Md25-5 digital issuu

Le Capitole chooses Bose RoomMatch ®

Managing Director David Michel:

“I get great feedback from both the users and the visitors.”

“Almost all of the touring front of house engineers were skeptical, but all of them have been pleasantly surprised and changed their perception about Bose’s ability to equip a concert hall.”

®

Concert-quality sound in even the most challenging venues

ROOMMATCH PROGRESSIVE DIRECTIVITY ARRAYS ®

Le Capitole in St-Julien-lès-Metz in France is an acoustically challenging room due to strong reverberation. The venue hosts concerts and live shows, as well as seminars and weddings, and owner David Michel had been advised to install costly acoustic treatments to improve the sound for live performances. He was considering some of the more renowned brands to upgrade the system, but changed his mind after he experienced the RoomMatch system at work for Ahmad Jamal’s live concert at Paris’ Odeon Theatre. ®

An acoustic model of the space was made with Modeler software, resulting into a system design incorporating six RoomMatch asymmetrical modules of different coverage angles to match the listening area (stage R: RM452805 / ®

®

602810 / 602820 and stage L: RM284505 / 286010 / 286020), two RoomMatch 218 VLF-subwoofers and seven RoomMatch Utility 208 loudspeakers, powered by four PowerMatch 8500N amplifiers and managed by a Bose ControlSpace control centre. ®

®

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“The system performs very well, even with these complicated room acoustics,” says System Integrator Fabrizio Scarpa of FSP Lorraine. “Clarity of voice and Intelligibility are excellent, and the coverage of the room is extremely accurate. The Bose approach enabled me to create asymmetrical RoomMatch arrays, which were a perfect match for the venue, and the system responds wonderfully for every type of event – DJ, musician, comedian.” ®

Learn more at: www.bose.eu/pro

the international publication for technology in entertainment

july / august 2015

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W ELCOME mondo*dr 25.5 July / August 2015 the international publication for technology in entertainment

july / august 2015

NEW

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ON THE COVER Szczecin Philharmonic Hall Photo by George Meitner

General Manager Justin Gawne / j.gawne@mondiale.co.uk Editor Rachael Rogerson-Thorley / r.rogerson-thorley@ 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 Liam Soutar / mondointern@mondiale.co.uk Accounts Amanda Giles / a.giles@mondiale.co.uk General Enquiries / ar@mondiale.co.uk.

Production David Bell, Mel Robinson, Dan Seaton Group Chairman Damian Walsh Mondiale Publishing Waterloo Place, Watson Square, Stockport SK1 3AZ United Kingdom Tel: +44 161 476 8340 Fax: +44 161 429 7214 Annual Subscription Rates (7 Issues) UK: £30.00 / Europe: £50.00 / Rest Of World: £65.00 2 year rates are available on request. Subscribe online at www.mondiale.co.uk or call +44 (0)161 476 5580 ISSN: 1476 4067 Mondo DR (ISSN 1476 4067) is published in January, March, May, July, September, November and December by Mondiale Publishing Limited, Waterloo Place, Watson Square, Stockport, SK1 3AZ, United Kingdom Subscription records are maintained at Mondiale Publishing Limited, Waterloo Place, Watson

Square, Stockport, SK1 3AZ, United Kingdom mondo@mondiale.co.uk www.mondodr.com Printed by Buxton Press, Palace Road, Buxton, UK

I am now officially a Mrs, which feels a little bit odd, but in a good way. I had an amazing day and a very relaxing honeymoon, however, it’s back to the real world now. The July / August issue will be the last edition in the magazine’s current guise as we are planning a re-design for the September / October issue to mark mondo*dr’s 25th anniversary. It will have a new look and new features for you to get involved with. We’re very excited about the re-launch and we’re looking forward to sharing it with you. Keep an eye on digital communication to learn more.

We’re also planning to celebrate our anniversary with a good old-fashioned shindig, which we hope will form a foundation to build on, leading to bigger things next year. I can’t give too much away just yet but I won’t keep you in suspense for much longer… all I can say is, watch this space!

Something else that will be new for the September / October issue is an upgrade to the mondo*dr app. As of September, it will not only be available to download on iOS but also on Android, meaning there will be even more options for reading on the move.

And finally on the new theme, I’ve just been asked to sit on a judging panel - for the first time - during a visual spectacular event in Romania this September. I’m honoured, excited and am very much looking forward to the new experience.

On a sadder note, this is the first opportunity I’ve had in print to express my condolences to the family of Max LindsayJohnson, he passed away suddenly at the end of May after suffering a brain haemorrhage. A genuine, popular and funny man, taken too soon. His family have created a page where donations can be made to Save the Children in his memory: www.justgiving.com/Niamh-Mackenzie-Johnson The industry suffered another loss in June, Nexo’s loudspeaker designer, Matthias Larrieu lost his life in a car accident. He was just 30 years old. I didn’t know Matthias, but his peers described him as Nexo’s ‘gentle giant’ and a very talented young man.

Rachael Rogerson-Thorley Editor

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CONTENT S 014

IN BRIEF

IN DEP T H 024

024

034

INTERVIEW

CLAUDIO LASTRUCCI, POWERSOFT

REPORT

houses of worship

IN FO CUS 034

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078

070

SZCZECIN PHILHARMONIC HALL, SZCZECIN

078

ROTONDES, LUXEMBOURG CITY

084

VULCAN GAS COMPANY, AUSTIN

092

THE BOMB FACTORY, DALLAS

098

LIVE WIRE, ARIZONA

106

CHIMELONG OCEAN KINGDOM - 5D CASTLE THEATER, ZHUHAI

114

AI’NENG INTERNATIONAL, NANJING

IN BUSINE S S

106

098

132

120

139

160

120

KOBA, Seoul

124

Palm Expo india, Mumbai

128

STAGE | SET | SCENERY, BERLIN

132

INFOCOMM, ORLANDO

139

PRODUCT GUIDE

152

PRODUCT DIRECTORY

160

LED

last page interview

Markus Augenstein - Audiocenter

012 AD INDEX

FRANÇAIS

DEUTSCH

Je suis désormais officiellement « Madame », ce qui me semble un peu bizarre, mais dans le bon sens du terme. J’ai passé une journée extraordinaire et une lune de miel très reposante. Cependant, il faut maintenant revenir à la réalité ! Le numéro de juillet/août présentera la dernière édition de la forme actuelle du magazine, car nous prévoyons une refonte pour le numéro de septembre/ octobre afin de marquer le 25e anniversaire de mondo*dr. Celui-ci prendra un nouveau look et offrira de nouvelles fonctionnalités vous incitant à collaborer. Ce nouveau lancement nous enthousiasme vraiment et nous sommes impatients de le partager avec vous. Consultez notre communication numérique pour en apprendre davantage sur les nouvelles fonctionnalités. Nous prévoyons également de célébrer notre anniversaire avec une bonne vieille fête, qui nous l’espérons, offrira une plate-forme pouvant mener à des choses plus importantes l’année prochaine. Je ne peux pas vous en dire plus pour l’instant, mais je ne vais pas vous tenir en haleine trop longtemps non plus... tout ce que je peux vous dire c’est, « gardez un œil sur cet espace ».

Absen .................................................. 31 AC-ET ................................................. 29 Adamson ............................................. 59 ADJ .................................................... 19 Allen & Heath ....................................... 13 Antari ................................................... 49 APIA .................................................... 54 Ashly Audio.......................................... 65 Audio Focus ........................................ 17 Audio Technica .................................... 67 Audiocenter ......................... 50, 79 & 125 Audix ................................................ 123 Avolites .............................................. 143 Bose .......................................... 68 & 103 Camco ................................................ 77 Chauvet ............................................... 39 Coda Audio ....................................... 145 Community .......................................... 51 d&b audiotechnik ................................. 97 D.A.S. Audio........................................ 61 Daslight ............................................... 12 Dataton .............................................. 138 DiGiCo ................................................ 89

Ich bin jetzt offiziell verheiratet, das fühlt sich zwar eigenartig aber gut an.

Meine Hochzeit war herrlich und meine Hochzeitsreise sehr entspannend, doch jetzt hat mich der Alltag wieder! Die Juli / August-Ausgabe ist die letzte in der derzeitigen Aufmachung, denn für die September / Oktober-Ausgabe planen wir eine Überarbeitung aus Anlass des 25. Jubiläums von mondo*dr. Der Look wechselt und neue Merkmale werden hinzugefügt, um Sie zu integrieren. Wir freuen uns sehr auf den Neubeginn und darauf, ihn mit Ihnen zusammen zu erleben. Achten Sie auf unsere digitale Kommunikation, um mehr über die neuen Merkmale zu erfahren. Wir planen ebenfalls eine Jubiläumsfeier mit allem Drum und Dran und hoffen, das dies als Plattform dienen wird, die nächstes Jahr zu einer größeren führen wird. Ich kann noch nicht zu viel verraten, werde Sie aber auch nicht allzu lange auf die Folter spannen… alles, was ich sagen kann, ist, achten Sie auf diese Stelle.

Digital Projection .................................... 4 DPA Microphones ................................ 47 Duratruss ........................................... 141 Eagle Stage Equipment .......................... 6 EAW .......................................... 27 & 135 Elation ................................................. 33 Electro-Voice ..................................... 109 Erhgeiz ................................................ 83 Eurotruss ..................................... 20 & 21 FINE ...................................................... 5 Flash-Butrym ....................................... 95 Flipside .............................................. 113 Focusrite ............................................. 63 Full Fat Audio ..................................... 87 Funktion One ..................................... 159 Genelec ............................................... 95 Global Truss ............................ 104 & 105 GLP ...................................................... 9 Havells Sylvania ................................. 157 Hoist UK ............................................ 151 ICON illumination .................................. 7 Infinite .................................................. 73 K-array ................................................. 55

ITALIANO

ESPAÑOL

Ora sono ufficialmente una signora che si sente un po’ strana, ma in senso buono. Ho avuto una giornata incredibile e una luna di miele molto rilassante, ma sono di nuovo nel mondo reale ora! Il numero di luglio/agosto sarà l’ultima edizione in veste attuale della rivista, in quanto stiamo progettando un restyling per il numero di settembre/ottobre per celebrare il 25° anniversario di mondo*dr, che avrà un nuovo look e delle nuove funzionalità che vi coinvolgeranno.

Siamo molto eccitati per il rilancio e non vediamo l’ora di condividerlo con voi.

Tenete d’occhio le nostre comunicazioni digitali per saperne di più sulle nuove funzionalità. Stiamo anche progettando di festeggiare il nostro anniversario con una bella festa vecchio stile, che ci auguriamo possa essere un trampolino di lancio per cose più grandi il prossimo anno. Non posso rivelare molto ancora, ma non vi terrò in sospeso per troppo tempo... tutto quello che posso dirvi adesso è di guardare questo spazio.

Ahora soy oficialmente una Sra., lo que es un poco raro, pero vamos por buen camino. Pasé un día increíble y una muy relajada luna de miel, sin embargo, acá estamos ahora, de regreso al mundo real! La emisión de Julio/Agosto será la última edición con el aspecto actual de la revista, ya que estamos planificando un rediseño para la emisión de Septiembre/ Octubre para destacar el 25o aniversario de mondo*dr. Tendrá un nuevo aspecto y nuevas características para que puedan involucrarse. Estamos muy entusiasmados con el re-lanzamiento y esperamos poder compartirlo con ustedes. Para aprender más acerca de las nuevas características estén atentos a nuestra comunicación digital. También estamos planificando celebrar nuestro aniversario con una buena fiesta tradicional que esperamos sea una plataforma que encabece cosas más grandes el año próximo. No puedo revelarles mucho ahora pero no los dejaré en suspenso por demasiado tiempo. Todo lo que puedo decir es, miren este espacio.

Kind Audio ......................................... 107 Kling & Freitag ..................................... 53 Kraftwerk ........................................... 113 KV2 Audio ......................................... 147 L-Acoustics............................................ 2 Lectrosonics ........................................ 15 LEDsCONTROL................................ 151 LIGHTfaktor......................................... 88 LiteLEES ............................................... 4 Look Solutions ..................................... 71 Lynx ................................................... 137 Madrix .............................................. 151 Martin Audio ....................................... BC MBN ............................................ 63 & 65 Milos.................................................. 101 Music & Lights ........................... 35 & 149 Nexo .................................................. 138 NEXT Pro Audio................................... 45 Osram ................................................. 75 Palm Expo China ................................ 22 Philips Entertainment ......................... 117 Pioneer Europe .................................... 91 Powersoft .................................. 31 & 155

PR-Lighting .......................................... 43 Prolyte ............................................... 158 Pulsar ................................................ 121 Renkus-Heinz..................................... 143 Riedel .................................................. 10 ROBE .................................................. 57 SHS Global ....................................... 137 Sommer Cable .................................. 115 Soundcraft ........................................... 81 Starway ............................................. 131 Steinigke ............................................. 37 Studio Due. ....................................... 163 Sunlite ................................................... 8 Tannoy ......................................... 40 & 41 TW Audio .......................................... 111 VMB ................................................. 161 Void Acoustics ................................... 118 Wireless Solution ................................... 3 XTA ..................................................... 36 Zero 88 ............................................. 145

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吀栀攀 挀氀 愀猀 猀

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搀椀 最椀 琀 愀氀

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最漀琀

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眀椀 琀 栀 栀漀琀

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䄀䰀 䰀 䔀一☀䠀䔀䄀吀 䠀 䄀䰀䰀䔀一开䠀䔀䄀吀䠀

䄀䰀䰀䔀一䠀䔀䄀吀䠀伀䘀䘀䤀 䌀䤀 䄀䰀

䄀䰀䰀䔀一䄀一䐀䠀䔀䄀吀䠀唀䬀

014 in brief - europe/middle east/africa

IN BRIEF

K IN ET IC LI GHT SY STE M DAZ Z L ES AUDIENCES IN L ENINGRAD CENTRE W ITH O RBIS F LY In the historic building of the old Leningrad cinema at the Tauride Garden in St. Petersburg, is Leningrad Centre - a new urban space, for culture, entertainment and media, housing a concert and theatre space, art galleries, as well as bars and restaurants. The highlight of the main stage in Leningrad Centre is the impressive kinetic LED chandelier, which literally floats above the audience, forming a unique spatial light form. Created by Kinetic Light System Orbis Fly consists of 1,089 luminous 120mm balls located at 30cm from each other, forming a square of 10-metres by 10-metres. Each light RGB LED ball can be adjusted individually in height, speed, colour and luminance.

CLUB X I OUTF ITTED BY N E XT- P ROA UD IO Club Xi recently opened in Eindhoven, The Netherlands. Inspired by the Ibiza club scene, NEXT-proaudio was chosen to help the concept become a reality.

Main Gear Supply, a distributor of professional lighting and audio equipment was enlisted to perform the install. For audio a full NEXT-proaudio configuration was specified, including eight X12 loudspeakers, two X10 loudspeakers and two Las218 subwoofers powered by two MQ1000 amplifiers and a Xilica XA4080 processor. Lighting for Club Xi was provided by BSL Lighting and features moving heads and beams from the Twist Series.

www.mondodr.com

Slight of Hand It’s not magic... it’s Lectrosonics.

Introducing the SSM micro bodypack transmitter.

Lighter and smaller than any other full-featured transmitter Remote setting capable with RM or smartphone app Superb audio quality with Digital Hybrid Wireless® Lemo 3 standard microphone connector 25 and 50 mW RF power settings 75 Mhz (3-block) tuning range

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<< Scan here to learn more about the SSM

www.lectrosonics.com or 1-800-821-1121 In Canada, call 877-753-2876 Made in the USA by a Bunch of Fanatics.

In Europe, call +33 (0) 78558-3735

016 in brief - ASIA/PACIFIC/OCEANIA

EAGL E GROUP PROVID E S TRUSS SOLUTION FOR NATIO N A L THE ATRE Guangzhou Eagle Group has provides a stage solution for the main stage of the National Theatre in Beijing. Working alongside the Beijing Theatre Company, the project was in aid of the highly anticipated Mandarin production of War Horse. Using a truss system comprising CM Hoist Showpro electric chain motors and custom built frame, Eagle was able to cater to the specific needs of the theatre stage.

FA S H IO N T V AN D B AB Y FACE JOIN FORCES With a strict black and gold dress-code, FashionTV Babyface studio, club and restaurant in Shanghai, China has opened its door to the public boasting live performances, catwalk fashion shows and the red carpet treated.

Arguably two of the largest brands in Asia, Fashion TV and Babyface have come together to produce a state-of-the-art club that can welcome 1,200 people, seven nights a week.

Director of Apex Dragon Technology, Johnny Tang was tasked with equipping this landmark venue with a pumping sound system. Johnny selected a d&b audiotecnik solution, which includes Ci7-TOPs, E12â&#x20AC;&#x2122;s, Ci-SUBs and B2-SUBs that are powered by a combination of D6 and D12 amplifiers, while loudspeaker management is carried out via R60 remote control software.

www.mondodr.com

018 in brief - the americas

SJ L IG H T IN G RE D E SI GN S XS N IGH TCLUB The creative force behind many leading nightclub lighting designs, renowned Lighting Designer Steve Lieberman, was engaged to work his magic on Las Vegas hotspot, XS and give the club a new, more technology driven look.

Among the high-tech features that Steve incorporated into his design was a custom designed DJ booth. “We wanted a booth that allowed the DJ to face front and back,” he explained. “We created a 3D video screen with six cubes that displays video on four sides to create a sense of depth.” Steve lined the walls, archways and soffits of the club with 80 Chauvet Professional Nexus Aw 7x7 panels. Using a Madrix controller with a grandMA console, visual elements are pixel mapped throughout the venue via the Nexus units.

While the Nexus panels unify the visual landscape at XS, the Chauvet Professional ÉPIX Strip 2.0 units and struts that support the large DJ video panel provide greater depth and detail to key scenic elements. Like the Nexus panels, this technology is pixel mapped to display images that coordinate with video.

In addition to the Chauvet Professional products Steve also specified Clay Paky B-Eyes, Elation SBX fixtures, Elation Protron Strobes, and Eurolite LED pinspots, as well as Martin MH-5 profiles creating a visually impacting moving light package.

One of the most impressive features that people will notice from the moment they enter the club is the pixel detail that has been added to the entire ceiling of the club. Every beam that goes through the venue has been highlighted with Color Kinetics iColor Flex LED strings.

www.mondodr.com

EXPO DIARY 2015 MEDIATECH

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

INFOCOMM INDIA

PROLIGHT+SOUND SHANGHAI

MUMBAI, INDIA 17-19 SEPTEMBER 2015 www.infocomm-india.com

SHANGHAI, CHINA 14-17 OCTOBER 2015 www.prolight-sound.com

EXPO MUSIC

BROADCAST INDIA

SAO PAULO, BRAZIL 16-20 SEPTEMBER 2015 www.expomusic.com.br

MUMBAI, INDIA 15-17 OCTOBER 2015 www.broadcastindiashow.com

PLASA

LDI

LONDON, UK 4-6 OCTOBER 2015 www.plasashow.com

LAS VEGAS, USA 23-25 OCTOBER 2015 www.ldishow.com

INFOCOMM MEA

INTERBEE

DUBAI, UAE 13-16 OCTOBER 2015 www.infocomm-mea.com

TOKYO, JAPAN 18-20 NOVEMBER 2015 www.inter-bee.com

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25/6/15 3:42 pm

IN DEP TH

INTERVIEW CLAUDIO LASTRUCCI, POWERSOFT

REPORT HOUSES OF WORSHIP

This issueâ&#x20AC;&#x2122;s interviewee is Claudio Lastrucci, R&D Director at Powesoft. Claudio tells Clive Wilson about the 20-year history behind the company that was the brainchild of Claudio, his brother Luca and their university friend, Antonio Peruch. He discusses his familyâ&#x20AC;&#x2122;s influence on the company and knowing that when it comes to ideas, instinct is best.

The Report covers a new topic for mondo*dr, houses of worship.

A popular market, houses of worship continue to grow globally and technically as the demand for bigger and better venues increases.

This presents in itself a host of obstacles, as many houses of worship are not always tech friendly, acoustic challenges and aesthetic issues are but a few trials the Report covers.

024 INTERVIEW

“ONE TECHNOLOGY CAN CHANGE A LOT OF THINGS. IT’S LIKE PLAYING CARDS - IF YOU GET THE JOKER THE WHOLE GAME CHANGES.” CLAUDIO LASTRUCCI Powersoft is led by two generations of the Lastrucci family, but it didn’t come together in the conventional fashion. The company was the brainchild of brothers Claudio and Luca and their university friend Antonio Peruch, with the father of the brothers joining the company further down the line. Clive Wilson interviewed R&D Director, Claudio Lastrucci to hear about the 20 year history of the company.

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INTERVIEW 025

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026 INTERVIEW

Carlo, Claudio, Luca and Antonio

In recent years Claudio Lastrucci has become something of a poster boy for power amplifiers and control electronics compressing ever more bang into smaller, higher density packages.

In fact you could paper the walls at Powersoft, where he is R&D Director, with international patents that have been filed to protect the Italian company’s relentless technology drive. Now, as it celebrates its 20th anniversary, this engineering-led, family run business is at last getting the recognition it deserves.

After helping to fuel the active loudspeaker revolution, and last year delivering the voltage agile X-series amplifiers in what was one of the most memorable launches seen at Prolight+Sound in Frankfurt the cocoon had metamorphosed into a beautiful butterfly.

Powersoft already holds bragging rights by virtue of being based in the Renaissance crucible of Florence, where they keep company with the likes of K-array, B&C Speakers and measurement company, Audiomatica. Italy’s own little Silicon Valley is ensuring that the ‘Made in Italy’ insignia now carries real cachet around the world as does ‘Powered by Powersoft’. This is the result of continuous investment in R&D. After a decade dominated by leading American amplifier brands such as Crest, Crown and QSC, Powersoft has been slowly rewriting the rules and revising the benchmark. The breakthrough came in 1997, when it filed patents for the DIGAM platform with which it has become synonymous. This was achieved not only by establishing switch mode technology, but at the same time utilising a combination of PWM (Pulse Width Modulation) and load independent output-stage filtering. It also became the first company to introduce Power Factor Correction (PFC) into commercial amplifiers, further improving performance of the new generation Class D amplifiers at high output levels while avoiding mains voltage collapses.

Greater power was delivered to the loudspeakers in a more stable and efficient fashion than had been seen previously, with greatly reduced dissipation of heat - all packaged in a lightweight 1U chassis. And the guiding hand was that of Claudio Lastrucci.

To find comparable paradigm shifts of power/weight ratio you would need to go back 10 years to Bob Carver’s Magnetic Field principles, and before that to the MOSFET energy revolution of the ‘80s, which took over from the vintage valve and transistor days of solid state Crown Amcron DC300 and BGW 750. Today, road crews no longer run the risk of internal haemorrhaging caused by humping the business end of a PA system into the venue.

With the early Digam Series (3000, 5000, 7000), Powersoft was able to replace unforgiving slabs of metal weighing 25kg with just 9.5kg. Yet it is probably in the multi-channel amplifier market that these advantages have been most manifest first in the year 2000 - the Q4002 delivering four independent channels of 950W/ four ohms in just 1RU, followed by the super lightweight M-Series M50Q, Class-D high power amplifier offering four x 1,250W/four ohms and Ottocanali 12K4 with eight x 1,500W/four ohms into 2RU. The growth of Powersoft has been steady if unspectacular until recently; but that graph gradient is now starting to plot noticeably upwards. With Italian production facilities dedicated to modules and rack amplifiers respectively in Bologna (San Giovanni) and Gorizia, it has enough ordnance to set up sonic Armageddon, but www.mondodr.com

it has been the way that Claudio and his team have converted power signals and then migrated technologies fomented decades before in the industrial sector that are at the root of these breakthroughs.

Powersoft is led by two generations of the Lastrucci family but this has not come together in the conventional fashion, with dad starting a company which eventually cascades down to the two sons. The company was the brainchild of brothers Claudio and Luca Lastrucci and their university friend Antonio Peruch. They remain the ‘three amigos’ to this day.

Carlo Lastrucci, Claudio and Luca’s father, arrived a few years into Powersoft’s life, having retired from his position as MD for one of the Marconi companies, where he headed a workforce of 600 for the telecommunications giants.

All three Lastruccis had graduated from the local University of Florence, Claudio and elder brother Luca with degrees in Electronic Engineering and Carlo in Physics many years earlier. While Claudio was feverishly refining paradigms from the industrial sector with the alchemist’s touch, Luca was masterminding IT and software, and Antonio Peruch, was overseeing quality assurance.

“A few months before we got our final degree we pooled our ideas and discussed the possibility of forming a company,” recalled Claudio, recapturing the origins of the alliance. “Maybe these ideas were not ready to be produced yet, but still we had sewn the seeds.”

Yet while all three men had a strong musical heritage - Claudio was a classically trained pianist who also played saxophone and later drums - their early work was as consulting engineers, far removed from the world of entertainment “I have always been interested in acoustical design,” Claudio told mondo*dr. “Our primary goal from the very beginning was not only audio but powered electronics and work in the radio sector. We did a lot of work on localisation during the early days of GPS- today GPS is everywhere,” he remembered.

In addition to making the first software in Europe for bus optimisation routing called RadioBus, Powersoft’s also created an interactive product for telephone systems and launched a division dealing with mobility. “We jumped on opportunities such as these,” declared Claudio.

The company name they had chosen was ‘Powersoft’. At first sight this might appear as something of an oxymoron -‘Power-soft’- but it would become ever more logical with the growing software influence of Luca.

“Today there is no power without a big brain,” Claudio rationalised. “The software side of the interface defines the functionality of the hardware- everything is about the ergonomics of the software.”

The consultancy work largely funded the new venture, which began humbly enough in the house where they were born, a 100 sq metre apartment. It was a year before they were able to take on their first employees.

Claudio recognised that switched mode power supplies - and later power factor correction of non-linear loads - had not yet been successfully deployed in the entertainment sector. “While these technologies were effective and proven, they had not been considered for pro audio although the amplifier is the driving part of the system,” he affirmed. PFC had been mandatory in the industrial domain, and with the addition of Pulse Width Modulation (PWM), another 50 year old technology which further minimised power loss, the power transfer into a much

028 INTERVIEW

more efficient engine was complete.

“We knew this transposition would bring real benefits but it took a long time to get these benefits across, because audio is a conservative market and changing the mindset takes a lot of time. As for power factor correction, today if it’s not PFC it’s not in the game you are using less energy and less copper, and it’s exactly the same with switched mode amps at the output stage.”

And so the industry remained initially tied to the linear world, the more so when the first generation of digital amplifiers, for all their weight and space saving characteristics of Class-D amplifiers lacked both stability and the sonic ‘warmth’ of analogue. Claudio remains philosophical. “There was a fight to overcome the early technical difficulties but you can ask 200 people and they will all have a different opinion about why the technology was struggling with those early digital amplifiers,” he said.

It took a process of continual refinement in his quest to break through the powerto-size barrier before those mindsets eased. Powersoft aimed for a factor of five in weight reduction, essentially bringing the same performance from a Class-D switched mode power module weighing around 10-11kg that historically would have weighed 40kg with a linear power supply. But the constant success they achieved in blind testing spurred them on. And then the breakthrough came.

“We developed a high powered 2U amplifier with integrated remote control 20 years ago which never went into production - a 10kW amplifier with front panel LCD- but it was too complicated to be produced.”

However, by 1996 Powersoft had built a number of good relationships through its OEM work, one of them being fellow Italian loudspeaker manufacturer Outline, run by the late Guido Noselli. “We attended an SMAU electronics show in Milan in 1996 where we had the prototype and Guido came past, and couldn’t believe there was a 10kW amplifier, with remote control, and a PFC LED display,” said Claudio.

“We had a meeting with them in Brescia and set up comparative tests. Guido was really one step ahead, and even though we had no history or background in pro audio, he was ready to commit.

“We were newcomers. Linear technology was established so why would such a well established company change and jeopardise their core business?” he recalled, still in disbelief today.

Digam became the first design to incorporate stable Class D fixed frequency switch-mode technology and PFC. And after successful experimentation, Outline www.mondodr.com

placed an order for 500 of the slightly less muscular Digam 7000, a 2U device, outputting two x 3.5kW/two ohms.

“However, there had been a concern that the Digam 7000 was still too powerful at that time. So we moved to the smaller Digam 3000 [two x 1500W/two ohm impedance]. By fitting it into 1U we could half the weight to just 12kg.” Establishing the 1U benchmark to harness so much power, showed the degree to which Powersoft was starting to leverage the power legacy of the industrial world.

With the revenue from itsthird party OEM and consultancy work, Powersoft was not only able to invest in new equipment but after two years was able to move to larger facilities in the north of the city, which signaled the arrival of Carlo.

His large scale industrial telecoms experience was soon turned to good use.

“Telecoms and pro audio were very different but in principle they were similar,” said Claudio. “He brought some structure to the company.” The company, and its staff of around 15 personnel remained there for three years before taking on the first of the three buildings it occupies today on the west side.

And with commendable prescience, having already developed an aluminium, sealed-in-resin monoblock amplifier in 1997, the company also introduced PowerMod, the first complete compact amplifier module, providing the highest power density at the time: the output stage and power supply were condensed into a compact and lightweight power amplifier for self-powered loudspeakers.

“OEM has always been a big portion of our work,” Claudio continued. “Since the introduction of active systems, that includes having electronics inside the loudspeakers.” And so by the end of the millennium Powersoft had diversified its production, with rack amp production taking place in one factory, complemented by power modules on the other.

“That business rose up from scratch and meant that the speaker manufacturer no longer needed to worry about the electronics,” Carlo continued. “The demand came as soon as the technology was available - it was compact, reliable and efficient and ready to upgrade into speakers. At that time, there was not much integration though - you just screwed the model onto the back without wasting too much heat.”

It was another five years before the superior DigiMod refined the art and became the first Class D amplifier module with specifically designed DSP boards, boasting advanced processing, remote control and networking capabilities, and providing granular control of sonic parameters. The introduction of signal processing on-

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030 INTERVIEW

Claudio, Antonio, Luca Giorgi and Francesco

board marked a further huge step forward in system customisation which became even more adaptive once it was able to be addressed and monitored by Armonía Pro Audio Suite, from 2009 onwards.

But for all the feverish activity taking place in Claudio’s skunkworks, Powersoft desperately needed some outreach and international marketing, a function that didn’t really ascend to a professional level until another graduate from the local university, Luca Giorgi, joined in 2007, building on a legacy that had originally begun back in 1998.

“We went to Frankfurt in 1998, specifically looking for significant distributors partners who could understand the technology,” remembered Claudio. “And it was successful in that we have since recorded a growth in turnover that has been consistent every year.”

Distributors did not have to wait as the company soon revolutionised the installation market for high density, small footprint multi-channel amplifiers. The Q Series compacting four channels into 1RU. “However, at that time no-one wanted to see a four-channel amplifier in a rack and it took several years before there was a big payback,” noted Claudio, further alluding to the conservatism of the industry. “Now, it’s unthinkable to not have a four-channel amplifier but back then people were worried what would happen if the power supply died?”

The risk was minimal and the advantages were great -a fact exemplified by its latest eight-channel product, the Ottocanali DSP+D, which is fast gaining high prestige global adoption. With its Smart Rails Management, dual redundancy and Dante support- it also met customers’ demands for an eco-solution which would at the same time guarantee a low cost of ownership over its life cycle.

The ‘green’ culture courses through the company, no more so than in the production principles set up by Antonio Peruch. Chipping into the conversation, he stated: “Being green is a large part of our ethos and the solar panels we use, generating just 500kW of power at our Bologna plant and 1500kW at Gorizia, makes production very efficient.”

And of course, system integrators have been quick to jump aboard Powersoft’s relentless quest for economy, as Claudio admitted: “While we had been tied to live sound, because of the nature of our lightweight products, we didn’t really consider the installation market. But we participated in a tender for Munich Airport [Terminal 2 in 2005] and the specification wanted PFC, four-channel with switching mode output stage and it was exactly our product [the QTU 1400 series].

“We made a calculation to show that the client would recover the money spent on 380 amplifiers in just three years due to the savings on electricity. www.mondodr.com

“We have been building [low impact] products like this since the beginning but it’s only in the last 10 years that green issues have become important,” noted Claudio.

“Energy is not such an important issue for live sound but for 24/7 use there is a big difference.”

Claudio thinks in terms of packages, fervently believing in the synergies that integration - combining all parts of the system - can leverage. And while he says loudspeaker development would be counter to their philosophy they would not turn their back on producing subwoofer systems. “If there is something that can improve performance, even if it’s not your [core] business, you have to take advantage of the technology or someone else will do it.

“One technology can change a lot of things. It’s like playing cards- if you get the Joker the whole game changes.” Yet for all his self-belief, Claudio remains one of the most self-effacing individuals you are likely to find spearheading a company, which makes Powersoft’s approach at the same time endearingly parochial.

“I have been lucky because I have been surrounded by a lot of patient people,” he said typically. “My biggest achievement has been my ability to convince people that the new technology could provide benefits. Class-D, PFC were all steps that were needed to achieve certain functionalities and change the way things can be done.”

“But if you are looking only for the market demand of tomorrow you are already too late because someone will be faster for sure. “Let’s think about what’s going to be used in 10 years’ time.”

But to the outside world, Claudio masterpiece was the introduction of the high powered K Series in 2004, which really put the company on the map. He recalled the challenge. “The idea was to make the most powerful and best sounding amplifiers in the world.

“It came about because three or four customers were absolutely clear about what they would like but could not find elsewhere,” he recalled. “This involved a huge amount of voltage and current that would work anywhere in the world. We already had control software that was running the four-channel Q-series amplifiers,” Claudio continued. “But K-series deserved a new interface and new management software.”

And so several years later they started to develop Armonia Pro Suite. “It’s a completely different language, remote control and Ethernet based rather than serial with a better user interface offering more functionality. As soon as we integrated the new DSP it really started to take off.”

In recent years several new inventions have astonished the market the first being M-Force, which was launched two years ago. This patented moving magnet linear motor transducer is matched with the Class-D M-Drive amplifier module which

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.

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Powersoft_Mondo_XSeries_MarchApr.indd 1

Designed and manufactured in Italy

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032 INTERVIEW

“The best thing my father taught me is that if you have an idea, follow it, and go with your instinct.”

enables the M-System to deliver optimum performance in terms of power handling, electromagnetic conversion, reliability and maximum SPL: a true paradigm shift from the conventional moving coil and cone arrangement.

Designed to handle extremely low impedance loads, Claudio helped build a system for sound engineer, Antonio, to take out with Italian hip-hop, rock and rap artist Caparezza. ”I realised that I was immersed in the future, and face to face with what I considered a turning point in the sound system development, comparable to that of the line array,” Antonio said at the time.

And in what is believed to be the world’s largest subwoofer club installation at the Avalon Hollywood Club, the integrated M-Force drives the new EAW Avalon house system while the newly launched Sound Force series from D.A.S. Audio also features M-Force technology.

The same year as M-Force was launched, Claudio was able to release DEVA a highly complex project taking them well out of their historic heartland. This was an all-in-one Wi-Fi based multimedia unit with integrated solar panel. Audio signals could be distributed across large areas and perform audio/video surveillance in any operating conditions.

“It took two to three years to evaluate the concept,” he said. “It was designed for paging and BGM, but with the idea of being self-sufficient, and able to be run with solar energy. The control and transducer have been designed in such a way so that a single sunny day will sustain it through three or four cloudy days.

“It will handle Wi-Fi, streaming, FM, and is also a low impact product; people are starting to understand the cost benefits when you would otherwise be digging deep into the ground to lay cable.”

This innovation was followed last year by the highly vaunted X-series with a revolutionary worldwide power supply, suitable for single, bi and three-phase operation from 85V to 440V, DC - 400Hz ensuring safe power distribution anywhere on the planet.

Although Powersoft is a member of the AVnu Alliance, and have been investigating its AVB protocol for some time, it has also backed Dante support with the X-series “because the product was already in the pipeline but X-series can move to any standard because it is protocol independent.”

And ‘independence’ remains very much a buzz word in the Lastrucci family. Ask www.mondodr.com

Claudio where Powersoft will be technologically in two years’ time and he may shrug. Ask him if they will still be independent and the answer is more forthright.

“Independence gives us a good advantage and allows us to do what we do best and get products to market faster.”

And yet as much as Claudio enjoys talking high technology principles he realises that all the efforts would be wasted without a proper sales network, a subject he is eager to return to. “There is a lot of engineering in Powersoft but historically there was not so much capability to spread the word of what was inside. It was a limiting factor with Powersoft. In recent years Luca (Giorgi) has done some great work to improve the visibility of the company.”

Everything in the Powersoft universe seems to be an oasis of calm. Trying to unravel much below the surface seems futile, possibly because there is simply not much to unravel. Were there never blood feuds between the three Lastruccis?

Unlikely. Arguments between the founders? No. “The good thing is that we have split the competences since the beginning between R&D, production and software.

There’s never been much overlap, and so there’s not much to fight over,” he said.

Perhaps a three or four hour discourse over a slew of Negronis about non-Boolean Matrix factorisation, and its role in amplification, would have evoked a different dynamic.

However, probe Claudio about his life outside Powersoft and we find the same spirit of adventure in the recreational world as he does in the professional one. A family man, with sons aged 11 and eight and a half, and a daughter of four, when not pouring over circuit boards, he and his family can be found travelling far and wide to remote parts of the world to indulge in more extreme pursuits such as trekking, scuba diving and skiing.

So how would he wish to be remembered? “Just for making good products that are accepted in the market and for putting some spice into the technology so that it is an improvement over the competition.”

In the meantime he believes Powersoft have future proofed themselves by spreading the risk. Why? “Because the amplifier is not what it was 20 years ago. More that 50% of the pro and semi pro market is no longer based on rack amplifiers, they are active systems. Modules are a growing market and we are collecting customers from our key competitors… and that’s helping to keep the market fresh.” Today, OEM and modules are responsible for some 46% of the business.

But just as markets have changed in this increasingly homogenised world, so has manufacturing, and fluctuations in the US dollar to Euro ratio has resulted in increasing cost in Chinese production. “You now need to go to India or Vietnam to find a cheaper source for product manufacture but nowhere can you now go to make product at a third of the cost, as you could before,” he stated.

One thing’s for certain Claudio is unlikely to stop bringing fresh ideas to market and taking risks in the process. “The best thing my father taught me is that if you have an idea, follow it, and go with your instinct.” That ethos has certainly paid dividends so far.

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034 report

HOUSES OF WORSHIP In terms of entertainment technology, the worship market is one that seems to remain strong no matter what. Geographically, The Americas boast houses of worship in abundance, many of which are jammed packed with high-end audiovisual equipment. Of course the worship market is global, as you’ll see from our collection of case studies that follow...

B ASILICA NO SA SE NH O RA D O RO S A RI O Company: Renkus-Heinz Location: Sao Paulo, Brazil Built less than 10 years ago, Sao Paulo’s stunning Basilica Nosa Senhora do Rosario boasts Gothic-style architecture inspired by such medieval grand cathedrals as Notre Dame and Saint Chapelle in Paris. Its detailed ornamentation is also reminiscent of the finest European cathedrals. More than 1,200 pilgrims visit the basilica every month.

As with Notre Dame and Saint Chapelle, the interior of the basilica is very reverberant and fraught with complex acoustics, so designing and installing a suitable modern sound system was no small feat. The system had to be visually unobtrusive yet deliver clear, intelligible sound everywhere. Diego Nascimento Brito and the team at systems integrator AMI Music of Sao Paulo met the challenge with Renkus-Heinz Iconyx technology.

“Masses at the basilica are very traditional, with no instrumental music but a lot of Gregorian chant, along with spoken word,” explained Diego. “To handle the main

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part of the room, we mounted a pair of Renkus-Heinz IC16-R-II digitally steerable line arrays to the columns that flank the base of the steps to the stage. From there, we could steer multiple beams to cover the room while minimising the effects of the many reflective surfaces.”

With a building that is an awe-inspiring work of art, it was imperative that the sound system be as invisible as possible. To accomplish this, Diego had Renkus-Heinz customise the paint so that the slim, low-profile IC16-RII columns were the same shade of crimson as the walls.

The altar is behind the IC16s and therefore outside their coverage area. The chorus is up in the mezzanine, and there’s an arched corridor. To serve these areas, Diego chose Renkus-Heinz IC7-II mechanically steered array loudspeakers. While they employ the same triple-tweeter technology and natural sound reproduction as the IC16-R-II, the IC7-IIs fixed acoustical beam is particularly well suited for side fill,

front fill, and short throw applications that don’t require programmable control.

That enabled Diego to precisely cover the smaller areas.

A pair of Renkus-Heinz IC7-II columns serves the altar, painted a custom shade of brown so they blend in with the decor. Another pair of IC7-IIs serves the mezzanine.

The corridor presented a special challenge. Diego said: “The IC7-IIs proved an excellent solution for the corridor, as well, thanks to their controlled dispersion.”

The AMI team installed a pair of stacked IC7-II columns on either side of the front of the corridor, beneath the arches (four IC7-II units total). A delayed pair of IC7-IIs was mounted further down the corridor.

“The combination of the IC16-R-II main pair and the 10 IC7-IIs has worked perfectly,” said Diego. “The client says everything is fantastic, they love the system, and they want us to put a Renkus-Heinz system in the sacristy as well.

People from other local churches have come to the basilica to check out the new sound system. Everyone has been very impressed.” www.renkus-heinz.com

036 report

BLACK R OC K CH UR C H Company: Bose Location: Connecticut, USA As Black Rock Church in Fairfield, Connecticut was developing its new facility, church leadership turned to integrator AE Global Media for audio, video and lighting solutions. The new space is much larger than one might expect from a New England church - accommodating 1,000 visitors in the main worship area. The audio system for this space needed to provide even, powerful sound for a wide range of music and worship styles, and AE Global Media, in collaboration with Black Rock’s Technical Director Joe Cichon, ended up installing a large system made up of RoomMatch loudspeakers from Bose Professional.

“To many audio professionals, Bose is more associated with quality audio components for home, auto and consumer use than large-format PA systems,” stated Donnie Haulk, CEO of AE Global Media. “I had that opinion myself, until I was lucky enough to be brought in as a consultant when Bose was developing the RoomMatch system a few years ago. This was right around the time AE Global Media was joining the Black Rock Church project, and having experienced the RoomMatch system first-hand, I knew that would be the right solution for this large worship space.”

Joe added: “When selecting a system for our new room, I needed to depend on a system that would provide a wide dispersion rate, as our new room is also designed

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with stadium seating. As I travelled to many conferences and demos, I happened upon a Bose RoomMatch array demo. The sonic clarity, dispersion degree and high sound pressure level were exactly what I was looking for.”

The following Bose RoomMatch loudspeaker modules were installed: one RM9005, three RM9010’s, six RM9020’s, one RM12005’s, three RM12010’s, six RM12020’s, 11 RMU208’s and four RMS218 subwoofers. System processing is handled by a Bose ControlSpace ESP-00 engineered sound processor, two ESPLink output cards, one AES input card and 10 ESPLink input cards. The system is powered by 10 Bose PowerMatch PM8500N configurable power amplifiers.

The reaction has been overwhelmingly positive. Donnie noted: “We needed to be able to achieve a concert-level sound pressure while maintaining the fidelity of the sound, and that’s what Bose managed to accomplish with the RoomMatch system.

The first weekend in the new space, there was a wide range of artists and musicians on the platform, over several different services - from concert cellists to acoustic/ folk instruments to a rock band P&W setup. And across all of these services, the musicians and the congregation were all very pleased. On the classical side, it was like listening to the instruments right in front of you, unamplified, and on the rock band side, it was very smooth and pleasant-sounding, but with the high SPL that they needed.”

To integrators who may still be skeptical of the RoomMatch system, Donnie stated: “Take the time to listen to the system. Contact Bose and arrange a product demo.

Once you experience this system, you will become a fan of RoomMatch loudspeakers.” http://worldwide.bose.com/pro

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Y UN US EM R E CA MI I Company: Community Location: Genk, Belgium Located in Genk, Yunus Emre Camii is the largest Turkish mosque in Belgium. The industrial city of Genk is cosmopolitan, with large Turkish, Italian and Greek communities, and up to 1,000 people attend the mosque for prayers each Friday. It has also become a popular tourist attraction for visitors of all faiths.

Since the building was constructed, the original sound system had never served its purpose. The sound system was plagued by poor intelligibility and reliability while the mics constantly picked up and transmitted echoes and noise. To resolve this, Yunus Emre asked several companies to quote for a new system and the project for design and installation was awarded to Hifi Center Herteleer. Kristof Broux of Hifi Center Herteleer explained: “The budget was tight and we were the most expensive, so to convince them of our ability to deliver the best audio solution in such a large and acoustically difficult building we arranged a demonstration of the loudspeakers and microphones on site.”

Kristof, who designed the system himself, continued: “The entire floor of the mosque is covered with thick woollen carpet, so floor reflections are reduced but the domed ceiling creates a tremendous echo, far greater than I’ve heard in any church before. The solution was to use loudspeakers that could cover such a large area, but with such tightly controlled vertical dispersion that no sound was directed into the dome.

We chose Community’s Entasys, as it met these parameters perfectly, and is well proven for its excellent intelligibility.”

Community loudspeakers are used throughout the venue. Two Entasys full-range column line-array systems provide the sound for the mosque’s main area, with one pair of C Series CS4s providing delay fill at the back. Four I/O5 loudspeakers cover the area for women only, also located at the back of the mosque, and four all-weather R.25 loudspeakers are used in the minaret, providing 360º coverage outside for the call to prayers.

In addition to the Community loudspeakers, Kristof’s other key choice for clarity and system performance was Clockaudio. Nine Clock-Audio microphones connect to a Behringer mixer, with JB Systems amplifiers powering the internal loudspeakers and a larger Crown amplifier powering the R.25s in the minaret.

DSP is handled by a dbx DriveRack PA2 loudspeaker management system.

The system was installed by Hifi Center Herteleer’s own engineers and Kristof personally. He concluded: “The new system has transformed the sound quality in the mosque. Whether the imam is praying softly, or singing out loud, the intelligibility and coverage throughout is simply superb.” www.communitypro.com

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038 report

CHURCH OF SAINTS GIOVITA & FAUSTINO Company: Spotlight Location: Bergamo, Italy

H OPE LUTH E R A N C H U RC H Company: Tannoy Location: Fargo, USA Hope Lutheran Church in Fargo was built in 1958 and its 1,200-seat sanctuary is a perfect fit for the 2,600 congregants who now worship there on weekends.

But times change and so do worship styles, and Hope Lutheran found itself going through a transition that hundreds of churches before it have experienced. The traditional choir and organ music styles now share the stage with more contemporary worship music, which brings new audio requirements too and so an audio upgrade was prescribed.

The new system design is divided into three different zones: a floor zone for the exploded mono main loudspeakers, a balcony consisting of three loudspeakers; and under the balcony, which required six loudspeakers given its short ceiling height and deep seating area. All balcony area speakers were time-aligned to the main system, to ensure single time arrival for every seat in each zone.

The church chose a pair of Danley SH96 three-way enclosures suspended above the stage. In addition, two Danley SM 60F full-range loudspeakers are used to cover the balcony left and right areas; an SH50HO enclosure is aimed at the FOH position in the centre of the balcony. This was specifically included to provide a more phase-coherent time arrival right at the FOH engineer position. Additionally, there are six Tannoy VX 8 loudspeakers for under-balcony fills. A Danley DBH 218 subwoofer is flown, centered, over the first two rows of seats.

“In this case, it worked out well because we didn’t want to deaden the room for when they do use acoustic music, but the speakers and their locations keep the energy off the walls,” said Caleb Dick, Systems Designer of Excel AV Group. “It’s not unusual for mid-sized churches to still use both types of worship styles, and you wouldn’t want to acoustically over treat for contemporary music at the expense of how a choir can sound in a nicely reverberant space. We want to find the right balance, and using a highly directable speaker helps us achieve that balance.”

The system as installed reaches 103dB, which Dick attributes in part to the use of two Powersoft Duecanali 3904 amplifiers powering the main loudspeakers and a Powersoft Duecanali 5204 powering the loudspeakers in the two balcony zones.

The whole system is sequenced and running off of multiple 20 amp circuits. “We didn’t have to change to 240V and this made it very simple. The current draw was very low overall, thanks to the efficiency of the amplifiers,” Dick explained. www.tannoypro.com

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Following an in-depth restoration project, the Church of Saints Giovita and Faustino - an 18th century Baroque gem in the town of Brembate Sotto, in the northern Italian province of Bergamo - has completed the first stage in an upgrade to all-LED illumination.

Lighting manufacturer, Spotlight and its in-house lighting designer Thomas Nell took on the project. He said: “I had to ensure a perfect response to the rules laid down by the Ministry and Italian Episcopal Conference guidelines by installing fixtures with the lowest possible visual impact that were able to suitably illuminate such a large structure, but were not directly visible.”

To ensure the illumination was suited to the church’s considerable artistic value, with the restoration team, Thomas carried out an examination of the works’ origins and original cultural context, with the intent of showing the colours as the artists originally intended. He continued: “This objective was anything but easy to achieve, particularly with the illumination of the walls and vaults. In fact, the large amount of stucco work and relief elements decorating the walls of the centre nave inevitably tend to create diverse shadows if illuminated casually.”

To avoid this drawback, the fixtures were positioned strategically. Thomas also installed fixtures with carefully studied directional optics, in order to obtain a uniform luminous distribution without spilling into the areas that the 18th Century artists wanted to leave in semi-darkness.

The church currently has two levels: the upper, with conventional technology enhanced by the Spotlight’s 4,000K Mastercolour fixtures, and the lower, with the GreenLine range of 3,000K Warm White units and LED strips for the shrines and side chapels.

Thomas concluded: “For the second forecast step, to switch over the LED lighting for the upper hemisphere, it is imaginable that 4000K Natural White FresneLED 100 Compact fixture beam LED units will be used. www.spotlight.it

IP65 RATED

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CHALLENGE YOU... © Barry J. Grossman Photography

C E L E BRAT I O N C H U R C H Company: Chroma-Q, Jands Location: Florida, USA

We’ve been challenging the new AMS range to the most rigorous environmental testing in Tannoy’s history.

Achieving a category leading IP65 rating, the new AMS range have been designed to not just sound incredible on day one but to sound incredible years after being installed, in almost any challenging environment...

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Jacksonville, Florida’s Celebration Church utilises over 100 Chroma-Q Inspire premium performance, colour-changing LED house lights to provide an immersive environment during its worship services.

With attendee figures of more than 12,000 per week, the services held in Celebration Church’s state-of-the-art, newly constructed worship arena feature an energetic, next generation praise and worship experience that infuses diverse genres and styles. The Church wanted to make the audience feel a part of the onstage experience through lighting.

The project was designed, engineered and installed by Wave, based in North Carolina. Featuring an installation of 96 Chroma-Q Inspire fixtures above the auditorium’s seating areas, the unit’s extensive RGBW color-mixing palette provides a seamless lighting transition throughout the room, from the stage to audience.

Synched via DMX with the stage lighting and controlled via a Jands Vista L5 console, the Inspire’s fully homogenised beam provides beautifully mixed washes of soft pastels and vibrant, bold saturates, as well as clean whites - making it the ideal multi-purpose lighting solution for both the colourful services and the venue’s house lighting needs.

“The worship arena is the new hub of the ministry, and we wanted to approach this project with out of the box thinking to make sure we addressed key lighting specific to our worship experience,” said Alex Castro, Design and Logistics Director at Celebration Church. “We wanted people to have an ‘onstage’ experience when worshipping at the Church, to ensure they’re part of the action.”

Trey Smith, Lead Lighting Designer at Celebration Church, continued: “With the Inspire houselights, we are able to create a fully immersive worship environment that makes the congregants feel the emotion and intensity of the experience no matter where they sit. With over 200 LED fixtures and almost 50 moving lights onstage, the Inspire houselights seamlessly carry the look and feel from onstage to all around the Arena.”

The Inspire house lights now serve as a ‘key leader’ in the Church’s full-immersion environment, which starts in the venue’s smaller lobby area, where a further 16 Inspires are rigged. www.chroma-q.com http://jands.com/lighting

IP65 RATED

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DUAL F IRS T UNI TE D METH O D I S T C HURC H A R D M O R E Company: Clair Companies Location: Oklahoma, USA FUMC Ardmore, which has a newly-remodelled, classic-looking facility originally built in the 1920s, wanted the ability to quickly transform its rather traditional sanctuary into a contemporary worship space with minimal effort and a fast turn-around time between services. The church also wanted the ability to have a live worship band on stage with a large, 28ft wide projection screen in the centre.

Clair Solutions designed and installed a custom audio, video and lighting solution for FUMC Ardmore that brought its technologies up-to-date without compromising the traditional aesthetic of the church. In addition, Clair Solutions was able to successfully conceal loudspeakers and other audiovisual elements without sacrificing sound quality and performance.

The main sanctuary PA consists of a combination of Renkus Heinz IC Live columns and an assortment of JBL boxes. The system is powered by Lab.gruppen with BSS signal processing and controlled by an Allen & Heath iLive digital mixing system.

The 28ft wide DaLite motorised projection screen is brought to life with a 20,000 Lumen DLP projector from Digital Projection and is accompanied by four 55-inch Panasonic LED displays for under balcony coverage. AMX is used to seamlessly control the video systems. An RF Modulator sends a hard line to a local TV station down the street for local broadcast of the churchâ&#x20AC;&#x2122;s services.

A beautiful arrangement of ETC LED light fixtures provides stunning theatrical lighting for the stage. Both the theatrical and house lights can be controlled with the click of a button on an ETC Ion Console.

In addition to the main sanctuary, they outfitted the new welcome area with ceiling speakers for overflow and playback capability. In this area, one can control a handled wireless system dedicated to that space for special events by the BSS wall controller. TV displays were added for signage, announcements, and overflow video, all of which are switchable through the AMX system in the video production room.

Clair Solutions was able to completely transform this stunningly traditional sanctuary into an exciting, contemporary space. Making the transition between the two service environments is seamless and effortless. Given the age of the building, implementing the necessary equipment proved challenging. However, with a great deal of planning and preparation, the team was able to overcome obstacles dealing with electricity and HVAC to ensure a successful and functional installation. www.clairsolutions.com

...This latest generation of Dual Concentrics have their genesis in many of the worldâ&#x20AC;&#x2122;s high end recording studios, with that signature Tannoy technology being used to mix and master a rich collection of contemporary classics. AMS ensures that playback of recorded material sounds exactly as the engineer intended when it was mixed in the studio, making them perfect for entertainment and hospitality venues, as well as areas where true sonic clarity and reliability is required. We challenge you to a Dual.

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042 report

GBI GILGA L PI K Company: Allen & Heath Location: Jakarta, Indonesia Allen & Heath’s iLive-T112, iLive-T80 and iLive-R72 mixing systems and a ME personal monitoring system, were selected for installation in the newly constructed GBI Gilgal PIK church in north Jakarta, Indonesia.

Kairos Multijaya was appointed to manage the audio, video and lighting installation.

The 4,000 sq metres four-storey building includes a main 1,000-seat sanctuary, a

400-capacity Youth Fellowship hall, as well as other rooms, catering facilities and outlets.

An iLive-T80 system was selected for the Youth Fellowship, whilst an iLive-T112 surface and iDR-64 MixRack system were installed in the main sanctuary, along with five ME-1 personal monitor mixers. A third iLive system, a rackmount iLive-R72, is available as part of a portable audiovisual system for the other rooms.

“I never used a digital mixer before but once I tried iLive, it was not as hard as I thought it would be. Since then I have fallen in love with iLive,” said sound engineer, Vian Pioh. “The best feature for me is the Mixpad app, which makes it easier for me to control stage monitoring. iLive is a really user friendly digital mixer, which must be tried.” www.allen-heath.com

H O LY S H RI N E O F IMAM R EZA Company: K-array Location: Mashhad, Iraq Given Islamic architecture’s reputation for ornate design and radiance, it is understandable that the managers of the world’s largest mosque in Iran wanted a sound system that would not subtract from the breath-taking decor inside The Holy Shrine of Imam Reza in Mashhad, Iraq, which is why K-array’s discreet loudspeakers were selected for installation.

The Imam Reza Shrine in Mashhad, Iran is a complex, which contains the mausoleum of Imam Reza, the eighth Imam of Twelve Shiites. It boasts the largest mosque in the world by dimension and the second largest by capacity making the sanctuary in the northern city of Iran a mecca for the devout and tourists alike.

Given its high visibility, competition for the project was stiff with several international companies bidding. But it was the distinct slim design of K-array’s loudspeakers with high-quality sound performance that awarded Tehran-based, pro audio distributor Moco the opportunity to outfit the foyers Bast Shayhk Toosi, Bast Hur Ameli and Dar al Hujjah at the mosque.

“With a large amount of proposals submitted by audio design companies, we selected the solution that could provide clear sound but, most importantly, was able to blend in well with the architecture of the shrine.” said Mr. Akhbari, Engineer and Head of the Technical Department of the Holy Shrine. “Moco and their K-array solutions were an obvious choice.”

Installation company Pishgaman Sazeh va Sanat Pasargad, was tasked with installing a total of 24 KK102 column loudspeakers powered by six KA10-10 four-channel amplifiers throughout the arched entrance halls covered in glass mosaics.

“I am very satisfied with the quality of loudspeaker system and the installation,” he added. Installation was complete within 15 days with a team of 10 people using over 40,000 metres of cable. www.k-array.com

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044 report

GEDÄC H TNI SK I R CH E Company: Fohhn Location: Berlin, Germany The world-famous Gedächtniskirche in Berlin was recently equipped with a range of loudspeaker systems from Nürtingen-based manufacturer Fohhn Audio.

The original Kaiser-Wilhelm-Gedächtniskirche was built in 1890, but was badly damaged during a World War II bombing raid in 1943. A new church was built between 1959 and 1963 around the remaining ruins. Constructed from concrete, steel and glass, the main worship area of the new church buildings has an octagonal design.

Measuring 35 metres across, with a 20.5 metre high ceiling, it can accommodate over 1,000 worshippers. Its walls are designed as a concrete ‘honeycomb’ featuring over 21,000 individual stained glass inlays.

Replacing the current 20-year old sound system in this vast, highly reflective environment was always going to prove a challenge. With the main worship area used for a range of activities, including jazz and gospel concerts, as well as for standard services, a system was required that could deliver both crystal clear speech intelligibility and excellent reproduction of a range of musical styles. The architecture also demanded a loudspeaker installation that could blend sympathetically with the church’s interior, providing excellent sound coverage while appearing unobtrusive to congregations and audiences. The installation team for this project was led by Rainer Zinke of Church & Sound, Berlin.

General coverage of the main room area required just four Fohhn Linea Focus series line array systems with beam steering capability. Unobtrusively mounted between glass honeycomb panels behind the altar are two mighty LFI-450 systems.

Configuration and adjustment can be carried out remotely using a laptop running Fohhn Audio Soft software. Should the need arise for even more precise directivity,

Photo by Andreas Lechtape

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all Linea Focus models are also equipped with Fohhn’s Two-Beam Technology that enables two separate beams to be generated from each system for simultaneously targeting different congregational areas. In such a challenging acoustic environment, this additionally helps to avoid unwanted reflections from the concrete and glass surroundings that could potentially compromise the overall sound quality.

For concerts and events that need more extended bass frequency reproduction, six AS-22 compact subwoofers have been installed behind a curtain to the back of the altar, which is opened as required. These have been configured as a bass array to guarantee an even sound dispersion in the low frequency range.

The inclusion of four X-Series XT-10 full range systems provides the church with stage monitoring facilities for performances. These can be positioned and moved as required. For sound coverage at the organ, two Linea-Series LX-10 loudspeakers were selected for their ability to produce perfectly balanced beam characteristics, a flat frequency response and outstanding reproduction of speech and music. Three Fohhn four-channel, Class-D, D-4.1200 DSP amplifiers have also been installed to drive the passive loudspeakers systems. These can be networked, monitored and remotely controlled.

Because the sound system will be used to reinforce a range of activities, the installation of an FR-10 Fohhn-Net-Remote wall panel with programmable buttons has enabled various presets to be configured so that church staff can easily switch between different loudspeaker settings as required. www.fohhn.com

S T. PA U LU S CAT H EDR AL Company: Osram Location: Munster, Germany An unconventional lighting concept was used to highlight the unique architecture of St. Paulus Cathedral, a historical monument built in the 13th century that is famous for its astronomical clock. Rather than emitting light from top down, the principal of ‘light-spouts’ was developed as its lighting concept.

It was critical for designers Hannes Hermanns and Antonius Quodt to illuminate the arches of the sacred building with dynamic colour temperatures, whilst avoiding pendant luminaries. A total of 180 bright Traxon Wall Washer XB fixtures were hand crafted for the cathedral, helping the designers achieve their goal of creating balance between technical possibilities and esthetic sensation.

The compact yet powerful Wall Washer XB was the perfect solution providing rich, even, and consistent illumination in the nave, chapel, or in the cloister.

Most fixtures are equipped with Dynamic White LEDs, which allow for individual alternation of colour temperature. A control solution comprised of 170 e:cue DMX2CC dimmers, eight Butlers and Lighting Application Suite (LAS) allows easy individual control of each fixture. The new LED installation not only illuminates the chancel, nave, and crossing, but also highlights the formerly dark apse in a new bright light. www.osram.com

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046 report

DAN BU R Y M I SSI O N C H U RC H Company: Digital Projection Location: Essex, UK A comprehensive audio and video system was installed at Danbury Mission Church in Essex. This includes Digital Projection DLP projectors and full Roland system including consoles, stage boxes and personal monitors. The church has a packed events calendar and needed a high quality system that would be flexible enough to cater for speech, live bands, vision and playback but simple enough to be used by a number of people with varying technical knowledge.

To ensure the best possible image, installer Wigwam required a three-chip DLP projector with a high light output, a fully featured interface yet small and quiet enough to be used in a church.It specified a Digital Projection Highlite 660 projector and a Roland V-800HD Multi format video switcher along with a pan/tilt/zoom (PTZ) Vaddio clearview HD remote controlled camera.

The V-800HD and projector are controlled by RTI advanced control products, set up with a dedicated button for each source allowing the user to simply choose from a control panel of eight switches.

Wigwam has used Digital Projection’s range of DLP projectors in houses of worship installations in the past, and knew quality and reliability are of the upmost importance in the projectors. Coupled with local after sales support, Wigwam had a Digital Projection team on hand to help with any technical questions. d&b audiotechnik white range loudspeakers were chosen for their exceptional sound quality and ease of installation. Two xA series 10AL-D were installed along with two 18A subwoofers. Three 5S loudspeakers were installed as frontfills and two 8S loudspeakers were needed to cover the mix position on a balcony. Loudspeakers were installed with two 10S at the front to cover the body of the church, two 8S loudspeakers to cover the balcony area and three 5S loudspeakers for frontfills. Two 18S subwoofers were also installed as the church needed a full range system to cope with their worship band and also for musical events in the building. www.digitalprojection.com

C H RI S T I A N C H UR C H AT C L A RE N D O N H I LLS Company: DPA Location: Chicago, USA The Christian Church at Clarendon Hills (CCCH) is the first HoW to use DPA’s new d:screet Necklace Microphone to mic its pastors during services.

Robert Locklear, Minister of Worship and Music at CCCH, has become quite fond of the d:screet Necklace Microphone, which he initially tried on recommendation from a local integrator. “It has a lot of the same tonal qualities of a regular headset mic with a little lower-end, which was a welcome surprise because of the high-end frequencies boost,” he said. “We don’t have any of the ‘wispiness’ that is found with more headset mics, which are commonplace in houses of worship. We only have one Necklace mic right now, but it has such a great quality that we’re definitely going to purchase more.”

The size and durability of the mic also appealed to Robert and his team, who have a limited budget for purchasing new mics. “We do a lot of plays and talent shows, both through our church and for local schools that rent our space, and the biggest problem we were having was trying to mic the children and petite women,” he explained.

It isn’t just the smaller presenters who are benefitting from the d:screet Necklace. “It has been excellent for all of our speaking roles,” Robert continued. “Our Senior Pastor is very comfortable with the mic. He finds it especially useful when he’s speaking one-on-one with people after the service. He noted that his previous headset mic was often off-putting to people, but with DPA’s d:screet Necklace mic, he just tucks it into his collar and sits it right where a tie might be, so no one notices. This setup has given him and his congregation a lot more confidence to have personal conversations.” www.dpamicrophones.com

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048 report

CEN TR A L CH UR C H Company: d&b audiotechnik Location: North Carolina, USA The sanctuary at Central Church in Charlotte, North Carolina is a typical fan shaped room with a balcony. Built in the early eighties it seats 1,800 and is one of the original mega churches of the modern era. “Yet when Don Kendrick, Director of Media Services for the church first engaged us,” recalled Jerry Temple, founder of XLmediaworks. “We were just asked to service some faulty stage wiring. Little did I suspect we would, in time, come to replace the sanctuary’s complete sound reinforcement system with a V-Series solution from d&b audiotechnik.

Jerry continued: “The sanctuary is beautiful, right down to the ornate carving on the pews. To install a complete, new system in a room like that is, to say the least, a delicate operation.” Delicate or not, three jobs after that first rewire project, Don opened the conversation with Jerry about replacing the main audio system. “It was their attention to detail that interested me,” said Don. “Before I first called Jerry they had done some work on an existing installation in one of our satellite churches. The person responsible for audio in that church had been talking to me about Jerry Temple for some time, saying how good his company, XLmediaworks was. That certainly proved to be the case; they did a beautiful job.”

XLmediaworks was already an affiliated reseller for d&b systems, and by coincidence the d&b office was about to demonstrate its new V-Series at The Fox Theater in Atlanta. “When Jerry invited me to come and listen I was intrigued. I’d heard a lot about d&b and heard good things, but I’d never actually listened to one of their systems.” To moderate the listening experience Don also elected to take an objective third party.

“I had called upon the expertise of Jim Brawley of James Brawley and Associates, an old colleague of mine. Jim and I have history going way back, and although you might, in this context, fashion him a consultant, I do not believe in the conventional consultant role where a system solution is devised and then put out to tender. I rather decided to pair my preferred consultant with my preferred contractor and create a team that, together, would give me the proper design and proper installation. So we hired Jim to work directly for the church and paired him with the team at XLmediaworks so we would have the best shot at both the design and installation of the new sound system.

“The d&b demo was excellent,” Don continued. “The Fox is not dissimilar to our church in terms of size, seating and acoustic. I was very impressed by the coverage and transparency of the system; but I still wanted to hear it live. Fortunately MerleFest in upstate NC was just the place, as one stage was using the V-Series. Set on a hillside, coverage was tricky; it would have been all too easy to overshoot part of the audience. But when I walked around, the coverage completely blew me away,

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top to bottom, and LF to HF, everything was right there. That helped me make my mind up. I’ve been in the business a long time now; I spent ten years doing sound for TV and have made my own system designs for installations in the past, so I know the nuts and bolts of what is needed: I made my decision with a high degree of certainty.”

Jim and Jerry set about designing the system installation. “We plotted the sanctuary in d&b’s prediction tool ArrayCalc and determined flown L-R arrays of V-TOPs, with flown V-SUBs, and J-INFRAs to each side,” Jerry explained. “Modelling the sound dispersion of the V-Series to the room was relatively straightforward. The INFRAs were another matter. The point is that Central Church has a tremendous band and some great singers, and there is a powerful tradition for strong worship music here: so including the INFRAs was essential.”

Jim’s design went further, adding T10 cabinets for front fill. “This is a much weightier cabinet in terms of performance potential for a front fill,” Jerry reported. “But because of the significance of that great music tradition at Central Church Don wanted something more potent. Yet the T10 is barely larger than a more typical front fill.

Although we had loudspeakers at three different distances from stage point zero, setting up the system with delay and EQ was a breeze; exporting all the settings direct from the prediction software straight into the d&b D80/D12 amplifiers as soon as we had power to them. That’s one good reason why we were able to conform to Don’s installation window.”

“Jerry makes it sound easy,” said Don. “Truth is, delivery and installation were quite an undertaking. The existing points within our sanctuary were in entirely the wrong place for the V-Series, and I also wanted the INFRAs and side fills concealed within the proscenium. That’s a great deal to accomplish. Structural work in the roof was essential, and inserting J-INFRAs into the proscenium was no easy task. Jerry and his guys, in collusion with our engineers at Edifice, had just a two-week window when the sanctuary was free, while our congregation celebrated at our outdoor Fall Festival. That was the challenge and what they achieved made me even more impressed. Fitting those INFRAs took eight hours each, and don’t forget the main fabric of the sanctuary, the ornate carvings, the rich carpeting, all were still in place.

Yet here they were working with cherry pickers in the tightest of confines. Frankly my staff were astounded when they saw what was happening, and not a little anxious at times. But we were all really happy with the way it turned out. Jim, Jerry and d&b all worked together as a team to accomplish what was needed.”

While it might already be apparent that Don was more than satisfied with the new system, his concluding thoughts are testament: “I know my way around a PA; this is a lovely system to mix on. What d&b says, that low end from the INFRAs is ‘the octave you never knew you had,’ is right; you can make a bass player sound so true. In fact the fidelity of all instruments is astounding, and all in the right place. It is such an easy system to mix on.” www.dbaudio.com

050 report

DES TIN Y CH R I STI A N C H U RC H Company: Elation Location: California, USA Over the past eight years, Illuminate Production Services of Sacramento has completed a number of installs and special event projects at Destiny Christian Church in Rocklin, California, including an upgrade to it lighting systems using Elation and ADJ for the main Worship Center, lobby, outdoor facade, and most recently, the Youth Center.

“We wanted to make sure we had a company that would stand behind the gear,” stated Rick Franke of Illuminate Production Services when asked the main reason why ADJ Group lighting companies feature so prominently at Destiny Christian. “We chose to go with Elation products in particular because the church needed a product that was cutting edge but wouldn’t break the bank and Elation delivers every time.”

Destiny Christian Church is an active parish with a number of ministries, classes and outreach, and has over 3,000 worshipers in attendance each weekend. “The church has had a number of ongoing needs as it pertains to lighting and production,” said Rick, who is also lighting director at the church and served as main lighting designer for the various indoor and outdoor areas, while son Caleb handled lead design for the Youth Center.

“The first project was an installation of Elation Design Wash 575 and Design Spot 575 fixtures in the 1,400-seat main Worship Center eight years ago and the church has made consistent upgrades and purchases of Elation, Acclaim and ADJ equipment ever since, all of which continues to be used today,” Rick continued. Before the Elation product started going in, Destiny had a dimmer-heavy incandescent

system with lots of parcans and other conventionals. They sought to change their style of worship and their approach to the worship experience and they felt that lighting was a big part in that.

That original install in the Worship Centre was eventually supplemented with Elation Design Spot 300, Power Spot 700, Rayzor Q12, ELAR 216 Panels, Opti QA Par, Opti Tri 30 fixtures and 20mm pixel pitch EVLED 1024 LED video panels for scenic design and backdrop. The real story in the Worship Centre is the durability of the gear over many years of use, says Rick, who stated that the lights have exceeded all expectations.

Last year, Destiny wanted to make a real statement for their 25th anniversary with a high impact technology install and added a 4mm pixel pitch Elation EZ4 LED video display in the main Worship Center, as well as a 6mm EZ6 LED video display in the lobby.

“They have both worked perfectly for over a year,” Rick reported. “The EZ4 has a black front making it easy to mask and hide when not in use on the stage and the colour is perfect on both. The EZ6 is an install-grade panel that has worked flawlessly from the day we put them in. The colour batching is really good, the contrast is excellent, and the brightness is perfect. As an install panel, I would recommend either of them to any church that is interested. In fact, it is causing us to rethink our typical video projection plan campus wide.”

A stage in the Youth Center received a lighting upgrade most recently in the form of Elation Rayzor Beam 2R and compact LED-based Rayzor Q7 moving heads, along with Epar Tri LED Par lights. Those were joined by a host of American DJ effect lights to provide the energetic impact required for a large variety of youth-focused events. According to Rick, speed of movement, impact for money and durability were all key factors in fixture choice.

Because Destiny Christian Church sits on a main freeway interchange, the church has the unique opportunity to garner attention and thereby create greater visibility in the community. Previously lit with high pressure sodium lighting, the building’s large outdoor façade and columns are now flooded in colour using LED-based Elation Elar 216 Panel RGBW and Elar 180 Par RGBW fixtures, along with Acclaim AL Bar and Acclaim Rebel series fixtures.

Destiny Christian continues to get the most out of their dynamic lighting systems, which stay busy lighting all worship services, youth events, concerts, special seasonal events and more. “Young and old have really embraced the lighting system, which enhances the experience and really sets the environment for a great worship experience. The Sunday experience here at Destiny is really a place of excitement.

The church won’t think twice about ordering Elation Professional fixtures in the future and are grateful for Elation’s serious approach to design, longevity, value and continued technical support.” www.elationlighting.com

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Application Defined I Elegant Solutions

Do you know the CODE? communitypro.com/knowthecode Saint Bede the Venerable, Southampton, PA USA Loudspeakers: V SERIES

052 report

S IN T-JAC O B SK E R K Company:Audac Location: Ypres, Belgium In the search for a new sound system that is able to cover the entire church, the historic Sint-Jacobskerk, situated in Ypres chose Audac for the realisation of the latest project.

The originally 12th Century Romanesque church was ruined during the First World War, but rebuilt in 1924. Nowadays, the church is still a significant monument visited by many tourists.

FAITH P R OM I SE CH URC H Company: Avolites Location: Tennessee, USA Over the past decade, Faith Promise Church has been blessed with providential growth - so much so that the church has had to quadruple its sanctuary capacity from 500 to 2,000 in order to accommodate its increasing number of weekly attendees.

Along with the facility expansion came the need to update the lighting system to ensure uniform coverage and impact throughout the worship space. Ultimately, the lighting revamp for the main sanctuary called for an upgrade of the church’s previous Avolites Pearl to the manufacturer’s flagship Sapphire Touch lighting control console, which was installed earlier this year along with ten LED moving lights.

“People at the church commented how they loved what we have been able to do with lighting to creatively enhance songs and components,” said Michele Stephens, Faith Promise Church’s worship and creative arts leader.

“After years of faithful service, the Pearl was running classic software and showing signs of age,” explained André Huff, principal and founder of Limelite Design Service, which supplied the desk. “We could have addressed those issues, but everyone felt it was more cost effective to upgrade to the Sapphire Touch,” continued André, who has worked with Faith Promise on its lighting needs for more than 10 years.

Michele agreed with André that it was time for a lighting overhaul: “Our lighting technology was growing old and inadequate,” Michele said. “We also went to an LED wall, which required the lighting to have ability to get over the intensity of the wall, as well as expanding the size of the room and stage.”

Every Faith Promise event in the main sanctuary now uses the new console, which controls the lighting of church services, youth events, concerts and video shoots. “Our lighting philosophy is to enhance the atmosphere of the worship experience, which is highly creative, energetic and progressive,” Michele explained. “We feel that lighting helps create energy and enhance the mood, so that is where we put our priority for its use.”

Through each renovation, the church added everything from a few more lights to video walls, as well as a better sound system. “But it basically was the same package they had in the smaller space; it was time for the church to start moving its illumination from just enough lighting to progress to a complete system,” André said of the latest improvement. www.avolites.com

The main challenge was to ensure that only the two front pillars were used to cover the entire surface with a high quality sound. Thanks to the ease simulations that were carried out, Audac GIAX loudspeakers were proven as the ideal solution. These design column speakers are able to provide enough power to cover the wide area without sounding too loud at short range. By focussing the sound directly to the listener’s ears and away from acoustically reflective surfaces, these column loudspeakers are able to limit reverberation to a minimum.

For a smaller upstairs room, the WX302 two-way loudspeaker is used. Its discrete design makes the loudspeaker almost invisible, yet it provides crystal clear sound. www.audac.eu

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TR IN I TY CH R I STI A N C E N T RE Company: Martin Professional Location: Paya Lebar, Singapore In a prominent intersection on the outskirts of Singapore City in Paya Lebar lies the Trinity Christian Centre, designed to imitate the vast canyons of the Israeli deserts, the building’s beige-colored facade mimics the folds of the desert landscape and now boasts Martin Professional lighting.

The original lighting scheme did not live up to Trinity Christian Centre’s aspirations to become a neighborhood nighttime landmark. In fact, even the next-door gas station outshone it and made more of an impact on the surroundings with lights. In consequence, ONG&ONG (Lighting Design) were commissioned to design and implement a new lighting concept for this house of worship.

ONG&ONG installed 14 Exterior 400 Image Projectors, 28 Exterior 410 fixtures, all controlled by Martin Professional’s M-PC controller. Inspired by the original visions, ONG&ONG set out to use the light to mimic the hues of colours of the Israeli skies and to tell meaningful stories to the community.

“Our task was to enhance and improve existing architectural features in the night,”

said Swee Hong Ong, Director at ONG&ONG. “To ensure the success of the lighting design we had to conduct various onsite tests and consider the surroundings and conditions before we could propose our idea for the new design. This process is a lot more demanding than designing a new project from scratch.

“The Exterior range from Martin proved to have the rich, saturated colour wash that we were looking for,” said Swee. “The fixtures are easily controllable and unlike the other fixtures we tested, the exact calibration enables all the fixtures to display the same colours.”

The new lighting design attempts to create a connection between the church and its community. Pre-programmed sequences display messages of faith and joy to spectators, and colors and projected patterns add a dimensionality to the architecture.

The animation and vibrancy of the colours mirror the dynamism of the sky. www.martin.com

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ST MAR TI N-I N-TH E -F I E L D S Company: Yamaha Location: London, UK One of London’s most famous places of worship, St Martin-in-the-Fields, has a long history of opening its doors to people from all faiths and walks of life, or indeed no faith at all. Welcoming 750,000 visitors every year to church services, events and music performances, a Yamaha QL1 digital mixing console is at the heart of its newly upgraded audio system.

The church also occupies a unique place in broadcast history, having made the very first religious broadcast, and it continues to broadcast to people around the world.

Working with a knowledgeable partner to upgrade the church’s audio system is essential to ensure such a variety of audiences are able to fully share in the church’s mission. This is why, when the church put the project for a new audio system out to tender, SFL Group’s extensive portfolio of worship installations meant that the company was a natural invitee. Having presented a proof of concept with a Yamaha LS9 digital console, the company was asked to undertake the project.

“Being open and inclusive are the cornerstones of the church’s mission, part of which is ensuring that its congregation and audiences enjoy the best possible sound at its services and musical performances,” said Tim Horton, SFL Sales and Installations Manager.

“Originally we were going to use the LS9, because we needed a console with a small footprint, but it was also very important for the church to have Dan Dugan auto microphone mixing. When we saw the QL1, which has the Dan Dugan facility built in, it was the obvious choice. It saved an expansion card slot, plus the combination of Dante networking with local I/O meant we could tailor the system precisely to the church’s needs. It made the system more flexible, yet more straightforward, than any other solution.”

The historic architecture of St Martin-in-the-Fields meant that aesthetics were just as important as acoustics, so the QL1 is installed in an unobtrusive oak cabinet, which matches the pews around it. Complementing the console is a Yamaha Rio1608-D I/O unit at the altar end of the church, plus a pair of Ro8-D output units for broadcast requirements.

“The church has 11 lectern microphone positions, plus five wireless microphone systems and some ambient microphones,” said Tim. “The church wants to be as inclusive as possible, so the latter are important for broadcasting sermons and concerts to the foyer and to loudspeakers installed within the exterior portico.

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“It also hosts some very high profile events, special services and memorials. At Christmas time for example at the church’s popular carol services these loudspeakers will allow those who cannot get inside to hear the service and be included.

Another important part of that inclusion is catering for the hearing impaired and those who cannot get to London. The expansion card slot, freed by having the Dugan auto mixing onboard, allowed an MY4-DA interface card to be installed, providing four XLR outputs for a high quality induction loop and outboard recording.

While the church’s concerts are largely classical, unplugged-style performances are also popular, so the Rio1608-D allows for amplified instruments and also powered monitoring or IEMs to be used when needed.

Having proved that they could tame the naturally lively acoustics at the tendering stage, the biggest challenge for SFL was installation time, because the church is open to the public every day. The SFL installation team, headed by James-Cremer Evans, worked a fortnight of 10pm-6am sessions, a fair amount of which was spent ensuring that the system is as invisible as possible.

“As well as its small size, another advantage of the QL1 was that it was very straightforward to teach to the staff. Yamaha digital consoles are inherently straightforward and we set the QL1 up with scenes for different uses, all on the user defined keys,” said Tim. “We just spent a day with the vergers, concert team and some of the clergy showing them how to use it. The Dan Dugan facility means that the console can often be unmanned but, if they need to mix a performance, they can.”

Comments from the church have been very positive but, even more importantly, so have those from the congregation and visitors. Tim commented: “Soon after the system was commissioned, one gentleman went up to the clergy and said he was delighted to be able to actively participate in the service.”

“Having a hearing impairment, he was very happy that the system had improved the induction loop so much. But, even better, he said that the sound within the church is so good now that he discovered he didn’t actually need to turn his hearing aid to the induction loop position - he could hear the service through the loudspeakers.”

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BAMBERG’S CORPUS CHRISTI PROCESSION Company: Salzbrenner Stagetec Location: Bamberg, Germany With almost 50 years of experience, Salzbrenner Stagetec Audio Video Mediensysteme, the systems integrator of the Salzbrenner Stagetec Media Group, seems to have become a tradition in its own right in the cathedral city of Bamberg, Germany. The company allows thousands of visitors to feast their ears, eyes and minds during the annual Corpus Christi Procession, a solemn celebration of the body and blood of Jesus Christ that lasts about three hours.

“We treat the Corpus Christi Procession as a live broadcast of a multi-stage event,” explained AVM’s Rainer Hettwer who is responsible for sound reinforcement of the day’s initial family service on Maxplatz.

Consequently, an OB van is used as the central node where the analogue microphone signals coming from various locations are collected and funnelled to a Nexus-based digital audio routing network. The Nexus Base Stations set up in different locations are connected to the municipal utility’s fibre-optic network, and all signals arrive in the studio control room inside Bamberg’s Cathedral where they are mixed on a Polaris Touch console and then sent out to the PA system across the city. A second Polaris Touch mixing desk is used for the event on Maxplatz. All fibre-optic connections are available in duplicate - a socalled redundant connection - to provide an instant alternative should the main connection be interrupted for whatever reason.

In addition to the sound quality and additional functionality for carrying red light switching signals for the various locations, the Nexus fibre-optic approach also offers a more mundane advantage: “Dismantling the entire system takes only one hour,” said Kay Rothe, who is in charge of the network.

The Cathedral Choir, which sings throughout almost the entire service, is covered by five microphones, while additional microphones are used for the speaker, the organ, the prayer leader, the various altars and the stages on Maxplatz and Domplatz next to the cathedral where the procession starts and where the closing service is held. The 100V line sound reinforcement system along the route is divided into several zones with dedicated level control options. There are also full-blown line arrays on Domplatz.

Since not all microphones need to be active continuously, one engineer accompanies the pageant and informs the sound engineer at the cathedral about the current location and the next event. An intercom system next to each local altar ensures seamless continuity for the priest in question. www.stagetec.de

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CO-CATH ED R A L O F SA I N T J O S E P H Company: Chauvet Professional Location: New York, USA A church is first and foremost a house of worship, but beyond that oftentimes it is also many other things to its congregation. Such is certainly the case with the Co-Cathedral of Saint Joseph. A majestic 103-year-old building in Prospect Heights, the church is more than the spiritual hub for the 1.9 million Catholics in the Brooklyn diocese; it is also a gleaming symbol of hope for a neighbourhood that is clearly moving into a brighter future. When Pope Benedict elevated the church to a cathedral shortly before his retirement in 2013, the diocese began an extensive renovation project that included a new lighting system from The LightTech Group.

Central to the LightTech Group’s design were 18 Chauvet Professional Ovation E-190WW LED ellipsoidal fixtures that are used to cover the altar and key worship areas with flat, even fields of warm white light. Illumination from the Ovation fixtures not only creates an enriched visual experience for worshipers at the 1,500-seat church, it also provides ideal lighting for services that are broadcast on the Catholic Channel.

The Ovation fixtures’ journey to the historic church began when a parishioner, Jacques Pardovany, saw that Saint Joseph was replacing the two large chandeliers that hung over its center aisle leading up to the altar area. Pardovany, who is Vice President of Sales at the LightTech Group, spoke to the rector, Monsignor Kieran Harrington, about the benefits that LED fixtures could have for the church’s lighting system. This led to a meeting between the Monsignor and the LightTech team, which included John Gonzalez and company president Leon Saddler, in addition to Jacques.

“Monsignor Harrington embraced the idea of what LED ellipsoidals and other LED fixtures could do to enhance the services visually and control costs,” said Leon.

“We were all very excited, because this was a very important project not only for the church, but for the entire community. Having the church declared a cathedral was symbolic in many ways of the neighbourhood’s revival.”

Prospect Heights is indeed a neighbourhood on the move. Barclays Centre arena is only a block away from the cathedral, and the neighborhood itself is one of the most densely populated in New York City. As for the church building, it looks every bit the cathedral with its towering 77ft high barrel ceiling, 20 dome-shaped vaults lining its side aisles, elaborate tile work and varied murals.

John was impressed with the throw distance of the Ovation E-190WW ellipsoidal fixtures in this massive building. “The output of these fixtures is very impressive,” he

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said. “We hung the Ovations from the balcony area 145ft from the pulpit and 160ft from the altar. We used a 5° lens on most of the fixtures and fired them from below the balcony, about 12ft off the ground. From this distance, we are getting 40ft candles at the altar and pulpit, so yes, we are completely satisfied with the throw; plus the 3000K produces a nice glow for televised services.”

John has 11 of the Ovation fixtures directed at the altar area, three at the pulpit and four aimed at the area around the impressive organ at the rear of the church. In addition to the 5° lens, he uses 14° lenses for altar area lighting. For the back wall lighting, he uses 36° lenses. “We focus pools of light on the altar, the bishop’s chair, the monsignor’s chair, the communion area and a center aisle walk area in front of the parishioners, where the priest will walk out,” he explained.

“We also light the area around the organ with this beautiful warm light to give parishioners an inspiring sight as they leave the church,” he continued. “The other areas are not illuminated directly by the fixtures, because the light fills them nicely without making them intrusive. We use the blue side of the spectrum on the focus with the Ovation fixtures so there are no harsh red lens lines visible. At the same time, however, there is a distinction between the illuminated and non-illuminated areas to create a theatrical look.”

LightTech installed a Leprecon LPC-96 controller to control the lighting system.

“There are three remote buttons on it so the priest can control the lights from sacristy,” said Leon. “We have a show mode for services and transition modes for other times. There is also an override that can be used for special events, when the lighting can be controlled by the board with LightTech Group’s John Reichle, also employed by MSNBC on NBCUniversal as the LD for the Early Today Show.”

As befits a church that draws people from all over the world, the Co-Cathedral of Saint Joseph conducts mass in 42 languages. The liturgical artwork that lines its impressive walls reflects this diversity, with images of Our Lady Queen of Nigeria and Our Lady of Perpetual Help from Haiti, Our Lady of Guadalupe from Mexico, Our Lady of Knock from Ireland and more.

All of these diverse images are brought out by the warm glow of energy-efficient LED lighting; a fact that makes lighting designer John happy to be involved in his profession today. As the New York-based LD is fond of saying: “It is a wonderful era to be involved in church lighting.” www.chauvetlighting.com

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BRIGHT MULTI FUNCTIONAL LIGHT

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Company: Powersoft Location: Minnesota, USA St. Andrew Lutheran Church, located just outside of Twin Cities, Minnesota, started its congregation in 1975 with just 200 members. Currently situated in a massive and aesthetically spectacular facility, the church now has membership in excess of 6,000 people, making it one of the largest Lutheran churches in the US. The church called on Twin Cities Sound looking for a complete redesign of its sound system, including acoustical work, video and lighting elements. To help resolve power and intelligibility issues, Twin Cities Sound chose to incorporate Powersoft amplification to drive the entirely redesigned audio system.

While the interior sanctuary was aesthetically striking, the church staff cited intelligibility issues with the previous audio system, saying that congregants found it difficult to hear and understand pastor’s message each week. “When we went into there originally, the complaint was that nobody could understand what was being said,” said Brandon Levy, Manager of Twin Cities Sound. “It wasn’t a power or a volume issue, it was that nothing was intelligible whatsoever. Even when it was really loud, the congregation couldn’t understand the content sufficiently.” Brandon and his crew created an entirely new system design for the facility, starting with taming the acoustic environment and then reorienting the sound system from a multiple pointsource system to a predominantly center cluster system.

The acoustical work was the most intense part of the installation, and took six weeks. “The interior of the sanctuary is aesthetically beautiful, but from an acoustic perspective, it is an absolute nightmare,” Brandon said. “Every wall is parallel, there are huge resonant areas, and the point system that was in there before just exacerbated these issues.” Twin Cities Sound proceeded to design and build custom acoustic panels, aesthetically identical to existing walls, to address the problem areas. Following that, they upgraded St. Andrews’ projection systems to new, highend Panasonic units, which project onto two 12ft screens positioned on the left and right sides of the stage.

As far as the audio integration is concerned, there were three primary sources: the pastor’s pulpit, located in the middle in front of the sanctuary, then a band of musicians to the right and a 70-person choir positioned to the far right. The team chose to focus the system on a center cluster of eight RCF TTL33 passive loudspeakers, with a left and right ‘fill’ cluster consisting of three of the RCF units. “We mounted passive loudspeakers because of the space limitations we faced to get the system where we needed it,” explained Brandon. “The drop from the ceiling was about 24ft and to drop enough electricity for all those clusters wouldn’t have been visually pleasing.”

After the passive loudspeakers were implemented, the power runs were approximately 240ft, so Twin Cities Sound had to choose an amplifier could meet the requirements of the RCF cabinets, but also handle extremely long cable lengths with no performance loss. “Including wire loss, we needed the amplifiers to handle 1,000W at eight ohms per channel to get it done,” he explained.

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Photo by Charlie B. Ward

ST. AND R EW LUTH E RA N C H U RC H

The Twin Cities Sound team had ‘one chance’ to get it right: “This really needed to sound excellent. The church put a lot of effort into its fundraising to provide a budget for this system, so there were no ‘do-overs’ or tweaking, so we had to nail it the first time,” said Brandon. “When we started to look at the Powersoft amplifiers very seriously, we were impressed. Not only because they gave us a tremendous amount of power, but the power that was advertised tested out in our shop - this is often not the case with other manufacturers.”

14 Powersoft K2 amplifiers were specified for the job, one amplifier per cabinet.

“Each of the loudspeakers are bi-amped, and we are sending one amplifier to each box: high and low,” Brandon reported. “If we didn’t go with the Powersoft unit, we would have had to buy more amplifiers, plain and simple.”

While the choice of passive speaker cabinets ultimately saved space, it also meant that they could not utilise built in DSP features in the back of the array. Powersoft soon came to the rescue with its Armonia Pro Audio Suite. “When we were considering amplifiers, DSP features were very important,” explained Brandon. “The competitor units all had pretty good DSP systems, but when we looked at the Powersoft Armonia, it gave us a lot more options than we were expecting. It also allowed us to link amplifiers so line arrays could share ins and outs while keeping the DSP settings in line, which was appealing. We didn’t have to wire everything, we just ran CAT5 all the way down.”

Implementing the Armonia was seamless and also a time saver. “The Armonia is very easy to use and we didn’t have to work to hard to get the system sounding great. The gauging and control that Armonia has is really quite impressive, and the metering is great, as is the input/output management. We have been very happy with them so far” Brandon commented. The clear metering on the Armonia helped the crew tune and time align the system, which Brandon said only took an hour or two before it was sounding just right.

Interestingly, many of the assistive listening devices that are at the counter where patrons pick up their service programs are not being used. “People are telling us they don’t need them anymore. Everything in the sanctuary is crisp and intelligible, and also sounds very natural,” Brandon recalled. Despite the enormous challenge of migrating from a multi-point to a centre cluster oriented system, Twin Cities Sound was able to maintain the aesthetics of the sanctuary without anything visually obtrusive.

As far as the audio is concerned, Twin Cities Sound couldn’t be happier: “Powersoft came through for us,” concluded Brandon. “We are very happy with the amplifiers and everything they did. This was our first big order with Powersoft, and before we even paid for the units, they had arrived. Everything tested correctly and we never ran into any issues whatsoever.” www.powersoft-audio.com

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CHUR C H O N TH E MOV E Company: Hitachi Location: Oklahoma, USA Church on the Move of Tulsa, Oklahoma, has been redefining the worship environment for the past decade. With an eye toward increasing appeal to younger generations, longtime Pastor Willie George spearheaded a movement toward more dynamic, engaging services that heavily relied on professional video production, audio and lighting gear. That effort continues today with a recent facility-wide upgrade that includes seven Hitachi Z-HD5000 HDTV cameras.

“Church on the Move is fairly typical of a large church in the Midwest, with a large congregation that fills a spacious sanctuary,” said Andrew Stone, Production Manager, Church on the Move. “Pastor George’s vision to reach out to younger generations has driven Church on the Move to deliver a concert-type experience with live cameras and video, big sound and immersive lighting that remains positive and family-oriented. Hitachi has been a significant part of that seachange over the past 10 years.”

Since joining the staff in 2005, Andrew and his team of in-house personnel and church volunteers have relied on the rugged durability of Hitachi cameras. Until recently, Andrew had been using Hitachi SD cameras while gradually upgrading the surrounding infrastructure to HD. The continued high performance of the Hitachi SD cameras allowed Andrew to focus on upgrading video walls, LEDs and studio gear, and later invest in high-quality HD cameras once his budget replenished.

Andrew made the decision to invest in Z-HD5000’s following a site visit from Hitachi. In addition to the Z-HD5000’s versatility and exceptional image quality, Andrew was impressed with the care Hitachi took to ensure the most ideal camera for his

CONGREGATIONAL BETH ISRAEL Company: Audix Location: Oregon, USA Congregational Beth Israel, a Reform congregation and Jewish synagogue in Portland, Oregon, is one of the oldest Jewish congregations in the Northwest. The congregation was founded in 1858, while Oregon was still a territory. Its current synagogue, built in 1928, is listed on the National Register of Historic Places. With its domed ceiling and hard surfaces it posed significant challenges for their recent audio upgrade. Arthur Steinhorn, a congregant, was tasked to manage this important project. Arthur explained: “We were faced with the problem of how to emulate

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production needs.

“Hitachi flew the cameras here at their expense, and configured them in our sanctuary to simulate how they would perform during real-time services,” said Andrew.

“They took the time to steer us toward a product that was sensible and cost-effective for us. I’ve built my career on relationships, and Hitachi definitely stands out from the other camera manufacturers.

“For us, consistency and versatility are also vitally important, and Hitachi has paid attention to these points on the user side,” he continued. “Most of our operators are volunteers, and these cameras are simple to operate and resilient. The Z-HD5000 has the same rugged design as Hitachi SD cameras, and a feature set that brings together what really matters in live production. New volunteers are up and running within a few rehearsals. That short learning curve is a huge benefit in a worship environment, where volunteers may be here today and gone tomorrow.”

The Hitachi Z-HD5000 signals run through a Barco FSN-1400 switcher that retains the exceptional image quality captured by the camera operators. Andrew calls this a future proof architecture that ensures a seamless transition from 720p to 1080i should Church on the Move upgrade again.

“We wanted a camera that could capture what we needed in our 720p native resolution and make it pop, but not having to think through our camera situation for future transitions is a nice selling point,” said Andrew. “It’s hard to imagine a scenario where we would even consider other cameras.” www.hitachikokusai.us an intimate environment in a very large physical space with significant acoustical issues. Often it is only a single speaking voice that needs to be heard as clearly in the last row, as in the first. We called on Clarity Media Group, also in Portland, to take on this challenge.”

Travis Cybolski, co-owner of Clarity Media Group detailed the equipment used and some of the ensuing challenges: “The install consisted of a Nexo S8 line array and PS8 front fills. It is powered by a single Nexo NX4x1. The microphones are Audix.

The console is a Yamaha LS9 and the system also has an Ashly Protea processor for a bit of EQ. There were two main challenges with the install. First the space could not be acoustically treated so the PA had to work with the space as is. This was a particular challenge because of the domed ceiling, which creates a very noticeable reflection when standing in the middle of the space. The second was that the system needed to have a look that did not distract from the architecture of the space and in addition needed to use the existing rigging system. This included speakers and microphones that disappear visually.”

Travis continued: “Another challenge was that they needed a very flexible and functional microphone solution because of the vastly differing types of events they do in the space. Their Bimah (podium) is moved to different positions often. Sometimes they utilise two Bimahs. They also felt that a traditional gooseneck mic could get in the way of the Torah Scrolls during readings. The Audix Microboom system was a perfect fit. It can mic a podium as easily as a choir and is portable. It also sounds good and is low profile.”

Arthur attested to the results: “The Nexo system, along with the Audix mics that Clarity Media designed and installed for us exceeded our expectations. We incorporate a lot of theatrical drama in our worship and we found the Audix Microboom easy to place and deliver the pickup we needed without being visually distracting. Also, the user-friendly iPad interface to the Yamaha LS9 mixing console has provided the ability for even those on staff without technical experience to set up and operate almost any event with little difficulty. We are quite pleased with the result and based on the feedback from congregants, they are likewise very satisfied.” www.audixusa.com

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METRO C I TY CH UR C H / C E N T RA L BA P T I S T C H U R C H Company: Avid Location: Michigan / Georgia, USA Recently, two growing churches - Metro City Church in Taylor, Michigan, and Central Baptist Church in Americus, Georgia - selected the Avid Venue S3L-X live sound system to help meet these challenges. Although the churches differ greatly in the style and scope of their worship services, Venue S3L-X delivers the flexibility and sonic clarity both churches need to ensure that every word and every performance is heard loud and clear.

Like many other houses of worship, Metro City Church and Central Baptist Church rely on volunteers to run their live sound systems. Since the volunteers may not have extensive live sound training and need to mix a wide variety of performances, it’s critical that the system is intuitive and easy to use. Since all Avid live systems run on easy-to-use Venue software. Metro City Church and Central Baptist Church volunteers are able to immediately start mixing comfortably on S3L-X. “We have a team of five or six volunteers ranging in different levels of expertise, and some literally have no knowledge of live systems,” said Paul Long, Lead Sound Engineer at Metro City. “Venue systems allow us to have a wide range of flexibility for our different users, and we can set up presets for every service. Other than needing to know where the power switch is, our volunteers can walk in and start mixing without any prior training.”

The ability to instantly recall service settings using Venue show files has been a huge benefit for the volunteers at Central Baptist. In the past, audio engineers would have to re-adjust settings from scratch after a special event, which took a considerable amount of time and could lead to inconsistent results.

“Somebody would host a wedding or another event, and we would have to re-adjust everything on Sunday morning,” explained Rodney Powe, the worship pastor at Central Baptist. “Being able to save and recall our show settings is invaluable for us - it’s worth what we paid for the board by itself.”

The Venue S3L-X modular architecture enables houses of worship like Metro City and Central Baptist to easily scale the system as needed. Customers can easily go from 16 I/O channels with one Stage 16 box up to 64 channels with four boxes, and the I/O can be distributed as needed throughout the facility for maximum flexibility - up to 328ft from the mix position.

Metro City provides live sound for up to four worship festivals and tours each year, and the scalability of S3L-X enables them to meet the unique requirements of each event. In fact, Metro City has become known for the excellent sound quality they provide for live events.

“We strive to provide excellent sound to bring the best out of everybody and inspire our congregation,” said Paul. “Sometimes we provide sound for a simple four-person band with minimal needs, so it will be two boxes and monitors and it’s ready to

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go. Other times, we are asked to bring a PA back line, as well as front of house and monitors. That’s where our S3L-X road rig becomes a very modular system.”

For Central Baptist, worship performances can range from solo performers to 12-piece bands complete with string sections. The scalability of S3L-X enables Central Baptist to accommodate any performance situation, and gives the church the ability to expand the system as the congregation grows.

“Our style is pretty diverse - we have a youth band, a college band, and even a 5th grader who plays violin,” Rodney said. “We are currently at 64 channels, with one Stage 16 box at console and then three down on the stage. We use the S3L-X for both front of house and monitors, and we’re able to scale our system for whatever the particular service demands.”

Central Baptist was initially looking at traditional mixing boards, but Rodney said amazing sound quality and seamless Pro Tools integration made S3L-X a perfect fit.

“I can’t imagine going backwards at this point,” he remarked. “The ease of use and sound quality of S3L-X - both recording and live - were huge improvements over our previous analog boards. If we had to buy all the equipment separately to do what this system does, we would have spent three times the money.”

Metro City is in the process of constructing a second campus, complete with a new worship auditorium. As the church continues to grow, Metro City needs a cost-effective and expandable live sound system that enables them to deliver the highest sound quality across of their facilities - and that’s exactly what Venue S3L-X provides.

“We have eight to 12 services in a typical week - depending on special events,” Paul explained. As we began growing in size, we decided it was important to outfit all of our facilities with similar systems to ensure consistent sound quality - and that’s why we choose Venue S3L-X. It was at the proper price point, and we now own five systems.”

S3L-X enables houses of worship to record services into Pro Tools by simply connecting a laptop to the system’s Ethernet AVB network for up to 64 tracks of audio recording and playback, as well as to an integrated two-track USB recorder. The S3L-X control surface can also be used to mix recorded Pro Tools sessions, which speeds up the mixdown process. Central Baptist previously recorded its services to CD, but Rodney claimed S3L-X has significantly streamlined the entire recording process.

“We utilise the S3L-X’s onboard USB output to record our services,” he reported.

“We used to record to CD, but now I just throw in a thumb drive, record the sermon, and then upload it to the church website. It works flawlessly - and it’s so much easier than working with CDs.” www.avid.com

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CTPMI Company: Christie Location: Durban, South Africa Conquering Through Prayer Ministries International (CTPMI) in Durban is a church that has grown considerably since its inception. Founded by pastors Clive and Sandra Gopaul in 2000, the ministry now caters for three churches with a membership of over 5,000 people.

But as congregation sizes grow, so do the technology requirements as the church strives to disseminate its message through ever more advanced means.

On a recent trip the United States, Pastor Clive noticed an installation during one of his church visits that sparked his interest: a curved screen spanning the length of the stage backdrop. Feeling this was something he would like to bring to CTPMI’s World Prayer Centre in Durban, he contacted Johannesburg-based distributors and installers Stage Audio Works for a local solution.

Technical support specialist Nathan Ihlenfeldt was commissioned to coordinate the installation aided by a team headed by Marius Erasmus. Instead of going the LED route, his recommendation was for projection, and three Christie HD14K-Ms were duly specified and installed. This gives the church a flexible, powerful 3DLP HD projector in a sleek, compact chassis. But more importantly the platform also offers embedded warping, blending and colour matching capabilities.

“We also chose Christie M Series 3DLP projectors,” said Nathan. “Due to the mercury lamps - which are economical in the long term - as well as the onboard

Twist geometry correction and excellent black level performance necessary for edge blending.”

The three projectors are mounted upside down. In this application they provide a total of 40,500 lumens and a maximum resolution of 1929 x 1080 HD. Due to the nature of the desired projection surface and the dimensions of the stage, a bespoke Da-Lite series 200 screen was installed. For media playback a Dataton Watchout media server and DVIGear DVI extenders were supplied - the server pre-installed with Blackmagic Decklink SDI capture cards.

All projectors were connected via fibre optic and receive live HD-SDI inputs.

The content is a combination of widescreen video and text (song lyrics and scriptures) - while the church also creates custom content for the screen.

One of the key points of a successful HoW installation is that it is user friendly due to the fact that most if not all of the people who will be operating the equipment are volunteers.

Nathan commented: “A church is a challenging environment in which to execute this kind of installation because volunteers need to be trained to programme and use the system; therefore a user friendly interface is a must. I think our vast experience in the houses of worship segment allowed us to select the best products with this in mind.” www.christiedigital.com

DA EJ E O N C E N T R AL C H U R C H Company: Kling & Freitag Location: Daejeon, South Korea Situated in the centre of Daejeon City - one of the largest cities in South Korea - and easily accessible for the population, the Central Church provides room for up to 2,000 people on three levels. To equip the venue with even sound coverage throughout precise simulation of the installation was required, this was carried out using Kling & Freitag CON:SEQUENZA+ software.

For the central sound system of the Daejeon Central Church, a line array system from the Kling & Freitag SEQUENZA 10 Series and 5 Series were selected alongside two NOMOS XLT subwoofer for bass support, one placed on either side of the stage.

Kusan Acoustic, Kling & Freitag’s distributor in Korea, also chose a combination of six SEQUENZA 10 N systems, as well as two SEQUENZA 5 W systems for downfills to ensure every seat is provided with uniform sound and a high level of speech intelligibility. A single Kling & Freitag CA 1215-6 was included as an additional centre loudspeaker. And to direct the sound to the right point under the balcony, a further six decentralised Kling & Freitag CA 106 units were installed. The entire sound system is operated with three Kling & Freitag SystemRacks, consisting of Kling & Freitag SystemController CD 44 units and Lab.gruppen FP10000Q amplifiers. www.kling-freitag.biz

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066 report

FRATER Company: LDR Location: Bergamo, Italy The Frater is a modern multi-purpose venue structure build on a 113.000 sq metres of land in San Cristobal, Guatemala. The main auditorium with 13,000 seats makes it the largest man made structure in Guatemala.

The lighting design was commissioned with the idea of creating an intimate atmosphere for the audience, as well as being capable to cater to theatre and live perfomance requirements.

Due to the challenging nature of the project G. Moran was assisted by Fabiano Besio from LDR. The team as worked under the supervision of Frater’s Artistic Director Renato Briones and Lighting Director Luis Chacon Replacing the existing house lighting was one of the biggest challenges that the team had to face since the roof is 30-metres high. The existing power distribution and exisiting hanging points were not easily accessible.

After a close evaluation of what the market has to offer the team chose LDR Alba LED zoom profiles. “We selected the Alba profiles because of their unique dimming resolution (0.01%) on one channel only, the colour rendering and tones. With Alba, we have the right level of illumination for broadcasting and the perfect colour temperature,” said Luis.

Installation company, STL of Guatemala was awarded the project and installed a to-

tal of 90 Alba 8/22 Zoom LED profiles, which are positioned on the roof. Each set of Alba profiles point down and are assigned to a specific sector of the auditorium.

While a further 87 Alba 8/22 are mounted on a truss above the stage. To complete the installation two LDR Canto 2000 MSR followspots, which are operated from the control room.

“It’s great job all round,” said Renato. “The team matched my request and it looks like a new building. From now on we have unlimited possibiltites to create different lighting scenes.”

“It was a great pleasure to work on this project,” said Fabiano. “With Mr. Moran we made a great a team and we have been able to create something new and we made people happy with the result.” www.ldr.it

BELTWAY PARK BAPTIST CHURCH Company: Focusrite Location: Texas, USA Beltway Park Baptist Church in Abilene, Texas, has enjoyed tremendous growth since 1996, doubling its original building on the South Campus to 80,000 square feet in 2009 and expanding again with the opening of a newly constructed 48,000-sq.-ft. satellite North Campus earlier this year. Audio at both campuses is networked via Focusrite RedNet interfaces, which enable the distribution, routing and recording of services, praise bands and religious and secular events anywhere within the respective locations.

Jacob Moore, Creative Director at Beltway Park, where he has been on staff for 14 years, is responsible for all media for the church. He designed the audio, video and lighting systems at both locations as well as the electrical distribution at the new campus. He oversaw the installation of the equipment at the North Campus by an in-house team through his consulting company, Earsight Design. Sound Productions in Dallas, the church’s preferred provider for the past 12 years, supplied the new equipment.

At the new North Campus, located 12 miles across town from the site of the original church, RedNet 4 microphone preamps provide a 40-channel split from the worship center stage. The DiGiCo SD9 front of house console accesses the Dante network via a RedNet 6 MADI bridge. At the South Campus, a similar RedNet Dante network has been deployed that supports 48 channels from the stage, with a split, also via a RedNet 6, to an Avid Venue FOH console. Audio at both campuses may also be routed to a RedNet 5 Pro Tools interface for recording to a computer fitted with a Focusrite RedNet PCIe card as well as computers equipped with Dante Virtual Soundcard.

The campus-wide Dante networks enable events taking place anywhere within the respective church facilities to also access the Focusrite mic preamps and various recording systems. At both locations a variety of other Dante-enabled equipment is also connected to the network, including I/O interfaces and Behringer mixing consoles, for use in smaller venues around each campus. The Dante networks run on an HP ProCurve 10 Gigabit Ethernet backbone that carries additional traffic, including other audio transport protocols, DMX lighting command data and multiple streams of IP-based HD video. The North Campus has its own worship leader, live

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praise music band and campus pastor, and additionally receives an HD video stream of services being held at the South Campus.

RedNet is both cost effective and flexible, according to Jacob. “When you’re spending someone else’s money - because people have donated money to the church - you want to maximise that. What RedNet offers is a cost saving, because you can not only utilise audio in different venues on the campus simultaneously but also utilise the high-end mic preamps by re-routing the audio. The system is the same price as an analogue split, except now I have high-definition audio anywhere and everywhere I want it with the click of a mouse.”

For example, he continued: “Say there’s a wedding reception and a band in the concourse. I could utilize my wireless microphones from the worship centre as if they were in the concourse, and route that audio through RedNet to loudspeakers in the concourse. There’s a handful of classrooms that will be connected to the network and have access to audio from anywhere in the building. We’ve also got a coffee shop that will utilise the equipment for singer-songwriter events.” The RedNet network offers another benefit, he added: “I don’t have to deal with patchbays or multi-pin connectors, which are just fraught with issues.”

Kurt Howell, RedNet Eastern Regional Manager, concluded: “Focusrite is fortunate to be chosen by Beltway Park Baptist Church for the ‘Audio over IP’ needs. We are pleased to work with their supplier Sound Productions. We are blessed to work with such professionals.” www.focusrite.com

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27/08/14 10:38

IN FOCUS EUROPE/MIDDLE EAST/AFRICA SZCZECIN PHILHARMONIC HALL, SZCZECIN ROTONDES, LUXEMBOURG CITY

THE AMERICAS VULCAN GAS COMPANY, AUSTIN THE BOMB FACTORY, DALLAS LIVE WIRE, ARIZONA

Asia/Pacific/oceania CHIMELONG OCEAN KINGDOM - 5D THEATER, ZHUHAI AI’NENG INTERNATIONAL, NANJING

The In Focus section offers a variety of venues. Kicking off with the front cover venue in the EMEA region, the award-winning Szczecin Philharmonic Hall in Poland is the new home of the Philharmonic orchestra and offers a symphony hall, a hall for chamber music, multi-functional space and an impressive external LED lighting structure.

The Americas region features The Bomb Factory that discusses the transformation of a WWII bombs and ammunition factory in to a 50,000 sq ft music venue in Dallas. Also state side, Vulcan Gas Company in Austin creates a visually tantalising nightclub experience; taking influence from its original psychedelic roots.

The APAC region boasts the candy coloured Chimelong Ocean Kingdom’s 5D Castle Theater, which may leave you speechless.

Having set five Guiness World Records since the park opened, the 5D Castle Theater is a truly audiovisual experience. Also in the APAC region, Ai’neng International in Nanjing delivers a hint of Parisian glamour with its Moulin Rouge themed entertainment venue in a converted diving hall.

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SZCZECIN PHILHARMONIC HALL szczecin, poland

EUROPE/MIDDLE EAST/AFRICA

THE SZCZECIN PHILHARMONIC ORCHESTRA WAS FOUNDED IN 1948 IN THE CITY OF SZCZECIN, A MAJOR POLISH CITY IN THE NORTH WEST CLOSE TO THE BALTIC SEA AND THE GERMAN BORDER. RECENTLY BOTH CITY AND PHILHARMONIC CELEBRATED THE OPENING OF THE SZCZECIN PHILHARMONIC HALL, THE ORCHESTRA’S NEW HOME, LOCATED CLOSE TO THE HISTORIC CITY CENTRE. THE BUILDING HOUSES A SYMPHONY HALL FOR 1,000 SPECTATORS, A HALL FOR CHAMBER MUSIC SEATING 200, A MULTI-FUNCTIONAL SPACE FOR EXHIBITIONS AND CONFERENCES, A WIDE FOYER AND A STUNNING EXTERNAL LED LIGHTING STRUCTURE. SIMON DUFF REPORTS ON THE SPECTACULAR AWARD WINNING VENUE.

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Image courtesy of George Meitner

The idea to build a new hall for the Philharmonic in the place where the old Concert Hall used to be located came about in 2004. The orchestra needed a larger and more modern space as the institution had grown out of the then occupied wing of the City Hall. Three years later a contest to present the idea of a new Philharmonic was opened. From among the offers of 44 studios from all around the world, the jury chose the project designed by Barozzi/Veiga studio from Barcelona in collaboration with Studio A4.

The ice-like shape of the building has been hailed as the new icon of the city and it has gained high praise across the world. The European Commission, along with the Fundació Mies van der Rohe, announced in May that the Szczecin Philharmonic Hall is the winner of the European Union Prize for Contemporary Architecture - Mies van der Rohe Award 2015. The building is perceived as a light element with a stunning glass design façade, illuminated from inside, that allows for different perceptions. The exterior austerity and the simple composition of the interior circulation spaces contrast with the expressiveness of the main hall and the concert hall with its gold-leaf covering.

The 2015 winner was selected by a jury including Italian architect Cino Zucchi, Bolles+Wilson cofounder Peter L Wilson and the RIBA’s Tony Chapman, who visited all five short listed buildings.

They praised the Szczecin Philharmonic Hall for taking on ‘a new symbolic role’ in its replacement of an auditorium that was destroyed during the second world war.

Externally, the verticality and geometry of the roof prevail. These characteristics identify the Philharmonic Hall with its surrounding context. The plan composition is defined by a perimeter ring. This element mostly hosts service spaces. On the one hand this allows the definition of a large void within which gravitate the symphony hall and the hall for chamber music, on the other hand to shape the relationship of the building with its surroundings. The serial modulation of the roof represents the only other expressive element, that permits the integration of the building within the fragmented urban profile of the city.

The building’s main element is the double skin façade channelling a large part of the installation system to provide a global acoustic insulation and a natural ventilation to avoid overheating. The buildings striking illuminated external LED system, turns the building in a glowing volume with a minimum energy consumption. This dynamic LED wall lighting system contains over 25,000

072 VENUE

customised Traxon Dot XL-3 RGB fixtures, manufactured by Osram subsidiary, Traxon Technologies, which replace the originally planned linear fluorescent lamp arrangement. The fixtures are evenly distributed in the façade between the building walls and the glass front.

The general concept consists in a homogeneous, subtle, Chinese lantern-style illumination of the entire façade of the hall. Lighting control facilitates illumination corresponding to diurnal phases, changing shades so as to match the time of day. As the light emitted from LED luminaires passes through the white glass front, it scatters to provide a white, dynamic lighting fog effect. Each DOT XL luminaire may emit light of any colour within the RGB palette.

Thus, illuminations of varying colours may be provided. This scenario, however, is reserved only for special occasions and includes, for example a dynamic national flag and the Floating Garden - a symbol of the Szczecin city vision. The DMX512 control system with Smart Chip technology featuring e:pix/DVI input signals and e:cue software suite determines the high value in use of this dynamic illumination, ensuring full control and remote supervision of generated scenes.

The façade illumination starts at the end of the day via the sunrise trigger and stops at midnight, and manual operation is also available via a Glass Touch terminal. By entering a special combination, the Glass Touch is deactivated and the system returns to the sunrise trigger operation. Functionality is monitored by a temperature sensor which automatically switches off the illumination if necessary.

Dr Marian Okoñ was Project Manager at Osram Poland for the Szczecin Philharmonic Hall. Marian was personally responsible for all processes connected with the project: for presenting an alternative project with the use of LED luminaires, for signing the contract and

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its implementation. Electrical design and supervision of electrical work was by Osram Luminaires and Solution team in Poland and the installer was DLL Partners. Osram’s five man team team included Kamila Trojanowska and Tomasz Czerski. Tomasz commented on the use of Traxon Dot XL-3 RGB: “Estudio Barozzi Veiga project in the first phase envisaged the use of fluorescent luminaires. I managed this project once our Osram Luminaires and Solution team proposed a project with Traxon LEDs solution. My team programmed states of dynamic illumination and scenes, accepted by the architect.”

Inside the symphonic hall - also known as the Sun Hall - the acoustics originate from the special geometry of the walls and ceiling, developed by the architects together with Dr. Higini Arau and his firm Arau Acustica, based in Barcelona. All parameters of the Sun Hall, strength, uniformity of sound, delay and lateral energy fractions, produce an effect comparable to the model of the concert hall Musikverein in Vienna. Arau Acustica has been working in every scope of architectural acoustics, civil and industrial engineering and urban, industrial and traffic contamination for more than 40 years.

Dr. Higini Arau, Managing Director of Arau Acustica explained the concept behind the acoustics for the Szczecin Philharmonic new build: “The interior of the Philharmonic has more than 12,000 sq metres of space over four floors, which include a symphonic hall, a chamber hall, rehearsal halls, music shop, cafe, spacious foyer, artists’ dressing rooms, storage rooms for instruments and offices. Our job was to design the best rectangular auditorium in the world, even better than the Vienna Musikverein. It had to meet all requirements of acoustic criteria symphonic music. On the other hand we set out to do two configurations, a concert hall for symphonic music and secondly to be an ideal space also for electro

074 VENUE

Dr. Higini Arau, Arau Acustica

Dr Marian Okoñ, Project Manager at Osram Poland

acoustics music.”

One of Higini’s first jobs on the project involved a study of acoustic insulation to airborne sound around the building, all vertical walls, including the facades and the horizontal walls of all the interior spaces of the building. Higini said: “We use different acoustic systems acoustic modelling. The software for calculation used in Sczecin project were Arau Acustica Rooms developed in our office in 1995. We also used an old software named Epidaure of J.P. Vian of CSTB, and Odeon, where Arau’s theory of reverberation is implemented with Sabine and Eyring. The results of RT on all computing systems were very close to the end measured result.”

The ceiling of the Sun Hall is divided into twelve sections of plates among the skylights in the hall. The aim of this areas fragmentation is to obtain by diffraction a loss of sound energy to get the viewer a feeling of a soft enough sound, since sound mirror is almost none existent in these zones.

In the central position of the hall, between the stage and the amphitheater, Higini has placed large plates of dimensions 3.08-metres by 5.56-metres and 3.08-metres by 3.70-metres, divided by triangular plates, which produce a reflection 3D sound mirror, similar to the plates of the walls. Higini commented: “The maximum height of the deviation among all vertex more separated in relation to horizontal plate is 300mm. This is so for all plates of walls and ceiling of the hall. With this geometrical disposition we are sure to get a good projection of sound from 125-metres to 4,000Hz frequencies, with reflections mirror and sound diffraction. Therefore all acoustic problems of a hall are avoided, as echoes, echoes flutter, resonances, and so on.”

The Sun Hall’s walls have large, almost rectangular plates of 3.5-metres by three-metres, each is divided into two sub-triangular plates inclined in opposite space and also opposed to the two subplates of adjacent positions.

The walls are lined with plywood gold leaf. The thickness of the wood, and dorsal fixations, ranges from 15mm to 30mm, or more.

Higini said: “The ratio of thickness depends on how low frequency I need to absorb. It’s like salt in a good meal, only our experience gives us the exact proportion. The remaining surfaces are a floor with upholstered seats, having a absorption that seem to absorption of people dressed.”

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The reverb time in the Sun Hall with empty seats, mid range reverb time is 2.04 seconds. For a full house 1.93 seconds. With acoustic curtains deployed in an empty hall that mid range figure is 1.43 seconds. Higini described the end sound: “The magnificent acoustics of the Sun Hall originates from special geometry of the walls and ceiling. At the opening of the symphony hall, when I heard the music of a Polish composer Marek Jasiñski, and even more so after the performance of Beethoven’s ninth Symphony, I noticed the extraordinary feeling that the sound came over me throughout my being causing me extraordinary emotion that was impossible to explain, when the sound invaded my senses producing much joy and

TECHNICAL INFORMATION SOUND THE SUN HALL, SYMPHONIC HALL: 24 x d&b audiotechnik Ti 10 loudspeaker; 4 x d&b audiotechnik J SUB subwoofer; 14 x d&b audiotechnik MAX monitor; 10 x d&b audiotechnik D12 amplifer; 2 x Allen & Heath iLive T-176 mixing console; 9 x CM Lodestar D8+ chain hoist CHAMBER HALL: d&b audiotechnik Ti 10 loudspeakers; d&b audiotechnik J SUB subwoofers; d&b audiotechnik MAX monitors; d&b audiotechnik D12 amplifers; d&b audiotechnik D16 amplifers; 1 x Allen & Heath iLive T-80 mixing console lighting THE SUN HALL, SYMPHONIC HALL: 6 x Clay Paky Alpha Profile 700 moving head; 2 x. Robe Robin 800 LEDWash moving head; 6 x. Robe Robin CycFX8 linear strip; 12 x Philips Selecon PL1 LED profile; 12 x Philips Selecon PL1 LED fresnel; 32 x Philips Selecon PL3 LED fresnel; 2 x Robert Juliat Super Korrigan followspot;4 x Philips Strand Lighting relay rack; 1 x Philips Strand Lighting Palette VL lighting console; 1 x Philips Palette VL software package CHAMBER HALL: 16 x Philips Selecon PL1 LED profile; 6 x Philips Selecon PL1 LED fresnel; 2 x Philips Selecon Pacific 1200W followspot; 1 x Philips Strand Lighting relay rack; 1 x Philips Strand Lighting Palette VL lighting console ARCHITECTURAL: 25,000 x Traxon Dot XL-3 RGB customised fixture www.szczecin.eu

06/2015

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Light is collaborative Together, we give a performance worthy of an ovation “OSRAM’s SIRIUS HRI® 330W compact discharge lamps, paired with RAPTOR moving heads from D.T.S., give an outstanding performance. The lamps provide exceptional brightness, consistent color temperature, and a long operational lifetime.”

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076 VENUE

FRANÇAIS

L’Orchestre philharmonique de Szczecin (anciennement Stetin en français) fut fondé en 1948, mais a récemment obtenu une nouvelle demeure — la Philharmonie de Szczecin, située près du centre historique de la ville. Le bâtiment abrite une salle symphonique pouvant accueillir 1 000 spectateurs, une salle de musique de chambre pouvant recevoir 200 personnes, un espace multifonctionnel d’expositions et de conférences, un vaste hall d’accueil et une magnifique structure externe éclairée aux LED. Ce système d’éclairage mural dynamique contient plus de 25 000 dispositifs Traxon Dot XL-3 RVB fabriqués sur mesure par Traxon. La salle symphonique est également connue sous le nom de « Sun Hall » (salle du soleil). Son acoustique provient de la géométrie particulière des murs et du plafond, développée par les architectes avec l’aide du Dr Higini Arau et son cabinet Arau Acustica. Tous les paramètres de la Sun Hall, c.-à-dire la force, l’uniformité du son, les délais et les fractions d’énergie latérales produisent un effet comparable au modèle de la salle de concert Musikverein de Vienne. Le système audio choisi pour la Sun Hall et la Salle de musique de chambre est une configuration d&b audiotechnik Ti 10. On a opté pour du Allen & Heath en ce qui concerne les consoles, tandis que les microphones sont de chez Neumann, Audio Technica, EV, Sennheiser, AKG et Sure. L’éclairage de production pour les deux salles, installé par Chemtrol Pologne, a été conçu et mis en place à l’aide des dernières technologies LED disponibles sur le marché de l’éclairage de scène professionnel. Les meilleurs dispositifs de la liste sont de chez Selecon, Clay Paky, Robert Juliat, Robe et Strand.

DEUTSCH cry of emotion. In the chamber hall, designed for 192 people, the reverberation time is compliant with the project to the hundredth of a second. This is why this hall is known as the ‘acoustical gem’.”

The desired music acoustic in the Sun Hall is also achieved with the use of various movable textile systems. A total of 48 motorised acoustic banners allowing a controlled adjustment of the hall´s acoustics respect to the type of performance. Also used is a completely removable stage curtain system was designed and supplied in order to allow the configuration of the performance area as a traditional stage with a portal section made of aluminum trusses, main curtain, borders and legs.

In both Sun Hall and chamber hall the line array of choice is a d&b audiotechnik Ti 10 and J-SUBs configuration plus MAX monitors are available when required. Console wise the venue has opted for Allen & Heath iLives, two T 176’s in the Sun Hall and one T80 in the chamber hall. Top of the range microphones are available, the inventory includes Neumann, Audio Technica, EV, Sennheiser, AKG and Shure.

Stage machinery has been supplied and installed by Chemtrol Poland. The Sun Hall is equipped with seven variable speed bar hoists and nine fixed speed point hoists, all of them installed above the acoustic ceiling for the suspension of lighting, sound, projection, draperies and scenographic elements.

In addition to that, the performance area included a stage lift for moving in and out instruments and equipment. In a similar manner, the chamber hall includes three motorised fly bars and another stage lift.

Production lighting, also by Chemtrol Poland, was designed and executed for both halls under the latest LED technology available for professional stage lighting, including controls under DMX512 and Ethernet protocols, non-dim circuits, fixed and motorised luminaries, portable distribution bars, spring-driven cable reels and auxiliary equipment. Highlights on the fixtures list include Philips Selecon PL3 LED fresnels, Clay Paky Alpha Profile 700 moving lights, Philips Selecon PL1 LED Profile zooms, Robert Juliat Super Korrigan followspots, Robe Robin CycFX8 effect unit, and for control is a Philips Strand Lighting Palette VL lighting console.

The final word goes to Dr Marian Oko on his thoughts for the future of architectural LED lighting: “Today it is not enough to perform illumination in an atmosphere of disco lights. The best projects don’t abuse the dynamics of light. Excessive games of dynamics luminance and colour can be even tiring. The main program for Illumination in the Szczecin Philharmonic is playing with shades of white. The family XL Traxon DOTs XL in both forms, strings and mesh, gives very good potential for the design of large-area illumination.”

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Das Stettiner Philharmonieorchester wurde 1948 gegründet und ist kürzlich in die Stettiner Philharmonie umgezogen, die sich in der Nähe der historischen Innenstadt befindet. Im Gebäude befindet sich eine Konzerthalle für 1.000 Zuschauer, eine Halle für Kammermusik mit 200 Plätzen, ein multifunktionaler Bereich für Ausstellungen und Konferenzen, ein weitläufiges Foyer und eine erstaunliche LED-Beleuchtungsstruktur im Freien. Dieses dynamische LED-Wand-Beleuchtungssystem enthält mehr als 25.000 maßgeschneiderte Traxon Dot XL-3 RGB-Beleuchtungskörper, die von Traxon hergestellt wurden. Die Konzerthalle ist ebenfalls unter dem Namen Sun Hall bekannt. Die Akustik kommt durch die spezielle Geometrie der Wände und Decken, die durch die Architekten zusammen mit Dr. Higini Arau und seiner Firma Arau Acustica entwickelt wurde.

Alle Parameter der Sun Hall, Beanspruchbarkeit, Einheit von Klang, Verzögerung und laterale Energiefraktionen, erzeugen einen Effekt, der mit dem Modell der Konzerthalle, dem Musikverein in Wien, vergleichbar ist.

Sowohl in der Sun Hall wie auch in der Konzerthalle ist das ausgewählte Audiosystem eine d&b audiotechnik Ti 10 Konfiguration. In Bezug auf die Konsole fiel die Wahl auf Allen & Heath und die verfügbaren Mikrofone umfassen Neumann, Audio Technica, EV, Sennheiser, AKG und Sure. Das durch Chemtrol Polen installierte Produktionslicht wurde für beide Hallen mit der modernsten LED-Technologie, die für professionelle Bühnenbeleuchtung zur Verfügung steht, entworfen und ausgeführt, Glanzstücke auf der Beleuchtungskörperliste umfassen Selecon, Clay Paky, Robert Juliat, Robe und Strand.

ITALIANO

La Szczecin Philharmonic Orchestra è stata fondata nel 1948, ma recentemente ha cambiato location, diventando la Szczecin Philharmonic Hall, situata vicino al centro storico della città. L’edificio ospita una sala sinfonica per 1.000 spettatori, una sala per musica da camera per 200, uno spazio polifunzionale per mostre e conferenze, un ampio foyer e una splendida struttura di illuminazione a LED esterna. Questo sistema di illuminazione dinamico a LED della parete contiene oltre 25.000 impianti personalizzati Traxon Dot XL-3 RGB, prodotti da Traxon. La sala sinfonica è anche conosciuta come la Sun Hall. La sua acustica nasce dalla particolare geometria delle pareti e del soffitto, sviluppato dagli architetti insieme con il Dr. Higini Arau e la sua ditta Arau Acustica. Tutti i parametri della Sun Hall tra cui la forza, l’uniformità del suono, i ritardi e le frazioni di energia laterali, producono un effetto paragonabile al modello della concert hall Musikverein di Vienna. Sia per la Sun Hall che per la Chamber Hall è stato scelto il sistema audio d&b Audiotechnik Ti 10. Per quanto riguarda la console, il locale ha optato per Allen & Heath ed i microfoni disponibili comprendono Neumann, Audio Technica, EV, Sennheiser, AKG e Sure.

Il sistema luci, invece, è stato installato da Chemtrol Poland ed è stato progettato e realizzato per entrambe le sale sotto la più recente tecnologia LED per l’illuminazione professionale da palco, mentre le apparecchiature più importanti sono della Selecon, Clay Paky, Robert Juliat, Robe e Strand.

ESPAÑOL

La Orquesta Filarmónica Szczecin se fundó en 1948 pero se le ha concedido recientemente un nuevo lugar en la forma de Salón de Filarmónica Szczecin, ubicado cerca del histórico centro de la ciudad.

El edificio alberga un salón sinfónico para 1.000 espectadores, un salón para música de cámara para 200 personas, un espacio multifuncional para exhibiciones y conferencias, un amplio vestíbulo y una despampanante estructura de iluminación LED exterior. Este dinámico sistema de iluminación en pared de LED contiene más de 25.000 artefactos Traxon Dot XL-3 RGB a medida, fabricados por Traxon.

El salón sinfónico es también conocido como Sun Hall. Su acústica se origina desde la geometría especial de las paredes y el cielorraso, desarrollada por los arquitectos junto con el Dr. Higini Arau y su firma, Arau Acustica. Todos los parámetros de Sun Hall: fuerza, uniformidad del sonido, retardo y las fracciones de energía lateral, producen un efecto comparable con el modelo del salón de concierto Musikverein en Viena.

Tanto en Sun Hall como en Chamber Hall, el sistema de audio de elección es una configuración audiotechnik Ti 10 de d&b. Se ha optado por una consola Allen & Heath y entre los micrófonos disponibles se encuentran Neumann, Audio Technica, EV, Sennheiser, AKG y Sure. La iluminación de producción, instalada por Chemtrol Poland, fue diseñada y puesta en marcha para ambos salones bajo la última tecnología en LED disponible para la iluminación profesional en escenarios. Los destacados en la lista de artefactos incluyen a Selecon, Clay Paky, Robert Juliat, Robe y Strand.

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ROTONDES LUXEMBOURG CITY, LUXEMBOURG EUROPE/MIDDLE EAST/AFRICA

With all the ground-breaking technology currently available on today’s market, we see one high-end installation after another, with many venues often trying to outdo anything that has gone before. While projects such as this are spectacularly impressive, sometimes it is equally, if not more remarkable when a historic building is revitalised using modern techniques, which ultimately marries new and old in perfect harmony.

Originally built in 1875, two roundhouses used for steam locomotives were repurposed back in 2007 and used as part of Luxembourg’s European Capital of Culture celebrations. However, soon after the event celebrations were complete the roundhouses had to be moved so urgent ground renovations to the original site could take place.

Some eight years later - obviously longer than expected - the roundhouses, now simply called Rotondes - previously Carre Rotondes - which means cultural explorations have returned home and are now open for the public to enjoy once again.

The Rotondes site holds the two former railway roundhouses and a container city in-between referred to as BlackBox. The first roundhouse, Rotondes 1 includes a conference centre, an exhibition area

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and the backstage area for the main hall. The main hall is a polyvalent room in which theatre, concerts, presentations, conferences can be held and organised. It has a mouldable semi-round seating capacity of 336 people or 1,210 people standing. Rotondes 2 features a bar, a club and a concert hall for about 250 - 300 people. BlackBox - a small theatre with an 80 person capacity - lies at the heart of the container city, while in and around the performance space are three rehearsal studios, two project rooms and a radio station, which is mainly used by students.

Theatre and acoustic consultant, Charcoalblue collaborated with the creative team at Rotondes, structural engineers, Simon Christiansen & Associates and architect, Teisen-Giesler Architectes on this project to renovate Rotondes 1. The Charcoalblue team comprised Andy Hayles, Ben Hanson, Steve Roberts and Caroline Place. Rotondes Technician, Jerome Marani said of the latter two, who is worked closley with: “Both have years of experience in designing theatres and event venues. When we first met in late 2013, we talked about the direction Rotondes 1 would take and what the technical requirements would be. We were quickly on the same wavelength. We had to con-

sider the round aspect of the hall, which had to be reflected in the design of the main truss and fit perfectly within the architecture of the building.”

Flexibility was key when it came to the design for Rotondes 1, there would be times when performances would use an end stage and other times it would have a theatre-in-the-round configuration, so it was important that the truss holding the audio and lighting equipment had polyvalent qualities. The roof load capacity of just 13 tonnes also posed an obstacle for the truss design.

Jerome continued: “We were conscious that we couldn’t hang 18 motors from just one truss element. This would have made control difficult and would have increased the overall weight of the structure. The more the installation weighed, the less equipment could be hung on it. The highest point is about 15-metres, which therefore forced us to install a secondary steel structure between the roof’s main construction. Due to these steels, supplementary hanging points and chain diverter points were created, making it possible to have two lifting points in the structure but with only one motor.” To further ensure the load restrictions on the building were not exceeded, every chain hoist was equipped with a load cell which feeds back into a Chainmaster central control system that will halt movement if an overload is detected.

The Rotondes team even made a trip to London’s Roundhouse to compare its design with their own. Jerome and the team quickly realised they had not integrated a central front projection point, and so fused the two front sections into one single front truss block to complete the design before putting it out to tender. Eurotruss was the winning manufacturer of the tender process.

Jerome said of the company: “I was quite sure Eurotruss was a good option for building the truss. Some of the other rooms [in Rotondes 2] were already equipped with Eurotruss products and the technical team knows the brand well. Eurotruss has a very good reputation and in my opinion, no other company has the same quality to price ratio.”

The truss configuration - which includes 70 Eurotruss HD 34 truss lengths and 48 HD Series corners / joints - is made of seven blocks that can be controlled separately. The blocks are named from A to F. The first three blocks, A, B, C are closed V shapes and hang over the seats. A and C blocks are moved using four Chainmaster D8+ chain hoists each, while B block has six of the Chainmaster motors. These truss blocks house intelligent lighting fixtures from Martin Professional plus theatrical profiles from ETC and Robert Juliat, as well as a video projection screen measuring 16-metres by eight metres and the d&b audiotechnik

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audio system comprising T10 line arrays cabinets, B4 and Q-SUB subwoofers. “Technically speaking, the metric length of a section [manufactured by Eurotruss] weighs less than other constructors and you can hang slightly more on a metre,” explained Jerome.

The D and F sections of truss are two L-shaped pieces. They are hung over the entrance and exit areas. Curtains and entrance lights are hung here and each is equipped with a further three Chainmaster D8+ chain hoists.

E is the main truss section, which is controlled by 12 of the same hoists on 18 pick-up points. This block has a total load weight of three tons. This truss consists of two circles connected to one another and a rectangular shape at the rear of the circles in which screens and curtains can be hung if required.

A unique feature of this truss structure is the double purchase arrangement of the chain hoists. These support the two concentric truss rings making up the majority of the large central truss grid. The nine hoists are arranged around the outer truss ring with the chain, then diverted up to a chain pulley mounted on secondary steelwork beams above. They continue along the line of the existing radial roof beams before being diverted back down over another chain pulley to the inner truss ring below. This double purchase arrangement serves two fold in both reducing the load on the roof structure and eliminating the cost of extra hoists and control.

Finally, six Chainmaster D8+ chain hoists serve the V-shaped G truss structure, the backdrop and backstage lighting are installed here.

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The 38 chain hoists are controlled via Chainmaster central control system. Jerome said: “The difference between Rotondes 1 and a standard hall is that we change the configuration on the floor. Instead of modifying the hanging points, we modify the place of the seating, the stage, the area where people stand. Because of the 360° shape, we can place everything we want, where we want.” He added: “The complexity of the main structure wasn’t a problem for Eurotruss. The sections came with a mounting plan and everything fitted perfectly during the installation.”

Once the truss was firmly in place, Rotondes could think about selecting equipment to hang on it. A d&b audiotechnik system has been chosen for the opening season but once this is well underway future system investments will be discussed. A total of 16 d&b audiotechnik T10 line array cabinets are installed alongside four d&b audiotechnik B4 subwoofers and four d&b audiotechnik Q-SUB subwoofers. “The advantage of the array is its weight. The system is flexible and can be flown or stacked on the floor,” commented Jerome. d&b audiotechnik MAX monitors are also available should a performing act require them. The system runs on four of d&b audiotechnik’s new D80 amplifiers and three d&b audiotechnik D6 amplifiers.

A Yamaha CL5 mixing console and an analogue Midas Hertiage 3000 desk have been installed at FOH. The Yamaha runs over Dante with two Rio 3224-D stage boxes. The Midas Hertiage 3000 comes with its effects, dynamic and EQ racks built in. The EQ’s are provided by four BSS FCS966 equalisers and four Klark Teknik DN360

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FRANÇAIS

Le projet de Rotondes avait initialement été créé dans le cadre de la Capitale européenne de la Culture en 2007. Mais cette même année, le site dû fermer pour cause de travaux de décontamination du sol et de rénovation, de sorte que le projet fut déplacé vers un ancien site industriel dans la ville de Luxembourg, en attendant la fin des travaux du site d’origine. Ces travaux ont duré près de huit ans — mais sont maintenant enfin terminés et en juin de cette année, le projet Rotondes retrouva son site permanent.

L’édifice Rotondes 1 abrite un centre de conférences, un espace d’exposition ainsi que les coulisses de la salle principale. La salle principale est une salle polyvalente dans laquelle des pièces de théâtre, des concerts, des présentations et des conférences peuvent être organisés. Cette salle dispose de 336 places assises et modulables en forme de demi-lune. L’édifice Rotondes 2 dispose d’un bar, d’un club et d’une salle de concert pouvant accueillir environ 250 à 300 personnes. La société Charcoalblue fournie les conseils relatifs au processus de conception, équipant entièrement la section du Rotondes 1 de tout nouveaux produits, et rénova partiellement la section du Rotondes 2. La configuration en treillis fournie par EuroTruss est la caractéristique essentielle de la salle principale, car elle est composée de sept blocs indépendamment contrôlables. L’équipement audio comprend une colonne d’enceintes d&b audiotechnik placée en parallèle de tables de mixage Yamaha et Midas, tandis que les dispositifs d’éclairage proviennent de chez ETC, ADB, Robert Juliat, Martin Professional et ADJ.

DEUTSCH

graphic equalisers.

Lighting wise, the Rotondes team opted for 14 Martin Professional MAC Auras, 66 Robert Juliat profiles, 46 Robert Juliat fresnels, and 50 ADJ Dotz Par COB fixtures for the rooftop. The cable lengths for the lighting did throw up some problems though. “From FOH to the dimmer city, we needed 95-metres of cable and from a dimmer to the front bridge, we needed between 85-metres and 110-metres of cable. The best way to get data from A to B is through ArtNet, so the complete lighting data dispatch is made over Cat5 and reconverted to analogue DMX via Luminex boxes,” explained Jerome. An ETC Congo Kid console with Cobalt software is used to control the theatrical fixtures and an Avolites Pearl Expert Pro lighting desk, which runs on Titan takes charge of the intelligent lights.

The transformation of Rotondes 1 means the Luxembourg site is now well equipped to host a variety of events from art exhibitions to contemporary music performances, workshops to radio gigs, theatrical art to conferences. Rotondes 2 is next on the agenda to be renovated and if it is done so to the same high standards as its sibling, the Rotondes team will have a truly unique venue on their hands that is bound to keep the visitors returning indefinitely.

TECHNICAL INFORMATION sound 16 x d&b audiotechnik T10 line array cabinet; 4 x d&b audiotechnik B4 subwoofer; 4 x d&b audiotechnik Q-SUB subwoofer; 4 x d&b audiotechnik D80 amplifier; 3 x d&b audiotechnik D6 amplifier; 1 x Yamaha CL5 mixing console; 1 x Midas H3000 mixing console; 4 x BSS FCS966 equaliser; 4 x Klark Teknik DN360 graphic equaliser; 1 x Lexicon PCM92 effect unit ; 1 x Lexicon PCM70 effect unit; 2 x M-Audio M-One effect unit; 2 x M-Audio D-Two effect unit lighting 14 x Martin Professional MAC Aura moving head; 66 x Robert Juliat profile; 46 x Robert Juliat fresnel; 50 x ADJ Dotz Par COB fixture; 1 x ETC Congo Kid lighting console; 1 x Avolites Pearl Expert Pro lighting console TRUSSING 70 x Eurotruss HD 34 truss length; 48 x Eurotruss HD Series corners/joints; 38 x Chainmaster D8+ chain hoist; 1 x Chainmaster central control system http://rotondes.lu/

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Das Rotondes-Projekt wurde ursprünglich 2007 für die Europäische Kulturhauptstadt geschaffen. Doch im selben Jahr wurde der Standort für Boden-Dekontaminierung und Renovierungsarbeiten geschlossen, so dass das Projekt in eine alte Industriehalle in der Stadt Luxemburg umsiedelte und auf die Beendigung der Arbeiten am ursprünglichen Standort wartete. Diese dauerten beinahe acht Jahre, doch wurden sie nun beendet und im Juni dieses Jahres kehrte Rotondes an seine ständige Wohnstätte zurück. In Rotondes 1 gibt es ein Konferenzzentrum, einen Ausstellungsbereich sowie den Backstagebereich für die Haupthalle. Die Haupthalle ist ein vielseitiger Raum, in dem Theaterstücke, Konzerte, Vorführungen, Konferenzen aufgeführt und organisiert werden können.

Sie verfügt über eine modulierbare, halbrunde, Sitzplatzkapazität für 336 Menschen. Rotondes 2 weist eine Bar, einen Club und eine Konzerthalle für circa 250 - 300 Menschen auf. Charcoalblue unterstützte den Designprozess, stattete Rotondes 1 mit einer kompletten Ausstattung an neuen Produkten aus und renovierte zum Teil Rotondes 2. Eines der Hauptmerkmale in der Haupthalle ist die Traversenkonfiguration, die aus sieben Blöcken besteht und separat gesteuert werden kann, die Traverse wurde durch Eurotruss bereitgestellt. Die Audio-Ausrüstung umfasst eine Anordnung von d&b audiotechnik Sets zusammen mit Yamaha und Midas Mischpulten, die installierten Beleuchtungskörper ihrerseits stammen von ETC, ADB, Robert Juliat, Martin Professional und ADJ.

ITALIANO

Il progetto Rotondes è stato creato originariamente per la capitale europea della cultura nel 2007. Quello stesso anno il sito è stato chiuso per la decontaminazione del suolo e per lavori di ristrutturazione, per cui il progetto è stato spostato in una vecchia sala industriale nella città di Lussemburgo.

Finiti i lavori sul sito originale, che sono durati quasi otto anni, ora è finalmente completo e nel giugno di quest’anno Rotondes torna nella sua sede permanente. In Rotondes 1 vi è un centro congressi, uno spazio espositivo e la zona dietro le quinte per la sala principale. La sala principale è una sala polivalente dove possono essere tenute ed organizzate rassegne, concerti, presentazioni, conferenze e che ha una capienza modulabile semi-tonda di 336 persone. Rotondes 2 dispone di un bar, un club e una sala da concerto per circa 250-300 persone. Charcoalblue ha aiutato con il processo di progettazione, dotando Rotondes 1 di un pieno utilizzo di nuovi prodotti e rinnovando, in parte Rotondes 2. Una delle caratteristiche della sala principale è la configurazione reticolare che è fatta di sette isolati che possono essere controllati separatamente. I tralicci sono stati forniti da Eurotruss, le attrezzature audio comprendono una serie di array d&b Audiotechnik insieme ai mixer Yamaha e Midas, mentre gli apparecchi di illuminazione che sono stati installati sono della ETC, ADB, Robert Juliat, Martin Professional e ADJ.

ESPAÑOL

El proyecto Rotondes fue creado originalmente para la Capital Europea de la Cultura en 2007. Pero ese mismo año el lugar fue cerrado por descontaminación del suelo y reformas, de manera que el proyecto migró a un antiguo hall industrial en la ciudad de Luxemburgo, a la espera de que se terminase la obra en el lugar original- que duró cerca de ocho años- pero que ahora finalmente ha concluido. En Junio de este año, Rotondes vuelve a su lugar permanente. En Rotondes 1 hay un centro de conferencias, un área de exhibiciones así como una zona privada para el salón principal. El salón principal es un lugar polivalente en el que se pueden montar y organizar obras de teatro, conciertos, presentaciones y conferencias. Tiene una capacidad para 336 personas sentadas en un sector modulable semicircular. Rotondes 2 cuenta con un bar, una disco y un salón para conciertos para alrededor de 250-300 personas.

Charcoalblue colaboró con el proceso de diseño equipando Rotondes 1 con una completa implementación de nuevos productos y renovó parcialmente Rotondes 2. Una de las características principales en el salón principal es la configuración de la estructura articulada, la cual está hecha de siete bloques que pueden ser controlados separadamente.

La estructura fue suministrada por Eurotruss. El equipamiento de audio contempla una formación de un kit d&b audiotechnik con mezcladoras Yamaha y Midas, mientras que los artefactos de iluminación que se instalaron son de ETC, ADB, Robert Juliat, Martin Professional y ADJ.

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VULCAN GAS WORKS AUSTIN, USA The Americas

Vulcan Gas Company first opened its doors in 1967 and became known as one of the first successful psychedelic music venues in Austin, Texas. Back then the club had homemade benches and old church pews for the audience to sit on. The venue didnâ&#x20AC;&#x2122;t have a liquor licence and although discouraged, patrons would often bring their own. The main revenue came from ticket sales, which was typ-

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ically US$1.50 per person. Frequently referred to simply as Vulcan, the two-storey venue had a short-lived first life closing a mere three years after it initially opened in the summer of 1970.

Though unrelated to the original club, Vulcan Gas Company reopened in 2014 under the same name but with new owners. LIGHTfaktor a lighting design and custom fabrication company based in Austin was sought out by the new owners to implement a new lighting system for the venue that would bring it right up to date. â&#x20AC;&#x153;The new owners wanted to bring a unique experience to the community, with style, so-

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phistication, and edge. The main music focus is EDM, and this genre is known for creating a multi sensory experience by using lighting and projections along with the music,” said Sushanta Parikh, Director of Business Development at LIGHTfaktor. “The original Vulcan Gas Company was known for its surreal visual experience through its oil and water projections. Its effect was mind expansive and psychedelic, and offered another dimension of sensory experience integrated with the music. The owners of the modern day Vulcan Gas Company wanted to reinstate this tradition using cutting edge lighting. They gave us free reign to design the lighting utilising digital video technology and LED pixel programming.”

With these objectives in mind LIGHTfaktor designed an integrated pixel façade, chose intelligent fixtures and automated luminaire control by High End Systems (HES), and pixel control by Madrix. During the project LIGHTfaktor also worked closely with an interior designer

named Amy Lutz of ButterLutz Interiors.

The venue has two floors: the ground floor has a central dancefloor with the DJ booth set back against a large back wall; while the first floor has been designed as a mezzanine to wrap one side of the building but leave a balcony for guests to look down onto the dancefloor and DJ booth.

LIGHTfaktor installed four HES SolaWash 19 moving heads and four HES DLV Digital Light - an automated luminaire with an onboard media server and LCD projector - mounted to a truss on the roof above the first floor. By fitting the products in this way the lights can be adjusted to point anywhere on the dancefloor below and the surrounding walls and ceiling.

“The High End Systems DLV is a highly versatile digital video moving head that has an onboard media server allowing an infinite pallet of content and layers to be projected,” said Sushanta. “These fixtures

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also create amazing aerial effects that move throughout the space.” Two Le Maitre MVS hazers were fitted to the roof to create further special effects.

LIGHTfaktor also designed and built custom lighting fixtures for the venue - 28 12ft high by 13-inch wide rectangular pixel channels cut six inches deep fitted into the walls throughout the building. Inside each column there are 340 individually addressable RGB LED pixels that are directed inward to hit a reflective surface and bounce back through a layer of frosted acrylic, which diffuses the light in a hazy glow.

For projection a Digital Projection E-Vision 8000 DLP projector has been fitted to the roof of the ground floor aimed towards the large back wall above the DJ booth.

On the back wall a 106-inch x 188-inch Da-lite large cosmopolitan electrol projection screen has been installed. This allows for a variety of designs and patterns or The Vulcan logo to be projected on an otherwise blank wall.

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For control a HES Road Hog 4 console controls the moving head fixtures and the LED panels installed throughout the venue, while the pixel columns are controlled by Madrix pixel control software. By bringing the architectural and entertainment lighting together, breathing and pulsing with the music, enables a wide range of tones, from ambient to chaotic,” said Sushanta.

Asking Sushanta about the challenges of the project she reflected: “Getting all four owners to agree on a style was a challenge. Mid-stream changes in the architectural design added additional challenges to the project and cut into the schedule and budget. But the primary challenge was time, because of the level of complexity and sophistication of the technologies chosen. Our goal was to complete the project by the beginning of SXSW Music Festival, where it was showcased. As the LED pixel columns were embedded architecturally into the walls of both levels of the club,

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this required a great deal of wiring, programming, and control through the Madrix software.”

For audio at Vulcan, Sound Investment, a professional audiovisual equipment company based in Chicago, was chosen to bring something special to the audio at the venue. “We were called because the owners of Vulcan decided that they wanted to make a statement in the Austin area by being the first venue to feature a Funktion One sound system,” explained Todd Konecny, CEO at Sound Investment.

“The direction given to us was to provide a system that was capable of supporting live acts, as well as EDM sets while maintaining the high fidelity that the industry has come to expect of Funktion One,” said Todd. “The design process was primarily driven by the size and layout of the venue and the stage configuration. It was decided that a straightforward stereo hang would be the most effective way to do live bands and cover the room, and three Funktion One F221 subwoofers would be sufficient for the low end needs of EDM shows.”

The system consists of two pairs of Funktion One Resolution 2 loudspeakers that are hung left and right of the stage where the DJ booth is situated. Two Full Fat Audio FFA-6004 amplifiers and one Full Fat Audio FFA-6000 amplifier power the loudspeaker

TECHNICAL INFORMATION SOUND

6 x Funktion One F1201 loudspeaker; 4 x Funktion One Resolution 2 loudspeaker; 3 x Funktion One F221 subwoofer; 10 x QSC S10T-BLK loudspeaker; 2 x QSC RMX2450 amplifier; 2 x QSC AD-Ci52ST loudspeaker; 2 x QSC S8T-BLK loudspeaker; 1 x QSC RMX1850HD amplifier; 3 x Full Fat Audio FFA-6004 amplifier; 1 x Full Fat Audio FFA-1000 amplifier; 1 x Full Fat Audio FFA-6000 amplifier; 3 x Pioneer DJM-900 mixer; 2 x Pioneer CDJ-2000 multiplayer

LIGHTINg, VISUAL & EFFECTS

28 x custom built pixel channels; 4 x High End Systems SolaWash 19 moving head; 4 x High End Systems DLV LCD projector; 1 x Digital Projection E-Vision 8000 DLP projector; 1 x Da-Lite large cosmopolitan electrol projection screen; 1 x High End Systems Road Hog 4 console; 1 x Madrix control software package; 2 x Le Maitre MVS hazer www.vulcanatx.com

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Rewriting the rule book

The Specification

DMI Card Options

 96kHz as standard

 40 x Input flex-channels Mono/Stereo

 24 mic line inputs

 DVI out (for an external monitor)

(equivalent of 80 DSP channels)  46 busses: 16 x flexi-busses Mono/Stereo (equivalent of 32 DSP busses), Stereo Master (2), Solo busses (2 stereo, 4 total), and 10 x 8 Matrix (8)  10 x Control Groups  1 x Compressor per channel and buss

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

 1 x Gate per channel and buss (switchable to

 12 analogue outs  2 AES I/O (mono)  Word Clock I/O  1 GPI and 1 GPO

 2 Ethernet connections for Networking  2 x 24 segment master/solo meters



 Touch sensitive rotaries with integrated switch & HTL



 2 x multi-touch screens

ducker, or compressor with side chain access) 16 x assignable 32 band Graphic EQs 8 x FX engines (reverbs, delays, w/modulation and enhancer) 4 x assignable DiGiTuBes 4 x assignable Multiband Comps User definable Macros

 21 x touch sensitive moving faders



 4 x layers of banks of 10 faders

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05/05/2015 14:43

090 VENUE

FRANÇAIS

Le Vulcan Gas Company est un bâtiment de deux étages entièrement dédié à la musique, se situant à Austin, au Texas. Il a rouvert ses portes en 2014 après une rénovation complète. L’entreprise LIGHTfaktor, spécialiste de conception et de personnalisation d’éclairage basée à Austin a choisi des dispositifs d’éclairage et du matériel de commande de chez High End Systems (HES). Quatre lyres HES SolaWash 19 et quatre projecteurs LCD DLV du même fabricant ont été montés sur une armature du toit au-dessus du premier étage. LIGHTfaktor a également conçu et construit des dispositifs d’éclairage sur mesure, dont 28 canaux à pixels rectangulaires de 3.5 m de haut sur 33 cm de large et 15 cm de profondeur, le tout sillonnant les murs du bâtiment. Un projecteur numérique E-Vision 8000 DLP a été installé au toit du rez-de-chaussée, et pointe le grand mur au-dessus de la cabine du DJ. Sur le mur du fond, un grand écran de projection Cosmopolitan Electrol Da-lite de 2.69 m x 4.77 m a été installé. Question audio, la société de matériel audiovisuel professionnel Sound Investment basée à Chicago a choisi un système de son Funktion One. Celui-ci se compose de deux paires de haut-parleurs Funktion One Resolution 2 qui sont accrochés de chaque côté de la scène, là où se trouve la cabine du DJ. Deux amplificateurs Full Fat Audio FFA-6004 et un amplificateur Full Fat Audio FFA-6000 alimentent les enceintes d’array. Trois caissons de graves Funktion One F221 côtoient les suspensions et sont alimentés par un amplificateur Full Fat Audio FFA-1000. Le balcon est surmonté de quatre haut-parleurs Funktion One F1201 alimentés par un autre amplificateur Full Fat Audio FFA-6004.

DEUTSCH

pairs. Three Funktion One F221 subwoofers sit alongside the main PA, each have dual voice coil 21-inch drivers and are powered by a Full Fat Audio FFA-1000 amplifier. The balcony is covered by four Funktion One F1201 loudspeakers and is powered by another Full Fat Audio FFA-6004 amplifier.

For the ground and first floor fill loudspeakers 10 QSC S10T-BLK loudspeakers have been installed driven by two QSC RMX2450 amplifiers. “The F1201 loudspeakers are very well controlled with regards to directionality so they are somewhat more forgiving in terms of live microphone feedback. We feel that the chosen positions satisfy both genres and the room is well covered from the mains and the balcony fill loudspeakers,” said Todd.

The bathrooms and terrace are fitted with two QSC AD-Ci52ST loudspeakers and two QSC S8T-BLK loudspeakers, which are powered by a QSC RMX1850HD amplifier.

For DJ equipment the booth is kitted with three Pioneer DJM-900 mixers and two Pioneer CDJ-2000 multiplayers. “Positioning the system so that it works for both microphones on stage during a live band performance, as well as a DJ playing EDM was a challenge,” explained Todd.

Since its refurbishment Vulcan has received critical acclaim, winning the Austin Chronicle’s Award for ‘Best Club Lighting’ and second place for ‘Best New Club’ as part of the Austin Music Industry Awards. “We have been sure to keep LIGHTfaktor at the absolute bleeding edge of technology and design, so we knew we could deliver when Vulcan’s ownership came to us with the simple request; ‘we want the best lighting possible’,” said Wes Lane, LIGHTfaktor’s Lead Designer and founder.

“We used a suite of High End Systems products including DLV digital moving projectors to add an extra dimension to the user experience.

We are able to project onto the stage, crowd and walls allowing us to use the whole venue as a palette,” he said. “We are confident in the capability and quality of our work, but it’s always nice to receive recognition from the community.”

Sushanta gives his final thoughts on the project: “It’s really nice to have a venue here in Austin, close to our roots. We see it as a home base venue that we can take clients to and show off some of our best work. We’ve done this in other cities but it is exciting to do our part in bringing this kind of next level entertainment technology to Austin.”

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Vulcan Gas Company ist ein zweigestöckiger Musiktreff in Austin, Texas.

Der Treff wurde 2014 nach einer kompletten Renovierung wiedereröffnet.

LIGHTfaktor, ein Beleuchtungsdesigner und ein Unternehmen für Sonderanfertigungen aus Austin, entschied sich für Beleuchtungskörper und Steuerungssysteme von High End Systems (HES). Installiert wurden vier HES SolaWash 19 Moving Heads und vier HES DLV LCD Projektoren, die auf einer Traverse im Dach über der ersten Etage montiert wurden. LIGHTfaktor entwarf und baute ebenfalls kundenspezifische Beleuchtungskörper für den Treff - 28 12 Fuß hohe und 13 Zoll breite rechteckige Pixelkanäle und installierte sechs Zoll tiefe, die in den Wänden des gesamten Gebäudes verteilt sind. Für die Projektierung wurde ein Digital Projection E-Vision 8000 DLP Projektor in der Decke des Erdgeschosses befestigt und auf die große Rückwand über dem DJ-Pult ausgerichtet. Auf der Rückwand wurde eine 106 x 188 Zoll große Da-lite Large Cosmopolitan Electrol Projektionswand installiert. Für den Ton entschied sich Sound Investment, ein professionelles Unternehmen für audiovisuelle Geräte aus Chicago ein Funktion One Soundsystem. Das System besteht aus zwei Paaren Funktion One Resolution 2 Lautsprechern, die links und rechts von der Bühne hängen, dort, wo sich das DJ-Pult befindet. Zwei Full Fat Audio FFA-6004 Verstärker und ein Full Fat Audio FFA-6000 Verstärker powern die Line Arrays. Drei Funktion One F221 Subwoofer befinden sich neben den Hängern und werden über einen Full Fat Audio FFA-1000 Verstärker gepowert. Der Balkon ist mit vier Funktion One F1201 Lautsprechern abgedeckt und wird durch einen weiteren Full Fat Audio FFA-6004 Verstärker gepowert.

ITALIANO

Vulcan Gas Company è un locale di musica a due piani che si trova ad Austin (Texas) e che ha riaperto nel 2014 dopo una completa ristrutturazione.

LIGHTfaktor, una società di progettazione luci e fabbricazione personalizzata con sede ad Austin, ha scelto la High End Systems (HES) per le attrezzature ed il loro controllo e ha provveduto all’ installazione di quattro teste mobili HES SolaWash 19 e quattro proiettori LCD HES DLV che sono stati montati su un traliccio del tetto sopra il primo piano. LIGHTfaktor ha anche progettato e costruito apparecchi di illuminazione personalizzati per il locale alto 8,53x3,66 mt. con canali di pixel rettangolari larghi 13 pollici e tagliati 6 pollici incastrati nelle pareti di tutto l’edificio. Per quanto riguarda la proiezione, un proiettore Digital Projection E-Vision 8000 DLP è stato montato sul tetto del piano terra ed è stato rivolto verso la grande parete di fondo sopra la cabina del DJ. Sulla parete di fondo è stato installato un grande schermo di proiezione Da-lite cosmopolitan electrol 106 pollici x 188 pollici. Per l’audio, Sound Investment, una società di attrezzatura audiovisiva con sede a Chicago ha scelto un sistema audio Funktion One. Il sistema è composto da due coppie di altoparlanti Funktion One Resolution 2 che sono appesi a destra e a sinistra del palco dove è situata la cabina del DJ. Due amplificatori Full Fat Audio FFA-6004 e uno Full Fat Audio FFA-6000 alimentano i line array. Tre subwoofer Funktion One F221 sono posizionati lateralmente e sono alimentati da un amplificatore Full Fat Audio FFA-1000. Il balcone è coperto da quattro altoparlanti Funktion One F1201 ed è alimentato da un altro amplificatore Full Fat Audio FFA-6004.

ESPAÑOL

Vulcan Gas Company es un lugar de dos pisos destinado para shows en Austin, Texas. El sitio reabrió en 2014 luego de una restauración completa.

LIGHTfaktor, una empresa dedicada al diseño de iluminación y a la fabricación a medida con base en Austin, eligió artefactos y controles de High End Systems (HES). Se instalaron 4 cabezales móviles SolaWash 19 de HES y cuatro proyectores DLV LCD HES montados sobre una estructura articulada en el techo arriba del primer piso. LIGHTfaktor también diseñó y construyó artefactos de iluminación a medida para el lugar - 28 amplios canales de pixeles rectangulares de 3,60 mts de alto por 4 mts de ancho, cortados con una profundidad de 15 cm, encajados en las paredes a lo largo del edificio.

Para la proyección se ha instalado, en el techo de la planta baja, un proyector E-Vision 8000 DLP de Digital Projection, que apunta hacia la pared del fondo que se encuentra arriba de la cabina del DJ. En la pared trasera se ha instalado una pantalla de proyección large cosmopolitan electrol Da-lite de 2,70mts. por 5mts. Para el audio, Sound Investment, una empresa de equipamiento audiovisual profesional con base en Chicago, eligió un sistema de sonido Funktion One. El sistema consiste en dos pares de altoparlantes Funktion One Resolution 2 que cuelgan a izquierda y derecha del escenario donde está ubicada la cabina del DJ. Dos amplificadores FFA-6004 Full Fat Audio y un amplificador FFA-6000 Full Fat Audio potencian las formaciones acústicas.

Tres subwoofers Funktion One F221 son potenciados por un amplificador FFA1000 Full Fat Audio. El balcón está cubierto por cuatro altoparlantes Funktion One F1201 y potenciados por otro amplificador FFA-6004 Full Fat Audio.

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_JUNE15.indd 1

visit www.pioneerproaudio.com to learn more about our GLOBAL installations, venues include Sound Nightclub - LA, Sankeys Ibiza, UshuaÏa, Pikes and Bierfabriek

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22/06/2015 15:30

092 VENUE

THE BOMB FACTORY DALLAS, USA The Americas

The Bomb Factory is a state-of-the-art, 50,000 sq ft venue located in the heart of historic Deep Ellum in downtown Dallas, an area known for its rich music history. The venue started life as a manufacturer of Ford cars in the early 1900s, before being commissioned to produce bombs and ammunition for the WWII war effort hence the origins of the name Bomb Factory.

In the mid ‘90s the venue found new purpose, when it was transformed into a music venue hosting bands such as PHISH, Radiohead, Dave Matthews Band, Sonic Youth, The Ramones, INXS, Nine Inch Nails, and Fugazi.

A recent revamp of the Bomb Factory utilising just existing foundations and the outside walls has made the venue capable of accom-

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modating up to 4,300 visitors with its mezzanine, suites and VIP options. It can be sized to four different capacities and multiple seating options to accommodate performances as intimate as 1,000 people.

The stage is fully adjustable depending on the event; the height of the stage can be altered from three to five feet.

Sound Bridge Acoustic Labs, a manufacturer of loudspeakers and an installer based in Texas was brought in to work on the project. “We had installed Soundbridge equipment for the owners’ other venue Trees,” said Michael Pisterzi, Marketing Manager at Sound Bridge Acoustic Labs. “They were adamant about producing a new space with our 7222XY line array system to continue their reputation of being able to create state of the art live audio experiences for their musical acts and patrons. Clint and Whitney Barlow, owners of the Bomb Factory and the principals at Sound Bridge met every week

VENUE 093

for months leading up to the completion of the project. This was to discuss everything from positioning of the stage and audio systems to the acoustic treatments needed on a building that old with such a high ceiling. Having known us from our work on previous projects, Clint and Whitney wanted to have Sound Bridge be part of the design process to ensure that the Bomb Factory could perform at its best.”

Sound Bridge was responsible for both the installation of the sound and lighting at the venue. For the main PA two Sound Bridge 7225 XY dual line arrays each consisting of 10 cabinets were hung on either side of the stage. They were chosen for their long throw capabilities and their ability to produce detailed and hyper-low distortion sound across a broad spectrum throughout the venue. For support eight Sound Bridge 7218SWX subwoofers have been installed centrally under the stage along with four Sound Bridge BIG MOUTH high-ouput

subwoofers. On the stage itself 12 Sound Bridge 7122WX and four Sound Bridge 7222WX monitor wedges have been installed to stop feedback and give high clarity for those performing on stage.

“One of the major challenges we faced when we started the design process at the Bomb Factory was the high ceiling with multiple reflective surfaces,” said Michael. “We needed to make sure there was enough headroom room in the new PA system, to accommodate for any resonance that would be created from the reflection, so we decided to choose a large line array element. We used our 12 QuadOne arrangement, which focusses two pairs of loudspeakers to direct the sound waves in a planar form, much like a Death Star laser where four sources of energy are projected forward towards a single point.

The configuration works very well with the space as it gives a long and consistent throw.”

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094 VENUE

For amplification Sound Bridge specified five Lab.gruppen PLM 20K44 amplifiers to power the flown line array system and three Powersoft K10 amplifiers for the subwoofers. A total of 12 HIVE 4X1350 amplifiers and five HIVE processors were implemented to drive the monitor system. For processing a Lake LM44 digital processor was chosen and two Yamaha CL digital mixing consoles has been fitted for front of house and monitors. The venue has an in house package of microphones from Shure and Sennheiser, and 15 Konig & Meyer tall telescoping booms, 12 Konig & Meyer short telescoping booms and four Konig & Meyer round base straight stands.

The lighting in this multipurpose venue is mounted to a motorised truss system above the stage allowing for flexibility depending on the event or artist. “The lighting consists of several varieties of our LoCus moving heads and LED Par fixtures, which are still in the early stages of the product life cycle,” said Michael. “Lighting is still a relatively new business for us. We are still experimenting with new additional LoCus brand moving heads and fixtures and we have over 35 luminaires currently installed at the Bomb Factory. Our current range consists of a Static Par, Moving Aura, Moving Beam, Moving Spot, and Moving Flood. It was important that LoCuS lighting be easy to implement and cooperate with and therefore all are agnostic fixtures, meaning they can be paired with a venues current lighting setup and do not need new lighting profiles created before they are integrat-

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TECHNICAL INFORMATION SOUND

2 x Sound Bridge 7225 XY dual line array; 8 x Sound Bridge 7218SWX subwoofer; 4 x Sound Bridge BIG MOUTH subwoofer;12 x Sound Bridge 7122WX monitor wedge; 4 x Sound Bridge 7222WX monitor wedge; 5 x Lab.gruppen PLM 20K44 amplifier; 12 x HIVE 4X1350 amplifiers; 5 x HIVE four channel processors; 2 x Yamaha CL digital mixing console; 1 x Lake LM44 digital processor; 15 x Konig & Meyer tall telescoping booms; 12 x Konig & Meyer short telescoping booms; 4 x Konig & Meyer round base straight stands; 10 x Shure SM58 microphone; 6 x Shure SM81 condenser microphone; 6 x Shure SM57 dynamic microphone; 4 x Shure Beta 58A microphone; 2 x Shure PG58 wireless microphone; 2 x Shure 52A drum microphone; 1 x Shure 91A drum microphone; 8 x Sennheiser E604 cardioid microphone; 6 x Sennheiser e609 microphone; 3 x Sennheiser e 935 cardioid microphone; 2 x Sennheiser E835 dynamic wireless microphone

LIGHTINg, VISUAL & EFFECTS

24 x LoCus 1,500W moving head; 16 x LoCus XP3 Pointe moving head; 12 x LoCus BugEye 1910 Aura; 2 x LoCus Chesapeake spotlight; 1 x Martin Professional M1 console; 1 x HIVE high definition LED screen measuring 18ft x 30ft www.thebombfactory.com

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11.5.2015 11.37

096 VENUE

FRANÇAIS

Le Bomb Factory est un magnifique lieu de 50 000 pieds carrés (4 645 m²) situé au cœur du quartier historique Deep Ellum du centreville de Dallas, un endroit connu pour son riche passé musical. Ce lieu a d’abord été utilisé pour l’assemblage des voitures Ford au début des années 1900, avant d’être réquisitionné pour produire des bombes et des munitions lors de la Seconde Guerre mondiale, d’où l’origine du nom « Bomb Factory » (usine de bombes). Le réaménagement du bâtiment Bomb Factory — ayant gardé les fondations et les murs existants — permet aujourd’hui d’accueillir jusqu’à 4 300 visiteurs sur la mezzanine, dans les suites et les options VIP. Le fabricant et installateur de haut-parleurs Sound Bridge Acoustic Labs basé au Texas fut à la fois responsable de l’installation de la sonorisation et de l’éclairage. Deux colonnes d’enceintes doubles Sound Bridge 7225 XY, chacune constituée de 10 armoires, ont été suspendues de chaque côté de la scène principale. Pour soutenir le tout, 16 caissons de basse Sound Bridge 72185WX — huit de chaque côté — ont été choisis, ainsi que deux caissons de basse à haut rendement Sound Bridge 7221SWX. En ce qui concerne l’éclairage du lieu, on retrouve des lyres LoCus de chez Sound Bridge. Dans l’arrière-scène, le Bomb Factory a été équipé de panneaux LED haute définition HIVE de 5.48 m par 9.15 m, utilisés pour créer un mur vidéo d’où des images éclatantes sont visibles de tous les angles.

DEUTSCH

Der Bomb Factory ist ein hochmoderner, 50.000 Quadratfuß großer Treff mitten im historischen Deep Ellum in Downtown Dallas, einer Gegend, die für ihre reiche musikalische Geschichte bekannt ist. Zu Beginn seines Bestehens war der Treff ein Hersteller von Ford-Fahrzeugen Anfang des 20. Jahrhunderts und wurde dann im zweiten Weltkrieg in eine Bomben- und Munitionsfabrik umgewandelt, was im Namen Bomb Factory zum Ausdruck kommt. Eine kürzlich vorgenommene Umgestaltung der Bomb Factory, für die die bestehenden Fundamente und Wände verwendet wurden, sorgte dafür, dass dieser Treff nun mit seinem Zwischengeschoss, Suiten und VIP-Optionen Platz für 4.300 Gäste bietet. Sound Bridge Acoustic Labs, Hersteller und Installateur von Lautsprechern aus Texas, war für die Installation von Sound und Beleuchtung im Treff verantwortlich. Für die Hauptbühne wurden zwei Sound Bridge 7225 XY dual Line Arrays, die jeweils aus 10 Zellen bestehen, auf jeder Seite der Bühne aufgehängt. Zur Unterstützung wurden 16 Sound Bridge 72185WX Subwoofer, acht auf jeder Seite, zusammen mit zwei Sound Bridge 7221SWX Subwoofern mit hoher Ausgangsleistung ausgewählt. Für die Beleuchtung wurde der Treff mit LoCus Moving Heads von Sound Bridge. Der Bomb Factory wurde mit 18 x 30 Fuß hohen hochauflösenden HIVE-LED-Panels für den Backstagebereich ausgerüstet, mit deren Hilfe eine Videowand für plastische Bilder erzeugt wird, die aus jedem Winkel zu sehen ist.

ITALIANO

ed. Because of the adaptability present in these fixtures they can be used effortlessly within the installation and touring markets.”

For control a Martin Professional M1 console was chosen. The Bomb Factory has also been fitted with 18ft by 30ft high HIVE high definition LED screen at the back of the stage. The video wall creates vivid images, which are viewable from all angles.

Referring to the challenges of the project Michael reflected: “Finishing the installation proved to be much more of a challenge than we expected. We had been waiting for some material that was delayed in Los Angeles due to a dockworkers strike. In order to meet the deadline for opening night we had to fly out several Sound Bridge staff, they had the task of hand loading the containers of equipment into rented box trucks and then make a 28-hour drive back to Dallas.

This gave us just enough time for every Bomb Factory and Sound Bridge employee to finish installing the audio, video, and lighting systems. But despite the challenges the owners of Bomb Factory have made a fantastic space out of a piece of Dallas history. I believe that everything they do is for the benefit of the visitors and artists they come to see. And I think that’s why Sound Bridge was such a good fit, as we both do our best to bring the greatest performance possible to those watching and performing.”

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La Bomb Factory è uno stato dell’arte, con una sede di quasi 4650 m² si trova nel cuore dello storico Deep Ellum nel centro di Dallas, una zona conosciuta per la sua ricca storia musicale. Il locale è nato come posto dove si fabbricavano le automobili Ford nei primi anni del 1900, prima di essere incaricato di produrre bombe e munizioni per la seconda guerra mondiale da qui l’origine del nome Bomb Factory.

Un recente rinnovamento della Bomb Factory, che comunque ha continuato ad utilizzare le fondazioni esistenti e le mura, ha reso il luogo in grado di ospitare fino a 4.300 visitatori con i suoi piani mezzani, suite ed opzioni VIP. Per quanto riguarda l’istallazione sia dell’impianto audio che di quello luci è stata affidata ai texani produttori ed installatori di altoparlanti Sound Bridge Acoustic Labs. Per il palco principale, ai suoi lati sono stati appesi dei dual line array Sound Bridge 7225 XY ognuno composto da 10 cabinet. Come supporto sono stati scelti 16 subwoofer Sound Bridge 72185WX, otto per lato, insieme a due subwoofer high-output Sound Bridge 7221SWX. Per illuminare il locale sono state utilizzate delle teste mobili LoCus Sound Bridge. La Bomb Factory è stata dotata di pannelli LED Hive ad alta definizione da 5,49 m a 9,14 m, che arrivano fino al retro del palco, utilizzato per creare una parete video per immagini vivide visibili da tutte le angolazioni.

ESPAÑOL

Bomb Factory es un sitio con lo último en tecnología y 4.600 metros cuadrados ubicado en el corazón del histórico Deep Ellum en el Centro de Dallas, una zona conocida por su rica historia de la música. El sitio nació como una fábrica de autos Ford a comienzos de 1900, antes que se encargara ahí mismo la producción de bombas y municiones para la Segunda Guerra Mundial. De allí el origen de su nombre, Bomb Factory (del Inglés, Fábrica de Bombas). Una reciente restauración de Bomb Factory, en la que se utilizaron los cimientos y paredes existentes, dio como resultado un sitio con una capacidad de hasta 4.300 visitantes con su entrepiso, pisos y opciones VIP. Sound Bridge Acoustic Labs, fabricante de altoparlantes e instalador con base en Texas, fue responsable de la instalación tanto del sonido como de la iluminación del lugar. En el escenario principal se colgaron dos formaciones de cajas acústicas duales Sound Bridge 7225 XY, cada una compuesta de 10 gabinetes de cada lado del escenario. Para dar soporte se han elegido 16 subwoofers Sound Bridge 72185WX, 8 por lado, junto con dos subwoofers de niveles altos de salida Sound Bridge 7221SWX. Para la iluminación, el lugar fue equipado con cabezales móviles LoCus de Sound Bridge. Bomb Factory fue equipada con paneles LED de alta definición de 5,50 mts. x 9 mts. en forma de colmena en la parte trasera del escenario, utilizados para crear un video wall para imágenes vívidas que fueran visibles desde todos los ángulos.

Alike for ease. Distinct to suit.

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Both the D20 and D80 are controlled by intuitive user interfaces and incorporate four truly independent channels. Each provides extensive DSP capabilities for comprehensive loudspeaker management, switchable filter functions, two 16-band equalizers and up to 10 seconds of delay. Two amplifiers, alike in form and functionality but distinct in power output: D20 for small to mid sized applications, D80 for up to large scale needs.

098 VENUE

LIVEWIRE ARIZONA, USA The Americas

Livewire is a live music venue in the Entertainment District of Scottsdale, Arizona. The two-storey site, capable of holding 1,100 guests, hosts a variety of acts from national artists to up-and-coming local bands within its recently built 14,000sq ft venue. Livewire inhabits the same location that the iconic Axis-Radius nightclub did for 16 years and which closed in 2013 to make way for the new venue.

Evening Entertainment Group (EEG) owners of Livewire have 25 years of experience in pioneering dining, nightlife and event planning in Arizona. Jason Jones Lighting and AV Technician at EEG said the purpose of Livewire was to create a place that catered to bands but

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would be flexible enough to accommodate DJs, comedy or corporate. “We own other restaurants and bars in the area and we wanted a venue that wouldn’t compete with our existing properties,” said Jason. “Plus it needed to have its own personality so it could grow and make a name for itself.”

Jason enlisted the help of Adrian de Pamphilis, owner of visual and lighting system company, FYXX Entertainment to assist him with the install. Adrian was contracted to custom design a dynamic lighting and video system for Livewire. Jason and Adrian chose to use Elation products for this, as he believed the quality and service was a distinct advantage after meeting with subpar manufacturer support on prior projects. “The deal was sold on the service aspect,” said Adrian.

“That was very important. Jason and Les Corieri, the owner, only wanted one vendor to deal with, a single call, local, easy and conve-

VENUE 099

nient. We know that with such a large rig the possibility for something to go wrong is probable. But we also knew that with Elation it would be possible to have a replacement product shipped overnight with no drama, which is very important.”

Livewire hosts a variety of different events and the lighting brief called for the rig to be as versatile as possible. “Livewire not only wanted a powerful and professional lighting system but we needed to build a flexible rig that could do everything from a simple static wash look for a corporate event to more fun looks for a fundraiser to those crazy, high-energy looks for DJs and more upbeat acts,” Adrian stated.

“With this rig they can dress the venue differently each night.”

Mounted on both an upstage and downstage truss are nine Elation Platinum Wash 16R Pro moving heads and seven Elation Platinum Spot 5R Pro moving heads. The downstage truss additionally features

eight Elation Cuepix panels, six Elation Cuepix blinders and eight Elation Rayzor Q12 Zoom LED washlights used to cover the audience in colour and blinder effects. Gracing the mid-truss are eight Elation Platinum Beam 5R Extremes along with eight Elation Platinum Wash ZFX Pro’s, eight Elation Platinum Spot LED II, eight Elation Rayzor Beam 2Rs and 12 Elation EPAR Tri par cans. The DJ truss is equipped with six Elation Sniper 2R effect lights for beam and laser effects, and above the DJ video wall four Elation Lumina strips have been fitted for warm LED lighting. Above the dancefloor 16 Elation EZ4 LED panels create a 360° LED video centrepiece, alternated with a selection of interchangeable Elation moving heads depending on the type of event. Six Platinum Wash 16R Pro’s mounted to a straight truss are in place to light the stage or dancefloor, while five Elation Protron 3K LED strobes are spread among the rig for

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100 VENUE

high-energy bursts of light, and eight three-metre long sections of Elation Flex Pixel Tape have been fitted above the dancefloor as it can be cut to any length and easily integrated. The entire lighting rig is fully automated meaning it can move and tilt for greater design flexibility and can be lowered to the floor for easy service when necessary.

Livewire has a three-sided mezzanine that provides an unobstructed view of the dancefloor consisting of 159ft of Elation’s EZ4 LED panels that wrap around it. “It’s a stadium-style LED display that extends 270° around the mezzanine of the venue, similar to what you see at football stadiums or a basketball arena,” explained Gabriel de Pamphilis, co-designer on the project. “It’s a great design element that can be used to surround the room in effects when bands are playing. Companies can also use it as a brand tool when they hold events here, for product rollouts for example. It’s also used to sell ad space, which is another way for the venue to generate revenue.”

The Elation EZ4 panels feature in three other areas of the venue as

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well. A 20-metre by 16-metre EZ4 LED screen is used for backdrop visuals at the back of the stage while a 10-metre by six-metre EZ4 LED screen fronts the DJ booth when DJs take the stage, creating a layered video effect. The owners wanted the highest resolution LED panel available from Elation and the EZ4 was the right solution.

Each 4mm pixel pitch panel houses a high density of 10,816 pixels, ensuring a clear and sharp picture. “The EZ4 creates a stunning image at only a few feet away and a higher resolution screen wouldn’t have added anything visually,” Gabriel said. “It would have just been for bragging rights and there was no need to spend extra money for that.”

For special effects Livewire installed four Antari Z-1520 foggers, four Antari M-7 foggers and one Antari F-7 Smaze fog and haze hybrid.

The new F-7 Smaze has a switchable fog and faze mode, making it capable of producing both powerful fog and thin layer of haze to fill up the venue in just a few minutes.

Audio at Livewire is an EAW sound system. “I scouted the new

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102 VENUE

Anya rig and had EAW help with doing a dB rendering of the venue,” said Jason. “I had help with the install from Gabriel of FYXX, my team from EEG, Thomas Campbell and Anthony Avalia Donovan, and Andy from Pro Productions.”

The main system consists of 12 EAW Anya array boxes and six EAW SB2001 subwoofers. To allow for both a club sound, as well as a live venue set-up, Jason decided to install four Anya boxes on either side of the stage, plus two left rear of the stage and two right rear of the stage. The subwoofers have been placed on the floor underneath the stage in concrete bunkers. For the DJ monitors two EAW Avalon CLUB.three loudspeakers and two EAW Avalon SUB.two subwoofers were chosen. The balcony fills on the second floor consist of one EAW KF394NT loudspeaker on each side and one EAW QX594I trapezoidal enclosure in the middle down firing from the ceiling to fulfill the very front row towards the stage. There are also 21 Martin Audio C6.8T loudspeakers in-ceiling loudspeakers to cater to the downstairs bar area and green room.

Four Powersoft X8 amplifiers and a Powersoft Ottocanali 12K4 amplifier provide amplification. And an EAW Greybox software package was selected to tune the loudspeakers correctly. For control an Avid VENUE profile system has been chosen for FOH and an Avid VENUE SC48 console with dual PSU is used for the stage control.

For processing a QSC Core 250i processor with a Dante card and I/O frame for extra inputs and outputs was specified.

Jason reflected on his experience with the project: “I’ve been with EEG for 14 years and built everything we own today that involves audio, intelligent lighting, special effects, 3D LED cube, TVs, basically anything that was a challenge and needed to be solved in that area. With this experience and the project brief, I scouted out what I wanted in Livewire and got the best of the best.”

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TECHNICAL INFORMATION SOUND

12 x EAW Anya array box; 6 x EAW SB2001 subwoofer; 2 x EAW Avalon CLUB.three loudspeaker; 2 x EAW KF394NT loudspeaker; 2 x EAW Avalon SUB.two subwoofer; 1 x EAW QX594I loudspeaker; 21 x Martin Audio C6.8T loudspeaker; 4 x Powersoft X8 amplifier; 1 x Powersoft Ottocanali 12K4 amplifier; 1 x Avid VENUE profile system; 1 x Avid VENUE SC48 mixing system; 1 x EAW Greybox software package; 1 x QSC Core 250i processor

LIGHTINg, VISUAL & EFFECTS

194 x Elation EZ4 LED panel; 12 x Elation EPAR Tri par can; 9 x Elation Platinum Wash 16R Pro moving head; 8 x Elation Platinum Beam 5R Extreme moving head; 8 x Elation Platinum Wash ZFX Pro moving head; 8 x Elation Platinum Spot LED Pro II moving head; 8 x Elation Cuepix Panels; 8 x Elation Rayzor Q12 Zoom LED moving head; 8 x Rayzor Beam 2R moving head; 8 x Elation Flex pixel tape; 7 x Elation Platinum Spot 5R Pro moving head; 6 x Elation Cuepix Binder; 5 x Elation Protron 3K LED strobe; 4 x Elation Lumina strip; 4 x Antari Z-1520 RGB fogger; 4 x Antari M-7 fogger; 1 x Antari F-7 Smaze fog/faze hybrid www.livewireaz.com

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106 VENUE

Photo credit: Kraftwerk Living Technologies

CHIMELONG OCEAN KINGDOM - 5D CASTLE THEATER ZHUHAI, CHINA

ASIA/PACIFIC/OCEANIA When Chimelong Ocean Kingdom opened its doors in March 2014, it set no less than five Guinness World Records. The monolithic aquatic theme park in Zhuhai, China, was accredited as being the largest aquarium on planet earth. It also set records for having the biggest underwater viewing dome, plus the largest aquarium tank, aquarium window, and acrylic panel to boot. Just over 12-months later, with the addition of the 5D Castle Theater, the biggest just got even bigger.

In keeping with its surroundings, the latest addition to Chimelong Ocean Kingdom’s supersized offering of aquatic entertainment is on the larger side of life. The 5D Castle Theater boasts the largest number of 4D seats in one venue and the biggest 3D screen on earth.

The feats continue all the way throughout the technical infrastructure,

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which was designed and implemented by Kraftwerk Living Technologies.

As the design-build vendor, Kraftwerk Living Technologies’ responsibilities were expansive, leading the technical design, detailed planning, supply, integration, programming and commissioning for the entire venue. This included all the technological elements like the 3D screen, projection system, audio, 4D motion seats including auxiliary equipment - water system and compressed air system - control and show control systems, show lighting and special effects.

An intensive design phase of over 16-months, which was led by the company in close cooperation with Chimelong’s design team, was followed by an equally intensive integration and implementation phase of nine-months onsite. It proved to be a challenging yet rewarding experience, which involved coordinating a range of disciplines.

Thanks to a combination of knowledge, expertise and experience of working on projects of a similar nature, the integration specialist

VENUE 107

Photo credit: Chimelong Ocean Kingdom

was well placed to meet the demands of the project. Kraftwerk Living Technologies has been in business for nearly 25 years, in which time it has delivered audiovisual integration and 4D/5D theatres to ground-breaking theme park attractions around the world. Based in Wels, Austria, the company has branches in China, Belarus and Russia - employing over 100 people worldwide.

The aim in Zhuhai was to create something magnificent - that would work with the other attractions within the park and raise the overall standard even higher. This was tackled in two ways. Firstly, go big the size of the room, the size of the screen and the predetermined number of visitors per show. These factors alone have been a real challenge for the technical design of the attraction. Secondly, deliver consistent and unforgettable experiences - guarantee that every

single visitor embarks on the same overwhelming and stunning 5D adventure, no matter where they are placed within the auditorium.

At times, these requirements led Kraftwerk Living Technologies to the limits of the existing technical possibilities. But then the company would go beyond the old parameters by creating bespoke solutions.

This was very much the case when it came to the projection system and 4D seating.

Kraftwerk Living Technologiesâ&#x20AC;&#x2122; new 4D SFX Motion seats have been used for the first time at the 5D Castle Theater. This is the third generation version of the seats, which feature enhanced movement and programming capabilities. The upgraded model features a number of in-built special effects, including: neck blast, poke effect, seat vibration and leg ticklers. For this particular project, they have also

108 VENUE

Photo credit: Kraftwerk Living Technologies Photo credit: Kraftwerk Living Technologies

TECHNICAL INFORMATION SOUND 14 x Meyer Sound 600-HP subwoofer; 56 x Meyer Sound MICA curvilinear array loudspeaker; 15 x Meyer Sound 700HP subwoofer; 22 x Meyer Sound HMS-12 cinema surround loudspeaker; 12 x Meyer Sound UPQ-2P narrow coverage loudspeaker; Meyer Sound D-Mitri digital audio platform; 2,000 x In-seat SFX loudspeaker; In-seat SFX audio signal distribution; Crestron system wide control system; Brainsalt show control system LIGHTING, VISUAL & EFFECTS 62 x Robe Robin MMX Spot moving head; 46 x Robe Robin 1200 LEDWash moving head; 20 x Martin Professional Atomic 3000 DMX strobe; 128 x Birket SB-011QD strobe; 1 x Spitz 3D cinema screen measuring 87,828mm x 18,000mm; 12 x Christie D4K3560 projector; 1 x Brainsalt central controller server; 1 x Brainsalt network attached storage; 12 x Brainsalt one-channel native uncompressed 4K video server; 1,000 x Kraftwerk Living Technologies 4D armrests including water blast, air blast, wind system, scent system special effects and LED lighting http://zh.chimelong.com/Oceankingdom/EN/

been equipped with the company’s bespoke in-seat stereo effect loudspeakers.

The seats are driven by a pneumatic motion base, featuring four ‘Dimensions of Freedom’ real analogue movement, to pitch forward and backward, roll side to side, tilt up and down, and sway from left and right. Each motion base supports three or four seats.

The truly bespoke innovation, which is specific to the challenges of the 5D Theater, is the newly developed Special Effects Armrest.

It provides a number of high-performance effects, including wind, scent, water blast, air blast, strobe lighting and coloured LED lighting - all of which can be programmed to precise timings.

Compared to other installations, this personalised approach guarantees a much better performance as the special effects are more focused on the individual in comparison to them coming from the ceiling, railings or the seat’s backside. This is especially important for such a large theatre.

The Special Effects Armrest also features a unique seat occupancy sensor that makes it possible to deactivate unoccupied seats. This marks an important efficiency breakthrough for the sustainable operation of multi-dimensional theatres.

As well as the personalised movements and effects, the auditorium boasts room features, including splash/rain effect, strobes, ground fog, smoke, snow and scenic lighting - plus an animatronic plane from Advanced Animation.

There are 1,000 4D SFX Motion seats installed, along with two

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wheelchair bays. Every member of the audience, regardless of their position within the theatre, is afforded a prime view of the huge 3D screen. The record-breaking hyper-panorama silver screen measures a mind-blowing 88-metres wide and 18-metres high (10344 x 2120 pixels), and has a curvature radius of 29-metres. It supports both 2D and 3D projection.

The 5D Castle Theater is installed with a Christie Digital projection system, comprising 12 D4K3560 high frame-rate, three-chip DLP, 4K projectors, with customised lenses. These are served by a Brainsalt media server system, which handles frame synchron playback, alignment, warping and blending. The media server system’s heart is the central controller server which serves 12 one-channel native uncompressed 4K video servers (slaves) featuring 60 fps, an alignment server and a network attached storage server.

Christian Hofer, Managing Partner and Technical Director of Kraftwerk Living Technologies explained: “The goal was to provide an immersive experience for every single visitor - therefore a 180º screen layout was necessary. After defining these parameters, we had to set up a high-performance projection system - 4K projection was needed due to large viewing distances and the extremely high image resolution of 10344 x 2120 pixles. Although we had chosen the highest performance projector available in the market, we realised that we still had too little light output. Our specialists’ knowhow and experience was put to the test at this point.

“After carrying out some special analysis and with a little outside

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110 VENUE

Photo credit: Chimelong Ocean Kingdom

the box thinking, they found the solution: to achieve the light output that was needed, the projection had to be divided into three sections, each featuring four projectors. So far, so good - but now the next challenge appeared. How would these 12 projectors be combined to get the projection beams through the three relatively small projection windows?

“But because the challenge was so demanding, our specialists had to develop some special lenses. These lenses helped us to meet all the requirements for projection angles and for optimising the light.

It wouldn’t have been possible to realise this projection system with standard lenses. The result is highly impressive and we are very proud of this one of a kind installation, which has definitely set a new benchmark.”

In keeping with the ground-breaking precedent set by the rest of the technical infrastructure, the sound set-up is described by Kraftwerk Living Technologies as ‘the largest cinema audio system in the world’. At a total of 2,119 loudspeakers, there seems little reason to doubt that claim.

It features a Meyer Sound room system, comprising seven main screen channel arrays, each consisting of two 600-HP high-power subwoofers and eight MICA curvilinear array loudspeakers. The system is complemented by a main subwoofer cluster comprising 15 700-HP ultra high-power subwoofers, 22 HMS-12 surround effect speakers and 12 UPQ-2P point source special effect loudspeakers.

The system is managed by a Meyer Sound D-Mitri digital sound processor, which is designed for high-resolution audio - offering 96 kHz sample rate, up to 64-bit floating-point processing and 24-bit A/D/A conversion. Remote monitoring of the system is possible via the RMS Server.

Discussing why Meyer Sound was the right choice for this particular project, Christian explained: “Generally, when it comes to high-end cinema audio systems, there is only a handful of potential suppliers. In this case, in consideration of the huge dimensions and the exceptional listening distances, there is definitely no cinema audio system available on the market that could meet the requirements for this huge cinema venue. Even high-performance cinema audio systems can cover listening distances of about 30 metres maximum, but in the 5D Castle Theater there are listening distances of up to 44

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metres.

“Again, the idea that was finally developed by our audio specialists was the result of their extensive knowhow and outside the box thinking. As Meyer Sound not only provides state-of-the art cinema audio systems but is also renowned for its high-performance concert sound systems, we had the idea to combine these two disciplines in the 5D Castle Theater. With the integration of the concert technology in the form of line arrays, the acoustic energy could be increased to ensure that the entire auditorium could be filled with professional sound. By executing numerous simulations of the sound propagation, our specialists were able to precisely define the position of every single speaker and ensure a perfect sound experience in the entire auditorium.

“Meyer Sound was the best choice for this project because of their high-level competence in both cinema audio systems and concert audio systems. We look back on a long-term symbiotic collaboration with Meyer Sound and have always been very satisfied with their high-end products.”

Each of the seats has been installed with two SFX loudspeakers.

Audio signal distribution for the seat speakers arrives via one of the largest AVB networks in the world - designed by Kraftwerk Living Technologies in cooperation with Meyer Sound.

The auditorium is also home to a serious amount of dynamic lighting - more than 155 fixtures in total. There are 62 Robe ROBIN MMX Spots, 46 ROBIN 1200 LED Wash lights, 20 Martin Professional Atomic 3000 DMX strobes and a Birket LED strobe system with 128 strobes.

Christian continued: “Through our sightline studies, we realised that there was a lot of ‘empty’ space off the screen - on the floor and ceiling. As the goal was to create the most immersive environment possible, the logical conclusion was to also utilise this available space to enhance the immersive experience. The implemented lighting system provides almost endless possibilities for creating various lighting scenarios that supports the story. For example, thanks to the moving heads, it is possible to create a wave effect supporting aquatic film scenes. The 128 LED strobe lights are pixel mapped to the screen in order to support the film’s visual effects. The lighting system is the finishing touch that enhances the visitor experience and therefore is

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112 VENUE

FRANÇAIS

Photo credit: Chimelong Ocean Kingdom

Lorsque le Chimelong Ocean Kingdom a ouvert ses portes, le site a obtenu pas moins de cinq records du monde Guinness. Ce splendide parc aquatique situé à Zhuhai, en Chine, fut reconnu comme étant le plus grand aquarium sur la planète terre. Un peu plus de 12 mois plus tard, avec l’arrivée du Castle Theatre en 5D, ce qu’il y avait de plus grand est devenu encore plus grand ! Ce théâtre en 5D possède le plus grand nombre de sièges 4D réunis en un seul lieu et le plus grand écran 3D du monde. D’importantes responsabilités reposaient sur les épaules du fournisseur de conception et de construction Kraftwerk Living Technologies qui mena la conception technique et les études, et s’occupa de l’approvisionnement, de l’intégration, de la programmation et de la mise en service de l’ensemble du site. Ceci comprenait tous les éléments technologiques comme l’écran 3D, le système de projection, le système audio, les sièges modulables en 4D ainsi que l’équipement auxiliaire, le contrôle et les systèmes de contrôle de spectacles, l’éclairage des spectacles et les effets spéciaux. Le Castle Theater en 5D est muni d’un système de projection Christie Digital alimenté par un système de serveur de médias Brainsalt. En plus du système principal, quelque 2 119 haut-parleurs ont été fournis par Meyer Sound, et l’éclairage dynamique par Robe, Martin Professional et Birket. Les responsables du parc à thème et univers aquatique Chimelong cherchaient à créer quelque chose de vraiment unique lorsque leur équipe créative élabora les plans du théâtre en 5D à l’architecture de château, le Castle Theatre. La société Kraftwerk Living Technologies les a aidés à créer exactement cela — une expérience multisensorielle dont les visiteurs se souviendront longtemps.

DEUTSCH

an indispensable part of the 5D Castle Theater.”

The different technological elements are brought together by a Crestron/Brainsalt Media control system for the feature show - ‘Kaka’s Great Adventure’. The 18-minute production has been produced by Prana Studios, with music composition by Klaus Badelt and creative lead from Rick Rothschild of Far Out! Creative Direction Inc. Of course, the project was not without a challenge or two along the way.

Manfred Meier, CEO of Kraftwerk Living Technologies, explained: “Although we are a very experienced provider of 4D attractions - we built our first 4D theatre exactly 10 years ago and have installed nearly 100 4D attractions all over the world since then - this project was, due to the exceptional dimension and incredible complexity, a very special challenge for us. In order to achieve the project’s design, technical and time schedule goals, all aspects of staffing, design, procurement, production, shipping, installation and programming had to be scaled up.”

“However, the most challenging task was the coordination of all disciplines and parties involved. Even if Kraftwerk Living Technologies has not been responsible for show production and content production, close collaboration with the responsible parties has been essential.

Only when every single party is focussed on providing a high-end solution, a project like this can be successfully implemented.

“To guarantee perfect coordination, Kraftwerk Living Technologies decided to engage an experienced industry expert for onsite integration management. Looking back, this was one of the most important success factors. At this point, we would like to point out that the realisation of this project would not have been possible without the total commitment of our entire team at our headquarters in Wels and on site.”

Project Manager, Werner Spiegel, added: “The challenge of working with local sub-contractors - in terms of language barrier - further heightened the complexity of this installation. However, a very cooperative and dedicated local team made up of several sub-contractors, under the guidance of Chimelong, allowed for a multi-lingual site.”

Chimelong Ocean Kingdom set out to create something truly unique when its creative team hatched plans for the 5D Castle Theater.

Kraftwerk Living Technologies has helped them to do just that - a multi-sensory experience that visitors are likely to remember for long after their visit. Reflecting on the project, Manfred said: “This project sets a new benchmark in the industry. It will bring back 4D theatres as main attractions to parks. Now, more creative ideas are called for that will utilise these advanced technical resources. This not only applies to 4D theatres, but to all kinds of media-based attractions.”

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Bei der Eröffnung des Chimelong Ocean Kingdom wurden nicht weniger als fünf Guinness-Weltrekorde aufgestellt. Der monolithische AquaThemenpark in Zhuhai, China, gilt als das größte Aquarium der Welt.

Gut 12 Monate später wurde der Größte mit der Erweiterung um das 5D Castle Theater noch größer. Das 5D Castle Theater weist die meisten 4D-Sitze in einem Veranstaltungsort und die weltweit größte 3D-Leinwand auf. Die Verantwortung des Generalplaners Kraftwerk Living Technologies war sehr groß. Sie kümmerten sich um die technische Konzeption, die detaillierte Planung, Beschaffung, Integration, Programmierung und Inbetriebnahme für das gesamte Projekt. Dies umfasste alle technologischen Elemente wie die 3D-Leinwand, das Projektionssystem, Audio, 4D-Bewegungssitze einschließlich Zusatzausrüstung, Kontrollund Show-Kontrollsysteme, Showlicht und Spezialeffekte. Im 5D Castle Theater wurde ein digitales Christie Projektionssystem installiert ,das durch ein Medien-Server-System von Brainsalt bedient wird. Insgesamt 2.119 Lautsprecher, das Hauptsystem von Meyer Sound und dynamische Beleuchtung von Robe, Martin Professional und Birket. Chimelong Ocean Kingdom wollte etwas wirklich einzigartiges anbieten, als das Kreativteam die Pläne für das 5D Castle Theater ausgebrütet hat. Kraftwerk Living Technologies unterstützte sie genau dabei - eine multisensorische Erfahrung, an die sich die Besucher noch langer erinnern werden.

ITALIANO

Quando Chimelong Ocean Kingdom ha aperto le sue porte ha ottenuto almeno cinque record mondiali. Il monolitico parco a tema acquatico di Zhuhai (Cina) è stato accreditato come il più grande acquario sul pianeta terra. Poco più di 12 mesi più tardi, con l’aggiunta della Castle Theatre 5D, quello che era già considerato grande lo è diventato ancora di più. La Castle Theatre in 5D vanta il maggior numero di sedie in 4D nello stesso luogo ed il più grande schermo 3D sulla terra. A Kraftwerk Living Technologies (azienda che si occupa di progettazione e costruzione) è stata affidata la responsabilità di estende e portare avanti il progetto tecnico, di fare una pianificazione dettagliata, fornire, integrare, programmare e commissionare l’intera struttura. Ciò includeva tutti gli elementi tecnologici come lo schermo 3D, il sistema di proiezione, il sistema audio, le sedie mobili 4D (comprese le apparecchiature ausiliarie), i sistemi di controllo sia generale che dello spettacolo, l’ illuminazione dello spettacolo e gli effetti speciali. Nel Castle Theatre 5D è stato installato un sistema di proiezione Christie Digital che è servito da un sistema di media server Brainsalt. Un totale di 2.119 altoparlanti con il sistema principale fornito da Meyer Sound e l’ illuminazione dinamica da Robe, Martin Professional e Birket. Chimelong Ocean Kingdom ha deciso di pensare a qualcosa di veramente unico quando il suo team creativo ha pianificato il Castle Theater 5D. Kraftwerk Living Technologies li ha aiutati a fare proprio questo: un’esperienza multi sensoriale che i visitatori sono propensi a ricordare per molto tempo dopo la loro visita.

ESPAÑOL

Cuando el Chimelong Ocean Kingdom abrió sus puertas, marcó no menos que cinco records mundiales Guinness. El monolítico parque de atracciones acuático en Zhuhai, China, fue considerado como el acuario más grande de todo el planeta tierra. Poco más de 12 meses después, con el agregado del Castle Theater en 5D, el más grande de todos se volvió más grande aún. El Castle Theater en 5D presume de tener la mayor cantidad de asientos 4D en el mismo lugar y la pantalla 3D más grande del planeta. Las responsabilidades de Kraftwerk Living Technologies, como vendedor del diseño edilicio, eran las de ampliarse, encabezar el diseño técnico, la planificación detallada, el suministro, integración, programación y contratación del lugar entero.

Esto incluía todos los elementos tecnológicos como la pantalla 3D, el sistema de proyección, el audio, los asientos móviles en 4D incluyendo el equipamiento auxiliar, los sistemas de controles para el show, la iluminación del show y los efectos especiales. El Castle Theater en 5D fue instalado con un sistema de proyección Christie Digital servido por un sistema de servidores media Brainsalt. Un total de 2.119 altoparlantes con el sistema principal provisto por Meyer Sound e iluminación dinámica de Robe, Martin Professional y Birket. Chimelong Ocean Kingdom tenía la intención de crear algo verdaderamente único cuando el equipo creativo se le ocurrió planificar el Castle Theater en 5D. Kraftwerk Living Technologies los ayudó a hacer exactamente eso- una experiencia multi-sensorial que los visitantes pudieran recordar durante mucho tiempo luego de la visita.

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114 VENUE

AI’NENG INTERNATIONAL nanjing, china

ASIA/PACIFIC/OCEANIA Ai’neng International Executive Club, one of the largest and most luxurious nightclubs in Nanjing, China is housed in what was previously the Diving Hall of Wutai Mountain sports centre in Jiangsu Province, China. Taking full advantages of the original diving hall space, the club features a Moulin Rouge style sport water-dance show that could rival similar performances from Las Vegas.

Ai’neng International is one of Asia’s top entertainment complexes and features a performance hall, wine bar, cigar salon, champagne bar and a space suitable for events and parties. Owners of the nightlife venue worked with Senior Entertainment Audio Designer, Winner

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Pan from Real Music - Adamson’s Chinese distributor - to design and install a sound reinforcement system that would support high level, energetic music performances.

Stylish performers - both male and female - entertain clubs goers night after night on a prominent yet sophisticated stage. The dance show takes place in the performance hall, which is equipped with an Adamson PA consisting of left and right hangs of Adamson SpekTrixW three-way active loudspeakers - three per side - which offer an upgrade on the dispersion from 5º vertical to 15º tin comparison to the Adamson SpekTrix cabinets. This coverage pattern makes the

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SpekTrixW array an ideal choice for this wide vertical array application, ensuring every visitor to the club can feel embraced by the sound. The SpekTrixW arrays are coupled with an Adamson SpekTrix SUB dual 18-inch subwoofer, one per side.

Delay support is provided by two further line arrays, this time using Adamson’s Metrix Series. Six Metrix-i line array cabinets and two dual 15-inch Metrix SUB subwoofers are split either side of the performance area.

Low-end coverage is provided by eight Adamson A218 subwoofers and 12 Adamson Point 215 SUBs distributed throughout the venue

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116 VENUE

to ensure maximum average SPL of 130dB, while ensuring ± 3dB disparity.

Elsewhere on the outside deck area is equipped with 46 Adamson Point Series loudspeakers - a combination of the Point 15 and the Point 12 full-range loudspeakers - to ensure that the outside seating area is covered with exceptional direct sound. The Point 15’s, the largest cabinets in the series, provides high SPL and strong mid-low power. While the Point 12’s offer high fidelity, high SPL and an ample amount of low frequency energy.

To provide amplification for the club, Real Music turned to Camco. A total of 19 Camco V6 amplifiers, which features a unique power regime consisting of an extensive power bank that is stable, even down to one ohm loads and the V6 has the ability to run in either stereo, bridge mono and parallel mono operation modes. A further three amplifiers from the same series, this time the V8 were also installed, alongside one Camco D4 two-channel amplifier, capable of 2kW per channel and also utilises a hybrid Class-H amplifier engine.

Loudspeaker management control is organised via an Apex Intelli-Z2 processor with a four input and eight out configuration, integral mixer and selectable analogue / AES-3 I/O and an integral analyser-bridge, making the processor a perfect match for this type of fixed installation. Mixing requirements are taken care of by a Midas PRO1 console and a Pioneer DJ set-up of DJM-2000 mixers and CDJ-2000 multiplayers. While the microphone inventory is made up from models of Sennhesier and DPA. In addition to the full range Adamson PA, the Camco amplification, the Apex processing and the Midas mixer, the club has also been kitted out with an internationally renowned lighting equipment from Martin Professional and ADJ, laser effects from Laserworld, an unprecedented 360º holographic using 3D imaging technology, and a circular water curtain.

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TECHNICAL INFORMATION SOUND 6 x Adamson SpekTrixW loudspeaker; 2 x Adamson SpekTrix SUB dual 18-inch subwoofer; 6 x Adamson Metrix-i line array cabinet; 2 x Adamson Metrix SUB subwoofer; 8 x Eight Adamson A218 subwoofer; 46 x Adamson Point Series loudspeaker; 12 x Adamson Point 215 SUB subwoofer; 19 x Camco V6 amplifier; 3 x Camco V8 amplifier; 1 x Camco D4 amplifier; 1 x Apex Intelli-Z2 processor; 1 x Midas PRO1 console; 4 x Pioneer DJM-2000 mixer; 2 x Pioneer CDJ-2000 multiplayer; Sennheiser and DPA microphones LIGHTING & EFFECTS 19 x Martin Professional MAC 350 Entour moving head; 2 x Martin Professional MAC III moving head; 20 x Martin Professional MAC 101 moving head; 12 x ADJ Tri 60 LED batten; 61 x GTD 5R moving head; 2 x Martin Professional Magzum 1800 fog machine; 1 x Martin Professional K1 fog machine; 2 x Laserworld Piko laser; 1 x Phoenix lasershow control software www.real-music.com.cn

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IN BUSINE S S KOBA, Seoul ATTENDED BYJAMIE DIXON

Palm Expo india, Mumbai ATTENDED BY ASHLEY WHITE

Stage | Set | Scenery, Berlin ATTENDED BY ASHLEY WHITE

Infocomm, Orlando ATTENDED BY LAURA ILES

PRODUCT GUIDE LED

PRODUCT DIRECTORY LAST PAGE MARKUS AUGENSTEIN - AUDIOCENTER

Itâ&#x20AC;&#x2122;s been a busy couple of months for travel. Opening the In Business section, Jamie reports on his first experience of the KOBA show in Seoul.

Next, we travel to Palm Expo in Mumbai, India. The expo announced the news that the show will transfer ownership from its current owners, Diversified India to ITE Group, an Indian subsidiary of PLC, read more about it on page 124.

Ashley also offers her opinion on the first ever Stage | Set | Scenery in Berlin. A relatively small show that focusses mainly on the theatre and broadcast markets. And our last show report is by Laura who attended Infocomm in the sunshine state of Orlando in mid-June.

The Product Guide looks at a popular topic in lighting - LED. In this broad category we have products such as moving heads, LED displays and video fixtures to name but a few. And we round off the section with an interview from Mark Augenstein, Sales and Marketing Director at Audiocenter.

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1. Bill and Ji of Ji-Rayer. 2. Bo-San Lee from Inter M Corporation. 3. Ian Wright of HH Electronics with Kyungho Chun of Sovico. 4. Alex Kostenko and Andreas of AudioFocus flank mondo*dr’s, Jamie Dixon. 5. DJ and the Soundus team.

KOBA SEOUL

So far this year, the tradeshow calendar has taken me to the USA, Germany, Belgium and The Netherlands. In mid-May, ‘the land of the morning calm’, or Seoul in South Korea to most people was next on my list.

This was a completely new destination for me and I was excited to see what this famous city, steeped in history, had to offer and more importantly, make sure our shipment of magazines had arrived safely for distribution at this year’s annual KOBA show.

Boasting some of the world’s largest technology companies Seoul can lay claim to being a front-runner on a global level. I hoped that this year’s 25th KOBA show could demonstrate this over the near 30,000 sq metres allocated for exhibitors.

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After a short walk from my hotel, shoulder to shoulder with the busy commuters of Gangnam, I arrived at the COEX Convention & Exhibition centre ready to see what the opening day on 19 May had to offer.

With an interesting blend of broadcasting, lighting and sound, the show was divided into three halls, one of which was on a level above and felt slightly more awkward and difficult to access in comparison to the two halls sitting side by side on ground level. Having said that, this didn’t appear to detract from visitors, as this hall in particular appeared busy throughout. The lower level halls were mainly dedicated to professional audio with a smattering of lighting while the upper level focussed on broadcasting.

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122 EXPO

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1. Coda Audio’s Paul Ward. 2. The Sovico stand. 3. Jai Park from Sama Prosound. 4. Dasan SR’s Jeff Na. 5. John Lee and the team on the K2Wave Techologies stand.

According to the official figures the total number of visitors reached 43,360 over the four days, almost identical to last year’s figure. There was certainly a steady stream of people and regular trips to the mondo*dr stand were required due to the healthy disappearance of magazines from our booth. Always a good sign.

Although my legs didn’t quite make it to all 932 exhibitors, I did find the time to meet with many of the local companies including: Soundus, which distributes DiGiCo, Coda Audio, K-array and Rane; Sovico that takes care of HH Electronics, QSC and Earthworks in Korea; Allen & Heath, Shure and HK Audio distributor, Sama Sound; Dasan SR, which displayed products from EAW, Powersoft, XTA, Yamaha; TechData, which distributes Harman brands JBL, Soundcraft, AKG; and Sound Solution, which looks after Adamson, Beyerdynamic, RCF and Sommer Cable.

Nestled at the back of Hall A, interspersing light across an audio dominated landscape was LS Media, a manufacturer of professional stage and studio lighting products. The Tongsuh Technology stand had a variety of well-known brands on display such as Clay Paky, JB Lighting, Spotlight, Strand and Selecon, as well as the newly created partnership with Wireless Solution that was announced during the show. And Acme Korea dazzled visitors and exhibitors alike with its new XP Series.

Speaking to people on the show floor, there was an evident consensus that KOBA

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has developed a more international flavour over the last few years. It is always refreshing to see people making the efforts to travel overseas to support their distributors. It didn’t take long for me to bump in to some familiar faces on the show floor, whether it was the likes of Alex Kostenko and Andreas from AudioFocus who I had recently spent some time with in Belgium; the well travelled Niclas Arvidsson on the Tongsuh Technology booth; Ian Staddon from DiGiCo and Paul Ward from Coda Audio on the Soundus stand; or the newly acquainted Ian Wright from HH Electronics. It is fair to say that the foreign contingency was well represented.

A special thanks should also go out to the Soundus team who kindly took me under their wing and invited me to a traditional Korean BBQ. Sitting cross-legged for over an hour left me barely able to walk - and no, it wasn’t the Soju… honestly - but I have to say it was a truly unique and special experience with a group of people that were a pleasure to spend time with.

The warm welcome from the people of South Korea, the wonderful culture and pleasant climate along with a well organised show gave me a great first impression of a city and tradeshow that I will look forward to visiting again.

KOBA is set to return next year but dates have yet to be confirmed. For more information, go to: www.kobashow.com

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124 EXPO

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1. Prashant Govindan on the Harman stand. 2. The DJ Power and Light Sky stand. 3. The team from Pro Musicals strike a pose with the latest issue mondo*dr. 4.The Roland stand. 5.

Stagemaker products are distributed by Vinar Systems in India. 6. The Electro-Voice team. 7.The team from Osram. 8. The youngest team members from Dynamite. 9. Prolyte held trussing demonstration in association with its distributor Modern Stage Service.

PALM EXPO INDIA MUMBAI

After an overnight flight to India the mondo*dr team touched down in the city of Mumbai ready for the Palm Expo India. As my first time to the country my senses were dazzled by the sheer personality it had to offer. Hot, busy and colourful - our hotel was a 20-minute cab journey away from the airport and it was difficult to keep my attention fixed on one thing for long.

The expo took place for the 15th consecutive year on 29-30 May at Bombay Exhibition Centre. However, it was announced earlier this year that its current owners Diversified India would be transferring ownership to London based ITE Group PLC’s Indian subsidiary. Palm has experienced five years of substantial growth

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whilst under the ownership of Diversified India. In terms of both exhibit space and an increase in trade and professional visitors to the show. Numbers have gone up from 6,000 in 2009 to 20,000 in 2014. Matthew Pearce, Chairman of Diversified USA announced that the decision to divest its portfolio in India was due to the investment climate being ‘challenging both in infrastructure and regulation’. And that the companies ‘strategy for growth in Asia does not have synergy with the Indian marketplace’.

However, despite this news there were plenty of notable announcements. Avolites revealed the appointment of Intergrated Entertainment Solutions (IES) as its

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15 10. The HiTECH stand displaying RCF products. 11. The Nexo stand. 12. The team from Yamaha. 13. Clifford Pereira of Sound Team, which distributes Genelec. 14. Kamal Mahtani of Klotz, James ‘Digger’ Bradley from DiGiCo, Peter Owen from L-Acoustics and Rajan Gupta of HiTECH. 15. The P.Audio Systems stand.

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1. The TriMac stand. 2. The Modern Stage Service team. 3. The Eighteen Sound stand. 4. Video Design’s Vijay Sabhlok with Davinder Wadhwa of Modern Stage Service on the Dataton stand. 5.

Lavoce’s Pierpaolo De Minicis and Kureti Venogopal Rao. 6. Madhav Jain from Sennheiser. 7. Claus Spreyer from Robert Juliat. 8. The team from LBT. 9. All the team from Acoustics Arts line up. 10. The team on the IES stand representing Avolites and Robe. 11. The team from Epson next to its latest projector product.

sole distributor for the Indian market. IES is an 18-year-old distribution and trading company based in Mumbai, pioneering in the fields of intelligent lighting, professional audio and control systems. “We are delighted to announce IES as our sole distributor for India,” said Avolites Sales Manager, Stephen Baird-Smith. “They have a very professional approach to sales and marketing which we felt would help us deliver the benefits of our latest Titan product range to the Indian market. Their affiliations with innovative brands, and commitment to genuine products speak for themselves.”

Harman made some enthusing announcements at the show including welcoming musicians Siddharth Mahadevan and Stephen Devassy as the newest brand ambassadors for its Lexicon and AKG audio brands, respectively. “We’re extremely

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honoured to welcome both Siddharth and Stephen into the Harman fold,” said Prashant Govindan, Director of India Operations at Harman India. “It’s a matter of great pride when the country’s top musicians come forward to speak about their excellent experience with Harman’s products and cutting-edge technology.” Also publicised by Harman was the launch of its new mobile app for its professional users in India. Using the app gives customers access to Harman’s 24/7 support and service helpdesk to report any breakdowns or damaged products and get a response within three hours. “Harman Professional customers have non-traditional work hours,” said Prashant. “The nature of our business requires us to be available at any time and at any place. With this easy to use application, we have taken a step forward in bringing a best-in class service experience to our customers in the

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13. The team from Sonodyne. 14. A presentation from Bose about its latest products. 15. The ZSound team. 16. The TOA team. 17. Delhi Light & Music highlighted products from FBT. 18. The White Eagle Entertainment team. 19. A representative from Köing & Meyer waqs pleased to receive his copy of mondo*dr. 20. Alessandro Pagliani and his colleauges from KV2 Audio. 21. Frank Andrewartha of Quest Engineering. 22. Davinder Wadhwa from Modern Stage Service and the Klark Teknik team.

country.” The free app can be downloaded from the Google Play store and works on all Android devices.

Laserworld announced the formation of its new company Laserworld India, situated in New Dehli. It was founded just before the show and is the latest member to join the Laserworld group. Managing Director of White Eagle Entertainment, Arun Kalra - who is distributing the brand in the region - has many years of experience in the entertainment technology industry and is well known in the Indian industry.

He commented: “As Laserworld offers an impressive product range, I am sure that we will meet the large demand of the Indian market.”

Despite being a regional show, the visitor turn out was impressive. Exhibitors I spoke to felt that the amount of industry relevant visitors had improved year on year and business as a result had increased. The India market feels as though it is growing and slowly gathering pace as more distributor partnerships are formed and bigger projects undertaken throughout the country. Time will tell if the transfer of ownership will have any impact on future shows.

Palm Expo India will return on 26-28 May 2016. For more info go to: www. palmexpo.in

www.mondodr.com

128 EXPO

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1. Stephen Baird-Smith and Aziz Adilkhodjaev from Avolites flank a colleague from German distributor, Trendco. 2. A Martin Professional representative showcasing the companies latest LED products. 3. Fiona Blackett and Stuart Fraser from J&C Joel. 4. The Amptown Systems Company team. 5. The team at the LEDFLEX stand. 6. The CAST staff strike a pose. 7. Dennis Bruyseels from Elation. 8. Roland highlighted its new M5000 console. 9. BjĂśrn Gaentzsch on the MA Lighting stand. 10. The Movecat stand.

STAGE | SET | SCENERY BERLIN

The first ever Stage | Set | Scenery show took place in the German capital of Berlin, at the Messe Berlin exhibition centre between 9-11 June. Stage | Set | Scenery is a breakaway show from Showtech - which has now been incorporated into the Prolight+Sound Frankfurt umbrella - and it plans to run every two years.

A relatively small show Stage | Set | Scenery focusses mainly on the theatre and broadcast markets. Covering stage technology such as rigging, lighting and flooring to companies that produce stage makeup, props and everything in-between.

The show welcomed 6,000 trade visitors who came see 270 exhibitors from 24 countries in Halls 1 to 4.

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During the course of the three days there were a number of announcements.

ETC revealed its plans to bring rigging to Europe and the Middle East. At a press call during the show ETC explained that it would be introducing a range of overhead stage equipment including rigging hoists and display banner hoists for use in applications from theatres, studios, shopping centres arenas and stadiums.

Erik Larsen, Senior Product Manager for ETC said: â&#x20AC;&#x153;ETC Rigging has made a big impression on the US market since 2009, and we are pleased to announce that Europe and the Middle East will have access to the same top-quality equipment, controls, service levels and design expertise. Every piece of equipment has been

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11. Christoph Ahlers from Ahlers+Lambrecht. 12. The team from Triple-E. 13. The TAIT team. 14. Olivia from Big Image Systems. 15. Mark Rasmussen from Harlequin. 16. Salzbrenner Stagetec highlighted Polaris Evolution. 17. Nicki Fisher and colleague on the Clear-Com stand. 18. Pit Gossow from Airstar. 19. Nils Becker from ETC, which had two stands at the show. 20.

Stephanie Walloner and colleague of JB Lighting . 21. The team from Company NA. 22. The Chainmaster stand. 23. Tracy Hall on the PFAFF stand. 24. The Neumann & M端ller stand.

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1. The Allcolor stand. 2. Marnie Styles from Ultratec and colleague. 3. The Apex safety rigging area. 4. The ShowTex stand. 5. The Sennheiser stand. 6. The X-module stand. 7. The team from ETC Lighting. 8. Danny Hilpert and Mario Brecht from Neutrik. 9. Matthias Lorch and colleague from HOAC. 10. The Gerriets stand. 11. The Shure stand. 12. The team from Arri.

designed with ease of use in mind. Each piece of equipment comes with 24-hour, 365 days-per-year customer support for which we’ve become famous, meaning that whatever happens, wherever you are in the world, our knowledgeable technical staff are always at the end of a phone.”

Rexroth - part of the Bosch group - presented live demonstrations of its innovative emergency stop absorber and gave a speech on the future of hydraulics in stage machinery. Visitors to the stand could also take a virtual tour of a theatre using a stereoscopic display headset to guide you through a theatre that had Bosch Rexroth technology installed. J&C Joel, manufacturer of flame retardant fabrics and flooring for the entertainment industry showcased its new brochure, website and rebrand as well as its new products. The J&C Joel theme of ‘the inspiration behind performance’ also demonstrated products used on some of the company’s high profile projects, including The New York University in Abu Dhabi.

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Stage | Set | Scenery delivered a series of seminars over the three days about safety in theatres. ‘Safety in action stage’ focussed on all aspects of occupational safety and audience and spectator safety. Experts on the topic gave lecturer and live demonstrations on various safety concepts, allowing the audience to experience everyday situations first hand on stage.

Although still in its infancy the impression I got from exhibitors I spoke to was the show got off to a slow start. Admittedly, this was something that didn’t go unnoticed when I arrived at the Messe entrance on the opening morning. It will be interesting to see whether this small, niche focussing show can survive alongside the Messe Frankfurt powerhouse. Although the shows are dramatically different in size, they are still potentially appealing to the same audience and they take place just a couple of months apart.

The next Stage | Set | Scenery will take place from 20- 22 June 2017.

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

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1. mondo*dr’s Jamie Dixon and EAW’s Rusty Waite during happy hour in the EAW demo room. 2. The Coda Audio booth. 3. The PK Sound stand. 4. RCF’s Gioia Molinari. 5. Doug MacCallum and Mike Torlone of One Systems. 6. The Bose stand. 7. Jaime Villegas of D.A.S. Audio. 8. Analog Way’s Franck Facon. 9. Margie Ulm and Roscoe Anthony of Renkus-Heinz.

INFOCOMM ORLANDO

With thunderstorms predicted all week, it was a pleasant surprise to step off the plane in Orlando and be hit by powerful blast of heat, the kind of heat where if you move at more than two miles an hour, you will immediately begin to melt.

Having said that, the Orange County Convention Centre seemed to slightly over compensate for this almost unbearable heat. As I walked around the show, I could see some Infocomm exhibitors wearing warm jackets and scarves. I had to keep going outside just to warm up. Admittedly, being from the UK, we find it hard to deal with any temperature apart from room.

The first day of Infocomm - which took place between 16-19 June - kicked off with a demo and product launch from EAW. Its new Redline Series certainly attracted the crowds and it is a great partner to Otto, launched the previous year in Las Vegas. This was shortly followed by a press call from Alcons Audio showing its new touring system, the LR28, which uses its patented pro ribbon technology.

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TC Group introduced a new range of loudspeakers from Tannoy, the AMS range and amplifiers from Lab.gruppen, LUCIA. To my knowledge this was also the first tradeshow that showcased TC Group under the Music Group umbrella. While the AM&S (American Music and Sound) press call announced the US launch of the new dLive next generation mixing series from Allen & Heath.

Various loudspeaker manufacturers held demonstrations in the rooms just off the concourse, companies that participated included: Martin Audio displaying its C Series; Renkus-Heinz with its popular VARIAi; D.A.S. Audio’s Sound Force Series and Vantec Series; Community’s new I Series; Electro-Voice and its new EKX Series, as well as premiering five new loudspeakers and two new subwoofers for the EVID Compact Sound Series; and QSC demonstrated its ‘IT friendly’ products.

Meyer Sound decided to take over an entire ball room on the third floor to demonstrate its new Leopard line. This impressive demo took place three times a

EXPO 133

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10. The Look Solutions booth. 11. The INFILED stand. 12. The Exterity team. 13. The Rane booth. 14. The RGB Link team. 15. Ashley Audio promoted it 42 amplifier configurations with Dante during the show. 16. Ilona Adamson of VUE Audiotechnik. 17. Chris Fitzsimmons, Amanda Roe and Justin Oâ&#x20AC;&#x2122;Connor of Biamp. 18. Johan Wadsten, Dennis Gaines and colleague of Merging. 19.

The Absen team. 20. Joe Paradise and Michael Graham on the Chauvet Professional stand. 21. Eric Loader of Elation. 22. Brian Dowdle and Alfred Gonzales of ADJ. 23. The Allen & Heath booth.

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1. Patrick Heyn of QSC. 2. Leigh-Anne Aitken (centre) and the rest of the SHS Global team. 3. The AV STumpfl stand. 4. Juan-Jose Villa of Equipson. 5. Francesco Fanicci of Powersoft. 6.

Symetrix’s Brooke Macomber and Trent Wagner. 7. Tony Moscal, Kevin Ivey and Shayne Thomas from Peavey. 8. Grace Paoli and Dave Howden on the Community stand. 9. The Anchor Audio team. 10. Karl Winkler and the Lectrosonics team. 11. Cliff Castle of Audix. 12. Derk Hagedorn of Avid. 13. Christie displayed some spectacular projections. 14. Tsuyoshi Mitera of Roland Systems Group.

day in English and once a day in Spanish.

RCF had an exciting display of new products on its stand including the M18 and M08 digital mixers, the EVOX 12 portable loudspeakers and the ST Series.

Presonus shared the experience of new Dante and AVB connectivity options and Medialon showcased its Overture facility-wide audiovisual management system to the US market, now available to use in any kind of installation. SHS Global presented its cable free LED video walls. Bose expanded its FreeSpace amplifier line by introducing a set of four dual-channel amplifiers, two expansion amplifiers and two mixer amplifiers, ZA 2120-HZ and IZA 2120-LZ. And KV2 announced its new partnership with New York distributor, ISI coinciding with the launch of its new VHD5.0 power point source array.

The Peavey stand, or should I say the ‘Skywalker stand’ was displaying its very

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popular new line of Starwars guitars, as well as showing its professional audiovisual products. Biamp introduced a new product to help simplify the use of conferencing systems; the Oreno system which is used via a web interface is simple to use on any smart device, laptop or PC. Absen’s Xplore Xperience Xcite stand drew the crowds and displayed its UHD A1.6, X3, X5 and RT5 touring cart. And Lectrosonics introduced its new miniature product, the SSM Micro Transmitter, which can fit comfortably in the palm of your hand.

All the Harman brands had a plethora of new products on show on its persistently busy booth. People were queuing up to check out the new AKG D5 C microphone and Soundcraft’s Vi Series. Another popular stand was Chauvet Professional, the company displayed its Clarity 6, an indoor video wall, the EPIX Tile 2.0, a new product perfect for install and the Next NXT 1.

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1. Lars Sandlund of Dataton. 2. The Riedel stand. 3. The Audinate team. 4. Simon Bull from Martin Audio. 5. Mary-Beth Henson and the team on L-Acoustics stand. 6. The Blizzard Lighting booth. 7. John Ivery, Shawn Watts and colleague of Atlas Sound 8. Mark Boyadjian of Neutrik USA. 9. Luca Giaroli and Giulio Gandini from Outline. 10. Carl Jacobson from Presonus. 11. Mark Wadsworth from Digital Projection 12. The KV2 stand. 13. The Group One booth displaying DiGiCo. 14. The Medialon stand.

Evening events included a cocktail reception from d&b audiotechnik in its demo room, celebrating two new products to its amplifier family, the 10D and the 30D, which were previously launched at Prolight+Sound in Frankfurt. Analog Way held a champagne mixer event at the Hyatt Hotel next to the convention centre to commemorate the expansion of the Livecore range. However, the big news of the week was the launch of Elation’s EMOTION. This was launched at Cube Libre restaurant and rum bar at Orlando Pointe. We enjoyed an amazing display by this new moving head and got a Mojito thrown in too!

From feedback I’d received prior to attending Infocomm in Orlando for the first

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time, I didn’t expect such a large amount of both exhibitors and visitors. According to the Infocomm statistics, there was a 5.6% increase on visitor numbers for this year’s show. Next year, it’s back to the bright lights Vegas though and love it or hate it, there’s no argument that it’s a great location for a lighting show.

Infocomm 2016 will be held at Las Vegas Convention Center on 7-10 June.

For more info go to: www.infocommshow.org

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light•emit•ting di•ode [lait] [ih-mitting] [daieud] n.

A light-emitting diode (LED) is a semiconductor device that emits visible light when an electric current passes through it. LEDs have low power requirements, are highly efficient with minimal heat production and have a long life. One of the most common forms of LEDs are RGB LEDs, in which each LED actually has one red, one green and one blue light. These three coloured LEDs are capable of producing any colour including white.

PRODUCT GUIDE

LED

EMEA | JONATHAN HAYNES | WHITE LIGHT Over the past year or so, I’ve seen more and more White Light clients switch to LED lighting. Not only is it extremely energy efficient and financially beneficial in the long-term, but it can still provide the desired effects that our clients require. We recently upgraded the existing lighting equipment for The Point, a theatre in Eastleigh, UK. We supplied the theatre with Altman Spectra Cyc 200s, ETC Source Four LED Series 2 Lustrs and ETC ColourSource Pars. The new set-up could not only provide an incredibly broad range of colour and a wide range variety of floods but could do so within budget and ensuring an environmentally friendly outcome in the process.

APAC | ANNU JAMLOKI | HARMAN INDIA The LED lighting industry is the next big thing in India; we are witnessing a rapid growth that is directly driven by Government initiatives. Factors such as falling prices of LED products, and rising concerns of energy conservation is also having an impact on the entertainment lighting industry.

The entertainment industry globally is extremely demanding, the expectation of high output from an LED source is the biggest challenge. Martin Professional as a manufacturer makes a significant contribution towards R&D, having said that adapting to the evolving technologies and making the best products for customers is our goal. The Mac Quantum Profile and the Mac Quantum Wash are top line LED source profile and wash lights, due to their superior optics design they are not only energy efficient, but they also out perform higher category lamp based products.

THE AMERICAS | STEPHEN LIEBERMAN | SJ LIGHTING

LED lighting, video, and effects have grown exponentially in the theatrical market. It’s become an invaluable resource in the designers toolbox. Starting as a secondary product category and evolving into a primary utiltity, LEDs are currently and will continue to change the landscape of how we work.

140 GUIDE - LED Lighting

A&O TECHNOLOGY | FALCON CMY www.ao-technology.com

The powerful xenon searchlight, based on the proven FALCON 6000 CMY in combination with the cost effective, brilliant LED video matrix, provides quite new possibilities for lighting design. With perfect binning and a brightness of 3,500 nits, the LED video panel guarantees smooth and seamless colour transitions. An excellent contrast and a pixel pitch of 20mm offer a highly sharp display of graphic sequences like fonts. Each panel has a resolution of 768 pixel (24 x 32 pixel) with 3-in-1 SMD LEDs. The DMX controlled FALCON CMY LED-VIDEO is for indoor and outdoor use, and convinces with its CMY colour changer with an extra scroller for special effects. Designed for both floor-mounted and suspended and inverted use, the FALCON CMY LED-VIDEO is perfect for large events in stadia, large scale places and stages, where the innovative combination of xenon beam with video banner is desired.

ABSEN | X5 www.absen.com The Absen X5 LED display harnesses Absen’s modular panel system. Equally suitable for indoor and outdoor applications, the 5.2mm pixel pitch outdoor display consists of two main parts - frame and module - for simple installation, maintenance and spare parts management.

The module provides IP65 rated protection, front and rear access, and a dual backup power supply design. The ultra HD LED display offers magnetic front maintenance for practical modularity, full power and signal redundancy, and the ability to pivot the screen set-up by 10°, thus allowing for a curved LED wall set-up. With a contrast ratio of 3,000, and high quality black LED light sources coupled with a black mask, the Absen X5 produces high grey levels for clear and vivid pictures. In demanding environments where reliability is a must, the X5 offers ease of maintenance with front modules replaceable in only five seconds, reducing downtime to a minimum. The X5 seamless design allows for vertical panel connections to be performed in a matter of seconds, reducing the rigging time to a quarter of the time usually required with traditional structures.

ADJ | HEX / 12P HEX PEARL www.adj.com

The ADJ 12P Hex (black) and 12P Hex Pearl (white) is a versatile LED Par fixture with 12 x 12W, 6-in-1 HEX LEDs. With a 30º beam angle, users may produce wide washes with smooth colour mixing from 63 built-in colour macros utilising red, green, blue, amber, white and UV LEDs. Not only is this LED Par great for lighting stages, but with its patent pending, intelligently designed, power and DMX connectors, it’s great for uplighting a venue. 12P HEX professional features include: all metal casing, four DMX modes (six, seven, eight and 12-channel), five operational modes, five dimming curves, flicker free operation and a four-button DMX menu with digital display. Daisy-chain up to six units (110V) or 13 units (240V) together via the fixtures built-in IEC in/out power connectors. The 12P HEX is compatible with the Dotz Par RF, easy-to-use, wireless RF remote. Alternatively the fixture may be operated via a DMX controller or the units built-in programs.

AIRSTAR | PENDULAIR www.airstar-light.com

The Airstar Pendulair opens a new dimension in decor and theme lighting, offering an aesthetic and efficient lighting for a variety of entertainment venues, including restaurants, hotels, theatres, theme parks, casinos and museums. The fully customisable and eye catching Pendulair range provides a soft and diffuse light to enhance building architecture and replace conventional lighting, providing glare-free, efficient and uniform lighting throughout. Using either CFL or LED lamps, this air-filled, self-inflating unit adds a unique look to any area and enhances visitor experience. Many different standard Pendulair shapes and sizes are available from Airstar, ranging from 60cm to three metres, or can be fully customised upon request. An entire atmosphere can be created using colour and theme covers as well as vinyl or digital print branding. Boasting 15,000 hours lamp life, the self-inflating Pendulair is easy to install and maintain. It is DMX controllable in LED configuration, and can be suspended from above.

www.mondodr.com

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AYRTON | MAGICDOT-R www.ayrton.eu

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DuraTruss B.V. Junostraat 2 6468 EW Kerkrade The Netherlands Tel. +31 45 546 85 81 info@duratruss.com

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www.barco.com For a display to be truly ergonomic, the LED wall needs to show the same level of detail when operating in dimmed mode as it does at full brightness. Barco’s image processing technology takes care of colour reproduction allowing users to adjust the brightness to any environment, without any loss of quality or detail. Barco’s X Series also benefits from the Infinipix image processing platform offers, which drives all LED tiles at the highest image and colour quality. In the unlikely event that the data path between the tiles is interrupted, a redundant data path takes over to ensure that an uninterrupted image is displayed. Barco’s LED walls can be installed faster, cheaper, and more accurately on uneven floors. Furthermore, the LEDs are perfectly calibrated when they leave the factory, so you have a perfect image from the start. The front access to the tiles also ensures faster and risk-free servicing. Barco paid special attention to protecting the sensitive edges of the tiles.

The innovative mounting system ensures that the tiles are less vulnerable than competing models, and the accessibility from the front enables users to service the video wall without damage.

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The latest member of Ayrton’s Radicial Series, MagicDot-R is a professional moving head LED luminaire with a single optical collimator. Two years of development and perfection have gone into creating MagicDot-R’s new high-efficiency 94mm diameter optical system, which offers an 85% optical efficiency. MagicDot-R uses a brand new 60W RGBW multichip LED with a light-emitting surface of 8mm that delivers an intense 4.5° beam with a central beam intensity of 180,000 candelas.

Its uniform beam of light beam, with no colour shadows, gives a high CRI and a palette of rich saturated and pastel colours. MagicDot-R’s flicker-free source makes it suitable for television and all video recorded events. MagicDot-R exhibits the Creative Solutions’ continuous pan and tilt rotation for which Ayrton is renowned. Lightning-fast, smooth movement is controlled in 8-bit or 16-bit mode for extremely accurate positioning. MagicDot-R’s totally round head fits within the diameter of its cylindrical base in all positions to allow bold new configurations with barely a centimetre of space between two luminaires. The entire unit weighs in at only 5.3kg.

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142 GUIDE - LED LIGHTING

CHAUVET PROFESSIONAL | PVP X3 www.chauvetlighting.com Chauvet Professional presents the PVP X3, a modular indoor LED video panel with a high-resolution pixel pitch of 3.9 mm. In addition to having a tight 3.9 mm pixel pitch, the PVP X3 utilises SMD 2121 black body tri-colour LEDs to produce the highest in class contrast and exceptional clarity of images. Each panel’s 19.7-inch by 19.7-inch display surface is densely outfitted with 16,384 LEDs, which emit a standard total illuminance of 1,560 nits, which can easily be adjusted up to 2,100 NITS for brilliant colour reproduction of high-resolution video content. Featuring a wide viewing angle of 130°, the PVP X3 will also provide clear visibility across an extremely broad area. Ideal for rentals as well as permanent installations, the PVP X3 panel also sets new standards when it comes to convenience and flexibility, allowing users to easily assemble video screens and walls of all sizes. Housed in sturdy die-cast aluminum, the PVP X3 also sets new standards for rugged endurance and will withstand years of rental and touring use. Designed for easy serviceability, it features magnetic LED modules that can be quickly and painlessly replaced in the field, even right before a performance. However, with long-running LEDs that are rated at 50,000 hours, the need for replacements should be few and far between.

CHROMA-Q | COLOR ONE 100 www.chroma-q.com The new Chroma-Q Color One 100 LED Par features an innovative fully homogenised beam, virtually eliminating the colour separation and shadows synonymous with LED lighting - delivering above Par performance from one source. The unit’s optical design provides a smooth, uniform and defined beam. This makes it ideal for use as a front and backlight with clean shadows, and an uplighter with a smooth, even beam. An extensive RGBA colour-mixing palette delivers outstanding colour blend across the spectrum - including deep-cold blues, redhot lava looks and super-soft pastels, as well as a complete range of whites - all from one source. In addition, the high CRI of 93 ensures extremely accurate colour matching. Theatrical grade dimming emulates the extremely smooth dimming curve of tungsten fixtures. With convection cooling for near-silent operation, a versatile mounting yoke enabling the fixture to be floor, truss or wall mounted, and a choice of IP20 / IP65 models, the Color One 100 is suitable for numerous entertainment lighting applications. Other innovative features include a simple to use Infra-Red remote control enabling users to be up and running within minutes without the requirement of a lighting console as well as compatibility with industry-standard 6.25-inch accessories such as egg crates, barndoors and top hats.

CLAY PAKY | A.LEDA B-EYE K10 www.claypaky.it The A.leda B-EYE K10 is a high performance washlight a beam light, and a creator of completely new spectacular visual effects. Its versatility makes it an extremely interesting creative tool for all lighting designers. B-EYE K10 is able to wash surfaces with colours at any distance, making the most of its light source. The B-EYE K10 is brighter than any LED-wash with the same rated power, thanks to its special optical unit with a excellent lumen and watt ratio, designed and built by Clay Paky. The zoom ranges from 4° to 60° and it is therefore suitable both for environments with low ceilings, where large angles are extremely useful, and for shows in arenas or large environments, where a tight zoom is perfect. When the B-EYE K10 beam is zoomed down to 4°, the washlight turns into a beam fixture. The fixture therefore becomes a surprising mid-air parallel effect light, capable of generating a pulsating beam of micro-rays, which may be controlled individually, each with its own colours and shades. All the parameters of each LED can be completely controlled. Lastly, the B-EYE K10 introduces a completely new feature: the front lens may be rotated to create lots of small bright compositions, which may be opened and closed like petals. By adding colours and dynamic graphics, the B-EYE K10 generates never-seen-before graphic light effects.

COLOR KINETICS | COLORBLAZE TR4 www.colorkinetics.com The new ColorBlaze TR4 family extends the range and flexibility of the popular line of high performance, touring and rental battens from Philips Color Kinetics, by providing four channel fixture options. These intelligent RGBW or RGBA fixtures offer an expanded palette of intensely saturated full colour light output in two different beam angles. Expanded onboard controls feature a range of new functions, including multiple colour control modes, 8-bit and 16-bit resolution, a configurable intensity channel, transition speeds, dimming curves, improved colour consistency with Chromasync technology, and four built-in effects (fixed colour, colour wash, chasing rainbow, and random colour).

Connectorised cabling, a universal power input range, and direct line voltage operation make ColorBlaze TR4 Powercore fixtures easy to install and operate. They are available in two standard lengths, with standard 10° or 18° beam angles. Individually addressable 152mm segments accommodate fine control of colour changing effects and pre-programmed light shows. Channels of amber or neutral white LEDs seamlessly blend with channels of red, green, and blue LEDs to create lighting fixtures with enhanced colour ranges. In addition to the millions of saturated colours achievable with standard RGB lighting fixtures, RGBW fixtures produce an extended range of subtle pastel colours, while RGBA fixtures create vibrant golds and intense yellows that are more difficult to obtain on standard RGB fixtures.

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Tiger Touch Fader Wing

Intuitive operation.

Scalable to your needs.

Incredible support.

Titan Software Simple to learn, with rich features to master

Quick Sketch

One software platform across Titan Mobile, Tiger Touch II, Quartz, Expert and Sapphire Touch Take productions to the next level with revolutionary Key Frame Shapes, industry-leading pixel mapping, cue stacks and multi-user networking

Pixel Mapping

Avolites Church L&SA 15-1-15_Mondo.indd 1

Tiger Touch II

Tiger Touch II & Tiger Touch Fader Wing

The Tiger Touch II like all Avolites lighting controllers, features Titan OS, the incredible operating software that puts you right at the heart of the performance. Titan OS offers groundbreaking Key Frame Shapes, pixel mapping, cue stacks and multi-user networking, and having a single OS across the range means that once you have learned how to operate one model of Avolites controller, you can easily transition throughout the range, from the compact Titan Mobile to the top-of-the-range Sapphire Touch.

For greater live control, add more faders with the Tiger Touch Fader Wing Tel: +44 (0)20 8965 8522

Email: sales@avolites.com

avolites.com

19/06/2015 12:24:31

144 GUIDE - LED LIGHTING

DTS LIGHTING | WONDER.D www.dts-lighting.com

The exclusive optics of the WONDER.D lets users balance the brightness of the entire beam resulting in unparalleled evenly diffused luminosity. Users can also obtain stunning multicolour projections. The WONDER.D LED board consists of four independent zones - a central one, and a ring divided into three distinct sections. Each of these four areas has individual control of luminosity, colours and effects, it’s like having four LED fixtures in one. The unit offers an exclusive double concentric optical system featuring different lenses and linear zoom ranges, the centralhas a 3.5°- 52° zoom, while the ring has a 8°- 52° zoom. This revolutionary configuration results in an evenly diffused luminosity, or an adjustable hotspot. WONDER.D projects two concentric beams with independently controllable luminosity size and colour. WONDER.D can create amazing concentric multicolour beams and effects in the air, guaranteed to astonish any audience.

Also, WONDER.D comes equipped with the ‘FPR’ system D.T.S. patent, which allows limitless pan rotation, in either direction, never having to reverse motion.

EHRGEIZ | CHROMA www.ehrgeiz.com

The Ehrgeiz Chroma 40-RGBW is a high class LED washlight. The high-quality manufacturing and the special developed changeable optics reflect the needed requirements of a product in this class. Furthermore, the Chroma is equipped with 40 LEDs - each providing a power of 15W. The LEDs can be controlled in five zones and create a light output of approximately 30,000 lumen. There are four main dimming curves to achieve a dimming the user requires. A flat design, the Steady Colour dimming system and the IP65 certification complete the feature list of this fixture. Architectural applications especially benefit from an extraordinarily homogenous colour mixture paired with a strong lighting power. The built in eventCON system, developed by Ehrgeiz, combines signal and power in one cable and offers a fast and flexible installation - even under adverse circumstances at outdoor use.

ELATION | COLOUR 5 PROFILE & WW PROFILE www.elationlighting.com

Elation offers two new ellipsoidal spot fixtures with the superior quality of light required for broadcast and theatre environments, the multicolour Colour 5 Profile and the warm-white WW Profile. Both the Colour 5 Profile and WW Profile emit an exceptionally flat field of light with CRIs over 94 for more faithful reproduction of an object’s colour. Both luminaires support multiple interchangeable lens options - 19°, 26°, 36° and 50° (sold separately). Manual focus and a four-blade framing system allow for full control of the beam shape and both luminaires support B-size metal or HT transparency gobos. The Colour 5 Profile houses a 180W five-colour RGBAM LED engine (red, green, blue, amber, mint) for an expanded palette of colours, including ambers and true whites. Powered by a 130W warm white 3,000K LED engine, the WW Profile projects a soft, warm white light that is ideal for illuminating loudspeakers, highlighting performers or emphasising on-stage scenery.

ETC | SOURCE FOUR LED SERIES 2 LUSTR www.etcconnect.com

ETC’s x7 Colour System combines a balanced recipe of up to seven colours to create evocative colour mixes. The Source Four LED Series 2 Lustr array takes the idea even further, with the addition of a lime-green LED emitter. Lime green increases the luminaire’s lumen output in open white and lighter tints to make them brighter and livelier, better matching the colour of a conventional Source Four fixture. The lime also enriches colour rendering by better marrying the red and blue ends of the colour spectrum, for truer-to-life light that fills in the gaps that ordinary LEDs leave behind. ETC also added more red to the x7 Colour System in the Source Four LED Series 2 Lustr array. Working in unison with the lime-green emitter, the extra red means the luminaire can produce ambers, straws and pinks up to three hundred percent as bright as those from the original Source Four LED. The deeper, richer colour from the Source Four LED Series 2 Lustr array will evoke the strongest audience reaction to your sunset, moonlight and dramatic scenes.

www.mondodr.com

zero88.com/flx

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02/07/2015 10:42:01

146 GUIDE - led lighting

GLP | X4 BAR www.glp.de

Building upon its successful impression X4 platform, GLP’s new X4 Bar LED battens have immediately taken the industry by storm. The range features two models, the flexible X4 Bar 10 and X4 Bar 20 high performance battens, suitable for use across multiple applications.

High output RGBW LEDs are packed tightly to give a full batten of light, with 20 LEDs used in the 40-inch long (100 cm) X4 Bar 20 and 10 LEDs in the shorter 20 inch (50cm) X4 Bar 10. High quality optics ensures a smooth, homogenised output across the batten through a broad pallet of pastel and saturated colours. These features are complemented by GLP’s exceptional dimming which ensures that there is no colour shift, only smooth even fades, while DMX control offers full pixel mapping capabilities, allowing a multitude of dynamic fades and chases to be achieved. Since both models feature a 7:1 (7°-50°) zoom, effects from a narrow angle light curtain to a wide-angle backlight or washlight can be achieved. Finally, the X4 Bar also features a motorised tilt, for fast refocusing or to be used to add more dynamics to the output beam.

GRIVEN | GRAPH-i-CELL www.griven.com

Featuring six high brightness and power LEDs, Graph-i-Cell RGB is a single pixel fixture that can be easily assembled with other units of its kind to screen low resolution video files and graphic patterns. It can be integrated with the existing architecture or stage backdrop while shaping a brand new outstanding ambience. Graph-i-Cell RGB can accept, via DMX interface, any graphic, video or still image coming from a DVI media server and the configuration system can then store and trigger the show to a striking visual effect. Graph-i-Cell RGB is fitted with a dome shaped 180° opaline diffuser to offer a sharp image rendition and an optimal peripheral visibility. The IP65 weather protection rating makes Graph-i-Cell RGB suitable for almost any application. Beside the cold and warm white configurations, monochrome versions are also available on request.

HAVELLS SYLVANIA | TOLEDO RETRO www.sylvania-lamps.com Sylvania has launched the ToLEDo Retro range, a complete series of A++ Energy rated lamps to replace traditional light sources. The new products include A60, Globe, ST64 and Candle lamps and the complete range has been designed to keep the look and feel of incandescent lamps while offering up to 90% energy savings. All lamps within the range come in Homelight 2,700K and E27, B22 and E14 cap options with dimmable versions available soon. The new lamps are exactly the same dimensions as traditional incandescent and halogen versions and offer the same sparkling lit effect. They also provide end-users with energy savings and a lamp that lasts up to 15 times longer than the traditional incandescent bulb. Sylvania ToLEDo Retro lamps have a high efficacy of up to 128Lm/W, a wide beam angle of 300° and a 15,000-hour lifespan. They are direct replacements for existing 25W, 40W and 50W incandescent lamps as well as halogen and compact fluorescent lamps and are perfect for retrofit applications. Over the next few months, Sylvania will be introducing 470lm and 640lm versions of the A60 and G80 lamps, 250lm and 400lm candles, 400-470lm versions of ST64 (squirrel cage) lamps and 300- 350lm reflectors.

JB-LIGHTING | VARYSCAN P8 www.jb-lighting.de

JB-Lighting has developed a LED spotlight that reveals the advantages of LEDs in professional applications. The Varyscan P8 is equipped with seven high-performance LEDs of each colour red, green and blue, having a total maximum LED power consumption of 800W. The arrangement of the LEDs combined with the optical system ensures a comparatively compact construction as well as excellent illumination. With both the shaping and the technical realisation, it is closely linked to the A series by JB-Lighting. With the combination of Varyscan P8 and washlight A8, a pair of LED moving lights is finally available that constitutes a high-quality replacement for conventional 700W discharge lamp moving lights, in colour up to 1,200W.

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MARTIN PROFESSIONAL | EXTERIOR PIXLINE www.martin.com

Martin’s Exterior PixLine is a family of linear LED video fixtures for media facades and creative installations. Featuring a rugged outdoor rated design, a range of pixel pitches (10, 20, and 40 mm), and fully customisable length and colour capabilities, the Exterior PixLine ensures seamless integration with any design or application. The series can be combined with a wide variety of lenses and diffusers for flexibility to ensure the right look for every application. The family is driven by the Martin P3 System Controller family for easy configuration, mapping and setup, and is also backwards compatible with DMX for smaller setups. The fixture is supported by Martin’s proprietary integrated power and data processors (P3 PowerPort 1500 or P3 PowerPort 1000 IP) and a simple cabling system. The fixtures can be fully customised in terms of length and colour to match every installation requirement, while the power source is hidden.

ESD5  NEW ADDITION TO ESD FAMILY 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!

MBN | SPOT LIGHT www.proled.com The ESD Range Time Aligned Passive Speakers The MBN PROLED Spot Light IP65 is suitable for emphasis lighting indoors as well as outdoors.

Combined with a ground spike it is also perfect for plant and garden lighting. The Spot Light IP65 has a 6W output and a 7W consumption. PROLED products meet their projected requirements at the intended operating location in an optimal way, therefore it is inevitable to determine the spatial light distribution in terms of radiation characteristic of each individual product. The MBN in-house measurement laboratory has a gonio spectral radiometer from instrument systems for this purpose.

The LGS gonio spectral radiometer from instrument systems was developed specially for the determination of angular dependent radiation characteristic of LED modules and lamps.

www.kv2audio.com

148 GUIDE - LED LIGHTING

MUSIC & LIGHTS | DIAMOND37 www.musiclights.it Diamond37 is an hybrid luminaire offering first WBFX technology in the Prolights range. Diamond37 WBFX technology establishes a new concept of versatility offering three operating modes: high performance washlight with advanced colour calibration, punchy beam light and amazing special effects graphic generator, revealing itself as a true creative tool for the lighting directors. Diamond37 is equipped with 37x15W RGBW/Full Colour Osram Ostar LEDs driven to 1A and it is the brightest LED fixture in its category offering one of the highest lumen to watt ratio in the industry, through the combination of high-end LED source, new optic design, and the most advanced liquid-cooling system and PSU management on the market. A 1:11 fast-zoom system offers a fully variable beam of 6°-66°, remaining even in the whole range and making this fixture useful in both indoor venues as TV studios and music hall and outdoor large environments as stadium and arenas. The wash-mode features a perfect colour calibration system and homogeneous light distribution through the application of reflex-technique where colours are pre-mixed in the internal optical channels. The beam-mode enters in action when Diamond37 is zoomed to 6° featuring a parallel beam and the fixture becomes an ultra-bright mid-air effect light.

OSRAM | KREIOS PAR www.osram.com

The highly customisable lights offer RGB or RGBW colour mixing with flicker-free dimming from 0% to 100%. The fixtures can be controlled via DMX512, standalone mode or integrated sound-to-light programmes. Special colour modes for amber and warm white colours are available. The lights surpass industry expectations for performance, ease of use, and energy efficiency, shining with remarkable quality for up to 30,000 hours. Enhance the performance of the Osram Kreios PAR fixtures with our new Kreios PAR accessories.

PHILIPS SHOWLINE | SL BEAM 300FX www.philips.com

The SL Beam 300FX is a high performance, powerful moving head luminaire with fast and quiet movement. The 19 RGBW LEDs deliver exceptional output and the versatile precision optical design allows the SL BEAM 300FX to function both as a beam and wash luminaire.

The SL Beam 300FX delivers a crisp, tight column of light at the narrow zoom angles and the dual rotating front lens and effect wheel create a myriad of bright compositions. The wider zoom delivers intense, blended washed of colour with the lens and effects wheel also offering entrancing, fluid lighting effects in this mode. Individual pixel control and carefully designed optics deliver full flexibility with a large selection of unique preset effects and remove the need for inconvenient third party beam control accessories.

PR LIGHTING | XRLED 700 www.pr-lighting.com PR Lighting is set to make an impressive new addition to its expanding XRLED series, with the announcement of the XRLED 700 Spot.

The fixture boasts a number of attributes; embracing all the features you would expect from a moving head spot but with a particularly impressive white light, much sought after by lighting professionals. It has also been engineered to produce an even beam spread and also a powerful one, as the output generated from the 320W white LED module equates to more than 700W from a conventional discharge lamp. Other design criteria that the XRLED 700 Spot meets include light weight (just 24kg), compact and quiet operation. Low power consumption and low heat dissipation are further advantages, as you would expect from an LED source. The fixture is fully featured with a colour wheel incorporating six colours (plus white); fixed and rotating gobo wheels each with seven interchangeable gobos plus white; a 1 x 3-facet prism; frost filter; iris (5%-100% linearly adjustable, with macro); 1-100% linearly adjustable dimming; electronic strobe; linear focus; 12°-36° linear zoom; 540° (pan), 270° (tilt) head movement, with auto position correction. Finally, the XRLED 700 operates under standard DMX512 control, with wireless DMX also available.

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PULSAR | LUXEOS www.pulsarlight.com

Luxeos uses the very latest LEDs and optics to produces 10,000 lumens with DMX and RDM control. It is the lightest luminaire in its class with an RGBW, single colour or customer specified light engine. Uniquely, it is available in different variants for the architectural, architainment and entertainment markets with each version including the key features most valued by those different customers. It is offered in any RAL colour to complement any project or installation. The Luxeos has been carefully styled and designed which means it will deliver a full spectrum of perfectly mixed colour to any architectural faรงade or entertainment environment without the luminaire itself being a visual distraction.

ROBE | DL4S www.robe.cz Extending the possibilities of the playful, colourful DLS Profile, the new DL4S is equipped with enhanced version of the Robe RGBW LED module for brighter saturated colours and more powerful output. To magnify the already perfectly smooth colours, fades and dimming, the DL4S features innovative LED driving system for improved, extremely high definition dimming curve for all RGBW colours, with 18 bits resolution. The DL4S adds a system of four fast, smooth, framing shutters within the optical path design of the proven DLS Profile format. There is individual control of each shutter blade position and angle, together with rotation of the complete framing module.

As well as providing a sharp precise or soft frame for the projected image, the system produces a new series of effects through pre-programmed shutter blade shape and movement sequences. As with all models in the Robe DL luminaire range, the multiple shadows normally associated with an LED source have been eliminated. The enhanced Robe RGBW LED light source reproduces both rich and pastel colours at output levels normally associated with 1200 W discharge fixtures as well as pure whites at preselected 2,700, 3,200, 4,200, 5,600 and 8,000 kelvin colour temperatures. The tungsten emulation function allows the fixture to be integrated seamlessly into lighting schemes with existing traditional lanterns.

150 GUIDE - led lighting

ROBERT JULIAT | DALIS www.robertjuliat.com Dalis is the new asymmetrical 300W LED cyclorama light from Robert Juliat, designed to deliver powerful, smooth coverage and a huge variety of pastel and saturated colours. Dalis incorporates eight coloured LED emitters consisting of red, green, blue, royal blue, amber, cyan, warm white (2,200K) and cool white (6,500K). The choice of these six colours in association with the two whites gives access to an extremely wide colour gamut. The white emitters facilitate colour desaturation, resulting in an impressive range of pastel tones. Each colour can be controlled in 8-bit or 16-bit mode. In addition, the LED emitters can be grouped into two or four sections to form bands of colour, each of which can be controlled independently in 16-bit mode to provide an exceptionally subtle and clever mix of colours with smooth transitions and fades. Dalis’ exclusive optical design uses patented asymmetrical micro reflectors to spread the light evenly over vertical surfaces and deliver a massive output across the full colour spectrum. A protective glass window with a highly-transmissive coating ensures optimal light transmission. Equipped with an advanced fanless cooling system, Dalis offers silent operation which is perfect for sound sensitive applications like opera houses and studios, and all theatrical, TV and entertainment applications. Dalis can be controlled via DMX/ RDM, ArtNet, SACN, MANet and mounted horizontally, vertically or on the deck using its flexible QuickRig mounting system.

ROSCO | BRAQ CUBE & MICRO CUBE www.rosco.com The Rosco Braq Cube and Micro Cube give a massive output from a small 13cm and 10cm footprint respectively thanks to its unique patented heat management system -designed by The Black Tank. Easily capable of 15m throws, Braq Cubes can be used to accent architectural details, as key lights for video and to provide full stage washes - in colour or white light. Compact and lightweight, the Braq Cube can be used anywhere a bright LED source is needed. The Braq Cube WNC punches out nearly 7,000 lumens using only 100W of power. Its high CRI output is tunable from 2800K to 6500K. Ideally suited for theme parks, museums and stage applications, Miro Cube UV outperforms conventional UV fixtures that use five times the power, weigh 10 times more- and it eliminates the expensive lamp change every 1000 hours. The Miro Cube WNC produces nearly 3,500 lumens using only 50W of power. Its high CRI output is tuneable from 2800K to 6500K. Miro Cubes are controllable via DMX, which offers smooth, flicker-free dimming from 0-100% - even in HD video setups.

The user-friendly interface allows quick and easy setup and operation. Both the Braq Cube and Micro Cube can be plug directly into mains power- no external power supply is necessary.

STARWAY | MODE B www.starway.com

Born from the legendary ServoBeam 5R, Mode B is a compact beam moving head with 2R Neonium lamp. Fast and incredibly bright with a beam angle of 0° - 3.8°, Mode B is perfect for use in nightclubs. This moving head uses a eight-facet rotating prism, gobo and colour wheel including 14 sharp gobs plus open and 14 colours plus open.

STEINIGKE | SPACE BALL www.steinigke.de

Decoration and light effect in a special combination. The Space Ball with a diameter of 35cm is bigger than a basketball and has been equipped with more than 250 LEDs (divided in RGB). These illuminate the ball absolutely evenly from the inside, so it looks like a consistently glowing ball. The ball is fixed at a lifting system (HST-150). This system can lift or lower the ball for 1.5-metres. By installing several balls in a room, room-filling effects can be created. Due to their grand size, their impact definitely is impressive. Ceilings glow in different colours or seem to change their shape - the possibilities are enormous and the possible fields of use are broadly based: The Balls are not only perfect as part of the architecture in hotels and such, they also ideally fit into the direct dance or performance environment. Space Balls hanging over dance floor and stages are, without a doubt, eye catchers. Space Ball and HST-150 are controlled by DMX with eight channels. The colour intensity as well as the colour mixture can easily be adjusted. The motor sound of the HST is very low and will not be noticed, even in more silent ambiance.

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Your venue, our lighting design We are a turn-key lighting solutions provider. We design, build and train to ensure your lighting operators make the most of your new system.

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Designing lighting for the worldâ&#x20AC;&#x2122;s best clubs

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IN DETAIL ANTARI | F-7 SMAZE www.antari.com Designed for a large venue, the F-7 Smaze machine offers an all-in-one solution that is more than capable of catering to the needs of such venues. With its switchable fog and faze modes, the machine produces both powerful fog and thin layers of haze to fill up any venue in just a few minutes. Being equipped with Antari’s latest air pump technology enables the F-7 to have the functionality of self-

cleaning, a function that greatly reduces the probability of the F-7 heater clogging.

The built-in adjustable high velocity fan allows users to change the direction of the fog easily, in total there are nine adjustable output angles. Versatile control option includes wireless DMX, DMX and standalone, meaning the F-7 is able to meet any control needs. The machine provides a three-pin or five-pin XLR connector - located on the front panel - for DMX connection. It also features an adjustable output volume and fan speed. The F-7 weighs 52.5kg, measures 710mm x 412mm x 710mm and uses Antari’s FLG-5E liquid in order to create the perfect blend of fog and faze. Its very own road case makes this unit easily transportable between venues, should it be required.

ALLEN & HEATH | DLIVE www.allen-heath.com Allen & Heath has launched dLive, a next generation digital mixing system, providing ultra-flexible architecture, a powerful FPGA processing core, a comprehensive array of expansion, control and networking options, plus the intuitive Harmony user interface with gesture control. dLive has a distributed system design with separate MixRack and Surface. All MixRacks and surfaces are mix and match compatible, with common configuration, setup and show files. The MixRacks also contain the same processing engine, using next generation FPGA technology. dLive incorporates the Deep processing portfolio of embedded plugins, including graphic EQs, compressors, multiband compressors and dynamic EQs, alongside its 16 slot effects racks. The dLive surfaces come in three customisable sizes - the S3000, S5000 and S7000. Key to the surface design is the new Harmony UI which integrates screen and wrap-around controls with a single or twin 12-inch capacitive touchscreen. Finally, dLive has a new pro touring grade chassis, optimised for weight and rigidity. All units have dual power supply slots for redundancy, with PSUs hot swappable between Surfaces, MixRacks and Expanders. Dual redundancy is also built into every audio connection throughout the system.

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 7° - 11° beam, a 5° - 23° spot and a wash. Other features of the BTX-Titan include: 14 colours, 14 static gobos, nine rotating gobos, an eight facet round prism and a six facet linear prism that can be used together. A linear Frost-filter, a motorised zoom and -focus and a battery powered motherboard allows programming while the fixture is not powered. PowerCON in and out; 3+5pin XLR in and out. High quality components like the OSRAM SIRIUS HRI280 lamp, MOONS motors, several FPGA processors and a modular construction guarantee high performance, a long life-cycle and easy maintenance.

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COMMUNITY PROFESSIONAL | I SERIES www.communitypro.com I Series is an innovative family of high-performance, arrayable loudspeakers with matching-height subwoofers. By combining I Series with Community’s exclusive BalancePoint Flyware, system designers can implement complex solutions for applications ranging from houses of worship to multi-purpose auditoriums, live theatres and other professional and commercial venues. BalancePoint Flyware is a highly versatile flying hardware system that makes it easy to create planar or isometric arrays and add rear, top or steered subwoofers. Individual loudspeakers may be precisely aimed and arrays can be quickly assembled in the shop or on-site. BalancePoint Flyware complements the appearance of I Series loudspeakers in black or white with a low-profile design that hugs the ceiling and eliminates unsightly aircraft cables.

CORNERED AUDIO | C5TRM www.cornered.dk C5TRM is an ultra compact full range loudspeaker designed for modern audiovisual and entertainment venues where aesthetics and discreet design is needed without compromising on performance. The triangular aluminium cabinet mounts in corners or onto walls and ceilings without brackets. The cable connection is hidden in both vertical and horizontal installations and two, three or four cabinet can be coupled together to expand coverage. The five-inch woofer features a strong magnet system with state-of-the-art cooling and less than two dB power compression. A one-inch horn-loaded tweeter offers high sensitivity and combines high output with excellent clarity and uniform dispersion. The compact speaker delivers 112dB continues SPL and 90º dispersion.

Featuring an advanced passive woofer, C5TRM delivers excellent bass reproduction down to 50Hz. Available in black, white and aluminium finish, the C5TRM offers excellent performance in a wide range of applications.

D&B AUDIOTECHNIK | 10D & 30D www.dbaudio.com d&b audiotechnik has introduced its newest four channel, two RU amplifiers; the 10D and 30D are the first d&b amplifiers tailored for permanent integration. They offer the predictable results and rider friendliness of d&b products, with features and costs tailored for installation applications. The 10D and 30D deliver 700W and 1,600W per channel respectively and share the same DSP platform and capabilities as the d&b D20 amplifier and the flagship D80. These amplifiers all provide comprehensive d&b loudspeaker management and switchable filter functions. They incorporate two 16-band equalisers comprising parametric, notch, asymmetric and shelving filters along with up to ten seconds of delay for each of the four channels. Between them they cover almost all install applications, differing only in output voltage and loudspeaker setups. The extensive DSP capabilities are also ready for further expansion via future d&b firmware updates. This guarantees that the 10D and 30D amplifiers are future ready investments.

DANLEY SOUND LABS | GO-2 SPEAKER www.danleysoundlabs.com Danley Sound Labs has announced the new Go-2 Series of loudspeakers and subwoofers. While Danley is known for building unconventional loudspeakers and subs that use innovative technologies – including the massive Jericho Horn employed in many of the world’s largest arenas and stadiums, the Go-2 Series fills a gap at the opposite end of the spectrum. Importantly the Go-2 Series uses Danley’s patented synergy horn technology in clever ways to give the Go-2 Series sound quality worthy of the Danley name. While completely at home indoors both in terms of aesthetics and rigging points the Go-2 Series is impervious to weather and ready to deliver Danley intelligibility, musicality, and transparency to fans outdoors with an optional grill making a Go-2 loudspeaker fully weather proof. Currently, the Go-2 Series consists of the GO-2-28 (dual eight-inch subwoofer), the GO-2-8PR (eight-inch subwoofer with a passive radiator), the GO-2-8CPR (eight-inch coaxial with a passive radiator), the GO-2-6C8 (a six-inch coaxial with an eight-inch subwoofer), and the GO-2-8C8 (an eight-inch coaxial with an eight-inch subwoofer).

EQUIPSON | LM 5 www.equipson.es The LM 5 is not only dedicated to lighting control. It is possible to manage audio, lighting and videos at the same time and for several zones of an installation.

The overall installation can be controlled with a smartphone, a tablet or a computer. It is very intuitive, thus everyone can use it without any technical knowledge. Thanks to the OSC open protocol, it is suitable for smartphones and computers, LM 5 turns a smartphone/tablet/computer into an intuitive console for audio and lighting purposes. It is possible to edit layouts and create your own interface, totally adapted to the characteristics of your installations. LM 5 goes much further and includes an internal memory to store 99 cues - with independent speed and fade time - and 24 cue lists, with up to 512 DMX channels. It is also a fully compatible ArtNet node - Ethernet to DMX interface - and it can be controlled by OSC server to create DMX data. LM 5 is without a doubt the most intuitive tool to manage audio and lighting control in commercial installations, bars, small clubs and events.

FENIX | TRC-700 www.fenixstage.com

The design of the new Ground Support Tower TRC-700 allows it to be set up by a single person, being extremely easy to assemble and use, thanks to the incorporation of a robust double crank winch and its reinforced squared truss SQRE-29. It is capable of raising 600kg to a height of seven metres, and has a reinforced sleeveblock adaptable to different sized trusses. All these improvements increase the level of safety and offer the customer a huge versatility for their events.

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IN DETAIL MUSIC & LIGHTS | JADE www.musiclights.it JADE is the new hybrid beam, spot and wash fixture conceived by Prolights to begin a new era of flexibility for automated moving fixtures. Equipped with Osram Sirius 280W HO short-arc lamp, JADE is surprisingly compact and ultra-light despite its high luminous flux. The special glass optic system - with a lamp featuring built-in parabolic reflector ensuring highest uniformity and precision - has been engineered to grant a super-bright, sharp and crystal projection over the entire zoom range in both beam mode 2°-10° and spot mode 5.5°-23°.

The remarkable versatility of this projector is the result of a wide range of effect with unlimited possibilities: 2°-23° (1:12) zoom, 14 static gobos dedicated to beam mode, nine rotating glass gobos dedicated to spot mode, eight-way circular and six-way linear prysm, frost filter and 13 colours. JADE also features independent shutter and fading effects with adjustable speed and a strobe effect that flashes eight times per second. The colour LCD display on the JADE fixture is high resolution providing simplified access to the control menu, which makes configuration and DMX addressing easy and straightforward. Four DMX configurations available - 14/16/22/23 - channels for full flexibility and control. JADE weights just 18 kg and measures 355mm x 619mm x 235mm.

Compact in size, featuring beam, spot and wash, JADE is a great solution for every light show.

HK AUDIO | LINEAR 5 www.hkaudio.com HK Audio has unveiled the latest additions to its class-leading Linear 5 loudspeaker range, the L5 LTS A long-throw satellite and the L SUB 4000 A subwoofer.

The L5 LTS A is an efficient, easy-to-handle sound reinforcement product. The L5 LTS A pairs the concept of an integrated line array with the physical format of a classic compact point source, and the enclosure can be flown or deployed in ground stacks. Although a single satellite achieves the long-throw performance of a conventional compact array, the L5 LTS A’s special audio characteristics also let you set up acoustically correct head stacks and horizontal clusters, and the two configurations may even be combined in a head-stack cluster. The heart of the L5 LTS A is the Multicell Transformer developed by HK Audio. Its unique design offers three key benefits: extremely high SPL, minimal distortion in the audible range up to 20kHz, and a + 5°/-30 ° curved wavefront similar to that of a full multi-component array. The L SUB 4000 A provides the perfect low-end support for the L5 LTS A. A versatile bass bin that can serve as a sub-low add-on to the L SUB 2000 A, it can be paired with all Linear five full range and satellite speakers and delivers a dynamic, deep-ranging response and high maximum SPL.

LAB.GRUPPEN | LUCIA 70V www.labgruppen.com Following on the highly successful launch of the LUCIA concept with four low-impedance models, Lab.gruppen have now extended the range of ultra-compact and highly cost-effective power amplifiers with addition of two dedicated 70V output models; LUCIA 120/1-70 and LUCIA 240/1-70 with power ratings of 120W and 240W respectively into a single output. The new amplifiers offer audiovisual installers the option of driving 70V distributed loudspeaker systems while retaining the small form factor, input flexibility, build quality and GPIO facilities also featured in the LUCIA low impedance models.

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LAMBDA LABS | CX-2A www.lambda-labs.com The active coaxial 12-inch loudspeaker CX-2A extends the CX range as an extremely compact high-end monitor with excellent resolution, proper low end reproduction, and very high SPL capabilities with maximum gain before feedback. Its sound, like that of the CX-1A and CX-3A, is perceived to be ‘open’ and ‘relaxed’, an impression that is sustained well up to the limits of this bi-amped 1,000W RMS powered loudspeaker. Sized efficiently at 47.7cm x 43.7cm x 36.8cm the point source’s axialsymmetric dispersion of 75° x 75° fits perfectly in between its CX counterparts CX-1A and CX-3A and can be employed on stage in both nearfield and farfield positions at angles of 35° and 58° respectively. Due to the low 65Hz cutoff frequency and the use of a non-compromise 12-inch heavy duty driver, the CX-2A is able to displace the CX-1A, whenever there is a demand for yet increased levels with loads of low frequency content, a versatile crossover point at 100Hz, or simply massive punch paired with space saving unobtrusive design. The CX-3A, the big brother in the same line, featuring a unique beryllium high frequency unit, gears it up one further notch also even in the low frequency performance.

LAWO | MC2 CONSOLES www.lawo.com As a result of the collaboration between Waves SoundGrid servers and Lawo’s mc2 36 all-in-one console now provides extensive real-time signal processing in addition to its internal processing engine. The system gives operators access to Waves’ comprehensive plug-in library, allowing them to conveniently control reverbs, multi-tap delays, graphic equalisers and multiband compressors directly via the console’s keyboard and touch-screen. No additional monitors or controls are needed, which results in a clean working space and less external hardware. All plug-in settings can be easily stored and recalled with the console’s snapshots. The mc²36 consoles are designed to provide an all-in-one solution for broadcast, install and live performance applications. Available configurations include 16, 24 and 40 fader models, all with built-in DSP and I/O that can be expanded with several stagebox configurations. All consoles include built-in AutoMix, dynamics processing, loudness metering, and snapshots with external offline and configuration control options, including remote connection of PCs, tablets or laptops to manage the setup and mix process.

LIGHT CONVERSE | LIGHTCONVERSE V57 www.lightconverse.net LIGHTCONVERSE 3D SHOW PLATFORM v57 is the latest edition of the multi-functional and multiple award-winning software from Light Converse Ltd. With LIGHTCONVERSE v57 the number of DMX channels per fixture has increased from 96 to a whopping 256 channels, the amount of objects possible to use within the Room Editor has increased from 1,000 to 1,536 objects and the Fixture Library now contains two new additional libraries; ‘User’ for user created and customised fixtures and ‘Database’ for archiving and transfer purposes, this is in addition to the ‘System’ fixture library which is automatically updated on a consistent basis. Other feature highlights include: faster and easier show database transfer possibilities with all files (fixtures, 3D models and static and video textures) unique to one folder; DMX auto patch with pitch adjustment (amount of channel spaces between fixtures, if needed); moving head tilt range increased from 60º - 360º to 30º - 720º; objective view frame shutters rotation / conventional fixture gobo and scroller rotation; simultaneous transformation of multiple selected layers / own transformation centre for each layer’s pos (1 - 4); and object RGBW DMX control added.

NEW OTTOCANALI SERIES

8-Channel High-Performance Amplifiers with DSP and DanteTM

Designed and manufactured in Italy

powersoft-audio.com

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LYNX PRO AUDIO | IONIC www.lynxproaudio.com The Ionic series is Lynx Pro Audio’s answer to light, portable or permanent installation column loudspeakers. The Ionic series comprises two full-range modular columns (IONIC 100 and IONIC 50) and two subwoofers (IONIC 18S and IONIC 12S). These columns are very low profile, versatile, aesthetically pleasing and are designed for reverberant installations where intelligible, clear voice reproduction is paramount and where a low profile, discreet column is required.

They are very easy to install and can be done so either horizontally or vertically. The full-range columns can be powered from the active subwoofers and also offer various preset configurations from the integrated DSP. Available in a variety of colours, with the full-range cabinets finished in anti-rust steel and the subs finished in rugged, premium birch plywood, coated with water-based black paint. All protected by front steel grilles all backed with a special dark grey triple layer, acoustical textile which allows greater air flow and reduces heat and humidity.

OUTLINE | STADIA100 LA www.outlinearray.com Outline has announced the new STADIA100 LA family of lightweight loudspeakers, specifically designed for large-scale permanent installation applications.

The STADIA100 LA combines key principles of line-source theory with proprietary Outline technologies to deliver a highly versatile and powerful product.

Comprised of three 155lb modules - all with 100º horizontal directivity - STADIA100 LA offers a choice of up to 30º dispersion in the vertical plane. This allows the enclosures to be combined as required to provide optimum coverage for each location enabling designers to create an audio solution that keeps audible reflections and unwanted reverberation to a minimum while providing excellent intelligibility over long distances. All enclosures feature two-way active designs containing eight eight-inch mid-range transducers and four 1.4-inch exit compression drivers mounted on Outline’s unique D.P.R.W.G. waveguide to provide the designated vertical directivity with fully directional coherent reproduction down to 300Hz. Frequency response is 65Hz to 19kHz. STADIA100 LA delivers up to 149dB with a peak input power handling in excess of 8kW. Coupled with pinpoint directional control accuracy over long distances, it creates the power and precision to provide perfectly intelligible full-range audio throughout the largest spaces.

RGBLINK | VENUS X2 www.rgblink.com Video signal processing technology company, RGBlink has launched the Venus X2 universal routing and scaling processor. An all new processor, X2 is a sophisticated fully featured routing and processing engine designed around being customized to fit installation requirements. X2 is highly extensible - multiple units can be linked together using the RGBLink LayerLink feature for additional layers or outputs. A single X2 is capable of up to 12+1 layers for continuous display, or as a presentation device, up to 6+1 layers with seamless switching and scaling. The feature set places Venus X2 as strong choice for many installations where traditionally more complex. X2 dramatically reduces this complexity, opening up new possibilities. Each layer and output can be independently scaled and adjusted dynamically. Remote configuration and control is via Windows and Mac OSX applications, and native iPad, iPhone and Android apps are scheduled for release too. The back panel of the X2 reveals a fully modular design - RGBLink SmartSlot modules for both inputs and outputs. Up to 12 inputs across four modules - each module can be a different input source ranging from composite to 3G-SDI, and many more between. On the output side, the X2’s four module slots support up to 16 outputs with options for HDMI, SDI and Display Port. With the use of HDMI, the LayerLink feature becomes available.

ROBE | BMFL BLADE www.robe.cz Four fast shutter blades with smooth and precise movement in the new BMFL Blade lighting fixture individually angled and positioned within a frame - which itself can rotate through 90º, providing a sharp or soft, precisely repeatable, frame for the projected image. Producing a new series of fast-moving in-air effects through pre-programmed shape and movement sequences of the blades; gobo images can be trimmed or framed in a regular, triangular or trapezoid shape. Each pair of opposing blades can close to a complete blackout. Two gobo wheels - one rotating with six slot and lock gobo positions plus another with eight static gobos can be combined with the animation wheel to create numerous dynamic projected effects. Add all this to the already acclaimed BMFL features including: exceptionally smooth linear dimming, imperceptible high definition colour mixing, full width beam, output in excess of 250,000 lux at five metres - and the Robe EMS (Electronic Motion Stabiliser) technology, enabling the BMFL to both move and stop faster and more precisely than any other fixture in its class - all this housed in a compact body profile weighing just 37.9kg.

SENNHEISER | SL HEADMIC 1 www.sennheiser.com At just 7g the Sennheiser SL Headmic 1 microphone is a lightweight option that offers powerful sound and is sturdy enough even for the toughest corporate applications. The high-quality condenser microphone for talks and presentations uses the proven capsule of the omnidirectional MKE 1 broadcasting microphone, while its sleek, elegant design ensures that it is completely unobtrusive when worn. The SL Headmic 1 is easy to use and is connected to a body pack transmitter via the 3.5mm jack cable included. Alongside its high level of speech intelligibility, the SL Headmic 1 also features clear and pleasant trebles. The microphone can be optimally adapted to the shape of the head, and the microphone boom can be worn either on the left or right. Its modular design means that all components of the SL Headmic 1 can be easily and conveniently replaced.

SOUNDBRIDGE | 7208XY & SIMPLEX P4.81 www.soundbridge.com Soundbridge’s 7208XY units are configured as alternating upright and inverted units, paired to create a low frequency waveguide termed QUAD-ONE. By focusing all four LF drivers at the same quadrant of a sphere, greater directivity and increased sensitivity are achieved. While typical line array systems require very large arrays to achieve this level of directivity and output, the 7208XY does so with nearly half the number of boxes in most settings. Designed for the ultimate flexibility between rental and fixed install purposes, HIVE Simplex P4.81 delivers high resolution, high contrast images in a rigid yet lightweight form factor. Two cabinet sizes and are available that work together to form a number of easy to assemble, flexible screen variations along with an option to bevel the panels for curved fixtures.

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SSL | V3 SOFTWARE www.solid-state-logic.com Solid State Logic has introduced the SSL Live console range with new V3 software, which delivers over 40 software and hardware features. SSL Live V3 software is now standard on all new consoles, while upgrades are available to existing consoles. The V3 software release provides an extensive and impressive collection of feature additions to SSL Live consoles, including a superb new Super-Q feature, an optional Dante interface card, remote control software, console expander mode, user interface changes, new effects, enhancements to the Solo system and a collection of features designed for customers who broadcast their productions.

SYMETRIX | SYMNET COMPOSER 4.0 www.symetrix.co Late last year Symetrix announced extensive new support for third-party Dante devices from Shure, Audio-Technica, Attero Tech and Stewart Audio in version 3.0 of its SymNet Composer open architecture design software. Now the DSP specialist has expanded its configuration opportunities even further with the release of SymNet Composer 4.0. With SymNet Composer, integrators can use a single piece of software to streamline their programming, network discovery and Dante signal routing of SymNet hardware and multiple third-party products. The latest software version extends this capability to encompass Attero Tech’s newly-released unDUSB Dante interface. Additionally, SymNet Composer 4.0 offers full support for Symetrix’ latest ARC series wall panel remote. Expected to begin shipping shortly, ARC-3 will arrive in a single SKU supporting both surface- and flush-mounting, and incorporates a brand new capacitive touch interface with LED feedback, as well as a multi-lingual graphics-capable OLED display that is expected to resonate strongly with Symetrix’ global customer base.

BriteArc

®

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

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

TASKER | DIGITAL CABLES www.tasker.it

Tasker has introduced some new digital cables suitable for DMX protocol applications and which conform to all the standards for professional use. They are easily installable in public buildings and venues such as airports, hospitals, sports facilities, theatres, conference halls and nightclubs. The entire product line is customisable with LSZH or PUR sheath, a particular polymer resistant to abrasion, sun and UV rays exposure and specific for outdoor use. They also feature PVC flame retardant outer sheaths that are extra soft and extremely flexible. All cables are suitable for Tasker connectors.

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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VMB | TL-A400 & TL-A500 www.prolifts.es VMB has released the new TL-A400 and TL-A500 line array lifters. Both lifts have been manufactured to be as compact as possible whilst retaining all the features of the rest of the line array series. The TL-A400 lifts 400kg to six metres and with a stowed height of just 1.67-metres is extremely compact. The TL-A500 lifts 500kg to 7m and is the company’s most powerful lifter. Both come with the ALS (Auto Lock Security) system, a safety feature, which automatically locks the lift masts as they rise. The lift also has the SRS (Sequence Retainer System) built-in to it. The SRS means that the sections of the lift rise and descend in sequence, one after the other. The masts are manufactured from highest-grade aluminium for low weight. Steel outriggers and base as well as lateral support bars add further security and stability to the lifts. The special design means that a line array can be loaded at half a metre from the lift’s main body enabling the array to be curved to achieve the desired coverage angle. They also both come with VMB’s 1700kg double handle winch. The BGV-C1 certified lifts offer an ideal solution for rental companies looking to elevate their line array quickly and safely. Also available in the TL-A line array series are the TL-A150 (150kg) TL-A220 (220kg) and the TL-A300 (300kg).

VUE AUDIOTECHNIK | SYSTEMVUE www.vueaudio.com

“

Flying out to install ProLyft Service Points or to perform a Prolyte Campus all over the globe is our way of showing commitment to our customers.

This is how Prolyte helps you build great things

“

Jasper van der Sluis Product Engineer ProLyft

VUE Audiotechnik has announced a new version of its SystemVUE software for network monitoring and control. The software, which allows users to access and control VUE equipment via a wired or wireless TCP/IP based Ethernet connection, now includes a significantly updated interface and a host of new control capabilities. Chief among the latest features is a powerful user controlled system EQ with 10 filters on each system input. With the 3.8.0 upgrade, SystemVUE software will be available on Apple’s iPad (subject to Apple’s approval), as well as for computers running on OSX and Windows operating systems, with an iPhone version to follow. SystemVUE works identically regardless of operating system, giving users more options when it comes to choosing a device from which to access and control the performance of VUE systems. What’s more, the iPad’s inherent simplicity of operation streamlines network setup and communications. As part of this SystemVUE software release, VUE has crafted a user interface that incorporates additional new functions, while maintaining ease of operation. New functions include input routing options, system level phase reverse and user-controlled EQ. Each system can now access the on-board EQ in the form of 10 DSP filters; each of which can be set to shelving, notch, High/Low pass, all pass or fully parametric bell equaliser.

YAMAHA | PROVISIONAIRE TOUCH APP www.yamahacommercialaudio.com Yamaha has presented its ProVisionaire Touch app for iPad. Developed in response to user requests, the versatile app allows wireless remote control of MTX and MRX series signal processors via easily designed custom control panels. A key component of Yamaha’s Commercial Installation Solutions (CIS) series, the MTX and MRX processors can be managed via Wi-Fi, which has led to requests for a straightforward, but highly customisable, control app. The result is ProVisionaire Touch, which allows installers to meet the bespoke needs of individual commercial spaces such as conference rooms, retail stores, restaurants, banquet halls and houses of worship. ProVisionaire Touch makes it easy to arrange faders, switches, graphics and other widgets via its intuitive interface, to create original touch control panels that perfectly match individual installation and control requirements. Importantly, little programming knowledge or experience is necessary, making it the ideal solution for any installer.

WWW.PROLYTE.COM

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‘Together we are stronger’ is the slogan of our company. That means when we have a partnership with someone for a long time it becomes more like being part of a family than doing business.

MARKUS AUGENSTEIN SALES & MARKETING DIRECTOR OF EUROPE & AMERICAS AT AUDIOCENTER Can you tell us a bit about your background and how you got involved in the industry and Audiocenter?

Like a lot of people in the industry I first got involved in sound by playing in a band. I was playing the drums and after couple of years I started to produce electronic music. I went on to complete a degree in business and began working as a stagehand, employed by a big German rental company. I worked on some big and challenging projects and that was a perfect start to the industry.

Moving forward I spent two years concentrating on my music doing a mixture of touring and DJing.

After this I began to work for a German distribution company, which covered a lot of different brands. I

www.mondodr.com

worked there for nearly 10 years, I started out as a sales guy and then I became more involved in the purchasing department. In 2004 I began to travel frequently to China and through this experience finally I became the Purchasing Director.

However, three years ago I decided it was time for a new challenge. I teamed up with my boss who asked me to work for him at Audiocenter and I don’t regret my decision.

Can you outline a bit about your role at Audiocenter?

I am the Sales & Marketing Director for Europe and Americas covering North, South and Central America. Together with my team we are setting up

the network in Europe, which is already growing quite fast. We can see the reactions of the market to the products. It’s always a long process to get a brand recognised but I think we approaching the market at the right time with the right products.

Audiocenter has been described as a Chinese company but a German brand is that something you would agree with?

When Audiocenter started the main focus was on amplifiers so that’s how the brand was created before then turning to loudspeakers, line array systems, and other up and coming technologies.

We have an international R&D team, which means most of our products are developed in Germany

The international sales team

by German engineers. We develop the products in Germany and we use parts from Europe. We source our parts such as drivers from Spain, Italy and Denmark. The wooden materials for the cabinets are from Russia, as Baltic birch wood is known for its good density features. Nearly all the components we use in our products are customised for Audiocenter.The final assembly is carried in China as this enables us to keep our prices competitive.

Audiocenter used to be more of a OEM manufacturer, what is the split now in terms of how much is OEM and how much is the Audiocenter brand?

Our focus is Audiocenter. The reason Audiocenter began was because my boss started to produce products of his own. He realised early on that it was the right time to start a brand. We still always support our existing clients on the OEM and ODM side and I take care of that. We believe it’s important to look after any long-term relationships.

‘Together we are stronger’ is the slogan of our company. That means when we have a partnership with someone for a long time it becomes more like being part of a family

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Audiocenter cabinets are made from Russian Baltic wood

The demo room

The factory floor

V-HLA Series and V-HLA+ Series vertical line arrays launched Audiocenter is registered in Berlin, Germany

2006

Audiocenter expands testing lab for testing enviromental conditions

2007

2008

2009

Audiocenter is selected as official pro audio partner for the 21st World Super Model competition

In terms of Audiocenter - the different markets, you mentioned geographical markets, but is there a particular market in which Audiocenter is quite strong?

Emerging markets such as South America are doing well, but so is Europe, especially in Germany. Spain and Italy are also growing fast. We are thankful to have the right partners as they do a great job of representing Audiocenter.

In terms of the live versus install market do you feel you have a presence in both? www.mondodr.com

2010

2011

2012

2013

Audiocenter sets up Global Technical Service Centre and sponsors Italian motorcycle racing team

Audiocenter begins working with Beyma from Spain and Faital from Italy to provide customised driver

rather than just doing business.

Audiocenter holds global brand customer convention in Germany and Mexico

The K-LA Series line array loudspeakers make a breakthrough

2014

2015

Launch of K-LA210-DSP line array loudspeakers and LUX Series compact loudspeakers

Audiocenter selected as official pro audio partner for the tour ‘PLAY ME’ in China

It is difficult to say. I would estimate that the install market takes 60% and the touring and rental market is 40% of our business.

If people aren’t already aware of Audiocenter what can you tell our readers about the company?

Audiocenter is based on advanced manufacturing, science and technology. We follow the idea of designing and manufacturing uncompromised quality products. With a professional user-friendly product structure and the concept of integration, we develop ideas to make audio set ups and installations easy to implement for our customers.

If you weren’t working in the audio industry what job would you be doing now?

I would probably not exist. I love this industry that much! I enjoy being involved in the technology of music and I can’t imagine anything else in my life.

What do you like doing in your spare time?

I like spending time with my partner, producing and releasing electronic music, and developing my own cooking recipes.

graphics: Vilfredo Maria Ricci - © 2015 Studio Due

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