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NETWORK. AUDIO. VIDEO. smart IP live production infrastructure.
ON THE COVER Zouk KL, Kuala Lumpur Photo © Zouk KL 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 Ciara Rafter 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 Two 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
If you’re reading this, then you’ve already begun casting your eyes over our glossy new magazine. You’ll notice our striking new logo, the existing features have undergone a make-over and we’ve thrown in a few newbies too. Our first new feature is In Discussion on page 12, which will be written by one of you, our readers, every issue. You can discuss new technology, compare similar yet different technologies, provide an insight into a geographical region or even discuss market trends. Equally if you have your own idea for a column and want a platform to share it on, please get in touch. Next up is Inside View, which takes a closer look at the technologies which don’t often get a spot in the limelight. In this issue we learn more about Audinate, turn to page 14 for more details. You’ll notice In Brief has moved to the In Focus section and now hones in on just one installation per territory, I think you’ll agree it makes an impact. In Detail - which gets started on page 112 - has also expanded, giving you the opportunity to send detailed product descriptions and user comments. Please have a good look through this issue, let us know your thoughts on the redesign and if you’d like to get involved with any of our new features. Hopefully, you are also aware that this year marks the 25th anniversary of mondo*dr, the publication has stood the true test of time and we are thrilled to be celebrating such a milestone. We’ll be raising a glass in honour of mondo*dr during this year’s PRO show in Birmingham. The exhibition is held at the NEC from 12-14 September. Please do come along to check out the show and if you’d like to celebrate with us, consider this your invite… we’ll be at Nuvo, a bar in Birmingham City Centre from 7.30pm on Sunday 13 September. Finally, I would also like to take this opportunity to announce some very exciting news - we are launching the mondo*dr Awards. The awards will honour all kinds of venue installations from around the globe. Turn to page 16 to find out the first details we’ve released and stay tuned for more! RACHAEL ROGERSON-THORLEY EDITOR
www.mondodr.com
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9 CONT ENTS
CONTENTS
22
12 IN DISCUSSION
AMNON HARMAN As CEO of d&b audiotechnik for just over 12 months, Amnon talks about the challenges of working in a new industry and his journey so far.
14 INSIDE VIEW 16 THE MONDO*DR AWARDS
IN DEPTH 22 INTERVIEW Amnon Harman - d&b audiotechnik 32 REPORT Trussing & Rigging
70 WHITNEY MUSUEM Built to house some of America’s finest art, the new Whitney Musuem’s unusal shape and multipurpose rooms, made for a challenging project.
IN FOCUS 58 LESLIE PAVILION Amsterdam 60 QUEEN OF FLANDERS Cape Town GATEFOLD Expo Milano 2015 68 HERSHEY FREE CHURCH Pennsylvania 70 WHITNEY MUSEUM New York
78
76 OMNI Taipei 78 ZOUK KL Kuala Lumpur
ZOUK KL With dazzling themed rooms including a futuristic bar and a LED wall made of 1,200 champagne bottles, Zouk’s new superclub is a feat of technology and engineering.
88 A DIP IN THE OCEANIA Kuala Lumpur, Singapiore, Melbourne, Sydney
IN BUSINESS 108 MEDIATECH Johannesburg 114 PALM CHINA Beijing 118 PRODUCT LAUNCH Coda AiRAY
118 CODA AiRAY In the grassy backdrop of the German countryside the Coda demonstration of its new AiRAY system illustrates a new design concept for fixed and touring line arrays.
www.mondodr.com
120 PRODUCT LAUNCH Roland M-5000C 122 IN DETAIL Elation, Focusrite, MA Lighting 128 PRODUCT GUIDE Mixing Consoles 140 PRODUCT DIRECTORY 160 LAST PAGE INTERVIEW Berenice & Albert Chauvet
FRANÇAIS
Si vous lisez ceci, c’est que vous avez déjà posé les yeux sur notre nouveau magazine en quadrichromie. Vous remarquerez notre super nouveau logo — les fonctionnalités existantes ont toutes subi un relooking et nous avons aussi rajouté quelques nouveautés. Je vous demanderais donc de l’examiner attentivement et de me faire part de votre avis au sujet du nouveau design, et si vous aimeriez vous joindre à nos efforts pour les prochains numéros. Avec un peu de chance, vous êtes également au courant que cette année marque le 25e anniversaire de mondo*dr ; la publication a résisté à l’épreuve du temps et nous sommes ravis de célébrer une telle étape. Nous lèverons un verre en l’honneur de mondo*dr pendant le salon et exposition PRO qui se déroulera au NEC de Birmingham du 12 au 14 septembre. Je vous invite à venir découvrir ce salon et si vous voulez trinquer avec nous, soyez les bienvenus... nous serons au Nuvo, un bar du centreville de Birmingham, à partir de 19 h 30 le dimanche 13 septembre. Enfin, je voudrais également saisir cette occasion pour vous faire part d’une information très importante — nous lançons le Prix mondo*dr, et si vous tournez encore quelques pages, vous en découvrirez tous les détails.
DEUTSCH
Wenn Sie diese Zeilen lesen, so haben Sie bereits begonnen, einen Blick auf unsere glänzende neue Zeitschrift zu werfen. Sie werden unser auffallendes neues Logo bemerken, die bestehenden Merkmale wurden alle überarbeitet und wir haben g l e i c h z e i t i g z a h l re i c h e N e u h e i t e n eingebracht. Schauen Sie sie sich bitte an und lassen Sie uns wissen, was Sie von der Neugestaltung halten und ob Sie gerne in neue Merkmale in zukünftigen Ausgaben einbezogen werden möchten. Sie sind sich hoffentlich auch bewusst, dass mondo*dr dieses Jahr sein 25. Jubiläum feiert, die Publikation hat sich bewährt und wir freuen uns, solch einen Meilenstein feiern zu können. Wir erheben das Glas zu Ehren von mondo*dr während der diesjährigen PRO-Show in Birmingham. Die Ausstellung findet vom 12. bis 14. September im NEC statt. Kommen Sie doch bitte vorbei, um die Messe auszuprobieren und falls Sie möchten, um mit uns zu feiern, Sie sind ein gern gesehener Gast… Sie finden uns im Nuvo, einer Bar in der Innenstadt von Birmingham, ab 19 Uhr 30 am Sonntag, den 13. September. Schließlich möchte ich diese Gelegenheit nutzen und eine auf regende News bekannt geben wir starten den mondo*dr Awards, in einigen Seiten finden Sie weitere Details.
ITALIANO
Se state leggendo queste pagine allora significa che avete già dato un’occhiata alla nostra nuova rivista patinata. Noterete il nostro nuovo logo appariscente; le caratteristiche che la rivista aveva prima hanno tutte subito un rinnovamento, i n s erend oci a nche q ual che novità . Dategli un’occhiata e fateci sapere cosa ne pensate del nuovo look della rivista e se vorreste essere coinvolti in qualche nuovo cambiamento che verrà apportato nei prossimi numeri. Speriamo, inoltre, che voi siate al corrente del fatto che quest’anno si celebra il 25° anniversario di Mondo*dr, la quale pubblicazione ha superato la dura prova del tempo e siamo entusiasti di festeggiare una tale pietra miliare. Brinderemo in onore di Mondo*dr durante lo spettacolo PRO di Birmingham di quest’anno. L’esibizione si terrà al NEC dal 12 al 14 settembre. Venite a dare un’occhiata allo spettacolo e, qualora vogliate festeggiare con noi, prendete questo come un invito... Saremo al NUVO, un bar nel centro di Birmingham, dalle 19.30 di domenica 13 settembre. Infine, vorrei anche cogliere l’occasione per annunciare una notizia molto interessante: stiamo lanciando il Mondo*dr Awards, giusto qualche altra pagina per scoprire ulteriori dettagli.
ESPAÑOL
Si están leyendo esto, quiere decir que ya han comenzado a echarle un vistazo a nuestra nueva revista. Notarán nuestro llamativo logo nuevo, que los artículos de siempre han sido renovados por completo y que también hemos lanzado un par de artículos nuevos. Por favor denle una buena revisada y hágannos saber qué piensan acerca del rediseño y si les gustaría involucrarse en alguno de nuestros nuevos artículos de las próximas ediciones. Esperamos recuerden que, este año, es el 25o aniversario de mondo*dr. La publicación ha permanecido en pie a lo largo del tiempo y estamos emocionados de celebrar un hito de esas características. Levantaremos nuestras copas en honor a mondo*dr en la exhibición PRO de este año en Birmingham. La misma se llevará a cabo en el NEC del 12 al 14 de Septiembre. Por favor vengan a dar una vuelta a la exhibición y, si desean celebrar con nosotros, consideren a ésta como su invitación personal. Estaremos en Nuvo, un bar en el Centro de la Ciudad de Birmingham a partir de las 19.30 hs. el domingo 13 de Septiembre. Por último, me gustaría también aprovechar esta oportunidad p a ra a n u n c i a r a l g u n a s n ove d a d e s fabulosas – como que estaremos lanzando los Premios mondo*dr; encontrarán más detalles de esto en las próximas páginas.
Advertising Index Absen Adam Hall Adamson ADJ Antari Ashly Audio Audiocenter AudioFocus Camco Chauvet Coda Audio d&b audiotechnik D3 D.A.S. Audio Daslight DiGiCo Digital Projection Duratruss Dynacord Eagle Stage Equipment EAW Elation Erhgeiz Eurotruss
42 27 133 113 30 & 31 119 40, 144 & 148 45 141 39 149 135 132 117 6 111 101 35 106 115 85 & 137 29 139 18 & 19
Fine Art Focusrite Fohhn Full Fat Audio Funktion One Genelec Global Truss GLP Havells Sylvania Haze Base Hoist ICON Idea Pro Audio Infinite JB Lighting JBL Professional K-array Kind Audio Kling & Freitag Kuzar KV2 Kvant L-Acoustics Lawo
4 157 131 147 81 151 43 61 138 121 53 5 55 159 151 93 & 145 160 134 97 125 161 67 2 7
Le Maitre Lectrosonics Light Services Look Solutions LTM Lynx Pro Audio MA Lighting Madrix Martin Audio Martin Professional MBN Merging Meyer Sound Milos Music & Lights Nexo NEXT-pro audio One Systems Osram Outline Philips Entertainment Philips Lighting Pioneer DJ Europe PR Lighting
153 129 75 73 44 149 13 121 BC Gatefold 95 & 97 62 11 41 121 & 153 155 87 53 56 99 17 83 109 103
Pro Tapes Prolyte Renkus-Heinz Riedel Robe Sennheiser SHS Global SJL Lighting Sommer Cable Spotlight Starway Steinigke Studio Due Sunlite Tannoy The GET Show TW Audio Verlinde VUE Audiotechnik Waveburg Wireless Solutions X-Laser XTA Zero 88
95 51 105 8 63 143 157 155 79 123 127 91 163 10 47 & 49 20 15 53 65 152 3 37 125 161
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ANDREW DUBOWSKI / SAN FRANCISCO SYMPHONY
“The more natural the sound, the more perfect the amplification. LEOPARD’s sound is so natural, it fools me into thinking the sound is not really amplified, even though I know it is. That feels like magic.” Andrew Dubowski, Director of Operations
LEOPARD AND 900-LFC THE NEWEST MEMBERS OF THE LEO FAMILY Read the full interview at meyersound.com/sfsymphony
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Meyer Sound Laboratories Inc. • 2832 San Pablo Ave. • Berkeley, CA 94702 • 510 486.1166
PUBLISTING Mondo Sept 2015 Issue Creative: Testimonial - Andrew
Contact: Elania Nanopoulos Phone: 510 486.1166 x115
Unit:
FP4C
Live:
210mm x 310mm
PRODUCTION NOTES Keylines do not print
Trim:
236mm x 333mm
INK: 4/c
Bleed:
242mm x 339mm
STOCK: magazine
Gutter:
n/a
Close Date 08/17/15
Revision #
12 IN DISCUSSION
WHAT’S WRONG WITH CHINA? With plenty of discussions about China in the news recently, Michael Kinzel of Kinzel AVL translates what this means for our industry. Nothing… would be the simple answer, but of course that needs some explanation. Over the last couple of weeks many of us have been wondering what is happening in China. Economic growth has slowed down drastically, the Chinese stock markets are in turmoil and it’s had some side effects on European trade too. Looks and sounds ugly at first sight, but as always there is another side to the story. More and more we are seeing this new, young generation of managers and entrepreneurs who form new companies with very modern management styles and values. These guys are often in their early 30s, well educated at universities in the US or the UK. They’ve a strong focus on R&D and after decades of being the world’s workbench, China’s now able to deliver high end quality. Examples? Take the car brand Qoros, headed by former Audi managers - one of their first cars managed to get all five stars in the EuroNCAP crash test, just like all common European cars. Or consider the two Chinese train manufacturers CSR and CNR that - after a recent merger - became one giant supplier named CRRC Corporation and is now winning contracts overseas with companies such as Boston Metro. Look at the Comac C919, a 737-style jet and China’s first commercial plane that will take off in 2018. And statistically, every third person on the planet already owns a Huawei device. The same trend in the audiovisual world is starting to emerge. Most of us are familiar with brands like Taiden, JTS, Carol, to name just a few, and I know of quite a few people admitting that the gear is not too bad. I’m personally proud to be associated with two further high-enders from China. Tendzone, China’s largest DSP R&D centre and Unilumin, a top 500 ranked company building finest LED screens with a pixel pitch down to 0.8mm. After living in Singapore for the last three years, I have returned to my home country of Germany to set up sales channels and service facilities for
the Tendzone brand across the EU. Unilumin has had a presence in Europe for many years, it has a service centre and showroom in the heart of Amsterdam, The Netherlands. This is a becoming a new trend; Chinese manufacturers that produce quality equipment getting closer to the European market wanting to establish sales and after sales services with high standards. They’re eager to learn what customers in the Western world demand and they’re ready to build the bridge between different business cultures. Another example from outside of the audiovisual industry: Did you know that Lenovo has shifted a big part of its production from China to North Carolina in the US? A total of 115 jobs have been created - since 2013 - to build PCs in the US, not in China. Who are among the leaders when it comes to modern mobility with electric car? The answer… BYD (Build Your Dreams), a car, IT, solar power, lighting and battery manufacturer in Shenzhen, China. In fact around 300 e6 electric taxis operate in Shenzhen itself, and www.mondodr.com
shortly before I left Singapore I saw the first few cruising through the lion city as well. Mercedes Benz is just one of a few Western industry giants cooperating with BYD to benefit from its knowledge in this field of electric mobility. Despite the impressive know-how China’s manufacturers have built up over recent decades, production in China is not cheap anymore, wages are increasing and workers have added skills over the last couple of years. They are now ready to build high-end quality, and they have R&D power. This leads me to my conclusion. Many countries we associate with high quality products originally started with reengineering or cheap production. Even ‘Made in Germany’ originally stood for cheap copies of British quality products. More and more Chinese companies are ready to take the next step into a new era of quality manufacturing - let’s join them.
The opinions expressed in this article are the opinions of the author and not necessarily of mondo*dr magazine.
• Above Unilumin LED screen at Tianmen Square, Beijing.
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14 INSIDE VIEW
Sydney University The term ‘X-Lab’ might conjure immediate visions of a science-fiction film, but on the campus of the University of Sydney in Australia, it is a very real and innovative educational laboratory. Paul Menon and his team at the University of Sydney partnered with Sydney-based systems integration firm Fredon Technology to achieve efficient distribution of targeted lecture audio to students over a standard network infrastructure; and intelligible speech reproduction from overhead loudspeakers without bleeding into neighboring classes. The University of Sydney decided to immediately expand the 16-channel specification to a 64-channel backbone. A Symetrix Radius AEC was specified for its digital signal processing and higher channel count, plus the fact that it includes local echo cancellation for incoming Dante channels - eliminating the cost and complexity of mixing in standalone echo cancellation systems. The Symetrix architecture includes a Radius at eight instructional locations, each feeding to a Radius Edgethat routes Dante audio to a central amplifier rack. From there, the audio is distributed to 45 loudspeaker zones. Dante-enabled Shure Microflex wireless microphones bring greater flexibility to instructional communications, establishing two-way audio paths between an instructor and an assistant; or between instructors and students.
AUDINATE Founded in 2003, Audinate set out to produce an innovative networking technology that solved the challenges of delivering tightly-synchronised audio with ultra low network latency and came up with its Dante technology. Audinate took a novel approach to simplifying network set-up as well, creating an intuitive and easy-to-configure user interface. www.audinate.com
Willow Creek Community Church Willow Creek Community Church is an interdenominational community of seven worship facilities in the Chicago area. The main church in South Barrington, Illinois serves as the core location for distribution of video and audio content to the church’s six satellite locations and it recently underwent a technical transformation. A Dante network from Audinate was installed, which crosses the FoH mixing area by the main auditorium 94ft stage, with multiple channels coming in and out of a Yamaha PM1D console. The high-capacity Dante architecture in the main auditorium ensures that Willow Creek can take advantage of a wide array of audio sources, including 160 audio inputs from the stage; and dozens of wireless microphones and in-ear monitors. The FoH mixer’s output is converted to digital by Dante-enabled BSS Soundweb London BLU-806 signal processors. The Dante signal is then sent over the Dante network until it reaches the loudspeaker management system.
The Cube Shared between the University’s Center for the Arts and the Institute of Creativity, Arts and Technology (ICAT), The Cube integrates some cutting-edge technology to enable synchronised data capture, real-time audiovisual rendering and immersive 3D audio experiences, including wave field synthesis and holosonic sound display interaction. The facility-wide professional audiovisual capabilities are particularly important for artistic installations and performances, with large multi-screen video displays, 128 loudspeakers, and a robust, multichannel Dante network to accomplish the goal of complete immersion. Tanner Upthegrove, the media engineer at ICAT and lead systems integrator for The Cube, joined forces with Denis Blount of Arup, a consulting firm that specialises in cutting-edge audiovisual design for this project. The decision to install a Dante network influenced Tanner toward Yamaha XMV 82 ADD amplifiers, which can drive eight loudspeakers from a single Dante connection. Tanner called this selection a natural fit, given the high sound quality of the Yamaha amplifier and its Dante-enabled multichannel capability. The system also includes Dante-enabled BSS Soundweb London BLU-806 digital signal processors, which allow users to effortlessly route signals across any location in The Cube. www.mondodr.com
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16 MONDO*DR AWARDS
INTRODUCING THE
AWARDS FEATURING FIVE CATEGORIES... BEST CLUB BEST PERFORMING ARTS CENTRE BEST HOUSE OF WORSHIP BEST STADIUM BEST INTEGRATED RESORT
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EXPO DIARY 2015 PROLIGHT+SOUND, RUSSIA
LED CHINA
MOSCOW, RUSSIA 10-12 SEPTEMBER 2015 www.prolight.messefrankfurt.ru
SHANGHAI, CHINA 16-19 SEPTEMBER 2015 www.ledchina-sh.com
IBC
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AMSTERDAM, THE NETHERLANDS 11-15 SEPTEMBER 2015 www.ibc.org
SAO PAULO, BRAZIL 16-20 SEPTEMBER 2015 www.expomusic.com.br
BPM / PRO
INFOCOMM INDIA
BIRMINGHAM, UK 12-14 SEPTEMBER 2015 www.visitbpm.co.uk / www.visitpro.co.uk
MUMBAI, INDIA 17-19 SEPTEMBER 2015 www.infocomm-india.com
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DUBAI, UAE 13-16 OCTOBER 2015 www.infocomm-mea.com
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NASHVILLE, USA 18-19 NOVEMBER 2015 www.wfxweb.com/2015
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MUMBAI, INDIA 15-17 OCTOBER 2015 www.broadcastindiashow.com
TOKYO, JAPAN 18-20 NOVEMBER 2015 www.inter-bee.com
LDI
JTSE
LAS VEGAS, USA 23-25 OCTOBER 2015 www.ldishow.com
PARIS, FRANCE 25-26 NOVEMBER 2015 www.jtse.fr
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·Asia's most influential pro light&sound exhibition ·China’s first high-end silent exhibition ·Over 500 international exhibitors ·Manufacturing exhibitors from China industrial base ·All of the world's best-known brands in a hall ·New products launch event
IN DEPTH
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INTERVIEW AMNON HARMAN D&B AUDIOTECHNIK
REPORT TRUSSING & RIGGING
Stepping into a company as CEO has certain privileges but it also dictates a number of expectations. With the stakes high, there is no room for error. Luckily, Amnon Harman, d&b audiotechnikâ&#x20AC;&#x2122;s CEO of just over 12 months was ready to take on the challenge of entering a new industry and has to date embraced it with great success. Rachael Rogerson-Thorley travelled to Backnang, Germany to hear about his journey so far.
24 INT ERVIEW
Flying into southern Germany where temperatures that day were scheduled to reach 36º to interview the CEO - that you’ve never met before - of a high-end audio manufacturer, I would consider quite as an exciting prospect, and I certainly wasn’t disappointed, quite the opposite in fact. Arriving at Stuttgart airport, I took the train to the end of the line to finish my journey in Backnang, the home of d&b audiotechnik. A picturesque, historic town, arguably best known for its contribution to the leather, cotton and wool industries. Funnily enough, d&b headquarters started life as the JF Adolff woolen mill, which was run by the Adolff family in the early 20th Century. The mills became redundant, but changing the usage to offices preserved the buildings. At one time it was very much a shared mill, with many different companies using different buildings. Today d&b occupies more than half of the site, which is a prominent fixture in the town. Each of the mill buildings are lettered, which you would think bared some significance to at least some the company’s product ranges - J-Series, E-Series, T-Series to name just a few - but actually it is just one of life’s charming coincidences. The d&b hub - which seems to be on a continual expansion plan at present - houses pretty much every office depart-
ment you can imagine, as well as R&D, manufacturing, testing, servicing, packaging and dispatch. Growth is definitely high on the agenda for the manufacturer and someone who is pivotal to making that happen is CEO of just over 12 months, Amnon Harman. On first meeting Amnon, his friendly yet focused persona is immediately apparent and although I am actually there as the interviewer and to learn about him, I get the sense he feels he might learn something from me too - in terms of an outsider’s perspective of the company and said outsider being a member of the press. The fact that I pronounced his name correctly first time, I think set me in good stead too. Amnon grew up alongside two sisters who split their time between Germany and Israel. As he grew older, an education decision had to be made; he opted to study aeronautical engineering. “The dream was always to become a pilot,” Amnon said. “I studied aeronautical engineering because - after being told I couldn’t be a pilot due to my eye-sight - I wanted to be the third guy in the cockpit. When I started my studies there were three people, the pilot, the co-pilot and the flight engineer but modern aircrafts went through a number of technical developments and while I was studying the need for that third person was www.mondodr.com
eradicated!” Knowing that he wanted a diverse and challenging career, Amnon opted to study industrial engineering and management so that he could be an expert in a managerial role but have the understanding and practical knowledge to work across a range of industries. “My first job after my studies was my dream job at that time, it was at Arthur D Little, a well-known management consultancy,” continued Amnon. “I worked there for five years in a role called operations management - analysing processes and trying to optimise them, whether that be in manufacturing, logistics, sales or operations. I learnt to think in processes - where does something start, how does it flow through a company, where does it end. It was a very good school for me as this knowledge is still in me today.” Amnon’s next post eventually took him from Germany to the UK. He worked for the Deutsche Bank in Frankfurt initially and later moved to London. Starting out establishing an in-house consulting group in the German branch, Amnon and his colleagues quickly rose to the challenge, and he proved himself as a problem solver and an instigator of processes. Upon moving to the London division he moved up the ranks and took on responsibility for global technology and services. He was also involved with
• Above Amnon at d&b audiotechnik HQ in Backnang, Germany. • Above Right Amnon at Infocomm in Orlando, USA earlier this year addressing show visitors. • Above Far Right The early days of d&b audiotechnik.
25 INT ERVIEW
“What that way of working brings is engaged people, who want to be involved with the decision making process. From inside d&b I can really see the passion and devotion of people working in their jobs and this is fantastic. This energy when moving in the right direction is unbeatable.”
technical software development, where his interest in technology first began to surface. “Deutsche Bank taught me how to look at things not only from a processing and analytical point of view but also from a people perspective and how you get people behind changes that you might be implementing,” he said. On the verge of leaving Deutsche Bank, Amnon got a call from one of his bosses, expressing a keenness for him to stay within the company and sure enough, a job offer in the venture capital division named E-Millennium - was soon on the table. Amnon returned to Munich and took up the position. His task - to take the 100 million Euros Deutsche Bank invested into a venture capital fund and raise another 100 million Euro from network investors. It was during this period that Amnon became familiar with SUSE Linux - the year was 2001 - a company regarded at number two in Linux operating systems. E-Millennium invested in SUSE Linux, despite the fact that it was making a loss, but Amnon and his team turned the company around, he entered as COO in 2003 and at the end of that year the company was sold to Novell for a profit. Amnon final stop before joining d&b was at a vision technology company called AUGUSTA Technologie, where his main task was to restructure the company www.mondodr.com
with a new business model and once this was complete, his position as CEO there came to a natural close after the takeover by another industrial conglomerate. In the interim he set up on his own. “At the end of 2012 I set up my own company focussed on vision technology. I had identified companies that I could acquire to form another vision technology group - similar to the set-up I established at AUGUSTA Technologie - and that’s what I began with a private equity fund,” Amnon explained. Enter d&b. A board member of d&b who he actually already knew from his SUSE Linux days contacted Amnon - with the offer of a CEO position. Amnon declined the first pitch in favour of his own business. But the second pitch, which took a different approach got Amnon hook line and sinker. “He pointed out what is special at d&b. He didn’t say it’s a company making audio products, instead he said it is a global operating company that is a leader in its field, setting the pace with technology and making the difference with technology. Its success is also its biggest challenge because the company is not too far from the garage mentality of years ago and suddenly it is an international operating company with a very fast growth path,” Amnon continued. “He told me there were a lot of things that needed to be developed at the compa-
26 INT ERVIEW
“With the rental market, we have good relationships with the end users, but this is not always the case for installation. The mechanics of selling through several influencers on a large scale is something new for the company and we are developing new processes and building a new business model around that.”
ny - defining and establishing processes, putting stability into the growth of the company so that the mentality of one set-up in a garage could develop into a company that leads the market in a whole range of sectors.” An additional challenge, in the form of developing the installation business, was the final tipping point for Amnon. It was a different complexity and a different management challenge. “Stepping into a company as CEO is a huge privilege. People take notice of what you say so you have to be careful, especially if you don’t know the market you are dealing with. In the beginning it is important to listen more than talk.” In one year Amnon does feel that he has learnt a lot about d&b as a company. “I made mistakes at SUSE Linux, I was younger, less experienced in people management and it was the first time I’d come across people who were not driven by commercial factors only, but had principles and wanted to improve the world. I benefitted from that when I started here at d&b,” he continued. Amnon explained that he felt the culture of 20 people sitting around the table and deciding on the next step together was still very much in place when he joined the company. “What that way of working brings is engaged people, who want to be involved with the decision making process. From inside d&b I can really see the passion and devotion of people working in their jobs and this is fantastic. This energy when moving in the right direction is unbeatable. “In the beginning, there was some suspicion, ‘what is this guy doing?’ but I spent a lot of time listening and traveling around our subsidiaries and partners to understand what their requirements are. Also seeing what is not working and trying to fix small things, as a way of gaining trust by taking things seriously
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and bringing back results quickly even if it’s only a very small thing. I was working with the management team to established new processes and procedures. With a larger management team of about 30 people we worked on a five year plan, based on our ambition to enter new market fields.” Today, d&b has a fantastic position in the mobile market in terms of entertainment such as concert touring and outdoor festivals, long-term rentals and corporate. This is 70% of the business and the company considers itself among the top three players in this field. There’s another segment of the business that d&b calls performance installation, applications such as theatres and opera houses, houses of worship and live music halls. These are installations projects that d&b feels comfortable with because they are similar to the live entertainment business. Both have similar requirements and in many cases are rider-driven. This is where the bulk of the installation revenue can be found. Commercial installation, however, is where Amnon sees another great opportunity for growth. “I would say we’re coming into nightclubs, conference centres, stadia and cruise liners, These are all markets where we already do business but not that much. It’s more occasional because there is a decision maker who might have chosen d&b in one instance because they found something special about it - maybe we positioned ourselves well, had a good partner that brought us in,” he said. “Recently though, as part of our five year plan we have adopted a more strategic approach for that market. Identifying who is taking the buying decision, what is the buying criteria, what do we need to provide as a technology supplier in order to be successful, in terms of networking capabilities and integration
28 INT ERVIEW
• Above ANZ Stadium in Sydney, Australia is installed with d&b equipment. • Right The Bi-6 sub, the yi7P and the Yi line array alongside the new 10D and 30D amplifiers.
capabilities into existing networks. “With the rental market, we have good relationships with the end users, but this is not always the case for installation. The mechanics of selling through several influencers on a large scale is something new for the company and we are developing new processes and building a new business model around that.” It is quite clear to see how Amnon’s wealth of expertise is already shaping forward thinking strategies at d&b. Backnang is in the region of Swabia and one of the keys to the success of d&b so far, Amnon puts down to Swabian engineering, a very prudent approach with great attention to detail, if it’s not perfect it’s not going to market. He also credits the fact that the company has product managers and application-engineering support out in the field testing new things, meaning there is always plenty of feedback filtering back to the company which helps with improvements and development. To that end: “About three weeks ago I was on-site at an open-air gig and I was already exposed being the only one in a white t-shirt, everyone else in black. So people were asking, ‘who is that guy in the white t-shirt?’. I wanted to be there running cables and helping to rig the system in order to understand how our industry works from a day-to-day user’s perspective.” Another important factor - key to success - that not only keeps d&b on track, but essentially the entire industry is passion. “The passion of the pro audio industry is a definite draw and it makes me see a
long-term future here. At d&b there is an emotional element as well as passion. But it’s very similar in terms of the way the whole industry is structured. There are lots of small companies creating innovation, it’s very fragmented, people know each other, it’s more like co-competition than competition. We are aware of who our strong competitors are but we still talk to them. We don’t see them as enemies but we do see them as the ones to beat in a sort of sport-like competition. I like this atmosphere very much. But it’s different here with the emotional factor, the end product is music, how people express themselves. People sacrifice a lot to be in this industry, which is not the case in other industries but is what makes this industry very special.” In just one year, as the head of an international, multi-million Euros company, Amnon has come a long way and he described his journey so far with a football analogy. “When my son was younger I was a trainer for his football team. If you have a group of kids and all eyes are on the football, throw a ball into the middle and they all rush towards the ball wanting to kick it. There is no coordination and no concept of where the goal is, or in which direction they should run. “The kids soon realise that one team has to go in one direction and the other team in the opposite direction and they have to take the ball with them. The next point of understanding is them playing with each other. The next step is to grasp there’s defensive, offense and mid-field everyone has a role. Then you can talk tactics, www.mondodr.com
how you want to construct the game and eventually at the end you make goals. I’m not comparing my d&b colleagues to children,” smiled Amnon, “But I feel that we’re on a development path together and we’re at the stage now where we’re all running in the right direction, we know where the goals are and we are improving the techniques.” When Amnon is not at d&b working, he spends most of his free time with his family. His son, now 20, is studying law at university but travels back each weekend - as does Amnon - to the family home in Munich. “My wife and daughter are in Munich together with our female dog, so all the girls are at home,” laughed Amnon. Friday nights are reserved for traditional Jewish Shabbat, while the rest of the weekend is usually spent playing sports with his son and daughter, taking walks with his wife and the dog and occasionally cooking meals for friends. A good mannered and intelligent man, it is clear to see why d&b took Amnon on to steer its ship. He is meticulous in his processes and strategic with his planning. Despite having no previous experience of the professional audio business, Amnon has already put his stamp on the company by applying experience he has picked up along the way. Although he has been a part of a number of different companies during his career, often moving on to seek a new challenges, I get the impression he may have been bitten by the pro audio bug, which may well keep him within our grasp for many years to come.
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32 REP ORT: T RUSSING & RIGGING
Trussing and rigging products often adopt the position of an understated system backbone, although on occasion they can take centre stage. mondo*dr looks at projects of both types here.
T H E CON C E RTG E B O U W COMPANY: PROLTYE, CONTROLLUX LOCATION: AMSTERDAM, THE NETHERLANDS
www.mondodr.com
Build in 1888, The Concertgebouw in Amsterdam, The Netherlands enjoys worldwide recognition, both as residence to the Royal Concertgebouw Orchestra and due to its unrivalled acoustics. Looking for a way to upgrade the rigging installation, both the theatre consultant and the technical supervisor of the Concertgebouw turned to Controllux to source a solution. Prolyte distributor Controllux involved ProLyft Product Manager, Michiel van der Zijde to design and pitch for a customised hoist and control system for this unique, historical location. Based on his expertise and in-depth knowledge of the buildings requirements, the pitch involved long considerations with all engaged to come to a satisfying solution. With only the night time available for set changes and technical building, the rigging needed to be very efficient. This fact combined with the unique monumental and acoustic characteristics of the building required a very specific solution. The complete rigging installation had to be installed in the loft above the plastered ceiling. The ceiling boasts a
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matrix of over 200 holes to allow hooks and chains to come through from the loft. This matrix was the only reference for the hoist operator to understand which hoists needed to be selected. With the hoists being moved from hole to hole on a daily basis, a good reference solution was paramount to make the installation safe to operate. In order to reach the requirements Controllux installed a network of I-beams, from which the hoists could run on trolleys and, together with Prolyte, installed a central, computerised, control system capable of controlling over 200 hoists. In this system, each hoist is equipped with its own processor, an encoder and a load cell. Connecting these hoists to a central control with a power connector and a separate data line created the opportunity for nearly unlimited control of the hoist position and load range it’s allowed to operate in. When the hoists are positioned above a hole in the ceiling, a local control is used to lower the hook to a position just below the ceiling. A LED on the hoist
will blink when the hook has reached its position. As a next step the local control, with a build in barcode reader, is used to scan the barcode that identifies the hole-position. After scanning the barcode the hoist is enabled on the central control and selectable under the number of the hole. From then on the hoist operator has the choice to operate the hoists via either a touchscreen remote control or a wireless remote control. The touchscreen remote is able to show the layout of the ceiling with the holes in the selection screen. In this mode individual hoists can be selected or in this case, a maximum 10 groups of hoists can be created. In the group mode, the screen can show detailed information per group of hoists, the availability of the hoists at the hole positions, loading per hoist and the position of the hook in millimetres. As an optional function, the screen is able to show the total load per roof beam. From the touchscreen remote groups of hoists can be allocated to the wireless remote. With the wireless remote operators can move the group of hoists up and www.mondodr.com
down. Safety is monitored by the central computer and made visible on the touchscreen remote. The emergency stop system operates at SIL3 level, and each E-stop is individually connected to the main computer, when an E-stop is pressed, this will show on the screen. “For Prolyte this was a unique case to show and use all the features that the Proyft Aetos system incorporates,” said Michiel. “It’s a pleasure to get a project that really requires all the control and monitoring possibilities the Aetos hoist and control systems can offer. The potential of the Aetos system is almost endless, which is clearly shown in this case.” Enrico Daamen of Controllux concluded: ”For a project on this scale, given the complexity of the installation and the fact that we could only work during the night, we’re really satisfied with every aspect of it, from the first informative talks to the final implementation, Prolyte has proven its value as a knowledge partner throughout the entire process.” www.prolyte.com https://controllux.com
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FLOAT IN G T RUS S COMPANY: FENIX STAGE LOCATION: ALICANTE, SPAIN
Using its trussing products, Spanish manufacturer, Fenix Stage, errected a floating cinema screen at the port of Alicante, a beautiful Spanish city on the banks of the Mediterranean Sea. Taking into consideration the added difficulty of a project by the sea - having to deal with the wet and humid climate - the screen had to be risen when the event took place and lowered at night. For this reason, the structure had to be easy to set up as well as strong. The first challenge was to lift the seven-metre tall frame that housed the screen. The frame was made up of reinforced SQR-29 square truss that was strength-
ened with SD-29 parallel truss. Fenix Stage studied the customer’s design and proposed a method that would be both cost-effective and easy to assemble, yet did not require electric motors. It was decided to change the location of the hinge to lift the truss more easily, which also meant less physical effort was needed. For its assembly, a truss base was installed to provide stability to the whole structure. Placing a winch with special anchors on the trusses that were furthest from the screen allowed the trussing framework that held the canvas to be lifted. The ease of being able to as-
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semble the canvas on the truss frame horizontally was something the customer appreciated. The structure also had plenty of space left to place loudspeakers behind and under the canvas, without the need of complementary structures. Julia Niza, Head of Fenix Stage, commented: “Building with truss is like playing with Lego, the limit is your imagination.” About this particular project she added: “This was a great opportunity to show that we do not stop at adversity, and this has been demonstrated once again that trusses make any project possible.” www.fenixstage.com
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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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Images kindly provided and approved by the Friedrichstadt-Palast Betriebsgesellschaft mbHBetriebsgesellschaft mbH
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T H E W YLD COMPANY: J&C JOEL LOCATION: BERLIN, GERMANY
With a budget of €15million, The Wyld is one of the most expensive productions outside of Las Vegas. Hosted on one of the world’s biggest theatre stages at Friedrichstadt-Palast in Berlin, the revue is a celebration of ultra-modern performance art, featuring more than 100 performers and created by internationally recognised fashion designer Thierry Mugler and top European show producer Roland Welke. The Wyld focusses on the use of vivid imagery and shapes to represent the rich culture, energy and modernity of Berlin. Lina Baden, Technical Production Manager at Friedrichstadt-Palast, briefed J&C Joel to create the Amazing Drape based on the show designer’s rough sketches - an eye catching drapery set-piece involving five or six curtains that appear and disappear on stage in a matter of seconds. The effect delivered was visually stunning. It involved three nine-metre wide by 13-metre drop and two six-metre wide by 13-metre drop laser gauze drapes, each individually shaped, each with a specially designed kabuki bag sewn in to it. The effect starts with all five drapes in their bags and hidden from the audience’s view. On cue each of the drapes flops in sequence and gently unfurls and floats into position. The performers dance in between and behind the drapes, while the lighting team transforms the stage in to a vibrant yet moody setting. As the show music and lights reach a crescendo, the drapes drop from the kabuki and are pulled off stage in different directions into hidden drape retraction units,
disappearing in seconds and leaving the audience amazed. Whilst the method and technology required to make the drapes appear and disappear had been identified in theory, a number of technical challenges were faced to ensure the effect would work within the show set up and that the equipment would fit within a very busy grid. The key challenges J&C Joel faced included combining a number of pieces of equipment onto a single control system which was robust enough to be used eight times a week for two years, as well as minimising the potential damage to the drapes as they were retracted. The speed of flight of the drape was key to the effect being stunning, so the control system had to reduce the speed of the motor as the drape entered the drum to minimise the potential for damage. And finally the positioning of the drapes and retraction units had to fit around large set movements, aerial performers and other technical equipment, plus no permanent fixings were allowed as the Palast is a protected building. Experts from J&C Joel visited the Palast to assess the space and see the stage set-up first hand. Although still at the concept stage, the team developed a vital understanding of the client and the show before agreeing on materials and technical design. A rigorous testing program was carried out at J&C Joel’s facility using a replica rig and a series of pre-agreed tests. The team focussed on where the pick up points were located on the drape, the line and distance of flight, and how the drapes fell from the kabukis. www.mondodr.com
Test findings were fed back into the designs, signed off and the drapes drawn up in CAD by J&C Joel’s design team. The team spent a further 17 days on site during the installation period, working around rehearsal time, and delivered system operating training to the venue crew. The equipment supplied comprised five bespoke drape retraction units, five individually shaped laser gauze drapes with bespoke headers to allow for speedy rigging and de-rigging, reinforced pick up points for the polyprop cord and a kabuki bag sewn into each drape’s header, manufactured from the same material as the drape to improve aesthetics. A total of 60 kabuki firing units and cabling connecting the units on all five fly bars from which the drapes were rigged. And a custom touch-screen central control system, allowing each drape to be individually flopped and dropped. The effect created by the Palast and J&C Joel is one of the key features of the show, creating a wow factor early on in the performance and an element of mystery. J&C Joel’s UK, European and African Sales Manager Oli Marns who oversaw the project commented: “At the premiere of the show the Amazing Drape worked perfectly and was the first set piece of the show and was greeted by gasps and then applause from the 1,800-strong audience. It was very rewarding to hear the effect being well received but for us, our brief was delivered when the client expressed their delight at how the system worked and thanked us for the way we had worked with them throughout the project.” www.jcjoel.com
37 REP ORT: T RUSSING & RIGGING
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38 REP ORT: T RUSSING & RIGGING
S OUT H B E N D COMPANY: JAMES THOMAS ENGINEERING LOCATION: INDIANA, USA
In a movement to create a more attractive and inviting space for the people of South Bend, Indiana, Robert Shakespeare, Art Director for Indiana University in Bloomington, was asked to design an element to feature the city’s beautiful waterway. Robert brought the concept to Mid America Lighting and Sound for its knowledge and input on the structures. After a recent project for
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the Indiana University lighting totem, it was only logical that James Thomas Engineering be the provider of the structure. Working closely with both Robert and Bob Williams at Mid America, James Thomas Engineering delivered three separate elements that will continue to add beauty and an interesting architectural design to the city of South Bend for years to come. www.jthomaseng.com
B R IA N ZA RO C K F ESTI VA L / P ISTO IA B LU ES F ESTI VA L COMPANY: LITEC LOCATION: MILAN & TUSCANY, ITALY
Litec’s 21-metre by 16-metre roof system Black Box, with loading capacity up to 18 tonnes was used at two popular summer festivals in Italy recently - the Brianza Rock Festival and Pistoia Blues Festival. The fifth annual Brianza Rock Festival was in held at the world famous Monza racetrack near Milan. It featured secondary school rock bands during the day, well-known Italian artists in the evening and a special area with exhibits from local painters, sculptures and writers. The 36th annual Pistoia Blues Festival in Italy’s Tuscany region is an almost one month long event. Bands playing at this massive
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musical cornucopia include Santana, Sting, Dream Theatre and Passenger. The special Black Box roof gets its name from the matt black painted RL105A truss used in its construction and was provided to the Italian company Electra Service that created concept Black Box and designed it. Litec’s RL105 series truss features uniquely designed steel fork connections that safely handle the highest load and stress levels while providing extreme wear resistance. They are especially effective at supporting heavy loads on larger spans. www.litectruss.com
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ROTATIN G TRUS S COMPANY: CHINA TRUSS LOCATION: WORLDWIDE
Most nightclubs are kitted out with an array of fixed moving heads to create visually spectacular lighting shows, and with that issues can often arise when large quantities of moving heads are required or when the fixtures are individuially large. Realising this gave China Truss the opportunity to develop a new product â&#x20AC;&#x201C; the rotating truss â&#x20AC;&#x201C; to fill that gap in the market. By developing the rotating truss, China Truss gave its customers the ability to have interweaving beams and intricate designs, as the inner and outer circles can rotate in opposing directions and at different speeds. The product also gave customers the ability to move the structure higher or lower, giving more focus and depth to the light show. The rotatio truss is available in five different diameters - 1.5-metre, 1.65-metre, 2.3-metre, 2.95-metre and 4.85-metre - has a maximum loading weight of 300kg600kg, and from the 1.65-metre model onwards features wireless transmission with three DMX channels. www.china-truss.com
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M A RV E L U N IV ERS E LI VE! COMPANY: TOMCAT LOCATION: ON TOUR
In planning one of the largest touring arena shows, Feld Entertainment approached Tomcat to provide the main grid structure for its current Marvel Universe Live production. The total build for Tomcat took four months preceded by a year of planning and design. The structure itself consists of walkways, performer platforms and automation flytracks. The massive grid is supported by approximately 150 chain hoists at each venue and weighs in at almost 160,000lbs. www.tomcatglobal.com
STAT E P R I S ON MOTO R CYC LE FESTIVA L COMPANY: MILOS LOCATION: HORSENS, DENMARK
A Milos roof was used for one of the shows at Denmark´s famous State Prison Motorcycle Festival in Horsens, Denmark. Milos provided its MR2K roof system for Invi AS - a leading Danish rental and sales company. The Director of Invi, Dan Vestergaad, appreciated its custom features and ease of use. Milos Sales Coordinator Michal Zykan and designer Otto Cerny supervised the first buildup in Horsens. The roof measured 12 by 12 metres and was constructed from Milos MT2 towers and M390 & M520 truss. www.milossystems.com
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46 REP ORT: T RUSSING & RIGGING
STA D IO SAN N I COLA COMPANY: BROADWEIGH, AC-ET LOCATION: BARI, ITALY
The Stadio San Nicola in Bari, Italy, recently hosted the Vasco Rossi rock concert, organised by Live Nation Italy. Predominantly a venue used for football matches the stadium, which has the capacity to hold more than 58,000 people - was selected as the perfect location for the rock star’s large audience. To ensure everything possible was done to guarantee the safety of the structure, Colin Luke, Senior Project Manager of Load Cell Rental, was asked to supply a way of monitoring the stage weights during the build. Load Cell Rental supplied a 20 cell BroadWeigh system. Colin said: “Following a spate of high profile events where temporary stages have collapsed, it was vital to leave no stone unturned in order to ensure the
concert made the headlines for only the right reasons. No respectable concert organiser can afford to ignore the loadings on temporary structures and the BroadWeigh system is the perfect tool for the job.” The BroadWeigh load monitoring shackle is a portable wireless weighing system. It offers real time load monitoring for a wide variety of rigging applications without the need for time-consuming and costly cabling. Coupled with the BroadWeigh wireless handheld display, it provided a user-friendly way of monitoring a load within a 200 metre range. Load Cell Rental has been supplying its customers with the BroadWeigh system since September 2014, having purchased three full kits of 12-point load monwww.mondodr.com
itoring from BroadWeigh’s exclusive UK partner, A.C Entertainment Technologies. Colin added: “With touring productions getting heavier and CDM regulations enforcement coming into play within the industry, there has never been a better time to invest in a reliable, robust system. BroadWeigh ticks all the boxes - it is perfect for dry hire use in all live music venues, and for weight report services where time constraints are an issue at load in.” With the main stage at the stadium in Bari already underway, Load Cell Rental also supplied another set of 16 BroadWeigh cells for a second stage. In order to prove due diligence, Load Cell Rental collated all the point loadings for the Vasco Rossi stage
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into a report, with a certificate for each truss detailing the exact loadings and a calibrated cell reading, providing the actual weights for each point. Colin explained: “Everyone who sees the BroadWeigh system in action is bowled over by its capabilities. The precision of the system, gives the customer total confidence that their rigging and stage is more than up to the job.” He concluded: “Wireless load cell monitoring is becoming increasingly popular due to increased range and reliability and the BroadWeigh brand is developing a reputation as a leader in terms of load cell technology. We never hesitate to recommend BroadWeigh and to date it’s been used on numerous projects - from Sam Smith concert rehearsals to measuring a zip wire at an outward bound centre.” www.broadweigh.com www.ac-et.com
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48 REP ORT: T RUSSING & RIGGING
T H E A Q UAR I U S C LU B COMPANY: EUROTRUSS LOCATION: ZRCE, CROATIA
Trussing manufacturer, Eurotruss and audio, video and lighting rental company, ELDRA teamed up to work on a project that involved creating a customised tunnel roof construction for the Aquarius Club, Zrce beach, Croatia. The arcs of the roof are made of special 30cm square trusses, similair to the standard HD34 truss, but for this project the main tube was rein-
forced by 3mm-4mm. Each arc is equipped with integrated tent profiles to support and attach the transparent canopies. A beach bar and restaurant by day, by afternoon the club holds popular beach parties that offer guests musical entertainment from international musicians and DJs. www.eurotruss.nl
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50 REP ORT: T RUSSING & RIGGING
GRAND CENTRAL SHOPPING CENTRE COMPANY: UNUSUAL RIGGING LOCATION: BIRMINGHAM, UK
Colin Harwood, Temporary Works Coordinator for MACE Group, was in search for a solution that allowed construction workers at the Grand Central Shopping Centre in Birmingham to work on the ETFE Atrium. The work on the atrium’s internal finishes form part of the Gateway Plus project - a redevelopment scheme to regenerate Birmingham New Street station, headed by MACE Group for Network Rail. Having installed the Atrium’s steel structure and demolished two levels of the existing building, the construction workers needed access to the atrium roof to install the finishes in accordance with the architectural ambitions of the project. Colin wished to look beyond traditional scaffolding methods and consequently contacted Unusual Rigging. Following several meetings with MACE, the Major Projects Team at Unusual Rigging came up with a solution. Mark Priestley, Senior Project Manager explained: “We designed two 40 metre long by eight metre wide platforms. With a truss framework, aluminium joists and a plywood top, each platform was built at our headquarters in Northampton and taken to Birmingham, where each one took ten days to install.” Colin added: “Traditionally, atriums are installed ‘top down’ and from a birdcage scaffold. The planner for the atrium had estimated that a scaffold providing the same platform area at the level required would have taken 10 weeks for installation and dismantling - so Unusual Rigging’s solution was extremely time efficient. The platform level also needed to be at different heights for different trades, so a lightweight platform with motorised hoists gave a further benefit in comparison to the traditional scaffolding systems.” The use of aluminium truss on a construction site is not widespread. Known for being lightweight, strong and quick to assemble using proprietary socket and pin connections, it is also much more easily damaged
than traditional steel scaffolding but, as Colin explained, the benefits far outweighed the disadvantages on this project. “Lightweight is the key word for us. By not having legs supported off the concourse floor level, it enabled concurrent activity of flooring below the platform. The biggest challenge on this job has always been programme certainty. There are many skilled trades involved who can give an indication of timescales to carry out their work. Unusual Rigging’s time estimates for the installation of the Atrium platforms were accurate, which enabled the follow on trades to be able to plan their deliveries and installation sequences effectively.” While this method of working at height has been used in theatres for some time, Colin pointed out the cross over between the two industries: “In the theatrical world, it’s imperative that any refurbishment works do not impact on the production taking place at the time - as they say, the show must go on. But the same applies in the construction industry. When you’re working at height, whether the platform is in a theatre, hung from a bridge or in a railway station, the engineering principles are the same - after all, gravity only works in one direction. The Unusual Rigging system has many advantages, time being the greatest. On previous rail projects, the window of opportunity to do any work is when the trains stop running on a Saturday night. Bridges are generally to be replaced within 52 hours so rapid installation of a temporary walkway or platform could be vital for a successful delivery. Colin concluded: “Network Rail has many stations up and down the country where roofs are to be cleaned, maintained or glazing is to be replaced. A system similar to the one adopted at Birmingham New Street Station could just as easily be used if the structure is strong enough.” www.unusual.co.uk
www.mondodr.com
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52 REP ORT: T RUSSING & RIGGING
BAS E D U P ON COMPANY: DOUGHTY ENGINEERING LOCATION: LONDON, UK
Following Based Upon, a London studio, installing a new photography studio at its premises in southeast London earlier this year, Doughty Engineering were brought on board to design, fabricate and install a large-scale adjustable reflector. Based Upon works at the front line of British creative enterprise to deliver a pioneering approach to the creation of art-work, unique objects and design pieces. Established in 2004 by Ian and Richard Abell, Based Upon was founded on an ethos of open exploration and a commitment to continuous innovation. Jonathan Webb, in charge of product photography and production at Based Upon, explained: “We knew from the minute we began work on our new studios that we would need to find a company that could fabricate a very bespoke piece of kit that would enable us to
produce the photography of the highest quality. There are various off-the-shelf solutions available but we visualised having something on a much greater scale. Someone recommended that we get in touch with Doughty Engineering and following an initial conversation with Mark Chorley, we were confident they were the right people for the job.” Mark added: “We first started looking at ideas with Jonathan and his colleagues last November. The team at Based Upon create some absolutely amazing work and it was apparent that they needed a something unique in order to do justice to the items they were photographing. Taking into account the space of the studio, and some basic information supplied by Based Upon, it was then up to us at Doughty to develop the entire concept from scratch.”
www.mondodr.com
Mark’s design incorporated a chain hoist and five-metre by five-metre truss frame with a special truss adaptor enabling the truss structure to be suspended from a single hanging point. This single hanging point allows the frame angle to be adjusted in any plane to act as a reflector. Jonathan concluded: “Mark and the Doughty team have been instrumental in giving us what we need in order to produce top quality photography. We really only had very basic information for them to work from yet they ran with it and the result was a piece of kit designed to meet our needs exactly. The entire experience of working with Doughty has been a pleasure and although we don’t have any more projects of this kind, we will certainly be recommending Doughty to others in the future.” www.doughty-engineering.co.uk
吀䔀匀吀䤀一䜀 簀 䤀一匀吀䄀䰀䰀䄀吀䤀伀一 簀 䴀䄀一唀䘀䄀䌀吀唀刀䔀 簀 匀唀倀倀䰀夀 簀 䐀䔀匀䤀䜀一
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> New “Perfect Push®”, patented concept, load wheel with 5 pockets is fitted as well with 5 intermediate teeth. > Rubber Shock absorber. > Electrical components designed for “plug and play” connectivity. > Chainflux® MKII. Design provides a horizontal flow of the chain as it comes off of the load wheel. > LIMITFlux®, magnetic limit switch as standard on version B.
safety > Double lifting brake as standard. > New Clutch concept. > Electrical limit switch as standard on version B. > IP55 protection for the entire hoist.
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For loads up to 500 kg
improved ergonomics > New pure and totaly fluid design. > The hoist body is powder coated with black, protective 70µm epoxy paint. > New ergonomic concept for the retractable, rubber clad handgrips. > Lifting hook has an ergonomic, rubber clad, gripping surface.
savings > Maintenance operations are now simpler, faster and more economical: Plug & play electric components, easy access to brake and torque limiter settings.
Version A: 3 phase hoists with direct voltage control. Version B: 3 phase hoists with low voltage control.
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54 REP ORT: T RUSSING & RIGGING
WA C KE N OP E N AIR COMPANY: LTM LOCATION: WACKEN, GERMANY
Lifting, control and rigging specialist Lift-Turn-Move (LTM) has recently supplied LoadGuard hoists to various Worldwide Rigging companies for outdoor touring purposes in festivals such as Glastonbury and Wacken Open Air. The LoadGuard Hoist was introduced in 2009, originally seen as a fantastic hoist for venue installs seen in venues all over the world such as Glasgow Emirates Arena and Velodrome, The ACC Liverpool Arena and The World Trade Centre, Dubai. The reputation of the hoist has grown and customers are now realising the full benefits of the LoadGuard Hoist as a rigging Hoist for touring use.
All LoadGuard hoists have IP55 protection as standard, but this can be increased to IP65. The hoists come complete with sealed bearings in the chain wheel area so there is little chance of rain entering the hoist. Also fitted is a drain system which consists of a short tube from the load wheel area (where water can sit after rain comes down the chain) to the exterior of the hoist. The drain system means that the water exits the hoist in the hook area. The LoadGuard Hoists can be fitted with black or galvanised chain for outdoor use. The LoadGuard can be modified, to make them ideal for touring purposes that include outside venues and festivals. LTM offer a Weatherproof kit as an option,
this has seals on both sides of the covers, transformer dipped in varnish to seal it and a Gore-Tex valve fitted to the electrical end cover to equalise pressure inside the hoist. This prevents water being sucked in if the hoist is under-pressured due to being hot, air is driven out as it heats, air and moisture is drawn in, this can cause more damage than rain. LTM also specialise in Motor control. They have a great range of rack mounted G-Pro Controllers available which are perfect for touring. Anyone interested in our new product range is encouraged to contact our sales team for more information www.liftturnmove.co.uk
HA R B OU R WAVE
Andre Kecskes of Creative Lighting and Audio used Global Truss products to build his installation Harbour Wave on Pier 2 at Walsh Bay as part of the Vivid Sydney showcase. Creative Lighting and Audio, a Sydney-based production company, provided creative solutions, technical support and project management for events. Harbour Wave is a large, curved, transparent wave installation, crested with rows of coloured lights, that breaks across a wharf at Walsh Bay. While the form was inspired by the destructive power of tsunamis, the artworkâ&#x20AC;&#x2122;s deeper meaning relates to the psychology of dreams. Some dream analysts believe that seeing a tsunami in a dream means a person is overwhelmed by repressed feelings that are rising to the surface. http://globaltruss.de / www.globaltruss.cn
Image courtesy of Vivid Sydney
COMPANY: GLOBAL TRUSS LOCATION: SYDNEY, AUSTRALIA
08/2015
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IN FOCUS
• Page 104
• Page 60
EMEA LESLIE PAVILION AMSTERDAM • Page 76
• Page 70
QUEEN OF FLANDERS CAPE TOWN
EXPO MILANO 2015 MILAN
THE AMERICAS HERSHEY FREE CHURCH PENNSYLVANIA
WHITNEY MUSEUM • Page 58
• Page 78
• Expo Milano 2015
NEW YORK
APAC OMNI TAIPEI
ZOUK KL KUALA LUMPUR
A DIP IN THE OCEANIA KUALA LUMPUR, SINGAPORE, MELBOURNE, SYDNEY
58 IN BRIEF - EMEA
Image courtesy of Arup
Arup presents the Leslie Pavilion at IASS Exhibition, exploring a new application of spatial audio effect.
www.mondodr.com
59 IN BRIEF - EMEA
Arup has presented two pavilions at the International Association of Shell and Spatial Structures (IASS) exhibition, where over 25 experimental structural objects are shown in the Amsterdam concert hall ‘Muziekgebouw aan het IJ’ during July and August. The structural objects were part of a contest of innovative structures with a complex geometry, mostly threedimensional tissues based on mathematical ranges, referencing the works of artists such as Escher, Kenneth Snelson, Iannis Xenakis and Gaudi. The exhibition is part of a symposium about the future of structural design, organised by the IASS. Researchers, artists and students who are connected to leading universities from all over the world have designed the objects. And by using the latest manufacturing techniques, the most complex structures seem to be realised in a surprisingly simple manner.
Arup’s Leslie Pavilion explores a new application of the spatial audio effect pioneered by Donald Leslie in the 1930s with his signature Hammond organ amplifier with rotating loudspeakers. The installation consists of two hyperbolic paraboloids (hypars) inside which people can play a keyboard and hear a spatialised rotational effect from a moving loudspeaker. This shifts the audio image based on the loudspeaker axis relative to the architectural shape. Each hypar shape focuses and scatters sound in different axes, but when rotated away from each other the installation focuses all the reflected sound from the loudspeaker and directs it in the centre of the pavilion. The installation will also be present at the Amsterdam Dance Event, which will be held in October this year. www.arup.com
www.mondodr.com
60 VENUE - EMEA
QUEEN OF FLANDERS CAPE TOWN, SOUTH AFRICA EUROPE, MIDDLE EAST & AFRICA
Celebrating 15 years of performances Madame Zingara’s new home - Queen of Flanders, is brought to life with the help of theatre rental specialist Splitbeam. www.mondodr.com
Madame Zingara’s South African travelling theatrical experience has been delighting guests with its performances by outstanding South African and international award winning acts, classical music and brightly coloured costumes - it is easy to see why this unique show has been a success. To celebrate Madame Zingara’s fifteenth anniversary, director Richard Griffin has created a new production - The Celebration - in a magnificent custombuilt venue. Named the Queen of Flanders the three-storey high, 650-seater handcrafted mirrored palace features upper level balconies, luxurious interiors and is located on the Cape Town’s main public square - Grand Parade. To help with the creation of Madame Zingara’s new home, theatre rental
61 VENUE - EMEA
THE FAMILY GER JUST GOT BIG
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NEW specialist Splitbeam and Light Designer, Mannie Manim were chosen to enhance the technological theatrics and production. Splitbeam, part of the Gearhouse Group, provides equipment rental packages specifically for long term hire on theatrical productions and was therefore the right choice to supply both lighting and sound for the production. Richard Griffin, the founder of Madame Zingara and the creative genius behind the iconic brand directed the electrifying production, assisted by Marc Colli. “The design process began with the creative team, wardrobe and art department,” said Richard. “Analysing the different acts with the intention of creating one-off effects in a unique space of the three storey mirrored tent. The technology brief aimed to create a sound and
lighting experience where every guest is immersed in the space, playing on the 3,500 bevelled mirrors and creating an onstage experience for clients with continual shifts of technology.” Helen Surgeson, Splitbeam’s Key Account Manager discussed the thought process behind the equipment selection: “The Queen of Flanders Spiegeltent [mirrored tent] is a temporary venue that tours with the production. Unlike its predecessors this newly designed tent was a triple volume space with the audience on two levels. This meant that the stage is now also on two levels and the aerial acts are able to reach even greater heights. The lighting and audio equipment needed to be clear of the performance area and could not impede audience sightlines in any way. www.mondodr.com
10 / 20 HIGH POWER RGBW LEDs NEW ULTRA FAST ZOOM 210° TILT MOVEMENT INDIVIDUAL PIXEL CONTROL INTERNAL MACRO EFFECTS
Images by Anton de Beer
62 VENUE - EMEA
“Therefore all equipment was rigged at maximum possible height,” Helen continued. “The lighting design carefully considered positioning, to light the stage without blinding performers or the audience. Working in the round, with tables close to the stage meant that the choice of audio, lighting design and equipment had to ensure that each and every audience member enjoyed excellent sound and lighting quality from wherever they were seated.” The Splitbeam audio team supplied a compact PA system from Meyer Sound, comprising 12 Meyer Sound M1D line arrays. “Meyer Sound is amongst the top brands in the world, and generally preferred by technicians in the theatre genre worldwide,” commented Splitbeam’s Senior Audio Technician, Johann Grimsehl. “The venue has a in-the-round set-up, so just setting up a left and right PA system would not have provided enough coverage to the audience. Because of this our solution was to utilise Meyer Sound’s smaller selfpowered loudspeakers, for the compact size, high-output, low distortion and wide
“Meyer Sound was the perfect match because of the range of products they have available to meet the requirements of a show like Madame Zingara’s The Celebration.”
• Right Helen Surgeson, Splitbeam’s Key Account Manager.
dispersion. Johann selected eight Meyer Sound UPM-1P loudspeakers, two Meyer Sound UPJ-1P loudspeakers and two Meyer Sound UP Junior loudspeakers. Meyer Sound was the perfect match because of the range of products it has available to meet the requirements of a show like Madame Zingara’s The Celebration.” Discussing the choice behind the selfpowered Meyer Sound M1D cabinets, Johann reflected that there were both positives and negatives to powered and passive loudspeakers. “Not having to deal with amplifiers is great, but then again it means having to deal with more cabling,” he stated. “For the Madame Zingara show, self-powered loudspeakers are a huge advantage as they also house an active crossover for optimised frequency and phase response correction. The intelligent AC supply also performs protective functions against power surges and dips. With all this integrated technology, we were able to supply a more compact system without the need for amplifiers and extra processing. It decreased set-up time and we were able to link a number of loudspeakers
GAME CHANGER
BRIGHT MULTI FUNCTIONAL LIGHT
64 VENUE - EMEA
INSIDER INSIGHTS NAME: Marcel Wijnberger JOB TITLE: Splitbeam Technical Manager LIKES ABOUT TECHNOLOGY: The great thing about technology in the industry at the moment is the capability to seamlessly converge lighting, sound, audiovisual and set automation, through whatever medium we choose to trigger it. DISLIKES ABOUT TECHNOLOGY: The downside is figuring out how all the disciplines can speak to each other and when operating in a converged state, one failure can lead to a domino effect on the entire setup. THE NEXT BIG THING IN TECHNOLOGY WORLD: The ability to do bigger, better and more complex events with less equipment.
to one signal without having to factor in impedance.” A pair of Electro Voice PX2181 subwoofers provide low-end for the system, supported by a Klark Technik DN9848E system controller. For mixing requirements a Midas PRO1 console was chosen. “The Midas PRO1 desk was chosen for its versatility and processing and that it is able to do 5.1 surround sound effect needed for production,” explained Johann. “It can be configured to suit the engineer’s needs and the on-board processing capabilities, as well as the fact that it eliminated the need for any additional outboard gear.” The console is very compact and fully digital with 24 microphone inputs on the surface and 16 assignable outputs, which suits the requirements for Madame Zingara. The Midas PRO1 has eight VCAs and six population groups, it features Klark Teknik DN370 graphic equalisers and wide choice of dynamics processing - making it a popular choice for theatre and live applications. A combination of Sennheiser and DPA microphones are used for the show, six Sennheiser EW 500 G2 handheld microphones were chosen for the vocalists together with two DPA 4066 headsets for the performers and two Sennheiser EW500 G2 belt pack transmitters for the cellos. “This is an active performance and the DPA headsets are able to withstand moisture and heat while being comfortable to wear and discreet,” explained Johann. “Combined with Sennheiser EW 500 belt pack systems reassuringly stable transmission, the sound quality produced is designed to meet the needs of its respective applications.” For DJ equipment, two Pioneer CDJ-900 Nexus multiplayers and a Pioneer DJM-900 Nexus DJ mixer were chosen. Looking now to the lighting used in the venue, Mannie explained that the brief www.mondodr.com
was to create something that would make the show glamorous, exciting and magical wherever possible. “I needed a full range of capabilities - washes, profiles, beams, break-ups, gobos, colours and zooms,” he explained. “But I had the budget to consider. I was given a lot of good advice by distributors DWR and Electrosonic, as well as from Splitbeam on how to achieve what I wanted, within the budget we had.” The lighting package comprises a mixture of Vari-Lite, Robe and Martin Professional fixtures, which were chosen with the assistantance of the Splitbeam team. “Mannie’s initial specification included a number of lighting fixtures not owned by Splitbeam or the Gearhouse Group,” explained Helen. “So we spent a day in the DWR Distribution demo room going through all the fixtures to see which of those we owned would match the requirements of his design. Through this process we were able to substitute all but two fixtures, those being Martin Professional Rush PAR2’s and Martin Professional MH4 beam lights, which were then purchased especially for the production. The winning fixture of the demo was the Robe Pointe, which was able to reduce the number of fixtures we needed due to its capability of being both a spot with a variety of gobo effect features and a beam light; therefore being budget friendly and reducing the weight of the rig. The VL2500 Wash and Spot also had features that fitted the requirements well and the fact that they were compact almost silent fixtures, was a bonus.” The lighting was rigged as high as possible over the stage in sections, so not to interfere with the audience or performers. The use of profile fixtures with variable beams - 12 Vari-Lite VL2500 Spots and 12 Robe Pointes helped overcome this challenge with
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FRANÇAIS
66 VENUE - EMEA
Pour le 15e anniversaire de Madame Zingara, la troupe ambulante sud-africaine a créé un nouveau spectacle appellé « The Celebration » dans un magnifique lieu de rendez-vous édifié sur mesure. Baptisé la Reine de Flandre, ce palais de trois étages en miroir taillé à la main peut accueillir 650 personnes et présente également des balcons en hauteur et des intérieurs luxueux. Il se trouve sur la place principale de Cap Town — la Grand Parade. Le spécialiste de location de théâtre Splitbeam et le concepteur éclaireur Mannie Manim ont été choisis pour renforcer la théâtralité technologique et la production de la nouvelle demeure de Madame Zingara. L’équipe audio de Splitbeam a fourni un système de sonorisation compact de chez Meyer Sound, comprenant 12 enceintes d’array M1D, huit haut-parleurs UPM-1P, deux enceintes UPJ-1P et deux haut-parleurs UP Junior – tous du matériel de chez Meyer Sound. Une paire de caissons de grave Electro Voice PX2181 offre une gamme de graves au système, soutenu par un processeur Klark Technik DN9848E. Pour les mixages, une console Midas PRO1 a été choisie, tandis que des microphones Sennheiser et DPA sont utilisés durant les spectacles. L’équipement de DJ comporte deux platines CDJ-900 Nexus et une table de mixage DJM-900 Nexus – de chez Pioneer. En ce qui concerne l’éclairage utilisé dans la salle, l’éclairagiste Mannie Manim conseillé par l’équipe de chez Splitbeam a choisi un mélange de luminaires Vari-Lite, Robe et Martin Professional. L’utilisation d’appareils de profil à faisceaux variables — 12 projecteurs Vari-Lite VL2500 et 12 pointes Robe soutenues par 12 projecteurs à faisceaux muraux Vari-Lite VL2500 et 12 lyres Robe Robin 600 LED. L’éclairage est programmé sur une console grandMA2 de MA Lighting et le spectacle est géré par un progiciel MA version onPC de chez MA Lighting, et ceci à partir d’une table de mixage Fader Wing Ion de chez ETC, ayant tous été synchronisés.
DEUTSCH Zur Feier des 15. Jubiläums von Madame Zingara hat die südafrikanische fahrende Theatererfahrung eine neue Produktion kreiert - The Celebration- in einem herrlichen, maßgeschneiderten Veranstaltungsort. Der dreistöckige; kunsthandwerklich verspiegelte Palast namens Queen of Flanders mit 650 Sitzplätzen weist Balkone in den oberen Ebenen sowie eine luxuriöse Inneneinrichtung auf und liegt am Grand Parade, dem größten Platz in Kapstadt. Zur Unterstützung der Gestaltung des neuen Heims von Madame Zingara wurden der Theaterverleihspezialist Splitbeam und der Lichtdesigner Mannie Manim ausgewählt, um die technologische Umsetzung und Produktion zu verbessern. Das Audioteam von Splitbeam beschaffte ein kompaktes PA-System von Meyer Sound, das 12 Meyer Sound M1D Line Arrays, acht Meyer Sound UPM-1P Lautsprecher, zwei Meyer Sound UPJ-1P Lautsprecher und zwei Meyer Sound UP Junior Lautsprecher umfasst. Ein Paar Electro Voice PX2181 Subwoofer verschafft den unteren Frequenzbereich für das System, unterstützt durch einen DN9848E System Controller von Klark Technik. Zum Mixen wurde eine Midas PRO1 Konsole ausgewählt. Eine Kombination aus Sennheiser und DPA Mikrofonen wird für die Show verwendet. Für die DJ-Ausrüstung wurden zwei Pioneer CDJ-900 Nexus Multiplayer und ein Pioneer DJM-900 Nexus DJ Mixer ausgewählt. Für die Beleuchtung des Veranstaltungsorts hat der Beleuchtungsdesigner Mannie Manim eine Kombination aus Beleuchtungskörpern von Vari-Lite, Robe und Martin Professional mit Unterstützung des Teams von Splitbeam ausgewählt. Verwendung profilierter Beleuchtungskörper mit variablen Strahlern - 12 Vari-Lite VL2500 Spots und 12 Robe Pointes, unterstützt durch 12 Vari-Lite VL2500 Washes und 12 Robe Robin 600 LED-Washlights. Die Beleuchtung wurde auf einem grandMA2 Lichtmischpult von MA Lighting programmiert und die Show wird von MA Lighting auf einem MA onPC Softwarepaket betrieben, mit einem ETC Ion Fade Wing, die synchronisiert worden sind.
ITALIANO Per festeggiare il 15° anniversario di Madame Zingara, la compagnia di viaggio itinerante sudafricana ha creato una nuova produzione “The Celebration” in un magnifico locale personalizzato. Chiamato Queen of Flanders (La regina delle Fiandre), il palazzo è alto 3 piani, ha 650 posti a sedere con specchi fatti a mano, dispone di balconi ai piani superiori, interni lussuosi e si trova nella piazza (Grand Parade) di Città del Capo. Per la creazione della nuova location di Madame Zingara, sono stati scelti gli specialisti per il noleggio di impianti per i teatri Splitbeam, Light Designer e Mannie Manim per esaltare la tecnologia sugli effetti teatrali e sulla produzione. Il team audio della Splitbeam ha fornito un sistema PA della Mayer Sound che comprende: 13 line arrays M1D, 8 altoparlanti UPM-1P, 2 altoparlanti UPJ-1P e due altoparlanti Junior UP. Un paio di subwoofer PX2181 della Electro Voice, che forniscono i bassi per il sistema audio, sono supportati da un mixer DN9848E della Klark Technik. Per ciò che concerne il mixaggio è stata scelta una console Midas PRO1, mentre è utilizzata una combinazione di microfoni DPA e Sennheiser per lo spettacolo. Per la strumentazione del DJ sono stati utilizzati 2 CDJ900 Nexus Multiplayer della Pioneer ed un mixer DJM-900 Nexus sempre Pioneer. Riguardo le luci utilizzate nel locale, Mannie Manim e Lighting Designer hanno optato per un mix di apparecchiature Vari-Lite, Robe e Martin Professional dietro consiglio del team della Splitbeam: proiettori a fascio variabile, tra cui 12 Vari-Lite VL2500 Spot, 12 Robe Poite supportati da 12 Vari-Lite Vl2015 Wash e 12 cambiacolore a Led Rob Robin 600. L’impianto luci è stato programmato con l’utilizzo di una console MA Lightning GranMa2 e lo spettacolo è gestito dalla MA Lighting, utilizzando un software per computer MA con una console Ion Fader Wing della ETC, sincronizzati tra di loro.
ESPAÑOL Para celebrar el 15o aniversario de Madame Zingara, la compañía teatral Sudafricana creó una nueva producción, La Celebración, en un espléndido lugar construido a medida. El palacio de tres pisos de altura, con una capacidad para 650 asientos y un espejado artesanal, se llama Queen of Flanders. Presenta balcones en el nivel superior, interiores lujosos y se encuentra en la plaza pública principal de Ciudad del Cabo- Grand Parade. El especialista en renta de teatros, Splitbeam, y los Diseñadores de Iluminación, Mannie Manim, fueron elegidos para resaltar la escenotecnia tecnológica y la producción. El equipo de audio de Splitbeam suministró un sistema PA compacto de Meyer Sound, compuesto de 12 torres acústicas M1D Meyer Sound, ocho altoparlantes UPM-1P Meyer Sound, dos altoparlantes UPJ-1P Meyer Sound y dos altoparlantes UP Junior Meyer Sound. Un par de subwoofers Electro Voice PX2181 son los encargados de brindar los armónicos graves para el sistema, con el soporte de un controlador de sistema DN9848E de Klark Technik. Para los requerimientos de mezcla se seleccionó una consola Midas PRO1. Para el show se utiliza una combinación de micrófonos Sennheiser y DPA. Para el equipamiento del DJ se seleccionaron dos multiplicadores Pioneer CDJ-900 Nexus y una mezcladora de DJ Pioneer DJM-900 Nexus. En relación a la iluminación utilizada en el lugar, Mannie Manim, el Diseñador de Iluminación, eligió una mezcla de artefactos de Vari-Lite, Robe y Martin Professional, los cuales fueron seleccionados junto con el asistente del equipo de Splitbeam. Se utilizaron artefactos con haces de luz variable - 12 Spots Vari-Lite VL2500 y 12 Robe Pointes con el soporte de 12 Washes Vari-Lite VL2500 y 12 cabezas móviles LED Robe Robin 600. La iluminación fue programada en una consola MA Lighting grandMA2 y el show está montado a través de un paquete de software para PC de MA Lighting on MA con un ETC Ion fade wing que fueron sincronizados juntos.
support from 12 Vari-Lite VL2500 Washes and 12 Robe Robin 600 LED washlights. “A built in feature of the Queen of Flanders is a circular truss just below the apex of the tent - perfectly situated to allow overhead lighting to the aerial acts,” explained Helen. “The balance of the overhead lighting is spread over two additional concentric rigs at lower heights but still do not limit the movement of the acrobatic performers.” Installed under the circular section of the stage with a glass window in front of them are eight Martin Professional Rush PAR2 moving heads and six Martin Professional MH4 beam lights, which are used left and right of the staircase leading down to the stage as under-stage uplighters. For hazer effects a Le Maitre MVS hazer was chosen. The lighting was programmed on a MA Lighting grandMA2 light console and the show is run by MA Lighting on MA onPC software package with an ETC Ion fade wing, which were synced together. “The grandMA 2 light was used because its ease of plotting and then, due to space restraints, the MA onPC is being used to run the show,” said Helen. “The MA desks are widely used in South Africa and Mannie was able secure the right
kind of programmers to support him in executing his design. All of these factors made it the obvious choice.” As the venue was a new structure, the Splitbeam team had to realise the space in the week leading up to the installation and while working closely with the Madame Zingara team, find and create solutions. Helen went onto explain that discussions about the project had started with the Madame Zingara’s management team almost a year prior to the build. “We had given ourselves more time than usual for the installation,” she explained. “And employed a local project manager who fed information to Splitbeam on a daily basis. This was so that the equipment and accessories being prepped in our Johannesburg warehouse met the requirements of the venue.” Mannie finished by reflecting on his experience with the Queen of Flanders: “This project, more than any other I have experienced, was a total team effort. It was an education to work with Rick Klessens and his family who built the tent just like his father and grandfather before him. The final result is the joint effort of the whole team in all departments coming together to realise the vision of Richard Griffin.”
TECHNICAL INFORMATION SOUND 12 x Meyer Sound M1D line array; 8 x Meyer Sound UPM-1P loudspeaker; 2 x Meyer Sound UPJ-1P loudspeaker; 2 x Meyer Sound UP Junior loudspeaker; 2 x Electro Voice PX2181 subwoofer; 1 x Midas PRO1 console; 1 x Klark Technik DN9848E system controller; 6 x Sennheiser EW 500 G2 microphone; 2 x Sennheiser EW500 G2 beltpack; 2 x DPA Microphones 4066 headset; 2 x Pioneer CDJ-900 Nexus multiplayer; 2 x Pioneer DJM900 Nexus digital mixer LIGHTING & SPECIAL EFFECTS 12 x Vari-Lite VL2500 Spot moving head; 12 x Vari-Lite VL2500 Wash moving head; 12 x Robe Robin Pointe moving head; 12 Robe 600 LED washlight; 8 x Martin Professional Rush PAR2 moving head; 6 x Martin Professional MH4 beam light; 1 x MA grandMA light console; 1 x MA Lighting onPC software package; 1 x ETC Ion fader wing; 1 x Le Maitre MVS hazer www.madamezingara.com
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EXPO MILANO EUROPE, MIDDLE EAST & AFRICA
Feeding the Planet, Energy for Life is the inspiration for the Expo Milano 2015. Ever since the first World Expo in 1851 that took place in London, UK, countries have used this platform to express the achievements of mankind. The pavilions that make up the expo offer the chance to share technologies and innovation. mondo*dr takes a look at just some of the highlights from this yearâ&#x20AC;&#x2122;s event which took place between 1 May - 31 October.
Image courtesy of UKTI
triggering software to TiMax Soundhub, which in turn responded with a live 3D audio surround mix and spatial panning events in the hive. The software also controlled multi-element LED arrays distributed within the hive structure to sync both light and sound to the real-time bee activity in Nottingham, where a study is developing technology to monitor the health of bees, and so protect an important part of our food chain. Mike continued: “We decided to work with the TiMax processor as it offered a broad palette of functionality in a compact single unit, which could be quickly programmed and easily experimented with in situ. The TiMax provided sequenced and live multi-channel playback; 3D spatialisation; flexible inputs and outputs; and various show control and interfacing to other systems. This control flexibility, combined with the Meyer Sound system design and Robin Whittaker’s show control programming experience, meant that we were able to exceed the soundscape design aspirations.” Commenting on the successful realisation of his design for the UK Pavilion, Wolfgang said: “I wanted a simple metaphor to express the importance of what pollinators do. Pollinators are responsible for 30% of the food we eat and the bee is one of the most important of the pollinators. The quality of the listening experiences produced by the audio systems designed by Hoare Lea is crucial in revealing this metaphor, helping to create a space within the hive in which to think and feel. The loudspeakers sound fantastic - the result has surpassed my expectations. The experience is truly immersive.”
www.meyersound.com www.outboard.co.uk www.hoarelea.com
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Image courtesy of UKTI
The UK Pavilion has been developed around the concept of the beehive, with visitors following the dance of the honeybee through a series of landscapes. This unique experience starts with a journey through an orchard, followed by a wildflower meadow and on to a giant aluminum sculpture known as the hive. This 14-metre-cubed structure uses light and sound to connect the visitor to the activity of a real beehive, immersing the listener in an interwoven, meditative musical composition. In developing systems to implement the UK Pavilion’s soundscape, Hoare Lea worked with artist Wolfgang Buttress, BDP, Stage One, Dr Martin Bencsik, and programmers Robin Whittaker and Andy Coates. Mike Bedford, Principal, Hoare Lea Intelligent Buildings, explained: “Full range active loudspeakers integrated into the hive structure transport sound horizontally and vertically around the listener. The listening experience has been designed with interaction of sound between zones. As the listener approaches the hive from the meadow, for example, low frequency bass sound energy emanating from the hive floor builds within the meadow soundscape, adding to the visitor’s sense of anticipation.” A total of 30 compact Meyer Sound MM4 loudspeakers were planted around the meadow and within the four-storey high hive structure, augmented by six Meyer Sound sub bass cabinets. One 48 channel/ track TiMax SoundHub audio show control matrix handles the multitrack playback and scheduling, processing, zone level management and multichannel distribution for all areas, as well as the synchronised 3D audio spatialisation. Programmer Andy Coates created custom control data algorithms to provide interactive control and custom MIDI
Image courtesy of Hufton + Crow
UK PAVI LLI ON
One of the centrepieces at the Expo Milano is the Tree of Life. Located in front of the Italian Pavilion and in Lake Arena, the 30-metre high monument was designed by Marco Balich and studio, Gioforma, Artistic Director of the Italian Pavilion. The tree is both an Italian and international icon representing nature as a source of life, but also symbolising the many roots and metaphorical branches of the Italian excellence. Koert Vermeulen, Principal Designer with ACT and Lighting Designer of the installation, created an original visual scenography to produce the genuine dynamic effects through a play of light, video, water, fireworks, bubbles and sounds. Koert used fixtures from Clay Paky to illuminate the structure. “The ‘Feeding the Planet, Energy for Life’ theme of the
Images courtesy of ACT Lighting - Koert Vermeuler
T R E E O F LI FE
expo is reflected in the light show,” explained Koert. “It evokes the relationship between man and nature and the Clay Paky Mythos play a particularly predominant role. This is where their strong beam functions, incredible speed and purity of the open white they produce come into play. Their colour mixing is also fantastic, allowing me to achieve a wonderfully vibrant red which I used for accent colour.” Koert positioned the Mythos with CP Igloo covers in three areas: around the Lake Arena, in which the Tree of Life is reflected, at the base of the architectural structure and at the top where they produce an impressive aerial display. Other lighting fixtures specified include Martin Professional MAC 2000 XB moving heads and Showtec Cameleon Flood 7’s, all of which are controlled using an MA Light-
The United Arab Emirates (UAE) Pavilion welcomed an estimated 100,000 visitors to the exhibit during the first month of the expo. One of the main attractions at the UAE Pavilion is the Expo 2020 Dubai exhibit, produced by Action Impact, and specially designed to give the international audience a preview of what is planned for 2020. Visitors of the Expo 2020 experience encounter a combination of projections on multiple surfaces, kinetic scenic elements, immersive surround-sound and visitor interaction. The projections are created using a number
of fixtures from Czech manufacturer, Robe including Robin 600 LEDWashes, Robin DLS LED Spots and Robin ParFect 100’s. While the audio set-up comprises Fohhn’s LX-11 systems, alongside other popular Linea-Series loudspeakers including the powerful LX-601 and new LX-60 line source systems. Additional sound reinforcement is provided by Fohhn ceiling loudspeakers and Arc-Series AT-40 two-way loudspeakers. The systems are driven by 20 Fohhn two-channel and four-channel Class-D digital amplifiers. All amplifier models feature integral Fohhn
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DSPs and can be remotely controlled. Hala Ghandour, Senior Vice President of Strategy and Content Development of Expo 2020 Dubai, said: “We are delighted to see the scale of our visitors’ interest as well as the real-time benefits they gain from such an immersive and experiential showcase of our history, people, environment and the great things to come.” www.actionimpact.com www.fohhn.com www.robe.cz
Image courtesy of Nick Wood
UA E PAVI LI ON
ing grandMA Light console. d3 Technologies’ d3 software suite and 4x2pro media server, also take a prominent place for this installation, controlling the content produced by Christie Roadie HD+35K projectors. “The moment we decided to put projections on this intricate structure with all the warping elements, it was obvious that the only server that would be able to do the job was a d3,” said Koert. Koert complemented d3’s pre-visualisation process: “You can visualise what you’re going to get in a reasonable quality. “When you need to build things and develop a workflow and methodology, d3 visualisation really helps you decide things long before you have to actually implement it.” Jo Pauly of Visual Solutions added: “In the beginning, we were to use d3 to combine
the projection mapping with driving 600plus Art-Net universes - something we could work out in previs in advance.” The Tree of Life team admired d3’s flexibility and ease of use. The only time consuming challenge was “recreating the tree in a d3-suitable format and dividing 300plus universes over an enormous amount of LED strings on the tree. That was necessary because we wanted to have a very realistic pre-visualisation of the visual effects. We had d3’s support from the beginning to facilitate the process of outputting that many Art-Net universes at once without collisions,” added Jo. Jo explained that d3’s QuickCal calibration feature saved a lot of time: “Once we remade the model of the tree and had all of our vertices in the right place, results were quickly achieved with QuickCal. After the
first show day and alignment we exported all the projector feeds to a number of simpler playback devices to keep it running for six months.” Audio wise the Tree of Life is kitted out with an L-Acoustics system comprising two clusters of 10 L-Acoustics V-DOSC and three dV-DOSC cabinets, plus eight subwoofers for each cluster in end-fire configuration, all of which are powered by LA8 amplifiers and controlled via Meyer Sound Galileo loudspeaker management system. To complete the audio line-up a Yamaha O2R console is also in place. www.d3technologies.com www.claypaky.it / www.martin.com www.l-acoustics.com / www.malighting.com www. meyersound.com www.yamahaproaudio.com
PAV IL IO N Z E RO The Pavilion Zero, curated by Davide Rampello and designed by Michele De Lucchi aims to explore the transformation of natural landscape and the culture and rituals of food consumption. Turin-based company, Set Up Live collaborated with Trabes to supply hanging structures in the pavilion. Several ladder trusses were supplied and customised to meet the needs of the designers. With the aim of answering to different needs within the same pavilion, several www.mondodr.com
models of aluminum trusses were adopted, with different sections, linear and curved. The payloads were particularly significant as well as widespread, with few and sparse hanging points, but by working closely with Set Up Live and following step-by-step installation requirements, challenges were solved. The final outcome is a combination of discrete structures that adjust to the ceiling pyramidal profiles. www.trabes.it
PIA ZZ A I TALI A Realtime Environment Systems (RES) worked in collaboration with media agency Innovision and content creators Immersive to design, install and pixel map 1,000’s of LEDs for two of four giant metal LED sculptures. Situated in the heart of the Expo Milano, in the Piazza Italia sponsored by Siemens, the four 10-metre high tree-like sculptures anchor the four corners of the central square. Both are designed by artist and architect Daniel Libeskind.
With these pieces demanding technological and creative expertise, RES worked alongside Immersive and Innovision to ensure that the content for the LED display could be technically delivered to the surfaces without any issues. Research was carried out to determine how high the team could push the resolution of each surface before running into heat and cabling issues. Finally, an agreed resolution of 40mm was reached, but finding a powerful media server that would fit in the small base of each sculpture created a challenge. Mark Calvert, Managing Director of RES said: “It was key for us to create a system that was small enough to fit into a cabinet at the foot of each sculpture. In the end we worked in close collaboration with JB Toby from Avolites in London and based on combined R&D we developed a system called the ‘M2’. “One of the key motives for choosing Avolites Ai for this project is because of its capacity for 3D pre-visualisation. It allows us to show clients and our creative partners how the content will look in the context of its environment before that environment even exists. For Siemens, this was ideal as they could see how the content would work in the Libeskind sculptures without having to make
expensive 3D renders of them,” Mark continued. RES also created media templates for each of the two sculptures, which gave Immersive’s animators a shape foundation for all the content. “We then pixel mapped the 1,000’s of LEDs from the Ai server with the content produced, which play back a five-minute audiovisual content loop,” explained Mark. Lead Ai Technician for the project, Phil Mayer recalled: “We used the Ai Server’s flexible built-in timecode functionality to provide frame-accurate synchronised playback of media across the servers in each sculpture. We were then able to remotely adjust the playback schedule throughout the sixmonth duration of the installation, to take into account changing lighting conditions on site.” John Munro, Creative Director at Immersive, commented: “Immersive always chooses Ai, when working in permanent or temporary installations. Its flexibility and rock solid stability is second to none. On this particular project it excelled at client pre-visualisations all the way to last minute, on-site timeline edits.” www.avolitesmedia.com
Image copyright: Martin Misere
KA Z AKH STAN PAV IL IO N
Barco Audio Technologies has delivered the immersive sound system that helps envelope the audience in a fascinating 360º virtual experience at the Kazakhstan Pavilion. Occupying a total area of 2,396 sq metres, the Kazakhstan Pavilion aims to introduce visitors to the theme of protecting natural and agricultural resources, culture and the idea of sustainable development. The centrepiece of the pavilion is the main show, an immersive 3D stereo full dome theatre supplied by Munich-based dome technologies developer, Sky-Skan Europe. Under the 15-metre domed projection screen, visitors are whisked away on a virtual flight over Kazakhstan’s vast and magnificent landscape, passing cornfields, canyons, wild horses and other animals, to
land safely in the Kazakh capital Astana, where World Expo 2017 will take place. To fully envelope the audience in the experience, Sky-Skan created a spatial audio environment with an IOSONO sound system. The 42.4 speaker audio installation uses the IOSONO CORE audio processor and loudspeakers from Fohhn Audio including 45 CLT-201 customised top surround loudspeakers and four AS-40 high-powered subwoofers - that are arranged in four layers for full acoustic immersion. The system is powered by 13 Fohhn D-4.750 and D-4.1200 Class-D digital amplifiers. “Barco’s IOSONO products provide not only a captivating sound experience but are also very reliable, which is important in an environment
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like this,” said Glenn Smith, Managing Director of Sky-Skan Europe. “We are confident that the sound set-up will help touch the audience emotionally and physically.” “This is the third time that Sky-Skan and IOSONO have collaborated on a World Expo experience and we are certainly seeing increased interest in immersive sound in the visitor attractions market,” said Olaf Stepputat, Director of Barco Audio Technologies. “We look forward to future projects in this field and I’m positive this won’t be the last World Expo with IOSONO sound.”
www.iosono-sound.com www.fohhn.com
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68 IN BRIEF - T H E AMERICAS
Clair Solutions creates a sanctuary at Hershey Free Church, Pennsylvania.
Photo: Arup
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69 IN BRIEF - T H E AMERICAS
Clair Solutions came in to design and integrate audio, video, lighting and acoustics for the main sanctuary at Hershey Free Church, Pennsylvania, USA. The audio upgrade consisted of a full range JBL system powered by Lab.gruppen amplifiers and controlled with Symetrix processing. In addition to the main PA renovation, Clair Solutions provided a brand new Aviom personal monitoring system as well as upgrades to the wireless microphones. Acoustically, architectural fins were created out of drywall and angled on the sidewalls in order to prevent the flutter and slap back echoes that were present in the space without reducing the overall ambience of the room. For lighting, Clair Solutions replaced all house lighting with highly
customisable Chroma-Q Inspire LED fixtures. These LEDs create a welcoming atmosphere using a warm wash to cover the congregation as well as offer the flexibility to produce an infinite number of colour options for most any desired ambiance. Additionally, Clair Solutions lit the Cupola with stunning Elation Sixpar 200â&#x20AC;&#x2122;s and hung a black cross truss beneath it to create an elegant contrast as well as provide a medium for the stage pars to be hung from. Stage lighting included a combination of ETC conventional and LED fixtures along with additional Inspire and Elation fixtures and features ETC dimming together with an ETC console for control. www.clairsolutions.com
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WHITNEY MUSEUM NEW YORK, USA THE AMERICAS
The Whitney Museum of American Art’s new 13,000 sq ft venue project began in 2006 - nine years before its opening date, proving that it was a challenge in terms of both technology and design. The Whitney Museum of American Art presents a full range of 20th Century and contemporary American art, with a focus on works by living artists. Sculptor Gertrude Vanderbilt Whitney, who saw the struggle American artists were facing to exhibit and sell their work in the United States, founded the museum. Its roots date back to 1914, when Gertrude established the Whitney Studio in Greenwich Village where she presented exhibitions by artists whose work had been disregarded by the traditional academies. By 1929, Gertrude had assembled over 500 piece of work, which she offered with an endowment to the Metropolitan Museum of Art. However, when the offer was refused she decided to open her own museum with the mantra to focus exclusively on the art and artist of America. In 1931, the Whitney Museum of American Art opened its doors on West 8th Street in Greenwich Village, New York. Since its initial opening, the Whitney expanded to a larger site on West 54th Street in 1954, then by 1963 it had outgrown that location and moved again to its Marcel Breuer designed building on Madison Avenue, which opened in 1966. Jump forward to the present day and the Whitney decided it was time to re-create itself and move from its location on Madison Avenue to the Meatpacking District of New York. The ambitious project would not only expand its physical footprint to provide a space for its 22,000 plus paintings, sculptures and photographs but also create a home www.mondodr.com
for cultural, educational and artistic activities. Costing US$422 million, the new 13,000sq ft venue was built between the Hudson River and the High Line public park and has created a space consisting of four outdoor terraces, a restaurant, public space, education centre, library, and a flexible multipurpose theatre. A collaboration between designer, Renzo Piano Building Workshop, executive architect, Cooper, Robertson & Partners, and Theatre Projects, the 2,300 sq ft Susan and John Hess Family gallery and theatre provides the museum with the freedom to feature live music, theatrical performances, lectures, movie screenings and social events. Steve Rust, Project Manager and Theatre Lighting Designer at Theatre Projects discussed the project from concept to reality. “The project began in 2006, John Runia worked on the theatre planning and design,” said Steve. “John worked closely with Renzo Piano Workshop and Cooper Roberston, going through the design of how to fit a tricky space into a very tight building. At the time I came in, it was in the schematic design phase, so it was still early on, and we were still trying to sort out the interior of the space.” Steve went on to explain that the location of the new venue is in a desirable part in New York, which has changed substantially over the last 15 years and is now a hotspot for tourists and business alike. In its new location, the new theatre boasts views of Hudson River and ferry terminal in Hoboken. “The size of the room had been
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INSIDER INSIGHTS NAME: Matt Franks JOB TITLE: Associate / Senior Lighting Consultant at Arup LIKES ABOUT TECHNOLOGY: The many new configurations and form factors available for light sources with the advent of LED lighting. DISLIKES ABOUT TECHNOLOGY: Products change so rapidly that by the time a project is constructed the specification may be out of date. THE NEXT BIG THING IN TECHNOLOGY WORLD: Advancement in lighting controls and interfaces to improve interaction with lighting.
determined, but we needed to try to make the space work as best as it could for the various applications it would be used for,” explained Steve. “First and foremost it had to be a gallery space, as the Whitney wanted to be able to use every public space they could, but they also wanted to expand their performance programming and so this space had to function as both.” The new Whitney theatre features a retractable seating system, six catwalks, a variable acoustic ceiling, and an all LED performance lighting system - one of the first all-LED museum-based theatres in America. Behind a short one foot tall stage is a stunning glass wall overlooks the Hudson River to the west. Theatre Projects designed and specified the theatre geometry, performance lighting and rigging systems, as well as the theatre’s retractable seating risers, which can seat up to 99 people and track into the back wall, allowing the room to transform into a flat floor. With room for an additional 71 loose seats, the theatre can seat a total of 170 people. “One of our first technical challenges was to make sure we could get a complete blackout in the space,” said Steve. “The shade system and roll drop system used to blackout the windows was a close collaboration between Theatre Projects and Renzo Piano’s office, where there are actually three layers of blackout shade possible. So that you can achieve a full blackout even on the brightest days.” For the LED lighting system used in the theatre, Steve described the process of choosing the right products for the venue: “Early on in the project, it was clear that the room was going to have limited space for storage and electrical gear. LEDs were an option because of its very low power use. We did initial feasibility studies on LEDs back in 2011, which doesn’t sound that long ago but it’s amazing how just in the last three or four years LED technology for stage lighting and even standard lighting has
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improved.” For the lighting an ETC system was specified and fitted to five rigs fitted across the ceiling of the theatre. Attached to the trusses are 85 ETC Source Four LED Series 2 Lustr fixtures, 30 ETC Desire D40 LED washlights, 18 ETC Selador Vivid R beams and 15 ETC Source Four lekos with dimmers. “We went through a number of different tests and demos and finally we ended up with a series of fixtures that we felt could be shown to the Whitney,” explained Steve. “The idea was that while we were looking at these products in 2011, we estimated that by the time the Whitney opened in 2015 LED systems would be at an acceptable place. Luckily we were right, and the technology really has come around.” Steve explained that the benefits of the lighting design allowed for a much more ‘rational system distribution’ that cuts back the number of circuits that they would normally use in a theatre. “A theatre of this size might normally have 150-200 circuits, if you were doing it all with incandescent,” he said. “But with LED lights we dropped it back to 50 circuits. The cost of installing electrical work in New York City is so expensive, close to US$1000 per circuit, that adds up very quickly. We were able to show the Whitney a cost comparison between the expensive LED fixture and the savings on the electrical infrastructure; they backed the system 100%. We were fortunate to have a client that was interested in working with the new technology and making sure this was a system that could be there for the future.” Theatre Projects worked with Babizon Lighting to help with the early stages of the LED lighting construction and Lana Mione, Whitney’s in-house designer, to adapt to the new technology. Arup Lighting helped to coordinate the architectural lighting in the space. The Whitney’s desire to make the theatre both a gallery and performance space meant
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“The idea was that while we were looking at these products in 2011, we estimated that by the time the Whitney opened in 2015, LED systems would be at an acceptable place. Luckily we were right, and the technology really has come around.”
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Tiny S, Tiny FX, Tiny CX, Power-Tiny that it required similar lighting to the rest of the galleries. For the galleries a track lighting system that uses LED fixtures was fitted. Arup Lighting chose Lighting Services products for the gallery lighting - fitting roughly 1,500 fixtures consisting of LumeLEX 2045 Series wallwashes and LumeLEX 2044 Series spotlights. Arup’s Lighting Designer, Matt Franks explained: “Daylight played a key role in the lighting for the gallery spaces, both in the top floor gallery which is illuminated by a skylight system, and in the galleries below which have glazed façades to allow access to daylight and views.” Matt went onto explain that an LED system was chosen after a review of both LED sources and more traditional tungstenhalogen sources. “The fixtures were chosen for several reasons, including the colour rendering and consistency, the long lamp life of 50,000 hours, and the low energy use compared to traditional sources. The simple cylindrical design of the fixture housing complements the architectural design of the ceiling system well.” Looking now at the sound used in the new theatre space, Cerami Associates
- a team of acoustical, audio-visual and technology design consultants based in New York were responsible for the installation. Cerami who have worked with the Whitney on previous renovations and exhibits worked closely with Whitney’s project team to understand the design brief and concepts for the museum. They interview key stakeholders and user groups to determine the needs and requirements for the theatre space. For film and video, Cerami mounted a Da-Lite Fast-Fold 13.4ft wide by 7.6ft high perforated, motorised projection screen on the ceiling at the west end of the theatre. For film projection two combination projectors - a Kinoton America FP38E and a Christie CP2220 - have been mounted on pedestals, which ride on a rail system for required position in the projection booth. With the main focus of the brief being film, Cerami designed a audiovisual system which provided film processing, surround sound audio support and the capacity to support any live theatrical event or function. For audio support a JBL sound system was specified - comprising three
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FRANÇAIS
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Le Musée Whitney des arts américains présente une gamme complète d’œuvres américaines contemporaines et du XXe siècle, mettant surtout l’accent sur le travail d’artistes vivants. La sculptrice Gertrude Vanderbilt Whitney, ayant constaté combien les artistes américains devaient lutter pour exposer ou vendre leurs œuvres aux États-Unis, a fondé le musée. Il a été décidé qu’il était temps de recréer le Musée Whitney et de le déplacer de la Madison Avenue vers le Meatpacking District de New York. Une collaboration entre les architectes de Renzo Piano Building Workshop, l’architecte principal de chez Cooper, Robertson & Partners et les consultants de Theatre Projects, le théâtre de 2 300 pieds² offre au musée la liberté de présenter des spectacles de musique live, des représentations théâtrales, des conférences, des projections de films et des événements sociaux. Le nouveau théâtre du Whitney dispose d’un système de sièges escamotables, de six podiums, d’un plafond à acoustique variable et d’un système d’éclairage pour spectacles n’utilisant que des LED — un des premiers théâtres de musée du genre en Amérique. En ce qui concerne l’éclairage, un système de chez ETC a été réclamé et celui-ci fut monté à cinq appareils du plafond du théâtre. On retrouve 85 colonnes Source Four LED Série 2 Lustré, 30 lyres à faisceau mural Désire D40 LED, 18 poutres Selador Vivid R et 15 Lekos à variateurs Source 4 – tous de chez ETC. L’entreprise Arup Lighting a arrangé l’éclairage architectural du théâtre et des galeries, où un système d’éclairage sur rail avec des luminaires LED a été installé. Arup Lighting a choisi des produits de la société Lighting Services inc. pour l’éclairage des galeries — plaçant environ 1 500 appareils dont des lyres à faisceaux muraux LumeLEX 2045 Série et des projecteurs LumeLEX 2044 Série.
DEUTSCH
Das Whitney Museum of American Art präsentiert eine komplette Sammlung amerikanischer Kunst des 20. und 21. Jahrhunderts mit einem Schwerpunkt auf die Werke lebender Künstler. Die Bildhauerin Gertrude Vanderbilt Whitney gründete das Museum, nachdem Sie sich des Kampfes bewusst worden war, den amerikanische Künstler auszufechten hatten, um ihre Werke in den Vereinigten Staaten auszustellen oder zu verkaufen. Das Whitney hatte beschlossen, dass es an der Zeit war, sich neu zu schaffen und zog von seinen bisherigen Räumlichkeiten in der Madison Avenue um in den Meatpacking District von New York. Die Zusammenarbeit zwischen dem Designer Renzo Piano Building Workshop, leitender Architekt, Cooper, Robertson & Partners und Theatre Projects verschafft dem Museum ein 2.300 Quadratfuß großes Theater und somit die Freiheit, Livemusik-Veranstaltungen, Theaterperformances, Lesungen, Filmvorführungen und soziale Events anzubieten. Das neue Whitney Theater verfügt über ein versenkbares Sitzsystem, sechs Catwalks, eine variable Akustikdecke und ein komplettes LED-Performance-Beleuchtungssystem - eines der ersten Theater in einem Museum in Amerika komplett mit LED. Für die Beleuchtung wurde ein ETC System festgelegt und an fünf Vorrichtungen, die an der Decke des Theaters angebracht sind, befestigt. An den Vorrichtungen sind 85 ETC Source Four LED Series 2 Lustr Arrays, 30 ETC Desire D40 LED Washlights, 18 ETC Selador Vivid R Strahler und 15 ETC Source Four Lekos mit Dimmern angebracht. Arup Lighting unterstützte die Koordination der architektonischen Beleuchtung des Theaters und der Galerien. Für die Galerien wurde ein SchienenBeleuchtungssystem, für das LED-Schienenbefestigungen benutzt werden, angebracht. Arup Lighting wählte Produkte von Lighting Services Inc. für die Beleuchtung der Galerien - und brachte rund 1.500 Beleuchtungskörper an, darunter LumeLEX 2045 Series Wallwashes und LumeLEX 2044 Series Spotlights.
ITALIANO
Il Whitney Museum of American Art presenta una gamma completa di opere d’arte americane contemporanee e del novecento, ponendo un’attenzione particolare sulle opere di artisti viventi. Fu lo scultore Gertrude Vanderbuilt Whitney, che vide la lotta che gli artisti americani stavano combattendo per esibire o vendere le loro opere negli Stati Uniti, a fondare il museo. Whitney decise che era arrivato il tempo di rinnovarsi e di trasferirsi dalla sua sede attuale, in Madison Avenue, al Meatpacking District di New York. Il teatro da circa 214 mq, progettato in collaborazione con l’architetto Renzo Piano ed altri del calibro di Cooper, Robertson & Partners e Theatre Projects, permette al museo di presentare musica dal vivo, spettacoli teatrali, conferenze, proiezioni di film ed eventi sociali. Il nuovo teatro Whitney é dotato di un sistema a scomparsa di sedie, sei passerelle, un controsoffitto acustico variabile, un sistema di illuminazione completamente a LED (uno dei primi musei nel teatro degli Stati Uniti ad aver utilizzato completamente luci a LED). Per l’illuminazione é stato scelto un sistema ETC dotato di cinque impianti montati sul soffitto del teatro. Dell’impianto fanno parte 85 array ETC Source Four LED Series 2 Lustr, 30 cambiacolore a LED ETC Desire D40, 18 fari ETC Selador Vivid R e 15 Source Four Leko dotati di dimmer a LED. Arup Lighting ha contribuito a coordinare l’illuminazione architettonica del teatro e delle gallerie. Per quest’ultime è stato utilizzato un sistema di illuminazione a binario composto da impianti Led. Arup Lighting, inoltre, ha scelto dei prodotti Lightning Services Inc per l’illuminazione delle gallerie, che comprendono approssimativamente 1.500 apparecchi tra cui dei cambiacolore LumeLEX 2045 Series e dei faretti LumeLEX 2044 Series.
ESPAÑOL
El Museo Whitney de Arte Americano presenta una amplia gama de Arte Americano contemporáneo y del siglo veinte enfocado en obras de artistas vivos. La escultora Gertrude Vanderbilt Whitney, quien vio la lucha que enfrentaban los artistas Americanos para exhibir o vender sus obras en los Estados Unidos, fue la fundadora del museo. Los Whitney decidieron que era hora de recrearse a sí mismos y se mudaron de su ubicación actual en Madison Avenue al Meatpacking District de Nueva York. En una colaboración entre el Renzo Piano Building Workshop, los arquitectos ejecutivos, Cooper, Robertson & Partners, y Theatre Projects, el teatro de 214 metros cuadrados le ofrece al museo la libertad de presentar música en vivo, obras teatrales, conferencias, proyección de películas y eventos sociales. El nuevo teatro Whitney presenta un sistema de asientos retráctiles, seis pasarelas, un cielorraso con acústica variable y un sistema completo de iluminación LED - uno de los primeros teatros con iluminación LED completa en América. Para la iluminación se especificó un sistema ETC ensamblado a cinco estructuras montadas a lo largo del cielorraso del teatro. A la estructura montante se suman 85 ETC Source, cuatro Series LED, 2 torres acústicas Lustr, 30 cabezales móviles ETC Desire D40 LED, 18 haces ETC Selador Vivid R y 15 ETC Source Four lekos con difusores. Arup Lighting ayudó a coordinar la iluminación arquitectónica del teatro y las galerías. Las galerías se equiparon con un sistema de seguimiento de luces que utiliza artefactos de seguimiento LED. Arup Lighting eligió los productos de Lighting Services Inc para la iluminación de la galeríaequipándola con aproximadamente 1.500 artefactos compuestos de luces direccionales de pared de la serie LumeLEX 2045 y focos de la serie LumeLEX 2044.
JBL 4732-T three-way, tri-amplified, ScreenArray cinema loudspeakers situated behind the screen. The perforated screen is acoustically transparent allowing a loudspeaker system to be placed behind it for a L-C-R sound reproduction. To provide surround sound six JBL 8340A cinema surround loudspeakers have been mounted at the sides of the audience seating area, as well as four JBL PRX712 loudspeakers, which were mounted to the ceiling grid. A notable feature of the theatre is the variable acoustics; the ceiling is made up of panels that look similar to aeroplane wings, which sit on a pivoting mechanism so they can be turned vertical or horizontal. When the panels are vertical the room is more open acoustically or if turned horizontal the room becomes much more intimate. For amplification a selection of from the QSC Powerlight 3 series and a Crown DCi 8|600 amplifier
have been specified, alongside a Creston PRO3 control system. A Soundcraft Vi1 mixing console was chosen for sound control and was installed in the audio booth at the back of the theatre. For microphones Cerami chose a variety of wired and wireless products from Shure, Neumann, Sennhieser and beyerdynamic. “A challenge of this project was that there was no defined schedule at the time of the install,” explained Steve. “The Whitney knew they wanted to expand their performance programme but nothing had been finalised. For this reason the theatre had to be a space for everyone. It needed to be as flexible as possible. And because of this we tried to create a simple system so Whitney staff could change the room quickly and easily. Getting it to function in as many ways as it does was a big challenge, but it seems as though we have been quite successful.”
TECHNICAL INFORMATION SOUND 6 x JBL 8340A cinema surround loudspeaker; 4 x JBL PRX712 loudspeaker; 3 x JBL 4732-T three-way tri-amplified ScreenArray cinema loudspeaker; 4 x QSC PL380 Powerlight 3 amplifier; 2 x QSC PL340 Powerlight 3 amplifier, 1 x Crown DCi 8|600 amplifier; 1 x Creston PRO3 control system; 1 x Soundcraft Vi1 mixing console; 4 x Shure SM57 instrument microphone; 2 x Shure KSM137 cardiod instrument microphone; 4 x beyerdynamic M 88 TG dynamic microphone; 2 x Neumann KM 184 miniature microphone; 1 x Neumann TLM 170 large diaphragm microphone; 1 x Sennheiser EW 500 cardioid microphone LIGHTING 85 x ETC Source Four LED Series 2 Lustr fixture; 30 x ETC Desire D40 LED washlight; 18 x ETC Selador Vivid R beam; 15 x ETC Source Four leko fixture; Lighting Services LumeLEX 2045 Series wallwash; Lighting Services LumeLEX 2044 Series spotlight; 1 x Kinoton America FP38E projector; 1 x Christie CP2220 projector; 1 x Da-Lite Fast-Fold 13.4ft wide by 7.6ft high perforated, motorised projection screen whitney.org
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Void brings an international clubbing flavour to Omni in Taipei.
Photo: Arup
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The team behind nightclub, Omni in Taipei, Taiwan travelled to clubbing hot spots in Las Vegas, Ibiza, London, Shanghai and Seoul to experience the world’s best venues. The team also attended major global sound and lighting industry exhibitions but after extensive research, Void’s Incubus system was chosen to provide its customers with the ultimate clubbing experience. The system at Omni comprises a pair of flown Air Arrays with a mono stack
of Hyperfold upper bass enclosures and Incubus Subs. Airtens also provide high frequency reinforcement towards the back of the large main room. “Omni installed a Void Incubus sound system in order to introduce the country’s first world-class sound system, allowing every visitor to enjoy the wonderful ubiquitous space,” said an Omni spokesperson. www.voidacoustics.com
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ZOUK KL KUALA LUMPUR, MALAYSIA ASIA-PACIFIC
With 11 venues under one roof, themed rooms and dazzling displays - creating superclub, Zouk KL, is feat of both technological and architectural design.
Zouk in Kuala Lumpur, Malaysia is the latest superclub from the Zouk brand to open in Asia. At 60,000 sq ft, the two-storey entertainment complex located at TREC - Malaysia’s largest and first purpose built entertainment enclave - along Jalan Tun Razak is the most expensive club to be built in Malaysia, costing US$10 million to create and comprising 11 venues, boasting to be twice the size of its predecessor complex at Jalan Ampang. First established in Singapore in 1991, Zouk brought the electronic and house music genres to Asia and 13 years later, Zouk opened its first club in Kuala Lumpur. However, when the lease for the land the club was built on was due to expire the hunt was on for a new location. Cher Ng, Executive Director and founder of Zouk KL, took the lead on the new concept, research and planning of the new www.mondodr.com
club, which initially began in 2011. “By late 2014, the design draft had reached over 60 revisions, and we started the design process in 2012,” Cher recalled. “I’m very particular when it comes to space planning, and that’s one thing I’ve learned over the years, it can make or break a club.” Cher explained the concept behind the brand: “The heritage of Zouk is built upon the cornerstones of music, design, architecture and the arts, and its underlying vision of: One world. One tribe. One music. One dance.” Cher researched the designs of various clubs - using the former Jalan Ampang club as a case study - to establish how crowds move round within a complex, what would be the right ceiling height for the rooms, what sort of entrance design is better for flow and dealing with crowd
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management. Cher also researched what type of sound, lighting and effects are required in each room. He commented: “The key difference between Zouk KL and many other clubs is we’re riding on the philosophy and we have sharpened the room concepts at the new club to target our core demographic groups.” They include the high-net worth individuals, regular partygoers, creative communities and even those who prefer a subdued night out to a highly-energetic experience. From Cher’s observations, American designer Phillip Connor of DB&B embraced the challenge of creating a design for the new venue. Phillip noted: “The project was very large and there is a complex interrelationship between the variety of venues within the space. The building was created from the inside out, looking
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at the different clubs in the space - how they interrelate with one another, how customers would experience them and then creating the building envelope.” The external architecture was designed by award-winning Veritas Design Group as an iconic architectural statement - the venues bold façade is made of reflective materials fitted into strong symmetrical lines that pick up the light of the night sky. Internally Zouk’s 11 venues include members’ areas, alfresco dining, clubs, private rooms, and cafes. “What we have done with the new Zouk KL is design one massive venue that tailors to the needs of various demographics as well as provides an experiential outing of the Zouk brand for foreign visitors,” explained Cher. “Each room has its own unique identity and focus, from the sound and lighting to its interior appearance.” Craig Burridge, Managing Director from Dreadnaut Creative was brought in to oversee the design installation and tuning
“The heritage of Zouk is built upon the cornerstones of music, design, architecture and the arts, and its underlying vision of: One world. One tribe. One music. One dance.”
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• Top Zouk’s Imperial Lounge with its champagne LED wall. • Left Phuture, the futuristic club room. • Right Zouk’s exterior.
of the sound system at Zouk. “The first task was Zouk’s main clubroom and Phuture where the music polices of both are skewed towards EDM,” said Cher. “Our preference was to use the original Funktion One system from our previous Zouk location which has served us well over the years. As a sound system it has a very crisp and clear sound.” The main room is long and relatively narrow with a high ceiling at the centre and low sofa areas on two sides and behind the DJ booth. In total, 12 Funktion One Resolution 4S loudspeakers have been installed in the main room. Four flown either side of the DJ booth and the remaining two pairs at the opposite end of the dancefloor in either corner. To maximise high frequency sound coverage two Funktion One Satellite Tweeter Pods have been flown above the dancefloor. While for bass requirements six Funktion One F218 bass enclosures have been stacked two either side of the DJ console and one per side at the opposite end
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TECHNICAL INFORMATION SOUND MAIN ROOM: 2 x Funktion One Resolution 4S loudspeaker; 8 x Funktion One F88 loudspeaker; 6 x Funktion One F218 bass enclosure; 2 x Funktion One Satellite Tweeter Pod; 8 x EAW CIS400 ceiling loudspeaker; 2 x Funktion One Resolution 2 loudspeaker; 2 x Funktion One F215 subwoofer; 5 x Ashly nXp1.54 amplifier; 3 x Ashly nX1.54 amplifier; 2 x Ashly nXp4004 amplifier; 1 x Ashly ne4250pe amplifier; 3 x Ashly 4.8SP processor; 2 x Ashly GQX-3102 equaliser; 1 x Ashly ne8800 processor IMPERIAL LOUNGE: 2 x Clair Brothers R4-II loudspeaker; 2 x Funktion One F218 MK2 sub-bass enclosure; 36 x EAW CIS400 ceiling loudspeaker; 4 x EAW SB108 bass enclosure; 6 x EAW MK2396i loudspeaker; 3 x Ashly nXp1.54 amplifier; 3 x Ashly ne8250, 1 x Ashly nx3.04 amplifier; 1 x Ashly nxp4004 amplifier; 2 x Ashly 4.8SP processor; 1 x Ashly ne4800c processor; 1 x Ashly GQX-3102 graphic equaliser PHUTURE: 4 x Funktion One Resolution 4S loudspeaker; 2 x EAW MK2396i loudspeaker; 2 x Funktion One F218 bass enclosure; 1 x JBL AL6125 loudspeaker; 1 x EAW SB180 subwoofer; 6 x EAW CIS400 ceiling loudspeaker; 3 x Ashly nXp1.54 amplifier; 2 x Ashly nXp4004 amplifier 1 x Ashly nX3.04 amplifier; 1 x Ashly ne4250 amplifier; 2 x Ashly 4.8SP processor; 1 x Ashly ne4800c processor; 1 x Ashly GQX-3102 equaliser VELVET UNDERGROUND: 6 x TurboSound TQ-308 loudspeaker; 4 x TurboSound TQ-310 loudspeaker; 2 x Clair Brothers R4-II loudspeaker; 6 x EAW CIS400 ceiling loudspeaker; 2 x EAW MK2396i loudspeaker; 2 x EAW SB108 bass cabinet; 2 x JBL 4125 subwoofer; 1 x JBL AL6125 loudspeaker; 2 x Ashly nXp1.54 amplifier; 2 x Ashly nXp4004 amplifier 1 x Ashly nX3.04 amplifier; 1 x Ashly ne4250 amplifier; 2 x Ashly 4.8SP processor; 1 x Ashly ne4800c processor; 1 x Ashly GQX-3102 equaliser APEX LOUNGE: 9 x EAW CIS400 ceiling loudspeaker; 2 x EAW SB108z bass speaker; 2 x Clair Brothers R4-II loudspeaker; 2 x EAW MK2396i loudspeaker; 1 x JBL AL6125 loudspeaker; 2 x Ashly nxp4004 amplifier; 1 x Ashly nXp1.54 amplifier; 1 x Ashly nx3.04 amplifier; 1 x Ashly ne4250 amplifier; 1 x Ashly 4.8SP processor; 1 x Ashly ne4800C processor; 1 x Ashly GQX-3102 equaliser; 2 x Lab.gruppen fP 6400 amplifier; 1 x XTA DP426 loudspeaker management unit ACE: 2 x Clair Brothers R4-II loudspeaker; 2 x EAW MK2396i loudspeaker; 2 x EAW LA128 subwoofer; 1 x Ashly nXp1.54 amplifier; 1 x Ashly nX3.04 amplifier; 1 x Ashly ne4250 amplifier; 1 x Ashly 4.8SP processor; 1 x Ashly ne4800c processor; 1 x Ashly GQX3102 equaliser
of the dancefloor. And to cover the low ceiling sofa areas around the periphery eight Funktion One F88 loudspeakers have been installed. “This room is the biggest, with a younger crowd demographic,” explained Craig. “The sound system needed to satisfy the demand for power and quality. The Funktion One system is concentrated 85-90% on the dancefloor, with 10-15% to bring power to the sofa areas either side of the dancefloor.” Amplification and processing for the room is provided by Ashly Audio - five Ashly nXp1.54 amplifiers, three Ashly nX1.54 amplifiers, two Ashly nXp4004 amplifiers and one Ashly ne4250pe amplifier. Two Ashly GQX-3102 equaliser, one Ashly ne8800 processor and three Ashly 4.8SP processors take care of loudspeaker management duties. Craig said of the latter: “I used the Ashly 4.8SP DSP processors for speaker system crossover, EQ and limiting.” For the DJ requirements a pair of Funktion One Resolution 2 loudspeakers are flown either side of the booth, accompanied by two Funktion One F215 subwoofers under the console. The lighting for the main room features a staggering one million LED lights fixed to moving panels on a controllable hoist system, which can all flash in synchronisation. Sebastien Jurkowski founder of Contrast Studio, who was responsible for the lighting in Zouk explained the installation. “All the LED screens were custom built, mounted on a magnetic support to fit within the clubs interior design. This design means that the panels can blend seamlessly in with the rest of the room.” A custom built moving truss above the dancefloor adds to the atmosphere of the room - featuring 18 EK Pro lighting ParHex 7 washlights, 16 Steinigke Showtec Expression 5000 LED moving heads and 16 Cindy X-200 LED moving spotlights. “We strictly used LED sources for the entire club lighting. The technology is www.mondodr.com
mature, which saves power as well as maintenance,” explained Sebastien. “The LED sources are W for the spots, RGBW for the LED beams and washes, and RGBWA + UV for the par can LEDs, which is my favourite light source as it offers the full range of colour.” The LED lighting panels were mapped via ArKaos MediaMaster Pro 4 video mapping software. For lighting control of the intelligent fixtures, a ChamSys MagicQ MQ100 Pro console, ChamSys MagicQ Playback wing console and a ChamSys MagicQ Execute wing console were chosen. “We used a range of ChamSys lighting products, from the PC wing to MQ100 with wings attached,” said Sebastien. “Since most of the rooms are a mix media installation and intelligent lighting, ChamSys was the right choice.” For effects 10 MagicFX CO2 jets and three Kvant ClubMAX 1800 laser systems have been fitted to the truss above the dancefloor and are controlled via Pangolin Beyond Essentials lasershow software. Cher added: “We wanted to offer a oneof-a-kind experience, not only unique in Malaysia but unique when compared to most prominent nightclubs worldwide. The lighting team looked for compelling installations in nightclubs, cabarets and even amusement parks before deciding what would be worth installing in the new Zouk KL. The task was, therefore, to create a bespoke installation within the multiple spaces that would not be found anywhere else in the world.” The Imperial Lounge has an equally impressive lighting display - the lounge, as the name suggests, caters for elite tastes and features a VIP concierge service. As the second biggest space in Zouk the centrepiece of the lounge is the LED screen made up of 1,200 Dom Perignon champagne bottles. An electroluminescent tag was applied to each of the bottles, then Sebastien wired them to custom PWM dimmers to create a screen where each bottle acts as a pixel, which
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“What we have done with the new Zouk KL is design one massive venue that tailors to the needs of various demographics as well as provides an experiential outing of the Zouk brand for foreign visitors. Each room has its own unique identity and focus, from the sound and lighting to its interior appearance.” is then connected to a Madrix interface for control. To accompany this six Cindy EXW-720 moving heads have also been installed. Two Clair Brothers R4-II loudspeakers which Craig describes as high powered and tight sounding three-way full range cabinets - and two Funktion One F218 MK2 sub-bass enclosures cover the dancefloor and seating area in front of the DJ booth in the Imperial Lounge. A total of 36 EAW CIS400 ceiling loudspeakers, in pairs, cover the rest of the seating area, these are delayed in three rings to bring the sound image back to the DJ. Four EAW SB 108 bass cabinets have been strategically placed to provide a full range stereo image throughout the room. Finally four EAW MK2396i loudspeakers cover the balcony areas and two EAW MK2396i for DJ booth. These are linked to Imperial Lounge but can also be used as standalone for events or guest DJs. Similar to what was used in the main
• Above Zouk’s glass surrounded Apex Lounge.
room - a further three Ashly nXp1.54, three Ashly ne8250pe, one Ashly nX3.04 and one Ashly nXp4004 amplifiers were used to power the system. “I used the nXp4004’s and the ne8250pe amplifiers with built in networking capabilities and DSP processors for EQ and processing for the satellite and ceiling loudspeakers,” commented Craig. “I used Ashly amplifiers throughout. The main reasons being the power and having four channels in a 2RU combined with networking and built in DSP. Price was a factor in the decision, their high-powered four channel amplifiers are very reasonable.” Processing was also handled by Ashly products, which consisted of two Ashly 4.8SP processors, an Ashly ne4800C processor and an Ashly GQX-3102 graphic equaliser. For the futuristic Phuture room guests’ eyes will be drawn to the large androgynous space sculpture behind the luminous bar, then to the 800 pieces of over www.mondodr.com
hanging 3D LED tubes that have been installed along with a suspended ceiling track that can hoist performers around the dancefloor in a Cirque du Soleil fashion. The tubes are controlled via a Madrix software package. To accompany the visual display, a further 12 Cindy EXW-720 moving heads and four Intella Storm 300 strobes have also been installed. For audio requirements four Funktion One Resolution 4S loudspeakers, two EAW MK2396i loudspeakers, two Funktion-One F218 bass enclosures, one JBL AL6125 loudspeaker, one EAW SB180 subwoofers and six EAW CIS400 ceiling loudspeakers were selected. Similarly to the other clubrooms Ashly products handle amplification and processing. Next to Phuture is the alluring and trendy Velvet Underground bar, featuring hanging LED panels that wrap around the back of DJ booth and above the dancefloor. As this room focusses heavily
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FRANÇAIS
Le Zouk de Kuala Lumpur est le dernier super club de la marque Zouk à ouvrir en Asie. Les 106 000 pi² du complexe de loisirs à deux étages ont couté 10 millions US $ et présentent 11 sites différents — fier d’être deux fois plus grand que le précédent complexe situé à Jalan Ampang. Une représentation architecturale emblématique conçue par le très primé groupe Veritas Design, la façade du lieu est constituée de matériaux réfléchissants montés en de robustes lignes symétriques qui captent la lumière du ciel la nuit. La salle principale du rez-de-chaussée du club Zouk présente un million de lampes LED qui brillent en synchronisation, et a été équipée d’un système de sonorisation Funktion One offrant un impact directionnel. Dans les salles Imperial, Velvet Underground, Apex Lounge et Ace, des systèmes de son Clair Brother et EAW ont été installés. La salle principale du Zouk est équipée de panneaux et de poutres à treillis LED mobiles et contrôlables par système de palan, afin de créer une ambiance électrisante. Plus de 800 bandes LED suspendues ont été placées autour de la piste de danse tournante de la salle Phuture. Dans la Velvet Underground, des panneaux de LED suspendus enveloppent l’arrière de la console du DJ, et comme cette salle se concentre fortement sur le mixage de vidéos, deux téléviseurs LCD 75 pouces ont été accrochés en fond de salle pour présenter les vidéos.
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• Zouk’s Ace room
DEUTSCH
Zouk Kuala Lumpur ist der neueste Superclub der Zouk-Marke, der in Asien eröffnet wurde. Mit seiner Fläche von 106.000 Quadratfuß über zwei Etagen hat der Entertainmentkomplex 10 Millionen US$ gekostet und umfasst 11 Treffs - und rühmt sich damit, doppelt so groß wie sein Vorgängerkomplex in Jalan Ampang zu sein. Die preisgekrönte Veritas Design Group hat den Treff als ein symbolträchtiges architektonisches Statement entworfen, seine gewagte Fassade besteht aus reflektierenden Materialien, die in streng symmetrischen Linien angebracht sind und das Licht des Nachthimmels auffangen. Der größte Clubraum im Zouk im Erdgeschoss weist 1 Million LED-Lichter auf, die synchron blinken und mit einem Funktion One Soundsystem für die Ausrichtung eingebaut worden sind. Für die Räume Imperial, Velvet underground, Apex Lounge und Ace Room wurde eine Kombination aus Clair Brother und EAW Soundsystemen installiert. Der Hauptraum des Zouk wurde mit beweglichen LED-Paneelen und Traversen ausgestattet, die durch ein Hoist System kontrolliert werden und somit eine elektrisierende Atmosphäre schaffen können. Für den Phuture Raum wurden neben einer Performer-Schiene für den Transport von Performern durch den ganzen Raum 800 Teile überhängender LED-Streifen installiert. Im Velvet Underground umschlingen hängende LED Paneelen die Rückseite des DJ-Pults. Da sich dieser Raum stark auf Video Mixing konzentriert, gibt es zwei 75-Zoll-LCD TVs im hinteren Bereich für MV-Playback.
ITALIANO
Zouk Kuala Lumpur è l’ultimo grande locale, firmato Zouk, che ha aperto in Asia. Il complesso di intrattenimento a due piani, con i suoi circa 10.000 mq, è costato 10 milioni di dollari e comprende ben undici locali, vantando di avere il doppio della grandezza del complesso che era stato precedentemente costruito a Jalan Ampang. Progettata dal premiato Veritas Design Group, come icona architettonica, l’audace facciata dei locali è costituita da materiali riflettenti posti in forti linee simmetriche che catturano la luce del cielo notturno. La sala principale del Zouk, a piano terra, è dotata di un milione di luci a Led che lampeggiano in modo sincronizzato ed, inoltre, è stato dotato di un impianto audio Funktion One per un impatto direzionale. Per le stanze Imperial, Velvet Underground, Apex Lounge e ACE sono stati installati una combinazione di impianti audio Clair Brother e EAW. La sala principale del Zouk è stata attrezzata con pannelli mobili a Led ed americane controllabili con un sitema di sollevamento per creare un’atmosfera elettrizzante. Per la stanza Phuture, sono state installate 800 strisce a Led appese insieme dei binari che permettono di portare gli artisti intorno alla stanza. Nella Velvet Underground, invece, troviamo dei pannelli a Led appesi che circondano il retro della console del DJ. Visto che questa stanza si concentra soprattutto sul mixaggio di video, ci sono anche due TV LCD da 75’’ poste sul retro per la riproduzione di video musicali.
on video mixing, there are two 75-inch 4K LCD TV at the rear to playback music videos. Audio wise, a combination of six Turbosound TQ-308 loudspeakers, four Turbosound TQ-310 loudspeakers, two Clair Brothers R4-II loudspeakers, six EAW CIS400 ceiling loudspeakers, two EAW SB108 bass cabinets and a pair of JBL 4125 subwoofers were specified. A special feature of Velvet Underground is the slide, which transports guests down from the Imperial Lounge above it straight into the members’ area. Elsewhere in bars, Apex Lounge, the breeding ground for the free spirited
and creative hounds and Ace - an urban hip-hop room decorated with graphic elements that line the wall - are a combination of Clair Brothers and EAW sound systems. Cher reflected on the significance of the Zouk project: “It took three years for the new Zouk KL to materialise, including a year to build it. It involved some of the best talent in their fields from Malaysia, Singapore, the UK and the US, in this monumental project. It has been more than gratifying to see the iconic club brand in its new home. The new Zouk KL version 2.0 is developed for future generations.”
ESPAÑOL
Zouk Kuala Lumpur es la última super discoteca bajo la marca Zouk que abre en Asia. El complejo de entretenimiento de 9.800 metros cuadrados y dos pisos de altura, costó USD 10 millones para construirse y está compuesto de 11 espacios. El lugar presume ser dos veces más grande que el complejo predecesor en Jalan Ampang. Diseñado por los galardonados Veritas Design Group como una declaración icónica de arquitectura, la audaz fachada de los lugares está hecha de materiales brillantes encajados dentro de fuertes líneas simétricas que recoge la luz del cielo nocturno. El salón principal de Zouk en la planta baja presenta un millón de luces LED, que destellan sincronizadamente y han sido equipadas con un sistema de sonido de Funktion One para un impacto direccional. Para los salones Imperial, Velvet Underground, Apex Lounge y Ace se instaló una combinación de sistemas de sonido de Clair Brother y EAW. El salón principal de Zouk ha sido equipado con paneles móviles LED y estructuras controlables por un sistema elevador para crear una atmósfera electrizante. En el salón Phuture se instalaron 800 piezas sobre tiras LED colgantes junto con una luz de seguimiento de artistas para llevarlos por todo el salón. En Velvet Underground, hay paneles LED colgantes que envuelven la parte trasera de la consola del DJ. Como este salón se caracteriza por la proyección de videos, hay dos TV LED de 75 pulgadas en la parte trasera para reproducir MV.
TECHNICAL INFORMATION LIGHTING, VISUALS & EFFECTS MAIN ROOM:18 x Chauvet Professional COLORdash Par-Hex 7 washlight; 16 x Steinigke Showtec Expression 5000 LED moving head; 16 x Cindy X-200 LED moving spotlight; 1 x ChamSys MagicQ MQ100 Pro console; 1 x ChamSys MagicQ Playback wing console; 1 x ChamSys MagicQ Execute wing console; 10 x MagicFX CO2 jet; 3 x Kvant ClubMAX 1800 laser system; 1 x ArKaos MediaMaster Pro 4 video mapping software; 1 x Pangolin Beyond Essentials lasershow software; 1 x Madrix software package IMPERIAL LOUNGE: 6 x Cindy EXW-720 moving head; 1 x Madrix software package 1,200 x electroluminescent tag; PWM dimmers PHUTURE: 800 x 3D LED tube; 12 x Cindy X-200 LED moving spotlight; 4 x Intella Storm 300 strobe; 1 x Madrix software package VELVET UNDERGROUND: 2 x 75-inch 4K LCD TV www.zoukclub.com.my
www.mondodr.com
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A DIP IN THE OCEANIA ASIA-PACIFIC
On a recent two-week trip to South-East Asia and Australia, mondo*dr took in the sites of Kuala Lumpur, Singapore, Melbourne and Sydney. Kuala Lumpur is a steadily developing country in the technology world, however, still lags behind neighbouring Singapore, which has a rapid turnover of entertainment outlets. Melbourne is undergoing a lot of refurbishment projects at the moment, while Sydney CBD has been hit hard by the lock-out laws, which includes: a NSW-wide ban on takeaway alcohol sales after 10pm; 1.30am lockouts; and 3am last drinks at hotels, registered clubs, nightclubs and licenced karaoke bars in order to crackdown on drug and alcohol-fuelled violence. Despite the hard-ship in certain parts of the region, mondo*dr still managed to dig out plenty in installations for you to feast your eyes on.
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CATO SINGAPORE ASIA-PACIFIC
Housed in a building that was originally home to the first OCBC Bank in Singapore, CATO, a new restaurant and bar, may not be the first nightlife venture to occupy the space, but one of its owners, Arjun Singh, plans to change that by establishing the CATO brand as a permanent fixture in Singapore and has high hopes for expansion too. Located on South Bridge Road, CATO has plenty of nearby competitors so it was important to make it stand out from the crowd. This began with the room aesthetics, which merges old-world rustic charm with rough and industrial décor. The double storey conservation building retains its historic cultural allure as distressed steel, dark stained wood and rough-hewn brick walls accentuate it. However, possibly one of the quirkiest features lies at the window where Arjun has retrofitted and built a trishaw to form the DJ booth. There were a few options for bicycles, however, Arjun wanted something that’s been around for the last 60 years, and so the decision was made to go with a Flying Pigeon - one of the first bikes China ever built, which ultimately produces a modern take on a heritage
bike. The view from the window is equally spectacular; visitors to CATO look out onto the Sri Mariamman Temple, a popular tourist attraction in Singapore. It’s interesting to note that the Hindu temple sits alongside the Buddha Tooth Relic Temple, a mosque that is in view approximately 50m down and the Emmanuel Christian Church, the only place in Singapore where four houses of worship of differing religions are in such close proximity, although the church is not in view from the unit itself. Indoors and downstairs boasts CATO’s kitchen and restaurant, which attracts an early crowd looking for a cosy, yet contemporary atmosphere but upstairs is where the magic really happens. The nine-metre long bar boasts 14 taps of craft beer from around the world, as well as a comprehensive artisanal spirit selection from over 20 renowned boutique distilleries. Owner Arjun described how the project got of the ground: “For me personally, this is my first nightlife venture, however, I have a large group of friends from different walks of life, one of which is our main www.mondodr.com
• Above Cato’s decor boasts rustic industrial charm, offering a warm and inviting atmosphere for guests, which is further enhanced by the EAW sound system.
director and he has been in the nightlife industry for close to 10 years so has lots of experience. “Another friend of mine was the one who came to me with this interesting project [CATO]. I’ve always wanted to own a bar, so we met up, we looked at the venue, fell in love with it and the rest is history,” he continued. With just three weeks to turn the venue around from its former guise, the pressure was on, which is just one of the reasons Arjun turned to Electronics & Engineering (E&E) to provide the new sound system at CATO. “I’ve been appreciating the good set ups E&E have been doing all over Singapore, the company has been around for over 60 years. From the initial concept to the protocol, right through the point of engagement, all the way to takeover, it’s by far one of the most professional companies here in Singapore. We had three different vendors in the running, but I felt most comfortable with E&E,” Arjun explained. The set-up comprises eight EAW JF60Z loudspeakers, which are spaced evenly across the top floor of the building, alongside a single EAW SB150ZP
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subwoofer to extend the low frequency response. “I sat down with Louis Ling, Sales Engineer from E&E and he basically designed an entire system and ensured it was within our stipulated budget. For the restaurant below, we wanted a more acoustic, a capella concept and for the bar, it’s deep house, so two distinct types of music,” said Arjun. He is extremely satisfied with the EAW cabinets: “The sound dispersion is amazing, especially given that we have a high ceiling, which is actually a luxury here in Singapore. “The EAWs keep the sound off the walls and ceiling pretty well which helps in keeping the reverberation down.” In addition to the EAW system, E&E
also specified four Ashly amplifiers - two KLR 3200’s and two KLR 2000’s - and a Symetrix Jupiter 8 DSP unit. The Symetrix system allows for flexible control meaning upstairs and downstairs can be playing different music to create different vibes, simultaneously. In the restaurant six JBL Control 26C ceiling loudspeaker are ample enough for the chilled out and relaxing atmosphere required for the eatery. By its own admission, CATO is a venture that has been brought to the dynamic nightlife landscape of Singapore by a team of eccentric and passionate individuals that hope to an offbeat experience to visitors that will keep them coming back time and time again.
TECHNICAL INFORMATION SOUND 8 x EAW JF60Z loudspeaker; 1 x EAW SB150ZP subwoofer; 2 Ashly KLR 3200 amplifier; 2 x Ashly KLR 2000 amplifier; 1 x Symetrix Jupiter 8 DSP unit; 6 x JBL Control 26C ceiling loudspeaker; 20 x Neutrik NL4FX cable connector catosingapore.com
www.mondodr.com
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SA NDBAN K • Left The One Systems weather-proof loudspeakers cope well with the wet and humid conditions.
SINGAPORE ASIA-PACIFIC
Opened in the 1970s, East Coast Park is housed on the South East coast of Singapore, it was set up by the National Park of Singapore and boasts an array of entertainment outlets. One recent addition is Sandbank, the second restaurant in a chain - it sibling being Bank Bar & Bistro on Shenton Way - and it has certainly set tongues wagging, especially with it being one of the largest venues on the complex. A family friendly restaurant, diners can choose to sit indoors or outdoors, have the option of light refreshments or a fullon dining experience and can even have a dip in the beachside pool if they wish! Pulling all the elements together though is the venue’s sound system, which operates quite simply and subtly throughout. General Manager, Steven Peh talked mondo*dr through the Sandbank concept: “We started The Bank four years ago in Singapore and the brand has become very stable but we decided we wanted a concept that was a little more fun.” Steven drafted in Colin Quek from TrekTech AV, who designed a flexible and straightforward sound system. Colin explained: “As we’ve worked with the owners before,
we were confident they would take our recommendations. Often people make decisions on the cost, but Sandbank want to be around long term, so spent enough money to make sure that it will last.” A total of 14 One Systems 106IM loudspeakers, which deliver impressive sound and IP 56-rated direct-weather performance have been installed at Sandbank. As is standard with One Systems products, the 106IMs can withstand wet and humid weather conditions that are to be expected at a beachside restaurant. The weather-proof loudspeakers - some of which are hung inside the venue and some outside - have been given a punchy sidekick in the form of eight Audac SX408 subwoofers, which are used later in the evening when the music is cranked up a notch. Two dBTechnologies Arena 15’s and a single dBTechnologies Arena SW15 have also been installed for DJ monitoring. Amplification for the sound system is also provided by Audac, six DPA 252’s, four DPA 154’s and one SMQ750 for the DJ booth is plenty to drive this set-up. The clever thing about this audio system
is its zoning, there are eight zones in total, all of which connect up to the audio network. An Audac M2 multimedia matrix zoning mixer forms the heart of the system and this can be controlled via an Audac MWX65 remote panel or wirelessly using an iOS device. Colin said: “Each staff member is assigned with certain control privileges, so when they start their shift, they log into the system and they can control the sound level within their privilege area, i.e. the area they are serving in. It’s very flexible and simply to use.” The system allows the restaurant to have a many as 10 music sources options from TV to radio, CDs to a laptop. “We’ve been seeing a lot more clients asking for wireless control like this, the ability to assign privileges and also the flexibility to have an all-in-one panel too,” continued Colin. With two establishments now under his belt, Steven is already looking for his next project. He concluded: “I am definitely looking at areas in South East Asia and going into the lifestyle sunset clubs, not just bars and restaurants.” The market awaits the next ‘Bank’ venture.
TECHNICAL INFORMATION SOUND 14 x One Systems 106IM loudspeaker; 8 x Audac SX408 subwoofer; 2 x dBTechnologies Arena 15 monitor; 2 x dBTechnologies Arena SW15 subwoofer; 6 x Audac DPA 252 amplifier; 4 x Audac DPA 154 amplifier; 1 x Audac SMQ750 amplifier; 1 x Audac M2 multimedia matrix zoning mixer; 2 x Audac MWX65 remote panel; 1 x Mackie CFX12 DJ mixer; 2 x Shure SLX24/58 handheld wireless system VIDEO 8 x LG 60-inch TV; 1 x Kramer 8x8 HDMI matrix www.sandbank.com.sg
www.mondodr.com
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XINM I N S E CON DA RY S CH OOL SINGAPORE ASIA-PACIFIC
Xinmin Secondary School has roots dating as far back as the 1940s and over the decades it has undergone some very significant changes, many of which have set the school on the road to scholar recognition. One such recent change began when The Ministry of Education (MoE) started to disperse funding for multi purpose or special purpose halls, and Xinmin Secondary School elected to build a venue just like this. Every school in Singapore has a multiuse venue of some description but taking into consideration the variety of performing arts staged at Xinmin, it - together with the (MoE) and some private funding - was able to erect a black box theatre kitted out with high-end technology, which can cater for any type of performance. TrekTech AV’s Colin Quek led the audiovisual installation, he said: “The high spec of this project is because the school already had a strong production and performance base. One of the teachers that spearheaded this programme is a huge fan of audio, he gets a kick out of all these toys and so he made sure the school got the right equipment to kitted out this resource.” In order to equip the school with tools that it would fully utilise, the black box theatre has been installed with a d&b audiotechnik sound system comprising two xS Series 12S biaxial two-way loudspeakers for FoH and one xS Series 10S passive loudspeaker for delay. The loudspeakers run off a single d&b audiotechnik D80 amplifier. “We put a D80 in here so that the school has future expansion capabilities, the ability to add more loudspeakers if required. There are also spare channels for subwoofers and monitors if needed,” continued Colin. Two d&b audiotechnik MAX12 stage monitors also feature in the theatre and are powered by a QSC PLD4.3 amplifier. Mixing requirements are taken care of by a Midas M32 at FoH and a Midas M32R for monitors.
Colin specified Chauvet Professional as the main lighting supplier, once again, the thought of future proofing at the forefront of his design. A total of 14 Chauvet Professional COLORado 2-Quad Zoom Tour par-style fixtures and eight Chauvet Professional Rogue R1 Spot LED moving heads make up the bulk of the rig. These sit alongside a selection of Dortron pars. In addition to the intelligent lights, Colin also upgraded the house dimming system, so that the house light could actually dim - something that couldn’t be done in the theatre that occupied the space before the black box was built. “We used a Lightronics architectural DMX recall panel, which is fantastic. This links to the Theatrelight NZ Meteor 12 dimmers and the Theatrelight NZ Cuemaster 48 console. The latter is a little bit of a hybrid but a proper theatre board,” said Colin. The black box theatre was created and built for the students of the schools and they are the ones thriving thanks to its existence. Not only can pupils participate in activities on stage, they are also responsible for operating and programming shows back stage too, meaning whether you enjoy the limelight or the shadows, the theatre at Xinmin Secondary School offers something for everyone.
TECHNICAL INFORMATION SOUND 2 x d&b audiotechnik xS Series 12S loudspeaker; 1 x d&b audiotechnik xS Series 10S loudspeaker; 2 x d&b audiotechnik MAX12 stage monitor; 1 x d&b audiotechnik D80 amplifier; 1 x QSC PLD4.3 amplifier; 1 x Midas M32 console; 1 x Midas M32R console LIGHTING 14 x Chauvet Professional COLORado 2-Quad Zoom Tour par-style fixture; 8 x Chauvet Professional Rogue R1 Spot LED moving head; 8 x Dortron par can; 16 x Dortron Multipar fixture; 8 x Dortron profile fixture; ; 1 x Theatrelight NZ Cuemaster 48 lighting console; 4 x Theatrelight NZ Meteor 12 dimmer www.xinminsec.edu.sg
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KUA L A LU MP UR TOWER KUALA LUMPUR, MALAYSIA ASIA-PACIFIC
Considered among the top 10 tallest, freestanding towers in the world, Kuala Lumpur Tower (KL Tower) stands at an impressive 421-metres. With construction completing in the mid-90s, the tower has certainly stood the test of time. In 2003 the monument was given a colour injection after Guillot Lumiere Lighting Design Studio based in France took on the task of lighting designer under the instruction of the Malaysian Government. However, more than 10 years later, it was decided that the lighting scheme needed to be refreshed to give the tower a new lease of life. Italian lighting manufacturer, Studio Due was contacted by Guillot Lumiere Lighting Design Studio, which led the lighting design once again. As technology has progressed since the initial installation, Guillot Lumiere Lighting Design Studio was keen to have an energy efficient lighting design this time around. The objective was to replace the metal halide products with the latest state
â&#x20AC;˘ Above Studio Due fixtures light up this iconic monument in the Malaysian capital.
of the art energy saving LEDs products from Studio Due. Testing of the fixtures began with just five LED fixtures from Studio Due range and after a successful outcome, the Malaysian Government awarded the Italian company the contract to install the new LED lighting solution. The test no only won the contract for Studio Due, but it also allowed the company to determine the quantity of projectors needed to wash this structure uniformly. Equipped with brand new lights, the KL Tower showcased its new look earlier this year. The design now boasts three sec-
tions: firstly the cone, which sits around the 300-metre point and is lit using Studio Due DUAL80RGBW/FC twin headed 500W high powerful LED projectors for uniformity and Studio Due City Beams 24RGBW long distance RGBW/FC LED projectors, which offer the possibility to reach the ambitious height; for the crown section, 170 Studio Due ArchiledFC fixtures have been installed; and the antenna area features Studio Due DUAL80RGBW twin headed wall washers. The use of LED throughout means this landmark will continue to shine brightly for many years to come.
TECHNICAL INFORMATION LIGHTING Studio Due DUAL80RGBW/FC twin headed 500W high powerful LED projectors; Studio Due City Beams 24RGBW long distance RGBW/FC LED projectors; Studio Due ArchiledFC fixtures; Studio Due DUAL80RGBW twin headed wall washers
www.mondodr.com
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WILAYAH M OS QUE KUALA LUMPUR, MALAYSIA ASIA-PACIFIC
TECHNICAL INFORMATION SOUND 4 x JBL Intellivox DSX180 loudspeaker; 2 x JBL Intellivox DSX280 loudspeaker; 1 x BSS Soundweb London BLU-100 DSP; 1 x BSS Soundweb London BLU-BIB break-in box; 1 x BSS Soundweb London BLU-8v2 zone controller
Opened in the year of the millennium, Wilayah Mosque in Kuala Lumpur, Malaysia is a prominent feature of the city, not only for its beautiful architectural and the fact that it can house as many as 17,000 worshippers at any given time, but because now it has been equipped with a new audio system, services are delivered in crystal clear sound to each and every member of the Muslim community attending prayer. Inside the mosque the main prayer hall, named Ruang Solat Utama is for males, while the balcony area is for females. There are also additional outdoor areas surrounding the mosque that are utilised when the indoor space is at full capacity. Due to the ornate architecture, it was forbidden to hang any loudspeakers from the ceiling or mount them to the walls, so the solution had to be free standing. The Harman office in KL was approached to come up with an audio package and it delivered on every aspect. Thanks to JBL’s Intellivox technology, the mosque is equipped with just six loudspeakers - four JBL Intellivox DSX180 and two JBL Intellivox DSX280 - and this provides full and even coverage for the entire venue. The DSX180’s are placed and programmed strategically to cover the area behind the two main pillars, while the DSX280’s are placed in front of the main pillar to cover the Ruang Solat Utama area of the hall, these are also programmed to aim at the distance just before the back wall to reduce reflection from the wall itself. The Intellivox units are flush-mounted on custom-made towers, that have also been painted white in-keeping with the aesthetics of the room. Robert Tason, Regional Sales Manager www.mondodr.com
at Harman said: “The loudspeakers don’t require separate power, as they come with built-in amplifiers and EQ functions too. They are line arrays, but steered electronically rather than mechanically .” To manage the loudspeakers, Harman’s distributor in the region, Mahajak Trio - which worked with a local system integrator to complete the entire installation - specified a BSS Soundweb London BLU-100 DSP, a BSS Soundweb London BLU-BIB break-in box and a BSS Soundweb London BLU-8v2 zone controller. The BLU-100 processor is housed in the rack room. The BLU-BIB takes charge of all the microphones inputs and converts them to BLU-LINK format for the digital audio network, via a single CAT5e cable, before routing the signal to the rack room for processing via the BLU-100. An auto-mixer has been programmed to take care of the issues created by multiple open microphones - essentially feedback problem - and the DSP detects the signal strength to mute and un-mute the microphones accordingly. “The BLU-8v2 control panel was mounted in the rack room so the operator can recall custom presets as required,” continued Robert. “A few presets were created for the different SPL requirements specified by various regular services and events the mosque holds during the week. It also provides the individual volume control of all the Intellivox loudspeakers.” The Wilayah Mosque is actually the first JBL Intellivox installation in Malaysia and since being installed, there have been subsequent enquiries for other mosques in the region, proof enough that this solution has been well accepted by the worship community.
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100 VENUE - APAC
B OND MELBOURNE, AUSTRALIA ASIA-PACIFIC
The name is Bond… just Bond. This underground club in Melbourne’s CBD takes its name from its location on Bond Street. Its curvaceous design and its high-end vodka display though, is most definitely indicative of the well-known movie character. The space can cater for up to 550 people and features a dancefloor, smoking terrace, private hire VIP booths and four bars. It is open to the public from Thursdays through to Sundays and it can be hired for corporate events too. Designed by the award winning team at Hachem, the interior layout combines the grace, openness and vibrancy of an amphitheatre and to that Ben Keen of EcoLED added an audio and lighting design to complement. Ben said: “The architect had a particular design for the venue so we did a lot of research to find a product that would deliver the design that he wanted, was easy to install and maintain and would look good as well.” Architect Hachem - who also designed the venue about 10 years ago was keen to make a feature of the curved roof, which has become an iconic part of the venue’s appearance. “Everything was stripped out the whole venue, but the curved design was maintained, so obviously everything about the room then had to fall in with that. There’s curved glass walls, the stage is curved, all the bars have curves in them, every element flows from the roof,” continued Ben.
A focal point at Bond is the bottle display behind the bars, which also ties into the curve design. The basic brief was to have bottles curving up the wall, floating in the air. The bottles need to be illuminated from the back and be individually controllable. Ben came across Martin Professional’s VC-Dots at Australia’s Entech tradeshow last year and was certain this was the product that would meet the brief. He went back to the owners, arranged a demo via Martin Professional distributor, Show Technology and soon after the VC-Dots were selected. “There are 100 LEDs per string and about 120 bottles per bar,” said Keith Bradshaw of Show Technology. “We had to do a fair bit of pre design and pre preparation to find out exactly how to work the strings, the channel count, and where everything was going to go before we even brought it into the venue.” “Essentially, there being so many chips on a string made it a lot easier to install the product. If there had only been a few lights per string, there would have been a lot more soldering. In actual fact the lights are secured to the bottles using double-sided taped so it’s quite quick and easy to install from that point of view,” added Ben. Although double-sided tape might be an unusual choice, it worked here because it made the LED strips flexible. Currently the bottles in the display are Belvedere vodka, but this could change in the future and the venue needs www.mondodr.com
to be able to swap the bottles out quickly and easily. The VC-Dots are split into six universes full of channels and with the addition of an ELC Ethernet node, it is possible to run data through two control options, either the ChamSys PC Wing console - supplied by ULA Group - or a coolux Pandoras Box media server, delivered by Show Technology alongside the Martin Professional VC-Dots. “We actually have separate control of each bottle,” continued Ben. “Using Pandoras Box we can pre-programme, meaning bar tenders can run the system. While using the ChamSys system we have pixel-mapped the bottles,
• Above The Martin Professional VC-Dots create the stand-out feature at Bond.
TECHNICAL INFORMATION SOUND 10 x d&b audiotechnik xS Series 4S loudspeaker; 12 x d&b audiotechnik xS Series 5S loudspeaker; 5 x d&b audiotechnik xS Series 8S loudspeaker; 4 x d&b audiotechnik Ti10 loudspeaker; 4 x d&b audiotechnik Xs Series 18S-SUB subwoofer; 2 x d&b audiotechnik E15X subwoofer; 7 x d&b audiotechnik D6 amplifier; 2 x d&b audiotechnik D12 amplifier; 1 x QSC Q-Core 250i processor; 2 x Sennheiser ew-500945 G3 wireless microphone system LIGHTING & VISUAL 6 x Martin Professional VC Dot string (100 LEDs per string); 10 x DTS Jack Spot moving head; 4 x DTS Nick NRG 501 moving head; 1 x ChamSys PC Wing console; 1 x coolux Pandoras Box media server www.bondmelbourne.com.au
101 VENUE - APAC
which allows us to do customisation such as basic text, during events.” Besides the focus lighting point, Ben also installed 10 DTS Jack Spot moving heads and four DTS Nick NRG 501 moving heads, both of which were supplied by DTS Australia. EcoLED was also responsible for the audio installation at Bond, and having worked with d&b audiotechnik products in the past, Ben was confident its products would deliver in this space. “I got in touch with Dave Jacques from National Audio Systems (NAS), he came down and used lasers to map the whole venue, before putting it into the simulation software to tell us what we needed,” explained Ben. “The brief was to hide as much of the system as possible, which required a lot of design. A lot of the loudspeakers are concealed within the ceiling so that you can hardly see them.” A total of 10 d&b audiotechnik xS Series 4S loudspeakers, 12 d&b audiotechnik xS Series 5S loudspeakers and five d&b audiotechnik xS Series 8S loudspeakers
mondo-half-page-sept-oct.indd 1
make up the main distributed system throughout the venue and VIP booths. Extension of the low end is provided courtesy of four d&b audiotechnik Xs Series 18S-SUB subwoofers and two d&b audiotechnik E15X subwoofers. While four d&b audiotechnik Ti10’s are in place for the main dancefloor. “The venue is split into three different zones, the front section of the club is made up of glass walls and that can be sectioned off completely and can play totally separate music,” said Ben. The system is driven by D6 and D12 amplifiers from d&b audiotechnik and processing is taken care of by a QSC Q-Core 250i system supplied by Technical Audio Group (TAG). Ben reflected on the install: “It’s a high profile venue, so to some degree the suppliers had to match that, but most important is the service and after sales and that’s why the four companies - NAS, TAG, Show Technology and DTS Australia - were chosen.” Bond has been open for six months now and it’s definitely living up to its namesake’s desirability.
18/08/2015 10:49
102 VENUE - APAC
ST A N DR E W ’ S CAT H E DRAL SYDNEY, AUSTRALIA ASIA-PACIFIC
Australia’s oldest cathedral, St Andrew’s located in Sydney’s CBD has been wowing visitors with its Gothic Revival architecture for years, but it now impresses visitors and the congregation alike thanks to its new audio solution - installed in time for the royal visit of the Duke and Duchess of Cambridge earlier this year by Martin Audio and its OmniLine array. The cathedral’s stunning architecture did cause issues for Wizard Projects, the company that was awarded the design and installation contract. The major issue was the installation time, normally a project of this scale would have taken three months to install. But the critical deadline was the royal visit, which required the installation to be complete in just 10 days. Via an extraordinary team effort Wizard Porjects was able to meet the deadline with round the clock shifts of cabling and off-site quality control by Technical Audio Group. The task of raising tenders for design, installation and commissioning of a state-of-the-art system fell to Ross Cobb, Director of Music at St Andrew’s, and Canon Chris Allan. The Wizard Projects team was led by Senior Engineer, Michael
• Above St Andrew’s Cathedral is the first venue in the world to use OmniLine to replicate MLA.
TECHNICAL INFORMATION SOUND 140 x Martin Audio OmniLine element; 6 x Martin Audio AQ212 dual 12-inch sub bass unit; 16 x QSC CX254 power amplifier; 1 x QSC Q-Sys Core 500i processor www.sydneycathedral.com
Sheldrick with an electro acoustic design team of Glenn Leembruggen and David Gilfillan. The team identified a number of key design hurdles: the church’s long RT time, sub bass placement and beam steering. The unusual logistics of church services involving a 360º presentation from the pulpit, a center transept area where choirs and clergy require sound reinforcement and a church where the congregation could sit anywhere at any service and expect perfect sound. On top of that, priests would move through the nave on headset radio mics with open mics for question and answer sessions. The solution was to specify 140 Martin Audio OmniLine elements distributed over 22 hangs, most of which are deployed in MLA (multi-cellular loudspeaker array) mode as per Martin Audio’s concert touring systems. “The high ceilings and architectural pillars did cause some problems but because we can control the beam pattern we get really tight coverage into the audience and away from the ceilings and the floor, so we are able to array the sound exactly where we want it to go. Even after we’ve the array is built, with the DSP we’ve got the ability to shape the sound exactly where we want it to go from the audience perspective,” commented Michael. “We’re the first in the world to use OmniLine to replicate what the MLAs are doing,” he continued. In MLA mode, each element in the array is separately amplified and processed using FIR filters, based on Martin’s custom software. This enables the system to not only be www.mondodr.com
mechanically and electronically steered but allows consistent frequency response throughout the listening area - without the lobing associated with straight columns. Six Martin Audio AQ212 dual 12-inch sub bass units have also been installed in an end-fire array configuration under modified pews. Each sub bass has its own special processing and amplification, which enables the delivery of an eggshaped steered bass beam to the naïve and an extraordinary 14dB front to back reduction of bass energy away from the pulpit. This is achieved by having the correct spacing between each of the subwoofers and the correct spacing between the subwoofers and the wall. “Because OmniLine has such an extended and usable frequency response to 75Hz, the spectral balance between arrays and subs is even and consistent, a feature not normally associated with compact array and large bass system,” Michael explained. Glenn added: “OmniLine amazes every time we use it; the CAD and filtering predictions are absolutely usable; it’s an amazing engineering feat; there is nothing I have ever worked with that comes close to this product.” Advanced DSP and enable the church to control the system with iPads, using custom designed GUI screens for simple services, or interfacing with the mixer and digital stage box for full scale services was also recommended for this installation. And Chris concluded: “This has not only been an extraordinary effort but the compliments from the congregation on the clarity of the system are never ending.”
104 VENUE - APAC
COOGE E PAVI LI ON SYDNEY, AUSTRALIA ASIA-PACIFIC
Coogee Pavilion is the brainchild of Justin Hemmes, Merivale CEO and is another hospitality outlet that has recently been added to the family’s portfolio. The Hemmes’ have been established in the entertainment sector for almost 60 years, starting off in fashion but later moving into restaurants, bars, pubs, hotels and function spaces in Sydney, Australia. Collectively, they have now built up a catalogue of more than 50 venues. The latest addition, Coogee Pavilion is located, as its name suggests on the idyllic shoreline of Coogee beach. The venue really is a one-stop-shop for friendship, family, fun and food. By day visitors can visit Coogee Pavilion for breakfast or coffee and juice on the go, while parents and toddlers can gather in the child activity corner. The venue serves lunch and dinner, and can be utilised for pre or post dinner drinks - either inside or out on the terrace - and can cater for private functions too. Coogee Pavilion is open from 7am through until 3am and is engorged with quirky décor and a stateof-the-art sound system that complements every element of the space. Entrepreneur Justin has high expectations for all of his establishments, as he wants customers to come back time and time again. And so, he is quite particular about audio, wanting to ensure that each and every seat in the house is a sound
sweet spot, which quite simply equates to more boxes per square inch. Having work with the company previously, Justin contacted Bump Productions, which worked closely with Merivales Audio Department headed up by Glenn Rayner and Martin Audio distributor, Technical Audio Group (TAG) to complete this installation. Glenn explained further: “A typical operator would put in a few loudspeakers and be content but they end up with a lot these dead spots and a hefty dent in the budget to boot, whereas Justin is all about making sure the music is at the right level and he’s really consistent all the way through the venue, no matter what it costs him financially.” Justin is also happy for the loudspeakers to be completely on display, no concealing necessary, as most important for him is good sound. Glenn described Coogee Pavilion as having more audio zones than any other he knows, in the region of 40 zones, and a new zone can kick in a close as six-metres away from where the last one began. “This set-up offers amazing flexibility and that comes at a cost but it certainly gives enough back if people stick around day in, day out. The difference between just the right sound level and annoying can be a really fine line,” continued Glenn. Scattered around the ground floor of the pavilion and the roof terrace, which has
just been completed are 60 Martin Audio AQ6 two-way loudspeakers, 25 Martin Audio Blackline F8 passive loudspeakers and 85 Martin Audio AQ8 loudspeakers. The venue is large but those quantities are still staggering. These sit alongside 16 Martin Audio AQ210 subwoofer, which provide low-end clarity in the evening when the venue adopts its bar guise. When asked if the density of loudspeakers causes problems in terms of one box clashing with another Glenn said: “What you find actually is, that it ends up evening out. If you had two boxes installed there would be a sweet spot between the two boxes but move a little towards one or the other and the furthest one you would be heard as a slight delay with an accompanying uneven frequency response; all of which makes for unbalanced listening. However, put a third box in the middle and it actually fills the hole.” Outdoors, the loudspeaker density is even more beneficial, as it allows additional control for noise management, as the pavilion is located next to residential buildings, meaning it has strict conditions with regards about noise spill to neighbours. The outdoor loudspeakers and subwoofers have also been weatherised using special treatment paint to cope with the wet and salty environment. An impressive 60 QSC RMX 2450 amplifiers power the entire audio system. An understanding of audio design from an operator’s point of view is a refreshing approach to kitting out venues. With this attitude, it is not difficult to see why Justin and the rest of the Hemmes family are so successful in the hospitality sector.
• Above The ground level is utilised throughout the enitre day and is kitted out with Martin Audio AQ Series. Below The upper level loudspeakers have been custom coloured to match the decor.
TECHNICAL INFORMATION SOUND 60 x Martin Audio AQ6 two-way loudspeaker; 25 x Martin Audio Blackline F8 passive loudspeaker; 85 x Martin Audio AQ8 loudspeaker; 16 x Martin Audio AQ210 subwoofer; 60 QSC RMX 2450 amplifier merivale.com.au/coogeepavilion
www.mondodr.com
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27.08.15 16:32
• Page 108
IN BUSINESS
• Page 120
• Page 118
• Page 114
EXPO MEDIATECH JOHANNESBURG By LAURA ILES
EXPO PALM CHINA BEIJING By JUSTIN GAWNE
• Page 140
• Page 122
• Page 158
• Page 114
PRODUCT LAUNCH CODA AiRAY
PRODUCT LAUNCH ROLAND M-5000C
IN DETAIL ELATION FOCUSRITE MA LIGHTING
PRODUCT GUIDE MIXING CONSOLES
PRODUCT DIRECTORY LAST PAGE INTERVIEW BERENICE & ALBERT CHAUVET
108 EX P O
• A DJ showing his Pioneer DJ skills
• The Golden Sea stand
• Sony Professional selling traditional jewellery
• The Shure team
• Giovanni Zucchinali, Durham Marenghi, Paule Constable and Massimo Bolandrina
• The Koing & Meyer team
• The Bose stand
MEDIATECH JOHANNESBURG / 15-17 JULY
Mediatech is the largest entertainment technology tradeshow in South Africa, held every two years in the city of Johannesburg. Originally set up for the broadcast sector, Mediatech is on a growth path that is getting more and more companies involved from the professional audiovisual integration industry. TPi magazine Editor, Kelly Murray and I set off to Johannesburg having never been to Africa before, not knowing exactly what to expect from either the country or the Mediatech itself. We were pleasantly surprised when we turned up at The Dome to set up the Mondiale Publishing booth. The show was well on its way with extremely sophisticated stands being erected from both the broadcast and audiovisual exhibitors. A striking stand, even during the build-up stage was DWR,
showing great innovation with its creative jungle themed stand, which had a large trussing tower as the centrepiece in representation of a large tree. For the first time, Robe had its own standalone booth opposite DWR - its South African distributor - which showcased many of its products including the BMFL Blade, the Mini Pointe the Robe Strobe. Robe also had a separate black box demonstration area, which displayed a ‘one man, one light’ spectacular, showing off the BMFL Blades’ quality and diversity. Stage Audio Works, distributor of Sennheiser, d&b audiotechnik, Audac, Christie, Analog-Way, High End Systems, Zero 88 and Acme celebrated its 15th anniversary this year. The celebratory cake was almost as large as its impressive double
tier stand! Stage Audio Works also displayed its own trussing products, all of which are manufactured in the factory in South Africa. Electrosonics South Africa, which distributes Martin Professional, Green Hippo, Kramer, Litec and ADB Lighting held a competition for up and coming lighting designers to show off their skills on stage in front of an audience of 200 industry representatives. The event was held on the second evening of Mediatech and was presented on the stage at The Dome entrance. The stage was set with Martin Professional lighting and a Milos truss structure. There were some really impressive displays from all five LDs and the judges Exhibition Director, Simon Robinson, LD Denis Hutch, Peter Dahlin of Martin Professional, and Christopher Bolton, another
• The TID team joined by Jochen Sommer of Adamson
• The Robe team with distributor DWR
• S.E.T Africa, distributor of SGM and KV2 Audio
www.mondodr.com
• Miles Donovan of Christie with TPi’s Kelly Murray
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
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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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110 EX P O
• Craig Harvey, Justin Le Roux, Shaun Xavier of Stage Audio Works
• The Penmac team representing Dataton
• Jason Kelly of XTA
• Roger Feldman from System Solutions posing with TPi’s Kelly Murray and mondo*dr’s Laura Iles
• Mario Bentley of Electro-Voice with its South African distributor
• Koy Neminathan and Aziz Adilkhodjaev of Avolites
• Robert Juiliat spotlights
• The Electrosonics team
• The AKG stand
• The Audio Logic team enjoying the sunshine
• Sarah Cox from d3
• Siggi Ruff from LPS and SA partner, Lee Oosthuizen
• Josef Valchar, Tim Dunn, Mike Jones and Duncan Riley • Troy Bently of Laser X
• The Vivitek stand
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112 EX P O
• Martin Palmer of Philips
• Peter Draaisma of Eurotruss and Julian Chiverton of Doughty
LD, had a hard job choosing the winner. However, Gary Sam walked away with his well-earned prize of a Martin Professional M2PC controller. TID Distribution introduced a new member to its distribution family, Canadian audio manufacturer, Adamson, which enjoyed its first ever Mediatech. Another new collaboration - which was announced earlier this year - was renowned projector company Christie and coolux sharing a booth for the first time. Chauvet Professional had a great show with its distributor Audiosure. The impressive booth highlighted LED panels, lighting and trussing products, Kelly and I were even treated to our very own lighting show thanks to Stefan Van Der Walt and Greg Payne. Clay Paky was a sponsor of the Lighting Designer Sessions, where visitors could listen to live seminars from well-known international lighting designers including Tim Dunn from Gearhouse, Paul Constable, Associate Director of the National Theatre in London and Durham Marenghi who is an expert in stadia lighting displays. The Penmac team presented WATCHOUT by Dataton, the company have been active in the 3D video mapping market for almost 15 years now. LPS Lasersysteme had its own stand and
• Stefan Van der Walt and Greg Payne from Audioshure
• Anton Sinovich representing Funktion One
• Solid State Logic demonstration
representatives from both Germany and South Africa manned the booth. Sound Harmonics, distributor of Audix, L-Acoustics, Haze Base, Ayrton, Cadac and Earthworks displayed some new products to the South African market including Ayrton’s Nanobeam S3, the smallest fixture in the S Series and L-Acoustics’ X12 coaxial loudspeakers. Prosound SA showcased some new companies this year including ETC Lighting, William Sound and Destini. It also had Electro-Voices EKX Series on display and DPA Microphones’ d:facto. Other brands it distributes in the region include Eurotruss, Meyer Sound, Audio Technica, Furman and Ashly Audio. Mediatech 2015 seemed to be a successful show for everyone involved and the organisers did a great job throughout. From what the exhibitors were saying the African market is really starting to pick up in the entertainment industry. Kelly and I certainly had a great time and also managed to fit in a spot of safari before we flew home. It was such an amazing experience and we are both looking forward to our return in 2017.
Mediatech returns to The Dome on 19-21 July 2017. For more information go to: www.mediatech.co.za
• Klaus-Jorg Jasper from Lawo
• Ian Staddon of DiGiCo
• The Weifa team
• Peter Berry from TV Audio
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• mondo*dr’s Laura Iles rocking Sennheiser headphones
• Audix microphones
• W-DMX represented by Stage Audio Works
• High End Systems team
114 EX P O
• Golden Sea’s impressive light show
• Niclas Arvidsson of W-DMX
• The Allen & Heath team
• The PR Lighting team
• Hock Thang of Symetrix
• The Lite-Lees team
PALM CHINA BEIJING / 19-22 AUG
China is going through a major economic revolution at the moment, panic and fear are being caused by the economic slowdown that is affecting stock markets around the world and as to whether it will get worse or, with massive Chinese Government financial intervention and interest rate adjustment stabilise, is open to question. Now the second largest economy in the world, China is going through an engineered change from an export led to a domestically driven economy that is proving difficult to achieve. Recent crackdowns on corruption have provoked a reduction in building work and subsequently supplier contracts have dwindled. The Government has been encouraging individuals to make investments in the Shanghai stock exchange, but this has now caused a ballooning stock market value and the subsequent crash has
• The Tekmand console on the Fine Art stand
sucked consumer money out of the economy. All this upheaval is having worldwide repercussions as major Western manufacturers have looked to China as one of the growth markets in the world. It is inevitable this situation will smooth itself out and although China’s growth may not be double digits but a more modest 5% to 6%, it is still more than most Western economies, and it will still be the second, and soon the largest economy in the world. Sadly though we still need to weather the storm and the entertainment technology industry is not immune from it, whether as a manufacturer, distributor or as we’ll see an exhibition serving the industry. This year’s PALM show, its 24th edition marked my 20th year of coming to China. The first CALM show - as it was known then - was an
• The team on the EK Lighting stand line up
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eye opener because of the uncontrolled noise, no recognisable companies and having to have the police on the stand to hold back the crowds trying to get a magazine. I mention this not to blow our own trumpet - colour printing was what they were after, as it was still a rarity then - but more because it sticks in my mind, as I thought I was going to die. And so, 20 years on and the green Chairman Mao suits are gone and the bikes are replaced by Land Rovers, BMWs and a particularly unpleasant pink Porsche Panamera I spotted. PALM grew with the economy and was the go to tradeshow if you were a domestic or foreign manufacturer, the aisles were crowded with Chinese buyers, theatre designers and nightclub / KTV owners, as well as international buyers looking for OEM/ODM products. However, times change and as well as the rise
• Beta Three team
• Nexo’s Michel Brouard and Top Plot’s Forky Tsui
• Meyer Sound hightlighted LEO
• The NEXT-proaudio stand
of the exhibitions in Guangzhou, the organisers of PALM, Informa Exhibitions and its Chinese partners made, what could be a catastrophic move, to a new(ish) exhibition hall out by Beijing Airport. The move managed to alienate both the domestic and international visitor because of the distances that had to be travelled if not staying out by the exhibition centre, and if there you had to travel to central Beijing to eat out, a two hour taxi ride at rush hour. So by virtue of the reducing visitors the exhibitors started to moan about the situation. With the end of, I assume, a threeyear tenancy agreement with the halls
the show was moved back to the old exhibition halls in central Beijing, but with new dates at the end of August, which brought a whole new rash of problems. There are a lot of exhibitions in this industry and the successful ones have their date slots, moving them is a risk, and in the case of PALM may prove its undoing. August is holiday time in the Northern hemisphere, including China. The kids are off school, the whole of Italy is on holiday and many in France too, even the UK operates on reduced staff, so your making work for yourself. Adding to this problem - although
• The CKC Lighting stand
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116 EX P O
• Live music on the Adamson stand
• SCEE
• D.A.S. Audio’s Eduardo Lopez and colleagues
• The Eagle Truss boys
• Martin Audio distributor, Yufeng
• Marc and Uli Petzold of LMP
• The LightSky team
out of the control of the organisers - the Chinese Government decided that in light of celebrating the 70th anniversary of victory over Japan, and having the world athletics championship, it would cancel all events during that time period. So all exhibitors received an official letter informing them of the cancellation of the show, but a week later got a letter saying it’s on again. This final act definitely stopped people going, it was just too risky to go on the off chance the show may happen, and the lack of visitors, both Chinese and overseas, was glaringly apparent. So taking into account the rising Guangzhou shows, a poor date line and the unfortunate cancellation, PALM was struggling. On the show floor the exhibitors were mixed in their feelings but all agreed that if issues weren’t dealt with they wouldn’t be back. For the domestic manufacturer, nearly all of whom are based in Guangzhou the issue was the lack of visitors, plus the cost of having a full team to man the stands in Beijing. During a meeting between SCEE (South China Entertainment Equipment manufacturers), organisers of The GET Show and PALM at a nearby hotel, SCEE were congratulating
PALM on moving to the August dates and taking pressure off the manufacturers having to exhibit at two or three big shows in a couple of months. Reading between the lines though, I think SCEE were happy the show was not doing well. But SCEE do admit that getting certain visitors to travel to Guangzhou is difficult, so big names in the theatre and performance markets who reside in Beijing and control big budgets need to be addressed there. This sentiment was also expressed by overseas manufacturers, Meyer Sound in particular said PALM was still the only show that delivered this important sector of the market. There is an alternative in the shape of Infocomm in Beijing, but it isn’t felt that this is either developed enough or is addressing the entertainment side of the business. At the same time, Infocomm Beijing hasn’t been ruled out completely, if the date line isn’t changed, it may well push international companies to try it.
Dates for 2016 are currently 1 - 4 September. For more information go to: www.palmexpo.net
• DGX displayed some eye-catching LED screens and an EAW sound system
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CODA | AiRAY SYSTEM Stood on the grassy backdrop of an outdoor demonstration area, with the sun shining down, a BBQ in tow and the raw guitars of alternative rock band Placebo roaring out, it’s easy to feel a festival-like vibe at the Coda Audio AiRAY system launch event. The demo, which took place in mid-July, was held at the facilities of Coda’s German distributor, Audiovation, in Wenden-Gerlingen, a picturesque part of Germany. Initially previewed at Prolight+Sound 2015, Coda officially launched its new AiRAY system at the two-day event that mondo*dr attended. The concept of the event was to provide customers and distributors alike with the opportunity to hear, see and feel the AiRAY system, and understand the thinking behind its creation. The fully integrated compact 12-inch, three-way line array is being marketed as a completely unique system. Featuring Coda’s most advanced technologies, it includes Dual Diaphragm Planar (DDP) wave drivers, the unique AiCOUPLER, sensor-controlled subwoofer technology and linear phase DSP processing. At 40kg, the AiRAY is half the weight of conventional 12-inch system, and half the size too, measuring in at 674mm by 356mm by 555mm. An introduction and technical explanation by Coda founder, Svetly Alexandrov was followed by a live demonstration conducted by Coda’s Eddi
Krueger, Bjoern Marek, Marcel Pitann and Adlib Audio’s, Ian Nelson. After this, attendees were invited to hear their own choice of audio through the system during a hands-on session. Speaking at the demonstration, Coda’s Sales and Marketing Director, Paul Ward explained why the AiRAY is different to other systems on the market: “Coda did a lot of research into PA company usage, application and other existing systems based on sound. And what we found was a need for change. What we could see was that rental companies in particular were suffering from profitability issues due to large PA systems thanks to the amount of trucking and manpower required for touring duties. These costs were escalating and the revenue stream coming in from festivals, live concerts and tours appears to be flat-lining or even decreasing. From a business perspective, this is a big issue.” The AiRAY combines the size, weight, rigging, flexibility, amplification and cabling of a compact system with the high SPL of a large system, making it suitable for both small and medium sized applications such as corporate events, clubs or theatres, as well as large-scale arena shows and outdoor events. The AiRAY only requires two amplifier channels and multicore cables, making set-up considerably quicker than conventional systems but without compromise on its output www.mondodr.com
and bandwidth. With one Coda LINUS RACK40, one cable and 12 AiRAY elements per side, the system can cover 8,000-10,000 capacity venues. “At Coda, we are not a company that makes products purely on a commercial basis, the passion is in the sound,” commented Paul. With that in mind, at the heart of the AiRAY are two six-inch DDP wave drivers. Each driver is a two-way coaxial system employing two concentric annular ring diaphragms. Each diaphragm covers a smaller frequency range for increased power handling, high dynamic and low distortion. “We looked at the technology and assessed what we could do that would be beneficial to the client. From here we realised that we could make a product in a much smaller enclosure with improved performance against existing systems,” continued Paul. “A product that would give all the associated benefits but with no compromise on the sound.” The AiRAY also contains double 12-inch neodymium ultra low distortion cone drivers with four-inch voice coil. The newly developed long excursion drivers have high flux linear motors with four demodulation rings for constant inductance, low distortion and reduced power compression. The carbon fibre diaphragm minimises the moving mass while improving cone stiffness and internal damping to achieve high
119 P RODUCT LAUNCH
sensitivity and clarity. The AiCOUPLER sums the energy from all transducers into a large mutual horn that performs as a single source, without phase destructions, achieving a coherent and uniform wavefront. The two 12-inch cone drivers are symmetrically loaded to the AiCOUPLER using multiple, optimally spaced slots to increase the distance between the acoustical centres, providing consistent coverage down to 250Hz and additional sensitivity of 6dB over 200Hz. Backwards, the two cone drivers are port loaded to extend the low range of the system down to 50Hz. “There are a lot of key players in the market which have been around for a long time and we realise that the perception of Coda is that it’s quite a new brand, but we do have a lot of respect at grassroots level,” explained Paul. “Although Coda has a growing reputation for excellent sound, this alone is not enough to compete with some of the established competitors. We need to innovate using the unique patented Coda technology, plus offer distinct advantages over the other companies without compromising on the performance.” The AiRAY’s large waveguide for the two DDP drivers enables acoustical loading down to 350Hz with horizontal pattern control through the mid and high range. The two DDP drivers cover the
range 350Hz to 22kHz while the double 12-inch work from 50Hz to 700Hz. In the 350 to 700Hz range, all drivers work together, dramatically increasing the maximum SPL output capability of the system. “As a product we are incredibly excited about it, its very impressive,” said Ian Nelson. “Having just toured with Placebo using an LA12 system, it was interesting to run the multi-track mix we’d been using for virtual sound checking through the AiRAY system. It sounded amazing. Coda’s Eddi Kruegar ran the system at 100% for 30 seconds and it was peaking at 115dB A-weighted at the FOH position.” “Coda’s idea behind AiRAY was to create something new, which had true benefits and wasn’t a marketing gimmick. I believe that’s what we have done,” summarised Paul. “Initially, people were concerned that we wouldn’t be able to pull it off, but after listening to the system the general consensus is that it was a success, which we are really happy about.” The AiRAY system is a firm indication of Coda’s abilities, its promise as an audio manufacturer and its willingness to run along other established competitors. It will be interesting to see how the market responds to AiRAY concept and if it will shape future line array designs. www.codaaudio.com
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120 P RODUCT LAUNCH
• Top The new Roland M-5000C mixing console. • Bottom Left & Bottom Right David Vazquez and Natialie Lewis during the presentation.
ROLAND | M-5000C After a scenic train ride through the Welsh countryside and a short taxi ride from Swansea station, I arrived at Roland UK headquarters for the launch of the compact M-5000C mixing console. Upon my arrival, I was warmly welcomed and given a guided tour of the premises meeting all the people behind the scenes who work hard to make the Roland brand a success in the UK. I was then led to the training room for the presentation. David Vazquez, Managing Director at Roland UK gave us a Roland welcome and discussed the history and future of the company. We were then presented with the M-5000C console, which closely followed the launch of M-5000 console earlier this year. Measuring under 30-inches in width and weighing just 32kg, the compact M-5000C offers all the flexibility and power of the M-5000 console but in a smaller footprint - making it the ideal choice for touring, broadcast, theatre and live performance. Using the same O.H.R.C.A (Open High Resolution Configurable Architecture) platform that has made the M-5000 so popular with engineers, the M-5000C brings a new dimension of user configurability to consoles of this size at an affordable price-point. The O.H.R.C.A. platform delivers 128 freely definable audio paths, expandable protocols and multi-format I/O choices combined with a flexible user interface and workflow - all at a pristine 24-bit and 96kHz sound quality. This open audio architecture supports Dante, MADI, Waves Sound Grid, and REAC audio protocols, as well as audio delivery over video using SDI, DVI and
SFP cabling. “I think Roland, for the first time, has a mixer that people will be proud to put on riders,” commented Nico Suarez, Technical Specialist with Roland Systems Group. “We’ve had very good mixers in the past that sound great and do the job, but engineers had to spend time with them to understand. With this console they will fall in love at first sight.” The M-5000C has a 72-bit summing bus, newly designed, discrete analog circuitry and redundant power supply in addition to 16-inputs and eight outputs on the console. “I have been with Roland now for 18 and a half years, and this launch feels hugely exciting for me,” said Peter Heath, Head of Roland Systems Group Europe. “When I was younger what connected me to the professional audio industry was working in a studio, everything from microphone placement to being a tape op, making the tea, running a little rental operation and going out and doing live gigs, all of it. My fascination with audio has always been there. So the M-5000 and M-5000C represents a milestone in my personal story, from when I was a teenager to now. It’s been a long time coming.” An intuitive and flexible workflow is key to the design of the M-5000C with an abundance of user-centric features such as the 12-inch colour touchscreen that is controllable by multipurpose knobs below the screen. A total of 16 out of 20 faders are divided into two banks of eight that can work together or be isolated and each can be assigned with a total of four different workflows; Scroll, Spill DCA, Anchors and User Assignable www.mondodr.com
Layers. Depending on their requirements the user can freely assign the remaining four faders. Also free to be assigned by the user are three banks each with four knobs and eight buttons total 12 knobs and 24 buttons, ensuring the M-5000C truly meets the demands for compliancy that professionals now expect. The extensive family of existing Roland products integrates seamlessly with the new platform knitting the M-5000C into thousands of systems already running worldwide. Scores of digital snake options already exist for I/O, but the Roland M-48 personal mixer offers a particularly powerful solution. Hybrid monitoring takes the lead performers’ mixes off the console busses in the traditional way, while the rest of the musicians use M-48 personal mixers. Connecting M-48 and M-5000C via the powered REAC port on the console, the engineer can effortlessly mix between those artists on aux busses and those musicians on personal mixers. Finally, the R-1000 48-channel player/recorder completes the family of devices fully integral with the M-5000C. “It’s the second stage of digital mixing - forget analogue,” said Nico. “Almost everyone on the road is already used to working with layers, with banks of faders and so on. The digital workflow is already a standard in the market. Now we’re bringing a new, second generation set of features that will lead the second era of digital consoles.” The M-5000C will make its debut to the European market at this year’s IBC exhibition in Amsterdam, The Netherlands. www.roland.co.uk
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ELATION | SNIPER 2R
The Sniper has been one of the most successful product launches out of the gate for Elation. The Sniper has found its way into mobile DJ set-ups, nightclubs, concerts, special events and television shows including tours by Usher, Kid Rock, Family Force Five, A Day to Remember; events like Coachella, Ultra Music Festival, BKB Boxing, America’s Best Dance Crew, The Thorn, U.S. Women’s World Cup Kickoff, Saturday Night Live, Back to School; and clubs and live music facilities like Dakota Bar, Maddox Club, Livewire and more. Many Elation customers had been asking us for an updated scanner effect for years. Elation has a long history of making scanners, effect lighting and beam fixtures and wanted to make a product that could combine those features at an affordable price point that could work in multiple markets. That was the thought behind the Sniper. The Sniper is a high-energy beam, scanner and laser simulator in one. Emitting a powerful and ultra-narrow 3° beam, a high-speed X/Y scan and Z rotation mirror system allows the fixture to spread beam, scanner and laser-like effects including liquid sky, laser wave, and laser cone effects, at exceptionally high speeds. The Sniper allows these effects to be scanned into the crowd without needing to worry about laser regulations, which has time and money saving benefits. It is faster than any other fixture Elation has ever designed. The key to the effect is the lamp. The
Sniper is powered by the 132W Philips MSD Platinum 2R lamp - with a 6,000 hour lifetime rating - and delivers an intensity of 45,010 lux at five metres. Designers have 14 dichroic colours and 17 static gobos at their disposal. The high-precision beam and effects can be multiplied via a three-facet rotating prism and further manipulated using a variable speed shutter, mechanical dimmer and strobe. The Sniper provides all that power and effect while consuming a maximum of only 205W. The Sniper is DMX controllable offering 14, 16 and 18-channel DMX modes - 18 channel is 16-bit - and includes multiple built-in pattern macros via DMX that make programming even quicker and easier. A four button touch control panel and LCD display provide for easy hands-on addressing with easy-to-read fixture menus and messages. Professional grade Neutrik five-pin DMX in/out and Powercon in/out connections are included and multiple units can easily be linked together for customisable setups. The Sniper was recognised for its innovative technology and new approach to hybrid lighting at last year’s PLASA show, taking home an Award for Innovation and its versatility and high ROI has been a popular choice for rental companies ever since. For Elation, it’s the beginning of a product series and a continuation of making hybrid type lighting fixtures. www.elationprofessional.com
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“Coupled with the different effects you can get out of the Snipers, it really makes for a lot of options. It has a very strong, solid beam look. Plus you can use it as a flower effect or laser simulator, which gives even more possibilities. I really enjoy having the opportunity to work with a new type of fixture. It is very unique.” Lighting Designer, Thomas Gerdon of gerdon MEDIADESIGN
“The fact that the Sniper looks very much like a laser but doesn’t involve all the tedious permits and paperwork is unbeatable.” Nadine Horitani,, Head of Events & Sales at MartinKames.com
“I was really blown away by how intense they were. I honestly didn’t expect them to hold their weight against the larger profile fixtures in the rig but I was proven wrong. Their faux laser effects worked well too. Overall, I was very pleased with how they performed and would certainly use and recommend them again.” Lighting Designer for the US women soccer team’s Kickoff Celebration for the 2015 Women’s World Cup, James Schipper of Kinetic Lighting
“It’s a perfect little fixture, it’s compact, it’s not very hot and it’s bright. And it has all the laser dancefloor effects that are exactly what we were looking for on the A Day to Remember show. The most surprising thing though was how bright it is. I have 1,200W lights in the rig, key lighting as well as lighting behind it, and other lights, and it plays along with everybody in holding up its weight. Also, heat was prohibitive with some of the other fixtures but the Sniper keeps cool.” Lighting Designer Steve ‘Cowboy’ Stemac
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FOCUSRITE | REDNET 1
4
1. REDNET MP8R: 8-channel remote-controlled mic pre • Compact 1U form factor • Redundant Ethernet networking and power supply redundancy • etherCON connectors • Dual input impedance • Automatic gain compensation • Local or remote control of mic pre parameters via RedNet control, Pro Tools and MIDI • Best-in-class Focusrite A/D conversion up to 192kHz • Comprehensive indicators including OLED gain and system info display 2. REDNET D16R: 16 channel AES/EBU interface • Compact 1U form factor • Redundant Ethernet networking and power supply redundancy • etherCON input • Sample Rate Conversion on all channels • AES59 DB25 connections for inputs and outputs • XLR Input for DARS or digital audio • S/PDIF 2-channel I/O • Word Clock I/O • Remote routing and control
The newest RedNet devices announced last year including the RedNet MP8R, RedNet D16R, RedNet HD32R and RedNet D64R are now available. All feature redundant power supplies, primary and secondary etherCON connections and occupy a single rack space. Perfect for live sound and broadcast, this marks another forward step for the Focusrite brand into broader professional audio applications. Focusrite is adding four products to its popular RedNet range of Dantebased interfaces, widely regarded as the best sounding audio-over-IP solution available. In addition to a 1U form factor they incorporate several features aimed squarely at the live sound market, including power and network redundancy.
3. REDNET HD32R: 32 channel bridge for Pro Tools|HD • Compact 1U form factor • Redundant Ethernet networking and power supply redundancy • etherCON connectors • Mini Digilink connectors • Compatible with Pro Tools | HD, Pro Tools | HD Native and Pro Tools | HDX • Add Dante to Pro Tools | HD, or Pro Tools | HD to Dante 4. REDNET D64R: 64 channel MADI-Dante bridge • Compact 1U form factor • Redundant Ethernet networking and power supply redundancy • etherCON connectors • Sample Rate Conversion on input and output • Optical and Coax MADI • Word Clock I/O for Dante or MADI streams • Support for 56 or 64 channel MADI streams • Operates at standard sample rates between 44.1kHz and 192kHz
2
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The four new products are the MP8R eight-channel remote-controlled mic pre; D16R AES/EBU interface; HD32R Pro Tools bridge; and the D64R MADI bridge. Dual Ethernet ports, fitted with locking etherCON connectors, are incorporated, with operating modes including daisy-chaining and redundancy confirmed by front panel indicators. Two separate power supplies with fault detection capability are also fitted, with separate power input sockets on the rear panel. Power state for each supply is indicated both remotely and on the front panel. The modules feature a rugged, roadworthy exterior with maximum internal build quality, in a compact 1U rack-mount form factor. uk.focusrite.com
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MA LIGHTING | dot2
MA Lighting is well known for its approach towards professional lighting control and has a distinguished reputation for quality and reliability. With dot2 MA presents a new range of compact lighting control solutions. The dot2 range consists of three lighting consoles: dot2 core, dot2 XL-F, dot2 XL-B; two playback expansion wing solutions; dot2 F-wing and dot2 B-wing and the dot2 Node4 (1K) network output node; as well as the dot2 onPC console software and the dot2 3D visulisation software solutions. Designed for small and mid-sized projects and venues, dot2 offers advanced functionality with outstanding ease-ofuse. Full tracking backup is available via plug and play networking. Intuitive operation is the core of the dot2 philosophy and with all connectivity onboard, the dot2 range is suitable for most theatre, touring, corporate, television and education lighting environments. The easy to operate dot2 software is available in multiple languages and provides onboard Help and Direct Hints to guide a new user to operate the console to its full potential. Simply Patch and Go, with no additional set-up required. A full range of clever programming and
playback features provide intuitive access to advanced functionality. Access to generic fixture functions is via a Smart Dialogue and Store Look functionality ensures you can control and record what’s intended. Automated tools such as Track & Shield and Auto-Unblock simplify cue-list management and Auto-Fix allows playback page changes to occur without unexpected results. The dot2 will feel familiar to theatrical users, 100mm faders provide full access to the master playback list at all times and a tactile level wheel gives access to lighting levels. Command-line syntax is fully supported alongside graphically assisted touch screen control of all features. Build for touring, the dot2 hardware is compact, durable and remarkably lightweight. Its optional modular plug ‘n’ play dot2 F-wing and dot2 B-wing allow playback expansion and the full-trackingback-up functionality ensures your show runs trouble free. Live Time, Tap Sync and multiple touch screens allow instant access to all playback functionality. And sophisticated features like Soft-LTP automatically preserve key-lighting levels without going through black. www.ma-dot2.com
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• Above The MA dot2 Node4 1K • Right Top The MA dot2 core • Right Middle The MA dot2 XL-B • Right Bottom MA dot2 F-wing and B-wing
Pub_Mondo_333x236_0215_StarWay.qxp_Mise en page 1 05/03/15 10:36 Page1
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star-way.com Export Manager : Umberto Maurizio, +33 670 895 096, umberto@star-way.com
128 P RODUCT GUIDE
mix•ing con•sole
[miks-ing kon-sohl] n.
In audio, a mixing console, or audio mixer, also called a mixing desk, audio production console, soundboard or simply mixer, is an electronic device for combining - also called mixing - routing, and changing the level, timbre and/or dynamics of audio signals.
PRODUCT GUIDE
MIXING CONSOLES
EMEA PETER HEATH ROLAND “We have ended a transitional period from analogue consoles - what we can refer to as the first era of digital mixing - to digital consoles. The user-centric digital consoles that we see in the market today are the foundations of the second era with a focus on flexibility that will become the norm for digital mixing console design in the future. These consoles empower the user to make the decisions on which features are needed and how the console is controlled depending on the situation. Making the last page full of numbers in a brochure redundant, the user will decide the specification every morning. The user will also be able to pick from a variety of workflows created for very different applications with very different needs. Roland has already embraced this concept with the M-5000 and the O.H.R.C.A. technology (Open High Resolution Configurable Architecture). In a rapidly changing world, the ability to adapt is needed to excel.”
APAC CHIHAYA ‘CHICK’ HIRAI YAMAHA “Yamaha’s first digital mixer was the DMP7 and it was released in 1987 meaning we have 28 years experience of digital mixers. This year will be one of the most significant for us because we have two new products being released - the TF Series of digital mixing consoles and the Rivage PM10, our flagship digital mixing system. On top of the existing CL Series and QL Series, we are now delivering a wide range of digital consoles to the industry. In ASEAN, the area for which I am in charge, the demand for digital mixers is increasing, especially since we have just released the affordable TF Series. The console market in ASEAN area will dramatically change and move to digital very quickly.”
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THE AMERICAS RAY TANTZEN PRESONUS “There’s never been a more exciting time to be in the mixer market. We’re witnessing a new era of mixers with a move to more portable, softwarec o n t ro l l e d m i x e r s a n d m o d u l a r networked systems that can be scaled for various needs. However, all this great technology and flexibility can lead to an overly complex experience. PreSonus is fortunate to be both a hardware and software company, so we can dream big and create a fully integrated ‘PreSonified’ experience for our customers, eliminating the complexity that gets between the user and their mix. With the StudioLive mixers we strive to make playing the faders a smooth and enjoyable experience. It will be great to see how mixers evolve and how workflows improve as these new technologies continue to advance.”
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130 P RODUCT GUIDE - MIX ING CONSOLES
Avid VENUE S6L Avid VENUE S6L is a modular system designed to offer unprecedented processing capabilities with over 300 processing channels. The S6L delivers unrelenting performance and reliability through its advanced engine design and backs it up with modern touchscreen workflows and scalability to meet any challenge. Mix with incredible speed and ease with the future-forward yet intuitive control surface that offers quick access and control over every facet of the mix using familiar VENUE software. Use show files created on other VENUE systems on S6L to minimise set-up time. Plus, it’ll sound better than ever thanks to 96kHz support and a new high-performance preamp design. Users can also easily share I/O across multiple networked systems without splitting signals, while True Gain technology automatically manages gain compensation to ensure the proper signal levels in each engineer’s mix. Like all VENUE systems, S6L provides on board industrystandard plug-ins and Pro Tools integration with more processing power and track counts than ever before. Plus, with a comprehensive array of network and I/O offerings, users can easily configure the system to meet the demands of any application. www.avid.com
Allen & Heath dLive dLive is 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, meaning dLive is geared to applications from rigorous touring and festivals to installation in prestigious live venues. dLive has a distributed system design with separate MixRack and Surface. The dLive processing brain is housed in the MixRack, available in three sizes - the DM32, DM48 and DM64. There are three accompanying control surfaces - the S3000, S5000 and S7000. All MixRacks and surfaces are mix and match compatible, with common configuration, setup and show files. The MixRacks also contain the same processing engine, pioneered by the Allen & Heath R&D team using next generation FPGA technology. The 96k/96bit XCVI Core provides capacity for 128 inputs with full processing and 16 dedicated stereo effects returns, offering 160 inputs to mix, plus a fully configurable 64 mix bus architecture, with full processing on all 64 mix channels. dLive incorporates the DEEP processing portfolio of embedded plugins, including graphic EQs, compressors, multiband compressors and dynamic EQs, alongside its 16 slot effects racks, featuring Allen & Heath’s acclaimed range of effects emulations. www.allen-heath.com
Cadac CDC six The 64 input channel, 48 assignable bus Cadac CDC six features the highest audio performance and fastest, most intuitive user interface of any available mixing console; at a very competitive price. Based on a further evolution of the high-agility gesture operating system developed for flagship CDC eight - a high-definition graphical user interface, accessed via a large optically bonded 23.5 inch touch-screen and surrounding encoders and OLEDS, replaces the traditional fixed physical controls. ‘Touch and swipe’ control, and immediate visualisation of operational information, within a less menu dependent OS, provides ease of operation and a faster learning curve for the operator. CDC six comes preconfigured with an integrated 64 x 64 Waves card for direct multi track recording to a laptop and connection to any Waves MultiRack SoundGrid server. The CDC six uses Cadac’s MegaCOMMS digital audio network, bi-directionally transmitting 128 channels of 24-bit/96kHz audio, control data and clock, up to 150 metres of RG6 cable. Through-system propagation, from inputs on stage to outputs, including all console processing and AD/DA conversions, is just under 400μs. The CDC MC Router expands the network to 3,072 channels with third party network integration via the CDC MC MADI or Dante network bridges. www.cadac-sound.com
DiGiCo S21 DiGiCo’s S21 re-writes the rulebook. At its core is DiGiCo’s Stealth Digital Processing. This FPGA based technology is the key that unlocks the flexibility that the R&D designers need to specify and deliver the ultimate console and every console in the SD range has benefited from complimentary advancements in core processing and software since their launch. DiGiCo has now designed an entry level console that retains all the features and values DiGiCo is known for in terms of quality, ergonomics and style at a price point that allows even more audio engineers to join the DiGiCo family. When users walk up to the console it is instantly apparent it is a full member of the DiGiCo stable. The build quality and design takes on all DiGiCo’s core values such as aluminium extrusions, RGB switch encoders with HTL (Hidden Til Lit), Polycarbonate overlays and two of the latest P-CAP large multi touch screens that allow the operator to get an unrivalled overview of what is at their finger tips. There are 46 busses, 40 Flexi channels and 16 Flexi busses in its impressive specification, as well as 10 channel strips per screen in a new-look design, and integrated USB to DAW connectivity for up to 48 tracks of recording. There are dual DMI option card slots to interface with industry formats including Analogue expansion, MADI, Dante, Optocore, Waves SoundGrid, or Calrec’s Hydra2 network. www.digico.biz
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MINI LINE ARRAY SYSTEM FOR POWERFUL AUDIO REPRODUCTION WITH GREAT DYNAMICS
Doesn‘t need to be seen to be heard.
Do sound systems always have to involve large black boxes? Or isn‘t it time for a different approach to high-quality speech and music reproduction? The answer is Yes! LINEA LX – HYBRID LINE ARRAY TECHNOLOGY BY FOHHN. Made in Germany.
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Dynacord PM 502 Suitable for both the fixed install market and mobile audio applications, the Dynacord PM 502 combines analogue input circuitry and an operating surface with the advantages of its digital master and amplifier section. The system is enormously powerful, versatile and equipped with a wealth of features such as five mic/line and three stereo inputs as well as a master section tailored to the needs of day-to-day use; a 100V direct drive mode for direct connection to 100V or 70V loudspeaker lines without the need of an output transformer as well as a built-in Class-D power amplifier rated at 2 x 450W (RMS/ four ohms). One USB interface for PC and Apple supports 48kHz recording and playback, a second USB slot at the front comprises an on-board MP3 media player playing MP3 or WAV formats. Thanks to its well thought-out input structure as well as its manifold features and fully flexible output routing options, the PM 502 is the first choice for fixed installations such as bars, bistros, small clubs, hotel lounges and houses of worship as well as for solo entertainers, DJs and for live performances in small to medium-sized clubs. www.dynacord.com
Mackie DL32R 32
Lawo mc²36 mc²36 is Lawo’s RAVENNA based all-in-one mixing desk, combining a comprehensive feature set and outstanding value for money for broadcast, theatres, houses of worship, live and installations. Along with Lawo-grade microphone preamps for uncompromised sound, the console maintains the standards users all over the globe expect from Lawo - reliability, redundancy, and extensive routing flexibility and capacity. Its compact size, DSP micro-core with internal 512x512 port audio matrix, and integrated I/O make the console an ideal choice for permanent installations with limited space. And, as it is natively equipped with RAVENNA/AES67 connectivity, the mc²36 integrates seamlessly into IP infrastructures. These standout features combine with fast touchscreen operation for unprecedented ease-of-use, and operational security through dual power supplies and DSP redundancy. The recent integration of Waves SoundGrid adds extensive real-time signal processing to the console’s own internal processing. This gives operators control over plug-ins from Waves’ comprehensive library - including reverbs, multi-tap delays, graphic equalisers and multiband compressors - from the console’s keyboard and touchscreen, with no additional monitors or controls. This provides a clean working space with less external hardware. All plug-in settings can be stored and recalled within the console’s snapshots. www.lawo.com
Mackie’s DL32R is a powerful 32-channel digital mixing system controlled wirelessly from Mackie’s intuitive Master Fader iPad app, featuring complete wireless control over virtually all mix parameters, including fullyloaded DSP and multi-track recording and playback, the DL32R enables users to control everything from anywhere. The Mackie DL32R features a mix of flexible, professional I/O in an ultra-compact 3U rackmount design. Each of the 32 inputs (24 XLR, 8 XLR/TRS combo) feature Mackie’s allnew Onyx+ recallable microphone preamps, with remote control over preamp gain and phantom power. The new Onyx+ preamps outperform the industry-proven Onyx design, which has garnered rave reviews for its boutique-quality sound and performance. With complete wireless control of the system using Mackie’s Master Fader iPad app, a new world of mixing possibilities opens up. There is no longer any need for a fixed FOH position, or an expensive, bulky analogue snake. Place the mixer where it works best - next to the stage, backstage, or even tucked away in a utility closet. Using the new DL Dante expansion card enables the DL32R to integrate into any Dante powered audiovisual network, adding 32x32 channels of networked audio I/O with incredibly low latency and flawless interoperation with hundreds of Dante-enabled products. The DL32R’s flexible IO patching lets the user route Dante signals to any channel input, and send any of the mixer’s outputs to the Dante network. www.mackie.com
there’s a new kid in town.
meet the d3 2x2plus, for smaller shows and installations. www.d3technologies.com
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MIDAS M32R The MIDAS M32R is the latest console in the popular M32 range. At 617mm and 14.3kg, M32R provides 40 inputs, a five-inch TFT display, and 17 MIDAS PRO motorised faders rated at up to 1,000,000 cycles. Full user remote control via iPhone, iPod and Android devices is standard - plus Ethernet, USB 2.0 and MIDI connectivity ensures the M32R will connect to current and future audio networks. M32R main features include: 16 award-winning MIDAS PRO microphone preamplifiers for world-class sound; and 25 time-aligned and phase-coherent mix buses and AES50 networking allows up to 96 input and 96 outputs. Open architecture allows for future kHz operation and 192kHz ADC and DAC converters for outstanding audio performance. www.midasconsoles.com
Presonus StudioLive PreSonus StudioLive AI-series active integration mixers give a complete, tightly integrated hardware/software system so users can easily tune the sound system to the room, then mix, record, produce, and distribute a finished recording. Designed for both live and studio applications, StudioLive AI-series mixers retain the intuitive, analogue-like mixing surface that made the original StudioLive mixers so successful, whilst adding even more processing power and enhanced workflow features. StudioLive AI mixers feature a wealth of analogue inputs and outputs for flexible connectivity; a FireWire s800 interface for recording and virtual soundchecks; optional Thunderbolt, Dante, and AVB for flexible networking; extensive dual signal processing on every channel and bus, with A/B comparison; and abundant dedicated mix buses for easy configuration. All controls are one-toone, so there are no layers to get lost in, the main mix is always at the operators fingertips. The sound quality is excellent, thanks to XMAX Class A preamps, and analogue-like processing. The digital converters on every input and output are state-of-the-art, with 118dB dynamic range. All applications in the (free) StudioLive AI Software Library are designed to work together to enhance each mixing and recording task. Users can simultaneously multitrack-record their gigs with Capture software, whilst the mix is sent to front of house. During the gig, band members can tweak their personal monitor mixes via connected iPads and iPhones, while the engineer walks the venue with iPad in hand, in full control of the StudioLive via StudioLive Remote software. And at the end, the multitrack recording can be opened in Studio One software with full recall of channel settings - allowing for a â&#x20AC;&#x2DC;studioâ&#x20AC;&#x2122; mixdown to be created. www.presonus.com
RCF M18 Designed as a practical, fader-free, self-contained unit, the M18 features an on-board WiFi access-point with both external and internal antennas, enabling full wireless control from up to five tablets. M18 benefits from new technologies allowing a small chassis to incorporate advanced features that were previously only available on touring consoles. It features a total of 18 analogue inputs, eight microphone preamps and a full suite of plug-in algorithms and professional internal effects, including a high-quality stereo reverb and classic emulations of guitar and bass amplifiers. The emulations, developed by well-known plug-in developer Overloud, are complemented by the possibility to put two lines in Hi-Z mode. The input EQs feature three modes (Standard, Vintage and Smooth), allowing a wide range of sounds. Up to 16 simultaneous effects can be inserted on the inputs, providing a flexible sound sculpting environment, and eliminating the need to use additional external equipment. A master processor on the main outputs allows a final fine-tuning of the overall sound. A USB port for the internal two-track player and recorder, MIDI ports and footswitch input provide maximum flexibility. M18 has been designed for musicians and small combos, and all features were carefully crafted for their needs. www.rcf.it
NEW 10 D 30D
NEW GENERATION AMPLIFIERS FOR INSTALLATION.
The new d&b 10D and 30D four channel amplifiers are tailored for permanent integration. Cost effective d&b solutions for trusted d&b performances. Discover more at www.dbaudio.com/10D30D
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Roland M-5000 The Roland M-5000 live-sound digital mixing console is based on a brand new operating platform that provides more adaptability to individual workflow than any previous option. The platform is known as O.H.R.C.A, which stands for three key concepts: Open; High Resolution; and Configurable Architecture. This combination adapts to the needs both of the application and the operator by delivering 128 freely definable audio paths, an extremely flexible user interface, expandable protocols and multiple-format I/O choices. All paths are delivered at a pristine 24-bit/96kHz sound quality. Each path can be used as a mixing channel, AUX, matrix, subgroup buss or MIX-MINUS buss in any input/output configuration. One primary application might be for the monitor position, where a high number of auxiliary busses are needed. But the M-5000 is equally at home at the FOH position for live music in touring, theatre, broadcast and more. www.roland.com
SSL L300 & L500 SSL Live consoles aim to deliver a combination of exemplary hardware performance, human user interfaces, efficient processing engines and superb signal processing tools. There are two models available in the SSL Live console range, the larger L500 and the more compact L300. Both consoles have recently undergone a major power upgrade to 256 mix paths for L500 and 192 for L300. The L500 becomes the L500 Plus to mark the significance of this new release in the ongoing evolution of the acclaimed console. The recent Version 3 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. www.solidstatelogic.com/live
Soundcraft Vi5000 and 7000 The latest Vi5000 and Vi7000 digital mixing consoles deliver the best Vi sound, bringing optional 96kHz processing, upgraded channel counts, and even more reliable hardware to live sound’s most popular mix interface. Partnering a compact control surface with new Local Rack and Active Breakout box hardware, Vi delivers simultaneous mixing of up to 128 inputs and 32 mono/stereo busses. Pristine sound quality is assured by ultra-low noise microphone amp designs and enhanced 96kHz 40-bit floating point digital audio processing, while FX come courtesy of eight independent Lexicon multi-FX units, BSS DPR901ii integration and a BSS graphic EQ on every bus output. Rapid configuration and powerful automation features, radio microphone status monitoring and extensive ViSi Connect I/O expansion (EtherSound, CobraNet, Dante, MADI, etc) complete the package. The new Vi5000 and 7000 retain the latest Soundcraft FaderGlow and Vistonics which are just part of what makes Vi Series digital consoles such an intuitive and creative tools. The Vi5000 and Vi7000 make the engineer’s life easier, letting you monitor the status of any compatible AKG or Shure radio microphone directly from the Soundcraft Vi Series console surface, courtesy of VM2 (Vistonics Microphone Monitoring). It adds up to much more efficient workflow and one less thing for the engineer to worry about.g-in settings can be stored and recalled within the console’s snapshots. www.soundcraft.com
Studiomaster digiLiVE 16 The new and unique Studiomaster digiLiVE 16 hybrid micro mixer featuring simultaneous fixed surface / remote tablet operation. The hybrid concept seamlessly marries moving-fader and touch-screen control of a physical mixing console with simultaneous remote tablet operation. Its ultra-compact form factor makes it one of the smallest professionally specified digital mixing consoles. Simultaneous tablet operation allows remote mixing and sound checking from almost any position in a venue. The 16 input, 16 bus, eight output digital audio mixer’s control surface integrates a seven-inch high-resolution touch-screen and eight motorised 100mm fader operation, with simultaneous on-board or fully remote (iOS) tablet operation. State of the art DSP technology includes 40-bit floating point on fourth generation SHARC processing and proprietary mix algorithms, for EQ, dynamics and effects. A total of 12 professional XLR microphone inputs, are complemented by two stereo line inputs. Fixed master L/R outputs and six smart assignable outputs are all on XLR, while additional stereo monitor and headphone outs are on TRS stereo jacks. Digital outputs are also included on AES/EBU and SPDIF. Up to eight internal assignable effects busses include reverbs, modulation, delay and 15 band EQ. An internal recording and playback capability can record from or playback via any smart assignable outputs, or via either of the two USB interfaces (one front, one rear panel); these also support scene storage and system updating. Both WiFi and Bluetooth wireless connectivity are supported using external devices. www.studiomaster.com
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Avalon Hollywood
Droppin’bombs with the .twos + .threes. “As a clubber, I like to be in front of a DJ and feel the sound in my heart and stomach but still be able to speak to the person next to me – I can do that at Avalon. And given the choice, I prefer performing at clubs with Avalon systems. No doubt about it.”
Avalon by EAW™ CLUB.twos. CLUB.threes, CLUB.fours, CLUB.fives. SUB.twos. World-acclaimed DJ Erick Morillo loves them: “When I throw a party, I throw a party – I installed Avalon systems in my homes to make sure we’re guaranteed a great time.” Avalon by EAW is a comprehensive line of preeminent EDM/club-specific loudspeakers. They push sound that becomes a physical force to dancers. Maximum, distortion-free output. Seismic lows. Crystalline highs. Simple, elegant, symmetrical modern design. The most advanced transducer technologies and horn design. Automotive-class finishes. Visit EAW.com for more information on Avalon by EAW and see why high caliber DJs like Erick demand them.
www.eaw.com
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TOA M-864D The M-864D is a 4U rack mountable digital stereo mixer having 22 input channels including eight monaural input channels and seven stereo input channels, six output channels including four monaural output channels and one stereo recording output channel, and four bus channels. It is equipped with digital signal processing functions such as automatic resonance control function (ARC), feedback suppressor function (FBS), automatic stereo input mute function (AUTO MUTE or Ducker), and equaliser. Advanced acoustic compensation can be automatically performed without using an acoustic measuring instrument. Furnished with various function setting buttons and 14 analogue volume faders, the M-864D can be operated without need for use of a PC. However, it can also be operated by connecting the PC or optional remote control panel. It can be mounted in an EIA component 4RU. Automatic Resonance Control function automatically creates the filter curve to improve sound clarity by measuring the acoustic characteristics inherent in architectural space. www.toa.eu
Yamaha TF Series With features aimed at new users and experienced professionals alike, Yamaha’s TF Series provides the kind of facilities enjoyed by large-scale productions for even the most modest applications. A key innovation of the three-model series is TouchFlow Operation, which combines Yamaha’s highly regarded user interface with an advanced multi-touch panel system, allowing users to respond with unprecedented speed and freedom. Several features also aid faster setup, including 1-knob COMP, 1-knob EQ and the innovative GainFinder, which facilitates quick, optimised gain set-up for individual input signals. Featuring recallable Yamaha D-PRE preamplifiers for the first time, the TF Series has up to 48 inputs, including dual stereo analogue/USB digital inputs and dual returns. All models can accommodate an optional NY64-D I/O expansion card that allows up to 64-in/64-out Dante channels while, with the new Tio1608-D I/O rack, a stage box system with up to 48 inputs and 24 outputs can be assembled. In addition to parametric EQ and two dynamics processors on each channel, each TF Series console has eight powerful processors for wide-ranging sonic control and advanced live recording features. The TF StageMix, MonitorMix and TF Editor software applications also seamlessly extend the console’s user interface on any compatible device for wireless mixing, personal monitor mixing and offline set-up. www.yamahaproaudio.com
CREATIVE. POWERFUL. FLEXIBLE.
CHROMA RGBW \ 40 RGBW 15 W class LEDs \ 30.000 lumen \ 5 controllable zones \ IP65 rating \ eventCON速 system
HELIOS+ 19Z
HELIOS 7
SUPERNOVA 896-W
NOVA 448-W
BABYBEAM 4
eventCON速 system The eventCON is a new, innovative cable connector system, which combines power and DMX signal in one cable and one plug. This is the revolution of connection in lighting. The plug is IP76 certified and can be assemled in the customers need without loosing the IP certification. To take care that the eventCON system works with your classic fixtures we have developed adapter sets which connect classic XLR/Schutzko/PowerCon with the eventCON system.
/Ehrgeiz.Light
+49 7248 912 190 | info@ehrgeiz.com | www.EHRGEIZ.com
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1. ADJ Stinger, Starburst & Mini Dekker
3. Artistic Licence Colour-Tramp
Celebrating 30 years by returning to its roots, ADJ has brought its Startec Series of budget-conscious party fixtures back to life; releasing three new effects that offer a modern twist on some old classics. Ideal for bands, party hosts and DJs just starting out, the Stinger, Mini Dekker and Starburst all live up to the Startec name by creating futuristic effects that take audiences into another dimension. The Stinger offers threein-one effects unit, utilising three light sources - six 5W hex-LEDs, eight 3W white LEDs and a red and green laser - to give users a moonflower /strobe / laser combo effect that creates new levels of pure lighting excitement for audiences. Weighing just 5kg, mobile DJs, DIY touring bands, and event organisers can take the highly-portable Stinger on the road as part of a mobile set-up, giving them a compact but powerful effect. The Stinger is suitable for small clubs, lounges and bars. The Starburst is a rotating fixture that sends out incredibly concise beams of coloured lighting that create a moving array of supereffective ‘stars’ when projected onto walls, ceilings and floors. This night-sky effect is enhanced by the unit’s powerful 50W source, which consists of five 15W six-colour LEDs and generates highly powerful beams of light in a wide pallet of colours. Furthermore, the Starburst’s tight beam angle helps the shafts of light cut through darkness and fog to offer a futuristic, far-reaching effect that will transform any small-medium sized venue. Offering impressive coverage thanks to its 48 lenses, the Mini Dekker is an inventive LED fixture that produces RGBW-coloured effects that shoot out in every direction to create a moving galaxy of ultra-bright beams. With a powerful light source consisting of two 10W quad-colour LEDs, the beams generated by the Mini Dekker are powerful and varied in colour, creating a lightshow that leaves audiences awestruck and venues radiating pure lighting excitement. Users have five operational modes to choose from: Sound Active, Static Colour, DMX-Controlled, Colour Change and Colour Fade (both with and without strobe). With an eight-channel DMX mode, users can also get more creative with the Mini Dekker, programming its strobe effects and multi-colour beams to add increased energy to their displays. www.adj.com
Colour-Tramp allows a lighting array to be programmed using a sophisticated graphic user interface. This has been redesigned with new icons on a vertical tool bar to provide an intuitive interface that also maximises the workspace. High-resolution background images are now supported and a new display mode has been added which shows fixture names and patch information during programming. A new feature is the text animation and rendering engine. This allows text to be entered in any size, colour and font. The direction of movement is selected and then a single mouse click animates a moving text sequence. Moreover, the gradient and bitmap rendering engine has been redesigned to work with higher precision and faster animation. In order to work seamlessly with LED fixtures from different manufacturers, a new curve correction system has been added. This allows different fixtures to be adjusted for RGB balance. OSC triggering has been added which allows triggering from numerous sources including iPads and iPhones. Applications such as TouchOSC and Lemur are used to programme the remote screen interfaces. The mathematics engine has been upgraded to allow more significant post-processing of environmental sensors. Colour-Tramp supports Art-Net, sACN and KiNet outputs. www.ArtisticLicence.com
2. Anchor Audio Bigfoot The Bigfoot is the newest, biggest, and most powerful portable sound system available from Anchor Audio. Designed to cover a football field, this thunderous battery powered system is up to any challenge. With a line array consisting of five eight-inch neodymium loudspeakers and one high efficiency neodymium compression driver, this product delivers and easily sets up in seconds. The Bigfoot is the first Anchor Audio portable sound system that offers four built-in wireless receivers - allowing everyone to be involved. It also boasts standard built-in Bluetooth and an optional built-in CD/MP3 combo player to easily connect to anything users need for an all-inclusive sound coverage. www.anchoraudio.com/bigfoot
4. Ashly KLR, NX & Pema Ashly’s KLR Series are lightweight, high-power, two-channel amplifiers ideal for high output loudspeaker systems, line arrays, dual 18-inch subwoofers, and many other practical applications. Available from 1,000W to 2,500W per channel, KLR have switch-mode power supplies with extensive protection circuitry and are equipped with on/off limiter switch. KLR are two-ohm stable and features balanced inputs via three-pin Euroblock, combo XLR/TRS connectors, SpeakON output connectors, three-position gain switch (for both channels), three-position mode switch (bridged, stereo or parallel mono) three-position HPF switch (30Hz, 50Hz or off). Most notably, the KLR-3200 model delivers up to 800W into a 70V line. Ashly’s newest line, the NX power amplifiers are lightweight, energy-efficient Class-D amplifiers combined with independent switch-mode power supply. NX amplifiers are available in two or four-channel configurations and offered in 400, 800, 1500 and 3000W per channel models. NX features proprietary, Ashly EMS (Energy Management System) drawing less than one W when in sleep mode. Available as nX (Base model), NXE (with Ethernet), NXP (with Protea DSP), each model has programmable output for High-Z or Low-Z operation on each channel via rear panel DIP switches. NXE and NXP models offer optional factory-installed Dante and CobraNet network connectivity. FIR filtering is now available on NXP. Pema (Protea-Equipped Media Amplifier) is available in four or eightchannels configured at 250W or 125W per channel. Pema features Ashly’s energy-efficient Class-D amplifier topology with a switch mode power supply and is over 80% energy efficient out of the box. Pema is also a digital signal processor and full eight-in eight-out matrix mixer - any input can be assigned to any output or outputs. In addition to the full Protea suite of DSP settings, notable features include: FIR filtering, gain sharing auto mic mixing, auto feedback suppression, ambient noise detection/adjustment, and a real-time clock with event scheduler. www.ashly.com
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1. AV Stumpfl FHD Player AV Stumpfl FHD Player has made instant playback more accessible for all current video and audio formats. The compact and rugged FHD Player can be synchronised via Ethernet, externally controlled from any location and can trigger media based on GPS input coordinates, and can also be synchronised using a dedicated computer protocol, eliminating redundancy. A seamless loop mode and transition fading between clips ensure that video is shown automatically, every time. Content can be loaded and downloaded automatically. Playback and scheduling can be configured according to calendar using a dynamic front-end graphical user interface. Configuration and maintenance of the FHD Player is achieved in an instant using customisable menus. Designed for 24/7 operation, the unit comes with automatic restore and hot swap capability. FHD Players can be integrated into the AV Stumpfl Avio network and interactively controlled by proximity sensors, gesture detection, tracking, push buttons or light barriers. Signal management is intuitive as the player will read the EDID of the connected device or create its own output signal specified by resolution and refresh rate. The sleek Austrian design and matt black hardware weighs just 620g and a small footprint measures 205mm x 122mm x 29mm. Adding to complete return on investment, the player is future proof through the free feature updates from the AV Stumpfl website and is backed by AV Stumpfl’s unmatched global service and support. www.avstumpfl.com
2. Aviom D400 & D400-Dante The D400 and D400-Dante A-Net distributors are designed to distribute power and digital audio data to an Aviom personal mixing system and provide users with an easy way to get into Aviom personal mixing for live performance or recording applications. The D400 and D400-Dante A-Net distributors add new levels of flexibility when designing a new personal mixing system or expanding or upgrading an existing system. The D400-Dante allows up to 32 Dante channels to be routed to the personal mixing system, which makes connecting to a Dante-enable digital console or audio network as simple as plugging in a CAT5 cable. The standard D400 has an A-Net input and is perfect for those using an analog input module or a digital console card as the front end of their system, while the D400-Dante has Dante I/O instead of the A-Net input. Up to eight personal mixers can be connected to each D400 or D400-Dante’s A-Net outputs, and an unlimited number of distributors can be used when creating larger systems with more than eight performers. The D400 and D400-Dante are fully compatible with both the original Pro16 version of A-Net and the new Pro16e version of A-Net, the technology driving the A360 and A320 personal mixers which allows multiple 16-channel banks of monitoring content to be delivered over a single CAT5 cable. The new distributors can also be used with Aviom’s legacy products including the popular A-16II personal mixer. www.aviom.com
3. Calibre HQUltra The powerful HQView770 scaler-switcher utilises in-house developed virtual-ASIC video processing technology that provides three functions in one product. In projection mode, HQUltraWarp offers real-time adjustable 4K warp and blend for fast easy screen calibration. In LED mode HQUltra provides extremely powerful LED-optimised 4K scaling with a pixel-accurate algorithm that preserves image detail even with significant downscale, a key requirement for driving LED videowalls with good quality images. In Presentation mode HQUltraFast gives the user unprecedented switching speeds, changing visually instantly between input channels in 0.25 seconds. HQUltra technology promises to dramatically change current video scaling and switching. The 11 video inputs and four identical video outputs include 4K HDMI with 4K50 and 4K60 4:2:0 support, HDBaseT and 3G HD-SDI. www.calibreuk.com
4. Clear-Com FreeSpeak II 1.9GHz Since its release, the FreeSpeak II 1.9GHz system has proven to be widely used wireless intercom for large-scale broadcasts and live productions. Given the success of the 1.9GHz system, Clear-Com has now introduced the 2.4GHz version to meet market demands from many countries where the 1.9GHz band is prohibited for use. FreeSpeak II 2.4GHz offers identical capabilities as the 1.9GHz, and can operate as a standalone or an integrated wireless intercom solution with Clear-Com’s Eclipse HX matrix system. Although the FreeSpeak II 2.4GHz version uses a separate yet similar set of beltpacks and transceiver antennas compared to the 1.9GHz version, the same base station or integrated matrix solution can co-operate with a mix of 1.9GHz and 2.4GHz beltpacks and antennas; thus increasing both the quantity of wireless users and cell roaming area. When using the base station, up to 20 full-duplex wireless beltpacks using either or both 1.9GHz and 2.4GHz bands can be connected. In an integrated Eclipse HX matrix setup, as many as 50 1.9GHz and 40 2.4GHz (or 25 1.9GHz in North America plus 40 2.4GHz) full-duplex wireless beltpacks can be used at the same time by strategically placing up to 20 or more distributed remote antennas to create an expansive roaming coverage zone. These beltpack users are then able to directly communicate with any other remote or local matrix panel or other wireless or wired beltpack user who is on the Eclipse HX Matrix System network. www.clearcom.com
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1. Chauvet Professional Rogue RH1 Hybrid The Rogue RH1 Hybrid takes this game-changing family of moving heads to new levels of excitement and functionality. Combining a powerful beam and spot effect in one compact unit, this amazingly versatile light can produce a tight beam angle of 1°-4.5° in Beam Mode, and a Zoom angle of 5°-19° in spot mode, for an array of beam size options. Plus, it’s got an added frost feature for use as a wash effect as well. Powered by a 330W 8,000K Osram Sirius lamp, the Rogue RH1 Hybrid offers a designer’s dream palette of visual effects, including: two layerable prisms (five-facet and eight-facet); two gobo wheels; 13 vibrant colours; and two DMX profiles - 25-channel or 30-channel - to give users programming flexibility. www.chauvetprofessional.com
2. Christie Captiva Series Christie has expanding its 1DLP laser phosphor projector line-up with the launch of the Captiva Series. The only sold-state projector available with 3,000+ lumens, a 0.25:1 ultrashort throw lens and a choice between HD or UltraWide resolutions, makes this new projector offers bright light in small spaces. Additionally, Captiva can be used in portrait mode, which opens up creative applications. It’s super-quiet, providing 20,000 hours of high-performance, lamp-free operation and can achieve full brightness within seconds, or switch instantaneously into standby with no cool down period. The highly reliable 1DLP engine allows the projector to be used in high usage applications including 24/7 while ensuring continued performance. Available with a 0.25:1 ultra-short throw lens, the Captiva Series can be mounted within inches from a screen or wall - in portrait or landscape (table top, inverted) mode - without shadows obstructing the image. The highdefinition Captiva DHD400S offers native 16:9 aspect ratio matching up with the most common signals used today. The ultra-wide Captiva DUW350S brings a new captivating and creative wide canvas for tight spaces and, simultaneously, offers a unique, but practical workspace for everyday activities. Both the Captiva DHD400S and the Captiva DUW350S are ideal for fixed installations including classrooms, corporate offices, retail, government, and museums where quiet operation is vital. www.christiedigital.com
Great dance club design begins and ends with massive, captivating sound that is felt as much as it is heard. The Marquis Dance Club Series brings the passion that JBL engineers have for sound directly to the dance floor, saturating the entire environment with high energy, irresistible movement and an unforgettable experience. Marquis Dance Club Series comprises eight powerful multi-way systems and subwoofer models that combine JBLâ&#x20AC;&#x2122;s extraordinary sound, proven reliability and breakthrough technology with striking architectural design and versatile configurability. With the Marquis Dance Club Series, JBL Professional takes a giant step onto the dance floor. jblpro.com/Marquis
Š 2011 JBL Professional
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1. Clair Brothers kiT Series
3. Community I Series
Clair Brothers has announced the launch of five new kiT Series loudspeakers. With a total of three full range boxes and two subwoofers, the kiT12+, kiT15+, kiTCURVE12+, kiT-Sub+, and kiT-Sub-mini+ are the first self-powered speakers in the Clair Brothers line. The newest members of the loudspeaker family are the kiTCurve12 and pair of kiTSubs. The kiTCurve has its roots in the Clair Brothers CAT Series from which it gets its Curved Array Technology waveguide. Additionally, the kiTCurve features the rigging and portabliity features inherent to the kiT Series. Each new loudspeaker is delineated with a plus sign in the product’s name indicating its self-powered nature. Like its kiT Series predecessors, the kiT+ line products feature exceptional intelligibility, high output performance and durability making them excellent choices for virtually any indoor or outdoor application. The kiT Series features traditional Clair craftsmanship in wood enclosures and CNC machined wood waveguides, offering the same quality found in high-end tour grade products to users in smaller applications. The kiT+ loudspeakers are powered by an integrated two channel 1,600W each 3,200W total power amplifier module that includes internal DSP loudspeaker processing: crossover, EQ and limiter. The processing is factory programmed and provides the user with the choice between four presets that are specifically designed for various applications and array configurations. For subwoofer applications low-pass filter frequency may be set per application by integrated factory presets. For specific applications requiring networked DSPs, an upgrade option is available. www.clairbrothers.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 lowprofile design that hugs the ceiling and eliminates unsightly aircraft cables. www.communitypro.com
2. Clockaudio C303-RF Clockaudio has introduced its latest addition, the C303-RF Tri-Element hanging microphone array. Designed for audio or video conferencing, the C303 offers consultants and designers a new option when specifying hanging microphones in applications that demand the highest sound quality. This new product features three high quality cardioid capsules covering a 360° pick up pattern. Each independent capsule is RF immune and will capture approximately 120° and is optimised for speech intelligibility. The C303-RF is a non-proprietary microphone array, which makes it easy to install, and also compatible with all popular DSP units. For applications where table microphones are not an option, the C303-RF offers a great alternative to bring the microphone capsules closer to the participant, with a minimal footprint in the conference room. www.clockaudio.com
4. Eiki International EIP-UHS100 Eiki International has announced the new EIP-UHS100 single chip DLP projector with 8,000 ANSI lumen brightness and a 2400:1 contrast ratio. Featuring a native WUXGA (1920 x 1200) resolution that is compatible with inputs up to UXGA and WUXGA, the new EIP-UHS100 supports analogue and digital video inputs, including 3G HD-SDI and HDMI, in all colour standards up to 1080p. The result is a projector that delivers consistent colour and first-class readability in a cost effective package that redefines value for professional large venue installations. Noteworthy among its many features, the new EIP-UHS100 projector has built-in edge blending for combining multiple projected images into a single seamless image and image warping, which facilitates digital image manipulation for either corrective or creative purposes. Additionally, the projector incorporates a lens memory feature with as many as 10 saved settings. This makes the EIP-UHS100 ideal for venues where, for example, there are movable walls - enabling the focal settings to be memorised in advance for each projected distance. The new EIKI EIP-UHS100 also includes horizontal / vertical lens shift and corner keystone correction allowing for versatile placement. Optional lenses for the EIP-UHS100 cover a range of 0.76 (with lens shift) to 8.25:1 throw ratios. www.eiki.com
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1. Elation Colour Pendant Elation Professional has launched a new luminaire in its Colour Series of colour-changing LED luminaires, the Colour Pendant, a highly versatile washlight that allows for dynamic control of stage or house lighting levels in an energy-efficient intelligent downlighting fixture. The Colour Pendant houses 36 long-life 3W RGBW LEDs for fully blended colour transformations or projections of variable shades of white light. The RGBW LED is capable of emitting a wide palette of colours from saturates to more subtle pastels, making the Colour Pendant an excellent colour-matching unit. Its uniform flat-field output, 3,100 lumens of power and 41° beam angle make for a highly effective wash luminaire whether flooding a stage or studio in hues of colour or functionally washing a house of worship or other venue in shades of white light. Full range dimming with selectable dimming curves, strobe and colour macro effects enhance its dynamic capabilities. The Colour Pendant is convection cooled for silent operation, ideal for noise sensitive environments, and flicker free projection means it can be used in all types of broadcast situations including television, film and video. It includes removable pendant and yoke mounting brackets for flexible set up and a white model is available on special order. The Colour Pendant is controllable via 11 DMX channel modes and is RDM protocol capable. It houses an internal E-Fly extended range wireless DMX transceiver for easier setup with less cable mess. The fixture comes with a host of other standard features like 5-pin XLR connections, as well as powerCON in/out connections. A four-button control panel with LCD display makes for easy navigation through DMX and manual settings and an auto-sensing power supply covers worldwide voltages and frequencies. The Colour Pendant is compact, measuring 14.7-inch x 9.9-inch x 12.0-inch / 374mm x 252.5mm x 308.8mm and weighs only 5.4kg. www.elationlighting.com
2. Fohhn Audio LX-60 and LX-61 Fohhn Audio has announced the release of two new models in its LINEA LX range of compact line array systems. The Linea LX-60 and LX-61 aim to combine all the advantages of innovative line array technology with first-class sound quality and a classic elegant design that integrates seamlessly into room architecture and stage areas. The compact LX-60 is specially designed for installation applications in more challenging acoustic environments. The 200W two-way system is equipped with four four-inch high performance low-mid drivers (arranged in a column) and a one-inch compression driver with Fohhn Waveguide. This combination forms the basis of Fohhn’s unique Hybrid Line Array Technology, which is widely renowned for delivering excellent reproduction of speech and music, superb dynamics and even audience coverage. Loudspeaker adjustment is done via an integrated crossover with Intelligent Protection Circuit (IPC) to guard against overload. Components are enclosed in an elegant, lightweight aluminium housing, with slender dimensions – 64cm x 13cm - that enable the unit to integrate unobtrusively into a range of venues. The system offers a dispersion range of 140º x 30° and is equipped with Phoenix terminals. The new Linea LX-61 loudspeaker is designed for mobile applications. Incorporating the innovative technology of its LX-60 sibling, it is equipped with the same four-inch high performance low-mid drivers and one-inch compression driver with Waveguide. Its compact dimensions make for easy transportation and quick set-up. The unit is fitted with two Speakon connectors. For even more powerful sound reproduction, the LX-60 and LX-61 can also be combined with a range of Fohhn subwoofers. LX-60/61 housing is available in all RAL colours. www.fohhn.com
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1. König & Meyer Elegance
3. Lectrosonics SSM
König & Meyer sets new standards in the field of microphone stands. The completely newly developed one-hand microphone stand, Elegance is unique in design and functionality. The height of the stand can be adjusted soundlessly, simply and easily using the unique one-hand clutch that has become possible through a completely redesigned adjustment mechanism inside of the stand. The unusual triangular shape of the tube combination and the modern design of the one-hand adjustment offer a visual highquality appearance. The design of the one-hand clutch connects form fitting to standard microphone clips. The knurled screw for fixing the microphone clips is integrated into the one-hand clutch and thus impossible to lose. More stability at much lower weight also offers a newly developed ingenious round base with an integrated steel plate with an attractive plastic cover. A circumferential rubber profile reduces undesirable vibration and footfall noise, even if the stand is extremely tilted to one side. Sensitive floors such as parquet floors remain protected. www.k-m.de
Part of the Digital Hybrid Wireless Series, the SSM (Super Slight Micro) bodypack transmitter is fully compatible with all current Lectrosonics receivers including the UCR411A, SR Series, L Series, and Venue Series. The SSM features a wide tuning bandwidth of up to about 76MHz depending on the specific frequency range. RF power is selectable at 25mW or 50mW for flexibility in various applications. Dimensions for the SSM are 64.25mm x 37.6mm x 14.7mm and weight is only 67g, including battery. The SSM is available on four different frequency ranges for worldwide use, with tuning steps of 100kHz or 25kHz selectable in the menu. The SSM features an all-metal housing and uses the rugged, industry standard Lemo three-pin microphone connector common to other bodypack transmitters. Different bias voltages and termination impedances can be selected via the transmitter’s menu for optimum performance with a wide range of microphones. Pre-set values for several microphones are included as menu choices for DPA, Countryman B6/E6, Sanken COS-11, and Sennheiser MKE1/MKE2. An infrared sync port and audio remote commands complete the advanced features of this new transmitter. www.lectrosonics.com
2. LD Systems MAUI 5 Easily portable, set up in seconds and conveniently fitting onto a car seat, the most recent addition to LD Systems’ MAUI family impresses with comprehensive connectivity and a powerful, dynamic performance. Providing both sound reinforcement and monitoring from a single system, the MAUI 5 sports a 800W of peak power yet weighs in under 11kg. The ported eight-inch subwoofer and three-piece column PA boasts extra wide dispersion, extended vertical directivity and superior feedback resistance while custom multi-pin connectors facilitate ultra fast, cableless assembly. The all-in-one MAUI 5 incorporates a four-channel mixer with LD Systems’ proprietary LECC digital processing, Bluetooth technology and microphone, line level and hi-Z inputs which can be used simultaneously. Individual level controls, subwoofer and master volumes enable substantial sound balance while a high shelf filter allows for room correction. The builtin Class-D amplification features overcurrent, short circuit and thermal protection for secure, reliable operation. Discreet and unobtrusive while delivering audio with clarity, focus and punch, the lightweight MAUI 5 column PA is suitable for a wide array of applications. www.ld-systems.com
4. Protapes Pro Pocket Glow Dots & Arrows The Pro Pocket Glow Dots is a one-inch wide roll of half inch wide die-cut glow dots tape conveniently packaged retail ready with clamshell pack and hang-tab. Pro Pocket Glow Dots and Arrows retail clamshell pack can be used for stage blocking, spiking, set and stage decoration, arts, crafts and party decorations. Pro Pocket Glow Dots and Arrows is designed for indoor safety and egrass marking tapes and signage. It can also be used to mark stages for placement of scenery, for marking exits in dark areas and to mark light switches. Pro Pocket Glow Dots and Arrows photoluminescent film light source is designed to absorb energy from any nearby ambient light such as fluorescent lamps or sunlight. There is no limit to the number of times Pro Glow Dots and Arrows can be recharged. When fully charged, Pro Glow Dots and Arrows provides positive luminance for up to 10 hours. www.protapes.com
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Photo © Presson Oy
4010
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Audio Excellence for AV Installations Genelec is the leading loudspeaker brand amongst audio and music professionals. This position is built on products that deliver unrivalled sound accuracy and reliability, and Genelec 4000 Series brings these qualities to AV installations. Installation of Genelec loudspeakers is extremely easy. Our extensive selection of accessories provides you numerous mounting options.
4030 Four models 4010, 4020,4030, 4040 – pick a size to suit your project
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All models in white or black
Wide range of installation accessories available
Compact and powerful loudspeakers
Environmentally friendly ISS™ (Intelligent Signal Sensing) also saves money for your client
Active loudspeakers that save on rack space and amplifier set up and cost
www.genelec.com/av-install Genelec also manufactures a range of active in-Wall and in-Ceiling loudspeakers for architectural installations
Accessories
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Come and see us at Plasa on booth D26 and catch up on the latest developments in LED technology.
P8 / sparx10
www.jb-lighting.de
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1. Rane RAD16z & Halogen 6.0
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Rane has recently introduced Halogen 6.0 software and the new RAD16z remote audio I/O device. Halogen 6.0 adds the real-time clock-based Event Manager to schedule system actions. Also new is generating an Excel equipment list to speed bids, system pricing and order accuracy. And the galvanically isolated, logic I/O-equipped RAD16z continues to revolutionise the modern approach of placing audio converters at the wall, not in the rack room with antiquated conduit and analog cabling. Like all RAD models, the RAD16z outperforms any and all Ethernet-based remote audio I/O devices in costeffectiveness, controllability, maximum cable length, and particularly in its ability to immediately identify bad cable crimps or swapped cable pulls through the building. www.rane.com
2. RCF TT22-A II The design philosophy of the latest products in the TT+ Series is based upon offering ready-to-use solutions and tools to the sound engineer. A key advantage is the ability to sustain very high power with efficient sound pressure levels. Intense sound levels are created with remarkably high definition and extended dynamic range. The TT22-A II loudspeaker is exceptionally lightweight, made of modern construction materials and easy to move and transport. Thanks to the new algorithms developed by RCF R&D Department and the on-board DSP, it ensures a very precise response curve across all frequencies. TT22-A II is a two-way active system featuring a 12-inch neodymium woofer, 86mm voice coil in a bass reflex configuration and a 1.4-inch exit, 75mm voice coil neo compression driver. An extremely careful acoustic design plus the highest quality transducers and a powerful amplifier make the TT22-A II speaker system the perfect solution from live sound situations to playback and monitoring. The amplifier section features 1,100W power - 800W low frequency, 300W high frequency. The cabinet is made of marine Baltic birch plywood and features high-resistance polyurea coating. The cabinet has two side handles, six fly-track rigging points, quick lock pin receptacles and a steel pole mount. www.rcf.it
3. ROBE ROBIN DL4F WASH The perfect companion to the ROBIN DL4S Profile, the new ROBIN DL4F Wash is based on the same RGBW LED module with improved brightness and with specifically modified colour mixing and dimming for extra smooth, stepless operation especially at minimum brightness levels. To magnify the already perfectly smooth colours, fades and dimming, the DL4F features innovative LED driving system for improved, extremely high definition dimming curve for all R, G, B, W colours, with 18-bit resolution. With a perfectly smooth output via the front Fresnel lens, this fixture has been optimised for those wanting an even light output with no shadows (RGB breakups and shadows are not present even when on closely positioned trussing or other objects). Mechanical features include a newly designed linear motorised zoom of 5.5째 - 60째 and a diffusion filter for extension of the zoom up to 75째. The fixture uses an internal Barndoor module for creating different shapes. The module consists of four individually controllable blades and is rotatable by plus or minus 90째. Advanced software features include RGBW or CMY colour mixing, a set of calibrated whites, CTO, Tungsten lamp emulation (amber shift) and more. www.robe.cz
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1. Robert Juliat Dalis
3. Steinigke SHP-777BT
Dalis is the new asymmetrical 300W LED cyclight 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 (2200K) and cool white (6500K). The choice of these six colours in association with the two whites gives access to an extremely wide colour gamut. In addition, the white emitters facilitate colour desaturation, resulting in an impressive range of pastel tones. Each colour can be controlled in eight or 16-bit mode. Additionally, four groups of LED emitters can also be controlled independently by 16-bit on each colour in the batten, thus providing a 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. www.robertjuliat.com
Stenigke’s Omnitronic SHP-777BT can be operated wirelessly with Bluetooth equipment, making the headphones perfect for smartphones and iPods. The battery life lasts for 10 hours and can be extended even further when the headphones are used with a cable. The Bluetooth range is 10-metres. This way, the smartphone doesn’t need to be worn onbody all the time - which gives the user even more freedom. The SHP-777BT has a high sound quality thanks to 1.6-inch loudspeakers and produce a powerful and balanced sound. An additional sound feature is the 3D sound simulation, which provides a highly detailed and realistic definition of music. The new product by Omnitronic is completed by a soft cushioning, excellent fit and integrated phone call and music control. http://eshop.steinigke.de/en/omnitronic
2. SAE Audio TX Series SAE Audio has introduced the TX Series of power amplifiers - a versatile and efficient two-channel power amplifier series for those requiring an affordable all-purpose device. The TX series is a solution for sound reinforcement applications demanding a mid power density device with very good sounding like small to mid-size installations or portable PA systems. Implementing digital Class-D amplification technology with Power Factor Correction (PFC) along with a Universal AC Mains R-SMPS power supply (100V - 260V), it allows to draw current from the mains in a more efficient way, translating to a higher output power with a lower power consumption. Additionally, PFC improves audio quality by generating lower harmonics of the mains frequency thus reducing the hum and induced distortion due to perturbed mains. The TX Series includes five models with output powers ranging from 750W, two ohmsΩ per channel on the TX800 model up to 3,300W, two ohms per channel on the TX5200. www.saeaudio.com
4. Strand NEO Philips Strand Lighting has announced that the NEO lighting control system is now expanding with the introduction of the Submaster and Playback Wings along with the rack-mount Playback Controller. Designed for use in theatrical, house of worship, and themed entertainment productions, the expanded NEO lighting control system can help you realise the full potential of your lighting designs quickly and intelligently. The NEO Submaster Wing adds 20 non-motorised faders in a 2 x 10 configuration, and the Playback Wing adds 10 motorised faders and five multi-function faders. Each NEO wing has five colour screens that identify the Submasters or Playback’s identities, plus each also has left and right side page up/down buttons for additional control. Both wings also allow for USB connectivity to a NEO lighting control console as well as USB communication daisy chaining between each wing. A total of three wings may be connected to a NEO console and power input and output connections on each wing (power daisy chain) can be powered via the console or an optional power supply. Additionally, the NEO Playback Wing adds an extraordinary new feature called Group Masters which allows the use of Groups to be automatically assigned to each Playback Fader. Once assigned, it becomes unnecessary to use Command Line Operation to adjust the level of the Group; and as the first console to remember ‘how’ a cue was written, Group Master levels are remembered during playback making it much easier to edit cues. The NEO Playback Controller is a rack-mount device designed to store and run preprogrammed shows using the powerful NEO lighting control operating system software. The Playback Controller can sit on a LAN or operate independently with the ability to control up to 100 universes of DMX. The touchscreen interface has multiple tabs to view, playback and configure the controller with unlimited cues, cue lists, groups, palettes, effects, and macros. Along with its ability to control timed events with sunrise/sunset, the Playback Controller also offers pixel mapping, magic sheet layouts, blind pre-visualisation and much more. www.strandlighting.com
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HIGH OUTPUT FOR LONG THROW
SOUND THAT GOES THE DISTANCE NEXO loudspeakers deliver the high output levels necessary for long-throw applications. GEO S12-ST cabinets combine high SPL with a smooth frequency response, enhanced speech intelligibility and focussed dispersion to give system designers the performance and flexibility they need to achieve perfect crowd coverage throughout any venue. No wonder NEXO scores big in stadium and arena environments.
www.nexo.fr
Thinking. Inside the box.
#41873 - Throw ad - Mondo.indd 1
SJLighting.net
(818) 874-9779
04/08/2015 11:31
info@sjlighting.net
sjlightinginc
@sjlighting
@sjlightinginc
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1. Tannoy CMS & CVS Retrofit Adapter Kits Tannoy has introduced new CMS & CVS Retrofit Adapter Kits that enable fast, secure installation of Tannoy ceiling loudspeakers inside existing back-cans from third party manufacturers or, in other scenarios, utilising existing ceiling cutouts that were sized for other loudspeakers. By using the Retrofit Kits, installation contractors can upgrade to the premium quality sound of Tannoy while minimising additional installation time and costs. Using the Adapter Kits, Tannoy CMS 5, CMS 6, CVS 4 & CVS 6 can be installed in a number of different back-cans made by Atlas and Lowell. A list showing compatible TANNOY models and third-party back-can part numbers is available on the Tannoy website. Additionally, the Adapter Kits will allow installation of key models in ceiling holes originally sized for Atlas and Lowell ceiling loudspeakers. www.tannoypro.com
60° vertical dispersion converging elliptical waveguide. Output power for the NuQ102AN is provided by means of an efficient and lightweight Klark Teknik 600-W Class-D power amplifier. A sophisticated, but easy-to-use Klark Teknik digital signal processor (DSP) provides dynamic EQ for impressive full range response at low volume levels and transparent limiting for clarity at high output levels and for long-term reliability. On the rear panel of the amplifier module, the user interface’s LCD display and single rotary encoder provide intuitive access to: position compensation, user EQ control, subwoofer integration and signal routing features. In addition to the balanced XLR input, an XLR output is provided for daisy-chaining more active loudspeakers or for use with active subwoofers. ULTRANET connectivity is provided by two locking etherCON connectors. Up to 16 independent channels of 24-bit digital audio and control data are transmitted via a single CAT5 cable between compatible digital devices - including mixers, I/O stage boxes, powered loudspeakers and personal monitoring systems. www.turbosound.com
4. Verlinde SR25
2. Tasker T21AR, T22AR, T23AR, C114AR, C128AR, TSK1038AR, RG59AR & TSK1078AR Tasker has recently created a new range of cables - housed in a steel shield - suitable for outdoor and underground applications. For fixed installation applications, Tasker have introduced the T21AR, T22AR and T23AR with nominal sections of 16, 14 and 12 AWG respectively. The audio cables - C114AR and C128AR - feature a red copper or tinned copper braid and nominal sections of 2 x 0.25 sq mm and 2 x 0.35 sq mm, respectively. Tasker’s TSK1038AR digital cable comprises a nominal section of 2 x 0.35 sq mm and is specifically for DMX applications. And finally for video applications, Tasker has developed the RG59AR analogue cable and the TSK1078AR digital HD-SDI cable. www.tasker.it
3. Turbosound NuQ102-AN Loudspeaker The two-way full range NuQ102-AN is a 600W 10-inch powered loudspeaker system that is ideally suited for a wide range of portable and fixed installation speech and music sound reinforcement applications. Designed to work individually without a controller, the NuQ102-AN provides optimal performance for FOH, side-fill and delay line loudspeakers, and is an exceptional choice for wedge monitoring applications. It also offers the flexibility to accommodate venue-specific requirements for install applications. The loudspeaker features a 10-inch low frequency driver with a low pass voice coil for improved transient response and an aluminium dome one-inch neodymium high frequency compression driver, which is mounted on a rotatable 100° horizontal by
With its single fall lifting capacity of 2.5 tonnes, Stagemaker SR25 is especially useful for lifting grids, large stage towers and heavy-duty scenery equipment. Stagemaker SR25 hoists are alone on the market to be fitted as standard with a double brake system and they also incorporate CHAINFlux special chain guide, Perfect Push patented hoist load wheel and protective rubber pads on the hook blocks. Stagemaker SR25 with double brake, 2,500kg with a single fall and is available with speeds of four-metre per minute or eight-metres per minute. Each model is marketed in an A or B version. The version A involves motors with direct voltage control and the version B motors with low voltage control. Its new ergonomic design, black in colour, enables it to fit in well with its environment especially with grid lighting systems. The rated load with one chainfall enables this hoist to be marketed as D8+ 1,250kg. Stagemaker SR 25 is fitted with bestin-class safety features to comply with current standards and regulations. It is delivered as standard equipped with a double hoist brake thus providing direct D8+ compatibility. What is more, it includes a new and unique hoist load wheel concept in the Stagemaker SR range that involves a chain drive using intermediary teeth, marketed as ‘Perfect Push’, together with the CHAINFlux MKII chain guide system. With the new torque limiter the positioning of the clutch system in the gearbox ensures the brake, whatever securely holds the load the operating conditions of the equipment. Electric limit switches as standard equipment on the version B ensure operator safety in maximum upper and lower positions of the hook. The field of application for Stagemaker SR is widened still further with the SR25 to adequately meet the needs for a range of operations: SR1 for loads up to 250kg, SR2 to 320kg, SR5 to 500kg, SR10 to 1,000kg, and lastly SR25 to 2,500kg with a single chainfall. www.stagemaker.com.
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Technology with Trust Pre-Owned - Tour Ready Professional Audio and Lighting
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ALBERT & BERENICE CHAUVET
“We’ve come a long way since our modest beginnings, but are not resting on our laurels.”
Founders of Chauvet
Chauvet celebrates its 25th anniversary this year, tell our readers how it all began? Berenice Chauvet: We were newlyweds and Albert was working for a large company, but he really wanted to have a business of his own. I encouraged him to do that, so he started a small business selling rope lighting. Albert Chauvet: Eventually though, things picked up. We started selling DJ lighting first as an OEM to other companies and then on our own under the Chauvet brand. It got to the point where we needed marketing since we were a branded company, so Berenice left her journalism career and used her communications background to help the lighting company grow. By that point, we felt confident that the business had passed the start-up phase. How do you plan to mark the occasion? AC: We want to spend more time looking at where we’re going than what we’ve done. We recently opened our first office in continental Europe, setting up a facility in Belgium. We also recently expanded our headquarters in Florida and opened new facilities in Los Angeles
and Mexico so we’re poised for more growth than ever. We’re also too busy focusing on new technologies to look back too much on the past. Of course we’re proud of what we’ve accomplished, but our goal is to remain humble, hardworking and innovative. BC: Unlike Albert, I planned to make a big splash and a lot of noise but never found the time. This company runs at full speed and we’re focused 24/7 on managing growth. Aside from interviews with the press and milestone awards collected here and there from industry organisations, we have yet to celebrate our 25 years. We haven’t even gotten around to producing the special commemorative logo we envisioned back in December of last year. We do take this milestone as an opportunity to re-think and think ahead. We’ve come a long way since our modest beginnings, but are not resting on our laurels. What were your aspirations for the company when it first started out and how have those aspirations evolved to the present day? BC: That’s a good question, because it gets to the heart of our company and its culture, which hasn’t changed from the www.mondodr.com
• Above Albert & Berenice Chauvet.
beginning. Our company has certainly grown and changed, but our aspirations remain the same. We’ve always been committed to putting a lot of thought into every product we sell so each one serves a very specific niche. That purpose stems from our commitment to make quality performance and advanced technology accessible to all customers, including those who don’t have a lot of money to spend. Albert and I are believers in talent and hard work; so in our view it shouldn’t be the size of your pocket that determines how far you go. We are a lighting democracy. We make good tools available to all levels of the market. You’re well-known as a husband and wife duo in the lighting world, but what roles do you assume in the dayto-day running of the company? BC: Albert is the visionary who leads our product development and I am the marketer who tells the story about our company and its products. Of course, we are both supported in our efforts by excellent teams. AC: We are also each other’s number one advisors.
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Live productions, theaters and clubs
Top-of-the-line system Quick setup
Picking up the ‘Best Large Booth’ award at LDI 2011
Auto configuration Digital acoustic steering Weather resistant
S.A.T.
SlimArrayTechnology SlimArrayTechnology T Technology S.A.T.
k-array.com
Can you pick a pivotal moment in the history of the company that you feel put Chauvet on the international lighting map? BC: There are always many key moments in any history, but if I had to pick one it would be in 2006 when we introduced the COLORado 3, our first professional LED fixture. This turned heads and put us on the map. There were a lot of questions about the suitability of LEDs for production applications at the time, but we earned a lot of respect and attention by proving it could be done. A short time later, some of the world’s top designers specified the COLORados on tours, which propelled us even further. This spurred us on to develop other breakthrough LED products like the Nexus panels, which went on to win a Parnelli Award and have become a staple at major television shows around the world. Geographically, what would you describe as your strongest market? Is there any part of the world in which you would like to have a larger influence? BC: Naturally we’re extremely strong in the USA, but we’re known all over the world. Lighting knows no boundaries. We never built this as a US company - we saw it as global from day one.
We’re both proud to be US citizens, but we were both born in Haiti, and have lived in other countries in Europe so we have a global perspective. At this point, we are focusing a lot of attention on Germany and are looking for reps who can help us grow in this important market. How do you continue to push the company forward in the competitive lighting market? AC: As I said we’ll continue to remain humble, hardworking and focused on new technology. We listen to our customers and work closely with our suppliers to bring new technology to market at a competitive price. This has always been at the heart of our success. In the early 2000s we saw the potential of LED fixtures to revolutionise our industry, but the products available at that time weren’t bright enough, so we worked with our suppliers to overcome these and other challenges. What do you think is the secret to the success you have achieved? AC: There is no secret, it’s really a matter of being thoughtful and hard working. Bringing new technology to market is never easy. I mentioned overcoming brightness issues with LEDs. We also had to work long and hard to bring the
ESD5 NEW ADDITION TO ESD FAMILY •
Internal multi touch screen
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Colour picking, mixing & image capture
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Multiple filter libraries, and Mood Boards by LEE Filters
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RGB, CMY and HSV control
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Built-in fixture library
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241 playbacks
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2048 freely assignable channels
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User Definable Keys
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Quiet, fanless operation
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USB Wings available
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Optional external touch screen
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!
The ESD Range Time Aligned Passive Speakers
www.kv2audio.com
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Nexus to the market. It went through 72 different prototypes before we hit the sweet spot. We work closely with our manufacturing partners to develop them and we have a team of 15 product managers and engineers in the USA and the UK dedicated to perfecting our technology.
What are your predictions for the future of the lighting industry? AC: I wish we had a crystal ball. I think the industry is healthy and will grow, because lighting plays such an important and expanding role in so many parts of life from entertainment to retail to architecture to houses of worship.
Tell us something our readers wouldn’t know about Chauvet? BC: Our competitive spirit does not stop at lighting. We’re a company made up of active people who have excelled at sports with a very competitive softball team in the US and a championship football team in the UK made up of Chauvet employees. Our sales director in the US Grant Goodson is participating in the Ironman Avenger. We’re also proud to say that we and our employees are very active in charitable activities from helping the homeless to building homes in Haiti.
Do you anticipate any emerging technologies on the horizon? AC: I think LED fixtures will continue to be used in a wider variety of applications. There will also probably be more varied ways of controlling lighting. When you’re not working, what do you like to do with your time? BC: I practice yoga regularly. I enjoy cooking and crossword puzzles. I have to do a crossword puzzle every night - it takes my mind off everything. AC: I do yoga too. It’s an activity we share. I also love going out on my boat www.mondodr.com
• Top The Chauvet team. • Above Parlor Live Comedy Club in Seattle, which uses Chauvet and Iluminarc fixtures.
and watching football. Where is your favourite holiday destination? AC: It’s a tie between Paris and the mountains of Haiti. We are not really holiday people so other than business trips we don’t do a lot of travelling. BC: My favourite holiday destination is home! If you had to survive with only three possessions in life, what would they be and why? BC: A jar of honey because it never goes bad, a battery powered Chauvet Professional Well light to beautify my surroundings and photos of my two children. AC: Assuming I had food and shelter it would be a boat to help me relax, a TV so I could stay up-to-date on things and watch sports; and my jogging shoes to stay fit.
graphics: Vilfredo Maria Ricci - © 2015 Studio Due
LESS is
MORE minimum space maximum performance is the most powerful and efficient LED lighting fixture you can find within the single head category. Using 60 high powerful LEDs RGBW/FC combined with an effective fan system, the key feature of the product is the incredible performance of the optics. The innovative optic system generates a rectanlungar and uniform light projection. The product is suitable for applications where a tremendous light output is required.
LESS
less power consumption less dimension less warming less weight less waste MORE
more performance of the optics more rating protection more light power more efficiency more reliability
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Headquarters: STUDIO DUE light s.r.l. 01100 Viterbo (Italy) t. +39.0761.352520 • f. +39.07 352653 e mail: info@studiodue.com follow us
• STUDIO DUE UK (England) • STUDIO DUE Far East LTD (Hong Kong)
www.studiodue.com
THE SHAPE OF THINGS TO COME
Combining the ‘single point-source’ benefits of Coaxial designs with the consistent coverage of Differential Dispersion technology, the CDD installation series delivers perfect sound to every member of the audience. Oh, and there’s a model and sub for every requirement too.
Visit martin-audio.com to discover more
Unite Your Audience The Martin Audio Experience
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A configurable professional power amplifier delivering concert quality sound.
POWERMATCH CONFIGURABLE POWER AMPLIFIERS ®
Boston Opera House chose PowerMatch Configurable Power Amplifiers to support the RoomMatch system, and achieved clear, even coverage all the way to the balcony. PowerMatch is a line of versatile multichannel power amplifiers with outstanding audio quality, configurability, efficiency and reliability. ®
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Designed to run continuously at full power with real programme material, PowerMatch leverages the total available power while tracking the power supply via a sophisticated dual voltage and current feedback loop. Advanced custom configuration options and digital networking cards make it possible to use the outstanding linearity and transient response in an endless range of configurations.
Combined as a system, the PeakBank™ power supply and Class-D amplifier make a highly efficient team. Thanks to careful component selection, thermodynamic modelling, and 20 years of experience in the design and manufacture of rugged, reliable Class-D amplifiers you could say that reliability is built into every PowerMatch amplifier model. ®
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With PowerMatch , the Boston Opera House now offers its patrons world-class sound during every performance. ®
Learn more at: www.bose.eu/pro
Award-winning sound. Small-format loudspeakers.
ROOMMATCH UTILITY SMALL-FORMAT FOREGROUND/ FILL LOUDSPEAKERS ®
Bose RoomMatch Utility small-format foreground/ fill loudspeakers bring the award-winning sound of RoomMatch arrays to smaller, 2-way, point-source designs. Using the same Bose EMB2 compression driver as the larger arrays, the RoomMatch Utility loudspeakers deliver distortion-reduction and consis tent mid/high sonic character. They were engineered for high-quality foreground music, underbalcony, zone-fill and vocal-range floor monitor applications. All models feature high-quality plywood construction and premium design aesthetics, so they’ll fit into almost any environment. The loudspeakers install easily with either horizontal or vertical mounting. ®
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Learn more at: www.bose.eu/pro