mondo*dr 25.4

Why Club Panama chose RoomMatch for Amsterdam Dance Event ®

®

Club Panama’s Programme Manager Timo Lassche:

Everyone loved the focused sound.

Even the neighbours. “ Over 55 world class DJs have used the system in our club and all of them were more than satisfied with the results.”

Get great sound only where you need it.

ROOMMATCH PROGRESSIVE DIRECTIVITY ARRAYS ®

Club Panama has had widely publicised troubles with its neighbours due to noise complaints. Specifically, the club’s issue was with its end fire bass-array and getting the bass to reach the dance floor without reflecting sound outside.

Explains Lassche: “I’d heard that the RoomMatch system had been installed in the Solidaritet Arena in Stockholm with impressive results, even in tough acoustic conditions, which made me keen to test it in our club. The clarity of the sound impressed me. ®

The low end felt as it should be, even when the house was full. The dealer installing the system promised me that the higher sound levels would be concentrated on the dance floor, but I was surprised that this worked out well for both the bass and the higher frequencies. Our new system didn’t let us down during the recent Amsterdam Dance Event, with over 5,000 visitors in five days. Seeing all those visitors – people used to the best clubs worldwide – leaving with a big smile on their faces is one of the biggest rewards we, and Bose, could get.”

Learn more at pro.bose.com

the theinternational internationalpublication publicationfor fortechnology technologyin inentertainment entertainment

may may//june june2015 2015

conquer ing all john john and and helen helen meyer meyer

architec architectur tural al audio audio •• microphone microphoness •• ccable abless www.mondodr.com www.mondodr.com

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350(333mmx236mm)1.pdf 1 2015-5-4 15:45:35

C

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MY

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CMY

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Celebrating

30 YEARS

W ELCOME

of world class Laser Show Systems Our legendary products

mondo*dr 25.4 May / June 2015

Lasergraph II

Accurate Color it!

B L I T Z

Lasergraph DSP

PHAENON ON THE COVER Calvin Harris at Omnia, Las Vegas Photo by Al Powers of Powers Imagery

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

There were rumours at Prolight+Sound (PL+S) in Frankfurt but it has now been confirmed, Music Group has acquired TC Group and all of its brands: Tannoy, Lab.gruppen, Lake, TC Electronics, TC Helicon and TC Applied Technologies.

Consolidation is not a new topic in our world, I’ve spoken about it many times in the past, as it seems our industry has reached a point where acquisition moves companies forward and helps them to grow. Controversy can strike during take-overs though, when the debate of revenue versus creativity comes to the fore, and which one is most important. In our industry, creativity is generally driven by passion, but when turn-over enters the equation it’s a whole different ball game. It will be interesting to see how this acquisition progresses. As well as rumours at PL+S, there were plenty of product launches, all of which you can read about in our extensive show report. Turn to the In Business section to start now.

As I sit here writing, yet more big acquisition news has broken, visual specialist, XL Video has been purchased by rental giant, PRG. With PRG’s take-over of Gearhouse Middle East last October, the company looks set to dominate even more market share. Although this news might be more relevant to our sister publication, TPi, the rental and installation worlds have a large cross-over when it comes to manufacturers, and therefore this development is likely to rear its head in both industries. Watch this space.

In other news, during the time between writing this leader and the next one, I’ll change from a Miss to a Mrs. I am taking three weeks off in June to get married in Italy and I can’t wait! My leader photo ties in with this theme, as it was taken on my hen night, I’m pictured with Sara Walker, Marketing & Communications Manager from Marked Events - which organises BPM and PRO, the latter in association with Mondiale Publishing - and TPi ladies, Charlotte Goodlass and Hannah Eakins. And yes, the red hair is back! Here’s to the next chapter.

Rachael Rogerson | Editor

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.

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In association with

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CONTENT S 012

IN BRIEF

IN DEP T H 022

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INTERVIEW

HELEN AND JOHN MEYER, MEYER SOUND

REPORT

architectural audio

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HOME, MANCHESTER

066

PARADISO, AMSTERDAM

074

TOKAJI AMPHITHEATRE, TOKAJ

080

LIVERPOOL PHILHARMONIC HALL, LIVERPOOL

084

COZA CHURCH, ABUJA

086

OMNIA, LAS VEGAS

094

DR PHILLIPS CENTER, ORLANDO

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AVALON, HOLLYWOOD

IN BUSINE S S

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product launch: electro-voice - x-line

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the get show / prolight+sound, guangzhou

122 142

142

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PROLIGHT+SOUND, FRANKFURT PRODUCT GUIDE

MICROPHONES & CABLes

152

PRODUCT DIRECTORY

162

last page interview MIKE FAHL - DATATON

010 AD INDEX

FRANÇAIS

DEUTSCH

Des rumeurs couraient chez Prolight+Sound (PL+S) à Francfort, mais celles-ci ont été confirmées et Music Group a acquit TC Group et toutes ses marques : Tannoy, Lab. gruppen, Lake, TC Electronics, TC Helicon et TC Applied Technologies. Les consolidations ne sont rien de nouveau dans notre domaine et j’en ai déjà parlé à plusieurs reprises par le passé, car il semble que notre industrie ait atteint un point où l’acquisition de petits groupes semble faire avancer les entreprises et les aide à croître. Cependant, la controverse peut frapper lors de ces prises de contrôle, surtout lorsqu’un débat surgit à savoir si du revenu ou de la créativité, l’un est plus important que l’autre ? Au sein de notre industrie, la créativité est généralement nourrie par la passion, mais lorsque le chiffre d’affaires entre dans l’équation finale, c’est toute une autre histoire.

Il sera intéressant d’observer le chemin que prendra cette acquisition. Les rumeurs chez PL+S étaient aussi accompagnées de plusieurs lancements de produits, que vous pourrez découvrir dans notre long reportage sur le salon ; consultez la section In Business pour en lire des extraits. Pour ce qui est des autres actualités, entre la rédaction de cette édition du Leader et la suivante, je passerai du statut de Mademoiselle à celui de Madame. Je vais prendre trois semaines de vacances en juin pour me marier en Italie, et il me tarde d’y être !

Absen ................................................ 107 Adamson ........................................... 123 ADJ ..................................................... 41 Antari ................................................... 29 Arena Luci .......................................... 53 Ashly Audio.......................................... 49 Audac .......................................... 74 & 75 Audio Technica .................................. 151 Audiocenter ....................... 60, 106 & 125 AudioFocus ......................................... 39 Audiotek .................................... 91 & 161 Avolites ................................................ 93 Barco .................................................. 31 Bose .................................................... 37 Camco .............................................. 129 Chauvet ............................................. 113 Christie Digital ................. 9, 14, 21 & 111 Coda Audio ......................................... 83 d&b audiotechnik ................................. 17 D.A.S Audio....................................... 137 d3 Technologies................................... 70 Daslight ............................................... 10 Dataton ................................................ 83 DiGiCo ................................................ 69

Auf der Prolight+Sound (PL+S) in Frankfurt ging das Gerücht um, das mittlerweile bestätigt wurde, dass Music Group die TC-Gruppe mit all ihren Marken erworben hat: Tannoy, Lab. gruppen, Lake, TC Electronics, TC Helicon und TC Applied Technologies. Zusammenschlüsse sind kein neues Thema in unserer Welt, ich habe in der Vergangenheit schon oft darüber gesprochen, da es scheint, dass unsere Industrie einen Punkt erreicht hat, an dem ein Erwerb Unternehmen weiterhilft und ihr Wachstum unterstützt. Allerdings kann es zu Kontroversen während der Übernahme kommen, wenn vor allem die Debatte um Umsatz versus Kreativität und die Frage, was wichtiger ist, zum Tragen kommt. In unserer Industrie wird Kreativität normalerweise durch Leidenschaft gesteuert, aber wenn der Umsatz in die Gleichung aufgenommen wird, sieht die Sache ganz anders aus. Es wird interessant sein zu sehen, wie dieser Erwerb fortschreitet. Neben den Gerüchten gab es auf der PL+S zahlreiche Produkteinführungen, die Sie in unserem ausführlichen Messebericht nachlesen können, begeben Sie sich in den Wirtschaftsteil dafür. Eine andere Mitteilung, zwischen dem Verfassen dieses Leitartikels und dem nächsten wechsle ich von Fräulein zu Frau. Im Juni habe ich drei Wochen frei und werde in Italien heiraten.

Ich kann es schon gar nicht mehr erwarten!

Digital Projection ................................ 139 DPA Microphones ................................ 13 Duratruss ............................................. 79 EAW .................................................. 133 Ehrgeiz ................................................ 65 Elation ................................................. 33 Electro-Voice ....................................... 71 Fenix............................................ 18 & 19 FINE ...................................................... 5 Flipside ................................................ 93 Focusrite ............................................. 53 Full Fat Audio ..................................... 55 Funktion One ..................................... 109 Genelec ............................................. 101 Global Truss ...................................... 119 GLP .................................................... 85 Havells Sylvania ................................. 157 Haze Base ......................................... 131 Hoist UK ............................................ 151 Idea Pro Audio ..................................... 63 Infinite ................................................ 135 Infocomm............................................. 20 K-array ............................................... 115 Kind Audio ........................................... 40

ITALIANO

ESPAÑOL

C’erano stati dei rumors alla Prolight+Sound (PL+S), a Francoforte, che adesso sono stati confermati: Music Group ha acquisito TC Group e tutti i suoi marchi, tra cui Tannoy, Lab.gruppen, Lake, TC Electronics, TC Helicon e TC Applied Technologies. Il consolidamento non é un argomento nuovo nel nostro ambiente, infatti ne ho parlato diverse volte in passato visto che, a quanto pare, la nostra attivitá ha raggiunto un punto in cui l’acquisizione permette alle compagnie di andare avanti e le aiuta a crescere. La controversia puó esserci durante gli incorporamenti, quando si fa avanti il dibattito tra fatturato e creativitá per stabilire quale dei due é la cosa piú importante. Nella nostra attivitá, la creativitá é generalmente guidata dalla passione, ma quando arriva il turn-over, diventa tutta un’altra storia. Sará interessante vedere come tutto questo proseguirá. Cosí come i rumors a PL+S, c’erano stati anche diversi lanci di prodotti sui quali vi potete informare nel nostro show report estensivo (se volete iniziare adesso andate nella sezione In Business). Per ció che concerne altre news, nel frattempo in cui scrivo questo Leader ed il prossimo, non saró piú signorina ma signora. Prenderó tre settimane di ferie a giugno per sposarmi in Italia e non vedo l’ora!

Había rumores en Prolight+Sound (PL+S) en Frankfurt pero ahora se ha confirmado, Music Group adquirió a TC Group y todas sus marcas: Tannoy, Lab.gruppen, Lake, TC Electronics, TC Helicon y TC Applied Technologies. Las consolidación no es un tema nuevo en nuestro mundo, he hablado de ello muchas veces en el pasado, ya que parece que nuestra industria ha alcanzado un punto en el que las adquisiciones hacen avanzar a las empresas y las ayuda a crecer. Puede haber controversia durante las incorporaciones de las empresas, cuando aflora el debate ingresos versus creatividad y cuál de los dos es más importante. En nuestra industria, la creatividad generalmente está impulsada por la pasión, pero cuando entra en juego la facturación la ecuación ya es harina de otro costal. Será interesante ver cómo progresa esta adquisición. Así como los rumores en PL+S, había muchísimos lanzamientos de productos, de los cuales podrán leer acerca de todos ellos en nuestro extenso reporte de la muestra. Vayan a la sección In Business para comenzar ahora. En otro orden de las cosas, en el tiempo que hay entre esta editorial y la próxima, cambiaré de ser Srta. a Sra. Me tomaré tres semanas en Junio para casarme en Italia y no puedo esperar más!

Kling & Freitag ..................................... 43 KV2 Audio ......................................... 149 Kvant ................................................. 117 L-Acoustics............................................ 2 Laser Animation ..................................... 7 LEDsCONTROL.................................. 45 Light Sky Fly Dragon.............................. 4 LiteLEES ............................................... 4 Look Solutions ..................................... 89 LTM ..................................................... 76 Lynx Pro Audio .................................... 99 Madrix .............................................. 131 Martin Audio ....................................... BC Martin Professional ...................... 25 & 27 MBN ............................................ 97 & 99 Merging ............................................... 90 Meyer Sound ....................................... 11 Middle East Event Show .................... 110 Milos.................................................... 15 Music & Lights ......................... 105 & 153 NEXT Pro Audio................................. 131 One Systems ..................................... 149 Philips Entertainment ......................... 103 Pioneer Europe .................................... 77

Powersoft ................................ 107 & 159 PR-Lighting .......................................... 61 Pro Tapes .......................................... 155 PRO .................................................. 140 Prolyte ................................................. 95 Pulsar ................................................ 153 Renkus-Heinz..................................... 159 Riedel .................................................... 8 Robe ................................................... 51 SHS Global ......................................... 97 Sommer Cable .................................... 47 Stage Set Scenery .............................. 56 Starway ............................................. 147 Steinigke ........................................... 121 Streamline Systems ........................... 149 Studio Due ........................................ 163 Sunlite ................................................... 6 Tannoy ..................................... 143 & 145 Truss UK............................................ 151 TW Audio ............................................ 73 Waveburg ............................................ 38 Wireless Solutions ................................. 3 XTA ..................................................... 49 Zero 88 ............................................... 79

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

PUBLISTING Mondo May/June 2015 Issue 05/05/15 Creative: LEOPARD Launch - Unleashed

Contact: Elania Nanopoulos Phone: 510 486.1166 x115

Unit:

FP4C

Live:

210mm x 310mm

PRODUCTION NOTES Keylines do not print

Trim:

236mm x 333mm

INK: 4/c

Bleed:

242mm x 339mm

STOCK: magazine

Gutter:

n/a

Close Date

Revision #

012 in brief - europe/middle east/africa

IN BRIEF

OUT L IN E H AN D LE S E XPAN D E D M USIC PROGRAM AT MUM BAI’S H ARD RO C K CA F É Since India’s first Hard Rock Café opened in Mumbai’s busy upmarket Worli district about nine years ago, the venue has built up a great following and more recently a second Hard Rock Café has opened in Andheri, a suburb of Mumbai. Owners JSM Corporation decided to integrate a newer and more versatile audio system and called in Arun Kalra’s White Eagle Entertainment. Arun designed the system, deploying the most suitable Outline products, using the Italian manufacturer’s proprietary software. The new system comprises four Doppia II 9075 loudspeaker and four DBS 18-2i subwoofers installed at the main stage’s front of house area, plus eight EIDOS 12 and two EIDOS 15 loudspeakers positioned strategically across the venue to optimise coverage. An EIDOS 118 subwoofer was also installed in the venue’s VIP area to ensure bottom-end fidelity and the whole set-up has an Outline powerhouse.

R E S C O LLAB ORATE S I N AMB I TIOUS ‘M EX ICO DOM E’ INSTAL L ATION IN LO N D O N London-based creative technology expert Realtime Environment Systems Ltd (RES) has collaborated with LM Productions and Mapp3D Producciones for a ‘full dome’ installation celebrating Mexican culture. The temporary 25 metre white dome was constructed at Potter’s Fields Park on London’s Southbank for two weeks as part of the official ‘Year of Mexico in the UK’ celebrations. Inside, the Mexican Tourism Board pop-up featured a huge projection mapped dome, where images of the country’s rich cultural and natural heritage swirled above visitors’ heads. RES’s Mark Calvert worked closely with LM Productions’ Tim Kingsmill and Stephen Harvey to supply an Avolites Ai EX8 Pro 2 media server running the latest software - Ai V8 - which features the powerful new Autoblend feature. This feature uses a camera-based warp and blend tool set, allowing multiple projectors to blend images for projection. Stephen Harvey, owner of LM Productions, commented: “After looking in the marketplace for the next generation media server and visualiser we went for the Ai EX8 Pro 2. The first project was quite a complex full dome mapping project on a 25-metre dome and I have to say the blends were really amazing. Having used a number of high quality media servers over the years, Ai really stood head and shoulders above the others and we look forward to working on some amazing projects using the new Ai servers.”

www.mondodr.com

014 in brief - ASIA/PACIFIC/OCEANIA

Q UA N T U M O F THE SE AS SAI LS WITH E N E R GY- EFFI CI E N T E LATI ON L IGHTING AND V ID E O SYS TE MS Royal Caribbean’s newest luxury cruise liner, Quantum of the Seas, set sail lwith a full complement of energy-efficient Elation Professional lighting and video products, as well as Acclaim architectural lighting products, and a promise to deliver experiences never before seen at sea. Quantum of the Seas is the third largest cruise liner in the world and can accommodate more than 4,000 passengers.

Christopher Vlassopulos, Superintendent SLVR & Architectural Lighting for Royal Caribbean International, coordinated the design and specification for all the entertainment equipment in the ship’s public spaces, including the ship’s entertainment lighting systems.

Christopher did his background work to investigate what were the best LED fixtures to use and because he must make decisions on fixture choice years before the ship sails, it is important that he work directly with the manufacturer. “Elation has been very helpful,” he stated. “Everything fit together with what Elation could offer with LED, also the video products. I was given knowledge of what fixtures were in the pipeline very early in order to make the correct choice and that was important. I appreciate the close cooperation we have had throughout.”

A top attraction is Two70, a multifunctional multi-story space at the stern of the ship that takes a futuristic approach to entertainment. During the day the room acts as a lounge area with a large window front providing 270° panoramic sea views. In the evening, Two70 becomes an event venue with stage shows performed before a huge floor-to-ceiling Vistarama video projection screen that transforms the windows into any scene, real or imagined, while six large Roboscreens driven by ABB

www.mondodr.com

Industrial Robots are included in the choreography. An Elation lighting rig of Platinum Wash ZFX Pro, Satura Spot LED Pro, Platinum Spot LED Pro II and Platinum Beam 5R Extremes light shows ‘Starwater’ with lighting design by Alex Picotte and ‘The Virtual Concert’, an all-virtual show with band performing on the Vistarama and solo performances coming alive on the Roboscreens.

The state-of-the-art 1300-seat Royal Theatre is another of the ship’s main entertainment spaces, featuring contemporary musical stage productions with all the glitz and special effects of a Broadway production.The lighting rig is impressive to say the least with LED-based Elation Platinum Wash ZFX Pro and Satura Spot LED Pro moving heads used as the main colour and graphics luminaires. Extended colour possibilities come from Design Brick 70 II RGBWA colour battens and ELED QA Strips while Elation Platinum Beam 5R Extremes and Platinum Spot 35R Pro’s, both housing powerful Platinum lamps, provide an extra punch of power when needed.

The Royal Theatre also has three 20mm pixel pitch Elation EPV20 LED screens for displaying a variety of on-screen graphics.

In the two-story Music Hall, guests can enjoy a range of activities during the day from dancing or cooking classes to billiards while at night the multi-use venue comes alive as the heart of the ship’s entertainment with live performances. Lighting plays a major part in creating the atmosphere with an Elation rig of Platinum Spot LED Pro II and Platinum Wash ZFX Pro moving heads along with Design Brick 70 II capable of accommodating any and all events.

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5/7/15 7:35 AM

016 in brief - the americas

AC H IE VO R ’ S B AN QU E T HALL B ROUGHT TO L IFE BY STREAML INE SYSTE M S Streamline Systems was approached to design, supply and install an easy to use yet all encompassing sound, video and lighting system for the new Achievor’s Banquet Hall in San Fernando, Trinidad. The hall is made up of the seascape lounge with four moving heads and dotted with Streamline’s own RGB downlights. RGB spheres and bells hang from the ceiling where aerial silk acrobatics were performed on the opening night. Loudspeakers for the seascape lounge are the new 15-inch two-way powered Electro-Voice ETX15P. Next to the seascape lounge is the concord banquet hall, which is a self-sufficient facility with fully installed sound, video and lighting systems which would handle anything from a corporate event to a wedding or concert. The entire building has been outfitted with lighting from Blizzard Lighting, audio processing by Bosch Communications. Streamline Systems installed an 8x8 video matrix, which takes signals from Sony fixed and PTZ cameras located around the venue and transmits them via 1080P balons to a large projection screen or to eight 55-inch LED displays around the venue. Streamline’s engineers worked with Achievor’s in house staff to ensure that lighting of a new tensile fabric ceiling surpassed everyone’s expectations.

UNIV ERSITY OF UTAH ’S HUN TSM A N C E N TE R RUNNIN’ WITH L -ACOUSTIC S University of Utah’s Jon M. Huntsman Center, a 15,000-seat arena that serves as home to the school’s Runnin’ Utes basketball, Utes volleyball and Red Rocks gymnastic teams, recently wrapped up a massive $US6 million renovation project.

When the dust finally settled, University of Utah’s largest sporting and entertainment venue featured two new grand entrances plus a new floor, drapes, LED lighting system and versatile house sound system comprised of L-Acoustics’ powerful Kara and high-directivity Arcs WiFo enclosures.

The audio portion of the project represented a joint effort between two Salt Lake City businesses: acoustician and technology consulting firm Spectrum Engineers, who provided the design and construction documents; and systems integration company Poll Sound, who installed the system and assisted with product specific design. The new system features two concentric rings of loudspeakers - eight main arrays of eight Kara flown beneath two SB18i subwoofers addressing the lower bowl seating areas, and 16 delay arrays of three Arcs Focus enclosures collectively delivering a razor-sharp 45° of coverage to the upper bowl seats. Four arrays of three Arcs Wide mounted under the scoreboard each provide a tightly focussed 90° pattern to the basketball floor. All loudspeakers are powered and processed by a combination of seven LA8 and 21 LA4X amplified controllers housed in racks on a platform near the top of the dome with fibre runs to the mix position where a computer running L-Acoustics’ LA Network Manager monitoring and control software is located.

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EXPO DIARY 2015 KOBA

INFOCOMM

SEOUL, KOREA 19-22 MAY 2015 www.kobashow.com

ORLANDO, USA 17-19 JUNE 2015 www.infocommshow.org

LIGHTING WEEK

ABTT

SAO PAULO, BRAZIL 26-28 MAY 2015 www.lwbr.com.br

LONDON, UK 24-25 JUNE 2015 www.abtt.org.uk

PALM EXPO INDIA

INDIAN DJ EXPO

MUMBAI, INDIA 28-30 MAY 2015 www.palmexpo.in

NEW DELHI, INDIA 3-5 JULY 2015 www.indiandj.in

STAGE | SET | SCENERY

LIVE ENTERTAINMENT & EVENT EXPO

9-11 JUNE 2015 BERLIN, GERMANY www.stage-set-scenery.de

TOKYO, JAPAN 7-9 JULY 2015 www.live-event.jp

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PROLIGHT+SOUND, RUSSIA

JOHANNESBURG, SOUTH AFRICA 15-17 JULY 2015 www.mediatech.co.za

MOSCOW, RUSSIA 10-12 SEPTEMBER 2015 www.prolight.messefrankfurt.ru

PALM EXPO CHINA

BPM / PRO

BEIJING, CHINA 19-22 AUGUST 2015 www.palmexpo.net

BIRMINGHAM, UK 12-14 SEPTEMBER 2015 www.visitbpm.co.uk / www.visitpro.co.uk

PALMM

SIB

MANILA, PHILIPPINES 20-22 AUGUST 2015 www.globallinkmp.com

RIMINI, ITALY 12-15 SEPTEMBER 2015 www.riminifiera.it

INTEGRATE

IBC

SYDNEY, AUSTRALIA 25-27 AUGUST 2015 www.integrate-expo.com

AMSTERDAM, THE NETHERLANDS 10-15 SEPTEMBER 2015 www.ibc.org

Are you ready for InfoComm 2015?

If you’re in AV, then this is THE show for you.

InfoComm is the largest commercial AV event in the United States and this year it is expected to draw over 38,000 in attendance! Only the latest and greatest technologies from the top manufacturers in the industry are on display. You’ll also have the opportunity to choose from a full selection of education courses and network with fellow AV professionals from over 110 countries.

Don’t miss your chance! Register now at infocommshow.org.

Use VIP Code MONDO for your free Exhibit Hall Pass.

Conference: June 13-19 | Exhibits: June 17-19 Orange County Convention Center | Orlando, Florida

In association with

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IN DEP TH

INTERVIEW HELEN AND JOHN MEYER, MEYER SOUND

REPORT ARCHITECTURAL AUDIO

Rachael caught up with husband and wife, John and Helen Meyer recently to find out the humble beginnings of their relationship and what led to the founding of Meyer Sound. They also discuss their vision for the future of the audio industry.

The Report is introduced by Mark Holden, Chairman of acoustic specialist company, Jaffe Holden. He discusses the importance of acoustics in different spaces. This is followed by a series of architectural audio case studies, where there are not only acoustical challenges to contend with but aesthetic obstacles too.

022 INTERVIEW

“EVERYONE IN THE AUDIO BUSINESS HAS AN AUDIO HOBBY AT HOME, THEY ALL LIKE TO PARTICIPATE IN THEIR JOB AND YOUR JOB!” JOHN AND HELEN MEYER During the first official meeting between Editor Rachael Rogerson and husband and wife audio duo, John and Helen Meyer, it was a rare privilege to learn so much about this pair, who have been and continue to be so influential in the audio industry. Tucked away among the hustle and bustle of the tradeshow floor at Prolight+Sound in Frankfurt, for that one hour I was let into and felt fully immersed in the Meyer Sound world.

www.mondodr.com

INTERVIEW 023

www.mondodr.com

024 INTERVIEW John was inducted into the TEC Awards Hall of Fame in 2014

John and Helen founded Glyph Sound Systems shortly after working with Steve Miller at the Monterey Pop Festival

Having done my research prior to the interview, it was difficult to know where to start. Between them, John and Helen have received multiple awards over the years, highlights of which include the Distinguished Achievement Award from USITT and the MIPA Lifetime Achievement Award, as well as Helen being named Woman of Distinction by the East Bay Business Times and John receiving an R&D 100 Award. The duo are not only recognised in our world, but beyond it as well.

From the very beginning of the interview though, it is clear to see that while they are proud of such obvious milestones, it is not accolades that drive them. The preservation of good audio for future audiences is their true goal.

Although ways to achieve such a goal may vary depending on your viewpoint, for the Meyers, one key element is to put a stop to audio compression. In a nutshell, to crack down on upsampled music, which ultimately changes it from its original form. John and Helen are advocates for linear theory, the perfect transfer from an electrical signal to an acoustical signal, without interference. They champion natural sound and with John driving the technical side and Helen the force behind getting artists on board with the same belief, together they really hope to make a difference.

In order to reach this point though, the two of them first cemented their bond to each other a long time ago. Both born and raised in the San Francisco Bay Area, they met in their early ‘20s when Helen was attending the University of California in Berkeley and John was working in a local Hi-Fi store, Berkeley Custom Electronics.

Helen recalled: “John was appalled at how I used to handle the records and the fact that I used to play them on this little old record player. He said, ‘you have to hear real sound’. He played me Sgt. Pepper at the Hi-Fi store and it was the first time I heard a really good sounding album. He was involved with sound when I first met him and he pulled me into it!”

John had his own radio show at the age of 11 called Snaps & Snails, he told fairytales and interviewed other precocious 11 year olds that used to hang around the station. “Actually I interviewed Fred Safier who had just been on the $64,000 Question game show, but it was before the whole thing broke,” said John. “We were doing a rehearsal, he was talking about how he had been given the answers www.mondodr.com

“John was appalled at how I used to handle the records and the fact that I used to play them on this little old record player.”

so his father pulled him off the show. He was all set for the interview but then his manager arrived and put a stop to it all. He said, ‘we’ll get sued, and we can’t afford to be sued, so talk about something else’. I remember thinking that was really unfair. I had this great news story that I wasn’t allowed to broadcast.”

Despite John’s family being heavily involved in the dramatic arts, his preference always leaned more towards the back stage. He got his second-class FCC license, the youngest person to get it at the time, at the age of 12, which allowed him to work with radio transmitters and sound reproduction equipment.

Their first big break came in the form of Steve Miller, arriving from Texas at the HiFi store where John worked and explaining that he had the ambition to start up The Steve Miller Band but wanted a higher quality sound than he could currently get at the guitar store. That was 1966. “We starting working together to for the Monterey Pop Festival, which was coming up ‘67. We worked on stage sound with Hi-Fi gear but what we noticed straightaway was that a Hi-Fi system wasn’t going to hold up to the new rigours of rock ‘n’ roll; nothing lasted for more than a day. It meant that if this genre of music was to continue, we were going to have to build equipment for it,” John explained.

After the festival, John and Helen founded Glyph Sound Systems to try and cater

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026 INTERVIEW

John in the anechoic chamber

to the high-power demands from 1960’s bands. However, John quickly realised that he wanted a formal setting to learn even more about loudspeaker design.

With no such educational programme available in the Bay Area, the Meyers who had married in 1969 and had started a family with the birth of their son in 1970 - packed their bags and moved in Switzerland in 1973, where they helped to establish an acoustics laboratory at the Institute for Advanced Musical Studies.

While there their second child, a daughter, was born.

To this day, Switzerland remains very close to the hearts of the Meyers, in fact they go back there every year for a least a month. John joked: “We haven’t quite bought a house there yet!” Instead they prefer to stay in different places each time they visit to make every experience unique. “Generally we go back during the Montreux Jazz Festival,” said Helen. “In fact that’s where we first met Claude Nobs in ‘74.

He came back to us a few years later asking us to provide sound for the festival.”

Claude had heard the research products John and Helen had been working on and wanted them for the festival. The problem was, the institute was only interested in researching loudspeaker and recording technology, not making it, despite the demand for it. “They wouldn’t let us sell anything,” said John. “In Switzerland, they want a 20 year business plan and at that time a two week business plan was tough, so it made it very hard to open a business there… Instead I told Claude the only way we can get you what you want in a hurry is to go back to the States and build it.” It was 1986 before the first Meyer Sound system was given an outing at Montreux, however, it was worth the wait, as the collaboration between the festival and the manufacturer remains in place to this day.

Upon moving back to the US, the pair set up the company that bears their name, Meyer Sound in 1979. It started life on a small industrial park that is actually just a few miles from its current location in Berkeley, California and today is the workplace for more than 300 employees. As the company established itself, it started to make a strong name for itself too, becoming a pioneer in selfpowered loudspeaker systems by introducing the HD-1 studio monitor in 1990, its first product with an enclosed amplifier. While other breakthroughs included the trapezoidal cabinet shape, dedicated loudspeaker processing, advanced phase correction circuits, SIM source independent measurement systems, wide bandwidth parabolic transducers, directional subwoofers, the REM emulation manifold, and internet-enabled acoustical prediction.

In 2005 a notable acquisition came about for the company. “We’ve had a working relationship with LCS Audio since the early ‘90s, we were working on a lot of www.mondodr.com

John at Montreuz Jazz Festival

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028 INTERVIEW

SoundBox, a rehearsal space in Davies Symphony Hall, San Francisco

the same projects,” said Helen. “We felt the synergy of working together would be better because we were collaborating on a project that got so complicated, as we were doing one element and them another. We felt becoming one company and share everything was a logical step,” added John.

This acquisition ultimately led to the introduction of Constellation - arguably one of Meyer Sound’s most iconic products series - which gives multipurpose venues the ability to control and enhance a room’s physical acoustics. John said: “I think in the beginning people thought of Constellation as artificial, with the notion that there’s something natural about physical and unnatural about computers, but that seems to have gone now.” He recalled: “There was this one time I remember when a violinist was playing in a Constellation venue and we changed the settings, a guy who was with him said, ‘did you see the room get bigger? How do you do that? Is it hydraulics?’”

Helen finished off the anecdote, a frequent occurrence during the interview, exemplifying just how much these two are completely in tune with one another.

She added: “He was convinced the walls were moving but I told him, ‘no, it’s just in your head’. It’s definitely over the hump in terms of acceptance but the next step is to make it accessible to people by making it affordable.”

The Constellation systems often involve the classical music world - something which John and Helen have a lot of experience with from their time in Switzerland - and in that world, everything has to work with no exceptions. “Yet nobody ever asks how it works, they’re not interested in the technology, only in the end result. If you don’t tell people about technology, they rarely ask you, except audio people of course,” said John. “While at the same time, everyone in the audio business has an audio hobby at home, they all like to participate in their job and your job!”

A recent installation for SoundBox, a rehearsal space in Davies Symphony Hall, San Francisco; which is used by both the San Francisco Symphony and the San Francisco Opera is the perfect example that Constellation has not only been accepted but it also being used to push musical boundaries. San Francisco Symphony Musical Director, Michael Tilson Thomas not only wanted a system that would work with his orchestra without fail - he wanted people to experience sound in a new way.

While the installation was taking place, a musical composer approached www.mondodr.com

“Generally we go back during the Montreux Jazz Festival. In fact that’s where we first met Claude Nobs in ‘74. He came back to us a few years later asking us to provide sound for the festival.”

030 INTERVIEW

SoundBox and the Meyers to express an interest in writing music for the Constellation system. “Up to this point it’s been about creating rooms that can use it but now it’s about creating spaces that they want to create music for,” said John.

“Classical people have grown up in rooms that are fixed and so think in a fixed way, but digital things are changing as technology matures. The younger generations work more with computers, creating new things. The music Sam created has varying acoustics, which was again very new and exciting.”

To be able to inspire young musical talent is a great joy for the pair but particularly Helen, who has been personally involved with the performing arts, both in the US and abroad. She feels a true connection to the artists, so much so that she has a heavy involvement with a variety of Bay Area performing arts groups such as the Berkeley Repertory Theatre, Cal Performances at University of California, Berkeley, and American Conservatory Theatre in San Francisco. Helen is also closely involved in international art programmes such as the Mark Morris Dance Group, Bill Fontana’s sound sculptures, and the Gyuto Monks Tantric Choir. By engaging directly with the arts community, Meyer Sound can work with artists’ audio requirements to create new technology and new musical experiences between the performers and audience. Interacting with student artists also helps them on their quest to future-proof the audio world.

The impression left on me by the couple is that these two will continue to strive for what they believe is the best for the audio industry as a whole. “We want to keep the faith in the digital world, it’s the way forward,” said John. But digital has to be used in the correct way, i.e. not to compress music. “We lived through tape recorders and records transferring all the information rather nicely, until people began to realise in digital they can throw stuff away, which in itself is interesting.

It’s like a garden with weeds and trees, you pull out the weeds and leave the flowers and while yes that’s a nice thought, that isn’t what it is. It’s more like film with grain, if you take a film and alter the grain you know the picture is going to be disturbed and it’s the same with sound, it’s just a simple stream of data and if you play with it, you affect everything,” he continued.

“People say, ‘yeah we can just throw that away because it’s just noise’ but they don’t know that. This started to happen because a lot of people got involved www.mondodr.com

“There was this one time I remember when a violinist was playing in a Constellation venue and we changed the settings, a guy who was with him said, ‘did you see the room get bigger? How do you do that? Is it hydraulics?’”

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032 INTERVIEW

Meyer Sound’s latest product release, Leopard

in the digital sound from a programming point of view, many of who didn’t really understand sound itself. It is easy with digital because you have all these tools that allow you to push and compress things down. I think it was the Danish who discovered that each generation of CDs were becoming more and more compressed, they then published their findings online. People are now going back to records and tapes but that’s not the answer.”

Although the Meyers feel that some of the larger companies are not yet interested enough in this topic to make the industry stand up and pay attention, John conducts seminars to raise awareness, while Helen works with artists to make them understand the issues. “We can’t do it alone, it has to be a collective,” said John.

The final anecdote of the interview included two parakeets and a recent radio purchase. Despite rave reviews on Amazon, the latter did not quite live up to expectation in terms of entertaining the birds, which live in the Meyer Sound office. John said it was as though the radio had been manufactured to be just good enough for its 30 bucks price tag, concluding: “I hate that though: just good enough.”

Well for the record John, Meyer Sound is way beyond ‘just good enough’. It is an industry leader. Whether you agree with the philosophy of Meyer Sound or not, it’s very difficult to argue the quality of its products, just listen to the latest pride - Leo, Lyon, Leopard.

There are many passionate people in the audio world, but there are many ways in which people have entered it; some are ex-musicians, some by inheritance, and some may have stumbled upon it quite by accident. But this husband and wife are thoroughbreds, in it for the long haul and long may their journey continue. www.mondodr.com

“We lived through tape recorders and records transferring all the information rather nicely, until people began to realise in digital they can throw stuff away, which in itself is interesting. It’s like a garden with weeds and trees, you pull out the weeds and leave the flowers and while yes that’s a nice thought, that isn’t what it is.”

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034 report

ARCHITECTURAL AUDIO Introduced by Chairman of Jaffe Holden, Mark Holden using an excerpt from his book, The Acoustics of Multi-Use Performing Arts Centers, scheduled for release in hardback in January 2016. Pre-order here: http://www.crcpress.com/product/isbn/9780415517195 CHAPTER 1: MAKING THE CASE FOR A MULTI-USE HALL Purpose-built halls that serve solely as concert halls or opera houses are increasingly rare today because of high construction and operational costs. Only a few major international cities and high-profile institutions with deep pockets can afford them.

Single-purpose halls have the advantage of being able to provide an ideal acoustic, theatrical, and artistic environment for each art form in individual facilities. The symphony can rehearse on the stage unencumbered by other performers needing the facility. The opera only needs to share its home for occasional outside performances. The theater 1.1 can arrange sets that remain in place for extended periods of time.

1.1. LINE DRAWING OF CARNEGIE HALL: SECTION - Carnegie Hall, NY, 1891. This iconic, purpose-built concert hall is known for excellent symphonic acoustics but is not well suited for opera, dance, or theatrical productions.

This exclusivity comes at significant capital and operational cost. In the United States, there is pressure by civic and business leaders for halls to consistently attract large audiences who pay to park, dine, and shop.

Capital costs for single-purpose facilities are substantial. For example, Kansas City, MS, privately raised over $400 million for separate ballet/opera and symphony halls, and over a quarter of that sum was donated by a single foundation. The Kauffman Center for the Performing Arts opened in 2011 and features an 1,800 seat ballet/ opera house and a 1,600 seat pure concert hall.

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The stage is nearly as large as the hall’s seating area and is a viable financial model only because unique teaching and presenting opportunities exist for the space.

Academic institutions with endowments, tuition, and donors can indeed build and operate intimate purpose-built halls for use by students and faculty. Jaffe Holden has collaborated on dozens of successful models like the New World Symphony Hall. However, it would be a mistake to assume that this hall design is the rule; when in fact, it is the exception.

A SHORT HISTORY Despite the recent increase in popularity, the multi-use hall is not a new invention.

The use of this type of building dates back to the 1920s. Although many aspects have changed over the years, the reasoning behind implementing this design has remained largely the same.

THE 1920s AND 1930s Grand but technically unsuccessful municipal auditoriums in American cities during the 1920s and 1930s paved the way for emergence of the multi-use hall. The municipal auditorium was the result of pressure from the artistic community for a large performance facility that would further the artistic development of local symphony, opera and theatre companies, as well as serve as a convention hall, grand ballroom and ceremonial space.

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The 1940s During this decade, manufacturing and building construction industries focused on war efforts. As a result, very few halls were built during the 1940s.

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1.3. LINE DRAWING: MUNICIPAL AUDITORIUM: PLAN - Columbus Civic Center, GA, 1926. An early multi-use auditorium built to house performing arts, sports, exhibits, conferences, and political conventions. Acoustics are poor for all functions.

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1.2. LINE DRAWING: HELZBERG HALL: SECTION - Helzberg Hall in the Kauffman Center, MO, 2011. With a cost of more than $400 million, this 1,600seat hall is an excellent concert hall, but is less suited for dance, theater, and opera productions.

The New World Center, designed by Frank Gehry, is a pure concert hall in Miami Beach that opened in 2011. This building cost $160 million and features innovative video display systems, excellent acoustics, and high-tech communication systems.

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THE 1950s AND 1960s After World War II, there was a growing desire from the public for modern halls to take on a more egalitarian form, and thus eliminate exclusive boxes and grand tiers that created barriers between audiences. As part of this post-war civic expansionism and pride, democratic civic buildings were designed as homes for symphonies, theater troupes, and community concerts. Some also served as a war memorial or

REPORT 035

provided office space. In the 1950s and 1960s, cities such as Austin, Charleston, and Memphis built what was then considered to be fantastic new facilities. At the time they were created, these single balcony, wide fan-shaped halls were considered to be state of the art technically, acoustically and artistically.

It is now known that these halls lacked sonic impact and intimacy for theater, provided limited presence and clarity for opera, and were devoid of warm, rich reverberation for symphony. Still, they were a huge improvement over the barn-like convention centers that had served the communities for prior decades.

- Northern Alberta Jubilee Auditorium, Canada, 1957. A 2,500 seat fan-shaped 1.7 hall with shallow balconies and low acoustic volume. Remodeled in 2004.

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1.7. LINE DRAWING OF NORTHERN ALBERTA JUBILEE AUDITORIUM: SECTION - Northern Alberta Jubilee Auditorium, Canada, 1957. An example of an acoustically poor multi-use halls from the 1950’s built in North America that tarnished the reputation of multi-use halls. Extensively remodeled in 2004.

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1.4. LINE DRAWING OF JACKSONVILLE CIVIC AUDITORIUM: PLAN - Jacksonville Civic Auditorium, FL, 1962. This wide, 2,000-seat fan-shaped multi-use hall was an improvement over earlier civic centers, but had poor acoustics and was 1.5 gutted in 1990.

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1.5. LINE DRAWING OF JACKSONVILLE CIVIC AUDITORIUM: SECTION Jacksonville Civic Auditorium, FL, 1962. This is a large, single balcony space. A: Coffin-shaped ceiling openings B: Ceiling reflectors C: Upper acoustic volume 10

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1.8. LINE DRAWING: NHK HALL: PLAN - Northern Alberta Jubilee Auditorium, Canada, 1957. A fan-shaped multi-use hall with seating sections in terraces and low ceiling height.

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THE 1970s AND 1980s A new breed of multi-use hall came about in the 1970s and 1980s that were a vast improvement visually and theatrically, but not better much acoustically. These buildings were technologically quite sophisticated and often employed moving ceilings to close off hall volume and create adjustable acoustic environments that met reverberation requirements and reduced seat capacity. Counter-weighted, multi-ton, steel contrivances supported the ceilings, catwalks and lights, but provided only a gross level of acoustic tunability and variability. Similar multi-use halls with sub-par acoustics can be found in Nothern Alberta, Canada and Tokyo, Japan. In all fairness, these halls utilized the best available acoustic knowledge and consultants, but the tools available at the time were crude and unwieldy.

1.9. LINE DRAWING: NHK HALL: SECTION - Northern Alberta Jubilee Auditorium, Canada, 1957. NHK Hall is a more successful example of a 1950s multi-use hall. Note the wide fan-shape is divided into smaller seating zones.

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TOOLS OF THE TRADE Manufacturers had few tools other than winches, cables and counterweights to offer acousticians throughout the 1980s. Frankly, adjustable acoustic devices were more closely related to rigging ship anchors than to the needs of orchestras and opera companies. It is not a surprise that the multi-use hall got a bad reputation within the musical community. They were no match for the well-known pure-concert halls such as Symphony Hall in Boston and Carnegie Hall in New York.

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THE 1990s In the 1990s, Jaffe Holden set about to solve the conundrum of providing acoustic

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036 report

excellence for symphonic performances while at the same time meeting the theatrical and acoustic needs of other types of performance. Three new design directions were developed based on a facility’s needs, end-users, and budget. The first involved a sophisticated orchestra shell called the Concert Hall Shaper. The second employed a system of double pit lifts to bring the orchestra past the proscenium and out into the hall so the auditorium could function as a one-room concert hall. The third approach placed a modified orchestra shell behind the proscenium and around the ensemble to project, blend, and aid on-stage hearing.

Creating a flexible hall with excellent acoustics for classical music was but one piece of the acoustic conundrum. The acoustic challenges involving opera, amplified music, amplified musicals and film or video presentations still needed to be addressed.

at Jaffe Holden, relationships are carefully nurtured. I believe relationships have a direct correlation to the outcome of the design and the acoustics of a space. A team that doesn’t work well together and can’t communicate is likely to create a sub-standard project.

PRESSURE FROM DONORS While well-intentioned, those that fund the construction costs of a new hall often have high goals and expectations well beyond acoustics. Donors know that sound is significant but place more importance on the ability of the new hall to stand as an icon, especially since their name may be on the building. When the idea of the hall becomes more important to the donor than its actual functionality, decisions are often made that compromise acoustics.

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COMPROMISED UPGRADES Compromises to acoustic quality can sneak up on the design team. For example, well-intentioned designers or contractors could swap out materials without consulting the acousticians. Less expensive wall materials often have a lower acoustic mass, seat upholstery perceived to be upgraded often absorbs more sound, and greener air systems are often noisier than the specs reviewed by the acoustician.

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1.10. LINE DRAWING OF BASS HALL: PLAN - Bass Performance Hall, TX, 1998. A 2,000-seat multi-use hall with excellent acoustics, detailed in the Case Studies. A: Orchestra level plan B: Box tier plan C: Concert Hall Shaper orchestra shell FEET

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1.11. LINE DRAWING OF BASS HALL: SECTION - Bass Performance Hall, TX, 1998. A: High ceiling for proper acoustic volume with adjustable acoustic drapes B: Shallow balconies and side boxes for acoustic reflections and adjustable acoustic banners C: Tunable Concert Hall Shaper orchestra shell, D: Orchestra pit/stage extension, E: Forestage reflector 10

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THE NEED FOR MULTI-USE HALLS Communities that have a need for multi-use performance halls often hesitate to embrace them because of the misconception that they are not acoustically successful.

Those quoting acoustic disasters in flexible halls have plenty of ammunition to draw from, as there have been more than a few spectacular failures. Acoustics as a ‘black art’ is a common explanation for these failures. A careful study will reveal that poor acoustic results are often rooted in uninformed clients, bad design, team chemistry, inadequate funding, or inexperienced acoustic designers.

SHORTFALLS Why is it that the acoustics of some halls have failed to meet expectations?

LACKLUSTER PARTNERSHIP Acousticians have advanced computer modeling systems and years of field experience. Yet, there are halls that don’t meet acoustic expectations. My theory is that, while the science of sound is quite well understood, the successful design of these halls requires more than raw scientific facts and years of theoretical experience. It requires a design team that works in total collaboration and partnership. This is why

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COMMUNICATING IDEAS The decisions and design solutions that make the difference between a successful hall and a mediocre one occur when the design and construction team work in total collaboration. When the team communicates and trusts each other, the hall is much more likely to succeed. Since every little detail can affect the acoustics of a hall, it is necessary for the acoustician to be involved in every design decision.

Multi-use hall design is often considered to be the most complex design. Contractors who have built nuclear power plants and military research labs agree that concert halls, theaters and flexible performance halls are by far the most complex projects.

Any slight change can affect the acoustics, structural, mechanical, theatrical and code compliance in unintended ways. This domino effect is what renders multi-use hall design both complex and exciting.

Everyone in the business of hall design must have strong self-confidence in order to make their case during design meetings. However, an exaggerated ego can shut down the collaboration that is necessary for great buildings and great acoustics. It is important to be a good listener and clear communicator.

Fear of losing control can also halt the open communication of ideas. The mentality of ‘my way or the highway’ does not make for great collaboration. The stakes are very high. Reputations and prestige are on the line, as are millions of dollars. Holding on too tightly and micromanaging details can quickly throw a project off track, just as trusting in the team’s abilities encourages respect. In my experience, I’ve learned that respect and trust come more quickly when the team has a successful history of working on projects together. Good relationships strongly affect the outcome of any project. A team that does not work well together is doomed to create a sub-standard facility.

SUCCESS STORIES Engaging the acoustician very early in the design process results in successful halls.

Ideally, acousticians begin the collaboration with donors, owners, and performing arts stakeholders when the initial design concepts are first put forth by the architects.

In the best case scenario, the acoustician is engaged before the rest of the design team and has a hand in influencing the selection of the design architect. In this scenario, it is assured that the lead designer will engage the acoustician in a meaningful way.

Individual groups acting independently, or within silos, often exist on a multi-disciplinary design team. The success of the hall depends upon close collaboration and the removal of these silos. Acousticians, theater consultants, architects, interior designers, contractors and structural, electrical and mechanical engineers must form one cohesive and respectful team in order to achieve success.

There are a number of examples of multi-use halls that have excellent acoustics for various performance types, are affordable to build and operate, and revitalize communities. The Long Center for the Performing Arts in Austin, Texas, was a well-loved municipal auditorium built in the 1950s that has since been successfully transformed into two very flexible halls; the Michael & Susan Dell Hall and the Debra and Kevin Rollins Studio Theatre. These two spaces meet the needs of the Austin Symphony Orchestra, Austin Lyric Opera, and Ballet Austin in addition to touring Broadway productions, headliner acts and local productions. *The figures in this text were created by Kurt Wehmann.

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038 report

Company: Genelec Location: Helsinki, Finland Bronda is a brasserie-style restaurant recently opened by BW Restaurants in Helsinki. It is the fifth and latest addition to the prestigious line of restaurants owned

by Matti Wikberg and Tomi Björck and joins their famous Farang restaurants in Stockholm and Helsinki, and Gaijin and Boulevard Social which are also a favourite with diners in the Finnish capital.

Matti said that the idea for this restaurant had been growing in their minds for a long time and it was just a matter of finding the right location. The restaurant is located at Eteläesplanadi 20, a historical and protected building with large glass walls and many different ceiling heights, some reaching up to seven metres. To acquire the space, which is owned by Dutch property investment company CBRE, BW Restaurants entered a bidding contest alongside five other companies and were chosen as the ideal tenant for the space.

The major design challenge of the entire project was the kitchen with the low ceiling height. The basis for the interior design of the space was to respect the classic look and feel it has while making the most of the height and glass walls which reach all the way to the ceiling and bring the street life in, and the restaurant life outside. The interior designer was the same as for Farang, Matti’s brother Risto of Futu Design.

Audio is an important feature in restaurants and Matti said they wanted to see how an active system would work in Bronda. The brand choice for the audio system was obvious: “As we wanted to have a Finnish brand and the best available in the market, we didn’t really have to think twice about going for Genelec.”

Matti also confessed to being a Genelec fan in his private life too; with a 5.1 system

Photo © Presson Oy

BR ONDA

installed at his home he continued: “I am very pleased that we got to work on this project with Genelec.”

The space itself presents a challenge for audio; a seven metre high dining hall, cocktail bar, and the terrace outside all require slightly different things from audio, but Genelec offered products to match this flexibility requirement perfectly. The quality of sound needed to remain constant in the different spaces on different volume levels, so separate systems for different spaces in the restaurant were installed.

The different areas of the restaurant offer some flexibility too, as the cabinets can be shared to three smaller areas or used as one large space, which seats up to 60 people.

The outside terrace benefits from four ceiling mounted AIW25 loudspeakers, plus 10 4030AWM and 10 8000-402W loudspeakers are employed in the dining hall, the latter being wall mounted, and a further two 7060B loudspeakers hidden in the service stations. No less than 22 loudspeakers are present in the lounge bar; two 4020AWM, two ceiling mounted 7070As, eight 4040AWMs and 10 8000402W wall mounts, and even the bathroom hand wash area is equipped with two 4020AWMs and two 8000-422W wall mounts.

A Crestron control system for the project was designed by Presson Oy of Espoo, and audio processing, correction filters and bass management were achieved using Symetrix Radius processors. Bronda offers a French, Italian, and Spanish-influenced menu, or just cocktails at the bar - always combined with excellent sound re-production from Genelec. www.genelec.com

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BRASS ER I E M O NTB E N O N Company: FrenchFlair Audio Location: Lausanne, Switzerland The Brasserie Montbenon is one of Lausanne’s ‘place to be’ in 2015. The 1908 listed building that used to be the Montbenon Casino now houses a restaurant. This new space is managed by an eclectic team of five, who combine a mix of cuisine, arts and culture through themed evenings, DJ sets and live musical events.

The gigantic, circular main space opens up on a terrace with magnificent views over the Geneva Lake, and locally sourced ingredients used in all dishes on the brasserie menu make for equally exciting views on the plate. The upper mezzanine is a striking feature conceptualised by the architects. Inspired by the neighbouring chains of mountains, the area is employed as a gallery and houses a secondary yet autonomous bar used for private events.

In 2014 the renovation project was given by the city council to Soulfood SA, known for running two other successful venues in Lausanne. The team joined forces with architects Cotting & Josen to replace the ‘80s pastel blue décor and restore, with a contemporary look, the spirit of the building’s mid-century casino.

The refurbishment was carried out with the history of the venue in mind; purposefully directing the eye towards the old walls, ceilings and mouldings.

Hyperson was commissioned to propose a sound system capable of adapting to the project’s demanding architectural constraints. Highly regarded as a premium provider of sound and light technologies for the live industry as well as for the fixed installation market in Switzerland, Hyperson took on the challenge and delighted the architects with loudspeakers from the French manufacturer FrenchFlair Audio.

The new sound system adequately provides quality background music as well as high sound pressure levels for the many DJ sets hosted by the venue. Hyperson studied a hybrid solution with a careful selection of all the elements of the audio system.

A total of 10 AS-5 loudspeakers, taken from FrenchFlair Audio‘s AS range, were installed. The first asset of the AS-5 is its power to size ratio. Housing a five-inch driver with a one-inch compression driver mounted in a coaxial arrangement, the loudspeaker has a rating of 200W continuous power. The linearity of the loudspeaker is particularly useful in this application where a lot of headroom is required.

The architects utilised the design of the products as well as the available customisation options. The RAL9010 colour code, used for the walls, was applied to the loudspeaker casings and the grill cloths chosen to match. Installed all around the restaurant, the FrenchFlair Audio loudspeakers integrate with elegance next to the beautiful mouldings.

Four small-footprint Community VLF208LV subwoofers were installed strategically in two places, hidden within stairs leading from the bars to the main room. For amplification and signal processing, Hyperson chose the path of efficiency with the use of a Yamaha MTX3 matrix and a Powersoft 8k4 Ottocanali amplifier. The amplifier alone handles the 16 loudspeakers spread throughout the Brasserie, and the matrix along with wall plates and mobile tablets allow for the system to be controlled by the staff. www.frenchflairaudio.com

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Images supplied by Marco Sensche

DR. S CH E Y TT A ND PA RT N E R D E N TA L P RACT I C E Company: Amina Technologies Location: Ulm, Germany Dr Stromeyer, Dr Scheytt and Partner dental practice has recently moved into a new modern building in Ulm, Southern Germany. This move has allowed the patients of the dental practice to enjoy magnificent views of the old town in Ulm while listening to calming music throughout the practice.

Since music contributes significantly to the relaxed atmosphere the dentists had in mind for their new premises each treatment room is equipped with Amina Technologies Invisible Loudspeakers paired with Bluetooth amplifiers.

A total of five treatment rooms, a surgery, four hygienist rooms, the waiting room and reception area have been fitted with Amina iQ3 in the walls or ceilings. Each room, thanks to the Bluetooth amplifiers used, can have volume and selection of music independently controlled. The patients can choose from the dentists’ music database or use their own devices to play their choice of music during their treatment.

The iQ3 loudspeakers from the Amina Developer Series were the perfect choice for the dental practice having an appropriate price performance point for medical applications. The loudspeakers create sound through the application of vibrational panel www.mondodr.com

technology (VPT) very much akin to how an acoustical musical instrument such as a violin makes sound. The flat panels are designed to be installed into either walls or ceilings and then rendered invisible through a final 2mm skim of plaster. VPT technology creates even ambient high clarity room filling sound just like a musical instrument, so nowhere in the room is the music either too loud or inaudible; thus creating a relaxing atmosphere and enabling comfortable communication between the dentist and patient.

Additionally for medical applications, plastered over VPT loudspeakers have the additional advantage of no grilles to harbour germs and plastered walls provide easy clean hygienic surfaces.

Dr. Stromeyer said: “Music plays a crucial role in the treatment of patients, creating a pleasant and positive atmosphere in our practice.” When given the option to produce music from an invisible loudspeaker, Dr Scheytt and Dr Stromeyer were thrilled that they could enhance patients’ experience through their own choice of relaxing music, and have no impact on the aesthetics of their new premises. www.amina.co.uk

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MUS I C CA P I TO L TH E AT RE Company: TW Audio Location: Wroclaw, Poland The Music Capitol Theatre in Wroclaw, Poland, recently underwent a complete renovation that included the main parts of the PA system. A left and right cluster each comprising three TW Audio T24 loudspeakers, plus a centre cluster made up of two TW Audio T24 loudspeaker customised in gold were added to the auditorium. This are supplemented by infra subwoofers – which were part of the existing system - mounted left and right below the balcony.

M.Ostrowski’s Lukasz Marcinik, TW Audio’s Polish representative said: “High dynamics and clarity of sound while still maintaining a relatively compact size helped us to make a choice for TW Audio. In fact, the specific equipment models are chosen based on computer simulation using EASE software. This simulation made it possible to find appropriate loudspeaker models, the best possible coverage, sound pressure level and appropriate system size for the room.”

Furthermore, 14 TW Audio M6 loudspeakers - six on the ground floor and eight on the balcony - provide surround effects, a stage system monitoring

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built with nine TW Audio C15, B15 + C15 for drum fill applications were also specified, alongside four TW Audio M15 as side fill on stage. For the small stage six TW Audio M8 were installed around the room for effect purposes.

“Loudspeaker placement, hardware solutions, and simulation results were discussed with the theatre consultant on many occasions. Line-array was not an option due to its size, spatial limitations and the theatre’s needs. Line-array would cover the stage, making it hard for the audience to see. The theatre underwent new acoustic treatment to improve room response. With such a major investment, it is extremely important to carefully examine acoustics, and not focus solely on the equipment,” continued Lukasz.

All loudspeakers are powered by Powersoft K3DSP AESOP amplifiers, which on-board DSP power enables work on dedicated presets for each loudspeaker, room-EQ and time alignment settings. He concluded: “The events held since opening have confirmed that the TW Audio T24 equipment is regarded highly by all listeners, artists and even the investors.“ www.twaudio.de

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OPER FRA NK F UR T Company: d&b audiotechnik Location: Frankfurt, Germany Oper Frankfurt has been home to a vibrant and diverse programme of opera and drama since the city’s original opera house, located nearby, underwent major restoration and development in the ‘50s and ‘60s. Since then the theatre has attracted international audiences and performers, and received praise from leading critics.

When the time came to replace the sound system in the main auditorium size was a key factor. For the in-house team it was crucial the view from the audience should remain completely unaltered. Finding the right solution would require time, care and painstaking accuracy. Peter Tobiasch, Head of the Live Sound and CD Production team at Oper Frankfurt said: “The concrete technical planning we did ourselves, but under the rules of German law we have to buy the loudspeaker system via a dealer, and to make that choice we had to ask seven companies about their prices and conditions. d&b audiotecnik installation partner, NIES electronic, organised the dates, the timing of tests, the calculation of costs for several system versions, and finally a good price for the chosen solution.”

Colour matched d&b audiotechnik T10 loudspeakers are neatly concealed behind the panels on each side of the proscenium arch, with T-SUB and B4-SUB arrays below. Peter explained the complexity of the task: “To make the angles possible that were planned and expected, regarding the house and the real proscenium, and to achieve optimal coverage for the audience area at all levels and balconies, the standard T-Series mounting required careful modification to fit and still adhere to en-

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gineering regulations. Two centimetres more in dimensions would have stopped the project, and this was the only mid-sized line array system with the required quality level which would fit at all.”

Peter was unequivocal about the results achieved by the d&b audiotechnik team and the precision of the installation solution: “No audible interference and phasing, no frequency peaks and dips. It is for me the most important quality aspect that the d&b loudspeakers do not make sound on their own; you just hear voices and instruments. That means music or speech and not loudspeakers. Another philosophy of sound, constructed in another century: clear, natural, and easy to drive with the best results. The entire installed system we use for contemporary requirements, special concerts, and events; even for a busy opera house like this there are many such concerts. I have worked with d&b equipment for 23 years on tour as well as here in our theatre; I had high expectations of sound quality: what we got is just totally another league of sound.”

For Peter and the team, commitment and strong relationships played a key role in the ultimate success of the project. “Two factors made this work: the long and steadfast involvement of d&b, especially with their application support and project management departments, and the super professionalism of Herr Richter at NIES,” he concluded. www.dbaudio.com

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046 report

R ADIO C I TY M USI C H A L L Company: Smart Monkeys Location: New York, USA A new show control system by Smart Monkeys recently helped ensure that key elements of the ‘New York Spring Spectacular’ ran smoothly on Radio City’s Music Hall’s famed art deco stage. The system also offers an expandable platform for future productions.

“Right from the start of our relationship with Smart Monkeys, it was clear that they had the depth and skill-set we needed to bring all the technical elements of the ‘New York Spring Spectacular’ to life on stage,” said Larry Sedwick, Senior Vice President of Production at MSG Entertainment.

Alan Anderson, Designer and Project Manager for Smart Monkeys said: “Our show

control system moves Radio City Music Hall into the 21st Century from a technical perspective without totally disrupting the workflow. The existing system was quite rigid. Now, we’ve introduced a much more flexible system that can be used to build much more complex, event-driven shows.”

Since space is limited backstage in the historic theatre Smart Monkeys designed the show control system as two self-contained units, for redundancy, that can work independently or in tandem. Medialon Manager show control is at the core of the systems.

“The systems are in racks with wheels so they are mobile. Radio City can use them off site for rehearsals then migrate them back into the house for the shows,” Alan explained. “We did exactly that with pre-techs in Pennsylvania for this show. We had a complete control system at our fingertips for rehearsals then packed it up and moved it into Radio City.” www.smart-monkeys.com

V I RGI N H OT E L S Company: Symetrix Location: Chicago, USA Virgin Hotels, the latest venture from Sir Richard Branson’s Virgin Group, debuted in January this year when its first location opened in the Loop area of Chicago.

The company charged with designing and installing the audio systems in these spaces - specifically, several bars, lounges and DJ areas located on the 24th and 25th floors - was New York-based El Media Group.

Co-Founder and Chief Creative Officer Ernie Lake said: “The brief was pretty simple - essentially, to deliver really high quality sound for both background and foreground music, including DJ sets. In terms of the audio processing, we needed to be able to operate three independent zones within the same space - but also combine them into one when required. Having used Symetrix equipment extensively in the past, we knew that the SymNet Radius 12x8 processor would be ideal for this task.”

A potentially sizeable input count was another important factor behind the selection of SymNet Radius, whilst the final installation also makes use of the DSP’s support for Audinate’s Dante media networking technology. The SymNet Radius unit takes its place in a commendably high-end audio infrastructure that also features Symetrix’ ARC-2e wall panel remotes, Lab.gruppen C Series amplifiers, and loudspeakers from Community Professional, On Point Audio and Tannoy.

“It’s a very powerful but simple-to-use set-up that really accommodates our client’s needs,” said Ernie. “SymNet Radius is absolutely integral to the design, and I am also pleased to report that this marks our first-ever Dante implementation. It works flawlessly and the programming was a breeze.” www.symetrix.co

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On the road… with the right material ■ ■

PAR K B O SPH O R US H OT E L Company: K-array Location: Istanbul, Turkey Guests of The Park Bosphorus Hotel are welcomed to the Taksim Gümü Ssuyu district, deep in the heart of Istanbul. When the hotel decided to update its sound system along with a renovation of one of Turkeys most luxurious buildings, formerly the Foreign Affairs Palace 120 years ago, it wanted the very best audio system to be installed. The hotel has been opened by the CVK Group, one of Turkey’s long established investors, and brings to life the luxury of the ancient Ottoman Empire.

The hotel boasts Turkey’s largest presidential suite and among it’s many well-appointed features are delightful food outlets, meeting rooms and event areas with creative concepts. Overlooking the Bosphorus Strait is a 4,500 sq metre terrace, the largest of its kind in Istanbul. In addition, the hotel prides itself in its extravagantly designed food and beverage facilities and its 8,500 sq metre state-of-the-art CVK Safira spa, fitness and wellness centre.

The brief for Lotus Teknoloji was to design the entire audio system for one of the largest hotels in Turkey’s largest city, including all of the rooms, conference facilities, restaurants and outside terraces. The challenge for Lotus was working alongside the owners’ trusted interior designer who had dismissed a number of audio products before meeting Oktay Karasoglu, the President of Lotus. “The designer was exceptionally keen to find a loudspeaker that would not obtrude the marvellous architecture of the building and new features.” commented Oktay.

Oktay has been a K-array distributor for over three years, he introduced the owners and designer to K-array. They were immediately drawn to the compact design but the quality of the sound took them by surprise. Oktay said: “The reason why K-array has been installed so often in Istanbul is the clear quality of sound in a compact size, it’s simple yet powerful.”

The first stage of the ambitious design was the roof and restaurant that consisted of three areas: the banquet room, main restaurant and café roof.

In the banquet room, 16 KP102’s and 36 KK52’s were installed around the edges of the interiors where the room was filled with pillars and sound reverberation. The loudspeakers were supported by eight KMT21’s, 12 KF12MTs and eight KMT12’s as the subwoofers. The team also installed 40 KAN 200 Anakonda loudspeakers to fill around the pillars and curves of the room along with a complete three KR202 systems for DJ set up, optional speech, and conference facilities. The whole room was powered by four KA84 Class D amplifiers.

For the main restaurant Lotus Teknoloji installed 64 KK50Ws, these are line array element, variable beam speakers that have been a popular loudspeaker choice for restaurant installations around the world such as these. They were accompanied by eight KMT12 subwoofers and powered by three KA84s.

Finally, for the roof café 50 KAN200’s were installed to hide around the top edges of the open window walls, this space required speakers that would not obtrude the views of the city and the KAN200’s blended in, invisible to the eye.

The system was supported by six KMT12’s and two KA84 amplifiers. www.k-array.com

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048 report

M ILLEN NI UM STA D I U M Company: PreSonus Location: Cardiff, Wales

ROYALTON W H I TE SA N D M ONTEG O B AY & R OYA LTO N PUN TA CA NA R ESO R T Company: Work Pro Audio Location: Jamaica, Dominican Republic Royalton White Sand Montego Bay and Royalton Punta Cana Resort are two impressive hotel complexes located in Jamaica and the Dominican Republic. The concept of the Royalton resorts, with hotels placed in the most popular tropical destinations of the world, is ‘luxury all-in’; a luxurious product which consist of high quality facilities and exceptional service with maximum attention to detail.

The installation company IBASA Ingeniería selected a BlueLine Digital System from WORK Pro for audio distribution to provide background audio as well as voice messages in both hotel complexes. Thanks to its modularity and scalability, BlueLine Digital has been able to perfectly adapt to the requirements of these two big installations that needed a reliable and powerful audio distribution system.

The system adds a central unit that integrates, on one hand, several emitters with the audio sources to send and, on the other hand, different receivers distributed by the zones where the audio has to be installed (common zones, meeting rooms, outdoor areas). One of the main advantages of BlueLine Digital System is the ease to configure and control it; any user, even without specific knowledge of electronics, can easily select which audio source want to link to each zone, manage the alarms and play voice messages.

This audio distribution system over IP is totally open, which offers a wide range of possibilities for its modification or expansion - it is possible to add receivers and emitters to a network that has been previously set, as well as to change its assignment and even the method for management and control. It is also possible to locally control each area through the wall-mounted devices developed by WORK Pro, making it easy to select the source and to control the volume from the area or room itself. Additionally, a BLC 1 controller adds an auxiliary input for local audio source. www.workproaudio.com

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Since it opened its doors in 1999, Cardiff’s Millennium Stadium has hosted myriad high-profile sporting and music events. For several years a PreSonus digital mixer has been at the heart of the stadium PA used for the various announcements, commentary and entertainment that go to make up such events. And most recently a new StudioLive 24.4.2AI desk has taken the central role in a system supplied and maintained by Llanelli-based PAI Group and operated by AB Acoustics.

AB Acoustic’s Rob Ashton said: “The StudioLive mixers have a really great analogue feel - that’s something I particularly like,” he said. “Obviously they’re very powerful digital mixers, but there’s less hidden away in menus than with other desks. So they’re quick and easy to use, and just feel more ‘hands on’ than those that involve a lot of navigating through screens to make adjustments.

“One of the other valuable things about the new StudioLive 24.4.2AI is the power that it manages to pack into such a compact unit. It’s not too large and cumbersome - in fact, for the size and the affordability I can’t think of anything to rival it.”

As the company charged with the on-going maintenance and certification of the stadium public address system, PAI Group and its Chairman Paul Adams clearly have a vested interest in ensuring the smooth operation and reliability of all supplied components. And the recent installation of the StudioLive is something that meets those criteria. “PAI Group contract AB Acoustics to run the Millennium Stadium system,” explained Paul. “And they were very keen to continue using PreSonus. PAI is an integrator - we’re not an events company - and we were obviously happy to be lead by the wishes of those who would be using the system day-in, day-out as it were.

“We’ve supplied PreSonus desks and other equipment into various clients and the company makes great products. The StudioLive is very intuitive in use and fits the bill perfectly - it’s a lovely product - so we had real confidence in its specification for the Millennium Stadium.” www.presonus.com

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050 REPORT

AUCK LA ND I NTL A I RP O RT Company: JBL Location: Auckland, New Zealand Auckland International Airport is the biggest and busiest airport in New Zealand and it just got bigger with the completion of the first stage of an extension to its international baggage hall. The 300ft extension is capable of housing more than 500 passengers and is one of several construction projects for the airport’s new combined international and domestic terminal. Auckland systems integrator Bartons Sound Systems installed the PA for the new space, which employs JBL Intellivox DC280 digitally steerable, self-powered loudspeaker arrays.

“Until this project, nearly all of the PA loudspeakers used at Auckland International Airport were ceiling loudspeakers or old-style PA horns for exterior areas,” said Rob Waddell of Bartons Sound Systems. “Aside from the fact that we wanted to install something much better, the open-ceiling arrangement of the new baggage area precluded the use of ceiling loudspeakers.” Rob also realised that installing a distributed system of conventional, cabinet-type loudspeakers and the cable to wire all of them

up would not be cost effective.

Rob realised that a beam-steerable loudspeaker would provide the solution and determined the JBL Intellivox DC280 was the ideal choice for delivering intelligible sound at the volumes required to handle the ambient noise level of a baggage claim area. The loudspeakers also needed to overcome the high reverberation times created by the space’s open architecture, ceiling beams, walls and uncarpeted floors.

Rob used EASE AURA acoustic modelling software to determine that only two JBL DC280 loudspeakers would be needed to provide clear, intelligible coverage of the new baggage claim area. The loudspeakers were installed vertically along the wall where the baggage belt is located. “Because the DC280 is only 5.3-inches wide, you really have to look hard to realise the loudspeakers are even there,” Rob noted.

The loudspeakers had to deliver a speech transmission index public address (STIPA) of at least 0.5 because the installation serves both as PA and as an emergency warning and information system. “Management wanted the PA to deliver at least 0.6 minimum STIPA and the JBL DC280 easily achieves this,” Rob pointed out.

“The DC280’s ability to provide highly focused coverage, yet over a large distance, is key in achieving this level of power and intelligibility while overcoming such highly reverberant acoustics.” www.jblpro.com

H AMAD I NTL A I R PO RT Company: Renkus-Heinz Location: Doha, UAE Hamad International Airport covers nearly a third of the city of Doha, with more than half of the airport’s 29 sq km reclaimed from the Arabian Gulf. Its state-of-the-art passenger and cargo facilities will serve more than 30 million passengers and 1.4 million tons of freight per year.

Technology for the airport is equally impressive, including an RFID baggage handling system, high-tech air traffic control and radar systems, and a cutting-edge public address system based around Renkus-Heinz ICONYX digitally steerable line array loudspeaker systems.

The system includes 208 IC8-R, 30 IC16-R, five IC24-R, and two IC32-R loudspeaker columns, all networked to provide individual control of each individual unit. Strikingly, not a single one of the 245 loudspeaker columns installed throughout the facility is visible to the naked eye.

“All the loudspeakers are hidden,” explained Renkus-Heinz Middle East Sales Manager, Norbert Bau. “They have all been flush mounted and concealed behind grilles, or they have been integrated into custom-designed stainless steel pillars. It’s an architecturally stunning facility and the best Iconyx installation I’ve ever seen.”

Much of the credit for this impressive installation goes to the contractors, Consolidated Engineering Systems Co (CESCO), and subcontractors H. Robert Guild Associates (HRGA). “The system was designed by Acoustic Design Ahnert (ADA Gulf), and the entire installation was performed by CESCO, who brought in Robert Guild of HRGA to provide the experience and expertise for this very high-profile project,” Norbert said.

The project also included a massive IED announcement control system and thousands of small ceiling speakers for the voice alarm system. Testing and commissioning the system was performed by HRGA, with support from Renkus-Heinz application engineers.

While the project has not been without its challenges, Norbert credited good planning as an indispensible factor. “The design of the sound system was seriously considered when designing the airport. And ADA Gulf convinced the architect to apply acoustic

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treatment so the acoustic conditions are very good - it sounds very dry.”

Since opening its doors to passengers, Hamad International Airport is quickly becoming an international hub, providing the air travel capacity the city of Doha has been sorely needing, with a sound system that will clearly and intelligibly serve millions of passengers for years to come. As Norbert concluded: “It is an impressive system for a very impressive airport.” www.renkus-heinz.com

GAME CHANGER

BRIGHT MULTI FUNCTIONAL LIGHT

052 report

PISEK TOW N TH E ATRE Company: KV2 Audio Location: Pisek, Czech Republic Quaintly tucked away within the Old town of Písek, in the South Bohemia region of the Czech Republic, a broadening of minds and ideas has been undertaken within the recently renovated Civic Town Theatre.

Písek Town Theatre is a traditional multi-seat venue, originally brought to life in 1868, presenting the entertainment of the day, and then seeing a re-build and update in 1937. In 2010, following local re-elections, the decision was made to completely renew what had become a very out-dated building.

Both the Ministry of Culture and Government provided funding for the renovation, however, before any contracts and works began, officers of the town undertook a policy of visiting several theatres around the country in search of the finest audiovisual experiences available. The Culture Theatre, also based in Písek and which had been updated with new KV2 Audio loudspeakers and control, stood out from the rest. The performance of Culture Theatre’s KV2 Audio system compared to others inspired a new KV2 Audio design for the forthcoming re-build of the Town Theatre.

Expectations and demands were extremely high, with specific wordings that the system had to present and reproduce the ‘spatial and depth of perspective throughout the theatre, regardless of where a listener was seated’, as well as the requirement that the system could not be seen; it had to be completely built-in so as not to waste the plain but functional aesthetics of the new architectural design.

George Krampera of KV2 Audio set to work alongside both the acoustical consultant and chief architect to present a finite solution, where all the above criteria and more was achieved. George explained: “I decided to create a discreet, almost custom design that incorporated some quite revolutionary methods of really bringing out all of the space, depth, performance and naturalness of the performance, from the stage directly out into the audience.’’

This was done by in effect creating two individual systems: one could be called the music system, which is more like a traditional front of house, left and right suspended affair, with ESR215 loudspeakers utilised in columns either side of the stage, hidden in the wall’s acoustical recesses. These very wide dispersion units create an amazing effect so that no matter where you sit within the auditorium, the stereo and

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spatial effect stays with you, creating a very relaxed and natural sound making any reproduction sound full, balanced and not directional in any way.

Coupled to the ESR3000 amplifiers is an intriguing method of employing subwoofers, George took the radical move of placing four 21-inch subwoofers virtually dead centre of the auditorium in the ceiling. The idea behind this was that in this position the seats within the theatre were all within an ideal proportion of similar distance from the subs. Secondly, these bass signals interact with the floor rather than the back wall meaning that with only minimal signal the bass response is ideal in a seated position. Considering that these subwoofers were only presenting the last octave of the whole sound, the coverage and response throughout the room is remarkably smooth with no hot or cold spots, peaks or holes. Four small KV2 Audio ESD6 two-way enclosures are used to provide and continue intelligibility underneath the balcony and are delayed to virtually disappear.

The second system is best described as an ‘actors or play system’. When a play or acting is shown without music, the main system is not usually used. Instead a separate system is employed, complete with special preamplifiers, amplifiers and custom designed and built microphones, again all discreetly installed. This system operates in such a way that the listeners experience the true ‘movements’ forward and back as well as sideways within the stage, creating a truly natural feeling as if immediately at the front of stage, but regardless of where you are actually seated within the theatre.

On the stage itself, KV2 Audio SD8 microphone preamplifiers are used on each side of all microphone inputs, and there are a total of four ESD12 loudspeaker enclosures virtually within each corner of the stage, specifically employed for either special effects and or monitoring. Both ESD12’s and ESD6’s are all driven and controlled via the use of a KV2 Audio SAC2 controller and ESP4000 four-channel amplifier. A further three ESD6 units have been utilised at the immediate front edge of the stage and orchestra pit, again built in to ‘bring the sound down’ from the stage at the immediate front rows.

The civic governors and members of the town have all openly and proudly declared that they feel the theatre system is the best sounding and operationally most successful in the Czech Republic. Both visitors and performers are expressing their appreciation and preference for working within this very special theatre, and several forthcoming projects are due for a similar design. www.kv2audio.com

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054 report

TEMPL E B ETH I SR A E L Company: Martin Audio Location: Melbourne, Australia Since being founded in 1930, Temple Beth Israel (TBI) has been shaping Jewish life in Melbourne, and from a technological perspective has become the first synagogue in Australia to stream Shabbat services online.

However, its sound system had aged to the point where it was no longer meeting the expectations of its increasingly technology-savvy congregation. Rabbi Gersh Lazarow’s vision for a modern, flexible worship space in combination with the strong musical aspirations of Cantor Michel Laloum led to the appointment of Hanson Associates as the acoustics and audio visual consulting engineers.

The consultants duly developed a performance specification for the new sound reinforcement system, identifying the products that would meet its challenging requirements. This resulted in integrators, Urban Intelligence, fitting a discreet OmniLine micro line array from Martin Audio to provide the versatile solution required. The eventual system comprised four 12-element actively processed line arrays, supplied

by Technical Audio Group, Martin Audio’s Australian distributor.

The challenge had been to enhance the worship experience throughout the main synagogue and adjacent Slome Hall - two grand spaces, with significant spatial volume, separated by an operable wall. In combined format these spaces host large services, state funerals and music performances, when it can then accommodate up to 1,100 people. However, the space is generally subdivided, with worship occurring in the main synagogue and community events hosted in Slome Hall.

Hanson Associates’ Mark Hanson confirmed: “We nominated OmniLine because computer modelling, conducted by the engineering team using Martin Audio Display software and EASE, proved it could meet the stringent electroacoustic performance

requirements. The synagogue was also impressed with OmniLine’s small footprint and minimal visual impact.”

Furthermore, Hanson Associates were able to share experience of working with OmniLine in similar acoustically challenging environments. “We knew the extended linear frequency response and superior pattern control of the OmniLines across a large listening area, and their ability to minimise acoustic energy ‘spill’ onto reflective surfaces, would guarantee a high level of system stability for a wide range of room formats,” Mark confirmed.

During large services and events, the operable wall is retracted and the two pairs of OmniLine arrays are used in a main front of house and delay configuration.

However, for most of the year, this wall is extended to separate Slome Hall from the sanctuary. “Via the display software, a second set of FIR filters was exported into an audio DSP preset to generate an entirely different pattern from the same physical array which cuts off sharply at the operable wall at the rear of the room. The results were stunning. Despite the live acoustic in Slome Hall, clarity of speech was instantly restored and the system was able to readily support day to day events at the tap of a touch screen.”

In conclusion, Mark said: “The stability of the electroacoustic system, the success of the microphone and DSP mixer sections, and intuitive tablet user interface for the clergy has meant that complex services and events can be conducted involving multiple speakers and musicians without technical staff and sound engineers, as has been the case previously.” www.martin-audio.com

A LTO N TOW E RS Company: OHM Location: Alton, UK Britain’s largest theme park, Alton Towers, home of CBeebies Land recently welcomed a new feature, Octonauts Rollercoaster Adventure. The design brief for the whole site was to match the loudspeakers to the colour scheme established by the BBC. The sound systems for all of CBeebies Land have been provided by OHM with over 130 CT-6, CT-26 and CW-28 cabinets, finished in 12 RAL colours to match the décor of the different areas. Outdoor loudspeakers have been coated in polyurea to withstand the British weather.

The Big Fun Showtime arena has four HD-MH top cabinets with four CS-18H subs in cardioid arrangement to reduce noise pollution. This system is powered

by Daisy DM3s and DM1s.

The CT-6 and CW-28 are used on the new roller coaster ride and surrounding area. Dante audio networking is used to give each loudspeaker an individual sound which creates great effects while the roller coaster is moving through each speaker zone. This adds to the overall theme of the area with loudspeakers hidden in the hedges, under roof canopies playing the core background track. www.ohm.co.uk

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Practical demonstration and lectures for occupational and audience safety.

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IN FOCUS EUROPE/MIDDLE EAST/AFRICA HOME, MANCHESTER PARADISO, AMSTERDAM TOKAJI AMPHITHEATRE, TOKAJ LIVERPOOL PHILHARMONIC HALL, LIVERPOOL COZA CHURCH, ABUJA

THE AMERICAS

OMNIA, LAS VEGAS DR PHILLIPS CENTER, ORLANDO AVALON, HOLLYWOOD

As is usual, our scope of venues is far and wide, but we kick of the In Focus section with an installation very close to home, and aptly that is its name. HOME in Manchester, UK is a new arts complex that incorporates performance spaces and five cinema screens - the reincarnation of the Corner House - as well as education facilities too. We stay in the UK for another significant installation at the Liverpool Philharmonic Hall, being grade II* listed, the building has a wealth of historic charm, yet it is holding its own in the 21st Century thanks to a recent audio upgrade.

Other projects in the EMEA region this issue include the well-known live music venue, Paradiso in Amsterdam, The Netherlands; an amphitheatre in Tokaj, Hungary and a new house of worship in Abuja, Nigeria for The Commonwealth of Zion Assembly.

From the West, we bring you the latest super club news from Las Vegas in the form of Omnia, a sparkling new performing arts centre, Dr Phillips in Orlando and an old favourite, Avalon Hollywood, which has recently been equipped with some of the newest subwoofer technology currently available on the market.

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Photos by Paul Karalius

HOME MANCHESTER, UK

EUROPE/MIDDLE EAST/AFRICA One of the first things you recognise when you enter HOME is its strong sense of identity. Even the name HOME conjures a specific image in the mind. From the outside the building’s characteristic, triangular shape and rounded corners creates a strong visual identity.

The glazed façade is fitted with irregular spaced fins, which open up where the public areas are located, giving the building a varied and dynamic appearance. And the façade can appear to change colour as

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it reflects the surrounding city and sky going from black, to blue, or green depending on the weather.

Inside the large central wooden staircase is designed to change colour with time. The minimal architectural style and fixtures complement each other so seamlessly without distracting visitors from the large amount of natural light that seems to penetrate the entirety of the building. HOME was designed by RIBA Stirling prize nominated Dutch practice Mecanoo, which was selected following an international design competition in 2011.

As a welcoming creative hub for all, where education, art and performance are all interlinked HOME had high expectations

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following its popular predecessors - HOME is a merger of two organisations, Cornerhouse and the Library Theatre Company. After the closing of the Cornerhouse in early 2015 HOME has opened, no more than 500 yards away on First Street, Manchester, UK. The new international arts centre will commission, produce and present a provocative year-round artistic programme.

Jasper Gilbert Technical Director and Head of Production spoke about the challenges of this very complex project: “What is interesting about the space at HOME is the fact that it is has quite a restrained footprint. But when you look at everything that’s actually inside you see how it stands out and that makes it unique.”

Indeed, it is difficult to imagine from the outside that HOME holds five cinemas screens, two theatre spaces, a four metre, 500 sq metre high gallery, restaurant

and roof terrace. Not to mention bookshop, offices, rehearsal room and a public square all within 6,500 sq metres. Pretty impressive.

At the heart of the building is a 500-seat theatre that stretches across three levels and has been designed so that no seat is more than 10-metres from the action.

This gives it a very intimate and cosy feel, which has been emphasised by the charming block coloured seating throughout. The theatre has been fitted with an EM Acoustics PA system and lighting equipment from Strand.

Discussing the audio set-up Jasper explained that it was specified in conjunction with architects, theatre acoustic consultants, Charcoalblue and Stage Electrics, one of the lead contractors. Paul Gregory, Sound Supervisor discusses the choice of equipment. “I have always been a big fan of EM Acoustics and have used

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its equipment a lot in other projects. It produces good sounding boxes that don’t require any additional processing. Originally I was interested in its compact line array system and a demonstration at the Lowry Theatre was organised. It sounded amazing but it wasn’t right for the space at HOME. The tiers are not very deep, and from the stage to the back of the auditorium is not very far, as a result we wouldn’t have had much to gain from using line arrays. So instead of the we chose a more traditional point source system.”

Jasper interjected: “It’s a traditional 500-seat proscenium theatre which had some restraints because of the nature of the design and for this reason it doesn’t have a full fly tower. The configuration of

the design is quite visually interesting because there are two types of tower that sit either side of the stage. It creates some good side lighting positions but doesn’t allow you to hang a single line array.

We have made some decisions, which are not necessarily industry standard good audio but for sonic reasoning. So some people might be surprised at our choice of equipment and I certainly was when I first came to the project.” Fitted in pairs to the towers on either side of the stage are a number of EM Acoustics MSE loudspeakers, which provide ample coverage for the space. For control an SSL L500 console has been installed. “When we look at the L500 we see it as SSL’s move into live theatre,” said Jasper. “As the desk is

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specifically designed for live use rather than studio use. I think it’s a big move for SSL and for us. We really appreciate all the help they gave us and we hope we can demonstrate the functionally of the L500 to other long term users in the industry.

For the lighting, Lighting Supervisor, Danny Stuart discussed the chosen products. “At the start of the project I was asked to get together a kit list. I began to email different theatres and lighting designers around Britain for their opinion on what to use. This took a couple of years to put together. I got a good response about what kit was already being used, and what kit would be used if money was no option. Lighting Designer, Mike Cunnings who was our consultant also put his thoughts in about what we should use. Once we had a definitive list on what we wanted to use we went from there.” The end result was a selected ETC and Strand fixtures that have been mounted on a truss above the stage. I think it’s very quickly going to

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become what people call an ‘actors space’ its incredibly focussed,” he said about the main theatre. “The two circles will create the best relationship for an actor standing on stage in terms of how close you are. I think that adds something really unique to Manchester.”

The third and fourth floors of HOME house five top-of-the-range cinemas in a range of sizes, allowing for flexibility in programming, have been installed with QSC loudspeakers and 4K digital projectors.

The largest cinema is fitted with trussing allowing an extra element to the spaces’ functionality. “We are using 4K sonic projectors throughout all five cinemas,” said Jasper. “We have the option to add 3D to the main cinema at a later date too, if required. We took the old 35mm projectors from the Cornerhouse and had them fully refurbished, re-built and installed by Sound Associates into cinema one. This gives the option of using high-end digital projection but allow the purists to go back to the 35mm. The smaller screens are

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FRANÇAIS

Le nouveau centre d’art contemporain, de théâtre et de film international de Manchester, le HOME, ouvrira ses portes au printemps 2015.

Le nouveau centre engagera, produira et présentera un programme artistique assez provocateur toute l’année. Le lieu a été conçu par le néerlandais Mecanoo, nominé pour le prix RIBA Stirling et sélectionné suite à un concours de design international en 2011. De l’extérieur, la forme triangulaire et les angles arrondis caractéristiques du bâtiment créent une identité visuelle forte. La façade vitrée est équipée d’ailettes à espace irrégulier, qui s’ouvrent vers le haut où se trouvent les espaces publics, donnant au bâtiment un aspect varié et dynamique. Au cœur du HOME se trouve un théâtre de 500 places sur trois niveaux, équipé de haut-parleurs de chez EM Acoustics et de produits d’éclairage de chez Strand Lighting. Le deuxième théâtre polyvalent, plus petit et de 150 places, dispose également d’équipements de chez Strand Lighting et CCT. Les responsables du HOME étaient très conscients du fait qu’ils devaient entièrement recycler et installer dans le nouveau lieu les équipements du théâtre « Corner House » ayant récemment fermé ses portes. Les troisième et quatrième étages abritent cinq salles de cinéma haut de gamme et de tailles variées permettant une certaine flexibilité dans la programmation. Ces salles ont été équipées d’enceintes QSC et de projecteurs numériques de 4 K. Le plus grand cinéma est équipé de poutres triangulées renforcées offrant un élément supplémentaire à la fonctionnalité des espaces.

DEUTSCH

HOME, das neue Zentrum für internationale moderne Kunst, Theater und Film in Manchester, wird im Frühjahr 2015 eröffnet. Dieses neue Zentrum wird das ganze Jahr über ein herausforderndes künstlerisches Programm in Auftrag geben, produzieren und präsentieren. Der Treff wurde durch die für den RIBA Stirling-Preis nominierte niederländische Praxis Mecanoo entworfen, die 2011 nach einem internationalen Designwettbewerb ausgewählt wurde. Von außen verschafft die charakteristische, dreieckige Form des Gebäudes mit abgerundeten Ecken eine starke visuelle Identität.

Die verglaste Fassade ist mit in unregelmäßigen Abständen angebrachten Lamellen ausgestattet, die sich zu den öffentlichen Bereiche hin öffnen und somit dem Gebäude ein abwechslungsreiches und dynamisches Erscheinungsbild verleihen. Im Kernstück des Gebäudes verfügt HOME über ein Theater mit 500 Sitzplätzen über drei Etagen, das mit Lautsprechern von EM Acoustics und Beleuchtungsprodukten von Strand Lighting ausgestattet ist. Das zweite, kleinere Mehrzweck-Theater mit 150 Sitzplätzen verfügt ebenfalls über Strand-Beleuchtung und CCT-Produkte.

HOME war sehr darauf bedacht, eine Null-Mülldeponie-Organisation zu sein, die Produkte des kürzlich geschlossenen ‘Corner house’-Theaters neu konditioniert und sie im neuen Treff installiert hat. In der dritten und vierten Etage befinden sich fünf Kinos der Oberklasse in verschiedenen Größen, die Flexibilität bei der Programmierung ermöglichen und die mit QSC-Lautsprechern und 4k digitalen Projektoren ausgestattet sind.

Das größte Kino ist mit einem Traversensystem ausgerüstet, das neben der Funktionalität des Bereichs ein zusätzliches Element ermöglicht.

ITALIANO

like private screening rooms being 50-60 seats. And to be able to put 4K projectors in a small cinema is quite a revelation to everyone.

What we have done in the two largest cinemas is put a performance infrastructure in. We can patch panels and fades that allow for screenings with live music.”

HOME was very conscious of being a zero landfill organisation reconditioning products from the recently closed Cornerhouse theatre and installing them in the new venue. There are bee hives fitted on the roof of HOME to encourage wildlife and as much natural ventilation has been included in the design where possible.

Dave Moutrey, Chief Executive of HOME had the final say about the project: “We’ll be a HOME for everyone, staging challenging and critically engaged art, yet connected with our city. We exist to produce outstanding art, create unforgettable experiences, develop skills and make a genuine difference to people’s lives. Being part of HOME, whether you’re an artist, an audience member, or part of our local communities, will be something rather special.”

TECHNICAL INFORMATION SOUND EM Acoustics PA system; QSC loudspeakers; SSL L500 console lighting & visual ETC fixtures; Strand luminaires; 4K digital projectors www.homemcr.org

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HOME, il nuovo centro internazionale di arti contemporanee, teatro e cinema di Manchester, verrá inaugurato ad aprile 2015. Il nuovo centro commissionerá, produrrá e presenterá un programma artistico provocatorio per tutto l’anno. Il locale é stato progettato dai candidati danesi al premio Stirling della RIBA (Royal Institute of British Architects), Mecanoo, selezionati a seguito di una competizione internazionale di design che si era svolta nel 2011. Dal di fuori, la caratteristica forma triangolare dell’edificio ed i suoi angoli arrotondati, creano un’identitá visiva molto forte. La facciata luccicante é ricoperta da alette poste in modo irregolare le quali, aprendosi in corrispondenza delle aree pubbliche, danno all’edificio un aspetto variegato e dinamico. Nel cuore dell’edificio HOME si trova un teatro di 500 posti disposto su tre livelli, il quale é stato equipaggiato con altoparlanti EM Acoustics e con prodotti per l’impianto luci della Strand Lighting. Anche nel secondo teatro da 150 posti (piú piccolo), che viene utilizzato per diverse attività, ritroviamo prodotti della Strand Lighting e della CCT. C’é anche da dire che HOME era molto cosciente del fatto di essere un’organizzazione ad impatto zero, visto che aveva utilizzato gli stessi prodotti del teatro “della porta accanto” che aveva chiuso poco prima. Il terzo ed il quarto piano ospitano cinque super cinema che hanno una grandezza tale da poter permettere flessibilitá nella programmazione e che sono stati equipaggiati con altoparlanti QSC e proiettori digitali 4k.

Il cinema piú grande, inoltre, utilizza dei soppalchi che rappresentano un elemento extra per ció che concerne la funzionalitá degli spazi.

ESPAÑOL

HOME, el nuevo centro para el arte, teatro y cine contemporáneo internacional de Manchester, se estará inaugurando en la primavera de 2015. El nuevo centro contratará, producirá y presentará un provocador programa artístico todo el año. El lugar fue diseñado por el nominado al premio RIBA Stirling, la holandesa Mecanoo siguiendo una competición de diseño internacional en 2011. Desde afuera, la característica del edificio, de forma triangular y esquinas redondeadas, crea una fuerte identidad visual. La fachada vidriada está armada con aletas en espacios irregulares, que se abren donde se encuentran las áreas públicas, dándole al edificio una apariencia variada y dinámica. Dentro del corazón del edificio HOME alberga un teatro con capacidad para 500 asientos a lo largo de tres niveles, los cuales se han equipado con parlantes de EM Acoustics y productos de iluminación de Strand Lighting. El segundo teatro multipropósito, más pequeño, con capacidad para 150 asientos, también cuenta con productos de Strand Lighting y CCT. Hubo mucha conciencia de que HOME era una organización de reciclado, que reacondicionaba productos del teatro Corner House, recientemente cerrado, e instalándolos en el nuevo lugar. El tercer y cuarto piso albergan cinco cines de calidad superior en un rango de tamaños que permite la flexibilidad en la programación. Se han instalado parlantes QSC y proyectores digitales. El cine más grande está equipado con una estructura metálica que permite un elemento extra para la funcionalidad de los espacios.

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PARADISO amsterdam, The netherlands EUROPE/MIDDLE EAST/AFRICA

Located just a few minutes walk from the Rijksmuseum in a converted church building; Paradiso is a music venue and cultural centre in the heart of Amsterdam, The Netherlands. First opening its doors in 1968 as a publically subsidised entertainment centre the venue has evolved over time to the popular music club it is known as today. Recently Paradiso decided to upgrade the sound reinforcement system with products more suited to its needs. After extensive demonstra-

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tions of three different systems the venue chose Adamson for the installation.

Marian Emmen, Head of Technology and Production, and Sound Engineer, Dick Versteegh headed the project. Adamson’s Jochen Sommer, Director of European Operations designed the system while Sound & Light Import, owner Ed De Bree planned the installation.

The main hall in Paradiso has retained many of its original features, including decorative wooden pillars and a generous 60ft high ceiling.

The main room has two balconies, which wrap around three sides of the room and it has a capacity of 1,500 people. “The venue is very

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unique in the fact that the balconies are left and right of the stage,” said Marian. “As some guest artists have explained the audience is so close, they surround you, which can be both overwhelming and emotive. You can hear the audience from the dressing rooms and you can imagine that would make you tense with excitement knowing that soon you will be up on stage.” Marian and Dick worked with Jochen to create a dedicated system that would cover both the balconies and the ground level dancefloor. “Paradiso is known as ‘the pop temple of The Netherlands’ and is recognised all over the world,” explained Marian. “The Adamson system sounded better and warmer than the

other systems, it has terrific low end and looks great. Many famous artists start their career at Paradiso during their first tours. We felt we needed to get back on the map sound wise. And as well as being a big name venue, we felt Paradiso deserved great sound.”

The new system was modelled in Adamson’s Blueprint audiovisual software, which enabled the team to create an accurate model of the complex room and ultimately became an asset in working out the details of the system configuration.

In the main hall, Jochen specified two flown arrays for the main PA each consisting of five Adamson E12 line array enclosures. A fur-

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ther five Adamson E12 line array cabinets plus three Adamson A218 subwoofers are groundstacked left and right of the stage. The system was fitted using a custom stacking frame to connect the A218 subwoofers with the E12 line arrays. Another eight Adamson A218 subwoofers under the stage provided additional low end while two Adamson M15 loudspeaker cabinets cover front fill duties. In order to envelope the room in sound for nightclub events two more arrays, this time made up of two Adamson SX18 enclosures per hang were placed at the rear of the room firing toward the stage.

“We chose to add extra PA at the rear of the hall to create right club sound,” said Marian. “It was very important to give the club nights the sound promoters were looking for, which has been problematic in the past. But we still had to keep the sound contained to keep the neighbours happy. Last but not least, the new system had to work within our budget and be aesthetically pleasing.”

For amplification 14 Lab.gruppen PLM 12K44 amplifiers and two Lake LM 44 processors support the system. All the amplifiers were

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“We felt we needed to get back on the map sound wise. And as well as being a big name venue, we felt Paradiso deserved great sound.”

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 2 DMI Card slots (up to 64 I/O per slot)

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installed in a central location on the right side of the stage except for one that drives the rear fills, and was placed behind front of house.

An Avid D-Show console and Avid Profile system were chosen for front of house mixing requirements. To route the audio from one end of the building to the other Paradiso selected Audinate Dante controller software connected to a Yamaha DME64 processor. The entire system is centrally synced from one Grimm Audio CC1 master clock.

The lighting design at Paradiso uses a variety of fixtures to illuminate the main hall. Above the stage 10 Vari-Lite VXL LED washlights, four Vari-Lite VL2500 spotlights and four Martin Atomic 3000 DMX strobes are truss mounted. Upstage a further six Vari-Lite VXL LED washlights and four Vari-Lite VL2500 spotlights are fitted against the wall. For the front lights seven ADB DN105 zoom profile lights, four Osram PAR-64 1000W halogen lamps in pairs, and three ADB C203 spotlights have been installed. On the stage itself eight PAR64 CAN shortnose beams, four Showtec Stage Blinders 2DMX and four GE Lighting PAR-64 ACL lamps were specified. As well as 12 Martin Professional MAC Aura washes and six Stage Electric Super Par 64 CP61 narrow spots which have been connected in pairs.

For lighting control an MA Lighting grandMA2 full size console was chosen.

For special effects Paradiso have two Martin Professional JEM Hazer Pro compact hazers, two JEM ZR44 hi-mass foggers and an MDG

TECHNICAL INFORMATION SOUND

20 x Adamson E12 line array cabinet; 2 x Adamson M15 loudspeaker; 4 x Adamson SX18 loudspeaker; 14 x Adamson A218 subwoofer; 1 x Adamson Blueprint audiovisual software; 13 x Lab.gruppen PLM 12K44 amplifier; 2 x Lake LM 44 processor; 1 x Avid D-Show console; 1 x Avid Profile system; 1 x Yamaha DME64 processor; 1 x Audinate Dante control software; 1 x Grimm Audio CC1 master clock

LIGHTINg, VISUAL & EFFECTS

16 x Vari-Lite VXL LED washlight; 12 x Martin Professional MAC Aura washlight; 8 x Vari-Lite VL2500 spotlight; 8 x PAR-64 CAN shortnose beam; 7 x ADB DN105 zoom profile; 6 x Stage Electric Super Par 64 CP61 narrow spot; 4 x Martin Professional Atomic 3000 DMX strobe; 4 x Osram PAR-64 1000W halogen lamp; 4 x Showtec Stage Blinders 2 DMX stage blinder; 4 x GE Lighting PAR-64 ACL lamp; 3 x ADB C203 spotlight; 2 x Selecon 1200 MSR followspot; 2 x Martin Professional JEM Hazer Pro compact hazer; 2 x Martin Professional JEM ZR44 hi-mass fog machine; 1 x MDG MAX 3000 fog machine; 1 x MA Lighting grandMA2 full size console www.paradiso.nl

it’s what you do with it that counts. www.d3technologies.com

X-LINE ADVANCE Forward-thinking line-array design starts here.

The result of rigorous R&D, the introduction of the new X-Line Advance family sees Electro-Voice push the parameters of line-array performance to the next level.

X-Line Advance utilizes state-of-the-art EVengineered components and incorporates a range of innovative new features, all of which work together to surpass the capabilities of other line arrays, and all in a significantly more compact, flexible, and quickerto-set-up package.

KEY FEATURES: • An unprecedented performance-to-size ratio for installed and concert sound applications.

• Advanced audio quality and control via a host of new and exclusive EVengineered technologies, including next-generation Hydra wave-shaping devices, high-output transducers, and proprietary FIR-Drive optimization.

• New-look EV industrial design and new Integrated Rigging System combine streamlined appearance with simplified setup.

The first wave of X-Line Advance products includes two full-range elements (X1-212/90 & X2-212/90) and the X12-128 — the most powerful subwoofer EV has ever developed.

Designed, engineered, and tested for ultimate reliability by Electro-Voice in the USA. Learn more at: www.electrovoice.com/X-LineAdvance

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“It was very important to give the club nights the sound promoters were looking for, which has been problematic in the past.”

MAX 3000 fog machine. Artists can also request the use of two Selecon 1200 MSR followspots or a mirror ball.

Reflecting back on the project Marian said: “It’s not just been about the equipment we used, but the fact that Ed and Jochen have been so cooperative and worked tirelessly to make this installation a success. Dick, myself and everyone at Paradiso are very touched by the sound quality we now have, it still brings tears to our eyes when we hear it.”

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TOKAJI AMPHITHEATRE Tokaj, HUNGARY

EUROPE/MIDDLE EAST/AFRICA

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“When we modelled the predicted behaviour of the system we achieved our goal - a maximum 6dB difference on a minimum of 95% of the auditorium.”

Set against the backdrop of the Tokaj Mountains, in a region of Hungary known for its wine and green countryside is the Tokaji Amphitheatre. Located just outside the city of Tokaj, the open-air arena was built in the area known as ‘Patkó Bànya’- the horse shoe pit - originally a stone quarry that sat unused for decades. During the ‘90s the space began to be used for the occasional festival and other events and it was through this that Istvàn Dévald, Director of the Tokaji Amphitheatre saw the spaces’ potential. Taking inspiration from the Römersteinbruch Arena in St. Margarethen, Austria, Istvàn envisioned making the quarry a fully functioning open-air theatre.

Tamas Fazekas, CEO of ZAJ Show Lighting, helped Istvàn by designing the audio and lighting set-up in every aspect for the space.

The main brief for the audio system was it had to reach an audience of 2,500 people comfortably. Tamas said: “The geography was a key factor in the process. The quarry wall is 30 metres high and the Tokaj Mountain, which sits next to the arena, rises above another

400 metres. Not to mention the heavy winds that come down from the Hungarian Plain, which make for some strange meteorological conditions. The stage is under the mountain wall so the orientation of the sound system was going to be in the direction of the wind. We had to have a system we could over scale, whilst still being able to output a variety of audio styles.”

Tamas decided to design the audio system with high variability that could handle prose, musical, and live concert events without having to be monitored or under a roof. Furthermore, the system had to be mobile for use in small events in the city and durable against the elements.

Tamas selected a number of Outline products for this highly varied project. The main goal was to have smooth coverage across the whole 2,500-seat auditorium. The main PA comprises 16 Outline Butterfly C.D.H 483 high-pack line arrays, which can be used in conjunction with four Outline Mantas line arrays, that have the

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TECHNICAL INFORMATION AUDIO 16 x Outline Butterfly C.D.H 483 high pack line array cabinet; 16 x Outline DBS 18-2 subwoofer; 12 x Outline Mantas line array cabinet; 8 x Outline T7 two channel amplifier; 8 x Outline T11 power amplifier; 6 x Outline T5 DSP amplifier; 2 x Roland M-480 mixing console; 1 x Roland M-200i mixing console; 1 x Sennheiser EW IEM wireless monitoring system ACADEMY3 32 x DTS Nick NRG 1201 moving head projector; 36 x Selecon PL1 LED fresnel; 24 x Selecon PL1 LED luminaire; 16 x SGM SixPack LED pixel binder; 8 x SGM Q-7 flood blind strobe; 18 x PR Lighting ARC LED 3108 high powered LED reflector; 48 x Wave-Lighting 180W LED-PAR; 24 x SLD Grappa-3 LED fixture; 1 x Jands Vista L5 lighting & media console; 1 x Jands Vista T2 console; 1 x Nicolaudie Sunlite STICK-DE3 lighting controller www.showlighting.zaj.hu

option of being hung from the roof or on separate array towers.

The front fills can be placed under the arrays or on the apron of the stage. The 12 Outline DBS 18-2 subwoofers can be situated on two sides; under the arrays with the option of being cardioid or placed in front of the stage. The apron of the stage is a one metre-high arched solid structure, after testing several sub configurations ZAJ found the wide line subwoofer configuration to be the most effective.

It provided the best coverage for all the seats in the 60 metres deep

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auditorium. Eight Outline T7 two-channel amplifiers, six Outline T11 amplifiers and two Outline T5 DPS amplifiers power the main PA system. The amplifiers are equipped with DSP and Ethernet cards so they can be quickly and easily tuned to any variation. They can be fed

by AES signals but Tamas decided to configure the analogue inputs as a backup, so they can be used with any smaller mixing consoles without needing to be reconfigured.

For the side fills a further eight Outline Mantas line arrays are

The Café D’Anvers installation comprises the GS-WAVE series 3-metre dancefloor stack with GSA technology, and the XY Series in-fill speakers. All powered by Powersoft’s high performance K Series amps with built-in DSP. This comprehensive line-up guarantees versatile installations that deliver superb sound and complete coverage throughout venues of every shape and size.

cafe d’anvers | antwerp | belgium

PEE_PRO-AUDIO-MONDO_APRIL15.indd 1

visit www.pioneerproaudio.com to learn more about our installations at ibiza venues BOOOM!, ushuaÏa, pikes and km5

Pioneerproaudio

24/04/2015 16:41

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FRANÇAIS

Les montagnes de Tokaj sont en toile de fond de l’amphithéâtre de Tokaj.

Située en périphérie de la ville de Tokaj, l’arène en plein air fut construite dans la zone de « Patkó Bànya » ou le « trou en forme de fer à cheval », qui était une carrière de pierre inutilisée depuis des décennies. En s’inspirant de l’arène de Römersteinbruch en Autriche, Istvàn Dévald, le directeur de l’amphithéâtre de Tokaj, imagina de transformer la carrière en un véritable théâtre. Istvàn reçu l’aide de l’entreprise ZAJ Show Lighting qui conçut et créa les technologies audio et d’éclairage sous tous leurs aspects. Le principal système de sonorisation, 16 modules de haut-parleurs à haut rendement Butterfly C.D.H 483 conçu par Outline ont été choisis et peuvent être utilisés simultanément avec quatre line-array Mantas du même fabricant, et sont soient suspendus du toit ou utilisés en colonnes d’enceintes verticales. Les 12 caissons de basse DBS 18-2 de chez Outline peuvent être placés des deux côtés, sous les colonnes d’enceintes en configuration cardioïde ou devant la scène. Huit amplificateurs bicanal T7 de chez Outline, six amplificateurs T11 et deux amplificateurs T5 DPS aussi du même fabricant alimentent le principal système de son. Pour les appoints, huit autres enceintes compactes Mantas de chez Outline sont alimentées par quatre caissons d’extrêmes graves, DBS 18-2, quatre amplificateurs T5 DPS et deux amplificateurs T11 tous de chez Outline. Le choix des consoles de mixage de l’amphithéâtre se posa sur deux tables de mixage M-480 et un système de mixage M-200i, toutes deux de chez Roland. Un système de gestion sans fil EW 300 IEMa de Sennheiser fut installé pour contrôler les microphones. Les appareils d’éclairage choisis par Tamas comprennent un système d’éclairage de scène LED avec des produits de chez Philips-Selecon et SGM, avec également des luminaires SLD Grappas créés par ZAJ et des poursuites de chez Lycian Stage Lighting.

supplemented by four Outline DBS 18-2 subwoofers and powered by four Outline T5 DPS amplifiers and two Outline T11 amplifiers.

“We have designed a very strong side-fill system, on a truss width of 24 metres, which can be used for theatrical productions without the use of wedges. It can also be used with the main PA system for a more precise coverage or as a separate system,” explained Tamas.

“We chose Outline products because of the variability and sound quality. When we modelled the predicted behaviour of the system we achieved our goal - a maximum 6dB difference on a minimum of 95% of the auditorium. This meant that the seats on the front row shared the same sound experience as the seats on the last row. So regardless of where you sat the music will sound the same.”

Tamas continued: “During the opening ceremonies of the amphitheatre we went for a classic two arrays hung from the roof with a wide arced line subwoofer configuration and placed the front fills on the subwoofers. The second event was a piano show that was supported by a philharmonic orchestra and a choir. During this performance there was over 140 people on stage and we were able to use the same setup. It has worked well for other music genres too.”

For mixing requirements in the amphitheatre two Roland M-480 mixers and a Roland M-200i mixing system were selected. A Sennheiser EW 300 IEM wireless monitoring system was installed for control of the wireless microphones.

For the lighting at Tokaji, Tamas and his team had to consider the environmental conditions of the venue, keeping the focus of the lighting on the stage whilst still providing enough light for the guests to see their surroundings.

Tamas selected a complete LED based stage lighting system, with products from Selecon and SGM, but also included SLD Grappas manufactured by ZAJ Group and Lycian followspots. Mounted on the truss above the main stage are 32 DTS Nick NRG 1201 moving head projectors, 36 Selecon PL1 LED fresnels, 24 Selecon PL1 LED luminaires and 48 Wave-Lighting 180W LED-PAR fixtures.

While 24 SLD Grappa-3 LED and eight SGM Q-7 flood blind strobes are situated in towers either side of the auditorium pointing towards the stage. The complete system is controlled by a Jands Vista L5 lighting and media console featuring a large HD pen-tablet screen and graphically based user interface, for quick and simple operation.

As a backup a Jands Vista T2 console supplements the desk.

In the venue’s stonewalls and surrounding areas ZAJ fitted 18 PR Lighting ARC LED 3108 high powered LED reflectors and 16 SGM SixPack LED pixel binders to create an atmospheric and a colourful background for the stage and arena. The spectator area and stonewall lighting is controlled by a Nicolaudie Sunlite STICK-DE3 lighting controller.

In such a naturally beautiful and unique location it isn’t hard to see why the Tokaji Amphitheatre is appealing place to visit, and with the audio and lighting designed for all genres of music - from opera, classical, pop and even techno it can cater for all tastes.

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DEUTSCH

Vor der Kulisse der Tokajer Berge liegt das Tokaj-Amphitheater. Die OpenairArena direkt vor der Stadt Tokaj wurde in der unter dem Namen ‘Patkó Bànya’- die Hufeisengrube - bekannten Zone erbaut und war ursprünglich ein Steinbruch, der Jahrzehnte lang nicht mehr in Betrieb war. Istvàn Dévald, der Direktor des Tokaj-Amphitheaters, liess sich durch die Römersteinbruch-Arena in Österreich inspirieren und wollte aus dem Steinbruch ein richtiges OpenairTheater machen. ZAJ Show Lighting unterstützte Istvàn bei der Konzeption und Schaffung der Audio- und Beleuchtungstechnologie in jedem Aspekt für den Raum. Im Haupt-PA-System wurden 16 Outline Butterfly C.D.H 483 High-Pack-Line-Arrays ausgewählt, die zusammen mit vier Outline Mantas Line-Arrays benutzt werden können, die über die Option verfügen, vom Dach oder von einem separaten Array-Turm hängen zu können. Die 12 Outline DBS 18-2 Subwoofers können an zwei Seiten platziert werden; unter den Arrays mit der Option Kardioide oder vor der Bühne. Acht zweikanälige Outline T7 Verstärker, sechs Outline T11 Verstärker und zwei Outline T5 DPS Verstärker versorgen das Haupt-PA-System. Für die Seitenfüllungen werden weitere acht Outline Mantas Line-Arrays über vier Outline DBS 18-2-Subwoofer, vier Outline T5 DPS-Verstärker und zwei Outline T11-Verstärker versorgt. Für die Mischpulte im Amphitheater wurden zwei Roland M-480 Mixer und ein Roland M-200i Mixingsystem ausgewählt. Ein kabelloses Sennheiser EW 300 IEM Überwachungssystem wurde für die Kontrolle der kabellosen Mikrofone installiert. Für die Beleuchtungskörper hat Tamas ein komplettes LED-basiertes Bühnenbeleuchtungssystem ausgewählt, das von Philips-Selecon und SGM aus produziert, aber auch SLD Grappas von ZAJ und Lycian Followspots enthält.

ITALIANO

Con alle spalle i monti Tokaj, troviamo l’anfiteatro Tokaj che é posizionato appena fuori dalla cittá di Tokaj. Questa arena all’aperto é stata costruita nell’area meglio conosciuta come “Patkó-Bànya” (la fossa a ferro vi cavallo), originariamente una cava di pietra che era rimasta inutilizzata per anni.

Prendendo ispirazione dalla Römersteinbruch Arena (in Austria), il direttore dell’anfiteatro Tokaj, Istvàn Dévald, ha avuto un’ ispirazione tanto da rendere la cava di pietra un vero e proprio teatro all’aria aperta. Zaj Show Lighting ha aiutato Istvàn nel progettare e creare, per lo spazio, la tecnologia audio-luci nel minimo dettaglio. Nel sistema PA principale sono stati scelti i line array Outline Butterfly C.D.H. 483 high-pack, i quali possono essere utilizzati in combinazione con quattro line array Outline Mantas che possono essere appesi dal soffitto oppure da torri per erray separate. I 12 Outline subwoofer DBS 18-2 possono essere posizionati su due parti: o sotto gli erray fungendo da cardioidi, oppure posizionati di fronte al palco. Il principale sistema PA utilizza otto amplificatori Outiline T7 a due canali, sei amplificatori Outline T11 e due amplificatori Outline T5 DPS. Per i lati troviamo altri otto line array Outline Mantas che sono potenziati da quattro subwoofer Outline DBS 18-2, quattro amplificatori Outline DPS T5 e due amplificatori Outline T11. Per quanto riguarda le console, per l’anfiteatro sono stati scelti due mixer Roland M-480 ed un sistema di mixaggio Roland M-200i. Per quanto riguarda il controllo dei microfoni senza fili, é stato installato un sistema wireless di monitoraggio Sennheiser EW 300 IEM. Per il sistema luci, invece, Tamas ha scelto un sistema di illuminazione del palco completamente a LED, con prodotti della PhilipsSelecon e SGM, come anche SLD Grappas della ZAJ e fondografi Lycian.

ESPAÑOL

Emplazado contra el fondo de las Montañas Tokaj se encuentra el anfiteatro Tokaj. Ubicado justo a las afueras de la ciudad de Tokaj, el teatro al aire libre fue construido en la zona conocida como Patkó Bànya’ - la pista para lanzar herraduras - originalmente una cantera de piedra que estuvo sin utilizarse durante décadas. Inspirándose en el Römersteinbruch Arena en Austria, Istvàn Dévald, Director del anfiteatro Tokaj, concibió hacer de la cantera un teatro real al aire libre. ZAJ Show Lighting colaboró con Istvàn diseñando y creando la tecnología de audio e iluminación en todos los aspectos para el espacio.

En el sistema PA original se eligieron 16 líneas de formación acústica Outline Butterfly C.D.H 483, las cuales se pueden utilizar junto con las cuatro líneas acústicas Outline Mantas, que tienen la opción de colgarse del techo o de colocarse en torres acústicas separadas. Los 12 sub-woofers Outline DBS 18-2 pueden situarse en dos lados; debajo de las líneas acústicas con la opción de ser cardioide o ubicarlos en frente del escenario. El sistema PA principal es alimentado por ocho Outline T7, dos amplificadores de canales, seis amplificadores Outline T11 y dos amplificadores Outline T5 DPS. Otras ocho líneas acústicas Outline Mantas son alimentadas por cuatro subwoofers Outline DBS 18-2, cuatro amplificadores Outline T5 DPS y dos amplificadores Outline T11 para los rellenos de los laterales. En cuanto a las consolas para mezcla en el anfiteatro se seleccionaron dos mezcladores Roland M-480 y un sistema para mezcla Roland M-200i. Se instaló un sistema de monitoreo inalámbrico Sennheiser EW 300 IEM para controlar los micrófonos inalámbricos. Para los artefactos de iluminación, Tamas eligió un sistema completo de iluminación para el escenario a base de LED con productos de Philips-Selecon y SGM, pero también incluyó SLD Grappas creadas por ZAJ y seguidores Lycian.

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Photos by Deana Kay

LIVERPOOL PHILHARMONIC HALL LIVERPOOL, UK

EUROPE/MIDDLE EAST/AFRICA Religious ideology and an array of iconic landmarks are all that separate Liverpool’s Anglican and Catholic Cathedrals, situated at either end of Hope Street. One such landmark is Liverpool Philharmonic Hall; the Grade II* listed building, which is home to the Royal Liverpool Philharmonic Orchestra and host to more than 250 concerts and events each year. It is from the location of the hall built upon the site of eponymous Merchant William Hope’s home - that the street derives its name, rather than the houses of worship that bookend this mecca for arts enthusiasts.

Opened in August 1849, the original Philharmonic Hall was fire damaged beyond repair, and replaced by the present building in June 1939. A substantial amount of money has been invested in the hall since its 19th century inception, including a £10.3 million

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refurbishment carried out in 1995, which is testament to the importance of this venue.

Having successfully worked on the neighbouring Everyman Theatre, Gilbert-Ash of London was chosen as the principal contractor for the £13.8 million renovation of the hall that is currently underway.

The refurbishment is due for completion in spring 2015; coinciding with the 175th anniversary of the founding of the Royal Liverpool Philharmonic.

Architects Caruso St. John were tasked with designing the restoration in line with criteria set out in the Philharmonic’s second stage application to Arts Council England’s Capital Investment Programme, which invested £7.5 million of the total budget. Design specifications included rebuilding and improving the stage and

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choir performance areas in the auditorium, increased environmental sustainability - including the ability to reduce power consumption across the building’s utilities - and the creation of an exciting new performance space for a range of small-scale concerts and learning events.

Although not part of the capital development project, a major refurbishment that has taken place simutaneously is an update to the venue’s sound system. Liverpool-based audiovisual design and installation firm, Adlib was chosen to supply and install a system after a competitive tendering process.

The challenge facing Roger Kirby, Installation Manager at Adlib, was to select a multi-functional sound system befitting one of the UK’s most significant musical institutions. Roger explained the decision to undertake the country’s first Coda ViRAY installation at the historic venue: “Coda’s ViRAY is impressively coherent; it has a high output and looks elegant, which is essential in a building like Liverpool Philharmonic Hall with its art deco style architecture. In short, as a compact three-way symmetrical line array module, specifically designed for applications like this, ViRAY ticked all the boxes.”

Roger worked closely with Adlib Managing Director, Andy Dockerty and Edgar Krueger, who is Technical Support Manager at Coda Audio while Adlib’s System Technician, George Puttock, coordinated the installation and system commissioning.

The main PA hangs comprise 14 flown Coda ViRAY on either side, supported by three sensor controlled Coda SC2-F bass units flown immediately behind the main arrays. The SC2-F bass extension system operates in the 35Hz - 200Hz range, boosting lower range energy and control.

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At the heart of the ViRAY sound is the newly developed dual diaphragm planar-wave-driver - a two-way coaxial system utilising two concentric annular ring diaphragms. Each driver covers a smaller frequency range - for increased power handling, high dynamic and very low distortion. The larger annular mid-range diaphragm covers the 600Hz - 6.5kHz frequency range with a smooth linear response.

Three Coda SCP subwoofers, with dual 18 inch drivers, are floormounted each side of the stage. Coda’s award winning sensor controlled technology, which combines a closed loop feedback control with large, low-noise laminar flow ports, is featured in both the flown SC2-F bass extensions and the SCP subwoofers. This enables the loudspeakers to offer increased output and a wellcontrolled response.

With the exception of two semi-circular stair turrets on either side of the canopied entrance, and decorative etched glass panels by celebrated artist Hector Whistler, the imposing art deco exterior of the building belies the gentle interior curves. In order to accommodate the curvature of the stage, the package included a series of four Coda TiRAY full range front fills, which can be used across the stage apron to cover the front row of the stalls. Located just upstage of the proscenium arch, eight Coda G308 monitors are also an integral part of the installation deployed as choir-fill monitors, and used to deliver audio coverage to the stage and the upstage choir stalls.

Richard Curtis, Technical Manager for the Liverpool Philharmonic, said of the TiRAY solution: “Visiting engineers and our audiences have commented very positively about the quality of the sound and the TiRAY front fills eradicate any sightline issues, while still providing an excellent sonic experience for our audiences.”

A total of 14 lightweight Coda Linus 10 DSP amplifiers power all of the ViRAY elements. Also offering sensor control, the dual channel networkable amplifier with DSP comparator delivers 10kW of clean power in a 19-inch 2U rack.

The front of house console - a Soundcraft Vi3000 - is connected to the Linus 10 amplifier racks at side stage via a dedicated returns multicore. Additional signal processing and control for day-to-day peripherals is managed by a BSS Soundweb BLU-160 processor; chosen for its flexible switching and its routing of balanced signals for the SCP subwoofers, in fills and choir-fill loudspeakers.

Adlib selected a reliable multi-feature Soundcraft Vi3000 as the

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“Coda’s ViRAY is impressively coherent; it has a high output and looks elegant, which is essential in a building like Liverpool Philharmonic Hall with its art deco style architecture.” front of house desk. The 96 channel console provides excellent sound, an intuitive user-interface and is highly adaptable. Complete with 36 faders, 24 mono / stereo busses and new aesthetics, it has a more efficiently designed control surface and updated 3D graphics. An impressive sweeping black screen panel with four Vistonic II touchscreen interfaces makes the Vi3000 unique among consoles of its class, as it can be programed and used simultaneously by multiple engineers. UK distributor Sound Technology supplied the BSS and Soundcraft equipment.

Speaking about Liverpool Philharmonic Hall, Joe Anderson OBE, Mayor of Liverpool commented: “The refurbishment will give a new lease of life to this much-loved building, enabling it to be enjoyed by generations to come. I am delighted the city council has been able to support this important project.”

TECHNICAL INFORMATION AUDIO 14 x Coda ViRAY line array cabinet; 3 x Coda SC2-F bass unit; 3 x Coda SCP subwoofer; 4 x Coda TiRAY loudspeaker; 8 x Coda G380 monitor; 14 x Coda Linus 10 DSP amplifier; 1 x BSS Soundweb BLU-160 processor; 1 x Soundcraft Vi3000 mixing console www.liverpoolphil.com

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SEE NEW WATCHOUT AT INFOCOMM 15 JUNE 17-19 BOOTH 2052

TECNOMULTIMEDIA BRASIL MAY 12-14 BOOTH 46

Image courtesy PRO4MEDIA Poland

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COZA CHURCH abuja, Nigeria

EUROPE/MIDDLE EAST/AFRICA The Commonwealth of Zion Assembly (COZA) is an international church, and all of its members share the same belief, that they have been envisioned by God to reach out to the unreached in our generation. The mandate states: ‘The Commonwealth of Zion Assembly worldwide is poised to raise men and women who would take over in every sector and sphere of life. We are a people with a kingdom understanding, called by God to bear rule on the earth.’

As followers of the Christian faith continue to grow in Africa, Nigeria in particular, COZA recently added another auditorium to its portfolio to provide worshippers with the largest outlet to date, to praise God. Having worked with COZA since 2008, when the time came to appoint a system designer and integrator for the new auditorium, located at Guzape Hills in Abuja, the capital city of Nigeria, COZA’s Senior Pastor, Biodun Fatoyinbo looked no further than Olushola Aremu, Managing Consultant at Acoutech Associates Ltd. “Nigerian music is generally loud and heavy, with a wide dynamic range. The Senior Pastor of COZA loves good music and being a vocalist and drummer himself, he wanted a sound system that would be clean and crisp with plenty of headroom to handle the style of

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music at COZA. The church wanted a front of house and a stage mix, as well as a separate mix for media and broadcast. The design also needed to be aesthetically pleasing and the product choice, rider friendly,” explained Olushola.

The COZA new auditorium stretches across 2,450 sq metres, with a further 700 sq metres designated to a foyer area. Once Olushola

TECHNICAL INFORMATION SOUND 24 x L-Acoustics KARAi line source array; 12 x L-Acoustics SB18i subwoofer; 8 x L-Acoustics 115XT HiQ stage monitor; 2 x L-Acoustics 12XTi coaxial loudspeaker; 12 x L-Acoustics 8XTi coaxial loudspeaker; 6 x L-Acoustics LA8 amplified controller; 8 x L-Acoustics LA4 amplified controller; 2 x Midas PRO6 mixing console; 1 x Venue Profile mixing system cozanigeria.org.ng

“Designing and installing this audio system for COZA means a lot for us as a company and for me as a systems designer. I have received commendations from several sound engineers and designers from various parts of the world through social media.”

received the architectural drawing for the auditorium, he and his team used Loudspeaker Acoustical Room Analyser (LARA) software to model the building, and then used Soundcalcs to analyse the acoustics of the room and predict the power requirements. After carefully considering three brands, which he deemed the most appropriate for the job, he selected L-Acoustics. “The final design was completed using Soundvision. We played around with different configurations in Soundvision until we got the best configuration and loudspeaker placement. We also received support from the applications engineers at L-Acoustics in the design process,” he continued.

The system comprises four L-Acoustics KARAi line source arrays, each with six enclosures per hang.

“The KARAi system has a 110 degree horizontal dispersion pattern, which provides an even sound coverage throughout the auditorium with lots of headroom to meet the demands of high dynamic range of the church,” said Olushola. “What I love about the L-Acoustics line source arrays are the DOSC waveguide. The coherence of the driver assembly in the cabinets are also amazing, it gives you less headache when tuning or optimising. The loudspeakers are not harsh, you can sit just a few metres from the array without the fear of going deaf.”

The line arrays are supplemented by 12 L-Acoustics SB18i subwoofer that are recessed into the stage to avoid obstructing sightlines. “The subwoofers are just amazing, they sound so deep and clean; the SB18i is one of the best subwoofers that I have heard.”

A combination of four L-Acoustics 8XTi coaxial loudspeakers and two L-Acoustics 12XTi were specified as front fills, while eight L-Acoustics 115XT HiQ cabinets are used for stage monitoring. “I also love the coaxial products from L-Acoustics, the HiQ Series fitted perfectly as stage monitors. They provide high SPL with very great feedback rejection.”

Finally two L-Acoustics Arcs Wide and an L-Acoustics SB18m subwoofer are flown either side of the stage as side fills. “One other thing that worked in favour of L-Acoustics was the weight of the arrays.

There were weight limits for the auditorium and we needed a loudspeaker system that would provide excellent performance yet was light in weight; L-Acoustics fitted all the way.” All the loudspeakers are driven by L-Acoustics LA8 and LA4 amplified controllers.

There are three mixing consoles installed at the new auditorium, two Midas PRO6’s and one Avid Venue Profile. Olushola specified and installed the Midas PRO6 digital mixers for front of house and stage mixes, while the Avid Venue Profile operates as a media and broadcast mixer. “We used the Midas PRO6 due to the quality of its preamplifiers and the fact that it would handle the demands of music at COZA. We opted for the Avid Venue Profile because of the ease of multi-track recording with ProTools.

Signalling is carried via AES/EBU using the Midas DL451 modular I/O box fitted with the DL452 AES/ EBU digital cards,” explained Olushola. “The microphone split is carried out using a Midas DL431 5-way splitter. The DL431 consists of two digital splits connected using CAT5 cables and three analogue splits.

The DL371 DSP engine drives the system and connects via multimode fibre optics cabling.” Clarifying his choice: “We chose the Midas and L-Acoustics combination because we were able to run all digital signals from the mixer to the amplifiers for front of house.”

Concluding Olushola said: “Designing and installing this audio system for COZA means a lot for us as a company and for me as a systems designer. I have received commendations from several sound engineers and designers from various parts of the world through social media. We seem to have won a different kind of respect in the industry, so many people see us in a different light.

“COZA is a church with quite loud and dynamic music. So while designing, I wanted a system that could handle the musical genre of the church. L-Acoustics is known for fidelity, clarity and a great dynamic range. The clarity and warmness of the boxes and the dynamic range of the amplifiers are amazing. The KARAi installation coupled with a network of high-end digital mixing consoles have proven to be a very great system for this church. If I were to make the choice all over again, L-Acoustics would still be my choice.”

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LAS VEGAS

OMNIA THE EDM SCENE IN THE US CONTINUES TO THRIVE AND ITS ENTERTAINMENT CAPITAL, LAS VEGAS, IS AT THE EYE OF THE STORM. CLUBS ARE GETTING BIGGER AND REPORTED DJ FEES ARE MORE SWOLLEN THAN EVER. OMNIA RECENTLY JOINED THE PARTY - ALL 75,000 SQ FT OF IT AT CAESERS PALACE.

las vegas, USA The Americas

In a very short space of time, Hakkasan Group has established a name for itself in nighttime entertainment. Having expanded on top of a collection of high-end restaurants following its strategic partnership and subsequent acquisition of Angel Management Group, the Abu Dhabi-based business has made its mark with an uncompromising approach to creating supersonic nightclubs.

Luxury service, opulent design and ground-breaking technology are at the core of these venues - Hakkasan in Las Vegas, HQ in Atlanta City, Bootsy Bellows in Aspen and West Hollywood, and Hooray Henry’s, also in West Hollywood. As well as throughout its collection of day-clubs.

The group’s latest nightclub concept is Omnia, which promises ‘the next generation of luxury nightlife’. It has kicked off here in Las Vegas and will grow with the opening of Omnia San Diego in May. People and companies often channel their excitement about their latest thing as being the best, the most interesting or totally different than anything else. It rarely is. In this case, Hakkasan Group’s statement of intent appears to stand up. Omnia isn’t just a feast of design and technology; it is led by some serious creative vision.

Omnia Las Vegas takes up a mammoth 75,000 sq ft, which is split across three spaces. The main club is by far the biggest room and is home to some incredible technical feats. Then there is the ultra-lounge, known as Heart of Omnia, which is impressive in its own right - much more intimate and chic in its design. Finally, there is the terrace, with its views of the Las Vegas Strip.

The building work was carried out by Penta Building Group, Rockwell Group were designers and Audiotek ran the technical design team, project managing the technical aspects of the job, including audio, video and lighting. Along the way, there were some unique contributions from various manufacturers too.

The technical design team featured Audiotek’s Frank Murray plus his colleagues - Lighting Specialist Andy Taylor, Sound Engineer Chris Kmiec, Technical Director Len Bolger and Project Logistics Director Mags Morton - as well as Hakkasan Group’s VP of Music, James Algate. It also included Willie Williams - who has been U2’s production designer for more than 30 years.

Frank picks up the story: “Willie has been a good friend of ours since the ‘80s. We never thought we’d get a chance to do something together but then this one came along. We wanted to do something different. I suggested it to the team at Hakkasan Group and they said go for it. He ended up with more time than he anticipated between two projects - Robbie Williams’ tour and U2’s.

“He has extraordinary vision. There’s always been a drama to what he’s done. What we like to do and what we try to do in a nightclub interested him - he’d never done it before. He’d never really had the time to look at it, although it fascinated him when we mentioned it.

Then the current U2 tour got delayed because of Bono’s accident and that gave him the time to do everything we wanted.”

Willie brought a new perspective, explained Frank: “Inviting Willie to join the Omnia project was the best thing we ever did. It allowed us to think outside the box and without the restrictions that normally go with nightclub design. In many ways, you get your design cues from the interior designer or your project architects. Not having any interest in the nightclub business whatsoever and coming from a

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spectacular rock ‘n’ roll show point of view, Willie came along and took a completely different view of what could be done.”

The most obvious outcome of this almost unhindered approach is the huge ‘chandelier’ that hangs from the centre of the main room. It is a triumph of creativity and engineering, which unifies visitors on the mezzanine level with those on the floor. It features eight rings that sit inside each other - the largest is 32ft in diameter and the smallest is 3ft across. It weighs approximately five-tonnes and moves at up to 4ft-per-second. It is controlled by 21 Tait winches and the company’s proprietary Navigator Automation System software.

Frank continued: “Tait came in to do movement that has never really been done in a nightclub before and it has taken on a life of its own.

It is gobsmackingly impressive. The Tait contribution was magnificent - no question.

“It drops over 80ft. Every one of the rings is individual. It does spirals, it does rotations, and it does what you call penny rolls inside each other. Willie spent two weeks working the movements out - some of the things he wanted to do have expanded the realms of possibility.

He thinks in the third dimension. We look at the lighting to give the spectacle, whereas he looks at the movement to give the spectacle and the lighting to give the shape to that movement.”

With this in mind, the chandelier has been adorned with 20,152 individual tri-colour LED pixels. Audiotek also installed Robe Pointes and Robe Robin MMX Spots on two of the rings to add even more movement to the chandelier. Elsewhere in the room, Robe 300E

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Spots and Robe Faze machines continue the dynamic theme. Frank said: “We’ve never had any problems with Robe. When we’ve worked in the US, we’ve enjoyed a very good relationship with their design team in Florida. Every time they’ve supplied magnificent back up, on time delivery and good prices.”

Martin Professional VC-Strips are embedded in the bottom layer of each of the rings and are mapped as a video element. TMB Solaris Flares, Ayrton Magic Panel, Ayrton Blade and Laserworld PM8200 lasers have also been specified for the main room. The venue’s lighting desks include an Avolites Quartz, an Avolites Sapphire and two MA Lighting grandMA2s.

Other visual highlights in the main room include a complex video infrastructure, with extensive mapping, a cascading video wall and a 193ft LED ribbon, which wraps around the balcony. Absen, which has been associated with Audiotek’s largest video installs, and is regarded as Audiotek’s technology partners on many projects (including Hakkasan, which was completed in 2013) provided the HD video panels at Omnia Las Vegas. The set-up currently runs three Avolites Media Ai EX8 media servers for controlling content.

Avolites’ Ai Developer Ciaran Abrams, who provided support during installation and programming said: “Mapping was a big task. Different elements required different mapping solutions - the chandelier was a particular creative challenge, fully utilising the feature set of Ai. The cascades and mezzanine areas of the room were also very complex.

Using Ai, we were able to create a 3D representation of the pixels

TECHNICAL INFORMATION SOUND 12 x L-Acoustics Arcs II loudspeaker; 33 x L-Acoustics 12XTi loudspeaker; 10 x L-Acoustics Arcs Wide loudspeaker; 4 x L-Acoustics Arcs Focus loudspeaker; 6 x L-Acoustics KARAi WST line source; 4 x L-Acoustics 115XT HiQ loudspeaker; 15 x L-Acoustics SB18i subwoofer; 12 x L-Acoustics SB28 subwoofer; 6 x L-Acoustics 15m subwoofer; 13 x L-Acoustics LA8 amplified controller; 13 x L-Acoustics LA4 amplified controller; 8 x Renkus-Heinz ICL-FR loudspeaker; 6 x Renkus-Heinz TRX-61 loudspeaker; 7 x Renkus-Heinz IC118S-R loudspeaker; 18 x QSC CX1102 amplifier; 2 x QSC Q-SYS Core 500i processor; 68 x Tannoy CMS 501 ceiling loudspeaker; 12 x Pioneer CDJ-2000 Nexus multiplayer; 4 x Pioneer DJM-900 Nexus mixer; 1 x Pioneer DJM-2000 Nexus mixer; 4 x Technics SL1210 turntable; 3 x Rane SL4 interface; 3 x Shure SM58 microphone; 3 x Shure SLX wireless system; 1 x Shure ULX1 body transmitter; 1 x Shure WL185 microphone lighting & effects 40 x Robe Robin 300E Spot moving head; 6 x Robe miniPointe moving head; 34 x Robe Robin MMX Spot moving head; 41 x Robe Pointe moving head; 28 x Ayrton Magic Panel R moving head; 32 x Ayrton Magic Blade batten; 17 x TMB Solaris Flare blinder; 3 x Robe Faze 1050 FT fog/haze machine; 4 x Martin Professional AF-2 DMX fan; 4 x Laserworld PM8200 laser; 1 x Avolites Quartz lighting console; 1 x Avolites Sapphire lighting console; 2 x MA Lighting grandMA lighting console visual 4 x Avolites Media EX Series media server; 1 x Avolites Sapphire Touch console; 4 x Christie WU14K-MÂ projector; 1 x Sony RM-IP10 camera; 6 x Sony SRG-300H camera; 1 x Sony AWS-750 video mixer; LED walls of various shapes and sizes omnianightclub.com

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and import that information.” Avolites and Kramer products handle the video mapping and control.

Four Christie WU14K-M projectors have also been installed. VS Squared Labs - the LA-based video production house, known for its work at Coachella, Ultra Music Festival and Electric Daisy Carnival festivals – provided the dramatic custom-designed content.

The main room audio is delivered by an L-Acoustics sound system - L-Acoustics Arcs II loudspeakers and SB28 subwoofers for the main system and 12XTi loudspeakers for the fills. The rear bar has been installed with L-Acoustics Arcs Wide loudspeakers and SB18i subwoofers. The main system is driven by L-Acoustics LA8 and LA4 amplifiers. An L-Acoustics KARAi and SB18i combination provides the DJ monitoring.

Frank commented: “We brought the idea of using L-Acoustics to the table. Due to some changes that were out of our control, we were faced with looking at the latest developments in loudspeaker technology. It was our conclusion that, of all the boxes we had heard recently, L-Acoustics offered some of the most interesting solutions - particularly in a non-array based system. And the main room, particularly, offered itself to the solution that we wanted and L-Acoustics offered us the best package.

“We know people within L-Acoustics. It’s a design and engineering-led company - nothing is presumed, everything is analysed to the finest detail. The engineering. The build quality. The loudspeakers they offer and the loudspeakers that can be used in combination gave us everything we wanted.

“Stuart Down, Dan Orton and Tim McCall had all worked with us in

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booth #1123

previous years and we had a very high level of comfort and confidence during the design phase. Chris (Kmiec) was very insistent about our vision and drove the team very hard to achieve what we think is the best sound system in the club industry today.”

As you would expect, the venue is home to wealth of DJ equipment.

Its stock includes 12 Pioneer CDJ-2000 Nexus digital DJ decks, a Pioneer DJM-2000 Nexus DJ mixer, four Pioneer DJM-900 Nexus DJ mixers, four Technics SL1210 turntables and three Rane SL4 Serato interfaces. A selection of Shure microphones has also been included.

Heart of Omina - the ultra-lounge within the venue - is a very different prospect compared to the main room. It is comparatively very intimate, with a focus on exclusivity and a music policy that is more hip-hop focused. Though the room’s feel is very different, its technology is just as important to its identity.

Audiotek once again opted for an L-Acoustics sound system. It features Arcs Focus and Arcs Wide loudspeakers, together with SB18i subwoofers. In-fill comes from XTi loudspeakers and SB15m subwoofers. Power and control is again handled by LA8 and LA4 amplifiers. The DJ booth monitor system comprises L-Acoustics 115XT HiQ coaxial loudspeakers and an SB18i subwoofer.

Lighting in Heart of Omnia includes Robe 300E Spots, Ayrton Magic Blade, Ayrton Magic Panel, Philips Showline Nitro 510 LED strobes, Robe Pointes and a Robe Faze. Here, too, LED video content features extensively. Absen and Audiotek worked together to provide an integrated video environment throughout the 360º Heart of Omnia experience. Frank explained: “The walls are all part of this constant-

Specializing in the design, specification, supply and commissioning of premium audio, lighting and vision products to the nightclub and leisure industries worldwide.

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FRANÇAIS

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ly changing visual show. Every wall panel contains a video element - this is a truly kinetic art installation. The entire room has become a video canvas - changing the colour, the mood and the energy of the space, on demand. It’s like a dynamic wallpaper effect, which VS Squared has again been instrumental in creating.”

The outdoor terrace presented the design team with a very different challenge. On one hand, they had stunning views of the Las Vegas Strip at their disposal, but on the other there were noise pollution concerns relating to nearby residents. To overcome this, Audiotek recommended and supplied a directional speaker system from Renkus-Heinz. The IC Live loudspeakers are digitally steerable columns that are capable of high output and good beam control. Frank said: “This solution has been a revelation. To date, there have been no issues or complaints relating to this outdoor area, which, with its astounding neon-lit iconic backdrop, is probably the most atmospheric social space on the Las Vegas Strip.”

Throughout the venue, in corridors and other peripheral areas, Tannoy ceiling loudspeakers and QSC amplification and control has been used. Zoning and processing is handled by QSC’s latest control products - another technological feat for the project.

Omnia Las Vegas held its grand opening over the last weekend of April, welcoming the likes of Calvin Harris and P Diddy, following a soft opening that included a celebration for Justin Beiber’s 21st birthday. For the design team, these events concluded a year of dedicated work, which wound up with an audiovisual spend in the region of US$15 million.

Frank said: “We’ve been based over there, nearly constantly, for the last year. We’d barely come off the back of Hakkasan when we were told they were planning this one. It was a very fast track job. Penta the builders were superb. Jeff Walker and his team deserve special mention because it the best run site I’ve ever worked on. Nothing was a problem.”

Reflecting on the project, he continues: “We love what we do and you can’t do this in a better place than the epicentre of the clubbing universe. We work with the best people and value their trust in us to deliver world-class venues every time.

“This one is special. Hakkasan Group’s Neil Moffitt and his team have had a vision and an ambition to create the benchmark venues in the EDM and dance music industry worldwide. We see Omnia as the ultimate expression of this passion and drive. We are proud that we have been part of the team and have helped with this achievement.

I am grateful to them for their trust and faith in our team, in what we came up with and what we have built.”

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Le Omnia Las Vegas occupe un gigantesque espace de 75 000 pieds carrés, divisé en trois sections. Le club principal est de loin la plus grande salle et celle-ci abrite d’incroyables prouesses techniques. Les travaux de construction ont été réalisés par le groupe Penta Building, tandis que Rockwell Group a joué le rôle de concepteur et Audiotek s’occupa de l’équipe de conception technique, gérant les aspects techniques du projet, y compris l’audio, la vidéo et l’éclairage. Dans le cadre du projet furent introduites quelques contributions uniques provenant de divers fabricants. L’accroche-regard de l’Omnia est l’énorme « lustre » orné de 20 152 pixels LED de trois différentes couleurs, qui pend au centre de la salle principale. L’entreprise Audiotek a également installé des spots Robin Pointes et des MMX de chez Robe sur deux des anneaux, rajoutant ainsi encore plus de mouvement au lustre. Des barrettes d’éclairage VC-strips de Martin Professional sont incorporées à la couche inférieure de chacun des anneaux et servent aussi d’élément vidéo. Des lasers Solaris Flare de TMB, une matrice à LED RGB Magic Panel et un projecteur Blade de chez Ayrton, ainsi qu’un laser PM 8200 RGB Pure Diode ont été demandés dans la pièce principale. Les pupitres d’éclairage du site comprennent un Quartz et un Sapphire de chez Avolites et deux grandMA2s de chez MA Lighting. Quatre projecteurs WU14K-M Christie ont également été installés. La pièce principale est équipée d’un système de son L-Acoustics : des enceintes L-Acoustics ARCS II et des enceintes subgraves SB28 pour le système principal et des enceintes coaxiales 12XTi pour le remplissage. Le système principal est géré par des amplificateurs LA8 et LA4 de chez L-Acoustics.

DEUTSCH

Omnia Las Vegas startet ein 75.000 Quadratfuß großes Mammutprojekt, das in drei Bereiche aufgeteilt ist. Der Hauptclub ist bei weitem der größte Raum und verfügt über einige unglaubliche technische Merkmale.

Die Bauarbeiten wurden durch Penta Building Group übernommen, Rockwell Group waren die Designer und Audiotek verschaffte das technische Designteam, das die technischen Projektaspekte der Arbeit verwaltete, einschließlich Audio, Video und Beleuchtung. Auf dem Weg gab es einige einzigartige Beiträge von verschiedenen Herstellern. Ein besonderer Schwerpunkt des Omnia ist der riesige ‘Kronleuchter’, der in der Mitte des Hauptraums hängt und mit 20.152 individuellen dreifarbigen LED-Pixeln verziert ist. Audiotek installierte ebenfalls Robe Robin Pointes und Robe MMX Spots auf zwei der Ringe, um dem Kronleuchter noch mehr Bewegung zu verleihen. Martin Professional VC-Strips wurden in die untere Schicht von jedem Ring eingebaut und sind als Videoelement abgebildet. TMB Solaris Flares, Ayrton Magic Panel, Ayrton Blade und Laserworld PM8200 Laser wurden ebenfalls für den Hauptraum festgelegt. Die Lichtpulte des Treffs umfassen einen Avolites Quartz, einen Avolites Sapphire und zwei MA Lighting grandMA2s.

Vier Christie WU14K-M Projektoren wurden ebenfalls installiert. Die Audio des Hauptraums wird durch ein L-Acoustics Soundsystem bereitgestellt. - L-Acoustics ARCS II Lautsprecher und SB28 Subs für das Hauptsystem und 12XTi Lautsprecher für die Füllungen. Das Hauptsystem wird durch L-Acoustics LA8- und LA4-Verstärker gesteuert.

ITALIANO

Omnia Las Vegas é un colosso di quasi 7.000 metri quadri, diviso in tre aree. Il club principale é sicuramente la sala piú grande che ospita alcune delle incredibili imprese tecniche. I lavori per l’edificio sono stati portati avanti da Penta Building Group, dai progettisti Rockwell Group e da Audioteck che ha diretto il team di progettazione tecnica, gestendo gli aspetti tecnici del lavoro incluso audio, video e luci. Nel frattempo ci sono state anche delle singole collaborazioni con diversi produttori. L’ attrattiva dell’ Omnia, unica nel suo genere, é l’ immenso lampadario che si cala dal centro della sala principale, adornata da 20.152 singoli Led a pixel tricolore. Audiotek ha inoltre installato dei puntatori Rob Robin e dei faretti Robe MMX su due degli anelli per dare ancora piú movimento al lampadario. Delle Martin Professional VC-Strips so state inserite nella parte inferiore di ciascun anello e sono controllate come un elemento video. Inoltre, sempre per la sala principale, sono stati utilizzati altri elementi quali: riflettori TMB Solaris, MagicPanel Ayrton, MagicBlade Ayrton e laser Laserworld PM8200. Per ció che concerne i tavoli luminosi del locale, essi includono un Avolite quarzo, un Avolite sapphire, due MA Lighting grandMA2s ed anche quattro proiettori Christie WU14K-M. L’audio della sala principale é stato affidato ad un sistema audio L-Acoustics (altoparlanti L-Acoustics ARCS II e subwoofer SB28 per il sistema principale e altoparlanti 12XTi per quelli secondari). Il sistema principale é diretto da amplificatori LA8 e LA4 L-Acoustics.

ESPAÑOL

Omnia Las Vegas ocupa un enorme lugar de 7.000 metros cuadrados divididos a lo largo de tres espacios. La discoteca principal es por lejos el salón más grande y alberga algunas proezas técnicas increíbles.

El trabajo del edificio fue llevado a cabo por Penta Building group, Rockwell Group fueron los diseñadores y Audiotek manejó al equipo de diseño técnico, la administración de los aspectos técnicos del trabajo, incluyendo el audio, video y la iluminación. Sobre la marcha, hubo algunas contribuciones únicas de parte de varios fabricantes. Un punto de referencia único de Omnia es la lámpara de araña enorme que cuelga del centro del salón principal, la cual fue adornada con 20.152 pixeles individuales tri-color de LED. Audiotek además instaló Robe Robin Pointes y Spots Robe MMX en dos de los aros para darle aún más movimiento a la lámpara de araña. Las tiras VC de Martin Professional están incrustadas en la parte inferior de cada uno de los aros y mapeadas como un elemento de video. Para el salón principal también se especificaron láseres de TMB Solaris Flares, Ayrton Magic Panel, Ayrton Blade y Laserworld PM8200. Los mostradores de iluminación del lugar incluyen un Avolites Quartz, un Avolites Sapphire y dos MA Lighting grandMA2s. También se instalaron cuatro proyectores Christie WU14K-M. El audio del salón principal es entregado por un sistema de sonido de L-Acoustics - parlantes ARCS II de L-Acoustics; subs SB28 para el sistema principal y parlantes 12XTi para los rellenos. El sistema principal es conducido por amplificadores LA8 y LA4 de L-Acoustics.

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Sapphire Touch, Quartz and Ai Infinity EX8 servers as used in Omnia Las Vegas

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DR PHILLIPS CENTER

Orlando, USA THE AMERICAS

WITH THE OPENING OF DR PHILLIPS CENTER FOR THE PERFORMING ARTS, ORLANDO IS NOW THE PROUD HOME TO A WORLD-CLASS PERFORMING ARTS VENUE THAT WILL ATTRACT PATRONS FROM ACROSS THE REGION, SERVE AS A HOME FOR COMMUNITY ARTS GROUPS, PROVIDE A NEXUS FOR ARTS EDUCATION, AND CONTRIBUTE EVEN FURTHER TO THE CITY’S REPUTATION AS A TOURIST MECCA. THE COMPLEX INCLUDES A 2,700-SEAT MULTI-PURPOSE THEATRE, A 304-SEAT COMMUNITY THEATRE, AS WELL AS REHEARSAL ROOMS, SUPPORT SPACES, AND A 10,000 SQ FT EDUCATIONAL FACILITY. KEY DESIGNERS AND CONSULTANTS ON THE PROJECT INCLUDE THEATRE PROJECTS, ARUP ACOUSTICS, INTERAMERICA STAGE, TEXAS SCENIC, SERIES SEATING AND BARBIZON. SIMON DUFF REPORTS ON A STUNNING NEW VENUE.

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The Dr Phillips Center 330,000 sq ft building was a collaboration between Theatre Projects, Barton Myers, design architect, HKS Architects, executive architect and Baker Barrios, associate architect. A project nearly three decades in the making. Theatre Projects first began planning an arts centre for Orlando in 1985 when city officials hired them to determine whether the city could support such a facility. At the time, it was decided that the city could not accommodate the performing arts centre, but a re-evaluation 10 years later found the city was now ready for the ambitious undertaking. Theatre Projects carried out preliminary development including feasibility study, needs assessment, master plan and site selection, programming, concept design, theatre planning, and theatre equipment design and specification.

The city, once bypassed by many national touring groups, can now proudly welcome most any pop group, rock band, opera, or ballet, drawing untold numbers of patrons, and providing a vital economic engine and cultural destination for the region. Recent events at the centre include a concert by Bob Dylan, Rodgers & Hammerstein’s Cinderella, Orlando Philharmonic performing Puccini’s opera Tosca and Disney’s Beauty and the Beast. All testament to the immediate success,

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flexible acoustics, world class theatre equipment, administration and technical expertise at the venue.

At the heart of the building is the 2,700-seat Walt Disney Theater, a multi-purpose theatre, ideally suited to host ballet, drama, musicals, rock concerts, opera, and more. The core of Theatre Projects’ design philosophy is the importance of audience-performer intimacy, and even in a 2,700-seat venue, the design team worked to create a dynamic environment. “We wanted to create an intimacy that you typically only find in smaller theatres,” Scott Crossfield, Theatre Projects’ Theatre Designer commented. “We were able to achieve that by breaking the seating into multiple, vertical levels, and wrapping them around the stage. When as a performer, you can look up and see the immediate reactions of the audience, and likewise, they can see yours, it creates a dynamic that changes the entire theatregoing experience,” Scott added. “It’s powerful and emotional and impactful, and the architecture is the device we’ve used to achieve that energy.”

The Arup Acoustics project team was led by Ed Arenius, Project Director and Andy Morgan, Project Manager. “The Walt Disney Theater is acoustically designed for amplified performances,” explained Ed. “Not having to accommodate unamplified performance types like orchestra and opera allowed us to focus on making the sound system work really well with the room. At the Dr Phillips Center we focussed our attention on making the Disney an excellent room for amplification knowing the unamplified performances would take place in a different hall.”

Geometrical modelling and ray-tracing was conducted to ensure there would be no unwanted acoustical reflections. Arup’s team modelled the loudspeaker coverage patterns as they designed the sound system to provide even coverage to all seats in the theatre.

Ed said: “There was significantly more acoustical modelling done for the design of the acoustic hall, which we designed simultaneously with the Walt Disney Theater, but which has not been built yet. For that hall we built a full 3D CATT Acoustic model which allowed us to prepare auralisations so the client could hear the hall before it is built.

Using the Arup Soundlab we can model and hear what spaces will sound like and even allow clients to hear the acoustical differences that will result from decisions made during the design process.”

The Walt Disney Theater uses an inner and outer volume concept.

The inner volume walls are covered with cork panels, which were selected for their acoustical properties of absorbing high frequency sound but reflect most other sound. The outer walls are covered with 2-inch thick blue fabric-wrapped sound absorbing panels. The inner walls provides some reverberation and envelopment for the audience while sound that passes through to the outer volume releases

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energy as it is absorbed by the acoustical panels.

The PA is a stereo line array system, three stacks flown with one centre and the other two flanking the proscenium opening to cover the orchestra and mezzanine levels with a centre sub array. Delay arrays provide coverage for the upper balcony, and the under balcony fills consist of ceiling mounted loudspeakers. The front fills service the first few rows of seating in the lower orchestra, and are housed in a continuous cavity along the front of the stage.

All line arrays are by d&b audiotechnik. The centre array employs thirteen Q1 loudspeakers and one Q7 loudspeaker, flown centre of the proscenium opening. The side line arrays have 12 d&b audiotechnik Q1s each flown left and right in front of the proscenium. The sub array consists of d&b audiotechnik B2’s with two Q1 loudspeakers on top of each subwoofer. The front of house console is an Avid Venue Profile system.

Arenius summarizes the end acoustic result: “The Walt Disney Theater has a very clean sound. The mid-frequency reverberation time is 1.4 seconds, lower than many other 2,700-seat theatres, but enough for the room to have acoustic character. When audience members around you laugh or clap you want to hear it so you feel you are a part of a community of people who are experiencing the performance together - that is the magic of live theatre, and that is what will keep people coming to the theatre instead of being entertained on their couch at home. Live theatre is a community experience and it’s the audience interaction with the performers that makes each performance a unique experience. As the room is designed exclusively for amplified performances, there are no variable or flexible acoustical elements in Disney. Any changes are achieved through the sound system. There is infrastructure in place for a surround-sound system so there is a lot of flexibility for shows to create spatial audio effects.”

The main lighting fixtures in the Walt Disney Theatre include ETC Source Four PAR profiles, ETC Source Four Ellipsoidals spots, Atman cyc lights and fresnels. The choice of lighting console is a ETC Eos console. Theatre Projects’ Theatre Lighting Designer, Steve Rust, commented: “The lighting system is based on two main principles: reliability and flexibility. The Dr Phillips Center will be in use nearly every day of the year so the systems have to be dependable. There are two full-size consoles running in tandem, so console crashes should go unnoticed by the audience. Additionally, the dual consoles allow two programmers to work simultaneously, speeding up technical rehearsal time. Lighting positions were designed to provide opportunities for designers to get the lighting angles they require. Each lighting position has plug-in points providing various types of power, dimming, and control. These features combine to provide

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the Dr Phillips Center with a modern lighting system, fitting both the in-house productions and travelling shows.”

The venue’s second performance space, the Alexis & Jim Pugh Theater, offers a flexible and engaging environment, perfect for community theatre groups, smaller touring companies, and student-produced shows. Theatre Projects led the design of the 304-seat courtyard theatre, which features audience and technical balconies and an adjustable stage, capable of flat floor, thrust, endstage, promenade, and in the round, configurations. The multi-level room is extremely intimate and features no seat further than 35ft from the stage. The room provides an ideal setting not only for theatrical productions, but also for all, parties and galas. The audio console is an Avid SC 48 with a flexible PA provided in the form of a Meyer Sound UPQ solution. For lighting the console is ETC Eos with main fixtures including ETC Source Four PARs profiles, ETC Source Four Ellipsoidal spots, and Altman cyc lights.

“It’s a very flexible space, designed specifically for community groups,” Millie Dixon, Theatre Projects’ Project Manager, commened.

“Knowing that they would be the primary users of the space, we wanted to give them the greatest opportunity to be creative, not just in their own work, but also in how they choose to use the room. The simplicity, ease-of-use, and quick turnover made possible by the theatre will let those groups flourish.”

Texas Scenic Company’s installation work at the venue, included for the Walt Disney Theater, 96 counterweight rigging sets, a motorised fire curtain, and many stage curtains and acoustical drapes/banners.

A few other custom touches in the Walt Disney Theater include bombay doors and a motorised speaker hoist. Similarly, at the Alexis & Jim Pugh Theater they they provided 23 counterweight rigging sets, a motorised fire curtain, and many stage curtains and acoustical drapes/banners. In the DeVos Family Room and the Donor Room, all curtains were made and installed by Texas Scenic as well. “We were excited and grateful to have to opportunity and be a part of the unique spaces at DPAC,” added Steve Surratt, COO General Manager, Texas Scenic Company.

InterAmerica Stage were another key supplier. The company employs designers, fabricators, fitters and managers all working for the major theme parks almost every day of the year. Mark Thomas Black is President and CEO of InterAmerica Stage, Inc commented: “We have an impeccable track record for safe and efficient show action and rigging systems. Perhaps for this reason we were selected to create the opening ceremony Kabuki drop. Because of our proximity to the job site we were able to supply members of our willing and talented installation crews to facilitate installations for a multitude of stage equipment elements. I think every stage equipment manu-

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facture that participated in the job had us working with them in way or another. We did everything from unloading trucks to design and supply of special access equipment and heavy duty rigging stands that were used for the Phantom’s chandelier.” Other key suppliers to the building included seating by Series Seating and lighting and rigging systems specialist Barbizon.

“Our aim for the Dr Phillips Center was to create a building of the highest possible quality, but offer variety too,” Richard Pilbrow, Theatre Projects’ founder, commented: “The Walt Disney Theater will make a spectacular venue for touring companies and popular entertainment, and the Alexis & Jim Pugh Theater will provide the perfect setting for community theatre groups and student-actors.”

In the building’s south end, a block of classrooms and a specialised rehearsal room featuring an overhead pipe grid, compose the Dr. Phillips Center School of the Arts. In keeping with the centre’s commitment to enriching the community through arts education, the 10,000 sq ft educational facility will help strengthen the connection between the arts centre and the Orlando community.

From the initial sketches to the centre’s completion, patron comfort, ease-of-use, and audience accessibility were a constant consideration in Theatre Projects’ approach. As a result, the Dr Phillips Center provides an immensely enjoyable patron experience. Amenities like larger seats, greater row depth, more aisles, and numerous accessible concessions areas and facilities, all help create a theatre going experience of unparalleled comfort.

Even considerations like parking, entrances and egress, and audience circulation, were all carefully accounted for through continual planning and frequent communication between Theatre Projects and the architects. “It’s a great building,” Millie said. “The bones of it

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FROM THE TOP: Mark Thomas Black, President and CEO of InterAmerica Stage, Inc; Steve Rust, Theatre Projects’ Theatre Lighting Designer; Scott Crossfield, Theatre Projects’ Theatre Designer; Millie Dixon, Theatre Projects’ Project Manager; and Michael Nishball Theatre Projects’ Theatre Equipment Designer

TECHNICAL INFORMATION LIGHTING WALT DISNEY THEATER: ETC Source Four Ellipsoidal spots; 40 x ETC Source Four PAR profile; 4 x Robert Juliat Victor followspot; 35 x Selecon Rama fresnel; 20 x Selecon Arena fresnel; 12 x Altman CYC 4-cell unit; 36 x Altman CYC single unit; 2 x ETC Eos lighting console; 690 x ETC Sensor dimmer ALEXIS & JIM PUGH THEATER: ETC Source Four Ellipsoidal spots; ETC Source Four PAR profiles; Robert Juliat Flo followspots; Selecon Acclaim fresnel; Altman PAR64 fixtures; 1 x ETC Eos lighting console AUDIO WALT DISNEY THEATER: 13 x d&b audiotechnik Q1 loudspeaker; 1 x d&b audiotechnik Q7 loudspeaker; 12 x d&b audiotechnik Q1 loudspeaker; d&b audiotechnik B2 subwoofers; 1 x Avid VENUE Profile System ALEXIS & JIM PUGH THEATER: 4 x Meyer Sound UPQ-1P loudspeaker; 2 x Meyer Sound UPQ-2P loudspeaker; 1 x Meyer Sound UPJ -1P loudspeaker; 2 x Meyer Sound 500HP subwoofer; 1 x Avid VENUE Profile system www.drphillipscenter.org

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FRANÇAIS

Le bâtiment de 330 000 pieds carrés du Centre Dr Phillips est le résultat d’une collaboration entre le groupe Theatre Projects, le bureau d’architecture de conception Barton Myers, l’architecte principal HKS Architects et l’architecte associé Baker Barrios. Un projet en gestation pour près de trois décennies.

Au cœur du bâtiment se trouve un théâtre polyvalent de 2 700 places, le Walt Disney Theater, qui accueille sans distinction des ballets, des pièces de théâtre, des comédies musicales, des concerts rock ou des opéras. Le système de sonorisation est constitué de trois colonnes de haut-parleurs compacts à haut rendement, dont une est placée au centre et les deux autres jouxtent l’ouverture de l’avant-scène couvrant ainsi les niveaux de l’orchestre et de la mezzanine avec des enceintes d’array d’accompagnement.

Tous les modules sont de chez d&b audiotechnik. La console de façade de la salle est un système de profil Avid VENUE. Les appareils d’éclairage principaux du théâtre Walt Disney comprennent des projecteurs Source Four ellipsoïdaux et PAR, des cycloïdes Atman et des projecteurs à lentille de Fresnels. Le choix de la console d’éclairage alla pour un pupitre d’éclairage de la famille Eos de chez ETC. Le deuxième théâtre du lieu, le Alexis & Jim Pugh Theater, offre un environnement flexible et invitant, parfait pour accueillir les groupes de théâtre communautaire, les petites troupes de théâtre et les spectacles produits par des étudiants. La console audio est une Avid SC 48 avec un système de sonorisation flexible fourni sous la forme d’une solution Meyer Sound UPQ. Le pupitre d’éclairage Eos de chez ETC est également présenté avec des montages principaux comprenant des projecteurs Source Four ellipsoïdaux et PAR et des cycloïdes Altman.

DEUTSCH

make it really easy for audiences to get in the building, to circulate, and to get to their seats. It has great patron flow and the ability to accommodate large groups very well.”

According to Millie, it was the intensive process of listening, adapting, and coming to understand the users’ needs that led to a successful, iterative planning process, and to the completion of the versatile facility. But it wasn’t only the patrons’ comfort that Theatre Projects took into consideration. They also took into account the ease-of-use and functionality for the touring groups pouring in and out of the venue. Loading and unloading thousands of pounds of equipment, and often travelling in convoys of up to two dozen trucks and buses, the centre’s pronounced accommodation and robust infrastructure were carefully planned in order to let the venue effectively manage potentially cumbersome rotating touring groups. “We wanted to make sure this was a venue that touring groups would want to come back to, so we thought about all of the logistics of handling those shows and made a building capable of accommodating that,” Scott added.

Whereas Orlando was once the only top-30 US metropolitan area without a performing arts centre, Central Florida can now boast a breathtaking facility that will become a stunning architectural icon, a hub for cultural activity and community enrichment, an economic driver, and a nexus for arts education.

With its surrounding shops, restaurants, and an outdoor performance plaza and public garden, the presence of the Dr. Phillips Center will not only enhance city life in terms of creature comforts, aesthetics, and economic growth, but it will also provide a foundation for community-building and arts education. In the end, the centre’s ability to inspire creativity in the young minds who come to grow as artists and individuals within its walls, may be its greatest contribution to Central Florida.

Still, there is even more yet to come from the Dr Phillips Center.

The second stage of the centre will include, among other features, the1,700-seat Acoustic Theatre, a multiform theatre able to transform its shape and acoustics to perfectly suit opera, ballet, symphonic music, and non-traditional art forms. According to Pilbrow, “the room will be on par, not only with the world’s great opera houses like Oslo or Copenhagen, but also with the best symphony spaces in the world.”

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Das 330.000 Quadratfuß große Gebäude des Dr. Phillips Centers war eine Zusammenarbeit zwischen Theatre Projects, Barton Myers, Designarchitekt, HKS Architects, leitender Architekt, und Baker Barrios, Partner-Architekt.

Ein Projekt, das beinahe drei Jahrzehnte gedauert hat. Im Mittelpunkt des Gebäudes befindet sich das Walt Disney-Theater mit 2.700 Sitzplätzen, ein Mehrzwecktheater, das sich perfekt für Ballett-, Schauspielausführungen, Musicals, Rockkonzerte, Opern und vieles mehr eignet. Das PA ist ein Stereo-Line-Array-System, drei Stacks mit einem zentralen. Die beiden anderen flankieren die Vorbühnen-Öffnung, um das Orchester und die Zwischengeschosse mit einem zentralen Sub-Array abzudecken. Alle Line Arrays stammen von d&b audiotechnik. Die Vorderseite der hauseigenen Konsole ist ein Avid VENUE Profilsystem. Die wesentlichen Beleuchtungskörper im Walt Disney-Theater umfassen ETC Source Four Pars, Ellipsoidals, Atman Cyc Lichtanlagen und Fresnels. Für die Lichtorgel fiel die Wahl auf eine ETC Eos Konsole. Das zweite Theater des Treffs, das Alexis & Jim PughTheater, bietet eine flexible und animierende Umgebung, die sich perfekt eignet für Volkstheater, kleinere Wandergruppen und von Studenten organisierte Veranstaltungen. Bei der Audiokonsole handelt es sich um eine Avid SC 48 mit einer flexiblen PA in Form einer Meyer Sound UPQ Lösung. Für die Lichtorgel handelt es sich um ETC Eos, die größten Beleuchtungskörper umfassen ETC Source Four Pars Ellipsoidals und Altman cyc Lichtanlagen.

ITALIANO

Il Dr. Phillips Center, con i suoi 30.658 metri quadri, é nato dalla collaborazione tra Theatre Projects, Barton Myers (architetto progettista), HKS Architects (architetto del progetto esecutivo) e Baker Barrios (co-architetto). Questo progetto, che é stato costruito in quasi tre decadi, vede posizionato al centro dell’edificio il polivalente Walt Disney Theatre da 2.700 posti, ideale per ospitare balletti, melodrammi, musical, concerti rock, opera e tanto altro. Il sistema audio é caratterizzato da un sistema stereo di line array di cui tre pile che affiancano una centrale e le altre due che affiancano l’entrata del proscenio e che coprono l’orchestra ed i piani mezzani con un sub erray centrale. Tutti i line array sono della d&b Audiotechnik mentre la parte frontale della console é un Profile System della Avid Venue. Gli impianti luci principali nel Walt Disney Theatre includono riflettori Source Four ETC, riflettori ellissoidali, luci Cyc e proiettori Altman; invece la console luci é una ETC Eos. Il secondo teatro dell’edificio, Alexis & Jim Pugh Theatre, offre un ambiente flessibile ed affascinante al tempo stesso, perfetto per i gruppi teatrali, piccole compagnie itineranti e spettacoli prodotti da studenti. La console audio é una Avid SC 48 con un PA flessibile con soluzione Meyer Sound UPQ. Per quanto riguarda il sistema luci, viene utilizzata una console ETC Eos che ha come impianti principali dei riflettori ellissoidali ETC Source Four e delle luci cyc Altman.

ESPAÑOL

El edificio Dr. Phillips Center de 28.000 metros cuadrados es el resultado de la colaboración entre Theatre Projects, el arquitecto Barton Myers, HKS Architects en la parte ejecutiva y Baker Barrios, como arquitecto asociado.

Un proyecto de casi tres decadas. En el corazón del edificio se encuentra el Teatro Walt Disney con una capacidad de 2.700 asientos, un teatro multipropósito equipado idealmente para ofrecer ballet, obras de teatro, musicales, conciertos de rock, opera y más. El PA está compuesto por un sistema estéreo de formación de cajas acústicas, tres torres voladas con un centro y las otras dos bordeando el proscenio para cubrir los niveles de Orquesta y el entrepiso con una subformación de cajas centrales. Todas las cajas acústicas son de d&b audiotechnik. El frente de la consola es un Avid VENUE Profile System. Entre los artefactos de iluminación principales en el Teatro Walt Disney se incluyen ETC Source Four Pars, Ellipsoidals, Atman Cyc lights y Fresnels. La elección de la consola de luces fue una Consola ETC Eos. El segundo teatro del lugar, el Teatro Alexis & Jim Pugh, ofrece un ambiente flexible y cautivador, perfecto para grupos teatrales de la comunidad, compañías pequeñas y espectáculos estudiantiles. La consola de audio es una Avid SC 48 con un PA flexible provisto en la forma de una solución Meyer Sound UPQ. Para la iluminación, la consola es una ETC Eos con artefactos que incluyen elipsoides ETC Source Four Pars y luces Altman cyc.

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AVALON HOLLYWOOD hollywood, USA The Americas

The Avalon club in Hollywood, USA located near the intersection of Hollywood and Vine has a rich and extensive history. Starting life as ‘The Hollywood Playhouse’, the venue first opened its doors on 24 January 1927 featuring travelling shows and some of the biggest names from Broadway took to the stage. From those star-studded beginnings it evolved (in the 1950s) to a television studio hosting a variety of popular televised programmes. But it wasn’t till the late 1970s that the venue became a nightclub and concert space and featured a plethora of highly desirable artists.

In 2002 its current owner, John Lyons bought the venue and it

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became Avalon Hollywood. After an interior remodel, Avalon quickly gained precedence as a must see venue, hosting movie premiere events, concerts and Rolling Stone Grammy parties.

In early 2015 the venue underwent a complete audio refit thanks largely to engineers from EAW and Powersoft, the teams worked rigorously to perfect the new system on a project that has been two years in the making. Apart from being an impressively large subwoofer installation, the new set up features Powersoft’s M-Force technology, an innovative method of acoustic transduction. Venue owner and audio expert, John discussed Avalon’s exciting and progressive new set up, which was unveiled during the Grammy event earlier this year.

“From the beginning the idea has always been to search for the Holy Grail of audio for the club. We want to treat customers to the same experience they would get from a great set of headphones but with

the visceral sensation of a monster sound system. Typically with audio, as you get louder the quality of the sound tends to drop off. We wanted to eliminate this problem.”

“The original system had been in Avalon since 2002, it was the original Avalon Series by EAW. While the old sound system had been working perfectly well right up till the day it was taken out, the newer series takes advantage of the many technological developments that have developed over the past 14 years. And since Avalon Hollywood is my home base, having the best dancefloor audio has been of paramount importance to me. After all I have to listen to it every night,” he continued.

John set out to incorporate the best technologies for the Avalon remodel, with the idea of getting more from less. “The trend in dance clubs for the last few decades has been to have gigantic towers on the floor. While this seemed to do the trick, it used up a lot of valuable floor space that could

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other wise be used for seating or capacity. These towers also created a big problem with sightlines. As a venue owner, I always found them to be clumsy and inelegant. The same was true for large hanging arrays. With more emphasis being put on visuals and production, these behemoths always seemed to be in the way of something. I worked with EAW to develop an enclosure that was third the size of its predecessor with almost double the output. There wasn’t a single inch of space that wasn’t utilised.”

This is where Powersoft’s M-force technology comes into play, characterised by a moving magnet and push-pull behaviour, the application of positive and negative electromagnetic fields allows the motor to oscillate at an exceptional level. If the motor were to be used outside the loudspeaker system it would be powerful enough to move with 1,000lbs of force.

Each loudspeaker cabinet includes a 40-inch Powersoft cone; such a large cone was possible thanks to the M-Force moving magnet linear motor technology which enables more air movement with faster response time and zero power compression. The result was a clean and powerful sound that was previously difficult to produce, particularly in the lower frequency ranges. Each of the six subwoofer cabinets also contain two Powersoft M-Drive modules - a powerful single module able to generate 15,000w at two ohms, which are used to supply

power for the M-Force motor, the cone and each of the traditional loudspeakers.

For the main dancefloor six EAW Avalon CLUB.one loudspeakers and six EAW Avalon SUB.one bass bin subwoofers were installed. For the patrons on the stage John installed two EAW Avalon CLUB.two loudspeakers and two EAW Avalon SUB.two bass bin subwoofers.

He said: “The entire public area has been given a very even, clean sound with the exception of the dancefloor front and centre. This part of the room was reserved for the purists and standing in close proximity of the six SUB.one bass bin subwoofers arrayed together under the stage bunker. It can be best described as the sensation you get when you stand in front of six 40-inch drivers coupled with 18 12-inch drivers.”

For front of house, live shows and monitors, Avalon uses a pair of Midas Heritage 3000 mixing consoles and for DJs, there are four Pioneer CDJ-2000 multiplayers and a Pioneer DJM-900 DJ mixer.

As the venue was originally a restored theatre Avalon has the advantage of being completely adaptable. The lighting and visuals can change weekly and the venue benefits from the flexibility a theatre set up can provide. “We keep a well stocked arsenal of beams, spots, washes and effects,” said John. “As the room gets reconfigured every week nothing is ever really in place. The room morphs into

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108 VENUE

whatever we think is right for any given artist or audience. We get to try out new things all of the time.” Avalon’s lighting inventory includes products from ADJ, Ayrton, Barco, Elation, Martin Professional and Vari-Lite. For lighting control during live shows Avalon uses an Avolites Pearl Expert console, while for dance nights a ShowCAD Artist control software package is brought in due to its ability to be configured in a variety of input devices.

In the main room 150 high resolution ModeLED 6 mm LED panels wrap around the stage creating a complete sensory experience for the guests at the heart of the club. “Having installed a host of LED screens around the planet in the last few years, I wanted Avalon to have something that was visually exciting without being too garish,” said John. “With any large display system, I believe that you should provide an artist with as large and high definition a canvas as the space and budget permit and then get busy creating mind blowing content. Some venues and festivals that I have seen go overboard with LED and end up assaulting the senses. When content is carefully created it can be a thing of beauty but there must always be more dark than light.”

Having built over 300 venues John modestly said that he felt there were no real challenges in the revamp of Avalon, he explained that his experienced team are so prolific that to them the audio refit was as natural as breathing. What John did say about the new audio system was that people might have trouble envisaging what it is like: “The new sound must be experienced to be believed because it has never been done before. And that’s what we set out to achieve.”

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TECHNICAL INFORMATION SOUND 6 x EAW Avalon CLUB.one loudspeaker; 6 x EAW Avalon SUB.one bass bin subwoofer; 2 x EAW Avalon CLUB.two loudspeaker; 2 x EAW Avalon SUB.two bass bin subwoofers; 2 x Midas Heritage 3000 mixing console; 4 x Pioneer CDJ-2000 multiplayer; 1 x Pioneer DJM-900 DJ mixer lighting 150 x ModeLED LED panels; 1 x Avolites Pearl console; 1 x ShowCAD Artist software package avalonhollywood.com

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IN BUSINE S S product launch: electro-voice - x-line the get show / prolight+sound, guangzhou ATTENDED BY RACHAEL ROGERSON

prolight+sound, frankfurt ATTENDED BY TEAM MONDO*DR

PRODUCT GUIDE MICROPHONES & CABLES

PRODUCT DIRECTORY LAST PAGE MIKE FAHL - DATATON

Two of the show reports may well have the same name, but the actual exhibitions couldn’t have been more different. Check out our thoughts on the current Chinese market, as Rachael reports back from the Guangzhou shows. Likewise, read Ashley’s take on her first visit to Messe Frankfurt and all of the products - as close as we could possibly get to all anyway that were launched there.

The Product Guide takes on two new topics, the first being microphones and the second, cabling. Although they are some of the smaller pieces of equipment in a audiovisual system, both are vitally important.

And we round off the section, with an interview from Mike Fahl, who works for visual specialist, Dataton.

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1. The demonstration took place at Electro-Voice’s German office in Straubing. 2. The team delivering the new product series line up.

ELECTRO-VOICE LAUNCH X-LINE SERIES If you visited ISE in Amsterdam or Prolight+Sound in Frankfurt this year then I’m sure many of you will have been introduced to the X-Line Series from Electro-Voice. However, the German manufacturer decided to go one better than a tradeshow floor, inviting guests to learn all about the system at the office in Straubing and allowed for an ear pounding, body shaking demonstration. mondo*dr was lucky enough to make the shortlist for the event.

Stepping into the demo room, we were met by three pairs of line arrays - for comparative purposes - and there is a certain buzz in the air about the new X1 and X2, the former primarily designed for fixed installation and the latter for live touring. By all accounts this is a big leap forward for Electro-Voice when compared with other product lines it has released in recent years.

Asked why the company chose now as the perfect time to put itself back into the limelight, Global Product Manager, Guillermo Wabi said: “The market asked for it. There has been a lot of new products introduced in the industry for the past eight years. Since 2008 until now, our top five global competitors have made a big impact worldwide in the line array market, introducing a total of 33 line arrays.”

The journey toward the X1 and X2 started three years ago and the company was actually part way through designing another product series but the market reaction to other products being produced stops the company in its tracks. “It was very clear by the reaction of other products being produced, customers did not want something that was recycled - same technology re-packaged with different numbers - they did not want that. So, we decided to stop our current project and go back to square one. We went back, investigated

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worldwide, reviewed and we started a new project that led us to X1 and X2,” continued Guillermo.

The X1 has been designing using the latest multiphysics software, and combining three new technologies. Firstly, mid-band hydra (MBH) superior box coupling. The 12-inch SMX woofer housed inside the X1 is paired with an Electro-Voice MBH device that effectively emulates the acoustic behavior of a double line of four three-inch point sources to deliver excellent mid-band coupling of the array while at the same time maintaining the efficiency, power, and bandwidth of a 12-inch transducer.

Next is wavefront-shaping circular hydra (WCH), which extends linear high frequency performance. The HF section in the X1 incorporates two new ND2R ring-exit high-output two-inch titanium compression drivers coupled to a pair of WCH constant energy planar wave generators on a 90° waveguide optimised for high efficiency, uniform pattern control, and smooth, extended, linear response. The ring-coupled ND2R and WCH circular hydra eliminates wave distortion, maximising the acoustic output of this medium-format compression driver with in-phase summation past 16kHz. And thirdly, an integrated rigging system (IRS) featuring a captive twist-lock multi-angle arraying system designed to simplify the rigging of any size of array, significantly reducing load in/out time and production costs. Guillermo and Tony Sawyer, Electro-Voice Applications Engineer demonstrated just how easy and straightforward the IRS is, even showing that changing the firing angle of the array can be done simply by using rigging pins and a minor box lift to alter the position.

The X2 features the same technology as the X1 but also boasts two extra features: the DVN3125 woofer

integrated for very low distortion, high efficiency, and maximum intelligibility at high SPL; and the coupling of two ND6A high output three-inch titanium compression drivers to the pair of advanced pin diffraction hydra (PDH) to provide constant energy planar wave generators on a 90° waveguide. The X-Line family, as it current stands, is completed by a dual 18-ich subwoofer, which produces the greatest low frequency impact and performance Electro-Voice has ever developed.

Guillermo furthered: “We optimise our loudspeakers, with our amplifiers and our DSP, why would you expect it to function better with other technology? Our algorithms are different, our componentry is different, we optimise it to our technology, so, we will sound better with our technology.” Electro-Voice believes in the turnkey package solution so much that the X-Line Series is only available to purchase as a package and there is a minimum requirement, as the company wants to ensure it delivers everything that was promised to the customer.

“We want to provide the full package, but we’re taking it a little bit slower than that simply because we want to be completely certain the technology that we’re deploying is right for the market, is right for the industry.

So we felt that we would start with the loudspeakers, amplifiers, DSP, then once all the other fashions of technology develop to the point that is solid and accepted in the market, then we will follow on,” he said.

“The market wants the flexibility in install, but the control, performance and repeatable sound in live,” he concluded. It seems Electro-Voice are determined to deliver both.

I suspect it won’t be long before we hear about siblings in this range. www.electro-voice.com

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THE GET SHOW: 1. The Light Sky stand. 2. The Golden Sea team. 3. The team on the ICTC stand line up. 4. The Acme stand. 5. Managing Director of Ovation, Benny (right) and his team. 6. Ricky Lee of CY Lighting. 7. The DJ Power team. 8. The Fine Art stand. 9. The Jolly stand.

THE GET SHOW / PROLIGHT+SOUND GUANGZHOU

It had been two years since my last trip to Guangzhou, China when I visited The GET Show from 1-4 April and Prolight+Sound Guangzhou (PL+S GZ) on 5-8 April. It was also the first time that I’d attending both shows and was able to draw a first hand comparison. Quite surprisingly, neither one was as I’d expected.

Both shows take place at the same exhibition centre - the China Import and Export Fair Complex - although in different areas and run back-to-back with each other.

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This in itself causes issues for both exhibitors and visitors. The former have to choose whether to participate in both shows and should that be the decision, there must be enough products and man power coverage for 10 days straight - if you include build up and tear down. For visitors, eight consecutive days at a tradeshow is not exactly the most appealing thought, so again compromises will be made. In my case, I visited Guangzhou in the middle of the two events, taking in half of each.

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10. The XMLite stand. 11. Simon Pan of ACE. 12. The EK Lighting stand. 13. Richie Wang of Real Music with David Dohrmann of Adamson. 14. Maggie Xiao of PR Lighting. 15. Haona distributes Outline, L-Acoustics, Camco, DiGiCo and Roland in China.

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PROLIGHT+SOUND GUANGZHOU: 1. The team on the Audio Focus stand. 2. The ADJ stand. 3. SAE’s Jack Jie and Josep Maria Sans. 4. Harman’s David Lu. 5. The Spark laser stand. 6. The ACM Audio stand. 7. The DGX stand. 8. The outdoor line array demos.

The GET Show certainly seems the more professional of the two shows in my opinion, the stands are more sophisticated and there are more recognisable brands on display. It is physically smaller in size in comparison to PL+S GZ, however, I certainly believe in quality over quantity in this particular case.

Organised by Industry Association of China Entertainment Equipment (SCEE), The GET Show attracts all the major Chinese lighting brands, as well as a number of distributors - predominantly in the audio sector - representing international brands.

The show has the noise under control - as far as can be expected in China anyway - and the halls are well organised in terms of technology sector.

PL+S GZ organiser, Messe has visible tried to implement changes since taking over the show, including better hall organisation - specifically the audio brands halls - adding new conferences and new audio demo rooms, but as it stands, I view this as a domestic show rather than an international one. There was an abundance of

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local product on display in the many halls the show occupies, and it felt the international presence was only a small percentage in terms of both exhibitors and visitors.

When it comes to dissecting who was where, it is quite tricky. It was a really mixed bag… some companies chose The GET Show over PL+S GZ and vice versa and some chose both. The aim with the latter being a choice between the two would be made next year. Talking to people on stands at both shows also brought mixed opinions, but I think ultimately it comes down to which area of the market companies want to appeal to. For me, The GET Show appealed more to the export market and PL+S GZ was geared towards the domestic market.

Personally, I hear about the saturation of the tradeshow market regularly, and two shows running back-to-back is only hindering the matter further. Currently, I don’t believe we have a tradeshow that fully serves the APAC continents as a whole, all we have is regional events. It’s there for the taking, but it just needs somebody

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1. D&E International distribute Lynx Pro Audio and Avolites. 2. Audiocenter held a press conference to launch new products. 3. The Sennhesier stand. 4. Impressive laser projections from Kvant. 5. The Vello stand in light show mode. 6. Martin Audio distributor, Huifeng exhibited at both shows. 7. The beyerdynamic stand. 8. Dean Standing of Rane with YK Cheung of EAD.

to step up to the plate. With China arguably considered a separate entity from the APAC region in our world though means there’s actually scope for more than one new event in the region, but the organiser has to be up to the the challenge of providing what the market needs.

I think we are all witnessing the changes taking place in China just now, it isn’t the power house it once was in many ways. But for our technology aspect the Chinese companies need to dig deep and push through these harder times. If not, then I fear only the strongest will survive. More than ever now, companies are looking for other regions to invest in and even though China will always be an important figure, it could still take a significant hit in our world in the not to distant future.

Timing is also key, so I hope next year the shows in Guangzhou will not run too

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close to Prolight+Sound in Frankfurt, as this obviously takes priority for many companies and international presence was visible affected. Equally, the timing of the shows this year also has an impact on the Frankfurt edition because a handful of regular Chinese companies did not attend. It will definitely be interesting to see how this develops over the next 12 months.

The GET Show returns on 1-4 March 2016. For more information go to: www.getshow.com.cn Dates for Prolight+Sound Guangzhou 2016 are yet to be announced. For more information go to: http://prolight-sound-guangzhou.hk.messefrankfurt.com

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1. Amptown System Company’s Managing Director Leif Witte with Head of Marketing Dierk Elwart. 2. Alex Kostenko and Guy of AudioFocus. 3. A.C. Entertainment Technologies showcased LED solutions from its Chroma-Q and Jands Vista lighting and media control solutions range. 4. The Adam Hall stand. 5. The Adamson team. 6. The Absen stand. 7. Alfred Gonzales, Kris Dawber and Brian Dowdle of ADJ. 8. Amadeus’ Gaetan Byk and Paul de Benedictis. 9. The ArKaos stand.

PROLIGHT + SOUND FRANKFURT

Prolight+Sound (PL+S) in Frankfurt, Germany is the busiest tradeshow of the year in the mondo*dr calendar, and arguably the biggest of the year for the event technology sector. And not just because the amount of visitors, the size of the exhibition grounds cover a substantial 578,000 sq metres and 11 halls are filled with the most innovative and latest products the industry has to offer.

After the short flight over to Frankfurt both mondo*dr and TPi magazine arrived on Tuesday evening ready to hit the ground running, armed with the latest issues of the magazines and a inventory of companies, familiar faces and friends we were looking forward to meeting over the next four days. Not to mention comfy shoes,

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plasters and hydration sachets - all the tradeshow essentials.

This year’s PL+S marked the shows 20th anniversary which was greeted by a new exhibitor record; 928 companies from 41 countries made presentations for technology, services for events, installation and production. The show also increased in the number of visitors, 43,054 retailers, distributors and professional users made their way to Frankfurt to find out about the latest developments in the sector, which was an increase of 2% on the previous year. It appears the event technology sector is flourishing with annual sales 3.75 billion Euros last year. And indeed this seemed to be the theme of the show too, with organiser Messe Frankfurt

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10. Stephane Kohn of Beglec. 11. The Coda Audio stand. 12. The Kvant stand. 13. Hazebase’s Uta Raabe. 14. Kling & Freitag’s Steve Hamann. 15. The Fenix team headed by Alex Bryan (second from left).

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

000 EXPO PRODUCT HIGHLIGHTS FROM PROLIGHT+SOUND 2015 • Absen showcased the latest range of 4K LED displays for fixed installation, including the X3 and A1.9 LED panels.

With wiring, module and panel structure all integrated into its modular design, the X3 ultra HD indoor panel system with 3.125mm pixel pitch ensures ease of product assembly, installation, disassembly and maintenance. Ideal for control centres, shopping malls, conference rooms and other highÐend indoor applications, the A1.9 is an ultra-lightweight 1.9mm indoor LED panel utilises Absen’s unique panel locking system to enable ease and speed of assembly. http://tinyurl.com/njg7rsm http://tinyurl.com/pud9q25 • Adamson showcased the S-Series line array family, its new sub-compact line array system, consisting of the S10 line array enclosure, S119 subwoofer, Blueprint AV and the E-rack; Adamson’s new unified rack solution. The S10 is a two-way, full range, sub-compact line array enclosure ideal for mid-size arenas, theatres, churches and dance clubs. http://tinyurl.com/n9kgvsn

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• Acme showcased the XP-1000SZ F, a professional moving light with excellent output and industry-leading optical technology with an advanced, cutting-edge system that can create colourful and varied lighting effects and improve lighting performance. www.acme.com.cn/Details.aspx?lang=en&id=501 • ADJ continued its celebration of 30 Years of Pure Lighting Excitement by demonstrating three innovative new products at PL+S. Visitors to the ADJ stand got to see the Kaos centrepiece style LED, Vizi Beam 5RX moving head fixture and AV6 LED video wall in action. http://www.adj.com/kaos http://www.adj.com/vizi-beam-5rx http://www.adj.com/av6

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• ArKaos demonstrated the latest version of its highly successful professional MediaMaster software, the MediaMaster 4.2, which adds an integrated cue player and 4K support to the many tools already offered by the software. www.arkaospro.com/software/mediamaster-pro • Allen & Heath showcased the Xone:43, a classic 4 + 1 channel analogue DJ mixer with a host of enhanced features, including the legendary Xone filters, X:FX routing, three-band EQ, VCA faders, and adjustable crossfader. www.allen-heath.com/ahproducts/xone43 • Amadeus unveiled a first concept version of the new Philharmonia loudspeakers designed for both the professional recording studio as well as home Hi-Fi use.

Amadeus worked with world-renowned French Architect Jean Nouvel to create the Philharmonia speakers for the 5.1 surround studios housed within the newly opened Philharmonie de Paris. http://amadeus-audio.com/en/ • Apex unveiled the Liviau S, based on the same sleek, yet robust hardware platform as Liviau R and offering all the same audio functionality as R but with greatly enhanced video and lighting capabilities for bars, clubs, retail, houses of worship and corporate applications. www.apex-liviau.com • Audio-Technica unveiled both its new BP40 largediaphragm dynamic microphone and AT2020USBi USB condenser microphone, which now features iOS compatibility. http://tinyurl.com/nrj7ufl http://tinyurl.com/n6xu2op • Avolites showcased the live control-focused Arena console, which combines the interface of the Tiger Touch II with 30 additional playback faders and expanded live control options and features. www.avolites.com/products/lighting/quartz • Ayrton launched of seven new products at PL+S. The newest developments added three fixtures to Ayrton’s creative solutions line - MagicDot-R, CosmoPix-R and VersaPix-RS – as well as two unique specimens to its imaging displays portfolio and a further two additions to its automated luminaires range. www.ayrton.eu/produit/magicdot-r www.ayrton.eu/produit/cosmopix-r www.ayrton.eu/produit/versapix-rs • Barco announced the addition of a new entry-level model to its series of all-in-one video scalers, scan converters and switchers. Building on the renowned ImagePRO and ImagePRO-II presentation switchers, the brand-new ImagePRO-II Jr combines high-performance scaling with low total cost of ownership and is perfect for basic applications.

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4 1. The Avid stand. 2. Paul Van Hees and Hendrik-Jan Gielis of Apex. 3. Apia’s Saverio Wongher. 4. Lynn Ryon (left) and the rest of the Barco team.

reporting high levels of satisfaction; reaching 84% of exhibitors and 97% of visitors said they had achieved their goals for the fair. “Over 108,000 visitors from 146 countries witnessed a dazzling display of new products, stars and events,” said Detlef Braun, Member of the Executive Board of Messe Frankfurt.

It was a show of revelries as many companies celebrated landmark anniversaries. ADJ celebrates 30 years by introducing three new products, Madrix celebrated 10 years and demonstrated its new LED lighting control software Madrix 3.4. Powersoft celebrated its 20th anniversary with a party at APT-Apartment nightclub and featured Toa Mata Band, the world’s first robotic LEGO band, which performed a live set with various TouchAble synthesisers, drum machines and acoustic percussions. Neutrik celebrated 40 years, which also marked the year it produced its one billionth connector. Philips celebrated five years of Platinum lamps - since the first product was released in 2010 the series have proved a success and continued to expand.

Clay Paky held large cinema style demonstration videos of its new moving head spotlight the Scenius. The 60 demonstrations were held one after the other in English and German throughout each day of the four day show, which were seen by more than 10,000 people.

For the 10th time, the PRG Live Entertainment Awards (PRG LEA) attracted more than 1,300 guests from the national and international music, events and entertainment scene celebrated at the anniversary gala in the Frankfurt Festhalle. The PRG LEA saw 14 awards go out to promoters, concert agencies, artist management and venue operators working with tours, concerts, festivals and other live events in well-run locations. Using the PRG / LEA Awards Stage, PRG ran 10-minute shows every half hour on the hour. In addition, all visitors had the opportunity to look behind the scenes of the PRG / LEA Award Stage to

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http://tinyurl.com/m5k5ges • B&K Braun announced the release of the LEDium X-R5, one of the highest resolution LED systems for outdoor lighting on the market. The three-in-one SMD RGB LEDs, which have been specifically developed for the X5, are arranged with a pixel pitch of only 5.2mm, and provide a contrast ratio of 3000 : 1 along with a brightness of 5000 nits. www.bkbraun.com • Bose showcased the F1 Model 812, the first powered portable loudspeaker that lets users control its vertical coverage pattern. Designed to serve an even broader set of applications than L1 systems, F1 Model 812 is the first powered portable loudspeaker that lets users optimise sound by creating up to four different vertical coverage patterns. http://tinyurl.com/n599tx3 • Briteq showcased the first fixture in a new series of professional lights; the BTX-TITAN, a beam, spot and wash all-in-one unit. http://en.briteq-lighting.com/product/4378/BTX-TITAN

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• Cadac launched its brand new CDC six digital live sound production console on the opening day. The CDC six, for which the company claims the fastest, most intuitive operation and highest possible audio performance of any mixing console, is based around the further development of its advanced gestureoperation user interface. www.cadac-sound.com/i/digital/cdc-six/27/ • Chauvet Professional showcased the Ovation ED-190WW ellipsoidal and the Ovation FD-165WW Fresnel Wash. Both feature technology allowing them to be controlled by DMX or by traditional dimming systems, so that they can work with the dimmable incandescent fixtures already on an existing rig. www.chauvetlighting.co.uk/ovation-ed-190ww.html • Clay Paky introduced the brand new Scenius, a moving head spotlight at the top of the Clay Paky range. Its advanced optical unit and the new 1400W OSRAM discharge lamp provide a much higher light output than with previous generation 1500W lamps.

Clay Paky also introduced the Spheriscan, a scanner with a modern twist. http://tinyurl.com/ozlh97e http://tinyurl.com/q5pl9vp • Coda Audio announced several significant new products, including the new AiRAY three-way, full-range line array system. AiRAY delivers exceptional output and intelligibility, at half the size, weight and transport dimensions of conventional two by 12-inch systems. Also on show was the High Output Point Source HOPS8, a passive two-way system with outstanding output-to-size ratio and 100° by 100° coverage. www.codaaudio.com • Crown Audio announced the introduction of the XLS DriveCore 2 Series two-channel power amplifiers. Four new XLS DriveCore 2 models are available including the XLS 2502, XLS 2002, XLS 1502 and XLS 1002, with power ratings from 350 to 775W per channel at 4 ohms and 1100 to 2400W at 4 ohms bridged. http://tinyurl.com/odt86wu • d3 Technologies displayed an exciting new solution for its flagship d3 4x4pro media server when it unveiled the first Video Format Conversion (VFC) quad DVI output card. http://tinyurl.com/k8pl6r3

1. The DTS stand. 2. The EAW stand. 3. Anne Berggrein of DPA Microphones. 4. Alan Rayner and Larry Beck of Elation. 5.

Juan Jose Vila of Equipson. 6. The ETC team.

• Dataton showcased the new Watchout 6 at Prolight+Sound.

Watchout 6 adds advanced projection mapping, previsualisation and uncompressed video playback new 3D features, vastly improving workflow for 3D productions. www.dataton.com/watchout/information/watchout • d&b audiotechnik showcased two new products at Frankfurt.

The D20, the latest addition to the company’s four-channel amplifier family, and the MAX2, a flexible 15-inch stage monitor.

The software update is a new ArrayCalc feature for d&b line arrays. www.dbaudio.com/en/systems/details/m2-monitor.html www.dbaudio.com/en/systems/details/max-monitor.html • DiGiCo launched its new S21 digital console at this year’s PL+S but during the show did not reveal the full software potential, or even the intended release specifications. This different approach makes sense when you take on-board that the core of S21 is DiGiCo’s Stealth Digital Processing. This FPGA based technology is the key that unlocks the flexibility that the R&D designers need to specify and deliver the ultimate console.

DiGiCo also launched the ‘anything in, anything out’ Orange Box. http://www.digico.biz/s21/ http://www.digico.biz/docs/products/Orange_Box.shtml • The DPA booth showcased a wide array of products including etablished models such as the d:vote 4099 Instrument Microphone and the d:facto Vocal Microphone. A re-launch of

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get an idea of how such a show is being implemented. This year’s show included some spectacular video mapping. The lighting rig included, 36 PRG Bad Boy Spots, 12 of the new, brighter PRG Best Boy HP Spots, and 107 PRG Best Boy Wash luminaires.

Pioneer Pro Audio announced a new management structure, which places greater levels of responsibility on the shoulders of its new EMEA headquarters in West London. The expansion sees Dorine Lagersie and Mary Jong take up Marketing Executive positions, whilst Ben Owen fills the role of Marketing Coordinator.

Keleigh Batchelor has been promoted to Marketing Executive responsible for PR, advertising and creative.

Overseeing the team is Tania Lee who has been promoted to the role of Marketing Manager.

For PL+S 2016 the show is going to see some changes, the show will begin on Tuesday and end on Friday instead of the usual Wednesday to Saturday. The opening hours are also changing, the show will run from 10am-7pm on all days. The organiser is also having to cater for the increase in demand for space on the show floor. Accordingly, it will be moving to the eastern section of Frankfurt Fair and Exhibition Centre next year so PL+S will occupy Halls 1, 3, 4 and 5, as well as the Congress Centre and outdoor exhibition areas.

Prolight + Sound will take place from 5 - 8 April at Messe Frankfurt exhibition hall. For more information go to: www.prolight-sound.com

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the d:facto range including a new d:facto microphone was also presented at the booth. http://tinyurl.com/osvhazm http://tinyurl.com/pse58pd • DuraTruss showcased a new white truss column with baseplate optimised for DJ use. Easy to lift yet solid and stable, the powder-coated truss column is exceptionally strong for years of reliable use. DuraTruss also showed a small, smart plastic protection ring to safeguard truss from scratches, a discreet solution that is less expensive than other truss protection tools on the market. www.duratruss.com • EAW exhibited REDLINE, a new series of powered loudspeakers at the show, which leverage a variety of EAW core technologies and design principles to provide the premium performance and focused feature set that working live audio professionals need without anything they don’t. http://tinyurl.com/p3w5j4m

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• Elation Professional showcased the Platinum WFX wash effects luminaire with full range zoom, and also premiered the hybrid Platinum FLX, a powerful spot, beam and wash fixture with 470W Platinum 20R lamp and CMY colour mixing. http://tinyurl.com/mqb2epa http://tinyurl.com/lz8ka5s • Electro-Voice introduced its new EKX portable loudspeakers, the newest member of the EV portable sound range. EKX is ideal for musicians, DJs, and live / club / installed sound applications, EKX also offers EV-exclusive features including single-knob QuickSmartDSP digital signal processing control, Signal Synchronized Transducers waveguide design, and Cardioid Control Technology for subwoofers. www.electrovoice.com/ekx/ • ETC previewed the Eos console family software version 2.3, which is due for release this summer and adds a number of new options for controlling colour. The fixtures area was for a first look at the new Source Four LED Fresnel adapter, which can be attached to a Source Four LED Series 2 or Series 1 light engine. www.etcconnect.com/Products/Consoles/Eos-Family/

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• Eurotruss displayed its four main product groups: Structures, Stages, Lifters & Stage Decks. Structures included the company’s standard truss series, as well as its upgraded Pre Rig Truss, the spectacular new Ladder Beam truss HD22 and the reinforced Mega Truss Series TTU and TTS. Next to that the brand new Eurotruss Lifters range were presented as well as the new Tunnel Roof series and the PR15 Monster Roof. http://www.eurotruss.nl/en/trussing/pre-rig-truss http://tinyurl.com/ob3v38u • FBT introduced its sleekly design AX Series of power amplifiers, the perfect power mates for sound reinforcement speaker systems. Additionally, the company introduced the Mitus 118FSA and FSCA - cardioid arrayable and flyable subwoofers.

The Mitus 118FSA / FSCA is a hybrid loaded 18-inch neodymium subwoofer designed to suspend from an MT-F 212 flybar, either facing forward or rearward. http://www.fbt.it/ • FENIX Stage reported a great response to its products, especially its brand new Ground Support TRC Series, whose assembly demonstration, capable of lifting a maximum of 600Kg up to seven metres high, caused great excitement. http://www.fenixstage.com/

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• Focusrite showcased the new redundancy-armed RedNet range as well as their existing lineup at this year’s show. The RedNet MP8R, RedNet D16R, RedNet HD32R and RedNet D64R all feature redundant power supplies, primary and secondary etherCON connections and occupy a single rack space. www.focusrite.com/rednet • Funktion One showcased a new series of high intensity loudspeakers - the Evolution Series. Utilising the loudspeaker manufacturer’s latest technology, the range is centred around the Evo 6 and Evo 7 enclosures. http://www.funktion-one.com/products/evo-6e/ http://www.funktion-one.com/products/evo-7e/ • Genelec launched the7040A, a new ultra-compact subwoofer, designed to complement the 8010, 8020 and M030 active monitors, the 7040A delivers accurate sound reproduction and precise monitoring of low frequency content. http://www.genelec.com/products/7040a/

• GLP showcased the impression X4 Bar 10 and impression X4 Bar 20 fixtures. GLP also displayed its latest fixture in the range, the fully pixel mapped impression X4 L, and the new impression X1, for the first time anywhere in the world. www.glp.de/index.php?id=impression_x4_l&L=1 www.glp.de/index.php?id=impression_x4s0&L=1 www.glp.de/index.php?id=251&L=1 • Green Hippo showcased the Taiga and Boreal media servers.

Featuring six unlimited DVI or DisplayPort outputs, the Taiga can drive at least 3 x 4K displays at full frame rate. The Hippotizer www.mondodr.com www.mondodr.com

6 1. Arena Luci’s Omar and Primo Bertani. 2. Aryton had a spectacular light show on the stand. 3. Craig Jackson of Bose. 4. Audio-Technica Marketing Manager, Tom Harold with Marketing Coordinator, Adam Archer. 5. Avolites’ Koy Neminathan and Steve Warren. 6. The Chauvet Professional team headed by Michael Brooksbank (centre).

Boreal is designed for the rigours of life on the road with four DVI or HD-SDI outputs. www.hippotizer.com/products/Taiga www.hippotizer.com/products/boreal • Hazebase introduced the base.low.pro, the company’s latest low-CO2 fogger, designed to create low lying fog in conjunction with either the base.classic or base.high.power foggers. http://tinyurl.com/ldfhhbg • High End Systems announced the launch of the SolaWash Pro 1500, the brightest in a line of bright, white light LED products.

With an output approaching 30,000 lumens from a 600W LED source, the SolaWash Pro 1500 comes packed with CMY, Variable CTO, 2 Fixed colour wheels, Framing and a 9 to 55° zoom range. https://www.highend.com/products/led/solawash-pro-1500

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• HK Audio unveiled numerous sound reinforcement solutions, including two Key Rack packages, which provide a unified amping system solution for a variety of HK Audio’s passive loudspeaker ranges - including Linear 5, ConTour, ConTour Array and Premium PR:O. http://hkaudio.com/ • IDEA Pro Audio introduced its active line-array EVO20 and some of the new products that will be launched this year. www.ideaproaudio.com/product-detail/evo20/ • JB Lighting launched the Varyscan P4 - its latest spot that features a perfect beam and spot, as well as great serviceability and size. Due to its comprehensive effect unit, compact housing and low weight, as well as an extraordinarily high light output, the P4 is suited for all stage sizes. http://www.jb-lighting.de/index.php?S=3_7&P=52 • JBL announced the release of its Version 5 preset support for the Vertec DrivePack DP-DA input module for all full-size, midsize and compact powered Vertec models and subwoofers. http://hiqnet.harmanpro.com/news/display/303/

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• K-array showcased the KH7, the self-powered, digitally steerable loudspeaker from the top-of-the-line touring system, the Firenze Series; the KH2, KH3, and KH5 from the Concert Series; K-array’s most powerful portable amplification system, the KR802; and the revolutionary, moving head speaker, the Owl KW8. www.k-array.com/en/firenze/kh7.html www.k-array.com/en/concert/kh2.html www.k-array.com/en/concert/kh3.html www.k-array.com/en/concert/kh5.html www.k-array.com/en/portable-systems/kr802.html www.k-array.com/en/concert/kw8.html • Kling & Freitag showcased the VIDA, a scalable, controllable and full-range-compatible line array system. Up to eight of these one-metre modules can be connected to the integrated mechanics. www.kling-freitag.biz/505.0.html?&L=1 • Klotz introduced its ConcertLink Analogue Multicore System, complete with built-in preamps that allow an analogue multicore system to be used. http://tinyurl.com/lbgseh3

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• KV2 Audio showcased the VHD5.0 power point source array.

The design of VHD5.0 Array ensures that the radiated power of each bandwidth, handled by the various components of the system, is consistent and balanced in relevance to the overall frequency response. http://tinyurl.com/q8q2urn • L-Acoustics announced the launch of its X Series, a new line of coaxial speakers for the installation and rental markets. With improved radiation control and low frequency performance, the X Series is a true point-source system, boasting pristine sound for short throw applications. http://tinyurl.com/ol94rbe • Lab.gruppen announced the release of version 1.1.0 of CAFÉ, a set-up tool for the company’s PLM+ and D Series amplifier platforms. Available for Mac and Windows, CAFÉ enables quick and accurate optimisation of per-channel power output, to match the connected loads in either installed sound or touring applications. http://labgruppen.com/cafe-software • In a joint showcase at PL+S Lawo and Neumann demonstrated the integration of Neumann’s DMI-8 digital microphone interface, utilising Ravenna audio-over-IP technology. http://tinyurl.com/kwvheza

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7. Daniel Imiola and Oliver Braun from B&K Braun. 8. Yamaha’s Terry Murphy and Karl Christmas. 9. The Chainmaster team.

10. Nicki Fisher of Clear-Com. 11. Clay Paky launched Senius. 12. XTA’s Waring Hayes and Richard Flemming. 13. The Confetti Maker team. 14. Dataton introduced Watchout 6.

• Le Maitre demonstrated the new effects added to its range of VS (virtually smokeless) pyrotechnics – as well as showcased the ScentFX range of unique scenting products. The scents are ideal for adding that extra sensory dimension to occasions such as weddings, theatre shows, concerts and commercial launches. http://tinyurl.com/ntbkopa http://tinyurl.com/n9zlm3e • Look Solutions introduced its new Low Fog Attachment, which can be used with most current fog generators is equipped with an analogue or DMX-connector, to create dense, low-lying fog effects. www.looksolutions.com

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• LumenRadio AB launched Mira - a solution designed to deploy large-scale Internet of Things installations in M2M and building communications applications. Mira can be used to link practically any device - light, energy, environment, security, transport and weather. http://tinyurl.com/mfzqrq8 • Lynx Pro Audio exhibited the new CXA Line array, the GXR touring series, HR Installation series and the Ionic columns, as well as the company’s new power amplifiers - the HPX and RS series. www.lynxproaudio.com • MA Lighting presented a new series of compact lighting control solutions - the dot2 range, which consists of three lighting consoles; dot2 core, dot2 XL-F, dot2 XL-B; two playback expansion wing solutions; dot2 F-wing and dot2 B-wing and the dot2 Node4 (1K) network output node as well as the dot2 on PC console software and the dot2 3D visulisation software solutions. http://tinyurl.com/lmtnpz4

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• Madrix 3.4 was presented for the first time at PL+S 2015, which allows operators to work in completely new ways, faster, and even more creatively. Many stock effects provide new possibilities, especially the additional shape types, which greatly extend the variety of lighting visuals. http://tinyurl.com/q4y6l7d • Martin Audio showcased a major new installation-focused loudspeaker range - the CDD Series. Combining distinctive curved enclosures with unique Coaxial Differential Dispersion technology, the series is designed to deliver excellent performance, fidelity and coverage consistency to venues that demand the ultimate in cutting-edge technology and style. https://martin-audio.com/installation/CDDseries • Martin Professional showcased MAC Quantum Profile as well as the Martin M-Touch controller and VDO Fenix creative lighting solutions. Several new additions to the RUSH line and the winner of Martin’s annual Young Lighting Designer contest were also announced on the stand. http://tinyurl.com/nsqed7v http://martin.com/en-US/Product-Details/M-Touch http://martin.com/en-US/Product-Details/VDO-Fenix-6

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• MC2 showcased its latest addition to the E series amplifier range, with the E60 four channel amplifier, designed to the highest standards of reliability and sound quality. Developed for the touring market, the E Series retains the sonic integrity of the benchmark MC and T Series amplifiers, without the physical weight. www.mc2-audio.co.uk/e60.html • Meyer Sound demonstrated its Leopard and 900-LFC line array systems, which boasts an impressive power-to-weight ratio and ultra-low distortion. Both Leopard and the 900-LFC join Meyer Sound’s flagship Leo family, as the company’s smallest and most versatile line array models to date. http://meyersound.com/product/leopard/ http://meyersound.com/product/900-lfc/ • Milos Group attended PL+S under the umbrella of Area Four Industries, which was founded in 2012 when the engineering design expertise, experience, knowledge, and manufacturing capabilities of its three brands - Milos Structural Systems, Litec and TOMCAT - were combined and solidified. The union of these four brands led to an improved and redefined structure that has allowed Area Four Industries to give its customers access to the worlds largest offer of truss, support structures, peripheral products and related services. http://milosgroup.com/About-Area-Four-Industries/ • Music & Lights presented a package of more than 50 innovative solutions for the audio and lighting markets, which took place in their 300 sq metre stand. An impressive array of over 500 Prolight projectors and Ultra-Series LED displays, were amplified with a DAD Modular Array and a light show created by Lighting Designer Luca Modesti and his crew. www.musiclights.it/?lang=EN • Nexo introduced its brand-new family of low-profile, high-output loudspeakers, aimed primarily at the installation and commercial audio markets. The ID Series promises class-leading power and performance combined with an unprecedented level of versatility, making it suitable for a huge variety of install and touring applications. http://tinyurl.com/n6ej6mk • NEXT-proaudio announced the new LAm114xA active stage monitor as the latest addition to the LAm range. The monitor’s small footprint and lightweight, combined with the linear and extended response at very high pressure levels, makes the LAm114xA the perfect solution for small to large venue applications. www.next-proaudio.com/products/LAm114xA • Optocore showcased its multi-interface M8 and M12 models. The M8 features four MADI ports, two SANE ports and two Optocore hi-speed fibre uplinks. Similarly the M12 features eight MADI ports, two SANE ports and two Optocore hi-speed fibre uplinks. www.optocore.com

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8 1. Ben Sinclair of Lynx Pro Audio. 2. Kevin McNally and Chiara Palmieri of FBT. 3. The Wireless Solution team. 4. Sabina Berloffa and Gerhard Mayr of d&b audiotechnik team. 5. Eve Bryggman of Meyer Sound. 6. MA Lighting’s Ansgar von Garrel. 7. The Fohhn stand. 8. James Gordon and David ‘Webby’ Webster of DiGiCo presenting the the new S21.

000 EXPO • Outline showcased the Eidos 218 S, a powerful subwoofer

featuring an exceptional size to power ratio and extended low frequency reproduction ideal for applications requiring highpowered sub-bass delivery. www.outlinearray.com • Philips’ entertainment lighting brands Vari-Lite, Selecon and Strand, alongside its Showline product range, unveiled a broad portfolio of new creative tools for lighting designers including the brand new VL4000 BeamWash. The Philips team also supported partner companies Feiner Lichttechnik and Cast. Cast hosted launch of three new Showline products: the SL Punchlite 200, the SL Strip 10IP and the SL Beam 300fx. www.ecat.lighting.philips.co.uk http://tinyurl.com/pdmgobv http://tinyurl.com/knchosz • Powersoft celebrated its 20th anniversary. The Italian manufacturer welcomed visitors onto a new stand, designed around two imposing ‘X’ motifs, an allusion to the X Series workhorse platform as well as the company’s two decades of innovation. Powersoft showcased the breadth of its offering, including the Ottocanali DSP+D, the flagship M and K Series amplifiers as well as the revolutionary M-Force Technology and the successful X Series. http://www.powersoft-audio.com/ http://tinyurl.com/oeq3dq4 http://tinyurl.com/nwmsh2z http://tinyurl.com/njrkfbr http://tinyurl.com/qfujqec

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• PR Lighting’s stand featured a dedicated lightshow booth running adjacent to that of their German distributors, Focon Showtechnic, to help demonstrate their ‘magnificent seven’ including the XLED 1061, XLED 3007, XLED 3019, XR130 in spot and beam versions, XR330 Spot, XR1000 Framing and XRLED 700 Spot as well as other popular catalogue items. www.pr-lighting.com/show.php?id=565 www.pr-lighting.com/show.php?id=564 www.pr-lighting.com/show.php?id=868 www.pr-lighting.com/show.php?id=149 www.pr-lighting.com/show.php?id=566 www.pr-lighting.com/show.php?id=611 • PreSonus introduced its StudioLive CS18AI mix controller, a versatile, scalable, modular control surface for StudioLive RM-series rack-mount, active integration digital mixers and PreSonus’ Studio One DAW. www.presonus.com/products/StudioLive-CS18AI

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• Prolyte Group were in attendance with the Prolyte Locator app, featuring over 500 listings. New catalogues for the trussing and staging range were available, including fully updated, Eurocode compliant, loading tables. New products included the Aetos 250Kg hoist - enthusiastically presented by the ProLyft team, as well as the Prolyte XXL roof - a massive roof system. http://tinyurl.com/qyvauue http://tinyurl.com/n7pzroz http://tinyurl.com/l3b6thn • RCF added the three-way TTL6-A line source to its touring & theatre range. This high power active line source is engineered to deliver high fidelity output, both indoors and outdoors, to serve a wide variety of medium-to-large-space applications. http://www.rcf.it/ • Renkus-Heinz showcased its full line of Iconyx steerable line array systems, including the Full IC Live Portable and IC Live Dual systems as well as IC2, and all configurations of Iconyx IC-R-II systems with triple tweeter technology. Renkus-Heinz also demonstrated RHAON II the Audio Operation Network. They also offered an exclusive preview of Gen5, the next generation in Iconyx steered beam technology. www.renkus-heinz.com/iconyx www.renkus-heinz.com/rhaon-software

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• Riedel showcased the Tango TNG-200, which represents Riedel’s first network-based platform supporting RAVENNA / AES67 and AVB standards. With its own dedicated intercom application, the platform can be turned into a flexible, cuttingedge solution for a variety of communications scenarios. http://tinyurl.com/mg27r84 • Robe showcased the BMFL Blade - the next fixture in Robe’s new signature BMFL range, which joins the recently launched BMFL Spot. The latest additions to the DL range include the DL7S Profile, DL4X Spot, DL4S Profile and the DL4F Wash; there are two new versions of Robe’s ParFect LED PAR fixture, a new LED batten fixture, the CycBar 15 as well as a brand new LED moving light spot fixture, VIVA. http://www.robe.cz/products/article/bmfl-spot/ • Roland showcased the new M-5000 live sound digital mixing console. The platform, known as O.H.R.C.A, stands for three key concepts: open; high resolution; and configurable architecture.

This combination adapts to the needs both of the application and the operator by delivering 128 freely definable audio paths, an extremely flexible user interface, expandable protocols and multiple-format I / O choices. http://proav.roland.com/OHRCA/ • Robert Juliat celebrated the official launch of Roxie, its new 300W LED followspot.. The company also extended its popular ZEP Fresnel range, with the presentation of the new 360LF 300W

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1. Margaux Asteghene and Andrea Torelli of K-array. 2. Mark Ravenhill of GLP. 3. The Look Solutions team headed by Kirsten Eicher (right). 4. The team on the Klotz stand. 5. The KV2 press conference. 6. The Laserworld stand. 7. The LD Systems stand. 8. The Lee Filters team. 9. The Lumen Radio team.

• Fog machines • Hazer • Fog liquids • and even more... base•classic

base•hazer•pro

1300 W, standard fog machine

The hazer 19“ sized

base•cap•cased

base•touring Ultra strong output. Easy to handle.

650W, small-sized, compact and economical

hazebase

Stargarder Straße 2 · 30900 Wedemark · Germany Phone: +49-5130-37 10 05 · Fax: +49-5130-37 10 06 · E-Mail: info@hazebase.com

www.hazebase.com

000 EXPO LED Fresnel.

www.robertjuliat.com • Sennheiser showcased the evolution wireless D1 microphone series. The digital systems are totally self-configuring and have both intelligent frequency management and automatic sensitivity adjustment. The evolution capsules are also included in the 2.4GHz version, supplemented by an instrument set, a lavalier set and a headset version. http://tinyurl.com/qbjq9ro • SGM’s G-1 Beam moving head, generates a sharply defined, flat and uniform beam, that operates rapidly in every movement and provides intense mid-air beam effects through a high power white LED light source. It was on display at the show. http://sgmlight.com/news/2015/april/g-1-beam-launch/ • Shure and Soundcraft announced a new collaboration to enable native monitoring and control of select Shure wireless systems on Soundcraft Vi Series digital consoles. The initial implementation will be revealed on the new Soundcraft Vi5000 and Vi7000 digital mixing consoles, which were introduced at the show, and will support Shure’s ULX-D and QLX-D Digital Wireless Systems. www.soundcraft.com/products/vi5000 http://www.soundcraft.com/products/vi7000 http://tinyurl.com/lmdnjft http://tinyurl.com/m9z5wj5

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• Steinigke Showtechnic presented the latest product from its Eurolite, Futurelight, Omnitronic, PSSO and Europalms brands, as well as dazzling its visitors with an impressing light show, including some interesting new devices, along them the powerful Futurelight Color Mega Waves and Eurolite Zeitgeist TMH-360 Z.i, as well as a new app called Light’J, which enables users to control their light devices via iPad or iPhone. eshop.steinigke.de • Studiomaster showcased digiLiVE, the new ultra-compact 16-input / eight output digital audio mixer. http://www.studiomaster.com/ • Spotlight announced the release of the ARC (Automated Remote Control), which enhances the performance of all conventional lighting fixtures: from theatre spots to TV luminaries and even video projectors. http://tinyurl.com/oe5dy4h

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• The Cuety App from Visual Productions is a new generation lighting controller that turns your iPad into a powerful lighting console. Easy to use and budget friendly, Cuety enables you to take full advantage of the iPad’s mobility. www.visualproductions.nl/products/cuety.html • Voice-Acoustic showcased its HDSP multichannel amplifier series. Available in various performance classes from 1600W up to 16000W, the DSP-amp models, with Class-D technology, are constructed in modular design with an upside-down layout of electronics, in a stable corrosion-resistant aluminium body housing. The multiple power supplies, power amp sections and DSP boards, ensure the highest reliability, serviceability and maximum bass performance without interference between the channels. The integrated loudspeaker management system works with 64 bit / 96kHz sample rate in audiophile sound quality. http://tinyurl.com/mgynuc6 • Vue Audiotechnik showcased the aI-Class line array systems, h-Class ultra high definition compact systems, a-Class portable systems and i-Class integrator systems. http://www.vueaudio.com/ • XTA showcased the APA Series, its latest range of four channel Class D amplifiers, featuring extensive processing, connectivity and control capabilities. The new power and DSP platforms have been designed to interact intelligently and adapt to prevailing conditions, protecting drivers, and significantly enhancing performance from all speaker systems. www.audiocore.co.uk/products/apa/

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• Wireless Solution displayed its growing line of G4S products including the W-DMX UglyBox MK2. This is a compact new wireless signal tester is a valuable tool for users of wireless products, providing proof of a solid signal and piece of mind in the absence of visible cable. http://tinyurl.com/n6dsvct • Yamaha showcased its TF series digital consoles, heralding a new best in class solution for small to medium scale mixing requirements. The TF5, TF3 and TF1 respectively feature 33, 25 or 17 motor faders along with 32, 24 or 16 rear-panel analogue inputs, which feature recallable Yamaha D-PRE preamplifiers for the first time in a digital console. http://tinyurl.com/n6z7zzk • Zero 88 showcased the FLX lighting console. The clean, straightforward, intuitive User Interface offers tools like Patch Wizard and Auto Palettes to take care of all the prep work, allowing lighting directors and operators to work faster and more harmoniously. http://zero88.com/products/consoles/flx/index.shtml

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1. Magic FX International Account Manager Jip Van Krieken with Account Manager Chris Habraken. 2. Martin Professional displayed a number of new products at the show. 3. The J&C Joel team. 4. The Area Four Industries stand. 5. Waring Hayes and Mark Bailey representing MC2 Audio. 6. L-Acoustics’ Jochen Frohn with Mary Beth Henson. 7. Keleigh Batchelor European Marketing Coordinator at Pioneer EU with David Ferreira of Technical Sales.

134 EXPO

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1. Michael Korte and Neil Clayton of Monacor. 2. The team on the NEXT Pro Audio stand. 3. Marc Brunke, Managing Director of Optocore. 4. Nexo European Sales Manager Alain Boone with Chairman & CEO Jean Mullor. 5. The Osram team. 6. Powersoft strike a pose. 7. PreSonus introduced a number of new products at the show. 8. The Robe team were out in force. 9. The Sennheiser ladies. 10. The Prolyte team headed by Marina Prak (second from left). 9. Arturo Vicari of RCF. 12. Rik Kirby and Margie Ulm of Renkus-Heinz. 13. The RGB LED team.

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136 EXPO

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1. Roland’s Peter Heath. 2. Hugues Coffy of S2CEB. 3. The ShowTex team. 4. Chris Durray of sE Electronics. 5. SGM CEO Peter Johansen. 6. The PR Lighting team headed by Ernie Armas (centre). 7. The Pulsar team. 8. SM International’s Franco Natali and colleague. 9. Soundcraft’s Andy Trott. 10. The Spotlight team. 11. Artistic Licence’s Wayne Howell and colleague. 12. The GDS team. 13. James Godbehear of Cadac.

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138 EXPO

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1. Studiomaster’s Patrick Almond. 2. Steinigke’s Michael Dill. 3. The Tasker team. 4. TW Audio’s Marco Deinl. 5. Martin Audio’s Simon Bull. 6. Stefan Klinge (right) and colleague of Riedel. 7.

Dan Duffell and Andy Huffer of the SSL stand. 8. David Catterall and colleague of Zero 88. 9. Fabian Helmke and Stefan Rast of Voice Acoustics. 10. Jim Sides of VUE Audiotechnik. 11. Javier Frutos-Boniila from Fraunhofer demonstrated 3D sound from Salzbrenner. 12. Johan Sundstgrom of Swefog. 13. Andy Rust and Sarah Jane Thomson of TC Group. 14. Zoe Castle and Maarten Engels of Visual Productions. www.mondodr.com

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PERFORMANCE AND VENUE TECHNOLOGY SHOW Audio | Lighting | Video | Effects

EXHIBITION INTERACT WITH THE LATEST TECHNOLOGY

EDUCATION BE INSPIRED AND STAY AHEAD

EXPERIENCE

REGISTER ONLINE FOR YOUR FREE TRADE TICKETS WWW.VISITPRO.CO.UK/MONDODR

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ENGAGE MAKE CONNECTIONS AND SHARE IDEAS

12-14 SEPTEMBER 2015 THE NEC BIRMINGHAM UK WWW.VISITPRO.CO.UK VISITPROSHOW

IN ASSOCIATION WITH

microphone

[mahy-kruh-fohn] n.

An instrument capable of transforming sound waves into changes in electric currents or voltage, used in recording or transmitting sound.

cable

[key-buhl] n.

An insulated wire or wires in protective casing either with mini-phone plugs at both ends for transferring analogue sound from a computer or music player to a set of loudspeakers or to connect lighting / visual controllers to lighting / visual fixtures.

PRODUCT GUIDE

MICROPHONES & CABLES EMEA | HUGUES COFFY | S2CEB

Sometimes customers think that cables are not very important but in the end, if they don’t use good cabling their sound system will not work very well. It’s very difficult to explain that one cable is not like another cable and that’s why it must be a brand name. With analogue cables, it always works but the quality can vary. However, with digital cables, such as RJ45 or optical fibre, they either work or not, but there’s nothing in between. Customer should buy good quality cables to ensure a quality result.

APAC | MARC VINCENT | SENNHEISER CHINA The microphone is the first device standing between the audio source and the electro-acoustic chain. Therefore, the first point of conversion from acoustic energy to electrical will determine the level of audio quality, no matter how good is the audio recording or reproduction system following the microphone. At Sennheiser, 70 years of expertise in developing transducers and sophisticated electronics has brought microphone technology to an art form. More recently, in our relentless pursuit for perfect sound, we have been pushing the limits of innovation towards the development of digital microphones and digital transmission for wireless microphones, resulting in the most transparent radio microphone system ever produced, the Series 9000. The un-compressed data transmission of the 9000 is so natural, that it can challenge the most skilled audio engineer to hear the difference between the wired and the wireless version of the same microphone. This is the Sennheiser commitment to investing into innovation, and advancing towards the ultimate audio quality.

THE AMERICAS | CLIFF CASTLE | AUDIX

Audix developed VLM capsule technology in the late 1980s and it has become the foundation for our dynamic microphones.This includes the OM Series vocal microphones, the D6 and D series instrument microphones and the i5 all of which have become standards in the touring and live sound industry.

142 GUIDE - microphones

APART AUDIO | DIMIC12 www.apart-audio.com

DIMIC12 is a selective programmable digital paging station allowing communication between different zones in an office space. The DIMIC12 can be used for 12 different zones. When the DIMIC12 is used with AUDIOCONTROL12.8 users can allocate buttons to perform actions from opening a door and controlling a sound source to starting a series of commands. The paging station is designed for use with Apart’s AUDIOCONTROL12.8 and easy to configure via the host’s graphical user interface. DIMIC12 combines an inconspicuous and elegant design with a remarkable sound quality. It has speech-optimised sound processing and a unidirectional condenser microphone.

The unit has universal configuration of push buttons, 12 selection buttons, status LEDs, a push-to-talk button, multicolor paging status LEDs and is expandable up to 64 zones or presets.

AUDIO-TECHNICA | ATND971 www.audio-technica.com The first wired microphone to transmit audio and control date over Dante, the Audio-Technica ATND971 cardioid condenser boundary mic bridges the gap between audio and IT in an easy-to-use, flexible package. A simple Ethernet connection allows the network microphone to communicate across an existing network of Dante-enabled devices and, with the microphone’s programmable user switch, control any of those devices at the push of a button. From video-conferencing camera movement to room lighting presets, a multitude of functions are now brought under fingertip control by the ATND971, making it ideal for boardrooms and other meeting spaces. With a red/green LED indicator, the mic also visually conveys mute status, incoming phone calls and more. Audio quality is also of paramount importance of course and the ATND971 delivers outstanding speech intelligibility and transparent sound, thanks in part to the microphone’s use of Audio-Technica’s UniGuard RFI-shielding technology and UniSteep low-cut filter. With Audinate’s Dante protocol allowing the support of up to 512 bidirectional audio channels, the network mic, which is powered by network PoE for added ease of installation offers an easily scalable solution.

AUDIX | M3 www.audixusa.com

Audix has announced the release of the newest microphone for the installed sound industry, the M3 tri-element ceiling microphone. Setting a new standard in tri-element microphone performance and design, the M3 is TAA compliant, offers fingertip control for adjusting cable length, and includes a UL rated plenum junction box with RJ45 connector above the ceiling tile. Featuring a sleek profile with contemporary design that is smaller than other multi-element microphones on the market, other M3 features include: 100% RF shielding and immunity, gold diaphragm capsules with shielded and fully balanced circuits, and a low impedance design which allows for extremely long cable runs without cross talk or interference. The M3 also provides frequency and pattern tailoring for voice clarity and rejection of extraneous noise, evenly dispersed sound with undetectable phase, a high-quality silicone jacketed microphone cable with adjustable length, and all visible components of the microphone and cable are the same colour - charcoal or white.

BRÄHLER | DIGIMIC www.braehler.com

Brahler makes conference technology as a natural and simply integrated component of the overall plan of architecture and design.

The combination of modern DIGIMIC technology with additional power and data supply options individually customised as needed is consistently coordinated in a way that enables numerous new options and freedoms for integration. DIGIMIC lean is different from all other conference technologies. Brahler has miniaturised the technology of the microphone station to such an extreme degree that it takes up very little space. Its significant miniaturisation also makes the microphone station more compact, more visually appealing and most of all more flexible. It has therefore become a high-performance platform for precise integration. All of the functions of a microphone station can be flexibly combined with one another, arranged and expanded with the widest variety of data and media connections. All components are designed to be modular and can therefore be combined as needed. This modular concept simplifies the planning and harmonious integration of conference technology, data supply and power supply in a modern, design-oriented building architecture.

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We’ve got every angle covered...

Introducing the new VX 8M DPA MICROPHONES | D:FACTO www.dpamicrophones.com Chosen by artists such as Stevie Wonder, Sting, Ellie Goulding and Paloma Faith, DPA’s d:facto vocal microphone is a high quality product that gives users unlimited possibilities for their performance. This award-winning addition to the DPA condenser microphone range brings true studio sound to the live stage by offering a natural sound, superior gain before feedback, and extreme SPL handling. In addition to use with the wired DPA handle, the d:facto vocal microphone also has a state-of-the-art adapter system that allows for seamless integration with many professional wireless systems from brands such as Sony, Shure, Sennheiser, Wisycom and Lectrosonics. This gives artists the opportunity to move freely on stage without the restriction of cables and mic stands.

Equally at home in sound reinforcement and recording applications, the d:facto vocal microphone features simple plug-and-play technology. With sound level handling of 160dB, this microphone is superbly linear in frequency and phase, both on and off-axis and reproduces a singer’s voice effortlessly with impressive definition and accuracy. It is also extremely durable and incorporates a robust three-stage pop protection grid that ensures the removal of unwanted noise.

Pole Mount

60 0

400 Flying Points

EARTHWORKS | IMB30 AND IMBL30 www.earthworksaudio.com Featuring revolutionary audio and mechanical design innovations, the phantom-powered IMB30 and IMBL30 Boundary Microphones offer exceptional speech intelligibility and discreet appearance for table and ceiling installations. The IMB Boundary Microphones feature a 60Hz to 30kHz +/-2dB frequency response, and boast the flattest frequency response of any boundary microphone on the market. Coupled with a True Semisphere polar pattern, which features an excellent frequency response at 0°, 45° and 90°, the IMB and IMBL microphones deliver exceptional clarity and intelligibility for fixed installations. The IMBL30 comes in a black, white or silver finish and features the all new LumiComm Touch Ring, which consists of a dual-colour LED light ring and a touch sensor output, providing integrators complete freedom to assign function and LED colour with a media control system. IMB30 models are available without the LumiComm Touch Ring, and come in a black, white or silver finish. The Earthworks Boundary Microphones feature RF shielding to prevent interference from cell phones and other electronic devices. The IMB microphones are only 1.44-inches in diameter and the IMBL models have a 1.59-inch diameter.

40º monitor angle

Pole mount

60º monitor angle

www.tannoypro.com

Flying points

144 GUIDE - microphones

ELECTRO-VOICE | RE20 www.electrovoice.com

The Electro Voice RE20 is a professional-quality dynamic cardioid microphone created for recording, broadcast and sound-reinforcement applications requiring essentially flat response over a very wide frequency range. This microphone is a firm favourite among broadcasters and sound engineers worldwide. Its popularity also extends into music production as a premium grade instrument microphone. Its Variable-D design and heavy-duty internal pop filter excel for close-in voice work, while an internal element shock-mount reduces vibration-induced noise. The wide frequency response, coupled with excellent transient response, make the RE20 easily comparable to the finest condenser cardioids microphones and an easily operated ‘bass tilt down’ switch corrects spectrum balance for use in long-reach situations or other applications where bass attenuation is needed. Key features of the RE20 include: minimal proximity effect, no coloration at 180° off-axis, voice tailored frequency response, a studio condenser-like performance, large diaphragm, humbucking coil, and bass roll-off switch.

EQUIPSON | SPS 8 www.equipson.es

The new SPS 8 (Smart Paging Station) is the result of the hardware evolution of BlueLine Digital System; creating a multifunction device capable of working as a paging microphone as well as an audio server. Thanks to its RCA analogue stereo input, with which the device turns it into digital and sends it to the network, any BLR receiver can tune in this channel. The SPS 8 is a device that allows users to stream input audio and, simultaneously, send messages recorded by the microphone connected to the front XLR input. Not only is this unique device the first paging microphone and audio server, the new SPS 8 station is also a power over Ethernet device. This tidy console, therefore, can be powered through the same Ethernet cable meaning that the microphone signal, analogue audio information, power supply and signal data travel via just one Ethernet cable.

HEIL SOUND | PR 35 www.heilsound.com

With its matte black rubberised finish, the Heil PR 35 microphone is built with the specifications of the PR 30. The microphone has a large 1.5-inch shock-mounted humbucking voice-coil to minimise handling noise and electronic interference, and provides great rejection of off-axis and 180° noise. The PR 35 is equally at home in-hand, as it is attached to a guitar cabinet, or cradled in a broadcaster’s boom. It has excellent articulation and a natural upper mid-range along with a smooth flat response throughout. Overload and feedback is rare; the PR 35 adds a low-cut roll off switch, preventing low end feedback loops, and will provide high-end studio results live or in the studio. In addition to vocals, the PR 35 is great for a variety of instruments, and comes with three interchangeable coloured trim rings - black, silver, and purple - a microphone clip, an acoustical wind screen, and a padded leatherette carrying case.

JTS | GM-5212T www.jts.com

The GM-5212T brings studio quantity sound to PA. The JS-22MXC, 0.5-inch golden plated capsule, is built on a solid brass with accurate processing. The 0.5-inch golden plated diaphragm is manually assembled by JTS craftsman. Precise designed circuit with low cut and pad provides flat response. This microphone royally reproduces any kinds of vocal and music instruments.

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...and we mean

EVERY angle.

4 kHz 5 kHz 6.3 kHz 8 kHz

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The Lectrosonics SSM ‘Super Slight Micro’ bodypack wireless microphone transmitter is the smallest full-featured wireless mic transmitter on the market. Despite its tiny size and light weight, the SSM offers an extensive feature set and performance on par with all of the Lectrosonics digital hybrid wireless models. The SSM is ideal in theatrical or any other production where concealment is required. Frequencies are selectable in 100kHz or 25kHz steps across a maximum tuning range of 76.7MHz, yielding a total of 3,072 available frequencies across three standard Lectrosonics frequency blocks. The SSM is compatible with any current Lectrosonics receiver system and even units from prior series by using compatibility emulation modes. The tiny, rugged Lemo three-pin microphone connector used on the SSM is an industry standard, allowing existing stocks of lavaliere and head-worn microphones to be used with the transmitter without adapters. Menu selections provide choices for proper microphone bias voltage and load values, and several pre-set values are included for the most popular microphone types. An infrared data port provides fast setup with compatible receivers. With the micro-B USB port, users can update the SSM in the field with the latest firmware.

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LECTROSONICS | SSM www.lectrosonics.com

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LINE 6 | XD-V www.line6.com

Built on Line 6’s patented, fourth-generation digital wireless platform, XD-V systems utilise precision modelling to provide the sonic nuances of the most popular wired microphone, EQ filters to compensate for microphone placement, and even cable length resistance. All systems feature one-step setup, compander-free 24 bit audio clarity, and ultra-reliable, license-free operation around the world. In addition, the XD-V75 systems feature signal encryption, 300ft range, and up to 14 channels. The integration of advanced microphone and EQ filter modelling allow vocalists to tailor the system to their voice, microphone position, environment or style of performance. Channel counts have grown to allow up to 14 systems to be used simultaneously. Another recent feature, exclusive Digital Channel Lock (DCL) technology, locks out unwanted noise to ensure that no outside RF noise can be heard through the audio.

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

146 GUIDE - microphones

RØDE | RØDELINK www.rode.com The RØDELink filmmaker kit is a pack providing everything needed to broadcast speech wirelessly, including a receiver, transmitter and broadcast-grade lavalier microphone. RØDELink represents the next generation of digital wireless audio systems. Using a series II 2.4GHz digital transmission with 128-bit encryption, it is able to constantly monitor and hop between frequencies to maintain the strongest possible signal level at a range of up to 100-metres. The receiver (RX-CAM), features 3.5mm audio output ideal for use on DSLR camera but adaptable to XLR mixing and recording equipment with optional VXLR accessory, includes an OLED display with information on level, battery status (receiver and transmitter), mute and channel selection. The unit can be mounted on a standard camera shoe mount, three or eight-inch thread or belt-clip, and for added versatility the shoe mount can be located in one of two positions. The lightweight transmitter (TX-BELT) can be fitted to a belt or clothing and features a locking thread to ensure the microphone connection is as secure as possible.

RØDE’s omnidirectional Lavalier microphone is included in the kit to provide the highest possible audio reproduction quality.

SE ELECTRONIC | RN17 www.seelectronics.com Created in partnership with console designer, Rupert Neve, the RN17 redefines the capabilities of an SDC. With a tiny 15mm diaphragm, the transient response of the RN17 is unparalleled. Such a small capsule reacts extremely quickly, and is therefore adept at picking up the most delicate of high-frequency content. Balancing out this high frequency response is a full-scale custom Rupert Neve-designed output transformer, which allows the RN17 to produce excellent clarity across all frequencies. The midrange is detailed and vibrant, the lows full and accurate, and the whole microphone has a balance and headroom never before achieved with a small-diaphragm condenser microphone. The matte black finish allows the microphone to blend into the background, and the custom-designed shockmount keeps it secure and vibration-free. The RN17 comes with cardioid capsules, but omni, hypercardioid, and figure-eight are also available separately. When purchased as a matched pair, the capsules and transformers are factory-matched for perfect tolerance, guaranteeing the best possible stereo image. This configuration also includes a wooden presentation case, a precision stereo mounting bar and two shockmounts, all packaged within a secure flight case.

SENNHEISER | DIGITAL 9000 SYSTEM www.en-uk.sennheiser.com Sennheiser’s flagship Digital 9000 system includes the EM 9046 receiver, SKM 9000 handheld and SK 9000 bodypack transmitters, and a comprehensive suite of accessories. There are two transmission modes - high definition to transmit entirely uncompressed, artefact-free audio, and long range for difficult transmission environments, as well as IR synchronisation between receivers and transmitters and an antenna loop-through for creating larger receiving systems. The EM 9046 receiver’s large display has three display modes ensuring optimum overview of important parameters. Settings can be changed and channels monitored via the headphone output, either individually or combined. Up to eight receivers can be accommodated internally. UHF range from 470 to 798 MHz, a 328 MHz bandwidth, is covered and users can choose between transformer-balanced analogue, digital AES3 audio output modules, or a mix of both for easy integration into existing infrastructures. System set-up is via a built-in graphical spectrum analyser and the multi-channel receiver and transmitters can optionally use encrypted data transmission. The receiver stores up to ten complete system configurations.

The SKM 9000 is compatible with all evolution wireless G3 and 2000 Series microphone heads, including the Neumann capsules KK 204 and KK 205, as well as four dedicated 9000 Series capsules.

SHURE | MICROFLEX BOUNDARY MICROPHONES www.shure.com Combining sleek, low profile aesthetics and a complete selection of microphones and mounting options, Shure Microflex microphones offer quality and efficiency for installed audio applications. All models offer Shure CommShield Technology, which guards against unwanted radio interference from consumer wireless devices such as mobile phones. Choose from gooseneck microphones for loudspeakers in environments like lecterns, pulpits, and courtrooms, to low profile Boundary table microphones when minimal presence is of priority. Boundary microphones are the ideal conference room solution. Equipped with features like programmable, silent membrane switches, interchangeable cartridges, logic inputs and outputs, and LED indicators, Shure Microflex Boundary microphones provide high-quality sound for a wide range of applications. Also in the range is the MX396 Multi-Element Boundary microphone, a unique and versatile tool for conference room installations, combining the coverage of multiple microphones into one small, compact package.

With goosenecks, boundary, button, multi-element, overhead and lavalier microphones available in the Microflex range, you can be sure there is a solution for everything from houses of worship, to conference rooms, education, government and corporate installations.

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Pub_Mondo_333x236_0215_StarWay.qxp_Mise en page 1 05/03/15 10:36 Page1

LL FU

RA NG E IP

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

148 GUIDE - CabLes

AMPHENOL | HP SERIES www.amphenolaudio.com

Amphenol HP Series power connectors are an exciting new range of plugs and sockets suitable for AC power applications. They feature a heavy-duty, vibration resistant, latch lock for quick and easy coupling. The three-position layout consists of neutral, line and a premating ground contact with screw terminals or three-inch or 16-inch solder tab connections. The silver plated contacts are rated at 25A / 250Vac and have been tested and recognised by UL under file number E339831. A range of cable diameters are supported from 5mm to 15mm by the versatile chuck style cable clamps supplied. The robust housings are manufactured from PA66 GF30 and designated blue for power-in and grey for power-out. There are a total of six variations offered including straight cable plugs with over-molded sealing backshells and chassis mounted connectors fitted with or without rear insulation dividers. Ideally suited to applications requiring a lockable power connector such as powered loudspeakers, amplifiers, professional lighting products and industrial applications.

CIE CABLES | HDMIGRIP www.cie-group.com

Loose HDMI cable connections can become a thing of the past with the new HDMiGrip cable range available from CIE-Group. Featuring unique ‘friction lock’ connectors, the HDMI cables can prevent the cable from falling out of an audiovisual device socket. The HDMiGrip cable connector’s unique lock ensures that it holds securely in place, but will detach simply by pulling the connector out without the need for pressing and releasing any locking switches or buttons. The unique HDMI connectors are fully compatible with standard HDMI sockets and the additional spring latch points feature as standard as part of the plug which holds the cable firmly in place within the socket. HDMiGrip connectors provide an ‘un-mating force’ of almost double that of standard HDMI connector (requiring 3.8kg of force to un-mate, compared with 1.96kg for standard HDMI). The HDMiGrip Cable is available in 0.5, 1, 3 and 5 metre lengths.

HOSA TECHNOLOGY | PRO BREAKOUT CABLES www.hosatech.com The new Hosa Pro Breakouts make the process of connecting consumer audio products with professional equipment easier than ever.

With Hosa Pro Breakouts, any consumer audio product equipped with a stereo minijack output can seamlessly interface with professional units sporting 0.25-inch, XLR, or even RCA connectors. Hosa Pro Breakouts are available in three configurations: the 3.5 mm TRS (tip/ring/ sleeve) to dual RCA option - identified as the HMR-000Y Series - is ideal for DJ mixers or home stereo systems. The 3.5 mm TRS to dual 0.25-inch TS (tip/sleeve) breakout - identified as the HMP-000Y Series - can be plugged into patch bays or a mixer’s phone inputs. And the third category, the 3.5 mm TRS to dual XLR3M breakout - known as the HMX-000Y Series - is ideal for connecting into discrete channels on a professional mixer or similar interface. All three configurations utilise nickel-plated REAN connectors from Neutrik for efficient signal transfer and durability. Additionally, these cables sport 24 AWG Oxygen-Free Copper (OFC) conductors for enhanced signal clarity and 90% OFC spiral shields for a higher signal to noise ratio - all with Hosa’s world-class workmanship for durability.

KLOTZ | RC5-SB2 www.klotz-ais.com

The Klotz RAMCAT cable RC5-SB2 combines two CAT5 lines, for example for use as a two-way connection or for redundancy. Developed for EtherSound, Dante or AES67, this cable is designed for extra-long transmission distances. It features solid conductors, an inner PE cross separator and an ultra-dense braided screen between the conductors and the outer PUR jacket. It transmits Dante, EtherSound, GLD, iLive ACE/dSnake and MADI signals over distances of up to 120-metres, and is confirmed by an array of manufacturer’s tests and recommendations. Because of its electrical parameters it is also suitable for AVB as well as AES50, each over a maximum distance of 100 metres.

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THE

HYBRIDS

HAVE ARRIVED

AS A LEADER IN PREMIUM DIRECT WEATHER SPEAKERS, ONE SYSTEMS IS MOVING INTO THE FUTURE WITH A NEW HYBRID SERIES OF MODELS.

The ESD Range Time Aligned Passive Speakers

112/HTH

One Systems’ new hybrid speakers go beyond “the norm” in Direct Weather applications. All models are marine/salt water capable, and provide superior intelligibility for music and speech. Featuring patented horn/driver designs, most models are also capable of running in low or high Z applications. One Systems’ hybrid speakers offer a new standard of performance for outdoor and many indoor applications. See us at Infocomm 2015 in Orlando. We will be displaying at booth 599.

www.onesystems.com

onpointaudio ACOUSTIC EXCELLENCE

®

When KV2 Audio decided to build passive speakers we looked at how we could improve the design of the crossover network to achieve the best possible sound quality. We developed an analogue delay line circuit that would provide time alignment and phase correction passively. This substantially improves clarity and definition without the need of expensive external processing or bi-amping. The results speak for themselves with thousands of ESD speakers sold globally into installations demanding uncompromising sound quality.

New ESD5

We are now proud to introduce our newest addition to the range, the ESD5. This tiny enclosure produces true and accurate reproduction in a cleverly designed cabinet. Ideally angled for ceiling or under balcony mounting, Installation is quick and easy with the integral mounting bracket. Suitable for all applications where a robust, high quality compact speaker is required. Like all KV2 speakers, the ESD5 delivers sound performance beyond expectation.

www.kv2audio.com

150 GUIDE - CAbles

NEUTRIK | OPTICALCON DUO LITE www.neutrik.co.uk

The opticalCON DUO LITE cable connector accommodates a standard optical 1.25mm ferrule in a durable plastic housing. It features a spring loaded push-pull locking mechanism and an excellent cable retention utilizing aramid yarn. The connector comes pre-assembled and is not available as a single component. The cable is available in different lengths. The two channel fibre system, improves bending performance due to new fibre design, black matt outer jacket and is available in multi- and single-mode (PC or APC). Designed for temporary and permanent installations.

S2CEB | AUDIOLAN24W www.cae-groupe.fr

The AUDIOLAN24W cable, for dedicated use with audio and lighting applications, brings together two cables within a single cladding element: the Audiolan 24 1GB Ethernet cable, and a 3G2.5 power cable. An all-in-one solution which is particularly appropriate for the requirements of service provision and live use. One cable for a multitude of application, the AUDIOLAN24W can be used in fixed and mobile applications, inside and outside, and for all types of links; audio - analogue and digital audio link, Ethersound Dante, power supply for loudspeakers and amplifiers, and DMX: controls for DMX lighting mixing console, LEDs, machines under DMX protocols (smoke machines for example), and LAN. The ‘high current/low current’ mix, which is particularly delicate, is controlled by use of a double protection: by aluminum foil shielding and by a braid.

SOMMER CABLE | SC-MERCATOR CAT.6 & CAT.7 PUR www.sommercable.com

The SC-Mercator CAT.7 PUR is the perfect cable for mobile outdoor transmissions of digital audio or network signals, e.g. for use in OB vans. Ethersound signals can be transmitted easily in excess of 75 metres. Its halogen-free, flame-retardant PUR jacket - according to IEC60332.1 - is extremely notch- and tread-resistant, cold-flexible and easy to reel. The wires are fitted with a foam-skin PE insulation and shielded in pairs with an AL-PT foil (PimF). The overall screen consists of copper braiding plus fleece. This ensures optimal transmission properties over long distances. The robust SC-Mercator CAT.7 PUR XL with its large wire cross-section, AWG23, is ideal for extremely long transmission distances of up to 125-metres for EtherSound signals. Due to its dual jacket design the heavy-duty CAT.6-PUR variant SC-Mercator CAT.6 SUPERFLEX achieves an extremely high flexibility.

TASKER | C733 www.tasker.it

Tasker has recently developed the new model C733 a new hybrid cable for broadcast, DMX and LAN installation in TV and recording studios, theatres, public buildings and square events, able to carry in a unique cable two digital audio pairs 110 ohms, two LAN cable Cat. 7 S-F.T.P, and three power conductors of 1.50 sq mm each. All these parts are grouped together with a flame retardant PVC outer sheath conforming to European normative CEI 20/22 II.

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Handle Without Care “As a vocal microphone for rock bands the AE6100 is phenomenal. It’s got a super high output, brilliant feedback rejection and no matter how brutal you are with them they still sound great...”

Ben Hammond (The Blackout, Skindred, Deaf Havana) AE6100 Artist Series

Connect with us... twitter.com/AudioTechnicaUK youtube.com/AudioTechnicaUK flickr.com/audio-technica facebook.com/AudioTechnicaUK

www.audio-technica.com

152 DIRECTORY

IN DETAIL DIGICO | ORANGE BOX & S21 www.digico.biz ORANGE BOX DiGiCo’s new compact 2U Orange Box is a simple-to-use audio format converter with multiple options, allowing you to use DiGiCo Multichannel Interface (DMI) cards to create audio paths over a variety of interfaces. With two PSUs for redundancy and two slots to accommodate any of the 10 current interfaces available - DANTE, HYDRA2, BNC, CAT5, Optocore, Aviom, ADC, AES, DAC and SoundGrid - the anything in, anything out Orange Box allows conversion of almost any audio format to another. The Orange Box is DiGiCo’s first technology release born of the pro audio group formed with Calrec and Allen & Heath. The technology will also be opened up to other selected third party manufacturers, making it an incredibly useful device. And it’s extremely easy to use. If, for example, users wish to connect a product with MADI to one with a Hydra2 connection, all that’s needed is the Orange Box a DMI card with Calrec’s Hydra2 and one with MADI, then simply connect them via the two slots on the Orange Box. S21 DiGiCo’s S21 re-writes the rulebook. At its core is DiGiCo’s Stealth Digital Processing. This FPGA based technology is the key that unlocks the flexibility that the R&D designers need to specify and deliver the ultimate console and every console in the SD range has benefited from complimentary advancements in core processing and software since their launch. The build quality and design takes on all DiGiCo’s core values such as aluminium extrusions, RGB switch encoders with HTL (Hidden Til Lit), Polycarbonate overlays and two of the latest P-CAP large multi touch screens that allow the operator to get an unrivalled overview of what is at their finger tips. There are 46 busses, 40 Flexi channels and 16 Flexi busses in its impressive specification, as well as 10 channel strips per screen in a new-look design, and integrated USB to DAW connectivity for up to 48 tracks of recording. There are dual DMI option card slots to interface with industry formats including analogue expansion, MADI, Dante, Optocore, Waves SoundGrid, or Calrec’s Hydra2 network.

APEX | LIVIAU S www.apex-liviau.com Apex has unveiled the Liviau S, based on the same sleek, yet robust hardware platform as Liviau R and offering all the same audio functionality as R but with greatly enhanced video and lighting capabilities for bars, clubs, retail, houses of worship and corporate applications. A single, elegant touchscreen-based unit combined with highly intuitive control pages lets you control complex presentations with simplicity and ease. All you need to connect is a display device and loudspeakers.

ARKAOS | MEDIAMASTER 4.2 www.arkaospro.com ArKaos demonstrates the latest version of its highly successful professional MediaMaster software, the MediaMaster 4.2, which adds an integrated cue player and 4K support to the many tools already offered by the software. The new Cue Player is an important addition for users who require reliable, accurate playback of visual sequences, such as shows or installations requiring repeated automated playback. The Cue Player is built on top of MediaMaster’s Theater Mode interface and can also be driven by time code as required.

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LUXEOS Flood Introducing Luxeos.

Producing perfect colour mixing, across a wider gamut.

Pulsar’s custom specified 4 colour LED light engine.

Internally mixed colour using advanced optics to deliver exceptional light output.

Pulsar breaks the mould.

RGBW, 80+ CRI IP66 + IK09 Flicker Free 10,000+ Lumens DMX512 / RDM Control K MADE · ·U

CE 1970

·

·

SIN

www.pulsarlight.com/newrelease/

BTM - Luxeos Mondo portrait.indd 1

05/05/2015 16:48

154 DIRECTORY

IN DETAIL FUNKTION-ONE | EVOLUTION SERIES www.funktion-one.com Evolution is a new series of high intensity loudspeakers from Funktion-One. Utilising the loudspeaker manufacturer’s latest technology, the range has been launched with the Evolution 6E and Evolution 7E enclosures.

The Evo 6E and Evo 7E both have fully horn-loaded 15 inch mid-bass, 10 inch Funktion-One signature mid-range and a 1.4 inch compression driver. They are very compact for their output and offer class-leading efficiency and performance.

The Evo 6E has 50º nominal horizontal dispersion and physically arrays at 40º, two wide, giving smooth coverage over 90º. The Evolution 7E has 40º nominal horizontal dispersion and physically arrays at 30º, three wide, giving smooth coverage to 100º.

Both models are suited to a wide range of applications and genres of music. For bass extension, Funktion-One recommends using F121’s, F221’s or BR221 bass enclosures.Commenting on the new additions to the Funktion-One product range, company founder Tony Andrews said: “In the last couple of years we’ve discovered some new technology, which has led to a really productive period of development.

We’ve found a way of delivering more intensity without distortion. One of the things to come out of that is the Evolution Series.”

Both the Evo 6E and Evo 7E have the following features: fully horn-loaded for high efficiency; three-way output; Funktion-One designed drivers; low weight Neodymium magnets throughout; fitted M10 flypoints; optional wheel-board; optional sturdy grille for discrete appearance; EH (mid-high cabinets) and SH (mid-high skeletal speakers).

During development last year, Evo 7Es were used on the main stage at Boom Festival in Portugal (eight-per-side) for a crowd size of around 20,000 people.

Solution One’s Chris Hawkes, who oversaw the deployment of the Evo 7Es at Boom, said: “We were using much fewer boxes but in a bigger space than previous years. Naturally, we wondered whether the 16 Evo 7Es would be enough but any concerns were abated when we heard this sensational, warm, immersive sound. The Evo system was an instant hit with both the organisers and the public.”

The Evolution Series will be bolstered later in 2015 with the addition of a full touring version of the Evo 7, featuring a built-in flying and linking system. Funktion-One is also making other Evo mid-high configurations available for fixed installations, such as the two-wide Evo72EH and three-wide Evo73EH enclosures.

AYRTON | NANDOBEAM S6 www.ayrton.eu NANDOBEAM S6 is a very powerful and ultra-fast new generation moving-head fixture in a compact housing. Its advanced and highly efficient proprietary optical system coupled with powerful 15 Watt RGBW LED sources provide a narrow 8° beam as well as wide 40°coverage. NANDOBEAM S6’s thirty-seven 15W LED are cooled by a heat pipe equipped with heat-transfer fluids and heat-exchange material. This advanced cooling technology gives an extended LED lifetime, quiet operation and maximum light source efficiency. A 6,000 lumen output at its 8° angle makes NANDOBEAM S6 the perfect lighting tool for use as a beamlight moving-head. Its wide angle capabilities of up to 40° coupled with the same 6,000 lumen light output as its narrow beam angle gives great washlight potential.

B&K BRAUN | LEDIUM X-R5 www.bkbraun.com B&K Braun has announced the release of the LEDium X-R5, one of the highest resolution LED systems for outdoor lighting on the market. The three-in-one SMD RGB LEDs, which have been specifically developed for the X5, are arranged with a pixel pitch of only 5.2mm, and provide a contrast ratio of 3000 : 1 along with a brightness of 5000 nits. Each panel (dimensions: 500 x 562.2mm) has a resolution of 96 x 108 pixels, which makes it possible to display exactly 1920 x 1080 pixels using 20 x 10 modules.

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directory 155

BRITEQ | BTX-TITAN www.en.briteq-lighting.com

Briteq showcased the first fixture in a new series of professional lights; the BTX-TITAN, a beam, spot and wash all in one unit. The superior optics, combined with the Osram Sirius HRI280 (7800K) lamp guarantees an extremely high light output of 86650 lux at 20 metres. The fixture is equipped with advanced and innovative features including a 7째 - 11째 beam, a 5째 - 23째 spot and a wash.

CADAC | CDC SIX www.cadac-sound.com CDC six is the latest in the digital console line up from Cadac. Based on the highly acclaimed, innovative user interface developed for the CDC eight, the CDC six is far less menu dependent than traditional digital consoles. The traditional fixed physical controls have been replaced by an intuitive high agility user interface, accessed via a widescreen 23.5 inch touch screen resulting in a fast, logical workflow without the compromises dictated by hardware-centric designs. Visually the most striking feature of the CDC six is the optically bonded 23.5 inch 16:9 high definition LCD touch screen with digital encoders to the bottom and the right of the screen. The screen displays the clean, exceptionally intuitive graphical user interface and this unique combination of touch screen and traditional encoders for additional control of the features on the console, naturally leads to an instinctive use of touch and swipe. The faders follow the swipe of the screen or scrolling of the channels, ensuring full control at all time of any combination of inputs, outputs or VCAs displayed on the screen. First time users will have a minimal learning curve as they soon find themselves navigating the features by using gestures similar to those for navigating a tablet or smart phone - all without the need for intensive formal training.

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156 DIRECTORY

IN DETAIL POWERSOFT | M-SYSTEM www. powersoft-audio.com

The M-System is the ultimate solution for high output power subwoofer based on the M-Force motor transducer and M-Drive switching-mode amp module, taking advantage of the Differential Pressure Control – DPC – technology. M-Force is the innovative and unique transducer based on a patented moving magnet linear motor structure capable of unrivalled performance in terms of power handling, electromagnetic conversion, reliability and maximum SPL. M-Drive shows amazing figures in terms of both output voltage (310 Vpeak) and current capabilities (200 Apeak) and implements the DPC technology that allows precise control over the diaphragm displacement. The DPC establishes a global feedback between the electrical and the acoustic domains making M-System effi-

cient and reactive to the environment condition. The Zero Latency DSP performs realtime processing of the differential pressure control signal in order to adaptively correct the diaphragm displacement.

Other features include: • • • • •

Very high power and energy efficient Subwoofer Low distortion high SPL applications Steerable low frequency arrays Low frequency noise and standing waves active removal systems Dipole low frequency acoustic generation

DATATON | WATCHOUT 6 www.dataton.com

Watchout 6 adds advanced projection mapping, pre-visualisation and uncompressed video playback new 3D features, vastly improving workflow for 3D productions. 3D models can be dragged straight into a Watchout show - version 6 reads common 3D file formats such as 3DS, OBJ and Collada. In Watchout, users can texture 3D mesh areas independently with video, images or compositions for maximum creative effect.

ELATION PROFESSIONAL | PLATINUM WFX www.elationlighting.com Elation Professional has presented the Platinum WFX wash effects luminaire with full range zoom. Equipped with 19 x 15W quad colour multi-chip LEDs, the Platinum WFX is as bright as a 700W discharge wash fixture yet can do so much more. The Platinum WFX features two zoom options, a 5°-50° mode and a wide-range 10°-70 mode for anything from impactful narrow beam looks to wide washes of uniform colour. More than a typical wash light, it also includes pixel control of all LED’s for eye-catching visual effects.

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BriteArc

®

Is now available to read on your iPad

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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.

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MADE IN BELGIUM

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

www.sylvania-lamps.com

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158 DIRECTORY

FBT | AX SERIES www.fbt.it FBT introduce its sleekly design AX Series of power amplifiers, the perfect power mates for sound reinforcement loudspeaker systems. The AX series consists of four 2HU rack mount models, from 800 to 3000W, all designed with sophisticated power amp circuits for improved quality, stability and reliability, all equipped with stereo-parallel-bridge operation mode, dB sensitivity switch (26-29-32dB), limiter, ground lift, XLR / Jack inputs (plus extra RCA input on AX800), Speakon / Binding posts outputs.

FLIPSIDE | FS-8.1 www.flipside-soundsystem.co.uk Part of the new FS-XX range of mid-format loudspeakers, the high efficiency, controlled dispersion and great throw of the FS-8.1 makes it a powerful tool for both outdoor and indoor venue use. A completely fiberglass, fully horn loaded mid and high frequency loudspeaker that’s lightweight and capable of producing the most astonishingly transparent sound. Featuring our own low excursion, high efficiency eight inch neodymium driver specifically engineered for horn loading. The focus here is on clarity and depth of detail. The passive crossover network has also been carefully developed to negate all the usual unnecessary adverse effects that other manufacturers ignore. A closer look will reveal just how much attention to detail has been lavished upon this unit. All internal wiring is done in OF-OCC copper with Teflon and PTFE insulation. Every component has been painstakingly listen-tested to ensure that nothing gets between the listener and the source material. Perfect for use with the FS-15DR 15-inch bass enclosure.

HAZEBASE | BASE.LOW.PRO www.hazebase.com

Hazebase introduced the base.low.pro, the company’s latest low CO² fogger, designed to create low lying fog in conjunction with either the base.classic or base.high.power foggers. Featuring dense, low-lying fog, automatic and user defined programs and controllable through DMX, Art-Net or analogue, the base.low.pro is an impressive addition to Hazebase’s fogger range.

MADRIX | MADRIX 3.4 www.madrix.com

The Madrix 3.4 allows operators to work in completely new ways, faster, and even more creatively. Many stock effects provide new possibilities, especially the additional shape types, which greatly extend the variety of lighting visuals.

ROBE | BMFL BLADE www.robe.cz The Robin MMX Blade is based on the new technology MMX discharge fixture, comparable output to 1200 W luminaires, the MMX Blade adds a framing shutter system into the optical path. Four fast, smooth moving, shutter blades are individually angled and positioned within a frame which itself can rotate through 90 degrees. As well as providing a sharp or soft, precisely repeatable, frame for the projected image, the system produces a new series of fast moving in-air effects through pre-programmed blade shape and movement sequences. The MMX Blade includes many of the innovative features of the MMX including the Robe exclusive Hot-Spot lamp control feature that allows remote adjustment of flat beam uniformity or power beam hot-spot.

SALZBRENNER | POLARIS EVOLUTION www.salzbrenner.de Salzbrenner’s new Polaris Evolution presents a manufacturer- and platform-independent interface for 3D audio integration. The integration allows extensive working with sound objects in a three-dimensional space for a realistic audio experience. Initiated by the film industry, the 3D audio processing has found its way into theatre and live productions. The aim is to perfectly mimic the natural hearing experience by modeling realistic sound sources in three-dimensional space. The new Polaris Evolution now integrates fundamental functions to control 3D audio objects comprehensively as well as a direct connection to DAW via timecode. The integration consequently proceeds from the routing of the input sources to object-based assignment and the usual processing to a solid placing in the auditorium without favoured listening positions.

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June 17 - 19 | Booth 115

AMPLIFICATION EVOLVED

Never before has the amplifier reached such a high level of integration.

Processing, routing, measurement, control and power distribution are now included into a single platform.

The new X Series by Powersoft: the evolution of the species.

powersoft-audio.com

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Designed and manufactured in Italy

22/04/15 17:15

160 DIRECTORY

SGM | G-1 BEAM www.sgmlight.com SGM’s G-1 Beam moving head, generates a sharply defined, flat and uniform beam, that operates rapidly in every movement and provides intense mid-air beam effects through a high power white LED light source. Complete with both a colour wheel and a gobo wheel, the G-1 generates high contrast levels and an extreme brightness. Adding to its uniqueness, this moving head is not only IP65-rated and maintenance-free, but also offers the exclusive choice of being either battery-driven with an impressive 10 - 12 hours operation in typical use or being connected wired mains power.

STUDIOMASTER | DIGILIVE www.studiomaster.com Studiomaster digiLiVE is a the new ultra-compact 16-input / eight output digital audio mixer. With a seven inch Android driven high-resolution touch-screen and eight motorised 100mm fader operation, alongside fully remote tablet operation. The 16 inputs include 12 professional microphone input channels, AD / DA conversion is 24 bit / 192 kHz, there are up to eight internal effects busses - with reverb, delay, 15 band EQ and modulation - the eight smart XLR analogue outputs are assignable. Outputs also include digital AES / EBU and SPDIF. Two USB interfaces are included (front and rear panel) supporting playback and recording, and scene storage and system updating. WiFi and Bluetooth wireless connectivity are supported.

VARI-LITE | VL4000 www.vari-lite.com

The brand new VL4000 BeamWash is a luminaire that combines stunning wash capabilities with intense beam functionality as well as the ability to produce a powerful collimated shaft of light. Now, one single unit can serve multiple uses without changing lenses or adding additional fixtures. Complete with low ambient noise, high lumen output, and amazing optics, the VL4000 BeamWash is the perfect luminaire for wash, beam, and shaft looks on any stage.

VISUAL PRODUCTIONS | CUETY APP www.visualproductions.nl

The Cuety App from Visual Productions is a new generation lighting controller that turns your iPad into a powerful lighting console. Easy to use and budget friendly, Cuety enables you to take full advantage of the iPad’s mobility. The controller has full support for moving heads, LEDs, conventional lighting and DMX controlled special effects.

WIRELESS SOLUTIONS | W-DMX UGLYBOX MK2 www.wirelessdmx.com The W-DMX UglyBox MK2 is a compact new wireless signal tester is a valuable tool for users of wireless products, providing proof of a solid signal and piece of mind in the absence of visible cable. The UglyBox MK2 is housed in an attractive compact body, resembling a gaming control with a 4.3-inch Touch LCD Screen, about the size of an iPhone. It supports 2.4GHz, 5.2GHz and 5.8GHz and is a transceiver solution, which means that it can be used as both transmitter and receiver. It has a complete DMX tester that provides all data in live format directly on the screen. It also has a built in DMX Controller as well as an RGB Fixture to simulate LED fixtures on the LCD Screen for quick testing.

ZERO 88 | FLX LIGHTING CONSOLE www.zero88.com The clean, straightforward, intuitive user interface of the FLX lighting console offers tools like Patch Wizard and Auto Palettes to take care of all the prep work, allowing lighting directors and operators to work faster and more harmoniously. Three-step programming streamlines time and the operational process, and when working with fixtures that colour mix using different methods, the software will work everything out so all the fixtures respond correctly and accordingly.

Industry standard syntax and intuitive fader-per-channel intensity control enables operators of all backgrounds and experience levels to feel instantly comfortable.

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Specializing in the design, specification, supply and commissioning of premium audio, lighting and vision products to the nightclub and leisure industries worldwide.

Unit 5 Sword Business Park, Swords, Co. Dublin, Ireland Phone +353 1 8900200 or email info@audiotek.ie UK Office: Chris@audiotekinternational.com or US Office: +1 702 990 3886

WWW.AUDIOTEK.IE

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MIKE FAHL

I really enjoy designing software used to create an experience that will bring people together - often evoking a quite emotional response.

Then you also get to experience some of the ‘music’ as a result of the many talented producers using the product.

CHIEF S OF TWA R E A RC H I T E CT AT DATATO N What is your role and how long have you been at Dataton?

I’m Chief Software Architect at Dataton, and I have been with the company for 35 years.

What first attracted you to the entertainment industry?

I wouldn’t say we consider ourselves as part of an entertainment industry. We believe our products are targeted towards creating an experience, or used as an integral part of a presentation environment. I was personally into both audio visual and music before joining the company, so when I first came across Dataton, it was a real match made in heaven.

What aspects of your job do you most enjoy?

I really enjoy designing software used to create an experience that will bring people together - often evoking a quite emotional response. In a sense, it’s like making a musical instrument. First you have the joy of building something beautiful in itself. Then you also get to experience some of the ‘music’ as a result of the many talented producers using the product.

How has the visual market changed in the last 10 years?

Well, for us, the most significant change was a little further back, when we made the transition from the previous generation of traditional audio visual equipment to a fully software-based model. We came from a background of slide audio visual - using multiple slide projectors to create larger-than-life presentations. This evolved into a system that incorporated all kinds of media, such as Betacam decks, laserdisc players, video effects switchers and lighting equipment. At that time, computers were

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merely used to control all those different devices, since they weren’t powerful enough on their own to actually be the media source, but that all changed with WATCHOUT. By basing the WATCHOUT software on a standard computer, we’ve been able to progress alongside technology, as it has improved over the years. Projectors and other display devices have seen image resolution and quality improve drastically, up to the current generation of 4K and beyond.

What makes the WATCHOUT 6 so significant?

WATCHOUT 6 is undoubtedly the most significant update in the history of the product. The first thing you’ll notice is the revamped user interface, now sporting a modern, dark theme, very suitable for the kind of environment in which it is often used. Media playback capabilities are of course at the very core of the product. Using the new virtual displays you can create LED walls based on any kind of standard modules, building the wall in WATCHOUT they way it looks in reality, while mapping the modules through their processor in the most optimal way.

But the marquee feature of WATCHOUT 6 has to be its all-out support for 3D media and environments.

We started with the ability to bring in 3D media in a variety of standard file formats; 3DS, OBJ and Collada. You can then use all the imaging and real-time compositing capabilities of WATCHOUT to texture those 3D objects. Finally, use the new 3D Projector to map the results onto real-world 3D objects such as buildings, cars, or anything else, using any number of projectors. Our new, semiautomatic calibration system makes setup even of complex, multi-projector mappings simple.

How will it change the market?

When we first launched WATCHOUT, our tagline was ‘shockingly simple’. We’ve worked really hard over the years to keep it that way. Although the scope of what you can do with the product has expanded vastly, we’ve always made it our top priority to keep WATCHOUT the most approachable and user-friendly system you can find. I believe that strategy has really paid off, since we constantly hear from our customers that they love the combination of powerful features and rock-solid performance along with a user interface you can actually learn and understand in a couple of hours.

Tell our readers something they may not know about Dataton We actually started out making an electronic music synthesiser back in the ‘70s. It was a modular system, somewhat similar to the Moog synthesisers of that era. Hence the ‘ton’ part of our company name Dataton, ‘ton’ is Swedish for tone.

What do you do for fun/hobbies outside of work?

I probably spend as much time working on various kinds of computer systems outside of work as I do at work. It’s been one of my great passions all along.

I firmly believe that once you stop learning in this rapidly moving world of technology, you can wave goodbye to new inventions. Real innovation always happens on the next curve. Hence, I just can’t stop learning new stuff, mostly because I thoroughly enjoy doing so. This doesn’t really leave much time for other hobbies outside of spending time with my family. I do play the guitar occasionally.

graphics: Vilfredo Maria Ricci - © 2015 Studio Due

LESS is

MORE minimum space maximum performance is the most powerful and efficient LED lighting fixture you can find within the single head category. Using 60 high powerful LEDs RGBW/FC combined with an effective fan system, the key feature of the product is the incredible performance of the optics. The innovative optic system generates a rectanlungar and uniform light projection.

The product is suitable for applications where a tremendous light output is required.

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Headquarters: STUDIO DUE light s.r.l.

01100 Viterbo (Italy) t. +39.0761.352520 • f. +39.07 352653 e mail: info@studiodue.com follow us

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

www.studiodue.com

THE SHAPE OF THINGS TO COME

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Unite Your Audience The Martin Audio Experience

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01/05/2015 15:57

A configurable professional power amplifier delivering concert sound quality.

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Choosing a reliable system during the world’s biggest club festival was paramount, as the eyes of the international music industry was on the Amsterdam dance scene. Thanks to careful component selection, thermodynamic modelling, and 20 years of experience in the design and manufacture of rugged, reliable Class-D amplifiers, reliability is practically built into every PowerMatch amplifier model. ®

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They were engineered for high-quality foreground music, under-balcony, zone-fill and vocal-range floor monitor applications. All models feature high-quality plywood construction and premium design aesthetics, so they’ll fit into almost any environment. The loudspeakers install easily with either horizontal or vertical mounting. ®

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