Year
2026
Opening nights 17–18 April 2026, Zurich
← projects Case 01
Integrated tour production for Yll Limani's Thirrëm Sot ose Nesër tour — stage and lighting design, touring audio, real-time visual systems, show control and live camera integration. A planned 16-show route across 11 cities. Seven weeks from kickoff to opening night.
Role
Stage & lighting design, touring audio, screen content and real-time systems, show control and tour live operation — ØJE Studio. Label, management and creative direction — Three60 Music. Live cameras and IMAG — Labas Krabas.
Challenge
Full open-air scale in Tirana and Prishtina — and the same feeling in venues a fraction of the size.
Yll Limani's Thirrëm Sot ose Nesër tour brought the artist's live show to international venues with Three60 Music as label, management and creative direction.
The brief was to preserve the show's visual identity between the headline open-air stages in Tirana and Prishtina and smaller indoor venues, adapting the production to each room.
The second constraint was time: 7 weeks from kickoff to the opening nights in Zurich on 17–18 April, both sold out. Stage and lighting design, content production, crew assembly and full rehearsals for the opening shows had to fit inside that window.
Design
Proportion, not square meters.
ØJE developed the touring production from design to live operation: stage and lighting design, a redesigned live audio system, screen content and real-time systems, timecode-driven show control, and live camera integration with partner crew Labas Krabas. Three60 Music provided label, management and creative direction. ØJE developed and operated the production systems that translated that direction into the live show, including crew coordination and rehearsals. The studio wrote and advanced the technical riders for audio, backline, lighting, video, live cameras and the support act, city by city.
Two LED configurations shared a common visual language and show-control architecture: a 5.7:1 solid-LED canvas and a 9.45:1 transparent-mesh canvas for the headline open-air shows. Screen dimensions and rigging changed with the venue; the horizontal composition and content approach connected the configurations.
In their words
ØJE have been a really important part of the Thirrem Sot Ose Neser tour. They understand the level we want the show to have and, more importantly, they know how to turn that vision into something that feels consistent and powerful in every venue.
They have a very experienced and versatile team, with people across different areas of production, which makes a big difference when you’re building a tour of this scale. There’s a real understanding of how all the different elements of a live show need to come together.
I think what stands out most about ØJE is how seriously they take the work.
«They care about the final result, not just their part of it, and that is something you can feel on stage.»
Yll LimaniArtist
The shows
The planned route covers 16 shows across 11 cities in 3 phases. Bergamo played on 3 October. London, Munich and 2 New York dates remain ahead as of 8 October 2026.
04 Tirana Lake Park · open-air · 12–13 Jun · 30,000 tickets Sold out
05 Skopje ARM Stadium · open-air · 17 Jul · 10,000 tickets
06 Prishtina Prishtina Mall · open-air · 24–25 Jul · 24,000 tickets Sold out
10 Munich Zenith · 7 Nov · upcoming
Stage & screen
Two constructions, one visual language.
The indoor configuration used a 5.7:1 canvas of solid 3.9 mm LED, adapted to each venue. The system was designed for a native 60 Hz signal from ØJE's media server to the LED processor, without intermediate converters or scalers. The ultra-wide format kept the same horizontal composition as the stage changed size.
For Tirana and Prishtina, the same visual language expanded into a 52 m transparent LED construction with a 285 m² canvas at 9.45:1. Its central section curved around the performers, bringing the image around the front rows rather than treating the screen as a flat backdrop.
The screen build uses Dicolor UT390V2 panels. Boasting a 7680 Hz ultra-high refresh rate and camera-friendly performance with 1/8 scan running at a 60 Hz frame rate, paired with 3500 nit BlackLED technology, the panels deliver flicker-free broadcast footage and deep contrast for this immersive curved transparent stage.
9.45:1
5.7:1
Lighting
ØJE designed the lighting rig and adapted it venue by venue, issuing plots and DMX addressing for each city. The headline show used 250+ fixtures across 18 DMX universes, with 56 tilt bars extending the screen's horizontal geometry into light and carrying the show's kinetic language.
Content
ØJE built an adaptive content system for both the 5.7:1 touring canvas and the 9.45:1 headline configuration. MØRPH supplied the generative layer alongside pre-produced material, with timecode forming the base sequence and the VJ handling live operation.
Real-time camera processing
A dedicated system for live camera processing was built in TouchDesigner. It received multiple feeds from the camera crew and allowed live selection and processing — bloom, grain, noise, lo-fi effects, flares, glow and particle-based simulations.
Processing was tuned deliberately soft. The artist's image stays intact and recognizable; the system colors the moment instead of replacing it. For each system state the team prepared color palettes, fade and blend types, and defined how camera images surface in the central, curved area of the screen through pre-designed transitions and blends.
A preset save/load layer allowed visual states to be configured in advance for each venue and content package. Live operation split between 2 positions: one operator on the main video content, the other on camera effects and feed integration. Both used MIDI control surfaces with an adapted interface. The preset manager was adapted from tools by Function Store.
Audio
ØJE rebuilt the show's audio architecture around a touring Allen & Heath dLive system carried between venues: a new show file, redesigned routing and playback, 90+ inputs and around 50 outputs. Vocal and monitoring used Shure Axient Digital and Shure PSM1000. Local PA requirements were advanced city by city so the touring system could connect cleanly to each venue.
Show control
A show is not a render. It is a system under pressure.
Lighting and video ran on a shared timecode distributed from the audio rig.
ØJE CUE MONITOR was developed in the week before opening night in Zurich. The LTC/SMPTE-triggered cue display gave departments and crew a shared clock with role-specific cue views across their devices.
MA2 Timecode Tools followed during the tour when the set structure changed. Re-cutting a timecoded show in grandMA2 meant moving the events after an edit point by hand. MA2 Timecode Tools was written between shows to handle ripple-cut edits and reduce that manual work.
If the right tool does not exist, we build it. Both are available at tools.oje.studio.
Live cameras & IMAG
Labas Krabas handled live camera coverage and IMAG for the headline shows: 8 cameras, 2 stage sliders and a drone, with a touring Hollyland package for intercom, tally and wireless video. Selected feeds then entered ØJE's TouchDesigner processing system before reaching the LED canvas.
Technical overview
The production in numbers.
Stage & systems
285 m² transparent LED mesh · Dicolor UT390V2 · 52 m construction at 9.45:1 — headline shows
Solid 3.9 mm LED canvas at 5.7:1 — indoor configuration
Native 60 Hz signal path designed without intermediate converters or scalers
250+ lighting fixtures · 56 tilt bars · 18 DMX universes · grandMA2
Touring & operation
Allen & Heath dLive — 2 DM64 MixRacks with UltraFX, Dante & GigaACE · Shure Axient Digital ADX2/AD4D · PSM1000 in-ears · 90+ input patch
Real-time camera processing in TouchDesigner with multiple camera inputs
8 cameras · 2 stage sliders · drone — headline setup
Two-operator video workflow: content · camera processing
Result
One touring production, adapted to different stages.
From the opening nights in Zurich to the headline open-air shows, Stuttgart and Bergamo, ØJE adapted the stage, lighting, audio and visual systems to different venues while keeping a shared content approach and timecode structure. The scope continued from design and technical preparation through rehearsals and live operation.
London, Munich and New York remain ahead. Two tools developed for the production, ØJE CUE MONITOR and MA2 Timecode Tools, are available at tools.oje.studio.
In their words
From the first shows of the Thirrem Sot Ose Neser tour, it became clear to us that ØJE brings a different level of care and commitment to live production. They are the kind of team that looks at the entire picture and understands what the show needs, rather than simply focusing on one part of the job.
They have a very strong understanding of live production, while also having the depth within the team to cover different areas at a high level. That gives us a lot of confidence when working across different cities, venues and production environments.
«For us, the biggest value of ØJE is that they genuinely care about the quality of the whole show.»
They don’t just deliver a production, they become part of the process, understand what the artist and the team are trying to achieve, and help push the show to where it needs to be.
Bonart AjvaziCEO · Three60 Music
Tools
01
TouchDesigner
02
grandMA2
03
Allen & Heath dLive DM64
04
Shure Axient Digital · PSM1000
05
ØJE media server — custom hardware
06
MA2 Timecode Tools
07
ØJE CUE MONITOR
08
MØRPH — ØJE generative engine
Credits
Yll Limani — artist. Three60 Music — label, management and creative direction. ØJE Studio — stage and lighting design, touring audio, content and real-time systems, show control and tour live operation. Live cameras and IMAG — Labas Krabas.
Three60 Music
CEO & founder — Bonart Ajvazi
Creative director — Eni Pirana
General tour coordinator — Adrian Berisha
Show director — Tringa Kasneci
Production manager — Izet Čučulj
Production assistant — Lorik Kastrati
Media team — Artiola Fejza, Drilon Doberdoli, Flakon Zharku, Urim Xhemajli, Medi Rushiti, Berat Ramadani, Ernest Mustafa
Hospitality — Vlera Kupa
ØJE Studio
General producer — Artem Kharchenko
Stage & lighting design — Maksim Spasibko
Content, generative systems — Konstantin Dovzhik, Nikita Klimenko
Lighting operation — Daniil Moskovich
Head of sound production, monitor engineer — Volodymyr Yakubovsky
Front of house — Robertas Boimas
Audio engineer — Dmitri Elkin
VJ — Fedor Zubkov, Mikhail Ivanov
TouchDesigner artist — Aleksei Parkhomenko
Software (MA2 Timecode Tools, ØJE CUE MONITOR) — Artem Kharchenko
Tour producer — Artem Akimov
Tour coordination — Valeriia Riasina
Live cameras & IMAG — Labas Krabas
Camera direction — Yauheni Sergejenia
Engineer — Ernest Gaidamovic
DOP — Danila Vinnik
Camera operators — Jana Teus, Daniel Orlovs, Daniel Geibovic
LED panels
DICOLOR UT390V2
Band
Keys — Fatjon Miftaraj
Drums — Aleks Zisi
Electric and acoustic guitar — Kevin Kaceli
Bouzouki, nylon guitar — Astrit Stafai
Bass — Erjet Barbullushi
Percussion — Xhemil Gjini
Clarinet, saxophone — Leon Hajdari
Violin — Rron Bakalli, Dalvin Mamusha
Backing vocals — Aurela Krasniqi, Rita Hyseni
Violin, Balkan shows — Dejon Bendaj, Aiola Laska
Trombone, Balkan shows — Ilir Vorpsi
Trumpet, Balkan shows — Xhino Daja
Folk flute, Skopje and Prishtina — Gent Hoxha
Frames
09—16
See also
01 2026 Isle of Summer '26 Festival Stage → 02 2025 Visionaries XR Production → 03 2026 Array Installation → 04 2026 ØJE CUE MONITOR Tooling →Get in touch
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The discipline does not.”
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