mondo*dr 26.4

MAY / JUNE 2016 | 26.4

THE INTERNATIONAL PUBLICATION FOR TECHNOLOGY IN ENTERTAINMENT

TJ SMITH

The new EAW President and GM talks pastures old and new.

SPORTING VENUES

The latest installations in sports hubs around the world

MAY / JUNE 2016

PROJECTORS & MEDIA SERVERS

A round-up of visual technology

THE INTERNATIONAL PUBLICATION FOR TECHNOLOGY IN ENTERTAINMENT EUROPE & AMERICAS EDITION

THE BEST SOUND, ALL AROUND

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7 LEADER

Big thinking

MONDO*DR 26.4 MAY / JUNE 2016

for smaller boxes Game-changing innovations in coaxial speaker design ON THE COVER Parc Olympique Lyonnais Photo: Charlotte Busschaert GENERAL MANAGER Justin Gawne j.gawne@mondiale.co.uk EDITOR Rachael Rogerson-Thorley r.rogerson-thorley@mondiale.co.uk ASSISTANT EDITOR Sam Hughes s.hughes@mondiale.co.uk SENIOR ACCOUNT MANAGER Jamie Dixon j.dixon@mondiale.co.uk ACCOUNT MANAGER Laura Iles l.iles@mondiale.co.uk INTERN Will Kirkman 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

Official figures from Prolight+Sound in Frankfurt say the show set exhibitor and visitors records this year, with numbers reaching around 940 and 45,000, respectively. However, in my opinion, out on the show floor, the success vibe wasn’t quite so unanimous. All the changes definitely had an impact. The most obvious from our perspective was stand locations. While the majority of related exhibitors were positioned together - for example, audio manufacturers in Hall 3 - there were some that were located elsewhere, which didn’t work for either exhibitor or visitor. In previous years, the halls have been streamlined well and I think the show would benefit from reintroducing that concept. I also wasn’t a fan of the split levels, the show didn’t seem to flow as well as usual, but I realise this is a building design issue rather than the fault of the organisers. Don’t get me wrong, there was definitely an air of success with many companies reporting a positive outcome from the show, but there is also room for improvements next year.

Read our full report including all the product launches, which starts on page 116.

In other news, just before our print deadline, I had the pleasure of jumping onboard Royal Caribbean cruise liner, Ovation of the Seas, the company’s latest vessel to take to the water, for what I deemed to be a once in a life-time opportunity. With a guided tour from Christopher Vlassopulos, the ship’s Entertainment Technology Director, I got an insight into the cruise ship world and the sheer amount of technology that is integrated into every corner of the ship… seriously unbelievable.

Christopher, a ‘tech geek’ - by his own admission - clearly has a passion for the job and that certainly makes site visits and indeed the story, all the more exciting. You’ll be able to read our write-up of Ovation of the Seas - a project undertaken by system integrator, ASC - in the next issue. However, you do get a sneaky preview, in the form of my leader photo!

The experience has made me sure of one thing though - taking a holiday on a cruise ship has never really appealed to me, but since my visit to the Southampton docks, I’d definitely be willing to give it a go.

RACHAEL ROGERSON-THORLEY EDITOR

At Celestion, we’re always looking to find innovative solutions to the challenges faced by PA manufacturers. That’s why more and more forward-thinking brands are choosing to work with us.

Take our coaxial drivers for example: unlike conventional designs, our FTX range uses a cutting-edge common magnet motor design to deliver big improvements in signal coherence and time alignment for a more natural sound from a very compact and lightweight speaker.

Visit our website or contact us now to find out more about our innovative PA driver solutions.

celestion.com Find out more

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#42343 - Coax Ad V2 third vertical - Mondo.indd 1

19/04/2016 15:14

Real-time media network

MEDIORNET

Network based intercom application

Digital wireless intercom

FORMAT

ACROBAT

FOR ANY

TANGO TNG-200

NETWORKS

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9 CONT ENTS

CONTENTS 12 IN DISCUSSION

22

14 INSIDE VIEW 16 THE MONDO*DR AWARDS

TJ SMITH From his beginnings looking after the sound at his local family church, right through to his exciting role at EAW, we spoke to TJ about his career so far.

IN DEPTH 22 INTERVIEW TJ Smith - EAW 30 REPORT Sporting Venues

IN FOCUS

62 ZERO GRAVITY The exciting, new beach club, bar, restaurant, pool and large-scale event space underwent a technical overhaul by Delta Solutions.

60 THE OCEANOGRAPHIC Valencia 62 ZERO GRAVITY Dubai 70 PARC OLYMPIQUE LYONNAIS Lyon 78 RSNO CENTRE Glasgow 84 GAMLA RIKSARKIVET Stockholm 86 NIKETOWN New York City 88 OMNIA San Diego 96 BAMPFA California

88

100 LIV Cebu 102 BEAM Bangkok

OMNIA In a bid to expand the OMNIA experience to San Diego, Audiotek recreated the impressive Las Vegas venue on a smaller scale - though, nothing but the best would do.

IN BUSINESS 112 PROLIGHT+SOUND / THE GET SHOW Guangzhou 116 PROLIGHT+SOUND Frankfurt 142 FACILITY OPENING Prolyte

102 BEAM Most Technical were tasked with creating a big audiovisual component for this venue, all while maintaining a minimal design.

www.mondodr.com

146 PRODUCT LAUNCH Focusrite 150 IN DETAIL Audio-Technica, Funktion-One, Celestion, 156 PRODUCT GUIDE Media Servers & Projectors 170 PRODUCT DIRECTORY 178 LAST PAGE INTERVIEW Gerben van den Berg, Barco

FRANÇAIS

Les chiffres officiels du Prolight + Sound de Francfort montrent que le salon a atteint un nouveau record de participation cette année, avec quelque 940 exposants et 45 000 visiteurs. À mon avis cependant, le climat de réussite ne flottait pas dans les allées du salon — certainement à cause de tous les changements. Le plus évident de notre point de vue était l’emplacement des stands. Alors que la majorité des exposants de même catégorie étaient regroupés — par exemple, les fabricants audio au Hall 3 —, certains exposants étaient installés ailleurs, ce qui n’était pas logique ni pour les exposants ni pour les visiteurs. Les années précédentes, les halls avaient été bien organisés et je pense que le salon gagnerait à réintroduire ce concept. Je n’ai pas vraiment apprécié les plans répartis sur plusieurs niveaux parce que le salon semblait moins fluide qu’à l’habitude, mais je suis bien consciente que ceci relève d’un problème de conception du bâtiment plutôt que d’une erreur de la part des organisateurs. Néanmois, ne vous méprenez pas, car l’on ressentait définitivement beaucoup d’enthousiasme et de nombreuses entreprises ont déclaré de bons résultats en fin de salon, mais l’on pourrait définitivement apporter des améliorations l’année prochaine. Lisez notre rapport complet de tous les lancements de produits dans la section « In Business ».

DEUTSCH

Offizielle Statistiken zur Prolight+Sound in Frankfurt besagen, dass die Messe dieses Jahre Aussteller- und Besucherrekorde mit Zahlen von 940 beziehungsweise 45.000 gebrochen hat. Jedoch war meiner Meinung nach der Erfolg vor Ort nicht ganz so einhellig. Alle Veränderungen hatten auf jeden Fall Auswirkungen.

Die offensichtlichste war aus unserer Perspektive der Standort. Während die meisten der gleichgesinnten Aussteller zusammen platziert waren – zum Beispiel Audio-Hersteller in Halle 3 – gab es einige, die sich woanders wiederfanden und dies funktionierte weder für Aussteller noch für Besucher. In den letzten Jahren waren die Hallen gut optimiert und ich glaube, die Messe täte sich gut daran, dieses Konzept wieder einzuführen. Ich war auch kein Fan von den aufgesplitteten Levels, der Messe fehlte es an dem gewöhnlichen Fluss, doch stelle ich fest, dass dies eher ein Problem in Bezug auf das Gebäudedesign als ein organisatorischer Fehler ist. Verstehen Sie mich nicht falsch, es gab viel Positives für zahlreiche Unternehmen, die gute Ergebnisse der Messe melden, doch verbleibt Raum fü r Verbesseru ngen nächstes Jahr.

Lesen Sie unseren kompletten Bericht einschließlich aller Produkteinführungen i n u nserem I n Bu si ness Absch nitt .

I dati ufficiali della Prolight + Sound di Francoforte dicono che quest’anno c’è stato un record di espositori e visitatori, con numeri che raggiungono rispettivamente i 940 ed i 45.000. Tuttavia, a mio parere, sul piano dello spettacolo, la percezione di questo successo non era poi così unanime.

Tutti i cambiamenti hanno certamente avuto un impatto. Quello più evidente, dal nostro punto di vista, è stato la posizione degli stand. Mentre la maggior parte degli espositori dello stesso settore sono stati posizionati insieme, per esempio i produttori audio nella sala 3, ci sono stati alcuni che sono stati situati altrove ed ai quali non è andata poi così bene. Negli anni precedenti, le sale sono state ottimizzate bene e penso che la fiera ne avrebbe beneficiato se avessero reintrodotto quella stessa idea.

Anche io non ero una fan dei piani divisi e il tutto non sembrava scorrere come al solito, ma mi rendo conto che questo è un problema della progettazione dell’edificio piuttosto che colpa degli organizzatori. Non fraintendetemi, è stato sicuramente bello con molte aziende che hanno contribuito al forte risultato dello show, ma c’è spazio anche per apportare dei miglioramenti il prossimo anno. Leggete la nostra recensione completa, compreso il lancio di tutti i prodotti, nella nostra sezione In Business.

ITALIANO

ESPAÑOL

DiGiCo 65 & 167 Digital Projection 125 Doughty 135 Duratruss 135 113 Eagle Stage Equipment EAW 153 Elation 67 Electro-Voice 127 Equipson 145 FBT 179 129 Fenix Stage Fine Art 5 Focusrite 145 Fohhn Audio 13 Full Fat Audio 165 Funktion One 123 Genelec 51 Global Truss 107 GLP 143 Green Hippo 147 Haze Base 129 Hoist 135 Infocomm 58 K-array 83

KINETIC LIGHTS system 20 Kling & Freitag 45 KV2 155 L-Acoustics 2 Laser Animation 169 Lawo 25 Lighting & Sound Distribution 149 Look Solutions 89 LPS 163 LSC 151 Lynx Pro Audio 143 Madrix 129 BC Martin Audio MBN 45 & 47 MEGA Systems 49 Meyer Sound 11 Milos 33 & 139 Music & Lights 35 & 171 Nexo 149 NEXT-proaudio 109 One Systems 47 77 Pioneer DJ Europe PixelFLEX 161 Powersoft 73 & 141

PR-Lighting 93 Prolyte 43 & 141 Renkus-Heinz 147 RGB Link 161 Riedel 8 Robe 53 17 Rosco SALZBRENNER media 39 Sommer Cable 103 Spotlight 121 Starway 41 Steinigke 63 & 177 Studio Due 173 Sunlite 10 Tech Team 4 TTA Singapore 110 Turbosound 173 TW Audio 137 VMB 151 Wireless Solution 3 XTA 50 YODN Lighting 4

Figuras oficiales de Prolight+Sound en Frankfurt dicen que la muestra batió records de exhibidores y visitantes este año, con cifras que alcanzan los 940 y 45.000 respectivamente. No obstante, en mi opinión, el ambiente del éxito no fue tan unánime en todo el piso de la muestra.

Todos los cambios definitivamente tuvieron un impacto. El más obvio desde nuestra perspectiva fue la ubicación de los stands.

Mientras que la mayoría de los exhibidores del mismo tipo estaban ubicados juntos -por ejemplo, los fabricantes de audio en el hall 3- había algunos que estaban ubicados en otros lugares, lo cual no funcionó ni para los exhibidores ni para los visitantes. En años anteriores, los salones habían estado bien diseñados y creo que la muestra se beneficiaría al reintroducir ese concepto. Tampoco soy fanática de los niveles divididos, la muestra no parecía fluir como de costumbre, pero me di cuenta de que se trata más de un tema de diseño de edificio que de una falla de los organizadores. No me mal interpreten, definitivamente había mucho positivismo alrededor con muchas empresas informando sólidos resultados de la muestra, pero aún existen cosas que mejorar el próximo año. Lean nuestro informe completo que incluye todos los lanzamientos de productos en nuestra sección In Business.

Advertising Index Absen 73 Adam Hall 105 Adamson 131 ADJ 81 Allen & Heath 29 Antari 95 ArKaos 27 Audio-Technica 119 Audiocenter 37, 76 & 106 AUDIOFOCUS 115 Audiotek 91 Audix 159 Avid 15 Camco 69 Celestion 7 Chauvet 75 Chroma-Q 99 Chromateq 175 Clear-Com 155 Coda 125 d&b audiotechnik 157 D.A.S. Audio 133 d3 40 Daslight 6

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BELIEVE IT FROM ED SHEERAN TO ARIANA GRANDE TO METALLICA – TOP TOURS ARE PROVING THE POWER OF THE LEO FAMILY.

The LEO Family provides power and clarity for nearly every application, from intimate performance spaces to the world’s largest outdoor festivals. LEOPARD, the smallest in the family, is gaining a following for being the most lightweight and versatile line array in its class. It’s no wonder top tours around the world trust the LEO Family for a flawless performance, night after night.

Learn more at meyersound.com/believeit

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

Close Date

PUBLISTING Mondo May/June 2016 Issue Creative: Believe It - Artists

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

04/29/16

Revision #

12 IN DISCUSSION

THE SOURCE FOUR: NEARLY 25 YEARS AND STILL GOING STRONG Steve Terry, ETC’s Vice President of Research and Development, explains why the Source Four has remained at the forefront of the industry for more than two decades.

Source Four is the most popular brand of lighting fixtures in the industry, with more than 3.5 million units sold since the tungsten model was first introduced at the LDI tradeshow in 1992. In a world of fastchanging trends and frequent product replacement, Source Four fixtures have remained the go-to tool for designers, for several reasons.

Part of the staying power of the Source Four brand has to do with the state of market at the time of its introduction.

There were two main segments to the industry; the rental / Broadway market and permanent installations. Rental houses and touring shows wanted rugged, simple and easy-to-maintain quartzoid profile spotlights. Back then, the Altman 360Q sold for around $119 and was the most widely utilised. The 360Q was rated up to 750W, but users routinely installed a 1,000W FEL lamp. That meant that it required a lot of maintenance, because the heat would eat through gels, reflectors and shutters, leading to constant replacements.

Performing arts centres, schools and other permanent installation venues needed a high-performing, specificationgrade ellipsoidal spotlight. Strand and Berkey Colortran produced those types of fixtures, but their $300+ price tag was expensive.

That created the perfect conditions for the Source Four fixture to take over the market. It could produce the same output as a 1,000W fixture, using just a 575W lamp. Its smaller size meant it could fit into many different hanging positions.

The Source Four fixture’s cold-mirror reflector reduced the amount of heat going through gels and gobos, which extended their life, as well as focusing less heat on a performance space. The rotating barrel solved the problem of shutters, because it could be oriented to meet any shutter-cut requirement without the fixture needing rehanging. It was brighter and looked brighter, because, even in

• Above The Source Four.

North America, it didn’t use a 120V lamp, but rather a 115V lamp to compensate for the voltage drop produced by dimmers and long cables. The result was a fixture operating at full brightness, even when plugged into a dimmer and a long cable run.

With the higher performance of the Source Four fixture and the number of features it offered, it very easily could have been priced high. However, David Cunningham, the inventor, wanted it to compete with the $119 Altman units.

After volume discounts were applied, the Source Four could be purchased for $145 to $150.

The Source Four’s ‘sweet-spot’ pricing and features created a feeding frenzy. I remember that, at Production Arts, we placed one of the first orders, which was for a huge 5,000 units. Eventually, the Altman fixtures were being sold off on the used-product market and the Source Four took over both the rental and permanentinstall markets.

To understand why the Source Four fixture is still so popular 25 years later, you have to appreciate the huge leap it made in 1992. The HPL lamp is the heart

www.mondodr.com

of the fixture, which is now twice as efficient as what was on the market at that time. In terms of quality and cost-perlumen, the Source Four was an incredible achievement. It would have been hard to make another leap-and-bound improvement to it over time, because it was already so far ahead of any other ellipsoidal spotlight.

A lot of discount manufacturers have tried to copy the design of the Source Four, but while they might be able to mimic its physical size, layout and a few features, they had difficulty reproducing its dichroic cold mirror or optics preventing their fixtures from matching the performance of the Source Four. Also, the Source Four fixture had many patents protecting it, which created a disincentive for ‘clone’ manufacturers.

The Source Four has cemented itself as an understandable tool for technicians and designers. The variety and types of Source Four fixtures, and the addition of the EDLT (Enhanced Definition Lens Tube) - which makes projections even crisper have just reinforced that idea.

Despite recent trends, LEDs have not eclipsed the Source Four brand. Other manufacturers rushed to create LED spotlights with a Source Four body, but didn’t succeed in quality. When ETC came out with the Source Four LED luminaire, its superior seven-colour light engine, advanced optics, and familiar operation made it a worthy tool in the eyes of the market.

As energy requirements change and new lighting philosophies emerge, ETC will continue to move the Source Four brand forward. We will remain dedicated to developing useful, trustworthy tools that preserve the quality of light - and any new fixtures that will be added to the family will have to meet the highest standards to be deserving of the Source Four name.

The opinions expressed in this article are the opinions of the author and not necessarily of mondo*dr magazine.

Imagine if the line source LINEA-SERIES’ LX, LEN and FOCUS speakers were available, not only in any RAL colour and gloss level, but skilfully printed with photorealistic textures? Mastering disguise in almost any environment, whether carbon, wood, concrete or marble – whatever? Behold nothing but perfectly evolved room integration: TEXTURE DESIGN, NEW AND EXCLUSIVELY BY FOHHN. www.fohhn.com

Hearing does not have to be seen.

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14 INSIDE VIEW

Blush Blush, based in Eindhoven, is a club Pioneer Pro Audio worked on in a bid to improve the overall sound quality. With R‘n’B and hip-hop club nights the main feature of Blush, the audio install had to match. Alex Barrand, Manager of Pioneer Professional Audio discussed when deciding on the system to use: “With the R‘n’B and hip-hop vibe, we had to lay a totally different tuning for Blush. It featured five XY-122’s, two XY-101’s and two XY-118 subwoofers, two K3’s and one K2.”

With everything completed in February 2016, the new sound system can be considered a success.

“The club owner wanted a specific sound, which was ideal for showing our flexibility,” added Alex.

“We’ve shown what we can do with our boxes they’re not simply for dance music.”

PIONEER PRO AUDIO Pioneer was founded in 1938 as a speaker manufacturer and has been focussed on high quality sound ever since. Pioneer consumer speakers and sub-brand TAD Labs’ professional systems have delivered clear, powerful sound reproduction to generations of music lovers, theatre-goers and producers all over the world. Pioneer DJ professional equipment has long been the lifeblood of DJ booths in Ibiza and around the world. It was an easy decision to combine Pioneer’s sound reproduction heritage with Pioneer DJ’s unrivalled expertise in the dance music industry, to create an exceptional 360º club solution. This flagship club speaker system reproduces a sensory bass and low to mid-range that delivers a tight kick, balanced with a crystal clear high frequency response and wide dispersion. The result is the ultimate club speaker system producing powerful and warm sound that immerses without overwhelming the senses. www.pioneerproaudio.com

Magdalena Based in Berlin, Magdalena opened its doors in February 2016 after an audio revamp. As a venue for upbeat electronic dance music, the in-house team wanted a sound system that fit perfectly, as Alex explained: “In this club, we have one of the largest systems we’ve installed - there’s eight of the GS-WAVE stacks, which consists of 12 GS-WAVE subwoofers, 10 GS-WAVE lenses, 16 GS-WAVE lows, eight GS-WAVE horn extensions and eight GS-WAVE tweeter pods.” With facilities described as “honest and raw”, Magdalena is one of Berlin’s go-to venues. “You’re completely surrounded, which gives the most incredible sound,” added Alex.

CLUB EXO Just outside Antwerp in Belgium is Club Exo, an exclusive venue that offers a stylish, high-end interior, showing a real eye for detail. The club owners decided that their existing sound system needed to be significantly upgraded, so Pioneer Professional Audio made a proposal to improve the sound - though, the specific design of Club Exo had to be taken into careful consideration. Alex explained: “In the venue, we installed some of our white boxes to fit in with the club’s design. We installed six XY-122s, two XY-101s, two XY-218 subwoofers and two XY-115 subwoofers.” The feedback since the install, which was completed in January 2016, has been hugely positive, highlighting the difference made by the new sound system. “It’s been really good,” added Alex. “It’s been a refreshing change for the venue owner to have people commenting on the quality of sound.”

www.mondodr.com

16 MONDO*DR AWARDS

The mondo*dr Awards 2016 is a new online platform to recognise the best installations in our industry from around the globe.

www.mondodrawards.com JUDGING PANEL TO INCLUDE:

www.mondodr.com

18 EX P O DIARY

20-21 JULY www.tourismtechnologyasia.com

24-27 MAY www.kobashow.com

22-23 JUNE www.abtt.org.uk

11-13 AUGUST www.globallinkmp.com 20-22 JULY www.avlmthailand.com

8-10 JUNE www.infocommshow.org

KOBA SEOUL, KOREA

INFOCOMM SAO PAULO, BRAZIL

INFOCOMM ORLANDO, USA

PALM EXPO INDIA MUMBAI, INDIA

ABTT LONDON, UK

INDIAN DJ EXPO NEW DELHI, INDIA

28-30 MAY www.palmexpo.in

TOURISM & TECHNOLOGY SINGAPORE

LIVE ENTERTAINMENT & EVENT EXPO TOKYO, JAPAN

AVL+M BANGKOK, THAILAND

INTEGRATE SYDNEY, AUSTRALIA

6 -8 JULY www.live-event.jp 30 JUNE-2 JULY www.indiandj.in

10 12 MAY www.infocomm.org

23-25 AUGUST www.integrate-expo.com

www.mondodr.com

PALMM MANILA, PHILIPPINES

PALM EXPO CHINA BEIJING, CHINA

1-4 SEPTEMBER www.palmexpo.com

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19 EX P O DIARY

8-13 SEPTEMBER www.ibc.org 21-23 OCTOBER www.ldishow.com 12-14 SEPTEMBER www.infocomm-india.com

16-17 NOVEMBER www.wfxweb.com 26-29 OCTOBER

www.prolightsound-shanghai.com

6-8 DECEMBER www.infocomm-mea.com

IBC AMSTERDAM, THE NETHERLANDS

INFOCOMM INDIA MUMBAI, INDIA

BPM / PRO PROLIGHT+SOUND BIRMINGHAM, MOSCOW, UK RUSSIA

PLASA LONDON, UK

LDI LAS VEGAS, USA

PROLIGHT+SOUND SHANGHAI CHINA

WFX NASHVILLE, USA

INFOCOMM COLOMBIA PROLIGHT+SOUND BOGOTA, MIDDLE EAST COLOMBIA DUBAI, UAE

INTERBEE TOKYO, JAPAN

INFOCOMM MEA DUBAI, UAE

JTSE PARIS, FRANCE,

11-13 OCTOBER www.infocomm.org 15-17 SEPTEMBER www.prolight.messefrankfurt.ru

11-13 SEPTEMBER www.visitbpm.co.uk

31 OCTOBER - 2 NOVEMBER www.prolightsoundme.com

22-23 NOVEMBER www.jtse.fr

16-18 NOVEMBER www.inter-bee.com

18-20 SEPTEMBER www.plasashow.com

www.mondodr.com

IN DEPTH

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INTERVIEW TJ SMITH EAW

REPORT SPORTING VENUES

After spending his working life at corporate giant, Harman Professional, TJ Smith made the move to EAW, a company which continues to reinvent its leadership role within the audio industry. Having been President and General Manager for just a few short months, mondo*dr met up with TJ in the midst of a busy Prolight+Sound in Frankfurt to find out what made him take the leap into the unknown after almost 16 years.

24 INT ERVIEW

Raised with a strong work ethic, TJ was drawn into the work world at a young age. “Having showed a slight bit of interest and ability, the church that my family and I went to in Lorain, Ohio ended up paying me to look after the sound requirements,” he explained. “When I was 16, I also took an additional job as a radio DJ, which I thought was amazing. The other DJs were the same age as I am now.

They all had families and didn’t want to get up at 5am on Saturday mornings - it was great. I really enjoyed it.

“Throughout this time I was eager to learn. Whenever I could get my hands on a copy of Mix Magazine, a product brochure, or a Mackie In Your Face Mag, I would read it from cover to cover, gleaning everything I could.

By the age of 17, TJ had committed himself to professional audio, so when it came time to make a decision about higher education, he chose Electrical Engineering as it would allow him to continue working in the professional audio industry. “Not long after starting at Oral Roberts University, they offered me a full working scholarship. It involved a full-time job inside of the University’s Audio department at the Mabee Center a 10,000-seat arena - in addition to keep-

ing up with the engineering curriculum, but I felt privileged to do what I enjoyed and get a full ride in the process. It was a lot of work but I loved every minute of it.”

In addition to school, TJ expanded his audio education for two summers working with a small rental company from Nashville that did sound and lighting for Christian music festivals. “They were long days - working in the heat, sleeping on the bus, late night loading of trucks - but they were some of my favourite summers.

I was the low man on the totem pole back before anyone had digital consoles.

My job was to mechanically manage the patching between multiple acts and consoles. From time to time, I would get to mix a band if they turned up without a monitor or FOH engineer, but that was rare. It was mostly heavy lifting and making sure the right stuff was plugged into the right places,” he explained fondly.

“During those summers, I learned what it looked like to fly a PA, tune it, and pack it back in the truck which I consider valuable experience given the role I now occupy.”

Approaching graduation, TJ got lucky when his resume got passed to Crown.

He received an interview and was offered an Electrical Design Engineer position. www.mondodr.com

“The reason they hired me is actually kind of crazy,” he said. “The chairman of the engineering department at Oral Roberts was connected to NASA. They were looking for a passive way to stabilise satellites when they start wobbling around. We - the students - created this platform that floated on an air cushion so that a spinning space craft could be simulated in the lab. In order to make it spin, we added fans to the corners of the platform. It just so happens that the fan control hardware and software part of the project fell to me. Strangely enough, the project manager at Crown that hired me was looking for someone who would know how to control fans on an amplifier using software - and there I was.”

During his time at Crown - which began in 2000 - TJ got his MBA (Masters of Business Administration) and quickly advanced into the world of project management. Always on the lookout for a challenge, TJ walked into his boss’ office one day and asked about other opportunities within the company. “At first he kind of put me off saying there wasn’t anything going on. I persisted by noting that the CEO had been talking about growing the business in China. I remember saying something to the effect that,

• Above and Opposite Top TJ at EAW HQ in Boston.

25 INT ERVIEW

NETWORK. AUDIO. VIDEO. CONTROL. smart IP live production infrastructure.

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‘there must be something I can do with the stuff going on in China.’ Not long after, I was given the additional responsibility as Program Manager of Harman Professional’s Shenzhen Design Center.”

He continued: “I was responsible for creating a charter for the Design Centre.

This entailed working with all of the Harman Professional business units to figure out how it was going to work and how we were going to pay for it. During the process I remember sitting in my office one day and thinking ‘this is going to be really hard. I’m going to be travelling back and forth all the time’.” Cue the lightbulb moment… “What if I move to China?” TJ began putting the pieces together. His children were young; his wife wasn’t working - it could actually work.

He called his wife and said: “What would you think if I went into my boss’ office to tell him that we’re willing to move to China? Her first response was ‘for how long?’ and I said ‘Maybe six months, a year, 18 months at the most’ and she said ‘alright, I’m in!’” Six months later, the Smith family was in Shenzhen… for the next four years.

The first two years were difficult on a personal level, but TJ and family knew that adapting to life in China was not going

to be easy. From a business perspective, he showed up at a small office with only a finance person and HR person on board.

He quickly hired 16 engineers and soon after began the process of building the design centre brick by brick. If the China office was going to carry out project design, it would need Project Managers, an operations support infrastructure, sales and marketing staff - so, TJ put that in place as well. The office quickly grew from three to 40 and then the Harman Lifestyle Division turned up. At that point they moved into a larger facility to house the fully-fledged design centre that TJ had built from scratch. By the time he left China, over 200 Harman employees were working out of the Shenzhen Design Center.

The second half of TJ’s stint in China focussed on making Harman China a business in its own right. “My role was to create new go-to market channels to support growing segments, such as entertainment. This was immensely successful as we grew Harman’s business in these areas multiple fold year over year. I decided to leave China on a high note when offered a position in 2013 to lead Harman’s signal processing brands in Salt Lake City.”

The twitchy feet syndrome started to rear www.mondodr.com

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26 INT ERVIEW

• Above The LEA Awards 2016 which used EAW Anya and Otto.

its head again about two-and-a-half years later. With the acquisitions of Martin Professional and AMX, Harman was undergoing some reorganisation. Feeling he had achieved as much as he could within the group, he thought it was time to move on. “I had a great run at Harman and consider several members on the leadership team there as mentors and friends. It’s a great relationship and it was a good split.”

Once again on the lookout for a new challenge, TJ was in a coffee shop close to his home in Salt Lake firing out emails when Mark Graham, CEO of Loud Technologies, parent company of EAW, said he might have a window. After a couple rounds of interviews, Mark offered TJ the job.

“EAW is an extremely powerful brand and I have always had a lot of respect for it. In fact, I remember being in high school and having an EAW bumper sticker on my book cover. Totally into it,” said TJ. “Upon looking more closely at the company, I immediately realised that adaptive technology is the way to the future and EAW is leading the charge. Getting in on the ground floor of something this spectacular is a once-in-alifetime experience.”

Taking on such a responsibility in an existing company is no easy task, TJ noted: “Coming into an established organisation can be a daunting task. I am very fortunate to have a solid team at EAW and Loud behind me. It’s a great and accepting atmosphere with a lot of experience and people I can learn from.

“I came in with the attitude that those in the organisation would be more than willing to identify where they saw opportunity for improvement if I only asked - and listened. My first step was to talk to as many people as I could. Asking people what frustrates them and what makes them proud is a good place to start. After listening, the key is to reflect, aggregating those conversations into recurring themes, and test my conclusions on other company leaders. From there, create a plan including time and deliverables.

Once success is defined and the team executes to the plan report on the success.”

He furthered: “Success is addictive. Once you go through a few cycles of this it gets baked into the culture. This is where I see my role and the area in which I add the most value to EAW. I feel like I have truly accomplished something when our team goes home feeling like winners because they accomplished what they set out to www.mondodr.com

do. Whether that’s developing a successful new product or making the sales plan for the month. That feeling can permeate into all aspects of their lives and makes work an enjoyable part of life.”

Out of the first 90 days TJ has spent at EAW, about 50% of his time has been on the road talking to customers. When he’s been in the office, he’s spent time talking to the individuals that make up the brand. Many of them have been with the company for 20 or more years. What struck him most was the pride they have in EAW. “I’m familiar with pride in products or technology and everyone in this industry likes live sound and music, but EAW stands out to me because the products really mean something to the people that design and build your loudspeakers.

This translates to genuine passion and a family atmosphere. The team here is a tight knit group. As such, they are quick to support one another and remain keenly focussed on providing the best sales and services possible.”

In terms of where TJ believes he can lead EAW to, he added: “EAW is and will continue to be a technology leader in the professional loudspeaker market.

Our adaptive technology is truly unique many of the engineers that have used it

28 INT ERVIEW

“I came in with the attitude that those in the organisation would be more than willing to identify where they saw opportunity for improvement if I only asked - and listened.”

refer to it as a ‘game-changer’ and I have to agree.

“The adaptive systems - Anya, Anna, and Otto - control the directivity of more of the frequency range than any of the competition without the need for mechanical articulation. EAW has invested more than 10 years in developing Adaptive technology. These products are the culmination of that investment. We plan to leverage this investment to help our customers solve the problems they face every day.”

In addition to technology, TJ sees EAW continuing to focus on the customers and markets that benefit from its products.

Being an indispensable partner to its customers is something EAW has always believed in and one of many things that differentiates the company from the competition. EAW’s Applications Support Group (ASG) provides help when customers need it. Whether it be to provide acoustic model detail for a product, assist on a design, or help fix a problem - it is committed throughout the sales process and beyond. “We owe it to ourselves, our ownership, and our customers to be the best EAW on the planet. Many manufacturers are lured out of their strengths to areas where they are ill-equipped to compete - we know our strengths and intend to remain focussed www.mondodr.com

on providing first class solutions, support, and operations,” said TJ. When he’s not focussed on office life, he burns off stress and tension with CrossFit 3-5 times per week. “I’ve been doing this for a little over two years now. I’ve never considered myself athletic or a weight lifter type person, so this puts me way outside of my comfort zone but I think that’s why it’s good for me. I definitely feel a difference mentally on the days I don’t go. When I’m in the gym my brain and body have to be fully engaged in what’s happening which makes it difficult to carry the stress of the day through the hour.”

Along with keeping fit, TJ also enjoys spending time with the family, his wife Michele and their three boys aged 8, 11 and 13. “My family spends a lot of time camping with friends in the summer.

With three young boys, it’s imperative to get them out of the house and into the wild frequently. For Michele and I, it’s a great chance to get away from the norm and laugh with friends. We bought a tent trailer last year and used it almost every weekend. We are looking forward to making similar memories in New England.”

It seems TJ has plenty of things to look forward to - both personally and professionally - as he embarks on this new chapter in his life.

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AVAYA STADI UM COMPANY: ABSEN LOCATION: SAN JOSE, USA

The San Jose Earthquakes has finally moved to its new home the Avaya Arena. With over 11,000 season ticket holders, the Quakes are one of the most popular teams in Major League Soccer and the opening of the Avaya Stadium, with a seating capacity of over 18,000 is a sure sign of the growing popularity of the sport nationwide.

The new stadium features a 540ft Absen A-91 16mm perimeter banner, becoming Absen’s second US Major League Soccer display.

Panasonic A/V Solutions and Absen America worked together to coordinate the installation. The system runs flawlessly and highlights both the Quakes’ local and the MLS’ national sponsors during televised games. The Absen banner system is being driven by ClickEffects with eye popping graphics compliment the winning display design showcasing this premier event.

The installation at the Avaya stadium comes shortly after Absen’s first partnership with a MLS team, FC

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Dallas, last month and signifies Absen’s commitment to US Major League Soccer. “Absen has dominated the European soccer market for years,” said Absen Senior Manager, Mark Roberts. “We are excited to be a part of the growth of MLS in the United States and we look forward to opportunity and exposure this relationship brings to both Absen LED and Panasonic A/V Solutions.” www.absen.com

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www.mondodr.com

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ESTÁ DI O DA LU Z COMPANY: ELECTRO-VOICE, DYNACORD LOCATION: LISBON, PORTUGAL

Portugal’s showcase stadium, the Estádio da Luz, has been equipped with a new Electro-Voice and Dynacord sound reinforcement system. The centerpiece of the installation in the home of S.L.Benfica comprises Electro-Voice EVH and EVID loudspeakers as well as DSA power amplifiers and a P 64 digital audio matrix manager from Dynacord. Installation contractors Meißner commissioned Hesse + Partner to plan the installation.

The Estádio da Luz in Lisbon is one of the most beautiful and admired soccer stadiums in Europe. Known as ‘The Cathedral’, the 66,000-seater arena was built for the UEFA European Championship 2004 and chosen as the venue for the final. The Estádio da Luz - or Stadium of Light - is owned by one of Europe’s longest-established clubs, S.L.Benfica, which competes regularly in the Champions League.

Together with the application design team from Electro-Voice and Dynacord, system planner Hesse + Partner of Rostock conducted comprehensive simulations to find a suitable solution, which proved to be a

combination of EVH and EVID loudspeakers divided into 48 individually controlled zones.

A total of 108 coaxial, horn-loaded EVH loudspeakers flown from the stadium roof provide homogeneous and powerful coverage of the stands and playing area. The specification of these loudspeakers was no simple affair, as Hesse explained: “As the distance from the roof to the rows below is never constant, each loudspeaker was chosen according to its individual installation position.” Fortunately the EV Innovation series, with its variety of dispersion patterns, allowed a differentiated yet coherent system design based on components of similar type.

Complementing these are 378 transformer versions of EVID loudspeakers which, thanks to their even dispersion and compact dimensions, ensure optimal sound also on the slightly recessed balcony tiers. The power for all the loudspeakers is provided by 42 DSA multi-channel power amplifiers equipped with RCM810 remote control modules.

A key role in the sound reinforcement design is played

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by the P 64 digital audio matrix manager from Dynacord, which is controlled using IRIS-Net software. “We used the P 64 in our very first stadium installation, the HDI Arena in Hanover, and have included it in every one since,” continued Hesse. The individually configurable user interface of IRIS-Net allows, among other things, the channel-based individual configuration of the output (Variable Load Drive) of the multi-channel power amplifiers. It also provides full control and supervision of all the power amplifier channels and loudspeakers. “The support we received from the Dynacord team here and in other areas was really tremendous,” he said. The club is equally enthusiastic about the new sound reinforcement solution. A special fan scarf was even produced to mark its debut. “The sound in the stadium is truly magnificent,” says Hesse. “Some of my colleagues are even of the view that in terms of sound quality this is one of the finest stadiums in the entire world. And I think they are right!” www.electrovoice.com

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CA R LSBAD H I GH S C HO O L COMPANY: ANCHOR AUDIO LOCATION: CALIFORNIA, USA

Anchor Audio has shown support the Carlsbad High School Marching Band, by donating two PA systems to the ensemble. Director of Bands, Peter Manzi, uses the system almost daily in band practice.

The product of choice in this application is the MegaVox Pro with the the MegaVox AIR wireless companion loudspeaker. Peter places one portable PA - the Mega-8000XU2 - at the north end of the field, and places the second - the Mega-AIR - at the south end of the field. They are battery powered, and have a wireless link that connects the two, so that all the sound amplified in one unit will also be amplified in the other.

This concept was originally requested by the marching band industry, and important feedback was used specifically from Peter and his band. “Being able to eliminate the wires between our PA systems is indispensable - when you have 30 musicians marching around on a football field, you don’t want to worry about them tripping on a long extension cord, that easily causes a band catastrophe,” he said. After completing the development of the products, Anchor donated the system to Carlsbad High School as a thank you for its input. “That’s why we love this wireless companion loudspeaker,” said Peter about the MegaVox AIR. www.anchoraudio.com

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TEXAS A&M UNIVERSITY STADIUM COMPANY: CLAIR LOCATION: TEXAS, USA

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With a goal to build the greatest venue in the history of college football, Texas A&M University set out on a stadium renovation project in 2013. University officials approved a $450 million, multi-phase renovation to Texas A&M’s football stadium, Kyle Field, also known as ‘Home of the 12th Man’, which raised the total seating capacity from 82,600 to 102,512 people and included a complete audio overhaul.

Working with a talented team of professionals including GC Manhattan Construction, architect Populous, and audiovisual consultant, Wrightson, Johnson, Haddon & Williams, Inc., Clair Solutions was brought on to sell and install all sound reinforcement products, including the main PA for the bowl and concourse, as well as distributed audio throughout the stadium, interior spaces and suites. Clair Solutions also installed broadcast cabling systems for interconnect between broadcast production, broadcast trucks, and cameras around the stadium.

Construction during the 2014 season made it so the PA had to be hung in a temporary and mobile fashion prior to final installation later in the project. Originally, it was thought that the old sound system could be hung in a temporary configuration, but Clair Solutions audio designers determined this would not provide the performance the client needed to cover the stadium. Because of this, Clair Solutions recommended renting a Clair Global touring PA for the season that would hang on the sides of the scoreboard. Half of the permanent PA was hung during Phase 1 as well, which consisted of the east and south ends of the stadium, but was not used due to the continuous construction.

The Clair Global touring PA performed seamlessly and exceeded the school’s expectations for the 2014 season. The day after Thanksgiving, the Clair Global PA was removed and the project moved towards final installation of the specified main PA which is comprised almost entirely of JBL products including VLA 601 and 901, PD 764, PD 5322, PD 6322, AWC592, AWC295, AWC 82, and AWC 129. During the 2015 offseason and Phase 2 of the project, the west side portion of the main PA was hung.

Since the only crane inside the stadium was already being broken down by the time the main PA was to be installed, Clair Solutions needed to come up with a custom solution for hanging the PA under the canopy. This came in the way of crafting a custom built cradle, which enabled the crew to lift the entire array in one piece from outside the stadium over the roof and into the canopy.

There are fifteen amplifier rooms in the building connected by fibre optic cable, which are all controlled from the main PA booth with system inputs and outputs throughout the stadium. Everything is run from Crown i-Tech and DCI Series amplifiers and is controlled by BSS London Architect and BSS Audio Architect.

In addition to the main PA, the various larger interior spaces have the ability to operate as either standalone systems with local inputs or receive signal from the PA booth for game day operations.

Clair Solutions also installed broadcast cabling throughout the facility that enables broadcast companies, large and small, to come into the stadium and set up for broadcast without have to drag cable through the building. The comprehensive cabling and connections throughout the building in numerous camera positions on the field and in the stands make broadcast communication a breeze.

The 2015 football season saw the official reopening of the newly-renovated stadium commemorated with a three-day celebration. Texas A&M officials were thrilled with the end result and Kyle Field moves forward in history as the largest collegiate football stadium in Texas. www.claircompanies.com

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CROKE PAR K COMPANY: HARMAN LOCATION: DUBLIN, REPUBLIC OF IRELAND

Situated in the centre of Dublin city, the 82,300 capacity Croke Park stadium recently undertook a major upgrade to its sound, communications and voice evacuation systems, courtesy of locally based audiovisual integrator, Mongey Communications.

Known as the home of those fast-moving and much loved Gaelic games (primarily Hurling and Gaelic football), and accustomed to hosting a wide range of complementary events - including rock concerts and conferences - Croke Park’s audio technology has to operate flawlessly seven days a week. However, the existing systems had become outdated, requiring constant maintenance and lacking the necessary flexibility.

Based in Co. Kildare, Mongey Communications have a long-term relationship with the client and operate an existing maintenance contract. “Because of the age of the old system and the inevitable support issues this created, we were making so many service calls that our strong recommendation was to replace it outright,” recalled David Mongey. “ And Alan Gallagher, Head of Stadium Operations at Croke Park, simply said ‘what do we need to do?’”

After considering their options, the integrators, in consultation with Alan, chose an integrated Harman stadium solution combining JBL, Crown and BSS Audio components, supplied by UK and Ireland distributors, Sound Technology; this met all the requirements laid down by acoustics consultants, Vanguardia.

With assistance from Ben Todd, Sound Technology’s Project Engineering Manager, the project team evaluated the design options based around the existing stadium infrastructure and cabling - a large scale project

spanning 60-plus individual paging zones, around 280 loudspeaker lines and just short of 2,400 loudspeakers.

They chose an outright replacement of the entire original PAVA head-end installation - comprising older BSS Soundweb ‘green’ routing DSP’s - with the current generation of Soundweb London BLU Dante-equipped DSPs, integrated with 76 all-new Crown DCI-N DriveCore Install network amplifiers. A new under-balcony speaker system comprises 90 of JBL’s all-weather compact AWC82 IP56 2-way coaxial loudspeakers.

The new network design enables site-wide digital audio signal distribution using the Dante protocol to link rack rooms, with the BSS Soundweb DSPs and Crown DCI amplifiers within those eight rack rooms networked via Harman’s proprietary BLU Link low latency, fault tolerant 256-channel digital audio bus.

“Having an existing Soundweb backbone was one reason we decided to stay with a Harman / JBL solution - the other being that we run a JBL VerTec VT4886 Subcompact in our rental stock,” David continued.

“The best sound system I ever heard at Croke Park was when we combined that with the house system. It’s fully integratable, so when we bring this in for special events in future we can plug straight into the system and run it over Dante, which offers a far better, more integrated and seamless workflow.”

The system is controlled by Harman’s proprietary HiQnet Audio Architect and London Architect software, programmed by David Howe of Audomation Software, while the new racks - which offer far greater efficiencies and economies - were configured by LBI Projects, who were also responsible for speaker line www.mondodr.com

and associated terminations.

Prior to finalising the system design, the integrators had carried out their own extensive audit of speakers and cabling, identifying and mapping in detail every audio source and destination in the stadium. David explained. “It was a complete root and branch review which told us what we needed to do within the budget to bring the system to the next level — and this was essentially life safety PAVA, paging / public address and event day entertainment throughout the stadium bowl.

The choice of the AWC82 had been entirely logical,” declared David. “The sound is absolutely outstanding and it offers better distribution than the previous drivers.” These are evenly spaced to form a distributed system throughout the main (lower) balcony tier, addressing a legacy issue of poor sound quality in these areas dating back to the pre-existing sound installation.

The new system also had to integrate with existing equipment that included other Harman components, such as Intellivox loudspeaker column / amplifier arrays. The matched IntelliAmps also had to be integrated into the new control and monitoring set-up, alongside the new generation Crown 4-channel DCI DriveCore amplifiers with BLU Link. These comprised 54 Crown DCi4/300N and 24 Crown DCi4/1250N, while the first generation Soundweb 9088’s have been replaced by four I/O configurable BSS BLU-806 (with Dante) and10 BLU-326 expanders.

This offers a much more elegant solution, with greater processing power and lower latency - and a significant reduction in rack size. “As a result, the power require-

ment is lower and the air conditioning systems no longer need to be on full whack,” observed a Mongey Communications spokesman. Power redundancy was a further issue, and each rack room is fully supported by a monitored UPS system.

Real time fault recording and reporting were key features of the new installation, with all key system functions and variables fully supervised and tracked. Critical faults are reported immediately at the stadium fire alarm panels allowing these to be investigated promptly by the stadium security team. In addition, any critical faults are emailed at the time they arise to key Mongey Communications support staff for follow-up, and the system also provides a digest of its status on a daily basis for further investigation by the same support team.

The new fit-out has been further streamlined by the custom software front end written by David Howe - and both the Security Control Room and the Event Control Room have benefited from the simplicity of new, user-friendly touch screen paging and control interfaces. A Soundcraft Si Performer 2 master mixing desk in the Event Control Room was supplied as part of the project with direct Dante feeds into the stadium audio network, providing greatly improved control, flexibility and resilience.

“There are a number of areas where the system can operate and there are distinct rooms for PA mixing, Visuals and Hawkeye,” David

explained. Mixing desk positions have also been created for the side of the pitch from where they can submix or plug into the patch panel at the Event Control Room mixing desk, with the on-pitch entertainment linked to the big screen.

The systems also feature fully supervised interlinks with the stadium life safety / fire detection systems, which comprises live speech and pre-recorded voice-evac announcements, which can be triggered automatically from the fire panel, with fireman’s mic sets additionally as further back-up in three locations.

The new Harman Professional solution comfortably meets all of Vanguardia’s criteria for speech transmission (STI) and sound pressure (SPL) - as well as the Local Authority’s off site noise monitoring thresholds.

David reflected on a highly professional job, praising the management and scheduling maintained by his project manager. “The massive challenge was the short time scale and the most difficult element was getting the old system out and finding he opportunity to fine tune the new system, all within the working life of a busy stadium.

“Everyone supporting the installation worked well together with invaluable help from Ben Todd and Joe East at Sound Technology, Jerome King at Harman, and the Harman EMEA Apps team. harmanpro.com www.mondodr.com

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D IS N E Y E VE N TS A R E N A COMPANY: NEXO LOCATION: PARIS, FRANCE

Nexo fielded a stellar team of different loudspeaker models for one of the most prestigious sporting trophies in France, the Leaders Cup, which is organised by the LNB (Ligue Nationale de Basketball) and staged at the Disney Events Arena at Disneyland Paris.

In an arena packed with nearly 5,000 spectators, the Final Eight teams of France’s premier basketball league competed for the Leaders Cup in a high-octane environment, complete with dazzling lighting effects, high SPL concert sound and half-time entertainment from dancers and cheerleaders.

To mark this highlight of their calendar, the Ligue Nationale has announced the signing of a technical sponsorship deal with Nexo, which will see Nexo systems widely used in professional basketball throughout France. As explained by Alain Beral, President of the LNB: “Sound is an integral part of the experience offered to our fans. Nexo’s expertise, both in terms of new projects and full renovations, will allow the LNB and its clubs to rely on an efficient and reliable partner for professional audio solutions.”

Nexo’s Engineering Support Team was in attendance at Disneyland Paris for the Leaders Cup weekend, looking after a main arena system which combined Nexo’s STM M28 modular line array cabinets and S118 subwoofers for LF coverage, complemented by clusters of Nexo GEO M6 aimed at VIP and press seating. All loudspeakers were flown from a central point, connected using a redundant Dante network, from Yamaha 01V96 console to Nexo’s NXAMP4x4 amplifiers. www.nexo-sa.com

AT&T STADI U M COMPANY: SYNCROLITE LOCATION: TEXAS, USA

A total of 40 SyncroMITE Beams have been used alongside the reveal stage at WrestleMania 32, where the WWE set a new attendance record of 102,000 fans packed into AT&T Stadium. The SyncroMITE’s were part of a larger Syncrolite package that included MX4’s, SXLs and XLs, which, when combined, was also the largest number of automated Syncrolite fixtures ever used in a single event.

TJ Benton served as Crew Chief for Syncrolite and worked alongside Jason Robinson, the WWE Production Manager and Jason Shaw, the Senior Manager of Lighting, to pull off this bigger than life production. syncrolite.com

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Dante™ network redundancy to give me reliability, quick reposition and installation times, and simple configuration. Fewer cables for a neater stage. A wellaimed development for my applications that is also highly compatible with standard replacement equipment.

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…rehearsal in five minutes, then a quick change-over for tonight’s show. Tomorrow, a guest performance with a downright scary rider. I need a flexible mixing system that I can scale up and down just as I see fit. Everything has to be fast and easy. Flexible DSP resources that I can assign freely and scale. My ideas, my workflows.

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CON T I N E N TA L A R E N A COMPANY: YAMAHA LOCATION: REGENSBURG, GERMANY

The Bavarian city of Regensburg is renowned for its medieval centre, nowadays a UNESCO World Heritage Site. But just a few minutes away is one of Germany’s most modern sporting stadiums, the brand new Continental Arena, where a Yamaha audio system has achieved the goal of great sound without the penalty of going over budget.

Opened in July this year, the Continental Arena has replaced the city’s 89-year old Jahnstadion as the home of football club SSV Jahn Regensburg, which plays in the Regionalliga Bayern.

A modern venue in every sense of the word, as well as being a football ground, the 15,200-capacity stadium can host other sporting events and concerts. It features two ‘Business Clubs’ and four ‘Lodges’, which host a wide range of business and leisure events, all with a panoramic view of the stadium’s pitch.

A major feature of the stadium’s design is the incorporation of the latest technology, including a state-of-the-art Yamaha package. This features 36 P7000S power amplifiers, an MTX5-D 34x16 matrix mixer/signal processor, 01V96i digital mixing console with Dante-MY16-AUD interface card and three R-series Ro8-D output units.

The audio system was specified and installed by Köln-based KoenigAVT, with the Yamaha system routing audio to a distributed compact line array system from another manufacturer, flown from points all around the stadium’s roof.

“Dante networks and line array loudspeakers have been specified for larger stadiums, but with the Continental Arena, we have shown that they are completely suitable for smaller ones as well,” said Koenig-AVT’s Bernd Clauberg.

“The budget for this project was smaller than for a higher division football club, but the stadium will be an important business and leisure asset for Regensburg, so it was important to use equipment which we knew would have a long and reliable working life, as well as delivering great sound.”

He continued: “The combination of the Yamaha MTX5D, 01V96i and Dante provide exceptional flexibility, with the ability to zone and independently control different areas when necessary, via instantlyrecallable presets. Together with the P-Series power amplifiers, they deliver the necessary voice intelligibility for stadium announcements, as well as high audio quality for background music.” www.yamahacommercialaudio.com

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ESSEVE E STADI UM COMPANY: AUDAC LOCATION: WAREGEM, BELGIUM

After many years of success, building the new stadium for soccer club Zulte Waregem became a top priority.

To support their ambitions, it was of great importance to build a modern soccer stadium with an emphasis on relaxation and comfort.

The entire stadium will be renewed to a modern complex with a total of 14,000 seats, more than 52 kiosks, 1,800 business seats and 27 skyboxes in four stages.

There will also be space for banquet halls, offices, shops and a business restaurant of 600 sq metres.

The completion of the overall project is scheduled for 2017. The first phase of construction started at the end of last season, the second phase is taking shape right now.

For the audio system, playing a vital key in safety and

the perception of the matches, an appeal was made to the expertise of PVL, located in Oostkamp, Belgium.

Thanks to its close collaboration with audio brand Audac, detailed simulations showed the potential of this system in advance.

One of the challenges of this project was that the new stadium would be built on the location of the club’s current facilities. Because the stadium is being built in phases, the current audio system needs to work simultaneously with the brand new system.

Once completed in 2017, the installation will include 47 FX3.15 three-way loudspeakers cabinets together with 25 FX1.18 subwoofer cabinets, providing accurate and detailed sound to every one of its 14,000 seats.

Inside the stadium another 230 WX802/OB are provid-

HA LA W I DOW I S KOWO COMPANY: COMMUNITY LOCATION: DĄBROWA GÓRNICZA, POLAND

ed for a dispersed and even sound distribution over the 52 kiosks, 352 toilets, all of its lounge/press areas and hallways.

To power all this sound, PVL chose 26 SMQ500 and 38 SMQ750 digital power amplifiers using Wavedynamics. For all 100V lines, CAP multi-channel digital amplifiers are used.

As the ‘brains’ of the installation, the M2 web based audio matrix proved to be the best solution. In total seven M2’s are linked via optic fibre together with APM116 digital paging microphones, CMT500 microphones for ambient sound and DW5066 digital wall panels connected to the system via cat6 cable. www.audac.be

Complete refurbishment of Hala Widowiskowo - Sportowa has delivered the city of Dąbrowa Górnicza in southern Poland with a world-class multi-purpose sports complex. The venue not only serves the region for sports, but it also provides a significant arena for commercial and cultural events and entertainment. Gorycki & Sznyterman were the appointed audio consultants for the project, with the main equipment supplied

by Tommex Żebrowscy and installation by Nexus New Technologies.

The audio system, which combines communications and life safety throughout the entire complex, is controlled by a g+m elektronik ag APS-APROSYS system with a Dynacord P 64 modular network compatible audio matrix providing signal processing, system monitoring and remote operability. APS-APROSYS amplifiers drive the main loudspeaker systems throughout the venue with APS modules configured for voice evacuation.

The central sports and entertainment hall of Hala Widowiskowo - Sportowa has a spectator capacity of 3,000. The choice of loudspeakers was critical with the system being used for commentary, events and life safety.

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Community R2’s were chosen for their overall audio quality, with their high directivity, a critical factor for maintaining speech intelligibility in the difficult acoustic conditions of the sports hall. A combination of 11 R2-94, six R2-77 and three R2-52 loudspeakers gave the dispersion patterns required to provide optimum coverage of the hall for all spectators.

For extended low frequency power and impact, the R-SERIES are complemented by four Community I SERIES IS6-215 dual 15-inch subwoofers, independently driven by four Dynacord DSA 8212 amplifiers equipped with RCM 810 modules. The subwoofers enhance the system for entertainment, but are switched off during activation of the system for life safety.

“The Hala Widowiskowo - Sportowa audio system provides a state-of-the-art, reliable solution for combining life safety, communication and entertainment,” said Marcin Zimny, Commercial Director of Tommex. “It is simple to use for staff, self-monitoring in the unlikely event of a problem and delivers excellent audio quality for visitors’ enjoyment and safety.” www.communitypro.com

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VODA FO N E AR E N A COMPANY: K-ARRAY LOCATION: ISTANBUL, TURKEY

Three years after it bid farewell to its home field, the Turkish Super League football team and season champion contenders, the Beşiktaş JK Eagles returned to the nest on 10 April 2016 when its new stadium in Istanbul, the Vodafone Arena, opened with a grandiose ceremony in which the Turkish president, prime minister, state officials, former club players and coaches and celebrities took part.

One of the most modern stadiums of its time, the Vodafone Arena has a capacity of 43,000 spectators and boasts environmentally friendly features, such as the use of solar energy and rainwater storage for watering the pitch, which is made of hybrid grass – a first in Turkey.

Aside from football matches, the stadium will also be an entertainment and fashion centre hosting concerts and live shows, an interactive museum and the biggest sportswear store in Turkey.

“This stadium is very important for Besiktas and Turkish football, to take Besiktas forward both financially and spiritually,” said Besiktas board member, Metin Albayrak, before the stadium opening.

Not to be excluded from all the modern amenities, Vodafone Arena’s sound system was also equipped with the most technologically advanced solutions on the market. Sound designer, Stage Craft, and distributor, Lotus Technologies, teamed up to provide 15 KH5 loudspeakers and six KS5 subwoofers from K-array’s Concert Series to be suspended from both sides of the scoreboard.

“The reconstruction of a historic and monumental stadium such as this one was a challenge altogether,” said Dogu Civicik, Designer at Stage Craft. “A brand new stadium with a variety of never-before seen technologies and the undertaking of the audio installation responsibility made the expectations for Stage Craft really high.

“We were obliged to impress the crowds with sound quality, technology and design all at the same time.

But when Lotus took us on a rather enjoyable trip to Florence for a demo of the KH5 system, it was clear we had the resources to satisfy both our client’s and our needs.”

Equipped with Slim Array Technology, the KH5

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allows sound to exit instantaneously without resonance, generating a significant amount of sound pressure in the low and low-mid range resulting in a better impulse response and maximum clarity and definition. The digital steering feature directs the sound in a targeted area and can provide continuous, even coverage, flying the system completely straight. Results are maximised with the ability to precisely and independently control each element of KH5 line array, eliminating noise pollution.

The installation came just in time for Besiktas to host its first game on 11 April 2016 with a Super League match between the league leaders and their rivals Bursaspor.

“The installation was a first time for everyone.

Towering from two sides and distributing the sound from a single location to the entire stadium, the plan was a huge success!” clarified Dogu. “We are all very happy to have shared and accomplished this project with K-array and sincerely send our love and thanks to everyone involved.” www.k-array.com

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ST. F RA N C IS HI G H S CHO O L COMPANY: POWERSOFT LOCATION: KANSAS, USA

In a small town like St. Francis, Kansas, situated on the Kansas-Colorado state line, the local high school gymnasium bears a much greater responsibility than simply hosting the occasional school assembly. In this regard, St. Francis High School’s gymnasium is an overachiever, able to handle district-wide sports tournaments, town meetings, and local entertainment events. Its flexible and highly intelligible sound system, installed last October by Colorado and Kansas-based DK Audio Video, has Powersoft amplifiers at its foundation and is now the pride of the local community.

When the school reached out to DKAV about its sound needs during the autumn of last year, it was clear about what it hoped to achieve, according to DKAV owner Lucas Lafferty: “They wanted a full sound system upgrade and they told us to ‘dream big’.

“I immediately thought of Powersoft amplification because I thought it would have the ideal combination of features: clear sound, easy-to-use operation, and strong built-in DSP processing.” Lucas put together a package that included one Powersoft X4 amplifier, which were used to drive two EAW QX326 two-way loudspeakers and two EAW SB250z subwoofers. The school was immediately on board with the plan. “After I told them about the incredibly low power consumption of Powersoft amplifiers, it was the icing on the cake,” he said.

DKAV worked with C.J. Lewis in the Denver branch of The Marshank Group, which helped secure the Powersoft and EAW elements required for the installation. “We were so pleased to see a local school system consider this a ‘long-term investment’ rather than a temporary solution to an immediate need,” C.J. recalled. “By choosing a high-end audio solution that was powerful, nimble and reliable, DKAV was able

to introduce another dimension of value into the transaction - one that will benefit the St. Francis community for years to come.”

During the design and installation phase, the gymnasium presented significant challenges with its 40ft domed ceiling and solid brick walls. “The room had many uncooperative reflective surfaces,” Lucas said.

“They had tried using sound dampening in the past without much success, so we decided to avoid transmitting any sound towards the dome areas.”

The speakers were suspended from the ceiling in two pairs, about 20ft high on the north end of the gymnasium. With dispersion pattern of approximately 120˚ x 60˚, the sound covered the entirety of the gymnasium, while avoiding excessive bounce back. “We wanted the audio to reach the entire audience as far as we could, but we were careful to aim the speakers at ear level as much as possible,” he continued.

Lucas, who had known about Powersoft amplifiers but didn’t have any first hand installation experience with Powersoft prior to this installation, also managed to get his first hands-on experience with Powersoft’s powerful DSP software as the system testing and room-tuning phases of the installation ensued. “Armonía was super-easy to use,” he said. “When I had questions, I called Powersoft directly and they answered all of them quickly and easily.” After implementing a simple crossover and some equalisation for tuning, he also used Armonía to place a hard limiter on the output to avoid any mishaps with overly curious students. “The speakers we chose have a very high output range and could go well above any conceivable use for that space, so we put a dead stop in place,” Lucas explained.

The two Powersoft amps were situated in a ‘restricted

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access’ upstairs room, along with a Juice Goose remote power sequencer. “Before Armonía, we would have needed separate, standalone EQs and compressors, but now everything is completely self-contained and so easy to hide away,” Lucas said. The mixing board, housed in a portable case, can plug into any one of three separate tie-in locations on the floor of the gymnasium depending on the floorplan of a given event.

Also, the system can be powered on from the board remotely via turnkey.

When Lucas and his team first powered up the system, the results were astonishing. “Shortly after we fired it up, the principal put a stop to all classes and told everybody to come down to the gym and take a listen it was that cool!” Lucas recalled. Nearly 300 additional visitors eventually made their way to the gymnasium over the course of the day to experience the new system for themselves. “We had people from the local town coming by saying, ‘we heard there’s an awesome new sound system and we want to hear it’.” To Lucas’s own ears, the value of Powersoft is abundantly clear: “The sound is incredibly detailed, and the simplicity of the system is second to none. My main goal was to attain a system that was simple for my client to use, and with Powersoft and Armonía, we achieved all that and so much more.”

Since the completion of the install in late October, the gymnasium has hosted concerts, weddings, town meetings and various athletic events, imbuing a true impact on the broader community. “They can do anything in that space now - it’s only limited to their imagination,” Lucas concluded. www.powersoft-audio.com

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J OH N L AN C E AR E N A COMPANY: VUE AUDIOTECHNIK LOCATION: PITTSBURGH, USA

Built in 1971, the John Lance Arena at Pittsburgh State University (PSU) in Kansas is home to the Pitt State Gorillas basketball team. The University recently received significant contributions, led by Alan and Roberta Whetzel, for renovations to the 6,500seat capacity arena. Included in the improvements was a wall-to-wall maple hardwood floor covering the main court and two practice courts, new seating, new shooting standards and a VUE Audiotechnik sound system, which was designed and installed by Reliant Media Systems.

The new VUE sound system in the Lance Arena consists of four arrays and two zones of fill speakers.

The two arrays that face the north and south sides of the arena each are made up of four VUE al-4 subcompact line array systems and one al-4SB flying subwoofer system. Each of the two arrays facing the east and west ends of the arena are comprised of six al-4’s and one al-4SB. Eight VUE i-8 compact full range foreground systems set-up in two zones serve as the fill speakers.

“The University as a whole has become very aggressive in updating and maintaining spotlight features around its campus,” said Zach Aaron, CEO, Reliant Media. “The school’s athletic department was undertaking new construction elsewhere on campus, so they felt it was time to rethink all of their indoor athletic facility audio systems. That prompted the basketball arena upgrade. PSU’s athletic department was very interested in VUE after listening to it. We were able to explain to them the difference between a line array and a typical distributed system, and the pros and cons. They were very much onboard with the line array approach, and VUE offers products that allowed us to take advantage of the size and weight constraints while providing superior fidelity.”

“We demonstrated essentially what would have

been one-fourth of the complete system,” said Jeff Taylor, VP Americas, VUE Audiotechnik. “The VUE system was set on the floor and we explained how this would basically be one side of the four-sided scoreboard system. We listened on the VUE system, then on their existing scoreboard system. The entire existing system wasn’t as impressive as the one stack of VUE speakers on the floor.

“The challenge was creating a system to serve a long multipurpose room,” continued Jeff. “A situation like a graduation - where you have a thousand or more folding seats on the floor, plus people in the bleachers - requires very different sound reinforcement from that of a basketball or a volleyball game. Instead of creating a complex dual-system solution where there are really two separate systems and you use one or the other based upon the event, the performance of this VUE rig allows the flexibility to position the basketball arena-style system for coverage of the floor seating as well. The i-8s cover the basketball court itself. So depending on whether they are in the arena configuration or the commencement configuration, the speakers are realigned (time-aligned) to provide voice reinforcement to the floor seating, and the arrays turn to the bleachers as they always did. Configuring the system in this manner saves the University money because now there’s no need for them to rent a PA system for their commencements.”

The al-4’s easy rigging system and lightweight load made for a smooth and swift installation in the Lance Arena. “The design that we replaced was an old distributed system that was suspended up above the scoreboard using a very antiquated steel sub-structure; we didn’t have a whole lot of options as far as rigging was concerned,” said Aaron. “We also were given pretty narrow weight constraints.

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Given all those factors, we still had to meet the client’s expectations for fidelity. We used the al-4 system to build North, South, East, and West line arrays up above the scoreboard, then used four i-8s for the scoreboard fill, and another four i-8’s for the mezzanine delay speakers.”

Another important element of the system is the Dante signal distribution that runs campus-wide through the existing facility IT infrastructure, added Aaron. “There’s an Ethernet bridge in a mobile rack that can be taken out to the basketball arena floor, instantly connected to the Dante network for audio distribution, and provides wireless Ethernet control over the network with zero configuration.”

“We’ve received a good reaction from the new VUE system,” observed Aaron. “Everyone likes the full range and high energy. They like the way the sound of the announcer’s voice is more like the ‘Voice of God’ instead of like a transistor radio. And, of course, they also like being able to have some bass for the music playback. With the athletic-themed music tracks they play, there’s a lot of shaking going on.”

“From the moment we debuted the system we’ve had a lot of positive feedback,” Aaron concurred.

“They’ve been floored from day one. We actually have had quite a bit of contact and positive feedback from the President of the University, who considers all elements of communication of very high importance. He will generally stop by for a personal walk-through and preview of any audio system at PSU. There were no other products that came even remotely close. VUE gave us the ability to overcome the size and weight barriers that this particular project presented. We really feel that VUE has given us a huge competitive edge in our market.” www.vueaudio.com

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PH IL IPS STADI U M COMPANY: EXTERITY LOCATION: EINDHOVEN, THE NETHERLANDS

Philips Sport Vereniging (PSV) Eindhoven is one of the ‘big three’ clubs of the Eredivisie, The Netherlands’ leading football league. Established in 1913, PSV’s Philips Stadium holds a four-star rating by UEFA and has been used for Netherlands national team fixtures, UEFA Euro 2000 matches and the 2006 UEFA Cup final.

World-class sporting arenas need to have an audiovisual system in place that can deal with the evolving demands of the modern day visitor and staff. To ensure that it provided a world-class experience in the stands and throughout the stadium to the potential 35,000 fans it can accommodate, PSV Eindhoven chose to deploy an Exterity enterprise IP Videosystem throughout the venue.

As one of The Netherlands’ best known and culturally significant sporting venues, football fans, corporate guests, players and staff expect PSV Eindhoven to be equipped with state-of-the-art technology. The modern day football fan wants access to the latest news, views, developments and classic action whenever they step foot into the stadium. As a world-renowned venue, PSV Eindhoven understood that it needed to address this challenge to remain competitive off the pitch, as well as on it.

“PSV Eindhoven is one of the biggest clubs in The Netherlands. To keep our place at the top table of European football, we simply must have world-class infrastructure and that includes our audiovisual coverage of the action on the pitch,” said Roy Smits, ICT Manager at Philips Stadium. “As part of our ongoing desire to offer premium services to our fans, staff and international visitors, we have worked with Exterity, Intronics and AXIANS to deploy the first large-scale IP Video installation in a stadium in The Netherlands.”

PSV Eindhoven issued a tender for its high quality

audivisual solution across the stadium, the training ground and coaching facilities. Exterity’s ability to create multiple branded portals alongside the ease of install was a crucial differentiator for the stadium, who chose the entire IP Video system proposition developed by Intronics and Exterity. Installation was completed by AXIANS. The new deployment delivers TV content to 200 end points around the stadium via the existing IP network.

Exterity Avedia Stream Encoders are used to encode footage from the stadium’s internal media studio as well as live match footage from OB vans. In addition, Exterity Avedia Player Receivers are used to connect any TV screen to the existing IP network. Control of the system relies on the Exterity Avedia Server, a powerful IP Video management system that also acts as the platform upon which customised channels can be created and tailored for delivery to different end points in the venue.

Artio middleware has been utilised to customise the viewing experience in each skybox and business lounge around the venue, enabling greater personalisation of the corporate guests’ environment. The Exterity AvediaServer also offers a Video on Demand (VoD) catalogue that enables assets to be played out via custom created channels, which can include graphics from the media room.

“The flexibility of the system was key to helping us modernise our video facilities across the stadium. It enables our staff to control each screen individually from one central point, ensuring that each piece of content is delivered to the right end point, enabling staff, visitors or business clientele to watch the action that is the most relevant to them. The ability to access and control all content centrally has streamlined our video capabilities, and the addition of the solution

means that we can now cater for the modern day football fan,” said Roy. The large-scale project required the collaboration of multiple experts to ensure that all components of the system integrated efficiently and delivered a best in class experience to fans and staff alike. While IT specialist and system integrator, AXIANS, and connectivity solutions developer and supplier, Intronics, ensured the effective realisation of the project, Mansveld installed the hardware. Doing so allowed AXIANS to run a perfect performance during a live unannounced test of the system with all encoders flat-out on bitrate.

“The flexibility of the system was key to helping us modernise our video facilities across the stadium. It enables our staff to control each screen individually from one central point, ensuring that each piece of content is delivered to the right end point, enabling staff, visitors or business clientele to watch the action that is the most relevant to them. The ability to access and control all content centrally has streamlined our video capabilities, and the addition of the solution means that we can now cater for the modern day football fan,” he continued.

“We are extremely proud to have been chosen by one of Europe’s leading clubs to modernise their video services for players, fans, visitors and more,” said Colin Farquhar, CEO at Exterity. “The deployment means that the famous Philips Stadium can now offer personalised content to different areas throughout the stadium, and even to the training facilities, enabling players and coaches to improve their skills and tactics.

The scalability and robustness of the Exterity solutions also ensure that future deployments will be easily catered for without impacting the current deployment, enabling PSV Eindhoven to continue to excel amongst Europe’s footballing elite.” www.exterity.com

4000 Series Installation Speaker Now a choice of over 120 RAL Classic color finishes

4000 Series Installation Speaker 4020, 4030 and 4040 models are available in a full range of colours and will allow the speakers to contribute to the interior design scheme of any type of fixed installation.

Now a choice of over 120 RAL Classic color finishes The 4000 Series active loudspeaker is perfectly suited to music playback, whatever the chosen environment.

Allied theand premium performance is the renowned 4020, to 4030 4040 models are available in a full range Scandinavian andthe build quality to which combines of colours anddesign will allow speakers contribute to high qualitydesign materials with stylish tofixed makeinstallation. this the interior scheme of any looks type of range the new benchmark for loudspeakers in the The 4000 Series active loudspeaker is perfectly suited audio visual sector. to music playback, whatever the chosen environment.

4000 Series are also available as part of Allied to the loudspeakers premium performance is the renowned the Building Information (BIM) object library.

Scandinavian design andModelling build quality which combines high quality materials with stylish looks to make this range the new benchmark for loudspeakers in the audio visual sector.

4000 Series loudspeakers are also available as part of the Building Information Modelling (BIM) object library.

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T WICKEN H AM STADIU M COMPANY: FULL FAT AUDIO LOCATION: TWICKENHAM, UK

British amplifier manufacturer, Full Fat Audio Limited, was delighted to have its new FFA G2 6004 DSP amplifiers, as well as its renowned FFA10000 bass amp featured at Twickenham Stadium, throughout last year’s 2015 Rugby World Cup. White Light was commissioned by Detail Management to deliver a comprehensive audio system for the largest hospitality suite at Twickenham Stadium for the World Cup fixtures. The complex system was split over two separate levels and had to provide audio reinforcement for up to 3,000 people. It was required to allow coverage for the main hosts and their guest presenters, remote broadcasts, with question and answer sessions, as well as live entertainment throughout each match.

Also, a bespoke soundscape was commissioned, designed around a video montage installed in the client entrance tunnel.

Lee Deninson, Head of Audio at White Light, said: “Despite the large number of guests and subsequent high ambient noise levels, alongside the unique structure, we wanted those present to experience the highest-quality audio possible. Considering that every match day was different in terms of content, numbers, along with the post match ‘mood’, the overall product was very well received”. In order to achieve this, White Light deployed more than 120 loudspeakers and over 50 channels of amplification delivered via new FFA G2 6004 DSP and FFA10000 bass amplifiers.

Lee added: “Our sole role in this particular area of the Rugby World Cup was to provide the audio, meaning that the strength and reliability of our audio services was critical to big events such as this.” www.fullfataudio.com

PROG R ES S I VE FI EL D COMPANY: DAKTRONICS LOCATION: OHIO, USA

The Cleveland Indians have selected Daktronics of Brookings, South Dakota, to design, manufacture and install a new high-definition display at Progressive Field in Cleveland, Ohio, for the 2016 season. This project continues a long-standing relationship with the Indians that began when their stadium opened back in 1994.

“The new boards will significantly enhance our fans’ experience at Progressive Field,” said Neil Weiss, the Indians Senior Vice President of Technology and Chief Information Officer. “This project increases our ability to deliver a worldclass in-game experience, delivering stats, highlights and player profiles in large, high-definition formats.”

The main video display will measure approximately 59ft high by 221ft wide for 13,000 sq ft of active display area. A total of 10.6 million LEDs make up the entire display. It will feature a 13HD pixel layout, the premier technology for outdoor LED video displays, for excellent image clarity and contrast with wide angle visibility to appeal to every fan inside Progressive Field.

The display incorporates variable content zoning which allows it to show one large image or it can be divided into multiple windows to show any combination of live video, instant replays, up-to-the-minute statistics, game information, graphics and animations, and sponsorship messages.

“We’re proud to partner with the Cleveland Indians to provide Progressive Field with a premier, high-definition video display system,” said Daktronics CEO, Reece Kurtenbach. “As venues hosting live sporting events continue to strive to improve fan entertainment, Daktronics continues to provide industry-leading technology to stay in front of these trends. This installation will deliver an impressive and memorable game-day experience for Indians fans in 2016.” www.daktronics.com

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KING S PAN STADI UM COMPANY: RCF LOCATION: BELFAST, NORTHERN IRELAND

The Kingspan Stadium in Belfast recently completed a major conversion of its three open terraces into new covered, all-seater stands. As the home of Ulster Rugby, it is designed to match the fourth Premium Stand, which was developed back in 2008-2009.

All feature an RCF PAVA distributed sound broadcast system, linked to a newly-provided Fire Alarm system, to create a communications infrastructure that complies with BS5839 Part 8 standard.

The work was carried out by Northern Ireland-based system integrators, MGA Communication. Working through local electrical sub-contractors, Harvey Group, MGA successfully supported their proposal with EASE measurements.

Working with the RCF Engineering Support Group,

they specified the RCF DXT7000 Sound Broadcast and Emergency Evacuation System to meet the coverage requirements of the main terraces, corridors, and mass circulation areas, as well as toilets, private corporate boxes, meeting rooms, board rooms and bar areas.

For the three new stands they chose RCF’s IP55-rated P3115T speakers and this duly led to them retro-fitting six clusters of twin speakers in the existing Premium Stand.

To provide a uniform level of sound distribution, six sets of twin RCF speaker clusters were deployed on the new Grandstand with each of the twin clusters providing an available vertical dispersion of 120° (90° horizontal) on all four axes of the ground. At the same time, four clusters of twin RCF P3115T have been suswww.mondodr.com

pended under the roof lips at both the Memorial Stand and Family Stands behind the goalposts.

MGA’s Gerald McKeown said the RCF solution had been chosen for its cost-effective ability to fulfill key criteria, such as meeting the necessary IP and PAVA application rating, as well as having the required dispersion, output and frequency response. With the adjustability to achieve full terrace coverage, it ensured beam-width overlap with the adjacent cluster, with a sharp 4dB drop off at the pitch as required.

The general concourses are served by RCF PL70EN ceiling speakers, RCF DU50EN wall cabinet speakers as well as the RCF P3115 speakers used for the terracing, while the RCF DP range of weatherproof projector speakers broadcasts information for those leaving and

LU SA IL ICO N IC STAD I UM COMPANY: SENNHEISER LOCATION: QATAR, UAE

arriving at the ground. RCF’s UP 8000 energy efficient Class D series has been deployed to power the systems.

Master control is located in the Family Stand, from where the four PAVA equipment racks are managed. Both data and control lines are linked with fire-resistant copper and fibre, across a stadium which now seats an impressive 18,150 people.

Ulster Rugby Stadium Manager, David Boyd, stated: “The new sound system is delivering perfectly in terms of the match day scenario and the speech intelligibility is a lot better. What we had previously was a stand-alone PA and separate alarm system which was not linked.

“With all four stands linked into the PA, we now have full flexibility to be able to operate the grandstands separately.”

www.rcf.it

As it prepares to become the first country in the Middle East to host the UEFA European Championships in 2022, Qatar is investing in state-of-the-art infrastructure and technologies for the stadiums at which the matches for different sports will be held. Among these is the successful implementation of world-class wireless microphone systems from Sennheiser at the Lusail Iconic Stadium, which played a vital role in enabling handball fans across the world enjoy the televised broadcasts of live matches. This stadium will be used for boxing, handball and basketball championships and also for live in concerts in the future.

Sennheiser, which also supplied microphones for the football stadiums in Brazil, highlighted the importance of its audio solutions. “With several hundred million TV viewers watching live, there is no room for error. Thrilling commentaries, pitch-side reports, the roar of the audience and sounds of all the on-field action are essential parts of the viewing experience. Poor audio quality or technical difficulties can hamper this and undermine the tremendous effort that goes into hosting such events,” said Mig Cardamone, Director of Sales and Marketing at Sennheiser Middle East. “The Qatar Olympic Committee realises that high-quality images and high-quality sound go hand in hand. This is reflected in their selection and usage of our most advanced wireless microphone systems.”

A total of 16 channels of Sennheiser’s wireless microphone and receiver systems from the flagship Digital 9000 range have been utilised, as well the EW 300-IEM Series in-ear monitors. The EM 9046 SU, the multichannel audio receiver and heart of the system, is capable of delivering uncompressed digital audio transmission while maximising spectral efficiency and transmission safety. A notable feature of the receiver system is that the receiver modules cover the UHF range from 470 to 798MHz, incorporating up to eight receiving channels in the system units housing, making the receiver a future-proof investment.

The SKM-9000 handheld transmitters will be used with an MMK-965 true condensor capsule. It has a switchable pick-up pattern that allows for cardioid or super cardioid characteristics. This will prove vital in this application as these transmitters will not only be used for pitch side reporting but also for announcements within the stadium itself.

Along with the handheld microphones, presenters will be mic’ed up using Sennheiser’s EarSet 1 headmics and the SK-9000 transmitter. These will help ensure that presenters are heard over the crowd because of their proximity to the sound source in comparison to a lapel mic. Sennheiser’s powerful directional antennas which have been installed in the catwalk, 30 meters above the playing field, provide exceptional range and ensure the clarity and integrity of digital transmission.

Commenting on the implementation, Prem Kumar, Projects Manager at Darwish Holding, the contractor for the audio portion of the deployment, said: “The positive impact of the installed system was instantly noticeable. We managed to get it up and running in time for the Men’s Handball World Championship and the excellent sound quality was highly praised. This gives us the confidence that it will meet the high expectations set by the Qatar Olympic Committee for the 2022 Football Tournament.” www.sennheiser.com

www.mondodr.com

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STA PLES C E N T E R COMPANY: PICTURALL LOCATION: LOS ANGELES, USA

The Staples Center in downtown LA is one of the world’s prime sporting and entertainment venues, hosting over 250 events and some four million guests every year. The venue is home to four professional sports franchises, including the NBA’s Los Angeles Lakers. The Lakers production team has recently invested in a sophisticated 360º video installation to further enhance the spectator experience. At the heart of the system is a powerful Octo media server from Picturall.

The company responsible for the installation was Benchmark Productions, a full service live event production company based in Lake Forest, Southern California, who worked in conjunction with Picturall US’s Dylan Ankney in order to deliver the Lakers’ ambitious audiovisual project.

The Picturall Octo is housed in the video booth. Four outputs from the Octo are sent to four one-in / two-out HDMI distribution amplifiers from Lightware. From there, the signal is sent to eight Lightware DVI-to-fibre

GA ZI -STADI ON COMPANY: FOHHN AUDIO LOCATION: STUTTGART, GERMANY

converters ready to transit onto the existing optical fibre network running out from the video booth to various locations throughout the venue.

“Benchmark installed eight double-stacked Christie projectors throughout the venue - two in each of the four corners,” described Dylan. “Each stack covers 90º of the 360º image that is projected onto the kabuki.”

A kabuki is a fabric screen - in this case cylindrical - on which images can be projected and drops on cue for a sudden reveal to add a little bit of drama to the proceedings. For the Lakers install, the kabuki hides the scoreboard at the centre of the court. “All of the media content is synced to time-code which is on one track of the audio that is playing back from the server through the addition of a Presonus 22VSL USB audio interface,” continued Dylan. “This time code is also sent via the house distro to the lighting console so that all transitions are in sync with the video playback.”

The entire image shifts 90º with every game, so that

people who are sitting in the same seat or seat block as they were last time get to see the video from a different viewing angle every time. “The clip features some cool movement around the cylinder so we wanted to make sure everyone had the opportunity to see it from all angles,” explained Dylan.

Josh Bachman, the owner of Benchmark productions, is pleased with a job well done and in particular with the performance of the Picturall Octo media server. “We were impressed by the Octo’s ability to play back such huge media files with no need to distribute the load over additional machines, as we had found with other multi display software products,” he said. “We also needed rock-solid dependability, so the fact that Picturall runs on a Linux platform eliminated concerns about using consumer-grade operating systems on the playback machines.

Octo is definitely a professional-grade media server.” www.picturall.com

The GAZi-Stadion, home to the Stuttgarter Kickers football team, is a multi-purpose stadium situated in the shadow of Stuttgart’s TV tower. Following several refurbishment programmes over the last 30 years, the stadium complex re-opened in 2015 following a major update, which has seen its stand capacity increased by 1,000 to accommodate 2,271 seated spectators. The pitch has also been expanded to the FIFA standard (105-metres x 88-metres), with underground heating for better all year round playing conditions. A new light flooded VIP room in the main stand accommodates up to 1,300 guests. In addition to being used for matches, the premises, including its VIP room, changing rooms and press area can also be hired for conferences, corporate events and family celebrations.

The refurbishment also involved the installation of new loudspeaker systems. With a requirement to deliver high levels of speech intelligibility for match commentaries, along with effective reproduction of music for other events, a range of Arc-Series loudspeakers were selected from Fohhn Audio AG. The Nürtingen-based manufacturer is no stranger to stadium installation having previously supplied systems for the Fritz-Walter-Stadion in Kaiserlautern, the Letzigrund in Zurich, Switzerland, and the Georg-Melches-Stadion in Essen, Germany.

The GAZi-Stadion installation has included 30 AT-661w full range systems, which are used to cover the playing area and main stand. These passive, horn loaded, weatherproof loudspeakers are specially designed for use in stadia, arenas and large halls. With two dispersion angles available, the installation of these particular systems has also provided stadium staff with flexibility going forward. The loudspeakers can either function as full range systems, or as mid-high systems in combination with selected Fohhn subwoofers, as the need arises.

A total of 12 AT-221w loudspeakers have been installed in the side stands. The systems are timealigned and protected against damage, dust and moisture by a ball impact resistant metal grille and special sound permeable filter foam.

The loudspeaker installation was carried out by Stuttgart-based Firma Renz and completed in time for the start of the football season. www.fohhn.com www.mondodr.com

57 REP ORT: SP ORT ING VENUES

L E VI’S STADI UM COMPANY: ALLEN & HEATH LOCATION: CALIFORNIA, USA

As one of the few NFL football teams to own its own broadcasting network, the Carolina Panthers are well equipped to serve their fan base. The Panthers Radio Network broadcasts game day programming, a post-game show and a variety of special programmes. Selected programmes are also streamed at panthers.com.

Broadcasts are mixed on an Allen & Heath Qu-16 digital mixer, which travels with the team to away games. Technical Producer, Harrill Hamrick, sets up the system and mixes the broadcasts. His goal is to create an engaging live programme by seamlessly combining local sources like the play-by-play announcer, locker-room interviews and crowd microphones with remote announcements and advertisements fed over a tie-line from the Panthers’ broadcast station.

Harrill had used a 16-channel analogue mixer for several years. “The analogue mixer was old enough that I knew I needed to replace it,” he said. “I was concerned about reliability and the sound quality

had suffered from things like capacitors drying out.” Harrill looked at several new mixers and said he was attracted to the advantages of digital mixing, but he was concerned about setup complexity and a lengthy learning curve.

Cliff Miller of SE Systems in Greensboro, NC recommended the Qu-16 as a great way to move up to digital while maintaining ease of use. When he first received the mixer, Harrill said he connected his sources and was able to configure and use it quickly. “The Qu-16 has an analogue feel to it,” he said, “and you don’t get lost in the layers and the complexity.”

During broadcasts, a Qu-16 mix feeds the studio and another goes to the Spanish-language broadcaster. Additional Qu-16 outputs feed local monitor mixes. An Allen & Heath ME-1 personal mixer with Lectrosonics wireless transmitter and receiver enables a custom monitor mix for the producer as he wanders around the booth and into the stadium. Harrill carries the Qu-16 in a portable

case and sets up the overall system quickly using CAT5 cables for both digital and analogue connections. He chose the ISDN transmission protocol to send programmes to the station. ISDN allows modern digital connections even over traditional twisted-pair telephone lines.

The Qu-16’s Qu-Drive feature provides a multitrack recording of Panthers’ games and its twotrack output feeds a pair of Sony PCM recorders.

Harrill uses the Qu-16’s compression and EQ on selected microphones and saves the entire Qu-16 configuration to a USB thumb drive as a backup.

The Qu-16 has become the heart of the Panthers Radio broadcast system. Harrill loves the mixer’s compact profile and said it has “a nice clean sound – much better than the old analogue mixer.” He added: “The Qu-16 is in a sweet spot for this job.

It has plenty of inputs and processing power in a well-built, small package at an attractive price. I couldn’t do a broadcast now without it!” www.allen-heath.com

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THE OCEANOGRAPHIC VALENCIA

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Ionic column speakers installed in Europe’s largest aquarium.

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With more than 15 million visitors since it opened, Valencia’s Oceanographic is one of the most important marine aquariums in the world and one of the biggest in Europe. The park wanted to offer the best experience for their visitors and have just chosen Lynx Pro Audio systems for the park’s daily dolphin show.

A total of 20 Ionic-100 column loudspeakers, together with eight DR-N12 subwoofers have been installed in different positions in the dolphinarium, including the roof of the amphitheatre and the borders of the dolphin pool.

The roof of the amphitheatre houses 12 columns along with six subwoofers.

This combination comprises six groups of two columns per subwoofer evenly distributed under the roof.

The rest of the cabinets are fixed very close to the dolphin pool to reach the first rows of seats, with two subwoofers perfectly hidden from view.

The park strectches across 110,000 sq metres and is home to more than 500 species including sharks, morays, sturgeons and fish, as well as seals, birds and penguins. And now is also home to some column loudspeakers from from Lynx Pro Audio too. www.lynxproaudio.com

www.mondodr.com

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ZERO GRAVITY DUBAI, UAE EUROPE, MIDDLE EAST & AFRICA

Dubai has no shortage when it comes to nightlife and socialising, with a vast array of clubs, bars and restaurants catering for a wide range of visitors, so, with that much competition, any new venue has to be sure it makes a real impression. And that’s where Zero Gravity comes into the equation. www.mondodr.com

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Described as a unique beach club, bar, restaurant, large-scale event space - with a brand new 39-metre glass fronted pool - Zero Gravity has certainly made waves in Dubai, and it’s all down to the incredible variation offered. Put simply, Zero Gravity seems to have everything.

Visitors to the huge venue in Dubai Marina can go from the daytime straight to nighttime, from laid-back lounging on the beach or by the pool, lunch or dinner in the sleek, modern restaurant, right through to a full-on party at night.

The thriving venue’s General Manager Peter Skudutis is delighted with the way

the venue has evolved. “Our new 2,000 sq metre pool expansion reveals another layer to Zero Gravity, as a complete, globally unique, lifestyle destination. We opened our doors over two years ago, but are now most definitely enjoying our second phase.”

With such grand plans in place for the overall design of Zero Gravity, it was vital that the technology was able to match and enhance the experience for the clientele that would soon be enjoying the venue.

A list of bidders was drawn up by Zero Gravity, which included Delta Solutions, who were awarded the opportunity

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INSIDER INSIGHTS NAME: Gareth Armstrong JOB TITLE: Contracts Manager, Delta Solutions.

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to begin work on the venue. Gareth Armstrong, the Contracts Manager at Delta Solution’s Dubai office, explained the story further: “Delta Solutions currently provides a rental solution to Zero Gravity, so when the client revealed that they required an integrated permanent solution, we were added to a list of bidders for the venue.”

“The management team at Zero Gravity wanted something unique with a wow factor to set itself apart from other beachclubs within the region, so they set about designing just that and then asked us to make their design a reality.”

Gareth continued: “Because of the current international expertise and relations we have through having offices in the United Kingdom and Hong Kong, we worked closely with professionals and experts from a few different fields to work on a bespoke, unique concept that was incomparable to other venues in the region.”

If Zero Gravity was to be as success as planned, the audio had to not only be perfect, but also offer clear, varied options for the range of separate sections within the venue. With so much on offer for the www.mondodr.com

visitors, it was as if Delta Solutions was working on a number of venues, rather than just one.

Gareth explained Delta Solutions’ approach to the audio installation on Zero Gravity’s main stage: “When it came to the loudspeakers, Zero Gravity decided that L-Acoustics offered exactly what was needed. We are distributors for L-Acoustics in the region, but it was a natural choice, given the performance, quality and unrivalled performance of the L-Acoustics boxes.

“We designed the main stage PA at Zero Gravity, which comprises of two hangs of six K2 loudspeakers, with eight SB28 subwoofers. The delays comprise four stacks of three Arcs Wide with another four SB28’s.”

L-Acoustics was used installed throughout the venue, including the pool area which features four towers of four Arcs Wide each with a SB18 subwoofer, while the gardens were installed with 24 X12’s from the new L-Acoustic X-Series, which offer exceptional quality for background music around the grounds.

There was plenty to consider, though, when it came to the audio installation,

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said Gareth: “The audio is also configured into a Dolby 5.1 system as Zero Gravity wanted to be able to also screen movies on the beach, where surround sound is achieved at the outdoor venue, with routing done via a DiGiCo S21 and D-Rack, along with Dolby processing.

“We also provided a full distributed audio solution, which is firstly controllable plus, with more boxes came less sound bleed to neighbouring properties. At the request of Zero Gravity’s General Manager, Peter Skudutis, we also contracted Acoustic Logic, who are acoustics engineers that we brought on board to do acoustic studies and assist

TECHNICAL INFORMATION SOUND 12 x L-Acoustics K2 loudspeaker; 12 x L-Acoustics SB28 subwoofer; 28 x L-Acoustics Arcs Wide loudspeaker; 1 x L-Acoustics SB18 subwoofer; 24 x L-Acoustics X12 loudspeaker; 1 x DiGiCo S21 console; 1 x DiGiCo D-Rack; Dolby processing LIGHTING & VISUAL Clay Paky A.leda B-EYE moving heads; Studio Due Space Flower 3000’s; Vision Lighting XS3 Beam / Spot / Washes; 1 x MA Lighting dot2 console; 1 x PIXCOM Technologies LED screen; Kvant lasers; Pangolin Beyond 2.1 laser software 0-gravity.ae

with testing and commissioning to ensure sound bleed and noise pollution was kept to a minimum.”

That kind of attention to detail has left Zero Gravity with an unrivalled sound system right across the venue. The state-of-the-art L-Acoustics K2 and Arcs Wide system is the first of its kind to be permanently installed in the region and, having been used to great effect at Coachella Festival and the Olympic Games in Russia and London, Zero Gravity now offers that calibre of sound, with exceptional clarity and depth.

“The installation at Zero Gravity is an important one in the region. There are very few clubs in the world that are big enough, both in size and conception, to be able to justify the K2 line array, which is generally used in the world’s most prestigious arenas, tours and music festivals,” said Peter Owen, Regional Sales Manager at L-Acoustics. “Zero Gravity allowed us to use the very best of our technologies, which means we have been able to create a system that is as powerful and sophisticated as the venue itself.”

Gareth discussed the installation of L-Acoustics further, touching on the exclusivity of the system used: “Zero Gravity is the only venue in the extended region to include three of the L-Acoustics systems - the K2 line-array, the Arch Wide Constant Curvature and the X www.mondodr.com

Series.

“We have installed concert sound which, at the touch of a button, can be transformed into outdoor cinema sound.

There is no other solution anywhere near this region that provides this. The Zero Gravity audio/visual experience is now unrivalled.”

The lighting install was next on the agenda for the Dubai venue and Delta Solutions were again given the task of making it unique for Zero Gravity.

“Again, much like the audio installation, Zero Gravity had very specific requirements and ideas of what they wanted, even down to providing hand drawn sketches of what the layouts and designs needed to look like. They also provided details of global benchmarks that they wanted to draw from,” said Gareth. “We went for more fixtures rather than less, which would enable us to provide more lighting designs for the venue by which individual themes could be created.”

Delta Solutions set about deciding on lighting fixtures that would create the desired vision for Zero Gravity. “Clay Paky has created the A.leda B-EYE, which is what the client wanted at Zero Gravity, and we managed to integrate these into the design. We have also gone for some Studio Due Space Flower 3000’s, as well as Vision Lighting XS3 Beam / Spot /

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FRANÇAIS Dépeint comme un club de plage, un bar, un restaurant, une piscine et un espace de réunion à grande échelle unique, le Zero Gravity a incontestablement fait des vagues à Dubaï — et ceci, simplement grâce à l’incroyable variété de son offre. Les visiteurs de l’immense salle d’Al Sufouh peuvent y rester une journée entière sans problème, en passant d’espaces décontractés pour se prélasser sur la plage ou au bord de la piscine le jour, aux nombreux lieux de fête le soir. Par conséquent, l’on devait s’assurer que la technologie du grand projet de conception du Zero Gravity corresponde et améliore l’expérience de la clientèle qui fréquenterait bientôt le lieu. Delta Solutions obtint la chance de transformer le lieu, avec à l’ordre du jour des installations audio, d’éclairage et des effets visuels et spéciaux.

Un système sonore dernier cri L-Acoustics fut installé sur le site, offrant ainsi une performance, et un contrôle DiGiCo, totalement spécifique à la région.

Soigneusement étudié, l’éclairage présente des luminaires Clay Paky, Vision Lighting et Studio Due qui améliorent la conception détaillée du lieu ; les lasers Kvant choisis offrent quant à eux un impressionnant spectacle aux visiteurs. « Je pense que c’est toujours un grand plaisir de regarder les événements qui se tiennent aujourd’hui sur la nouvelle scène du Zero Gravity et de constater que tout le dur travail des entrepreneurs impliqués dans le projet a finalement payé » déclare Gareth Armstrong, gestionnaire de contrat chez Delta Solution à Dubaï.

DEUTSCH Zero Gravity wird als Beach Club, Bar, Restaurant, Pool und umfassender Eventbereich der einzigartigen Art beschrieben und hat sicherlich in Dubai hohe Wellen geschlagen – und alles wird zusammengefasst in der unglaublichen angebotenen Variante. Besucher des gigantischen Treffs in Al Sufouh können den ganzen Tag dort verbringen, von Faulenzen am Strand oder am Pool, bis zur Party nachts. Mit solch großen Plänen für das Gesamtkonzept des Zero Gravity war es ausschlaggebend, dass die Technologie in der Lage ist, die Erfahrung der Kundschaft, die in Kürze in den Genuss dieses Treffs kommt, zu erfüllen und zu verbessern. Delta Solutions erhielt den Auftrag, den Treffs zu transformieren, mit Audio-, Beleuchtungs-, Visualinstallationen und Spezialeffekten auf dem Programm.

Ein hochmodernes Soundsystem von L-Acoustics wurde im gesamten Treff installiert und bietet eine Performance - und Kontrolle mit DiGiCo. Dies ist in diesem Bereich einzigartig. Die Beleuchtung wurde sorgfältig durchdacht, mit Beleuchtungskörpern von Clay Paky, Vision Lighting und Studio Due, die dazu dienen, das detaillierte Konzept des Treffs aufzuwerten, während Kvant Laser ausgewählt wurden, um allen Besuchern eine spektakuläre Show zu bieten.

“Ich glaube, es ist immer ein enormes Gefühl, sich die Events anzuschauen, die im Zero Gravity jetzt auf der neuen Bühne aufgeführt werden und sich vor Augen zu führen, dass die ganze harte Arbeit der Vertragsfirmen, die an diesem Projekt beteiligt waren, sich letztendlich ausgezahlt hat,” so Gareth Armstrong, Vertragsmanager vom Delta Solution-Büro in Dubai.

ITALIANO Descritto come un luogo unico nel suo genere come beach club, bar, ristorante, piscina e luogo per eventi su larga scala, Zero Gravity ha certamente cavalcato l’ onda a Dubai ed il tutto grazie all’ incredibile scelta che propone. I clienti dell’immenso locale sito a Al Sufouh possono tirare dal giorno dritti alla notte, dallo stare sdraiati oziando sulla spiaggia o in piscina, fino a far festa la sera. Con tali grandi progetti in atto, per il design complessivo di Zero Gravity è stata di vitale importanza scegliere una tecnologia che fosse in grado di corrispondere ed esaltare l’esperienza per la clientela che potrà presto godere del locale. Alla Delta Solutions è stata assegnata l’opportunità di trasformare il locale con installazioni audio-video-luci ed effetti speciali all’ordine del giorno. In tutto il locale è stato installato un sistema audio all’avanguardia della L-Acoustics, offrendo una performance (controllata con DiGiCo) esclusiva per il territorio. L’impianto luci è stato ponderato attentamente con impianti della Clay Paky, Vision Lighting e Studio Due che sono stati utilizzati per esaltare il particolare design del locale, mentre i laser Kvant sono stati scelti per offrire a tutti i visitatori uno show spettacolare.

“Penso che sia sempre una grande sensazione guardare gli eventi tenuti al Zero Gravity, ora sul nuovo palco, e rendersi conto che tutto il duro lavoro fatto dai collaboratori presenti ha finalmente dato i suoi frutti”, ha detto Gareth Armstrong, Contracts Manager presso la sede di Dubai della Delta Solution.

ESPAÑOL Descripto como un exclusivo club de playa, bar, restaurante, piscina y espacio para eventos a gran escala, Zero Gravity, ha hecho mucho ruido en Dubai- y se debe a la increíble variedad que se ofrece. Los visitantes de este gran lugar en Al Sufouh pueden pasar el día entero hasta la noche, pasando desde un momento de relax echado para atrás en la playa o en la piscina hasta una intensiva fiesta por la noche. Para el diseño general de Zero Gravity, con planes de tales dimensiones, era fundamental que la tecnología encajara y resaltara la experiencia para los clientes que pronto estarían disfrutando del lugar. Se le otorgó a Delta Solutions la oportunidad de transformar el sitio con instalaciones de audio, iluminación y efectos especiales y visuales, todo en agenda. Se instaló un sistema de última generación de L-Acoustics en todo el lugar ofreciendo un rendimiento - y control con DiGiCo- que es exclusivo de la zona. La iluminación fue considerada con cautela con artefactos de Clay Paky, Vision Lighting y Studio Due, los cuales se utilizaron para resaltar el detallado diseño del lugar, mientras que los lasers de Kvant fueron los elegidos para ofrecer un show espectacular para todos los invitados. “Creo que siempre es un gran sentimiento ver los eventos que ahora se llevan a cabo en Zero Gravity en el nuevo escenario y darse cuenta que todo el trabajo duro de los contratistas que estuvieron a cargo finalmente valió la pena”, dijo Gareth Armstrong, Gerente de Contratistas en las oficinas de Delta Solutions en Dubai.

Washes, to create a lighting set-up that is perfect for the different parts of Zero Gravity.”

The dot2 from MA Lighting was chosen when it came to lighting control - a powerful, easy-to-use console that offers an exceptional user experience.

Elsewhere, Delta Solutions also worked on the visuals, which had very specific requirements for the different areas within the complex.

“Zero Gravity wanted something where the LED screens are not simply used for DJ visuals, but also for a movie to be played when needed, or an Instagram account integrated for days at the pool or beach. We have achieved this for Zero Gravity and it really makes a difference.

“We chose PIXCOM Technologies for the visual requirements on the project, as their track record for the best quality and impressive service is well known,” added Gareth.

When it came to special effects, Gareth explained that Zero Gravity had a very specific brief which included the design and layout of the effect towers surrounding the venue, that take inspiration from towers at the front of the Crown Casino in Melbourne, Zero Gravity GM Peter’s home town. Peter wanted to achieve the same wow effect when flame units are used, and this is certainly the case at the head-turning venue today.

“When it came to deciding on lasers, we went straight for Kvant. They are the industry leaders for lasers, so, albeit expensive, we went with suppliers who have a track record of being reliable, as well as having that proven quality that Zero Gravity required,” said Gareth. “For special effects, we used a company based in France to supply us with CO2, bubble machines and fire projectors. Again, www.mondodr.com

Zero Gravity wanted the ability to offer something that no other venue in the region has. We have accomplished this by being the only club that has invested in a permanent installation of effects of this magnitude.”

Following the installation from Delta Solutions, the end result is truly incredible, with Zero Gravity genuinely offering something for everyone – reflecting the varied clientele that visit through the day and into the evening.

However, there were challenges along the way, which Gareth explained further: “No challenges were planned, however, there were a few to say the least. As an audiovisual integrator, we don’t do any kind of construction or building work.

“However, as Zero Gravity had conceptualised a very unique structure requirement, we had to reverse engineer the process. Once we were awarded the job, we had to find a company to construct the necessary stage and effects towers. This proved difficult at the start, but then we overcame initial obstacles to deliver a great end product.”

Despite some setbacks and obstacles that are always inevitable when such an ambitious project is being put together, Zero Gravity can be considered a huge success.

“I think it is always a great feeling to look at the events being held at Zero Gravity now and realise that all the hard work from the contractors that were on board has finally paid off,” said Gareth on the overall project.

“The collaboration between Delta Solutions, New Evolution, L-Acoustics, the Zero Gravity team and various other contractors and consultants was not easy by any means, but it all contributed to the end product, which is Zero Gravity today.”

Images © Charlotte Busschaërt

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PARC OLYMPIQUE LYONNAIS LYON, FRANCE EUROPE, MIDDLE EAST & AFRICA

The new stadium built for the Euro 2016 and home to football team, Olympique Lyonnais has been kitted out with a state-of-the-art audio solution courtesy of EAW, Powersoft and Symetrix. Sam McLean reports on the install. www.mondodr.com

The Parc Olympique Lyonnais, also known at the Grand Stade and the Stade des Lumières, is being heralded as the stadium of the future. The new 59,186seat stadium - built for the French football club of the same name - is located in Décines near Lyon and boasts HD Wi-Fi for 25,000 and a cash-free payment system that utilises a smart phone app, for everything.

The city had been looking at the possibility of building a new stadium since 2007 but had trouble getting the project off the ground financially.

When France was awarded the Euro 2016 tournament and Lyon was selected as a host city, the club of Olympique Lyonnais decided to finance the project independently and the deal was sealed.

With an estimated cost of €450 million, construction began in 2012 and the stadium opened its doors in January 2016.

One of the goals for the new stadium was to provide fans with a game day

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experience not found anywhere else.

The design office of Atelier Audiovisuel Equipements, the engineering consulting firm brought in by Vinci Construction, put out a tender for the sound reinforcement system. Axente, a wellrespected professional audio distributor in France, and integration specialists SNEF and Axians worked together to design the distributed system that ultimately won the tender.

The goal was state-of-the art sound reinforcement that would rival audio at the highly regarded Wembley and Nou Camp Stadiums. The new system features Eastern Acoustic Works (EAW) loudspeakers powered by Powersoft amplifiers on a Symetrix Edge network.

Alain Hercman, Audio Department Director at Axente, stated: “This was an amazing project from the start - the stadium provides visitors with free HD Wi-Fi, more than 175 sq metres of video screens and the highest quality audio system available. They spared no expense

and it shows everywhere you look.”

The Grand Stade is part of a new sports complex that stretches over 50 hectares and features a training ground for Olympique Lyonnais as well as hotels and office buildings. The oval-shaped stadium - the centerpiece of the grounds - provides three tiers of covered seating designed to provide fans with maximum visibility regardless of seat location. The roof canopy not only covers the stands but also extends overs a large part of the podium surrounding the stadium, creating new spaces for fans to come together outside of the venue.

“The goal of the sound system was to provide intelligibility, high output and pattern control throughout the space not only for games but for events the city might host during the off season,” explained Rodolphe Roellinger of SNEF. “We designed a distributed system made up of EAW QX500 Series loudspeakers that provides more than 105dB / STI sup 0.5 and extended bandwidth which easily www.mondodr.com

“The QX Series are state of the art for venues like Grand Stade that that require high output and intelligibility.”

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“Powersoft has an excellent reputation in this area and the eightchannel units are ideal for this application.”

• Top The EAW clusters feature two QX596i and one QX564i loudspeaker.

• Left The Yamaha QL1 is located is the commentator booth.

• Right The Powersoft Ottocanali amps and Symetrix Edge in the rack.

delivered on that objective.”

Frankie Celeste of Axians added: “The system was designed to inter-operate with the public address system and with the EVAC audio system. We also managed Dante and MADI interfaces via Symetrix and Riedel components. The end result exceeded expectations.”

The distributed system consists of 20 loudspeaker clusters with the majority of the clusters made of two EAW QX596i and one EAW QX564i loudspeakers. The QX596i shoot down to cover the first and second tiers of seating while the QX564i covers the upper tier. Four corner clusters consist of one QC596i and one QX564i aimed to cover the corner seating areas.

The clusters are mounted 35-metres (115ft) high under the gangway utilising custom hanging hardware designed by SNEF. The three-way, point source QX596i and QX564i loudspeakers load ultraefficient mid-high compression drivers (90º x 45º and 60º x 45º respectively) with a constant directivity horn. Four www.mondodr.com

phase aligned 12-inch low frequency transducers arranged as vertical and horizontal pairs leverage beneficial interaction based on their spacing to extend pattern control will into the low frequency range.

“The QX Series are state of the art for venues like Grand Stade that that require high output and intelligibility,” Frankie noted. “The four 12-inch LF cones were exactly what we needed to achieve excellent low end without compromising intelligibility.”

When it came to powering the loudspeakers, the design team looked for reliability, power and efficiency. It was important that the amplifiers could not only power the system but provide the flexibility it required. Four eightchannel Powersoft Ottocanali 4K4 and 14 Powersoft Ottocanali 12K4 were specified to drive the 20 loudspeaker clusters. The 12K4’s feed the low end sections - mono bridged at eight ohms - and the 4K4 manage the mid and high sections into a four ohm load. The amplifiers were rack

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“Each of the manufacturers in this project represent the top of the range, and they work together perfectly.”

mounted in amplifier rooms located on the catwalk at the north and south ends of the stadium.

“Together the amplifiers provide more than 184,000W of power,” Rodolphe stated. “Because each provides eight independent configurable channels, they had the power and flexibility we needed for such a large multi-zone system.”

Dual redundant power supplies ensure not only great efficiency and reliability, but also provide backup in case catastrophe strikes. Powersoft’s patented SRM (Smart Rails Management) technology maximises the efficiency of the system as well as reduces power consumption. Fixed frequency switchmode technology in both the power supply and output stage translates into lower crosstalk and perfect matching between the two. Fortunately, Ottocanali amplifiers handle over and under voltage extremely well without affecting performance. PFC lowers peak current adsorption, fostering the reduction of the wiring gauge which translates into lower installation costs.

“One of the main characteristics you look for in amplifiers is reliability especially in a large venue like Grand Stade,” said Frankie. “Powersoft has an excellent reputation in this area and the eight-channel units are ideal for this application.” www.mondodr.com

Alain added: “The quality of this amplifier platform is far superior to others and allows us to use fewer amplifiers. It was a win-win situation.”

“DSP with built-in Audinate Dante that would work around networking technology in place was a necessity,” Celeste pointed out. “Edge from Symetrix with its flexible input / output configuration was ideal. Fortunately, EAW has designed dedicated super modules for the Composer software that make it easy to monitor, control and process the audio distribution network.”

Two Edge units - one rack mounted in the amplifier room, the other was rack mounted in the control room - provide the crew with consistent support for the Dante media networking technology.

A Symetrix Radius 12x8 EX DSP along with Symetrix expansion I/O units offer audio sign routing and distribution of the signal to VIP rooms, player areas and other spaces equipped with ARC-2e wall panels used to tap into the system.

“Each of the manufacturers in this project represent the top of the range, and they work together perfectly,” explained Alain.

“With the Symetrix Composer software it was simple for us to import pre-sets for the EAW QX system, and that was a big advantage - there is no difference between the Symetrix processing and the manufacturer processing. Also using

• Above When France was awarded the Euro 2016 tournament and Lyon was selected as a host city, the club of Olympique Lyonnais decided to finance the project.independently and the deal was sealed.

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• Above Marc Kocks (Powersoft), Alain Hercman (Axente), Christophe Carles (Axente), Maxime Jonda (SNEF), Frankie Celeste (Axians), Rodolphe Roellinger (SNEF), and David Thiebaut (Atelier Audiovisuel).

TECHNICAL INFORMATION SOUND 36 x EAW QX596i loudspeaker; 20 x EAW QX564i loudspeaker; 4 x Powersoft Ottocanali 4K4 amplifier; 14 x Powersoft Ottocanali 12K4 amplifier; 2 x Symetrix Edge DSP; 1 x Symetrix Radius 12x8 EX DSP; 1 x Yamaha QL1 console www.parc-ol.com

Symetrix Composer meant we were able to design a user friendly interface for simple control of the system.”

With the UEFA Euro 2016 championships in sight, the Parc Olympique Lyonnais is ready to host the championship. Over the course of 30 days, thousands of fans will pass through their gates looking forward to an incredible game and experience in the new stadium.

“This was a project that was a long time in the making,” concluded Alain. “I think the owners and fans would agree that it has been worth the wait. The audio system is stunning - it provides everything necessary for what is needed now and well into the future due to great team work between manufacturer, distributor and integrators. Everyone is extremely pleased with the end result.”

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ROYAL SCOTTISH NATIONAL ORCHESTRA CENTRE GLASGOW, UK EUROPE, MIDDLE EAST & AFRICA

The Royal Scottish National Orchestra (RSNO) centre is an impressive, purpose-built venue, which forms part of the Royal Concert Hall complex in Glasgow’s vibrant city centre. www.mondodr.com

The Glasgow Royal Concert Hall has been the main performance hall for the RSNO for a number of years, though, having seen a significant growth, a new, more multifunctional space was required to allow for orchestral rehearsals, as well as performances. Essentially, the Royal Concert Hall complex offers a hall that can be transformed from a rehearsal space to a performance venue in just 30 minutes.

Now, the complex features a 600-seater auditorium, a rehearsal space and learning centre, a recital hall and performance space that will be also used for other music events.

Led by Kerr Robertson, who is responsible for a range of projects in the city, such as Glasgow’s City Halls, and world-renowned acoustic specialists, Arup, a team of architects from Glasgow City Council designed the new world class home for Scotland’s national symphony orchestra.

Using their expertise, Arup placed the acoustic quality at the forefront of the design plans, with a number of features included to optimise the venue for both

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rehearsal and performance situations.

According to Arup, it “provided an innovative solution to address the differing needs of the space, which allow it to be refigured seamlessly within 30 minutes,” and go on to say that its “imaginative approach has seen the inclusion of moveable side balconies; in rehearsal mode the balconies fold up flat against the walls, providing maximum floor space for the orchestra.

In performance mode, the balconies are deployed which narrows the room.”

With such thorough, well-executed plans when it came to the overall design of the RSNO centre, it was vital that the audio installation had to match up. So, to ensure that the success continued, Adlib were enlisted by Glasgow City Council after a competitive tender to provide an state-of-the-art audio solution for the new venue.

Roger Kirby, Director of Installation Projects at Adlib, takes up the story: “When it came to the RSNO centre, a new front of house sound system, complete with infills as deemed necessary, with digital mixing console

was required to facilitate smooth audio coverage for events held in the 600-seater auditorium - which, of course, has flexible use as a rehearsal space and recital hall. Plus, the space was also due to be used for classical recordings and other events, so that had to be taken into consideration.”

After a detailed site survey, Adlib liaised with the in-house technical managers and Arup before they decided to propose the installation of an L-Acoustics KIVA system, along with SB15m and SB18i low-end loudspeakers and L-Acoustics XT Series loudspeakers as infills where additional sound coverage was required.

“We chose the KIVA system from L-Acoustics for both the scale and flexible format when it came to the audience attending events in the hall, along with the zoned control offered by the LA Series of amplified controllers.

Plus, the ease of rigging of all flown elements, which is vitally important when facilitating rapid turnarounds, along with system reliability,” explained Roger.

“The main system compromises 11 KIVA www.mondodr.com

• Above The L-Acoustics KIVA arrays sit left and right of the stage.

loudspeakers, with two SB18i flown subwoofers on each side side, plus two SB15m ultra-compact bass extensions sitting at the top each KIVA array. The KIVA system is driven by a combination of LA8 and LA4X amplified controllers, all featuring comprehensive on-board signal processing.

“Supplementary audio coverage for stage and lip fills is offered by four 8XTs that can be deployed, while two 12XTs were specified for covering the ‘platform’ area, which can include additional seats in the choir stalls position behind the stage.

The 12XTs may also be used as general left and right stage fills for those events requiring high SPL. These loudspeakers are again driven with LA Series amplified controllers,” he added.

As other DiGiCo consoles had already been used in the main Glasgow Royal Concert Hall venues, a DiGiCo SD8/24 was chosen, along with DiGiCo D2 stage boxes, offering a versatile solution.

“The console was one of many items specified by the experienced in-house sound technicians,” Roger explained.

“All the engineers have had very positive

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INSIDER INSIGHTS NAME: Roger Kirby JOB TITLE: Director of Installation Projects for Adlib LIKES ABOUT TECHNOLOGY: Being able to generate detailed system and infrastructure designs in advance of finalised construction issue plans. Ability to operate different systems from a single location or control surface. Continual improvements and updates of the best software design and control applications DISLIKES ABOUT TECHNOLOGY: Although there is a staggering amount of brilliant technology on the market, the biggest challenge is keeping abreast of it. Luckily, Adlib is a company of sufficient size that we have specialists and experts in most fields so we can just about keep up with it!

THE NEXT BIG THING IN TECHNOLOGY WORLD: Developments in integrated software modelling for building design and system infrastructure enable us to create brilliant lighting, sound & rigging solutions for theatres and venues.

Considering all the technology that is available at our fingertips, the basics are frequently missed but this is only realised when venue constructions are completed which as we know is too late. Hopefully this can be improved upon. Right now the design software is amazing but what really intrigues me is what insights this will offer in the future.

results with DiGiCo consoles in the local Glasgow venues, which was perfect as Adlib’s hire department have an extensive inventory of DiGiCo products and, therefore, a detailed knowledge of the range. So, when it came to the RSNO, the SD8/24 matched the initial brief, with scope for future expansion, too.”

The audio system was then completed with the inclusion of a BSS Soundweb London Architect network, which comprises a BLU-160 signal processor and a small analogue Allen & Heath MixWizard desk.

“A networkable audio processing device, which could be introduced into the signal path as an audio matrix in various configurations to simplify monitoring and show relay to the recital hall and other areas within the venue was described within the tender,” said Roger.

“We decided on the BSS London Architect network for its reliability and ease of use. It includes a number of devices, such as the BLU-160, which has modular cards that can be swapped to suit future developments and further expansions within the building complex.”

Once all the kit was agreed upon and had arrived onsite, Adlib engineers went about ensuring the installation was fast and efficient - and, with everything completed in just eight days, it was a huge success overall. The team at Adlib fully tuned and commissioned the system, establishing system presets, which can be easily selected by staff running the events, to suit the different audience configurations, depending on the performance at the venue itself.

“Our main challenge was the short installation window. As the building had already been handed over to the orchestra, we had to dovetail the install around the busy rehearsal schedule, www.mondodr.com

resulting in the team working both day and night shifts to deliver the installation on time and on budget,” said Roger.

“The resulting sound system design is fantastic and is being enjoyed by all, from those using it to those listening to it. The L-Acoustics KIVA loudspeaker system packs a punch and has been integrated very well into the hall as a whole - the compact format of the loudspeaker hangs compliment the aesthetics of the venue rather than detracting from them, which can sometimes be the case with unsightly rigging.

“The system has been configured to make it very simple to operate for the various audience arrangements - and it has worked very well for the first events, including the ‘Under the Skin of Tchaikovsky’ and other shows.”

With the audio system completed to such a high standard, thanks to the work of Adlib, Arup and the in-house team, the lighting install was another area of vital importance to the RSNO centre.

A.C. Entertainment Technologies (AC-ET) was approached to propose a solution for the lighting for the new venue. This led to Ian Ferguson, UK Sales Executive at AC-ET, using DIALux to model the venue and calculate exactly what would suit the lighting requirements.

There was plenty to consider when it came to the lighting fixtures, which Ian explained further: “We had to find a quality of light that was suitable for the orchestra - it had to be clean and pure, with no shadows, so sheet music was easy to read.”

“It also had to be tunable, allowing the white temperature between warm and cool white to be selected. This reduced the reflection off the sheet music and took away the risk of eyestrain. Not only

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FRANÇAIS

Le Centre du « Royal Scottish National Orchestra » (Orchestre royal national d’Écosse ou RSNO) est un lieu étonnant spécialement construit pour y accueillir l’orchestre au sein du complexe du Royal Concert Hall situé au centre-ville de Glasgow. Aujourd’hui, le complexe dispose d’un auditorium de 600 places, d’un espace de répétition, d’un centre d’apprentissage et d’une salle de récital et de spectacles qui sera également utilisée dans le cadre d’autres événements musicaux. Kerr Robertson, responsable d’une série de projets pour la ville et ARUP, le spécialiste en acoustique de renommée mondiale ont dirigé une équipe du conseil municipal de Glasgow. Ces architectes devaient concevoir la nouvelle demeure « de classe mondiale » de l’orchestre symphonique national d’Écosse. Adlib a suggéré l’installation du système audio KIVA de L-Acoustic muni de haut-parleurs SB15m et SB18i bas de gamme et des enceintes L-Acoustics XT Series pour le remplissage là où une couverture sonore supplémentaire semblait nécessaire, ce qui a transformé le lieu. On a aussi demandé à A.C. Entertainment Technologies (AC-ET) de proposer une solution pour l’éclairage. Tenant compte de la qualité de la lumière, du bruit des mécanismes et du confort des musiciens, AC-ET choisit des appareils Chroma-Q, avec 134 diodes électroluminescentes d’inspiration RVBB disposées un peu partout. Ces installations sonores et d’éclairage garantissant une incroyable performance, le centre du RSNO est un bel ajout à la ville de Glasgow et marque un nouveau chapitre dans l’histoire du lieu — une excellente façon de célébrer le 25e anniversaire du Royal Concert Hall.

DEUTSCH

Das Royal Scottish National Orchestra (RSNO) Zentrum ist ein beeindruckendes speziell errichtetes Gebäude, das Teil des Royal Concert Hall Komplexes in der pulsierenden Innenstadt Glasgows ist. Der Komplex verfügt nun über ein Auditorium mit 600 Plätzen, einen Proberaum und über ein Lernzentrum, einen Vortragssaal und einen Veranstaltungsort, der auch für andere Musikveranstaltungen benutzt wird. Unter der Leitung von Kerr Robertson, dem Verantwortlichen für zahlreiche Projekte in der Stadt, und den weltbekannten Akustikspezialisten ARUP hat ein Architektenteam des Glasgower Stadtrats das neue “Weltklasse”Haus für das nationale Symphonieorchester von Schottland gestaltet. Adlib schlug eine Audioinstallation vom L-Acoustics KIVA-System zusammen mit SB15m und SB18i Low-End-Lautsprechern und L-Acoustics XT Series Lautsprechern als Auffüllung für dort, wo eine zusätzliche Sound-Abdeckung erforderlich war, vor, wodurch der Ort verwandelt wurde. A.C. Entertainment Technologies (AC-ET) wurde angesprochen, um auch eine Lösung für die Beleuchtung anzubieten. AC-ET berücksichtigte die Lichtqualität, den Geräuschpegel der Beleuchtungskörper und den Komfort der Musiker und entschied sich für Chroma-Q Beleuchtungskörper mit 134 Inspire RGBW LED-Saalbeleuchtung im gesamten Gebäude. Sowohl die Audio- als auch die Beleuchtungsinstallation bieten eine unglaubliche Performance, so dass das RSNO-Zentrum eine hervorragende Bereicherung für die Stadt Glasgow bedeutet und ein neues Kapitel in der Geschichte des Ortes darstellt – eine angemessene Art, um das 25-jährige Bestehen der Royal Concert Hall zu begehen.

ITALIANO

Il centro Royal Scottish National Orchestra (RSNO) è un edificio imponente che è stato appositamente costruito e che fa parte del complesso della Royal Concert Hall nel vivace centro di Glasgow. Il complesso dispone ora di un auditorium da 600 posti, un centro di sala prove e di apprendimento, una sala recitazioni ed uno spazio scenico che sarà utilizzato anche per altri eventi musicali. Un team di architetti del Glasgow City Council, guidati da Kerr Robertson che è oltretutto responsabile di una serie di progetti in città e dagli specialisti di acustica di fama mondiale ARUP, ha progettato questa nuova casa di “prim’ordine” per l’orchestra sinfonica nazionale della Scozia. Adlib ha proposto degli impianti che hanno trasformato la sede, tra cui un’installazione audio del sistema KIVA di L-Acoustic, insieme ad altoparlanti di fascia bassa SB15m e SB18i e diffusori L-Acoustics XT Series come riempitivi in zone in cui era richiesta una copertura audio aggiuntiva; mentre A.C. Entertainment Technologies (AC-ET) ha anche proposto una soluzione per l’illuminazione.

Tenendo in considerazione la qualità della luce, il rumore dell’impianto ed il comfort dei musicisti, AC-ET ha optato per degli impianti Chroma-Q con 134 Inspire RGBW LED House Lights poste dappertutto. Con entrambe le installazioni audio-luci che forniscono una prestazione incredibile, il centro RSNO è una bella novità aggiunta alla città di Glasgow e segna un nuovo capitolo nella storia del locale, nonché un modo appropriato per celebrare il 25° anniversario del Royal Concert Hall.

ESPAÑOL

El centro de La Orquesta Real Nacional Escocesa (RSNO, de sus siglas en inglés) es un lugar impactante construido especialmente, el cual forma parte del complejo del Royal Concert Hall en el dinámico centro de la ciudad de Glasglow. Ahora, el complejo cuenta con un auditorio con capacidad para 600 asientos, un espacio destinado a ensayos y un centro de enseñanza, más un salón para recitales y espacio para obras que también será utilizado para otros eventos musicales. Liderado por Kerr Robertson, responsable de una gran cantidad de proyectos en la ciudad, y los especialistas en acústica reconocidos mundialmente, ARUP, un equipo de arquitectos del Glasgow City Council, diseñaron el nuevo lugar de primera categoría para la orquesta sinfónica nacional de Escocia. Adlib propuso una instalación de audio del sistema KIVA de L-Acoustic junto con parlantes básico SB15m y SB18i y altoparlantes Serie XT de L-Acoustics como relleno donde se necesitaba una cobertura de sonido adicional, lo cual transformó el lugar. A.C. Entertainment Technologies (AC-ET) fueron abordados para proponer una solución para la iluminación también. Habiendo considerado la calidad de la luz, el ruido de los artefactos y el confort de los músicos, AC-ET se decidió por artefactos Chroma-Q con 134 luces LED RGBW Inspire utilizadas en toda la extensión.

Tanto con la instalación de audio como con la de iluminación con las que se ofrece una performance increíble, el centro RSNO, es un buen agregado a la ciudad de Glasglow y marca un nuevo capítulo en la historia del lugar- una manera apropiada de celebrar el 25o aniversario del Royal Concert Hall.

that, but fixture noise was a concern with the RSNO being specifically designed to be acoustically balanced and all unwanted noise eliminated.”

With the quality of light, fixture noise and the musicians’ comfort taken into consideration, AC-ET decided on Chroma-Q fixtures, with 134 Inspire RGBW LED house lights used throughout the venue. The next step for AC-ET was to provide some demo units to the RSNO centre for a long-term trial, allowing the orchestra time to make sure they were completely happy with the light and heat from the fixtures, as well as ensure that the original calculations were correct. The demo proved to be a success, which meant that the full install went ahead.

“The Inspire fixtures that are installed at the RSNO centre are convection cooled, which eliminated the requirement for a fan. They also have additional protection against electronic dimming noise and, when measured, the Inspires had no acoustic impact on the venue, even when dimming - it made them perfect for the venue,” explained Ian. “Due to the rich colour palette, the Inspires can transform the venue when used for small groups or orchestras.”

With both the audio and lighting installs providing an incredible performance, the RSNO centre is a fine addition to the city of Glasgow and marks a new chapter in the history of the venue - a fitting way to celebrate the Royal Concert Hall’s 25th anniversary year.

TECHNICAL INFORMATION SOUND 22 x L-Acoustics KIVA loudspeaker; 4 x L-Acoustics SB15M subwoofer; 3 x L-Acoustics LA8 amplified controller; 1 x L-Acoustics LA4X amplified controller; 4 x L-Acoustics 8XT loudspeaker; 2 x L-Acoustics 12XT loudspeaker; 1 x DiGiCo SD8/24 console; 1 x DiGiCo D2 stage box; 1 x BSS Soundweb London BLU-160 signal processor; 1 x Allen & Heath MixWizard desk LIGHTING & VISUAL 134 x Chroma-Q Inspire RGBW LED house light www.rsno.org.uk

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GAMLA RIKSARKIVET STOCKHOLM, SWEDEN EUROPE, MIDDLE EAST & AFRICA

As one of the last remaining 19th Century Romanesque institution buildings in Europe, repurposing Sweden’s Gamla Riksarkivet for entertainment was never going to be without challenges. Chief among them was ensuring that any new sound system would be as aesthetically unobtrusive as possible. Stockholm’s own 08audio answered the call with Genelec’s 4000 series.

Gamla Riksarkivet was originally designed by architect Axel F Nystrom to be the Swedish Government’s official national archive, towering above the city as Stockholm’s tallest building at the time.

Located in Medieval Riddarholmen, the venue now hosts tours, as well as party and conference spaces, following its official closure as an archive in 1968.

Due to its standing as an important Government building, Gamla Riksarkivet was built on a base of cast iron to increase fire safety, with cast-iron column supports, iron bookshelves, steel doors and sandstone frames and sills.

Originally without electricity, the building incorporated large open windows to flood the interior with natural light. This myriad of harsh, reflective surfaces made for a difficult audio environment to work within.

08 audio’s Jouni Niemi chose Genelec’s 4000 Series loudspeakers as they could not only face the rigours of the building’s challenging acoustics, but also leave as small an aesthetic footprint as possible, so not to detract from the venue’s striking interiors.

“This fantastic building initially presented numerous acoustic issues to us,” said Jouni. “As with any old building, we were restricted with our ability to place loudspeakers optimally. With so many hard surfaces, this further compounded the challenge of ensuring consistently clean

and neutral sound throughout the install.

With the installed Genelec 4030Bs, we were able to use low cut on DIP switches instead of using equalisation external processing, allowing us to achieve a flat and consistent frequency response in each loudspeaker, without additional equipment.”

Audio transport and control is handled by a Biamp Nexia DSP system. Dedicated software screens, RS-232 control systems and a variety of optional remote control devices are at the client’s disposal with the internal system design being entirely user definable via PC software. Intuitive interfaces feature in each room and can be installed and configured to suit the needs of each unique application. The loudspeakers are powered from the three-circuit lighting track system in each room with the control device powered via Ethernet.

The impressive bass response of the Genelec loudspeakers ensured there was no need for any additional subwoofers in most areas, which was key to achieving

the subtle install Jouni was after. Genelec’s Directivity Control Waveguide technology ensured crisp, accurate sound both on and off axis, and the volume control function on the back of each speaker allowed the volumes to be set individually in each locality. This added an additional layer of customisation to the building’s audio environment by allowing the client to decide in which area the speakers should play loudest.

Despite their small enclosures, the Genelec loudspeakers carry a high sound pressure capability and due to their exact matching of the crossover, amplifiers and drivers provide excellent sound quality. The Genelec 4000 series more than rose to the challenging situations presented by the building’s conservation areas, providing an unobtrusive audio solution fit for Gamla Riksarkivet’s rich cultural heritage, ensuring the venue’s sound and interiors will continue to be enjoyed for years to come.

TECHNICAL INFORMATION SOUND 24 x Genelec 4030B loudspeaker; 2 x Genelec 4030A loudspeaker 4 x Biamp Nexia processor; 4 x Biamp Red-1 controller gamlariksarkivet.com

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86 IN BRIEF - AMERICAS

PixelFLEX lights up Niketown New York City.

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87 IN BRIEF - AMERICAS

As one of the world’s most iconic brands, Nike is a market leader in sportswear and apparel. Recently at its Niketown New York City location, the official launch of the LunarEpic line took place inside the five-level megastore.

To oversee the design of the launch event, Nike brought in Satis&FY to create the highest level of consumer engagement through breathtaking visual transformations. Wanting to rely upon the seamless integration of LED video technology to achieve the clean and futuristic atmosphere, Satis&FY turned to the Nashville-based LED video manufacturer PixelFLEX who to installed a 60ft by 40ft FLEXCurtain 50mm LED video screen in the storefront window. Having to meet the strict building code

weight restrictions, the FLEXCurtain turned out to be an ideal solution making it impossible not to get lost in the atmosphere of the event.

“In today’s retail environment, we are seeing more and more designers incorporate LED video into their creative designs both architecturally and for high definition display needs,” said David Venus, PixelFLEX Director of Marketing. “Having worked with many successful brands, we are familiar with the challenges in building an engaging LED video environment, so we have created award-winning LED video solutions to specifically overcome those challenges without sacrificing creativity.” www.pixelflexled.com

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Images by Invision Studio

88 VENUE - T H E AMERICAS

OMNIA SAN DIEGO Having established the Omnia brand in the party capital of the world, Las Vegas, Hakkasan Group decided to refurbish an existing venue in its portfolio to expand the Omnia experience to San Diego. The Gaslamp Quarter - where Omnia San Diego is located - is a renowned nightlife spot and the Omnia brand is synonymous with high end clubbing. www.mondodr.com

SAN DIEGO, USA THE AMERICAS

The newly redeveloped 19,000 sq ft venue features three distinct spaces for guests - the main club, balcony level and rooftop terrace with scenic views of the city - all of which have been kitted out

by Audiotek, the design and installation company behind the original Las Vegas concept. Technical Manager, Chris Kmiec explained the goal he set out to achieve: “The brief was to create the Omnia Las Vegas feel in a much smaller room, using a lot of the same design influences.

There was no room, or budget for giant 10,000lb kinetic chandeliers here as there was in Omnia Las Vegas, but through

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“The design process began during the Las Vegas project, with the same team involved. The big difference was we already had a club concept to provide the blueprint, or at least DNA to work from, whereas with Omnia Las Vegas it was a big step into the unknown, as anything was possible. The biggest difference was how to bring all of the video elements that Omnia Las Vegas is now known for into the smaller room without the same space available,” continued Chris.

Despite the San Diego venue being smaller in size, a lot of similar product choices were made. For example, it was decided that the L-Acoustics ARCS II system would become the standard PA for all Omnia venues in order to maintain consistent acoustics from venue to venue for both artists and visitors alike.

In San Diego’s main club room, the focal point is the DJ booth so the audio set-up was designed with that in mind. Chris and his team deployed a stereo system that sits either side of the DJ booth with support from balcony and under balcony delay fills. Four L-Acoustics ARCS II

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90 VENUE - T H E AMERICAS

• Above The VIP DJ area.

“The MA lighting grandMA2 light console was chosen due to its rider friendliness, and to keep the configuration similar to the main room in Las Vegas.”

cabinets are flown left and right of the DJ with six L-Acoustics SB28 subwoofers installed underneath the booth to pump out low-end onto the dancefloor. A combination of six L-Acoustics 8XTi and six L-Acoustics 12XTi fills are fixed in the balcony areas as delays. Four L-Acoustics KARAi with a single L-Acoustics SB18i subwoofer are also in place for DJ monitoring. The PA is powered by six L-Acoustics LA8 amplified controllers.

Chris said of this choice: “The first consideration of audio selection for Audiotek is always the system sounds, having all the components from one supplier for both loudspeakers and processed amplifiers will always simplify the selection of additional products once the main system has been selected and helps ensure the Omnia objective of consistency and high quality.”

For the rooftop terrace, the audio requirement was somewhat different, mainly due to the warm weather conditions of San Diego, meaning www.mondodr.com

the terrace is a popular space among clubgoers. There was also an issue with noise pollution with the previous system, something which had to be solved with the new set-up. “Previously the system on the rooftop was a large L-R groundstacked system. To go with the more lounge and seated feel of this space, and the introduction of cabanas around the rooftop, Audiotek deployed a distributed sound system consisting of 30 Tannoy Di8 loudspeakers so that each seating area has its own small sound system meaning that the overall level off site is reduced and complaints are now a thing of the past,” Chris explained.

Lab.gruppen IPD 1200 amplifiers with built-in DSP drive the rooftop system and control is provided by a QSC Q-SYS system based around a Core 250i, which not only handles the rooftop but the main room as well. A touchscreen controller is installed in the club for simple operation.

Sitting alongside this ample audio system is an equally impressive lighting and

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92 VENUE - T H E AMERICAS

“Audiotek deployed a distributed sound system consisting of 30 Tannoy Di8 loudspeakers so that each seating area has its own small sound system.”

visual element. The Las Vegas venue is well-known for its kinetic chandelier and, although it wasn’t going to possible to replicate this in San Diego, it was still important to have a focal point that created an impact. For this Audiotek specified a 30ft by 8ft Absen A103 LED wall installed behind the DJ booth. Video content from Omnia Las Vegas was reformatted to fit the screen.

Although to bring the Omnia brand vibe to the venue, the video content needed to extend beyond the screen and be present all around the room. In order to achieve this 200 Martin by Harman VC Strips were installed in the walls and across the front of the DJ booth. These mirror the main video wall in low-resolution bringing the video feature into an allencompassing format. Sony SRG-300H cameras and control also were added to bring a live element to the production.

The lighting was built around the LED wall. In the ceiling, Audiotek mounted www.mondodr.com

16 Robe Pointes in a central cross shape, with clusters of four Ayrton MagicPanelRs reminiscent of the design used in the smaller Heart room at Omnia Las Vegas.

The LED wall is flanked by eight Ayrton MagicBlade-Rs and 12 Robe Robin 100 LEDBeams. “All of these products were selected for use in Las Vegas after our extensive demo process before that project. The reliability and technical support from the manufacturers has been second to none, so it was an obvious choice to use them again,” commented Chris.

Control for the intelligent fixtures is also a pair of manufacturers, MA Lighting and Avolites. Chris furthered: “The MA Lighting grandMA2 light console was chosen due to its rider friendliness, and to keep the configuration similar to the main room in Las Vegas. While the Avolites Quartz console was chosen to operate all of the architectural lighting in both the main venue and the rooftop.”

• Above The outdoor terrace.

FRANÇAIS

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Ayant établi la marque Omnia dans la capitale mondiale de la fête — Las Vegas, le Groupe Hakkasan décida de rénover un de ses autres sites afin d’également offrir l’expérience Omnia à San Diego. Le lieu de 6 000 m² nouvellement réaménagé dispose de trois espaces distincts pour les clients — le club principal, les balcons en niveaux et la terrasse sur le toit offrant une vue panoramique de la ville — tous équipés par Audiotek, la société de conception et d’installation du concept original de Las Vegas.

Bien que le site de San Diego soit plus petit en taille, plusieurs produits similaires ont été choisis, dont le système sonore ARCS II de L-Acoustics et du Robe, Ayrton, MA Lighting et Avolites pour l’éclairage. En ce qui concerne les éléments visuels, bien qu’il ne fût pas possible de reproduire à San Diego le lustre central en spirale de la salle de Las Vegas, l’idée d’avoir un point focal restait toutefois importante. À cet effet, Audiotek a suggéré d’installer un mur de diodes électroluminescentes Absen A103 de 9 x 3 mètres derrière la cabine du DJ et le contenu vidéo du club Omnia de Las Vegas a été reformaté pour le nouvel écran. Reproduire un site existant, mais à une plus petite échelle peut paraître facile à première vue, mais le faire à un haut niveau ajoute une dimension bien distincte à la tâche, surtout lorsque la réputation internationale d’un club tel l’Omnia exige ce qu’il y a de mieux sur le marché.

DEUTSCH

Nachdem die Hakkasan-Gruppe die Omnia-Marke in der weltweiten Party-Hauptstadt Las Vegas etabliert hat, wurde beschlossen, einen in ihrem Portfolio bestehenden Treff zu sanieren und somit die OmniaErfahrung nach San Diego zu expandieren. Der kürzlich neu entwickelte 19.000 Quadratfuß große Treff weist drei klar untereinander abgetrennte Bereiche für Gäste auf - den Hauptclub, die Balkon-Ebene und die Dachterrasse mit einer malerischen Aussicht auf die Stadt - alles wurde durch Audiotek ausgestattet, dem Design- und Installation-Unternehmen hinter dem ursprünglichen Konzept in Las Vegas. Abgesehen davon, dass der Treff in San Diego kleiner ist, weist er zahlreiche Ähnlichkeiten in Bezug auf die Produktauswahl auf - L-Acoustics’ ARCS II System für das PA sowie Robe, Ayrton, MA Lighting und Avolites für die Beleuchtung.

Auch wenn es nicht möglich war, den zentralen spiralförmigen Kronleuchter des Las Vegas Treffs in San Diego zu reproduzieren, so war es für die visuellen Elemente wichtig, einen Schwerpunkt zu haben, der eine Wirkung erzielte. Dafür hat Audiotek eine 30 * 8 Fuß große Absen A103 LED-Wand definiert, die hinter dem DJ-Stand installiert ist. VideoInhalt von Omnia Las Vegas wurde neu formatiert, um dem Bildschirm zu entsprechen. Das Kopieren eines bestehenden Treffs kann - auch wenn der Maßstab kleiner ist - auf dem ersten Blick einfach wirken, doch um ein hohes Niveau zu erreichen, wird eine neue Dimension hinzugefügt.

Der Ruf von Omnia auf globaler Ebene bedeutet schlichtweg das Allerbeste.

ITALIANO

Dopo aver stabilito il marchio Omnia nella capitale del divertimento del mondo, Las Vegas, Hakkasan Group ha deciso di ristrutturare un luogo già esistente nel suo portfolio per espandere l’esperienza di Omnia a San Diego. Il nuovo locale da circa 1765m² recentemente ricostruito, dispone di tre spazi distinti per gli ospiti: il club principale, il balcone e la terrazza con vista panoramica sulla città. Ognuno di essi è stato equipaggiato da Audiotek, la stessa società di progettazione e installazione che ha curato l’idea originale a Las Vegas. Nonostante la sede di San Diego sia di dimensioni più ridotte, sono stati scelti molti prodotti simili: per il PA il sistema L-Acoustics ‘ARCS II, così come Robe, Ayrton, MA Lighting e Avolites per l’illuminazione. Per quanto concerne gli elementi visivi, anche se a San Diego non era possibile replicare il lampadario centrale a spirale della sede di Las Vegas, era comunque importante avere un punto focale che creasse un impatto. Per questo Audiotek ha creato un muro di Led Absen A103 di circa 9m per 2,5m installato dietro la cabina del DJ ed i contenuti video provenienti da Omnia Las Vegas sono stati riformattati per adattarsi allo schermo. La copia di un luogo esistente, anche se su scala minore, può sembrare un compito semplice a prima vista, ma farlo ad un alto livello aggiunge un grado di difficoltà maggiore.

La reputazione di Omnia a livello globale non significa nulla, ma fa comunque del suo meglio.

Replicating an existing venue - albeit it on a smaller scale - may appear a simple task at first glance, but to do it to a high standard adds a another dimension.

Omnia’s reputation on a global level means nothing but the best would do.

The final word goes to Chris: “The speed of this project was very quick, from the first design to opening night. We’ve had great support from the manufacturers, including technical system modelling

at short notice by Dan Orton from L-Acoustics so that we could get ahead before we reached the site with the audio.

The install team also worked tirelessly to complete the project on time. Special thanks go to Larry Peterson at Peterson Lighting based in San Diego who handled all of the onsite lighting and video technicalities for us, including those 200 VC Strips, all of which were individually cabled!”

ESPAÑOL

Habiendo establecido la marca Omnia en la capital mundial de las fiestas, Las Vegas, Hakkasan Group decidió renovar un lugar ya existente en su portfolio para expandir la experiencia Omnia en San Diego. El lugar, recientemente re-desarrollado de 1.765 metros cuadrados, presenta tres espacios diferentes para los invitados- la disco principal, el piso de los balcones y la terraza en la azotea con una espectacular vista a la ciudad- los cuales han sido equipados por Audiotek, la empresa de diseño e instalación detrás del concepto original en Las Vegas. A pesar de que el lugar en San Diego era más pequeño en tamaño, se realizaron muchas elecciones de productos similares - sistema ARCS II de L-Acoustics para el PA, así como Robe, Ayrton, MA Lighting y Avolites para la iluminación. Para el elemento visual, aunque no iba a ser posible replicar la araña de techo central espiralada de Las Vegas en San Diego, era importante tener un foco de atención para crear un impacto. Para ello, Audiotek especificó una pared LED Ansen A103 de 9 x 2 metros instalada detrás de la cabina del disc jockey. El contenido de los videos de Omnia Las Vegas fue reformateado para encajar en la pantalla. Replicar un lugar existente -aunque en una escala menorpuede parecer una tarea sencilla a primera vista, pero hacerlo de alta calidad agrega una dimensión por separado. La reputación de Omnia a nivel global no significa otra cosa que lo mejor que se haría.

TECHNICAL INFORMATION SOUND 8 x L-Acoustics ARCS II cabinet; 6 x L-Acoustics SB28 subwoofer; 6 x L-Acoustics 8XTi loudspeaker; 6 x L-Acoustics 12XTi loudspeaker; L-Acoustics KARAi loudspeaker; 1 x L-Acoustics SB18i subwoofer; 6 x L-Acoustics LA8 amplified controller; 30 x Tannoy Di8 loudspeaker; 12 x Lab.gruppen IPD 1200 amplifier; 1 x QSC Q-SYS Core 250i processor LIGHTING & VISUALS 16 x Robe Pointe moving head; 12 x Robe Robin 100 LEDBeam moving head; 8 x Aryton MagicBlade-R LED fixture; 4 x MagicPanel-R moving head; 4 x Martin by Harman Atomic 3000 DMX strobe; 200 x Martin by Harman VC Strip; 1 x MA lighting grandMA2 light console; 1 x Avolites Quartz console; 1 x 30ft by 8ft Absen A103 LED wall; 2 x Sony SRG-300H camera http://omnianightclub.com/location/san-diego/

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Images by Iwan Baan

96 VENUE - T H E AMERICAS

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BAMPFA CALIFORNIA, USA THE AMERICAS

The Berkeley Art Museum and Pacific Film Archive (BAMPFA) is the University of California’s visual arts centre and it has a history dating back well over a century. Just two years after its founding in 1870, the University received its first donations of artwork, however, it wasn’t until some years later when Abstract Expressionist artist and teacher Hans Hofmann donated 45 of his paintings and $250,000 in 1963, that a place was needed to house and display the paintings. By 1970, the museum - designed by San Francisco architect Mario Ciampi - had been built and this is where it has remained, until very recently.

Shortly after the turn of the millennium, the original building was deemed unsafe so preparation for a new one began. A decision was made to move BAMPFA to a new location - downtown Berkeley, on Center Street between Oxford and Shattuck. After the initial design for the new building was abandoned due to spiralling costs in 2008, New York-based Diller Scofidio + Renfro won the second design phase and it was its vision that was brought to reality.

Diller Scofidio + Renfro were assisted by executive architect EHDD, theatrical design consultants Fisher Dachs Associates, and audiovisual integrator David Carroll Associates with project management by Stewart Rosenthal, engineering by John Brenneis and Dennis

Fortin, and design consultation by David Carroll.

The new building - which opened earlier this year - integrates a 48,000 sq ft Art Deco–style building, formerly the UC Berkeley printing plant, with a 35,000 sq ft new structure. It houses flexible galleries and support spaces for traditional artwork displays, storage, and research, as well as a variety of performing arts spaces. A 33-seat screening room allows for intimate showings of film and lectures, while the 232-seat Osher Theater (or Pacific Film Archive Theater, as it’s often referred to), with its excellent natural acoustics and immersive sound system supports film, lectures, live music, and even campus classroom functions.

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A performance space within a multifunctional building can often be challenging - in terms of acoustics and sound leakage - and even more so when the structure is a fusion of old and new, which brings a set of different obstacles.

EHDD’s Principal and President, Duncan Ballash, takes up the story: “The walls and floor of the Pacific Film Archive Theater utilise the acoustic properties of mass and isolation in order to achieve acoustic separation. Floating the theatre above the void of the library and research areas in a seismically active zone required that the design team keep the structure of the theatre as light as possible, yet still robust enough to achieve acoustic goals.

“The wall construction of the theatre comprises a thin, four-inch concrete

98 VENUE - T H E AMERICAS

• Above The 32ft by 18ft LED video screen is accompanied by two Meyer Sound CAL 96 column array loudspeakers

shell attached to the primary steel frame structure with push-pull connections, and several layers of internal framing and gypsum board that are isolated from the concrete through the use of flexible wall brackets. A similar strategy is employed at the floor of the theatre, where resiliently supported framing is hung from the concrete floor deck and in between primary structural steel.

“The mass of the concrete reduces low frequency infiltration into the theatre, while the resilient construction dampens sound energy from within the theatre and minimises vibration transfer through the structure. EHDD coordinated the routing of mechanical, electrical, and fire protection systems to minimise penetrations in both the walls and floor of the theatre in order to avoid sound leaks.”

In collaboration with acoustical consultants Jaffe Holden, EHDD detailed the wall and ceiling construction of the room to naturally possess acoustics specifically tuned for cinema as well as for live music, through the select introduction of hard surfaces. The non-absorptive surfaces are distributed throughout the space at non-parallel locations in order to promote a slight reverberation in the room that compliments the live music that often accompanies the BAMPFA’s presentation

of silent films.

“Aside from the 10% of our film screenings that are silent, sound is a key component of the experience,” said Larry Rinder, Director of BAMPFA. “We wanted to have sound quality that was equal to our stringent standards for the visual component, as it is critical that the soundtrack be heard exactly as the film’s creators intended. In that regard, we feel fortunate to have a state-of-the-art Meyer Sound cinema system in our theatre.”

The installed system comprises three Acheron 80 screen channel loudspeakers, seven X-800C cinema subwoofers, and 16 HMS-10 surround loudspeakers. A separate Meyer Sound reinforcement system for speech and live music presentations consists of two CQ-1 loudspeakers and six MM-4XP selfpowered loudspeakers, while a Galileo loudspeaker management system with three Galileo 616 processors provides system drive and optimisation.

For Susan Oxtoby, Senior Film Curator, the Meyer Sound cinema system is the key aural component in BAMPFA’s commitment to a film-going experience without compromise. “We go to extraordinary lengths to make sure all our films -whether historical or contemporary - are presented in an inviting space that presents an ideal environment for hearing every detail.

To that end, the auditorium’s quiet acoustical design is perfect for cinema presentations, and the Meyer Sound system performs beautifully, recreating every sonic nuance with no distortions or distractions,” she said.

Aside from the main auditorium, visitors to BAMPFA also benefit from an exterior performance space, which is made up of a 32ft by 18ft LED video screen alongside a second audio solution from two Meyer Sound CAL 96 column array loudspeakers with digital beam steering technology. Two portable 500-HP subwoofers are available as needed, and a Galileo loudspeaker management system with one Galileo 408 processor handles drive and control. The CAL loudspeakers are programmed with two presets - one for a near-field focus that keeps sound contained close to the building, and a second long-throw setting that can cover a much larger audience when the adjacent street is closed for public film showings and other special events.

Larry concluded by summing up the inaugural public screening: “It was incredible to hear everything from thunder to the most subtle dialogue with full impact and clarity, sounding exactly as it should. It made me realise how much this system will contribute to our programs for years to come.”

TECHNICAL INFORMATION SOUND 3 x Meyer Sound Acheron 80 screen channel loudspeaker; 7 x Meyer Sound X-800C cinema subwoofer; 16 x Meyer Sound HMS-10 surround loudspeaker; 2 x Meyer Sound CQ-1 loudspeaker; 6 x Meyer Sound MM-4XP self-powered loudspeaker; 2 x Meyer Sound CAL 96 column array loudspeaker; 2 x Meyer Sound 500-HP subwoofer; 4 x Meyer Sound Galileo 616 processor; 1 x Meyer Sound Galileo 408 processor bampfa.org

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100 IN BRIEF - APAC

LIV in Cebu receives the Lexus Audio treatment courtesy of LAV Solutions.

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101 IN BRIEF - APAC

Growing up surrounded by music, it could be said that Tom Anderson Lim Uy’s destiny was written in the stars. Born into a family business of tape deck manufacturing, Tom knew from a young age that he would follow in the footsteps of his parents. When he came of age, he joined the family business and managed three of its offices, however, he made the decision last year, that it was time to go it alone.

Tom’s company, LAV Solutions - a wholesale and retail solutions company, which also undertakes audio and lighting design - was established at the same time as he began to work on LIV. He was commissioned by the owners to create a superclub in the city of Cebu, Philippines. With Tom’s expertise and equipment selection, LIV is now a premiere nightlife venue within the region.

When it came to selecting the audio system to kit out LIV, Tom decided to stick to what he knew best and that was the family business, Lexus Audio.

Owner, Tony Lim was keen to establish the brand so Tom set to work on designing a loudspeaker system.

He explained further: “I discovered what I believe is a new and unique way of making the sound more relaxing but louder with little distortion.” Tom’s method was to install a combination of compression driver loudspeakers and ribbon driver loudspeakers

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alternately within the venue with the aim of creating different frequencies. “The distorted frequencies that come from the compression driver cabinets can be cancelled out by resonating the high frequency of the ribbon tweeter,” continued Tom. Tuning the system was also a vital part of the final sound quality, Tom worked particularly hard to calibrate the mid-high frequencies of the system.

The complete cabinet configuration comprises 12 Lexus Audio ribbon loudspeakers, 10 Lexus Audio coaxial loudspeakers, six Lexus Audio single 15inch loudspeakers and four P.Audio single 15-inch loudspeakers. This is in addition to the six Lexus Audio line array cabinets that are split evenly left and right of the stage and the six Lexus Audio dual 18-inch subwoofers.

Tom selected amplification from the same brand, Lexus Audio, as it fitted the purpose and the budget of the project. An Allen & Heath ZED16FX analogue console was also specified, Tom said: “Due to it giving great natural sound and offering an ample frequency range for this application.” The console sits alongside two Pioneer DJ CDJ-2000 Nexus multiplayers and one Pioneer DJ DJM-2000 Nexus DJ mixer. www.livsuperclub.com

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BEAM BANGKOK, THAILAND ASIA-PACIFIC

Beam owner, Chet Chetchotisak wanted minimal design but a big audiovisual component. He called Dave Parry of Most Technical to take on the challenge.

Multipurpose complexes are becoming more and more popular around the world, but especially so in the APAC region. A combination of nightlife hotspots and retail outlets are common the offerings of such a complex, sometimes intermixed with office and residential spaces. 72 Courtyard in Bangkok is the latest said complex and one of the most recent additions to the Thai capital complex is nightclub, Beam.

Operated by a company that describes itself as freethinkers, Membership has a number of other outlets under its belt, but with Beam, owner Chet Chetchotiwww.mondodr.com

sak wanted a minimal design with a big audiovisual component. To achieve this, two years ago he called in Dave Parry of Most Technical, who in turn, put Chet in contact with William Russell and Sarah Adams of Pentagram to design the club.

Dave also got John Monroe at immersive involved and they all worked together on the project.

William explained Pentagram’s involvement further: “We were appointed as architects for the interior of Beam club.

This was under a limited appointment to the concept stage, where we handed over our designs to the local implementation

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26.04.2016 15:30:14

104 VENUE - APAC

INSIDER INSIGHTS NAME: David Parry JOB TITLE: Owner of Most Technical LIKES ABOUT TECHNOLOGY: Control over audiovisual systems.

DISLIKES ABOUT TECHNOLOGY: Complexity.

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systems in a much more cost effective and efficient way. We also worked with Bernhard Bstieler at Inverse LED to make sure his designs didn’t interfere with us and vice versa. The design process was very smooth and worked out really well.”

To create the big sound system effect, Dave selected an audio set-up from UK manufacturer, Void Acoustics. He continued: “I have used Void all over the world, I really like its sound for nightclubs, the tops and mid are really smooth and clear and the bass really kicks so I’m really happy using it.”

There are two main stacks in the club, each comprise two Void Stasys X air subwoofers with a Venu 215 atop and a bi-amped Impulse 3i on top of that. “The Venu 215’s free up the subwoofers from making that mid bass punch allowing us much more headroom, and running alongside this is a 20kW Body Kinetic floor, which helps enhance the sub frequencies somewhat,” said Dave. He also added four Stasys 2’s as rear fills, plus another pair to cover the bar area supported by a Venu 215 subwoofer moulded into www.mondodr.com

the bar, and to complete the club system, a couple of Venu 10’s were installed as fills.

The lounge bar, located downstairs is equipped with six Void Axsys 12’s installed around the periphery, as well as a Stasys 218 subwoofer and a Stasys 118 subwoofer. A selection of Void Bias amplifiers provide power for the sound system. Dave continued: “Having an allin-one package certainly helped on the install, we were able to set up parameters beforehand and link everything together whilst onsite. It also allows us to keep an eye on it remotely and lets us lock out certain parts of the system once all set up.” For DJ requirements, Pioneer CDJ2000 Nexus multiplayers are in place alongside Pioneer DJM-2000 mixers and Allen & Heath mixers.

The lighting at Beam, Dave describes as pretty minimal and reasonably simple in terms of units being used. The design consists of eight lighting bars along the walls and a truss in the roof, which house 18 Martin Professional Rush MH3 Beams and eight Martin Professional Rush

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TECHNICAL INFORMATION SOUND 2 x Void Acoustics Impulse 3i loudspeaker; 6 x Void Acoustics Stasys 2 loudspeaker; 2 x Void Acoustics Venu 10 loudspeaker; 6 x Void Acoustics Axsys 12 loudspeaker; 4 x Void Acoustics Stasys X air subwoofer; 3 x Void Acoustics Venu 215 subwoofer; 1 x Void Acoustics Stasys 218 subwoofer; 1 x Void Acoustics Stasys 118 subwoofer; Void Bias amplifiers; Pioneer CDJ-2000 Nexus multiplayers; Pioneer DJM-2000 mixers LIGHTING, VISUAL & EFFECTS 18 x Martin Professional Rush MH3 Beam moving head; 8 x Martin Professional Rush MH2 Wash moving head; 6 x SGM X5 LED strobe; Laserworld Pico RGB lasers; 1 x Avolites Quartz controller; 1 x Avolites PC Titan 1 console; 1 x Madrix PC server; 1 x LED wall; 1x Avolites Ai S8 media server; 1x Datapath x4 video wall controller; 6 x Panasonic PTDX820 projector; 3 x Panasonic PT-RW430 projector; 3 x Panasonic AW-HE2 HD camera http://beamclub.com

MH2 Washes. “I needed a good, reliable fixture that worked within the budget, I have used the Rush products before so it was a fairly simple choice,” he explained.

All the lighting can be moved around and there is space for additional units if and when budgets allow.

All the lighting is controlled by an Avolites Quartz controller which is linked to a Madrix PC server controlling eight universes of LED around the walls. Having the main lighting rig and the interior LED linked together makes for a more flexible system. Dave said of the Avolites desk: “It’s simple to use, easy to program, reliable and was perfect for this job.”

For added effects, Dave added six SGM X5 LED strobes in the floor to give a different perspective, plus a further two above the DJ booth. He furthered: “The lasers are RGB adding yet another effect, which works with both lighting and visuals, and as Chet wanted the club to

have a good smoky atmosphere there are two Jem smoke machines and a Jem hazer in the dancefloor area too.” The Laserworld Pico RGB lasers are controlled via a Pangolin laser software package.

In the lounge bar, the minimalist theme continues, simply featuring an LED wall controlled via an Avolites PC Titan 1 console as well as another hazer.

Back in the main room, the Immersive visuals run around the entire space. This is achieved using six Panasonic PTDX820 8000 lumen projectors and an Avolites Ai Media S8 server. The server also captures an input from three HD cameras for use in various compositions throughout the room. There are also three ‘light frame’ projectors - Panasonic PT-RW430’s - that project onto the dancefloor, also controlled by the Ai server.

These three ‘light frame’ projectors create detailed light structures by hitting high

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108 VENUE - APAC

FRANÇAIS Exploité par un groupe de libres-penseurs, la société Membership possède un certain nombre de sites, mais avec Beam, le propriétaire Chet Chetchotisak voulait afficher un design minimaliste doté d’une grande composante audiovisuelle. Pour ce faire, il y a deux ans, il convoqua Dave Parry de chez Most Technical pour concevoir le club, et à son tour celui-ci présenta Chet à William Russell et Sarah Adams de chez Pentagram. Dave invita également John Monroe de chez Immersive et ils travaillèrent ensemble sur le projet.

Chet voulait que l’équipe construise la première vraie boîte de nuit de Thaïlande avec un minimum d’éclairage, un système sonore grandiose, une piste de danse cinétique qui vibre au rythme de la musique et des visuels complètement envoûtants. Pour créer l’effet d’un système sonore grandiose, Dave a choisi une configuration audio du fabricant britannique Void Acoustics.

Dave décrit l’éclairage du club Beam comme étant assez minimaliste et relativement simple en ce qui concerne le nombre d’unités utilisées. On retrouve huit barres d’éclairage le long des murs et une poutre au plafond, munie d’accessoires Martin de chez Harman. Tout l’éclairage est géré par une table de contrôle Avolites Quartz reliée à un serveur PC Madrix qui contrôle huit univers LED sur les murs. Les visuels de la société Immersive parcourent tout l’espace à l’aide de six projecteurs Panasonic PT-DX820 8000 et un serveur multimédia Avolites Ai S8.

DEUTSCH Beam wird betrieben durch Membership, ein Unternehmen, das sich selbst als Freidenker beschreibt und das über zahlreiche Märkte verfügt, aber mit Beam wollte der Besitzer Chet Chetchotisak ein minimalistisches Design mit starken audiovisuellen Komponenten. Um dies zu erreichen, kontaktierte er vor zwei Jahren Dave Parry von Most Technical, der seinerseits Chet William Russell und Sarah Adams von Pentagram für die Gestaltung des Clubs vorstellte.

Dave engagierte ebenfalls John Monroe von Immersive und sie arbeiteten alle zusammen an diesem Projekt. Chets Auftrag für das Team besagte, Thailands ersten eigenen Nachtclub / Tanzclub mit minimalistischer Beleuchtung, einem gigantischen Soundsystem, einer Körper-kinetischen Tanzfläche, die im Rhythmus der Musik vibriert, und einem voll abdeckendem visuellen System zu gestalten. Um den gigantischen Soundsystem-Effekt zu schaffen, hat Dave eine Audio-Anordung des britischen Herstellers Void Acoustics ausgewählt.

Die Beleuchtung im Beam beschreibt Dave als schön minimalistisch und relativ einfach in Hinblick auf die verwendeten Einheiten. Das Design besteht aus acht Beleuchtungsleisten an den Wänden und einer Traverse im Dach, in der Beleuchtungskörper von Martin by Harman untergebracht sind. Die Beleuchtung wird komplett durch einen Avolites Quartz Controller gesteuert, der mit einem Madrix PC Server verlinkt ist, welcher acht LED-Universen an den Wänden steuert. Die Visuals von Immersive verlaufen über den gesamten Bereich. Dies wird dank sechs Panasonic PT-DX820 8000 Lumen Projektoren und einen Avolites Ai S8 Media Server erreicht.

ITALIANO Gestito da una società che si descrive come liberi pensatori, Membership ha diversi punti vendita tra le mani, ma con Beam il proprietario Chet Chetchotisak voleva un design minimal con una grande componente audiovisiva. Per raggiungere questo obiettivo, due anni fa ha chiamato Dave Parry di Most Technical che a sua volta ha messo Chet in contatto con William Russell e Sarah Adams di Pentagram per la progettazione del locale. Dave è anche riuscito a coinvolgere John Monroe e tutti hanno lavorato insieme al progetto. Le direttive che il team aveva ricevuto da Chet erano quelle di costruire il primo vero e proprio nightclub/discoteca della Thailandia con illuminazione minimal, un grande sistema audio, una pista da ballo Body Kinetic che vibra a ritmo di musica ed un sistema video completamente avvolgente. Proprio per creare un grande sistema audio, Dave ha selezionato un impianto del produttore del Regno Unito Void Acoustics. L’illuminazione del Beam è descritta da Dave come piuttosto minimal e ragionevolmente semplice in termini di unità in uso. Il progetto si compone di otto barre di illuminazione lungo le pareti e un’americana posta sul tetto con degli impianti della Martin

by Harman. Tutto l’impianto luci è controllato da un mixer Quartz della Avolites che è collegato ad un server PC Madrix, controllando otto tipi di LED intorno alle pareti. Le Immersive Visuals, invece, percorrono l’intero spazio mediante sei proiettori Panasonic PT-DX820 8000 lumen ed un media server Avolites Ai S8.

ESPAÑOL Siendo operada por una empresa que se describe a sí misma como librepensadora, Membership tiene una cantidad de otras tiendas bajo su paraguas, pero con Beam, el propietario, Chet Chetchotisak, quiso un diseño minimalista con un gran componente audiovisual. Para conseguirlo, hace dos años se contactó con Dave Parry de Most Technical, quien a la vez, puso en contacto a Chet con William Russell y Sarah Adams de Pentagram para diseñar la disco. A su vez Dave consiguió a John Monroe de Immersive para que se involucrase y todos trabajaron juntos en el proyecto. El informe de Chet para el equipo se refirió a construir a la primera disco de Tailandia en contar con una iluminación mínima, un gran sistema de sonido, una pista de baile Body Kinetic que vibrase al ritmo de la música y un completo sistema visual envolvente. Para crear el gran efecto del sistema de sonido, Dave seleccionó la instalación de audio de parte del fabricante del Reino Unido, Void Acoustics.

Dave describe la iluminación en Beam como mínima pero razonablemente simple en términos de las unidades que se utilizan. El diseño consiste en ocho barras de luces a lo largo de las paredes y un entramado en el techo que sostienen artefactos de Martin por Harman. Toda la iluminación es controlada por un controlador de Avolites Quartz que está vinculado a un server de PC Madrix que controla ocho universos de LED alrededor de las paredes. La parte visual de Immersive corretea por todo el espacio. Ello se logra utilizando seis proyectores lumen Panasonic PT-DX820 y un servidor media Ai S8 de Avolites.

density smoke as well as transforming the bodysonic dancefloor into a screen whereby 3D illusion style content and effects are used. The six projectors that run around the upper section of the club also envelop the dancers in a world of visuals John Munro, Creative Director of Design Agency Immersive said: “One of the key challenges was to tell a story with our visuals. To be able to take the dancers on a visual journey and at the same time keep it abstract enough for the VJ to be able to play the loops in a manner that is natural and reactive to his interpretation of the music. We have been creating visuals for music venues, advertising campaigns and TV for the past 15 years, and our experience in creating atmospheres and experiences for guests to lose themselves in all came into play on this project as Chet wanted some really experimental www.mondodr.com

work.”

When discussing challenges along the way, Dave said: Obviously the first issue was a language problem and occasionally it did cause a few build issues especially with the floor, but as most of our design work had been implemented in the plans right at the start a lot of the hassle was contained. That’s not to say it was easy, we had a very tight timescale and a fair few issues to deal with but I’m very proud that we managed it and blew everyone away.

“The opening night was an amazing success and I’m hugely proud of the club, it looks and sounds amazing and is easily the best nightclub in Thailand. I think everyone involved was blown away by the whole experience and I can’t wait to see how the whole dance scene progresses with Beam at its helm,” he concluded.

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IN BUSINESS

• Page 112

• Page 142

EXPO PROLIGHT+SOUND / THE GET SHOW GUANGZHOU

BY JAMIE DIXON

EXPO PROLIGHT+SOUND FRANKFURT

BY SAM HUGHES

FACILITY OPENING • Page 146

• Page 152

PROLYTE

BY SAM HUGHES

PRODUCT LAUNCH • Page 156

• Page 178

FOCUSRITE

BY STEW HUME

IN DETAIL AUDIO-TECHNICA FUNKTION-ONE CELESTION

PRODUCT GUIDE MEDIA SERVERS & PROJECTORS

PRODUCT DIRECTORY LAST PAGE INTERVIEW GERBEN VEN DEN BERG

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• The KVANT stand

• The AudioFocus team headed by Alex Kostenko

• APG’s Gregory Dapsanse and his Chinese distributor

• The Light Sky team

• The Fine Art ladies

• A thumbs up from Hotion

• The team - Cui Lin (right) - on the LiteLees stand

PROLIGHT+SOUND / THE GET SHOW GUANGZHOU, CHINA / 29 FEBRUARY - 3 MARCH & 1-4 MARCH China flung open its doors for arguably its biggest industry event of the calendar year - in that part of the world - and mondo*dr was in attendance.

The Guangzhou Pazhou Poly World Trade Centre and China Import and Export Fair Complex hosted The GET Show 2016 and Prolight + Sound (PL+S) Guangzhou, respectively.

The overlapping nature of the shows gave prospective visitors a decision to make in terms of navigating between the two events, but, compared to previous years when the cross over spanned as much as eight days, this year’s combined total of five days felt far more

• LED solutions from Brighten Technology

convenient, while still giving us plenty of time to see what the shows each had to offer and catch up with the companies exhibiting.

The Export Fair Complex for PL+S was my first destination and, according to reports, the show managed to draw in a record number of 68,441 visitors. A healthy increase from the previous year, which is a huge positive for the show.

The exhibitor list was brimming, too, with 1,231 companies set up at the complex. It has to be said that, with the amount of companies and visitors attending, the atmosphere at the show was lively and vibrant throughout. In particular, it was great to see leading brands at the show, with

• Charming had a visually striking stand

www.mondodr.com

the likes of ADJ, Bose, d&b audiotechnik, GTD, Harman, Laserworld, Peavey, Sennheiser, Shure and Yamaha all turning out in force to support a growing exhibition. Having these companies in attendance also helped give PL+S a much-needed international flavour that has, perhaps, been lacking in the previous years.

We were able to spend two full days taking in what PL+S had to offer and it was good to catch up with some familiar faces from Adam Hall, Audiocenter, VUE, SAE Audio, Acustica Beyma and APG, to name but a few.

Speaking to the exhibitors, they did seem to be very happy overall, with companies commenting

•Josep Maria Sans of SAE

• Ken Berger of VUE Audiotechnik

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• Clair Bros with distributor, dmt

• Richard Flemming of XTA

• The CKC Lighting demo

• Jason Echols of EK Lighting

• ArKaos’ Agnes Wojewoda

on the quality of visitors to their stands.

Ms Judy Cheung, Deputy General Manager of Messe Frankfurt Shanghai was pleased, too, when commenting on this year’s show: “The business atmosphere on the show floor in the past four days has been vibrant. The strong turnout of both global key brands and local visitors have clearly shown the industry is optimistic about the Chinese market.

Many of the show participants commented that new innovative products are in great demand as the Chinese entertainment market is growing more mature and technologyoriented.”

After two days at PL+S, it was time for us to turn our attention to finding out what was happening at this year’s GET Show. As always, there was a strong representation from a wide range of international lighting brands and the general aesthetic of the booths, along with the layout and floor space, certainly seemed very polished and slightly more professional compared with P+S. When entering the Poly World Trade Centre, it was immediately obvious that a number

• Fenix Stage’s Alex Bryan and Jack Lee of Global Truss

• The Prolyte team

114 EX P O

• The Eagle Truss stand

• Guillermo and Miguel of Mega Systems with the Dicolor team

• The Ruisheng stand showing GLP and LSC Lighting

of companies had made the decision to invest in both of the shows. It may be that companies were simply using this year to establish which is the more effective tradeshow for their products. That would make sense, as outlaying for both shows each year would be an expensive - and difficult - operation.

With over 500 exhibitors packed into the hall, there was certainly a buzz on the floor, which may go some way to explaining the 58,053 visitors that attended - a new record for the show.

In terms of the exhibitors’ stands, PR Lighting’s larger-than-usual booth - which displayed two show-stopping ‘Canton Towers’, with a striking PR Lighting logo as the centrepiece - it definitely sparked attention.

It was also difficult to miss EK Lighting’s presence, with its new booth design

• D.A.S Audio sound systems

• The GTD stand

inspired by visions of Daft Punk performing live on the Starship Enterprise - a personal highlight of the show.

On reflection, both shows enjoyed success, with increases in numbers for both exhibitors and visitors. After this kind of success, there is plenty of optimism among the Chinese manufacturers. Many are beginning to feel that, following an uncertain period in the industry, things are starting to pick up and improve. We are very interested to see if both shows can retain the traction that has been gained after this year.

The next Prolight+Sound Guangzhou will take place between 22-25 February 2017.

For more info, go to: http://prolight-soundguangzhou.hk.messefrankfurt.com Dates for The GET Show 2017 have yet to be announced. For more info, go to: www. getshow.com.cn

• HAONA’s King Kong with Giorgio Biffi of Outline

• Jeff Shorthouse and Steve Hendee of Yorkville Sound

• Kris Vermuyten of Apart

• Arthur Soh and Luca Giorgi of Powersoft

• Markus Augenstein of Audiocenter

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• The Correia brothers of NEXT-proaudio with Richie Wang of Real Music

• The Wireless Solution team with Jens Poehlker of MA Lighting

• PR Lighting’s Ernie Armas

• K-array’s Marc Vincent

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This can be managed by AF MANAGER software to match perfectly the coupled top units and the audience. TS-40 has uncommon weight/ dimensions/performance ratios which is important in terms of transport costs and truck fill-in efficiency. TS-40 can be compared to three pieces of double 18’’ of the market in terms of audio performance, while it is only 35% of the size.

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• The Music & Lights team

• The AD Systems stand

• The Chroma-Q stand

• Adamson did a Q&A with Tim Colvard and Ricki Cook

• Absen’s Hans Stucken

• The Alfalite ladies

• Agnes Wojewoda of ArKaos with mondo*dr’s Jamie Dixon

• The team at Adam Hall

PROLIGHT+SOUND FRANKFURT / 5-8 APRIL

Prolight+Sound in Frankfurt is one of the busiest tradeshows of the year in the industry and, at mondo*dr, it is most certainly one we keep a close eye on when it starts to come round on the calendar. With a huge amount of exhibitors spread across the halls and thousands of visitors descending upon Frankfurt, it is one that we definitely had to make special preparations for.

So, with our meetings booked in, the latest issue of the magazine in hand and, of course, a comfortable pair of shoes on our feet, the mondo*dr team were ready to see what Prolight+Sound had to offer us this year.

The event and audiovisual technology industry has been growing for a number of years now,

• Area Four Industries’ Aleš Rouček and Petra Mrazkova

which has allowed Prolight+Sound to grow with it and continue to set records. It turns out that 2016 was no different, either.

This sustained level of growth led to the move to the eastern section of the exhibition centre.

The idea behind the move was to offer optimum presentation facilities for the exhibitors, as well as provide much more space for further expansion in terms of the segments and themes covered in the future. For example, most recently, theatre and stage technology has been successfully integrated into the event’s portfolio.

Another new change to this year’s Prolight+Sound was the sequence of days, with the show held on four working days - from

• Audac’s Tom Van de Sande

Tuesday 5 April to Friday 8 April - in response to demand from the sector. As a result, the organisers were able to expand the conference programme to all four days of the show, too.

These changes resulted in Prolight+Sound hosting 940 exhibitors from 47 different countries in the six halls at the exhibition centre.

In terms of visitors, the numbers were equally as impressive, with around 45,000 visitors in total making the visit to Prolight+Sound from 121 countries. These are both new exhibitor and visitor records for the show, highlighting the growth of the industry overall.

The significance of the fair is also underscored by its high degree of internationality: more than

• Wayne Powell and Terry Murphy of Yamaha

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• The guys from Aura Audio

117 EX P O

• The Salzbrenner team

• Apia’s Saverio Wongher

• The Amphenol duo

• The Antari team

s

• The 18 Sound & Ciara stand

• APG and Active Audio announced a strategic alliance

• The Amadeus team

• Beyma’s Espartaco Saez

• ACM Audio’s Sunny Li

• The team from Altman Lighting

• The AudioFocus team

• Steve Warren, Koy Neminathan and Stephen Baird-Smith of Avolites

• Cadac’s Richard Ferriday

www.mondodr.com

• Kris Dawber and Brian Dowdle of ADJ

• The Avid stand

• Allen & Heath’s Vicky Clark

• Albert and Caroline Chauvet with Sam Bowden and Michael Brooksbank

PRODUCT HIGHLIGHTS FROM PROLIGHT+SOUND 2016

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• Absen introduced a number of new products including its new rigger-friendly Smart LED. Aside from its 2.9mm pixel pitch and light weight (7.3kg), the panels piqued the interest of visiting rental companies thanks to their ergonomic connection system.

• A.C. Entertainment Technologies showcased a selection of the very latest solutions available from its vast portfolio of over 200 premium brands, including the premium performance entertainment and broadcast LED solutions from Chroma-Q. Highlights included the innovative new Space Force LED space light; the Color One 100 and award-winning Inspire full colour-mixing, homogenous output LED PAR and LED house light solutions and the hugely successful Color Force multipurpose LED washlights.

• Barco’s Stephanie Vlegels and Gerben van den Berg

• Adam Hall Group put on attractive demonstrations of award-winning products such as the ultra-portable column PA system LD Systems MAUI 5 and the first truly portable array with WaveAhead technology, CURV 500, along with the presentation of the new FliteCAD software.

• Adamson introduced its new E119 subwoofer at the show, as well as hosting a live panel discussion with key Adamson users Tim Colvard (FOH Engineer for Macklemore and Ryan Lewis) and Ricki Cook (Head of Audio at Hillsong Church).

• ADJ gave visitors a first glimpse of its selection of much-anticipated new moving heads and effects, the true potential of which was shown via a series of stunning programmed lightshows. Utilising professional features, powerful light sources and plenty of ADJ’s trademark versatility, the new fixtures - the Vizi Beam RXONE, Focus Spot Three Z, WiFLY Chameleon and Chameleon QBar Pro - demonstrated the company’s commitment to creating affordable but forward-thinking products that deliver pure lighting excitement like no other.

• The Audiocenter stand

half of all visitors and around 62% of exhibitors came from outside Germany.

The top 10 visitor nations in 2016 were Germany, The Netherlands, Italy, France, Belgium, the UK, Switzerland, Austria, China and Sweden.

“This year’s Prolight + Sound demonstrated the creative and economic potential of event technology and was able to exploit the positive business climate in the sector in full,” said Detlef Braun, Member of the Board of Management of Messe Frankfurt.

“Thanks to the new concept, the fair has been able to increase its significance in many different respects, for example, as a showroom and market place, as well as an information and networking platform.”

The new concept definitely had an impact on the show floor, with both exhibitors and visitors alike taking some time

• Allen & Heath showed off its new Qu-SB ultra-compact intelligent mixer / interface, which comes from the Qu compact digital range. The Qu-SB is designed as a Stage Box solution, with all the features offered in the Qu series, but purely designed for tablet control. Qu-SB provides a smart, portable solution for bands, music venues, schools and corporate events.

• Amadeus announced the availability of its new PMX D Series self-powered active speakers, which features built-in 24/96 DSP, and analogue, AES3 and Dante inputs.

• APG announced the signing of a strategic alliance with Active Audio. While both brands will remain independent in their respective activities - and through distribution channels - APG will still cater for live events and large venue installations. The decision to join forces will foster critical synergies between both companies in R&D, production, financing and ultimately global reach.

• APIA showcased the Mio Series at the show, a small format line array - featuring two 6.5-inch cone drivers and 1.4-inch exit compression driver - that is suitable for midsized applications.

• Area Four Industries and its four brands - Milos, Tomcat, Litec and James Thomas Engineering - showcased a range of products, with technical and sales staff demonstrating the benefits to visitors.

• The Audio-Technica team

• The Cymatic Audio team

• Clay Paky’s Davide Barbetta

• Audix’s Cliff Castle

IT meet A-T

Introducing network Microphones with direct Dante™ Protocol Operating over a simple Ethernet connection, Audio-Technica’s new Network Microphones put you in control. The programmable user switch lets you trigger a video camera’s pan/tilt, a room’s lighting preset or any other function of a compatible Danteenabled device. Each mic comes equipped with a Red/Green LED to keep you informed of local mute status and other processes. And, of course, you still get the clear, articulate sound you expect from A-T. So plug it in, and introduce your network to its new best friend.

www.audio-technica.com

• ArKaos had one of its busiest shows to date with a constant stream of visitors coming to discover the latest developments in ArKaos PRO software. The stand demonstrated the video mapping capabilities of the ArKaos PRO MediaMaster 4.2 software with an intricate array of 3D shapes outlined to perfection as projection surfaces.

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• The VUE Audiotechnik stand

• Audiocenter displayed the K-LA-DSP Series, the TS Series and PL3 Series, as well as participating in the outdoor demo area with the K-LA210-DSP line array and K-LA218-DSP subwoofers.

• AudioFocus’ TS40 infra subwoofer powered by Powersoft M-Force moving magnet linear motor structure was on show for the visitors, alongside the ARES 12i line array.

• Audio-Technica unveiled its new ATM350a Microphone Systems. Offering crisp, clear, well-balanced response even in very high SPL applications, the ATM350a Cardioid Condenser Instrument Microphone comes in six, specially designed systems that provide discreet, rock-solid mounting solutions for a host of instruments, including woodwinds, strings, brass, percussion, drums and piano.

• AV Stumpfl brought its live event, production and rental and staging innovations to Prolight + Sound, including an 8K by 4K version of Wings Engine Raw that was demonstrated at the centre of the AV Stumpfl stand, alongside the media server line up.

The ultra-high-performance super media server delivers an unrivalled four streams of full 4K uncompressed content at 60hz – equivalent to 16K by 2K picture resolution - plus a rich array of media overlays, text generation and show control.

• Avid announced that the new VENUE 5.1 software update is now available for all Avid VENUE | S6L systems.

The new software update offers significantly enhanced capabilities; enabling customers to take on the biggest live sound productions and mix more efficiently.

• Avolites exhibited its ‘supercharged’ Ai R Series of media servers and officially launched the new feature-rich Titan V10 and Ai V9 software. The much-anticipated Titan V10 OS is packed full of a wealth of brand new features, while the Ai V9 features an all-new Audio Engine, a Dynamic Content Page, a new User Interface, and 58 new and updated effects.

• Ayrton presented a number of new products, exhibiting with its German distributor, Vision Stage, on a ‘doubledecker’ stand where this year’s new creations were shown to spectacular effect in a dazzling light show.

Some of the new fixtures included the DreamSpot-18K, the IntelliPix-XT and the MagicDot-XT.

• AV Stumpfl launched a number of new products

• Ayrton’s Valère Huart -Gyors

to simply get used to the new layout.

However, from the feedback received here at mondo*dr, there were plenty of success stories, with many companies reporting that they had a really positive show overall.

“Prolight+Sound was a big success for ArKaos and really showed how our technology has become an industry standard,” said ArKaos Managing Director, Agnes Wojewoda. “The number of ArKaos customers has grown spectacularly and we have many historical users who have been employing ArKaos technology since the early days.”

“The stand was full and busy - on both levels - for the four days of the show, with customers eager to take the new products, and their capabilities, back to their home markets,” said Ayrton’s

• Brand new from B&C Speakers was the 21DS115 - a 3,400W, 99dB efficient subwoofer that utilises a unique four-layer, aluminum voice coil that offers a significant improvement in motor strength over previous 115mm.

• Dataton demo in full swing

International Sales Manager, Valère Huart. “It is Ayrton’s mission to present new technology, ideas and inspiration for lighting designers and it is very satisfying to see the enthusiasm with which the latest products have been received. We are very happy with the result.”

Martin Fournier, Sales Director South & Central Europe, Martin Professional, said: “We enjoyed a very successful fair. We liked the new Hall 4.0 and our exhibition stand was full of visitors throughout the fair. Moreover, thanks to the new sequence of days, very many of them were professionals. For us, Prolight+Sound is the world’s leading trade fair for the sector.”

The development of the seminar programme was a major success, with over 70 lectures in total by top

• Stephane Kohn of Beglec

• Barco showcased its venue projectors, switchers, media servers and immersive sound technology. Among the eye-catchers were two 4K projectors; the 13,000 lumens F90-4K – the world’s smallest and lightest 4K laser phosphor projector – and the HDX-4K20 FLEX. Elsewhere, Barco let visitors hear how its IOSONO immersive sound system, featuring the IOSONO CORE processor at its heart, creates an unparalleled listening experience • Beyma introduced several new products including the WRS family with 10WRS300, 12WRS400 and 15WRS400, which is intended for use in a wide range of Pro Audio

• The d3 stand

• B&K Braun’s outdoor demo area

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applications. The other family was MCS, with 10MCS500, 12MCS500 and 15MCS500, which features the Maltcross patented technology, allowing an efficient cooling of the voice coil and reducing the power compression losses.

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• New for beyerdynamic was the professional TG D71c drum microphone, which completes the existing Tour Gear microphone series with another drum microphone.

The boundary microphone is ideal for miking percussion instruments. The microphone delivers an equally convincing performance on cajones and pianos.

• Bose introduced an addition to its portable PA offerings with the F1 Model 812 flexible array loudspeaker and F1 subwoofer. Designed to serve an even broader set of applications than L1 systems, F1 model 812 is the first powered portable loudspeaker that lets users optimise sound by creating up to four different vertical coverage patterns. Offering exceptional power and clarity, the F1 system provides versatility for a wide range of applications and venues.

• beyerdynamic’s Philipp Langer and Michaela Koch

• Celestion’s Ken Weller

• At its Tuesday morning press briefing, Cadac unveiled a number of new hardware and software developments for its CDC consoles and MegaCOMMS audio network.

These were the CDC MC Optical Bridge, CDC MC AES3 Stagebox and CDC MC Router software application, and CDC Console V3.01 Software. These were all trailed ahead of the press briefing. Previously unannounced was the new CDC six and eight offline editor.

• The Camco Q-Power Series, a range of four different four-channel, high output power amplifiers that provide powerful, pure sonic performance, which is now so synonymous with the Camco brand name was presented.

• Chauvet Professional unleashed Maverick, a powerpacked series of tour ready moving fixtures. Featuring the MK2 Wash, MK1 Hybrid and MK2 Spot (with more fixtures to come), the new series serves up an arsenal of performance features intended to shatter budget barriers, free the imagination and set a new standard in their price category.

• Visitors to the Christie booth experienced several new solutions for entertainment, integrated systems and content creation, including the 1DLP Christie HS Series, the new Pandoras Box 5.9 and the Christie Velvet LED Series, as well as a first demo of the Boxer Series with reduced operating sound.

• Chainmaster’s Alex Hartung

speakers, focussing on technology trends, progressive event management and safety and security issues in the industry. The new Future Talents Day, which was held on the Tuesday, offered a targeted programme for students and trainees in the event sector. Delivering the opportunity for companies to introduce themselves through informative workshops and lectures, it was a real highlight and a fine addition to Prolight+Sound.

• The Green Hippo stand

Overall, the show was as successful as ever, with some spectacular stands, informative seminars and fantastic networking opportunities. Despite the changes, which did take some getting used to, Prolight + Sound was busier than any other year, offering the industry the opportunity to make contacts, do business and learn even more.

Prolight+Sound returns next year on 4-7 April. For more info, go to: www.prolightsound.com.

• d&b audiotechnik’s Wolfgang Schulz

• Clair Brothers announced the official launch of two new ONE Series stage monitors, following in the footsteps of the legendary 12AM stage monitor. The single 12-inch monitor, known simply as 1AM, is designed to be much more than just a successor to the 12AM. Further additions to the product lineup also included two compact coaxial speakers that are well suited to many applications; the 8CX and the 5CX, with 8-inch and 5-inch transducers respectively.

• Clay Paky celebrated its 40-year milestone and welcomed visitors to the Clay Paky Universe, inviting them to get up close and personal with the broad portfolio of creative tools.

The Scenius Profile, a new beam shaper at the top of the moving head range, was launched. Its advanced optical unit and the 1,400W Osram discharge lamp provide very high light output and an excellent CRI, while its framing system consists of four independent overlapping blades which create shapes of all sizes and proportions by working simultaneously on four different focal planes.

• Clear-Com presented the all-new DX410 two-channel 2.4 GHz digital wireless intercom system. Featuring 7kHz wideband audio for exceptional audio clarity, it is the first

• Clear-Com’s Stephen Sandford

• Electro-Voice’s Rick Belt

• Christie’s Gavin Chatfield

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• CODA Audio’s AiRAY system continued to make waves, with the innovative and flexible speaker system catching the attention of the eyes and ears of the audio world.

So much so that Japanese giant, Hibino Sound Division, placed a substantial order – increasing its holding of CODA boxes to over 300 – at this year’s show.

• d&b audiotechnik introduced NoizCalc, a new software tool to predict the far field noise emission of open air events. Noise from outdoor entertainment events has become a serious topic, particularly as the number of events in populated urban environments increases.

NoizCalc predicts sound propagation of multiple coherently emitting sources such as line arrays and subwoofer arrays. Using 3D terrain data the software accurately predicts the far field noise immission across the terrain according to ISO 9613-2 and Nord 2000 standards, allowing system designers to predict any potential noise issues during the event planning stage.

• d3 Technologies showcased its products alongside Panasonic Business and PRG XL Video. They were in Festhalle - the exclusive presentation and showroom area for PRG XL Video and partners - where visitors could take a backstage tour to see the flagship 4x4pro’s in action.

They also demonstrated the advancements in technology with Panasonic’s new 4k+ laser projectors and d3’s 4×4pro + 4 x Quad-SDI VFC cards. Plus, there was an exclusive sneak peek at the latest software release, r12.2, which is due for release later in the year.

• The Philips Lighting team

• The dBTechnologies team

• EAW’s Jeff Rocha

• Hibino announced its investment in CODA’s AiRAY

• D.A.S. Audio’s Bob Giner

• D.A.S. Audio showcased a whole range of its newlylaunched products. The UX Series saw the addition of the UX-218A subwoofer, the UX-30A subwoofer and the 18UXN4, an 18-inch neodymium, high-performance subwoofer loudspeaker.

Also, its Sound Force series of systems was given an expansion, with the new SF-158, a three-way, full-range system, and SF-Monitor – a powered DJ monitor system designed for discerning DJs worldwide.

• Nicolaudie’s Simon Bennett

• The Nexo stand

• Dataton, with experts from Sweden, Germany and Poland, offered outstanding projection mapping and demos of their new version of WATCHOUT multidisplay production and playback software, along with WATCHNET control.

• dBTechnologies used Prolight + Sound to showcase itsVIO System, a line array solution able to face smoothly professional production requirements. The series is comprised of VIO L210 two 10-inch line array module and three 18-inch SUB VIO S318, which were both showcased at dBTechnologies stand and at the live sound arena.

• Following on from the proven success of Stealth Digital Processing and the use of FPGA’s for large scale audio processing applications, DiGiCo used Prolight+Sound to reveal the concept design of its next development of Quantum 7 processing.

Although not scheduled for release until Spring 2017, DiGiCo presented an SD7 that was installed with Quantum 7, allowing visitors to see the unique ways in which the processing and flexibility have been implemented. Quantum 7 is developed with seventh generation FPGA devices that further expand audio processing power, allowing DiGiCo to provide users with an unrivalled amount of further flexibility.

• James Gordon of DiGiCo

• Elation’s Larry Beck and Marc Librecht

• The ETC team

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• DPA Microphones added to its hugely popular d:facto Handheld Microphone range with the launch of the d:facto Vocal Microphone. The new d:facto Linear Vocal Microphone is for sound engineers who want the ability to design the complete sound pattern to create their own unique sound.

Featuring a new capsule with an isolation-optimised supercardioid polar pattern that is specifically designed to augment the human vocal range, the d:facto Linear Vocal Microphone combines the very best of cardioid and supercardioid directional characteristics.

• DTS displayed Katana – the cutting-edge LED bar that offers ultra-bright, extra-sharp ‘blade’ projection for the first time ever, along with single pixel control, motorised zoom and motorised tilt. There was also the Core, which is a real hybrid discharge moving head – spot and beam all in one. Finally, also on display was the Nick NRG 1401 – a creative LED wash light that delivers top-of-the-line visual effects or uniform wash lighting.

• Dynacord showcased its new PROMATRIX 6000, a combined public address and voice evacuation system that offers outstanding audio quality. Quickly and easily specified and configured with optimised system costs, and extremely efficient in its power consumption, PROMATRIX 6000 sets a new standard in the field of combined public address and voice evacuation systems.

• At this year’s Prolight+Sound, EAW sponsored the 2016 PRG Live Entertainment Awards, which was held at the Messe Festhalle on Monday 4 April. An EAW ADAPTive System – comprised of Anna and Otto systems – was deployed for the show and remained in place for the whole exhibition.

Visitors were able to experience Anna and Otto first hand, with 10-minute demonstrations held four times a day throughout the exhibition. As well as that, EAW also showcased their Redline system.

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• LPS lasers in action • The Eagle Truss team

• The Faital Pro stand • Alex Bryan of Fenix Stage

• DPA Microphones Anne Berggrein

• The FBT team line up

• Elation’s offerings included three new product series, with the ZCL Series, DTW Series and the Fuze Series, along with some surprise launches, all on display. The Platinum SEVEN, a new seven-colour LED wash luminaire, and the TVL CYC, a cyclorama wash luminaire, were debuted at the stand, too.

• Electro-Voice presented a number of products including the new ND Series of wired vocal and instrument microphones.

Also showcased on the stand was the new X-Line Advance family of line-array loudspeakers, which represents a dynamic step forward in line-array loudspeaker system design, offering a range of new features and advanced audio technologies that work together to surpass the performance of other line arrays available today – and all in a significantly more compact cabinet.

• ETC marked its 40th anniversary with a new stand concept spread across four different stands. In Hall 3.0, the ETC presented its current products, including the Source Four LED system, the Eos and Cobalt console families, the ColorSource range, and ETC’s latest line of stage machinery, ETC Rigging, while another stand was reserved entirely for presentations and workshops.

• Gerald Giraudon of Colorsonic and French Flair Audio’s Guillaume Boda

• The Doughty stand

• Christoph Moll of Fohhn Audio

• Ann and Tony Andrews of Funktion One

• GLP’s Noel Smith and Annalise Laundrup • The Eurotruss stand at Prolight + Sound featured the full range of products, as well as the new XTS TrussSeries.

Also on display were a broad spectrum of other truss types, lifters, stage decks, barriers and rigging materials.

Visitors were welcomed by the global Eurotruss team and invited to discuss their requirements, with the team ready to assist.

• FBT displayed its full range of products, with new

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

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

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

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products for 2016 presented for the first time. The next step in the PROMAXX range of portable PA enclosures was launched – with a specially-developed polypropylene cabinet and full grille aesthetic, the new PROMAXX represents the evolution of a portable sound classic.

There was also the launch of the VERTUS CS1000 compact line array, which combines maximum performance with a modular, scalable approach. Also debuted was the VENTIS range, which comprises of four versatile loudspeakers enclosures for either portable or fixed installation use.

• Fenix Stage brought its latest offerings, the FSH System security system and the TRC-700 ground support tower to the show and reported a positive response from visitors.

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• Zero 88’s David Catterall and Mondiale’s Justin Gawne

• High End Systems’ Tania Lesage and Colin Wood

• The Genelec press call

• Fohhn presented new connectivity options for digital audio networking and exclusive loudspeaker surface designs. Fohhn released the AIREA Breakout Extension ABX-3, a new D/A convertor for the company’s fully digital, networkable and remotely controllable AIREA system.

The compact ABX-3 breakout box has the same basic functionality as Fohhn’s existing AIREA ABX-1 D/A convertor, but is additionally equipped with a high performance Fohhn DSP. This enables the inclusion of active loudspeakers without integrated Fohhn DSPs in the AIREA system.

• The IDEA team

• UK manufacturer, Full Fat Audio had its full range of amplifiers on display and highlighted its new G2 DSP software for the FFA-4004 G2DSP and FFA-6004 G2DSP models.

• Following six years of development, British loudspeaker manufacturer, Funktion-One, decided to use Prolight + Sound for the exclusive launch of Vero - the new, largeformat touring sound system that is set to redefine audio and operational performance expectations.

Vero is a complete system, with each element specified or designed for the highest possible performance. The system includes speakers, amplifiers, cabling, rigging, transport dollies, weather-proof covers and software.

Elsewhere, Funktion-One also debuted the Evo 7T Touring loudspeaker and F132 bass enclosure.

• The GTD team

• Genelec presented five additions to its Smart Active Monitoring (SAM) system series, with the new 8340 and 8350 monitors, 7360 and 7370 subwoofers and 9301 AES/ EBU Multichannel interface all available for attendees to inspect.

• Dave Millard of FFA

• The team on the JB Lighting stand line up

• GLP’s stand featured no fewer than 313 fixtures, showcasing 92 impression X4’s, 58 impression X4 Bar 10’s, 45 impression X1’s, 17 impression X4 Ls, 32 impression X4 Ss, 60 X4 atoms, and nine of the new GT-1 discharge light, being seen on a major stage for the first time.

• New products from the Green Hippo’s Hippotizer v4.1 range entered the game with the launch of the demo software, Hippotizer PLAY, giving users the opportunity to dive straight into the software as well as the new laptopbased solution, the Hippotizer V4 Portamus, bringing users power and portability, two attributes rarely found in a media server.

• GUIL exhibited a completely new range of platforms for stages and events at the show, with five new models.

The TM440, TM440XL, TM442XL, TM441 and TM440S have a load capacity ranging from 500kg/sq metre up to 1,500kg/sq metre.

The company also presented new accessories for stages, such as ramps, stairs and safety handrails, and special panel finishes including transparent (methacrylate),

• Marta Hinarejos of GUIL

• Peter Peck and Steve Hutt of IAG Group

• HK Audio

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• Curdin Bisaz, Remo Zollinger from Z-Audio and XTA’s Jason Kelly

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carpeted, parquet, rubber, non-slip aluminium top layer, painted and grating.

• Harman debuted a number of new products across its brands including the AKG C7 reference condenser vocal microphone, closed-back K872 reference headphones and the MicroLite series of miniature wearable reference microphones.

JBL Professional by Harman showcased the EON208P portable PA system and the EON ONE all-in-one lineararray PA system, while HARMAN Professional Solutions’ Tour Audio Division displayed the JBL VTX M Series - a new line of premium stage monitoring products.

Martin by Harman revealed the outdoor-rated Exterior Projection 500, as well as the M-Play playback and control surface, MAC Axiom Hybrid beam / spot fixture, and the P3-150 and P3-050 System Controllers. The brand also extended the reach of its RUSH lighting series with the launch of three cost-effective additions: the MH 6 Wash CT, MH 7 Hybrid and MH 8 Mini Profile.

Soundcraft by Harman unveiled the latest addition to the Vi range of digital live consoles, the Vi2000. The console combines the Vistonics-based control surface of the Vi3000, Vi5000 and Vi7000 consoles with Soundcraft SpiderCore, a powerful integrated DSP and I/O engine based on Studer by Harman technology.

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•K-array’s Margaux Asteghene and Andrea Torelli

• Harmonic Design’s Tim Maier

• Hazebase had a very successful show at with the launch of a new fogger - the base*prime. This 3000W unit is very powerful, while staying impressively silent thanks to its special nozzle.

• The Kvant stand

• Automated lighting manufacturer High End Systems gave the lighting community its first look at the latest Hog control software. Displayed on European Master Distributor AED’s stand, Hog v3.4 software offers numerous enhancements to the Hog operating system, including many inspired through designer feedback. High End also showed the latest alpha version of Hog OS. • HK Audio bolstered its flagship PREMIUM PR:O range of modular speakers with five new active full range cabinets featuring advanced DSP technology.

Known as PREMIUM PR:O D, the new cabinets benefit from all-new, DSP-powered preamps and the latest generation of ultra-efficient class-D power amps.

• The KV2 stand

• The J&C Joel team

• Michael Sollinger of Laser Animation

• The official launch of the EVO55 and EXO66 loudspeakers took place on the IDEA Pro Audio stand, these were presented alongside the LUA3i compact loudspeaker and the BASSO10i wall-mounted subwoofer.

• J&C Joel’s stand was brought together by the talents of Visual Production students at the Wakefield live events education centre, Backstage Academy. The students provided 3D projection mapping, which helped to showcase the capabilities of a number of new and existing J&C Joel products, including brand new three metre wide Projection Cloths and the Joelmat, a versatile dance and event flooring that boasts edge-to-edge digital printing capabilities.

• JB Lighting wowed visitors with a lightshow utilising its most popular fixtures - Varyscan P7’s, BeamSpot P4’s, Sparx 10’s and Sparx 7’s.

• Steve Hamann and Lars Henrich of Kling & Freitag

• The Laserworld team

• mondo*dr’s Sam Hughes with Light Converse

• K-array used the show to display its digitally steerable Firenze touring system. The array marries K-array’s Slim Array Technology with rugged, weather-resistant enclosures to bring the best of the company’s audio technology to theatres, arenas and stadiums.

• Kling & Freitag showcased VIDA, which includes a total of 48 DSP and Class-D power amplifier channels that are distributed on three loudspeaker routes in a coaxial arrangement. Each VIDA L module is equipped with six

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6.5-inch woofer chassis, 12 3.5-inch mid-range drivers and 32 0.8-inch dome tweeters.

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• KV2 Audio was also present in Frankfurt to explain the benefits of the VHD5.0 Constant Power Point Source Array. Engineers from KV2 Audio put the company’s large format concert system through extensive testing in preparation for its first major public performance.

• Le Maitre reported a great response to its products during the show, including the new G300-SMART smoke machine. Building on the foundation of the G300 smoke machine, the G300-SMART has onboard WiFi, allowing the user to set and change the configuration of the machine via their mobile device, such as a phone or tablet.

The company also saw a great deal of interest in its Freezefog Pro low smoke machine, its Salamander flame machine and the Neutron and MVS Hazers.

• L-Acoustics’ Marc Benard

• Look Solutions team headed by Kirsten Eicher

• LPS-Lasersysteme enjoyed a successful show and took the opportunity to present the LPS Impression Laser SFX Bar, which is ideal for concerts, theatre, festivals, theme parks and all types of events.

• L-Acoustics launched the KS28, a new reference subwoofer, at the show, which was exclusively driven by the new LA12X amplified controller. The LA12X launch was accompanied by that of the LA-RAK II, an updated touring rack offering worldwide compatibility in one sole model.

• Lumen Radio’s Lilli Lundqvist

• Martin by Harman’s Pernille Rosenkilde and Stephanie O’Neill

• Lawo presented its new core audio IP technology at prolight+sound. In combination with the German innovator’s mc²36 audio mixing consoles and mc² Compact I/O stageboxes, the Nova37 Hybrid RAVENNA/ MADI Plug&Play Audio Router offers a package for applications in live performance, installed sound and houses of worship.

According to the company, its standardised configuration means that it provides easy networking of mc² compact I/Os and mc²36 mixing consoles.

• LumenRadio had its biggest trade show booth to date and launched the wireless DMX transmitter CRMX Nova TX USB. It delivers never before seen accessibility to the powerful CRMX technology. With its small size and easy to use USB interface, it is suitable for small-to-medium sized temporary shows and works in perfect combination with battery powered fixtures with built-in CRMX technology.

• MDG Fog’s Martin Michaud and Thierry Pouliot

• The Madrix team

• MA Lighting dedicated a whole booth to its dot2 lighting control solution, featuring new software release, version 1.2. Multiple hands-on dot2 console stations were available for users to familiarise themselves with the new software.

• Magic FX introduced a number of new products including the Confettipistol, Qlubshot, and Stadiumblaster confetti streamers, Psyco2Jet, Stageburner flame effect, Bubblebastered, the Smokejet, and Magic FX Cannons. New features include a multifunctional OLED display and an FX warning LED for extra safety.

Martin Audio unveiled its much anticipated CDD-LIVE! Series. Comprising three full-range models and two subwoofers, CDD-LIVE! covers practically all professional stand-alone and distributed applications - from sound reinforcement and monitoring for live bands, DJs and corporate events, to installations in dance clubs, ballrooms, theatres and performing arts centres.

• MDG unleashed its most powerful fog generator ever, the Me8. The biggest of the Me Series, the Me8 is an

• Klotz Cable’s Rene Greil

• The MBN stand

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• The Le Maitre stand

• Lawo’s Hervé de Caro

artec 300 series

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The new D.A.S. Audio Artec 300 series loudspeakers are designed for use in a wide range of fixed sound reinforcement applications. They are presently available in 8 passive models comprising 6”, 8”, 10”, 12” and 15” two-ways, a double 6” two-way, a double 10” line array and a passive double 12” subwoofer. Offering an elegant design and exceptional performance, the new Artec 300 series is a great choice for everything from elegant nightclub installations to educational facilities.

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eight-nozzled monster that pumps out 800 metres cubed of fog per minute to deliver exceptional results on a vast scale.

Despite its power, the Me8 is extremely economical on fluid, using only eight litres of MDG fluid an hour at maximum output.

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• Meyer Sound debuted three of the latest additions to its line of sound reinforcement solutions: the MJF-208 compact stage monitor, the MDM-5000 high-power distribution module, and the LYON-WXT extended vertical option.

Also in focus was the LEOPARD linear sound reinforcement system’s Native Mode, a timesaving advancement that delivers great sound right out of the box, regardless of the array size.

• Moose Sound presented new and significant enhancements to its product range together with the latest release, the new SIRIUS D8K, a six-channel digital power amplifier featuring a touch screen DSP. Other solutions on show at the stand included the new active line array system, LOOP, and the new compact active PA system, QUATRO.

• Gary Pritchard and Pete Floyd of LSC Lighting

• The Moose Sound team

• TW Audio stand

• The Music & Lights stand highlighted the DAD MA6 line array system, as well as an impressive showroom with more than 300 Prolights projectors and new Alphapix LED screens.

• The two new four-channel amplifiers and a new DTD Controller from Nexo create compact, lightweight, intelligent and low-cost powering solutions for the installation and touring SR markets.

Showing for the first time at the exhibition, the DTDAMP4x0.7 and DTDAMP4x1.3, denominating fourchannel, 1U rack-mounting amps in 700W and 1,300W models (4x4 Ohms) were a hit with visitors.

• The KUBIX family currently consists on six models of two-way coaxial loudspeakers - the K5, K5+, K8, K8A, K12 and K12A - which are complemented by highperformance subwoofers the K10s and the K10sA and the series was on display at the NEXT-proaudio booth.

• Father and son from NEXT-proaudio

• Bjoern Gaentzsch of MA Lighting

• Optocore’s Marc Brunke • The Osram team

• Unmissable for its slot car scale racetrack, Optocore and BroadMan’s booth featured milestones from the company’s 20-year history right up to the present including this year’s new blockbuster releases.

First up was BroaMan’s upgraded Route66 video router, now offering Auto Routing and an intelligent fibre patch bay. The new functionality is powered by Optocore, and is ideal for installation, live events or broadcast. Optocore Founder Marc Brunke spoke of the latest interface developed specially for Fohhn’s Linea Focus line source speakers, frequently found in transportation hubs and a wide range of public buildings.

• Magic FX’s JeanPierre Noten

• In a Frankfurt debut, OutBoard’s PAT test joint-venture associates Data Strategy demonstrated the PAT4 Test Processors, CAB5 Cable Testers and RCD Test modules with its QC-Check PAT automation and logging software.

Also seeing its European debut, OutBoard’s new digital RCX Smart Remote for LV and DV Motor Controllers was demonstrated in 16, 32 and 64 versions on the booth of AC Entertainment Technologies.

• Italian loudspeaker and electronics manufacturer, Outline introduced the new VEGAS Series of loudspeakers, featuring an application specific, supercompact, wide dispersion under balcony loudspeaker and three compatible, custom coaxial loaded loudspeakers.

The VEGAS 24, 8 CX, 12 CX and 15 CX models feature high quality Italian made components and are designed, sourced and manufactured to the same stringent quality

• Tytti Pohjola of Picturall

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• New Martin Audio MD, Dom Harter and Jason Baird

257mm

194mm

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㈀㄀ 吀愀爀爀愀渀 圀愀礀 一漀爀琀栀Ⰰ 吀愀爀爀愀渀 䤀渀搀甀猀琀爀椀愀氀 䔀猀琀愀琀攀Ⰰ 䴀漀爀攀琀漀渀Ⰰ 圀椀爀爀愀氀Ⰰ 䌀䠀㐀㘀 㐀唀䄀 吀㨀 ⬀㐀㐀 ⠀ ⤀ ㄀㔀㄀ ㌀㌀㐀 㜀㘀㠀㈀ 䘀㨀 ⬀㐀㐀 ⠀ ⤀ ㄀㔀㄀ ㌀㌀㐀 㤀㌀㜀㌀ 䔀㨀 猀愀氀攀猀䀀栀漀椀猀琀甀欀⸀挀漀洀 圀㨀 眀眀眀⸀栀漀椀猀琀甀欀⸀挀漀洀

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standards applied to all Outline high-end touring audio products.

• Philips Entertainment Lighting unveiled a broad portfolio of brand new creative tools for lighting designers. The Philips Showline SL HYDRUS 350 was launched live at the show, and was joined by some of the latest Philips Showline products, including the SL PUNCHLITE 220, the SL STRIP 10IP, SL BAR 510 and the SL BEAM 300 FX. Also on the stand was a brand new addition to the refreshed Philips Selecon PLprofile series, the PLprofile4 MK II. The Philips Entertainment team also showcased the latest additions to the Philips Vari-Lite product line the VL4000 Spot and VL4000 BeamWash. On show from Philips Strand Lighting was the complete NEO Lighting Control system, with its new wings and 19-inch rack mounted playback unit.

136 EX P O

• Powersoft’s Marc Kocks, Francesco Fanicchi and Luca Giorgi

• Luke Jenks of Meyer Sound

• Pioneer Pro Audio premiered its XPRS Series of active speakers, comprising the XPRS15 and XPRS12 twoway full range speakers, and the XPRS215S dual 15inch subwoofer, which all feature Powersoft Class D amplifiers.

• Powersoft ran two condensed Armonía training sessions at its booth, led by Luigi Chelli and Remo Orsoni.

Powersoft’s proprietary Armonía Pro Audio Suite software provides remote control and monitoring of the full range of Powersoft products. It offers On-line or Off-line system setup and tuning, real-time management and monitoring of all vital functions from a remote PC via a single intuitive graphical user interface.

• The RAM Audio team

• Clair Brothers stand

• PR Lighting’s efforts at the show were focussed on its BWS series. These fixtures integrate spot, wash and beam features in a single unit. Regular displays of the new XR 330 BWS, XR 350 BWS and XR 440 BWS were in evidence throughout the show, as we fixtures from the company’s evolving LED Studio range, now including Xpar 150, Pro Stage 150 LED and RGBW. • Production Resource Group (PRG) again created its ‘Highlight Show’ in the Festhalle, featuring laser displays made using Laserworld Group-manufactured systems.

More than 400W of laser power was implemented, including the world’s-first presentation of a completely new show design lighting fixture - the RTI NEO SIX RGB white light beam arrays with analog modulation and beam deflection.

• The Outline booth

• Alex Barrand and David Ferreira of Pioneer Pro Audio

• ASC’s Peter Matthes

• Proel launched its new compact line array system, AX800A, featuring two eight-inch low frequency drivers and a 1.4-inch high frequency compression driver in a lightweight moulded polypropylene enclosure.

It is designed for many different sound reinforcement situations - such as medium sized indoor and outdoor events, small festivals, corporate events, and even as delays or outfills on larger shows.

• Prolyte premiered its Verto truss system, which is based on a new principle of truss connection, where the sections are joined by a rotating coupler system.

ProLyft showed a complete set up of hoists and controls, showing the endless possibilities ProLyft can create for the basic to advanced user requirements. It presented a sneak-preview of the advanced Auxo system; which will be launched later this year.

• Hands on at Riedel

• One Systems’ Doug MacCallum

• RAM Audio used the show to demonstrate its MDi series amplifiers and its power packs for self-power acoustic cabinets.

• RCF displayed a number of new products including the HDL6-A active two-way line array, the HDL12-AS subwoofer, the large format HDL50-A three-way active

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• Renkus-Heinz line up

• PR Lighting team

• RCF’sElisa Cornia and Gioia Molinari

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line array module, the CR16-ND Control Rack and PR-63 Power Rack.

The company demonstrated its flyable bass extension, the HDL 53-AS, and previewed a new firmware upgrade for the M-series for the first time, including several improvements and additional processing effects. New CK range of compression drivers, E Series professional analogue mixers, also had their debuts at the show.

138 EX P O

• Renkus-Heinz displayed the entire line of its Iconyx series, including new Dante-enabled versions of Iconyx and IC Live, as well as IC2 and the new VARIAi modular point source array system. The new RHAON II (RenkusHeinz Audio Operations Network) was also on demo, with support for all current Renkus-Heinz loudspeakers, including Iconyx, VARIAi, and CFX Series.

• It was a very busy show for RGBlink with visitors from across Europe showing strong interest the X3 Live presentation processor and scaler, and the range of 4K video scalers including X1pro.

• Robe had a booth size three times larger than before as backdrop for the L7F Wash, BMFL WashBeam, BMFL Wash / Wash FX, Spikie, Linee, Strobe / StrobeLite, ColorStrobe / ColorStrobeLite, picklePATT, PARFect SB1, and Robin CycBar 12.

• Robert Juliat RJ Zep LED profile and Fresnel fixtures drew considerable attention from theatre, event and display technicians, as did the Merlin 2,500W HMI touring spot and the 300W LED Roxie followspot.

Perhaps the biggest scene-stealer was the Dalis LED cyclorama light, which brought with it some new developments to the technology that took the show by storm in 2015. In addition to the Dalis 860 Cyclight, Robert Juliat also unveiled a new Dalis footlight batten and a Dalis wash light.

• The Showtex team headed by Bo Bettens

• Robert Juliat’s Séverine Zucchiatti

• Robe’s Harry von den Stemmen and Josef Valchar

• Justin Knox with the RGBlink team

• The Syncrolite stand

• On Sennheiser’s joint stand with Neumann.Berlin, a Sound Experience Room allowed visitors to enjoy the Sennheiser HE 1 and the AMBEO 3D Audio immersive sound experience through a reference set-up with Neumann loudspeakers.

The stand also provided the opportunity to try out the Venue Modeling software, which takes 3D audio into the DJ world, and catch a glimpse of Sennheiser’s upcoming virtual reality microphone.

• The Sennheiser stand

• With the recent launch of SGM’s i-2 series and the G-Wash, and now the G-1 Wash and the i-5 series, SGM’s range of maintenance-free LED fixtures has been completed. All were on dispaly at the show.

• ShowTex displayed a wide selection of stage and theatre drapes, as well as extra-large printed, lasercut and decorative fabrics that all came together in a brand new stand design. This included a multi-layered chandelier featuring black LaserVoile, printed Voile CS and green Organza sheers, and a GiantMirror that created holographic effects and made objects appear or disappear.

• The Tasker team

• SGM’s Peter Johansen and Litte Dalsgaard

• Sommer Cable presented the latest generation of its CARDINAL DVM device, the DVM-HDBT-EX, which is able to provide a stable HDMI signal transmission over distances up to 100-metres.

• The Sommer Cable stand

• Spotlight presented a number of impressive products at Prolight+Sound, with a wide range of professional LED stage lighting at its stand. Spotlight’s LED innovations started from 3W up to 450W of LED power, with a particular highlight being the world’s first optical asymmetrical CYC Light with 300W LED. • Frankfurt saw the introduction of Syncrolite’s first new

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Strong product, the Blue Box Ballast (B3). Designed to be compatible with all past followspots, the B3 is a roadready upgrade for thousands for Strong followspots around the world.

• Tasker used the show to present its new Komby Cables; Analog and Digital Audio and Video cables; HDMI 2.0 High Speed with Ethernet Cable and Connector; Miniature Cables in spools of 50 metres and 100 metres; and MultiFiber Cables and Patchords.

140 EX P O

• Steinigke’s Matthias Schwab and Michael Dill

• Triple E launched its ‘universal building system’, ModTruss, Europe-wide at the show, following its original launch in the UK in June 2015.

Best described as ‘full size Meccano’, the ModTruss system features a lightweight aluminium construction and a repeating hole pattern, meaning applications are practically unlimited.

• TW Audio introduced a new stand layout to compliment some brand new products. The company displayed a prototype of VERA20, a two-way system that closes the gap between VERA10 and VERA36 systems, and accessories such as the universal frame UF10 for the VERA10 family.

• Visual Productions’ Zoe Castle

• The Starway team

• The European reveal of VUE Audiotechnik’s al-12 line array system extended the VUE al-Class to address large-scale applications while showcasing VUE’s CST technology across the series.

Also being introduced was the most powerful h-Class subwoofer to date, the self-powered hs-221 with patented ACM technology.

• The StudioDue team • David Edelstein from Triple E

• Wireless Solution launched G5 in Frankfurt - the evolution of Wireless DMX with support of RDM, as well Ethernet. The company premiered the new Micro Series G5 and the new WhiteBox Series G5.

• The Prolyte press call

• Work unveiled the new SL 210 A line array system, which features double 10-inch transducers and a 1.75-inch high frequency compression driver in each cabinet, offering 1,000W AES and a frequency response from 84Hz to 18kHz (±3dB) and 129dB as max SPL (135dB peak).

• The Wireless Solution booth • XTA and MC2 Audio took part in the Live Sound Arena demos in conjunction with Funktion One, which demonstrated its latest Evo 7 speaker system, driven exclusively by APA. AmpControl, APA’s remote software application, has matured past its alpha release, and was running on PC and Macs.

The 5 Series was also on the stand, including the DP544.

MC2 Audio shared the stand with XTA, celebrating the shipping of its 50,000th amplifier and demonstrating its Ti series and iCore running live (and connected to the Dante network for the new APA amplifiers from XTA).

• Ben Sinclair of VMB

• Yamaha used the show to launch the PX series, a brand new range of power amplifiers and the RPio222 I/O rack, a compact variation of the current RPio622 I/O rack for the flagship RIVAGE PM10 digital mixing system.

In addition, the latest software upgrades for the CL, QL and TF ranges of mixing consoles were on demonstration.

• The Void team

• The Equipson stand • Following its launch last year, FLX8 now joins the FLX family of lighting consoles as the latest eight universe version. FLX and FLX8 were shown with demonstrators highlighting the latest software release - ZerOS 7.9 - and the online universe upgrade program for FLX.

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142 FACILIT Y OP ENING

PROLYTE | ROMANIAN FACTORY Prolyte, the renowned manufacturer of trussing and staging systems has celebrated its 25th anniversary with the officially opening of its brand new, purpose-built factory in Piatra Olt, Romania in March - and mondo*dr went along to find out more about the ultra-modern manufacturing location.

The move to Piatra Olt has been in motion since 2010, with Prolyte’s long-term plan having been to translocate all its manufacturing facilities to Romania. The new factory is seen as the final and most important - part of the plan, allowing the company to consolidate all of its European manufacturing into an impressive 5,000 sq metre facility.

The manufacturing facility itself is somewhat isolated in terms of its location - the building has very few neighbours - however, that has no bearing on what the factory offers in terms of product. Containing automated production equipment that is exceptionally accurate, brand new welding jigs and state-of-the-art product lines, this Prolyte facility is a sleek, smooth operation.

The in-depth tour of the facility began with a traditional opening ceremony and, once the official cutting of the ribbon was complete, Craig Huskins, Technical Manager, and Constantin Ciucia, Quality Manager, explained the whole

production and quality control process in detail.

During the tour, mondo*dr, along with other members of the press and Prolyte representatives, were shown every step of the detailed production process. From where the material enters the factory, the creation of the trussing systems, right through to Prolyte’s extensive quality control area.

Product testing and safety has been a key focus for the new facility, which has resulted in 90% of all quality control checks being performed by machinery for the utmost accuracy. These measures include ultrasonic testing, which is used to perform circumferential weld inspections on small-diameter pipes. Plus, with the new inhouse tracking system, a barcode can be assigned to each section of truss created in the factory, giving Prolyte the ability to track throughout right down to the name of the welder.

The standards are high and it shows. In fact, the complete bespoke factory, including all the equipment, procedures and personnel, has obtained an EN1090 certification in the highest execution class III. Not only that, but it is further ISO 3834-2 certified by the International Institute of Welding, highlighting the level of detail that has gone into the plans from Prolyte.

It doesn’t stop there, though, as Prolyte have an eye on the future still, with expansion room on www.mondodr.com

the site of the new facility going up to 16,000 sq metres. The company will see the total group manufacturing capacity grow by a huge 250% - a vital part of the continued international sales expansion.

A huge part of that expansion has been the launch of Prolyte’s Verto truss system - a new, revolutionary perspective on truss assembly. Described as a ‘game-changer’ within the industry, the Verto truss system, which will be produced at the Piatra Olt facility, and is based on a new principle of truss connection whereby the sections are joined by a rotating coupler system.

The Verto truss has a number of advantages over the existing systems that are currently in place, with the main focus behind the creation being to make assembling the truss easier and safer for technicians. From there, shortening production times - through reducing the assembly and disassembly times - was another important factor.

These aims have been met with great success, as tested general assembly times are up to three times faster than those for truss with conical coupling systems and seven times faster than any bolted truss. This is all down to the simple rotating locking system on the Verto truss, which was officially launched at Prolight+Sound in Frankfurt, that secures the truss in seconds - all without the need for tools. Another added benefit

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144 FACILIT Y OP ENING

of the system is that the assembly is almost completely silent, with tested general sound levels at around 55dB, as opposed to the conical truss systems that generate a sound level of 80dB during assembly. This adds a level of safety on sites and also allows technicians to work through the night in areas that may have noise restrictions at certain times.

Following the tour, Lambert Bouwmeester, CEO of Prolyte, gave a speech during the drinks reception, in which he commented on the new facility: “In 2014, we made the decision to make a lot of changes at Prolyte, one of which was to invest in what would become this Romanian production facility.

“We wanted to really focus on what we are about,

which is safety, quality and dedication to our customers - we want to offer safety to people in the entertainment industry. 20 years ago, we would have never thought we would be able to achieve something like this. We hope to be an example for other companies who are looking to invest and grow outside their countries.”

Ralph Stockley, Chief Commercial Officer, added: “In my opinion, this facility gives us the ability to provide distributors and customers with a top-quality product, high levels of safety and, more importantly, quicker build times to give you the edge on your competitors. That is what Prolyte is about - a real partnership.”

Mihai Hlihor, Prolyte COO, continued: “It’s very important to us to invest in Europe and to assure www.mondodr.com

our customers that we have the most efficient production facility, meeting our exacting standards. We’re very proud to have achieved this in such a short time span.”

“Prolyte has always been typified as market leader in production technology, which underpins our quality promise. We have pioneered some production firsts, such as automated jigging and robotized welding. We hope that such innovations will only continue in our new factory,” concluded Lambert.

Prolyte is confident that the new facility will cement its position as a market leader in terms of volume, quality and global network reach - a fitting way to celebrate the company’s 25th anniversary. www.prolyte.com

146 P RODUCT LAUNCH

FOCUSRITE | RED 4PRE Focusrite has announced the launch of Red 4Pre - the pinnacle of Focusrite’s interface range.

The 58 input / 64 output Red 4Pre combines four of Focusrite’s specially-developed digitally-controlled mic preamps, plus high-headroom instrument inputs, with dual Thunderbolt 2, dual Pro Tools HD DigiLink and Dante network audio connectivity. Featuring Focusrite’s most advanced low-noise conversion and beautiful yet robust design, the Red 4Pre interface is the perfect balance of form and function, delivering the sound quality and versatility engineers and producers around the world expect from Focusrite.

For the launch, Foucusrite invited a whole host

of press and customers to check out the newest release from the company at London’s TileYard Studios a few days before the official announcement. Leading the proceedings was Focusrite’s Director of Product Strategy, Rob Jenkins, who started with the company back in 1989. “Through my years with the company, it has been a great pleasure to steer this great brand through a lot of changes within the industry. What I have seen over the last quarter of a century is the changing techniques of the way people are recording and I believe Focusrite to be an innovator of the industry.” Rob continued to highlight some of the successes that Focusrite has achieved over the www.mondodr.com

years, including the creation of the Rednet range.

He stated: “Rednet is right at the top of the range of Focusrite’s products. It is the most scalable and flexible audio recording system in the world allowing an almost infinite number of channels there is the range of recording possibilities.”

Rob also outlined the goals of the new product: “What we hope is that the new product will fill a gap in the current range. As well as appealing to the smaller studio market, the hope is that the new product could be used to convert a space to create a improvised live recording environment.

We wanted to bring something of real value that had professional recording software.”

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148 P RODUCT LAUNCH

Four of Focusrite’s new, specially-developed Red Evolution preamps lie at the heart of the Red 4Pre, featuring clear, honest audio performance with - 129dB EIN and 63dB of gain with 58 inputs and 64 outputs. Software control allows recall of settings and stereo linking, plus configuration of HPF, polarity invert and individual phantom power. The preamps include Focusrite’s unique Air effect, recreating in the analogue domain the sound of the transformer-based mic preamps in the classic ISA range. This feature is ideal for bringing out the breathy quality of a vocal track or adding presence to an acoustic guitar. Red 4Pre also includes high-headroom instrument inputs, instantly accessible from the front panel.

One aspect that was key in the designing of the Red 4Pre was exceptional connectivity. The dual Thunderbolt 2 ports connect to any DAW while allowing daisy-chaining of drives and displays.

Our lowest round-trip latency permits recording with preferred plug-ins in real-time and simplifies workflow, while dual DigiLink ports connect the Red 4Pre directly to any Pro Tools | HD system as standard. In addition, Red 4Pre features built-in Dante network audio connectivity. With the use of the dual Ethernet ports to connect any Dante-compatible product, such as units from Focusrite’s own RedNet range, adding up to 64 channels via ethernet with low latency and lower cost.

The Red 4Pre’s new high-performance conversion system features ‘parallel path summing’, where two matched converters are run in parallel to increase the signal to noise ratio. They operate at up to 24-bit, 192kHz sampling - ideal for high-resolution audio - with a dynamic range of 118dB (A-D) / 121dB (D-A). The Red 4Pre delivers ≤0.0009% THD+Noise and a frequency response flat from 20Hz to 35kHz ±0.25 dB or better. https://uk.focusrite.com www.mondodr.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.

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AUDIO-TECHNICA | SYSTEM 10 PRO

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Frequency diversity sends the signal to two frequencies allocated for communication without interference.

Time diversity sends the signal in several time slots to optimise immunity against multipath interference.

Finally, space diversity uses two antennas on each transmitter and receiver to maximise signal integrity.

The System 10 Pro Range • ATW-RC13 rackmount receiver chassis • ATW-RU13 receiver unit • ATW-T1001 UniPak beltpack transmitter Designed for a variety of fixed installation applications, AudioTechnica’s System 10 Pro series works in 24-bit / 48kHz and is based around a powerful but easy to use rackmountable receiver unit. And with handheld microphone, beltpack, boundary mic and microphone deskstand options available, System 10 Pro is ideal for presentations, performance, discussions and more.

Although it’s designed to for extremely easy operation, System 10 Pro doesn’t give anything away in terms of sonic performance - over a frequency range of 20Hz to 20kHz - or signal integrity.

In addition, the System 10 Pro rackmount receiver unit allows for real versatility in positioning and usability.

Each rackmount chassis can house either one or two receivers - which can be deployed up to 100-metres from the chassis via Ethernet cable - and each receiver can be paired with up to ten transmitters. And with Automatic Frequency Selection, the system ensures plug and play set-up and excellent reliability, ideal for non-professional users. eu.audio-technica.com/wireless/wirelessby-series/system-10 www.mondodr.com

• ATW-T1002 handheld dynamic unidirectional mic/transmitter • ATW-T1006 boundary microphone / transmitter • ATW-T1007 microphone deskstand transmitter

152 IN DETAIL

FUNKTION ONE | VERO 1 2

3

4

Following six years of development, Funktion-One has launched Vero - the new, large format touring sound system.

Vero began life when Tony Andrews considered the possibility of designing a sound system that configures in a linear array. Having spoken of his concerns about the intrinsic sound issues of linearray systems for many years, this may have appeared to some as an unusual step. While Tony recognised the time and manpower benefits of rigging a vertical array, he definitely wasn’t prepared to compromise the audio standards that he and John Newsham have lived and breathed for over 40 years.

Vero is a complete system, with each element specified or designed for the highest possible performance. The system includes loudspeakers, amplifiers, cabling, rigging, transport dollies, weatherproof covers and software. “One of the reasons it’s taken six years to develop is the amount of design work and detail that goes into originating a complete system,” explained Tony. “Not

just loudspeakers, but the flying system which is patent pending, the cabling, the amplifiers and the shock mounted racks.

We’ve developed Projection - Vero’s propriety predictive software, which is very intuitive and easy to use. What you see in the software is what you get in the field. Every element of the system has to be exactly right.”

Vero has been in beta testing for the last three years, during which every part of the system has been thoroughly refined.

Tony continued: “When you’re listening to it, the presentation of the sound stage is absolutely phenomenal. You can actually go outside the typical two hang arrangement and you’re still aware of the stereo image.”

John added: “We’ve always tried to make a speaker work correctly without the need for electronics and one of the reasons the development has been as long as it has is because we’ve been chasing that ideal.”

This determination for a natural sound, free of quality-diminishing processing, www.mondodr.com

• Above 1 - V90 line array cabinet 2 - V221 bass enclosure 3 - Lab. gruppen PLM 20K44 amplifiers 4 - The VERO transportation dolly

led Vero’s designers to something called Geometric Energy Summation (GES). In short, this is the natural geometry of the waveguides and their relationship with each other within the array combining for a coherent addition of sound.

The design of the drivers and the geometry of both the waveguides and flying system have been optimised to ensure sonic integrity. Preservation of the original audio signal through a system’s component chain is a fundamental requirement for great sound. With Vero, spectral balance, directivity and level control are achieved by natural means so that transient and harmonic information remain intact.

The Vero loudspeaker range features six highly efficient, low distortion hornloaded loudspeakers - the V60 mid-high, V90 mid-high and V315 mid-bass with a choice of V221, V124 or V132 bass.

The V60’s, V90’s and V315’s all have identical dimensions, enabling them to be flown in the same vertical array. The ground stacked V221, V124 or V132 bass enclosures offer a choice of size and low frequency extension.

Vero is powered by Lab.gruppen PLM 20K44 amplifiers, featuring bulletproof reliability, tremendous power from a compact package, onboard processing and the sonically superior Dante networking for signal distribution. Three PLM 20K44 amplifiers and mains distro are fully shock mounted in an innovative, compact rack, complete with sliding doors that conveniently stow in the roof of the rack.

Vero’s patent pending Lambda flying system is designed for speed, safety and ease of use. It allows Vero arrays to be deployed accurately and efficiently. All rigging settings can be calculated using Vero’s Projection software. Unlike most other flown arrays, Vero’s inter-cabinet splay angles can be adjusted with the system in suspension.

Tony concluded: “Good audio is an art.

It isn’t plant hire. The part it plays in people’s enjoyment of music is severely underestimated. The overall result with Vero is industry leading coherence and accuracy, resulting in a big sound of dimension and intimacy. Vero presents a very spacious and realistic sound stage, meaning that artists, engineers and concertgoers can enjoy unprecedented dynamic range and fidelity, which is how audio should be.” www.vero-system.com

Unarticulated articulation.

14 channels of integrated DSP and amplification

Software-controlled coverage perfection for any application

Patented CSA technology Offset Aperture loading ensures Simple integrated rigging hangs coherently combine wavefronts optimal horizontal control systems one way – straight

Anna™ delivers all of the fidelity and flexibility of Anya in a smaller and lighter package that is perfect for an extremely wide variety of applications. Unlike conventional articulated arrays, Anna columns hang straight, array horizontally, are aware how they are flown, are self-aware of their array configuration and can generate a three-dimensional coverage to perfectly match the requirements of any space using software alone. In seconds.

Still considering a conventional product? It’s time to adapt.

Learn more about Anna and all ADAPTive Systems at eaw.com/products/adaptive

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Meet Anna ad_Mondo.indd 1

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154 IN DETAIL

CELESTION | FTX SERIES 2 1

3

4

Coaxial loudspeakers offer full range frequency response in a single selfcontained driver. By concentrically aligning low and high frequency drivers, they can act as a single source, often providing improvements in signal coherence when compared to a traditional two-way system. An immediate benefit of this is that they can provide an effective, high quality solution to sound reinforcement applications where size, weight and off-axis response are critical.

Celestion’s FTX coaxial range represents a major step forward in coaxial driver technology. Each FTX driver features fully combined low frequency (LF) and high frequency (HF) components which are powered by a Common Magnet Motor Assembly, where the same ferrite magnet is used to drive both elements.

This precision-designed magnet assembly has been optimised using finite element analysis techniques so that it distributes magnetic flux to both LF and HF voice coil gaps in the most efficient way

possible, thereby extracting optimum performance from the system.

By designing the magnet assembly in this way, the voice coils and hence the acoustic centres of the two components are brought closer together compared to those of a conventional coaxial driver. It delivers further improvements in signal coherence and time alignment for more natural sounding audio reproduction.

The use of a single magnet assembly also means lighter weight and a profile that is more compact than conventional coaxial designs.

Each of the models in the FTX range features a polyimide film HF diaphragm, enabling them to offer increased HF power handling. The diaphragm is fixed using Celestion’s Sound Castle soft clamping assembly, which reduces the stresses associated with holding the diaphragm in place, decreasing distortion and ensuring reliability of performance.

Both HF and LF voice coils are edge wound, using either lightweight copper, copper clad aluminium or pure www.mondodr.com

• Above

1&2 - The 8-inch chassis diameter FTX0820 coaxial driver.

3 - A 3D CAD rendering of an exploded view of the FTX0820 coaxial driver.

4 - The 12-inch diameter FTX1225 coaxial driver.

aluminium. The flat-edged profile of the wire adds to the barrel stiffness of the voice coil former - further reducing the likelihood of distortion - and also enables a closer packing density, which leads to improved cooling and greater motor strength.

Each driver in the range features aluminium demodulation rings as standard. These act to make the variation of system inductance more linear as input current varies, delivering improved sensitivity at higher frequencies. They also substantially reduce the harmonic and intermodulation distortion associated with voice coil displacement.

FTX coaxial drivers are available as standard, off-the-shelf products in a range of chassis sizes, from 6.5-inch to 15-inch diameter. As product platforms they can also be adapted and customised

by Celestion’s engineering team to meet a system builder’s project-specific requirements. http://celestion.com

New VHD4.21

Active Bass Module 14.000W of peak power from a single wall socket The VHD4.21 Active Bass Module consists of two horn-loaded enclosures, one active and one passive, each containing two custom designed 21" woofers. The VHD4.21 amplifier runs at close to 100% efficiency on any voltage from 160 to 270 Volts. Utilising a huge bank of capacitors this amplifier has the capacity to provide a continual power delivery of 6kW while achieving peaks in excess of 14kW.

www.kv2audio.com/vhd

DX410 Digital Wireless Intercom

Hear the Difference

Featuring 7kHz wideband audio, the DX410 provides unbeatable audio quality in a small, light-weight form factor. Made to take the punishment of daily use in tough environments.

License-free operation in the 2.4GHz band.

Experience the difference.

Contact Clear-Com for a demo today: www.clearcom.com

New

CopyrightŠ 2016. Clear-Com, LLC. All rights reserved.

Clear-ComÂŽ is a registered trademark of HM Electronics, Inc.

156 P RODUCT GUIDE

media•server

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

A media server can be any device with network access and an adequate bandwidth for the sharing and saving of media. It controls and manages the content supplied to any surface that can be utilised as a projection screen or any surface capable of being pixel mapped.

PRODUCT GUIDE

MEDIA SERVER

EMEA DAVE VAN ROON LIVE LEGENDS

“I always turn to d3 media servers for the stability, creativity, speed, capacity and support they provide to Live Legends and our productions. d3 offers an integrated UV workflow, quick projector calibration and solid interfaces with different systems. We can use the same system for previs and playback, which really speeds up the creative process and helps sell the project.”

APAC GLENN WONG TOTAL SOLUTION

“We are the distributor for Avolites in the APAC region, so we are specifying Avolites Media’s Ai media server. With our experience and know-how, it is a lot easier to understand the system and the Ai has made good in-roads into the market. We can be the victim of our own success, as many competing companies now distribute various media servers - they see the media server business as being very lucrative. We are also being approached by other well-known manufacturers to represent them. On average, we are selling 30 servers per year in Singapore and Malaysia and we have five full servers and six training servers for training and customer support.”

www.mondodr.com

THE AMERICAS JAMES HERON GREEN HIPPO

“The advances in features embedded in our Hippotizer media server products - and the level of maturity therein - are currently enabling us to not only boost creativity on events, but to also allow designers to take on mammoth tasks without fear of missing deadlines and budgets. The current rehearsals for Eurovision sees them using our SHAPE projection mapping software to produce the most adventurous show ever with confidence, whilst focussing on the look, feel and dynamics of the show rather than the technical challenges it brings. That’s exactly how technology should work.”

xy

Amplifies your amps.

The new DS10 Audio network bridge enhances the usability of the DSP within the new generation of four channel d&b amplifiers. While the amplifiers provide all the Digital Signal Processing capabilities, the DS10 provides the interface to the Dante audio network and remote control data via Ethernet. The DSP provides more than just comprehensive setups for all d&b loudspeakers; it provides extensive filter functions, equalization and delay capabilities to fulfil the needs of any application. www.dbaudio.com

Welcome to System reality.

158 P RODUCT GUIDE - MEDIA SERVERS

ArKaos Stage Server The Stage Server is an ideal solution for live entertainment, theatre, educational, audiovisual and worship applications. The two full HD outputs combined with the powerful ArKaos engine from MediaMaster Express will produce smooth visuals that can be easily triggered using a few DMX channels on the lighting desk or notes on a MIDI controller. The Stage Server features a vast library of high quality digital media from some of the best visual content providers and a fast recovery system by Acronis, which allows extremely simple reset of the server from the boot menu. It is pre-configured to work directly with all market leading DMX lighting desks. Everything has been done so users just have to plug ‘n’ play. Engineered to ensure rugged reliability and designed for quick and easy set-up, the Stage Server is an ideal combination of scalability and creativity. www.arkaospro.com

AV Stumpfl Wings Engine Raw The upgraded ultra-high-performance super media server now delivers an unrivalled four streams of full 4K uncompressed content at 60hz plus media overlays, text generation and show control on top.

It is ideal for media-based installations requiring high-resolution content such as themed attractions, cinematic presentation, theatres, live events, or even planetariums. Users can utilise a single Wings Engine Raw server to manage content over a virtually unlimited amount of LED screens or to drive a 4 by 4K projection system with soft edge blending, mapping and geometry correction. Alternatively, Wings Engine Raw can be used to blend or overlay multiple parallel HD, 4K, 5K or even 6K streams in real-time. Show start and control is frame accurate and without any delay. Wings Engine Raw now includes additional hardware upgrades such as four DisplayPort 1.2 video interfaces,professional multi-channel audio options and various input options such as DVI, HDMI 2.0 and 3G-SDI. Wings Engine Raw uses a custom engineered RAID 10 system. Content includes native picture sequences such as TGA or TIFF and instant PNG image format processing. The system processes and delivers video content at full 4:4:4 colour sampling, and hosts the WingsRX render core engine that has a 64bit program architecture and uses SSE CPU instructions to speed up content processing. The system is accompanied by AV Stumpfl’s embedded operating system, Backup-Manager, that features a dedicated EDID management and automatic camera-based calibrationsystem for soft-edge blending, warp, and geometry mapping, all operable by time line or cue based control. avstumpfl.com

Avolites Ai Infinity RX Created with over 30 years of touring experience, the Ai Infinity RX Series of media server is an ideal solution for corporate events, live touring, theatre, and anything in between. Ai media servers are designed for maximum reliability. Features such internal EDID management, anti-shock, and a floating sub-frame construction make the Infinity RX the media server users can count on. Ai’s full 3D visualisation, and revolutionary Autoblend simplify complex maps.

The intelligent output page to take the headache out of addressing outputs, and an intuitive user interface, Ai has the creative tools for infinite possibilities. The RX4 and RX8 have programmable, EDID managed, WUXGA (1920x1200) outputs. Each is digitally amplified to give users a preview and production output over DVI. The back has in addition to the four or eight DVI output pairs, the following outlets: LTC timecode input, two Gigabit Network ports, MIDI in and out ports, four lines of DMX512, audio in and output, Genlock and two sync network connections to guarantee vertical sync across multiple systems. www.avolites.com

Barco XPR-604 The XPR-604 media server combines 4K with intuitive, easy-to-learn controls. This fully integrated visual production system enables professionals to develop their show, from design to operation, easily and confidently. It features elaborate preview functionalities throughout the entire workflow, from design - via the Projection Study tool - over programming to playback. Intuitive controls - such as automated warping and blending - enable easy operation, even with multi-screen set-ups. Connectivity with market standards, DMX using ArtNet and CITP give users full control over the environment. It also has automatic content splitting for ultra-high resolution support on multiple computers and standalone media encoder from image sequences or other video formats. www.barco.com

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BUILT FOR A LIFETIME Audix's OM Series of dynamic vocal microphones has been setting new performance standards for more than 25 years. Each microphone features VLM™ (Very Low Mass) technology, and is designed, assembled and tested by Audix in the USA. Professional music artist ZZ Ward relies on the OM5 to cut through the mix and deliver her soul-filled, powerful vocals. With six different models to choose from, professional artists and sound engineers worldwide trust Audix's OM series — no matter the venue, no matter the voice.

OM5 www.audixusa.com 503.682.6933 ©2016 Audix Corporation All Rights Reserved. Audix and the Audix Logo are trademarks of Audix Corporation.

ZZ Ward Love and War Tour

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coolux Pandoras Box Server The Pandoras Box Server system offers high performance link between projection and digital image compositing. A turnkey solution that unites state-of-the-art rendering technology with intuitive media and show control. A high-quality server featuring the most powerful render-engine offers real-time compositing in 3D and allows for projection onto any shape and any surface.

Arrange videos and images freely, change colour, form and position. Pandoras Box synchronises all video and audio sources. Onsite 3D rendering, composition and editing make Pandoras Box the perfect choice for any live event or multimedia show. Blend, map and mask any surface with the built-in 3D Warper. Import files and use multiple camera views for 3D projection mapping. All display clients are automatically synchronised with each other. Each system can sync to any Pandoras Box master, audio clock or SMPTE Link within the network. Full redundant or partial backup setups are possible with direct IP switching or live re-patching.

Each output allows for individual DMX pixel mapping, with broadcast and unicast transmission as well as support for multiple network cards and IP address ranges. www.coolux.de

Dataton WATCHMAX & WATCHPAX

d3 2×2plus The d3 2×2plus is the versatile solution for smaller shows and fixed installations.

It features the full d3 software suite on a factory configurable 2U server platform.

The d3 2×2plus brings the flexibility of the d3 platform to smaller productions including as theatre, architainment and fixed installations. It can be used as a stand-alone solution to design, sequence and play back shows, or as a master in a larger d3 network with pro range machines. Plus, with its optional audio and video extras, it can be tailor made to suit the requirements.

The d3 2×2plus is a powerful machine for its size and comes pre-installed with the same d3 software featured across the d3 product line. It can push every pixel of its two 2560×1600 outputs, with an extra output reserved for the GUI.Play back up to eight layers of HD video (DXV or HAP codecs), or up to two layers of uncompressed HD video (QT Animation codec). Simultaneously run up to 256 universes of Art-Net or KiNet, receive motion control information, and map content in real-time.

The d3 2×2plus base unit can be customised to include 3G-SDI or DVI capture as well as pro audio. www.d3technologies.com

Dataton currently offers two solutions for media servers / players: WATCHMAX and WATCHPAX. Both models are used with Dataton’s WATCHOUT multi-display software and shipped ready-tuned with a full license installed, ensuring users can tap into the creative power of WATCHOUT straightaway. The Dataton system is scalable and offers hasslefree, network-based distribution of media. WATCHOUT production software is downloaded free from Dataton.

WATCHMAX is a robust 19-inch rack server for high-impact WATCHOUT shows. The basic WATCHMAX model features a WATCHOUT license and four video outputs, with six outputs, 100% hardware frame synchronisation and 2-8 TB RAID as options. It can be enhanced with additional capture cards for different signal formats. Playback for virtually all standard compressed and uncompressed video formats, up to 4K resolution.

WATCHPAX is a compact media player with an embedded Dataton WATCHOUT license. Each unit drives two video outputs up to 2560 x 1600 resolutions. With a tiny footprint - just 27mm x 148mm x 22mm - WATCHPAX is small enough to sit right next to a display, keeping the hardware close to the display source and cable lengths short. It’s ideal for installations where space is tight, or when the setup needs to be easily portable. www.dataton.com

Dynamic Projection MDC-X Media Server The MDC-X Media Server is a state-of-the-art combination of hardware / software developed by Dynamic Projection Institute to control the Mirror Head, which is a modern, digitally-operated mirror that is used as an add-on feature for projectors. The Mirror Head can be set to move either rapidly or slowly to project pictures, videos and texts onto any surface. With only one Mirror Head - controlled using a MDC-X Media Server - projector users can reach several positions within seconds and are no longer limited to a traditional unidirectional position. In a few simple steps, you can create commercial or corporate communication campaigns by importing media content and designing projection shows. Key features and functions of the MDC-X Media Server include: show automatisation, time scheduling, remote controlling, media manipulation, geometric corrections, seamless transformations, image alignment with soft-edge, dynamic panorama, show presets and DMX / Art-Net control. A timeline and / or presets control the show in order for images and videos to be easily arranged on a screen using projection maps. MDC-Touch allows customers to remotely control the MDC-X Media Server using any device that has a browser - for example smartphones, tablets or desktop computers. No installation of any software or application is needed as it is web-based. In real time, customers can start and stop shows with one click, as well as change the projection position and media content being projected. www.dynamicprojection.com

Separate Yourself With Custom, High Definition LED Solutions

Custom LED Solutions

Visit us at

PixelFLEX is the world’s leading provider of innovative LED screen solutions for any LED project. Our products are used in large scale presentations for permanent and temporary solutions for Target, Google, Boeing, True Religion Brand Jeans, major and minor league sports franchises, as well as television and film.

We pride ourselves on being a solutions provider, not just an LED manufacturer. With our LED products you can turn your vision into a reality.

Pixelflexled.com | 1.800.930.7954

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Sales & Enquiries: sales@rgblink.com Ph: +86 592 5771197

162 P RODUCT GUIDE - MEDIA SERVERS

Green Hippo Hippotizer V4: Taiga The powerhouse of the range, Taiga redefines all that is possible from a single media server. Featuring six unlimited DVI, SDI or DisplayPort outputs, the Taiga can drive at least three 4K displays at full frame rate. DisplayPort 1.2 enables the Taiga to drive many 4K displays and projectors with a single cable. Taiga uses the newest generation of server-class computer hardware to deliver unrivalled performance.

Version 4 epitomises Green Hippo’s dedication to software development including FlexRes, built in 3D visualiser, SHAPE 3D mapping integration, all new output management and a re-designed user interface. Every V4 system features front panel indications of system status, as well as removable hard drives as part of the STRATA Caddy System. Inside, Hippotizer V4 includes all Solid State Drives as standard and the latest graphics technology to deliver unmatched performance. www.hippotizer.com

Light Converse 3D SHOW PLATFORM v58 Version 58 of the multiple award-winning LIGHTCONVERSE 3D SHOW PLATFORM is now available and offers a range of improvements that continue to decrease the gap between virtual and reality.

The next-generation Render Engine of LIGHTCONVERSE v58 allows for higher quality visualisation and a significant increase in rendering speed, especially for larger projects. Starting from the trace level, users can work with animated 3D textures and create a cyclic animation of any texture in the project. A volume transparency feature is now available, too, which makes it possible to visualise effects, such as hard smoke, rain, snow, fire. The unlimited level offers a dynamic layers collision detector, which smartly detects and shows possible collisions between moving objects.

The number of DMX universes available in v58 has increased from 96 to 255. Each DMX universe can now contain four signal sources (four stream mixes, HTP / sACN-Priority). For higher efficiency, icon elements within the built-in browser can now be quickly sorted by name, date and phrase. http://lightconverse.com

Modulo Pi Modulo Player Modulo Player is a powerful software combined with a dedicated hardware, controlled by a user-friendly remote interface. It gives users access to the most advanced features with an easy to use workflow. Modulo Player supports a variety of codecs (MPEG2, H264, HAP). As an option users can play back uncompressed Tga sequences and 3D stereo 120fps movies. Users can play back multichannel audio embedded with video or uncompressed audio. Combined with specific cards (HDSDI, HDMI) Modulo Player allows users to add live capture with low latency in events. With the advanced warp and blending engine, there is access to powerful and easy to use tools to calibrate outputs independently. With the unique X-MAP feature users can easily map on complex surfaces by importing directly multilayer PSD files as a template. Control can be triggered by devices - projectors, matrix switchers, GPIO, Art-Net, Midi, OSC, Timecode - directly in Modulo Player, using Tasks and DigiMap. www.modulo-pi.com

Picturall Octo Mark2 Picturall Octo was one of the first media server in the world to have eight physical dual link DVI outputs, 10 optional full HD inputs and to fully control 16 full HD displays. Octo Mark2 raises the bar even higher with up to 16 physical outputs (DP 1.2/HDMI/Dual DVI) and the ability to play back 16 full HD video layers. More powerful, more modular and more scalable than its predecessor with up to four output cards plus optional live input cards and a RAID controller card for 4K uncompressed playback. It is also one of the first media server in the world to play back 8K resolution media. Remote control is handled via Picturall Commander software which runs on Windows, Mac OS X and Linux. The user-friendly interface provides an abundant range of display and layer controls that enable display grouping, mirroring, warping, colour correction and the use of dozens of draw modes and effects. It also includes a cue system for programming and timing your show. Alternatively, users can control the device through 42 Controls, DMX, Art-Net and TCP / IPPicturall.

Octo Mark2 is an ideal tool for large, complex playback situations. www.picturall.com

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164 P RODUCT GUIDE

pro•ject•or

[pruh-jek-ter] n.

A projector receives a video signal and projects the corresponding image on a projection screen using a lens system or it may be built into a cabinet with a translucent rear-projection screen to form a single unified display device. The most common projector technologies include DLP, LCD, LED and laser.

PRODUCT GUIDE

PROJECTORS

EMEA CHRIS ATHANASIOU AUDIO VISUAL MATERIAL

“We’ve had an encouraging start to 2016, fuelled in part by some of the new and promising solutions presented by Vivitek at ISE. We’re now better equipped than ever to offer a comprehensive range of audiovisual solutions for small and large venues, with a range of projection options to suit the needs of all users. Vivitek’s solutions also address the market requirement for technologically advanced, durable and environmentally-friendly products.”

APAC PAK DANNY LIE PT LUSAVINDRA JAYAMADYA

“The excellent colour reproduction and long illumination life of Laser Phosphor Technology offers colour stability with minimal maintenance and zero lamp replacement costs, which result in lower total cost of ownership when compared with traditional lamp based projectors.

Laser projectors are the way forward and at least 70% of the over 7,000 lumens projectors in the market will be a laser-powered one within the next three years. Among the many laser projectors involved in projects, PT Lusavindra JayaMadya recently installed two units of Digital Projection’s Insight 4K Projectors in the People’s Representatives Council Legislative Chamber of Indonesia.”

www.mondodr.com

THE AMERICAS CURTIS LINGARD CHRISTIE

“Christie’s comprehensive 1DLP lineup is even better with the introduction of four new GS Series laser phosphor projectors, including two HD models with BoldColor Technology. More advanced than previous GS models, the four professional-grade models use a gridbased warping and blending processor and also have an option for camerabased warping, blending or stacking to make setups faster and simpler. They can also be rotated 360º and used in portrait orientation, making them ideal for complex setups in medium-sized fixed applications. At only 35dBA, users won’t be distracted by projector noise, and the new, sleeker design blends seamlessly into any environment. Lightweight and compact, the four new models deliver stunning images using a laser phosphor light source with a 20,000 hour life for low maintenance and a low cost of ownership.”

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166 P RODUCT GUIDE - P ROJ ECTORS

Barco HDX-4K20 FLEX The HDX-4K20 FLEX offers 4K UHD resolution for superb image quality. Thanks to its modular design of only five building blocks the HDX-4K20 FLEX is easy to service.

Equipped with rental frames, the projector can easily be stacked or rigged. The HDX-4K20 FLEX shares its TLD lens suite with the other RLM, HDX, HDF, and FLM projectors. What’s more, the TLD+ 0.8-1.16:1 lens offers extreme 120% vertical lens shift capability. Equipped with three-chip DLP technology, a single high-brightness Xenon lamp, and a high-contrast optical engine, the HDX-4K20 FLEX excels in brightness, colour accuracy, and stability. Thanks to its 4K UHD resolution this projector delivers smooth, sharp images with fine detail.

The HDX-4K20 FLEX comes with Barco’s unique flexible brightness feature, which allows users to tune and lock the brightness level for a specific application – from 10,000 to 19,000 lumens in incremental steps. It also includes flexible resolution, allowing you to choose and lock in WUXGA, WQXGA or 4K UHD resolution. Featuring a single-step processing electronics unit, the projector provides powerful scaling, handles all of the latest resolutions and offers advanced image warping and edge blending with zero additional latency.

The HDX-4K20 FLEX supports HDMI 2.0, DisplayPort 1.2, HDBaseT and quad 6G HDSDI inputs. www.barco.com

Digital Projection E-Vision Laser 8500

Christie HS Series Christie’s HS Series offers the brightest 1DLP laser phosphor projectors with Christie BoldColor Technology, boasting up to 13,500 lumens in WUXGA and HD resolutions. The range is able to take on big projects, including projection mapping or multi-array projection, using camera-based warping and blending.

Handling and installation are also easier with this lightweight, compact design and loop-through capability. Ultra-quiet operation allows Christie HS Series to be incorporated into noise-sensitive environments without adding audible distractions.

The HS Series has all the benefits of the H Series launched last year but brings laser phosphor into the mix. The H Series is interesting because it was developed

by Product Manager, Curtis Lingard, as he found a market need for bright 1DLP projection in both the rental and fixed install markets. So this projector was developed to span both and as such, it is half the size and weight.

It also has a huge amount of connectivity and two panels, one of which is underneath, enabling the wires to be hidden directly in the ceiling, which looks much neater. It also comes in white, which makes the difference where appearance matters - in a boardroom, a gallery or museum. www.christiedigital.com

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The E-Vision 8500 Laser follows on from the success of the three-chip HIGHLite Laser. This projector uses the HIGHlite’s proven laaser light source, now available in a cost effective single chip DLP solution.

The E-Vision Laser 8500 Laser delivers a stunning 8,000 lumens from a stable solid-state light source, capable of producing over 20,000 hours of illumination. This single chip projector was developed with fit and forget directive, ensuring it needs only minimal maintenance throughout the lifetime of the display.

Equally compelling is the lack of lamp replacements due to the solid-state illumination system. By bypassing regular lamp replacement cycles, almost all costs related to the E-Vision Laser are incurred at time of purchase. This key characteristic allows the E-Vision Laser to have a much lower cost of ownership over the lifespan of the display.

Combine the exceptional bright, long-life illumination source with a host of other precision features, and you have a projector solution that’s perfectly suited to a diverse range of professional venues. Image Edge Blending is included as standard, along with advanced geometric warp correction.

HDBaseT, DisplayPort 1.2 and HDMI ensure future proof connectivity.

Ideally suited to vertical markets such as visitor attractions and museums, the E-Vision 8500 Laser, along with the majority of the other E-Vision projectors in the range now benefit from the newly launched 0.38:1 ultra short throw (UST) lens. This lens is capable of creating an image width between 2.1-metres to 7.5-metres and offers ultimate flexibility of projector positioning, whether it be with the new laser or the current range of lamp based E-Visions. www.digitalprojection.co.uk

96kHz AS STANDARD

MULTIBAND DYNAMICS

48 TRACK RECORDING

10 X 8 MATRIX

S21 S21

Awesome Specification Exceptional Performance . Stunning Value

Quite simply a game-changer, the S21 has all the power and flexibility of DiGiCo’s Stealth Digital Processing™, the technology behind the legendary SD Series consoles. 96kHz as standard, equivalent to 80 DSP channels, 46 Busses, local I/O with 24 mic line inputs,12 analogue outs, it’s got all this. And more.

www.digico.biz Unit 10, Silverglade Business Park, Leatherhead Road, Chessington, Surrey KT9 2QL

DiGiCo S21 Full Page - Mondo.indd 1

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168 P RODUCT GUIDE - P ROJ ECTORS

Panasonic PT-RQ13 The PT-RQ13’s quad pixel drive produces beyond 4K screen resolution. Its real motion processor combines frame-creation and 240Hz high-speed processing for fluid motion reproduction. It features an impressive 10,000 lumens of brightness and the dynamic contrast achieves 20,000:1 contrast ratio by controlling laser light. The next-generation detail clarity processor gives natural texture to the finest details and the system daylight view three offers enhanced colour perception in bright rooms and mapping applications. It also has an extremely long 20,000-hour light-source life and its new liquid cooling system enables quiet operation. Its laser lightsource engine allows 24/7 operation and it includes a wide powered lensshift range. Vertical, horizontal and tilting 360º projection is enabled by the laser light source and it is compatible with Art-Net DMX lighting control protocol. http://business.panasonic.co.uk

Sony VPL-FWZ65 The VPL-FWZ65 laser projector is ideal for a wide range of business, education and general presentation applications. The powerful Z-Phosphor laser light source is teamed with Sony’s advanced BrightEra 3LCD projection engine to deliver extremely bright, crisp WXGA resolution images, with powerful 6,000 lumens maximum light output and rich, stable colours. Constant Brightness maintains the same brightness throughout the 20,000 hours recommended life span. The laser light source allows up to 20,000 hours - actual hours may vary depending on usage environment - of virtually zero maintenance operation without the worry of sudden lamp failures. An automated filter system cuts the hassle of regular dust cleaning. Near-zero maintenance needs are complemented by a range of energy-saving features - significantly driving down total lifetime ownership costs. Offering a stylish blend-in design, tidy cable management and low fan noise, the VPL-FWZ65 fits smoothly into almost any environment - from academic institutions, corporate, medical training and public sector organisations to visitor attractions and retail spaces. Seamlessly blend images from multiple projectors to create super-sized displays, or project accurately proportioned images onto angled or curved surfaces. Mount the projector at any angle, even on its side or upside down.

Set-up is easy, too, with a friendly installation menu. www.sony.com

Vivitek DU8090Z Vivitek’s DU8090Z laser projector is equipped with a laser light source which offers up to 20,000 hours of operation time in addition to an amazing 8000 ANSI lumens brightness and a strong colour accuracy. Ideally suited to installations where the maintenance accessibility is restricted - like conference halls, auditoriums, theatres and all other large venues – its design successfully eliminates the issue of needing frequent access to the installed projector.

With built-in edge-blending, warping and flexible mounting positioning 360º in any axis, the Vivitek DU8090Z is a truly versatile projector, designed for multiple applications. It benefits from a native WUXGA resolution and includes the DLP and BrilliantColor technologies from Texas Instruments to ensure consistent, high-performance projection. The DU8090Z delivers a high brightness up to 8,000 ANSI lumens with a contrast ratio of 10,000:1.

It also benefits from a lamp-less, mercury free, design and is equipped with an efficient cooling system and an airtight sealed optical engine. This reduces maintenance while also ensuring the convenience of maximum uptime.

In addition to its excellent performance, maximum flexibility during installation and durability of over 20,000 hours, the DU8090Z meets Vivitek’s on-going commitment to the environment by consuming less energy. www.vivitek.eu

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1. ADJ Crazy Pocket 8 Offering the same show-stopping multi-beam effects as its predecessor, but from an even more compact source, the new Crazy Pocket 8 takes portability to the next level, providing high-energy colour effects without the high price. A pocket-sized version of the original Crazy 8, the portable new Crazy Pocket 8 lets users generate energised displays of quick-sweeping beams, thanks to its dual-tilting bars and high-power source of eight 3W LEDs (two red, two green, two blue, two amber). ADJ has also equipped the Crazy Pocket 8 with a rotating base (with 540° pan) and a capacity for stunning eight-zone LED chases. Essentially an ON-X mounted onto a moving head, the fixture features two independently tilting bars (each with four lenses and 205º tilt) and a rotating base yolk, letting users craft compelling multi-beam displays of RGBA colour that fill the room with movement and look extra effective when used with fog and haze. Thanks to the concise 4° beam angle, ADJ has made sure that these powerful beams are tight and cutting, while the stepper motors ensure precise positioning and quick-sweeping movements for a dynamic and attention-grabbing lightshow. Taking this creativity into exciting new realms, users can also produce energetic eight-zone LED chase effects that run across both of the fixture’s tilting bars to ensure an eye-catching lightshow. It is a portable way to incorporate high-energy, room-filling beam effects into a mobile lightshow, nightclub venue or stage production www.adj.com

2. Amadeus PMX D Series Amadeus has announced the launch of the PMX D Series self-powered active loudspeakers. With three different models, containing eight, 12 or 15-inch coaxial drivers, the PMX D Series is ideally suited to sound reinforcement applications in concert halls, auditoriums, conference rooms and theatres. The PMX D Series is bi-amplified using two dedicated high resonance digital amplifiers, featuring outstanding efficiency, with each amp delivering 400W under eight ohms for the PMX 8 D, and 1500W (LF) + 400W (HF) for the PMX 12 D and PMX 15 D systems. Each loudspeaker channel is under control by a powerful, 64-bit digital processing unit capable of a 118dB dynamic range. Each of these on-board DSP units include a module dedicated to managing core system parameters including system EQ, time alignment between sections, limiting, and transducer thermal protection. The PMX D Series also integrates two digital inputs/outputs conforming to the AES3 digital audio data transfer standard. These are coupled with a high resolution

24-bit/96kHz converters placed as close as possible to the electronic amplifiers, thus working in perfect combination with them. The PMX D Series also incorporates a newly refined Dante I/O section, offering options for full integration with leading third-party networking. amadeus-audio.com

3. ArKaos Auto Patch ArKaos PRO and High End Systems have announced an exciting new software collaboration which delivers simple, seamless, fast integration of video and lighting control. The two companies have worked in close cooperation to create a new Auto Patch feature which enables any Hog lighting console to take control of an ArKaos media server, quickly and easily, at the press of a single button. The new Auto Patch feature allows any Hog lighting console to automatically detect and configure itself to any ArKaos media server and its MediaMaster software, so the lighting designer/programmer can patch the media server with just a simple button-press. This means lighting designers can skip the time-consuming configuration of DMX channels and universes, and focus instantly on the creative part of their job. The new Auto Patch feature will be incorporated as standard into ArKaos MediaMaster PRO software and all Hog consoles including the Hog 4, Full Boar 4, Road Hog 4, HedgeHog 4, and the Hog 4PC software. www.arkaos.net

4. Broadweigh Wireless Load Cell Monitoring System BroadWeigh’s newly updated wireless load cell monitoring system has made its debut after the company’s efforts to develop a new radio module, which gives four times the range of the previous system. Improvements in the omni-directional antenna have provided increased performance in more challenging environments, such as high concentrations of truss or wall. The upgrade to the BroadWeigh wireless system was launched in the last quarter of 2015 and feedback has been positive after users have seen demonstrations on how effective the system can be in a critical situation or if the system goes into overload. The system is fast and simple to use, and can be tailored specifically to each user - simply through adding or subtracting shackles or other acquisition devices, such as the BroadWeigh Wind Speed Sensor. www.broadweigh.com

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5. Chauvet Professional Maverick MK2 Spot Chauvet has recently launched the new Maverick MK2 Spot, which is from the Maverick Series that provides a complete and powerful set of design tools. It is stunningly bright with precision engineered optics, and has an impressive colour mixing system. Powered by an industry leading 440W LED engine, this fixture boasts a CMY+CTO colour mixing system, two sixposition rotating slot and lock gobo wheels, a seven-position + white colour wheel, variable frost and three-facet prism. All of this projected through a 13° to 37° zoom system. With the ability to control the Maverick MK2 Spot over DMX, Art-Net, sACN, or by WDMX, there is an option for every situation. As an added feature, this fixture can receive Art-Net in, and send out DMX simplifying cable runs. www.chauvetprofessional.com

6. Doughty Modular Rigging System Doughty Engineering has debuted new products that will see the Doughty Modular Rigging System expanded even further. Doughty have demonstrated its new Projector Mount and Super Lightweight Drop Arm - both new additions to the system from Doughty. The Projector Mount offers full 360º rotation, tilts in two directions and is adjustable to fit most projectors. Meanwhile, the Super Lightweight Drop Arm,with a safe working load (SWL) of 10kg, gives lighting designers the opportunity to hang smaller luminaires. With a 16mm spigot and a safety bond slot, the Super Lightweight Drop Arm fits 48-51mm diameter barrel and is adjustable from 75-400mm. Find out more information on the new system below. www.doughty-engineering.co.uk

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1. Elation Professional TVL CYC RGBW Elation Professional has announced the new TVL CYC RGBW, a theatre-style cyclorama wall wash luminaire that delivers a smooth and even field of seamlessly blended colours onto cycloramas, backcloths, scenery or any surface. An ideal colour-changing floodlight for TV, film, theatre and broadcast applications, the TVL CYC RGBW features a powerful 150W RGBW LED engine for floods of uniform light in virtually any colour while linear variable white colour temperature presets (7,200K - 3,200K) make it a convenient white light luminaire. Light output is measured at 884 Lux @ 6.6 yet the luminaire consumes only 170W of max power. Featuring smooth colour mixing and 16 bit dimming, the TVL CYC RGBW’s Chip on Board (COB) LEDs provide not only a greater output than surface mounted LEDs, they provide a more even light distribution with better colour homogenisation. A 90° x 113° elliptical beam angle gives a broad, asymmetrical wash of light while eight-leaf adjustable barn doors (included) allow for customised shaping of the beam for more precise illumination and less light spill. The fixture comes outfitted with 64 internal colour macros and strobe effects and selectable dimming curve effects add to its design possibilities. Easy to control and mount, the TVL CYC RGBW is a versatile yet energy-efficient color changer that won’t bust the budget. It is controllable via six DMX modes (4 / 6 / 7 / 8 / 10 / 14 channels) and multiple unit power linking makes for an easier, cleaner and more efficient setup. The unit comes with a host of standard features including five-pin DMX in/out connections and powerCON in/out connections. A fourbutton touch control panel with an intuitive, full-colour, 180° reversible menu display makes for easy navigation through DMX and manual settings and an auto-sensing power supply covers worldwide voltages and frequencies. Compact and weighing only 5.9kg, the TVL CYC RGBW operates flicker free for use in broadcast applications and a long LED life rating means service intervals are few and far between. The fixture naturally offers all the benefits of LED like greater reliability, less maintenance and increased energy efficiency. www.elationprofessional.com

2. FBT PROMAXX FBT has launched the next step in the PROMAXX range of portable PA enclosures. With a specially developed polypropylene cabinet and stylish full grille aesthetic.

Equipped with custom FBT speakers complete with B&C’s renowned compression driver technology, PROMAXX combines true made-in-Italy quality and style. At its heart is a purpose-built FBT amplifier module with a switch-mode power supply. For the low frequency section, 700W RMS is driven via a highly efficient Class-D topology, boasting extremely low THD. For HF, meanwhile, 200W RMS is delivered by a Class-H / AB design

chosen to ensure the highest definition of audio performance at high frequencies.

Also onboard is a powerful DSP platform made available to users of all levels thanks to an intuitive graphical user interface. Located on the rear of the enclosure, the menu-driven system is navigated via a single rotary control with push-to-select functionality.

Users can choose between six equaliser presets, each carefully designed by FBT engineers to ensure that every application is catered for. Additionally, two preset slots are available for users to form their own designs, using five parametric equalisers per slot. Also available is a high-pass filter, a mic/line selector, low, mid and high tone settings and an optional delay of between 0 and 3.5-metres. Finally, users can exclusively choose between two limiter modes, MAX-SPL or MAX-QUALITY, to best suit their performance.

The PROMAXX feature-set is matched by the enclosure’s versatility, with options for pole-mounting, wall-hanging, suspension or even deployment in an array. The result is the most accessible PROMAXX yet. www.fbt.it

3. Fohhn PT-70 Fohhn’s Perform-Series has been extended with the addition of the new PT-70, a hornloaded, high performance, two-way, cardioid loudspeaker with a nominal power rating of 900W (peak: 3,600W). Equipped with two horn-loaded 12-inch speakers and one 1.4-inch compression driver with CD horn, passive crossover including IPC (Intelligent Protection Circuit), the PT-70 is the ideal main PA system for clubs. It also forms a perfect extension for line arrays and large beam steering systems such as a near-field or delay system.

The PT-70 housing comes with polyurethane coating as standard. Due to its light weight (38kg) and compact dimensions (400mm x 800mm x 450mm), it can be easily mounted.

The PT-70 includes an integrated Aeroquip cargo restraint track for mounting with standard accessories, as well as a built-in pole mounting flange. Two safety eyebolts, on the rear of the loudspeaker, allow it to be mounted without a retaining bracket. www.fohhn.com

4. Haze Base base•prime The Haze Base base•prime 3,000W fog generator is ultra strong and ultra silent all at the same time. It features a TFT-touch-panel, state-of-the-art 32-bit micro processor, timer and four different basic pump data / pump capacity curves. Control by possible via Ethernet (ArtNet, SACN), DMX, RDM and analogue and the fog machine comes with an Amptown case as standard. The flluid consumption at full output is 300ml per minute. www.hazebase.com

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MAXIMUM PERFORMANCE MINIMUM SIZE • LIGHTWEIGHT • •

63 63

green

63 63 18

• •

LIGHT OUTPUT more than 25.000 lumen Maximum power consumption 650W

blue

white

amber 18

graphics: Vilfredo Maria Ricci - © 2016 Studio Due

red

New TURBO-COLOR 6C the most powerful and efficient LED Lighting fixture in its category.

UV

cable hidden in the bracket new optional handle

www.studiodue.com

STUDIO DUE light s.r.l.

Apple, iPhone and iPad are trademarks of Apple Inc.

Viterbo (Italy)

t. +39.0761.352520

f. +39.0761.352653 marketing@studiodue.com

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1. Martin by HARMAN RUSH MH 7 Hybrid

3. One Systems Hybrid Loudspeakers

Martin by Harman has announced the RUSH MH 7 Hybrid, an all-in-one beam, spot and wash moving head fixture. The RUSH MH 7 Hybrid offers flexibility with advanced, dynamic effects in a compact form factor that doesn’t compromise on Martin’s high standard of quality. The RUSH MH 7 Hybrid features include crisp optics with three zoom modes: 2.2°–15° in beam mode, 2.5°–24° in spot mode and 15°–45° in wash mode. High output is achieved from the Philips Platinum 11R 250W 7,800K lamp with eight rotating/ indexing and 12 static gobos. There are 10 selectable colours and effects via an eightfacet circular and four-facet linear prism. www.martin.com

One Systems Hybrid loudspeakers merges the company’s best features from its original direct-weather loudspeakers, with its former marine-grade series to create one product line that offers excellent weather protection for all outdoor venues - and most any indoor venues, too. Renowned for superior intelligibility in music playback and speech reinforcement applications, Hybrid models feature 304-grade stainless steel grilles covered in a new poly coating that prevents against salt corrosion as well as marinegrade stainless steel. All structural components on the loudspeakers, including mounting hardware accessories, are made with 316 (marine) grade stainless steel. Models are designed to IP45 (configurable to IP56 weather protection), or IP56 weather protection.

This translates into products capable of withstanding moisture, dust and corrosion at very reasonable price points. The Hybrid series includes multiple two-way loudspeakers, several two-way coaxial models, a high-output three-element shaded array loudspeaker, and the CFA-2/HTH cross field array. The 118/HSB subwoofer, which can be mounted on poles or flat surfaces at stadiums, theme parks and amusement parks, completes the series. Most of the systems are easily configurable for Low Z or Hi Z multi tap 70.7rms or 100Vrms operation. onesystems.com

2. MegaLite Tuff Baby P-84 The Tuff Baby P-84 is an LED lighting fixture that is weatherised for outdoors but can still be used indoors. This compact IP 64-rated unit packs a punch with seven penta RGBWA 12W LEDs. The addition of amber and white LEDs allows for pastel hues and varied tones that cannot be achieved with RGB LEDs alone. It has a 25º beam angle and also comes with a removable diffuser that creates a 30º diffused beam angle. The Tuff Baby P-84 has three-pin XLR DMX connectors and a weather seal screw type power connection. The fixture has a double mounting yoke for simple rigging or ground stacking. It is controlled via DMX 512, featuring eight channels, audio trigger and master slave control options. www.megalite.com

4. Pioneer Pro Audio XY Series The Pioneer Pro Audio XY Series has a powerful new addition with the launch of the XY-218HS dual 18-inch, fully horn-loaded subwoofer - designed to deliver ultra-low frequencies at the high SPL needed for large venues and outdoor events. The company’s most powerful subwoofer yet, the XY-218HS has a coiled horn to magnify the sound from its two high performance 18-inch LF drivers and produce a rapid bass response that throws long distances without loss of SPL. Its robust multi-laminate birch plywood enclosure is reinforced with rigged support braces to reduce resonance and distortion, and withstand life on the road. www.pioneerproaudio.com

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5. PR Lighting XR 440 The XR 440 BWS houses a powerful Osram Sirius HRI 440W lamp, and features include an advanced colour index with CYM linear colour mixing system, with macro; colour wheel with 12 colours and CTO plus open; bi-directional rainbow effect at variable speeds; step/linear colour change. There is a fixed gobo wheel with 13 fixed gobos plus open, bi-directionally scrolling at variable speeds - plus a shake effect at variable speeds.

The fixture also contains a rotating gobo wheel, with nine rotating gobos plus open, bidirectionally scrolling at variable speeds - plus a shake effect at variable speeds. Either glass or metal gobos can be fitted. The fixture contains two prisms - one eight-facet and one 16 facet - with bi-directional rotation at variable speeds, plus an optional three-facet and gradient prisms. Other features include frost filter, and motorised linearly adjustable focus and zoom - as well as strobe (shutter speed 0-3-25fps). The head movement offers 540° pan and 270° tilt. www.pr-lighting.com

6. Radio Active Designs UV-1G Wireless Intercom System Radio Active Design’s UV-1G wireless intercom system offers RF channels possessing an occupied bandwidth of a mere 25kHz while using the relatively unused VHF range for all belt pack portable devices - leaving more room for operation of other wireless devices in the increasingly overcrowded RF bandwidth. Proprietary Enhanced Narrow Band technology is a form of Amplitude Modulation (AM) that makes the transmitter’s occupied bandwidth - a critical figure in wireless frequency coordination - more predictable and 10 times more spectrally efficient than the current FM technology. The 1RU UV-1G systems allow for up to six belt packs per base station, and up to six base station links, for a total of 36 ISO channels between packs. Base Link also allows users the option of locking one RAD belt pack to several different base stations at the same time.

The unit’s audio board provides tremendous dynamic range throughout the signal chain and exceptional gain staging and audio quality. Because of increased dynamic range, the RAD belt packs also achieve a high audio output before distortion than other wireless intercoms on the market. www.radioactiverf.com

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1. Rosco Pica Cube

3. Tempest Fourth Generation Enclosure Range

Rosco Laboratories has announced the launch of its 2.5-inch Pica Cube series of LED fixtures. This revolutionary, ultra-compact and portable 20W luminaire has 1,400 lumen output potential and is available in the same 4C, WNC and UV models as its Miro Cube predecessors, but also in two fixed-colour temperature white light units - the 3W and 3N. Pica Cubes are sleek yet rugged with an amazing quality of light as well as a variety of lighting options for clean and simple installations in architainment, retail, cruise ships, museums and architectural illumination applications.

Rosco’s new Pica Cube offers the flexibility and versatility needed for virtually any type of lighting challenge. Drawing less than an amp of current, more than 120 Pica Cubes can be plugged into a single 20 amp circuit. The Pica Cube can be plugged directly into a wall and controlled either by standard DMX, or by its onboard controls. Pica Cubes can also be powered and controlled using Rosco’s new Pica Portal distribution box that enables up to four Picas to be powered and controlled using a CAT5 cable. www.rosco.com

Tempest has announced the next generation in projector enclosures with its modular G4 range. Comprising Blizzard, Whispr, Typhoon, Cyclone and Tacit product families, Tempest now provides with G4 a high quality, holistic enclosure range able to tackle any environment, from harsh outdoor environments to whisper quiet indoor spaces, providing the ultimate in projector protection, and offering reduced design, build and delivery times for customers. Featuring Goldilocks OS technology to prevent overheating and deadly condensation, the feature-packed G4 enclosures are now smarter than ever.

The latest models have been upgraded across the range, with features including variable speed AC fan control, USB diagnostics and firmware update capabilities, and optional RS485 and Ethernet connectivity, web-based remote monitoring coming soon. tempest.org

2. Tasker C725 PUR

WyreStorm has announced the launch of its first HDBaseT 2.0 extender, the EX-1004K-PRO, for excellent power, distance and functionality in all meeting, training and learning environments from the boardroom to the classroom.

This powerful extender device comes fully loaded with HDBaseT 2.0 for 5Play transmissions of 4K @60Gz 4:2:0 up to 100ft / 328ft or 1080p to 150ft / 498ft, and offers a connectivity tour de force with dual USB 2.0 passthrough with full data transfer and KVM functionality, dual Ethernet connecting up to three devices, two-way PoH, twoway S/PDIF audio passthrough and so much more. http://wyrestorm.com

The Tasker C725 PUR is an Ethernet digital audio cable that is braided, shielded, double sheathed and very flexible - despite its polyurethane sheath.

Thanks to these special features, the cable can be stretched, recovered and repeatedly used. Polyurethane is a material that is both halogen-free and flame retardant, resistant to strength, abrasion, trampling and UV rays; it has an operative temperature range which goes from -40 to + 80 ° C - all of which make it ideally suited for outdoor installations.

All of Tasker’s cables are customisable with different kind of sheaths, including steelarmored for outdoor or underground installation. www.tasker.it

4. Wyrestorm EX-100-4K-PRO

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www.eurolite.de

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“There is no company in the industry that invests so much in research and development, as well the people behind it.”

GERBEN VAN DEN BERG VP Sales EMEA Entertainment & Corporate at Barco How did you first get into the industry?

After working several years for a system integrator of CCTV systems, I got a great opportunity to lead the sales organisation for one of the leading audiovisual companies in The Netherlands. In 2007, my career in audiovisual started as Sales & Marketing Manager for Heuvelman Sound & Vision.

When and why did you join Barco?

Barco acquired projectiondesign at the end of 2012, where I worked and was responsible for a large part of the European business at that time.

Initially, it was a strange feeling when I started working for Barco, but once I had made the choice to stay within the company, I realised that there was a real potential for growth. Barco is a leading manufacturer with a great history and, more importantly, a bright future with many exciting opportunities.

What makes Barco different to other companies?

Barco is a leading brand with a large community of loyal customers. It has its own facilities for sales and marketing, customer support, research and development and manufacturing in Europe, North America and APAC. The company is active in more than 90 countries with 3,300 employees worldwide. It is great to work with our customers on some of the most fantastic projects. There is no company in the industry that invests so much in research and development, as well the people behind it.

What installations have Barco been involved with recently?

The UK Ministry of Defence (MoD) has purchased 160 high-performance Barco F22 projectors. The single-chip DLP projectors will be integrated into the MoD’s fleet of DCCT(S) training systems, which have been used since 2003. The MoD will bring these to a comparable hardware baseline with its 59 Enhanced DCCTs (DCCT(E)), which already incorporate Barco’s F22 projectors. The www.mondodr.com

• Above Gerben Van den Berg.

MoD explicitly chose the F22 Series on account of their required level of performance at a competitive price.

Training in a simulated environment requires extremely accurate, bright visuals and, with WUXGA, 1080p and SXGA+ resolutions up to 3,300 lumens, Barco’s F22 projectors provide high resolution visuals and reliability, making them the ideal choice.

What are the future plans for Barco?

We plan to keep enabling our partners with leading visual solutions for their customers.

What three things would you take with you on a desert island?

A satellite phone, matches and a book.

What is your most prized possession?

My three daughters!

Where is your favourite place in the world?

Barcelona.

VERTUS CLA 406A extends flexible active line array technology in live and installed audio applications. Portability and arrayable flying options of the birch plywood cabinet are maximised by virtue of the 12 integrated suspension points and wide range of hardware together with 0° - 10° - 20° incremental coupling angles. Equipped with four 6.5” LF custom woofers and a 1.4” B&C HF driver coupled to a 100°H x 25°V waveguide, the CLA 406A boasts an internal 900W RMS class D power module with DSP and EQ presets. The VERTUS CLA 118SA bass reflex subwoofer extends the LF frequencies courtesy of an 18” B&C woofer and 1200W RMS class D power module.

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 wider coverage - even close up to the speaker ensuring high fidelity sound to every member of the audience.

This also means in larger spaces that fewer speakers are required reducing the overall cost of the installation project.

WEATHERISED The series is now available to order in weather resistant format.

Visit martin-audio.com to discover more

Unite Your Audience The Martin Audio Experience

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