mondo*dr 24.6

SEPTEMBER / OCTOBER 2014 | 24.6

the international publication for technology in entertainment

EUROPE & AMERICAS EDITION

3D

september / october 2014

cosmology

andreas + daniel s ennheis er • l as er s v ideo projec tor s • media s er ver s

www.mondodr.com

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ON THE COVER Planetarium Hamburg

General Manager Justin Gawne / j.gawne@mondiale.co.uk Editor Rachael Rogerson / r.rogerson@mondiale.co.uk Deputy Editor Helen Fletcher / h.fletcher@mondiale.co.uk Advertising Manager Jamie Dixon / j.dixon@mondiale.co.uk Advertising Sales Laura Iles / l.iles@mondiale.co.uk Accounts Amanda Giles / a.giles@mondiale.co.uk Production David Bell, Mel Robinson, Dan Seaton Group Chairman Damian Walsh Mondiale Publishing Waterloo Place, Watson Square, Stockport SK1 3AZ United Kingdom Tel: +44 161 476 8340 | Fax: +44 161 429 7214 Annual Subscription Rates (7 Issues) UK: £30.00 / Europe: £50.00 / Rest Of World: £65.00 2 year rates are available on request. Subscribe online at www.mondiale.co.uk or call +44 (0)161 476 5580 ISSN: 1476 4067 Mondo DR (ISSN 1476 4067) is published in January, March, May, July, September, November and December by Mondiale Publishing Limited, Waterloo Place, Watson Square, Stockport, SK1 3AZ, United Kingdom Subscription records are maintained at Mondiale Publishing Limited, Waterloo Place, Watson Square, Stockport, SK1 3AZ, United Kingdom

mondo@mondiale.co.uk www.mondodr.com Printed by Buxton Press, Palace Road, Buxton, UK

Since I last wrote the leader column, there have been some significant announcements in the worlds of both audio and lighting. DiGiCo, Allen & Heath and Calrec announced the formation of a new professional audio group to be headed up by CEO, James Gordon; Peavey announced a major international restructure starting with the closure of its UK distribution facility; and Osram announced the acquisition of Italian lighting giant Clay Paky.

I’ve also heard whispers that a major audio player is currently considering its business portfolio, including sale of its DJ equipment business. However, no decisions have been made yet and no official details have been released.

News of this calibre doesn’t crop up all that often, so I’m sure many of you are keen to know more details and find out what the changes mean for the industry. I’ll certainly be using my journalistic abilities to try and discover the answers.

More news, but in a different sense, comes in the form of a new product launch from Czech-based lighting manufacturer, Robe. The company unveiled the BMFL to the world via a web launch on 2 September, however, I was one of the lucky few to attend the preview event of the fixture in Melbourne, back in July. My leader photo this issue was taken at the invite-only event and I’m pictured with Managing Director of ULA Group, Con Biviano, Robe’s Australian distribution partner.

This issue will be hitting your desks just ahead of BPM and the launch of PRO. If you’ve not heard already, PRO is a new show - co-locating with BPM - held at the Birmingham NEC on 13-15 September. You can read more about the concept of PRO and what you can expect this year on page 148. mondo*dr’s parent company, Mondiale Publishing is backing the show and we would like to invite all of you to come and take a look and give us your feedback. Have a drink on us at the Mondiale Central Bar on the show floor, or at the PRO launch party at the Penta Hotel on Sunday night. See you there.

Rachael Rogerson | Editor

GAME CHANGER

BRIGHT MULTI FUNCTIONAL LIGHT

CONTENT S 014

in brief

IN DEP T H 024 014 036

INTERVIEW

ANDREAS AND DANIEL SENNHEISER

REPORT LASERS

IN FO CUS 036

024

078

102

072

108

130

062

TIVOLI VREDENBURG, UTRECHT

072

PLANETARIUM HAMBURG, HAMBURG

078

LIVERPOOL GUILD OF STUDENTS, LIVERPOOL

084

CHINAWHITE, DUBAI

088

MIAMI MARVELS, MIAMI

102

PLAYHOUSE SQUARE, CLEVELAND

108

PHILIPPINE ARENA, bulacan

118

SPORTS HUB, SINGAPORE

124

HAWTHORN ARTS CENTRE, BOROONDARA

130

CANVAS, SINGAPORE

IN BUSINE S S 136

ENTECH CONNECT, MELBOURNE

140

SYSTEMS INTEGRATION, MANILA

144

PRODUCT LAUNCH: Robe - BMFL

148

expo launch: PRO

151 158 162 144

162

PRODUCT GUIDE

MEDIA SERVERS & VIDEO PROJECTORS

PRODUCT DIRECTORY LAST PAGE INTERVIEW

SANTIAGO ALCALA - IDEA PRO AUDIO

012 AD INDEX

FRANÇAIS

DEUTSCH

Des annonces importantes ont été faites ces dernières semaines dans le monde de l’audiovisuel. DiGiCo, Allen & Heath et Calrec ont annoncé la formation d’un nouveau groupe audio professionnel dirigé par le PDG, James Gordon. Peavey a annoncé une restructuration internationale majeure avec la fermeture de ses installations de distribution en Angleterre et Osram a annoncé l’acquisition du géant italien de l’éclairage, Clay Paky. Des événements de cette ampleur n’arrivent pas si souvent, alors je suis sûr que beaucoup d’entre vous voudraient avoir plus d’informations et savoir ce que ces changements signifieront pour l’industrie. Je vais certainement utiliser toutes mes capacités journalistiques afin d’obtenir ces réponses, alors restez à l’écoute !

Ce numéro sera sur votre bureau juste avant le BPM et le lancement de PRO. Au cas où vous ne le sachiez pas déjà, PRO est un nouveau salon qui accompagnera le BPM du NEC de Birmingham du 13 au 15 septembre prochain. La société mère de mondo*dr, Mondiale Publishing, a confirmé son soutien à l’événement il y a quelques mois et nous aimerions vous inviter à venir y jeter un coup d’œil afin de nous faire part de vos commentaires. Buvez un verre à notre santé au bar « Central Mondiale » du salon, ou lors de la soirée de lancement de PRO à l’hôtel Penta, le dimanche soir. On vous attend !

Im Laufe der letzten Wochen erfolgten mehrere bedeutende Bekanntmachungen, sowohl im Bereich Audio wie auch bei der Beleuchtung.

DiGiCo, Allen & Heath und Calrec verkündeten die Bildung einer neuen professionellen Audiogruppe unter der Leitung des CEO James Gordon; Peavey gab eine bedeutende internationale Umstrukturierung bekannt, die mit der Schließung ihrer in GB ansässigen Versorgungseinrichtung beginnt und Osram verkündete den Erwerb des italienischen Beleuchtungsriesen Clay Paky.

Neuigkeiten dieses Kalibers gibt es nicht alle Tage, deswegen bin ich mir sicher, dass viele von Ihnen auf mehr Details warten und wissen möchten, was diese Veränderungen für die Industrie bedeuten.

Ich werde sicherlich meine journalistischen Fähigkeiten einsetzen und versuchen, die Antworten zu finden, bleiben Sie also dran!

Diese Ausgabe berichtet über BPM und die Markteinführung von PRO. Falls Sie es noch nicht wissen, PRO ist eine neue Show zusammen mit BPM - die im Birmingham NEC vom 13. - 15. September stattfinden wird. mondo*drs Muttergesellschaft, Mondiale Publishing, übernahm schon vor einigen Monaten die Unterstützung dieser Show und wir möchten Sie gerne alle einladen, zu kommen, sich umzuschauen und uns Ihre Meinung mitzuteilen. Kommen Sie auf einen Drink zur Mondiale Central Bar im Ausstellungsbereich oder zur PRO-Launch-Party im Penta Hotel Sonntagabend. Wir freuen uns schon auf Sie.

A&O Lighting ............................... 47 ADJ Europe ................................. 63 Adlib Audio .................................. 79 Allen & Heath ............................... 17 Antari ........................................... 29 Audiocenter ................... 49, 89, 125 AVLI............................................ 97 Avolites ....................................... 71 Bose ........................................... 31 Camco........................................ 27 Chauvet Professional ................... 81 Clay Paky .................................. 105 coolux .......................................... 98 d&b audiotechnik ......................... 69 D.A.S. Audio .............................. 101 Daslight ....................................... 12 Dataton ...................................... 141 DiGiCo ........................................ 65 Digital Projection ............................ 9 Duratruss ................................... 131 EAW .......................................... 123 Elation........................................ 121 Electro-Voice.............................. 111 EM-TEC....................................... 87

Equipson ................................... 141 FBT ............................................. 19 FINE Art ........................................ 5 Fenix ............................................ 87 Festival Awards............................ 22 Full Fat Audio .............................. 91 Funktion One ............................... 83 Global Truss China ...................... 33 GLP............................................. 95 Green Hippo .............................. 127 Haze Base ................................. 147 High End Systems ....................... 35 Hoist UK .................................... 147 Infinite Systems ............................ 93 J&C Joel ...................................... 58 JB Lighting ................................... 75 JBL ............................................ 143 K-array ......................................... 13 Kind Audio ................................. 150 Kling & Freitag ............................. 53 KV2 Audio ................................. 155 Kvant ........................................... 45 L-Acoustics .................................... 2 Laser Animation ........................... 43

ITALIANO

ESPAÑOL

Nelle ultime settimane, nel settore audioluci, sono stati fatti alcuni annunci importanti.

DiGiCo, Allen & Heath e Calrec hanno annunciato la formazione di un nuovo gruppo audio professionale guidato dal CEO, James Gordon; Peavey ha annunciato un’importante ristrutturazione internazionale, a partire dalla chiusura del suo impianto di distribuzione nel Regno Unito; Osram, infine, ha annunciato l’acquisizione del colosso dell’illuminazione italiana, Clay Paky. Notizie di questo calibro non vengono annuncite così spesso, quindi sono sicuro che molti di voi saranno interessati a conoscere maggiori dettagli a riguardo e a scoprire quali conseguenze avranno questi cambiamenti sull’industria. Userò certamente le mie capacità giornalistiche per cercare di scoprire le risposte, quindi rimanete sintonizzati!

Questo problema colpirà le vostre scrivanie poco prima di quelle della Bipiemme ed il lancio di PRO. Se non l’avete già sentito, PRO è un nuovo spettacolo, co-localizzato con BPM, tenutosi presso il NEC di Birmingham il 13-15 settembre. Il partner di Mondo*dr, Mondiale Publishing, ha documentato il dietro le quinte dello spettacolo già qualche mese prima e vorremmo invitare tutti voi a venire a dare un’occhiata e a darci il vostro feedback.

Potrete venire a prendere qualcosa da bere da noi al Mondiale Central Bar, allo stesso piano dello spettacolo, o alla festa di lancio del PRO al Penta Hotel domenica sera. Ci vediamo lì.

En las últimas semanas han habido algunos anuncios importantes, tanto en el mundo del audio como en el de la iluminación. DiGiCo, Allen & Heath y Calrec anunciaron la formación de un nuevo grupo de audio profesional que será encabezado por el CEO, James Gordon; Peavey anunció una gran restructuración internacional que comienza con el cierre de sus instalaciones de distribución en el Reino Unido; y Osram informó la adquisición del gigante italiano en iluminación, Clay Paky. Las noticias de este calibre no aparecen con mucha frecuencia, de manera que con seguridad muchos de ustedes querrán saber más detalles y descubrir qué significan estos cambios dentro de la industria. Definitivamente utilizaré mis habilidades periodísticas para intentar descubrir esas respuestas, así que, ¡estén atentos!

Esta edición los sorprenderá con BMP y el lanzamiento de PRO. Por si aún no han oído nada al respecto, PRO es una nueva muestra - compartiendo locación con BMP - a realizarse en el Birmingham NEC del 13 al 15 de Septiembre. La casa matriz de mondo*dr, Mondiale Publishing, ha patrocinado la muestra y nos gustaría invitarlos a todos a venir, echar un vistazo y darnos su opinión.

Tomen un trago con nosotros en el Mondiale Central Bar en el piso de la muestra, o en la fiesta del lanzamiento de PRO en el Penta Hotel el domingo por la noche. Nos vemos allá.

Le Maitre ..................................... 55 Light Sky Fly Dragon ...................... 7 Lightline Lasertechnik .................. 44 Look Solutions ............................. 85 LTM ............................................ 34 Macostar ................................... 159 MADRIX .................................... 157 Martin Audio ................................ 77 MBN ...................................... 51, 53 MC² Audio ................................. 127 Merging ..................................... 128 Meyer Sound ............................. BC Music & Lights ................... 147, 157 Nexo ............................................ 51 No Fakes ................................... 145 Osram ....................................... 113 Philips Lamps .............................. 57 Pioneer Professional Audio ........ 115 PLASA Show............................. 134 Powersoft .................................. 139 PR-Lighting .................................. 15 Prolight+Sound Shanghai .......... 139 Pro Tapes .................................. 161 Prolyte ......................................... 99

Pulsar ........................................ 117 Rane ............................................ 59 RCF .......................................... 129 Renkus-Heinz ............................... 71 Robe.................................... 10, 133 Sennheiser................................. 137 SJ Lighting ................................... 97 Starway ....................................... 67 Steinigke.................................... 103 Strictly FX ................................... 43 Studio Due................................. 163 Sunlite Nicolaudie .......................... 8 Symetrix ..................................... 100 Tannoy .................................... 20-21 Tarm ............................................ 41 The GET Show .............................. 6 TPi Awards .................................. 60 TW Audio .................................. 107 Vello light ....................................... 4 Verlinde ....................................... 39 VMB .......................................... 153 Wireless Solution ........................... 3

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014 in brief - europe/middle east/africa

IN BRIEF B R I A N & B A R R Y S TO R E C H O O S E K - A R R AY FO R N E W E X PA N S I O N In 2011, K-array systems was installed in the flagship store of Brian & Barry, which occupied one floor at the Palace via Durini 28 in Milan. Three years later Brian & Barry has expanded and with that came ambitious technological demands, especially regarding the audio system where the loudspeakers must be heard but not seen. K-array once again offered the perfect solution, using the Vyper KV50’s installed on the walls with KKS50’s expertly hidden within the shelves used for sound reinforcement at low frequencies. In the reserved area near the children’s clothing section there are Kobra KK52’s reinforced by KMT12 subwoofers offering a flexible solution that switches from the everyday shop to events or presentations when required.

FE N IX F E ATU RE OF ACU STI COX SP ID E R S TAGE Earlier this year, the spider stage of Acusticox featured, for the first time, in Rojales, Alicante in Spain. A true spectacle of light and sound, the stage was made by Fenix and used the manufacturer’s lifting towers, and had a wingspan of seven metres high - illuminated with LED lights of different colours.

www.mondodr.com

QUAL ITY NOT QUANTITY FO R IC O N Serving food and cocktails all day long, the Icon Club Lounge Bar occupies 8,000 sq ft in Yeshwantpur, Bangalore, India’s third-largest city. When the owners decided to install a new audio system, they looked to Pandam Pro Audio to provide them with Genelec equipment. The company specified eight Genelec 1038CF tri-amplified monitor system and two Genelec 7073A active subwoofers in the main area, along with 14 Genelec 8040B bi-amplified monitor systems, a pair for the VIP room and 12 for the distributed system in the venue.

016 in brief - asia/PACIFIC/OCeania

RE N K US- HE IN Z SHIN E S AT THE GA LA XY The Galaxy Macau is one of the largest hotel-casino towers in Macau, offering 2,200 rooms, six pools, including a wave pool with man-made beach, more than 1,200 slot machines and 600 gaming tables. The bus lobby at the hotel-casino features a series of giant crystals, floating above a shimmering pool, designed with advanced motion sensor technology to trigger special visual effects as guests approach them.

The crystal display is aligned with a Renkus-Heinz sound system, including 16 CF121 two-way systems and 12 PN121 two-way systems. Nine SG81 loudspeakers provide spot fills, and 12 PN112-SUBR subwoofers complete the system.

PENGUIN PARADE IN STA LLE D W ITH APART AUDIO Phillip Island Nature Parks’, Penguin Parade, in Australia, has transformed its audio equipment with a new Apart Audio system throughout the entire indoor visitor complex. Tilmex undertook the refurbishment for the facility, specifying a variety of Apart products in areas including the theatre, small and large retail areas, rear exit to the beach, the Penguin World information area, outdoor walk way, entrance, café and toilets.

SYM ETRIX SOLUTION FO R LOTTE WO RLD Lotte World’s Waterpark in Gimhae, South Korea, has invested in a new audio processing solution developed by Symetrix. The audio configuration, devised

by Seoul-based Soundsolution enables the transmission of announcements, background music and emergency messages. Staff are able to easily control and monitor all BGM zones and volumes, along with the microphone status of poolside guards. To this end processing capability is split across three control rooms: a Symetrix SymNet Edge open-architecture Dante-scalable DSP in the main building; one SymNet Edge in the volcano area; and a Radius 12 by 8 open-architecture Dante-scalable DSP in the wave pool control room. In each case, further expansion is planned to help boost system redundancy.

www.mondodr.com

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018 in brief - the americas

Photos courtesy of Moment Factory

M OM ENT FACTORY CREATE S FO RE STA LUMINA Parc de la Gorge de Coaticook is criss crossed by dozens of trails and boasts North America’s longest suspension bridge. Welcoming 100,000 visitors every year and wanting to attract a larger and more diverse group of evening visitors, the park’s team commissioned Moment Factory to create Foresta Lumina, an illuminated night trail through the forest. After dark, visitors explore the park’s charms at their own pace, experiencing a scenography featuring lighting effects and video mapping accompanied by an original soundtrack. All along the 2km ‘garden of wishes’ trail - where visitors pick up a magical stone and make a wish on it as they toss it into the water at the ‘enchanted shore’ - visitors meet fascinating beings that lead them into a fully immersive adventure.

C O N SI STE N CY THE K E Y FOR NEWLY-RENOVATED CLUB INDIA NE X 5 .0 HD Situated in central Chaguanas, Trinidad, Club India recently reopened as Club India Nex 5.0HD following a thorough refurbishment of its audio and lighting equipment, undertaken by audiovisual and security engineering company, Streamline Systems. The installation featured lighting fixtures from Robe and Anolis, including Robe Robin LED 100 moving heads, Robe Faze FT Pro faze machines, and Anolis ArcSource 4MC fixtures, along with ArcPower 16x6 units for control, all chosen for their reliability. The new audio set-up comprises CA-28A line array loudspeaker units with CA-215A arrayable subwoofer units and SX218A powered subwoofer systems from D.A.S. Audio, as well as an Ashly ne24-24M matrix processor and Ashly WR-5 control panels.

www.mondodr.com

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EXPO DIARY 2014 PROLIGHT+SOUND RUSSIA

EXPO MUSIC

MOSCOW, RUSSIA 11-13 SEPTEMBER 2014 www.prolight.messefrankfurt.ru

Sﾃグ PAULO, BRAZIL 17-21 SEPTEMBER 2014 www.expomusic.com.br

IBC

LIGHTING WEEK

AMSTERDAM, THE NETHERLANDS 12-16 SEPTEMBER 2014 www.ibc.org

Sﾃグ PAULO, BRAZIL 18-20 SEPTEMBER 2014 www.lwbr.com.br

BPM & PRO

PLASA

BIRMINGHAM, UK 13-15 SEPTEMBER 2014 www.visitbpm.co.uk

LONDON, UK 5-8 OCTOBER 2014 www.plasashow.com

INFOCOMM INDIA

PROLIGHT+SOUND SHANGHAI

MUMBAI, INDIA 17-19 SEPTEMBER 2014 www.infocomm-india.com

SHANGHAI, CHINA 8-11 OCTOBER 2014 www.prolight-sound.com

www.mondodr.com INFOCOMM MIDDLE EAST & AFRICA

INTERBEE

DUBAI, UAE 13-16 OCTOBER 2014 www.infocomm-mea.com

TOKYO, JAPAN 19-21 NOVEMBER 2014 www.inter-bee.com

BROADCAST INDIA

INFOCOMM COLOMBIA

MUMBAI, INDIA 15-17 OCTOBER 2014 www.broadcastindiashow.com

BOGOTA, COLOMBIA 6-7 NOVEMBER 2014 www.infocomm.org

JAPEX

LDI

JARKARTA, INDONESIA 29 OCTOBER - 2 NOVEMBER 2014 www.jiexpo.com

LAS VEGAS, USA 21-23 NOVEMBER 2014 www.ldishow.com

KOSOUND + STAGETECH

JTSE

SEOUL, KOREA 5-7 NOVEMBER 2014 www.kosound.co.kr

PARIS, FRANCE 25-26 NOVEMBER 2014 www.jtse.fr

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IN DEP TH

INTERVIEW ANDREAS AND DANIEL SENNHEISER

REPORT LASERS

The Big Interview this issue is with Sennheiser’s CEOs Andreas and Daniel Sennheiser. Michael Nicholson discovered how the two brothers have come together to steer the audio giant in a new direction.

The Report section focusses on lasers and features an introduction that explores the new 6P laser projection technology through the eyes of manufacturers, Barco and Christie.

024 INTERVIEW

“THERE IS A LEGACY OF TWO GENERATIONS, 70 YEARS OF HISTORY, LEGENDARY PRODUCTS, LEGENDARY INVENTIONS, AND THAT’S A LEGACY THAT’S THERE TO BE KEPT.” ANDREAS AND DANIEL SENNHEISER In June 2013, Andreas and Daniel Sennheiser were appointed as CEOs of the company that carries their famous surname. They arrived at that point from very different directions, bringing together Daniel’s marketing knowledge and Andreas’s engineering expertise. A year on, Michael Nicholson spoke to the duo about leading the company their grandfather started in 1945.

www.mondodr.com

INTERVIEW 025

www.mondodr.com

026 INTERVIEW

The Sennheiser family

Sennheiser electronic GmbH & Co. KG is one of the best-known audio companies in the world, successfully straddling commercial and professional markets and garnering respect in both. It’s clear from speaking to Andreas and Daniel that, while the company has constantly evolved, it bears a value system and culture that have been handed down through the generations.

The company was founded in 1945 by Fritz Sennheiser and seven fellow engineers of the University of Hannover, in a laboratory called Laboratorium Wennebostel, or Labor W for short. Labor W began building microphones in 1946 and by 1955 the company had grown to 250 employees and had widened its product range to include geophysical equipment, the first noise-compensated microphone, microphone transformers, mixers, and miniature magnetic headphones. The company was renamed Sennheiser electronic in 1958.

In 1968, Sennheiser released the world’s first open headphones and set a precedent for being a pioneer in the market. The success of the HD 414 open headphones provided the launch pad for faster growth, while opening up new opportunities. The company became a limited partnership in 1973 and in 1980 it entered the aviation market, supplying headsets to Lufthansa. Sennheiser’s first wireless microphones arrived in 1957. In 1982 founder Fritz Sennheiser handed the management of the company over to his son, Jörg. The business has remained family-owned since 1945 and currently employs more than 2,500 people, 51% of them in Germany. In 2013, turnover totalled 590.4m.

It would be easy to presume that the Sennheiser brothers were always destined for this, that they were initiated into the family business at a young age, with their careers mapped out before them. But it wasn’t anything like as black and white as that. “My interests are inclined to music, technology and all those things,” stated Andreas. “So I had the intention to join the company. I didn’t really know when, I didn’t really know how, but for me it was a lot clearer than for Daniel.”

Daniel explained: “For many years it was very clear for me as well - I would never join Sennheiser. Suddenly during my time at P&G (Procter & Gamble) I realised I had something to contribute. With the market becoming much more user- and usability-focused - more fashion-focused on the consumer side, but also more design-focused on the integrated systems side, I felt I would have something to contribute as well.”

Daniel’s spell with Procter & Gamble, leading the EMEA design and innovation team in Geneva, followed stints at advertising firms like Ogilvy and Mather and Pixelpark. “I learned a lot about product development, innovation and strategy, www.mondodr.com

which I brought to Sennheiser in 2008,” said Daniel. “I started out with Strategic Innovation and then worked my way up to the Innovation and Finance department and now CEO.” Andreas came from a different direction: “From a very early age, I was always interested in all the technical things of this world. Given this preference but not knowing exactly what I wanted to do, I wanted to have a solid foundation so I studied electrical engineering and production management, as well as some general management majors in Zurich. With that, and some experience at Hilti, the power tool company, I joined Sennheiser at the beginning of 2010.

“One of my hobby horses has been supply chain management, as well as lean management - how to make things very efficient and very smart. So that was an interest for me, that’s how I started at Sennheiser, being responsible for the entire supply chain.”

They both agree that their experiences away from Sennheiser have strengthened what they can offer to the company. “If you want to think outside of the box, you need some outside inspiration too,” continued Andreas. “On one hand, our assignment with other companies was certainly helpful for getting this outside view, but the second thing, and that’s more important, is to calibrate your selfassessment. Working for another company basically puts you in a position just like anyone else, so at Hilti everyone told me when I was doing well and they told me if I was doing badly - it was a very open and straightforward situation. If I had started here in my early 20s, it would be a lot more difficult to calibrate my personal ego and self-assessment.”

Daniel added: “To be very clear; we never had an assigned or reserved seat within the company. We went through a quite stringent assessment process with the supervisory board and our father, but also external people, and for that we needed outside experience.”

By taking the inherent values and culture of the company they grew up around and mixing that with a broadened range of influences, Sennheiser’s new CEOs have started to impress their personalities and vision on the company. A significant management change saw Peter Claussen take over the leadership of both the Professional Systems and the Integrated Systems divisions, while some structural changes have shaped the company for future prosperity. And, of course, there are new products, which will ultimately be the defining articles of the new era.

“Obviously, we’re introducing new products, we’re continually adapting to the market,” said Daniel. “We did have management changes, with Peter Claussen

028 INTERVIEW

Fritz and Jörg Sennheiser in 1982

Jörg Sennheiser today

taking over Pro and IS. We also changed certain things structurally but I think the most important part is the launch of new products, like Team Connect or the Sennheiser streaming technology.

“If you look at Team Connect, for example, it’s a great product that allows you to have meetings over the phone with remote teams. It’s a product that focuses on high audio quality, because as you know, when you’re on a long phone call conversation with many participants, it’s very tiring, so you need to have very good audio quality to distinguish different people in the room and you also have to have the ease of use. When setting up a system takes up 15 minutes of your meeting time, with 20 highly paid people in the room, that’s a very expensive system.”

Andreas added: “Another thing we started at the end of last year, or at least formally founded, is Sennheiser Streaming Technologies, a new Sennheiser subsidiary. When we talk about streaming, our environment is always related to real-time, low-latency application. If you go deeper into the technology, basically anything you stream can’t be live with existing technology - because of the latency.

We have found a solution to actually use streaming technologies for use at cinemas or live events, for example to provide assistive listening for the hearing impaired or audio description for the visually impaired.

“This is a good example of where we think we can reinvent ourselves. For instance, look at how conferences are being run today with dedicated devices and hardware on the table. With our streaming technologies, in just a few years from now, we’re very certain that this can all be run via mobile devices. This is really where we say: ‘we have a current business but in order to protect that business we’d rather reinvent it’.”

It’s an admirable level of ambition and one that demands constant innovation and forward thinking. Sennheiser couples this with a holistic approach to fulfilling the requirements of each challenge and application. This has resulted in strategic partnerships with companies like K-Array, D.A.S. Audio, Avalon, Apart and Rane as distributed brands.

“The distributed brands are basically to complement our solutions,” said Daniel.

“With our distribution network we are focusing on what the end consumer needs, what the application really is. And if that needs complementary products, like thirdparty loudspeakers or accessories, then we will do that. We see ourselves as an independent partner to our customer to really suggest the best possible third-party product that goes with our system - and we’re independent there.” www.mondodr.com

Fritz Sennheiser before he died in 2010

As Andreas pointed out, this differs from some other big players: “That may sound a little contrary to some consolidation going on in the market right now, where other companies buy together different brands that they then distribute exclusively because it’s part of them, but we believe that the end consumer really wants the best of all words and not just one that is owned by one company. We independently select the right product for the application.”

It’s an attitude that applies to both Integrated Systems and Professional Systems.

While the divisions are concerned with applications that are very different, when it comes to product specification there is a certain degree of overlap. Integrated Systems addresses applications like offices, conference rooms, guided tours, houses of worship, hotels and multi-purpose halls whereas Professional Systems deals with solutions for live tours, theatre, film and broadcast.

“There is an area of the professional and integrated systems market that is very different and then there’s some overlap,” said Andreas. “If we talk about Tourguide - you can use that as an interpretation system, you can use it as a visitor guidance system, you can use it in many different applications. The same is true for our wireless microphones - you have the same reliability whether you’re a tour guide or a star on stage. From a technology background, there is a large overlap since the core technology and reliability represent a very positive cross-fertilisation between IS and Pro.” Daniel pointed out that the performance expectations of musical superstars are often matched by the requirements of corporate bigwigs: “We have our flagship product - the Digital 9000 - in the professional field, which we see go into corporate headquarters and training centres because it’s encrypted, because it’s extremely frequency efficient and because a CEO probably wants the same level of equipment as a star. If it’s good enough for Beyonce, it’s also good enough for your CEO. That’s the logic. And it’s encrypted which is something that’s true for the corporate world and on stage.”

Regardless of who the end user happens to be, the ultimate aim is to drive satisfaction and answer particular challenges with the best possible solution. When it comes to developing products that will meet these aims, Sennheiser has to be attuned to the market and not only react to its needs but see them coming before the end user does.

“Usually how we generate that innovation is by observing situations,” revealed Andreas. “Observing potential customers and looking at what they struggle

030 INTERVIEW

Sennheiser’s Cinema Connect

The Musical Instrument Museum, Arizona

with, looking at what works well and coming up with a solution to a true problem.

Usually, when you’re limiting yourself to asking customers what they want, it’s really like that famous saying from Henry Ford: ‘If I had asked my customers what they wanted they would’ve said faster horses’. This is also the approach we take.

What is the true problem behind something that somebody tries to do? Then come up with a smart idea. We are heavily technology driven, but we are also a company that takes into account what the customer values.”

Communicating with customers is fundamental, explained Daniel: “Today, marketing is very important. The days are gone where people were just calling on us to deliver products. At the time when my grandfather started, that was the market we were in. Today it is about informing the customer about what is possible because the customer can really only ask for what he or she knows is there. So we spend a lot of time on designing the marketing materials well. It’s all about awareness on one side but it’s also about information and training of the sales and service staff, but also our customers who are, in most of the cases, selling the product to the end consumer or integrating it into a full solution.”

Andreas said: “In the professional and also integrated systems community we aim to provide a perfect service with the best products. The word of mouth that spreads when we give good service, when we deliver a high reliability product, is also very important.” Daniel added: “A happy customer is the best advertising.”

Which leads us to a phrase that has been projected around the world through recent marketing campaigns. Andreas continued: “Sennheiser defines itself as ‘on the pursuit of perfect sound for 70 years’. But what is the perfect sound? The perfect sound might be very different for somebody in their home recording studio, who wants to get his or her first record done. He or she is still looking for perfect sound in that aspect, whereas a big installation for an exhibition, or Beyoncé on stage, or in the studio, is looking for something else again. It’s not for us to judge perfect sound because that’s not a destination; it’s more a journey that we’re on with the customer.”

An interesting example is Cinema Connect, said Daniel: “If we are looking for perfect sound for somebody who is hard of hearing, perfect sound might be being able to understand speech in a cinema. Or for a blind person, experiencing true inclusion thanks to audio description while enjoying a film with a friend. The product behind that is a streaming technology that is streaming live content directly to your smartphone. The user can sit anywhere in the cinema that they want, they don’t have to rent any equipment. Really understanding the use case for the user www.mondodr.com

and what the current hurdles are in going to the cinema and other cultural events, drove us to come up with this solution, which is also riding on another trend - bring your own devices.”

Where ease of use and convenience have often come at the expense of audio quality in the past, Andreas believes that this is changing, and Sennheiser is fully on board: “What we see more and more is that audio is the conveyor of emotion and with that it becomes more relevant. As much as this is true for headphones for a certain time, the look was actually more important than the sound, but currently we see it turning the other way around. Excellent audio quality can raise the perceived emotional experience a lot more than simply turning the volume up or adding other elements like visual special effects.

“It’s the true sound experience, and that’s not only just stereo from stage but that’s a little bit like what we did with the David Bowie exhibition and its 3D sound experience zones. This kind of immersive sound experience creates a different type of emotional attachment to what you see and towards the event that you’re in, as opposed to just putting two loudspeakers on a stage. And we see more and more requests - David Bowie isn’t the only exhibition we’re working on, we’re working on another thing that we can’t openly talk about yet. Venues now say, ‘we can’t just have people look at things, we have to immerse them into a different experience and audio is the core part of it’.”

The David Bowie exhibition at London’s V&A Museum was one of the most talked about exhibitions in London in 2013. It is the result of a creative collaboration between the V&A and the exhibition design teams, which pushed the boundaries of sound technology and interpretation in museum shows. The exhibition received universal praise from critics and visitors alike, and is now touring internationally.

The duo mention other standout projects, such as the Bolshoi Theatre, the Musical Instrument Museum in Phoenix, Arizona, the Porsche Museum in Stuttgart, Germany and the “Invisible Cities” - an opera that takes place amongst commuters in Los Angeles’ Union Station, where the audience gets headsets to experience the opera, with a live orchestra playing the soundtrack in a hidden room within the station.

It’s projects like this that continue to push the business forward and re-affirm the strength of the Sennheiser name around the world. It would be easy for the brothers to sit back, keep a steady ship and trade off a name that has been built up over the last seven decades, but they are both very passionate about everything they can achieve with the company and aren’t daunted by the responsibility of

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032 INTERVIEW

David Bowie is Exhibition

The construction of the Innovation Campus at HQ began in July 2013, the occasion was marked with a groundbreaking ceremony, which involved Andreas and Daniel burying a time capsule under the foundation stone.

Andreas Sennheiser, Alannah Sennheiser, Karin Sennheiser and Daniel Sennheiser at the groundbreaking ceremony.

leading the family business.

“That’s a privilege,” stated Daniel. “It’s something we have to foster and we have to cherish. There is a legacy of two generations, 70 years of history, legendary products, legendary inventions, and that’s a legacy that’s there to be kept. At the same time we also have the need to reinvent ourselves all the time. The success of the past doesn’t mean anything tomorrow. It helps us know where we come from, it helps us build from a good base, but we need to look out there and see how we redefine the business before somebody else does.”

Andreas said: “We also see that legacy when we go to see our customers. When we visit studios, we see products from the ‘50s still in use. There’s also this huge expectation that we strive for perfection just like we’ve done in the past. I think we’ve seen a lot of great German brands only existing now as a shell brand, where the internal workings of the business have completely changed. Here we are dedicated to being different. It’s not only a strong brand but it’s also a lot of content that’s been developed for the last 70 years and we’re committed to that until the next generation. Then it’s their turn.”

So, could the business ever leave the Sennheiser family? “It’s very hard to imagine,” said Daniel. “If it made sense for the company to do that then we need to talk about it but so far I think it makes sense for the company to be connected to the Sennheiser family and there has been a clear commitment from the Sennheiser family to continue to be invested here with everything we have. This is a family company, it’s a family driven company and we’re fully self-financed, so there’s no reason for us to look somewhere else. That is an advantage, especially in times when the market fluctuates - it’s good to have a very stable shareholder structure behind that, who are not looking at quarterly numbers so much but more at the multi-year development. Thinking more in generations than in quarters.”

Which, Andreas explained, gives customers confidence: “We’ve also received feedback from our customers, for them it is an important issue. For them it gives a reliability that we’re not part of an investment company that are basically dressing the company up and selling it on for more money, we are here to stay, we are here to stay independent and with sound financing and profitability. We have no reason www.mondodr.com

for changing that - it creates a lot of trust in our actions.”

And while the different divisions of the company operate in very different markets particularly Integrated Systems and Professional Systems compared to Commercial - Daniel is certain that the company is unified. “We are one company,” he said.

“Yes, we do have different entities within our company that are sometimes, I would say, in healthy competition - not with customers, they focus on different customers - but healthy competition to be successful within the company. We are one company, we have one brand, we have one spirit, we are one team.”

Andreas agreed: “What really unites us is on one hand the acoustic expertise - that’s really needed whether we develop a microphone, headphone or sound design for a room. And the second thing is the way we approach things, that good enough is not good enough. That’s really true for everything we do - excellence is a passion of ours. Sometimes perhaps too much but we can’t help that.”

The company is also unified by a focus on progress and development. Andreas continued: “It is such an important topic. Daniel and I just happen to be CEOs of this company but it doesn’t mean that the company depends on us, the company depends a lot more on the 2,500 people who are here in Germany and around the globe. As the marketplace changes, as customers change, what matters even more than our personal development is the kind of training, expertise and development that is received by all the employees, which is what really goes out to the customer. We also have a passion for challenging people. We have a passion for developing people and getting the best from everyone.”

Away from the business, both Andreas and Daniel are passionate about their young families and the pair often go running together. “Actually that’s something we found in common, we not only think together about the future of the company but we regularly run together, which allows us to connect on another level,” revealed Andreas.

Generally speaking, brotherly relationships can be stronger than any other but they can also break down because of the intensity of that bond. Add in the pressures of running a very successful global company and it wouldn’t come as a huge surprise if, at times, there was a certain amount of friction. In conversation, there

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034 INTERVIEW

is absolutely no indication of that between the Sennheisers, and when asked they explain why their relationship is very close. “We are very complementary,” said Daniel. “We are very different, but we have the same value system. I only see being brothers as an advantage, to be honest.”

Reflecting on different stages of their lives, Andreas added: “I think we’ve had different phases. During school our relationship was very intensive - we are just one year apart, so had lots of friends in common. Then during our education, because we chose very different routes, we had a looser relationship. And now, working together for the last six or seven years, we’ve become very close again and started to explore the strength and background that each of us has brought, and that’s really something that supports the tie we have. We’ve had a looser connection while developing in different fields and now we’re bringing everything together for the good of the company.”

For the foreseeable future, it will be that the good of the company steers every decision and drives the business forwards. Daniel and Andreas Sennheiser couldn’t be any closer to the company or any more important to it. Not only do they hold the spirit of it close to their hearts, they are woven into its fabric. You sometimes hear the story of a father who spent his life following his passion to build a successful business, only for the son to bankrupt it shortly after taking the reins. Fritz Sennheiser built it, Jörg Sennheiser grew it and here we are in the third generation with two extremely capable and committed custodians at its charge. You get the impression that Daniel and Andreas carry the same honesty and intelligence that their father and grandfather carried too, an honesty and intelligence that continues to impact the culture and success of the business.

A new era has begun at Sennheiser but they’ll never forget their history, said Daniel:“We have only really just started as CEOs, there are so many things that we want to do. We just want to do our job, we want to pursue perfect sound like Sennheiser always has - cherishing the heritage of the company but also focusing on our innovation culture and basically fostering the passion for excellence that everyone at Sennheiser has.”

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8/21/14 9:47 AM

036 report

LASERS The world of lasers has taken a new turn this year with 6P laser projection technology. It’s been released into the cinema industry primarily, but it’s sure to spread into other areas of the entertainment market in the near future. mondo*dr spoke to two of the manufacturers Barco and Christie - leading the way…

Bill Beck The Laser Guy Barco How did you first became interested in the laser industry?

In 2003, the CEO of a US Contract R&D firm asked if I would ‘commercialise’ an RGB laser they had developed for the US Air Force for flight simulators. They wanted me to spin out their RGB laser technology in a venture-backed start-up. We persisted through a challenging investment climate and being ‘far too early’ for Hollywood - the DCinema standards were not done yet. By being ‘too early’, I developed a wealth of knowledge of the industry requirements and technology options, which I have brought to the industry through the company I founded in 2008. Running an independent laser ‘engine company, Laser Light Engines (LLE) gave me global visibility on what each projector company was doing. Although LLE was not commercially successful, it paved the way for this year’s debut of commercial laser projectors.

After a comprehensive review of the players, their cultures, market positions and technology portfolios, I settled on Barco as the team to support.

What have been significant developments in the laser world and how have these changed the environment that you work in over the years?

The original challenge was laser speckle, an image quality defect unique to lasers.

This kept the major laser players from even dreaming of the application; the fact that projectors need red, green and blue laser, each from different manufacturers which were not coordinated, and cost. There was not yet, any volume market for the laser devices. The three biggest catalysts for the acceleration and eventual commercialisation were: 1) Barco’s high lumen demonstration in early 2012, to provide existence proof of an integrated, high lumen (55klm) solution. 2) The admission by everyone that 3D was suffering in its promising early stages from low and declining brightness levels and 3) The unexpected availability of low cost blue laser devices which enable the blue channel for RGB lasers and provide pumping energy for a new category of laser illuminated projectors. Blue Pumped Phoshor (BPP), where red and green are produced by a blue laser pumping a special light emitting Phosphor - like CRT TVs used to use.

Has the development of new technology within the laser world influenced the creative possibilities available?

Laser illumination itself will enable better, more consistent image quality and in the future, will give movie-makers a wider range of brightness levels and colours and much better 3D. However, it will take time for these capabilities to be fully integrated into standards and the production and display processes.

Can you explain 6P laser projection technology and how implementing it into the cinema industry will be a huge step forward?

6P means that the laser illumination generates six red, green, blue primary colours, one set for each eye, think ‘RGB left and RGB right’. All the light power is in relatively narrow bands of RGB colours so in the case of a 3D move, these two distinct sets of RGB can be filtered by passive glasses very efficiently providing very smooth 3D with no ghosting (cross-talk). That is, no part of the left image gets to the right eye and vice versa. In addition to very beautiful and efficient 3D (no light is lost due to filtering in the projector because there is none) you also have very vivid, saturated colours and very low laser speckle.

Barco is now developing products that feature 6P technology, can you explain this in a little more detail?

Barco was the first to introduce commercial 60,000 lumen RGB laser projectors incorporating Barco Laser3D. This system, the DP4K-60L, was first shown in a cinema at Cinemacon this year. It has both sets of RGB primaries inside a single projector solution. This system is being installed at multiple customer sites in China and North America. This cinema-optimised solution is integrated for safety and simplicity (all lasers inside the box), has built in laser six primary 3D, but will work with other commercial 3D systems such as RealD, MasterImage3D and active glasses.

Do you envisage 6P laser projection technology expanding beyond the cinema market?

Yes, it is absolutely the best 3D technology for high end visualisation, theme park, flight simulator, and other performance 3D applications where premium image quality, colour and 3D separation are must haves.

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report 037

A TECHNICAL SOLUTION It is well known that laser projection systems, along with the proper selection of efficient 3D equipment, can solve the 3D brightness problems on most screens. A public Christie laser projection demonstration in 2013 featured a single 72,000 lumen projector that was capable of 14fL brightness on a 65ft. wide, high gain silver screen using a RealD XL 3D system. This was a benchmark moment for the industry, as people were finally able to see a 3D movie at the proper brightness level.

However, the system was still flashing between left and right eye images and was nearing peak brightness capabilities, so lighting up a larger screen would not have been possible. A relatively straightforward solution is to add a second projector to the system. This approach doubles the light output while providing naturally simultaneous images for both eyes. Modern computer vision-based alignment technology, such as that used in the Christie Duo system, can eliminate the chore of keeping dual projection systems perfectly aligned for cinema presentation purposes.

Christie’s laser demonstration was also compromised by the fact that the 3D system in use required a high gain, non-uniform silver screen to maintain light polarisation. Currently, there are really only two alternative 3D options using lower gain, white screen surfaces. One system uses shuttered glasses, flashing between left and right eye images from a single projector, alternatively blocking each eye so it only sees its intended image. This approach, however, is very inefficient from a brightness perspective and is less than ideal due to issues with stereopsis, but some may judge the overall experience to be improved due to the uniformity of the image.

The other solution available for low-gain white screens uses a technique known as colour-separation-based 3D. This approach takes advantage of the fact that projected images on the screen are created using a pixel-by-pixel combination of red, green and blue (RGB) primary colours. Specifically designed glasses can filter out precise colour wavelengths of light from getting through to each individual eye. By generating images for one eye from a combination of RGB primaries (R1G1B1) while generating images for the other eye using a different combination of primaries (R2G2B2), the filter glasses can then be used to ensure that each eye only sees the correct image.

This approach is used by Dolby Laboratories’ 3D system and is widely acknowledged as the best 3D platform for accurate colour reproduction and a naturally immersive, uniform 3D experience, especially if two projection heads are used for simultaneous left and right eye images. The Dolby 3D system has been available for several years now, however, a major drawback for lamp-based systems is that the process of isolating two different sets of RGB primaries from the broad spectrum (white) xenon lamp is extremely inefficient, making the low-brightness issue in large-screen auditoriums even worse.

If this is the case, then surely we should combine the high-brightness capabilities of laser projection with the superio image quality of colour-separation-based 3D. Unfortunately, the solution is not that simple. Typical laser projection systems create light by combining a single set of RGB primary colours to create the image. This is known as 3-Primary (3P) laser projection, and it is the ideal solution for 2D projection in cinema and other industries. With 3P, however, there is simply no ‘light energy’ at the secondary wavelengths to pick out of the light source for the second eye image. To create the colourseparated image for the second eye, you need to add three additional laser primary colours to the light source - creating something that is aptly called a 6-Primary (6P) laser system.

6P LASER PROJECTION With a 6P laser projection system, the required wavelengths of light are generated right from the source with no light wasted or thrown away while isolating the specific colors for the separate left and right eye images. The result is that a 6P dual-head 3D system is almost twice as light efficient as the most efficient 3D system available today - with the added benefit that it does not need a high gain, non-uniform silver screen. Also, implementing a 6P laser system can be achieved easily using two projection heads in a Christie Duo configuration, with each projection head designated as a left or right-eye projector and separately connected to its own set of distinct RGB primary lasers.

When contemplating a 6P dual-head 3D projection system, it is reasonable to consider system designs using only a single projection head since the extra head appears to add cost and complexity to the system. However, if you consider what is being accomplished with 6P laser, a dual-head system is the only available solution that makes any sense. The practical alternative for a high power cinema system is sequential flashing of the left and right eye images through a single projection head, which is clearly not ideal based on the aforementioned issues with stereopsis.

More importantly, though, is that a single-head 6P system is less than half as light efficient as a dual-head system that displays both left and right eye images simultaneously. To achieve sequential image display, a singlehead system is turning off or mechanically blocking either the R1G1B1 primaries or the R2G2B2 primaries on an alternating basis. This means each set of lasers is used less than 50 percent of the time when you account for switching and color transient effects that need to be masked by absolute dark time. Hence, with a single-head 6P laser system, you will need at least twice as many lasers to achieve the same 3D light output as a dual-head 6P laser system. With the current cost of lasers far outweighing the cost of projection heads, this means that a single-head system will cost almost twice as much as a dual-head system to achieve the same 3D brightness. * Extract from Christie’s White Paper 6P Laser Projection: Redefining 3D cinema

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038 report

ELECT R I C DA I SY CA RN I VA L Company: Laserworld, Lasertainment Location: Las Vegas, USA More than 30 high power laser light systems from the Laserworld Group were used at this year’s Electric Daisy Carnival (EDC) in Las Vegas on the main stage. The laser show was implemented by Lasertainment and the stage show was run by Insomniac Events.

Lasertainment was the only accredited laser show equipment supplier for the main stage, Kinetic Field, however, there were a further seven stages at the event, which welcomed more than 400,000 guests this year.

Show productions of this scale are a challenge for everybody involved. Laser wise, not only was a live laser operation required, but several pre-programmed shows with music synchronous too.

The Laserworld RTI Nano and Piko systems used were controlled through

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Lasergraph DSP controller, one controller per channel. The live operation, as well as the timecode synchronisation was handled through an MA Lighting grandMA2 console.

As the FoH was placed 300ft from the stage, the laser control itself was a technical challenge. The whole signal transmission was done through fibre cable and further signal distribution to the controllers on stage via Cat6 cables to avoid any electromagnetic interference.

It is essential for a professional outdoor laser show to have properly distributed fog or haze, so the effects can be seen well and the laser effects can span. At the EDC Las Vegas more than 60 fog and haze machines were distributed in the area of the main stage to cover the Kinetic Field to a large extent.

“The very low humidity of only 5%, the continuous wind and the dust in the air were a big challenge,” said F. Oliveira from Laserworld USA. “Lasertainment requested the most durable systems for such conditions.”

G. Kearney of Lasertainment said: “The whole show worked perfectly, the setup was done in two days and nights. The two rehearsal days showed that all systems worked well and the organisers were very happy. “ www.laserworld.com www.lasertainment.com

040 report

PEARL O F SOC H I Company: Laservision Location: Sochi, Russia In preparation for the 2014 Winter Olympic Games, Laservision recently completed Russia’s first permanent multimedia attraction, The Pearl of Sochi. A spectacular multimedia experience created for Russia’s premier Entertainment Centre, Mandarin.

Located in Russia’s largest resort city, Mandarin is the first and only outdoor lifestyle entertainment centre in the country. The centre features a diverse set of recreation and entertainment attractions providing all year-round activities to enhance the region as the number one international resort destination.

Designed in collaboration with world-renowned architecture firm Jerde Partnership, the 3,500 sq metre, purpose built, Pearl of Sochi multimedia attraction, will provide nightly performances to over 3,000 visitors.

The Pearl of Sochi combines the latest in entertainment technologies and creative wizardry in recreating one of Russia’s most popular poems. Known for their catchy rhythms, inventive rhymes and bizarre characters, this well-known childhood classic - is reborn as a spectacular light, sound and visual effect show titled, The Sun Thief.

It’s the tale of a mischievous crocodile who steals the sun, plunging the world into darkness. Two bear cubs that were happily playing in the woods become separated from their parents due to the suns’ disappearance. Frightened, the animals turn to

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the bears to help retrieve the sun and bring joy back to the land.

To appeal to the culturally diverse tourist market and transcend language barriers, Laservision’s creative department designed a show with no narrative or dialogue.

The story and themes are communicated to the audience through the use of emotive imagery, a unique music score and visual effects. The Sun Thief, utilises universally recognisable themes of love, anger, fear, fantasy, joy and humour as audiences are immersed in the 20-minute performance.

In addition to the headline show, Laservision provided a secondary high impact, high energy, visual effects spectacular designed specifically to thrill the audience.

FX Mania incorporates video mapping and multimedia technologies to create a synchronised, 20-minute, high energy, visual feast for audiences to enjoy. FX Mania takes the audience on a journey into an alternate reality as the technologies produce a vista of visual effects in a kaleidoscope of colours accompanied by a high energy music compilation.

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report 041

AUTO STA DT Company: Tarm Showlaser Location: Wolfsburg, Germany Water played a leading role at Wolfsburg’s Autostadt theme park this summer. The pinnacle of this year’s stagings were the water shows, the world’s largest of their kind, which were produced and choreographed entirely by the Autostadt.

Around 350 water systems producing more than 70-metre high fountains, more than 130 flame generators producing up to 15-metre high flames, seven LED screens, 11 full-colour 25W lasers, 20 green laser scanners, plus new light and sound concepts were employed at this year’s shows.

The technical implementation of the project was assigned to a team whose collaboration had proven its worth in staging the annual shows for the last few years.

Included among the collaborators were the firms of Aquatique Show for the water systems, Leyendecker for the lighting, Tarm Showlaser for the laser systems, Enter-

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tainment Technology Concepts for the video equipment, and LiveAudio event technic for the sound systems.

Particular challenges were accurately synchronising the compositions consisting of flames, water jets, laser effects, lighting and video projections to the music throughout the lengthy durations of the open-air shows, along with the extremely high moisture levels to which all of the equipment was subjected.

Expressing his satisfaction with how well everything went off, Otto F. Wachs, Autostadt’s General Manager said: “Our concept was a 100% success. Thanks to our expanded show schedule, we had many more visitors to the park per day than in preceding years. The feedback from visitors was uniformly positive.” www.tarm.de

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042 report

M OON L A ND I NG TO UR Company: Strictly FX Location: Various For his tour entitled ‘Moon Landing’, James Blunt wanted to take his audiences on a visual journey. For that journey James called on his longtime Production Designer, Paul Normandale. “For the production, James wanted a moon landing theme that included a spacewalk feel, as well as hints of a lunar landscape,” said Paul.

As the production designer, one of Paul’s goals was to have a show that worked as a synergistic whole. He explained: “We looked at it as one visual presentation so there is no competition between the visual elements, just enhancement and accent.”

One of the more interesting visual elements was the use of lasers provided by Strictly FX of Chicago. “James loves the lasers,” reported Lighting Director Glen Johnson.

The lasers work in harmony with the lighting rig and with the nine-metre wide by 9.5-metre high F15 LED wall upstage. “The lasers definitely stand up against the video wall, because we’re selective on use of both imagery and lasers. Since it’s all one visual presentation we basically give all elements a chance within the context of the show,” said Paul.

And Glen echoed Paul’s sentiment. “The lasers are perfectly balanced and include the creative use of colour tones‎ by Strictly FX’s laser programmer David Kennedy that accentuate Paul’s design.”

For the production, Strictly FX provided two high powered Arctos full colour RGBY lasers, as well as 16 small single beam XPod 300mW lasers. The Arctos lasers were located in the air, upstage right and left, while the XPod diode lasers were clustered

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around James at his piano. Paul is a fan of the XPods, he said: “I love the new range of small lasers now appearing - they give multiple sources and static views that come from very small sources.”

Strictly FX’s laser programmer David Kennedy added: “The diodes are single colourthey’re just a tiny box but they create a big effect. You can also get them into the set without overwhelming the staging.”

David programmed the lasers with Pangolin Beyond software, which is the program of choice at Strictly FX. He explained: “The Pangolin Beyond software gives us some flexibility if we have anything crazy happen, most of our guys are good enough to get a couple of looks going, and this program keeps us really loose and able to deliver what the client wants all the time.” The software also helps the operators on the road when changes inevitably happen. “A lot of our acts will change songs or looks at the last second, and that software helps us a lot with that,” he continued.

Paul has been working with Strictly FX for a decade. The production designer said: “Everyone at the firm is professional friendly, innovative, and they’re always exploring new options in technology and design.” Glen has a different take on the firm, he concluded: “They are the best laser company bar none. There is no one close to them and they work with the design rather than just lasers.” www.strictlyfx.com

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T I M E WA RP Company: Lightline Lasertechnik Location: Mannheim, Germany The Timewarp is a major dance event in Germany, welcoming more than 15,000 guests, who spend their time dancing to the some of the world’s best DJs. The Pool Group was responsible for providing more than 70 new laser arrays from Lightline Lasertechnik for one of the main dancefloors. The blue and red laser arrays created magnificent effects by mounting them on moving spinners and setting them up in a matrix system. Due to the sharp beam quality of the laser arrays, it was possible for the effects to be seen as far away as 70-metres without compromising brightness or density. The laser arrays were controlled via a lighting console, which made it very easy for the operators to control the intensity of each single laser output. www.lightline.de

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046 report

MINI NG MUSE UM Company: HB-Laser Location: Heilbronn, Germany The Mining Museum in Heilbronn wanted to present the old drifts in an artistic way and asked HB-Laser to implement the whole project from the planning to the installation, as a turnkey solution. The major challenge was the lack of conventional electrical infrastructure inside the mine, as the electrics inside mines have different voltages and different wiring.

Touchscreens, interactive projection displays as well as laser light projections were requested, so many different aspects of visualisation and interactivity needed to be considered. Professional effects illumination, as

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well as an audio system were also required.

As laser show experts, HB-Laser made the main focus a spectacular laser show display, built in one of the long drifts, creating spectacular laser beam effects for the spectators, due to its depth. A single HB-Laser LightCube Professional 840 with 3.5W RGB power was installed along with laser control by a Pangolin FB3SE stand-alone system. www.hb-laser.com

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L A S ACT Company: BTF Location: Cologne, Germany A recent installation called LASACT held in Cologne, Germany, for the Platine Festival and ArtApp Awards is a great example of how lasers are being used for interactive entertainment displays and media art.

Created by the BTF team, which includes Alexander Rechberg, David Murmann, Michael König, Adrian Rennertz, and Daniel Becker, LASACT is an interactive light and sound installation, where visitors are able to modify the visual appearance and sound patterns of a laser display, using a web application for their mobile device.

The installation uses a variety of state-of-the-art web and laser technologies to accomplish this feat, including RGB laser projection aystems, Pangolin’s LD2000 software, QM2000.NET hardware and software development kit, as well as PangOSC, which is an OSC-Wrapper for the Pangolin API written by Thomas Kuleßa.

LASACT allows for fun, mesmerising, harmonious lines to intertwine with each other, while visitors take control of the laser installation. Visitors can interact with the display on their own, but the real magic happens when they collaborate with others in the audience, to create beautifully projected effects that are the result of mutually coordinated input. All of this is possible using a widespread technology we commonly carry in our pockets - a smartphone.

The BTF artistic team noted: “Nowadays brief moments of absence - induced and facilitated by the smartphone technology - are accepted even during face-to-face meet-ups. Despite being connected globally, members of today’s society escape the real world and dive into their own virtual bubbles. The LASACT installation conveys these aspects of communication, social relation and group dynamics.”

LASACT was awarded the AppArtAwards best creative development in the field of ‘crowd art’ at the Center for Art and Media, Karlsruhe. “LASACT emphasises the collaborative creation; it is an artwork in constant progression, a creation which is created just now, only during the time of performance, and in a non - repeatable matter,” said Chiara Passa, Artist and Member of the voting panel. www.btf.de

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GWANGA N B R I D G E Company: LPS-Lasersysteme Location: Busan, South Korea The metropolis of Busan is well-known as the second largest city in South Korea and probably, one of the most impressive architectural highlights of Busan is the suspension bridge named Gwangan Bridge.

The bridge connects Haeundae-gu to Suyeong-gu, has a road surface length of 6,500-metres, a total length of 7.42km and took eight years to construct.

The official English nickname of the Gwangan Bridge is the Diamond Bridge, and thanks to a recent installation, it is now all set to honour that name. The Diamond Bridge is transformed into a stunningly magical structure by nine LED light shows and four laser shows that take place three times a day.

Accompanied by music, a staggering 16,000 LED lights perform nine very impressive light shows, which are followed by four impressive laser shows.

Each of these four different laser shows last approximately 10 minutes and consist of different themes. A combination of two LPS-Lasersysteme LPS-Bax 24W RGB lasers and two LPS-Lasersysteme LPS-Bax 8W green have been installed - all of which are weather resistant and perform the bridge’s beautiful laser display. www.lps-laser.com

A L A H L I FO OT BALL C LU B Company: Matrix Laser Location: Dubai, UAE The brief from Al Ahli FC management was to create an impressive laser show for the momentous occasion of winning the Arabian Gulf League Trophy, but without the assistance of smoke and haze machines, because they are prohibited.

Instead a total of 16 high power OPSL laser systems from Matrix Laser - including 10 MPG20s and six MPW 30s - were installed around the perimeter of the arena with the focal point the main grandstand, they created something very impressive for the spectators. The laser show was synchronised the anthem of the football club.

From a safety aspect, the show was programmed - via a Matrix Laser LD 2000 controller - to exclude audience scanning completely. Additionally, with Dubai International Airport being just 400-metres away, the timing of the laser show was also crucial, but on the day, the six minute laser show was executed without a hitch. ‪www.matrix-laser.com‬

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report 049

Company: LaserNet Location: Port of Miami, USA

The creative vision for the inaugural launch of new Norwegian cruiseship; Norwegian Getaway was to create a one-of-a-kind breathtaking view to generate excitement for the reveal of the Miami-based ship.

The overnight ‘cruise to nowhere’ was designed to show off the brand new vessel with all of its amenities and one of the most unique elements of the event was the use of the lasers shooting from the high-rise condos over the ship. The design called for the ship to pass under a laser canopy of beams on the way out of the port. To make this happen, LaserNet, working with Jack Nolan placed four 25W, high-powered, full colour lasers throughout the high-rise condos along the north shore of the channel and two ultra powerful 50W YAG lasers on the south shore of the channel. As the ship left on its maiden voyage, the lasers shot the beams over

Photo credit - Jose Vidaurre

N O RW E G I A N GETAWAY

the ship and into the sky with FAA approval. While this was happening on shore, the guests on the ship were treated to lasers indoors and out. The Aft deck party was an amazing scene with a custom built stage and a complete moving light system, plus, smoke machines and two of LaserNet’s 4W full colour, RGB special effects systems working with celebrity guest DJ’s such as Tracy Young.

People from the shoreline and residents along the Port of Miami channel were blown away with the magnificent laser show. It was a community event as guests lined up along South Pointe Park to see the spectacular sail-away with laser wands that the production team distributed, creating a symbiotic energy between the land and the sea. www.lasernet.com

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GR EAT L A K ES SC I EN C E C E N T E R Company: Lightwave Location: Cleveland, USA Artist Yvette Mattern found herself the target of creative inspiration from a natural rainbow phenomenon. As a symbol of hope and diversity Yvette became determined to share this wonder. Her ambitious design and search eventually led to Lightwave International.

The piece consists of seven parallel laser light beams used to represent the traditional spectrum of rainbow colour. The installation is designed to be projected across large open sites and densely populated areas and one recent installation that took place was at Great Lakes Science Center in Cleveland, USA. Specific hardware built for the Global Rainbow combines the power of over 400 individual laser sources into incredibly focused and highly saturated beams of colour.

Using solid-state technology the entire Global Rainbow draws less energy than two household hairdryers. Auto switching power supplies allow the Global Rainbow and

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all Lightwave International lasers to run on anything from 110V - 270V. In ideal conditions the Global Rainbow can be seen over 150km away. During a typical presentation the Global Rainbow can still be enjoyed at a 40km distance. The visible output power of the Lightwave International laser array is measured by the hundreds of watts.

The technology and laser projectors used on the Global Rainbow are of the same family used by Lightwave International for concert touring, festival and film applications. All Lightwave lasers are designed to withstand the coldest mountain festivals and dustiest movie shoots in the desert sun. Filtration and climate control allow Lightwave’s laser equipment to operate indefinitely in the most demanding of environments. www.lasershows.net

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052 report

OPERA FE STI VA L Company: festAKT Location: Austria, Switzerland festAKT has been delivering special effects and laser lights to the Opera Festival in Austria for over a decade.

Each year more than 160,000 spectators gather to see a great opera each evening in an old roman quarry. This quarry in the south of Vienna, beside Lake Neusiedlersee, is the largest natural stage throughout all of Europe. festAKT started with this installation in 1999, providing a rainbow of laser projections onto a 30-metre wide water shield, that was installed on top of a mountain. The opening opera ‘The Magic Flute’ by Tom Mozart, was the first laser-rainbow to be projected at night, in this venue.

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Since then, each year festAKT uses newer, more exciting and different lasers and projection technologies to create stunning effects for this installation. Its secret is to not work as a soloist but to integrate event technology into the scenes with a focus on creating magical moments. Only in combination with other media and effects, can the music from the orchestra, the singers and actors create a harmonic and stunning show. This year, a variety of laser projection systems were used, and show control was provided by Pangolin Laser Systems, using fiber optic cables to coordinate such long cable runs. www.festakt.at

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054 report

ASSEMBL A NCE Company: Kvant, Pangolin Location: London, UK

Interactive entertainment displays are becoming increasingly popular across a wide variety of applications, and a large number of lighting designers, artists, and project managers are turning to lasers as the light source of choice, to bring their creative ideas to life.

One note-worthy interactive entertainment display that has drawn a lot of attention, is Assemblance; an immersive laser experience by artists Usman Haque and Dot Samsen who are known for their large-scale mass participatory interactive events.

This immersive experience takes over The Pit, a blackened room filled with 3D laser-light fields inside of the Barbican Centre, London, UK. Here, visitors are able to shape, manipulate and walk through these laser-light fields, wrapping themselves in blankets of light creating delicate 3D luminous forms in space, accompanied and encouraged by sound, which follows each gentle move.

Like building sand castles on the beach, Assemblance explores how to structure participation in order to build trust between people, who must sometimes suspend disbelief in order to cooperate and co-exist. The space, at times magical, at times slightly sinister, creates deep emotional engagement by blurring arbitrary distinctions between physical and virtual.

“At Umbrellium we have become known for our large outdoor interactive installations which engage the public in unusual ways in urban spaces,” said Usman Haque, Umbrellium. “So it has been a fascinating and new challenge for us to design similarly engaging experiences indoors, at a finer scale. We are excited by Assemblance, our installation for the Barbican’s Digital Revolution exhibition, and look forward to witnessing how people manipulate and shape the light around them and seeing how they collaborate with one another or otherwise, in the depths of the Barbican’s Pit Theatre.”

What makes this art installation so incredible for those in the lighting and entertainment industry, is that it is the first time audience scanning - an effect where laser

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beams are intentionally projected at those in an audience area, or onto a performer themselves - has been used in a public art installation, allowing for people to actually interact with, touch and experience the effect first hand. The technologies used to create a laser display of this caliber, and to ensure its safety were Pangolin and Kvant.

Pangolin worked hand-in-hand with Kvant to integrate its patented, PASS hardware (Professional Audience Safety System) into Kvant’s new Atom ‘pure-diode’ laser projection systems, for use at Assemblance. Pangolin’s PASS hardware is an all-encompassing laser safety system, that can ensure audience scanning effects are safe for those viewing. It’s received several international patents and awards, and is currently the standard in the US and UK (where audience scanning is heavily regulated by government safety agencies), for those who wish to perform audience scanning laser effects.

Kvant is one of the only companies in the world, certified to integrate PASS hardware into its laser projectors. For laser control, Pangolin’s LD2000 / Beyond software and QM2000.NET hardware was utilised, providing the artists with complete creative reign, in programming the desired laser effects.

William R. Benner Jr.; President and CTO of Pangolin, and developer of the PASS hardware said: “We are honoured to be participating in such a ground-breaking project. This is the first laser display ever to incorporates audience scanning in an artistic premise, allowing those in attendance to interact, manipulate, and control the laser.

It amazes us to see the creative and novel ways the artists at Umbrellium are utilising Pangolin technology, to create a safe laser display of this nature.” www.pangolin.com www.kvant.com

Photo credit - Julien Panie

W IN GS O F TI M E Company: ECA2 Location: Sentosa Island, Singapore The spectacular project Wings of Time was realised by French company, ECA2 on Sentosa Island, Singapore.

This permanent multimedia installation is the successor of the successful Song of the Sea show combining video mapping with pyrotechnics, water fountains, flame effects, light, sound and of course laser.

The whole set is built in the ocean. The projection surface consists of eight triangles and one central diamond shape, covered by timber lattice, mounted on a framework six-metres above sea level. The arrangement of the individual shapes resembles the wings of a bird, which plays the central role in the show. This projection front is 55-metres long and 12-metres high in total.

LaserAnimation Sollinger together with distributor Laser System Europe supported this project with the necessary laser technology, which includes four LaserAnimation Phaenon X Pro full colour laser projectors. Each are equipped with red and blue laser diode modules manufactured by LaserAnimation and green / orange Genesis Taipan OPSL by Coherent. All the projectors feature the unparalleled grating module for generating attractive laser patterns.

And completing the installation is four additional single colour LaserAnimation Blitz green laser projectors. www.laseranimation.com

056 report

TEARS I N TH E R A I N Company: Laser Entertainment Location: Florence, Italy The unused Leopolda Station in Florence has been chosen as the stage for a liberal interpretation of the last scene from the cult movie, Blade Runner. The art concept was conceived by Italian artist and designer, Felice Limosani.

The show has been named Tears in the Rain, and aims to immerse the audience into the scene that surrounded the famous Roy Batty’s monologue in Los Angeles 2019.

Ridley Scott’s foggy and radioactive city looks very life-like, thanks to the 3D video projection mapped onto the station’s side walls recreating the post-industrial decadent buildings all around.

A special rainy water-screen above the scene, continuously drops water, meaning visitors have to use see-through umbrellas to walk across the footbridge between the pools.

Six Martin Professional moving heads are installed on the catwalk to look like police lights spots coming from a helicopter, monitoring the site. While ground fog from four Martin Professional Jem Glaciators gives the scene a decadent look.

When the words: “I’ve seen things you people wouldn’t believe,” are spoken two white laser blades appear from the sky, slowly moving onto the verge of the footbridge for the emotional peak in the scene. The laser blades are created using two laser graphic systems Arctos 10W RGB lasers installed by Laser Entertainment. www.laserentertainment.com www.mondodr.com

058 report

Picture courtesy of LumaLaser

ONE R I V E R , MA NY VO I C E S Company: Coherent Location: Washington, USA Creating the largest laser projection show in North America presented several challenges for LumaLaser of Oregon, USA, but it was able to overcome these obstacles by combining innovative hardware and software, together with laser sources specifically optimised for entertainment applications.

The show, One River, Many Voices, is a 30-minute long presentation, containing over 100,000 frames of custom laser content, projected on to the 1.6km-wide surface of Grand Coulee dam. Because of the unusual layout of the venue, and the fact that the show runs daily, the company had to engineer and construct a system that combined state-of-the-art performance with solid reliability and ease of use. The show itself combines traditional, vector scanned laser graphics and audio to deliver an account of how the topography of the region was formed, the history of the area’s human inhabitation, the development of the dam, and the impact of the dam on both the local populace and the country. It attempts to present a balanced narrative that incorporates diverse voices.

Both the laser projection system and primary audience viewing area are located at the dam Visitor’s Center. The dam itself is an L shaped structure with a steep slope, and the viewing area is located off to one side. Thus, projection distances vary from about 1km to 1.6km. This off centre geometry, together with the irregular shape of the projection surface, necessitated the use of very sophisticated geometric correction algorithms in the show control software in order to make the projection surface appear to be a single, continuous, flat plane that is perpendicular to the viewers’ line of sight. The first step in accomplishing this task was to digitally map the actual surface of the dam, which contains numerous contours and features. Imagery was

incorporated into the show that would specifically conform to the complex, industrial landscape of the dam, and the 3D map of the dam was then applied to distort the projected pattern in the ways necessary to make it appear proportionally correct to the viewers.

In terms of selecting laser sources for this show, LumaLaser had three primary criteria. The first was that the lasers should be available in a wide range of output colours so as to provide show designers with a broad colour palette. The second requirement was that the lasers possess sufficiently high power and beam quality to achieve the necessary spot size and brightness over the very long projection distances involved.

Finally, because the show runs every day in a remote location, and is manned by untrained personnel, the lasers had to be highly reliable and maintenance free.

For these reasons, LumaLaser chose to utilise Phaenon X AT projectors from LaserAnimation Sollinger incorporating Coherent Taipan lasers exclusively. This show utilises three laser projectors, each of which incorporate five different colour laser heads - red, yellow, green, cyan and blue - which can be mixed to deliver an extremely wide gamut of colours. Two of the units utilise six individual lasers each to deliver a total of 28W while the third employs 12 individual lasers to produce 56W of laser output.

For control, LumaLasers created a very simple operating routine, which only requires the user to power the system up, run through a basic checklist that ensures that all system components are responding, and then select ‘run show’ on the controlling computer. www.coherent.com

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IN FOCUS EUROPE/MIDDLE EAST/AFRICA TIVOLI VREDENBURG, UTRECHT PLANETARIUM HAMBURG, HAMBURG LIVERPOOL GUILD OF STUDENTS, LIVERPOOL CHINAWHITE, DUBAI

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ASIA/PACIFIC/OCEANIA PHILIPPINE ARENA, BULACAN SPORTS HUB, SINGAPORE HAWTHORN ARTS CENTRE, BOROONDARA CANVAS, SINGAPORE In our September / October issue we’ve got some interesting venues for you to cast your eyes over. From a planetarium in Germany taking audio to the next level, and a students’ union specifying audio and lighting kit that would make most universities green with envy; to a theatre district getting inventive through the use of multimedia; and an arena in the Philippines putting the country on the map with the sheer size of its audiovisual installation.

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TIVOLI VREDENBURG Utrecht, the netherlands EUROPE/MIDDLE EAST/AFRICA

For over 30 years the Tivoli and Vredenburg venues have been major centres of music in the Dutch city of Utrecht. A project to bring both together under one roof along with the city’s Jazz Centre has resulted in the recent opening of The Netherlands, biggest live music venue, Tivoli Vredenburg.

Various ideas of how to bring Utrecht’s vibrant and diverse live music scene together in one place had been circulating for around two decades. Ultimately, the chosen solution was to demolish much of the city’s Tivoli Vredenburg, incorporating its symphony hall into a brand new, 150-metre venue, adding five major new performance spaces, 11 circulation spaces and a total of 24 bars / restaurants, including those in the performance spaces themselves.

Officially opened in July 2014 and located next to the city’s main railway station, Utrecht Centraal, the new venue has a total floor area of 31,000 sq metres, comprising 21,500 sq metres of new construction and 9,500 sq metres of the renovated symphony hall.

Tivoli Vredenburg is designed to host all styles of live music, as well as conferences and seminars. From intimate chamber music recitals to large-scale pop and rock productions, Tivoli Vredenburg’s central theme is that it is ‘for everyone’ and aims to attract up to 525,000 visitors per year.

Reinforcing the diversity of the productions that the venue hosts, each hall has been designed by a different architect. The existing 2,000-capacity, Herman Hertzberger-designed symphony hall - now known as Grote Zaal, or the Great Hall - is complemented by the 2,000-capacity Ronda designed by Jo Coenen & Co and cateres for pop and rock concerts; the 600-capacity Pandora incorporating various types of music, dance, conferences, fashion shows and other events, designed by NL-Architects; the 550-capacity Hertz for chamber music, comedy, theatre productions and designed by Architectuurstudio HH; and the 400-capacity Cloud Nine suitable for jazz, pop, dance, conferences and club nights and designed by Architectuurcentrale Thijs Asselbergs.

Starting work around 18 months before the venue was completed, three teams - audio, lighting / video and technical projects including staging and communications - specified systems that would deliver high quality solutions for all the events that they were designed to host.

The lighting and sound installations were completed by Fairlight and TM Audio respectively, the latter collaborating with Audiopro Nederland, and Switch Concepts installing a comprehensive communications system.

Michel Arntz, Director of Bemmel-based Fairlight was very pleased to be awarded the contract to supply all production lighting for the venue. “This is a such a fantastic and high profile venue, it felt almost surreal to win the contract,” he said. “It’s a complete one-off, there is literally no better project in The Netherlands.”

Fairlight has supplied and installed lighting at other iconic Dutch venues, including The Mezz in Breda and Amsterdam’s Melkweg (Milky Way), amongst others. At Tivoli Vredenburg, it chose to mix conventionals with state-of-the-art LED fixtures to meet a challenging brief.

In Grote Zaal, Fairlight installed a conventional rig complemented by 12 Martin Professional MAC Viper Profile luminaires, 10 High End Systems Studio Color 575 moving heads and 12 CLF Pixelbar Tri Colore battens, with control from a High End Systems Road Hog 4 lighting console plus fader wing. While traditional fixtures include eight Robert Juliat followspots and 32 ETC Source Four profiles.

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TECHNICAL INFORMATION SOUND GROTE ZAAL: 32 x d&b audiotechnik T-10 loudspeaker; 8 x d&b audiotechnik T-Sub subwoofer; 12 x d&b audiotechnik M6 monitor; 2 x d&b audiotechnik E8 loudspeaker; 5 x d&b audiotechnik D80 amplifier; 1 x Lake LM 44 digital audio processor; 1 x Soundcraft Vi-6 mixing console; 1 Midas XL 3 mixing console; 5 x XTA GQ600 graphic equalise; Microphones from Sennheiser, AKG, Neumann, Shure, beyerdynamic RONDA: 20 x d&b audiotechnik J-12 loudspeaker; 8 x d&b audiotechnik V-8 loudspeaker; 8 x d&b audiotechnik; J-Sub subwoofer; 2 x d&b audiotechnik J-Infra subwoofer; 16 x d&b audiotechnik M4 monitor; 2 x d&b audiotechnik Q-SUB subwoofer; 2 x d&b audiotechnik C7-TOP loudspeaker; 4 x d&b audiotechnik C4-SUB subwoofer; 7 x d&b audiotechnik D80 amplifier; 1 x LM 44 digital audio processor; 1 x DiGiCo SD5 digital console; 1 DiGiCo SD8 digital console; 3 x DiGiCo SD-Rack unit; 1 x DiGiCo D2 rack; Microphones from Sennheiser, AKG, Neumann, Shure, beyerdynamic PANDORA: 4 x d&b audiotechnik C4-TOP loudspeaker; 4 x d&b audiotechnik C4-SUB subwoofer; 4 x d&b audiotechnik J-SUB subwoofer; 2 x d&b audiotechnik C7-TOP loudspeaker; 2 x d&b audiotechnik C4-SUB subwoofer; 4 x d&b audiotechnik T10 loudspeaker; 4 x d&b audiotechnik D80 amplifier; 2 x d&b audiotechnik D6 amplifier; 2 x d&b audiotechnik M4 monitor; 8 x d&b audiotechnik M6 monitor; 3 x d&b audiotechnik D80 amplifier; 1 x Lake LM 44 digital audio processor; 1 x DiGiCo SD8 digital console; 1 x Soundcraft Vi4 mixing console; Microphones from Sennheiser, AKG, Shure HERTZ: 4 x d&b audiotechnik M6 monitor; 2 x d&b audiotechnik D6 amplifier; 1 x DiGiCo SD 11 digital console; Microphones from Sennheiser, AKG, Shure, Neumann CLOUD NINE: 12 x d&b audiotechnik T10 loudspeaker; 2 x d&b audiotechnik T-SUB subwoofer; 4 x d&b audiotechnik V-SUB subwoofer; 2 x d&b audiotechnik D80 amplifier; 8 x d&b audiotechnik M6 monitor; 4 x d&b audiotechnik D6 amplifier; 1 x XTA DP-448 loudspeaker management unit; 1 x DiGiCo SD9 digital console; Microphones from Sennheiser, AKG, Shure, Neumann, beyerdynamic

Importantly for this space, Fairlight supplied 96 CLF dynamic orchestra lights too, ensuring that the musicians are never distracted from their scores. The house light system in this space, made up of Ultima downlighters from CLS was also supplied by Fairlight.

As Hertz is designed for chamber music, the rig is similar but smaller, here there are 12 CLF Pixelbar Tri Colore battens, eight Martin Professional MAC Aura moving heads and four Clay Paky Alpha Spot HPE 300 moving heads, as well as theatrical followspots from Robert Juliat and a total of 28 CLF dynamic orchestra lights for the musicians. Control of the system is via a compact High End Systems HedgeHog 4 console.

With the other three venues featuring facilities for rock, pop and dance music, the lighting specifications are correspondingly more dynamic.

Ronda features a large conventional rig boasting 34 Martin Professional MAC Viper Profiles, 24 Martin Professional MAC Auras, 12 Martin Professional MAC Quantum Washes and six Martin Professional Atomic 3000 DMX strobes. Eight Robert Juliat 2kW profiles, two Robert Juliat Super Korrigan theatrical fixtures and 18 ETC Source Four 750W followspots are also in place.

Control was provided by an MA Lighting grandMA 2 console plus playback wing. Pandora features largely intelligent fixtures - 18 Martin Professional MAC Auras, 16 Martin Professional MAC 700’s and six Martin Professional Atomic 3000 DMX strobes, these sit alongside more theatrical profiles from Robert Juliat and control from a High End Systems Road Hog 4 plus fader wing. While Cloud Nine features 12 Martin Professional MAC Auras, eight Clay Paky Alpha Spot HPE 300’s and six CLF Pixelbar Tri Colore battens, all controlled by another High End Systems Road Hog 4 plus fader

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lighting GROTE ZAAL: 6 x Robert Juliat 15º-40º 2kW profile; 32 x ETC Source Four 750W followspot; 2 x Robert Juliat Super Korrigan 1.2kW theatrical fixture; 12 x Martin Professional MAC Viper Profile moving head; 10 x High End Systems Studiocolor 575W fixture; 12 x CLF Pixelbar Tri Colore RGB batten; 1 x High End Systems Road Hog 4; 1 x High End Systems Hog 3 fader wing; CLS Ultima downlighters; 1 x Martin Professional Jem ZR44 fog machine; 1 x MDG ATMe haze machine RONDA: 34 x Martin Professional MAC Viper Profile moving head; 12 x Martin Professional Quantum Wash moving head; 6 x Martin Professional Atomic 3000 DMX strobe; 24 x Martin Professional MAC Aura moving head; 8 x Robert Juliat 15º-40º 2kW profile; 18 x ETC Source Four 750W followspot; 2 x Robert Juliat Super Korrigan 1.2kW theatrical fixture; 1 x MA Lighting grandMA 2 light console; 1 x MA Lighting grandMA 2 playbackwing; 2 x Martin Professional Jem ZR44 fog machine; 1 x Martin Professional Jem 365 CO² haze machine PANDORA: 16 x Martin Professional MAC 700 moving head; 18 x Martin Professional MAC Aura moving head; 6 x Martin Professional Atomic 3000 DMX strobe; 12 x Robert Juliat 16º-36º 1kW profile; 10 x Robert Juliat PC 1kW profile; 1 x Robert Juliat Super Korrigan 1.2kW theatrical fixture; 1 x High End Systems Road Hog 4; 1 x High End Systems Hog 3 fader wing; 1 x High End Systems F100 smoke machine; 1 x Martin Professional Jem 365 CO² haze machine HERTZ: 4 x Clay Paky Alpha Spot HPE 300 moving head; 8 x Martin Professional MAC Aura moving head; 12 x CLF Pixelbar Tri Colore RGB batten; 20 x Robert Juliat 614 SX profile; 12 x Robert Juliat 329 HPC profile; 1 x Robert Juliat Super Korrigan 1.2kW theatrical fixture; 1 x High End Systems HedgeHog 4 lighting console CLOUD NINE: 8 x Clay Paky Alpha Spot HPE 300 moving head; 12 x Martin Professional MAC Aura moving head; 6 x CLF Pixelbar Tri Colore RGB batten; 1 x High End Systems Road Hog 4 lighting console; 1 x High End Systems Hog 3 fader wing www.tivolivredenburg.nl

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wing.

“It was really important that the lighting in each hall could easily accommodate every type of production that might be needed, that the colours from every fixture are of a very high quality and each must be able to react very quickly,” said Michel. “We have really strived to deliver the perfect lighting show, whatever the event.”

To achieve the brief of a single preferred supplier who could supply and install the audio systems and also help with advice, training, ongoing support and any necessary future dry hires, leading Dutch audio suppliers TM Audio and Audiopro Nederland joined forces, supplying audio equipment to all five performance spaces.

Dutch acoustics specialist, Event Acoustics Technology designed and advised on the acoustics of each space, working closely with TM Audio and Audiopro. d&b audiotechnik loudspeaker systems were chosen throughout, complemented by a variety of Soundcraft and DiGiCo digital mixing consoles.

“Reliability, long lifespan and high quality were really important, but having a close relationship with the suppliers was vital, so we can get replacements or augment systems quickly,” said Allert Aalders, Tivoli’s Sound Engineer since 1998, a role he still undertakes at the new venue. “We also chose to not have just one brand of mixing console, to be able to please the maximum amount of visiting engineers,” he continued.

“The project demanded exceptional quality and flexibility, because each space has its own, unique acoustic character, but each needs to host several musical styles with minimum disruption to their existing audio infrastructure,” said Rolf Dijkstra of Audiopro.

First of the spaces to be tackled was Pandora, which Rolf described as: “Asymmetrical, boxy, rectangular balconies flanking two sides…

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It’s a bit of a beast!”

With reflective walls, a highly directional system was the only choice. Pandora’s system also had to be especially flexible, due to it having a movable stage. The main L-R flown hangs of four d&b audiotechnik C4-TOP loudspeakers and four d&b audiotechnik C4SUB subwoofers are complemented by four movable, floor-mounted d&b audiotechnik J-SUB subwoofers and four d&b audiotechnik T10 loudspeakers in point source mode for balcony fills. A Soundcraft Vi4 console is used for the FOH mix and a DiGiCo SD8-24 console for monitors.

“As the first of the systems we delivered, when we had the first club night in Pandora I was nervously running around with my laptop finetuning,” said Rolf. “But I could tell from the smiles on people’s faces that we’d got it right.”

As Grote Zaal and Hertz are primarily classical music auditoria, both were designed to be highly reverberant. Grote Zaal is octagonal with the orchestra pit in the middle and the audience seated in the round, so Rolf used 40 d&b audiotechnik T10 line array modules to cover the full 360° for speech reproduction, complemented by four d&b audiotechnik T-SUB subwoofers. In addition a groundstacked system of four d&b audiotechnik V8 loudspeakers and six d&b audiotechnik V-SUB subwoofers, with two d&b audiotechnik Q7 loudspeakers and four d&b audiotechnik E5 loudspeakers for fill were installed, plus a Soundcraft Vi6 mixing console. “‘Less is more’ is an understatement, in Grote Zaal every loudspeaker reflects back at you a thousand times,” smiled Rolf.

“That’s why we had just two hanging points for the T10 system, each carrying three close-coupled arrays acting, from a timing point of view, as one loudspeaker.

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“Hertz is so reflective that every infill can be heard in at least three audience areas. We chose a flown centre cluster of two d&b audiotechnik E12-D loudspeakers side by side, aimed at the two balcony areas. Two d&b audiotechnik E6’s provide balcony fill, with stalls front fills provided by two d&b audiotechnik E8’s with two d&b audiotechnik B4-SUB subwoofers for a full stereo set up for small bands. Performances are mixed on a DiGiCo SD9 for both FOH and monitors.”

As you would expect for a venue designed primarily to host contemporary dance, pop and rock music, the Ronda system is a bit more rock ‘n’ roll, with 20 flown d&b audiotechnik J12 cabinets and 12 under-stage d&b audiotechnik J-SUB subwoofers complemented by eight d&b audiotechnik V8 loudspeakers and six d&b audiotechnik T10 loudspeakers for fills. A DiGiCo SD5 console with SD Rack delivering up to 192kHz is located at FOH, with an SD8 console and D2 rack at the monitor position, the system running at 96K. “Even here the design was unusual,” said Rolf. “Ronda is a classic fan shape, requiring a full 180° coverage, so only wider J12’s are used, with the V8’s added to sustain a uniform level across the whole listening area.”

Finally, the system in Cloud Nine comprises eight flown d&b audiotechnik T10 loudspeakers, two T-SUB subwoofers and two V-SUB subwoofers, augmented by four further d&b audiotechnik T10’s in point source mode for outfill and another pair of groundstacked V-SUB subwoofers and another DiGiCo SD9 console for FOH and monitors.

A comprehensive monitor package has also been supplied for the entire venue, including 32 d&b audiotechnik M6 12-inch coaxial

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wedges, 18 d&b audiotechnik M4 15-inch coaxial wedges and four d&b audiotechnik E8 15-inch coaxial wedges, plus a pair of d&b audiotechnik C7 loudspeakers and four d&b audiotechnik C4-SUB subwoofers for sidefills. Amplificarion and processing all takes place in the d&b audiotechnik units - 37 D80’s and 10 D6’s.

“We specified that all monitors should be of one brand with interchangeable amplifier racks, which makes things a lot easier when moving them around,” said Allert. “d&b audiotechnik D80 amplifiers and monitors were the ideal solution.”

“The D80’s provide comprehensive management and protection functionality, essential in such a diverse venue,” added Rolf. “The key here is musicality, close your eyes and all d&b audiotechnik loudspeakers have a distinct musicality; temper that with the transparency of the DiGiCo consoles and you have the perfect scenario.”

“We had previously supplied a DiGiCo SD9 and SD11 at Vredenburg and an SD8 for Tivoli,” continued TM Audio’s, Jaap Pronk. “Thus the engineers who will be permanently based to Tivoli Vredenburg were already familiar with DiGiCo, so it made sense to provide consoles which allowed the new venue to be up and running as quickly as possible.”

With five stages and 22 dressing rooms, the venue presented a major challenge for communications. Switch Concepts chose an ASL system because it could be used with the building’s installed cabling and be either daisy chained or in a star configuration.

Switch Concepts presented Tivoli Vredenburg with a choice of three complete intercom systems. Due to the practical system configuration, and the ability to use it in either daisy chain or star configurations, the technical team at Tivoli Vredenburg decided

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The challenges remain consistent, but seldom appear independently. The d&b columns, however, are new and corrective; a unique combination of waveguides and damped ports create a cardioid pattern with a constant horizontal directivity of 90째, whilst the tight vertical dispersion tilts downwards in the low to mid range and is adjustable in the high frequencies. Handy for those who like to comprehend word for word in long, large, high, reverberant spaces with impediments to intelligibility. The d&b xC-Series: positions text clearly.

Parallel wall mounting

Extremely reverberant spaces Visual unobtrusiveness Large and high ceilings

Highly reflective surfaces Huge room volumes

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FRANÇAIS

Depuis plus de 30 ans, les Centres Tivoli et Vredenberg ont été les grands points musicaux de la ville d’Utrecht aux Pays-Bas. Un projet visant à rassembler ces deux centres sous un même toit en y incluant aussi le Centre de Jazz de la ville, a récemment donné lieu à l’ouverture du plus grand centre de musique live des Pays-Bas, le « Tivoli Vredenburg ». Afin d’accentuer la diversité de productions qu’accueillent ces lieux, chaque salle a été conçue par un architecte différent. L’actuelle salle de concert symphonique de 2 000 places, conçue par Herman Hertzberger, est maintenant connue sous le nom de « Grote Zaal » ou le Grand Hall, et a été complétée par d’autres salles de taille différentes : 1) la Salle Ronda pop-rock de 2 000 places, conçue par Jo Coenen & Co, 2) la Salle Pandore de 600 places, conçue par NL-Architects, 3) la Salle Hertz de 550 places, conçue par Architectuurstudio HH et 4) la Salle Cloud Nine de 400 places, conçue par le groupe Architectuurcentrale Thijs Asselbergs. Les installations sonores et d’éclairage ont été effectuées par les entreprises Fairlight BV et TM Audio respectivement ; cette dernière fut soutenue par Audiopro Netherlands et Switch Concepts afin de mettre en place un système de communication globale. « C’est formidable d’avoir une équipe qui va dans la même direction, et d’être tous engagés à donner au public ce qu’il y a de mieux dans ce bel édifice.

Les salles sont toutes belles et des critiques dithyrambiques ont été entendues au sujet des spectacles, de l’esthétique du lieu et de la qualité du son », a déclaré Allert Aalders, Ingénieur en chef du son au Tivoli.

DEUTSCH

the ASL digital Intercom system was the best solution.

Main components of the system include DS 4002 master and slave matrix units, 15 DS 85 booster / data repeater units, 24 DS 290 beltpacks, 16 DS gooseneck microphones, 25 tabletop speaker stations (ranging from 32 to two channels), 24 DS130 paging speakers and 18 interface units.

Importantly, all the systems’ speaker stations and beltpacks are ‘string powered’, in essence they don’t need a separate power connection, wherever they’re located.

“In a building with nine floors and five different stages a highly flexible intercom system is required,” said Switch Concept’s Frank Verbeek. “The ability to have both daisy chain and start configurations is a big advantage, as is ASL’s configuration software, which provides all the power you need for this type of environment.”

ASL also installed a DS 130L paging loudspeaker in every dressing room, each with override function - so even if the volume of the stage relay has been turned down, announcements through the intercom come to the speaker at a preset level.

Another advantage of the DS 130L is that dressing rooms sometimes have to be assigned to a production on a different stage and any speaker can be quickly reassigned to a different stage’s comms in the system’s ConfigurIT software.

Alongside Allert and Tjanne, the core technical team at Tivoli Vredenburg comprises Facility Manager, Erik Mans; Production Team Leader, Henk Kroon; Sound and Pre-Production Engineer, Arnoud Boon and Lighting Engineer, Mark Tober. With the venue having been open for a couple of months, all are delighted with how it is going. “It’s great to have a team that is all pulling in exactly the same direction, all committed to giving audiences the very best in this beautiful building. It has been remarkably smooth,” said Allert.

“Of course there is still work to do and there has been the odd snag.

But the halls all look beautiful and we have had rave reviews about the shows, the aesthetics and the sound quality.

“When the thing people complain about most the quality of the smoking areas, I’d say we’re doing OK.”

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Mehr als 30 Jahre lang waren die Treffs Tivoli und Vredenberg die bedeutendsten Musikzentren der holländischen Stadt Utrecht.

Ein Projekt, beide unter einem Dach mit dem Jazzzentrum der Stadt zusammenzubringen, hat zu der kürzlichen Eröffnung des größten Livemusiktreffs, dem Tivoli Vredenburg, geführt. Um die Vielseitigkeit der Produktionen zu unterstützen, die der Treff veranstaltet, wurde jede Halle durch einen anderen Architekten konzipiert. Der bestehende Symphoniesaal mit 2.000 Plätzen - der von Herman Hertzberger konzipiert wurde und nun unter dem Namen Grote Zaal oder Great Hall bekannt ist - wird ergänzt durch den Ronda Pop und Rock Treff mit ebenfalls 2.000 Plätzen, konzipiert durch Jo Coenen & Co; dem Pandora mit 600 Plätzen, konzipiert von NL-Architects, dem Hertz mit 550 Plätzen, konzipiert von Architectuurstudio HH und dem Cloud Nine mit 400 Plätzen, konzipiert von Architectuurcentrale Thijs Asselbergs. Die Beleuchtungs- und Soundinstallationen wurden durch jeweils Fairlight BV und TM Audio durchgeführt, letzter arbeitete mit Audiopro Netherlands zusammen.

Switch Concepts installierte ein globales Kommunikationssystem. Es ist super, wenn man ein Team hat, bei dem alle in dieselbe Richtung arbeiten, alle darauf abzielen, dem Publikum das allerbeste in diesem schönen Gebäude bieten zu wollen… die Hallen sehen auch alle schön aus und wir hatten begeisterte Kritiken zu den Shows, zur Ästhetik und zur Soundqualität,” so Allert Aalders, Tivolis leitender Soundingenieur.

ITALIANO

Per oltre 30 anni i locali Tivoli e Vredenberg sono stati importanti centri musicali nella città olandese di Utrecht. Per questo è nato un progetto per mettere entrambi i locali insieme sotto lo stesso tetto con il Centro Jazz della città, che ha portato alla recente apertura del più grande locale di musica dal vivo dei Paesi Bassi, il Tivoli Vredenburg. Per sottolineare la diversità delle produzioni che vengono ospitate dai padroni di casa, ogni sala è stata progettata da un architetto diverso. Nella sala di 2000 posti, già esistente, Herman Hertzberger ha progettato la sala sinfonica (ora nota come Grote Zaal o la Great Hall) che è stata completata con una sala pop e rock, altrettanto grande, chiamata Ronda, progettata da Jo Coenen & Co; la sala Pandora, da 600 posti, è stata progettata da NL Architects-; la sala Hertz, da 550 posti, è stata progettata da Architectuurstudio HH e la Cloud Nine, da 400 posti, è stata progettata da Architectuurcentrale Thijs Asselbergs. Fairlight BV e TM Audio si sono occupati delle installazioni audio-luci e quest’ultimo ha collaborato con Audiopro Netherlands e con Switch Concepts per l’ installazione di un sistema di comunicazione completo. “E’ bello avere una squadra che va esattamente nella stessa direzione, tutti impegnati a dare al pubblico il meglio in questo splendido edificio ... tutte le sale sono bellissime e abbiamo avuto recensioni entusiastiche riguardo gli spettacoli, l’estetica e la qualità del suono”, ha dichiarato Allert Aalders, il capo Fonico del Tivoli.

ESPAÑOL

Durante más de 30 años los sitios de Tivoli y Vredenberg han sido los centros de música más grandes en la ciudad holandesa de Utrecht. El proyecto, que consistía en juntarlos bajo el mismo techo con el Centro de Jazz de la ciudad, ha resultado en la reciente inauguración del sitio de música en vivo más grande de Holanda, Tivoli Vredenburg. Para reforzar la diversidad de las producciones que alberga el sitio, cada salón ha sido diseñado por un arquitecto diferente. El ya existente salón sinfónico con capacidad para 2.000 personas, diseñado por Herman Hertzberger - conocido actualmente como el Grote Zaal, o el Gran Salón- está complementado por el salón de rock and pop, Ronda, con capacidad para 2.000 personas, diseñado por Jo Coenen & Co; el Pandora, diseñado por NL-Architects con capacidad para 600 personas; el Hertz, con capacidad para 550 personas diseñado por Architectuurstudio HH y el Cloud Nine, con capacidad para 400 personas diseñado por Architectuurcentrale Thijs Asselbergs. Las instalaciones de iluminación y sonido fueron realizadas por Fairlight BV y TM Audio respectivamente, el último en colaboración con Audiopro Netherlands, con Switch Concepts, instalando un sistema de comunicación integral. “Es grandioso contar con un equipo que tira para el mismo lado, todos comprometidos en darle a las audiencias lo mejor en este precioso edificio. Los salones se ven preciosos y hemos tenido críticas acerca de los shows, la estética y la calidad del sonido,” dijo Allert Aalders, Director de Ingeniería en Sonido de Tivoli.

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PLANETARIUM HAMBURG HAMBURG, GERMANY

EUROPE/MIDDLE EAST/AFRICA Surrounded by cascading pools in the middle of Hamburg’s Stadtpark and housed in what once stood as a water tower, the historic Planetarium Hamburg opened its doors in 1930. Today, it is considered one of the most successful standalone planetariums in the world welcoming around 30,000 visitors through its doors year on year, taking them on a virtual journey to some of the most remote recesses

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of the universe through grand laser and music shows and poetry under the stars - all with the aim of awakening the senses. Offering fantastic shows that are both entertaining and educational for adults and children, at the centre of the sky theatre sits the Zeiss planetarium projector ‘Universarium Mk.9,’ projecting a magnificent starry sky onto a dome spanning 21-metres.

The installation of a Shure Atmosphea 3D sound system - financed by the Hamburg Planetarium Development Association and Hamburg City Council’s Cultural Services Department - sees the planetarium

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be the first in the world to offer its visitors 3D sound and pictures together. This unique combination of picture content with sound sources raises completely new and (up until now) untapped possibilities for the presentation of truly immersive media content in the form of events and multimedia experiences.

The basis of the Atmosphea system - a cooperation between the Fraunhofer Digital Media Technology Institute (IDMT) and Shure Europe - is Fraunhofer IDMT’s SpatialSound Wave technology, which was licensed to Shure Europe under the name Atmosphea.

The sense of directionality present in all of the audio content and acoustic environments being reproduced is conveyed with complete 3D realism, allowing the creation of new ways of presenting sound.

There are 60 QSC AD-S82H loudspeakers and four QSC AD-S28Tw subwoofers installed behind the projection dome of the Planetarium Hamburg. By driving each loudspeaker individually, up to 32 audio sources can be reproduced around the dome, each positioned freely and given the optimal sound for its chosen position. The audio content and acoustic environment chosen for each sound source is heard

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with the correct perspective by each listener irrespective of their seating position in the auditorium.

Audio processing in the Atmosphea system takes place in a QSC Q-Sys system, which has a fixed system latency of less than 2.5 milliseconds when used over a network. Thanks to the planetarium’s high-quality live microphone system, this design detail is of decisive importance. The networked system also guarantees the best possible operational security, allowing the planetarium’s administration staff and technicians to monitor the operation and functionality of all the Atmosphea components, which includes over 15 QSC CX404 four-channel power amplifiers over the network.

Commenting on the addition of Atmosphea at the planetarium, Thomas Kraupe, Director of Planetarium Hamburg said: “Combining visual content and the new Atmosphea sound system, with its freely positionable sound sources, means we can create completely new kinds of audio visual events and experiences with immersive media content - it’s a tremendously exciting prospect. This should prove hugely attractive to artists and producers of audio visual media everywhere, and we look forward to the many collaborative ventures and synergies that will ensue, involving creative minds from around the entire world.”

Since the installation of the Atmosphea system in April, various shows at the planetarium have already been presented, including astronomy-related productions ‘Milliarden Sonnen’ (Journey To A Billion Suns) and ‘Im Nachtflug Durch Die Galaxis’ (Night Flight Through The Galaxy), while the environmental feature ‘Planeterde 3D’ (Planet Earth in 3D) has 3D sound to match its 3D imagery.

For children and families, ‘Kleiner Stern Im Grossen All’ (A Little Star In A Big Universe) and ‘Das Geheimnis Der Bäume’ (Once Upon A Forest) receive the benefit of presentation with the new sound system. From the world of pop music, a new deluxe version of electronic duo Lichtmond’s multimedia production ‘Universe of Light’ will be the first international presentation of a musical show at a planetarium with 3D sound, and April saw the international premiere of Peter Maffay’s ‘Tabaluga And The Signs Of The Times’ with the Atmosphea system.

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Over the summer, the planetarium also held the international premiere of a groundbreaking Atmosphea spatial sound experience: an immersive audio presentation based on the latest adventures of the well-loved fictional detective trio The Three Investigators. ‘Die Drei Fragezeichen - Das Kalte Auge’ (The Three Investigators - The Cold Eye).

With a background in digital media, story development and motion pictures, communication designer and independent film producer, Ralph Heinsohn, was responsible for the creation of ‘The Doors of Perception’ one of the first showcases to use the 3D sound system at the planetarium.

Commenting on his involvement, Ralph told mondo*dr: “The most challenging aspect was trying to imagine the impact of 3D audio, as I had no access to a 3D audio system and could not perpetually listen to the effect of 3D audio so I had to imagine it and to keep the belief that the combination of experimental black and white images with abstract 3D sound would be convincing enough.

“With 3D audio the sounds and music can take over more respon-

TECHNICAL INFORMATION SOUND

Shure Atmosphea 3D sound system using 60 x QSC AD-S82H loudspeaker; 4 x QSC AD-S28Tw subwoofer; 15 x QSC CX404 four-channel QSC amplifier; 1 x QSC Qsys processing; 5.1 sound system using: 5 x 15-inch twin JBL loudspeaker; 2 x 18-inch twin bass loudspeaker; Crown CE2000 amplifier; Crown CE4000 amplifier; 1 x Yamaha DM1000 mixing console

LIGHTING

8 x JB-Lighting custom made VS7 moving head; 8 x JB-Lighting VaryLED 3-84 moving head; 5 x ETC Source 4 Profile lighting fixture; 2 x Martin Professional Atomic 3000 strobe; 1 x Martin Professional Lightjockey software. www.planetarium-hamburg.de

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FRANÇAIS

Le célèbre Planétarium de Hambourg accueille environ 30 000 visiteurs tous les ans, et les invite à explorer le monde des étoiles et à éveiller tous leurs sens. Le projecteur Universarium Mk.9 de Zeiss se trouve donc au centre de l’amphithéâtre et éclaire le dôme de 21 mètres de diamètre de milliers d’étoiles magnifiques. L’installation d’un système sonore Shure Atmosphea 3D fait du planétarium le premier établissement au monde à offrir à la fois des images et du son en 3D à ses visiteurs. La directivité présente dans le contenu audio et l’environnement acoustique est transmis avec un authentique réalisme en 3D, permettant ainsi la création de nouvelles façons de présenter le son. Quelque 60 haut-parleurs QSC AD-S82H et quatre caissons de basses QSC AD-S28Tw sont installés derrière le dôme de projection du Planétarium de Hambourg. En gérant chaque haut-parleur séparément, jusqu’à 32 sources audio peuvent être reproduites autour du dôme, chacune positionnée librement et donnant un son pur de là où elles se trouvent. La gestion du système audio Atmosphea se fait à partir d’un appareil Q-Sys, alimenté par plus de 15 amplificateurs à quatre voies QSC CX404. Soutenu par un éclairage subtil de chez JB-Lighting, ETC et Martin Professional, le système Atmosphea fait presque croire aux visiteurs qu’ils touchent les étoiles du bout des doigts.

DEUTSCH

Das historische Planetarium Hamburg empfängt rund 30.000 Besucher pro Jahr zu einer virtuellen Reise unter den Sternen, mit dem Ziel, die Sinne zu erwecken. Im Zentrum des Himmelstheaters befindet sich der Zeiss-Planetariumsprojektor ‘Universarium Mk.9’, der einen fantastischen Sternenhimmel in der 21 Meter durchmessenden Kuppel projiziert. Dank der Installation eines 3D-Sound-Systems Atmosphea von Shure ist das Planetarium weltweit das erste, das seinen Besuchern 3D-Sound und -Bilder zusammen anbietet. Der Ausrichtungssinn des gesamten Audio-Inhalts und der kompletten, wiedergegebenen akustischen Umgebung wird mit vollständigem 3D-Realismus übermittelt und ermöglicht somit die Schaffung neuer Wege, Sound zu präsentieren. Es gibt 60 QSC AD-S82H Lautsprecher und vier QSC AD-S28Tw Subwoofer, die hinter der Projektionskuppel des Planetariums Hamburg installiert sind. Da jeder Lautsprecher individuell gesteuert wird, können bis zu 32 Audioquellen in der gesamten Kuppel reproduziert werden, jeder ist frei platziert und gibt den optimalen Sound für seine ausgewählte Position. Die Tonbearbeitung im AtmospheaSystem erfolgt in einem Q-Sys-System und wird über 15 vierkanälige QSC CX404-Verstärker angetrieben. Um die perfekte, immersive Erfahrung zu schaffen, wird das Atmosphea-System durch subtile Beleuchtung von JB-Lighting, ETC und Martin Professional unterstützt.

ITALIANO

sibility of telling the story. There is less pressure on the images to explain the idea. The images don’t have to be self-explanatory in the same way they have to be in productions with limited technical / spatial audio possibilities. The visuals can be more flexible and free audio can take over.”

In order to create the perfect, immersive experience, the Shure Atmosphea system is supported by subtle lighting from eight JB-Lighting custom made VS7 moving heads and eight JB-Lighting VaryLED 3-84 moving heads, placed at the top of the outer edge of the dome.

There are also five ETC Source Four Profile lighting fixtures used inside the dome for stage lighting when required, along with two Martin Professional Atomic 3000 DMX strobes with one scroller; control comes from Martin Professional’s LightJockey software. For video projection, two Sony SXR-T110 4K by 4K resolution projectors are used together with eight computers.

There is also a 5.1 surround sound system still in place at the planetarium for content not yet used with the Atmosphea system and for this five JBL twin 15-inch loudspeakers with external horn are used, along with two JBL 18-inch twin bass loudspeakers. Powering the loudspeakers are Crown CE2000 and CE4000 amplifiers, with a Yamaha DM1000 mixing console used for control.

Thanks to its unique combination of hyper-realistic stellar projection, digital full-dome 3D simulation, and full-dome laser and lighting systems, the Planetarium Hamburg is one of the finest facilities of its kind, both nationally and internationally and the Atmosphea sound system is further reinforcing its world-class standing and reputation.

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Lo storico Planetario di Amburgo accoglie circa 30.000 visitatori all’anno, portandoli in un viaggio virtuale sotto le stelle, con l’obiettivo di risvegliare i sensi. Al centro del cinema all’aperto si trova il proiettore planetario Zeiss Universarium Mk.9, che proietta un magnifico cielo stellato su una cupola che copre 21 metri. L’installazione di un sistema audio Shure Atmosphea 3D vede il planetario il primo al mondo ad offrire contemporaneamente, ai suoi visitatori, il suono e le immagini 3D. Il senso di direzionalità presente in tutti i contenuti audio e gli ambienti acustici che vengono riprodotti, sono convogliati con totale realismo 3D, consentendo la creazione di nuovi modi di presentare il suono. Ci sono 60 altoparlanti QSC AD-S82H e quattro subwoofer QSC AD-S28Tw installati dietro la cupola di proiezione del Planetario di Amburgo. Essendo ogni altoparlante guidato singolarmente, possono essere riprodotte fino a 32 sorgenti audio attorno alla cupola, ognuna posizionata liberamente in modo da riprodurre il miglior suono possibile in base alla sua posizione. L’elaborazione audio nel sistema Atmosphea avviene in un sistema Q-Sys, mentre l’alimentazione è fornita da oltre 15 amplificatori a quattro canali QSC CX404. Al fine di creare l’ esperienza coinvolgente perfetta, il sistema Atmosphea è supportato da luci soffuse di JB-Lighting, ETC e Martin Professional.

ESPAÑOL

El histórico Planetario Hamburg le da la bienvenida a alrededor de 30.000 visitantes año tras año, llevándolos hacia un viaje virtual bajo las estrellas, con el objetivo de despertar los sentidos. En el centro del teatro “del cielo” hay un proyector Zeiss Universarium Mk.9’, que proyecta un magnífico cielo lleno de estrellas en un domo que abarca 21 metros. La instalación de un sistema de sonido Shure Atmosphea 3D ubica al planetario en ser el primero en el mundo en ofrecer a sus visitantes tanto imágenes como sonido 3D a la vez. El sentido direccional, presente en todo el contenido del audio y la ambientación acústica que se reproduce, se expresa con un realismo completo en 3D, permitiendo la creación de nuevas maneras de presentar al sonido. Hay parlantes 60 QSC AD-S82H y cuatro subwoofers QSC AD-S28Tw instalados detrás del domo donde se proyecta en el Planetario Hamburg. Al manejar cada parlante individualmente, se pueden reproducir hasta 32 fuentes de audio, cada una ubicada libremente y brindando el sonido óptimo para su ubicación elegida. El procesamiento del audio en el sistema Atmosphea se lleva a cabo en un sistema Q-Sys, a la vez que la potencia se da a través de más de 15 amplificadores QSC CX404 de cuatro canales. Para crear la experiencia más perfecta y real, el sistema Atmosphea recibe de apoyo una sutil iluminación de JB-Lighting, ETC, y Martin Professional.

Uniting the audience Speech and music to stir the soul.

From the inspiration of the auditorium, to the celebration of worship, to the thrill of the theatre.

It’s all about delivering powerful, exciting, crystal clear sound that envelops the entire audience.

A shared experience they will never forget.

That’s the Martin Audio Experience.

Unite your audience at www.martin-audio.com

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LIVERPOOL GUILD OF STUDENTS LIVERPOOL, UK

EUROPE/MIDDLE EAST/AFRICA The University of Liverpool Guild of Students (LGoS) has a long history of hosting concerts, student nights and conferences. In early 2013 the university embarked on a £14m refurbishment as part of its commitment to making the institution a world-class place to study and, at the same time, offering the biggest student union building in the UK. With the listed 1911 part of the building carefully restored to its former glory and taking on the role of a new reception area, the major investment also saw the university’s live production equipment upgraded across its three venues - Mountford Hall, Stanley Theatre and The Courtyard - in order to facilitate all in-house and visiting productions.

Aware of previous issues surrounding the LGoS venues, installation company and rental house, Adlib was brought on board by the university to specify ‘rider friendly’ audio and lighting systems that would make LGoS attractive to national promoters and prospective clients.

Local to the university, Adlib has a standing reputation throughout the touring market and has established installation and design depart-

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ments, making it the ideal company for the job. Commenting, Adlib’s Director John Hughes told mondo*dr: “We specialise in pro audio and lighting installations for live performance venues and drew upon our collective experience to provide the university with a turnkey solution that would give it the platform to develop its live events without the need to constantly sub-hire equipment.”

Following a tender process in October 2013 to supply and install production infrastructure across the three venues - cabling, containment and rigging - Adlib was awarded the contract. Work on site began in November and completed 16 weeks later. Following this, the second phase tender was awarded to install sound, lighting and power solutions; this was completed in 10 weeks and handed over to the venue’s technical staff.

Working to a design brief drawn from a series of meetings with the university’s project team and Technical Supervisor Matt Gadbsy, John worked together with Roger Kirby, Installation Director at Adlib, to manage the contract.

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During the early stages of the building development, Adlib’s design team was involved in conversations with the university’s structural engineers, regarding steelwork designs. Due to the nature of the building’s construction, only minimal roof loads were available to support the lighting trusses and any new production equipment that might be suspended overhead. However, Adlib helped to optimise the designs to increase the payloads considerably within Mountford Hall, which will benefit touring productions for years to come.

Every installation project has its own unique challenges and LGoS was no different as Roger explained: “The university’s Project Manager Andy Murphy had specifically requested that access within the roof space cavity was completely restricted to workers and all university staff. Due to this lack of ceiling access, along with restricted load tolerances of the building’s structure, an inventive approach to the design and production specific cable services was required.

Our designers considered a number of different cable routes and containment options before devising a wall mounted cable path which also helped to maximise the overhead payloads that can be used for productions.”

As mentioned, the main brief for Mountford Hall (the largest of the three spaces) was to ensure it was rider-friendly. Explaining their reasoning for specifying the L-Acoustics loudspeaker system, John told mondo*dr: “Our rental department is extremely busy in the touring market and so we’re very aware of the loudspeaker systems that are being specified by touring engineers on a regular basis. The decision to go with a Kara system was made to fit with the brief - it is rider friendly, the loudspeaker set-up is fully flexible and adaptable for the venue’s operators and it is a solution that offers long term cost effectiveness and value. We have successfully installed L-Acoustics into many live venues over the years and the feedback from engineers has been superb.”

The acoustic response within Mountford Hall has always presented

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problems during live events. Therefore detailed sound modelling of the room was undertaken by Adlib in conjunction with L-Acoustics.

The L-Acoustics Kara system was employed for the main PA - 18 Kara two-way enclosures split evenly into two hangs left and right of the stage, with three L-Acoustics SB18 high power subwoofers hung behind each Kara array. There are also eight L-Acoustics SB28 high power subwoofers placed on the floor in front of the stage. In addition, four L-Acoustics Arcs Wide two-way loudspeakers can be found on stage as in fills, alongside 12 Adlib Audio MP4 two-way bi-amp high performance stage monitors and one Adlib Audio 215DS high performance drum subwoofer loudspeaker - the monitors and drum subwoofer are powered by seven Crown XTi 6002 amplifiers.

A number of smaller in fill and delay loudspeakers were also introduced to provide coverage to the balcony area in Mountford Hall.

These include four L-Acoustics Arcs Focus two-way constant curvature loudspeakers; one L-Acoustics 12XTi two-way passive coaxial loudspeaker and two L-Acoustics 8XTi two-way passive coaxial loudspeakers.

The whole system is powered by six L-Acoustics LA8 amplifiers and three L-Acoustics LA4X amplifiers and controlled by a BSS Soundweb London BLU-160 networked audio processor.

For system control, a turnkey Soundcraft solution was opted for. At FOH, Matt specified a Vi3000 and a Vi1 for monitors. “When I first saw the Vi3000 at Adlib’s facilities I was impressed by the user-friendly interface and sound quality,” he told mondo*dr. “The work flow is incredibly intuitive and quick to pick up, which is beneficial for touring engineers coming into the venue.

“Having used Soundcraft’s products extensively in the past I have always been impressed with their stability, quality and robust nature,” continued Matt. “This, combined with the fact it is the first model in

“Sonically, uniform, clear coverage of the room and suitable sound pressure levels throughout the entire space was critical.” a new range of desks, provides us with a good long-term investment for the future. With Madi and Dante fitted as standard and swappable I/O ports available, Vi3000 eliminates the need to hire in additional outboard to meet the needs of touring engineers.”

The truss and PA hangs are supported by Lift Turn Move’s Loadguard motors and IGUS cable management systems. “There were a number of automatic cable solutions on the table at one point,” said Roger. “In the end an IGUS e-Chain was designed for installation above each lighting truss, alongside IGUS e-Spool systems, which were introduced to manage all flown PA loudspeaker cable looms.”

The lighting system for Mountford Hall sees a combination of Robe, Martin Professional and ETC fixtures work together to produce a rig that any students union would be envious of. A total of 12 Robe Robin Pointe moving heads are hung from Prolyte truss, alongside 12 Martin Professional MAC Aura LED Wash moving heads, and six ETC Source Four Zoom Profile lighting fixtures. For effects

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two Martin Professional Atomic 3000 DMX strobes and two Martin Professional Magnum 2500 hazers have been supplied, while eight ProCan 2 Lite Molefay lighting fixtures line either side of the room.

Control is through an Avolites Pearl Expert lighting console along with an Avolites ART 2000i patch system.

Thanks to Adlib’s work with the university at the initial design stage for the building’s improvements, Roger and his team were also able to offer cost saving advice, as well as suggestions regarding potential re-use of various lighting and sound equipment already in possession by the university. Moving to the other venues, Roger said: “We suggested the installation of Coda Audio loudspeaker systems within The Courtyard and Stanley Theatre. The reason being is that, in our opinion, Coda offers the best sounding range of installation loudspeakers currently available on the market. This allowed us to re-use approximately 20 or more legacy amplifiers, generating a considerable saving for the university.”

The Courtyard, which hosts student events, comedy, open mic nights and DJs on a regular basis, now has 15 Coda Audio G308 two-way full range loudspeakers distributed throughout the space, along with six Coda Audio G512-96 two-way compact full range loudspeakers; and two Coda Audio G18-Sub subwoofers to extend the low frequency - all processed by a BSS Soundweb London BLU-100 networked audio processor and controlled by BSS Soundweb London BLU10 and BLU3 wall controllers. A Soundcraft Si Expression 1 mixing console is also used in this space. To light The Courtyard space eight Chauvet Professional SlimPar RGBA LED Par lighting fixtures are hung along with six ETC Source Four Zoom 15-30º profiles, all controlled by an Avolites Titan 1 mobile control unit.

A similar audio and lighting set-up can be found in Stanley Theatre, with a further six Coda Audio G308 loudspeakers and 12 Chauvet Professional COLORado Tri tour lighting fixtures hung alongside eight ETC Source Four Zoom 15-30º Profiles and four ETC Source Four Junior zoom profiles. An Avolites ART2000i patch system has also been installed.

Asked to summarise his experience of the LGoS project, John concluded: “Being involved at an early stage in the design process allowed us to offer valuable advice, all of which was done with an eye on the overall final use of the venues and production expectations and requirements. Our designers managed to do this with an in depth knowledge and insight into the best use of the performance spaces and practical day-to-day operations of new production equipment and

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infrastructure within the venues.”

Matt added: “The new technical install at LGoS not only offers Mountford Hall better quality production for student groups, but also provides a high spec and appealing in-house systems for touring shows. Adlib has provided high quality service on both accounts, from concept to construction, and their after sale support has been second to none.”

TECHNICAL INFORMATION SOUND

MOUNTFORD HALL: 18 x L-Acoustics KARA loudspeaker; 6 x L-Acoustics SB18 subwoofer; 8 x L-Acoustics SB28 subwoofer; 4 x L-Acoustics ARCS WIDE loudspeaker; 4 x L-Acoustics ARCS FOCUS loudspeaker; 1 x L-Acoustics 12XTi loudspeaker; 2 x L-Acoustics 8XTi loudspeaker; 12 x Adlib Audio MP4 loudspeaker; 1 x Adlib Audio 215DS drum sub loudspeaker; 6 x L-Acoustics LA8 amplifier; 3 x L-Acoustics LA4X amplifier; 7 x Crown Xti6002 amplifier; 1 x BSS Soundweb London BLU160 networked audio processor; 1 x Soundcraft Vi3000 mixing console; 1 x Soundcraft Vi1 Mixing Console THE COURTYARD: 15 x Coda Audio G308 loudspeaker; 6 x Coda Audio G512-96 loudspeaker; 2 x Coda Audio G18-SUB subwoofer; 1 x Soundcraft Expression 1 mixing console; 1 x BSS Soundweb London BLU-100 networked audio processor; 4 x BSS Soundweb London BLU3 wall controller STANLEY THEATRE: 6 x Coda Audio G308 loudspeaker LIGHTING MOUNTFORD HALL: 12 x Robe Robin Pointe moving head; 12 x Martin Professional MAC Aura LED Wash moving head; 6 x ETC Source Four Zoom 25-50º Profile lighting fixture; 8 x ProCan 2 Lite Molefay fixture; 6 x Martin Professional Atomic 3000 Strobe; 2 x Martin Professional Magnum 2500 hazer; 1 x Avolites Pearl Expert lighting console; 1 x Avolites ART2000i patch system THE COURTYARD: 8 x Chauvet Professional SlimPar RGBA LED Par lighting fixture; 6 x ETC Source Four Zoom 15-30º Profile lighting fixture; 1 x Avolites Titan 1 Mobile lighting control STANLEY THEATRE: 12 x Chauvet Professional COLORado Tri tour lighting fixture; 8 x ETC Source Four Zoom 15-30º Profile lighting fixture; 4 x ETC Source Four Junior Zoom lighting fixture www.liverpoolguild.org

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CHINAWHITE DUBAI DUBAI, UAE

EUROPE/MIDDLE EAST/AFRICA When Chinawhite Dubai opened earlier this year, the club’s owners wanted it to emulate the calibre of the iconic London venue that it was named after. Having realised other projects for the group behind the Chinawhite brand in the UAE, Funktion One distributor and installation company EM-TEC was called upon to install a sound system to match the five-star location.

According to Andrew Williams, Managing Director of EM-TEC, the decision to opt for Funktion One products was made by Manuel Ayas, one of the partners behind the new club. For Andrew, quality

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was the primary factor when choosing new lighting and audio systems; for Chinawhite Dubai to match its high-profile London counterpart, it would have to offer first-rate sound and visual equipment.

In approaching the task, Andrew highlighted several key issues with the existing audio set-up at the venue: “In its previous life, the venue had a small sound system that was well below par. We needed to give a strong, balanced sound across the venue, with the great extended ‘fat’ bass that the new Funktion One Bass Reflex range gives in abundance.”

The practicalities of the venue’s size and shape also complicated the installation process. While the majority of the new audio equipment fitted neatly into the layout of the club thanks to its linear design, the circular walls of the Sunken Lounge area initially created problems.

“The issue lay with the placement of two Funktion One BR118 loudspeakers in the Sunken Lounge,” said Andew. “Ideally, they should have been placed directly on the dancefloor, but this wasn’t possible; there was no space for loudspeaker units due to the seating and the steps. One of the steps is going to be removed so the speakers can be grounded directly onto the dancefloor.”

Acoustically, though, the Funktion One kit can cope with the challenging space: “The four Funktion One F88 full-range loudspeakers are great as they have wide dispersion, which gives great coverage in this area.”

EM-TEC also specified six Funktion One F81 compact loudspeakers for the Japanese Lounge, along with 10 Funktion One F101 loudspeakers; four in the bar, four in the overflow lounge and a pair for DJ monitors, which work in conjuncrion with three Pioneer CDJ-2000 Nexus multimedia players and a Pioneer DJM-900 mixer. There are five more BR118 loudspeakers from Funktion One’s Bass Reflex range, four in the bar area and another in the Japanese Lounge, which are joined by two Funktion One BR115 loudspeakers in the overflow lounge. A Funktion One E100 four-channel amplifier (manufac-

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“We needed to give a strong, balanced sound across the venue, with the great extended ‘fat’ bass that the new Funktion One Bass Reflex range gives in abundance.” tured by MC² Audio) powers the BR118 and BR115 loudspeakers across the venue, while a Funktion One E30Q amplifier (manufactured by MC² Audio) drives the F88 and F81’s in the lounges.

Another E30Q powers the F101’s in the bar and overflow lounge, and there is a QSC RMX 850a power amplifier for the DJ monitors.

All of the audio is processed by two XTA DC1048 audio management systems and a pair of iKON AVS Synergy 1080 eight-button control panels.

The main challenge facing the EM-TEC team undertaking the installation was time, as Andrew explained: “The venue needed to be turned around very quickly. Thankfully we met the schedule and the venue opened on time.” Although Chinawhite Dubai was divided into several small zones, making it easier to deal with in terms of acoustics, the presence of mirrored and marbled surfaces created the potential for distortion of the sound within the space. To cope with this, Andrew relied on careful placement of the loudspeaker units and the Funktion One kit. “Funktion One loudspeakers have an effortless, warm sound, which made these issues far less apparent than if we had used loudspeakers from another manufacturer,” he said.

The venue is illuminated throughout by lighting products from Chauvet DJ. There are four Intimidator Spot LED 250 moving heads and two Intimidator Spot 150 moving heads, along with four Intimidator Wash LED 150 moving heads, all controlled by Show Designer 1 DMX lighting control from Elation Professional.

Having completed the installation to the owner’s ‘five-star’ requirements, Andrew reflected upon his choice of equipment: “The owners said they wanted LED lights with a small footprint as the ceilings are quite low in certain areas. Chauvet fitted the bill both in quality and reliability. With Funktion One, it’s all about the quality of the sound.

Both the client and the customers are really happy with the venue in terms of audio and lighting.”

TECHNICAL INFORMATION SOUND

4 x Funktion One F88 loudspeaker; 5 x Funktion One BR118 Bass Reflex loudspeaker; 6 x Funktion One F81 loudspeaker; 10 x Funktion One F101 loudspeaker; 2 x Funktion One BR115 Bass Reflex loudspeaker; 1 x Funktion One E100 amplifier; 2 x Funktion One E30Q amplifier; 1 x QSC RMX 850a amplifier; 2 x XTA DC1048 loudspeaker management system; 2 x iKon AVS Synergy 1080 control panel; 3 x Pioneer CDJ-2000 Nexus multimedia player; 1 x Pioneer DJM-900 mixer

LIGHTING

4 x Chauvet DJ Intimidator Spot LED 250 moving head; 2 x Chauvet DJ Intimidator Spot LED 150 moving head; 4 x Chauvet DJ Intimidator Wash LED 150 moving head; 1 x Elation Show Designer 1 lighting controller www.chinawhitedubai.com

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MIAMI MARVELS miami, USA THE AMERICAS

STORY A culmination of talents behind two of Miami’s most successful nightclubs, LIV and Amnesia, Story is a unique destination for clubbers looking for an unparalleled, high-energy nightlife experience. Its stylish design and sophisticated feel is backed by a premium bottle service that goes hand in hand with any quality US nightclub.

With four different nights on offer, covering everything from hip hop to commercial dance to underground, technologically, the venue is capable of a whole host of effects and pulls out all the stops to suit the varying nights. Story is an overwhelming experience for the senses, with lighting design coming from Steve Lieberman of SJ Lighting, who worked closely with the club’s Technical Director and Lighting Designer Max Moussier, and a high quality sound system from Lord Toussaint of Infinite Audio Systems - mirroring that installed at LIV. Well-known for his love of linear design and geometry, Steve got straight to work on designing a huge, monolithic lighting feature with

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the intention of overwhelming the dancefloor. Commenting, Steve told mondo*dr: “We spent the money on the centrepiece as we wanted to create a 3D element that engulfed the space. A lot of the additional lighting gear in Story has been repurposed from Amnesia as the club recently had a refit.”

Looking not too dissimilar to a lighting version of The North Star, Steve’s creation comprises an EYE Sphere system using 800 LED strips, each with eight LED RGB balls, that are hung from a custom built unistrut grid, while mirrored disco balls are interspersed throughout the design for added reflections. To bring the rest of the room to life, intelligent lighting previously used at Amnesia has been reinvented at Story, a total of 41 Clay Paky Sharpy moving heads highlight the room along with 21 Martin Professional MAC 301 Wash moving heads; 25 Chauvet Professional COLORado 2 IP lighting fixtures and six Chauvet Professional COLORado 3 IP lighting fixtures have been installed; there are also 90 Philips Color Kinetics lighting bars.

Lighting effects come from 30 OXO FunStrip active blinders and four HungaroFLASH Quasar Pro blinders.

Commenting on the choice of lighting brands used at Story, Max told mondo*dr: “My previous experience is in the world of TV and de-

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signing fashion shows so I’ve only ever worked with top, professional brands which is why we’ve got Clay Paky and Martin Professional in here, there is a lot of Chauvet Professional as well - these are brands I’m used to working with.

“While we made use of the existing Amnesia lighting inventory, we’re also continuously adding to the kit, we’re always trying to bring more effects in as people get bored very quickly. We’ve added more lights on the mezzanine since opening so we can get a bit more creative, as well as some special effects.”

One of the special effects additions is the Chauvet Professional Geyser RGB fire and fog effect machine - eight in total have been placed the length of the DJ booth. There are also two Look Solutions Unique 2.1 haze machines and two Look Solutions Orka heavy smoke machines. No high-end club would be complete without lasers and so there is also an X-Laser X-Beam 5W RGB laser.

As well as creating a focal point for the room, any good lighting design will highlight and make use of the architecture available. At Story, Steve made use of the venue’s supporting beams and sidewalls, bringing them to life using Elation’s Flex LED pixel tape - a total of 5,200 RGB pixels have been used throughout.

“The LED panels around the walls are all pixel mapped,” said Steve.

“This was a huge undertaking because it’s all LED tape and none of the walls are straight - it’s not an asymmetrical room - everything is at an angle and comes proud off the wall. I couldn’t just copy and paste, we had to clip on every pixel and map it into the software and this took some serious doing.”

Shoe horning a symmetrical design into an asymmetrical room is no easy feat and for Steve, it is times like these where he is truly challenged, telling mondo*dr: “I designed the centrepiece for Story while working on Electric Daisy Carnival festival the year before it was actually installed. The original design for the ceiling was the inverse of what is there now. I laid everything out and something just wasn’t working and we figured out it was because the columns aren’t laid out evenly in the space. I had to look at which column was causing me the most issues, strip everything back and then work the design out from there.”

Such is the complexity and size of the lighting feature, that the frame to support it had to be built off site in a warehouse and then brought in and assembled on site. “That is one thing people don’t realise,” said Steve, “when you put a system like this in to a venue and you start getting into advanced geometry, you have all these critical angles that you have to work with and if you’re off by one degree or

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Photo credit: Mark Diamond

even half a degree it looks skewed, especially in a space like that preciseness is critical.”

To further complement the lighting system, Story makes good use of video with 172 FX Blaster 10mm video cabinets, which are controlled by four DBSTAR processors. “The video element adds to the atmosphere and brings more energy and more dimensions to the venue, especially with the layout,” said Max. “I work very closely with the VJ making sure we match the colours to the vibe of the room - most of the VJs we get in here bring their own content so we can incorporate different logos and so on if required.” Control for all the lighting and video comes from an MA Lighting grandMA2 madrix system.

A first class lighting design needs a top of the range audio system to work alongside. Having previously supplied LIV with a sound system, Lord Toussaint and his team at Infinite Audio Systems was called in to design a similar system for Story.

The venue covers a large amount of space and has high ceilings, which is great for lighting but for audio can be problematic. According to Lord, the most important aspect was to distribute the energy evenly throughout and in order to do so, he applied the company’s moto of ‘more is more,’ telling mondo*dr: “If you have big time DJs coming in and playing at the venue then you have to consider that their programme is going to be full of energy. You’ve got to make sure you’ve got the right system in place, which is why I would never put a line array in a nightclub, they are built for a completely different purpose and when adapted to the house music environment I personally don’t feel they have the low-mid frequency energy needed to envelope you.

“If you look at our Infinite Hybrid Array Dance Top boxes they have a proportional amount of low-mid frequency information with two 15-inch low frequency transducers, horn-loaded - there’s a lot of low-mid energy at Story - that’s the kind of energy you really feel,” continued Lord.

The main dancefloor system comprises 14 Infinite Systems Hybrid Array Dance Top loudspeakers and 12 Infinite Systems VLF-1, very low frequency loudspeaker systems, which are powered by six Crown MA-5000i power amplifiers.

Lord continued with the same full sounding, horn loaded system for the VIP areas, specifying four more Infinite Hybrid Array Dance Top loudspeakers for the first floor main VIP area and the VIP DJ and stage seating area - two for each section - and powering them with a combination of eight Crown CDi and MAi amplifiers.

Across the second floor mezzanine there is a distributed audio system featuring 10 Infinite Systems ND 216 loudspeakers, powered by three Crown CDi 1000 amplifiers and three Crown CDi 2000 amplifiers. For the DJ monitoring system, Lord took the decision to use the same Infinite Systems Hybrid Array Dance Top loudspeakers used for the main PA system. A move questioned at first by some, Lord

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explained his thinking: “We were met with a lot of resistance to begin with but by using the same loudspeakers as the main PA system the DJs are hearing exactly what the people on the dancefloor are hearing - this is a unique experience. For once they’re not listening through loudspeakers that are designed to be compact and efficient in a small space - they’re hearing what everyone else is hearing.”

Along with the two Infinite Systems Hybrid Array Dance Tops, there are two Infinite Systems VLF-1 very low frequency loudspeaker systems in the DJ booth and everything is powered by a combination of five Crown CDi and MAi amplifiers. Processing for the whole system comes from four Biamp Audia Flex control monitor systems and one Biamp Audia Solo system.

“Story isn’t the softest room acoustically,” continued Lord. “It could really do with a little absorption but the finishes that have been used are ones that help make the club successful and add the glamour.

There’s a lot of glass and a lot of elements that sound designers hate but at the end of the day it’s the price we pay, if it makes the room popular then we look to overcome the issues through raw output and distributed energy so that acoustical issues don’t come back to bite us.”

While the acoustics might have been a challenge for Lord and his team, keeping the project in budget was also a test, as he explained: “We insisted that the distributed systems be efficient and have high output. The only way to achieve this was to use tri-amplified distributed systems which is unheard of - most systems use passive crossovers, at best typically, there’ll be a three-way system with a subwoofer and a two-way top that has a passive crossover in it.

There’s not a single passive crossover in this building, which is pretty impressive considering that it’s a large system. It needs the energy to be distributed and needs to be dynamic and have impact, so the fact that we chose to tri-amplify even, distributed sound gives us an edge; even though they’re compact, our ND216’s sound as though they’re not.”

With competition in the clubbing market high in Miami, it is imperative any venue strives to be the best it can be and keep up-to-date in both consumer trends and technology, from what mondo*dr has seen so far, Story has certainly got off to an impressive start.

TECHNICAL INFORMATION LIGHTING & video

90 x Philips Color Kinetics lighting bar; 41 x Clay Paky Sharpy moving head; 21 x Martin Professional MAC 301 moving head; 30 x OXO FunStrip blinder; 25 x Chauvet Professional COLORado 2IP lighting fixture; 6 x Chauvet Professional COLORado 3IP lighting fixture; 4 x HungaroFLASH Quasar Pro 1500 blinder; 8 x Chauvet Professional Geyser RGB fire / smoke machine; 2 x Look Solutions Unique 2.1 haze machine; 2 x Look Solutions Orka haze machine; 1 x X Laser XBeam 5W RGB laser; 1 x Eye Sphere system: 800 x 8 LED RGB Ball strip; MA Lighting grandMA2 Light lighting console; 1 x Pangolin QuickShow laser software; 20 x Stagemaker hoist; 22 x James Thomas GP 6ft truss; 172 x FX Blaster 10mm video cabinet; 4 x DBStar processor

SOUND

20 x Infinite Systems Hybrid Array Dance Top loudspeaker; 10 x Infinite Systems ND 216 loudspeaker; 14 x Infinite Systems VLF-1 subwoofer 22 x Crown CDi 4000 amplifier; 11 x Crown MA-5000i amplifier; 3 x Crown CDi 2000 amplifier; 3 x CDi 1000 amplifier; 4 x Biamp Audia Flex processor control monitor; 1 x Biamp Audio Solo system www.facebook.com/storymiami

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092 VENUE

OCEAN’S TEN A popular nightclub and tourist destination in Miami Beach, featuring both indoor and outdoor dining areas, live music and DJs, Ocean Ten is known for its high-quality entertainment with live bands and DJs. James Reed and Michael Callahan of Audio Video Lighting Innovations (AVLI) in Miami were recently asked to propose a new outdoor loudspeaker system that would complement the existing indoor Turbosound system.

With the existing outdoor loudspeakers having deteriorated from continuous exposure to the beachfront salt air environment, the brief was to find a system that could survive these harsh conditions while providing high-quality audio for the outdoor dining area customers. AVLI had installed the club’s existing Turbosound system and understood the venue’s commitment to high-quality sound; with this in mind James recommended Community Professional’s Wet Series loudspeakers.

Ocean Ten’s new outdoor system consists of six Community W22W8 loudspeakers distributed along Ocean Ten’s street dining area.

The W2-2W8s provide full-range, high-quality sound with wide, smooth dispersion and their white colour complements the club’s outdoor décor.

Commenting on the installation, James told mondo*dr: “We’ve worked with this client for many years; they wanted to introduce more sound enforcement in the outdoor areas to cope with noise coming from the sidewalk and neighbouring hotels and venues - this was our main challenge acoustically. A lot of customers think you can put one or two big loudspeakers outside and play to the whole patio or terrace, but we prefer to do a distributed system, so you’ll find a loudspeaker every six to 8ft. For this project we used quite a few boxes to achieve optimal coverage without having to be super loud.

Our customers will sometimes think we’re crazy when we tell them they need 22 speakers when they think they only need four - it’s difficult trying to explain this is the best way to keep their guests happy, while getting a decent amount of SPL without noise pollution on the

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outside. That’s our approach when we design venues and it works.

“We decided on the Community loudspeakers because of the challenging combination of environmental elements and how the kit will be used by the venue itself - they really push their gear and whatever we installed needed to be able to cope all round. It was quite a challenge, we had to sit down and really think about what we were going to offer as a system. We really like the small footprint of the Community W2-2W8, its high output and the weatherisation of the model.”

The existing indoor Turbosound PA system at Oceans Ten consists of four TCS-1561 weathered loudspeakers hung left and right of the stage; then 10 TCX-10 loudspeakers run the length of the venue, again split evenly left and right. There are 10 TCX-10W used as delays, with an additional four TCX-15B loudspeakers and bass coming from two weatherised TCX-18B subwoofers and two weatherised TCS-B218 subwoofers. There are also four Turbosound TFM-212 monitors used on stage.

The existing Turbosound PA system and new Community Professional system are both powered by seven Lab.gruppen amplifiers, two C 88:4 models, two C 48:4 models and three C 68:4 models, while a Biamp Nexia SP loudspeaker management and equalisation system processes everything; the mixing desk of choice at Oceans Ten is an Allen & Heath QU-16 console.

While the Community loudspeakers are the latest addition to the inventory at Oceans Ten, AVLI was also responsible for the installation of all lighting and video equipment at the venue, for which eight Chauvet Professional COLORado 1-Quad Tour washlights were specified, along with 10 Elation ELAR EX Tribar lighting fixtures and seven Elation ELAR EX Tribar lighting battens, all of which is managed by an e:cue lighting control system.

“The lighting caused us a few issues at the time as they had to be IP rated and the models we originally specified were no longer available by the time we came to do the installation and so we had to rethink things,” said James. “Being one block from the beach, the salt water attacks any kind of lighting fixture that’s not IP rated - the salt air just rips it apart. Luckily, Chauvet came to the rescue with its COLORado 1-Quad Tour washlights as we weren’t able to put any moving heads into the venue at all.” There is also a 15ft by 6ft, 6mm LED wall at the back of the stage, installed initially for the World Cup matches, but having since become a permanent fixture using an AVLI video server and Kramer distribution system.

Bringing the focus back to the audio, James concluded: “It’s important to mention that we’ve got the audio system running at about 50% of its capability at the moment - we can’t really let it go because of the neighbouring businesses. As an integrator and systems designer you always want your system to look and sound the best and whenever you have to limit or scale it back, it’s frustrating but that’s part of the job. It’s about finding a happy medium - businesses can still generate a decent revenue and keep the neighbours happy.”

TECHNICAL INFORMATION SOUND

20 x Turbosound TCX-10 loudspeaker; 4 x Turbosound TCXB15; 4 x Turbosound TCS-1561; 2 x Turbosound TCX-18B; 2 x Turbosound TCS-B218; 4 x Turbosound TFM-212; 6 x Community Professional Wet2 loudspeaker; 3 x Lab.gruppen C 68:4 amplifier; 2 x Lab.gruppen C 48:4 amplifier; 2 x Lab. gruppen C 88:4 amplifier

LIGHTING & VIDEO

8 x Chauvet Professional COLORado 1-Quad Tour lighting fixture; 10 x Elation ELAR EX Tribar lighting fixture; 7 x Elation ELAR EX Tribar lighting batten; 1 x E:CUE light control system; 1 x 15-inch x 6.6-inch 6mm LED wall; 1 x Kramer VM41XL video control; 3 x AVLI video server oceanstensobe.com

094 VENUE

ADORE Dressed in soft, luxurious, deep red furnishings, Adore nightclub in Miami Beach takes inspiration from a “forgotten cathedral’s fall from grace” and offers guests an experience of sensuality and intrigue.

With more of a lounge feel to it compared to some of the other nightclubs in the area, the 12,000 sq ft space is well equipped on the technology front and includes a Funktion One sound system, lighting and video design from Steve Lieberman of SJ Lighting and a three-dimensional LED sphere hanging above the dancefloor acting as the main technological attraction. A floor-to-ceiling LED display on stage showcases video imagery and effects that are fully integrated into the control systems of the club, all of this works to create a seamless flow with the music and atmosphere.

Adore, which is owned and operated by Cy Waites, previously one half of the operation behind Las Vegas nightclubs XS and Tryst, aims through Adore, to recreate the same level of VIP service and class associated with the high-end Vegas nightlife spots. Since his move away from XS and Tryst, Cy had been looking for a club opportunity when he found himself in Miami and, as it turns out, the perfect space on Collins Avenue. Having worked with Funktion One’s US distributor Sound Investment on previous projects, Cy knew that this was once again, going to be a suitable system for the space.

Sound Investment’s Roly Aspuru picks up the story: “There was an existing relationship there with Cy because of the work we did for him

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in Las Vegas,” he said. “I was involved with Adore from quite early on, working with Daniel (Agne) who was the main designer for this project - he set the foundations and then I worked out all the tweaks necessary to fit in with the construction requirements and what the real life environment might look like.

“Cy was a demanding client in that he wanted the best system possible - end of,” continued Roly. “He always wanted more and even if we thought we had put ‘enough’ in, it wasn’t enough for him.

He pushed everything to the next level, the fact that someone has the courage to keep pushing the boundaries is commendable and Adore is testament to that ‘top line’ getting pushed further and a new standard being set for amazing sound.”

Unlike most nightclub systems, the PA at Adore is a two point system, Roly explained: “In most cases we’ll work to a four point system and then a surrounding system but in the case of Adore the room didn’t require another two loudspeakers on the rear side of the room.

This brought down the level of reflections that we had to compete against and kept everything as linear as possible - putting the focus on the DJ.” Funktion One is used throughout the venue and powered by Full Fat Audio; the main dancefloor system is made up of six R3SH EVO loudspeakers, four of which are split evenly left and right of the DJ booth, these take care of the mids and highs and work together with two N315 triple 15-inch driver loudspeakers - again, one left and

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right of the DJ booth. There are five BR221 dual 21-inch bass reflex subwoofers installed and everything is powered by four Full Fat Audio amplifiers - two FFA-6000’s and two FFA-100000’s.

The DJ booth is the main focus of the room at Adore and two Funktion One PSM318 point-source floor standing DJ monitors are featured - each with three 18-inch loudspeakers and powered by one Full Fat Audio FFA-4004 four-channel amplifier and two Full Fat Audio FFA-6000 two-channel amplifiers. The Funktion One DJ monitors are used with a Pioneer DJ set-up, which consists of five CDJ-2000 multimedia players, one DJM-900 Nexus mixer, one Allen & Heath Xone:92 four-channel DJ mixer and two Rane Serato Scratch Line software systems.

“What’s unique about the system is that it’s designed as a studio rig,” said Roly. “We have a Burl Audio B2 Bomber DAC digital / analogue converter, so we have our analogue signal coming from the mixer going to the Burl, that then digitises all the information. This then gets sent to the distribution system and goes into a Cranesong; then it goes analogue into a loop to a pair of Pultec tube EQs and then a pair of retro amplify limiters then it goes back into the Cranesong HEDD 192 signal processor and through the distribution system. It really is an exciting process and a great loop. We’ve given in-house DJs the ‘more power’ button, which gets pressed whenever the headline act comes on and activates the loop - the room just explodes with warmth.”

For the VIP area two Funktion One AX88 active loudspeakers are used along with two F221 folded horn subwoofers, powered by one Full Fat Audio FFA-6004 four-channel amplifier and one Full Fat Audio FFA-10000 two-channel amplifier.

Underneath the balcony, taking care of the rear of the room, there are 10 Funktion One F1201 12-inch mid / high loudspeakers, which are powered by two Full Fat Audio FFA-6000 amplifiers; there are also two Funktion One BR218 subwoofers and then three Funktion One F118 Mk2 loudspeakers, which are powered by two Full Fat Audio FFA-10000 amplifiers.

On the upper balcony there are a further four Funktion One R3SH EVO loudspeakers and a further two Funktion One N315 loudspeakers, which are powered by a FFA-6004 amplifier and a FFA-10000 amplifier. “The

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096 VENUE

size of the room, the balconies, stairs and furnishings and so on all work to dampen the room,” continued Roly. “I think we have the right amount of reflection with the right amount of absorption so acoustically we’ve nailed it in my opinion. It was refreshing to work with a design team that understood our acoustic concerns in the beginning and incorporated them into their design and made it happen for us.”

There are then nine Funktion One F118 Mk2 folded-horn bass loudspeakers distributed throughout the upper level of Adore, powered by two FFA-10000 amplifiers. Continuing in the upper balcony space four Funktion One Resolution 1.5TT loudspeakers feature, these are designed for mid sized venues with low ceiling heights. The Resolution 1.5TT can be neatly installed tight against a ceiling providing good coverage due to the built-in downward angle of the devices.

There are also a further 10 F1201 12-inch mid / high loudspeakers, which are powered by three FFA-6004 amplifiers.

Processing and control of all the audio at Adore is taken care of by a custom made processing network, comprising two Funktion One XO4A digital system controllers, BSS Soundweb London analogue and digital input / output cards and three BSS Soundweb London BLU-10WHT touchscreen controls.

The lighting and video system at Adore works in conjunction with the audio and the main focal point as mentioned, is a 6ft wide, spherical LED video feature hanging over the dancefloor, with a 4mm video wall running the length of the DJ booth.

Commenting on the design, Steve Lieberman told mondo*dr: “We created concentric rings around the LED sphere and broke it up into different pieces so it created this optical illusion of a vortex in the ceiling by using Color Kinetics iCove QLX LED fixtures to highlight the space. We used this for hanging lighting positions together with

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the iCove, wherever we had a light fixture that we wanted to place, we would delete the iCove, it created this really dynamic effect of a radial pattern which I feel helps keep the crowd flowing around the room, especially when you have things moving 360º and there’s no corners in the room - visually, it helps a crowd flow through the space.

“Another thing I tried to do at Adore was avoid using truss and typical production commodities,” continued Steve. “The last thing I want is for people to come to a venue and see all the truss and arrays in there. So we coloured the piping black so it disappears, but then lit up all the edging so that it brings the venue alive - good thing is, you don’t see any of the mechanics.”

Steve also made use of the supporting beams throughout Adore by having the cove detail cut into the corner of every column at a 90º apex, then, in there he put the iCove so it actually travels up, left, right, back and forth along the column and then into the ceiling - all mapped with a Madrix system. There are a total of 1,086 Color Kinetics iCove QLX LED fixtures used throughout Adore for architectural highlighting.

Elation was the lighting manufacturer of choice for Adore and there are 10 Platinum Spot 5R Pro moving heads; 27 Rayzor Q12 moving heads; and 12 Platinum Beam 5R Extreme moving heads hung throughout the venue. As well as this, there are six Elation Proton LED strobe lights, 10 Event Bars, which each feature four moving heads; and nine CuePix Strip lighting bars all controlled by an MA Lighting grandMA2 Light console.

Concluding, Steve said: “Adore presented a whole host of challenges - it’s an asymmetrical room so we had to find a central point. It made sense to put the centrepiece directly inline with the DJ booth and then we spaced it to a place that felt natural - from there I made the concentric plans that went out into the space. Any place where there was a column we broke that line and fitted into the architecture.

Ceilings had got a little lower and floors a little higher compared to the original architect plans so we lost about a foot of space and had to redesign a few elements or remove kit completely, but this couldn’t be anticipated until we got on site.

“I always want to create a visual experience but I also want to create a distraction, so you enjoy the environment you’re in. I never want a design to look like an afterthought - it should be a seamless environment and installation, that’s my goal with any venue.”

TECHNICAL INFORMATION SOUND

10 x Funktion One R3SH EVO loudspeaker; 4 x Funktion One Res 1.5TT loudspeaker; 4 x Funktion One N315 loudspeaker; 2 x Funktion One AX88 loudspeaker; 12 x Funktion One F118 Mk2 loudspeaker; 20 x Funktion One F1201 loudspeaker; 5 x Funktion One BR221 subwoofer; 2 x Funktion One BR218 subwoofer; 2 x Funktion One F221 subwoofer; 6 x Full Fat Audio FFA-6000 amplifier; 8 x Full Fat Audio FFA-10000 amplifier; 5 x Full Fat Audio FFA-6004 amplifier; 1 x Burl Audio B2 Bomber DAC converter; 1 x Cranesong Hedd 192 signal processor; 2 x Pultec tube equaliser; 2 x Retro 176 tube compressor; 2 x Funktion One PSM318 DJ monitor; 5 x Pioneer CDJ-2000 multimedia player; 1 x Pioneer DJM-900 Nexus mixer; 1 x Allen & Heath Xone:92 mixer; 2 x Rane Serato Scratch Live software system; 2 x Funktion One XO4A digital system controller; 3 x BSS Soundweb London BLU10 networked remote control

LIGHTING

10 x Elation Platinum Spot 5R Pro moving head; 27 x Elation Rayzor Q12 moving head; 12 x Elation Platinum Beam 5R Extreme moving head; 6 x Elation Proton LED strobe lighting fixture; 10 x Elation Event Bar lighting fixture; 9 x Elation CuePix Strip RGB; 120 x Philips Color Kinetics iCove lighting batten; 1,086 x Philips Color Kinetics iCove QLX LED fixture; 1 x MA Lighting grandMA2 Light console; 1 x Cybernet iOneH6 PC with madrix software clubadore.com

(818) 874-9779

SJLighting.net

production design specialists

Audio Video Lighting Innovations Miami, FL USA

phone: 305.785.6362

email: Info@avlinnnovations.com

098 VENUE

Photo credit: Tomas Loewy

HOUSE HOUSE, the latest Miami offering from nightclub impresario and designer Mark Lowe and his 14th in total, is charged with the idea that guests will pass through its doors into a fantasy world, where everything they know to be true isn’t quite as they would expect.

Taking seven years to conceptualise and three years to complete, and described by Mark as: “the most challenging and beautiful nightmare of my life,” completing the venue was no easy feat, however, his belief that: “if you have a vision you’re truly inspired by, then you have to see it through,” was what carried Mark and his team through to the end.

“I have always believed philosophically that every single person who comes to your venue is a guest,” said Mark. “Sometimes I think a lot of what is missing in the industry is an appreciation of the people who really take the time to come out and party at a venue. For me, the idea behind HOUSE was that it would truly be a house party - a place where everyone would feel connected and welcomed, this was the foundation of the venue.

“When it came to the design of the venue I looked at things that you would normally hide away at a house party and brought these elements out into the open. The Grandma is out, the babies are out, the maid is going through your underwear drawer. I believe that wherever you’re from in the world and whatever culture, you understand the comfort and safety of home - this is what I kept in mind the entire time.

“From a design perspective the space is spectacular, and unlike anything else in the world. It is an ultra modern, futuristic house that brings everyone together and I felt an incredible sense of achieve-

ment once it all came together,” continued Mark. “This is an area of Miami that never had a nightclub before. We’ve made the venue ‘key-based’ so in essence it’s a private venue which I think works well for the concept, brand and vision.”

Having only been open a matter of months, already, a massive 110,000 people have applied for a HOUSE key and while the legal capacity is 1,200, to keep the venue as an exclusive experience, Mark limits the number of keys released to just 500 a week, telling mondo*dr: “HOUSE isn’t an elite venue in that it’s not about what the person has or what they look like, it’s more about getting the right mixture of people in. It’s a lottery as to whether you’re chosen or not and each chosen guest gets to bring a guest of their own.”

There are three rooms in HOUSE - the main house space, the garden and the steam room. Each room has its own particular style, feel

TECHNICAL INFORMATION LIGHTING

16 x Anolis ArcSource 36 RGB lighting bar; 89 x Anolis ArcSource 4 MC LED architectural lighting fixture; 48 x Anolis ArcLink 3 LED module; 4 x Anolis ArcSource 3RGB architectural lighting fixture; 3,000ft of Futura lighting LED tape; 8 x Robe LEDForce 7 RGBW par can; 4 x Robe LEDForce 18 RGBW par can; 1 x Martin Professional Jem Glaciator X-Stream fog machine; 1 x Martin Professional Jem Gladiator X-Stream fog machine; 7 x Robe Faze 1050 FT fog machine; 4 x Robe LEDBlinder 196 blinder light; 11 x CO² jet; 88 x laser; Martin Professional LightJockey2 lighting control system housenightclub.com

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and design to it and perhaps one of the main elements that makes House unique to other clubs in the area, is that there is no VIP area. “VIP is everywhere and everyone is VIP,” said Mark. “There are no ropes dividing people and the ultimate goal is to connect. It’s also a very sexually provocative space because at the end of the day, it’s a house. Most importantly - there are no pictures allowed.”

Mark explained to mondo*dr how it was extremely important to him that HOUSE was exactly that, a free space that had a homely feel to it, rather than nightclub. Because of this, technological demands on lighting, audio and video were high and every single piece of equipment had to blend effortlessly into the surroundings - lighting had to be seen but not seen, audio had to be heard but hidden.

“I approached House conceptually, from the idea that it is an actual house,” said Mark. “This was extremely difficult for everyone to get their heads around from a technical point of view, as there is nothing traditional about this venue. I wanted all of the sound hidden and the lighting was heavily focused on the architecture.”

Robe and Anolis were the two lighting brands chosen to realise this very specific vision. One of the first sensory experiences the guests at HOUSE are greeted with is the Bubble Room Cove, which makes use of 16 Anolis ArcLine 36 RGB lighting bars, also featured is glass ball wall art, which uses seven Anolis ArcSource 4 MC LED architectural lighting fixtures.

In the main room eight Robe LEDForce 7 RGBW par cans and four LEDForce 18 RGBW par cans are hidden in the ceiling; these are used alongside 56 Anolis ArcSource 4MC LEDs, which are distributed throughout the main room and highlight specific areas. For the chandelier - a feature of the main room - a further 26 Anolis ArcSource 4MC LED’s are used and then in the kitchen, there are 48 Anolis ArcLink 3 LED modules and four ArcSource 3 RGB architectural lighting fixtures - all used to highlight specific areas of the space. Over 3,000ft of Futura lighting LED tape is also used throughout the venue for additional highlighting, which is all controlled

by DMX. For effects and atmosphere, a Martin Professional Jem Glaciator X-Stream fog machine and a Jem Gladiator X-Stream fog machine are used, along with seven Robe Faze 1050 FT fog machines, four Robe LEDBlinder 196 blinder lights; 11 CO² jets; and 88 lasers all of which are controlled by a Martin Professional LightJockey2 lighting control system.

David Chesel of Robe worked closely with Mark to create this unique lighting concept and told mondo*dr: “It’s all about accentuating the different architectural elements as well as bringing Mark’s vision to life. He allowed us to really go with it - creating endless nuances to provide a bizarre experience for the guests.

“Mark and I share a lot of the same philosophy and when you’re dealing with non-traditional lighting design you really have to work with people who think outside of the box. You have to forget everything you previously knew about lighting and think differently.

“The lighting was moving in a very specific direction, not only did Mark not want to see anything, but he wanted it to be correct to that of a house, so there was no option for par cans to be on view anywhere. All the electrics are hidden as well - in the closet no less, with Cat 5 cable run discreetly around the venue and power and control done over ethernet. Through this, we were able to disguise the lighting product and fold it into Mark’s design, with it working in the background, shining light on the elements that needed to be accentuated.”

Additionally, with 360º panoramic projection, fog screen and holographic technology, it has elements unseen, outside the confines of a theme park.

As a final thought on his vision and what HOUSE means to him, Mark said: “For me it was about having guests walk in and escape the daily stresses of life. After 15 years as a designer, having done many years of commercial work, this is my masterpiece, and my soul - it is a global creation and a global vision, Miami is just the test tube baby. With plans for Las Vegas, Los Angeles, San Diego, NYC, Brazil, Peru, Hong Kong, Singapore, London and 10 HOUSE-based restaurants and hotels, we should all have a HOUSE to call home.”

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Compliance with the strictest standards and regulations, rigorous quality control, publication of technical data and the Prolyte Campus training program sets Prolyte apart from the crowd. Because safety matters.

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100 VENUE

SEVEN LOUNGE Finding its home within the Miami Design District, Seven offers guests their very own little haven and paradise. Through antique wooden doors lie inviting sofas where guests can sit and relax while indulging in a cocktail or sampling one of the taste sensations created by chef Nicolas Caiset.

Seven Lounge has two environments - during the day it is a restaurant needing ambient sound and by night it’s an energetic lounge with live shows and DJs. In order to create these two very different environments a quality sound system was required that not only sounded exceptional but covered three points: design, coverture and recycling.

With this in mind the venue owners turned to installer Andres Franco and a D.A.S. Audio loudspeaker system. Commenting on his reasons for working with D.A.S. Audio, Andres told mondo*dr: “There are three main reasons I choose D.A.S. Audio products. Firstly the design of the product and the high quality; secondly, the level of customer service I receive and then thirdly, the products meet the necessary requirements to complete the projects I work on.”

The main challenge during the installation at Seven surrounded the building design, as Andres had to keep certain customer specifications in mind. The sound system installation was part of a redesign and so he had to overdub the whole area; there was also a rebound problem due to the amount of loudspeakers installed, which was fixed by adding delay to each loudspeaker through an analysis programme.

There are also 12 D.A.S. Audio Artec 28 loudspeakers, which employ twin 8B woofers for low frequency reproduction. These work alongside two D.A.S. Audio LX-215 dual 15-inch sixth order band-pass subwoofer, which are powered by one Crown MA 9000i amplifier and one Crown CDi 1000 amplifier. Alongside the D.A.S. Audio products there are also four Electro-Voice EVID 6.2 dual six-inch two-way surface-mount loudspeakers, which are powered by six Electro-Voice CP 3000S 1600W Class H power amplifiers.

Processing of the system is handled by a BSS Soundweb London BLU-160 signal processor.

“Seven is a place where you can go and have a drink while listening to good music,” said Andres. “Miami is well-known for its party vibe and so it was essential Seven had good reinforcement in the PA system and I am confident we achieved this through the D.A.S. Audio system.”

TECHNICAL INFORMATION SOUND

12 x D.A.S. Audio Artec 28 loudspeaker; 2 x D.A.S. Audio LX-215 subwoofer; 4 x Electro-Voice EVID 6.2 loudspeaker; 1 x Crown MA 9000i amplifier; 1 x Crown CDi 1000 amplifier; 6 x ElectroVoice CP 3000S amplifier; 1 x BSS Soundweb London BLU-160 signal processor sevenmia.com

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102 VENUE

PLAYHOUSE SQUARE CLEVELAND, USA The Americas

Considered the largest US performing arts centre outside of New York, Cleveland’s PlayhouseSquare is a not-for-profit organisation that aims to utilise the arts and engage individuals. Attracting over one million guests every year to its 1,000+ events, entertainment is at its very core and with a choice of seven theatres all hosting performances from concerts, plays and comedies to operas and family shows, as well as restaurants and shops to choose from, there really is something for everyone.

PlayhouseSquare is, however, so much more than just a bunch of theatres, rather an area transformed from a deserted downtown

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district into a vibrant destination spot; an area that has seen its aesthetics enhanced to emulate the beauty of the theatre interiors.

However, getting to this stage was somewhat of a long process and after years of meeting with various artists and designers, still the PlayhouseSquare Foundation was struggling to make sense of any of the proposals put forward. Until that is, they called on the services of Danny Barnycz and his company The Barnycz Group.

Danny talked mondo*dr through it: “The job was to create a unique theatre district, and after touring the historic theatres, the big idea became clear to me - we needed to bring the inside out. All of the theatres were gorgeously restored to a high level and I wanted to recreate this feeling on the outside.

“These guys have a tremendous message. They run the seven

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theatres all year round and it was clear the area needed a rich multimedia network that tied everything together. I wanted to tell PlayhouseSquare’s rich story and to let people know about all of the ongoing spectacular programming.”

Having seen all he needed, Danny and his team developed a spectacular design plan that included inviting and elegant gateways, the world’s largest outdoor chandelier - later certified by Guinness World Records - retro-inspired traditional and digital signage, dynamic architectural lighting, and a totally re-imagined US Bank Plaza.

“So the first thing we recommended was that the few existing multimedia screens - that happened to be Barco - came down and were replaced with a whole new concept. Nothing had really been done with them - they were just stuck on the side of the buildings and after 12 years, they were also coming to the end of their lifespan,” Danny continued.

“There were some good elements however, there were some great restaurants tucked away, as well as a dated park plaza which can hold events - but it all needed work. Everything from lighting, sound,

104 VENUE

seating, performance space needed to be re-imagined.

“Short of ripping down the brick façades of the classic theatres and putting glass in its place to allow people to see the beautiful restorations as they pass by, we knew that the next best thing was to bring the details and architectural elements from the inside out.

Elegant gateways were created to punctuate visitors arrival into the PlayhouseSquare Theatre District.” It was also at this point that the record-breaking chandelier idea came about, measuring 20ft by 17ft in diameter and made up of 4,000 crystals.

“If I had to pick a centre point of the project, it would undoubtedly be the intersection of Euclid and 14th Street. This is where we knew the chandelier should live. It’s so cool to have this larger than life chandelier hanging over the street.”

With the gateways and chandelier in place, Danny turned his attention to the rest of the project. He knew he needed a lot of media to tell the story of PlayhouseSquare to its fullest and to get people more engaged with all the great programming that occurs in the area - this is where Barco re-enters the story. “We partner with Barco on lots of our projects because we know its products last,” said Danny. “The company has a great track record for some of the biggest, most celebrated projects in the world. Its new 72-inch LCD street screen is the kind of screen that someone can literally be 3ft away from and it still looks gorgeous in direct sunlight.”

Danny wanted to implement beautifully appointed, pedestrian-scale screens sprinkled on the pavements around the district, and for this a total of 14 Barco 72-inch LCD displays were utilised. For large scale screen deployments, The Barnycz Group chose the Barco C8 LED display. Part of Barco’s renowned C-Series family, this tile

TECHNICAL INFORMATION VIDEO: 954 x Barco C8 LED video tile; 3 x Apple iMac; 8 x Apple Mac Pro; 4 x Apple Mac mini; 12 x Sedna Presenter Player digital signage software; 8 x Black Magic DeckLink SDI card; 1 x Barco F82-1080 projector www.playhousesquare.org

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shares its mechanics such as truss beams, feet and stacking frames with the other C-Series LED displays and its electronic backbone is identical to that of the C5 display, powered by DX image processors and controlled by Director Toolset software. Offering high-quality scaling, an unlimited pixel count, auto redundancy and 16-bit processing per colour, the C8 LED display can also be easily controlled by remote management software. What’s more, thanks to the optional light sensors and intelligent management services, the display adjusts its brightness automatically. These were all important factors to Danny as the system needed to be easy to manage as well as reliable and long lasting. With this in mind, all of the multimedia at PlayhouseSquare is controlled by an Apple based computer system using Sedna software. “We love Apple computers and the Sedna software is really intuitive,” said Danny. “We try to incorporate artistic elements into all of our projects and like to make sure there is some sort of interactivity going on. Every screen at PlayhouseSquare is interactive so that during the big events people can get involved - the whole thing feels alive - letting people interact and be part of the experience.”

The Barnycz Group created a brand new master control room giving the PlayhouseSquare’s existing technicians the ability to create all sorts of cool, interactive scheduling content for the 26 digital faces. “One of the challenges was easing the head technician, Stefan Drotleff into the network and making sure he didn’t feel overwhelmed,” Danny explained. As well as three Apple iMacs, a total of eight Apple Mac Pros and four Apple Mac minis - all of which are working off the Sedna Presenter Player digital signage software and using eight Black Magic DeckLink SDI cards for capture and playback.

“We produced all of the content for all of the grand openings and beyond,” said Danny. “And we ensured that even the content had the same high-quality look and feel and theatricality as the rest of the district’s architectural vocabulary.”

The park plaza was punctuated with a 30ft tall Stylon video screen made up of 320 Barco C8 tiles and covering an area of 548 sq ft, - a very large, tall and linear formatted screen used for advertising, event promotions, information and as a live digital artist’s canvas.

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FRANÇAIS

Le Playhouse Square est un Centre des arts de la scène à but non lucratif situé à Cleveland, aux États-Unis. Le Centre a pour mission de présenter et de produire une grande variété de spectacles de qualité, et d’y promouvoir l’éducation artistique en créant un espace de choix en terme de divertissement, de vie des entreprises et de lieu résidentiel. Danny Barnycz, du groupe The Barnycz, fut invité à redonner vie à la cour extérieure et à en faire une destination incontournable, reproduisant l’esprit des théâtres. Un énorme lustre de 6 m par 5 m, et orné de plus de 4 000 cristaux, fut placé au centre de la cour et Danny a également créé un réseau d’affichage numérique extérieur en utilisant des écrans gérés par Barco LiveDots et présentant aux théâtres d’excellentes opportunités d’annoncer leurs événements et d’apporter un peu de vie au lieu. « Le Conseil d’administration a travaillé avec plusieurs autres personnes au cours des cinq ou six dernières années, mais rien n’est sorti de là… », explique Danny. « Ayant vu un grand nombre de nos projets, les membres du Conseil nous ont accordé toute leur confiance. L’idée principale était le lustre, car après avoir traversé tous les théâtres, je me suis dit en moi-même, “regardes tous ces bâtiments magnifiquement rénovés”. Nous avons ensuite sélectionné les bâtiments que nous voulions mettre en valeur en utilisant un éclairage architectural ».

DEUTSCH

Playhouse ist ein gemeinnütziges Zentrum für darstellende Künste in Cleveland, USA, dessen Aufgabe es ist, abwechslungsreiche und qualitativ hochwertige darstellende Künste zu präsentieren und zu schaffen, Kunst zu fördern und eine Luxuslocation für Entertainment, Business und zum Wohnen zu schaffen. Danny Barnycz von Barnycz Group wurde beauftragt, den Außenbereich zu Leben zu erwecken und ein attraktives Bestimmungsziel zu schaffen, das den Geist der Theater reproduziert. Danny hat mit einem massiven 20 x 17 Fuß großen Kronleuchter in der Mitte des Außenbereichs, der aus mehr als 4.000 Kristallen besteht, ebenfalls ein digitales Outdoor-Netzwerk geschaffen, das zahlreiche Bildschirme verwendet, die Barco LiveDots einsetzen und die den Theatern eine ausgezeichnete Gelegenheit bieten, Veranstaltungen zu bewerben und den Bereich zu beleben.

“Der Ausschuss hat während der letzten fünf/sechs Jahre mehrere Alternativen ausprobiert,” so Danny. “Nachdem sie mehrere unserer früheren Projekte gesehen haben, vertrauten sie uns. Die zündende Idee war der Kronleuchter, nachdem ich durch alle Theater geschritten bin, habe ich mir gesagt, ‘schau Dir all diese schön restaurierten Gebäude an.’ Wir haben dann die Gebäude herausgepickt, die wir mit architektonischer Beleuchtung hervorheben wollten.”

ITALIANO

full use of the area, there is also a permanent performance stage area complete with a PA system and programmable performance lighting, as well as a Barco F82-1080 projector to support movie nights in the park.

Then there are four big marquee screens featured in the district, giving eight faces of screen in total, as they are double sided and use 432 Barco C8 tiles, covering a total area of 741 sq ft. As well as this, there is a ticker style screen on the TBS building, which uses 60 Barco C8 tiles and covers an area of 103 sq ft and lastly there is a ribbon screen placed above the Hanna building that uses 142 Barco C8 tiles and covers 244 sq ft.

“In addition to the 26 screens out in the district, visitors will also see multiple screens on their journey from the parking lot to the skybridge and when entering the theatres,” said Danny. Given the multitude of ever-changing programming that occurs within the various theatres - the digital platform was the ideal solution and will support PlayhouseSquare’s spectacular programming for years to come. “The PlayhouseSquare team was a joy to work with and we look forward to collaborating with them on their district expansion,” he concluded.

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Playhouse Square è un centro artistico no-profit che si trova a Cleveland (USA), la cui missione è quella di presentare e produrre una grande varietà di performance di qualità, di proporre un sistema avanzato di istruzione alle arti e di creare un’ area di ritrovo che faccia da location di livello superiore per l’intrattenimento, il business e la vita residenziale. Danny Barnycz del Barnycz Group è stato chiamato per portare alla luce la parte esterna del teatro e creare un punto di ritrovo che riprenda lo spirito dei teatri. Insieme al mastodontico lampadario di 5m/6m situato al centro della parte esterna del teatro, composto da oltre 4.000 cristalli, Danny ha anche creato una rete digitale all’aperto utilizzando numerosi schermi Barco LiveDots, che dà ai teatri delle ottime opportunità per pubblicizzare eventi e portare l’area alla luce. “La commissione aveva provato molte altre persone nel corso di cinque o sei anni e non aveva ottenuto nulla”, ha detto Danny. “Dopo aver visto parecchi dei nostri progetti passati, la Playhouse Square ha messo molta fiducia in noi. L’idea più importante è stata il lampadario. Dopo aver esplorato tutti i teatri ho semplicemente pensato a me e mi sono detto:- Guarda tutti questi edifici splendidamente restaurati-. Quindi abbiamo messo la ciliegina sulla torta, scegliendo gli edifici che volevamo evidenziare con un’illuminazione architettonica”.

ESPAÑOL

El Playhouse Square es un centro artístico sin fines de lucro en Cleveland, Estados Unidos, cuya misión es presentar y producir una amplia variedad de representaciones teatrales de calidad, fomentar el arte y crear un área de ubicación superior destinado a entretenimientos, negocios y viviendas residenciales. Danny Barnycz de The Barnycz Group fue convocado para darle vida a las áreas exteriores y para crear una zona atractiva a la que todos acudan y que, además, replique el espíritu de los teatros. Con una enorme araña de 6 x 5 metros en el centro de la parte exterior, hecha con más de 4.000 cristales, Danny además creó una red digital exterior utilizando una cantidad de pantallas usando Barco LiveDots, lo que presenta excelentes oportunidades para que los teatros promocionen eventos y darle vida a la zona. “El directorio ha probado con muchas otras personas en el transcurso de cinco o seis años y no hemos llegado a ninguna parte”, dijo Danny. “Al haber visto gran parte de nuestros proyectos anteriores, tuvieron mucha fe en nosotros”, dijo Danny. La gran idea fue la araña. Luego haber recorrido todos los teatros, pensé, “mira todos estos hermosos edificios restaurados”. Entonces empezamos a seleccionar los edificios a los que queríamos resaltar con iluminación arquitectónica.”

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108 VENUE

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VENUE 109

BULACAN

PHILIPPINE ARENA VENUES OF THIS ENORMITY ARE SPARSE, SO RACHAEL ROGERSON WAS THRILLED TO HAVE THE OPPORTUNITY TO VISIT THIS PIONEERING INSTALLATION AT THE PHILIPPINE ARENA, AND ONCE THERE SHE WENT TO GREAT LENGTHS TO CAPTURE EVERY ESSENCE OF THE STORY.

BULACAN, PHILIPPINES ASIA/PACIFIC/OCEANIA

Consider where you’d picture a new, state-of-the-art 75-hectare tourism complex currently under development, in which the first structure to be completed holds eight Guinness World Records. The world records have been received for hosting the world’s largest mixed-use indoor domed arena event with 51,519 attendees and the record for the largest gospel choir made up of 4,745 members.

It’s unlikely your guess would be a country that is still considered by some as Third World. Yet the Philippine Arena - a venue with a capacity of up to 55,000, located at the heart of the Ciudad de Victoria development in Bulacan, Philippines - is that megastructure.

The Arena is the vision of Bro. Eraño Manalo - the second church leader of Iglesia Ni Cristo (INC), a Christian denominative religion that was founded in the Philippines in 1914 by Bro. Eraño’s father, Bro. Felix Manalo. INC members believe their religion to be the restoration of the original church founded by Jesus. Bro. Eraño took over as executive minister of INC after Bro. Felix’s death in 1963 and after seeing significant growth in the church population he began to envisage a dedicated place for all the members of the church to meet and worship God. Unfortunately, the vision wasn’t realised in his lifetime. Bro. Eraño’s successor, his son, Bro. Eduardo Manalo carried the dream forward and along with the venue’s owner - INC’s educational institution, New Era University - set out plans to erect the Philippine Arena in line with INC’s centennial year.

A week after the inauguration of Ciudad de Victoria on 21 July this year, INC celebrated its centennial anniversary at the Philippine Arena. As the host venue, the Arena welcomed almost two million members onsite that day (27 July). The celebrations continued for a full week, with the event being broadcast to approximately 1,180 worship buildings worldwide through live video feed on INC’s own TV channels.

Though owned by the church, the Arena will not only be used as a house of worship, it is now open and taking bookings for all different types of events including sports games, music concerts and bespoke events. Church services will occur one or two times a

month, while commercial events will take place up to three times per week.

Engr. Bessy N. Fetalvero was appointed by INC at the beginning of the project to take charge of contracts, bidding and buildings.

Over time her role expanded to include technical specifications meaning she was involved with the selection process for architects, designers, contractors and suppliers. Today, Bessy is the Building Administrator for the entire Ciudad de Victoria site. Bessy said: “The New Era University wanted to build a world-class arena, they wanted it to be recognised globally so all the designs and specifications had to be of a high standard.”

This began with New San Jose Builders, the real estate company commissioned to develop the entire Ciudad de Victoria project and Generations Design Asia - headed up by President Gerry Acuzar - the company in charge of project management. It continued with almost every major role for the project being put out to tender, allowing architects, structural engineers, construction and installation teams to bid for the contract. The successful applicants for each section were selected on their previous experience and their company profile. The first to be appointed were Australian architects Populous, structural experts Buro Happold and Korean building constructors, Hanwha E&C. The initial challenge faced by Populous was the sheer capacity of the venue but inspiration came from visualising the relationship between the leader of INC, Bro. Eduardo and his congregation.

Populous Senior Principal and Project Director, Andrew James said: “Safety and entering and leaving the building efficiently were the first priorities and then we wanted to create a building where everyone could see and hear one person at the front of the stage as clearly as possible, where there was also a sense of intimacy and a connection, drawing on the atmosphere created when you have 50,000 people in the one space.

“We worked to achieve a tight, compact and shallow seating bowl, which is also gracious with its saddle bowl form, high in the centre and dropping down at the flanks. This enables spectators not only

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110 VENUE

confirmed Electro-Voice products were compliant with the design and of course the products fitted the price parameter too.”

Although, EVi had not carried out a project of this magnitude before, the company had design and technical support from Electro-Voice’s parent company, Bosch, both the Singaporean and Philippine offices. Prosound from South Africa was brought onboard as a international rigging partner to assist with the design and fabrication of the audio equipment, as well as Tony Sawyer of Electro-Voice Middle East, who was a true support throughout the project particularly during the installation and tuning processes. Bluerig, a local rigging company, also played a major role in the rigging process to support Prosound.

The only comparable project for Electro-Voice is the AT&T Arena in Texas, famous home of the Dallas Cowboys NFL team, and to this day it remains the manufacturer’s largest installation. The Philippine Arena is now considered its smaller sibling, being the second largest Electro-Voice installation. This comparison is also replicated in the product series, the AT&T Arena uses Electro-Voice’s X-Line Series to be able to see the speaker on the stage, but also means they are very aware of the other 50,000 people in the arena, helping to create an atmosphere.” Andrew also made sure that the design allowed for easy separation of the lower bowl from the upper tier - which is taken care of by 32 Prolyte Prolyft Aetos chain hoist motors installed on trusses housing curtains supplied and sewn by J&C Joel, with acoustic and thermal properties - should the venue capacity need to be scaled down for a particular event.

The realisation of how to make these architectural plans come alive was down to Hong-Kong based Chris Sparrow of Buro Happold - an international engineering consultancy - and his team. They calculated that the Philippine Arena would be built on 99,200 sq metres of land and would have a dome of 36,000 sq metres. The roof would span over 160 metres and be made up of 9,000 tonnes of steel, sitting at a height of 62 metres. Chris also had to ensure that the structure of the Arena was earthquake proof, which he did with the help of research carried out by the Philippine Institute of Volcanology and Seismology.

The responsibility of the construction of the Arena lay in the hands of Hanwha E&C, a company based in Korea, which described the undertaking of this US$175m project as a great honour and a chance to show the world its technological capabilities and ability to successfully carry out projects overseas. Hanwha E&C not only constructed the Arena, it was involved from the beginning and was also responsible for the design, working closely with Populous in order to ensure the whole process from design to build ran smoothly and efficiently. It took a total of 30 months for the Arena to be fully complete, and it was only in the two months before the inauguration that the audio element of the project began to take shape.

Two rounds of bidding took place for the audio contract. Initially the INC felt it needed an overseas company to equip the Arena with a sound system, mainly due to the fact that no local companies had ever taken on a project of this scale. However, during the second tender application, one local company managed to change that opinion and was awarded the contract in April 2013. The winning bidder was EVI Distribution, distributor of Electro-Voice in the Philippines.

EVI General Manager Lito Dungca explained further: “We told INC about Electro-Voice, the brand’s presence in the region, and about the support that we could offer directly from the Philippines.

We also gave them some readings from an audio design we put together using EASE modelling software. We had to demonstrate that we could comply with the performance specification outlined by Engineering Harmonics from Canada, and we managed to comply on nearly all of these aspects.”

Bessy added further support for the choice: “Electro-Voice had already been specified in other churches and HoW for INC so we were already familiar with the brand, but Electro-Voice did pass through the same procedures as other bidders. The consultant

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large format line arrays, while the Philippine Arena uses the midrange line arrays from the XLCi Series.

EVI’s Product Manager, Reynald Rodil, who was heavily involved with the project continued: “The position of where to hang the loudspeakers was determined by Engineering Harmonics. From there, we had to calculate the angles and how many boxes per hang. EASE modelled software did this for us with global support from Bosch.”

A total of 18 Electro-Voice XLCi127DVX line array clusters have been installed at the Arena, 12 hangs for the upper bowl and six hangs for the lower bowl, and each hang consisting of 16 cabinets.

Lito said: “We could have simply installed 12 boxes per hang, but we opted for 16 to allow for some headroom. When the Arena is full for an event and the people are shouting, you soon realise those extra boxes were needed.”

To supplement the lower bowl loudspeaker system, there are a further four line arrays, each comprising 10 Electro-Voice XLCi215 high output subwoofers. While another two Electro-Voice XLD281 three-way compact line arrays - each featuring 14 cabinets - are installed near the retractable seating area for rear fill.

All of the hangs mentioned so far are static in their position and none come close to testing the weight load allowance per point. EVI had the option to fly a rig weighing up to 1,800kg per hang, but in reality the line arrays that have been installed are all in the region

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of 1,200kg. Prosound from South Africa custom made the mounting brackets for these 20 arrays. Prosound’s Technical Director, Mark Malherbe worked closely on the installation providing guidance and his expert knowledge. After visiting the site, Mark and his team designed the exoskeleton frames - constructed in two sections for ease of handling - for the line arrays to slot into. Due to the slight differences between the flying angles of the array, six variants of the exoskeleton frames were required.

Aside from the upper and lower bowl systems, the Philippine Arena is also home to another four line arrays, which are positioned over the floor area. Each line array includes 16 Electro-Voice XLC127DVX cabinets, these are from Electro-Voice’s touring series of products rather than the installation series. “These line arrays can be used as a FOH system, they can be moved and reconfigured depending on the size of the stage. Or if there’s a basketball event for example, the four hangs fire downwards to provide full coverage for the entire floor area,” explained Lito. To complete the cabinet line-up in the Arena are eight Electro-Voice Xsub dual 18-inch subwoofers and 16 Electro-Voice QRx 112/75 two-way loudspeakers for front fill.

A total of 232 Electro-Voice TG7 touring amplifiers, which offer 3,500W per channel into two ohm,s provide power for 28 line arrays, the groundstacked subwoofers and the front fill loudspeakers in the Arena. The amplifiers feature an RCM-26 remote control module to enable IRIS-Net compatible DSP and are Dante compliant for audio distribution. Reynald commented: “Everything is networked through IRIS-Net so we can control and monitor the temperature of the amplifiers, we can monitor the health of the amplifiers and loudspeakers, right down to the drivers. It’s a very sophisticated system.”

The amplifiers themselves have been installed in the roof, so they are physically close to the line arrays, preventing huge amounts of cabling. Prosound made this part of the installation even smoother by supplying EVI with pre-terminated cables - with the

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pin configuration already in place - therefore it was just a case of plugging the connecting cables into the amplifier racks.

Audio networking for the system continues with 44 Electro-Voice Netmax N8000 digital matrix controllers equipped with Dante module cards and analogue and digital I/O cards. The Netmax system works in conjunction with the IRIS-Net protocol to provide flexible routing, DSP, and component-level system control for the Arena, as well as offering the ability to alter the EQ, crossovers, dynamics and loudspeaker optimisation.

Reynald explained the audio network further: “The network design was based on advice sought from Audinate, a recommendation from Prosound and what INC wanted, which was a core switch, so we upgraded from a standard network switch to an enterprise switch so it conforms to the ICT infrastructure of the church. INC also wanted to be able to manage the system from its office in Quezon City, managing all its facilities from a single command centre. To do that, all INC venues have to be on the same network infrastructure, meaning we had to comply with those requirements.” Cisco Catalyst 2950 network switches were installed to take care of the Dante network and the IRIS-Net control, while Cisco Catalyst 4500 core switches looks after audio distribution.

When it came to tuning the system, the biggest problem EVI faced was slap back, which was present in the Arena, mainly due to the lack of acoustic design. However, after two weeks of time alignment and testing the sound when the Arena was full of people, the slap back became almost unnoticeable.

The biggest test of the sound came, of course, with the centennial celebrations. For this, Mark of Prosound was on mixing duty - an experience he described as a privilege to be part of. Mark mixed the event on the in-house console set-up, which includes two Avid Venue Profile mixing systems equipped with 96 channels, one for FOH and one for monitors and an Avid Euphonix System 5-B for broadcast.

Aside from the Arena, EVI also installed some Electro-Voice

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Light is OSRAM

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loudspeakers in the foyer area, known as the entry fill loudspeaker system. In total 56 Electro-Voice Zx1i-100T passive loudspeakers were specified for the periphery of the building, which are powered by three Electro-Voice CPS 8.5 eight-channel amplifiers and one Electro-Voice CPS 4.5 four-channel amplifiers. Similar to the main system racks, these amplifiers are equipped with an RCM-810 module for IRIS-Net control and are Dante enabled.

In addition to all the permanently installed technology at the Philippine Arena, there is a healthy line-up of portable audio equipment, which can be brought in and out as and when it’s needed for a particular event. The portable sound system comprises 16 Electro-Voice QRx115/75 full range loudspeakers, four ElectroVoice QRx 218S compact subwoofers and 20 Dynacord CXM 15 stage monitors. Amplification and loudspeaker management for the portable system is provided by nine Electro-Voice CPS 4.10 Class-D amplifiers and once again these are compliant with the IRIS-Net and Dante protocols. There are also four Electro-Voice ELX112P self-powered loudspeakers and a Dynacord Cobra 4 system accompanied by a Dynacord CMS-1600-3 mixing system to complete the portable line-up.

The Arena has 18 channels of wireless handheld microphones with Wisycom and DPA microphone heads, and 18 wireless lapel microphones with DPA lapel microphone element. The wireless system can perform a frequency scan of the entire venue to determine which frequencies are still available for use. Additionally, the wireless microphone antenna system provides reliable, stable,

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and wider coverage. Other microphones available at the Arena include Electro-Voice, Neumann, Shure, Earthworks, Sennheiser, and AKG, meaning that any performer at the Arena should have access to their desired choice of microphone.

Though audio is the primary technology focus at the Arena, it is worth mentioning its two LED screens - each measuring 22-metres by 12-metres - which provide additional viewing points for the audience. While for lighting, INC has kept permanent equipment to a minimum, preferring to rent equipment in on an event-by-event basis.

For the centennial celebrations the entire venue was awash with colour thanks to Lighting Director, John Batalla’s lighting design.

He specified more than 200 Clay Paky Sharpy moving heads, 30 Fine Art FINE 2000 Beam fixtures, 80 Fine Art FINE 2000 Wash moving heads, 60 Fine Art FINE 2000 Spot luminaires, 24 Martin Professional Viper intelligent lights and 100 Martin Professional MAC 101 LED lights all controlled via five Avolites Pearl Expert lighting consoles.

The fixtures were hung on the Arena’s truss grid system, which was designed, constructed and installed by local company Stage Riggers.

COO of Stage Riggers, Joel Inumerable said: “The truss grid system had to be strong enough to carry a substantial amount of loads, however, had to be lightweight at the same time, so not to impose too much dead load on the roof trusses.” More than 1,000-metres of custom-made aluminium truss designed and fabricated using highgrade aluminium alloy using 6061-T6 by Stage Riggers was installed at the Arena. Joel continued: “The roof trusses of the dome were

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FRANÇAIS

La première structure à être complétée dans un nouveau complexe touristique de pointe de 75 hectares à Bulacan, aux Philippines, est l’Aréna des Philippines, un lieu pouvant accueillir jusqu’à 55 000 personnes, appartenu par la « New Era University », un établissement d’enseignement de l’église Ni Cristo (INC), une religion à dominante chrétienne. Bien qu’appartenant à l’église, l’Aréna ne sera pas uniquement utilisée comme lieu de culte, car elle est maintenant ouverte au public et accepte les réservations pour tous types d’événements. Les propriétaires voulaient construire une arène grandiose qui serait reconnue à l’échelle mondiale ; par conséquent, presque tous les principaux secteurs ont fait l’objet d’un appel d’offres. Les premiers entrepreneurs en bâtiment à être nommés étaient les architectes australiens Populous, les experts en structures Buro Happold et les constructeurs coréens, Hanwha E&C. Deux tours de soumission d’offres ont eu lieu pour le contrat audio et finalement celui-ci fut attribué à EVi Distribution, le distributeur de Electro-Voice aux Philippines. L’arène représente maintenant la deuxième plus grande installation de Electro-Voice au monde. Bien que l’entreprise EVi n’ait pas réalisé de projets de cette ampleur auparavant, celle-ci a été soutenue par des sociétés mères comme Bosch, Prosound d’Afrique du Sud et Tony Sawyer de Electro-Voice au Moyen-Orient. L’entreprise locale, Stage Riggers est également responsable de la conception, de la construction et de l’installation du système de grille en treillis qui comprend plus de 1000 mètres de treillis.

designed and constructed by Hanwha E&C and it was designed as a space frame system. Therefore, we designed the truss grid system to be suspended from the joint ball of the space frame, as this was the only point in the entire roof system strong enough to carry the load required.”

More than 70 Prolyte Prolyft Aetos chain hoist motors were required to lift the truss grid into position, 32-metres above floor level.

Joel said: “Prolyft Aetos motors are very reliable and jam free, we have been using these motors for more than seven years now. We recommended the Prolyft motors to the construction and project managers of the Arena and they approved them.”

The Philippine Arena is just the tip of the iceberg for the Ciudad de Victoria complex. The initial design of the development has been likened to the Narra tree - the national tree of the Philippines - with the many different areas of the complex representing the many branches of the Narra tree and the time it will take for the entire project to be complete illustrative of the long growth period required for the Narra tree to mature.

Other structures are already underway at Ciudad de Victoria, including the Eraño G. Manalo (EGM) Medical Centre, New Era University, the Philippine Stadium, and the Philippine Sports Centre.

There are plans in place for a shopping centre and large scale residential developments. By all accounts, Ciudad de Victoria looks set to become a small city in its own right.

TECHNICAL INFORMATION SOUND INSTALLED: 288 x Electro-Voice XLCi127DVX line array element; 64 x Electro-Voice XLCi215 subwoofer; 28 x Electro-Voice XLD281 line array element; 64 x Electro-Voice XLC127DVX line array element; 8 x Electro-Voice Xsub subwoofer; 16 x Electro-Voice QRx 112/75 loudspeaker; 56 Electro-Voice Zx1i100T passive loudspeaker; 232 x Electro-Voice TG7 amplifier; 44 x Electro-Voice Netmax N8000 digital matrix controller; 3 x Electro-Voice CPS 8.5 amplifier; 1 x Electro-Voice CPS 4.5 amplifier; 2 x Avid Venue Profile mixing system; 1 x Avid Euphonix System 5-B broadcast console; Cisco Catalyst 2950 network switches; Cisco Catalyst 4500 core switches; microphones from Electro-Voice, Neumann, Shure, DPA, Earthworks, Sennheiser, AKG PORTABLE: 16 x Electro-Voice QRx115/75 loudspeaker; 4 x Electro-Voice QRx 218S subwoofer; 20 x Dynacord CXM 15 stage monitor; 9 x Electro-Voice CPS 4.10 Class-D amplifier; 4 x Electro-Voice ELX112P self-powered loudspeaker; 1 x Dynacord Cobra 4 loudspeaker system; 1 x Dynacord CMS-1600-3 mixing system TRUSSING & RIGGING 1,000-metres of truss by Stage Riggers; 32 x Prolyte Prolyft Aetos hoist; 20 x Prosound custom-made exoskeleton frame www.facebook.com/pages/The-Philippine-Arena/

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DEUTSCH

Die erste Struktur, die auf einem neuen, hochmodernen, 75 Hektar großen Tourismuskomplex in der philippinischen Provinz Bulacan fertiggestellt wurde, ist die Philippine Arena, einem Treff mit bis zu 55.000 Plätzen, der sich im Besitz der New Era University befindet, einem Bildungsinstitut von Iglesia Ni Cristo (INC), einer christlichen Kirche.

Obwohl sich die Arena im Besitz der Kirche befindet, wird sie nicht nur als Gebetsstätte benutzt, sondern ist auch für ganz unterschiedliche Veranstaltungen vorgesehen. Die Besitzer wollten eine WeltklasseArena bauen, die weltweit anerkannt wird. Deswegen wurde beinahe jeder wichtige Bereich des Projekts ausgeschrieben. Die ersten unter Vertrag genommenen Unternehmer waren die australischen Architekten Populous, die Statik-Experten Buro Happold und das koreanische Bauunternehmen Hanwha E&C. Es gab zwei Ausschreibungsrunden für den Audiovertrag, doch letztendlich wurde dieser Vertrag an EVi Distribution, Vertriebshändler von Electro-Voice in den Philippinen, vergeben. Die Arena repräsentiert die weltweit zweitgrößte Installation von Electro-Voice. Obwohl EVi zuvor noch nie an einem solch großen Projekt gearbeitet hat, wurde das Unternehmen durch die Muttergesellschaft Bosch, Prosound aus Südafrika und Tony Sawyer von Electro-Voice Naher Osten unterstützt. Das heimische Unternehmen Stage Riggers war für den Entwurf, den Bau und die Installation des Gitterträgersystems verantwortlich, das mehr als 1.000 Meter Gitterträger umfasst.

ITALIANO

La prima struttura ad essere completata in un nuovo complesso turistico di eccellenza di 75 ettari, a Bulacan nelle Filippine, è la Philippine Arena, un locale che arriva fino a 55.000 posti, di proprietà della New Era University, un istituto d’istruzione di Iglesia Ni Cristo (INC), una religione denominativa cristiana. Anche se di proprietà della chiesa, l’Arena non sarà usata solo come un luogo di culto, ma ora è aperta ed accetta prenotazioni per tutti i diversi tipi di eventi. I proprietari volevano costruire un’arena che sarebbe stata riconosciuta a livello mondiale, quindi quasi ogni ruolo fondamentale per il progetto è stato messo in gara. I primi appaltatori ad essere nominati sono stati gli architetti australiani Populous, gli esperti strutturali Buro Happold e i costruttori edili coreani Hanwha E&C. Per il contratto audio ci sono volute due battute, ma alla fine il contratto è stato assegnato a EVi Distribution, distributore di ElectroVoice nelle Filippine. L’Arena rappresenta oggi la seconda più grande installazione di Electro-Voice in tutto il mondo. Anche se EVi non aveva mai realizzato prima un progetto di questa portata, la società è stata sostenuta dal partner Bosch, Prosound dal Sud Africa e Tony Sawyer di Electro-Voice Medio Oriente. La società locale, Stage Riggers, si è anche occupata della progettazione, della costruzione e dell’installazione del sistema dell’americana, che comprende più di 1.000 metri di traliccio.

ESPAÑOL

La primera estructura en ser finalizada en el complejo turístico de 75 hectáreas y de última generación en Bulacan, Filipinas, es el Philippine Arena, un lugar con capacidad de hasta 55.000 personas, propiedad de la Universidad Nueva Era, un instituto educacional de la Iglesia en Cristo (INC), de denominación Cristiana. A pesar de pertenecer a una iglesia, el Estadio no solo será utilizado como casa de adoración, sino que actualmente se encuentra tomando reservas para todo tipo de eventos diferentes. Los dueños quisieron construir un estadio de primer nivel que fuera reconocido mundialmente. Por lo tanto, casi todos los roles principales del proyecto fueron llamados a licitación.

Los primeros contratistas en ser convocados fueron los arquitectos australianos Populous, los expertos en estructuras Buro Happold y los constructores Coreanos, Hanwha E&C. Para el contrato de la parte del audio se realizaron dos rondas de licitaciones pero finalmente el contrato fue otorgado a EVi Distribution, distribuidor de Electro-Voice en las Filipinas. El Arena representa actualmente la segunda instalación más grande de Electro-Voice del mundo. A pesar de que EVi no había llevado a cabo un proyecto de esta envergadura anteriormente, la empresa tuvo el soporte de Bosch, Prosound de Sudáfrica y Tony Sawyer de Electro-Voice Medio Oriente. La empresa local, Stage Riggers también fue responsable de diseñar, construir e instalar el sistema de estructuras metálicas colgantes compuesto por más de 1.000 metros de abrazaderas.

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SINGAPORE

SPORTS HUB THE NATIONAL STADIUM IS THE CENTREPIECE OF SINGAPORE’S NEW SPORTS HUB AND IS THE FIRST IN THE WORLD TO BE ABLE TO HOST THE SPORTS OF FOOTBALL, ATHLETICS AND CRICKET, ALL IN THE SAME ARENA. ELECTRONICS & ENGINEERING - THE VERY SAME COMPANY THAT COMPLETED THE ORIGINAL INSTALL MORE THAN 40 YEARS AGO - HAD THE HONOUR OF EQUIPPING THE STADIUM WITH THE LATEST STATE-OF-THE-ART AUDIOVISUAL TECHNOLOGY ONCE AGAIN.

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Taking the place of Singapore’s fondly loved Grand Old Dame of Kallang Stadium - which opened in 1973, was closed in 2007 and demolished in 2010 - is the new National Stadium, the centrepiece of Singapore’s Sports Hub development. The construction of the new complex, a project said to be worth US$1.3bn, is a PublicPrivate-Partnership (PPP) venture between the Sports Hub consortium - made up of four equity partners, InfraRed Capital Partners, Dragages Singapore, DTZ, and Global Spectrum Asia - and the Singapore Sports Council, which consists of a 25-year contract in place to design, build, finance and operate the Sports Hub. As the heart of the complex, it was vital the National Stadium made an impact, and it certainly doesn’t disappoint. The 55,000-capacity stadium is the first in the world to be able to host the sports of football, athletics and cricket, all in the same arena. It also features a fully retractable, free-spanning, domed roof and an energyefficient cooling system designed to keep spectators cool in the tropical climate of Singapore.

World-renowned consultant, Arup was brought onboard to lead the architectural and engineering design. The brief was to design a stadium that would be flexible and versatile, as well as being future sustainable. Arup’s Lead Designer on the project, Clive Lewis said: “We designed the stadium as an elegant dome spanning

310-metres - that’s close to four A380 airplanes parked wing to wing. Not only is it wide, the ultra-thin shell roof structure is very efficient and uses minimum materials for construction.”

While Dragages Singapore, a subsidiary of Bouygues Construction acted as the design and building contractor for the project. Mathew Lamb was specifically appointed by Bouygues Construction to oversee consultant selection, design, procurement, implementation, user acceptance testing and the handover of the cabling, communications, security, event sound, fire and evacuation and audiovisual systems to the operator.

After putting the contract for the audio system out to tender, and accepting a number of bids, the tender was awarded to Electronics & Engineering (E&E) of Singapore, a well-known distributor and installer in the region with more than 60 years of experience in the field. Father and son, Ronald and Gary Goh, who run the company, were both involved with the project and were very hands on, in fact Gary was onsite during a lot of the installation process.

Gary explained where it all began: “The client had very specific performance requirements to be met in terms of SPL, headroom, coverage and distribution and we had, within our stable of products, a powerful combination of EAW louspeakers, Powersoft amplifiers and Symetrix DSPs to meet those requirements.

“We worked closely with EAW and Powersoft on the loudspeaker

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system design and Symetrix on the audio distribution network,” continued Gary.

The stadium is symmetrical along the east-west axis and as such the design of the system was approached in halves. The audio set-up in each half comprises seven EAW QX544 full range loudspeakers, one EAW QX594i three-way loudspeakers, one EAW QX596i trapezoidal loudspeaker, seven EAW QX564i loudspeakers, two EAW QX566i loudspeakers and two EAW MQX8264 threeway loudspeakers, all of which were supplied in in their grey versions. The QX500 Series from EAW was designed with stadium installations in mind, providing very high output levels across the varying coverage patterns of the different enclosures, which are otherwise the same. Due to the nature of the installation, all the loudspeakers are weatherproof.

The loudspeakers are installed in conjunction with 48 EAW SB528ZP direct radiating subwoofers, which are split into 12 clusters of four - six clusters per half - and are mounted in a downward firing cardioid configuration. All of the cabinets are suspended from platforms along the catwalks, which are built within the roof trusses. The roof itself comprises 17,000 individual steel elements weighing in at a total of more than 8,000 metric tonnes.

The amplifiers for each section of the stadium have also been installed in 16 equipment racks located in the catwalks, closer to the loudspeakers, to avoid running miles of cabling. The north cabinets

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are powered by 13 Powersoft Digam K2 amplifiers capable of delivering 12,000W into two ohms and 34 Powersoft Digam K10 amplifiers, incorporating the company’s proprietary DSP+AESOP technology, offering fully integrated sound shaping and system management capabilities. The set-up was repeated for the south side. “The amplifiers were installed in the catwalks to minimise cable runs and because space on the catwalks was limited, the Powersoft amplifiers, being just 1RU were the ideal choice in terms of space efficiency,” explained Gary. “All the amplifiers are networked and run AES inputs as standard and analogue as back-up. The amplifiers are also controlled and monitored via Powersoft’s Armonia software.”

Audio networking is provided by a total of 47 Symetrix SymNet Edge digital signal processors, which are Dante enabled. “Symetrix SymNet Edge utilises Dante and the modular I/O of the Edge frame provided us with the flexibility we required when designing the system,” continued Gary. The Symetrix SymNet Edge DSPs feature open architecture software, SymNet Composer that allow audio routing, processing and mixing, user control, and security to be managed. “The audio network was designed for maximum robustness and redundancy. There is a primary and a secondary network for audio distribution via Dante and both networks utilise a dual ring topology. We chose Dante based on its low latency, quality and it is also the solution that provided the most interoperability

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TECHNICAL INFORMATION SOUND NATIONAL STADIUM: 14 x EAW QX544 loudspeaker; 2 x EAW QX594i loudspeaker; 2 x EAW QX596i loudspeaker; 14 x EAW QX564i loudspeaker; 4 x EAW QX566i loudspeaker; 4 x EAW MQX8264 loudspeaker; 48 x EAW SB528ZP direct radiating subwoofer; 26 x Powersoft Digam K2 amplifier; 68 x Powersoft Digam K10 amplifier; 47 x Symetrix SymNet Edge digital signal processor; 1 x Allen & Heath iLive-112 control surface; 1 x Allen & Heath iDR-32 fixed format mix rack AQUATIC CENTRE: 34 x EAW MK5399i loudspeaker; 22 x EAW LS432i line source loudspeaker; 20 x Powersoft Duecanali 3904 amplifier; 16 x Symetrix SymNet Edge digital signal processor; 1 x Allen & Heath iLive-112 control surface; 1 x Allen & Heath iDR-32 fixed format mix rack OCBA ARENA: 65 x EAW MK2396i loudspeaker; 8 x EAW MK2399i loudspeaker; 127 x Community Professional DS8 surface mount subwoofer; 46 x Powersoft Duecanali 3904 amplifier; 20 x Symetrix SymNet Edge digital signal processor; 1 x Allen & Heath iLive-112 control surface; 1 x Allen & Heath iDR-32 fixed format mix rack WATER SPORTS CENTRE: 3 x EAW QX564i loudspeaker; 3 x Powersoft Duecanali 3904 amplifier; 5 x Symetrix SymNet Edge digital signal processor

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VISUAL NATIONAL STADIUM: 2 x Daktronics LED screen measuring 9.51-metres by 16.46-metres; 2 x Daktronics LED ribbon measuring 0.73-metres by 149.96-metres OCBA ARENA: 4 x Daktronics LED screen measuring 3.17-metres by 5.07-metres AQUATIC CENTRE: 1 x Daktronics LED screen measuring 4.76-metres by 7.61-metres WATER SPORTS CENTRE: 1 x Daktronics LED screen 2.85-metres by 5.07-metres (portable)

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FRANÇAIS

Le nouveau stade national est la pièce maîtresse du Complexe Sportif de Singapour. Situé au cœur du complexe, il est important que celui-ci marque les esprits, et c’est bien le cas ! Ce stade peut recevoir 55 000 personnes et est le premier au monde à être en mesure d’accueillir sous le même toit et en même temps des événements de foot, d’athlétisme et de cricket. Il dispose d’un toit arrondi à travée libre entièrement rétractable ainsi qu’un système de refroidissement à haut rendement énergétique. Le consultant de renommée mondiale, Arup, fut choisi pour en diriger la conception architecturale et technique, alors que Dragages Singapour, une filiale du groupe Bouygues Construction a endossé le rôle de concepteur et constructeur du projet. Après avoir lancé l’appel d’offres du système audio et avoir accepter un certain nombre d’offres, c’est à Electronics & Engineering (E&E) qu’est revenu le contrat. Le Directeur général Adjoint de E&E, Gary Goh a déclaré : « Le client avait des exigences de performance très précises à remplir en termes de NPA, d’espace libre, de couverture et de distribution ». Toutes ces directions reçoivent de légères variations de haut-parleurs EAW, d’amplificateurs Powersoft et de processeurs de signaux numériques Symetrix. Mis à part le Stade national, le Complexe Sportif regroupe un centre aquatique, un stade couvert, l’Aréna OCBC et un centre de sports nautiques, tous équipés par l’entreprise E&E. Ronald and Gary Goh

DEUTSCH between different manufacturers,” he said.

The National Stadium’s control room offers a full view of the venue.

To mix the audio for sporting events or live performances, mixing engineers have an Allen & Heath iLive-112 control surface and an Allen & Heath iDR-32 fixed format mix rack at their fingertips. While the iLive-112 allows a variety of audio I/O modules, network formats and redundant power supply options, it is the iDR-32 that houses the DSP, the networking and control interfaces. The iLive system was supplied by E&E with a number of modules for line input, line output, digital input, digital output, audio control over Ethernet, Dante interface and remote audio. Gary said of the set-up: “The Allen & Heath iLive-112 was chosen based on its sonic qualities, reliability and ease of use. Being able to integrate it into the Dante platform was an added bonus.”

Alongside the mammoth audio inventory at the stadium, E&E also supplied and installed two large LED screens, manufactured by Daktronics, each measuring 9.51-metres by 16.46-metres. The screens are used for advertising, information display and also provide additional viewing points for the audience. E&E also installed two sets of Daktronics LED ribbon for the National Stadium, each measuring 0.73-metres by 149.96-metres and these are positioned on the parapet wall between the second and third tiers of the stadium.

Aside from the National Stadium, the Sports Hub facility includes an Aquatic Centre boasting a 50-metre competitive pool, a 50-metre training pool and a five-metre diving pool, as well as a beginner and surf pool for members of the public wanting a more leisurely swim.

It also has the ability to add further temporary seating and double its 3,000 permanent seating capacity to accommodate a variety of events.

The OCBC Arena consists of six halls over two levels that are designed to be scalable in size, and caters to an array of indoor sports events for both National Sports Associations as well as the general public. This venue was designed to host sports such as badminton, fencing, taekwondo, basketball, netball, volleyball, rhythmic gymnastics training and table tennis.

Finally, there is the Water Sports Centre located along the Kallang Basin, which offers both training athletes and members of the public the chance to canoe or kayak. All of these facilities have also been kitted out by E&E using its audio inventory of EAW, Powersoft and Symetrix.

Gary summed up how it felt to be part of this prestigious project: “We are truly honoured to have had the opportunity to work on this prestigious project, especially since we were involved in the original National Stadium more than 40 years ago. A lot has changed since then and we wanted to bring the latest technological advancements in the fields of audio and video to match the state-of-the-art facilities at the new Singapore Sports Hub and I believe we have achieved our goal.”

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Das neue National Stadion ist das Kernstück der Singapore Sports Hub-Entwicklung. Da es sich um das Zentrum des Komplexes handelt, ist es entscheidend, dass das Stadion Wirkung zeigt und es wird sicherlich nicht enttäuschen. Das Stadion mit 55.000 Plätzen ist weltweit das erste, das Fußball-, Leichtathletik- und Cricketevents in derselben Arena veranstalten kann. Es verfügt ebenfalls über ein komplett einziehbares, freitragendes Kuppeldach und über ein energieeffizientes Kühlsystem. Der weltbekannte Berater Arup wurde für die Leitung des architektonischen Designs und der konstruktiven Entwicklung verpflichtet. Währenddessen fungierte Dragages Singapore, eine Tochtergesellschaft von Bouygues Construction, als Generalplaner und Baufirma für das Projekt. Nach der Ausschreibung des Vertrags für das Audiosystem und der Akzeptierung einiger Angebote erhielt Electronics & Engineering (E&E) den Zuschlag. Der stellvertretende Geschäftsführer von E&E Gary Goh erklärte: “Der Kunde hatte ganz spezielle Leistungsanforderungen in Bezug auf Schalldruckpegel, Bauhöhe, Abdeckung und Verteilung.” Varianten von EAW-Lautsprechern, Powersoft-Verstärkern und digitalen Symetrix-Signalprozessoren abgedeckt. Neben dem National Stadion umfasst die Sports-HubEinrichtung ein Aquazentrum, das Indoor-Stadion, die OCBC Arena und das Wassersportzentrum, die ebenfalls von E&E ausstaffiert worden sind.

ITALIANO

Il nuovo National Stadium è il fulcro dello sviluppo del Singapore Sports Hub (cento sportivo di Singapore). Essendo il cuore del complesso, è fondamentale che lo stadio crei un forte impatto e certamente non lascia delusi. Lo stadio, da 55.000 posti, è il primo al mondo ad essere in grado di ospitare sport quali il calcio, l’atletica ed il cricket, tutti nella stessa arena. Dispone, inoltre, di un sistema che permette al tetto a cupola di ritirarsi (quindi non ha una copertura fissa) e un sistema di raffreddamento ad alta efficienza energetica. Il consulente di fama mondiale, Arup, è stato portato a bordo per guidare la progettazione architettonica ed ingegneristica. Mentre Dragages Singapore, una filiale di Bouygues Construction, ha fatto da impresario per la progettazione e la costruzione del progetto. Dopo essersi iscritta alla gara, per ciò che concerne il sistema audio e dopo aver accettato diverse offerte, Electronics & Engineering (E&E) si è aggiudicata l’appalto. Il vice amministratore delegato di E&E, Gary Goh ha detto:. “Il cliente aveva esigenze di prestazione molto specifiche da rispettare in termini di pressione acustica, altezza, copertura e distribuzione”. Che sono tutte coperte da lievi varianti di altoparlanti EAW, amplificatori Powersoft e processori di segnale digitale Symetrix. A parte il National Stadium, l’impianto Sports Hub include un Centro Acquatico, il Palasport, l’Arena OCBC ed il Centro Sportivo per giochi acquatici, tutti equipaggiati di apparecchiature fornite da E&E.

ESPAÑOL

El Nuevo Estadio Nacional es el plato principal del desarrollo Deportivo Central de Singapur. Al ser el corazón del complejo, es vital que el estadio impacte y no decepcione. El estadio, con capacidad para 55.000 personas, es el primero en el mundo en poder albergar deportes como el fútbol, atletismo y cricket, todo en el mismo campo. Además, ofrece un techo completamente retráctil, con forma de domo y un sistema de refrigeración eficiente en energía. La consultora Arup, reconocida mundialmente, fue convocada para liderar el diseño arquitectónico y de ingeniería; a la vez que Dragages Singapore, una subsidiaria de Bouygues Constructions actuó en el proyecto en la parte de diseño y construcción.

Electronics & Engineering (E&E), luego de aceptar una cantidad de licitaciones, se quedó con el contrato en lo referente al sistema de audio.

Gary Goh, Vice de E&E, dijo: “El cliente tenía que cumplir requisitos específicos de performance desde el punto de vista del Nivel de Presión Sonora (de sus siglas en inglés, SPL), del margen de maniobra, de cobertura y de distribución”. Todas ellas cubiertas por parlantes EAW de poca variación entre sí, amplificadores Powersoft y procesadores digitales de señal Symetrix. Aparte del Estadio Nacional, las instalaciones incluyen un Centro Acuático, el Estadio Interno, el campo de juego OCBC y el Centro de Deportes Acuáticos, todo ello equipado también por E&E.

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HAWTHORN ARTS CENTRE boroondara, australia ASIA/PACIFIC/OCEANIA

In recent years, the city of Melbourne, Australia has invested a lot of time and funds to the arts. Hamer Hall at The Arts Centre Melbourne underwent a full redesign in 2012, as part of a larger project to redevelop Melbourne’s Southbank Cultural Precinct, home to a number of artistic venues.

A little further afield in Boroondara, an area in the inner-eastern suburbs of Melbourne, lies another performance venue that has been given a new lease of life. Formerly Hawthorn Town Hall, but

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now Hawthorn Arts Centre, the building has been standing for well over a century and this renovation project - estimated to be in the region of AUS$18m - has been ongoing for more than five years.

The project adopted the council’s Arts and Cultural Strategy 2008 - 2011, a program designed to safeguard the future of arts and culture. Modernising the building and its infrastructure was key, as was preserving and restoring some of the original features and furniture.

Brett Davies, Cultural Facilities Coordinator for Arts & Culture at Hawthorn Arts Centre explained how the process began: “The hall keeper had been here for 30 years and he used to live in a flat upstairs where he brought his kids up. When the clearing started,

he hadn’t been occupied the flat for six years but he left behind some stuff he’d collected glasses, china, light fittings, old microphones - stacked to the ceiling.

“There was also a community art space upstairs, which had become a dusty old storeroom and there was even more stuff in there. Every single item had to be removed, recorded and sent to the council. We had to itemise everything, look up its history and calculate a recommendation on keeping it, having it restored, or sending it to auction.”

Once that mammoth task was complete the attention turned to the redesign of this Second Empire heritage building - led by Peddle Thorpe Architects - and of course, the audiovisual and theatre technology - led by Hanson Associates audio visual consultants - that would animate the venue during any kind of show or event. The main hall can accommodate orchestral, opera, comedy or small live band performances, as well as conferences and seminars, kids shows and even funerals. While the adjacent room, known as the Chandelier Room primarily caters for

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smaller conferences and seminars, films nights and weddings.

Peddle Thorpe Architects, and builders, APM Group put the audio design out to tender, and after receiving a number of bids, committed to the Adamson sound system, supplied by Australian distributor, CMI Audio. Hanson Associates Director, Mark Hanson, described how the loudspeaker system, in particular, was selected on the basis of meeting strict electroacoustic criteria to cope with the challenging acoustics in the main hall, and the offering of excellent technical support. The systems were installed by Melbourne-based, Rutledge AV. The company’s Project Manager, Daniel Woodward headed up the team, with CMI providing direct support for the tuning of the system.

In the main room, there is one line array either side of the stage, flown just in front of the proscenium arch. Each comprises eight Adamson Metrix line array cabinets, which are supplemented by two Adamson Metrix Sub dual 15-inch subwoofers that sit on the floor in front of the stage. Due to the ornate appearance of the hall’s interior, it was crucial that the sound system didn’t interfere too much with the aesthetics. With minimal mounting points a key factor - eliminating the option for delays - it was essential the two line arrays provided ample coverage for the entire room, yet didn’t challenge the maximum weight loads for the hanging points in the ceiling. This was possible thanks to the coverage pattern - 5° vertical by 120° horizontal - the Metrix loudspeakers provide and the fact that each rig doesn’t exceed 500kg.

Supervising Technician at Hawthorn Arts Centre, Guy Carrison said of the system: “When you first have a system like this you try and break it, but it’s unbreakable. That prepares a venue for what gets

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TECHNICAL INFORMATION SOUND 24 x Adamson Metrix line array cabinet; 4 x Adamson Metrix Sub dual 15-inch subwoofer; 2 x MC² Audio T1500 amplifier; 6 x MC² Audio T1000 amplifier; 2 x XTA DC1048 loudspeaker management system; 1 x Soundcraft Si Compact 24 digital mixer lighting 16 x ETC Source Four theatrical profile; 9 x ETC Source Four PAR fixture; 12 x Spotlight Combi 05 F fresnel; 1 x LSC Lighting maXim L console, 48 x LSC Lighting Redback dimmer www.hawthornartscentre.com.au

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128 VENUE

thrown at a system, whether it’s rock n’ roll or whether it’s a kids show. We can handle anything; it’s unstoppable.”

In the Chandelier Room, it’s the same system scaled down, so there are eight Adamson Metrix line array cabinets split into L-R clusters and a further two Adamson Metrix Sub dual 15-inch subwoofers, which sit on either end of the balcony and face into the centre of the room, side-firing subwoofers in a sense.

“We’ve got eight amplifiers that run the main hall, and four that run the Chandelier Room. They’re all MC² Audio, and we’ve got a variety of T1500’s and T1000’s,” continued Guy. The main room is powered by four MC² Audio T1500 amplifiers - two of which are bridged for the subwoofers and two that cater to the high frequencies of the Metrix cabinets. Another four MC² Audio T1000’s provide amplification for the low frequencies. Once again, the Chandelier Room replicates the set-up but in smaller quantities.

Here there’s a total of three MC² Audio T1500 two-channel amplifiers and two MC² Audio T1000 amplifiers, both of which feature MC² Audio’s complementary Class-AB bipolar topology.

System processing and control is delivered by two XTA DC1048 loudspeaker management systems - one for each room - which operate in conjunction with iCore software.

“Something CMI did was give us a second preset option - in addition to our main hall set-up - of a thrust stage,” explained Guy. “We do a lot of conferences, seminars, and also funerals, and the thrust stage option gives us the option to carry out a retune on the lecture microphones we use for these sort of events. Basically, if the lectern has to be in front of the line arrays, we can go to option two. Some equalising takes place in the XTA units and recalibrates the system, taking away the risk of feedback.”

The in-house mixing console at Hawthorn Arts Centre is a

Soundcraft Si Compact 24 digital mixer featuring 24 recallable mic pre amps, four stereo returns, AES input and 64 input option slot, it is also equipped with buses and output processing to match the versatile inputs. The console is sufficient for a theatre-style event seating up to 411 people, which can be extended up to 611 people with a different seating style. However, if it’s an open floor event that will quite comfortably fit 800 people, bands generally bring in their own desk.

Though the venue is very much up and running, the renovations are still ongoing. In Brett’s mind, the next challenge is reconditioning the opulent chandeliers that hang in the centre of the main room.

“The motors have got to be replaced, the lighting has got to be replaced with LED because it’s currently a mixture of incandescent and fluorescent,” he said. “With LEDs, you can change the lighting to any colour, any mood, any brightness, that’s the beauty of it and that can really change the mood or the theme of the room. That’s just a fantastic selling point.”

Aside from the decorative chandelier lighting, Hawthorn Arts Centre is also home to a number of typical theatrical lighting fixtures including 16 ETC Source Four profiles, nine ETC Source Four PARs and 12 Spotlight Combi 05 F fresnels. Control for the lighting equipment is via an LSC Lighting maXim L console, which is equipped with 36 fader channels in normal mode and 72 fader channels in wide mode, should any given event require more channels. Dimmers were also supplied by LSC Lighting in the form of 48 Redback dimmers, which allow up to 2.4kW per channel.

New performance venues are built around the world on regular occasions, mostly to spectacular effect. However, restoring an older building to its former glory and injecting it with new life is often just as impressive. Hawthorn Arts Centre is indicative of the latter.

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CANVAS singapore, singapore ASIA/PACIFIC/OCEANIA

After enjoying many successful years as an underground hotspot, Home Club, a collaboration between co-owner, Roy Ng and Bed Concepts - a management and consultancy firm specialising in the creation, execution and operations of hotels, restaurants, bars and clubs - has seen the venue reincarnate as Canvas, a venue that combines art with nightlife entertainment.

Roy has been active in the clubbing world for many years, a DJ in his early adult life, which was followed by owning and operating Home Club for 10 years. The decision to transform the space did not come easily, the club’s clientele had become somewhat of a community, but as generations move forward, it was time for a change.

Canvas Singapore was born through a business partnership between Roy and Mahen Nathan of Bangkok-based Bed Concepts, possibly most famous for operating Bed Supperclub in the Thai capital. It’s located in the bustling area of Upper Circular Road, set amongst other clubs, bars and restaurants and the duo are so confident in this new concept that a venue, which will bear the same name is already under construction in Bangkok. Though a partnership exists between the two, both Roy and Mahen are in control of the separate opera-

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tions in Singapore and Bangkok, respectively.

By day, Canvas invites artists to present their work for visitors to view as an exhibition, while by night it’s that very same collection of art installations, which makes this clubbing concept unique. Fusing together a number of striking art collections with audio, lighting and visual technology and making them complement one another was a task that fell to Razi Razak, Head of Curation at Canvas and Ming Yuen, Head of Entertainment and resident DJ at Canvas.

Mahan said: “The launch of Canvas Singapore is really to showcase the flexibility that will be made available for artists to exhibit in. From installations and murals to short films and photography, we can demonstrate how much of a blank canvas the venue can be.”

Equipping the venue with technology lay in the hands of Sennheiser Asia and Master Lights & Sound. On the audio side, the new system had to be capable of catering for the new music genres from house to funk and techno, while at the same time be able to provide background music for when the venue is in gallery or event mode.

Roy said: “Music is still part of our DNA and so it is important for us to ensure that its presence helps accentuate the art on exhibit. Ming

and his team have crafted a signature sound that is versatile enough to serve as both ambience and anthem.”

He continued: “When the venue was Home Club, it was all about ythe clubbers and the music but the culture is different now, guests want an experience at clubs, table service and brands of all kinds are very important.” Three audio brands were in competition for the new sound system but when Sennheiser Asia demonstrated its offering in the space, Roy and Mahen were convinced by the K-array system. Roy explained one of the reasons behind the choice: “One of the things I like is that you can talk, but not have to shout, even when the loudspeakers are on.”

Canvas is an intimate space, so it was not an option to groundstack any of the loudspeakers or subwoofers, but a full coverage solution was required. The main system comprises four K-array KH4 line array loudspeakers and four K-array KS4 subwoofers, split evenly between the corners of the dancefloor area and flown back-to-back to extend the low frequency coverage. The KH4’s produce a 120º horizontal coverage pattern and a 37º vertical coverage pattern and coupled with the KS4 dipole subwoofers, create a high performance large scale solution for Canvas. A further two K-array K070 subwoofers are in place to add even more punch to the system during live band performances.

An additional K-array KF12 coaxial loudspeaker provides the fill for the VIP area of the room. Despite their ultra-compact size, the KF12’s have an incredible reserve of power that produces high SPL across a wide 3D coverage, offering a surround sound effect. One more KF12 is used as a DJ monitor. Roy explained: “As well as being impressed with the sound of the K-array system, I also felt it was aesthetically pleasing in the venue.”

Outdoors, the K-array equipment continues with four KK100 slim loudspeakers accompanied by two KL1ma subwoofers, providing coverage for the outdoor terrace overlooking the city’s river view. The full K-array system is self-powered, however, loudspeaker management is provided by a Lake LM 26 processor, which controls the crossover, delay and EQ functions for the audio set-up both indoors and outdoors. Mixing requirements are taken care of by an Allen & Heath GLD-80 compact digital console.

The desk provides the mixing engineer at Canvas with 48 input processing channels, 30 configurable buses, 20 mix processing channels, and 28 XLR mic inputs with plug ‘n’ play I/O expanders.

One of the art forms available at Canvas is video. For this a large projection screen has been installed

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along one side of the room and two Canon projectors are used to deliver the content. While for other exhibits, lighting fixtures were installed by Kevin Ng of Master Lights & Sound in order to enhance and showcase the individual pieces. Kevin said: “I’ve known owner Roy for many years, he introduced me to Mahen, and then the pair asked me to provide a lighting and laser design for the space.”

Two Robe MiniMe moving heads have been ceiling mounted at Canvas. The MiniMe is a compact fixture that not only produces a wide range of lighting effects that you would expect from an LED moving head, but it has full video output as well. The in-built video technology allows live video streaming via a high definition multimedia interface or still photographs and videos can be pre-loaded and then outputted onto the projection screen.

Additional intelligent lighting fixtures include four LED beam moving heads and two LED strobe moving heads, all sourced from China.

And completing the line-up are two Kvant ClubMax 3000 RGB lasers.

A new nightlife hub in Singapore is nothing out of the ordinary, entertainment venues are opening up all the time due to the wealth of the country and market demand. Creating something unique is not such a regular occurrence and creating it amongst fierce competition is something that should be highly praised.

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TECHNICAL INFORMATION SOUND

4 x K-array KH4 line array loudspeaker; 4 x K-array KS4 subwoofer; 2 x K-array K070 subwoofer; 2 x K-array KF12 coaxial loudspeaker; 4 x K-array KK100 slim loudspeaker; 2 x K-array KL1ma subwoofer; 1 x Lake LM 26 processor; 1 x Allen & Heath GLD-80 compact digital console

LIGHTING

2 x Robe MiniMe moving head; 2 x Kvant ClubMax 3000 RGB laser; 2 x Canon projector; 4 x LED beam moving head from China; 2 x LED strobe moving head from China http://canvasvenue.sg

TECHNOLOGY. EXPERTISE. INFLUENCE.

PLASA London returns to ExCeL London from 5-8 October 2014.

The show will welcome the biggest names in lighting, audio, video and stage technology - and thousands of visitors from around the globe - to the most vibrant city in the world.

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IN BUSINE S S ENTECH CONNECT, MELBOURNE ATTENDED BY RACHAEL ROGERSON

SYSTEMS INTEGRATION, MANILA ATTENDED BY RACHAEL ROGERSON

PRODUCT LAUNCH ROBE - BMFL

EXPO LAUNCH

AN INTRODUCTION TO PRO

PRODUCT GUIDE

MEDIA SERVERS & VIDEO PROJECTORS

PRODUCT DIRECTORY We have a varied and interesting In Business section for you this issue, which kicks off with two show reports from Rachael who spent the majority of her summer months travelling East - first off she headed to Melbourne for the Entech Connect show and then it was on to Manila, where she attended the Systems Integration show for the first time.

While over in Australia, Rachael also attended an exclusive Robe product preview where she got first look at the BMFL moving head.

You can read all about its many features in her report in the pages following.

Also in this issue we bring you an introduction to the latest show to join the expo calendar - PRO, being held in Birmingham, UK, alongside BPM, which is backed by ourselves and sister publication, TPi magazine.

The Product Guide this issue focusses on visual technology - media servers and video projectors in particular. Check out some of the most interesting product releases now available.

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1. Dusan Navara and Martin Pelikan of Kvant. 2. Jamie Boey of High End Systems with Chris Curran of TMB on the Lexair stand. 3. Adam Dullens and Robert Mazzanti of Audio Logistics. 4.

Michael Gearin and Paul Nicolaou of Show Technology. 5. The outdoor line array demonstration area. 6. The ULA team - Lenka Šatánková, Josef Valchár of Robe, Cuono Biviano, Michael Montgomerie-Williams, Blair Terrace, Tony Lukeman and Toon Servaes of ArKaos. 7. Dean Stevenson of Interactive Controls. 8. Showtool’s Robert Runko flanked by his colleagues. 9. David Cribbis and Ray Walsh of Bose.

ENTECH CONNECT MELBOURNE

The second edition of Entech Connect took place on 23-24 July at its new home, the Royal Exhibition Building in Melbourne. This sibling show alternates from year to year with Entech in Sydney - the original Australian tradeshow dating back to the early ‘90s - and is billed as a platform for education, networking and training, as well as a chance to showcase products for the first time to the Australian market.

Looking back at the first Entech Connect in 2012, there were some improvements this year. The inner city location was favourable, and the building itself was architecturally stunning. The high ceilings meant exhibitors were more creative

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with stand designs, with most opting for custom-made booths, rather than shell scheme, which always adds sophistication to any show.

A number of new features were also present this year. Topping the list was the live audio demo area, something that has not been a fixture at any Australian tradeshow in more than a decade. Companies that took part included dBTechnologies, Bose, Yamaha and Void. Despite a couple of complaints from neighbours - which let’s face it, is quite a regular occurrence if a show is taking place in a built up area - the live demonstrations were well received and attracted crowds for each session.

Onsite training pods were dotted around the show floor, offering exhibitions the

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1. The National Audio Systems team headed by Shanye Bailey (right). 2. Simon Barrett and Keith Bradshaw on Show Technology’s second stand. 3. The Jands stand. 4. Matthew Kenny and Colin West of Framelock Barriers. 5. Franco Zaghini and Paul Owen on the DTS stand. 6. Coral Law and Cherry Zhang of Ledika. 7. Jeremy Nolan of Above & Beyond. 8. One of the final seminars - The Future of Lighting Technology headed by Joseph Mercurio from University of Melbourne and featuring Robe’s Josef Valchar, LeRoy Bennett of Seven Design Works, Peter Johansen of SGM, Todd Hensley of Schuler Shook and eleven Design’s Paul Collison.

opportunity to pass on their knowledge to the next generation of lighting designers and audio engineers. Exhibitors that participated in the onsite training programme included ULA Group, Yamaha, Jands, Bose, Show Technology, National Audio Systems and Sennheiser.

An extensive seminar schedule was in place across the two days, with four streams running simultaneously. Seminar speakers included world-renowned lighting designer, LeRoy Bennett, leading visual designer for large scale sporting events, Paul Collison of eleven Design, and audio design expert, Scott Willsallen of Auditoria to name just a few. Various representatives from manufacturers - some of which had travelled from Europe to attend - also sat on discussion panels to ensure a diverse range of debates.

On the show floor itself, lighting and visual technology did dominate over audio.

Just one of the major audio distribution companies in Australia took a stand and that was National Audio Systems, which represents d&b audiotechnik, dBTechnologies, Midas, Amphenol and PreSonus. Exhibiting independently there was Sennheiser, Bose, Yamaha and Meyer Sound.

DTS Australia’s Paul Owen said he felt the lighting market was healthy at present.

On the booth he displayed the DTS MAX and Wonder fixtures for the first time in the region. ETA, distributor of SGM celebrated 12 months in business and reported that the buzz around the SGM brand is building nicely. First time exhibitors included Chinese truss manufacturer, Ledika and Slovakian laser company, Kvant.

Show Technology had two booths, one for each of its lighting brands, Martin Professional and Clay Paky. Lexair took some space to showcase High End Systems’ new Shapeshifter moving head, as well as the latest products from Green Hippo and TMB. And Robe distributor, ULA Group, previewed the new BMFL fixture from the manufacturer - more news on pg 144 - which began with the exclusive Robe Reveal Night on the eve of the show.

Visitor numbers were totalled at 1,378 after closing, a 20% increase on figures from 2012, while seminar attendance was also up 28% on the previous show. The actual size of the show provoked discussion, and although there was an increase

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in size from the 2012 edition, some still felt it was small. However, in my opinion, most regional shows are of a similar size these days.

Regional shows serve a different purpose to those aimed at attracting huge international crowds, and I am aware a number of companies have lost faith in the former kind. Instead, some companies are favouring events such as roadshows and training conferences as they often prove more targeted and focussed.

Though the typical tradeshow model may not be as popular as it once was, as a publication, it offers us the chance to meet with a number of regional distributors all at the same time. However, I can of course appreciate, that for exhibitors the desired outcome of a tradeshow is somewhat different. On the whole, yes there are too many shows for our industry, but where do we begin with the culling?

This, of course, then opens up the debate of Entech versus Integrate. The latter takes place just a month after Entech. For the entertainment market, I personally think Entech is more appealing, however, I know among the Austrialian players there is support for both. I’ve got no doubt the competition will continue to play out for the foreseeable future - especially in light of Integrate’s recent announcement that its 2015 show will take place in Melbourne - but whether one will champion over the other is anyone’s guess.

Stephen Dallimore, Event Manager of Entech Connect commented: “The show far exceeded our expectations. When we launched this concept of an industry show that was focused on education, onsite training and networking, not just the tradeshow element, I didn’t expect to see it embraced so quickly by everyone in only its second year, though it was unfortunate that Melbourne was hit by a cold snap that resulted in a cooler than expected venue. The introduction of the onsite training rooms, more international speakers and opportunities for greater visitor experience has seen our clients report back that the quality of attendees was high, and several have reported brand new business opportunities already too.”

Entech celebrates its 21st anniversary next year. The show will take place at the Royal Halls of Industries, Moore Park, Sydney on 7-9 July 2015. For more info, go to: www.entechshow.com.au

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1. Shiela Petalio, Milanie Initorio and Elizer Ylanan of Stage Craft. 2. James Heron of Green Hippo with Richard Tan of distributor, Beyond the Blue. 3. The Forerunner Technologies stand. 4. The team on the Imatech stand, which distributes Dataton in the region. 5. The Vertek Professional team headed up by President, Anthony Lim. 6. Christopher Cristobal and Juan Luis Garcia on the D.A.S. Audio stand. 7. Tom Lim Uy and Theddy Johnson Uy of Pearl Rover Lights & Sounds.

SYSTEMS INTEGRATION

MANILA

If I could live anywhere else in the world, other than the UK, somewhere in South East Asia (SEA) would be at the top of my list. I’ve always found the people in that part of the world welcoming and I like the fact that no matter which country in SEA you visit, there are similarities to relate to, yet every place has its own unique identity.

Travelling to the Philippines for the first time in August, of course, I was apprehensive, as Manila is not known for being the safest capital in the world, but I was also excited to visit a new place. As it turns out, in ‘our’ world at least, Manila

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appears to be thriving, and this is reflected by an upbeat and positive atmosphere.

It wouldn’t surprise me in the slightest if the Philippines cropped up in the next economic acronym of countries - following BRIC (Brazil, Russia, India and China) and MINT (Mexico, Indonesia, Nigeria, and Turkey) - symbolising potential growth.

During my trip, I visited and discussed a number of projects - some of which have recently completed, some of which are ongoing and are into the second phase and some that are due to complete in a few months time. Keep an eye out for these in an upcoming issues of mondo*dr, or get started straight away with the first

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PLASA LONDON OCT 5-8 STAND F30

SATIS, PARIS NOV 18-20 STAND C43

Image courtesy UnionWZP.com and Brookfield Office Properties

LDI, LAS VEGAS NOV 21-23 STAND 1343

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1. El Kapitan’s Armando Galang and Michael Dutcher. 2. The Stage Riggers stand. 3. Sales Manager of One World Music and Sports, Mon Pacleb. 4. The team on the Audio-Video Solutions Corporation team, headed by General Manager, Michael Sanchez (second from left). 5. The EVI team strike a pose.

venue, the Philippine Arena, a venue with a capacity of up to 55,000 and that currently holds eight Guinness World Records by turning to page 108.

My trip to Manila also involved me visiting Systems Integration, a show organised

by Global Link Exhibitions, that has been running in some shape or form for the last 10 years. This year it took place from 14-16 August at the SMX Convention Center in Pasay City.

The show as a whole is made up of six smaller shows: PALMM which caters for audio lighting and visual technology; Comm World for IT and telecoms; Corporate Gifts Expo incorporating gifts and promotional products; Signs & Media World Expo for digital signage; Educa Expo aimed at the education and training markets; and T.O.P.S to serve the office products and services sector.

Though amalgamating shows can attract a larger footfall overall, it doesn’t necessarily bring the right crowd for each and every sector. After speaking to exhibitors on the show floor, many told me the professional audio, lighting and video portion of the show had been bigger in previous years and also offered further options for brand and product exposure. For example, last year, there was an audio shootout outside, at the back of the hall, but this year that was no longer an option due to the construction of Conrad Hotel in that very spot. This led to audio demonstrations taking place on the show floor instead, making for a very noisy atmosphere.

A number of the major distributors in the region participated in the show, with products on display from K-array, L-Acoustics, Green Hippo, Prolyte, Electro-Voice, Avolites, Tannoy, Dataton, Nexo, D.A.S. Audio, FBT, DTS, Vari-Lite, Funktion One and RCF to name just a few. And there was a scattering of Western faces that

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had travelled in to support their distributors. Seminars took place throughout the three days, however, due to the Philippines being an emerging market, I think more training offerings would have strengthened the show.

On some levels, this show does tick boxes for a regional tradeshow, however, the main feedback from the professional audio, lighting and video exhibitors was that they are unhappy, as they would like the show to be most focussed on their market sector. As a consequence, some exhibitors are considering organising their own show next year. Personally, I don’t think this is the answer. There have been breakaway shows in the past that have gone head-to-head with the original, which have been fatal for both. Other show feuds are still ongoing and the strain between them is glaringly obviously because they split the market.

Currently, I don’t feel there is a show in SEA servicing the market effectively, especially with the cancellation of Palme Thailand, Palme Vietnam and Palme Asia in Singapore, all organised by Informa. But perhaps these cancellations signal it’s time for a change. Tradeshows do still offer many advantages to companies, but they have to combine a number of key elements: all areas of technology; onsite training and seminars; live product demonstrations areas; networking opportunities; and they have to have international appeal. The latter is of the upmost importance as everyone craves information about the global market. Maybe a tradeshow that incorporates all the SEA countries might be a good option? But if the market doesn’t agree, it needs to speak out.

Dates for Systems Integration 2015 have yet to be announced. For more information go to: www.gesi.com.ph

Great dance club design begins and ends with massive, captivating sound that is felt as much as it is heard. The Marquis Dance Club Series brings the passion that JBL engineers have for sound directly to the dance floor, saturating the entire environment with high energy, irresistible movement and an unforgettable experience.

Marquis Dance Club Series comprises eight powerful multi-way systems and subwoofer models that combine JBL’s extraordinary sound, proven reliability and breakthrough technology with striking architectural design and versatile configurability. With the Marquis Dance Club Series, JBL Professional takes a giant step onto the dance floor. jblpro.com/Marquis

Š 2011 JBL Professional

144 PRODUCT LAUNCH

2

1

3

4

1. The BMFL preview event took place at the Royal Exhibition Building in Melbourne. 2. The many capabilities of the BMFL were demonstrated during the preview. 3. The BMFL offers a zoom from 5º to 55º and the output lens has a diameter of 160mm in order to create a nice fat beam. 4. ULA’s Managing Director, Cuono Biviano described the BMFL as a world-leading product.

ROBE LAUNCH BMFL Ahead of the highly anticipated official worldwide launch of Robe’s new big lighting fixture, the BMFL - Bright Multi-functional Luminaire - on Tuesday 2 September, CEO and co-owner of the Czech Republic based lighting manufacturer Josef Valchar jetted from Glasgow, UK - the city which played host to the twentieth Commonwealth Games - to Melbourne, Australia.

This was to present the exclusive, invite only BMFL preview on the eve of the Entech Connect tradeshow on 22 July.

Robe’s long-term Australian distribution partner, ULA Group, hosted the evening’s proceedings which was attended by lighting designers, operators and programmers, systems integrators, rental houses and members of the press. ULA’s Managing Director, Cuono (Con) Biviano welcomed everyone to the event: “The turn out tonight is a testament to our philosophy that business is built on relationships. There are customers here tonight who are now friends and have supported myself and ULA since its inception in 1991.

I deeply thank you, and I’m happy that you are here tonight to witness this event with me and my team.”

Being very fond of Australia and an integral part of developing the Australian market together with Con and ULA, Josef felt Melbourne was the ideal pre-launch

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platform to demonstrate how much he values both Australian and New Zealand markets.

The BMFL Spot - the first in a series of BMFL moving lights - is a 1,700W spot fixture that is extremely compact for its power, weighing in at just 36kg. It utilises an Osram lamp designed specifically for Robe, which is the result of a two year collaboration between the two companies and a process that involved testing more than 20 different lamps before reaching a design that fulfilled the desired performance.

The lamp has CRI of 90/92 and lasts 750 hours operating at 1,200W or 1,500W and 500 hours operating at 1,700W. Josef explained some of the design process: “We were focussed on making a light that is extremely powerful yet eco-friendly. We actually started this eco philosophy in 2010 and want to continue the trend.”

The BMFL features an optical system that offers a zoom from 5º to 55º and the output lens has a diameter of 160mm in order to create a nice fat beam, a parameter that was carefully considered during the design process. Another key feature of the optical system is that it delivers a homogenised, even beam without a hotspot.

Also important is the colour mixing system, on which

Robe spent considerable time. “Thanks to a new technology that we have applied to the product, the colour mixing system allows the creation of very light pastel through to deeply saturated colours. With this colour mixing system you don’t see any distortion, it’s completely homogenised and that’s really unique,” continued Josef.

The BMFL has two colour wheels. The first colour wheel contains the saturated colours - red, blue, orange, green, light magenta and congo blue. The second is made up of pink, lavender, laser green, CTB, minus green and minus half green. “These last two colours can be used to influence the final colour temperature when the lamp is aging and improve the CRI of the white output,” Josef explained.

“It means that a lamp with 300-400 hours remaining can still produce colours that are very close to those of a new lamp, a feature I think will be appreciated as the lamp will have a longer practical usage time.”

The BMFL features two rotating gobo wheels, each with six slot and lock gobos and two rotating prisms, one a linear six-facet prism and the other a six-facet circular prism. Both can be used for aerial effects and projection.

The dual graphic wheels both focus on the same

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146 PRODUCT LAUNCH

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2

3

4

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1. Editor of mondo*dr, Rachael Rogerson at the preview event with Robe co-founder, Josef Valchar. 2. The exterior of the Royal Exhibition Building was also lit by Robe fixtures to welcome the guests. 3. 4. & 5. The BMFL’s gobo effects.

focal plane but the rotation and movement can be controlled and varied in order to create cool and infinitely subtle special effects.

The frost and dimming functions provide further effects.

Frost is available in light, medium or heavy so the beam can be diffused in three steps. “Basically with the variable frost you can use the fixture as a wash-light or you can have a nice smooth transition from the hard edge beam to a soft edge beam,” said Josef.

“The dimmer is extremely smooth and has no distortion, so you can see the full beam until it totally disappears.

The strobe effect is also pretty authentic with up to 10 flashes per second.”

Topping off the features list, the BMFL also incorporates newly patented Electronic Motion Stabiliser (EMS) technology invented by Robe. It works in a similar way to the image stabiliser on a camera lens and enables the fixture to absorb some vibrations from audio outputs, truss vibrations or excessive sub bass for example.

Josef explained further: “This feature was invented because this product is aimed at long throw applications, it has massive power - at five metres it produces 250,000 lux - and there is no other product on the

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market with this output.

“With other fixtures, you can often see that little bit of movement, but with the EMS system reducing this and compensating the movement by 70-80%, it’s a great feature and we spent some serious time on its development.”

Over the summer months, the BMFL has already been out and about making an impact through guest appearances. These have included two major EDM extravaganzas. Firstly, the launch of David Guetta’s new live show at Global Gathering in the UK with LD Jonathan ‘Leggy’ Armstrong. Also in Arena 13 - hosted by leading club concepts including Pussy lounge - at the Tomorrowland Festival in Belgium, with LD Kristof Van Mensel.

However, the largest reference was the Opening and Closing Ceremonies of the Glasgow 2014 Commonwealth Games with 64 BMFLs on each show and lighting design performed by Tim Routledge, events in which Josef is very proud to have been involved.

In addition to these high profile shows, LD Tom Kenny debuted the BMFL prototype in the US during the 2014 Teen Choice Awards in LA, where he used 48 fixtures on his rig with spectacular results.

The Robe BMFL Reveal Night in Melbourne concluded with Con saying a special thank you to a number of people: “Stephen and Kate and all at ETF, all here at the Royal Exhibition Building, Warren, Matt and their crew at MPH Australia and Clifton Productions, BMW Australia for supplying the Grand Coupe 640i, all of my team at ULA especially Lenka, Tony, Blair and Michael, all of the media present tonight and to the fantastic catering by Sam Conti at The Catering Company.”

And of the new BMFL, he concluded: “I’m confident to say that the BMFL is everything we expected it to be and much more. It’s going to be a very successful product. Josef, congratulations to you and Robe’s R&D team on producing a world-leading product. I wish it the greatest success.”

The BMFL Spot starts its global roadshow this month, a synchronous event planned across more than 50 countries enabling all potential users and interested parties worldwide to see the new fixture in action.

The BMFL Spot will be followed in the next few months by two more BMFL models - the BMFL Wash and the BMFL Blade. Stay tuned! www.robe.cz

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148 expo launch

AUDIO AND LIGHTING TECHNOLOGY SHOW Mark Walsh Sales Director A DJ trainer and passionate advocate of the mobile DJ industry, Mark co-founded BPM and PRO. With a background in radio, sales and almost 20 years as a mobile DJ, Mark is fully immersed in the DJ, lighting and sound industries.

This year sees the first PRO show, an audio, lighting and audiovisual event, which will run alongside BPM. Why did you decide to launch the event?

Mark: Over the past few years BPM has gained new exhibitors year-on-year and is rapidly becoming the only event many brands choose to exhibit at. Some of this expansion naturally moved into different areas and we felt that if we were not careful, it could have led to BPM losing its focus. PRO was a natural progression for us.

Eddie: It was conceived to make sure that BPM retains its DJ and electronic music production focus and at the same time allow the audio and lighting sector to find an exciting new home. It’s much easier to market a DJ show to a DJ and an audio and lighting show to a production company. We are more ‘sound heavy’ with exhibitors and I think this just goes to prove that current shows aren’t ticking the right boxes particularly in the audio market.

Where some music events have struggled in recent years, BPM has continued to increase visitor numbers, what’s been the key to its success?

Eddie: We get asked this a lot, and we always say as organisers we really understand both the marketplace and what a visitor requires from an event. BPM has always been so much more than just an industry exhibition; our exhibit floor is only one part of the visitor experience. Our seminar programme has grown to be a phenomenal success with over 54% of visitors attending one session or more last year. People come to the show to learn new things and, with the technology getting more complex, these valuable and inspiring sessions are one of the keys to the success of the show. Other major factors are our attitude and understanding of the sector, we have a ‘can do’ approach to our projects. We’re a small (yet ever expanding) team who, over the past seven years, have gained the trust of the exhibitors we serve. We ask a lot of questions and listen; all common sense stuff, but a winning formula.

Has it been tough to sell a new show in this economic climate, what has the industry response been?

Lindsay: No not tough in that sense, people seem to really get PRO as a concept and see how the separation from BPM and focus can only help. Interestingly though, launching PRO has already strengthened BPM. We recently did a year on year comparison of exhibiting brands and in 2014 we are over 20 brands up. I would love to say the journey has been easy, but it has been hard graft. We have really made an effort this year to raise awareness of BPM and therefore PRO and we have been everywhere making sure we are on everyone’s radar. Budgets are tight, but the trade does recognise that there is a need for a new show. PRO offers them that with a central Birmingham location and fair pricing.

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In recent years some music events in the UK have struggled, however there is one that has continued to gather pace. BPM registered its highest attendance figures yet last year and this year the team are launching PRO the audio and lighting technology show held alongside BPM at the NEC in Birmingham from 13-15 September. mondo*dr met up with the team to uncover the secret to its success.

Lindsay Gouldthorpe Sales & Operations Manager A music lover and event organiser extraordinaire, Lindsay has been with the team for over four years helping to organise BPM. Having worked in the events business for a decade, she has gathered valuable experience in the large event market.

Eddie Short Marketing Director An entrepreneur and music lover, Eddie along with Mark, launched BPM - the world’s biggest event for DJs. He started his first mobile disco business at the age of 12 and he founded Pro Mobile magazine in 2003.

You’re known for leading the way with a fresh thinking attitude for music events, what’s new this year?

Eddie: This year we have really change things with our ticketing. We are moving from a wristband model to a digital ticketing and badging system. This has enabled us to collect more data during the registration process, and will allow us to track attendees around the show. We have been very clear with our marketing that we are running two shows. There will be separate entrances for each show - although they will also be conveniently linked internally, therefore PRO tickets allow entry to BPM and vice versa.

Mark: We also have new exhibitors and performers which have never before been to the show and of course, the whole new show dedicated to the professional audio and lighting industry.

What can we expect from the new PRO show and BPM? Mark: I think with having PRO attached to BPM the show will have a new level of aspiration, whilst retaining its grounding and relevance. For a PRO visitor you will see a new, modern, vibrant event. We have been careful in designing PRO to ensure that it will retain the excitement and interactivity for which BPM is known.

However, it will have a different feel to BPM; less noisy than the DJ side - in essence, more ‘PRO’. I think for a traditional BPM visitor you will see a much bigger event, one that has been laid out with more thought.

What would you say to those who have yet to exhibit at either show?

Lindsay: Why wouldn’t you exhibit with us? We are the largest dedicated DJ show in the world and PRO is only going to follow suit in its attendance figures and quality. We appreciate that exhibiting at any event is hard work, its much easier to just stick an advert in a magazine or send out an e-shot, however, there is a real need for any company to do face-to-face marketing. Both BPM and PRO are, essentially shows for the user base of the products, whilst also facilitating the B2B customer.

It is this unique mix that our exhibitors can expect, one minute they can be talking to a sound engineer about why they should be using the gear and in another, closing a deal with a major reseller.

It’s PRO’s very first year, how do you think the show will go?

Mark: We hope it will go fantastically and be incredibly busy! But seriously, as long as we deliver the right quality of visitor in year one we will be happy. Exhibitor-wise we are overwhelmed at the trust and commitment of the industry so that’s one tick in our success box. A combined audience of over 10,000 is our target. I think every one of our exhibitors sees that they are on a journey with PRO. I can pretty much guarantee we won’t get everything right in year one, but we hope to come close.

We will then listen and come back with an even bigger and better show in 2015.

expo launch 149

NEW FOR 2014 MOBILE APPS FOR BPM & PRO The new apps allow users to access the latest timetables, event floorplans, exhibitor lists and links to all show partners.

Mark Walsh co-founder of PRO and BPM said of the apps: “They allow event attendees to find their way around easily and get the most from the day. With a handy floorplan, links to all exhibitors’ information and social media sites, as well as contact details for everyone who has downloaded the app, it’s the perfect addition to our show. It also allows us as the event organiser to quickly gather important audience feedback from the event, helping us to tailor content and user experience in an agile way.”

SEMINARS

@ PRO LEARNING SPACE DATE

SEMINAR TITLE

HOSTED BY

13/09

12.30

Audio Engineering: An Insider’s Guide

ISCE

13/09

13.30

Computer Sound Design

Nexo

13/09

14.30

Meet HAL: Using Programmable Multi Processors to Improve Fixed Installations

Rane

13/09

15.30

The Wonders of Wireless Audio

ISCE

14/09

12.30

Wireless Microphones - Everything You Need to Know

Sennheiser

14/09

13.30

Panel: Why are production budgets being slashed if live music is on the up?

PSA

15/09

14.30

Achieving Audio Finesse with Microphone Placement

Allen & Heath

15/09

15.30

The Dark Side of LED

Chauvet Professional

15/09

12.30

Cardioid Bass / Directional Bass

OHM

15/09

13.30

Hippotizer & it’s Uses in Visual Production

Backstage Academy & Green Hippo

15/09

14.30

Just Visualise It

Elation

15/09

15.30

A revolution! Safe, Controlled Ambient In-Ear Monitoring

ACS Custom

Dates and times are subject to change, please check the PRO show guide.

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150 expo launch

PANELS Saturday 13 September Future of the Record Label Representatives from leading electronic music labels will discuss what their role is now, and how they see the role of the record label developing in the future.

Panellists: Oli Wood(Black Butter), Matt Benn (Soundplate Records), Matt Dicks (AEI Media) & Charlie Gardner (Panda / Bambusa) Making Money from Music The panel will discuss their personal experiences of both traditional and alternative revenue streams for producers including downloads, streaming, compilations, TV/film licencing and more.

Panellists: Rick Parkinson (SubSoul), Ashley Caselle (DJ/Producer), Omid 16b (Alola Records) and Kieran Bailey (Aquasky) How to Get Ahead...

Establishing yourself as a DJ/producer can be tough, but this panel will focus on things that you can do to get ahead of the crowd.

Panellists: Craig Connelly (DJ, Producer & A&R), Mojo Filter, Jay Cunningham (On The Rise) and Claire Spooner (Him_Self_Her) Publishing Your Tracks in a Digital Age How do you get know how and tools to get yourself heard, in this digital age, make sure you are getting as much visibility as possible? Ask the panel.

Panellists: Jules O’Riordan AKA Judge Jules (Sheridans) and Ben Rush (Founder & CEO AudioLock)

Sunday 14 September It’s Only A Disco Panellists will be recalling the highs and lows of the golden era of acid house, rave and super-club culture. This will be a history lesson like nothing you ever experienced at school!

Panellists: Dave Haslam (Hacienda), Dave Beer (Back to Basics) and Chad Jackson (1987 DMC World Champion)

DIY Hear how these industry icons created their own unique success stories and listen to their advice for those looking to follow their dream.

Panellists: Rob Tissera and Terry Hooligan (Atomic Hooligan) Getting the Gig – DJing in Commercial Clubs This panel will feature venue management, resident DJs and Luminar Leisure’s head of DJs and entertainment. Join them as they discuss the future of clubland and how you can be a part of it.

Panellists: Al Mayfield (Luminar DJ and Entertainer’s Forum Manager), Alex O’Reilly (Luminar Manager of the Year 2013) and Jamie Lee (Luminar DJ of the Year Finalist)

Monday 15 September Promoting Yourself These days playing and making music isn’t enough - you need to build a profile and connect with an audience. During this illuminating panel, five digital marketing experts will give you an insight into how it really works.

Panellists: Adam Biddle (theAudience), Neil Bainbridge (Neighbourhood PR), Ben Gomori and Shelley Taylor (Digital Fan Club) The Future of Underground Dance Music This panel will touch on what’s gone before, discuss the current state of play, but focus on the future of underground electronic music. Talking about music, events, media and technology our panel of renowned DJs and producers will discuss new trends and what the future has in store.

Panellists: Kutski, Andy Whitby, BK, Paul Maddox and Sam Townend How Do You Manage That?

Our panel of artist managers will share a unique insight into their world in this panel which will be of equal interest to aspiring artists and anyone considering a career in artist management.

Panellists: Ben King (Radious Artist Management), Abel Reynolds (Fingerlickin Management), Andy Robinson (MovManagement) and Kal Jugheroo (Underground Artist Management)

me•di•a ser•ver

[mee-dee-uh sur-ver] n.

Hardware and software allowing manipulation and playback of video and audio.

vi•de•o pro•jec•tor

[vid-ee-oh pruh-jek-ter] n.

An image projector that receives a video signal and projects the corresponding image on a projection surface using a lens system.

PRODUCT GUIDE

VISUAL TECHNOLOGY EMEA | SCOTT MILLAR | PROJECTION ARTWORK We’ve reached a point where the only limitations to visual technology are the creative ideas and the client’s ambitions. With the relative cost of projection equipment falling opportunities to utilise video technology has increased. Alongside this, computing power has increased at the top end to allow elaborate events to be created. The real excitement however, is the move to reduce the size of the hardware, this allows creative agencies to design and install interactive projection experiences over multiple sites and in areas not previously financially viable. DisplayMapper is one technology solution, hardware independent, that facilitates 3D projection mapping across hundreds of retail stores within a brand.

APAC | ALEX TAN | BEYOND THE BLUE With the number of choices for media servers in the Philippines constantly on the rise, options have never been so widespread. However, based on what is easiest to use and what we want to achieve, we feel that Green Hippo is the best among the choices. Its products provide us with plenty of creative functions to design wonderful things.

THE AMERICAS | MAX MOUSSIER | TECHNICAL DIRECTOR - STORY

A video element adds to the atmosphere and brings more energy and more dimensions to a venue.

I work very closely with VJs that come to Story making sure we match the colours to the vibe of the room. Most of the VJs we get in here bring their own content so we can incorporate different logos and so on if required.

152 GUIDE - MEDIA SERVERS

ARKAOS PRO | STUDIO SERVER www.arkaos.net

ArKaos Studio Server is a four-output media server with full MediaMaster Pro features on-board such as the new updated video mapper, LED mapper and a full geometrical correction and edge-blending tool. It has been designed for professional lighting designers for the highend demands of studio, concert tour, television and corporate applications. This full-option media server runs up to 12 full HD videos on up to four EDID managed outputs, and comes with one HD-SDI input and fast SSD drives as standard. Optional upgrades to a maximum of four HD-SDI and two DVI inputs are also available. This powerful system offers a vast library of high quality digital media and a fast recovery system for extremely simple reset. With the new time code synchronisation from Arkaos it is even easier to integrate the servers in a show.

Studio Server completes the range of ArKaos media servers alongside the six-output Stadium Server and the two-output Stage Server.

ARTISTIC LICENCE | DVNET www.artisticlicence.com

Artistic Licence offers dVnet, a rack-mounted digital video-to-network converter that allows live video or digital files to be rendered to a media wall. It is aimed at customers requiring video control over pixelated displays without the complexity associated with conventional media servers. dVnet accepts HDMI digital video input and all common digital file formats. It has a playlist feature that enables video clips to be started manually or via remote triggering. The product is compatible with a broad range of display media from many different manufacturers. Output is via a gigabit network connection with protocol support for Art-Net 3, sACN and KiNet protocols. dVnet offers a simple, versatile and cost-effective solution for installations in which a conventional media sever would be over specified. It can be operated by anyone as it requires no specialist programming skills and it is possible to set up a remote connection to dVnet for off-site upgrades and monitoring.

AV STUMPFL | WINGS ENGINGE STAGE www.avstumpfl.com

The Wings Engine Stage media server features high-performance hardware and professional design. The unit has a robust stainless steel case with anti-vibration mounts and an easy to use 8.9-inch touch panel display. Wings Vioso offers a selection of editing and compositing tools for show preparation. There is no restriction on the number of tracks on the image resolution or video codec. When linking Wings Vioso to other Wings AV components on a network, an array of options to integrate interactivity is offered.

AVOLITES MEDIA | AI INFINITY EX SERIES www.avolitesmedia.com

The Ai Infinity server is a perfect choice for demanding video projects. The EX4 and EX8 have programmable, EDID managed, WUXGA (1920 by 1200) outputs. Each is digitally amplified to give the user a preview and production output over DVI. The back panel is full of I / O connectors, including LTC timecode input, two 1000bt network ports for connecting to Artnet networks, Midi in / out ports, four lines of DMX512, audio I / O, Genlock - essential for TV projects, and two sync network connections to guarantee vertical sync across multiple systems. The front seven-inch colour touchscreen shows the Ai 3D visualiser, this gives you networked control of the whole show from one integrated and intuitive interface, no matter how many outputs needed.Â

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CHRISTIE | SPYDER X20 www.christiedigital.com The Spyder X20 combines the versatility of a hardware-based video processor with the flexibility of a universal routing switcher. Its integrated source monitoring enables simultaneous, real-time, full frame rate monitoring of all inputs, while the user can mix a large number of different resolution sources in multiple windows, create any number of PIPs (picture-in-picture), and define, shape and blend borders with ease. The Spyder X20 gives users a 20 megapixel bandwidth for 16 video layers of unrestricted blending, windowing, mixing and scaling along with key frame effects for dynamic content programming capabilities in both live and pre-programmed video environments. Thus any input can operate as a native high resolution channel on any display in the system. From an installer’s perspective, the Spyder is easy to deploy and install. Because everything is contained in a single unit, the Spyder X20 reduces the number of wires, boxes and rack space required. On top of that, expansion capabilities via the I / O’s of other Spyders enable pixel real estate to be expanded to the user’s requirements.

COOLUX | PANDORAS BOX QUAD www.coolux.de

The Pandoras Box QUAD server is a turnkey solution that unites state-of-the-art rendering technology with intuitive media and show control. Built for 24 / 7 use and featuring a powerful render-engine, which offers real-time compositing in 3D it allows for projections onto any shape and any surface. Users can arrange videos and images freely, change colour, form and position up to a 4K resolution. Pandoras Box synchronises all video and audio sources. On-site 3D rendering, compositing and editing make Pandoras Box the perfect choice for any live event or multimedia show. The QUAD server systems are particularly suited for projects that require multiple outputs. The QUAD’s great versatility in combination with the additional inputs available makes it a great choice for large scale panoramic projections, interactive digital signage projects and fixed installations.

154 GUIDE - MEDIA SERVERS

D3 TECHNOLOGIES | PRO RANGE www.d3technologies.com d3 Technologies continues to strive for innovation to help you deliver the best shows on earth. Our all-new pro range features industry-leading technology, helping you push the boundaries, and unleashing your creativity. The d3 4x4pro sets a new standard for power, flexibility and convenience. With next generation components in a rugged custom case, the system is ideal for the most demanding touring productions, massive multi-projector shows, TV, broadcast and high-quality fixed installs. Featuring four 4K outputs and enough power to make short work of the largest content sizes, the d3 4x4pro can Push Every Pixel and play up to eight layers of 4K video (DXV/HAP codecs) and up to eight layers of uncompressed HD video. In an industry first, the d3 4 by 4pro features user replaceable output cards. Swap between DisplayPort, HDMI, dual-DVI or quad-SDI according to your show requirements and unlock d3’s power in any configuration. The d3 4x2pro is a completely renewed version of our popular d3 4U v2.5. Featuring the same custom case, low-latency video capture, genlock and lockable connectors as the d3 4x4pro, the d3 4x2pro is the robust solution for concerts, theatres and mid-sized projection events. Featuring four 2K outputs, the d3 4x2pro can Push Every Pixel, playing up to 16 layers of HD video (DXV/HAP codecs) and up to four layers of uncompressed HD video. Although the d3 4x2pro is a faster and more powerful system than the 4U v2.5, it is compatible with the existing version, as well as with its bigger brother, the d3 4x4pro.

GREEN HIPPO | HIPPOTIZER CHIPMUNK www.green-hippo.com

The Hippotizer Chipmunk is the latest addition to Green Hippo’s Hippotizer media server range. Driven by the same software engine that powers the entire range, Chipmunk delivers two layers of 1080p HD with ease. Full on-layer geometry, special effects and colour control plus keystone correction are featured. Timeline functionality is as per Chipmunk’s siblings along with RegionMapper, Preset Manager, ScreenWarp and many more of the components Hippotizer users have come to expect. The ability to switch to a single layer with crossfade opens up a host of possibilities for Chipmunk. With a selection of transitions and mixer style functions built in, the system is ideal for on the fly applications such as music events, nightclubs or even permanent installations. Hippotizer Chipmunk can be further configured to perform advanced functionality through a series of additional software packages that can be purchased at any time. For projects with up to two layers of HD video via a single output without sacrificing flexibility and control Chipmunk is the perfect solution.

HIGH END SYSTEMS | AXON HD PRO www.highend.com

A four output high definition media server with 40 layers of graphic playback, audio playback and a full warp engine makes this a powerful and competitive product. As well as a full HD graphics engine, the Axon HD Pro is 4K ready. The upgraded graphics engine also allows for pixel accurate playback of content. Features including Collage Generator and Curved Surface Support are also included as is a largest library of stock content, which has been enhanced with the addition of new HD content, allowing users to create stunning visual environments without necessarily relying on expensive custom content. Dual HDSDI capture facilities also come as standard.

MA LIGHTING | MA VPU LIGHT www.malighting.com

With the MA VPU light (Video Processing Unit), MA Lighting has developed a smart and compact video control. Featuring sophisticated hardware and proven MA software, the in-built screen displays all essential information about the status of the MA VPU light. Additionally, MA has enhanced its MA VPU plus and MA VPU basic in comparison to the MA VPU light. All MA VPU will now offer full HD (MA VPU plus MK2 six layers, MA VPU basic MK2 four layers, MA VPU light two layers - which are rendered in parallel). Also MA VPU plus MK2 and MA VPU basic MK2 are now equipped with three DVI-outs instead of two as with the prior version, while the MA VPU light offers two DVI-outs and one VGA-out. All MA VPU have common features enabling all videos, still images and 3D objects to be scaled, positioned, tiled, coloured and manipulated directly from any grandMA2 console. It is as simple as controlling any other fixture - the MA VPU just has to be added to the network session - no additional paramaters are needed. The MA VPU don’t need parameters in the network as they calculate these themselves.

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THE ULTIMATE CLUB SYSTEM

KV2 SL SERIES SLIMLINE WIDE DISPERSION SPEAKER SYSTEM

SL412

Slim and discreetly profiled the new SL Series incorporates KV2 Audio’s VHD Active Driven philosophy

SHOW MAGIC | AV SERIES www.showmagic.com

SL2.15

The AV series of ShowMagic PC software is designed to provide media servers combined with multi-channel audio playback and routing, DMX lighting and special effects control, and control of any external RS232 / IP devices such as projectors, switchers and so on. Two models are available: ShowMagic AV serves up to three video outputs; ShowMagic AV Plus serves up to five video outputs and also includes multiple video synchronisation. Media content can be a selection of SD and HD video files, live video capture, images and in-built digital signage. The ‘Virtual Window’ features enable any content to be dynamically resized and displayed in any size and position on any of the outputs. AVSS also produce bespoke software tailored to suit particular applications such as offering support for up to 10 outputs and dynamic switching and ‘movement’ of videos / images between those outputs within software, i.e. no hardware switchers / routers are required.

FULL & WIDE SOUND EXACTLY WHERE IT’S REQUIRED

Just 300mm deep, the SL Series can be installed against a wall or in it...dramatically reducing the venue floorspace required.

The new KV2 SL412 and SL2.15 speakers incorporate an eye-catching, slim and stylish cabinet design. Using KV2’s VHD technology, the SL412 loudspeaker utilises 4 x 12” low mid-range components with a single 8” mid-range and 3” large format NPVD compression driver. The cabinet’s configuration keeps low mid frequencies in a controlled pattern, greatly reducing problem room resonances.

Cabinets can be designed and supplied with custom colors, grill templates and logos, offering a flexible and true designer-integrated product.

The system is driven by proprietary KV2 amplification. The KV2 SL3000 powers a pair of SL412s and the VHD3200 which can drive up to four SL2.15 subs.

SL Series - The Ultimate Club System

Maximum SPL: 137dB ______________________________________ Freq Resp +/- 3dB : SL2.15 40Hz - 500Hz, SL412 70Hz- 22kHz ______________________________________ Dispersion: H110° x V40° ______________________________________ Power: VHD3200 - 1600 Watts x2 ______________________________________ Power: SL3000 - Low 1000W x2, Mid 200W x2, High 100W x2 ______________________________________ Crossover Points: SL2.15 - 70Hz, SL412 - 400Hz & 2.5kHz ______________________________________ SL412 - H670mm (26.38”) W1080mm (42.52”) D300mm (11.81”) ______________________________________ Weight: SL412 - 60kg (132.28lbs)

Need more info? Want to locate your nearest KV2 Professional? uuWWW.KV2AUDIO.COM

156 GUIDE - VIDEO PROJECTORS

BARCO | F50 www.barco.com

Barco’s F50 range of single-chip DLP projectors, which now includes panorama, WUXGA and full HD models, offers a combination of high resolution and active 3D stereo at higher frame rates in a small, quiet unit, ideal for venues where a powerful yet unobtrusive visualisation solution is needed. The panorama (2,560 x 1,080), WUXGA (1,920 x 1,200), and full HD (1,920 x 1,080) models join Barco’s existing F50 WQXGA (2,560 x 1,600) projector to accommodate four digital input sources including Display Port and HDBaseT; putting the highest resolution image on screen doesn’t require scaling. The projector also comes with a wide range of expansion modules, high-performance lenses, all-glass lenses and high-performance expansion modules to make it an extremely versatile product. With high-performance optics delivering razor-sharp images rich in contrast and colour saturation and RealColor colour management and refresh rates of up to 120Hz for all resolutions up to 2,560 x 1,600, the F50 is suited to the demands of varied applications from amusement park virtual worlds to executive briefing centres.

CANON | XEED WUX450 www.canon.com

The XEED WUX450 multimedia projector is Canon’s most compact WUXGA installation model, delivering bright, high-resolution images regardless of throw distance. It delivers full HD video at 1080p. There are HDMI and DVI terminals for digital input, while firmware can be updated quickly and simply via the projector’s USB port, which also allows projection directly from USB flash drives. Crestron RoomView enables instant unified remote control and monitoring. The new Network Multi-Projection (NMPJ) function allows easy sharing of multiple users onto one projector and vice versa a single user can control several projectors over the LAN. When combined with an inbuilt edge blending feature, multi-projection displays could not be easier. The projector’s high quality 1.8 x lens is equipped with both vertical and horizontal lens shift for easier installation, while the flat top and optional feet enable a variety of different configurations including stacking.

The XEED WUX450 also offers low power consumption, while a dedicated ECO button instantly engages the low-power lamp mode and offers direct access to other power-saving features.

CHRISTIE | E SERIES www.christiedigital.com

The Christie E Series of projectors aims to produce images with incredible colour and brightness. Dynamic Black increases the on / off contrast ratio of the system and optically minimises the black levels in the projected image while electronically increasing the gain in the image.

The result is enhanced detail and an increased contrast ratio of 5000:1. The E Series ships standard with a high-brightness, six-segment colour wheel and has an optional, rich-colour wheel for applications that need the best possible colour accuracy. E Series projectors can operate in single or dual-lamp mode. Wireless connectivity opens the door for easy connection and clean presentation space. A full suite of lenses, input options and 360º projection gives the flexibility to pick what works best for the presentation. The E Series is ideal for fixed-install applications. Its optional stacking, blending and warping capabilities also make it a great option for any staging application.

DIGITAL PROJECTION | INSIGHT / HIGHLITE www.digitalprojection.com

Digital Projection has launched a range of Laser Phosphor (lamp free) projectors delivering 10,000 and 12,000 ANSI lumen output. With resolutions of 4K and WUXGA, both projectors boast 20,000 hours of stable solid-state illumination. The projectors were developed with an emphasis on ‘Fit and Forget’ - meaning that installers and system integrators can deploy the projector and need not worry about lamp changes or expensive maintenance cycles. The INSIGHT 4K laser is four times the resolution of a standard HD projector (4096 x 2160).

The crystal clear level of detail ensures that no detail in the content is missed. Both projectors can be mounted in portrait mode without any reduction in performance, adding flexibility to its already impressive range of benefits. 3D functionality is included in these projectors, along with advanced features such as blending and geometry correction. For the rigors of staging and rental, the HIGHLite Laser also has a bespoke rigging frame. With this, the projectors are easily lock-stacked and are ready for fast attachment to truss using industry standard hardware readily available in all parts of the world.

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EPSON | EB-G6900WU www.epson.com The Epson EB-G6900WU professional installation full HD projector is ideal for rental markets and digital signage. Important presentations and sales campaigns are delivered with rich, vivid colours - even in daylight. This is thanks to Epson’s 3LCD technology, delivering an equally high white and colour light output of 6,000 lumens, and a WUXGA resolution. The Colour Uniformity function compensates for unequal colour distribution by adjusting the intensity of RGB on individual areas of the screen. New features include curved surface and corner wall correction for image projection onto uneven surface areas without distortion. The projector can also be rotated vertically by 360º allowing image movement around the room. Set-up and installation is simple and straightforward. User-friendly features include pixel alignment for setting up a clear and correctly aligned picture. Edge-blending enables the projection of a large, widescreen image from a number of projectors working together seamlessly. In addition, a powerful zoom lens, as well as manual vertical keystone correction and centred lens, make it easy to set-up in various positions without blurring or distortion.

JVC PROFESSIONAL | D-ILA pro.jvc.com Featuring enhanced components and technology such as 2D to 3D quick conversion, together with the latest e-shift 3 4K upscaling. Aimed at environments and applications where colour fidelity and precision are key, the four projectors in the range provide extreme contrast and exceptional resolution, producing the clearest images possible. Perfect for use in many applications, onboard e-shift 3 technology up-converts and scales 2D HD content to a 4K resolution signal, delivering smooth, detailed images. With 4K inputs on many models too, 4K signals are also able to be processed, however they are not native 4K projectors. The DLA-RS67 is JVC’s top-of-the-line D-ILA model, featuring a native contrast ratio of 150,000:1 thanks to its new D-ILA devices, wire grid polariser and Clear Black technology. And with Intelligent Lens Aperture, the dynamic contrast on this model is 1.5m to 1. Both the DLA-RS67 and DLA-RS57 models offer ISF certification and are designed to pass the 400-plus tests necessary to achieve THX 3D Certification (pending); they also include THX 2D and 3D Cinema viewing modes to provide the most accurate colour reproduction available.

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IN DETAIL MACOSTAR | MACOLEDS RF120 www.macostar.com

Macostar’s MacoLEDs R Series of LED profiles, fresnels and panels have been favourited by professional TV and entertainment venue users from South Korea to South East Asia, including Daai Television in Taiwan and Indonesia; Hong Kong TVB, Grand Hyatt; Hong Kong’s Grand Ballroom, and PMQ, the newly refurbished heritage landmark in Hong Kong.

The brand has been working on a compact and lightweight fixture that works well and suits the needs of smaller venues.

This summer, Macostar introduced MacoLEDs RF120 Smart fresnel as its latest addition to the R Series.

Simple yet powerful, MacoLEDs RF120 is most suitable for small TV studios, black box theatres and multi-purpose venues with less headroom. RF120 has a simplified local control to make DMX address setup effortless and easy. This plug ‘n’ play fixture has a high CRI up to 95 Ra, with two fade curves and response times for selection. The RDM-ready LED fresnel also features a full frame barn door slot design that prevents light leaking. The built-in cooling fan is very quiet with automatic control to keep the LED perform at its best at all times.

ALLEN & HEATH | XONE:K1 www.allen-heath.com Allen & Heath has introduced the Xone:K1 to extend the MIDI controller range of its Xone DJ line. The K1 has a flexible layout allowing users to define and customise an individual workflow and mixing experience, and works with all leading DJ software. The Xone:K1 is easily configurable to allow fast access for setting levels, triggering hot cues, adding effects and instant looping to relieve the DJ from focusing on the computer screen. Featuring six endless rotary encoders with push switch, 12 analogue pots, four linear faders, and 30 backlit performance switches with three-colour illumination, the Xone:K1 allows comprehensive mapping to DJ and production software, such as Traktor Pro, Ableton, Virtual DJ and MixVibes, offering a total of 52 assignable hardware controls, more than any controller of its type. Powered over USB so that a separate power cable is not needed, Xone:K1 can be mixed ‘n’ matched with other Xone:K Series controllers and daisy-chained using Allen & Heath’s proprietary X:LINK protocol without the need to carry a separate USB hub. X:LINK also enables DJs to expand their set-up by connecting directly to Allen & Heath’s Xone 23C, DB2 and DB4 mixers.

ADAMSON | E219 www.adamsonsystems.com Adamson’s E219 subwoofer joins the Energia family of loudspeakers - the E15, E12 and E218 - to drive the low end of demanding music genres and is loaded with two lightweight, long excursion 19-inch SD19 kevlar neodymium drivers, utilising Adamson’s advanced cone architecture. The drivers employ dual five-inch voice coils for exceptional power handling, and are mounted in a front-loaded enclosure, designed to reproduce clean, musical low frequency information. A tangential flow venting system reduces harmonic distortion by minimising air turbulence resulting in unsurpassed output and efficiency. The lightweight E219 lends itself to rigging situations that benefit from flying subwoofers and it is designed to be used as a standalone low frequency component in the Energia system, but can also be combined with the E218 cabinet for larger events. The subwoofer is specified for use and packaged with the Lab.gruppen PLM 20000Q amplifier. Four E219 cabinets can be run from a single amplifier. Integrated rigging permits a 0° or 3° angle which allows for compatibility with the full-range line array modules in the Energia system.

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AUDAC | BASO SERIES www.audac.be The Baso Series of cabinets are universally useable passive bass cabinets. The bass reflex design is engineered to be as compact as possible while giving the maximum performance in terms of sound quality and pressure. The enclosures are crafted out of sturdy high-quality plywood while the design enables them to be placed in any environment. This series includes three models with a 10-inch, 12-inch and 15-inch high-performance subwoofer.

D&B AUDIOTECHNIK | Y-SERIES www.dbaudio.com While the Y7P and Y10P loudspeakers cover point source duties, with the B6-SUB providing extended frequency response, two line source loudspeakers and a matched cardioid subwoofer, the Y8, Y12 and Y-SUB tackle line array tasks. The Y7P and Y10P loudspeakers share the same dipolar eight-inch driver arrangement centred on a 1.4-inch compression driver fitted to a rotatable CD horn, facilitating deployment horizontally or vertically. With dispersion characteristics of 75° by 40° and 110° by 40° respectively, the Y7P and Y10P offer a multitude of deployment options, individually as a full range system or in combination with other elements from the Y-Series, either ground stacked or flown. An advanced port design delivers extended LF performance down to 59Hz. The B6SUB complements the Y7P and Y10P, with a single 18-inch driver built into a bass-reflex design, extending the frequency response down to 37Hz. The Y8 and Y12 loudspeakers are compact, configurable and easily recognisable as the latest members of the d&b line array family. Utilising the same rigging design as their bigger brothers from the J and V-Series, the Y8 and Y12 also share the same 80° and 120° horizontal dispersion characteristics.

DANLEY SOUND LABS | OUTDOOR SERIES www.danleysoundlabs.com Danley Sound Labs has expanded its Outdoor Series (OS) of fully-weatherised loudspeakers, including a new fully-weatherised subwoofer. Constructed of molded plastic with a custom injection molded shell rated to last 50 years, the cabinet is sealed so the inner components are also protected from harsh outdoor elements. The OS-80’s versatile 80º conical coverage pattern will be joined by other OS models with a diversity of coverage patterns that will give designers greater flexibility to meet the needs of a range of outdoor situations. These will include the OS-90 and OS-100. In addition, the new Danley OS-115LF subwoofer will extend the bottom end of the OS line and the OS Nano will be the power.

FOHNN AUDIO | AIREA SERIES www.fohhn.com The Airea system is an intelligent, active loudspeaker concept and a versatile digital audio network system, for high quality and flexible sound reinforcement applications. It comprises state-of-the-art loudspeakers with integrated digital amplifiers and DSP technology, plus a master module with digital in and outputs. This master module provides the power, digital audio signal and control information for all connected loudspeakers. Simply wired using one single standard network cable (CAT-5) up to 32 active loudspeakers can be used with one master module. The signal path is fully digital throughout the entire Airea system, which prevents any reduction in audio quality due to AD / DA conversion or distribution loss. Using Fohhn Audio Soft software, every single loudspeaker can be individually controlled and its routing, level, sound and dynamic settings separately adjusted. Third-party converters enable the simple connection of analogue audio sources and provide a solution for connecting to digital audio protocols including Madi, CobraNet, Dante or Ethersound.

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GLP | X4 XL LED www.glp.de GLP’s next generation impression X4 XL LED moving head embraces the same philosophy and optical design of the smaller X4 and X4S. The automated head boasts 55 RGBW LED sources, each rated at 15W and each colour matched to align across units, giving them compatibility with X4 and X4S units that may be used on the same production. It also offers the same zoom range of 7° to 50° which, with such a high output, forms a ‘cannon of light’ at its narrowest angle up to a bright expanse of coverage at its widest. For effects across its face, the X4 XL allows for individual control of each of the 55 pixels, with a complete range of patterns built into the fixture as standard. The X4 XL standard DMX mode uses 26 channels with access to all functionality. The optical system of the X4 XL has been designed to give even coverage of both colour and intensity across its beam at all zoom ranges and doesn’t suffer from dark spots. An electronic shutter gives a wide and varied strobe effect up to 25 flashes per second, with built in macros for ease of programming. It also features 16-bit pan and tilt control, with 660° of pan and 260° of tilt movement, complete with feedback sensors to ensure positional accuracy at all times.

HANSON PROSYSTEMS | CO2 JET www.hansonprosystems.com

The Hanson ProSystems CO² Jet has built in DMX 512 and can be controlled through any DMX console or integrated into any lighting software, making the CO2 effect different. The CO² Jet is weighted ready to be used and features a quick connect CO² hose system, as well as rigging points and safety hooks so the unit can be flown or permanently installed.

INFINITE SYSTEMS | HYBRID ARRAY 4-WAY DANCE TOP www.goinfinite.com Infinite Systems has utilised its decades of experience in audio integration in nightclubs to bring the industry its flagship product - the Infinite Hybrid Array 4-Way Dance Top, which embodies the company’s philosophy for quality reproduction of the EDM genre. Using high quality components, each bandpass is addressed by a correctly proportioned sub-system, to produce a product specifically designed for the nightclub dance sector. Each trapezoidal enclosure is crafted from MDF to minimise resonance. Beginning with the dual high output neodymium 15-inch low-frequency transducers loaded into a foam injected horn mouth for maximised efficiency and impact. A separate trapezoidal partitioned sub-enclosure vertically arrays four neodymium 6.5-inch mid-range transducers assuring high directivity, clarity and redundancy. A 90° by 60° constant directivity aluminum high-frequency horn is coupled to a rare four-inch voice coil beryllium diaphragm neodymium compression driver. Very high frequencies are handled by dual, redundant high-output ring radiators for high-frequency extension. A captive factory installed adjustable rigging assembly contributes to safe overhead suspension.

NEXT-PROAUDIO | HFA SERIES www.next-proaudio.com The HFA loudspeaker series are fully powered PA systems designed to deliver high output and dynamics, extreme linearity and fidelity. Using quality custom made components, loaded by birch plywood enclosures and coated by a scratch resistant textured paint, the heart of the new NEXT-proaudio powered loudspeaker series, is a powerful, 2200Wrms, lightweight, highly efficient Class-D power amplifier module, with switch mode power supply. The integrated DSP with A/D - D/A low noise converters, provides eight selectable presets that can be accessed by an easy selector, located on the front module panel or real time edited by a PC, using the supplied Soundware software via USB remote control. To extend the low frequency response, the HFA full-range loudspeakers (HFA206, HFA108, HFA112, HFA115, HFA212) can match with the HFA subwoofers, available in three models, 12-inch, 15-inch and 18-inch.

PR LIGHTING | XLED 2007 BEAM www.pr-lighting.com The the new XLED 2007 Beam uses the Osram Ostar (LE RTDUW S2W), rated at 15W each, with four in one LED colour mixing. Each fixture houses seven of these light sources, rated at 50,000 hours lamp life, and with power consumption of just 120W and 220V. It also weighs just 4.36kg. These form the core of a fully featured fixture which offers pixel control in the form of 2-2-2-1 and the head movement of 720° (pan) or endless, and 270° (tilt) or endless with a pan / tilt swap and Invert function, auto-position correction and magnetic sensor positioning. Colour mixing is RGBW linear (with macro), with linear colour temperature correction from 2,700K to 10,000K. There is 0-100% linearly adjustable dimming, electronic strobe (0-25 fps) and a lens angle of 6°. Other functions of this DMX-controllable fixture include touch button; LCD display, brightness and contrast adjustable; sound operation under self-test mode; optional wireless control; adjustable pan and tilt speeds and over temperature protection.

PROTAPES | PRO GAFF www.protapes.com Pro Gaff is a matte cloth tape with a rubber-based adhesive system. Pro Gaff features clean removability from most surfaces, is weather resistant and hand tearable. Pro Gaff can be used for stage blocking and spiking, set and stage decoration, audio wire hold down, hockey and athletic tape, colour coding, arts and crafts, book binding, wire and cable bundling, seat repair, decorations, personalising luggage, marking and labeling equipment cases and seaming and general purpose protection. All five fluorescent colours are UV light friendly for high visibility marking of stairs, exits or sets. Pro Gaff is available in a total of 19 colours, so it is easy to match any carpet colour.

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RCF | TTP5-A www.rcf.it

The TTP5-A active point source array, featuring a trapezoidal system, is designed to create horizontal or vertical arrays with a constant curvature in venues ranging from medium-to-small theatres up to large outdoor stadia and public spaces. It derives its power from a newly designed four-inch coil compression driver loaded on a dedicated waveguide, guaranteeing both exceptional sound projection and even pattern control with 22.5° by 60° dispersion. The integration of two-channel 1,600W digital amplification and advanced digital processing, aim to set a new standard for distortion, noise and thermal efficiency.

Constructed in tour grade baltic birch plywood, the TT5P-A derives its control from the onboard RDNet, RCF’s proprietary digital platform.

ROBE | MINI ME www.robe.cz

The MiniMe is an effects lighting luminaire with the addition of full video output. This small, neat, fast moving fixture is LED driven with 20,000 hour lifetime source. Colours, gobos and beam shapes are all digitally generated by the on-board micro-media server. Custom artwork, still photographs and video can also be simply uploaded for projection, while live video can be streamed through the high definition multimedia interface input.

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...I was a high school rock band member trying to fix and improvise PA systems with no budget, no resources and no clue how audio worked.

SANTIAGO ALCALA TECHN I CA L D I R E CTO R, I D E A P RO A U D I O What is your first memory of your career in the audio industry?

Around 1994, the amazement of being paid a wage for recording a band in a studio, when I would have paid them to do it!

As a child what did you want a career in?

I probably had a totally different dream profession everyday as a child… If I could choose a different profession today it would probably be in politics. Many of us complain that those holding political power are decadent and corrupt. Some of us may need to prove that it can be done better.

How did you become involved in the pro audio industry?

Like many, as a customer - I was a high school rock band member trying to fix and improvise PA systems with no budget, no resources and no clue how audio actually worked. I then moved into the world of studio and live sound projects, but left to get a ‘steady job’ outside of the industry. I soon regreted this decision and decided my next job would relate to my personal interests. I applied for a job at a top European audio equipment manufacturer that I was a massive fan of and here we are, a decade later.

What interests you most about the pro audio industry?

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That it is an actual business - for manufacturers, distributors, dealers, media-based companies and technology. We don’t make bread… But some guys would die without their subwoofers.

Tell us something that people might not necessarily realise about you?

I am constantly joking and completely serious all of the time… I’m joking, seriously.

What is your main passion in life?

Learning about the creative and productive process of anything and everything. It could be cooking, taking a photograph with my iPhone or creating a new loudspeaker.

What was the first record you ever bought?

By the time I could actually afford to buy my own CDs (years of cassette artistry preceeded) I was really into classic progressive rock albums, i’d say it was King Crinsom’s ‘Islands’. My musical taste has continued to grow since then, but I still get a rush of euphoria when I listen to the music that excited me as teenager, don’t we all?

How do you see IDEA moving forward in the pro audio world?

Our goal is to work with a contained network of selected partners worldwide that choose and prefer

to work with IDEA because they know and share our mid-term commercial strategy, our work ethic and our technical approach. We will stand out from the crowd by having a controlled group of customers that are satisfied with their manufacturer / supplier, because the relationship is fair, dynamic and appropriate to real life global / regional economic and logistic factors. We want to be the ace up their sleeves, not necessarily always their main game.

What does innovation mean to you?

Innovation, to me, happens when the solution comes from a new concept or technological platform, not from updating already accepted popular designs.

Through IDEA in particular, I am hoping that the classic versions and recent evolutions of the common formats of sound reinforcement systems will be finally open to new approaches, in shape, size and configuration. Mixing and producing audio are changing very quickly, and audiences are more aware and in tune with audiovisual technologies, so sound reinforcement solutions must follow. We are working on new approaches, focusing right now on simply improving power-density and ease of configuration, and soon we will be introducing exciting innovations based on other more sophisticated and complex design factors, such as DSP-based directivity control and networked audiovisual media transport.

graphics: Vilfredo Maria Ricci - © 2014 Studio Due

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IS LIVE PUSH YOUR SOUND AS FAR AS YOU WANT

The LYON linear sound reinforcement system is designed to faithfully reproduce your sound even when the system is pushed to its limits. Live sound venues and tours around the world rely on LYON for the most consistent sound at all levels.

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Partial Listing: Adapoe • Amex Audio • Bartha Audio Visual • Bayer Media • Bazelmans AVR • Bright Norway AS • Camco Global Diez y Cía Ltda • Digital Console Rental • Digital Plane • Dushow • Equipos Apolo • Foxsound George Relles Sound • GMB Pro-Sound • Media Resource Group • Most High Productions • PA Profesional Show Systems • Special Events Audio • Skynight • VER TourSound • Victory Tour Production • Use Sonido Photo Credit: Ralph Larmann L

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L Meyer Sound Laboratories Inc. • 2832 San Pablo Ave. • Berkeley, CA 94702 • 510 486.1166

PUBLISTING Mondo September/October 2014 Issue Creative: LYON Live / August DA Unit:

FP4C

Live: 210 x 310mm Contact: Elania Nanopoulos Phone: 510 486.1166 x115

Trim: 236 x 333mm Bleed: 242 x 339mm Gutter:

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PRODUCTION NOTES Keylines do not print INK: 4/c STOCK: magazine

Close Date 8/29/2014

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