning from:

  • Above;
  • Below;
  • Behind;
  • Front;
  • Side;
  • Upstage/Downstage Angle.

If you have more than one light/torch also try lighting the actor from:

  • High angle, side backlight, front;
  • Two high, front lights.

Bring in coloured cellophane as a cheaper alternative to actual lighting gels to show the effects of lighting from these angles and the effect using particular colours has on the scene with considerations made in terms of colours, angles and parts of the stage to be lit.

Lighting is a real artform in itself! Karla tends to shy away from a lot of the technical and rigging aspects because she feels that fundamentally the students only need a conceptual understanding with which to support their directorial concept. It can become confusing for both teacher and student if you start to delve into types of lights, how to rig, colour combinations on the face etc. It’s good that you as the teacher have an understanding of that but it is not always necessary to share that with your students. If one of your student’s is doing Lighting for the Individual Project in the HSC, that is a little different however and some more in depth knowledge will be needed.

4. Light a Scene

Select a script excerpt, read through it as a class and ask the students to pair up and design the lighting for the scene. They should consider the parts of the stage to be lit, the colours to be used, the angles and the intended atmosphere and mood. They should also consider how their choices reflect the intention of the scene.

5. Cue and Call

In continuing the exercise above, students can fill out a lighting cue sheet and have one of their pair call the cues, whilst the other operates the lights. Get other members of the class to act out the scene on stage. Karla often breaks down the cue sheet into parts beforehand and uses it as my scaffold to get the students to understand the purpose of the cue sheet so that they can very carefully and clearly fill it in.

By Karla with the Drama’s Teacher’s Network

Karla is a Drama/English teacher at a comprehensive, co-educational high school in Sydney, NSW, Australia. She works as a teacher to build awareness and passion in children and the community for the subject of Drama which she loves.

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How well do you know Tom Campbell from TC Lighting Design?

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We got some time to sit do with the ever so amazing Tom Campbell from TC Lighting Design out of the United Kingdom to find out a little bit about his work and what is his biggest inspiration…

screen-shot-2016-12-27-at-12-08-46-pmTCLD was founded in 2007 by lighting designer Tom Campbell. Tom learned his trade touring large-scale theater productions including Evita, Blood Brothers and Cabaret before turning his attention to concerts, in which TCLD now specializes on a worldwide basis. Tom is known to use the latest technology in all aspects of production to make each show or event simply spectacular. Whether the show is for fifty people or fifty thousand, TCLD works to build custom, original and exciting designs for any show that includes: lighting, visuals, set and pyrotechnics, then bring these designs to life, whatever the size of the venue.


What got you into lighting design? – “Rebecca Jennings”: GearSource

I was very lucky to have an amazing theater at School, with some moving heads in the rig which 15 years ago was very rare! I learned to program and realized I loved it (and that doing the school plays helped me skip class – RESULTS!!!) I then went see an early Muse gig and realized that was the direction I wanted to go. – “Tom Campbell”

Who is your biggest inspiration in production? – “Rebecca Jennings”: GearSource
There are so many things that I take inspiration from, the biggest thing for me is the artist and their music. They help me inside my creative space. – “Tom Campbell”
What is your favorite lights or console you use? – “Rebecca Jennings”: GearSource
My favorite console is the Avolites Sapphire Touch, I’ve been using the Titan software since it was realized.  Fixture-wise there are so many amazing fixtures on the market right now but for me, the most exciting fixture is the GLP X4 bar 20, I can’t get enough of it! – “Tom Campbell”
Tell us about your favorite show you ever lighted…- “Rebecca Jennings”: GearSource
I feel every show I’ve ever done is a favorite in one way or another. Each one has its own creative spark about them. – “Tom Campbell”
What creative do you pull from when lighting a stage? – “Rebecca Jennings”: GearSource
It’s always about the artist in one way or another, they should be the center of attention. My highlights should be a cherry on top of what they deliver. – “Tom Campbell”


Tom and TCLD will bring the passion needed to complement your show and make it truly memorable. Here are just a few comments about Tom’s amazing work…

…with Tom the lights are emotional!” – Katy B

Tom really pulled together some amazing tricks and effects on a minuscule budget. His style utterly enhanced the show using silhouettes and screens. He’s a class act.’ – Mike Vennart : Vennart / Oceansize/ Biffy Clyro

Tom is a great person to have on the road. Hard working, easy going and good fun to have around, essential qualities for life on a tour bus. He’s very creative and adds so much to each show. I’ve always found him approachable and accommodating if we need to make any changes during a tour.” – Sarah Cracknell : St Etienne

I literally can’t speak highly enough of Tom. Tom is easily the most talented lighting engineer we have ever worked with in over ten years. Throughout our tour supporting Marilyn Manson around Europe and ESO’s sold out headline shows, Tom was able to turn his hand to any setup and a variety of budgets to create a stunning lighting show, with Tom, the visuals are spectacular every single time.” – Luke Keast : ESO

You can contact TCLD at

Instagram @thetomlights #tclightingdesign


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Do you know DNA Soundsystem?

1 got a chance to sit down with the team at DNA Soundsystems and talk with them about being on the road, their featured events and the giant robot that overlooks the dancefloor. 

DNA Soundsystem consists of a core group of DJs and party heads who all came together for the love of the underground music scene and the want to integrate into the party scene that goes hand in hand with it all. The team are a UK based soundsystem that organises events in nightclubs and bars, hires out for private functions and now provides sound and staging for festivals. The core crew as it now stands as Josh, Charlie, Ben, Sam, Jack, Alec and Stef. DNA has taken a step back from the rave scene that formed its reputation in the past and after completing their full rig they are now aiming purely at the festival scene on a larger scale, underground clubs and events. After the success they have had this year with the Takeover Stage at Illusive, DNA are really pushing to make 2017 something big.

How did you all come together as a collective? What is your history together?

There is a lot of past history with DNA but basically, a lot of the current crew began as bedroom DJs and all the members developed a love of a variety of underground sounds from Jungle to Techno to Drum n Bass etc. We all grew up in the music scene, some of us starting in bands as well. After time attending all sorts of events across the UK the group really came together with a passion for sound systems and reinforcement. We all come from the same area so it was inevitable really when it all began. Although there is a core crew, there is a wider group of people that we consider to be part of the wider collective. The one thing that stands out still to this day is the bond between all the members, when we come together it properly feels like a family affair.

What got you into sound reinforcement?

The fact that a lot of us came from a musical background, whether it be as a hobby with DJing or just purely attending the events, its kind of came as a natural progression. None of us are really into our football or rugby so this is our hobby and what we do.

Where did you study or did you just fall into the profession?

Some of our crew studied various aspects of music across colleges/universities in London, Bedfordshire and Hertfordshire. This ranged from sound tech in general to sound engineering and events. This said, most of the knowledge we have among us comes from experience gained from being out in the field and the various different types of gigs we have done over the years. Ranging from small club nights to festival stages like Illusive, it has given us an insight into staging and engineering across lots of different types of situations taking into account all the different aspects involved. Aside from the sound reinforcement aspect, we are lucky enough to have people involved such as Stef and JJ who are qualified in construction and electrics, which has been a crucial part of Illusive in the past few years. 


How did you team up with Illusive Festival?

We have known James, Lucy, Gary and Simon for a long time in and out of the scene and have collaborated with them on a lot of events in the past. Frank, one of the founders of DNA, grew up with James and they formed quite a strong bond between the crews at the time. The Illusive Festival crew asked us to get involved the first year, and we had been wanting to stage a festival for a long time…so it was no brainer.

Illusive Festival on YouTube

What sound equipment did you use?

We use custom built Lab Horn sub bass bins and EAW KF750 mid tops. We run it all off of a full rack consisting of Powersoft amplifiers and an XTA crossover.

Why did you pick this equipment for the event?

The rig as it stands has a massive amount of SPL and precise clarity of sound. The Lab Horns are a very long throw speaker and are perfect for outdoor ventures such as festivals. We have found the EAWs to be a perfect accompaniment to our bass section. Over the years, we have had several different systems although now we are fully committed to the Lab Horn and EAW set up. The Powersoft amps we use to run it off, compliment it perfectly. The great thing about Illusive is that it has been the only time so far we have ever been able to use our full rig. Being able to have the “full shebang” out in full force has been a proper turning point for us, and to have the reception we have got after the few years at Illusive is incredible. Unfortunately, especially due to the increase in restrictions and closures throughout the UK club scene it’s hard to find somewhere you can take a decent size sound system and actually use what you have got.

If people want to get in contact with you for any information on hire outs or events, what is the best way?

The best way for people to reach us is to send any queries they may have to We also have a Facebook page that can be found by searching for “DNA Soundsystem”. We offer a full range of different setup in regards to sound hire for events, and each one comes with a fully manned team of technicians and crew. We would like to give a special mention to Frankie “Zappa” Passaro a.k.a “Boy” who without his influence and guidance we would not be where we are today.

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Why buy an ESP Signature Guitar?


ESP found fame by making and endorsing guitars for guitarists who went on to become leading exponents of thrash metal in the 1980s, along with other guitar manufacturers Jackson and Dean, with bands Metallica, Slayer, Anthrax and Megadeth. As a result of these endorsements, ESP has become one of the most popular suppliers of guitars for heavy metal. ESP instruments are endorsed by musicians numbering in the hundreds. A complete list of them can be found on the Artists section of ESP Guitars’ website.

The ESP Artist, or Signature series guitars are basically mass-produced versions of artist’s personal guitars and basses. The quality of the ESP Artist/Signature models lie between Navigator/Custom Shop and the ESP Original series.

LTD Michael Wilton Skull Signature Series Electric Guitar : Best Price anywhere! You can’t find it cheaper anywhere else…

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Between 1990 and 1992, ESP expanded its Signature Series as well as its standard product line. The US replacement parts business was discontinued in order to focus solely on their guitar and bass line, as well as the Custom Shop series. There are about 41 signature series guitars.

LTD Will Adler Signature White Camo : In Stock and at an amazing price!

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Check out these great deals on a limited selection of amazing guitars from ESP Guitar Company. Available now at GREAT pricing and with FREE shipping within the continental USA. We are offering these great deals to make room for new inventory, so don’t wait until they are all gone forever.

Mille Petrozza Military Green Signature Electric Guitar : This is a completely NEW model. We offer the best price anywhere!

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All guitars are factory fresh and come with a warranty. Let us show you the® difference.

  • White Glove Service
  • FREE Shipping
  • Unique Brands
  • Unbelievable LOW Pricing
  • One offs not found anywhere else

Click to see the deals -> ( You can find us online at or call us direct at (866) 669-GEAR. Feel free to also contact our GearHeads at

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GearSource Europe Moves To A New Office!


Wellington, FL (July 2016) – Gear-Source, Inc. is pleased to announced the relocation of our European office to the historic Horton Kirby Paper Mills in South Darenth,UK. The office is in a historic building that was constructed in the late 1820s, located within the historic Horton Kirby Paper Mills. “The new floor plan will provide greater efficiency in how we serve clients. As we started to outgrow our previous premises, we needed to find something that would handle our continuous company growth. We are now able to position our entire stock and staff in the same area of one building and we expect this to improve internal and external communication.” said Managing Director of GearSource Europe, Garry Nelsson. 

“We were fortunate to find such a nice space so close to our previous office. We really wanted to limit the impact that relocation could have on our clients and employees. I don’t think we could have found a better location for our team. Our new location and enhanced operational efficiencies will help us continue to grow and evolve to keep pace with our client’s needs, allowing us to provide exceptional value and superior service along the way,” said Marcel Fairbairn, Gear-Source, Inc. President and CEO. is part of®, well-known reseller of professional Stage Lighting, Pro Audio, Video and Staging equipment. The new office space means improved client service, new amenities for employees and room for growth. Relocation to the new space was completed at the end of June 2016.

GearSource Europe’s new address is:

The Studio at the Mill, Esparto Way, South Darenth DA4 9FF United Kingdom

About the Mill:

Built in 1820, Horton Kirby Paper Mill was originally a flour mill. After being converted to paper making, a workforce of approximately 100 locals were employed. The larger part of the building was built in 1881 and had 35 ft. added by a German firm in 1914. 

About Gear-Source, Inc.:

Since 2002,® has been a worldwide distributor of pre-owned professional stage lighting, pro-audio, video, and staging equipment. For more information about GearSource and it’s partners, visit or call (866)669-GEAR.

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Did you know that works throughout Central and South America?


Yes! has and will continue to work within Central and South America. Not only can we supply amazing gear at a great price but we can also assist in any logistics within these locations.

In recent years, Latin American and Caribbean countries have experienced strong economic growth and productions have been growing within these locations. We partner with people from production companies to Houses of Worship to help provide them with quality gear at outstanding pricing. Our Latin America Office works to ensure that these areas have a direct translator and contact within the United States to answer any questions you have about brining in production gear to your current location. We strongly believe that our company collaborations within these given areas are extremely vital to success and we will continue to nurture each relationship closely.

Screen Shot 2016-07-12 at 1.48.50 PMMeet Cynthia Viteri!

Cynthia has spent 7 years with Marcel (CEO of at two other companies, first, as a Regional Sales Manager for Latin America at Martin Professional, then at Tracoman / Coemar USA serving the Latin American markets. Cynthia graduated from Florida Atlantic University with a Bachelor of Science in International  Business and from Nova Southeastern University with a Masters in International Business Administration. She is a proven performer when it comes to production sales, and has always gone the extra mile for GearSource clients. She is here to help you with any questions you might have about production equipment you find listed at

Me encantaría asesorarte en seleccionar el mejor equipo de producción que puedas necesitar para su próximo evento … no dude en llamarme al teléfono + ( 561 ) 296 -9557 o envíeme un correo a  También puede visitar nuestro sito en . Espero hablar con usted pronto. “Cynthia Viteri”

…we look forward to doing business with you.