mondo*dr 25.3

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MARCH / APRIL 2015 | 25.3

the international publication for technology in entertainment

march / april 2015

EUROPE & AMERICAS EDITION

robotic mar vel pio nahum • ret ail lighting control

www.mondodr.com

PROLIGHT + SOUND 2015 BOOTH B18 - HALL 8.0

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W ELCOME mondo*dr 25.3 March / April 2015

ON THE COVER The Han Show by Dragone, Wuhan Photo by Tomasz Rossa General Manager Justin Gawne / j.gawne@mondiale.co.uk Editor Rachael Rogerson / r.rogerson@mondiale.co.uk Assistant Editor Ashley White / a.white@mondiale.co.uk Advertising Manager Jamie Dixon / j.dixon@mondiale.co.uk Advertising Sales Laura Iles / l.iles@mondiale.co.uk Intern Haydn Palmer / mondointern@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

I’m a few weeks away from embarking upon a rather busy April but as most of you know, I do enjoy getting out and about. I’ve actually no objection to the busy spell, as I’ll be missing a couple of annual trips I usually make in May and June, because there’s the small matter of me getting married!

My April travels kick off in Guangzhou, China with backto-back exhibitions The GET Show and Prolight+Sound.

I think we’re seeing a real shift in the Chinese market at moment, even the local manufacturers agree that business isn’t as buoyant as it once was. The year-on-year growth, while still healthy, is no longer climbing at such a fast pace; it is beginning to level off. A strong argument for why is because the Chinese Government is cracking down on corruption and this is affecting the internal business, the largest market sector for the majority of Chinese companies.

In contrast, many other Asian markets continue to flourish, although that part of the world is definitely lacking a meeting point - whether that is a tradeshow, a conference or a different type of event - creating a platform for the Asian community to gather and share ideas. One to think about…

On the subject of tradeshows we’re gearing up to the biggest of the year for many of companies, Prolight+Sound in Frankfurt. You’ll find our booth in the usual spot, under the escalators, between halls 8 & 9, stand C03. But obviously we’ll be spending our time whizzing around the aisles, again, as is usual.

And sticking with the German theme for the final note, Berlin to be exact, is where Patrick, of sister publication, TPi has relocated to educate himself on Sound Studies.

Despite only being at Mondiale Towers for 12 months, he was clearly been inspired by technology. My leader photo this issue was taken during his farewell send-off and I’d like to take this opportunity to wish him well from the future from all of us here at mondo*dr.

Rachael Rogerson | Editor

OpenS new perspeCtives More info? NAB stand C4937

www.riedel.net

CONTENT S 014

IN BRIEF

IN DEP T H 024 014

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INTERVIEW

PIO NAHUM, CLAY PAKY

REPORT RETAIL

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ICE KRAKOW CONGRESS CENTRE, KRAKOW

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NEST OF ANGELS, CLUJ-NAPOCA

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BERLINER ENSEMBLE, BERLIN

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bonbonniere, new york & london

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THE HAN SHOW THEATRE, WUHAN

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JW Marriot, Pune

102

luce della vita & sennheiser shanghai concert hall, shanghai

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deakin Edge, melbourne the mirror, seminyak

IN BUSINE S S

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namm, anaheim

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ise, amsterdam

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INDUSTRY NEWS: OCA ALLIANCE

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PRODUCT GUIDE

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PRODUCT DIRECTORY

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lighting control

last page interview

fabio sorabellA - music & lights

012 AD INDEX

FRANÇAIS

DEUTSCH

Je me trouve devant un mois d’avril assez chargé, mais comme la plupart d’entre vous le savent, j’aime bouger et voyager. Ce mois sera très occupé surtout parce que je vais rater quelques voyages annuels que je fais généralement en mai et juin, et ceci pour le simple fait de mon propre mariage ! Mes voyages du mois d’avril démarrent à Guangzhou, en Chine enchainant les expositions « The GET Show » et « Prolight & Sound ». Je trouve que nous pouvons constater un réel changement sur le marché chinois en ce moment, et même les fabricants locaux s’accordent à dire que les affaires ne sont pas aussi bonnes qu’avant. La croissance d’année en année, quoiqu’encore assez bonne, n’est plus aussi importante, et celle-ci commence même à plafonner. Une des raisons évidentes de ce phénomène est que le gouvernement chinois lutte fortement contre la corruption et cela nuit aux affaires internes, le plus grand secteur du marché pour la plupart des entreprises chinoises. En revanche, plusieurs autres marchés asiatiques continuent de croître, bien que cette partie du monde manque cruellement d’un point de rencontre, que ce soit un salon professionnel, une conférence ou tout autre type d’événement ; juste une bonne raison pour que la communauté asiatique se retrouve et partage des idées. Éléments de réflexion...

Vor einem ziemlich betriebsamen April hatte ich einige ruhigere Wochen, doch wie die meisten von Ihnen wissen, bin ich gerne unterwegs.

Vor allem wenn ich eine Reihe von jährlichen Reisen verpasse, die ich normalerweise im Mai und Juni habe, da ich heiraten werde! Meine Reisen im April beginnen in Guangzhou, China mit den unmittelbar nacheinander stattfindenden Ausstellungen The GET Show und Prolight+Sound. Ich glaube, wir erleben derzeit eine wirkliche Verlagerung auf dem chinesischen Markt, selbst die lokalen Hersteller sind sich einig, dass die Geschäfte nicht mehr so rege wie früher sind. Das jährliche Wachstum wächst nicht mehr so schnell, auch wenn es noch immer solide ist, und fängt an, sich einzupendeln. Ein überzeugendes Argument dafür ist, dass die chinesische Regierung gegen die Korruption durchgreift und dies die binnenwirtschaftlichen Geschäfte beeinträchtigt, dem größten Marktsegment für die meisten chinesischen Unternehmen. Im Gegensatz dazu florieren viele andere asiatische Märkte, auch wenn diesem Teil der Welt eindeutig ein Sammelpunkt fehlt - egal ob es sich um eine Fachmesse, eine Konferenz oder einer anderen Veranstaltung handelt - sondern um einen Anlass für die asiatische Gemeinschaft, sich zu treffen und Ideen zu teilen. Es lohnt ich, darüber nachzudenken…

Absen ................................................ 141 AC-ET ................................................. 91 Adamson ........................................... 129 ADJ ..................................................... 43 Antari ................................................... 19 Arena Luci ......................................... 117 Audio-Technica .................................. 161 Audiocenter ....................... 39, 142 & 154 Barco .................................................. 63 Bose .......................................... 47 & 147 Camco ................................................ 89 Chauvet ............................................. 145 Chromateq .......................................... 26 Clay Paky ............................................ 87 d&b audiotechnik ................................. 29 D.A.S. Audio........................................ 33 d3 Technologies................................... 95 Daslight ............................................... 12 DiGiCo .............................................. 123 Digital Projection .................................... 9 EAW .................................................... 53 Elation ................................................. 51 Electron ............................................. 139 Eurotruss ........................................... 143 Fenix.................................................. 115

FINE ...................................................... 5 Fohhn ................................................. 85 Focusrite ........................................... 173 Full Fat Audio ................................... 105 Funktion One ....................................... 79 Genelec ............................................... 99 Global Truss ................................ 34 & 35 GLP .................................................. 127 GTD .. ................................................... 4 Havells Sylvania ................................. 165 Haze Base ......................................... 139 Idea Pro Audio ................................... 101 JB Lighting ........................................ 111 K-array ............................................... 131 Kind Audio ......................................... 103 Kling & Freitag ..................................... 45 KOBA.................................................. 56 KV2 Audio ......................................... 163 Kvant ................................................. 107 L-Acoustics............................................ 2 Laser Animation ................................. 166 Lawo ................................................... 83 Le Maitre ............................................ 49 LEDsCONTROL................................ 139 Light Sky Fly Dragon.............................. 6

ITALIANO

ESPAÑOL

Dopo un aprile intenso, mi sono preso qualche settimana di vacanza visto che, come molti di voi sapranno, mi piace andare alla scoperta di posti nuovi, soprattutto perché mi perderó un paio di gite annuali che solitamente faccio a maggio e giugno, in quanto ho da fare una piccola cosa che mi riguarda: mi sposo!

I viaggi che ho fatto ad aprile sono partiti da Guangzhou (Cina) con le esibizioni fianco a fianco di The Get Show e Prolight+Sound.

Penso che stessimo vedendo quello che é il vero cambiamento del momento nel mercato cinese e persino i produttori locali affermano che gli affari non vanno cosí bene come una volta. La crescita annuale, seppur sana, non ha piú un’ascesa cosí rapida e sta partendo da zero. Inoltre é un’argomento importante la motivazione per la quale il governo cinese si sta facendo schiacciare dalla corruzione e questo sta influenzando gli affari interni (il settore di mercato piú vasto per la maggior parte delle compagnie cinesi). Al contrario, invece, molti altri mercati asiatici continuano a fiorire, anche se a quella parte del mondo gli sta sicuramente sfuggendo qualcosa, come se questa fosse una fiera, una conferenza o un qualsiasi altro tipo di evento ma con una motivazione per il popolo asiatico e cioé quella di raggruppare e condividere idee. Una cosa alla quale pensare...

Estoy a unas pocas semanas de aventurarme hacia un mes de Abril bastante ocupado pero, como la mayoría de ustedes ya sabe, disfruto mucho de estar en movimiento. Especialmente cuando me perderé de algunos de los viajes anuales que suelo hacer en Mayo y Junio porque me atañe un pequeño asunto como el hecho de que voy a casarme! Mis viajes de Abril se inician en Guangzhou, China con las consecutivas exhibiciones de The GET Show y Prolight+Sound. Creo que estamos viendo un cambio real en el mercado Chino en este momento. Hasta los fabricantes locales coinciden en que el negocio no está tan fuerte como solía estarlo. El crecimiento interanual, aunque aún es saludable, ya no trepa a pasos tan acelerados; sino que comienza a estabilizarse.

Un fuerte argumento sobre el por qué de esto es porque el Gobierno de China está tomando medidas enérgicas en cuanto a la corrupción y esto afecta al negocio interno, el sector del mercado más grande para la mayoría de las empresas Chinas. Por el contrario, muchos otros mercados Asiáticos continúan prosperando, a pesar de que a parte del mundo le está faltando un punto de encuentro - ya sea una feria comercial, una conferencia o un tipo de evento diferente- pero una razón al fin para que la comunidad Asiática se reúna y comparta ideas. Algo para seguir pensando.…

Lightline Lasertechnik .......................... 97 Look Solutions ..................................... 75 LPS Lasersysteme ............................. 137 LTM ..................................................... 54 Lumen Radio ..................................... 114 Lynx Pro Audio .................................. 155 Macostar ........................................... 164 Madrix .............................................. 135 Martin Audio ...................................... BC Martin Professional .............................. 55 MBN ........................................ 115 & 117 Mediatech ............................................ 22 Meyer Sound ....................................... 13 Music & Lights ........................... 59 & 167 Osram ................................................. 71 Outline .............................................. 119 Palm China ........................................ 124 Palme Middle East ............................. 169 Philips Lighting .................................... 65 Pioneer ................................................ 69 Powersoft .......................................... 161 PR-Lighting .......................................... 27 PRO .................................................. 148 Profactor ........................................... 135 Prolight+Sound Guangzhou ................... 7

Prolyte ................................................. 73 Pulsar ................................................ 133 Renkus-Heinz..................................... 141 Riedel .................................................. 10 Robe ................................................... 15 Silence ................................................ 86 SM International ................................ 135 Sommer Cable .................................... 41 Sparklaser ............................................. 6 Spotlight ............................................ 171 Starway ............................................. 157 Steinigke ................................... 61 & 159 Studio Due ........................................ 175 Sunlite Nicolaudie .................................. 8 Symetrix............................................... 38 Tannoy ..................................... 151 & 153 TW Audio ............................................ 17 Vello Light .............................................. 4 Verlinde .............................................. 37 Void Acoustics ................................... 109 Waveburg .......................................... 160 Wireless Solutions ................................. 3 XTA ................................................... 155

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THINKING SOUND

INTRODUCING LEOPARD

COME SEE IT AT PROLIGHT + SOUND IN APRIL HALL 8, STAND F70

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Meyer Sound Laboratories Inc. • 2832 San Pablo Ave. • Berkeley, CA 94702 • 510 486.1166

Close Date

PUBLISTING Mondo April 2015 Issue Creative: LEOPARD Tease

Contact: Elania Nanopoulos Phone: 510 486.1166 x115

Unit:

FP4C

Live:

210mm x 310mm

03/04/15

PRODUCTION NOTES Keylines do not print

Trim:

236mm x 333mm

INK: 4/c

Bleed:

242mm x 339mm

STOCK: magazine

Gutter:

n/a

Revision #

014 in brief - europe/middle east/africa

IN BRIEF EIS TO EPAKRON CHO O SE S O UTLIN E Music Sound-Light & Vision has installed three Outline CSA 85 systems in the multi-purpose hall ‘Eis to epakron’. The hall can hold up to three wedding receptions or events at the same time without the music interfering from one space to another. Sound engineers Mpampis Sevastiadis, Philipos Petropoulos and Nikos Mpatsikas installed and adjusted the system to achieve the highly effective results and the best possible performance.

S IL E N C E IN STALLS FI VE SE N SES R E S TA UR A NT I N B ARCE LON A The new Yubari restaurant is a culinary journey through the five senses.

A unique and spectacular space where a combination of textures and features transport guests to a small town on the Japanese island of Hokkaido, from where the restaurant takes its name. The goal of the install by Silence Electroacustica was to create the perfect atmosphere that would complement the cuisine and be completely reliable. The company specified its own brand of lighting, Lux Evolutio and deployed a sound system from Noise Control Audio.

STUDIO 338 F INDS A SOU N D SO LUTIO N W ITH VOID ACOUSTICS Studio 338 has been kitted out using Void Acoustics’ Nexus 6 and Stasys X V2 system on its outdoor terrace and an Airmotion system for the club’s two indoor spaces. Alex Skan, Director of Void Acoustics helped with design, he said: “Studio 338 is a unique space, and presented a lot of challenges. Dan and Max, the club manager and owner respectively, knew what they wanted to achieve - it was our job to realise their expectations. They really liked the impact and sound quality of the Void system, however, the main challenge was to prevent possible noise complaints. This was a mandatory requirement for the outdoor terrace area to succeed as a club experience.

By using several acoustic techniques developed by Void, it was possible to get a high SPL arena in an outdoor area in the middle of London.”

A UD IOV IS ION AN D AU DAC TE AM UP TO B R IN G N E W LI FE TO ROMAN I AN SEASIDE RESORT AudioVision provided and installed an Audac sound system for Sandalandala, a camp site in southern Romania. Sandalandala is part of the summer resort, Vama Veche, which is surrounded by natural beauty and has music at its core. The installation comprises a CMP30 digital audio source, eight XENO8 loudspeaker cabinets and four SX415 subwoofers covers the lounge area - including an outdoor cinema - and has a capacity of100 seats. For the main camping area, 38 WX502/O wall loudspeakers were used, powered by a CAP448 four-channel 100V amplifier.

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GAME CHANGER 15 0 2 d n u o S Prolight+ Booth: B51 Hall:11.0 .2015 15-18.4

BRIGHT MULTI FUNCTIONAL LIGHT

016 in brief - ASIA/PACIFIC/OCEANIA

S G M ILLUMI N ATE S AT TRAN S TV STUDIO No fewer than 40 SGM P-5 TW washlights and 40 Q-7 W flood lights were recently acquired as part of the light inventory for the Indonesian D’Six Studio, which is owned and operated by PT. Prima Global Indomedia. Technical & Operations Director of D’Six Studios, Lemmy Ibrahim recently implemented them for a programme at TRANS TV studio. He said: “The lighting designers of TRANS TV were very surprised that the lumens output was more than double, 2.4 times brighter than the LED fresnel fixtures that they previously used. Due to the high output, this actually meant that they were able to scale down the amount of fixtures to half, so that only 20 P-5 TW and 20 Q-7 W were necessary for their programme. As an added bonus, the total power consumption of the studio is also much lower than the initial calculations. Consequently, there will be huge savings on our monthly electrical bills.”

FUJI TV WA K E S UP W ITH E TC SEL ADO R LE D F IXTURE S It was a challenge for the technical crew of Fuji Television Network (Fuji TV) and Fuji Media Technology (FMT) to find the right fixture to light a set built in the globe shaped observation studio located on the 24th floor of the building. But in the end, it realised that ETC’s Selador Desire D60 Daylight luminaires were the perfect fit.

“Our task was to light this set built in a space that was once a coffee shop, with minimal power,” said Hitoshi Hoshino, Executive Manager of FMT. “The space also had only 2.4-metres to the ceiling, so it was impossible to use incandescent lights, not only because of the power restrictions, but also the heat.” Sold with the help of Syncro-Rise, a dealer for Ken Production Service, FMT provided the lighting package, which included 12 Selador Desire D60 Daylight fixtures. Fuji TV’s Chief LD, Atsuhiro Kobayashi used some flat-panel LED fixtures for front light and some small HID floodlights for backlight to fill in areas that had no light from the windows, to create the look they wanted. “When tall guests come onto the set, they have to duck under the fixtures. By using LED fixtures, we did not have to worry about people touching the fixtures and burning their fingers or scorching their hair,” Hitoshi laughed. “We are happy with the choice we made.”

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HAVE YOU HEARD IT?

Not yet?

N is a perfect match for installations and touring.

Find more information here: www.twaudio.com/N and @ your local distributor.

20150224_TWAUDiO_N_.indd 1

24.02.2015 09:53:43

018 in brief - the americas

PA R AG O N 3 6 0 & CHAU VE T P R O F ESS ION AL K E Y I N CHU RC H R E N OVAT ION Missouri based design specialist, Paragon 360, called on Chauvet Professional products during the complete renovation of a 35-year old church in Enid, Oklahoma. By installing a collection of lighting fixtures from Chauvet Professional, Paragon 360 added new architectural elements and upgraded the audio, video and rigging system at Emmanuel Baptist.

As a result of these changes, the church is now able to transform from a traditional space to a contemporary worship area in just 20 minutes.

IRIDIUM M USIC CLUB D E LIVE RS LIVE PERFORM ANCES WITH AVID E VE RYW HE RE Situated just off Times Square, the Iridium has had an illustrious career as Manhattan’s premier live music club. It’s long been the place to catch guitar legends - such as Jeff Beck, Todd Rundgren, Steve Miller and, most notably, the renowned musician and guitar pioneer Les Paul - in intimate club surroundings. As well as regular evening performances, the club also plays host to PBS TV series, Front and Center, a one-hour, commercial-free, all-music program that airs nationwide.

Rather than continue renting a system every time they had a shoot, the Iridium crew decided to explore the idea of having a permanent solution. Having previously rented Avid VENUE live systems for the TV shoots and being impressed with its ease of use and sound quality, the Iridium crew opted for the Avid VENUE | S3L System. Iridium decided to embrace Avid Everywhere products and invested in an integrated workflow powered by the Avid MediaCentral Platform, with live sound and recording solutions from the Avid Artist Suite.

T W IN J U B ILE E AU D I TORI U MS HOM E TO CA N A DA’ S FI RST I N STALLS OF M EYER S O UN D LYO N Two nearly identical venues have become the first theatres in Canada to be equipped with the Meyer Sound LYON linear sound reinforcement systems: Edmonton’s Northern Alberta Jubilee Auditorium (NAJA) and Calgary’s Southern Alberta Jubilee Auditorium (SAJA).

Both long-time Meyer Sound users since 1983, the 2,538-seat auditoriums selected LYON as they looked to upgrade from their trusty M2D line array loudspeakers, a decision made jointly by Mark Belkie and Paul Schmitz, technical coordinators for audio at SAJA and NAJA, respectively.

The upgrade for both auditoriums included 22 LYON-M main line array loudspeakers and six 1100-LFC low-frequency control elements. Six-each MINA and M’elodie line array loudspeakers were installed as center downfill clusters in SAJA and NAJA, respectively. For system drive and optimisation, two Galileo Callisto 616 array processors were added to each theatre’s existing Galileo loudspeaker management systems. The systems were supplied by Allstar Show Industries of Calgary and Edmonton, with integration and installation by technical staff at the respective auditoriums.

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020 ECPO DIARY

EXPO DIARY 2015 1-4 APRIL www.getshow.com.cn

26-28 APRIL www.soundcheckexpo.com.mx

9-11 JUNE www.stage-set-scenery.de

19-22 MAY www.kobashow.com

5-8 APRIL www.prolight-sound.com

26-28 MAY www.lwbr.com.br

THE GET SHOW PROLIGHT+SOUND GUANGZHOU, GUANGZHOU, CHINA CHINA

INFOCOMM BEIJING, CHINA

SOUND CHECK EXPO MEXICO CITY, MEXICO

PROLIGHT+SOUND FRANKFURT, GERMANY

PALME M.E. DUBAI, UAE

KOBA SEOUL, KOREA

INFOCOMM SAO PAULO, BRAZIL

LIGHTING WEEK SAO PAULO, BRAZIL

STAGE | SET | SCENERY BERLIN, GERMANY

PALM EXPO INDIA MUMBAI, INDIA

10-12 MAY www.palme-middleeast.com

15-18 APRIL www.prolight-sound.com

8-10 APRIL www.infocomm-china.com www.mondodr.com

28-30 MAY www.palmexpo.in

12-14 MAY www.tecnomultimedia.com

EXPO DIARY 021

www.mondodr.com 24-25 JUNE www.abtt.org.uk

19-22 AUGUST www.palmexpo.net 15-17 JULY

www.mediatech.co.za

ABTT LONDON, UK

INFOCOMM ORLANDO, USA

MEDIATECH JOHANNESBURG, SOUTH AFRICA

INDIAN DJ EXPO NEW DELHI, INDIA

17-19 JUNE www.infocommshow.org

PALM EXPO CHINA BEIJING, CHINA

PALMM MANILA, PHILIPPINES

20-22 AUGUST www.globallinkmp.com 3-5 JULY www.indiandj.in

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Publishers & Projects

IN DEP TH

INTERVIEW PIO NAHUM, CLAY PAKY

REPORT RETAIL

In this issue’s Big Interview we meet industry veteran and Clay Paky CEO, Pio Nahum. Jerry Gilbert discusses with Pio the ups and downs of the industry; including how Clay Paky went from the brink of extinction to its rise back to the top, and how the new Osram ownership is progressing.

The Report section looks at a rather niche entertainment genre; Retail. Through a variety of applications the Report discusses how installer and retailer collaborate to create a clear brand message that will attract customers.

024 INTERVIEW

“WHEN WE GO TO SHOWS MY DAUGHTER KNOWS IMMEDIATELY IF IT’S A CLAY PAKY LIGHT.” PIO NAHUM Clay Paky was a lighting leader from the beginning, and although the company went through some difficult times, it is now back on top. Under the new ownership of Osram, Jerry Gilbert caught up with industry veteran, Pio Nahum, who now lies at the helm of the Clay Paky, to find out what brought him back to the company, and everything in between...

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INTERVIEW 025

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026 INTERVIEW

Pio with Paky at SIB, Rimini in 1995

Entertainment lighting giant, Clay Paky, is on the verge of one of the most significant events in the industry’s history, just months after being taken over by Osram.

We are not talking about the next generation of compact beam lights or framing spots but the opening of the Museum of Modern Show Lighting (MOMS). So fastidiously has it been curated that it includes such seminal items as an early endof-the-70s Cameleon Telescan, the first moving mirror followspot, and vintage VariLite, which debuted on Genesis’ Abacab tour. Speaking of followspots the visitor will already have passed a classic Strong Supertrouper dating back to 1956 and the LX3 oilwheel projector that marked Pasquale ‘Paky’ Quadri’s arrival in the disco industry in 1976 (coincidentally the same year that I first set foot in this coruscating world, feeling like I had just walked off the edge of the planet).

As the lighting industry slowly metamorphosed from sealed beam halogen lamps (GE4515 Par 36 pinspot) into metal halide, Clay Paky was scattering beams across dancefloors from ‘Astro’ prefixed, rapidly rotating motorised spheres and hemispheres which by 1983, the first year a dedicated Italian disco show appeared in Rimini, were already becoming classics: Astroraggi, Astrospider, Astrodisco.

Better still, Nick Archdale has donated a vintage Wholehog desk, redolent of those golden days in London’s West Ealing ‘commune’ where Chameleon Lighting, and the SpotCo and DLD Productions, which Archdale ran with Andy Neal, contrived to kick start the rave scene and help open up the market for Clay Paky’s later magnum opus, the automated Golden Scan, which introduced stepper motor technology to the industry.

Alongside it, the first all encompassing DMX lighting controller OSKA, scavenged from a London nightclub and believed to be the only one still in existence, had been gifted by one of its designers, Mick Martin. At last, all-in-one DMX desks would run the mash-up of moving lights rather than a battery of individual dedicated ‘piano’ controllers to drive this aerial lighting attack - ordnance that would have brought envy to Rick Wakeman. These, and the fruits of the intervening years, are enshrined in a museum now nearing completion.

However, it would be little more than a sideshow if it didn’t underline the

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determination of Clay Paky’s new owner, Osram, and new CEO, Pio Nahum to preserve the heritage of the industry. As we walk back in time along the mazy Yellow Brick Road, the famous movie aphorism ‘we’re not in Kansas anymore’ springs to mind. But it was another adage, where Pio once stated his absolute certainty that Clay Paky represented “the past, present and future in show lighting” that seemed most apt. More than just a casual soundbite, Clay Paky has provided the soundtrack to the industry.

The ever affable Pio can also reflect on something of a mazy life along Italy’s A4 Autostrada between Milan and Bergamo. Yet when Clay Paky was in its darkest hour between 2000-2004, facing possible extinction following the failure of StageLine to ignite the market - coupled with a costly move to a 10,000 sq metre facility at Seriate, the commune of Paky’s birth - Pio was working with Danish competitor, Martin Professional.

Both companies are today in corporate ownership and it is interesting to compare the new branding of ‘Martin by Harman’ with the slightly more formal and respectful ‘Clay Paky: An Osram Business’, in which it is destined to become one of the most important companies in the Munich company’s Specialty Lighting segment.

Pio, now into his seventh decade, and fifth month at the helm of the company, will manage the transition and keep a firm hand on the tiller from behind his desk.

Secretly he can’t wait to be gladhanding and motivating back on the world circuit, where today he is the industry’s most familiar face. His second shift at Clay Paky will undoubtedly be his last.

When I last visited the company in 2011 its fortunes were back in full spate.

After the ‘perfect storm’ of StageLine, over-engineered and way too bulky on the one hand, and arriving too late in the ‘moving body’ firmament, fortunes had turned dramatically with the launch of the sophisticated Alpha range of moving body fixtures, and notably the Alpha Beam 300. This established a new trend in compact, fast and super-concentrated narrow beams and rapidly turned the world on its head. I was then treated to the next generation - an emotional Sharpy lightshow, delivering 1,500W from a 189W Philips lamp source - which reminded me just how far attempts to produce mid-air coherent light via a tight parallel

028 INTERVIEW

Pio and his wife

beam had come with the evolution of optics and discharge sources.

A miracle of micro-engineering, Sharpy further propelled the company’s fortunes into the stratosphere but rather than sit on its laurels, the company has continued to innovate, with a new series of LED and discharge products, B-EYE, Stormy, SuperSharpy and Mythos, fabulous nomenclature even if they do sound more like killer cocktails than industrial lighting pieces.

Clay Paky’s marketing guru, Davide Barbetta recalled his own emotional response to seeing a super-concentrated beam effect to replace the conventional Spot or Wash. “Shows needed another aerial effect; the projection effect until then had been the cyc but Alpha Beam 300 showed that a third way was now possible through the air and this was the first beam moving light on the market, much superior and smaller than the conventional ACL. The Sharpy further combined the most important aspects of a solid parallel beam while the SuperSharpy is three times more powerful than that!”

Between Alpha Beam 300 in 2008 and Sharpy in 2010, Pio had arrived back in the company - in January 2009 - following four years at architectural company Targetti Poulsen, where he had been tasked with setting up its new LUCEVIVA solid state lighting division. This had been a frustrating period largely because Pio discovered that the industry was not as fast moving as his experience at either Martin Professional, where he spent nearly a decade between 1996-2005, or his first tenure at Clay Paky, between 1989-96.

His departure from the entertainment lighting world had resulted from a meeting at the Light+Building exhibition in Frankfurt. It was also at the time when Color Kinetics was growing rapidly before Philips bought the brand and wanted to form a European connection via Targetti. “LED could have made a big impact in the architectural lighting world but it became too difficult because architectural companies couldn’t embrace it quickly enough and didn’t know how to handle electronics,” remembered Pio. “After Martin and Clay Paky I couldn’t survive in such a static environment.”

His reunion with Pasquale Quadri, an extremely proud and private man, who inhabited a world of formal convention and old values despite his background as a musician, took place in 2008. “We had not spoken to each other, and we shook hands politely. When I left the first time around, there had been no real problem between us, I just needed a new challenge. But I think he had seen it as [an act of] treason when I went to Martin Professional, and although I had a wonderful www.mondodr.com

time there I cannot say that Martin Professional was in my heart in the same way; I could not work back there.”

He walked back into exactly the same commercial director role as he had vacated all those years previously. “But first I needed to be sure I was making the right decision, and what convinced me that the company was back on the right track was the Alpha Beam 300 because it was such an innovation, this tiny fixture, with sophisticated engineering and I could see this had huge potential to exploit.”

It is probably no coincidence, therefore, that in the five years since 2008 Clay Paky’s revenues virtually doubled.

History was about to repeat itself. For when Pio originally joined the company in 1989 he had been able to steer a company embedded in a nightclub industry that was fast running out of steam into a new world of touring that had hitherto been dominated by Vari-Lite.

Fifteen years before Alpha Beam 300, Pasquale Quadri’s epiphany in the new microprocessor age had been a programmable product called Golden Scan that emerged from the Brilliant range, and which caught the start of the incipient rave era. Regarded at the time as a ‘happy accident’ by the time the Mk3 version had been produced the touring community had shown its willingness to embrace a product whose roots were in disco, the word that dared not speak its name.

“Golden Scan 3 had carry handles and was designed for touring, it was more rugged and came in black rather than stainless steel, with safety chains and PFC,” remembered Pio. “It was the absolute turning point.”

He had been quick to initiate himself into the recondite world of entertainment lighting, and it would undoubtedly have provided a real culture shock after working at Michelin in Milan, and prior to that as international sales manager for a medical instrument company.

“I had no idea about clubs and went from the world of black tyres to that of black clubs. The day before I left Michelin I was at the HQ in Milan where there were thousands of colleagues in a multi-storey office and a lift man to take you up. Next day I was in Pedrengo with 18 employees and the language was Bergamasco! But I lived in Bergamo and I just didn’t want to commute anymore.

“I had wanted to join a corporate where I could learn about how to do business, but then work in a small company where I could put it to good use.” However, it has been the degree in nuclear engineering with which he graduated that has served him best over the years.

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030 INTERVIEW

What does he remember about those early times? “I was the only salesman at Clay Paky and I had the world in front of me. I had to go worldwide and find new customers, but there was no technical documentation with the product: the catalogue was a collection of pictures with no description.” Pio quickly changed that, drawing on his engineering background to produce firm technical data and setting up training initiatives.

The sales ratio of 70% domestic and 30% export was about to tilt dramatically. “I was already internationally minded from my previous roles, and I found that none of the customers had ever been visited by anyone from Clay Paky. In those days orders came in through the fax machine and payment was required in advance. But Paky wanted to expand internationally. It was fertile ground and it was a booming market so it wasn’t too difficult a task.”

One of his most notable accomplishments was fomenting the partnership with Ken Sewell at Pulsar, leading to the establishment of various CP&P franchises at a time when the Cambridge company was supplying the electronics. “Pulsar was a supplier of PCBs for Golden Scans and controllers that were complementary such as Masterpiece, which matched perfectly with Golden Scan. So we started to travel together.” Via Claude Lanos they set up CP&P France, Lightpower’s Ralph Wezorke bought into the initiative in Germany as did the Nordic countries and Hong Kong. “And because Clay Paky was such a big investor in tradeshows people were queuing to see the lightshows [generally orchestrated by Carl Dodds and John Lindsell]. Marketing wise it was a powerful deal and the concept survived until I left.”

In fact the challenge he left Clay Paky for resulted in a fairly futile year in 1995 spent with a company making pneumatic valves and actuators, buried in the underbelly of industrial automation. Then he met Peter Johansen at a tradeshow, knowing that the company had floated on the Danish Stock Exchange a few months earlier. The two men talked and he accepted the role of marketing director.

Once again his task - and biggest achievement - was to steer a stone-ground disco company into the grown-up world of professional show lighting, although this time he was shorn of his trademark moustache.

“When I arrived at Martin Professional it was a DJ product company, producing www.mondodr.com

Roboscan and Pro 400 exclusively for the club industry. Then Peter made the MAC and there was a radical diversification into touring along with the PAL 1200 scanners.

“Then one Saturday night [in 1998] I was sitting at home in Bergamo and received a call from the CFO at Martin Professional, and he said on Monday morning I had to be in Denmark for a board meeting. And so the following day, a Sunday, I drove from Bergamo to Aarhus and they announced the change of management, which led to Peter’s departure. “A few days later Kristian Kolding was appointed and my relationship with him was extraordinarily good. He was a very good person and did a lot for Martin Professional.”

By the time Pio left Martin Professional in 2005 he had helped to completely overhaul the brand reputation. “This is one of the most difficult things to do, as you can also ruin a reputation trying to do it. It takes a lot of time and effort.” As such, he cites this as the single most important achievement in his career, with MAC 2000 acting as the catalyst.

“This was one of the most solid moving heads ever. It was never a revolution, just a very well made moving light, reliable and cost effective. There’s no doubt they were the best times. It was a time when being part of the Martin Professional team was a huge privilege as the company was growing and making money.”

During the difficult post-flotation transition at various times Pio took responsibility for Martin Professional US and also established Martin Professional France and Martin Professional Italy; and when Ian Kirby left Martin Professional UK he also found himself running that office.

But with the birth of his third child the pressure was beginning to tell and so he resigned his main board directorship two years into the new millennium.

Fast forward to 13 October 2014. Announced as the new CEO of Clay Paky, Pio had finally, and deservedly, reached the summit of an industry that he had dominated, having done more than any individual to shepherd an industry through its awkward teenage years into adulthood - the omnipresent face in a changing cycle.

Knowing that his time was nigh, a critically ill Pasquale Quadri had planned his succession to perfection. A month before his death in early September, he had

INTERVIEW 031

Pio with Rick Fisher, making a donation to Light Relief

signed an agreement to transfer the ownership of Clay Paky to Osram with the objective of providing security and further expansion for the company.

The new CEO recalls the events leading up to the transition vividly. “By the end of 2013 [Paky] knew he was sick, but he never told anyone, no-one knew.

“At the end of 2013 he told me to start planning for the sale of the company and asked me to contact a few potential buyers. Osram had already manifested its interest in the company at an earlier stage but Paky said it was not the right time.

With the support of KPMG we invited companies and I attended a lot of meetings, along with our CFO, Roberto Piccinini, and COO, Valter Rossi, but Paky never came to one. We were acting on his behalf which was a huge responsibility.”

A short list of potential buyers was drawn up but the offer from Osram was the most suitable and most comfortable. “When Paky’s illness became more serious he wanted to rush the process through during the summer. The night before the [summer] holidays began he had signed the pre-agreement. He came in well dressed and he was joking and smiling and showing optimism and we all went off on summer holiday. By the time we got approval from the Antitrust Authority Paky had passed away. But by then everything had already been done. He fought to meet that date because he knew he wouldn’t survive, and after signing, he simply relaxed and just passed away. He really took care of us.”

At that time Pio’s future role had not been defined but he was the natural successor to take over, the king in waiting. Thus far the company has been allowed to run autonomously, with little parental interference - saving a halfhearted attempt to introduce the Osram orange colour into the logo - and standard integration procedures. “The integration process has been easier than I thought although there have been a lot of compliance and quality certification issues,” Pio confirmed. “While CE certification is self-governing, Osram wants us to go through official third party certification for EMC, RoHS, UL approval for all products in America and so on.”

In a reverse situation of his Michelin to Clay Paky transition first time around, he is now looking in the face of an industrial group with a 5.1 billion Euro turnover and 34,000 employees worldwide, as opposed to the Seriate company’s 130.

And although the respect Osramhas for Clay Paky is part based on the fact the

two companies were customers, going forward Clay Paky will continue to buy from Philips, while Osram will enter into exclusive arrangements with any competitors in this free market.

Pio laughs at the media’s perception of competition among Western lighting companies - dating back to the early sparring with near neighbours Coemar and emphasises that you are as likely to find him having lunch with Robe’s Josef Valcher as picking up the phone to invite any of the world’s top LDs to see the latest Clay Paky lights.

But mention the Chinese industry and his mood changes. “The competition with Martin and Robe is good … I like it. Our real antagonists are those that are competing in an unfair way with the desire to completely kill us. They don’t have a face, and they have a business model and agenda that I have a hard time accepting. There are no ethics and it’s killing the profits and reducing life cycles.” By this he is referring to the ongoing problem of plagiarism and patent infringement. “It’s ok as long as local product doesn’t infringe your IP. The problem is defining and protecting your patent in China.” Clay Paky won 28 cases last year, but in real terms those numbers are probably about as significant as the badger cull in the UK. It remains particularly prelevant in the emerging world of LED, a party which Clay Paky were notably late in joining. This had almost seemed like a policy decision, and Pio agreed. “Paky didn’t believe LED had enough power, quality and consistency for professional application. He felt it was still too early. In general lighting application the level we had reached with LED was more than suitable but in stage lighting it was felt that there was still an enormous amount of work to do in terms of power consistency, heat dissipation and lamp consistency over a lifetime.”

But by 2011 they had already recruited Francesco Campetella, and all that was about to change. Soon after arriving at market the A.leda B-EYE K20 washlight won coveted PLASA Innovation Award and LDI Debuting Product in 2013, and this has been followed into the LED portfolio by Stormy, its strobing LED - about to emerge as an RGBW version - and Show-Batten.

Clay Paky has now won 50 awards during its illustrious history and Pio has said that apart from pure prestige there is an unusual fringe benefit. “[Independently www.mondodr.com

032 INTERVIEW

adjudicated innovation awards] count for a lot in court when we are suing for patent infringement. Our IP guys have emphasised just how important it is, particularly as the judge is not a technical guy.”

Yet it has been Clay Paky’s open communication channel that has enabled them to establish events like Knights of Illumination honouring professional lighting designers. “No-one looks at this as a business enterprise. In fact the number of shows Clay Paky is used on by the winners is less than 30% but we don’t care. The awards are given independently by the STLD and ALD but our interest is to make the lighting industry grow. We are driven by innovation,” said Pio. Establishing products with LDs he knows requires a certain amount of face time and physical interaction. “What I have learnt from LDs in general is they don’t care how the product is built on the inside; all they need to know is what happens on the outside.” And they will be supported over the lifespan of a product.

On this they again have firm policies, with a fierce determination to deliver a good return on investment (and thus low cost of ownership) for their rental company partners. “We have made a rule which is never to release a product that makes another obsolete before four-to-five years. We are not selling consumer products like Apple. We don’t have an infinite number of buyers. The number of rental companies we sell to, and shows serviced by them, remains largely the same.

Therefore, we need to protect them so they are financially sound, and can afford to feed our business.”

As an example, he cited Sharpy. “This was released at the end of 2010 and by the end of 2012 there were already many copies in the market. But we only released Mythos and SuperSharpy at the end of 2014 because we couldn’t afford to upset our customers. We try and protect the value of what they buy to give added value to our product on shows and tours.”

The road-map for the future is more diversification and family extension into different rubrics. Possibly it is no coincidence that ‘Seriate’, where they are based, translates as ‘Series’. “It will make the business more sustainable and show that we don’t need to grow by aggression but by diversification.”

Going forward, Pio remains tight-lipped about future developments, including this year’s Prolight+Sound in Frankfurt. But one world you won’t find them entering anytime soon is the architectural one, and this has a lot to do with distribution strategies. “It would mean changing too much of our culture, setting up a complete new sales structure. TV and theatre is where we will diversify.

“What we do want to do is incorporate as many automated functions as possible.

The world is changing to automation more and more, with internal control and sensors and functions that are self-regulated for greater efficiencies. Our real expertise is handling complexities while at the same time making the user interface as simple as possible. We have to be aware that there is a new generation of technicians and LDs that are used to handling electronic complexity.”

And so as the company enters a new era, which in the short term will surely be dominated by Mythos and SuperSharpy, how is the industry perceiving the company’s assimilation into the corporate world? Is Clay Paky still seen as independent? Gainsayers will argue that historically very little good has come from forcing the entrepreneurial spirit into the corporate world, in our industry at least.

Initially, he admitted there had been perplexity. “Many stakeholders were quite concerned and my main mission has been to reassure everyone. There was a strong determination by Osram to let Clay Paky continue as a standalone company.

At the same time it has given us access to R&D and their legal department - as well as manufacturing know-how. I have started to pass this message to the market and we have reassured everyone and [assuaged] any concerns that we will be moving www.mondodr.com

production to China.

“But the fact still remains that [many of our customers] had already experienced acquisitions in our industry. The Vari-Lite acquisition [by Genlyte in 2002] was never perceived as a positive one. Such a legendary company was only allowed to survive rather than expand and the subsequent acquisition of Genlyte by Philips [in 2008] didn’t change the situation. It simply diluted Vari-Lite in its big ship. As for Martin Professional, the Harman strategy has not been clear.”

In fact North America, where these deals take root, has had a major role to play in Clay Paky’s fortunes. From my own perspective this is the continent on which Pio has played some of his most brilliant hands, with the result that today the territory represents some 20% of its turnover (as the number one market).

Manoeuvring of the sales channel had begun following the breakdown of relationships with Blackstone Audio Visual in the late ‘80s (leading to the formation of High End Systems/Lightwave Research). The setting up of Clay Paky Americas had failed, and then came Jack Kelly’s Group One at the beginning of the 1990s, and later PRG. But Pio’s appointment of Bob Gordon at ACT Lighting in 2011 proved a masterstroke.

“When I met him he was ready to take business to the next level and saw the opportunity to match MA, with whom he had already made a success, with Clay Paky. He was used to selling European product into America which was an advantage and so we immediately made an agreement. This was at a time when we were starting to release Sharpy and the combination of this and such a well known distributor created the magic moment.

“It’s important to be well placed in both the US and UK - with Ambersphere - and George Masek’s arrival at ACT Lighting [in 2012] has also provided added value.”

Thus Clay Paky’s brand cachet has been almost miraculously restored less than a decade after the company had been gazing into the abyss. And lest we forget, this has also included migrating its products into the television world.

“Convincing TV people was vitally important,” Pio conceded. “And thanks to people like Steve Wells at Richard Martin Lighting we have been able to do that. Since the advent of LED screens and automated beam-lights such as the Alpha Beam 300 and Sharpy, set design in TV studios now consists mainly of these lighting elements; you find them in all shows.”

Over a span of five hours it seemed we barely scratched the surface of nearly four decades of development. But we had alighted on a number of landmarks, not least of which being Golden Scan, the industry fulcrum, which today is more than 25 years old, and without which Clay Paky may not have been with us today. “To many of today’s top LDs Golden Scan remains part of their history, and few other companies can claim such a legacy.”

And so while Pio makes no secret of the fact that he is itching to get back on the road he couldn’t be taking his current organisational role more seriously as he chaperones the company into the future. “It is a real honour for me to take up this position,” he said.

But he said it is not a 24/7 routine, and he does know when to switch off. “My wife has always been extremely patient and supportive, and I have learnt that when it’s Friday night I am no longer obsessed with the phone.” While his two eldest offspring are now established in the professional world, his 13 year old daughter is still at school, but already an ardent Clay Paky fan. “When we go to shows my daughter knows immediately if it’s a Clay Paky light.” He cites their recent trip to Rome to see the touring version of the TV Disney Channel series Violetta Live. “She was enthusiastic at the impact of Sharpy,” he said proudly, in a way that suggests she is already invested in the business.

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036 report

Image courtesy of Bayerische Hausbau; Franz Brück

RETAIL We’ve reached a point where shopping at discounted prices has become the norm, so retail outlets now have to make more effort than ever before to keep the shoppers’ interest. mondo*dr takes a look at how some retailers are enhancing the shopping experience. www.mondodr.com

BIK INI B E R L I N Company: Elation Location: Berlin, Germany Not to be mistaken for a swimwear company, Bikini Berlin is a culturally protected Grade II listed building in the German capital, whose recent revitalisation included the installation of over 1,000 energy-efficient LED luminaires from Elation.

Located next to the famous Berlin Zoo, Bikini Berlin is a unique concept shopping mall with stores, offices, cinema, and hotel, a day and night-time destination for locals and tourists alike. Aimed at a style-conscious audience with high standards when it comes to a shopping experience, Bikini Berlin took three years renovation, which resulted in the preservation of the initial character of the venue.

The centrepiece of the building complex is the historical 200-metre long Bikinihaus, a light, open colonnade and architectural symbol of Berlin’s west cityscape. Popularly called Bikinihaus due to its two-tier architecture that is reminiscent of the revealing two-piece swim garment, the building’s lower three floors contain a selection of retail stores and restaurants unique to Germany - no international chain stores - with an integral part of the space containing modular wooden specialty shops known as Bikini Berlin boxes.

B+M Elektrobau of Berlin was contracted to provide complete electrical planning and execution for the space, including lighting for the long, open Bikinihaus hall, and completed the installation using 1,000 Elation Opti Tri White and 50 Opti Tri RGB LED luminaires. “There was only one requirement really and that was for all the lighting fixtures to be reliable LED lamps,” stated Maik Simmchen, Project Manager at B+M Elektrobau. “The Elation Opti Tri lights fulfilled that and much more.”

The Opti Tri White is a high-output LED luminaire with a high CRI that blends 18 x 9W cool white, warm white and amber LEDs to produce a uniform projection of flat white light. The fixtures are track-mounted in rows beneath the Bikinihaus ceiling, lighting the commercial retail and walking areas below, including the Bikini Berlin boxes and staircase up to the second level. The fixtures, used to complement and match the natural light that floods in from the steel construction’s abundance of windows, draw a total power of only 160W per unit and have an estimated LED life of over 50,000 hours. A standard 20° lens combined with an adjustable rigging yoke and swivel head make for precise coverage of the space with easy lighting adjustments possible if needed. An optional barn door can be added to the fixture for even more accurate illumination.

Located on the ground floor and used to add a touch of dynamic colour for the all-important holiday shopping seasons or for special events are colour-changing Opti Tri RGB LED luminaires, while working from a sixth floor position and projecting down onto the second floor outer deck are IP-65 rated Elation ELAR 180 Par WW luminaires used for warm white light projection. More ELAR 180 Par WW fixtures are used to light up the forecourt of the Zoo Palast, Bikini Berlin’s historic cinema, with additional fixtures used at the 25hours hotel.

The entire Elation lighting system is controlled via five Elation Art SSC lighting controllers with expansion module ART IO units. The low-maintenance 1024-channel Art SSC control solution fits in well with the installation’s low energy requirement because it uses minimal power as all operating and programming is done through a web interface. www.elationlighting.com

038 report

V CITY Company: Symetrix Location: Hong Kong, China A substantial deployment of Symetrix processors has helped to deliver flexible and reliable audio in the clubhouse area of V City in Hong Kong. Since opening its doors, V City has become one of Asia’s most acclaimed and well-visited retail complexes thanks to its energetic feel and diverse selection of brands.

In line with this forward-looking ethos, the audio processing selected for V City’s resident clubhouse needed to be the latest and greatest available. Project collaborators, audiovisual consultancy, Dino and systems integrator Betrue, therefore called on the services of Soundclassy, which supplies Symetrix products to integrators throughout Hong Kong and Macau on behalf of distributor Sanecore. The need for effective network control of processors located in multiple control rooms meant that a solution based around Symetrix SymNet Radius 12x8 open architecture DSPs was an eminently logical outcome.

“Dino has used Symetrix on a number of previous projects, so knew the brand very well,” explained Soundclassy’s Technical Adviser, Bill Chu. “For the V City project, there was a need for quality and reliability, and that’s been answered with a system that features nine Dante-enabled Radius 12x8 DSPs, along with two inputs of 12 and four out puts of12 audio I/O expanders, and no fewer than 20 ARC-2e wall

www.mondodr.com

panel remotes for easy control.”

Suitably equipped, the clubhouse – which features entertainment performances as well as general background music to accompany drinks and food – is now a flagship for the massive retail complex, which was developed by Sun Hung Kai Properties.

The Symetrix package provides audio networking capabilities over Dante, whilst the manufacturer’s own ARC RS-485 based protocol manages control between the Radius 12x8 units and Symetrix’ ARC-2e wall panel remotes. “The system has been performing brilliantly, and the operators are very happy with the installation,” said Bill.

In fact, the scale of investment in Symetrix equipment at V City underlines the extent to which the US-based DSP specialist is making headway in Hong Kong’s economically-buoyant market. For small to medium sized installations like corporate and university lecture room applications, the Solus standalone open architecture DSP, standalone fixed architecture Jupiter DSP and ruggedised Zone Mix DSP are popular; for larger scale installations like theatres and casinos, Dante-enabled SymNet Edge and SymNet Radius open architecture Dante scalable DSPs are proving to be just the ticket. www.symetrix.co

HUNTER S Company: Kaleidovision Location: London, UK Music Concierge and sister company Kaleidovision have joined forces to realise the vision of Hunter’s Creative Director Alasdhair Willis, at the brand’s new flagship store on London’s Regent Street.

Transforming Hunter from a simple wellington boot company to a full-blown brand, Willis wanted a ground-breaking, truly immersive retail experience that engaged customers whilst helping to define the brand.

Shoppers at the new 5,000 sq ft store are confronted with a stunning focal point in the form of a five-metrehigh LED video wall running through the three-storey building. This is fully optimised by Kaleidovision using innovative techniques to represent the new vision sought by Hunter, and is matched by complementary aural soundscapes and a bespoke music concept created by Music Concierge.

As specialists in creating bespoke music and sound identities for leading fashion and luxury brands, Hunter asked Music Concierge to design unique music and sound concepts that reinforced the interior design and feel of different retail zones across the store, whilst curating music that was relevant to the different Hunter Original and Hunter Field audiences.

With references to music festival culture interwoven into the main sound of the store, and a contemporary but pastoral playlist design reflecting Hunter Field’s specialised performance wear, the aural experience was complemented by stand-alone headphone channels, and specially-commissioned ambient field recording soundscapes for the changing rooms and lift areas that immerse the listener in both summer and rain weather sequences (a vital element in the Hunter experience).

Music Concierge Creative Director & Founder Rob Wood said: “Music Concierge is thrilled to have been tasked with the challenge of creating soundtracks and soundscapes that capture the personality of Hunter whilst also drawing in customers to one of the world’s premier shopping areas. Working with our sister company Kaleidovision has meant that together we were able to translate the inventive vision both creatively and technically, in perfect harmony.”

Kaleidovision produced and edited the branded video content as well as special live feed-driven ‘wet weather events’ in the form of video and audio sound effects such as heavy showers and thunderstorms. The live web-based weather moments (provided by the Met Office), which punctuate the atmosphere every 30 minutes, focus on eight specially-selected epic locations where the rain is at its heaviest.

Kaleidovision handled all content management, converting branded content from 16:9 widescreen to fit the unusual aspect ratio of the giant screen. This is played out on their KL4 platform which is also compatible with Music Concierge’s audio playlists; while KL4-M AV players address the videowall, a KL4-A plays the audio content.

“It is the result of joined-up thinking that only two distinct content specialists operating under a single management structure could bring,” concluded Kaleidovision MD, Andy Pitman. “It has enabled us to deliver some real surprises and create a truly immersive experience and talking point for shoppers.” www.kaleidovision.co.uk

040 report

Image courtesy of ASK Media

MELISSA Company: PSCo, Absen Location: London, UK Brazilian footwear brand Melissa’s London store launch attracted a VIP guest list most fashion brands would dream of, so the pressure was on for the store design to impress. The 6,000 sq ft store would follow the brand’s ‘Galeria’ concept, found currently in the flagship stores in Sao Paulo and New York, where shoes are displayed alongside art installations and sculpture.

Melissa’s brief to Intevi, the digital solutions provider appointed on this prestigious project, was to blend their artistic designs with suitable technology to bring their creativity to life. Intevi knew it was going to need an impressive piece of technology to deliver on these requirements, leading them to super high resolution LED as the display choice.

Commenting on the project, Tom Scott, Managing Director of Intevi said: “We had previously worked with the contractors on another retail project and they knew we could deliver on the very distinctive brief Melissa had produced. In the large entrance hall, visitors would be surrounded on three sides by floor to ceiling LED screens.

These screens would feature anything, from psychedelic art installations to fashion shows. The screens would be mirror backed so that they could be turned off to provide a reflective surface around the art installations.”

Intevi chose technical distributor PSCo to supply the super high resolution LED for this project, due to the exclusive portfolio of LED by leading manufacturer Absen

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and their UK servicing and support offering.

The requirements of the display products were to be scalable, offer clear resolution, operate independently displaying different content and be set behind bespoke glass installations. To ensure the LED displays delivered these requirements, Intevi visited the PSCo Assessment Centre to evaluate the displays, resulting in their specification of Absen AI06 6mm for the larger display and Absen AI03 3mm for the unique three-sided display. Once the technologies had been chosen, the Assessment Centre provided the shop fitting team the opportunity to test the LED behind the glass before delivery, ensuring there were no nasty surprises on site.

Intevi chose Absen AI03 and AI06 super high resolution LED displays as they provide features ideal for retail including low pixel pitch to display high resolution content, slim depth, high refresh rates and contrast levels and low power consumption and running costs.

The total 109 panels of LED created two bespoke in-store displays. A show stopping 44 panels of AI06 in an eight metre by three metre formation provides the creative backdrop to a range of shoes by leading designers Vivienne Westwood, Jason Wu, Gareth Pugh and Karl Lagerfeld.

In the store entrance is the immersive zone created from 65 panels of AI03, the first installation in the UK of a sub 4mm Absen LED product. This three-sided display

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created from one 3.75-metre wide wall and two three-metre wide walls delivers on the Galeria concept, creating a shopping experience unlike any other retail store.

For retail displays, if the screens need repair or maintenance, it is important for the store to know that that they wouldn’t be out of action for too long. This was a particular concern for the team at Melissa with the size and location of their LED installation.

Liam Norris, LED Product Manager at PSCo explained how the post-sales offering was an important factor in the partnership with Intevi: “We were able to support Intevi on this project, removing any of the risk and uncertainty of dealing with a Chinese manufacturer. We handled the entire procurement process on their behalf, sourcing the screens required from China and managing the supply chain back in the UK. One of the key benefits of quality LED screens is their long life cycle, making a full UK service and warranty contract essential.

As all LED sold through PSCo includes a UK warranty serviced from the PSCo Service Centre, Intevi can ensure the displays are never out of action for long periods of time.” www.psco.co.uk / www.szabsen.co.uk

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042 report

T H E LO O P Company: Audac Location: Antwerp, Belgium Due to fast changes in the retail industry over the last couple of years, RetailDetail decided to build an experience center, called The Loop, that shows its idea of ‘the shop of the future’.

One of the key parts was to stimulate all the senses, and this is exactly why RetailDetail turned to Thisplays2 for the entire Audac audio installation.

Four Audac ATEO6 loudspeakers cover the main shopping experience area, which sit alongside two Audac ATEO4 loudspeakers for the back office, a further two ATEO4’s for the changing-rooms and another pair to cover the living experience area of the complex. Inside the retail café, Thisplays2 installed four Audac ATEO6 loudspeakers together with an SX408/A active subwoofer.

To power this dispersed sound, Thisplays2 used Audac CAP424 quad channel 100V power amplifiers together with a DPA152 dual channel amplifier.

As a central control unit, Thisplays2 chose an Audac MTX88 together with two Audac MWX65 all-in-one wall panels. Thanks to the webserver and RS232 controllability available on the MTX88, they are able to send controlled messages to the visitor. www.audac.eu

V EGAS Company: Griven Location: Moscow, Russia

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Images courtesy of Crocus Group, DSL Ltd

Offering an unforgettable experience, VEGAS is Russia’s first themed shopping mall combined with an extreme amusement park. Each retail area within the mall has its own peculiar features and reflects mood and style of culturally and architecturally different areas: the lights of Ginza dazzle with magnificence day and night; Bazaar Street emulates the buzzing crowded streets of Middle East countries; Fashion Street and Jewellery Gallery sparkles in their elegance and first class allure. Like the famous U.S. city, VEGAS Kashirskoye boasts, beside encompassing shopping facilities, an exciting entertainment offer: manifold street attractions, shows, an amusement park, an ice arena, an observation wheel as well as a multiplex movie theatre enliven the everyday life of the mall.

Recently the system of outdoor architectural lighting has been upgraded with the use of LED lights. After severe comparison tests, aimed at evaluating the performance of the selected fixtures in terms of colour changing transition, reliability and light emission, Griven Powershine MK2 S RGBW was chosen as best performer and installed with the required selection of optics to light up the façade of the Russian shopping mall.

A total of 24 Powershine MK2 S in RGBW configuration have been mounted in pairs on six metre high poles located in front of the façade at a distance varying from 17-metre to 26-metres from each other. Taking into account the requirements of the corporate brand identity, the lighting system has been programmed for the replay of synchronised or sequential colour scenes based on warm shades, ranging from yellow to red tones, in order to develop different appealing and inviting scenarios. Managed by a DMX control system, the new lighting scheme, beside an astonishing visual effect, has also reached a significant reduction in maintenance costs. wwwgriven.com

044 report

THE HEE L L A B Company: Electron Location: Athens, Greece The Heel Lab has been an active retailer since 1985. The Heel Lab production unit now produces and distributes all of the clothes and accessories that are sold in its own chain of shops, as well as 45 other stores throughout Greece.

The new Heel store has opened its doors in Athens, Greece. The lighting design and the supply of luminaires were realised by Electron, using 100% LED technology.

The lighting design scheme was developed around the Heel philosophy, which derives from ideas such as nature, resistance and freedom. The Heel team aims to offer more than just a brand. Similarly, the Electron team tried to offer more than just lighting. Indeed, the lighting goal was not only to provide the appropriate illumination levels on the working plane, but also to create lighting that enhanced the structures and promoted the garments.

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To achieve this, the Electron team supplied its new series of custom-made LED downlights to reinforce the decorative characteristics of the store and to emphasise the uniqueness of each garment.

The new series of LED downlights are designed and developed by Electron with the Xicato module. In this case, the custom-made Altra adjustable downlights are installed so as to specifically meet the lighting requirements of the Heel store in terms of lumen output, correlated colour temperature, colour rendering index, and angle of emitted light. The dimmable constant current LED driving converters, also designed and manufactured by Electron, are used to operate the Altra adjustable downlights.

The LED converters offer very smooth control since they have 2,040 dimming steps. In addition, they allow absolute control through DMX-512. www.electron.gr

report 045

PORCEL A NO SA G R OU P H E A D Q U A RT E RS Company: Fenix Location: Castellon, Spain A recent installation in which Fenix trussing has been integrated but in a different type of application is the latest outlet by Porcelanosa Group, a well known Spanish company that offers a range of products that includes kitchen and bathroom equipment as well as state-of-the-art building solutions for contemporary architecture. The company’s retail space was designed by

the CastelVeciana studio and following the philosophy of austere lines, the design is an envelope structure made with powder coat black trussing. The Fenix trusses are designed and made to bear the weight of the shop unit.

Using the aluminum trusses turns open areas into stylish spaces. www.fenixstage.com

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F40

046 REPORT

WORLD D UTY F R EE Company: AC-ET Location: London, UK As part of the design and development of their World Duty Free store in Heathrow’s new Terminal 2 - The Queen’s Terminal - leading travel retailer World Duty Free Group (WDFG) commissioned a remarkable LedGo FLEX curved LED solution to provide a unique and highly adaptable fascia for their tax and duty free store - creating one of the UK’s largest fixed-installation LED walls.

Concept visuals of the new store revealed curved surfaces running along the front of the entire shop fascia. This gave World Duty Free Group and Blynk Digital Media’s Neil Muir the idea to fill the surfaces with LedGo’s innovative FLEX curved LED panels, to display eye-catching, moving content, visuals and tailored messaging to visitors in the new terminal.

Blynk Digital Media approached A.C. Video, a specialist sales division of A.C. Entertainment Technologies (AC-ET), to supply a LedGo FLEX curved LED solution.

In addition, A.C. Video supplied LedGo’s Blackface high-contrast, LED video panels for the project’s six other separate screen elements.

LedGo FLEX 4.8mm pitch, curved panels create a seamless LED organic shape running 27 metres in length and almost 1 metre in height - producing a massive digital display surface of 5696 by 160 pixels.

A downward-facing flat LED screen, which immediately adjoins the FLEX undulating screen, consists of LedGo Blackface 4.8mm pitch panels - which in turn is connected to a 13.5 metres wide LED screen installed above the storefront, featuring more 4.8mm pitch panels. This section is connected to a four metres high fixed external pillar covered in Blackface 4.0mm pitch panels.

Inside the World Duty Free store, a prominent central pillar is clad from the ceiling down to an adjacent point-of-sale counter with more LedGo Blackface 4.0mm pitch panels - creating a two metres high by one metre wide, innovative wrap-around screen on all four sides of the pillar with almost seamless corners, to display digital content.

In addition, a feature wall utilises LED flat panel screens arranged in portrait and landscape configurations, to show various images against a backdrop of more LedGo Blackface 4.0mm pitch panels in a six metre wide by over 3.5-metre high digital wall.

Due to the 24 hour operation of both the store and the airport itself, the LedGo panels needed to be quick and easy to remove for servicing and maintenance.

LedGo developed an alternative solution to the usual screw-mounted LED modules, by mounting the panels on magnetic strips and utilising push-on power & data connectors, making it simple to remove the LED panels from the front.

The magnetic framework in which the FLEX curved LED panels are mounted, was

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specially water-cut using leading-edge technology by LedGo, to extremely precise dimensions matching the exact curvature of the shop front fascia. The positioning of the framework only allowed for a tolerance of a few millimetres along its entire length when it was fitted into position, particularly the extensive curved section.

One major consideration was to ensure the LED panels specified, passed strict British Standard requirements concerning flammability and would therefore be approved by the airport authority. A.C. Video worked with LedGo to have samples of the video panel materials undergo the necessary lab tests. As a result, the manufacturing process and materials were altered slightly to ensure that all LedGo video products now meet the most stringent British Standards.

The digital content for the entire location is delivered, controlled and scheduled remotely using the ~sedna software system, provided by Blynk Digital Media, which is already in use at many WDFG locations.

In addition to specifying, sourcing and installing the entire audio-visual infrastructure, Blynk Digital Media’s dedicated in-house scheduling team also programmed all the digital content for the screens and continue to provide real-time remote control over the entire system from their Yorkshire base.

Blynk Digital Media’s Senior Project Manager, Neil Muir, commented: “World Duty Free Group are constantly pushing the boundaries of what is technically feasible and that’s one of the reasons why they lead the field in airside retail. We’ve provided the technical expertise and 24/7 backup for most of their locations for a number of years and this installation using the remarkable LedGo products is just another step - albeit a very significant one - forwards in innovation. We’ve learned a lot from the LedGo team and there’s no doubt we’ll be specifying their products again as the results are just sensational.”

LedGo’s Business Director, Winnie Meijer, added: “LedGo were delighted to work on this prestigious project in collaboration with Blynk Digital Media, AC-ET and WDFG. Our in-house team worked hard to ensure that the LedGo video solutions fully met Blynk Digital Media’s brief, were delivered on time, and were within the project budget. We also developed solutions to overcome a number of technical challenges associated with the unique environment where the LedGo LED video panels are installed. All-in-all it was a very exciting and rewarding project to be involved with, and we are proud to be associated with the internationally-renowned Heathrow Airport on such a prestigious retail project for World Duty Free stores, showcasing the capabilities of LedGo video solutions.”

World Duty Free Group (WDFG) concluded: “This was a complicated brief involving many stakeholders and regulations. It aimed to bring further innovation to the unique digital media platform devised by World Duty Free Group and also represented a first in airport retail store fascia design. It is fair to say we all are pleased with the result and the project has demonstrated what a collaborative approach can achieve.”

www.ac-et.com

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048 report

POR TO CA I R O MA L L Company: LPS-Lasersysteme Location: Cairo, Egypt One of the newest and most modern shopping malls in Cairo is the Porto Cairo Mall.

The gigantic shopping centre covers a total area of 34,500 sq metres, with one hypermarket, 180 mega stores on an area of 29,000 sq metres and more than 50 restaurants and cafés.

In addition to the big cinema complex with six cinema screens, guests can enjoy a breathtaking multimedia show from the Sky Cafe. Amongst an oasis of water foun-

tains there are professional video projections, flame effects and laser projections.

Extensive programming was required to harmonise all elements musically.

LPS-Lasersysteme along with its long-term, Portuguese business partner, which is a professional for water art solutions for decades, realised the project.

In addition to several hundred metres of power cables for the equipment and water pipes for the illuminated water fountains, two X-Blu RGB laser show systems were installed.

The LPS-RealTIME Pro laser show software controls the laser show systems. The laser graphics were created specifically for the shopping centre and include Egyptian symbols and deities, the globe and of course Papa Porto, the mascot of the Egyptian capital Cairo. www.lps-laser.com

GA L L E RI A 4 0 Company: Waveburg Location: Cairo, Egypt Waveburg was recently approached by RAYA Lease, one of the biggest real estate developers in Egypt - specialising in green commercial complexes - to design and install the audio systems in its newest creation, Galleria40.

Because of the layout and the materials used in the construction, Waveburg resorted to reverse engineering in speaker design, its biggest custom design project ever. Waveburg’s Chief Designer, Mohamed Gabr was faced with several challenges including the indoor expo area and the gallery’s entrance.

The expo area was designed to accommodate events of medium size, with playback or live music bands. It is lined in marble and is surrounded by the glass window displays of the surrounding outlet shops. It was decided that the best solution was to use the shortest possible projection distances between the loudspeakers and the listening positions, with the least possible power output and the highest possible correction control.

The 12-inch coaxial loudspeakers boxes loaded with 18Sound drivers were mounted on the ceiling, hanging from the concrete structure, along with the eight 18-inch subwoofers. The system was tri-amplified with WCAD amplifiers, through XTA digital loudspeaker management system. www.waveburg.com

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Visit us on stand 11.0 A64

LOVE V I NY L Company: Void Location: London, UK London-based vinyl specialist Love Vinyl recently opted to replace their original sound system with a Void Acoustics Indigo rig which provides the small space in East London with a sonically sensational experience.

The record shop in Hoxton has become a mecca for dance music lovers whether it’s the latest house or techno releases or vintage underground disco gems from the ‘70s.

Partners Stuart Patterson, James Manero, Zafar Chowdhry and Jake Holloway have over a hundred years of London club and music history between them and have brought this history, love and knowledge of music to their new enterprise ‘Love Vinyl’, a music emporium that is split equally between new releases, collectable, rare, and used vinyl.

Love Vinyl hosts weekly events where some of the world most respected DJs drop in to play some tunes to a jam packed little shop, the gigs often spill out onto the street.

“Big thank you to Void for making our in-store events sonically sensational. With some of the worlds most respected DJ’s in the world playing at our little shop we needed the best. Thanks to Void we now have that.” - Love Vinyl 2015 The installation was relatively straightforward with four Void Indigo mid-high loudspeakers placed around the room with an Indigo subwoofer serving up plenty of bass in the small space.

The Void sound system is fed by a pair of Technics SL1200 turntables running through a Bozak rotary mixer. Mike Newman of Void Acoustics installed the sound system into the retail shop, he said. “We had a fantastic time working with the team at Love Vinyl, Void has always enjoyed hearing our sound systems with the warm analogue sound of vinyl playing through them.” www.voidacoustics.com

050 report

TR UE REL I G I O N Company: PixelFLEX Location: Various, USA ‘Be So Bold’ is the catchphrase surrounding luxury brand True Religion’s new marketing campaign. While encouraging consumer’s personal statements of daring fashion, True Religion made its own bold statement with the introduction of custom PixelFLEX FLEXDisplay LED video stands in a group of its top stores.

The FLEXLite 3.9mm LED screens reside in custom displays built to be a part of the store design concept and create a more compelling and immersive digital signage experience compared to traditional televisions and paper signage. True Religion built dynamic, customised content to display promotions and immersive experiences for increased customer foot traffic. The capabilities of the screen and the imaginative content combine to create what Vice President of Omnichannel Commerce and Digital Innovation John Hazen at True Religion, calls a “Trojan Horse.”

“They get people to stop and look at a brand when they otherwise might not be interested,” John said. “And that’s what we’re trying to do. The content we display is compelling on its own, it’s not a hard sell. It is brand right and compelling visuals.”

PixelFLEX installed the FLEXDisplays in order to increase foot traffic and revenue, and True Religion has decided to extent the installation into another group of additional stores. The change marks a more efficient option for promotional material versus printed signage of the past.

“It [paper signage] is incredibly expensive,” John explained. “These are large cardboard or foam signs that we are usually overnighting or mailing two-day air to stores across the entire United States and Canada. So the idea of not doing that any more and being able to change out the signage library colour palette four times a year is incredibly attractive.”

The content management system provides headquarters the ability to change all

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signs at a time, a few, or even a single sign to deliver content or promotions based on a geographical area. Making the changes digitally means a faster turnaround at a much lower cost.

“By the end of the first quarter, we’re going to have these in 30 out of our 100 full-price stores, so when it comes to our full-price business, we are going to have the ability to turn our content on a dime and allow us to be much, much more nimble than our competitors,” John said.

“In today’s fast-paced world, you only have a few seconds to catch a potential customer’s eye as they pass by. You have to rise above the advertising congestion,” said PixelFLEX Director of Marketing, David Venus. “Using LED signage gives you the ability to create a much more personalised, interactive and impactful message, and we only see this market continuing to grow.”

“Providing flexible LED solutions is a hallmark of PixelFLEX,” said PixelFLEX Chief Operating Officer, Monty Rains. “In this case, we listened to what True Religion was trying to accomplish and developed a customised solution for their digital signage needs. Our flexible design allows the client to increase or decrease size, add mobility and wireless updating to the FLEXDisplays based on changing needs.”

“The PixelFLEX team bent over backwards when it came to the installation of these,” said John. “They put in a really herculean effort to get these done before the holidays. Every store that we went into had an unexpected issue that could have easily been a showstopper that day, and the guys worked around it for us. So the service provided in installing these things with some wacky hours, unique circumstances and a unique set of problems was absolutely amazing.” www.pixelflexled.com

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052 report

VER IZ ON W I R E L E SS Company: Medialon Location: Various, USA Verizon Wireless has turned up the wow factor in stores and malls around the United States, from its two-story flagship store in Chicago to the Mall of America in Minneapolis, to Houston, Santa Monica, and Boston.

Smaller ‘Smart Store Plus’ locations that include some, but not all, of the new design features of the flagship stores are also making appearances around the United States starting in Seattle.

One of the first video features customers see when entering the stores is the ‘Brand Focal’, a video column consisting of over 100 Christie MicroTiles. The feature sits at end of the entrance walkway and displays the Verizon logo on a dynamic, animated background that interacts with shoppers using the motion tracking technology of Microsoft Kinect.

Further into the store, shoppers can explore features of various phones and service plans on the Product Wall, a long video wall 14 displays wide by two high. Touch overlays are applied to the bottom screens in each column. As customers interact with the touch screens, video content updates on both screens in the column, forming a single image. The interactive content is designed to make the entire product wall look like one seamless image, though it is actually 14 different interactive elements side by side.

A couple of video wall features display larger than life content to immerse customers in the story. One of these features is a 3x3 video wall in front of a treadmill where shoppers can walk or run through various environments and try out different wearable sports accessories and fitness gadgets.

A ‘Wall of Sound’ features Bluetooth speakers from Jawbone, JBL, Beats, and Bose, arranged on the wall to give the visual appearance of a graphic equaliser.

Audio is played via Bluetooth from a phone at the display and sales associates use a custom iPad app to select which manufacturer’s speakers to listen to. Instead of listening to only one speaker at a time, all speakers from the same manufacturer play simultaneously, or all speakers on the wall together, creating an immersive effect.

McCann Systems has connected the audio source phone to a Bluetooth receiver, which feeds the audio to a BSS Soundweb London break in box. The custom iPad app communicates via Wi-Fi with the Medialon Manager system, which in turn commands the BSS Soundweb London DSP to route the audio from the Bluetooth receiver to the appropriate outputs, through distribution amplifiers, to the speakers on the wall.

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The custom iPad app that the store associates use has different levels of access, depending on each user’s login credentials, which are authenticated through Verizon’s servers. Sales associates can change the speaker routing on the ‘Wall of Sound’, while store managers can change the audio routing and volume or lighting levels in each zone in the entire store. Josh Navarro of McCann Systems developed an API for communication between the Verizon app and the Medialon Manager system. He said one of the benefits of using a Medialon system is its flexibility. “We knew they wanted to do a lot of unique things,” he said. “Medialon Manager natively controls BSS Soundweb London systems and is flexible with regard to being able to handle as many iPad apps connecting to it as we want. That can be difficult with other control systems.”

In addition to the store locations, Verizon has set up a test site in Hilliard, Ohio to try out new technology and media content before it ever goes in front of customers.

Stephen Keppler, Vice President and Senior Sales Executive with McCann Systems said:, “The Ohio test site is the proving ground, so to speak, for Verizon. Any of the technology and all content must run in the Ohio lab prior to implementation in a store.” The Medialon systems in each store communicate with the Medialon system at the test site in Ohio, where equipment status can be monitored and technicians can remotely troubleshoot issues.

“Every store’s IP address range is exactly the same, and we use NAT (Network Address Translation) if we need to manage devices remotely,” said Josh. This allows McCann to design the drawings, paperwork, and programming for one store and deploy the design in many locations with minimal adjustments to the documentation and programming, keeping the systems consistent and easy to troubleshoot remotely.

“One of the biggest challenges is working with all the different departments,” said Stephen. “One for point of sale, one for phones, one for tablets, one for marketing, one for content and its creation, and one for security.” Project managers have to work with the needs of each department without compromising quality or security.

“The security challenges were huge,” added Stephen. “They put an LTE network in these stores, and a lot of our equipment and theirs was interfering with the LTE network. We had to do a lot of troubleshooting and shielding of certain products to reduce interference.” www.medialon.com

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054 report

EL CORTE I NG L ES Company: Daktronics Location: Madrid, Spain El Corte Ingles, the largest retail store chain in Spain and world leader in large department stores, has selected Daktronics to provide the largest video display in Spain - and one of the largest video displays in all of Europe - measuring 194 sq metres and wrapping around the building façade, at its Callao location in Madrid.

The installation at Callao measures 18.29-metres high by 10.61-metres wide and feature SMD (Surface-Mount Device) technology at a 10mm line spacing. The display includes a seamless angle that provides impressive viewing perspectives and shows vibrant images with excellent contrast.

The display incorporate industry-leading environmental protection for longer lifetimes in outdoor environments. The variable content zoning capabilities of the display allow it to highlight one piece of content across the entire display or to organise the display into different sections to show multiple pieces of content at the same time.

“We are very excited with the success of the El Corte Ingles Callao installation which has once again shown the great capabilities of Daktronics products and provided another top-notch LED display in Spain,” said Ivan Del Rio, Daktronics Spain Regional Manager. “The project was completed on a shortened time frame and Daktronics engineering and project management teams were able to bring it all together. We’re proud to have completed this display. www.daktronics.com

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26/02/15 14.51

IN FOCUS EUROPE/MIDDLE EAST/AFRICA ICE KRAKOW CONGRESS CENTRE, KRAKOW NEST OF ANGELS, CLUJ-NAPOCA BERLINER ENSEMBLE, BERLIN

ASIA/PACIFIC/OCEANIA THE HANS SHOW THEATRE, WUHAN JW MARRIOT, PUNE LUCE DELLA VITA & SENNHEISER SHANGHAI CONCERT HALL, SHANGHAI DEAKIN EDGE, MELBOURNE THE MIRROR, SEMINYAK

THE AMERICAS

BONBONNIERE, NEW YORK & LONDON

In Focus this issue features a variety of visual delights from around the globe. The EMEA region takes us through the renovation and history of the Berliner Esemble theatre. The APAC region offers a variety of entertainment spectacles, including ground breaking cultural projects and a glass-roofed nightclub built in the style of a grand cathedral. And The Americas section features a special double venue article looking at two Fabergé egg inspired clubs on either side of the Atlantic.

058 VENUE

ICE KRAKÓW CONGRESS KRAKOW IS OFTEN REFERRED TO AS THE CULTURAL CAPITAL OF POLAND AND IS FAST BECOMING A KEY PLAYER IN THE CONFERENCE AND TRADESHOW SECTORS. THE NEWLY OPENED ICE KRAKÓW CONGRESS CENTRE, DESIGNED TO ENHANCE THAT REPUTATION, IS A STATE OF THE ART VENUE HOUSING AN AUDITORIUM, THEATRE, CHAMBER HALL AND HAS EXTENSIVE CONFERENCING FACILITIES. SIMON DUFF REPORTS ON THE BUILDING, ACOUSTICS, SOUND AND LIGHTING.

KRAKOW, POLAND

EUROPE/MIDDLE EAST/AFRICA Krakow’s range of cultural festivals and activities range from the the annual Misteria Paschalia Festival classical music festival, that focusses on the atmosphere of Easter Week, via Sacrum Profanum with its avant-garde music events, to the huge open-air spectacles that attract hundreds of thousands of spectators, as well as innovative projects in the field of the contemporary arts and a major Film Music Festival.

It is against this background that the ICE Kraków Congress Centre opened, designed to host both classical and contemporary events.

With 18,000 sq metres of space, the building’s music halls include a 1,800-seat main auditorium, a 600-seat theatre and a Chamber Hall with 300 seats. Additionally, it also has a complex of conference

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rooms fitted with adjustable sliding walls, stock rooms and technical back rooms as well as an underground parking garage for over 300 vehicles. The site is on the opposite side of the river Vistula from the historic centre, providing wonderful views from the new venue to the old castle and churches.

The ICE is characterised by a modern body with a large, glazed foyer.

The primary materials in the elevation are glass and titanium-zinc sheet, rounded off with individually designed ceramic and stone tiles made from granite, lime and sandstone, which were chosen to allude to the building materials that created the history of some of the surrounding architecture.

A hugely impressive build the ICE is a world class, state-of-the-art facility, meeting the international congress organisations’ requirements as well as the highest acoustic and scenic technology standards. The architect is the Krakow firm, Ingarden & Ewy who worked with Japanese design consultant Arata Isozaki & Associates

CENTRE of Tokyo. Along with acoustician Raf Orlowski - who at the time was working at Arup Acoustics - the team entered an international competition in 2008 to design the ICE Krakow and duly won it. Acoustic work on the project can roughly be divided into two parts. The first was the design phase which Raf carried out when he was at Arup and the second part was the construction phase, which he carried out at Ramboll UK where he is now Head of Acoustics.

Raf’s career, following a PhD in acoustics, started at the Department of Architecture at Cambridge University where he carried out research on the acoustic design of auditoria with the help of scale models. Here he was involved with the then new Barbican Concert Hall and the Olivier Theatre at the National. Together with his colleague, Michael Barron, a technique using small models at 1:50 scale was developed and was first used in the design of St David’s Hall in Cardiff, one of the most successful concert halls in the UK. Raf was then appointed as a lecturer in applied acoustics at Salford University where he continued research on auditoria and developed an accurate method for testing the acoustic absorption of auditorium seating which is now widely used in the industry.

He subsequently returned to Cambridge to help set up an acoustic consultancy office for Arup. Many prestigious projects followed including Glynebourne Opera House, the Bridgewater Hall in Manchester and the refurbishment of the Wigmore Hall. Together with colleagues in Australia, he led the room acoustic design of a 1,000 seat recital hall, the Elisabeth Murdoch Hall which has recently been voted the best recital hall in Australia. He left Arup in 2010 to set up his own acoustic consultancy at Ramboll UK. For the ICE project acoustic design, vibration surveys and acoustic models were completed by Arup Acoustics led by Raf with acoustic construction carried out by

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Ramboll Acoustics, also led by Raf. Stage technology was implemented by Arup Venue Consulting. While Polish theatre lighting specialist, P.S. Teatr was responsible for delivery and installation of the stage lighting, as well as the stage machinery systems. Project work for the architect started in 2008, followed by construction in 2010 and the main audiovisual install late in 2013.

Raf explained the design process after winning the competition. “The acoustic design of the 1,800 seat concert hall followed the competition entry very closely and acoustic modelling using both computer software and a physical scale model at 1:50 scale confirmed that the original design of the concert hall was working very well and only minor adjustments were necessary. In essence the design of the hall follows the vineyard terrace model although the stage is not central - as in the Berlin Philharmonie for example - but rather at one end to permit easy access to the stage. Output from the computer model was used to present an auralisation of the concert hall to the client who came over from Poland to visit the Arup SoundLab in London.

The client was suitably impressed that its hall was comparable acoustically to the great concert halls of the world which were also auralised for comparison.”

On completion of the scheme design Arup handed over the design to a local Polish acoustician, Robert Lebioda, and coincidentally Raf left Arup to set up his own acoustic consultancy at Ramboll UK. However, he was retained on the project as an advisor by the architect Krzysztof, and was later appointed by the contractor, Budimex, to see the building through to completion and to carry out the final testing.

Being appointed by the contractor was a wise move by the procurement team as Raf was able to inform the builders about the original intentions of the project and at the same time to monitor closely the construction work to ensure that the original acoustic intentions were realised. Raf commented: “An area where I was particularly vigilant was the construction of the diffusing elements on the walls of the concert hall which are of three different types and involve a complex pattern of timber battening at various inclinations. Also, I closely monitored the acoustic characteristics of the seating making a special trip to Italy to witness the laboratory measurements.”

Objective acoustic measurements in the hall were carried out according to ISO 3382-1:2009 using a dodecahedron loudspeaker

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although a gun was also used for reverberation time measurements.

The results were reassuringly good with a mid-frequency reverberation time of 2.0 seconds with a full audience and orchestra set-up on stage. The clarity index was a very good balance between early reflections and late reverberant sound and the strength (loudness) was ample and even throughout the seating. With the variable absorption deployed in the form of banners along the side walls, the reverberation time was shortened by 0.5 seconds and the Speech Transmission Index (STI) with the sound reinforcement system exceeded 0.6 as required.

In the main auditorium the audio equipment installed is a Harman Professional supplied solution. The main L-R line array hangs are JBL VT 4886 cabinets, 10 per side, plus seven deployed in a centre stage cluster, supplemented by JBL VPSB 7118DP 18-inch subwoofers. The system is driven by Crown amplifiers and at FOH the audio console is a Soundcraft Vi4.

For the theatre the line array hangs comprise JBL AM7 215 loudspeakers with JBL VPSB 7118DP subwoofers, and a Soundcraft Vi2 console at FOH. In the chamber hall the line arrays features JBL VRX 932LAP enclosures coupled with JBL VRX918SP subwoofers and for the FOH mix is a Soundcraft Si Compact 32. Microphones throughout the venue include top of the range Sennheiser, Shure and AKGs. The Polish lighting industry is in healthy shape. A quick look at Polish TV channels and viewers can be sure to find a transmission from a richly illuminated Polish concert. Events accompanied by sophisticated lighting involving hundreds of moving heads, taking place in Poland, are not a rarity. At the same time, for many years the country has been experiencing a wave of modernisation and building with state-of-the-art technologies and solutions.

P.S. Teatr is one such lighting company benefiting from the progress and was a natural choice to deliver and install the stage lighting at ICE. The company was founded by lighting engineer Jerzy Guminski in 1971 and has become one of Poland’s leading lighting design, installation, as well as scenic machinery specialists.

Within the framework of its activity, it has designed and re-developed many of the Poland’s leading theatre’s stages, culture objects and concert halls, installing stage technology lighting, stage trapdoors,

Color Mega Wave.i stage barrels, light bridges, electroacoustic devices or stage driving systems.

Work on site at the ICE for P.S. Teatr started in January 2014, but with a large amount of work put into the project before the contract was won. Michal Frackowiak, Trade Director at P.S. Teatr explained: “We had to profoundly analyse the main conceptual principles and, in order for us to calculate the price, translate them into the specific technical solutions’ language. Our team of experienced lighting and stage machinery designers, spent a few months over this project.” Its work was finally crowned by Arup Venue Consulting, responsible for stage technology conceptual design. Engineering designs, as well as the final installations execution had to be carried out according to the conceptual project. Michal added: “It was our first collaboration with Arup and has proved to be a great success. We are now working together again on a new building, the National Forum of Music in Wrocław project.”

Central to the lighting in the three main rooms are the use of ChamSys lighting consoles. An MQ 300 Pro 2014 Execute for the main auditorium, an MQ 200 Pro 2014 for the theatre and MQ 100 Pro 2014 Expert in the chamber hall. Michal commented: “ChamSys is a brand getting more and more recognised in Poland.

The intuitive operation solutions implied in the ChamSys consoles make them very easy to program. Cham-

TECHNICAL INFORMATION SOUND AUDITORIUM: 27 x JBL VT4886 line array cabinet; JBL VPSB7118DP subwoofers; 1 x Soundcraft Vi4 mixing console; Sennheiser, Shure and AKG microphones THEATRE: JBL AM7 215 line array cabinets; JBL VPSB 7118DP subwoofers; 1 x Soundcraft Vi2 mixing console CHAMBER HALL: JBL VRX 932LAP line array cabinets; JBL VRX918SP subwoofers; 1 x Soundcraft Si Compact mixing console lighting & visual AUDITORIUM: 10 x DTS Nick NRG 1201 moving head; 6 x Vari-Lite VL3515 Spot moving head; 16 x Selecon Arena theatre fresnel; 28 x Selecon Rama luminaire; 36 x Spotlight Sintesi Figura profile spot luminaire; 1 x Spotlight Vedette compact followspot; 1 x ChamSys MQ 300 Pro 2014 Execute lighting console; PCs running ChamSys MagicQ software; 1 x EIKI LC-HDT2000 projector THEATRE: 8 x DTS Nick NRG 1201 moving head; 6 x Vari-Lite VL3515 Spot moving head; 8 x Selecon Arena theatre fresnel; 12 x Selecon Rama luminaire; 14 x Spotlight Sintesi Figura profile spot luminaire; 10 x Selecon Pacific luminaire; 1 x Spotlight Vedette compact followspot; 1 x ChamSys MQ 300 Pro 2014 Execute lighting console; PCs running ChamSys MagicQ software; 1 x EIKI LC-HDT2000 projector CHAMBER HALL: 12 x DTS Nick 1201 moving head; 12 x DTS Jack Spot moving head; 12 x Selecon RAMA PC reflector; 12 x Selecon SPX profile luminaire; 1 x ChamSys MQ 100 Pro 2014 Expert lighting console; PCs running ChamSys MagicQ software; 1 x EIKI LC-HDT1000 projector www.icekrakow.pl

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Sys offers a lot of additional wings extensions, which can be added as required to expand the lighting design capabilities. What also played a significant role in the decision making process was choosing a console system being in line with the demands of the conceptual design, budget, installed lighting system and available support.”

The ChamSys consoles are responsible for the regulated circuits and the intelligent devices control and MagicQ software-based computers, for the non-regulated circuits and the stage lighting control.

Kamil Lenda, Desk Programmer/Lighting Designer at ICE, who also participated in the design and installation works commented: “Such system configuration enables a full function switch between the console and the computer, and at the same time, the computer takes over the role of a backup console, by communicating with a SnakeSYS processor. Of course, there’s a possibility of re-configuration of the system and a complete function exchange or taking over all of the functions by one of the devices.

“The whole system communicates via the Ethernet-based - sACN protocol. The ETC’s regulators and sACN-DMX Patch Way converters, are part of the executive elements of the installation. Such installation assemble allows a very extended configuration options.

We can’t also forget the possibilities of MagicQ system in the media cooperation field. Placing the computer supported by the MagicQ software anywhere on the stage or auditorium and combining it with the MagicHD gives the ability to shape the stage space and illuminate the scenography.”

The work with the lighting system is significantly simplified by the included visualiser, giving the possibility of pre-programming without the necessity of exploiting the lighting devices, at the same time, generating a file including the positioning of given devices, together with the DMX addresses list and types of equipment used. Kamil added: “Such feature becomes very handy in this type of facility, where a large number of events forces a frequent light park re-configuration.”

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Michal Frackowiak

Raf Orlowski

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FRANÇAIS

Le Centre de congrès ICE à Cracovie est conçu pour recevoir des évènements classiques et contemporains. L’espace de 18 000 m² accueillant les salles de spectacles de l’édifice comprend un auditorium principal de 1 800 places, un théâtre de 600 places et un salon de musique de chambre de 300 places. La conception acoustique du projet ICE (International Conferences & Entertainment) de Cracovie, l’étude des vibrations et les modèles acoustiques ont été préparés par l’entreprise Arup Acoustics dirigée par Orlowski. La construction acoustique, elle, fut réalisée par Ramboll, laissant la technologie de scène au groupe Arup Venue Consulting. Les spécialistes de l’éclairage théâtral polonais, la firme P.S. Teatr, prirent en charge la livraison et l’installation de l’éclairage scénique pour l’ensemble du bâtiment, ainsi que les systèmes de mécanismes de scène. Dans l’auditorium principal, l’équipement audio nous vient de la société Harman Professional. Les enceintes principales de droite et de gauche sont des JBL VT 4886, dix de chaque côté, et sept 4886s se trouvent au centre de la scène avec des caissons de basse JBL VPSB 7118DP de 18 pouces. Tout le système est amplifié de haut-parleurs Crown. Au cœur de l’éclairage des trois pièces principales, on retrouve des consoles d’éclairage ChamSys : une console MQ 300 PRO 2014 gère la salle principale, une console MQ 200 PRO 2014 opère dans le théâtre et une console MQ 100 PRO 2014 EXPERT commande le salon de musique de chambre. Sur la scène de l’auditorium principal, l’éclairage inclue des lyres DTS NICK NRG 1201 avec une optique de zoom de 8 à 50°, des projecteurs Vari*Lite VL3515, des projecteurs PC Selecon Arena et Selecon Rama, ainsi que des projecteurs de profil Figura Zoom 25. Le système d’éclairage du théâtre comprend également des projecteurs DTS NICK NRG 1201, des VL3515 Vari*Lite, des PC Arena Selecon et des projecteurs Rama Selecon.

DEUTSCH

The auditorium lighting control is performed via the MagicQ software, which communicates with the PLC driver and it is possible to control the lighting equipment from a mobile device, such as a tablet with the free MagicQ software installed. Such solutions turns out to be very important in situations in which there’s the need to control the lighting from, for example, the stage manager’s station. Kamil said: “The MagicQ system applied in the ICE, thanks to its versatility and integrity, together with the light park installation, is a complete solution during the event’s realisations, concerts, theatre spectacles, conferences. It enables a handy and trouble-free performance while giving big production possibilities.”

In the main auditorium hall stage lighting fixtures include DTS Nick NRG 1201 moving heads with a 8° - 50° zoom optics, Vari-Lite VL3515 Spots, Selecon Arena theatre fresnels and Selecon Rama luminaires, as well as Spotlight Sintesi Figura profile spot luminaires.

Fixtures in the theatre include further DTS Nick NRG 1201 moving heads, Vari-Lite VL3515 Spots, Selecon Arena theatre fresnels and Selecon Rama luminaires. The ICE has also been equipped with an advanced dimmer and control signal transmission system. The technological lighting circuits include a 106 dual Pathway DMX/Ethernet Pathport switch panels, ETC Sensor racks as well as fibre-optic modules.

P.S. Teatr was also responsible for the stage machinery. The main halls have been fitted with decoration stage barrels, loudspeakers’ lifts, chain hoists and acoustic banners. All mechanical devices can be controlled from the central drive control unit via several AIDA by TEATR desktops. The company also delivered full truss system to the Theatre Hall and a mobile band shell.

An inaugural event was held to mark the opening of ICE. The first part of the inauguration consisted of official speeches and the presentation of a film documenting the creation of the centre. The second part consisted of a concert, a work by the renowned Polish concert and film composer Zbigniew Preisner, written specially for the event, set to the poems of the acclaimed poet Ewa Lipska. The line up on stage included a full symphony orchestra, mens chorus, and Lisa Gerrard, vocals. The performance offered a musical experience combined with timeless poetry and enhanced by Boris Kudlička’s stage design, dreamlike visualisations and impressive play of light.

Michael added his overall thoughts on the project: “The ICE has been one of the biggest building projects we have done. It is a fantastic feeling to look at the building with the knowledge that we had a great deal of influence on it’s international success.”

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Das ICE Kongresszentrum in Krakau wurde sowohl für klassische wie auch für zeitgenössische Events konzipiert. Mit 18.000 Quadratmetern Fläche umfassen die Musiksäle des Gebäudes ein Hauptauditorium mit 1.800 Plätzen, ein Theater mit 600 Plätzen und einen Kammermusiksaal mit 300 Plätzen. Für das ICE-Krakau-Projekt wurden das akustische Design, Vibrationsüberwachung und die akustischen Modelle durch Arup Acoustics unter Leitung von Orlowski übernommen, wobei die akustischen Eigenschaften durch Ramboll und die Bühnentechnologie durch Arup Venue Consulting ausgeführt wurden. Die polnische Firma P.S. Teatr, spezialisiert auf Theaterbeleuchtung, war für die Bereitstellung und Installation der Bühnenbeleuchtung für das gesamte Gebäude sowie für das Bühnentechniksystem verantwortlich. Im Hauptauditorium stammt die nun installierte Audioausrüstung von Harman Professional. Die größte LR Hang Line Array ist ein JBL VT 4886, zehn pro Seite, und sieben 4886s in einer zentralen Bühnengruppe, mit Subs aus 18” JBL VPSB 7118DP. Alles wird gesteuert über Crown Amps. Zentral zu der Beleuchtung in den drei Haupträumen werden ChamSys Lichtorgeln eingesetzt.

Eine MQ 300 PRO 2014 Execute für das Hauptauditorium, eine MQ 200 PRO 2014 für das Theater und MQ 100 PRO 2014 EXPERT im Kammermusiksaal.

In der Halle des Hauptauditoriums umfasst die Bühnenbeleuchtung DTS NICK NRG 1201 Moving Heads mit einer 8° - 50° Zoomoptik, Vari*Lite VL3515 Spots, PC Selecon Arena und Selecon Rama Leuchten, sowie Figura Zoom 25 Profilleuchten. Die Beleuchtungskörper im Theater umfassen ferner DTS NICK NRG 1201, Vari*Lite VL3515 SPOT, PC lumiSelecon Arena und Selecon Rama.

ITALIANO

Il centro congressi ICE, a Cracovia, é stato realizzare per ospitare sia eventi classici che contemporanei. Con 18.000 metri quadri di spazio, le sale musicali dell’edificio includono un auditorium principale con 1800 posti a sedere, un teatro di 600 posti, ed una sala concerti di 300 posti. Per il progetto acustico dell’ICE di Cracovia, i modelli acustici ed i rilevamenti delle vibrazioni, se ne é occupato Aroup Acoustics guidata da Orlowsky con la costruzione acustica portata avanti da Ramboli e la tecnologia del palco da Arup Venue Consulting. L’azienda polacca degli specialisti per l’illuminazione dei teatri P.S. Teatr si era occupata della spedizione e dell’istallazione dell’illuminazione del palco dell’intero edificio cosí come dei macchinari del palco. Nell’ auditorium principale le apparecchiature audio attuali sono della Harman Professional. Il principale line array LR é un JBL VT 4886, che dispone di dieci autoparlanti per ogni fila e sette 4886 raggruppati a centro palco con subwoofer da 18” JBL VPSB 7118DP, tutti guidati da amplificatori Crown. L’utilizzo delle console per il sistema luci ChamSys si trova, nelle tre sale principali, in posizione centrale a quella delle luci e sono: una MQ 300 PRO 2014 Execute per l’auditorium principale, una MQ 200 PRO 2014 per il teatro e una MQ 100 PRO 2014 per la sala concerti. Per il palco della hall dell’ auditorium principale, le apparecchiature audio includono delle teste mobili DTS NICK NRG 1201 con zoom ottici 8°-50°, dei fari Vari Lite VL3515, dei sagomatori PC Selecon Arena e Selecom Rama cosí come dei sagomatori Figura Zoom 25. Altre apparecchiature nel teatro includono altre DTS NICK NRG 1201, fari Vari Lite VL 3515 e sagomatori PC Selecon Arena e Selecon Rama.

ESPAÑOL

ICE Congress Centre en Krakow está diseñado para albergar tanto eventos clásicos como contemporáneos. Con un espacio de 18.000 metros cuadrados, las salas del edificio incluyen un auditorio principal con capacidad para 1.800 personas sentadas, un teatro con 600 butacas y un auditorio de 300 asientos.

Para el diseño del proyecto acústico de ICE Krakow, se utilizaron encuestas de vibración y modelos acústicos de Arup Acoustics, liderado por Orlowski, con la construcción acústica a cargo de Ramboll. La tecnología del escenario fue responsabilidad de Arup Venue Consulting. P.S. Teatr, de Polonia y especialistas en iluminación de teatros. Estuvieron a cargo de entregar e instalar la iluminación de los escenarios de todo el edificio, así como los sistemas de maquinarias de dichos escenarios. En el Auditorio Principal el equipamiento de audio instalado actualmente es de Harman Professional.

La principal formación de cajas acústicas colgantes LR es un JBL VT 4886, diez por lado, y siete 4886s agrupados en el centro del escenario con subs compuestos de JBL VPSB 7118DP de 18”. Todo manejado a través de amplificadores Crown. Para la iluminación de las tres salas principales se utilizaron consolas ChamSys. Una MQ 300 PRO 2014 Execute para el Auditorio Principal, una MQ 200 PRO 2014 para el Teatro y una MQ 100 PRO 2014 EXPERT en el Auditorio. Entre los artefactos que se utilizaron en el escenario del Auditorio Principal se encuentran: cabezales móviles DTS NICK NRG 1201 con ópticas zoom de 8° - 50°, focos Vari*Lite VL3515, luminarias PC Selecon Arena y Selecon Rama, así como también luminarias de perfil Figura Zoom 25. Entre los artefactos utilizados en el Teatro encontramos DTS NICK NRG 1201, Vari*Lite VL3515 SPOT, PC lumiSelecon Arena y Selecon Rama.

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NEST OF ANGELS CLUJ-NAPOCA, ROMANIA EUROPE/MIDDLE EAST/AFRICA

Nest of Angels or Club NOA, as it’s also known, is a sleek and colourful new nightclub in the Romanian city of Cluj-Napoca. Located in the popular nightlife hotspot of Strada Republicii, Club NOA has re-opened following a major renovation of the area. The lighting and sound systems were specified by Romanian installation specialist, Simo Sound with support from Martin Audio’s product support group.

Following a visit to Martin Audio’s factory in High Wycombe, UK and London’s Ministry of Sound, Club NOA owners, Kàlmàn Jozsef, Horvàth Julieta and Kàlmàn Ladislau were impressed with what Martin Audio had to offer.

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Doru Gheorghe, General Manager at Simo Sound explained about how they first became involved in the project; “We were contacted by the owners of the club who knew about the previous projects we had completed in Romania, and we agreed to a meeting about an ambitious project. After several meetings and proposals we convinced the client that we could offer the desired results and they agreed to work with us. The new configuration was intended to become a landmark on the clubbing scene in Romania, in terms of both image and the quality of experience offered. The main concept was to incorporate luxury and art deco, to create something elegant and refined. The client wanted the interior to have clean and natural shapes.”

The sound set-up was designed to take into account the venue’s unusual layout. Club NOA can hold a capacity of up to 1,500 guests but the club is all in one room, for this reason five floating cells have

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been placed above the main dancefloor so that the stage can be seen from every angle. A total of 18 Martin Audio W8VDQ compact, three-way loudspeakers were installed, in addition to 10 Martin Audio WS218X floor-standing subwoofers and four Martin Audio ASX subwoofers mounted under the stage. Martin Audio MA5.2K, MA9.5K amplifers - five of each model - and MA3.0 and MA4.8Q amplifiers - one of each model - were assigned to power the system under the control of two Merlin network management system. Doru said: “Martin Audio loud speakers were ideal for this project due to the high performance sound quality. The owners particularly liked the clarity and warmth of the system, it just sounded fabulous.”

The new sound system has the capability of an impressive 65kW of sound. Two Martin Audio XD15 two-way PA loud speakers were installed for DJ reference monitors and a pair of Martin Audio XD12

two-way PA loud speakers for infills. While the rest rooms and VIP areas were populated with eight C8.1T two-way flush mounted ceiling loud speakers. “This audio configuration was the most suitable due to the sound performance, high SPL and a constant and equal coverage.”

Moving onto the lighting, Doru explained that the brief was to achieve the right atmosphere for the venue. “Both the static lights as well as the intelligent ones have a defined purpose, to come together with the sound system and help to create an overall picture of the club.” The venue was fitted with 70 Eurolite LED tubes, eight Eurolite BBS-5 LED beam blinders, two Eurolite QCL CLS18 compact lights, as well as two Eurolite Audience Blinder 4xPAR-36 fixtures in silver, 30 Terbly PTB2R beam moving heads and 24 Terbly OK7Q wash moving heads. “We used reflective surfaces to emphasises the impact of

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the intelligent lighting fittings,” said Doru.

As part of the lighting and visual design Simo Sound also installed 60 LED P10 interior panels and eight LED P10 exterior panels. “The LED configuration was mainly focussed on the stage area. In fact 80% of the LED screen surface is directly connected with the stage area, we did this so that when we have performances the artists are surrounded by a strong visual feature,” said Doru.

For lighting control an Avolites Tiger Touch II console and a Compulite Vector PC Wing were selected, this was paired with a Madrix hardware package consisting of a NEO DMX512 USB interface, DVI Professional software and PRO 64 software. “We chose the Avolites Tiger Touch II because we felt it represented the perfect combination between high power, compact in size and easy to programme and it is well suited to small live performances,” explained Doru.

For special effects Simo Sound selected three Hungaroflash Turbo strobe lights, two Antari HZ-400 haze machines, six Universal Effects CO² minijet machines and Phoenix Live Set laser software.

The club design was led by Gosho Studio in collaboration with 49Studio, two architectural and interior design firms based in Cluj-Napoca.

“The main idea was to use old luxury trends, that were common in art deco style, so that we could obtain a retro-modern look that has a fine elegant touch,” explained Gosho Stefanov. The one room concept with the five floating islands was designed to imitate a fan

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“This audio configuration was the most suitable due to the sound performance, high SPL and a constant and equal coverage.”

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TECHNICAL INFORMATION SOUND

18 X Martin Audio W8VDQ loudspeaker; 10 x Martin Audio WS218X subwoofer; 4 x Martin Audio ASX subwoofer; 2 x Martin Audio CS10 ceiling mount subwoofer; 5 x Martin Audio MA5.2K amplifier; 5 x Martin Audio MA9.5K amplifier; 1 x Martin Audio MA3.0 amplifier; 1 x Martin Audio MA4.8Q amplifier; 2 x Martin Audio XD15 two-way loudspeaker; 2 x Martin Audio XD12 twoway loudspeaker; 8 x Martin Audio C8.1T mounted ceiling loud speaker; 4 x Pioneer CDJ-2000 multiplayer; 1 x Pioneer DJM2000 mixer; 1 x Allen & Heath Xone:92 mixer; 2 x Merlin network management system

opening towards the stage area. The rich violet and turquoise lighting engulfs the room, blending seamlessly with the soft furnishings and glass surfaces. The moving head beams create pockets of pure white light, which adds depth and warmth to the room, while the light from the LED strips sparkle softly in the background. The dark leather style sofas and light fittings add to the venues sophistication.

Looking back over the challenges faced during the installation Doru reflected; “There was a lot of compromises and pressure, including worry that it wouldn’t be completed on time. I feel we got through it by having a lot of patience and keeping smiles on our faces.”

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LIGHTINg, VISUAL & EFFECTS

60 x LED P10 interior panel; 8 x LED P10 exterior panel; 30 x Terbly PTB2R beam moving head; 24 x Terbly OK7Q wash beam moving head; 3 x Hungaroflash 5kW strobe light; 2 x Eurolite Audience Blinder 4Xpar-36 fixture; 2 x Eurolite CLS 18 LED floodlight; 8 x Eurolite BBS-5 LED blinder; 6 x SwissLas PM-1200 RGB laser; 6 x Universal Effects CO² minijet machine; 1 x Avolites Tiger Touch II console; 1 x Compulite Vector PC Wing console; 1 x Madrix PRO software package www.clubnoa.ro

02/2015

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Light is OSRAM

072 VENUE

BERLINER ENSEMBLE berlin, germany

EUROPE/MIDDLE EAST/AFRICA For decades the Berliner Ensemble has been a driving force of German language theatre, thanks to its patronage, artistry and direction, as well as its location in the centre of Berlin; at Schiffbauerdamm in Mitte district, near Friedrichstrasse. The historic building has been utilised as a theatre, from its inception as Neues Theater in 1892 to a later rebirth as Theater am Schiff-bauerdamm.

In 1928 it hosted the inaugural run of the celebrated masterpiece The Three-penny Opera by dramatist, Bertold Brecht and composer Kurt Weill. The songs from this early example of the modern musical comedy, have become classics and have been covered by artists such as Louis Armstrong, Nina Simone, David Bowie, Lou Reed and the Doors, among others. By 1933 the play had been translated into 18 languages and performed more than 10,000 times on European stages.

After World War II, the playhouse quickly re-opened its doors in August of 1945, with straggly starved actors reviving the play. The house received its current name of Berliner Ensemble in 1954 when Bertold and his life-partner Helene Weigel moved in with their band.

Bertold particularly liked the bourgeois appearance of red velvet and

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gold interior which still remain in place today. Helene stayed at Berliner Ensemble the rest of her artistic career in theatre, which spun beyond Bertold’s death.

Today, the theatre is a frequent stop for leading German directors, as well as for the American Avantgarde theatre director and playwright Robert J. Wilson, often referred to as the most influential theatre

TECHNICAL INFORMATION SOUND 8 x VUE Audiotechnik h-15 full range loudspeaker; 4 x VUE Audiotechnik V4 Systems Engine amplifier/DSP processor; 3 x d&b audiotechnik C3 loudspeaker; 4 x d&b audiotechnik E Series loudspeaker; 1 x Stagetech Nexus digital network; 1x Stagetech Aurus digital console; 1 x Yamaha digital mixing console; Sennheiser micro-ports and wireless systems; Shure micro-ports and wireless systems www.berliner-ensemble.de

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SEE US AT TH E P+S SHOW STAND 9.0 E94

„It’s an absolute pleasure to train such a motivated team. PROmontaje is really proud to own this Prolyte XXL roof. Their staff really understands the risks and responsibilities involved in building such a large structure”.

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director of the last 40 years. Robert is also known for frequent inclusion of famous modern composers in his productions. The likes of Lou Reed, Coco Rosie and Germany’s most beloved star Herbert Grönemeyer, to name a few, have lent their artistry to the Berliner Ensemble.

Enter the modern sound department. As expected, it is state-of-the-art and equipped with an all encompassing Stagetech Nexus digital routing system, as well as a Stagetech and Yamaha digital mixing consoles, Sennheiser and Shure micro-ports/ wireless systems, and even houses its own studio. In the early ‘90s, a then state-of-the-art d&b audiotechnik loudspeaker system was brought in. It consisted of eight of its now long-retired premium 1220 loudspeakers placed in the proscenium, which covered the full two-balcony house with more than 700 seats. The d&b audiotechnik 1220 was a late ‘80s design, utilising the legendary ‘TAD’, an early beryllium diaphragm driver.

When the theatre begun searching for something to replace or augment its 21year-old boxes, it additionally needed to solve a very unique Berliner Ensemble problem. The reproduction of bass had turned into a serious problem as the proscenium stage’s apron has no space for subwoofers. Over the years, the entire technical production had become better and better, not only were the visiting composers world-famous, but the low-end requirements in modern composing started playing a more significant role. The only bass in the house would be delivered, believe it or not, through the flooring using two subwoofers feeding the air conditioning vents, while the full range loudspeakers were housed in the balcony boxes closest to the proscenium arches.

After testing and comparinga number of brands that manufacture full range loudspeakers, VUE Audiotechnik was a company chosen to take part in the final shootout, which was supported by Prof.

Dr. Ahnert, the inventor of EASE Simulation. VUE Audiotechnik brought its own beryllium diaphragm compression drivers to the plate, in the al-4 ultra compact line-array system, as well as in the h-Class h-12 and h-15 full-range systems.

Most German Tonmeisters (sound engineers) usually prefer 12-inch systems in theatre settings because of their ability to move the diaphragm faster, resulting in better transient response, clarity though the mid range and speech intelligibility. In this case, the h-15 made an impact with its crystal clear beryllium response on speech, but it also delivered the much-needed solution for the bass problem; a frequency response between 42Hz -21kHz at +/- 1.5dB. A common high power 12-inch box, which are popular in musical theatre venues worldwide, have a significant roll-off at around 70Hz. During the demo, the VUE h-15 was able to reproduce bass-heavy techno music, thunder effects, and a five-string contrabass, all played by the head of sound Axel Bramann, and achieving nearly perfect low-end without an added sub, thus a winner was finally declared.

The Berliner installation features eight special order versions of the VUE Audiotechnik h-15’s. Rather than being the standard powered h-15, the h-15EX is externally amped by the VUE Audiotechnik V4 Systems Engine which utilises the same technology as the h-Class loudspeaker modules. The V4 is used standard with the al-4 line array and h-class ‘hm’ monitor systems, and carries sophisticated DSP and networking capabilities which are accessed by SystemVUE software. The idea in keeping components identical, whether in or out of the box, is to have smooth transition when multiple classes such as the al-Class and h-Class are used together.

Berliner Ensemble’s decision to keep amplification out of the loudspeaker, was largely due to wanting to keep existing cabling runs in place. In addition, many German theatres are Government run, meaning staff become limited after hours, often just one technical person in-house in the evening and during a performance. Should a problem be detected, swapping and patching in a different amp is doable.

Changing an active loudspeaker, with limited time and manpower, is not.

Since the upgrade the Berliner Ensember has hosted daily performances including a special appearance

by German chancellor Angela Merkel.

Arend Hofstee Project manager sales at Prolyte

WWW.PROLYTE.COM

074 venue

Image courtsey of Scott Morris

BONBONNIERE LOCATED IN LONDON AND NEW YORK, BONBONNIERE OFFERS GUESTS A LUXURIOUS AND DECADENT CLUBBING EXPERIENCE. NAMED AFTER THE FRENCH WORD FOR A SMALL TRINKET BOX, BONBONNIERE IS INSPIRED BY FABERGÉ EGGS AND EUROPEAN OPULENCE.

new york, usa The Americas

On New York’s lower East side, Hotel Chantelle offers French cuisine and tantalising cocktails in a sophisticated atmosphere. Guests can dine and relax on the rooftop bar that offers views of downtown New York, before moving downstairs to the hotel’s lower level for club BonBonniere.

When descending the stairs to the club patrons will notice the unusual mural painting of King Henry VIII, commissioned by contemporary street artist, Bradley Theodore. In his distinct style, it depicts the famous Monarch and the grizzly fates of his six wives in bright UV paint, which is stark against the black backdrop. This is the first introduction to BonBonniere’s unique style.

Entering the main room of the club it has a simplistic layout, but includes rich dark furnishings, reflective wall tiles and mirrored surfaces that are bathed in a pastel hue from the LED lighting above.

The most eye-catching piece in the room is the DJ booth, which sits neatly on the back wall. However, far from being a wallflower it

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is mosaicked with diamond cut pieces of reflective glass demanding attention. Known by the venue as the Fabergé egg DJ booth it embodies the club logo, which is symbolised a Fabergé egg too.

Synonymous with wealth and luxury even the clubs name BonBonniere represents riches. Popular amongst European aristocrats a bonbonniere is a small trinket box usually made of crystal or porcelain and decorated with precious stones, used to store confectionary, it is a symbol of wealth or royalty.

For the creation of this unique venue PSE Audio Visual, a New York based company, became involved in the audio installation due to an existing relationship with the owners and management of BonBonniere. PSE selected an array of Bose products for the club, which was looking to upgrade the sound system and achieve a higher sound quality in what was a challenging space due to the layout.

Tristan Griffin, General Manager of Hotel Chantelle and BonBonniere explained: “Our goal with BonBonniere was to create a space that offers a superior visual and sound experience while retaining an underground feel. PSE worked with Bose to design a system that offers flexibility within the constraints of the space while maintaining high sound quality. Visually, Tirso lighting created a LED system that

Image courtsey of Scott Morris

can be elegantly subtle but also demand attention, achieving our exact goals.” PSE’s Project Manager Ricardo Castriota added, “We recommended Bose products to BonBonniere for the quality, as well as the support Bose provided throughout the design and system configuration process.”

The install included five Bose RoomMatch Utility RMU208 loudspeakers, one Bose RoomMatch Utility RMU108 loudspeaker and four Bose DS100 loudspeakers for the main sound system on the dancefloor, entrance and bar areas. Two Bose PowerMatch 8500 amplifiers and a Bose CC64 control panel provided power and loudspeaker management control. A Bose ControlSpace ESP-800 with DPS digital card provided further control for the audio system. PSE also installed four Bose FreeSpace DS100 flush mounted loudspeakers and four QSC in-ceiling loudspeakers.

“The BonBonneire audio configuration is a zoned system that provides control through the Bose ControlSpace processor. Offering advanced audio signal processing for superior low-latency, high-quality digital conversion, and low noise, high dynamic range audio applications. It was paired with the Bose PowerMatch amplifiers and the Bose RoomMatch Utility loudspeakers. Providing a sound with a high level of scalability and configurability. In addition, the ControlSpace Designer software was used to integrate network model PowerMatch amplifiers into larger control and monitoring systems comprised of the Bose ESP processor and CC control centres, which gave flexibility to tune the system for a consistent sound quality throughout the space, respective to each zone,” explained Ricardo.

Moving onto the lighting Tirso Pelaez Lighting Designer from Tirso Lighting explained that the lighting objective was to design and integrate a low profile lighting solution within a party atmosphere. He said: “The main challenge was the low ceilings of the original space. At 7.5ft we had to provide a dynamic lighting solution that would be protected from the effects of a high-energy nightclub and party atmosphere.”

For the lighting Tirso installed 20 Elation Flex Pixel WP three-metre flexible LED pixel tapes with waterproof covers, and 70 Elation Flex Channel FLX888 aluminium tracks with UV stabilised lens covers all of which are controlled via 15 Elation Flex Pixel Drivers. Tirso embedded the aluminium tracks into the ceiling to protect the LED pixel strips. Covering up the tracks with a plastic diffuser had a dual purpose, firstly to protect the light pixel strip and secondly to diffuse the light so that an even glow could be achieved across the lighting grid. “The Flex Pixel WPs allowed us to have control of every LED pixel in the ceiling. This lighting fixture gave us the flexibility to have both a party atmosphere and the option to change it to a more of a relaxed lounge vibe at the tap of a screen,” he explained.

Tirso Lighting also used some of its own products in the installation including 12 LT-300 RGB LED strips and nine TLI RGB drivers. “Tirso Lighting’s own LT-300 RGB LED strips gave us a smooth glow underneath the seating in BonBonniere’s lounge area. The LED strips were also used in the bar area to light the bottle display behind the bar. It did a great job at making the bottles on the shelves glow and stand out. These fixtures were also key in lighting BonBonniere’s iconic Fabergé egg logo that is laser cut into the front of the bar.” For lighting control Tirso used a Madrix NEO interface and an Acclaim ALFade 6 II wall mounted DMX controller. “We used Madrix as the control platform for BonBonniere because it’s easy to use and adaptable.

The Madrix software works so well for the space as it has a very strong effects engine, which is easily programmed to create dynamic lighting effects,” said Tirso.

BonBonniere offers guests a cosy but ambient club with all the decadence and originality you would hope to find in the big apple.

TECHNICAL INFORMATION SOUND

5 x Bose RoomMatch Utility RMU208 loudspeaker; 4 x Bose DS100 loudspeaker; 1 x Bose RoomMatch Utility RMU108 loudspeaker; 2 x Bose PowerMatch 8500 amplifier; 1 x Bose ControlSpace ESP-800 with DPS digital card; 1 x Bose CC64 control panel; 4 x Bose FreeSpace DS100 flush mounted loudspeaker; 4 x QSC in-ceiling loudspeaker

LIGHTING 70 x Elation Flex Channel FLX888 aluminium track with UV stabilised lens cover; 20 x Elation Flex Pixel WP pixel tape; 15 x Elation Flex Pixel Driver; 12 x Tirso Lighting TLI LT-300RGB LED strip; 9 x Tirso Lighting TLI RGB drivers; 1 x Madrix NEO interface; 1 x Acclaim AL-Fade 6 II wall mounted DMX controller www.hotelchantelle.com/nightlife/bonbonniere

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076 VENUE

LONDON, UK

EUROPE/MIDDLE EAST/AFRICA Located in the heart of Mayfair, in one of London’s most affluent shopping areas is a private members nightclub, BonBonniere. It offers its guests nights of decadence and whimsy, but on first glance the rather unassuming street entrance gives little away about its luxurious interior. After descending a narrow staircase to the main room the senses are instantly heightened; greeted by a central DJ booth caged in light, painted in rich blue and gold colours, it instantly grabs your attention. The ceiling is laced with strips of ever changing colour and the back wall holds an astounding collection of beautiful and rare Fabergé eggs held in clear glass boxes.

With a capacity of just 200 guests and open three nights a week BonBonniere is an experience for a select few. Named after the French word for a small trinket box, club BonBonniere is inspired by wealth and European opulence, represented further by the club logo of a Fabergé egg.

F1 Sound Company performed the installation for the venue with the

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task of transforming it from its original lighting and sound set-up to something that would represent this unique brand. Due to an existing relationship the owners knew F1 Sound were right for the job.

Luke Pargetei, Engineer for F1 Sound explained the installation process: “The owners wanted us to take the lighting and sound to the next level. F1 Sound worked on the design for some time looking at how best to achieve this. The ‘wow’ factor is what our director kept pushing for, the design had to incorporate the lines and symmetry found on the BonBonniere Fabergé egg logo. It was for this reason that we decided to use LED lighting throughout the venue, more specifically we chose digital tape with the idea of installing it across the whole ceiling.”

Working with the owners, F1 Sound created a design to put the logo’s egg grid pattern in the ceiling. Once the design had been drawn up F1 Sound took the lead so they could plan out the length of each tape. The ceiling came in panels and was pre-routed to form the grid

VENUE 077

shape, the F1 Sound engineers then cut the metal trunking before the LED lighting was fitted into it. “It was my job to map it in,” explained Luke. “This was quite challenging due to the shape of the ceiling. It’s not standard grids so every single LED had to be mapped in one at a time, which was very time consuming. When we had finished we calculated that there is around 15,000 LEDs, that’s not including all the extras behind the bar or the perspex boxes on the back wall that hold the Fabergé eggs. They all have digital tape around them. It is a lot of LEDs but I think it is very adaptable and also visually effective.”

The LED ceiling can perform many different colour and pattern configurations, depending on the atmosphere the club wants to achieve.

It is also linked to the lighting behind the perspex boxes, which can also be altered to create the right mood.

For the LED lighting control F1 Sound selected a Madrix software package, due to the ceiling size and the amount of LEDs, a powerful software was required. BonBonniere’s sound and lighting system is

synced, which allows Luke to alter the parameters as needed. “An effect that gets requested a lot is to have the LED lights bounce out from the middle, then the sides. The Madrix software made this very easy, you can position where that effect starts from, plug the audio in and it will see it and link to it. It was the first time I have used it and I really enjoyed it,” said Luke. “We have two software packages running off one computer, the Madrix software controls the LEDs and the ShowCAD Artist runs all the moving heads and house lighting. The two software packages talk to each other. Because of how easy it is to use I can look at the mapping side of it and just click and drop. I could spend days playing with the effects generator.”

For the main lighting fixtures around the DJ booth, F1 Sound specified its own 200W beam moving heads. “The intelligent lights are very reliable and do the job well. Around the DJ booth are six 200W beams; these shoot down towards the booth and when the halo effect is on it creates a wonderful caged effect. Alternatively, when they

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078 venue

FRANÇAIS

Situé à Londres et à New York, le Club Bonbonnière offre à ses clients de vivre une expérience de luxe et de débauche. Le Bonbonnière, du mot français pour une petite boîte à bonbons, est inspiré des œufs de chez Fabergé et de l’opulence européenne.

De plus, le logo des clubs est aussi un œuf de chez Fabergé.

Le Bonbonnière de Londres est un club privé, situé au cœur de Mayfair, dans l’une des zones commerçantes les plus passantes de Londres, et présente un impressionnant plafond quadrillé et équipé de 15 000 DEL. La société F1 Sound Co Ltd s’est chargée de l’installation, utilisant des produits des maisons Funktion One et ShowCad. L’éclairage inclut un progiciel de Madrix et des projecteurs de 200 W de marque chinoise.

Décoré par le célèbre artiste de rues Bradley Théodore, le club de New York où l’on retrouve l’illustration d’Henry VIII et de ses six femmes, se situe dans le sous-sol de l’Hôtel Chantelle sur le Lower East Side. La cabine du DJ est en forme d’œuf Fabergé recouvert d’une mosaïque de miroirs étincelants taillés en forme de diamants. La société PSE Audio Visual basée à New York a effectué l’installation du système sonore, utilisant une gamme de produits Bose, comme une enceinte de petit format RoomMatchMD Utility RMU208, des haut-parleurs RMU108, des amplificateurs PowerMatch 8500 et un panneau de contrôle CC64. L’entreprise Tirso Lighting s’occupa de l’éclairage avec des rubans à diode électroluminescente Elation WP, leurs bandes DEL LT-300RVB, des pilotes TLI RVB, un boîtier interface Madrix NEO et un contrôleur mural DMX AL Fade 6 II de chez Acclaim Lighting.

are set as a beam they are very powerful and appear to cut straight through anything, they bring great impact to the venue.” Two Back Stage Technologies C0² machines were fitted one in each of the VIP sections.

For the audio system Luke selected Funktion One. “We use Funktion One a lot of our venues, the quality of it is amazing and our customers agree,” he said. The venue has two VIP sections each equipped with four Funktion One F101 loudspeakers, a further four are installed around the central DJ booth, as well as four Funktion One Resolution One loudspeakers. Four Funktion One F121 subwoofers are housed underneath the booth and in place for DJ monitoring are a stereo pair of Funktion One F101 loudspeakers flown above the booth.

Amplification is provided by three Full Fat Audio FFA-6004 and one Full Fat Audio FFA-10000 amplifier based on their quality of sound and reliability. A BSS Soundweb London BLU-80 is also in place for the processing requirement.

Reflecting on the challenges of the install Luke commented: “The hardest part was patching the LEDs into the software. In terms of the lighting, the LED ceiling felt challenging due to the fact it had never been done before in a criss-cross pattern design. Each measurement had to be right. We had to get custom built drivers for the LED ceiling, as the length was longer than what could be driven off a standard driver and custom was the only way we could power the extra length. But it has been a really fun project to work on especially now I’ve seen the end result. I have never seen an LED ceiling install like this one before.”

To top this theme of decadence, guests of BonBonniere can enjoy the self-proclaimed ‘most luxurious and exquisite cocktail’ in the world, served in a giant Fabergé egg each purchase comes with a diamond necklace. To be enjoyed, no doubt, in the VIP section under the sparkling collection of Fabergé eggs and LED lights.

TECHNICAL INFORMATION SOUND 14 x Funktion One F101 loudspeaker; 2 x Funktion One F121 subwoofer; 6 x Funktion One Resolution One loudspeaker; 3 x Full Fat Audio FFA-6004 amplifier; 1 x Full Fat Audio FFA-10000 amplifier; 1 x BSS Soundweb London BLU-80 processor LIGHTING 350 metres of LED digital tape; 6 x F1 Sound beam moving head; 1 x Madrix LED Pro software package; 1 x ShowCAD Artist software package; 2 x Back Stage Technologies CO² machine; 2 x Pioneer CDJ-2000 multiplayer; 1 X Pioneer DJM-900 DJ mixer www.bonbonniereclub.com

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DEUTSCH

Der sowohl in London wie auch in New York ansässige Club BonBonniére bietet seinen Gästen eine luxuriöse und dekadente Erfahrung.

Genannt nach dem französischen Wort für ein kleines Schmuckdöschen wird der BonBonnière inspiriert durch Fabergé-Eier und europäische Opulenz, verdeutlicht durch das Logo des Clubs, ein Fabergé-Ei. Der Londoner BonBonnière ist ein Nachtclub für private Mitglieder mitten in Mayfair, einem der wohlhabendsten Einkaufsviertel, und umfasst eine beeindruckende Gittermuster-LED-Decke mit 15.000 eingebauten LEDs. F1 Sound Co ltd führte die Installation durch, mit Produkten von Funktion One und ShowCad. Die Beleuchtung umfasst ein MadrixSoftware-Package und 200W Strahler einer chinesischen Marke Der New Yorker Club befindet sich im Untergeschoss der Hotels Chantelle auf der Lower East Side und wurde von dem berühmten Straßenkünstler Bradley Theodore ausgestattet, der Heinrich VIII und seine sechs Frauen darstellt. Er verfügt über ein DJ-Pult in Form eines Fabergé-Eis, verziert mit Diamantschliffstücken von Spiegelglas. Das in New York ansässige Unternehmen PSE Audio Visual führte die Sound-Installation durch und benutzte dafür eine Reihe von Bose-Produkten, einschließlich Bose RoomMatch Utility RMU208, RMU108 Lautsprecher, Bose PowerMatch 8500 Verstärker und ein Bose CC64 Steuerpult. Tirso Lighting führte die Lichtinstallation mit Produkten wie Elation flex LED Pixel Band WP, Tirso Lighting LT-300RGB LED-Streifen, TLI RGB Treiber, Madrix NEO und eine wandmontierte Acclaimed ALFade 6 II DMX Steuerung durch.

ITALIANO

Situato rispettivamente a Londra e New York, il club BonBonniere offre ai suoi ospiti un’esperienza lussuriosa e decadentista. Chiamato come una parola francese che sta per scatola di fronzoli, il BonBonnière si ispira agli uovi Fabergé e all’opulenza europea, rappresentato inoltre dal logo dei club di un uovo Fabergé. Il BonBonnière di Londra é un nightclub dove é permesso l’accesso ai soli membri, situato nel cuore di Mayfair, in una delle piú affollate zone per lo shopping di Londra ed include un impressionante soffitto reticolato riempito da 15.000 Led. F1 Sound Co ltd si é occupato dell’istallazione utilizzando prodotti della Funktion One e ShowCad. Il sistema luci include un pacchetto software Matrix e dei proiettori da 200W marcati Chinese. Il club di New York, invece, si trova nei sotterranei dell’ hotel Chantelle (nella parte sud-est) ed é decorato dal famoso artista di strada Bradley Theodore che ha dipinto Enrico VIII e le sue sei mogli. Il dipinto mette in evidenza una console del dj dell’ uovo Fabergé caratterizzata da un mosaico di pezzi di specchio tagliati a diamante. Per quanto riguarda l’istallazione del suono, la PSE Audio Visual di New York un array tra i prodotti Bose, incluso un Bose RoomMatch Utility RMU208, degli altoparlanti RMU108, degli amplificatori Bose PowerMatch 8500 ed un pannello di controllo Bose CC64. Invece, per ció che concerne l’installazione luci, Tirso Lighting ha utilizzato prodotti che includono un nastro a Led flessibile WP della Elation , delle striscette a Led LT-300RGB della Tirso Lighting, dei driver TLI RGB, un controller DMX montato a muro AlFade 6 II della Acclaim e un Madrix NEO.

ESPAÑOL

La disco BonBonnière, ubicada en Londres y Nueva York respectivamente, le ofrece a sus invitados una experiencia de lujo. Con nombre francés, BonBonnière está inspirado en los huevos Fabergé y la opulencia Europea, también representado en el logo de la discoteca con un huevo Fabergé.

BonBonnière de Londres es una discoteca con acceso privado a miembros ubicada en el corazón de Mayfair, en una de las zonas comerciales más pudientes de Londres. La misma presenta un impresionante cielorraso con una grilla de 15.000 LEDs. F1 Sound Co ltd llevó a cabo la instalación utilizando productos de Funktion One y ShowCad. La iluminación incluyó un paquete de software Madrix y haces de luces de 200W de marca China.

La disco de Nueva York se encuentra en el sótano del Hotel Chantelle en el Lower East side y está decorada por el famoso artista callejero, Bradley Theodore, representando a Enrique VIII y sus seis esposas. Presenta una cabina de DJ con forma de huevo Fabergé con piezas brillantes de cristal cortadas en forma de diamante puestas como en mosaico. PSE Audio Visual, con base en Nueva York, se hizo cargo de la instalación del sonido utilizando una formación de cajas acústicas de productos Bose, incluyendo RoomMatch Utility RMU208 Bose, altoparlantes RMU108, amplificadores Bose PowerMatch 8500 y un panel de control Bose CC64. Tirso Lighting realizó la instalación de iluminación utilizando productos entre los que se encuentran: Elation flex LED pixel tape WP, Tirso Lighting LT-300RGB tiras de LED, drivers TLI RGB, Madrix NEO y un controlador DMX Acclaimed ALFade 6 II montado en la pared.

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080 VENUE

THE HAN SHOW THEATRE WUHAN, china

ASIA/PACIFIC/OCEANIA Image courtesy of Stufish Entertainment Architects

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After five years in the making, the Wanda Group has launched its most ground-breaking cultural project to date, the Han Show Theatre located by the East Lake of Wuhan City, China. The theatre and the Wanda Movie Park - which resides at the opposite end of the Wuhan Central Cultural District and was built at the same time - are two of the largest entertainment projects in the world and have a combined investment of seven billion Chinese Yuan.

For this project Wanda Group Chairman, Wang Jianlin chose to team up with one of the most sought-after artistic directors in the world, Franco Dragone. He is famous for having re-invented a genre back in the ‘90s by mixing human performance, dance, the four elements

of life, choreography, technology and music, tied together by a story.

Examples include Cirque du Soleil shows Le Cirque Réinventé, Nouvelle expérience, Saltimbanco, Quidam, Mystère, Alegria and O. In 2000 he created his own company Dragone, and each of his events constitutes major innovation and pushes the boundaries of the performing arts. Among his most outstanding creations of the last 10 years: Céline Dion, A New Day; Le Rêve in Las Vegas; Story of a Fort Legacy of a Nation in Abu Dhabi; The House of Dancing Water and Taboo at City of Dreams, Macau. The House of Dancing Water was his first permanent show in Asia.

Wang wanted to bring a spectacular show that was even more

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extravagant and unique to the people of mainland China, and so he approached Dragone to make his vision a reality. In turn, Dragone approached the late Mark Fisher - architect, visionary and founder of Stufish Entertainment Architects - to lead the design of the theatre, which turned out to be his last project before his sad passing in June 2013. “I do not believe he is at rest now. Mark is not the sort to rest.

I still look for messages from him on my phone. I know he’s on a plane heading for infinity, and already wondering how to make that infinity, which is beyond our grasp, more beautiful and more human.

The eternal battle between light and darkness, of art against the void,” said Franco as a tribute to Mark.

Mark’s design concept for the theatre was derived from a traditional Chinese red lantern, which measures over 100-metres in height from base to roof and over 100-metres in diameter. He wanted to create an iconic Chinese symbol that would be instantly recognisable even from distances across the lake. Chinese symbolism continues inside too, where Mark and the Stufish team used eight ‘bicycle’ wheels with hundreds of spokes to connect the main drum of the theatre to the theatre façade. The wheels support a mesh with 25,000 steel disks, the detailing of which was inspired by the Chinese bi-disks - a historic Chinese object symbolising skyward ambition and the heavens - a symbol which is transferred to the audience within the

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082 VENUE

Image courtesy of Stufish Entertainment Architects

show itself too.

Dragone Studio / Architecture & Design and theatre consultants, Theatre Projects Consultants worked closely with Mark on the purpose-built 2,000-seat performance space, which took four years to design and construct, according to Theatre Projects, Project Director Jules Lauve. Theatre Projects provided full theatre consulting services including theatre planning, auditorium and stage design concepts and geometry, as well as design and specification of the theatre equipment and its infrastructure. This included a vast array of non-conventional specialised equipment required for an extraordinarily complex water show. Theatre Projects also provided on-site project management for the scope throughout design and construction.

Jules explained: “We always design from the inside out, ensuring the theatre works well for its intended purpose. Working closely with the client and rest of the design team we plan the space, define the geometry of the stage and auditorium, then design and specify the equipment and infrastructure. On The Han Show Theatre we had the opportunity to collaborate with a phenomenal architect and innovator who brought exciting ideas to the table, pushed envelopes, and broke boundaries.

“We also enjoyed working with an incredible producer and director whose imagination goes far beyond the normal limits of production and truly into the spectacular. In the process, we succeeded enormously in delivering a large-scale project that still retains the intimacy and audience-artist relationship that are hallmarks of Theatre Projects.”

Given the enormity of this project, it goes without saying there is an unprecedented amount of technology installed including more than 1,263 lighting fixtures producing more than nine million lumens and 200km of cabling; 350 loudspeakers, 18 subwoofers weighing in at 2,500kg and 1,200 channels of audio; three moving LED screens each measuring 75 sq metres; and 230 water jets. “Because the systems are so vast and none of them could be sole sourced, the level of system integration required was orders of magnitude beyond a typical 2,000-seat opera house,” continued Jules. This list alone is incredibly impressive, however, there are actually three other pivotal

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features that truly make this project unique.

Firstly, the moveable seats, which alter the seating pattern of the theatre from end-stage to thrust - that ultimately provides a 270º view of the show - and at the same time reveals the performance basin, much to the audience’s surprise, as they are all still seated. The orchestra level seating - which holds about half of the audience - splits along the central line and the two seat swing platforms pivot to reveal the performance basin downstage of the dry stage. The balcony then lowers into place between the swing seats to complete a thrust configuration around the performance basin, which is 8.7-metres deep and holds 10,000,000 litres of water and allows show performers dive into it from over 26-metres.

Secondly, the stage lifts that are actually used to transform the theatre from a dry to wet performance space. There are two large dry lifts in the stage and 11 wet lifts in the performance pool - four central lifts, three apron lifts, and four vomitory lifts. The dry lifts travel 15.6-metres in 60 seconds from stage level to basement level, while the wet lifts travel 7.5-metres in 80 seconds. The wet lifts reside above water level for a dry performance space or below when the performance pool is in use. Jules continued: ““We developed a space frame of sorts, a space above the floor of the basin and below the floor of the basin, so that the main force is below in the dry and then smaller diameter rods penetrate the performance basin floor to raise and lower the lifts.”

And thirdly, are the three 32-metre tall robot arms mounted to the back wall of the theatre, each of which holds a pivoting high-definition LED screen manufactured by Lupo and measuring seven metres by 11-metres. “Lupo delivered an incredible product and stayed with it through rounds of testing, right up to opening night to ensure it worked as specified,” said Jules. When aligned in portrait aspect side-by-side the screens combine to form a 16:9 ratio display with a total resolution of 2,500 pixels by 1,375 pixels. The LED screens are also able to perform 360º turns in either direction. “The robot arms have never been seen before but the innovation came from Mark.

He had created a similar design for Cirque du Soleil show Ka, and he wanted The Han Show Theatre to go one step further, which he

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TECHNICAL INFORMATION SOUND 10 x Meyer Sound line array hang (a combination of Mica, Mina and M’elodie); Meyer Sound Callisto processors; Meyer Sound D-Mitri modules; 2 x Meyer Sound D-Mitri based console lighting 115 x Vari-Lite VL3015LT Spots moving heads; 56 x Vari-Lite VL3515 Spot moving head; 92 x Clay Paky Alpha Wash 1500 washlight; 24 x Clay Paky Sharpy moving head; 42 x Clay Paky Sharpy Wash 330 compact moving head; 35 x Terbly V3000P moving head; 43 x Terbly PT320B moving head; 2 x MA Lighting grandMA2 lighting console; ETC dimming system visual 3 x Lupo and LED screens measuring seven metres by 11-metres; 16 x Christie projectors; 9 x VYV Photon media server; Lightware MX Series matrix; 19 x 3D high frame rate motion tracking camera effects 230 x water jet; 1 x 38-metre by 22-metre water screen, a six-metre diameter water fountain; 18 x dry ice machine; 4 x snow machine; 4 x confetti machines and 40 x smoke generator *Excerpt only* www.thehanshow.com

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Theatre Projects’ Team

Project Management • Jules Lauve: Project Director • Dawn Chiang: Project Manager, US • Chris Plunkett: Project Manager, Wuhan • Tora La Rosa and Stephen Morgan: Associate Project

Image courtesy of Tomasz Rossa

Managers • Chloe Gao: Assistant Project Manager, Wuhan • Donald P. MacLean: Project Manager Design Phase, Beijing Theatre Design • Brian Hall: Theatre Designer • John Runia: Theatre Designer, sightlines and seating layouts described as the son of Ka, and actually this design goes beyond Ka in many ways,” added Jules.

“We brought our worldwide team’s understanding of traditional disciplines to all of the non-conventional aspects of the project including pool technology, aquatics, fall protection, cathodic protection, the waterproofing of concrete hydraulic structures, moving seats, robot arms, large format high-definition LED screens, and all the special effects.”

Alongside the Theatre Projects team - which also encompassed a number of sub contractors - was a creative design team, obviously headed by Franco, who was supported by a dedicated individual for each sector. Vikram Kirby of the Thinkwell Group - who collaborated with his mentor, Francois Bergeron on Franco’s The House of Dancing Water show at the City of Dreams - was in charge of sound design at The Han Show Theatre.

He explained: “The audio configuration consists of inner and outer stereo pairs, plus an immersive lateral and rear surround system for each seating section in each seating configuration - seats open or seats closed. Some of the loudspeakers are used in both seating modes - especially the stage source and front fill loudspeakers - but due to the fact the seating sections move, there are essentially two overlapping PA systems in the venue, hence the high loudspeaker count. This allows us to more accurately support the stage action and provide dynamic movement of the sound throughout the space that is tailored to the audience position throughout the show.”

When it came to selecting the right products for the job, the Wanda Group was very keen to use locally sourced products, as Chairman, Wang Jianlin wanted The Han Show Theatre to offer an opportunity to develop Chinese technology in the entertainment world. However, all elements of the project did go out to tender and after much consultation between the Wanda Group and the design team the best products for the job were selected, irrespective of the manufacturer origin. Across the technology sectors, the number of different manufacturers used reached triple figures, although a prominent brand in the audio inventory was Meyer Sound.

Vikram opted for the Meyer Sound loudspeakers - a combination of Mica, Mina and M’elodie - based on his previous experience using the systems for The House of Dancing Water show and the range diversity. He said: “Meyer Sound has a full range of different sized loudspeakers that can be tuned to be very similar tonally, which allows for more seamless movement and imaging of the sound. For example, from a small embedded prop loudspeaker on stage up to a large line array at the proscenium edge.”

One of the acoustical challenges that had to be overcome was bass traps. Vikram worked with Theatre Projects and acoustician, Jaffe Holden to control the low frequency response. “The venue has a fairly high noise floor due to all the pool and special effects equip-

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Theatre Specialised Equipment (TSE), Infrastructure Design and Specification • Michael Nishball: Stage machinery including lifts, power flying, manual counterweight rigging, auto mation control, moving seats and robot arms for LED screens • Jason Osterman: Performance lighting including power, dimming, control, and fixtures; air effects infrastructure • Richard Borkum, John Riddell: Performance sound, video, and communications • Mark Ryan: Projection and LED screens Specialty Sub-Consultants for TSE, Special Effects, and Related Infrastructure • Jaffe Holden - Mark Holden, Jonathan Hopkins: Acoustic design, modeling, and measuring • STO Design - Desmond Stevens, Peter Fu: Per formance basin water equipment and infrastructure including purification system, filters, circulation pumps, dry-based water jet effects pumps and infrastructure • Sandman Associates International - Mike Sandman, Fred Pisciotta: Performance basin geometry, water special effects and air effects equipment, infrastruc ture and control • MarkusMauretteFX - Markus Maurette: Water effects and air effects equipment, infrastructure and control • The Doyle Street Group - Bob Bauer: Flame special effects equipment and infrastructure • M.G. McLaren Engineering - Bill Gorlin, Matthew Saide: Structural engineering including grid, robot arms and moving seats • DiveSafe - Mauricio Defendi, Christina Defendi: Aquatics including fixed and self-contained underwa ter breathing apparatus equipment and infrastructure, aqua coulisse, hand-rails and under water way-finding lighting • J.T. Tomlinson: Stage machinery and hydraulic sys tems review • Galvotec - Dave Johnson, Ben Carpenter, H.C. Feng: Cathodic protection and corrosion control prelimi nary design and document review screens

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The Han Show Creative Designers Writer & Director: Franco Dragone Image courtesy of Tomasz Rossa

Creation Director: Line Tremblay Associate to Director and Choreographer: Anne Tournié Scenic Designer: François Seguin Acrobatic Equipment and Rigging Designer: Jaque Paquin Performance Designer: John Brady Composer: Benoît Jutras Lighting Designer: Alain Lortie Costume Designer: Tim Yip ment, so in general we tried to make the space fairly absorptive to reduce the build up of the reverberant field. Additionally, we utilised directional subwoofer arrays to try and maximise the clarity of the low end for the audience,” he added.

The processing is predominantly handled in a dedicated routing system comprised of Meyer Sound D-Mitri modules, which takes approximately 160 outputs from the front of house console and routes them to all the loudspeakers, and handles seating tracking to make the relevant parameter adjustments for the room. The 10 line array hangs - which make up the main PA - are processed by Meyer Sound Callisto processors. “Their new delay integration processing really sounds fantastic and makes it easier to get the different cabinet sizes to sound the same,” Vikram continued. “There are two dedicated consoles, one for front of house utilising 288 inputs and one for monitors utilising 208 inputs. They are Meyer Sound D-Mitri based consoles, due primarily to the size of the show. The routing and automation flexibility, combined with the transparent sound quality are the primary reasons I went with these consoles.”

The lighting design for The Han Show was handled by LD, Alain Lortie, who has a vast worldly knowledge in the field, has racked up an impressive resume and who also first worked with Franco in Macau. Alain understood Franco’s specific way of creating poetic live theatre and magical images from the moment he was brought on board. Although this was slightly later in the project process than some of the other designers, Alain put the finishing touches on the lighting plot in terms of inventory and product positioning.

He explained: “The venue is divided in two sections, the dry stage facing the audience stalls and balcony, which is treated like any normal stage with overhead lighting trusses and side towers. The wet

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Make-up designer: Carmen Arbues Sound Designer: Vikram Kirby Fountain, Special Effect Designer: Denis Lafontaine Video Content Designer: Patrick Neys Script Writer: Vincent Engel Comedic Character and Act Designer: Wayne Wilson Dragone Studio / Architecture & Design Marc Provencher Nicolas Ney Gregory Badot Stefano Cassano Stephane Beaulac Philippine Delhaise The Han Show Theatre Development Production Team Mark Fisher

Fay Chen

Jean Marcouiller

Ella Zhang

Matthew Stoody

Salvatore Restuccia

James Tomlinson

Bush Cherroud

Sylvain Marcotte

Matt Bevacqua

Warren Rangi

François Villeneuve

Simon Lemieux

Steven Michelman

Matthew Bevacqua

Linda Rangi

Scott Tucker

Lisa Schultz

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Image courtesy of Stufish Entertainment Architects

stage is the home of the acrobatic tracks and the performance pool.

This is the more rock ‘n’ roll mother grid with multiple sections of lighting trusses.” In total there are 50 different structures upon which the lighting fixtures are mounted.

The intelligent lighting catalogue comprises a mixture of Chinese and Western manufactured products, which includes 115 Vari-Lite VL3015LT Spots featuring an excellent zoom range for long-throw applications and 56 Vari-Lite VL3515 Spots that are capable of either a peaked or flat field beam, which provide a difference in lumens of output. A total of 92 Clay Paky Alpha Wash 1500 washlights, 24 Clay Paky Sharpys and 42 Clay Paky Sharpy Wash 330 compact moving heads were also specified alongside 35 Terbly V3000P moving heads and 43 Terbly PT320B moving heads from the Platinum Series, all of which are controlled via two MA Lighting grandMA2 lighting consoles.

The full size grandMA2’s offer The Han Show LD real-time control for up to 65,536 parameters, 30 motorised executor faders, six DMX outputs and a plentiful numbers of presets, cues, pages, sequences and effects. An ETC dimming system is also in place.

It could be argued that the whole project is one large visionary delight, however, the typical visual elements of the show - in addition to the robot arms and LED screens - include a state-of-the-art projection tracking system that allows the video to track objects on stage; the projection system itself consisting of 16 Christie projectors, nine VYV

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Photon media servers and Lightware MX Series matrix; and 19 3D high frame rate motion tracking cameras. The video content design was taken care of by Patrick Neys, who has worked with Franco since the days of Le Rêve in Las Vegas.

Adding further special effects are 230 water jets. “The water jets spray water vertically upward, they turn on and off in sequence and at different pressure levels, which allow amazing water effects that have become somewhat of a trademark for Franco,” explained Jules. There is also a 38-metre by 22-metre water screen, a six metre diameter water fountain, 400 outlets of compressed air installed in the pool to create ‘masking bubble’ and ‘boiling water’ effects, 18 dry ice machines, four snow machines, four confetti machines and 40 smoke generators. All of this equipment was coordinated by Denis Lafontaine who was responsible for creating the largest fountain spectacle for a live performance theatre at The House of Dancing Water show.

Years of hard work by a hugely committed team has led to the astonishing creation that is The Han Show Theatre, the permanent home for The Han Show, a story which is inspired by the spirit of Han nationality, Chu-Han Dynasty and the city of Wuhan. Combining aerial, aquatic and immersive stage performance to create an electrifying visual and sensory experience for audiences, it is no surprise that there has been a resounding chorus of praise from various sources.

Dawn Chiang, Theatre Projects’, US Project Manager, working in

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Image courtesy of Stufish Entertainment Architects

FRANÇAIS

tandem with site project managers Chris Plunkett and Tora La Rosa in Wuhan, said: “We worked closely with engineers, specialists, and project managers across three continents, two languages, and multiple time zones to help coordinate the project on a daily basis. This complex, one-of-a-kind, purpose-built venue demanded a high level of attention to detail throughout every phase of design and construction. The Han Show Theatre is now home to a show which is certain to entertain and thrill audiences, and the venue provides the city of Wuhan with an unmistakable symbol of its cultural ascendance.”

Michael Nishball, Theatre Projects’ Head Theatre Equipment Designer added: “Our technical services included not only TSE and highly customised special effects systems and pool engineering systems but also the fully integrated roof steel, grid iron, catwalk and under-stage/under-water civil works to support the equipment. Of note is the significant effort by the entire international Theatre Projects team to review and process thousands of submittals and RFIs over an 18 month construction period. The design, specification, and site acceptance testing of the major theatre specialty equipment were managed between our Connecticut office and a site office that was 12 time zones away. To say we were on the job 24/7 is not an exaggeration. Theatre Projects was committed to making Mark Fisher and Franco Dragone’s concepts a reality.”

Project Director, Jules summed up: “Working with such an experienced team and being able to call on people of such calibre is another way that one handles the system integration at this level, because ultimately it’s about people integration. Also our project management team was indefatigable. It truly was a monumental collaboration between our Theatre Projects offices, US, UK and site, which proves that a global company can better accomplish global projects like this.”

And the final word goes to Wanda Group Chairman, Wang Jianlin who said: The Han Show Theatre is a unique project, which will undoubtedly become a new symbol of Chinese culture as well as a leading global entertainment brand.”

Project Team Client: Dalian Wanda Group Ltd Show Producer and Creator: FDEG Concept architect including façade, public space interiors, building arrangement and planning: Stufish Entertainment Architects Stage architects, auditorium design concept including robot arms, moving seats, interior design: Stufish Entertainment Architects Local design institute architects and engineers: Guangzhou Pearl River Freeing Investment Architectural Designing Institute Theatre consultant: Theatre Projects Consultants Acoustic design: Jaffe Holden Engineering of robot arms, grid and moving seats: McLaren Engineering Show scenic design: FDEG, Francois Seguin

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Après cinq ans de travaux, le Groupe Wanda a lancé son projet culturel le plus innovateur à ce jour, le Théâtre du Han Show à Wuhan en Chine. Le Théâtre et le Parc Cinématographique Wanda, tous deux construits en même temps, se trouvent à l’extrémité opposée du district culturel central de Wuhan. Ce sont deux des plus grands projets de divertissement au monde avec des investissements cumulés de 7 milliards de yuans. Le « Han Show » imaginé par Franco Dragone, est un spectacle de premier plan sur la scène internationale, et c’est l’architecte de renommée mondiale Mark Fisher qui conçut le théâtre accueillant ce spectacle. Le Han Show allie performances aériennes, aquatiques et immersives, générant ainsi une expérience visuelle et sensorielle électrisante pour le public. Le design présente trois écrans mobiles à DEL, 2 000 sièges munis d’une technologie de levée et de pivotement unique au monde qui permet de modifier la configuration de l’ensemble de la salle, révélant la scène du théâtre en quelques secondes. Le théâtre comporte également 11 systèmes d’ascenseurs, de l’équipement pour les effets spéciaux et un système de gréement complexe, tous contrôlé par ordinateur. Des équipements audiovisuels et d’éclairage de nombreux fabricants furent utilisés, dont les plus importants sont Meyer Sound, QSC, MA Lighting, Clay Paky, Vari-Lite, Terbly, ETC et Christie.

DEUTSCH

Nach fünf Jahren Vorbereitung hat die Wanda Group ihr bisher bahnbrechendstes Kulturprojekt gestartet, das Han Show Theater in Wuhan, China. Das Theater und der Wanda Movie Park - der sich am anderen Ende des zentralen Kulturviertels von Wuhan befindet und der gleichzeitig gebaut wurde - sind zwei der weltweit größten Entertainment-Projekte und haben ein kombiniertes Investment von sieben Milliarden Yuan. Die Han Show ist ein weltweit führendes kreatives Bühnenprogramm von Franco Dragone und der weltbekannte Architekt Mark Fisher hat das Theater für die Show entworfen. Die Han Show kombiniert Bühnen-Performance in der Luft, zu Wasser und immersive, um eine elektrisierende visuelle und sensorische Erfahrung für das Publikum zu schaffen. Das Design weist drei fahrbare LEDLeinwände, 2.000 Sitze mit einer weltweit einzigartigen Hebe- und Schwenk-Technologie, mit der die komplette Publikumskonfiguration ihre Form abändern kann, auf und die den Performance-Pool des Theaters innerhalb von Sekunden enthüllt. Das Theater enthält ebenfalls 11 komplexe Badlifter, Ausrüstung für Spezialeffekte und ein komplexes Aufbausystem, alles wird per Computer gesteuert.

Zahlreiche Hersteller wurden für die Audio-, Beleuchtungs- und visuelle Ausrüstung hinzugezogen, unter anderem Meyer Sound, QSC, MA Lighting, Clay Paky, Vari-Lite, Terbly, ETC und Christie.

ITALIANO

Dopo cinque anni di lavori, Wanda Group ha lanciato il suo progetto culturale piú rivoluzionario, l’ Han Show Theatre a Wuhan (China). Il teatro ed il Wanda Movie Park, che si trova sulla parte opposta del Wuhan Central Cultural District sono stati costruiti nello stesso periodo e sono i due tra i piú grandi progetti di intrattenimento al mondo ed hanno entrambi un investimento di sette miliardi di yuan. L’Han Show é leader mondiale per quanto riguarda il palcoscenico creato da Franco Dragone e l’architetto di fama mondiale Mark Fisher che ha progettato il teatro per ospitare lo show. L’Han Show combina delle coinvolgenti performance da palcoscenico con l’aria e l’acqua per creare, per gli spettatori, una visione elettrizzante ed un’incredibile esperienza sensoriale. Il progetto prevedere l’utilizzo di tre schermi a Led rimovibili, 2.000 sedute che adottano, per la prima volta a livello mondiale, una tecnologia che permette di sollevarle e ruotarle permettendo a tutti gli spettatori di cambiare forma e ció permette di svelare il pubblico del teatro in pochi secondi. Il teatro contiene, inoltre, 11 complessi montacarichi, attrezzature per gli effetti speciali ed un complesso sistema di impalcatura, tutto controllato al computer. Sono stati chiamati diversi produttori per ció che concerne le attrezzature audio, video, luci e tra quelli piú importanti ci sono Meyer Sound, QSC, MA Lighting, Clay Paky, Vari-Lite, Terbly, ETC and Christie.

ESPAÑOL

Luego de cinco años de creación, Wanda Group ha lanzado el proyecto cultural más transgresor al día de hoy, el Teatro Han Show en Wuhan, China. El teatro y el Wanda Movie Park - que se encuentra en el extremo opuesto del Distrito Cultural Central de Wuhan y que fue construido al mismo tiempo - son dos de los proyectos de entretenimientos más grandes del mundo con una inversión combinada de siete billones de Yuan. El Han Show es un escenario de show creativo líder en el mundo, por Franco Dragoe, y fue el renombrado arquitecto Mark Fisher quien diseñó el teatro para albergar el show. El Han Show combina presentaciones aéreas, acuáticas y de inmersión en el escenario para crear una experiencia visual y sensorial electrificante para la audiencia. El diseño presenta tres pantallas LED móvibles, 2.000 asientos novedosos que adoptan una tecnología levantamiento y pivote, permitiendo que la configuración completa de la audiencia cambie de forma, lo que pone al descubierto a la piscina de la performance en cuestión de segundos. El teatro también cuenta con 11 elevadores complejos para el agua, equipamiento de efectos especiales y un sistema complejo de montaje, todo controlado por computadora.

Se utilizaron muchísimos fabricantes para el equipamiento del audio, iluminación y video. Entre los que sobresalen se encuentran Meyer Sound, QSC, MA Lighting, Clay Paky, Vari-Lite, Terbly, ETC y Christie.

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092 VENUE

JW MARRIOT pune, india

ASIA/PACIFIC/OCEANIA In the world of luxury hotels, sound systems might not always come on top of the agenda when it comes to capturing opulence.

However, the JW Marriot is one such residence which has managed to gather the required demeanor to gain its five-star status, and now, thanks to Tannoy and Lab.gruppen’s sound technology, it has the kind of technology fit for such surroundings - inside and outside the building.

The project to bring this signature sound began when Panchshil Realty, a multi-asset class real estate development company based in Pune, were tasked with helping the JW Marriott ‘redefine hospitality’ in the city. Panchshil Realty immediately looked to

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leading audiovisual consultant and designer Sachin Jain of PLAY, a specialist in system integration, who knew exactly what solution was required for a job of this scale.

Sachin explained further: “The JW Marriot is one of the busiest hotels in Pune and the project meant coming up with a solution that would make a statement and redefine hospitality in the city.

Very few hotels in India could compare to this hotel, in terms of the finishes, in terms of the interior, and now, in terms of the sound technology. Not a lot of people give us the opportunity of using the right product, the right quantity - people want to save costs on various factors, but not this hotel. They have not tried to save costs but used the optimum product and the optimum technology. The whole design of the hotel is about offering not just the best in the

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country, but it also aspires to be one of the best in the world, so the technology infrastructure should meet this aspiration.”

Sachin explained that the thinking behind the project was to get a more detailed design, and a consultant such as himself who would be more actively involved in the project, who could understand the requirements, and as he puts it, ‘design spec the right products’, the ‘right equipment’, and ultimately, the ‘right solutions’. Leading system integrator, S K Office Solutions then had the task of installing this system up to the standard that was required for such a prestigious development.

Speaking of the possibilities of installing the products, Sachin continued: “Audio in this hotel is digital which is not very common in India - with these products, you can now route music from any floor

to any floor, any source to any other place. You also have dynamic volumes controls in place in various zones which are then digitally attached to your central rack which is in a centralised location.”

Tannoy was brought on board because the client demanded only the best, and was not prepared to compromise on quality. “We saw various globally-renowned brands and obviously came across Tannoy as one of the major options for loudspeakers.

“Firstly, we were really impressed with Tannoy as a brand; the CMS series, the 501DC, the ICT series, the sound from these products were fantastic and that really impressed us. Although it was a premium brand and it meant spending more, compromise was not an option. The owners were also very particular about the quality of sound of music and overall sound they were going to have -

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094 VENUE

that’s what put Tannoy in the driving seat, and that was the deciding factor. In all aspects such as design, build quality, reliability and overall sound, Tannoy were the brand that stood out from any of the others.”

Krishna Singh, Indian Sales Manager for Tannoy and Lab.gruppen, commented: “Tannoy’s CMS Series is simply the best ceiling speaker on the market. It features studio grade drivers and offers a level of clarity and coherent sound that simply can’t be matched by any other brand. The real test comes during demonstrations; as soon as the client hears the difference you get with CMS Series, the demand is there. That ‘no compromise’ ethos behind this project suited the product perfectly.”

In total, over 400 Tannoy loudspeakers were used throughout the project, mainly CMS Series complemented by Di and VX Series for extra reinforcement in the areas that required it.

“I think Tannoy has done a brilliant job in terms of the product quality and the production. In areas [of the hotel] you will see the loudspeakers blend into the aesthetics and gives that stunning sound with visual appeal. It’s all turned out well and people have appreciated it - the hotel has got a lot of good reviews across Asia and today features as one of the top hotels in India and is still the busiest hotel in Pune. That makes you appreciate being involved in a project such as this.”

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“Not a lot of people give us the opportunity of using the right product, the right quantity - people want to save costs on various factors, but not this hotel.”

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“I think Tannoy has done a brilliant job in terms of the product quality and the production. In areas [of the hotel] you will see the loudspeakers blend into the aesthetics and gives that stunning sound with visual appeal.”

The choice of using Lab.gruppen C Series amplifiers also worked to perfection within the given environment. C Series amplifiers are uniquely capable of adapting to a wide variety of demanding load conditions. Each channel has an individually configurable Voltage Peak Limiter (VPL), which allows the output to be optimised for any loudspeaker load - whether a single large subwoofer or a series of small 70V loudspeakers (100V in bridge mode). VPL works in combination with adjustable input gain to achieve maximum headroom regardless of input levels or output impedances.

Sachin said: “Because of the amplifiers’ small 2RU design, we could save a lot of space in the controls room and this really helped us during the install phase. The products flexibility offers control of various gains and variable power on different channels - that is an added benefit because in hotels, you have three or four different loops and not each loop would require the same amount of power that runs into that. Lab.gruppen have been extremely flexible and helpful, and on hand 24/7 over the last three years to help us with any questions or problems, and that kind of back up support is invaluable on a project of this scale.”

Apart from Tannoy loudspeakers and Lab.gruppen amplifiers, the other core components of the public address system include three Biamp AudiaFLEX units with input/output cards housed in a central rack. The music and audio for each zone is routed via a CobraNet network to distribution boxes in the various zones of the hotel. A PC streams music to the AudiaFLEX system, while distribution is the achieved by collating feeds of analog output from CobraNet distribution boxes to the Lab.gruppen amplifiers located

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in key locations throughout the hotel, which then feed the Tannoy loudspeakers.

“Each floor of the hotel has been configured as a separate zone and each zone is provided with a Biamp RED Ethernet control device to control the volume of the zone manually,” commented Sachin.

Of course, with a modern public building such as this, the public address system will become part of the evacuation system in the event of an emergency. “As soon as the fire alarm panel detects an alarm for a specific floor, the music that is being streamed will immediately stop on that floor and an emergency message will start playing. It’s all just part of a coherent and well put together system that has been expertly installed. The whole job is something that I am very proud to have been part of.”

The JW Marriot is now fully tailored, completely fitted, top-tobottom, in the latest Tannoy and Lab.gruppen sound excellence, giving a complete ‘uniformity of sound’. “I am very pleased with the technology infrastructure at our JW Marriott Pune property,” said Mr Abhay Chordia, Jt Managing Director at hotel owners Panchshil Realty. “I believe our property would be the most advanced in the country with regards to the audiovisual technology. Our intention, which has been successfully implemented, has been to provide

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“Lab.gruppen have been extremely flexible and helpful, and on hand 24/7 over the last 3 years to help us with any questions or problems, and that kind of back up support is invaluable on a project of this scale.”

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the business centre guest with similar or better infrastructure they have been using in their office. We strongly believe that technology and the functionality it provides goes a long way in providing a complete guest experience and is equally important as the interior design of a space. Each space in this property has been equipped with the best products in the world and designed to meet the functionality of the space.”

TECHNICAL INFORMATION SOUND 1 x Biamp AudiaFLEX CM system; 1 x Biamp RED-1 control system; 349 x Tannoy CMS 501BM ceiling loudspeaker; 9 x Tannoy CMS 801DCBM ceiling loudspeaker; 76 x Tannoy CMS 501DCBM ceiling loudspeaker; 80 x Tannoy SR601 outdoor loudspeaker, 12 x Tannoy Di 5 loudspeaker; 9 x Tannoy VS 15BP weatherised subwoofer; 10 x Tannoy VS 10BP subwoofer; 12 x Tannoy VX 8 loudspeaker; 2 x Lab.gruppen C16:4 amplifier; 5 x Lab.gruppen C10:4 amplifier; 15 x Lab.gruppen C 5:4x amplifier; 2 x Lab.gruppen C 20:8x amplifier; 1 x Lab.gruppen C 68:4 amplifier; 2 x Lab.gruppen C28:4 amplifier www.marriott.com/hotels/travel/pnqmc-jw-marriott-hotel-pune/ www.panchshil.com www.presentationsindia.com

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“Each floor of the hotel has been configured as a separate zone and each zone is provided with a Biamp RED Ethernet control device to control the volume of the zone manually.”

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LUCE DELLA VITA & SENNHEISER SHANGHAI CONCERT HALL SHANGHAI, CHINA

ASIA/PACIFIC/OCEANIA Nestled amongst a bustling intersection at the heart of the city’s municipal Huangpu District, the Shanghai Concert Hall boasts an unrivalled cultural and historical legacy, having played host to some of China’s most celebrated artists and musicians over the past 85 years.

The venue’s glamorous, neo-classical exterior reflects its origins amidst the jazz age of the 1930s, and today this rich architectural heritage has been married with the contemporary flare of the Luce della Vita restaurant, an Italian eatery situated directly above the

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concert hall on the building’s fourth floor and an adjacent nightclub bearing the same name.

The club features the world’s first indoor installation of K-array’s Firenze Series, courtesy of Sennheiser China, which also equipped the concert hall below first of all, and the restaurant too. The club owners had an ambitious design for the club, wanting it to be the hottest club in Shanghai. They craved a punchy sound that would beat through the core of the venue whilst not conflicting with the background music from the restaurant, and at the same time the sound system needed to be aesthetically pleasing. Avoiding crossover of the two sound systems when the two spaces have extremely different audio requirements is no easy task, but Sennheiser China tackled it head

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on by utilising the Firenze Series’ digital acoustic steering and its various software advantages.

Eight K-array KH8 line array cabinets were installed in the walls around the room with K-array KS8 subwoofers positioned underneath. The Firenze Series architectural design, digital acoustic steering technology and their position within the club itself all helped to prevent sound leakage into the restaurant. Sennheiser Project Manager, Harley Tao said: “The client was concerned that there would not be enough low frequencies and requested more subwoofers until the team turned on the KS8 before opening and the owners

were in complete shock, they could not believe the power of the subwoofers.”

Two K-array KF12MT coaxial loudspeakers and two K-array KF12 P wedges are in place for stage monitoring, with a further 16 KF12 P for back fill, while two K-array KRM33 self powered monitor are housed in the DJ booth. A Midas VeniceF 24 compact console is also on hand for mixing requirements when live acts perform at the club, alongside two Pioneer CDJ-2000 multiplayers and one Pioneer DJM-900 mixer for DJs. Fred Hu from Sennheiser China concluded on the club’s audio

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install: “This has been an incredible experience for the guests and the owners as the sound has been punching enough to serve some serious power to the Shanghai club scene. It’s been thrilling to approach a brief like this with K-array loudspeakers. They are easy to set up and it gives us a greater edge when we want to impress our clients, especially ambitious projects such as these. The owners have been so impressed with the Firenze Series, they have requested more for another venue they are opening in the future.”

Taking design inspiration from science fiction film, Tron, the club required an intense lighting set-up, which included a 3D matrix laser show, futuristic visual effects and encapsulating clubbers in a plethora of colour through the intelligent lighting fixtures. The club has been equipped with 17 Martin Professional MAC 350 Entour LED moving heads, which are accompanied by Martin Professional Atomic 3000 DMX strobes and a Martin Professional Jem K1 Hazer for effects.

These are all operated via a Martin Professional M1 console, which may be compact is size but does not compromise on power.

Residing next to the club is restaurant, Luce della Vita, which features panoramic views of some of Shanghai’s most striking cultural landmarks, including the Shanghai Grand Theatre, the Shanghai Museum and the People’s Square. Here, Sennheiser China selected a combination of 12 K-array KP52 passive line array cabinets, and 10 K-array KP102 loudspeakers positioned discreetly within the corners and walls of the room supported by five K-array KMT18P subwoofers placed below within the walls. The system is powered by two K-ar-

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TECHNICAL INFORMATION SOUND CLUB: 8 x K-array KH8 line array cabinet; 8 x K-array KS8 subwoofer; 2 x K-array KF12 MT monitor; 18 x K-array KF12P monitor; 2 x K-array KRM33 monitor; 1 x Midas VeniceF 24 compact console; 2 x Pioneer CDJ-2000 multiplayer; 1 x Pioneer DJM-900 mixer Restaurant: 12 x K-array KP52 passive line array cabinet; 10 x K-array KP102 loudspeaker; 5 x K-array KMT18P subwoofer; 2 x K-array KA24 amplifier CONCERT HALL: 18 x K-array KP102 loudspeaker; 6 x K-array KMT21 subwoofer; 2 x K-array KR102 loudspeaker; 2 x K-array KR202 loudspeaker; 2 x K-array KR402 loudspeaker; 10 x K-array KRM33 loudspeaker; 8 x KF12MT loudspeaker; 8 x KF12P loudspeaker; 4 x K-array KMT18P subwoofer; 2 x DiGiCo SD10 mixing console; 1 x DiGiCo SD11 mixing console; Sennheiser microphones LIGHTING CLUB: 17 x Martin Professional MAC 350 Entour LED moving head; Martin Professional Atomic 3000 DMX strobes; 1 x Martin Professional Jem K1 hazer; 1 x Martin Professional M1 console www.facebook.com/pages/Luce-Della-Vita www.shanghaiconcerthall.org

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ray KA24 amplifiers and is set high in frequencies to avoid conflicting with the powerful audio coming from the club.

The restaurant and club fit out came second to the concert hall, which had been installed some months before, shortly after Sennhesier China partnered with the Shanghai Concert Hall to support the future of its proud musical culture and build the foundations for a ‘modern platform’ promoting the musical arts in Shanghai.

An official ceremony was held to mark a new beginning for the concert hall and its new name, the Sennheiser Shanghai Concert Hall.

“We are proud and honoured by the opportunity to join forces with the prestigious Shanghai Concert Hall, to promote the music and culture of sound in China,” said Marc Vincent, President of Sennheiser China. Zhang Zhe, President of the Shanghai Grand Theatre Arts Center added: “We are delighted that the Shanghai Concert Hall and Sennheiser have reached this incredible collaboration at the beginning of the second decade after moving to the new venue. The opportunity to join forces with Sennhseiser offers many development opportunities for the future of the concert hall. We believe that this partnership will have a great impact on the development of the musical culture in Shanghai.”

Tom Lee Pettersen, Sennheiser China’s consultant on the concert hall project, explained how the sponsorship process began: “It was kind of a competition, looking for people to support the venue. But

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“The owners have been so impressed with the Firenze Series, they have requested more for another venue they are opening in the future.”

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Sennheiser was finally chosen because it shares the same targets, beliefs and background. I think the concert hall felt it had the most chemistry with Sennheiser than any other company.”

Tom continued: “The project was really easy-going, the people at the concert hall worked along side us and they really approved of what we were doing.”

He and the Sennheiser team began the install by embedding 18 K-array KP102 loudspeakers into the proscenium arch, eight either side of the stage and two in the centre. The low frequency for the main PA is provided by six K-array KMT21 subwoofers, split evenly left and right of the stage. Side fills are provided by a combination of K-array KR102’s, KR202’s and KR402’s and stage monitoring is take care of by K-array KRM33’s, KF12MT’s and KF12P’s accompanied by four K-array KMT18P subwoofers. Ziqian Chen, Technical Manager at Sennheiser commented: “The K-array loudspeakers are so thin and elegant, they are perfectly placed in the environment, hidden and not so obtrusive to the eye. They are much better than the ‘black boxes’ that were there before. The sound is great and delivers consistent quality in a demanding environment such as this.”

Mixing requirements are fulfilled by two DiGiCo SD10 mixing

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FRANÇAIS

Nichée au milieu d’une intersection animée au cœur du quartier municipal Huangpu de la ville, se trouve la salle de concert de Shanghai. L’extérieur glamour et néo-classique du lieu reflète ses origines qui remontent au temps du jazz des années 1930. Aujourd’hui, ce riche patrimoine architectural s’associe au charme contemporaine du Luce della Vita, un petit restaurant italien situé directement au-dessus de la salle de concert au quatrième étage du bâtiment, juste à côté d’une boîte de nuit du même nom. L’entreprise Sennheiser Chine, les représentants chinois du fabricant audio italien K-array, s’est joint aux propriétaires de la salle de concert de Shanghai afin de la moderniser et d’y construire une plate-forme pour les habitants de Shanghai, leur rendant ainsi le programme d’événements variés plus accessible. L’équipe de Sennheiser China commença par installer une solution sonore K-array dans la salle de concert principale avant de travailler à l’étage dans le restaurant et le club, ce dernier disposant de la première installation intérieure de la série Firenze de K-array. Les propriétaires voulaient un son vif qui gagnerait le cœur des invités, mais qui coexisterait parfaitement avec la musique de fond du restaurant. Cette solution audio complexe devait se fondre dans l’esthétique du lieu et créer une atmosphère plus détendue. Éviter le mélange de ces deux revendications audio extrêmement différentes semblait compliqué, mais l’utilisation des produits de la nouvelle série Firenze offrant une gestion acoustique numérique, et les divers avantages du logiciel rendirent la tâche possible.

DEUTSCH

Inmitten an einer geschäftigen Kreuzung in der Innenstadt des Stadtbezirks Huangpu befindet sich die Shanghai Concert Hall. Die glamouröse, neoklassische äußere Erscheinung spiegelt ihre Ursprünge inmitten des Jazz-Zeitalters in den 1930er Jahren wider und heutzutage wurde dieses reiche architektonische Erbe vereinigt mit dem zeitgenössischen Flair des Luce della Vita Restaurants, einem italienischen Esslokal direkt über dem Konzertsaal in der vierten Etage des Gebäudes, neben einem Nachtclub gleichen Namens. Sennheiser China, der chinesische Vertreter des italienischen Audio-Herstellers K-array, schloss sich mit der Shanghai Concert Hall zusammen, um die Modernisierung des Treffs zu unterstützen und eine zugänglichere Plattform für die Menschen in Shanghai zu etablieren, damit sie das abwechslungsreiche Veranstaltungsprogramm des Konzertsaals genießen können. Das Sennheiser China Team begann mit der Installation einer K-array Soundlösung im Hauptkonzertsaal und fuhr dann in der oberen Etage fort mit dem Restaurant und Club, letzter verfügt über die erste IndoorInstallation einer K-array Firenze Serie. Der Besitzer wollte einen pulsierenden Sound, der die Gäste im tiefsten Inneren berührt und gleichzeitig nicht die Hintergrundmusik im Restaurant stört. Diese komplizierte Audiolösung war erforderlich, um sich mit der Ästhetik zu vereinen und eine entspanntere Atmosphäre zu schaffen. Die Aufgabe war kompliziert, Überschneidungen mit zwei extrem unterschiedlichen Audioanforderungen zu vermeiden, doch durch die Verwendung der neuen Firenze Serie mit digitaler akustischer Steuerung und ihrer unterschiedlichen Software-Vorteile war es möglich.

ITALIANO

La concert hall di Shanghai si trova nascosta in mezzo alla movimentata intersezione nel cuore del distretto municipale di Huangpu. L’incantevole, neo-classica facciata riflette le sue origini tra l’era del jazz del 1930 e oggi.

Questa ricca eredità architetturale é stata unita al bagliore contemporaneo del ristorante italiano Luce della Vita, che si trova direttamente sulla Concert Hall al quarto piano dell’edificio, vicino ad un nightclub che porta lo stesso nome.

Sennheiser China, i rappresentanti cinesi del produttore italiano di K-array, ha collaborato con la Shanghai Concert Hall per aiutare a modernizzarla, creando una piattaforma piú accessibile per far sì che gli abitanti di Shanghai potessero usufruire dei diversi programmi di eventi proposti dalla Concert Hall. Il team della Sennheiser China inizió con l’installare una soluzione audio di K-array nella sala principale prima di spostarsi al piano superiore dove si trovano il ristorante ed il club, le quali ultime caratteristiche riguardano la prima installazione di K-array della Firenze Series al chiuso. I proprietari volevano un suono che colpisse e che sarebbe arrivato fino al cuore degli ospiti seppure non creando nessun conflitto con la musica di sottofondo del ristorante. Questa soluzione audio cosí complicata era stata richiesta affinché si creasse una fusione con l’estetica e si creasse un’atmosfera piú rilassata. Era un compito molto difficile quello di evitare la sovrapposizione di due esigenze audio cosí estremamente diverse, ma utilizzando i nuovi altoparlanti direzionali digitali Firenze Series ed i loro vari vantaggi a livello di software, tutto ció é stato reso possibile.

ESPAÑOL Weigo Hu and Elaine Liu of Sennheiser China flank consultant, Tom Lee Pettersen

consoles plus a Stage Rack and one DiGiCo SD11 mixing console.

“Digital desks have all the support built-in, all the effects, all of the compressors, everything mixing engineers need in there basically,” continued Tom. Of course there is also a full complement of Sennheiser microphones in the concert hall inventory, so it can cater for every performance eventuality.

With three venues spaces all under one roof and each one catering for a different audience, décor and technology choices were crucial when it came to each having its own personality, yet being complementary of one another at the same time. The Sennheiser China sponsorship is a blossoming relationship, which benefits both parties, and should go a way to securing a prosperous future for the venue for years to come.

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Emplazado en medio de una desbordante intersección en el corazón del Distrito Municipal Huangpu se encuentra el Auditorio de Shanghái. El glamoroso y neo-clásico exterior del lugar refleja sus orígenes en medio de la época del jazz allá por los años 1930. Hoy en día, esta rica herencia arquitectónica se ha emparentado con el fulgor contemporáneo del restaurante Luce della Vita, un espacio gastronómico Italiano ubicado directamente encima del auditorio en el cuarto piso del edificio, el cual se encuentra al lado de una disco que lleva el mismo nombre. Sennheiser China, los representantes Chinos del fabricante italiano de audio, K-array, se asociaron con el Auditorio Shanghái para ayudar a modernizar el sitio y establecer una plataforma más accesible para la gente del lugar, para que disfruten de los diversos programas de eventos del auditorio. El equipo de Sennheiser China comenzó instalando una solución de sonido de K-array’s en el auditorio principal antes de moverse hacia arriba al restaurante y disco, los cuales presentan la primera instalación de interiores de la Serie Firenze de K-array’s . Los propietarios querían un sonido con impacto que atravesara a los invitados a la vez que no interfiriera con la música de fondo del restaurante. Esta complicada solución de audio requirió combinarse con la estética del lugar y crear una atmósfera más relajada. Fue una tarea complicada evitar la mezcla de estilos entre dos requerimientos de audio tan extremadamente opuestos; pero fue posible gracias a que se utilizó la nueva Serie Firenze con dirección acústica digital y con las muchas ventajas de su software.

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DEAKIN EDGE MELBOURNE, AUSTRALIA ASIA/PACIFIC/OCEANIA

Federation Square is a multi-functional development and public space located in East Melbourne, Australia. Covering an area of 3.2 hectares, it is home to major cultural attractions, tourism experiences and an array of restaurants and shops. As part of a partnership with Deakin University, it is also home to Deakin Edge, a stunning glass theatre that looks across the Yarra River and the Alexandra gardens.

Formerly known as The Edge, the medium sized venue that can hold

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up to 450 people, was recently refurbished to update the lighting and sound equipment and provide a better audience experience. Deakin Edge’s Head of Production, Bryce Moseley chose distributor and installer, CMI Music & Audio to help create the new sound system for the venue. “The original sound system was not designed for the space at all, it was designed for the screen” explained Bryce. “It was installed 10 years ago and was the wrong kind of PA for the space.

Also due to age it was starting to fail and we had to start replacing components.” Choosing a selection of Adamson products for the new set up CMI installed, six Metrix ultra compact two-way line array cabinets and six Metrix W line array cabinets, three of each on either side

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of the stage, alongside four Metrix subwoofers split into pairs. “Adamson is a great PA system,” said Bryce. “It met all the requirements we were looking for. It is a smaller PA [than the one we ha before] but the clarity is good, which is what we needed in this kind of space. The engineers needed to be able to get both frequencies to the listener easily and that’s what the Adamson system can provide.”

The two loudspeakers on the end of the arrays differ as they have a 15° dispersion instead of a 5° dispersion and have been fitted at a tighter angle to help open them up. This allows coverage for the rows of chairs that come right to the front of the stage. Cris Sirc, CMI’s Audio Product Specialist, explained the difficulties faced in a mainly

glass venue: “We hung the sound system six times in different locations over a period of three months to try and find the best acoustic location.

“The old PA system was set up so it reflected off the back wall first.

With the new system we brought it down and as far forward as we could, using the existing rigging. When we ran diagnostics it showed us that the low-end frequencies were only shooting forwards and not reflecting around the room. This was a big problem especially for band performances, once you add the band fall back into the space the lower-end frequencies just resonate everywhere. And if you have a PA duplicating those lower frequencies it results in a mess. But we

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had the idea of running cardioid subwoofers to get as much of the frequencies going forward and into the seating bank as possible,” explained Cris. MC² Audio was selected to provide amplification, CMI installed six Ti500’s, two Ti3500’s and an XTA DC1048 audio processor for loudspeaker management control using iCore technology.

The amplifiers have been fitted with wireless technology allowing for control of the EQ settings, meaning they can be tuned manually.

They can also be put into standby mode or can be turned off individually. The wireless technology element was specifically designed with the venue in mind, giving the user greater control in what is an acoustically challenging environment. “The amplifiers have the ability to be remote controlled, which allows them to be synced together and be able to read diagnostics. Having that sort of access is great,” said Cris. “The original design was to have the amplifiers all in one rack but because of the space restrictions they had to be in individual racks and stacked on top of each other. But it keeps everything nice and separate.”

Bryce added: “There is also a concern about temperature; because of the glass structure and with it being such a small space the heat can reach 55°. This is a worry for the longevity of the installation. We are looking into fitting permanent air conditioning.”

He reflected on the benefits of the new system: “I relied on CMI’s specification, we discussed the different configurations and options

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Cris Sirc of CMI and Bryce Moseley , Head of Production at Deakin Edge

and CMI came up with some good reasons why we should go with what we’ve got and I agreed with them. I’d heard a bigger version of this PA and I realised how good it sounded. And because I knew I was getting something that sounded great for this space, I was happy working with CMI.” “You can definitely hear the change since the new installation, it can go so loud now. That was something we were never able to do, we were never able to drive the old PA so loud. Now the engineers can drive the system to whatever level is necessary.”

For the lighting at Deakin Edge 24 Selecon Pacific Zoomspot luminaires, 17 Selecon Pacific 1,200K fresnel luminaires, eight Clay Paky Alpha Spot HPE 300 compact moving heads and four Clay Paky Golden Spot 1200 effect projectors have been installed. The lighting fixtures are mounted on four lighting bars facing towards a 4.5-metre by 2.5 metre LED screen on the stage.

When asked about the feedback they have received from performances so far Bryce divulged: “We had a performance of Bond

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FRANÇAIS

Le square Federation est un espace public et de développement multifonctionnel situé à l’est de Melbourne, en Australie. Ces 3,2 ha abritent de grandes attractions culturelles et touristiques, ainsi qu’une bonne sélection de restaurants et de boutiques. Dans le cadre d’un partenariat avec l’Université de Deakin, on y trouve aussi le Deakin Edge, un magnifique théâtre construit en verre qui surplombe le fleuve Yarra et les jardins d’Alexandra. Anciennement dénommé « The Edge », ce lieu pouvant accueillir jusqu’à 450 personnes fut récemment rénové afin d’y revoir le système d’éclairage et de son et ainsi transmettre une meilleure expérience au public. Un éventail de produits Adamson fut choisi pour le nouvel aménagement par la société CMI ; six enceintes ultras compactes bidirectionnelles Metrix et six Metrix W, trois de chaque, de chaque côté de la scène avec quatre caissons de basse Metrix placés en paires.

Les amplificateurs sont de l’entreprise MC2 Audio, qui installa six Ti500, deux Ti3500 et un processeur audio XTA DC1048 muni de la technologie iCore pour le contrôle. L’éclairage du théâtre Deakin Edge se compose de 24 projecteurs à découpe Selecon Pacific, 17 projecteurs Selecon Pacific à lentille de Fresnel 1,2 K, 8 projecteurs mobiles compacts HPE 300 Clay Paky Alpha et 4 projecteurs à effets spéciaux Golden 1200 W Clay Paky ont été installés. Le Responsable de production du Théâtre Deakin Edge, Bryce Moseley déclare : « Nous pouvons incontestablement entendre la différence depuis l’installation du nouveau système, car le son peut être tellement fort maintenant. C’est quelque chose que nous n’avions jamais réussi à faire auparavant. Jamais l’ancien système de son n’a pu atteindre cette puissance.

Maintenant, les ingénieurs peuvent pousser le système au niveau demandé. »

DEUTSCH

Federation Square ist ein multifunktionaler Entwicklungs- und öffentlicher Bereich in East Melbourne, Australien. Er deckt eine Fläche von 3,2 Hektar ab und beherbergt die wesentlichen kulturellen Attraktionen, Tourismuserfahrungen und zahlreiche Restaurants und Geschäfte. Als Teil der Partnerschaft mit der Deakin University beherbergt er ebenfalls Deakin Edge, ein erstaunliches Glastheater mit Blick über den Yarra River und die Alexandra Gärten. Früher war der mittelgroße Treff für bis zu 150 Gäste unter dem Namen ‘The Edge’ bekannt. Er wurde kürzlich renoviert und seine Beleuchtungs- und Soundausrüstung aufgebessert, um dem Publikum eine bessere Erfahrung zu bieten. CMI wählte für die neue Anordnung Produkte von Adamson aus und installierte sechs extrem kompakte Metrix Zweiwege Line Array Cabinets und sechs Metrix W Line Array Cabinets, jeweils drei davon auf jeder Seite der Bühne neben vier paarweise angebrachten Metrix Subwoofern. MC2 Audio wurde ausgewählt, um die Verstärker zu beschaffen und installierte sechs Ti500’s, zwei Ti3500’s und den XTA DC1048 Audio Processor für die Steuerung mit iCore-Technologie. Für die Beleuchtung im Deakin Edge wurden 24 Selecon Pacific Zoomspot Leuchten, 17 Selecon Pacific 1,200K Fresnel Leuchten, acht Clay Paky Alpha Spot HPE 300 kompakte Moving Heads und vier Clay Paky Golden Spot 1200 Effektprojektoren installiert. Der Produktionsleiter des Deakin Edge, Bryce Moseley, erklärte: “Sie können die Veränderung durch die neue Installation eindeutig hören, es kann nun ganz laut aufgedreht werden.

Dies war vorher unmöglich, den alten PA konnten wir nie so laut fahren.

Die Ingenieure können jetzt das System so fahren, wie es erforderlich ist.”

ITALIANO

songs recently, and the engineer said he received great reviews from members of the audience. Just having a low-end presence in the room giving it a kick, that sort of thing hasn’t happened for a long time. We had a festival launch here and the client was demonstrating its playback files and while they were stood at the back of the room their response to the sound was just ‘wow, what a great sound’ just simple things like that.”

TECHNICAL INFORMATION SOUND

6 x Adamson Metrix loudspeaker; 6 x Adamson Metrix W loudspeaker; 4 x Adamson Metrix subwoofer; 6 x MC² Audio Ti1500 amplifier; 2 x MC² Audio Ti3500 amplifier; 1 x XTA DC1048 audio processor

LIGHTING

24 x Selecon Pacific Zoomspot luminaire; 17 x Selecon Pacific 1,200K fresnel luminaire; 8 x Clay Paky Alpha Spot HPE 300 compact moving head; 4 x Clay Paky Golden Spot 1200 effect projector; 1 x LED screen measuring 4.5 metres by 2.5 metres www.fedsquare.com

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Il Federation Square é un posto pubblico multifunzionale situato nella zona est di Melbourne (Australia). Ricopredo una superficie di 3,2 ettari, ospita le principali attrazioni culturali, turistiche e molti ristoranti e negozi. Inoltre, facendo parte anche della Deakin University, ospita il Deakin Edge (uno splendido teatro di vetro che si vede attraverso il fiume Yarra ed i giardini Alexandra).

Formalmente conosciuto come “the Edge”, il locale é di media grandezza, puó ospitare fino a 450 persone ed é stato recentemente ristrutturato per rimodernare le apparecchiature del sistema audio-luci per rendere il pubblico piú partecipe. Si é scelto tra una selezione di prodotti Adamson, per il rinnovo fatto da CMI: sei cabinets per autoparlanti a due vie ultra compact Metrix e sei cabinets W per autoparlanti Metrix, di cui tre posizionati per ciascuna parte del palco e accanto quattro subwoofer Metrix divisi a coppie. MC2 Audio era stata selezionata per procurare gli amplificatori, installando sei Ti500, due Ti3500 e l’audio processore per il controllo dell’utilizzo della tecnologia iCore XTA DC1048. Per quanto riguarda il sistema luci del Deakin Edge, sono state installate 24 luminarie Selecom Pacific Zoomspot, 17 Selecom Pacific 1.200K Fresnel, otto teste mobili compatte Clay Paky Alpha Spot HPE 300 e 4 proiettori Clay Paky Golden Spot 1200. Come dice il direttore di produzione della Deakin Edge, Bryce Moseley:- “ Sicuramente, con la nuova installazione, si puó sentire il cambiamento visto che il volume puó essere veramente alto adesso. Questo é stato qualcosa che non siamo mai stati in grado di fare e non siamo mai riusciuti a portare il volume cosí in alto.

Adesso gli ingegneri possono portare il sistema fin dove sarà necessario”.

ESPAÑOL

Federation Square es un desarrollo multi-funcional y espacio público ubicado en East Melbourne, Australia. Cubre una superficie de 3,2 hectáreas albergando las principales atracciones culturales, experiencias turísticas y un conjunto de restaurantes y comercios. Como parte de la sociedad con Deakin University, también alberga a Deakin Edge, un imponente teatro de cristal que contempla al Río Yarra y los jardines de Alexandra. Conocido anteriormente como The Edge, el espacio de tamaño medio que alberga hasta 450 personas, fue renovado recientemente para actualizar el equipamiento de iluminación y sonido y así proveer una mejor experiencia a la audiencia. Al elegir una selección de productos de Adamson para la nueva puesta en marcha, CMI instaló: seis cabinas de cajas acústicas de doble-vía ultra compactas Metrix y seis cabinas de cajas acústicas Metrix, tres de cada una a cada lado del escenario. A lo largo, cuatro subwoofers Metrix divididos en pares. MC2 Audio fue seleccionada para suministrar los amplificadores, instalando seis Ti500 y el procesador de audio XTA DC1048 para el control utilizando tecnología iCore. Para la iluminación en Deakin Edge se instalaron 24 luminarias Selecon Pacific Zoomspot, 17 luminarias Selecon Pacific 1,200K Fresnel, ocho cabezales móviles compactos Clay Paky Alpha Spot HPE 300 y cuatro proyectores para efectos Clay Paky Golden Spot 1200. El Director de Producción de Deakin Edge, Bryce Moseley, dijo: “Definitivamente ahora se puede oír el cambio desde la nueva instalación.

Ahora puede oírse realmente alto. Eso era algo que nunca habíamos podido hacer. Nunca fuimos capaces de hacer que el viejo PA se oyera tan alto. Ahora, los ingenieros pueden llevar al sistema a cualquier nivel que sea necesario.”

THE GTO LINE ARRAY FAMILY

GTO

GTO DF

GTO LOW

GTO SUB

Super High Output from Dual 12” Lows, four x 6.5” Mids, and 2 x 3” HF Compression Drivers delivering an astounding 140 dB SPL (single unit). Power and far-field performance from our Patented V-Power Concept (US D500,306 S) and D.P.R.W.G. Wave Guide (EP1532839). Extremely compact package: H 14.3” (363 mm) - W 44.3” (1126 mm) - D 25.8” (655 mm). Very low weight: 160 lb (72.5 kg). E-Z RIG - Lightweight Ergal Aluminum Exoskeletal Rigging System first used on the full sized GTO: adds the strength of steel, but keeps weight to a minimum. Same foot print as the full sized GTO - makes all hardware and accessories fully compatible. Single point fly frame with one Ton motor rigs up to 12 GTO C-12’s for weight restricted venues.

OUTLINE. THE PASSIONATE PURSUIT OF PERFECTING PRO AUDIO SINCE 1973 OUTLINE ITALY SRL - Tel.: ++39 030 35.81.341 - mail to: info@outline.it OUTLINE NORTH AMERICA LLC - Tel.: 516 249 0013 - mail to: na_sales@outline.it

www.outline.it

120 VENUE

THE MIRROR SEMINYAK, BALI

ASIA/PACIFIC/OCEANIA Seminyak in Bali is home to white beaches, luxury hotels, and is well known as a place of tranquil beauty and relaxation. Nestled not far from the beach, amongst the native flowers and greenery, is a venue with personality and beauty of its own. The Mirror club sits on the west coast of the popular tourist hotspot and boasts to be the latest and largest high profile addition to the Seminyak clubbing scene.

With a capacity of up to 1,000 guests, it is not just impressive in size, the Mirror has a striking appearance too. Designed to look like a cathedral, it features religious architecture, tall decorative stained glass windows and most striking of all, a completely clear glass roof.

Stepping inside the venue the religious theme continues with stonewalls, arched beams and gothic chandeliers, giving the Mirror an air of authenticity despite only being constructed late last year. Panelled mirrors are mounted in the corners of the venue, which comprises a rectangular floor plan orientated around the DJ booth, dispersing the crowd to the sides of the stage. Owned by Indonesian entertainment

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group, All In, the Mirror is its third club to use Nexo products for the sound system. Distributor ASIIS-Indonesia and system integrator ESA collaborated on the installation. ASIIS became involved in the project as All In recognised the quality of its work from previous installations.

Andy Mulya Sutikno, CEO at ASIIS explained the process: “The goal of the set up was to create the same sound impact everywhere within the club. The design process had to take into consideration the venue’s unique architectural design, which included 80% glass.

Taking into account not only the stained glass windows but also the ceiling - which is made from a thick transparent tempered glass - the design had to conform to the configuration, which required the same system to supply sound to two stages, one on the ground floor and one on the mezzanine. We realised that we would have to over come a number of acoustic issues, so selecting the correct product was crucial.”

VENUE 121

After considering the high levels of glass, ASIIS specified 20 Nexo Geo S1230 loudspeakers supplemented by four Nexo RS18 subwoofers and two Nexo LS18 subwoofers. All powered by processed by four Nexo NXAMP 4x4 powered controllers. “We chose Nexo loudspeakers because we felt they produced a high quality sound whilst giving great mid-range clarity and impact. The Nexo RS18 subwoofers can go down to 28Hz, producing a really rich sound. The selection of the Geo S1230 loudspeakers was based on their precise dispersion angle but they still allowed us a wide enough projection from one point of the room to another. The waveguide was very accurate, ensuring that the sound didn’t react too much with the shape and materials the venue is made of. The advantages of using Nexo for the audio package was quite clear, the NXAMP powered controller compensated for the acoustic limitations of the drivers and optimised the potential of the Nexo boxes, which is difficult to find in other brands of amplifiers, we have tried.”

Because the venue is on two levels, it required something that could route the audio from one end of the building to the other without any signal loss; for this reason ASIIS selected Audinate Dante controller software and a Symetrix Radius 12x8 processor, which allowed the desired configuration without the sound dropping out.

The DJ booth is equipped with a Pioneer CDJ-2000 multiplayer, a Pioneer DJM-1000 digital DJ mixer and a Midas M32 digital console that adds the option of running up to 40 simultaneous input channels.

Moving onto the lighting, local integration firm, Monalisa Tunggal Jaya (MJT) selected a wide array of Martin Professional lighting fixtures to accentuate the Mirror’s distinct layout and features. Zandy Jong, Operational Director explained: “We were invited by the owners of the Mirror to perform the installation. They were looking for the highest quality products to support a prestigious new club. They wanted lighting that would show visitors that the Mirror represented entertainment.” Focussing on the brief, the aim was to create something

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122 VENUE

unique - a fairy tale theme that could blend into an entertainment venue. MJT collaborated with the owners, the interior designer and suppliers on the design. “All In specifically requested the best products for its sophisticated clientele. Martin Professional was the clear choice. We chose Martin Professional as the solution for the lighting effects and Aztec Electronic for the visual display effects. We also combined Madrix systems for the background effects,” said Zandy.

The complete design included 12 Martin Professional MAC 101 moving heads, eight Martin Professional Rush MH3 moving heads, eight Martin Professional MAC 350 Entour profiles, six Martin Professional RUSH Strobe 1 5x5 blinders, two Martin Professional Atomic 3000 DMX strobes, two Martin Professional JEM Compact haze machines, all controlled via a Martin Professional LightJockey lighting controller.

The visual products were supplied by Aztec Electronics - using the Aztec lasers in conjunction with a triangular custom-made display and combined with the panelled mirrors and the Madrix control software, creates an incredible visual focal point.

“The main challenge of this project was the system integration and having everything synced between the interior design and technical side. However, we enjoyed creating a perfectly built system and overcoming the obstacles as they came. With the venue’s green house concept - the glass covering the sides and top of the building - it pulls in natural light as well as the lighting from the inside which makes spectacular lighting effects throughout,” said Zandy.

The Mirror’s symbol is a mythological owl and MJT designed the lighting environment around the club’s central massive owl statue, which is perched high above the crowd. Clubbers can dance the night away under his watchful eyes with the Bali night sky above them. The Mirror a fusion of modern technology with a gothic backdrop, which creates a venue that will stay in your memory long after your visit is over.

TECHNICAL INFORMATION SOUND

20 x Nexo Geo S1230 loudspeaker; 4 x Nexo RS18 subwoofer; 4 x Nexo NXAMP 4x4 powered controller; 2 x Nexo LS18 subwoofer; 2 x Pioneer CDJ-2000 multiplayer; 1 x Pioneer DJM-1000 DJ mixer; 1 x Midas M32 console; 1 x Audinate Dante controller; 1 x Symetrix Radius 12x8 processor

LIGHTING & VISUAL

12 x Martin Professional MAC 101 moving head; 8 x Martin Professional Rush MH3 moving head; 8 x Martin Professional MAC 350 Entour profile; 6 x Martin Professional RUSH Strobe 1 5x5 blinder; 2 x Martin Professional Atomic 3000 DMX strobe; 2 x Martin Professional JEM compact haze machine; 1 x Martin Professional LightJockey lighting controller; 2 x Aztec Electronic RGB 3W high powered laser; 2 x Aztec Electronic RGB 1.5W laser; 1 x Pangolin Beyond laser software package; 1 x Madrix LED lighting control software package www.facebook.com/mirrorbali

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STACKS MORE PACKS Option 1

Option 2

Option 3

Option 4

48 MIC/LINE inputs

48 MIC/LINE inputs

24 MIC/LINE inputs

24 MIC/LINE inputs

24 AES inputs (12 stereo) with sample rate converters

24 AES inputs (12 stereo) with sample rate converters

16 LINE outputs

16 LINE output

16 LINE output

16 LINE output

Two eight channel output option slots. 8 channel analogue LINE output cards or 4 channel STEREO AES output cards

Two eight channel output option slots. 8 channel analogue LINE output cards or 4 channel STEREO AES output cards

Dual MADI console interface -BNC

Dual MADI console interface - CAT5E

Two eight channel output Two eight channel output option slots. 8 channel option slots. 8 channel analogue LINE output analogue LINE output cards or 4 channel STEREO cards or 4 channel STEREO AES output cards AES output cards Dual MADI console interface -BNC

SD8 D2 Pack

Dual MADI console interface - CAT5E

SD9 D2 Pack

Worksurface

Worksurface

60 Flexi Channels

48 Flexi Channels

24 Flexi Aux/Sub Group Busses

24 Flexi Aux/Sub Group Busses

LR/LCR Master Buss

LR/LCR Master Buss

16x12 Full Processing Matrix

12x8 Full Processing Matrix

2 Solo Busses

2 Solo Busses

FX Package

FX Package

48/96kHz sample rate

48/96kHz sample rate

D2 Rack BNC MADI (48 analogue in 16 analogue out)

D2 Rack CAT5 (48 analogue in 16 analogue out)

Redundant Supplies (surface and rack)

Redundant Supplies (surface and rack)

Digital BNC Snake

Digital CAT5 Snake

FX Package

FX Package

Worksurface cover

Worksurface cover

www.digico.biz

ads-236x333mm.indd 1

24/11/14 2:15 pm

IN BUSINE S S NAMM, ANAHEIM ATTENDED BY LAURA IIES

ISE, AMSTERDAM ATTENDED BY TEAM MONDO*DR

industry news: OCA alliance

PRODUCT GUIDE LIGHTING CONTROL

PRODUCT DIRECTORY LAST PAGE FABIO SORABELLA - MUSIC & LIGHTS Our In Business section opens with Laura’s show report on the vibrant atmosphere and California sun from Namm, Aneheim. Then its over to Ashley who reports on the highlights of ISE, Amsterdam and the recent announcement on the shows growth to four days.

Ethan Wetzell and Marc Weber discuss the OCA Alliance and its strategy of producing a public, open and royalty-free communications protocol.

And the Product Guide focusses on the various lighting control products available on the market.

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1. Jeff Laity of Tascam posing with new products. 2. The Sommer Cable team. 3. Xiao Lujun representing Audiocenter. 4. The lovely Kate Giannoulas from Omnisistem. 5. The Heil Sound team showing its colourful microphones. 6. Audix’s Vice President of Sales, Cliff Castle and Business Development Director, Scott Williams. 7. John Paice stood with Celestion products. 8. Dennis Caine and Fraser Jones from the Independent Audio team. 9. The Elation stand.

NAMM ANAHEIM

When you tell people you are going to California on business, they assume that business means a holiday; they envisage you sitting on a sunny beach sipping cocktails and perhaps doing a spot of surfing. However, this is most definitely not the case when you are heading to Anaheim Convention Centre for The NAMM Show. That said, the show always has a wonderfully vibrant atmosphere and is one of the busiest tradeshows I’ve attended during my time at mondo*dr. The wide aisles were always packed with visitors making it hard to find you way through, much like being on a busy London Underground platform a peak time.

On the first day, the crowds waiting at the entrance door were somewhat overwhelming, but security was determined not to let anyone onto the show floor be-

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fore the strict opening time of 10am. This of course slightly riled the eager visitors who had come extra early to make sure that they were at the front of the queue.

When the doors did finally open, Charlotte Goodlass of TPi magazine and I were pushed through the doors by a stampede of crazed NAMM-goers, flooding in to feast on the technological delights that the show had to offer.

The event kicked off with an Electro-Voice press conference for the EKX Series.

As the stands at NAMM are generally sophisticated in design, we were able to enjoy a creative audio and visual demonstration in a private demo room on its stand.

Other loudspeaker companies also demonstrated their products, for example Peavey showcased it all new dark matter loudspeaker enclosures, plus its RBN

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THE FAMILY GER JUST GOT BIG

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 37 HIGH POWER RGBW LEDs  NEW ULTRA FAST ZOOM  INTERNAL MACRO EFFECTS  INDIVIDUAL PIXEL CONTROL  BEAM-SHAPE

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10. David Bruml of Funktion One with the Aira DJs. 11. Marketing Manager of DPA, Ann Breggrein. 12. Charlotte Goodlass from TPi Magazine posing with Rene Greil, Product Manager of Klotz Cables. 13. Ling Zou and Mick Brophy of SE Electronics flank Chris Dauray of Rupert Neve Design. 14. Keith Barrows from the Music Group showing a Midas console. 15. Derk Hagedorn of Avid showcasing the new, free Pro Tools software. 16. Eric Friedlander and Becki Barabas of JBL.

Series loudspeaker enclosures. The JBL VTX Series was used on the Go Pro Stage, paired with Soundcraft mixing desks at front of house. Some great bands performed - including Stanley Randolph and the No Wonder featuring Stevie Wonders band - helping to demonstrate the sound quality of the products.

Roland, as always, had a huge part of the third floor to display both its MI products and it professional mixing desks. A new relationship was also illustrated in the Aira DJ area of the Roland stand, where Funktion One loudspeakers were used alongside the Aira products.

A few special announcements were made during the show; Klotz Cables celebrated its 35 year anniversary, while the American Audio group turned 30. Avid announced it will now be providing a free version of Pro Tools and Sennheiser made a big announcement - on top of launching its wireless D1 microphone series - detailing news of its collaboration with Apogee. Harman also announced its new acquisition of SM Pro Audio.

Other product launches included Amphenols new AX Series of XLR connectors, which show a more current approach to audio connectors; Chauvet DJ launched 10 new lighting products, including the 6Spot Quad IRC, the Jampack Series and the Intimidator Series; and the Music Group released a plethora of products for all of its brands, but Behringer seemed to have the most releases, including the Air Series, SD Series and Touch

 10 / 20 HIGH POWER RGBW LEDs  NEW ULTRA FAST ZOOM  210° TILT MOVEMENT  INDIVIDUAL PIXEL CONTROL  INTERNAL MACRO EFFECTS

15. - 18.4.2015

Hall 11 Stand B 17

Please visit us at our Stand B17 in Hall 11

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1. James Waldro, Brian Dougherty, Peter Morrone, Ingo Angres and Stephanie Schmidt representing Sennheiser. 2. The charming gentlemen from Furman. 3. Mark Ravenhill in his baby blue glasses on the B&K Braun stand. 4. Nick Airriess, Allan Reiss and Kenny Miller of Chauvet and Trusst. 5. Peter Heath and Tsuyoshi Mitera of Roland standing with the M-5000. 6. The EKX press conference for Electro-Voice. 7. Megan Clifford and colleague on the Earthworks stand. 8. The Fostex stand. 9. Margie Ulm and Roscoe Anthony from Renkus-Heinz. 10. Fred Poole of Peavey.

11. Rhonda Fackert and Brianna Devine representing Littilite. 12. Marketing Director of SAE and Verity Audio, Josep Sans.

Series. ADJ launched 14 new products and each of these was displayed on its stand, as well as the 21 products launched at LDI. And Vue Audiotechnik unveiled its first product from the new al-Class of loudspeakers, the al-4 line array using a beryllium driver.

The Arena was a calming place to go, away from the hustle and bustle of the show floor. Inside, lighting and trussing manufacturers displaying their products. The B&K Bruan stand was home to the latest Global Truss and GLP products and of course had its obligatory swag - Don’t Rig Shit canvass bags. Omnisistem had a stand in Hall B, as well as a booth in the arena, displaying its LED DJ façade.

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All in all The NAMM Show 2015 was a great success and from the exhibitors’ reactions, has and will continue to grow year-on-year. At the end of a full-on four days in Anaheim, Charlotte and I were certainly not keen to leave the sunshine and the laid back Californian lifestyle to fly home to a dark and snowy Manchester, UK but we will be back next year. See you all then.

Namm returns to the Anaheim Convention Centre on 21-24 January 2016.

For more info go to: www.namm.org

Sparky_Mondo FP_2012_September.indd 1

23/02/2015 4:27:27 PM

130 EXPO

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1. The d&b audiotechnik booth. 2. Richard Flemming, new recruit Jason Kelly and Waring Hayes (or Haring Waring as his exhibitor badge read) of XTA and MC² Audio. 3. Meyer Sound’s Roger Harpum. 4. Community’s announcement of its new brand identity. 5. Tom Harrold of Audio-Technica. 6. Lars Olof-Janflod (right) and colleague on the Genelec booth. 7. The Xilica team. 8.

Hans Stucken of coolux strikes a fetching pose. 9. Nico Suarez on the Roland stand.

ISE

AMSTERDAM ISE, which took place on 10-12 February at the RAI in Amsterdam, The Nertherlands, was my first tradeshow in the industry and my first real introduction into the world of audio, lighting and visual technology. I must admit after an early flight to Amsterdam and a quick change at the hotel, the thought of meeting a lot of new people in quick succession was very daunting. Upon arriving at the RAI I was amazed at the sheer size of it, the amount of people in attendance and the impressive technology in the booths.

With the rest of the mondo*dr team by my side I had what felt like a whirlwind of appointments, meeting people from around the globe, who talked me through

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company history new products and upcoming projects. It was nice to finally put names to faces from the companies I had been writing about and meeting people certainly made me feel more at ease, as I’m starting to realise this industry isn’t a bad bunch! In keeping with the new theme, you may notice this year’s show report has a new layout, check out the box columns for product highlights from the show.

This year’s event attracted a record breaking 59,350 registered attendees, which was an increase of 16.4% on ISE 2014. With more than 950 exhibitors at ISE 2015 it is not hard to see why the show is becoming recognised as one of the most popular events for professional audiovisual equipment and system integration.

Come over to

15-18 April Booth 8.0 A60

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14 10. Jolanda Medendorp of Vivitek. 11. The DiGiCo team - Tim Shaxson, Jaap Pronk (TM Audio), Maria Fiorellino, James ‘Digger’ Bradley and and David ‘Webby’ Webster. 12. Dan Saenz from Crown. 13. The Peavey team. 14. The Sony stand.

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000 EXPO PRODUCT HIGHLIGHTS FROM ISE 2015 • Alcons Audio presented a selection of products based around the company’s patented pro-ribbon technology, including the RR12 point-source array, QR24 pro-ribbon linesource column, the LR7 micro pro-ribbon line-array and the Sentinel amplified loudspeaker controllers. www.alconsaudio.com/site/products/rr12.html www.alconsaudio.com/site/products/qr24.html www.alconsaudio.com/site/line-array/line_array_7.html http://tinyurl.com/kevogcy • Amina Technologies showcased the Acoustic Fire Hoods for the new Evolution i-Series Invisible Loudspeakers. Made specifically to Amina’s specification by UK based fire hood specialist, Hoody, three models are available: Firehood200, Firehood300 and Firehood345. To help further, along with the usual printed installation instructions there is also an instruction video available on its YouTube channel. www.youtube.com/user/aminatech

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• Apex showcased Liviau R a single unit solution for control of audiovisual presentations in meeting rooms, boardrooms, lecture theatres or any location where a group of people need to participate in activities that are based around video and/or audio programs originating from a variety of different sources. www.apex-liviau.com • Audio-Technica highlighted the System 10 PRO, a rackmount digital wireless system. Delivering interference-free operation in the 2.4 GHz range with innovative features for ultimate versatility. The durable half-rack chassis houses two receiver units that can be operated locally or released from the chassis and mounted remotely via Ethernet cable. http://tinyurl.com/pltsse5 • Avolites unveiled the Ai V8’s ‘autoblend’ feature, which allows blending of large projection surfaces using multiple projectors. www.avolitesmedia.com/?page_id=4330

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• Biamp systems launched the new VoIP certification training program, targeted specifically to audiovisual industry professionals, the training program is designed to help participants build a foundation in VoIP technology and the SIP protocol that will help them better design and troubleshoot VoIP installations. www.biamp.com/default.aspx • Bose debuted its expanded range of new RoomMatch Utility RMU loudspeaker models: the RMU206, RMU108 and RMU105. The three new RMU models join the existing RMU208 small format sound reinforcement loudspeaker in the series. Bose also introduced ControlSpace remote, a new installer-configured mobile device app, designed specifically for end user wireless control using Android and iOS mobile devices. http://tinyurl.com/kqt5soz http://tinyurl.com/ovfe8dd http://tinyurl.com/qefk4cr http://tinyurl.com/npuheva • BSS Audio showcased its Soundweb London BLU-103 teleconferencing signal processor with VoIP (Voice over IP).

The BLU-103 offers extensive signal routing and processing capabilities, including eight analog inputs and eight analog outputs, a Voice over IP interface and AEC (Automatic Echo Cancellation). BSS also announced the introduction of its Soundweb London BLU-DAN Dante to BLU link Bridge, which allows one or more BLU link devices to be integrated with a Dante network. http://tinyurl.com/n4mfqn5 http://tinyurl.com/lew8cq5 • Christie showcased the Boxer 4K30 projector with six 450W mercury lamps delivering 30,000 lumens. Weighing less than 68kg, the Boxer 4K30 can be carried by two individuals and offers 4K native resolution and Christie Tru-Life image processing. Christie also showcased the D12HD-H and D12WU-H, weighing 23.8kg each, the dual-lamp Christie D12HD-H and Christie D12WU-H are suitable for both mid-tolarge rental staging and fixed applications. http://tinyurl.com/qd4qtos http://tinyurl.com/pf5ctr5 http://tinyurl.com/kvvve5z • Clear-com displayed its FreeSpeak II digital wireless intercom system. http://tinyurl.com/n8hhbfr • Coda highlighted its ultra-compact line array TiRAY and TiLOW bass extensions, suitable for club-sized touring applications and corporate events. For medium to larger spaces, Coda’s ViRAY line array and SC2-F sensor controlled

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4 1. Panasonic and D3 showing their 3D mapping. 2. Jacquie McHale Sjödin with the Dataton space dog. 3. Andreas Hilmer of Lawo. 4. Gordon Moore and Jim Baker of Lectrosonics.

The show increased exhibitor space this year with the addition of the Diamond Lounge.

Notably highlights at the show included Community’s announcement of its new brand identity. Community’s CEO, Steve Johnson said: “The revised corporate identity is a vibrant and engaging new expression of the Community brand legacy - past, present and future. The design of our new symbol and logotype incorporate precision and elegance, two important attributes of our products and engineering.”

Optocore has entered into an agreement with fellow German manufacturers Fohhn, to provide multichannel digital connectivity to its Linea Focus electronically steerable loudspeakers. Public Relations and Marketing Manager, Daniela Bohl stated: “We chose Optocore because they are the pioneers of that technology and there is a perfect fit between our two companies, as we are both innovation-driven and German based.” In order to provide integration onto the Optocore networks, the fibre specialists have created a special card, while Fohhn has developed a purpose built enclosure, which can be attached to its Linea Focus series loudspeakers to provide optional input extensions. This will enable digital audio and control data to be distributed simultaneously, either via Cat5 or optical fibre.

DiGiCo demonstrated its consoles suitability for transporting a number of different signal protocols to multiple locations. DiGiCo connected a SD7, SD5 and SD10 together on an Optocore loop. A laptop with multitrack was used to simulate a live band and connected via a DiGiGrid MGB coaxial MADI interface to the SD10, which in turn was connected via Optocore to the SD5 and SD7. Jaap Pronk from DiGiCo’s Dutch distributor, TM Audio said: “The system is really easy to use and having this extensive network on show at ISE enabled our customers to experience just how simple is first hand.”

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bass extension was also on show. http://tinyurl.com/pfszx7p http://tinyurl.com/qekoo46 • Community showcased the I Series loudspeaker family, which includes point-source, high-directivity, compact and floor-monitor models in multiple performance levels, providing modular scalability for a wide range of applications.

Matching-height subwoofers, in sizes ranging from compact single 12-inch models to dual 18-inch models, complement the full-range I series models with powerful low-frequency extension. www.communitypro.com/productlist/592-i-series • Daktronics highlighted the DVX LED Panel for outdoor use. http://www.daktronics.com/en-us/products/video-displays • Dataton presented its new version of WATCHOUT 6, a multidisplay production and presentation system. To highlight the new features in WATCHOUT 6, Dataton ran a specially made show by award-winning Polish producers, MOOV. The production used heavy-duty projection power provided by Digital Projection. WATCHOUT 6 features advanced projection mapping, pre-visualization, uncompressed video playback and new 3D features. http://tinyurl.com/mbts8qq

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• d&b audiotechnik showcased its Y-Series, both point source and line array loudspeakers. The Yi loudspeaker took centre stage on the display offering a versatile and configurable solution in a myriad of environments. http://tinyurl.com/psc7ub5 • Denon showcased the DN-202WT wireless audio transmitter and DN-202WR wireless audio receiver. The DN202WT for use with DN-202WR sends audio up to 30 metres without wires, and is able to broadcast to multiple receivers. denonpro.com/assets/microsites/CES2015/index.html • DiGiCo showcased the DiGiCo SD7, SD10, SD5, SD9 and SD11 consoles connected across multiple booths via a DiGiCo-Optocore / Broaman network. Demonstrating the system’s suitability for transporting a number of different signal protocols to multiple locations. http://tinyurl.com/mgukg68

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• d3 showcased its collaboration between Panasonic, Tesla Motors, The Projection Studio and d3 Technologies.

Ross Ashton of The Projection Studio in London has been commissioned to create custom content for the latest model of a Tesla electric supercar, which was on display. www.d3technologies.com • DPA microphones showcased its range of d:screet Miniature Podium Microphones. The miniature capsule is mounted on a gooseneck and comes in several lengths for table mounting. It can be used in a wireless configuration by employing DPA’s adapter range, which is already used for other miniature microphones. http://tinyurl.com/n4arxnv • Elation showcased three new professional LED-based luminaires, the Satura Spot CMY, Platinum Profile LED with framing and WW Profile warm white luminaire, as well as the new hybrid Platinum SBX 3-in-1 luminaire and powerful Platinum BX beam fixture. Also on display was the new high-powered LED strobe, the Protron 3K, along with fixtures in Elation’s SixPar Series of indoor and outdoor PAR colour changers. http://tinyurl.com/otq3q82

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• Fohhn Audio presented technologies regarding beam steering, 3D sound and the intelligent active and fully digital audio network AIREA. www.fohhn.com/index.php?id=204&L=1 • The Green Hippo stand featured two Hippotizer V4 media servers, Boreal and Karst, as well as Par4Keet, magpi and the new magpi solo from the AViary Video Tools range. www.hippotizer.com • Genelec showcased the 8351 monitor, a coaxial three-way Smart Active Monitor system that was developed in response to the need for increasing audio perfection in acoustically challenging production environments. www.genelec.com/products/8351a/ • HK Audio showcased the Elements, Linear 5, ConTour, ConTour Array, Cadis, Vortis and IL Series ranges, which make operation simpler and more efficient than ever before. http://tinyurl.com/ntz98vw http://tinyurl.com/mvy8enj http://tinyurl.com/k8x3cet http://tinyurl.com/m7kua9k http://tinyurl.com/kjpn62n http://tinyurl.com/mywbnm7 http://tinyurl.com/n2vgl4l

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6 1. Mark Wadsworth of Digital Projection. 2. The Absen booth. 3. mondo*dr Editor, Rachael with Lynn Ryon of Barco. 4.

Alexandra Worth and Martin Elsner of Sommer Cable. 5. The RCF stand. 6. The Amina Technologies stand.

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1. Andrea Torelli of K-array. 2. The SSL stand. 3. The APart Audio stand. 4. Nicki Fisher on the Clear-Com stand. 5. Audac’s Tom van de Sande and mondo*dr’s Rachael and Ashley get photobombed! 6. The Kramer stand. 7. James King and Maureen Hayes on Martin Audio. 8. The QSC stand. 9. Elation’s Larry Beck and Marc Librecht.

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• JBL Professional showcased the extension of the AE series including six two-way, full-range systems and two subwoofer models. The eight new AE Series loudspeakers are designed for use in a variety of applications. All models are equipped with multiple installation-friendly features utilising a rugged grille design and system appearance and suitable for indoor environments. JBL also previewed the new PD500 Series loudspeakers. http://tinyurl.com/pmvp8zl • K-Array showcased the KW8 Owl, an eight-inch coaxial audio moving head. The Owl is one of the first audio moving heads including a coaxial eight-inch transducer and a newly built in camera tool to allow users to accurately focus their directivity of sound. The Owl provides up to 500W of power, 120dB of SPL and a frequency range from 60Hz to 19kHz. www.k-array.com/concert/kw8.html

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• Lang’s focus was on a nine metre by three metre projection using the brand new Panasonic PT-RZ12 and PT-RZ670. Both models showed Panasonic’s new Solid Shine Technology, from the light source in the laser. This not only allows 20,000 hours of running time, but also a projection in any orientation. www.lang-ag.com • Lawo showcased the mc²36 its newest mc² series console, the stagebox Compact I/O and the IP-based video units of the Lawo V line. Lawo mc²36 live audio mixing console, an all-in-one mixing desk, with a comprehensive feature set that covers broadcast, theatre, house of worship, live and install applications. http://tinyurl.com/pktmhra http://tinyurl.com/odufna3 • Martin Audio displayed its products for the installation market with a series of live demonstrations, including everything from ceiling speakers through to its MLA Mini system. www.martin-audio.com • Martin Professional presented the RUSH Gobo Projector 1, part of Martin’s comprehensive offering of new lighting fixtures. The RUSH Gobo Projector 1 is ideal for permanent installation in club, bar, restaurant and shopping mall applications. Gobos can be changed quickly easy adjustment of focus, speed and direction make running the static fixture smooth and intuitive. It’s also non-intrusive thanks to its silent operation and compact size, measuring 215mm x 135mm x 152mm and weighing only 2kg. http://tinyurl.com/ojpm4h7 • Medialon showcased Overture an enterprise-class audiovisual control software. It controls, monitors, and automates thousands of audiovisual devices in multiple locations, integrates with IT services, and delivers highly interactive user interfaces. www.medialon.com/overture/ • Meyer Sound showcased CAL, now officially the industry’s first AVnu-certified AVB loudspeaker. Alongside it was Countdown, which features the Meyer Sound SpaceMap multi-channel dynamic panning software with the D-Mitri digital audio platform. www.meyersound.com/products-index • Merging exhibited with its enhanced Ovation and Pyramix series in conjunction with Tannoy Di6 Dual Concentric loudspeakers, driven by Lab.gruppen IPD Series amplifiers to demonstrate how customised virtual rooms can be created quickly and easily. http://tinyurl.com/pljx9hr http://tinyurl.com/oqrstyf • Nexo presented major additions to its toolbox of power and processing devices, giving a major new set of features to users of the NXAMP power amplifiers, and introducing the DTD Digital TD Controller, a processor that connects Nexo’s PS Series cabinets to amplifiers of every size and scale. In addition to the innovations in the electronic and network control range, Nexo displayed its new super-compact line array system the GEO M6. nexo-sa.com/en/systems/nxamp/technology • Optocore created an elaborate fibre network on the booth of its Dutch distributor, TM Audio. This did not only see their other distributed front-line brands connected at the stand but in the case of DiGiCo consoles connected across multiple booths via a DiGiCo-Optocore/BroaMan network, demonstrating the system’s suitability for transporting a number of different signal protocols to multiple locations. http://tinyurl.com/q4axsuk • Outline showcased the Outline STADIA100 LA range, which combines key principles of line-source theory with well-established proprietary Outline technologies to produce a range of products which provides a toolbox for those

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1. Rik van Cappelle and Sue Harrison of Bose. 2. Justin O’Connor of Biamp. 3. Nexo distributor Iemke Roos. 4. John Perry of Yamaha. 5. Fabio Sorabella of Muic & Lights flanked by the ladies. 6. Electro-Voice launched a number of new products at the show.

Shure Distribution UK (SDUK) raised awareness of the importance of RF spectrum availability for all users of microphones through its ‘Losing your Voice’ campaign. The goal of this was to better inform users about the growing challenges to the unhindered use of wireless microphone systems as a result of continued UHF spectrum allocation to the mobile communications and data industries. “Over the past 10 years as the numbers of users of wireless systems has been steadily increasing in all areas, such as bands on the live circuit, church groups and event companies. The spectrum required to make these systems operate without interference has been steadily whittled away,” explained Tuomo Tolonen, Pro Audio Group Manager and RF specialist at SDUK. For more information on ‘Losing your Voice’ visit: http://losingyourvoice.co.uk.

After another successful year ISE is set for further growth in 2016, by expanding to four consecutive days.

The decision stated by ISE, Managing Director, Mike Blackman, was largely due to the exhibitions “rapid rise in size and prominence”. The expansion will also continue with the opening of the Amtrium, a new building adjacent to Hall 4 to accommodate more exhibitors. The general consensus of the people we spoke to were uncertain about the move. However, this is arguably because the amount of relevant exhibitors at ISE for mondo*dr is only a small percentage. I can see that looking at the show as a whole, expansion is a natural progression, given the show’s substantial growth over the last few years. The announcement of ISE’s success goes against the argument of an industry saturated by tradeshows, yet it must still exist as we recently heard of the cancellation of Entech in Sydney and PLASA 2015 will lose a day, dropping from four days to three.

As my first tradeshow ISE was an enjoyable experience. Although at first it felt like a baptism of fire due to

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engaged in audio installations in very large spaces such as sports stadia. Capable of delivering up to 149dB with a peak input power handling of 8kW, coupled with pin-point accuracy of directional control over long distances, the STADIA100 LA delivers the power and accuracy to provide perfectly intelligible full-range audio throughout the largest spaces. http://tinyurl.com/nh9bbkr • Powersoft showcased the expansion of the Ottocanali Series with the addition of three new high-performance eightchannel power amplifiers under the series Ottocanali DSP+D. Offering a wide range of system control and monitoring functions as well as sound shaping options, a total of up to 12 kW output power at four ohm over eight channels for lo-Z or distributed line systems and all neatly packed into a double rack unit. www.powersoft-audio.com/en/installation/ottocanaliseries

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• Proel highlighted the QC series digitally controlled Class-D power amplifiers with SMPS and CORE DSP. As well as the SW121HLP high-performance passive subwoofer designed to deliver high-quality low frequency reproduction. http://tinyurl.com/one4lt3 • Renkus-Heinz displayed the full line of Iconyx steerable line array systems. Full IC Live and IC2 systems were on display, as well as all configurations of Iconyx IC-R-II systems with triple tweeter technology, plus the new Gen5. www.renkus-heinz.com/iconyx www.renkus-heinz.com/ic-live • Ridel showcased the Tango TNG-200, the company’s first network-based platform supporting RAVENNA/AES67 and AVB standards. http://tinyurl.com/mg27r84 • Sennheiser presented the SpeechLine Digital Wireless, the world’s first wireless digital microphone designed exclusively for speech applications. During the development process, Sennheiser consulted users, technicians and integrators, carried out its own research and applied its many years of audio expertise to design a completely new system that combines the key requirements of wireless speech microphones: SpeechLine Digital Wireless. http://tinyurl.com/pua4nvr

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• Shure showcased the RF microphone system for conferencing audio applications, Microflex Wireless, plus the digital wireless microphone systems ULX-D and QLX-D. http://tinyurl.com/ow6jskl • Sommer Cable highlighted the expanding SYSDESK line of desk connection panels including the push-to-lift mechanism, the cable management tray for the SYSDESK09 and SYSFRAME50 desk connection panels plus the new SYSFRAME45 connection panels for the integration of SYSWALL45 clip-in modules, which contain all common connections of media engineering with an optimum spacing. http://tinyurl.com/p4uqwt4 • Alongside a display of its established Dante-based DSPs such as SymNet Edge and SymNet Radius AEC, Symetrix showcasedan upgraded version of Radius 12x8. http://tinyurl.com/pr589jp • TC Group’s install, tour and residential brands; Tannoy, Lab.gruppen and Lake showcased two brand new additions to Tannoy’s digital beam steering column array system. Tannoy has developed the new QFlex Life Safety (LS) models as a cost effective solution for critical, life safety applications, a solution that balances complex power consumption needs with the high performance and intelligibility that is the core of the proven QFlex range. Tannoy new VX 8M, a brand new full range Dual Concentric loudspeaker from Tannoy that provides a compact, yet punchy and sonically vibrant solution for small-to-medium scale performance sound reinforcement. http://tannoypro.com/#!Page=NewsItem&Id=2403

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• Visual Productions highlighted its Cuety iPad lighting controller. Cuety is a new lighting controller that turns your iPad into a powerful lighting console. Cuety is designed for use in the entry-level entertainment market and right through to the smaller permanent installations. www.visualproductions.nl/products/cuety.html • Yamaha showcased the MA2030 and PA2030 compact 2 x 30W mixer amplifiers. The VXC-F loudspeakers featuring the VXC3F and VXC5F with resin enclosure, optimally tuned for music playback, the shallow, lightweight construction and flexible design. The VXC3F features a 3.5-inch full-range bass reflex driver rated at 20W, with the VXC5F a 4.5-inch driver rated at 40W. http://tinyurl.com/pd4r3gu

www.mondodr.com

6 1. Distributor FACE represents Out Board and ETC in The Netherlands. 2. Stephanie Sobey-Jones and Joe Bull of JoeCo. 3.

Michela Bordoni of Proel. 4. Alex Bryan and colleague of Fenix. 5. The TOA stand. 6. Luigi Paoloni, Roberto Mataloni and Antonio Faccioni of FBT.

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1. The Electrosonic team. 2. TC Group’s Andy Rust and Mark Millar. 3. Renkus-Heinz President, Roscoe Anthony and Margie Ulm. 4. Brooke Macomber and colleague on the Symetrix stand.

5. The Fohhn stand. 6. Andreas Marx of HK Audio flanked by Laura and Ashley of mondo*dr.

the amount of people and technology I encountered, not to mention trying to read the show floor map. But after those initial appointments a natural rhythm came into play. My understanding of the industry has expanded greatly and I met people I look forward to greeting again at future shows. Due to a rather nifty app on my phone I was able to calculate that the mondo*dr team did a rather impressive 22 miles of walking over the three days at show. So if I take one thing away from ISE for future tradeshows, it is that flat and comfy shoes are an absolute must!

ISE 2016 will take place from 9 - 12 February at the Amsterdam RAI, The Netherlands. For more info go to: www.iseeurope.org

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144 industry news

OCA ALLIANCE As the AES-X210 project - a joint venture between the OCA Alliance and Audio Engineering Society (AES) - which had a goal of producing a public, open and royalty-free communications protocol that is recognised as an AES standard comes to fruition, mondo*dr met with Ethan Wetzell, Bosch Platform Strategist and Marc Weber, OCA Alliance Marketing Working Group Chairman and Product Manager at d&b audiotechnik, both of whom are OCA gurus to find out exactly what this potentially industry changing strategy is all about.

Approximately four years ago, nine audio manufacturers came together as they shared a similar view when it came to designing and selling audio equipment. “As manufacturers, we don’t just make widgets, we don’t just make boxes that go off on and exist in their own right, we make products that are used in conjunction with other equipment. We take a very clear view that companies and our customers don’t design and sell random collections of equipment, they design and sell systems, systems that very clearly solve problems for the customer,” explained Ethan Wetzell, Platform Strategist for Bosch, the company which has been a key driver of the open control architecture (OCA) technology.

However, working in a world of systems rather than a world of products brings its obstacles. “One of the critical things when designing a true system is not just being able to move information around from point A to point B but what to do with it when it reaches its destination. How do I interact with the system?

How do I control it when I’m facing a dozen piece of equipment from different manufacturers? How much longer will a user need to have a dozen pieces of software running at the same time to control and configure everything?” continued Ethan.

“Speaking as a manufacturer, I wanted to remove the question of what language does the device speak from the equation. I want customers to select my

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product based on what it does, the features it offers, how it sounds, how it works and what they like about it not because of what language it speaks.” And so, the quest for developing a control architecture, or a common language for all audio products to communicate began.

Although there were existing solutions available on the market, and many of them were fine technologies, it was perceived that all had a gap in one place or another. The main problem areas were scalability and response time, so Bosch set to work on developing an initial specification internally, based on existing technology, AES 24 that was developed in the early ‘90s. Once that was in place Bosch sought out eight additional companies to join its venture to jointly collaborate on creating the first version of the specification and it took 12 months to come up with version 1.0. That was 2011, and it was at that point the OCA Alliance was officially formed as a trade association and membership was opened up to any company that wanted to join. Today, the current members are Attero Tech, Bittner Audio, Bosch, d&b audiotechnik, Focusrite, Harman, Loud, PreSonus, Rational Acoustics, RCF, Salzbrenner Stagetec, TC Group, THAT Corporation and Yamaha.

“Some of the key technical elements that we wanted to examine are related to reliability and scale,” continued Ethan. “This was examined in terms of different

applications; at one end you could have a large scale concert, when it is absolutely mission critical, when the system can absolutely not stop working Alternately, you have very large scalable systems such as public address and broadcasting intercoms where the customer may need to scale up to 10,000 devices all cooperating with each other. At the same time we also have to consider security and that requires high reliability. Nothing that was out there already met this diversity.”

With the creation of OCA, the Alliance believes it has designed a common language of ‘talking’ over Ethernet that can be extended, adopted and adapted to any piece of equipment in the professional audiovisual world, a common language for configuring and controlling different products from different manufacturers in an open way that is accessible to any manufactures who chose to implement it.

“In the past if a venue wanted to integrate two systems from different manufacturers, for example the main performance system and the voice evacuation system, these systems talked different languages. A translator had to be implemented which sometimes required developers to go onsite to make it work. The vision of OCA is: ‘these systems talk the same language and hence no translator is required any more’.

If both products talk OCA the integrator only has to learn and know this one language. The integrator

146 industry news

LEFT: Marc Weber and Ethan Wetzell ABOVE: d&b audiotechnik’s D80 amplifiers

can concentrate on the user requirements and focus on defining the optimum user interface rather than different learning and programming different protocols.

This will be beneficial for the users, integrators as well as the manufacturers,” added Marc Weber, Chairman of the Marketing Workgroup, OCA Alliance.

Ethan explained further: “Technically, there are three primary components of OCA. The framework that describes the overall architecture, called OCF. The way to describe and communicate with the functional elements of a device (such as DSP parameters) are the object classes or OCC and the third is OCP, the protocol that is used to exchange the data itself. The initial target for the technology was TCP, and this is referred to as OCP.1. However, by making this modular we were able to do a couple of different things.

If we need to extend to other protocols such as USB, we can make that change to just the OCP element without having to touch the others, which makes it very flexible. In OCC we created a flexible way to create common classes that can be used for standard functions and applications, while at the same time, it also allows a manufacturer to create a proprietary sub-class, if they have something very unique.”

The first product to implement OCA was d&b audiotechnik’s D80 amplifier, which was originally launched over a year ago “You might call this parallel evolution,” said Marc “The new amplifier was designed to include sophisticated functionality and control, the future possibility of interoperability with other manufacturers was another key consideration, especially for the installation market, and this is where OCA fits in.

“With the d&b D80 amplifier and the d&b R1 Remote

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control software, we proved the reliability and performance of the protocol in the field on global tours and music festivals of all scales. Our customers are excited about the reaction time and the reliability of OCA. Distributed DSP now feels like controlling and monitoring a single device. We don´t mind where DSP sits any more. After the touring market is well served, we will now focus with the other OCA alliance members on working on solutions for the integration market,” he continued.

To debut this product - along with a component of the Bosch DCN multimedia Conferencing system and a Focusrite RedNet 4 - to the integration market, the OCA Alliance selected Infocomm last year as its platform. “We chose Infocomm to present the first public demonstration of OCA because it represented an interesting opportunity to expose this technology to the integration community and give them a tangible example of what OCA is actually able to do. We wanted to wait until we had products from manufacturers running actual code, instead of showing reference designs that may or may not make it to market. We wanted to help people really understand what OCA is and be able to visualise the relevance of this concept in applications,” said Marc.

“When designing a new product or system, the question of workflow and interaction should always be considered. There will usually be different interfaces for different scenarios to convey information but the workflow is what gives the user the ability to deploy the information. Simply transporting signals between devices is just not enough, which is why system control capability is also required. The creation of OCA,

now in its 1.3 version has provided this in the form of an common control architecture that works with any media transport protocol like Dante, AES 67 or AVB, which makes the technology highly flexible.”

“Our goal is adoption,” said Ethan. “Our aim is really to get this into the industry and into products as well truly feel this is a benefit for the market, for the customers and for the users. But this doesn’t happen overnight. We’ve had great feedback on OCA integrated products so far but as that ecosystem continues to grow, and we get more and more uptake of the technology, then we’ll start to see some interesting interplay between devices.

“We have a technology that provides a robust control architecture within scope but when we look down the road we can begin to envisage machine to machine intelligence, we can look at distributed information and distributed data across a system,” continued Ethan. “One of the important things about how OCA is making it into the market is we’re able to see immediate results with existing products, but this is really just planting the seed for a larger system and an even bigger integration shift that we’ll see occur over the next few years. That will really see the next generation of integration products.”

“While we have an even longer term vision of the next generation of interacting integration products through OCA, we are currently focussing on delivering initial solutions to the integration market while we work toward that long-term vision, ” concluded Marc.

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PERFORMANCE AND VENUE TECHNOLOGY SHOW Audio | Lighting | Video | Effects 12-14 SEPTEMBER 2015 THE NEC BIRMINGHAM UK IN ASSOCIATION WITH

ligh•ting con•trol

[lahy-ting kuh n-trohl] n.

Lighting control - whether hardware or software - is used to control multiple intelligent lights at once and many are able to control fog machines, hazers and other special effects too. Lighting control devices are also equipped to manage the intensity of the lights by communicating via an electronic control protocol, the most common being DMX512.

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LIGHTING CONTROL EMEA | JEAN-LOUIS PERNETTE | AVAB

ETC’s Cobalt lighting systems are popular worldwide, because they quickly turn designers’ thoughts into light. The Cobalt family is known for its short command style with touchscreen-based, directaccess tools. Cobalt desks are adept at lighting on the fly in broadcast studios, theatres, corporate events and live gigs.

APAC | IAN ANDERSON | MITECH DESIGN As lighting directors and designers we rely heavily on a good, fast and stable control systems. Gone are the days when we used to be able to wander into the studio and spend 10 minutes focusing four 2K fresnels onto the band. Now its expected that we program and rehearse two whole songs then be live on air! Control technology has allowed us to work more efficiently and creatively in shorter amounts of time. Its also just not lights anymore. Video, flames, CO² and stage machinery to name a few can be under our fingertips. A break in a production due to technology failure with any show can cost a fortune in labour and time so for me reliability and service is high on my requirements. Manufactures such as MA Lighting have changed the way that we think and use all of the associated technologies.

They have made it easier to control bigger, more complicated shows than ever before.

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A world without lighting control is a world with limited design capabilities. Lighting control is as simple as the flick of a light switch, to as a complex as a full on production. Great lighting control allows lighting designers to access parameters of light fixtures with ease.

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ADB | FREEDOM & LIBERTY www.adblighting.com

The Freedom and Liberty lighting control desks from ADB Lighting introduce a new generation of intuitive and creative control for every type of light. The compact but powerful Freedom integrates generics, moving lights, LEDs, video servers and more. Freedom can support up to 2,048 channels and 32 universes, while Liberty supports up to 1,024 channels and 16 universes. Up to four external touch screens (Freedom) or two (Liberty) can expand the capacity of the built-in touch screen. An array of interfaces makes working simultaneously with different network protocols simple. The 24 physical subfaders (192 in total, organised over eight banks of 24) with flash and assign keys, allow the user to load or select content without confusion.

ADJ | DMX OPERATOR 384 www.adj.com

The DMX Operator 384 is a 19-inch rack mount DMX hardware controller for lighting effects that are compatible with DMX protocol. It also doubles as a MIDI trigger devise, and will control up to 12 fixtures with 32 DMX channels each. There are 30 programmable scene banks with a total of 240 programmable scenes. The DMX Operator 384 also features an assignable joystick for better programming control, eight control faders with four channel banks, a fog machine trigger - compatible with specific ADJ foggers - and a RS-232 input to add a keyboard. This controller offers a great hardware solution for nightclubs, stages, touring bands and mobile entertainers.

ARKAOS PRO | LEDMASTER www.arkaospro.com

Originally designed around the ArKaos Kling-Net protocol, ArKaos PRO LEDMaster is an all-in-one solution that allows LED light shows to be run in three steps - mapping, programming and performance. LEDMaster automatically recognises and configures all Kling-Net enabled devices on start up; simply map the fixtures to the canvas and group into zones as desired. A timeline-based editor allows easy programming of a full show; create sequences using your imported video clips or the Live Pattern generator, which produces hard-edged visual output for any size LED installation. From fully pre-programmed to a live interactive show, LEDMaster gives the flexibility of choice. Sequences can be triggered live, manually, randomly or sequentially, and an ‘Easy Beat’ detection function ensures visuals are synchronised with the music while live patterns ensure unique visuals adapted to the show.

AVOLITES | QUARTZ www.avolites.com Quartz is the newest addition to the Titan console range - complete with on-board processing, and a vibrant 12.1-inch screen - it is Avolites’ smallest ever full-featured console. Measuring only 42.5cm wide, it is an ideal companion for a variety of lighting installation projects.

The Quartz is also perfect for use as a back-up or extra programming surface, and offers full compatibility with multi user, which reduces programming time by allowing multiple Titan programmers to work simultaneously. It is capable of processing 16 DMX universes, with four physical DMX outputs, and this can be further expanded with Titan Net Processors for up to 64 universes. Quartz also features MIDI in and headphone out on the console, and ten faders that align with on-screen legends, and is ready to benefit from seven-band sound to light triggering functionality offered in Titan Version 9. Version 9 introduces the new key frame shape generator, providing the capability to create effects from scratch. Using palettes or the programmer to define the frames, and tools such as transition curves, phase and spatial direction, many different effects can be synchronised. It is also possible to expand Quartz with the Titan Mobile Fader Wing to give a total of 30 faders and 50 executor buttons.

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We’ve got every angle covered...

Introducing the new VX 8M CHROMATEQ | LED PLAYER & PRO DMX www.chromateq.com The new versions of LED Player (V1.4.5) and Pro DMX (V1.2.5) include a beat calculator tool for audio triggers with several choices of beat detection. A standard MIDI control device and or a DMX console can be connected with the software, allowing for the proposal of more touch controls and commands. Improvements to the audio and video timeline include an option to access part of the timeline instantly, and the pixel mapping setup offers an easy way of wiring LED strip. The new software versions feature an innovative 3D simulation named Studio DMX, which is the only 3D stage lighting visualiser compatible with Mac OS X and Windows systems. Users can simulate laser, beam, wash and LED effects together and in real time, and it is also possible to import 3D objects to create both indoor and outdoor simulations. In demo mode, Studio DMX can import 30 objects and 20 fixtures with a maximum of 256 channels. A NET16, LPSA024, SLIM 1024, or upper package is needed to run the Studio DMX in full mode.

Pole Mount

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CITY THEATRICAL | SHOW DMX SHOW BABY 5 www.citytheatrical.com 40º monitor angle SHoW DMX SHoW Baby 5 provides wireless lighting control by utilising a state of the art wireless DMX broadcast system. Each box is a transceiver, and by plugging a DMX cable in, it configures itself to be a transmitter. If nothing is plugged into the DMX in port, it configures itself to be a receiver. SHoW Baby transmits 512 channels of DMX and saves users the time and money of running DMX cables. The SHoW Baby 5 utilises five different SHoW IDs, making it possible to scale up multi universe systems by adding additional transmitters, or to have multiple systems broadcasting in the same area without interfering with each other. The professional quality, distinctive design, ease of use, and compact size of the SHoW DMX SHoW Baby 5 makes it a unique and innovative product, and SHoW Babys are found in all areas of entertainment from professional theatre and television to schools and local productions.

Pole mount

60º monitor angle

www.tannoypro.com

Flying points

152 GUIDE - lighting control

ELATION | EMULATION PRO www.elationlighting.eu

Elation Professional’s Emulation PRO is powerful DMX control software that runs on iOS (MAC), Windows or Linux operating systems.

Designed to control medium to large lighting installations in live-entertainment and architectural situations, it outputs control using Elation’s ART SSC and ART IO hardware control interfaces and is capable of running up to 20 DMX universes. Emulation software has recently been updated to make programming easier, more effective and more intuitive. Featuring a pixel mapper engine, timeline editor, and user-friendly command line interface. Emulation PRO supports external trigger devices like UDP, Art-Net, OSC, RS232 and works with MIDI time code, smpte time code and DMX-in.

ELECTRON | ACTOR B & PREMIUM SERIES www.electron.gr

Electron has launched the new Actor B and Premium series of trailing edge dimmers, ideal for CFLs, electronic transformers, and dimmable LED lamps with trailing edge dimming. The Actor B has six channels, with 10A per channel, and Premium is a multifunctional custom made controller manufactured with different power units that can control different types of loads from the same enclosure. One enclosure of Premium can be made of leading edge dimmers, HF fluorescent controllers (1/10V), relay switches, and now trailing edge dimmers.

EQUIPSON | LM 5 www.equipson.es

LM 5 includes an internal memory to store 99 cues, with independent speed and fade time, and 24 cue lists with up to 512 DMX channels.

It is also a fully compatible ArtNet node (Ethernet to DMX interface), and it can be controlled by OSC protocol to create DMX data. The overall installation can be controlled with a smartphone, a tablet or a computer. LM 5 turns a smartphone, tablet or computer into an intuitive console for audio and lighting purposes. An intuitive design allows usage without technical knowledge, and the OSC open protocol makes the LM 5 suitable for iOS and Android mobile devices, and PC and MAC computers. With OSCillation, the free software developed by Work, it is possible to edit layouts and create your own interface, adapted to the features of your installations. It is easy to add faders to the interface, as well as a master and a blackout, and to control audio volume in a DMX compatible amplifier. AR 5N is a wall-mounted controller used to control LM 5 locally if needed. It allows the selection and trigger of scenes previously stored in LM 5, as well as control at the master channel level.

ETC | COBALT 10 www.etcconnect.com

ETC has added the Cobalt 10 to the popular Cobalt range of lighting systems. The Cobalt family is known for its short command style with touchscreen-based, direct-access tools, while being powerful yet approachable for both professionals and novices. The compact Cobalt 10 desk is suitable for smaller venues, venues with limited control-room space, and touring shows. Its high-resolution, 12-inch multi-touch displays provide access to all the functions of the flagship Cobalt 20 console. Thousands of devices in the library can be customised to fit the working style of all desk operators, allowing them to build a show with groups, palettes and presets. The articulating screens make it easy to pack into a road case for a touring show, or they can be adjusted to better see the stage in a small theatre. Cobalt 10 controls up to 5,000 devices, including dimmers, LEDs, moving lights, and media servers, on up to 32 universes of output (16,384 parameters), without the need for additional processing hardware. It also has a space-saving master playback area, with 10 motorised faders and ten backlit, colour-coded endless pots with dedicated buttons.

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...and we mean

EVERY angle.

4 kHz 5 kHz 6.3 kHz 8 kHz

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GLP | CREATION II SERIES www.glp.de

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The GLP Creation II Series is a range of professional DMX lighting controllers, for up to 4,096 DMX control channels, or eight DMX universes. There are two main control platforms, the 1,024 and the 4,096, depending on the size needed, along with a PC / MAC version, which is downloadable free of charge, and out board accessories for additional control faders and buttons. Each controller features a 5.7-inch full colour touchscreen, 10 playback faders, multi console networking, and timecode input and output and external monitor capability amongst its many rear panel connectors.

Software functions include a comprehensive effects generator, a powerful fanning engine, full HTP/ LTP configuration, individual parameter timings, fixture cloning, and touch screen colour picker making it a flexible and powerful lighting control solution. Accessory items connect directly via USB, which also allows for fast external backups, and easy show migration between the PC / MAC and dedicated platforms.

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HIGH END SYSTEMS | HEDGEHOG 4 SERIES www.highend.com

High End Systems has introduced a new array of HedgeHog 4 consoles. There will now be one chassis allowing for four levels of features. HedgeHog 4, HedgeHog 4 N, HedgeHog 4 S and HedgeHog 4 X. The user will be able to, with the use of a software code from High End Systems, move from any version to a higher model. This array of HedgeHog 4’s are the smallest of the range and still pack quite a punch, running the same software as all the other Hogs. They come with ArtNet and CITP capabilities and are designed for small to mid level shows. They are compact, lightweight and easy to transport. Running on Linux, they are fast, stable and are suitable for theatres, nightclubs, corporate events or churches. Retaining the same programming layout as the larger brother, Road Hog 4, as well as being able to load show files from any of the range, and vice versa, means that this compact console range is extremely flexible and easy to use. In addition all HedgeHog 4’s will now include a license free Light Converse state of the art lighting visualiser.

Tannoy’s Dual Concentric™ technology allows the VX 8M to deliver exceptionally smooth beam-width characteristics resulting in an even coverage pattern at all frequencies aiding predictable system design.

Symmetrical dispersion characteristics enhance speaker placement flexibility, allowing vertical or horizontal monitor applications without any compromise in sound quality.

The VX 8M is one of many options available as part of our VX Series. To find out more about our VX range of enclosure please visit tannoypro.com/vxseries

www.tannoypro.com

154 GUIDE - lighting control

JANDS | VISTA V2 www.jands.com Jands’ Vista v2 is a simple, yet powerful, visual interface that allows users to get the most out of dimmers, moving lights, LED or media.

Jands offers a number of control options to suit many budgets, styles and scales of shows, all utilising the same Vista v2 software. The Vista control surface range offers portability, flexibility and freedom by running Vista v2 on a Mac natively, or on a PC. Each surface can be customised with a variety of DMX channel options, whilst keeping the freedom to upgrade to the next level as required. The Vista console range offers the same powerful software in a self-contained hardware package, for use on tour or as a venue’s house console. The accuracy and simplicity of Vista v2 makes sense of even the most challenging shows, enabling users to concentrate on lighting design rather than on programming.

LEPRECON | XC 350 www.leprecon.com

The XC 350 from Leprecon is a practical, versatile and powerful lighting console capable of controlling intelligent, LED and conventional fixtures. The console provides a variety of playback options for events ranging from improvised performance to tightly scripted shows. Large edge wheel encoders and direct access colour, beam, and position label keys simplify programming LED and automated fixtures, and the LPC software base provides an easy to use interface.

LSC LIGHTING | CLARITY LX-SERIES www.lsclighting.com

The Clarity LX-Series allows seamless integrated control of conventional, LED and moving lights, media servers and even audio playback from a single console. Designed with over 30 years of experience by LSC Lighting Systems and OpenClear, it provides an ergonomic work surface with powerful software, placing emphasis on quick and logical workflow to allow the operator to achieve more in less time. Now running V2.2 software, Clarity introduces a powerful feature called ‘proglets’ whereby users can create virtually any app or scripts they want to be utilised and shared on-line amongst the lighting community. Other features like smart fixture cloning can save hours of programming per gig, allowing more time for creativity whilst reducing costs.

_mondo

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156 GUIDE - lighting control

LUMENRADIO | CRMX NOVA www.lumenradio.com

The CRMX Nova product range is designed to meet the requirements of entertainment lighting: to withstand the wear and tear of touring, rental and stage use. CRMX Nova is available as a DMX product, or with optional RDM functionality. All units operate on the 2.4GHz band and can be used around the globe without license. All products feature the fundamental CRMX features such as automated cognitive coexistence, 128-bit encryption, up to 1,000 metre link range, error correction and fidelity. LumenRadio’s CRMX systems can handle any number of receivers connected to a transmitter; create a long-range RF link by using one receiver to create a point-to-point link, or use many receivers to create a point-to-multi-point link, ideal for a typical truss data distribution system. All CRMX Nova RDM products have support for RDM and Ethernet protocols such as Streaming ACN, Pathport, ETCNet, and ArtNet.

MA LIGHTING | ONPC COMMAND WING www.malighting.com

The MA onPC Command Wing facilitates mobile use of the flexible and powerful grandMA2 control system. In combination with the free of charge grandMA2 onPC software, the MA onPC Command Wing is a portable 2,048-parameter control solution that can be used in nearly any location. It offers two built-in DMX ports as well as the possibility to send two additional DMX universes via Ethernet protocols with grandMA2 onPC. Designed as a hardware expansion to the grandMA2 onPC software, the MA onPC Command Wing enables the look and feel of the software to be as close to a real grandMA2 console as possible. The MA onPC Command Wing incorporates the command section of the grandMA2 consoles. With a simple USB connection between the MA onPC Command Wing and the computer running the grandMA2 onPC software, all inputs and outputs of a grandMA2 console are available to the user. DMX, MIDI, timecode and analogue remote are all accessible directly at the MA onPC Command Wing, and an integrated slot for a Kensington lock is a clever additional detail.

MADRIX | MADRIX 3 www.madrix.com The Madrix 3 software control suite is the latest addition to the Madrix range of professional LED lighting control solutions. It is a powerful yet simple lighting controller made in Germany, and offers leading features for 2D pixel mapping and breakthrough 3D voxel mapping in all three planes - X, Y, and Z. Madrix 3 is primarily an effects generator with media server capabilities. External content, such as images, videos, streams, and screen captures, can easily be used. There is a built-in graphics and rendering engine as well as audio input analysis, and all visuals can be created, modified, and combined using the live customisation features. Industry standards, such as DMX512, Art-Net, Streaming ACN E1.31, KiNET, T9, 5A, and DVI are supported as well as ASIO, CITP, MIDI, timecode, and more. Madrix 3 operates in tandem with any console for remote control. Complementary Madrix interfaces provide a seamless integration of both software and hardware; Madrix Luna Art-Net nodes reliably distribute high-quality control data and provide an exclusive sync mode to get an optimal image on the LEDs without visual interruptions.

MARTIN PROFESSIONAL | M-TOUCH www.martin.com

M-Touch, the newest addition to Martin’s M-Series, is a console that combines and accommodates basic shows and professional applications. The M-Touch can be connected to any M-Series console or a PC running M-PC, and it introduces two new technologies never used before in lighting consoles; FSR (force sensor resistive faders) and PSB (pressure sensitive buttons). The programming section has four FSR encoders to control any fixture parameters, and it has 10 playback FSR faders, each with two control buttons, one FSR fader, and one PSB button. An additional set of 10 PSB buttons can act as playback or any other programmed functions. The M-Touch has a rugged aluminium design for durability, and the console’s 512 DMX channels are expandable to 65,000 channels.

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star-way.com Export Manager : Umberto Maurizio, +33 670 895 096, umberto@star-way.com

158 GUIDE - lighting control

NICOLAUDIE | STICK-DE3 www.nicolaudie.com

The third generation STICK is the flagship controller from Nicolaudie. Integrating a colour display and compatibility with all Nicolaudie computer software and mobile apps. The STICK-DE3 can be mounted to a wall and can control up to 1,024 DMX channels. The controller can be connected via USB to a computer and can be programmed with the Easy Stand Alone 2 (PC/Mac) or Easy Stand Alone Pro (PC) software. The DE3 can also be connected to a local network and can be controlled with an iPhone, iPad or Android device. The multi-zone microSD memory can store hundreds of static and dynamic lighting effects. It is possible to change the colour, dimmer or speed of a programmed effect using the circular palette. The STICK-DE3 also includes a clock and calendar with daylight saving and sunrise and sunset triggering, in addition to RS232, infra red and dry contact port triggering allowing you to link the device with an existing control system.

SHOWCAD | SHOWCAD ARTIST www.showcad.com

ShowCAD Artist system manages; more than 144,000 DMX channels, ArtNet-DMX, Pathport-DMX, MIDI, RS 232, digital and analogue input and output protocols plus SMPTE, MTC, and timecode from CD, DVD, avi, mp3 and mgp files. Video and audio clips can be integrated into scenes, cues and shows. Features include 365-day global time-of-day and calendar scheduling, pixel plotting for programming large LED arrays, automatic show generator, global fixture addressing, multi-layering of effects, pixel-array fixture types, scrolling marquee text-generator, setup wizards, macro generators and video to DMX features, as well as comprehensive controls for intelligent and conventional lighting control - making ShwoCAD Artist system extremely powerful and versatile.

STRAND LIGHTING | NEO www.strandlighting.com

The introduction of the NEO lighting control console marks a new chapter in the evolution of control from Strand Lighting. NEO gives lighting designers and operators the ability to seize light; to grab, move, change colour and manage the lighting design simply and effectively.

The console incorporates timesaving features that make programming faster and more accurate. Icons and shutter controls are represented graphically on the display, saving time and presenting meaningful data. Floating windows allow customised views, making it easier to find information, and perfectly timed sequences can be created using the timeline features. The show is even secured on a mission-critical grade SQL server, ensuring no data loss. The robust NEO also features a reduced boot due to the console’s high-speed, solid-state disk drives.

SWEETLIGHT | LIGHTING SOFTWARE www.sweetlight-controller.com SweetLight offers the possibility of direct control, from simple par cans to the most complex moving light and pixel control. 
The software is designed to be user-friendly and is available for Windows and MacOS; all upgrades are free. The software contains several views: fixtures, steps, 2Dview, pixels, live, standalone and 3DView. Each view has its own dedicated tab to have direct access to all necessary functions and settings. The library contains personality files for the most common fixtures including; spots, bars, moving heads, colour changers, and strobe, and the library is regularly updated to stay current with new fixture releases. If the desired light is not included, it is easy to add and configure. With 3DView the stage can be viewed in 3D and show the lights moving in real time, from any point of view - simply set the stage size and place any objects and lighting fixtures. The program has a bank of basic objects such as speakers, truss, and music instruments, and 3D objects can also be imported. And for a higher level of realism, the smoke level and position, orientation, scale, colour, texture, and luminosity of each object and fixture can be set.

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MOVEMENT

Color Mega Wave.i 6 x 40 Watts

TILT axis divided

Infinity function

4in1LEDs

four times as powerful as popular Color Wave

the typical Wave function

with endless PAN rotation

RGBW color mixture

VISIT US AT Hall 11.0 / Booth A15 + A17 Frankfurt/M., April 15th - 18th, 2015

W W W. F U T U R E L I G H T. C O M

160 GUIDE - lighting control

VISUAL PRODUCTIONS | CUETY www.visualproductions.nl

Cuety is a new generation lighting controller that turns an iPad into a powerful lighting console. The easy to use and budget-friendly Cuety is designed for the entry-level entertainment market. Cuety takes full advantage of the iPad’s mobility and multi- touch display. The controller has full support for moving heads, LEDs, conventional lighting and DMX controlled special effects. The system architecture of the Cuety App and its LPU-1 hardware is designed to be robust. The unique feature of Cuety is that the compact LPU-1 contains the engine that runs the show, calculates fade times and renders dynamic effects. The Cuety app is just the user-interface, therefore, in the case of a WIFI interruption your show will go on. The App for android tablets is in development.

WIRELESS SOLUTION | UGLYBOX MK2 www.wirelessdmx.com

The Uglybox MK2 from Wireless Solutions ensures a solid connection without a visible cable. Uglybox MK2 has a receiver function just like the legacy Uglybox, however, theUglybox MK2 can also be used as a transmitter. This means that projects can be planned and tested on the controller side simulating a transmitter and at the receiver position. Tests can be conducted using different antennas and cables in order to get the best result for the application. The compact Uglybox MK2 supports 2.4GHz, 5.2GHz and 5.8GHz, and with a 4.3-inch LCD touch screen the user has a clear overview of all functions. It is a complete unit for testing the signal, testing the DMX, and housing a built-in DMX console. The unit is run by Lithium battery with up to 24 hours battery-life, and it is rechargeable via a standard 5V power supply with micro USB. It has a built-in SD Card reader to save all data, which can be downloaded and opened on a PC. The Uglybox MK2 is future-proofed for as it is designed to update with additional features as they become available.

ZERO 88 | CHILLI PRO BYPASS www.zero88.com

The new Zero 88 Chilli Pro Bypass cabinets from Eaton’s Zero 88 brand are professional 24-channel, slim line lighting cabinets featuring 24 Eaton bypass switches; ideal for use when direct mains power is needed instead of theatrical dimming. Available in 10A and 16A variants, individual channels can be set for dimming or to deliver mains power for intelligent lights, LED light fittings and other stage specials. Chilli Pro Bypass cabinets save wiring and simplify the set-up process to make it easier to connect lights exactly where they are needed. A lockable, hinged cover, with viewing window to check bypass status, protects the bypass switches, user interface and all breakers. The high density, wall mounted, convection-cooled, dimming and power control devices, are easy to operate and maintain. An 18-button user interface and backlit LCD screen on each cabinet ensures simple, convenient set-up for DMX patching, preheat, topset and dimmer curves. A choice of responses to DMX failure - back-up memories, built in chases and an alarm input trigger - completes this versatile package.

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162 DIRECTORY

IN DETAIL FOHHN | AIREA www.fohhn.com Compact, fully digital sound system and audio network system for high quality, flexible sound reinforcement. German loudspeaker manufacturer Fohhn Audio has introduced a new compact, fully digital loudspeaker concept and audio network system AIREA. Fohhn’s AIREA-Series is an intelligent, networkable, active solution that has been specially developed for high quality, flexible sound reinforcement applications. The system is based on state-of-the-art loudspeakers with integrated digital amplifiers and DSP technology, plus a master module with digital inputs and outputs. Components are linked together via a single conventional network cable that is used to deliver the power, audio signal, network connectivity and remote control information from the master module to each individual loudspeaker.

The AIREA Master modules form the main link to any digital mixing console, matrix, external sound source or digital audio network, as well as functioning as a central power supply for up to 32 connected active loudspeakers. All AIREA-Series loudspeakers are equipped with an integrated two-channel Class-D amplifier and state-of-the-art digital signal processors guaranteeing excellent audio performance, a wide dynamic range, linear frequency response and optimised protection. The DSPs also offer high-quality audio tools such as parametric EQ, delay, dynamics and cross-over. System components can all be connected via a single standard twisted pair network cable, with a number of loudspeakers daisy-chained as required. Distances of up to 100-metres can be covered without any loss in sound quality. Real-time remote control and monitoring of the AIREA system is possible via Fohhn Audio Soft control software. Individual sound, delay and dynamic settings can be made for every speaker and the operating status and condition of each unit constantly monitored for total security. Fohhn’s AIREA-Series has applications in audiovisual integration, tradeshows, broadcast, theatres, bars and restaurants, conference rooms, shops and other installations requiring high-quality, flexible sound reproduction.

ADJ | 12P HEX www.adj.con The ADJ 12P Hex is a versatile LED Par fixture with 12 12W, six-in-one Hex LEDs. With a 30° beam angle, users may produce wide washes with smooth colour mixing from 63 built-in colour macros utilising red, green, blue, amber, white and UV LEDs. Not only is this LED Par great for lighting stages, but with its patent pending, intelligently designed, power and DMX connectors, it’s great for uplighting a venue. 12P Hex professional features include four DMX modes (six, seven, eight, and 12-channel), five operational modes, five dimming curves, flicker free operation and a four-button DMX menu with digital display.

Daisy-chain up to six units (110V) or 13 units (240V) together via the fixtures built-in IEC in-out power connectors. The 12P Hex is compatible with the Dotz Par RF, easy-to-use, wireless remote. Alternatively the fixture may be operated via a DMX controller or the units built-in programs.

ALCONS AUDIO | CRMSCOMPACT www.alconsaudio.com Alcons Audio has introduced CRMSCompact; the Cinema Reference Monitor System. Fitted with a completely new, patented-pending pro-ribbon midhigh frequency transducer, the CRMSC is focused on post-production studios, screening-rooms, residential home-cinemas; basically any critical listening environment. CRMS consists of pro-ribbon main loudspeakers, timbre-matching pro-ribbon surround loudspeakers, ultra-shallow subwoofers and dedicated processing and amplification.

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APART AUDIO | MASK SERIES www.apart-audio.com

The Apart MASK Series has been expanded with a MASK12 cabinet loudspeaker. This new 12-inch two-way high power cabinet loudspeaker is very easy to install and can be used in many full range indoor applications where a medium to high sound pressure level is required. The MASK12 is suitable for fitness centres, sport halls or multipurpose rooms. The special shape of MASK12 allows easy installation close to the ceiling or at the wall in a horizontal or vertical position. Mounted vertically MASK12, has a nominal dispersion angle of 90째H x 70째V. When mounted horizontally, you can rotate the high frequency horn by 90째 to keep the same horizontal dispersion angle.

This year KV2 Audio will release the first major technological advancement in Large Scale Sound Reinforcement since the development of the Line Array.

AUDIO-TECHNICA | SYSTEM 10 PRO www.audio-technica.com Audio-Technica has launched the new rackmountable System 10 PRO. The half-rack chassis can house one or two receiver units that can be operated either within the chassis or removed, mounted remotely, and connected via Ethernet cable. The design offers real flexibility in terms of installation and use, without the expense of adding an antenna distributor and corresponding cables. Receivers can be placed up to 300ft away in separate rooms, and up to five chassis can be linked with an RJ12 cable, included with each system, to build a stable multichannel system. Linking creates a system in which receiver units work together, with all receiving, transmitting and frequency allocation co-ordinated to prevent audio dropouts and enable simultaneous use of up to 10 channels.

Operating in the 2.4GHz range, System 10 PRO requires no technical knowledge or training to use, thanks to its automatic assignment and changing of frequencies as required, making for simple plug-and-play operation.

Visit us at Stand J26-J24

Pro Light & Sound Frankfurt April 15th to 18th 2015 to find out more

ARENA LUCI | BARIO www.arenaluci.com Bario is a range of LED profile spotlights with zoom and adjustable focus. Available in 15W, 35W, and 60W models, and colour temperatures ranging from 3,000K to 5,600K, Bario also comes with DMX control and manual dimming. The lightweight Bario range have the same characteristics as halogen lamp profile spotlights; a blade for beam shaping, removable gobo holders, gel holders, however, the light output is higher than an halogen lamp at 300W and lasts ten- times longer. No UV and IR emission make it suitable for any installation.

www.kv2audio.com

164 DIRECTORY

B&C SPEAKERS | DE52 www.bcspeakers.com The new DE52 is the latest in a wide range of high quality compression drivers by B&C Speakers, aimed at high performance, value-oriented enclosures.

The DE52 is designed to fill the gap between small and large diaphragm, high frequency drivers, offering excellent value for point source applications. The two-inch diameter diaphragm DE52 offers excellent performance in a 1.4-inch exit, wide response driver. The ferrite magnet DE52 features a copper clad aluminum wire voice coil mounted on a new high temperature polymer diaphragm, and the phase plug is specifically optimised for the DE52 diaphragm.

BOSE | CONTROLSPACE REMOTE APP worldwide.bose.com/pro Bose ControlSpace Remote is a new installer-configured mobile device app, designed specifically for end user wireless control using Android and iOS mobile devices. ControlSpace Remote free to download on the Google Play and the Apple app stores, and can be integrated into new or existing installations where networked Bose system electronics are in use. ControlSpace Remote consists of Remote Builder, a PC software application where installers design, test and deploy control panels to mobile devices; and Remote app that brings personalised, intuitive audio system control to end users from the convenience of their mobile devices. Bose leveraged its history, in developing intuitive remote control interfaces for home audio products, to design a simple mobile app to control the most complex of installed audio systems. The app provides control panels allowing; adjustment of volume, mute, source selection and other important parameters of Bose networked amplifiers and DSPs. Remote Builder leverages 12 pre-designed templates that allow installers to arrange control panels quickly while still providing personalisation at each end-user’s device. Once built, the installer’s design gets sent to the client’s device, and multiple designs and devices can be active together in a single installation to meet the client’s system control requirements.

CHRISTIE | H SERIES www.christiedigital.com Christie introduces its most powerful 1DLP projector line, the new Christie H Series. The projectors feature 12,000 lumens and are the lightest, brightest and smallest projectors available in the 10,000-plus-lumen 1DLP category. Weighing only 23.8kg each, the dual-lamp Christie D12HD-H and Christie D12WU-H are suitable for both mid and large rental staging and fixed applications. The six-segment colour wheel provides excellent colour integrity and bright, powerful images and the H Series also has built-in warping, blending and colour correction. Additional features include portrait capability and 360° orientation, optional course dust and fog filters for harsher environments, an optional rigging and stacking frame, and a full suite of lenses and adapter is available for Christie E Series lenses. At 40dBA, the super-quiet Christie H Series offers easy integration with 3G SDI, HDBaseT, bottom-side HDMI connectivity, Crestron and AMX compatibility.

COMMUNITY | I SERIES www.communitypro.com Community’s new I Series loudspeakers combine exceptional musical quality and vocal clarity with discreet and elegant styling. I Series high-power and high-output modular loudspeakers includes point-source, high-directivity, compact and floor-monitor models in multiple performance levels, providing modular scalability. Matching-height subwoofers, ranging from compact single 12-inch models to ground-shaking dual 18-inch models, complement the full-range models with powerful low-frequency extension. High-output woofers combine a variety of technologies for smooth response, exceptional intelligibility, low distortion and minimal power compression. Two-way models have large-format compression drivers, a choice of six rotatable horns and individually voiced, beamwidth-matched crossovers with single or biamp operation. Three-way models offer a choice of three rotatable horn patterns and biamp or triamp operation with a combination of large-format HF compression driver and Community’s M200HP midrange compression driver. Modular installation hardware supports the quick, easy and secure installation of virtually any combination of I Series models.

DATATON | WATCHOUT 6 www.dataton.com Dataton has previewed a new version of WATCHOUT. Version 6 adds a feature-set for advanced projection mapping, multiple-source video playback, 3D media and modelling, pre-visualisation, plus a radically revamped user interface. Show producers will appreciate the new 3D Projector feature, which makes it easier to accurately program and line-up complex 3D geometry projections.

WATCHOUT 6 also features semi-automatic, marker-based calibration to match the on-screen setup with the real-world object. The new version improves 3D workflow, reading common 3D file formats, adding independent texturing of 3D mesh areas and pre-visualisation. Pre-visualisation gives producers the edge before they go on site; 3D models act as props to simulate the presentation environment with a multi-camera view of the proposed stage. Other highlights include support of high-end uncompressed video formats such as V210 and Apple ProRes, plus; HAP codecs, live edit, multi-channel audio playback, virtual displays for pixel mapping on LED walls, frame-rate control, custom blending masks, and HTML5-based web content in live feeds.

DENON PROFESSIONAL | DELTA SERIES www.denonpro.com Denon Professional has introduced a range of new products including four premium loudspeakers, designed for conference rooms and meeting spaces, incorporating the bi-amplified two-way DN306SA and DN-308SA, and tri-amplified three-way DN-506SA and DN-508SA. The Delta Series of professional loudspeakers are custom designed with purpose-built components. The DN-408X and DN-412X audio mixers are crafted with public speaking, conferences, and performing arts venues in mind. The eight-channel DN-408X and 12-channel DN-412X offer utmost capability in a compact, two-bus portable table-top format, while the Bluetooth enabled DN-410XB rackmount mixer is ideal for event spaces, restaurants and hospitality. The DN-410XB enhances audio system capabilities with premium sound quality, flexible signal routing, and wireless streaming capability; allowing audio content to be played-back from smartphones and tablets. The DN-271HE high-definition audio extractor is designed to augment the signal routing capability of an audiovisual system; the DN-271HE extracts the encoded audio content from a multimedia signal transmitted over HDMI.

BriteArc

®

Combining the latest innovations in manufacturing technology for superior quality and performance BriteArc® is the family name for Sylvania’s range of High Pressure, Short Arc lamps specifically designed to meet the challenges of the entertainment market.

With more than 80 years of expertise in Photo Optic lighting, Sylvania has a dedicated R&D team based in Belgium and enjoys long-standing partnerships with key customers and OEMs across the globe.

DPA MICROPHONES | D:SCREET www.dpamicrophones.com

MADE IN BELGIUM

Choose your lamp from our comprehensive range and excite your audience with one of Sylvania’s special solutions.

The d:screet miniature podium microphone is based on a special interference tube technology that ensures directivity and off-axis rejection. The miniature capsule mounted on a delicate gooseneck comes in several lengths for table mounting, and it can be used in a wireless configuration by employing the company’s adapter range. Also included in the podium range are the d:dicate podium microphones that incorporate modular capsules from DPA’s d:dicate recording microphones. The d:facto vocal microphone is a hand-held vocal mic that offers true studio sound in live surroundings. Due to the modularity of the two ranges, the d:dicate capsules can be easily mounted on the d:facto handle or dedicated adapters, permitting it to be used on various professional wireless systems.

www.sylvania-lamps.com

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11/03/2015 09:03

Celebrating

30 YEARS

of world class Laser Show Systems Our legendary products Lasergraph II

ELECTRO-VOICE | EKX SERIES www.electrovoice.com The EKX Series is the newest addition to the Electro-Voice portable loudspeaker range, and combines Electro-Voice sound quality and reliability with the latest technology - all in a lightweight, compact package suitable for a wide range of sound reinforcement scenarios.

The EKX series features eight models, four powered and four passive, including 12-inch and 15-inch two-way models, and 15-inch and 18-inch subwoofers. EKX is positioned above the ZLX and ELX series and below the ETX Series. Electro-Voice-exclusive features, such as engineered loudspeaker and amplifier components, on-board signal processing with user-friendly single-knob control, and application presets, ensure EKX provides performance and versatility. Electro-voice’s award-winning industrial design - incorporating robust wood enclosures, premium-quality hardware, and durable finish - ensures that EKX loudspeakers look as great as they sound.

Accurate Color it!

B L I T Z

Lasergraph DSP

PHAENON mark the path to our position today as one of the world‘s leading manufacturers of strictly professional laser show equipment.

Innovation, knowledge, experience, unusual ideas, persistence, credibility, sincerity, quality, and reliability are the keywords characterizing us.

Together with our partners and clients we are looking forward to exciting new projects and products.

GRIVEN | GRAPH-I-CORE RGB www. griven.com Griven’s Graph-i-Core RGB is a single pixel RGB fixture that can be easily assembled with other units of its kind to screen low-resolution video files and graphic patterns. Graph-i-Core RGB can accept, via DMX interface, any graphic, video or still image coming from media server that will store and trigger the show to a striking visual effect. The integrated driver guarantees the smoothest and fastest set-up via the onboard universal 85÷264V VAC PSU. Featuring a dome-shaped 180° opaline diffuser, Graph-i-Core RGB offers a sharp image rendition and an optimal peripheral visibility. Its compact body with full 360° orientation capability is also available with adjustable bracket for comfortable surface mounting. The IP65 weather protection rating makes Graph-i-Core RGB suitable for almost any exterior and interior application, and monochrome versions are also available.

Meet us !

HK AUDIO | CONTOUR ARRAY CTA 208S www. hkaudio.com All contemporary CTA 208 feature curvature options of 0°, 3° 6° and 9°, giving far more flexibility to the end user, whereas previous CTA 208s feature only 0° and 9° options. The special new rigging system facilitates deployment in both long-throw and near-field applications: when users opt for the 0° setting, the individual mid and high units are not articulated; instead they form a stable and coherent wave. This maximises frequency bundling effects, thereby maximising range. The improved system, which also allows the tops to be tilted at 9°, 6° and 3° angles, enables ConTour Array to deliver optimum sound dispersion over the entire audience area, whatever the size of the venue. An updated version of the EASE Focus 2 GLL files, a revised product manual and a rear view image of the new CTA 208s are available from the HK Audio website as free downloads. For customers who wish to upgrade their existing CTA 208s to the new specifications, an affordable upgrade kit is available now. One upgrade kit is required for each CTA 208 unit, but the conversion is simple and straightforward to make.

www.laseranimation.com

JBL | PD500 www.jblpro.com JBL Professional has introduced its new PD500 Series loudspeakers. An extension of the highly successful PD Series loudspeakers, the PD500 Series features five new models and offer the high power, excellent pattern control and smooth coverage typical of the range. The PD500 Series is a new line of loudspeakers systems consisting of four horn-loaded 15-inch two-way systems and one dual 15-inch subwoofer. The PD500 Series loudspeakers include horn coverage patterns of 40° x 40°, 60° x 40°, 60° x 60°, and 90° x 50°. All models are available in black, white, and JBL Professional’s WRC weather protection and WRX extreme weather protection finishes, and all will be EN54-24 certified.

JOECO | JOECOREMOTE SOFTWARE APP www.joeco.co.uk BlackBox manufacturer JoeCo previews new hardware and software that enables the control of multiple BlackBox Recorder/Player systems for audio acquisition and playback using a single iPad. Developed to address the needs of professional users looking to remotely control projects involving larger track counts, JoeCo’s new multi-remote hardware interface enables up to four BlackBoxes to be linked, triggered, monitored and controlled via one iPad. An update to the JoeCoRemote software app enables users to view the input metering on each connected BlackBox, as well as to create large-scale real-time headphone monitor mixes using the expandable channel strips in the dedicated Monitor windows. Other features added to the software app include volume control for the headphone socket and trim control for adjusting the level of the integrated mixdown. A new overlay window also enables easier handling of Playlists when the BlackBox is used as a multi-channel playback device. Linking the new multi-remote hardware unit to the standard JoeCoRemote hardware interface enables both wireless and wired control of all systems.

K-ARRAY | KH7 www.k-array.com K-array has introduced another loudspeaker to the Firenze Series. the KH7. The self powered, digitally steerable KH7 presents an alternative line array option in a more compact form; measuring just twothirds the size of a KH8 element and delivering an exceptional peak output of 141dB SPL. The KH7 intelligently allows users to position the speaker vertically or horizontally when setting up the system delivering maximum power or ultra discrete configurations. An integrated Class-D amplifier delivers four by 2kW at four ohms. The four channels are controlled via integrated DSP providing a hyper detailed beam steering ability to meet any demanding setup requirement and control sound spillover. All that is needed are a few of the slim profile KH7s to deliver a full audio system.

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MIDAS | M32R, M32C & DL32 www.midasconsoles.com Midas has announced the addition of the M32R and M32C digital consoles, and the DL32 32 x 16-stage box to the company’s M32 platform. Both the M32R and M32C are 40-input, 25-bus digital mixers with a host of connectivity options. The M32R features the same Midas microphone preamplifiers and motorised faders as the PRO Series consoles. The mixers also feature Ultranet connectivity for acoustic integration with the new Turbosound active loudspeakers and P-16 personal monitoring systems. Expanding on the functionality and connectivity of the highly successful DL16, the DL32 stage box doubles the input and output in a 3U rackmount chassis with 32 Midas PRO Series microphone preamps, 16 XLR outputs, two AES50 ports, AES and EBU stereo outputs, MIDI input and output, and dual ADAT connectivity.

MOOSE SOUND | LOUD ACTIVE LINE ARRAY SYSTEM www.moosesound.com The Loud active line array system represents the new generation of active and compact line array systems developed to deliver premium performance. The system compromises eight mid and high array elements, each one loaded with two five-inch loudspeakers and one-inch compression driver plus two 15-inch bass reflex active subwoofers. The latest in Class-D amplifier technology is incorporated in the Loud system ensuring ultra-quiet, highly efficient and low distortion output. A Neutrik powerCon connector powers the system. Each array element is equipped with an integrated steel rigging system, which can be tilted by four steps. With high quality components and a high-technology amplifier, Loud achieves extremely high performance. Tight, rock-solid low end, with smooth, detailed highs and well-defined midrange make this system an all-in-one convenient plug and play PA system solution for live, quality sound. A flying bar is available for suspension, and stand support for pole mount stacking. All products from Moose Sound are developed and manufactured in Portugal.

OUTLINE | IP48 www.outlinearray.com Outline’s brand new digital loudspeaker processor, the iP48, is fully driven by Outline’s exclusive iMode technology. Packing four inputs and eight outputs into a single unit of rack-space, this design offers several performance-focused features unique to Outline. Of particular interest is the iP48‘s use of innovative WFIR filtering technology which utilises the same principles as human hearing, and which is facilitated by the vast DSP power of iP48. This technology produces a consistently more natural and lifelike audio response by distributing the frequency resolution over a semi-logarithmic scale. Outline iP48 also offers raised cosine filters which deliver improved transfer curve shaping, controlling intervention frequency bandwidth more precisely while maintaining minimum-phase response. All on-board audio inputs and outputs can operate in either analogue or digital (AES or EBU), and connection via standard Ethernet protocol allows total system control via PC web browser, as well as an iPhone, iPad and MacOSX app.

PR LIGHTING | XR 1000 FRAMING www.pr-lighting.com PR Lighting’s new XR 1000 Framing promises a brighter output than a conventional 1,200W discharge lamp from a 1,000W metal halide lamp source, thanks to its superior optics. The fixture has been built with an advanced feature-set that includes a wide beam angle of 11º- 51º, which is linearly adjustable in 16bit, an excellent framing system (with four framing blades offering 0º - 90º rotation) with different size and shape graphics to produce a curtain effect. Other features of the XR 1000 Framing include: smooth CYM colour mixing, with CTO and macro; colour wheel with seven colour filters; linear colour temperature correction; seven rotating high speed gobos and seven fixed gobos; DMX control; linearly adjustable focus; DMX linear zooming; linearly adjustable dimmer from 0%-100% and linearly adjustable iris from 5%-100%; adjustable pan and tilt speed; three-facet bi-directional, variable speed prism wheel; frost filter; double strobe/shutter blades, 0.3~25 fps; RDM control protocol and wireless DMX; input signal isolating protection; built-in analyser for easy fault finding and error messages; and modular construction for easy maintenance.

PRO AUDIO TECHNOLOGY | VT20 www.proaudio-technology.de The VT20 is a fully horn-loaded two-way vertical array eight-ohm loudspeaker with a passive frequency crossover and a horizontal radiation pattern of 90°. The horn-loaded 11.5-inch line array driver is a physically ideal line source with a perfect air coupling factor of one. At 35kg the VT20 speaker offers a pleasantly light weight, compared against its overall performance. Its mechanical structure and acoustic behaviour allow vertical arrays of up to 24 VT20 loudspeakers.

Combined with our linear phase technology the ultralinear, passive crossovers enable an exemplary acoustic phase response of +/-10° between 250Hz and 20kHz. The very straight impedance chart around eight ohms with almost 0° electrical phase shift allows a trouble-free parallel system operation of up to four VT20s on one system amplifier channel. The built-in three-point flying hardware is made of light-weight and very strong airplane aluminium. With the integrated flying hardware the speakers can be flexibly angled in three different modes between 0° and 8° in 1° steps.

RIEDEL | TANGO www.riedel.net Tango is Riedel’s first network-based communications platform supporting both the RAVENNA/AES67 and AVB standards of plug and play. With ‘My First Riedel’, the first of a number of dedicated apps in development, Tango becomes a cost-effective 40 by 80 digital intercom matrix. The asymmetric matrix size allows for premium-quality stereo audio connection to Riedel panels. Tango features a high-resolution, full-colour TFT display, intuitive front-panel controls for recalling presets and the adjustment of audio levels, two integrated Riedel digital party lines, two AES67 and AVB-compatible ports, two Ethernet ports, one option slot, and redundant power supplies. The system requires only 1.5-RU, has a low-noise design, and is fully compatible with all current and legacy intercom panels including Riedel’s new RSP-2318 Smartpanel. The Tango TNG-200 platform is configured via the Pulse software package. This software allows users to access, set up, and control any aspect or function of Tango and its installed apps. Programming is easy, thanks to convenient drag-and-drop functionality and 3D views.

www.mondodr.com

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ROBE | LITEWARE HO2 AND LITEWARE SATELLITE2 www.robe.cz LiteWare RGBW battery uplighter with wireless DMX is a standalone controllable light source providing 16 hours permanent use from the integral battery, wireless DMX control and Full RGBW LED colour. The patented tilting head provides a solution for the efficient lighting of walls, pillars and other architectural features, and the units can be DMX or standalone controlled. The streamlined housing is finished in a polished aluminium for high reflection of the immediate surroundings and easy blending into the environment. The uplighters are supplied in purpose-built flight cases of six units, complete with inbuilt charging station. The cases can be directly connected to the mains, and an intelligent auto-charging function means they can be stored connected for several weeks.

Features of LiteWare Satellite2 include a fully adjustable head offering 340° pan and 170° tilt. Additionally LiteWare Satellite2 can be modified using the internally-wired extendable pole offering elevation between 1.7-metres and 2.6-metres. The poles have a weather proof quick lock mechanism to ensure maximum speed of deployment.

SOMMER CABLE | CARDINAL DVM-120 ‘THE BRICK’ DIRECT BOX PRO www.sommercable.com Sommer Cable direct injection boxes adapt medium and high-impedance signal sources to microphone inputs in a simple and reliable way. The built-in transformers from Swedish manufacturer Lundahl are an industry standard. With 17dB of attenuation they are particularly suited for high-level applications with super low distortions and a neutral behaviour down to very low frequencies. On the input side there are two bridged 6.3mm jack sockets per channel, the two-channel version features an additional 3.5mm stereo mini jack socket plus a selector switch for multimedia applications. When needed, the ground lift push-button will link the input and output grounds. The output signals are carried out on male XLR connectors.

SYMETRIX | SYMNET COMPOSER 3.0, SYMNET RADIUS 12X8 EX & SYMNET 2 LINE www.symetrix.co Symetrix has announced the availability of SymNet Composer 3.0. The DSP programming software now offers native integration of select Dante-enabled products from Attero Tech, Audio-Technica, Shure and Stewart Audio, allowing integrators utilising products from these manufacturers to configure a Dante-based audio system via a single software platform. Various functions of the third-party devices, which include Shure’s enterprise-level Microflex Wireless range and Audio-Technica’s networked ATND971 boundary microphone, can be controlled through the DSP, with signal routing and device configuration also available for management through the software interface. Symetrix also delivers SymNet Radius 12x8 EX to the market. An updated version of SymNet Radius 12x8, the ‘EX’ addition features a card-slot for flexible I/O customisation and future-proofing of investment. Pairing with the DSP is Symetrix’ new SymNet 2 Line VoIP Card, which is a SIP-based plug-in card featuring Asterisk and Cisco call management support. The card operates with Symetrix’ SymNet modules for Crestron’s 2- and 3-Series controllers, which offer a range of new functions.

TURBOSOUND | INSPIRE SERIES www.turbosound.com Turbosound has introduced the its first modular column loudspeakers and subwoofers. The iNSPIRE Series features Klark Teknik SST Spatial Sound Technology, an onboard remote controllable digital mixer, plus Bluetooth stereo audio streaming; all controllable via iPhone and iPad. The iNSPIRE Series consists of three full-range powered column loudspeakers, the 800W iP500, 1kW iP1000 and 1kW iP2000 - plus two 1,000kW powered subwoofers, the 12-inch iP12B and 15-inch iP15B with integrated dual-channel 200W amplifiers for satellite loudspeakers. All models exhibit the powerful, high-quality sound and optimised dispersion of Turbosound’s award-winning line array products in a surprisingly lightweight, easy to use, all-in-one vertical form factor. Equipped with an onboard two-channel digital mixer, fully remote controllable via a dedicated iPhone and iPad app or locally via dedicated LCD-based user interface, the iNSPIRE Seriesalso features wireless Bluetooth stereo audio streaming. Klark Teknik digital signal processing and Class-D amplification power each loudspeaker.

VOICE-ACOUSTIC | HDSP SERIES www.voice-acoustic.de The new HDSP multichannel amplifier series range in performance class from 1.6kW up to 16kW into four ohms. The DSP-amp models, with Class-D technology of the latest generation, have a modular design with components housed within in a stable corrosion-resistant aluminum body. The amplifiers have multiple power supplies, power amp sections and DSP boards. This ensures the highest reliability, serviceability, and maximum bass performance without interference between channels. The integrated loudspeaker management system works with a 64-bit and 96kHz sample rate in audiophile sound quality.

The DSP models have a very high processing power and various filters are available, as well as 80 or 160 internal presets, increasing to 320 presets for the HDSP-12 model. Operation is manual or via software in the VAW-LAN remote network, with up to 128 networked devices. The bi-directional connection works in real time and provides a feedback of the status from the system. By an impedance measurement the wiring and the function of all connected drivers are reviewed, and it is possible to check the operating temperature of each amplifier module.

YAMAHA | VXC3F & VXC5F www.yamahacommercialaudio.com Yamaha has expanded the commercial installation solutions range of products with the new VXC-F loudspeakers. Featuring a newly designed loudspeaker unit and resin enclosure, optimally tuned for music playback, the shallow, lightweight construction and flexible design of the VXC3F and VXC5F can easily conform to the strictest installation limitations. The VXC3F features a 3.5-inch full-range bass reflex driver rated at 20W, with the VXC5F a 4.5-inch driver rated at 40W. The loudspeaker unit and back box volume have been matched to achieve well-balanced reproduction of all frequencies, even at low output levels delivering refined, natural music reproduction at any volume level without midrange distortion. VXC-F loudspeakers are also designed to be exceptionally fast and flexible to install. Facilities include both high and low-impedance connections, with loudspeaker wattage easily switched either before or after installation, Euroblock terminals, a carrying band, anti-drop tab, magnetically secured grilles (with anti-drop wire), and double-threaded screws for speed of installation.

Both models are supplied in pairs and available in white or black finishes; additionally the grilles can be painted any colour to match décor.

www.mondodr.com

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I enjoy facing new challenges whilst operating in a group of dynamic people who have an enthusiastic approach to the work.

FABIO SORABELLA CEO AT M USI C & L I G H T S How did you get involved in the entertainment industry?

I was born and grew up in the industry. That is to say my father, Francesco Sorabella, the current President, founded the company in 1990, a year before I was born.

Since I was a child, I have been fascinated by the entertainment industry and how it can merge art and technology in order to stir emotions. In 2003, during the PLASA exhibition I saw a light show by Martin Professional. I remember how I felt watching it, such an adrenalin rush! It was then that I realised this would become my profession.

How long have you been at Music & Lights and what is your role?

I joined Music & Lights when I was a teenager and I worked part-time in the technical department. Now, my position at the company is as CEO, following the experience I gained firstly in the R&D department and then in the commercial department.

www.mondodr.com

What aspects do you enjoy most about your position?

I enjoy facing new challenges whilst operating in a group of dynamic people who have an enthusiastic approach to the work. We share every idea and we take care to pay attention to detail for any lighting, audio or truss product that we make. The ability to develop new projects, to share a common vision, and have the passion and determination to achieve the targeted results, is the measured success of the company.

What might people not know about Music & Lights?

For the first 10 years of its life Music & Lights worked as a system integrator and rental company. The experience we gained still represents a large part of our knowledge, which has allowed us to have a complete understanding of the trends and needs of the market. Planning, innovation, and attention to detail are values that we believe in, not just focussing on a single product, but looking at the production

process as a whole.

How will Music & Lights be celebrating its 25year anniversary?

The year is a milestone in the history of Music & Lights. In April, we celebrate 25 years of providing innovative technology to an international market.

Since 1990, thanks to the foresight of my father, Music & Lights has become one of the world leading players in the field of professional audio, video and lighting technology.

We’ve decided to celebrate the landmark with a series of events organised during the course of some major international tradeshows and at our headquarters. At the same time, we have planned the launch of exciting new product ranges. Celebrations will culminate at the end of 2015, with the opening of the new production and logistics facility. It will represent an important step for the growth in the near future.

What can we expect from Music & Lights in the

The Ultimate Stage Rack

future?

We are looking to grow our services and products so that every country will have a Music & Lights solution available. We aim to strengthen our international presence in the professional lighting and audio field, becoming a leading player in the industry. We export technology and creativity in over 42 countries already, but we are eager to take on even bigger challenges.

Can you give us some background on Music & Lights and the milestones they have achieved?

Since Music & Lights began we have produced self-assemble products for our own use, instead of looking at the products already available on the market. Over time our products have evolved to become more innovative and for reason we have been selected for high-profile events such as the X Factor, Big Brother, the Sanremo Festival, Eurovision and the Milan Expo.

Tell us about the differences between the company when it started to present day-how has the market changed?

Something that has allowed Music & Lights to have steady and continuous growth over the years has been our ability to quickly meet the demands of the market. Today, it is extremely competitive and selective. To continue to grow, we need to be fast paced and stay one step ahead of the competition, offering products that are both high quality and competitively priced.

Prolight + Sound, 2015 Hall 8 Stand C10

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APRIL 1990 - Music & Lights was founded. It started life as a system integrator and rental company.

1990

Music & Lights begin to export globally following its first time as an exhibitor at Prolight+Sound in Frankfurt.

2000

2005

2008

www.mondodr.com

2015

2015/6 END 2015 - Music & Lights celebrations will culminate at the end of 2015, with the opening of the new production and logistics facility.

Music & Lights released its first innovative product - the Millennium Series - for the sound reinforcement market.

Over time our products have evolved to become more innovative and for reason we have been selected for highprofile events.

APRIL 2015 - Music & Lights celebrates of providing innovative technology to an international market.

Fabio Sorabella joined Music & Lights as an official employee.

Are there any products in the range that exemplify Music & Lights?

A good example of our work from the Prolight brand is the Diamond Series of LED wash moving heads, and our new luminaire, Studiocob. On the audio side are our Touring208 and the MA6 line array. These products have the three key requirements that have always been followed by our R&D department: a unique and innovative concept; high-level performances for a professional market; and a price that makes them accessible to a large segment of users.

Music & Lights is a manufacturer and distributor, how do you keep a happy balance between the two?

The exclusive distribution agreement for the Italian market is structured into two distinct business units.

The first one deals with the lighting distribution business; the second focuses on professional audio brands. Our distribution channel saw significant growth last year as we took on partnerships with Avolites, Avolites Media, ArKaos, Antari, Wireless Solution, Swisson, Capture Sweden and Lite-

Puter. The brands are carefully selected and often complementary of the products we produce, with the aim of offering a full solution.

Our background as a producer and the long-time experience in the Italian market allows us to manage both the pre-and-post selling operation, organising different training activities.

What products are Music & Lights most proud of?

Among our most recently launch products the Diamond Series, I feel it fully represents the innovation and evolution that Music & Lights stands for.

Do you have any secret passions?

Sport is a fundamental part of my life, as it helps me to manage any stress. I enjoy live music and, when I can, I take part in events organised by the local jazz club. I also like following my favourite musicians on tour.

What’s the most played song in your collection?

Sweet Child O’Mine by Guns N’ Roses and Smells Like Teen Spirit by Nirvana.

graphics: Vilfredo Maria Ricci - © 2015 Studio Due

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Headquarters: STUDIO DUE light s.r.l.

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PROLIGHT+SOUND April 15 - 18, 2015 Hall 9.0 - Stand D70

• STUDIO DUE UK (England) • STUDIO DUE Far East LTD (Hong Kong)

www.studiodue.com

THE SHAPE OF THINGS TO COME

Revealed at Prolight+Sound 2015, Frankfurt Hall 8.0 Stand F60

Unite Your Audience The Martin Audio Experience

9738-MartinAudio_CDD_advert1_Mondo236x333.indd 1

12/03/2015 14:06

A configurable professional power amplifier you can rely on.

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relative volumes between areas. PeakBank™ power supply and a Class-D amplifier make a highly efficient team. “The result is a very impressive sound system, which seamlessly switches between multiple modes of use,” says Patrick Hillcoat of Commercial AV Solutions.

“The system is very well balanced throughout the area, with the intensity increasing on the dance floor towards the stage.”

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Introducing award-winning sound quality in small-format loudspeakers

ROOMMATCH UTILITY SMALL-FORMAT FOREGROUND/ FILL LOUDSPEAKERS ®

Bose RoomMatch Utility small-format foreground/fill loudspeakers bring the award-winning sound of RoomMatch arrays to smaller, two-way, point-source designs. Using the same Bose EMB2 compression driver as the larger arrays, the RoomMatch Utility loudspeakers provide distortionreduction, and offer a consistent mid/high sonic character. ®

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Players Bar consists of a long room, with a low ceiling and a stage at one end, so it was important to focus the sound from the stage area and programme delays throughout the full length of the room. Fortunately, the Bose RoomMatch Utility RMU208 was perfectly suited, with a powerful low profile cabinet with 90 x 60 dispersion. To delay the sound through the rear of the room, seven RoomMatch RMU208s were installed with a further 10 in the front bar. ®

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Learn more at pro.bose.com