In Peru, electronic music is written with light. Far Away celebrated its tenth anniversary with a concept that transcends the party: a show built on landscapes, visual narratives, and the technical power of CHAUVET Professional, combined with the creativity of “Ruzito” Ramírez Calvo. What began as an alternative bet is now a cultural manifesto, where every lighting fixture is part of an identity that grows with the same strength as Peru’s electronic music scene.
There are festivals that are celebrated, and there are festivals that are built.
Far Away is one of the latter.
What started ten years ago as a way to connect music, nature, and immersive experience is now established as one of the most powerful events in the Peruvian electronic scene. And in this anniversary edition, the production was not just a celebration—it was a statement of principles.
With a technical deployment that matched the scale, with stages integrated into the landscape, carefully planned visuals, and lighting that set the rhythm, the DBLUX team once again showed up with state-of-the-art CHAUVET Professional technology and dedicated support at every step.
The lighting design, led and programmed by lighting designer John Álex Ramírez Calvo, aimed to enhance the visual impact without losing fluidity or control. Every movement, every transition, every color responded to a narrative designed to accompany the music with a living atmosphere.
DBLUX’s involvement in Far Away is not new. Andrés Cuadros, general manager of the company, explains it clearly:
“This is a client who has worked with us for four years producing this event, the Far Away Festival, which coincides with July 28, Peru’s national holiday. We’ve always provided sound, lighting, power, and video equipment. The client is always very happy, and for us, it’s very important to participate in events of this magnitude.”
For DBLUX, the festival is not only a technical showcase but also a platform that validates the direction of its commercial vision.
“We are extremely happy with Chauvet products. I bet on acquiring the entire new Maverick Storm series, and it has truly paid off. As seen in the photos, they shine better than any other available fixture,” Cuadros highlights.
He adds:
“I’ve never encountered resistance from lighting designers when I suggest using these fixtures; on the contrary, they always leave grateful, especially for the quality, performance, and creative freedom they offer.”
From the idea to the stage
But behind the design, there was also a shared vision. Trust in the systems, human and technical support that goes beyond just renting equipment.
The story of this edition is not only told from the stage—it’s told by those who make it possible.
John Álex Ramírez Calvo—though everyone knows him as “Ruzito”—started his career long before ever touching a console.
“I’ve been working since I was 15 or 16, setting up lighting gear,” he recalls.
He began in the rental world, among cables, structures, and conventionals.
“I started in rental, here in Lima, setting up, helping, installing. And little by little, I learned from each one,” he says. He witnessed the transition of an era up close:
“I happened to be working during the shift from conventionals, like Fresnels or Ellipsoidals, to automated lighting.”
That technical transition also marked his professional evolution. After several years in setup, he dared to program his first shows.
“After three or four years, I started to take on smaller projects, corporate ones. But my growth didn’t stop there: I ended up working with national bands, and over time, I started getting called for bigger stages.”
For Ruzito, there are no hierarchies when it comes to doing his best.
“To me, all jobs have the same value. Whether it’s a big festival or a smaller band show, I approach them all with the same seriousness and professionalism,” and he doesn’t say this as a cliché—it’s a constant ethic throughout his career.
“The feeling of reaching people through my designs is always the same, whether I’m on a big main stage or a smaller one. I try to get the most out of each fixture, because what inspires and drives me is making the show look incredible, whether there are many lights… or just a few.”
Far Away, a close reality
Ruzito’s entry into the festival team wasn’t planned. It all started with a direct proposal during a setup:
“I joined Far Away thanks to a friend… the promoter, Carlos. I was on a job working with a rental company, and he approached me and—knowing my passion—asked straight out: would you like to program for the festival? And I said, yes, of course, I’d love to.”
That first challenge also came with a gesture of trust:
“And just like that, he left it all to me… he said: you program, you’re in charge of the lights,” he recalls with a smile. That marked the beginning of a relationship that would grow alongside the festival itself, which eventually became a reference point in Peru’s electronic music scene.
For Ruzito, the bond became more than just a one-off project. He now works alongside the Far Away production team on multiple events with international artists. He has lit the festival 7 out of its 10 years.
“This edition of Far Away made me very happy… expectations were high, we used a lot of fixtures… and the result was truly beautiful.”
A concept and the light of CHAUVET Professional
John Álex Ramírez Calvo has no doubt: the festival’s aesthetic concept has always been tied to a visual narrative.
“It has always been about building around an animal,” he explains. That evolution is reflected in each edition:
“We started with a bee, then came a cobra, a giant octopus, and an open-winged bird—I can’t remember them all,” he says with a laugh.
For the 10th anniversary, the concept was clear: bring together the entire visual history of the festival in a single production.
“We wanted everything to feel organic, like a jungle,” Ruzito says. The concept materialized through a panoramic, curved screen that integrated all the animals designed in past editions.
Ruzito’s relationship with CHAUVET Professional began in his earliest days in technical setup.
“I’ve known the brand since I started setting up… I used the Q-Wash 560Z, the Legends, the R2 Wash,” he recalls. Since then, his connection with the technology has grown in parallel with his career.
The turning point, however, came with the launch of the Maverick line—first the MK1s, then the Maverick Storm.
“It was a huge leap,” he says.
“What convinced me most wasn’t just the power, but the real versatility they offer. They’re truly hybrid… in these types of shows, they’re strong, solid fixtures that help you hit the expectations of a show.”
Beyond performance and power, for Ruzito there’s an aesthetic dimension that makes working with Chauvet fixtures a matter of creative trust.
“I love the prism—it’s very defined,” he says. That clarity allows him to create stunning effects without needing a massive fixture count.
“The gobos are amazing. When you combine one with another, you get a really cool animation.”
For this anniversary edition of Far Away, the lighting design included a total of 198 CHAUVET Professional fixtures, including 88 Maverick Storm 1 Hybrids, 32 Maverick Storm 3 Beam Wash, 36 Colorado PXL Bar 16 bars, and 42 Maverick MK1 units. This combination allowed for dynamic, versatile, and powerful coverage—both in terms of visuals and output.
That power becomes even more valuable in smaller spaces. Ruzito recalls a recent experience in a theater:
“With just eight CHAUVET Professional lights we put on an amazing show… the production team was thrilled because they didn’t think it would work.” And he concludes with a certainty that defines his choice:
“For me, as a lighting designer and programmer, if I get a rider with Chauvet gear… I feel at ease.”
Among the standout fixtures in this celebration, Ruzito enthusiastically highlights the Colorado PXL Bar 16:
“I was blown away by what I saw live. They created an incredible sweep above the audience’s heads. I laid them out in such a straight line that I placed some hybrids above them just in case—but I didn’t even need them!”
Beyond the visual impact, what impressed him most was the chromatic response:
“It’s a very powerful fixture. The colors are extremely defined. The palette works perfectly for both pastels and solid tones. It hit exactly what I expected as a programmer.”
For Ruzito, each edition of the festival is a new challenge—not from a technical conflict, but from a personal drive.
“Every time, it’s a new challenge, another push, another step I need to take. I live the show as a programmer, but afterwards I look at the pictures and videos and think: we made it.” He says it with genuine pride, aware of both the festival’s evolution and his own professional growth:
“Far Away is a Peruvian product. We’ve grown a lot, and it’s well regarded by many of my colleagues, both in and outside the country. The compliments always come in, and I’m grateful.”
From the dealer’s perspective, DBLUX sees the growth of the festival as a reflection of the country’s evolving technical market.
“Since 2007, when Soda Stereo’s comeback put Peru on the map as an important new stop, we’ve positioned ourselves well,” says Andrés Cuadros.
“And throughout that process, Chauvet has been a key pillar. We’ve worked with the brand since their first professional fixtures, and we’ve always had the best support—even directly from Albert Chauvet.”
For DBLUX, supporting events like Far Away is part of a long-term commitment: offering technology, yes—but more importantly, building trust.
“Every project is an opportunity to prove that the gear delivers… and that we do too. That’s our role in the chain,” Cuadros summarizes.
The human support is also part of what makes a difference. For Ruzito, working with the DBLUX team goes far beyond receiving technical equipment.
“I have a great relationship with Andrés Cuadros, who’s a wonderful person. Every time I’ve worked with them, the company has been very collaborative. The support is excellent—they’re eager to help and always on top of every detail.” And he adds, with sincere gratitude:
“That’s why they’re the biggest in Peru—because beyond the gear, there’s a team of professionals, generous people who push you forward. I’m always thankful to them, truly.”
A place called Far Away
More than a job, Far Away has become a place of belonging for John Álex Ramírez Calvo. A place where technique meets affection, and professional growth walks hand in hand with personal evolution.
“More than going to work, it’s my home. Being there, with all my friends, is like a family. I get to front of house and it feels like my room. I watch my show like I’m watching a movie—I enjoy it like that,” he shares, visibly moved.
His view is clear: every festival, big or small, has value.
“You don’t need a thousand fixtures to do something important. You can make the most of whatever you have.”
And in that journey, Far Away has given him something more:
“Thanks to how the festival has grown, I’ve grown professionally too. We’re constantly innovating, and that’s what drives me the most.”
