News, reviews & great ideas from your GearSource Team!

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Do you have an exit strategy for your assets?

It was only a few short years ago that we were selling used MAC 2000 Profiles for $4000 per fixture in a two way case. Now it seems we are lucky to get $900 for them.  An M7CL48 in very good condition with a case was selling for upwards of  $10-$12,000.00. Now we see them sell for $5000-$7000. Many companies have an abundance of aged gear that is taking up space in their respective warehouses. Soon it will hit the dumpster as a loss. Screen Shot 2017-07-31 at 1.17.45 PM

How has this happened and what can you do to stop the bleeding?

First, it’s important to realize that every bit of equipment you purchase is an asset for your company. From the beginning to the end of its shelf life it has a value. As a business, you must depreciate the asset’s value over time (your accountant will consult with you on how to do this ). Just because on paper it may have a value higher than you can sell it for, you must look at the income it has produced over a said period of time. If that income plus the amount you can receive for an asset in today’s market is greater than the amount you paid for the item, go ahead and sell it. Don’t worry about depreciating it further.

I’m not saying that you should sell all of your gear after 3 or 4 years, but putting together an exit strategy plan up front for each item you acquire, is essential in today’s market. Technology is speeding up, whether it’s audio, lighting or video products. The longer you hold on to something, the more chance you take on that asset becoming irrelevant before you can recoup any money for it.

At GearSource we will help you with your strategy. Our team can give you firsthand information of what your asset may be worth in a few years and when a good time to sell it will be. Give us a call to discuss this important element of your overall business strategy.

Steve Slack

Steve Smith

Sales Representative®.



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Killing the Category

Screen Shot 2017-07-09 at 11.40.47 PMI’ve always been a fan of Military Strategy and have studied it over the years.  

In today’s hyper-competitive business environment, I receive many last minute calls to find gear for a job. So I believe that today’s most successful and profitable rental companies have turned this simple principle into an art form…

The Principle of Mass: Concentrate your combat power at a time when it matters most.

  • Use and concentrate your greatest strengths. Do you know what they are?
  • Use them at the right time to achieve your objective.

Owning an inventory with sufficient enough depth to cover any job or cross rental (within reason).  Around the office we call this strategy “Killing the Category” where rental asset utilization is continually optimized with the selling of older under-utilized gear and replaced with the highest performers.

When you look at your rental equipment are you  “Killing the Category”?

Tell us how.



Henry Kones

– VP Business Development


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GearSource Global

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Long ago, I made a commitment to myself and to our largest vendors that I would do better than all other “brokers” when it comes to marketing their gear, especially when you look at the market globally and not just the USA or any one specific region, which meant really marketing gear on a global basis and with the quality your gear deserves. While the other companies claiming to offer global service usually just have a rolodex, or occasionally even as much as a localized phone number or even more rarely maybe a hired contractor or a local rep, none of our competitors have regional offices set up to truly promote your gear on a global level.

Beginning with Europe, our strategy was to offer our sellers the broadest reach and best opportunity to move gear, even large quantities. Oftentimes, this means moving it out of the country. While we were doing a respectable business in Europe, I knew that we would see far greater success with a local presence and support. So with that goal, I began to search Europe for the RIGHT partner to head it up. It was actually my good friend, Jonathan Resnick from Barbizon, who introduced me to Garry Nelsson and we immediately hit it off. Garry is a highly respected, well known staple in the European gear sales business. His background in multiple disciplines, plus his strong moral character, closed the deal for me… a few short months later, was launched.

This sounds easy – right? It is now, but when we did it… the software to do what we were doing simply didn’t exist. So, we created a new platform that we called “GS Multi-Site™”. Behind this pretty face, we were now able to market US-based listings into Europe and vice-versa. In fact, we can turn on or off a “switch” displaying listings from any region to any region. Or, in some cases, not displaying that gear due to compatibility or even territorial rules by the manufacturer. Plus, we can launch a full e-commerce, region-based website in mere weeks – a feat that would have taken months a few years ago. Pretty cutting-edge stuff!

Quickly, Europe sales grew to match the size of our N American markets. So a few years ago, my focus shifted to the Asian region. People think that Asia is highly dominated by Asian or, more specifically, Chinese gear. In fact, these markets are very interested in brands from Europe and N America but yes, like most of the world, they’re price sensitive. This opens a massive opportunity for used gear. We began in 2016 to really shake trees looking for a partner to help us pursue Asian growth. Strangely, the call came from a company we had done business with. Don Chan’s Singapore based company, Vision Pro are experts in the video, and more specifically, LED Screen business. But, like Garry in Europe, Don has experience in Audio and even lighting as well. More importantly, my team were immediately impressed by Don’s ambition, style and character. Don, and his manager, Manoj, visited Florida soon after, and was born.


Today, when you list your Grand MA console, VariLite fixture, Barco Projector or V-Dosc Line Array on, those listings immediately convert to localized currencies and begin being promoted on our Global sites. These sites combine for more views and higher value than ANY other competitive site, business, magazine or other used gear options. And, when someone in Vietnam calls to enquire about purchasing your Barco Projector, they can view it in their currency, be greeted in their language, on their time zone, etc. Not only does this offer an increased convenience to the buyer, but security for the buyer and seller and once more, localized support.

Soon, you will see more announcements for other GearSource sites in other important regions. As we add those sites, just look at that as another place your gear is being promoted… for free! Also, when you look on one of our sites for a piece of gear, know that our listings experts globally are finding listings no one else finds – because we’re actually in those markets. We are part of those communities. GearSource World is really becoming a reality. Join us…. will you?



Marcel Fairbairn

– CEO Gear-Source, Inc.

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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.