About
12 years lighting up
the stage.
Built backstage, for backstage. The hardware and software that demanding productions rely on.
Origin
Built backstage,
for backstage.
Light Dance Pro started in 2014 with a single LED jacket and a stubborn refusal to accept "good enough for stage." The first shows were small. The gear failed in ways consumer-grade wearables can fail. We rebuilt it.
Twelve years and 800+ live performances later, our gear holds — and a parallel piece of the story has emerged: a software stack that lets choreographers design LED shows the way they already think about sequences. That's LDP Studio.
The position we hold — pro-tool default — wasn't claimed. It was earned, one show at a time.
The original LED Tron Costume · 2014
Twelve years in numbers
Live performances
Countries shipped
In production
LEDs per project
What we do differently
Three levers that put
us where we are.
Built from real shows
Every upgrade starts with something that actually broke on stage — never a marketing wishlist. The gear gets tougher with every show we run.
Team kits that just work
Touring crews get five suits ready to wear out of the box, pre-paired to one controller, plus a refurbish between every tour leg. No setup, no surprises.
We stay on the show
For big productions, a real engineer is on call from the first rehearsal to opening night — not a ticket queue, an actual person who knows your rig.
How we work
From storyboard to opening night.
Storyboard
Discovery call to understand the show, choreography, and constraints.
R&D
Custom design pass — LED count, layout, weight, battery, control protocol.
Production
Bespoke build in our facility. 15–45 days depending on scope.
Show
On-call during dress rehearsal + opening week. Real engineer reachable.
After
Refurbish between tour legs. Spare parts inventory. SLA support.
A note from the founder
"We do not sell costumes. We sell shows that do not fail."
When I started LDP, the LED costume market was full of consumer-grade kit dressed up in pro language. "DMX-compatible" sometimes meant a 5-metre USB cable. "Wireless" sometimes meant a 433MHz hobby module that dropped a frame every second.
Pro show stakes deserve pro tools. The Sennheiser parallel I keep coming back to is not about prestige. It is about the gap between gear designed for the failure mode the show actually has — and gear designed for the failure mode the marketing slide had.
LDP exists in that gap.
— Wall, Founder
Where we work
On stage in over thirty countries.
Tell us about your show.
Bespoke quote within 1–3 business days. No fluff, no salesy follow-ups.