ABSTRACT
That remained true into the 1980s. Like legitimate theatre, concert lighting borrowed from any market or service that had something that could be adopted, modifi ed, or used to its benefi t.
By the mid-1980s, though, things were changing. New manufacturers were trying to meet the needs of concert and touring lighting. Products appeared that were not adaptations or reworkings of old ideas but instead were exciting new products cut from the whole cloth of a new vision.
