mondo*dr 27.1

NOVEMBER / DECEMBER 2016 | 27.1

THE INTERNATIONAL PUBLICATION FOR TECHNOLOGY IN ENTERTAINMENT

GEORGE KRAMPERA

The co-founder of KV2 has quite the intriguing back story.

HOUSES OF WORSHIP

Not only used for worship purposes, but for large-scale performances too.

NOVEMBER / DECEMBER 2016

LIGHTING CONTROL

Including lighting consoles, software and wireless control.

THE INTERNATIONAL PUBLICATION FOR TECHNOLOGY IN ENTERTAINMENT EUROPE & AMERICAS EDITION

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MONDO*DR 27.1 NOVEMBER / DECEMBER 2016

for smaller boxes Game-changing innovations in coaxial speaker design ON THE COVER Sistine Chapel Replica, Mexico City Photo by Louise Stickland 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 Alex South mondointern@mondiale.co.uk DESIGN & PRODUCTION Mel Robinson, Dan Seaton CEO Justin Gawne j.gawne@mondiale.co.uk FINANCE DIRECTOR Amanda Giles a.giles@mondiale.co.uk CREDIT CONTROL ar@mondiale.co.uk GROUP CHAIRMAN Damian Walsh MONDIALE PUBLISHING Strawberry Studios, Watson Square, Stockport SK1 3AZ , UK 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 Ltd, Strawberry Studios, Watson Square, Stockport, SK1 3AZ, UK Subscription records are maintained at Mondiale Publishing Ltd, Strawberry Studios, Watson Square, Stockport, SK1 3AZ, UK

mondo@mondiale.co.uk www.mondodr.com Printed by Buxton Press, Palace Road, Buxton, UK

Thanks to the digital age of technology, I’m sure most of you will be aware that the mondo*dr awards is up and running, with entries coming in at a steady pace and we have our first sponsors in place too… all very exciting. Just to re-cap, in case anyone has been in a Wi-Fi-less universe for the past month or so, we are honoured to have TW AUDiO, Music Group, Green Hippo and GLP as our first four official sponsors.

If you’d like to check out the latest line up of entries, please visit: http://mondodrawards.com/ all-venues/ and to see who will be deciding on which projects will take home the trophies, head to the judges page here: http://mondodrawards. com/the-judges/. There’s still plenty of time to enter your project and it’s quick and simple to do, the online form - http://mondodrawards. com/enter-now/ - will guide you through it, but if you do have any issues, drop any member of the team a line.

I know I say this often, but I can’t quite believe how fast the last year has gone. This is our last regular issue for 2016 but we still have our second country supplement - this time dedicated to Australia and New Zealand - and our annual World Tradey Survey to send to the printers before Christmas. If you would like to be involved with either, please get in touch.

Obviously, we’ll also be putting together the majority of the January / February issue ahead of welcoming 2017, so if you want to be involved with our features - a Trussing & Rigging Report and Product Guides for Microphones & Cabling - get organised and send your editorial early.

We’ll be featuring an ISE preview too, so despite it seeming like a while off yet, it’ll be here before you know it. The preview allows you to promote a product you might be launching at the show, or it could be used to notify visitors of demos, training sessions or press calls. Space is limited, so if you want to book in, please contact Jamie or Laura.

It seems a little odd to be uttering the words Christmas and New Year in November, but as I won’t have another opportunity to wish you all the very best for the festive season, I’ll take it now... I hope you all have a well deserved break, enjoy the festivities and thank you to everyone who has contributed to mondo*dr in some shape or form in 2016.

RACHAEL ROGERSON-THORLEY EDITOR

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9 CONT ENTS

CONTENTS

32

12 IN DISCUSSION 14 INSIDE VIEW 16 THE MONDO*DR AWARDS

IN DEPTH

HOUSES OF WORSHIP A round-up of worship venues that have recently been installed with new audiovisual equipment.

22 INTERVIEW George Krampera - KV2 32 REPORT Houses of Worship

IN FOCUS

82 LING LING The second restaurant from the Ling Ling brand - which is part of the Hakkasan Group - installed by none other than Audiotek.

66 YOUNG VIC THEATRE London 68 G LIVELAB Helsinki 76 PLAYHOUSE THEATRE Durban 82 LING LING Marrakech 88 BILLIONAIRE MANSION Dubai 90 JEFFERSON BRIDGE Indiana 94 MY WAY Mexico City 102 VALOR CHRISTIAN HIGH SCHOOL Colorado 110 NEWPORT PERFORMING ARTS THEATER Manila

94

112 JENJA Jakarta

MY WAY The vision of Creative Director, Ricardo Flores comes together to create an awe-inspiring centrepiece.

IN BUSINESS 118 PALM EXPO Beijing 120 BPM | PRO Birmingham 126 LDI Las Vegas 132 PRODUCT LAUNCH Bose - ShowMatch

132 BOSE - SHOWMATCH The professional audio manufacturer launches its new range comprising three loudspeakers and a subwoofer.

www.mondodr.com

134 IN DETAIL Digital Projection, PixelFLEX, Robe 140 PRODUCT GUIDE Lighting Control 152 PRODUCT DIRECTORY 162 LAST PAGE INTERVIEW Michael Sollinger - Laser Animation

FRANÇAIS

G ra ce à l ’ è re n u m é r i q ue d e l a technologie, je suis convaincu que la plupart de vous constaterez que le procédé d’attribution de prix mondo*dr bat son plein, avec les entrées arrivant à un rythme constant et nous avons aussi nos premiers commanditaires … le tout est très excitant. Juste pour récapituler, au cas où quelqu’un se trouvait dans un trou noir sans Wi-Fi depuis un mois environ, nous avons l’honneur d’avoir TW AUDiO et Music Group comme nos deux premiers commanditaires officiels.

Si vous désirez voir la dernière vague d’entrées, veuillez visiter: http:// mondodrawards.com/all-venues/ et afin de savoir qui décidera lequel des projets sera décerné le trophée, rendezvous aux pages des juges ici: http:// mondodrawards. com /the-judges/ . Il est encore temps de présenter votre projet et c’est rapide et simple à faire, le formulaire en ligne - http:// mondodrawards.com/enter-now/ vous guidera dans le processus, mais si vous avez des questions, n’hésitez pas à communiquer avec un membre de notre équipe qui se fera un plaisir de vous aider.

DEUTSCH

ITALIANO

ESPAÑOL

DiGiCo 159 Digital Projection 4 Doughty 151 DPA 141 Duratruss 4 EAW 115 Elation 27 FBT 11 Fenix 35 Fine Art 5 Focusrite 149 Fohhn Audio AG 15 Funktion-One 59 Genelec 125 & 155 Global Truss 49 GLP 107 Green Hippo 137 ISE 20 Kling & Freitag 153 139 Kuzar KV2 85

L-Acoustics 2 LaserAnimation 99 Lawo 83 Le Maitre 161 Look Solutions 89 Madrix 151 Martin Audio BC MBN 61 & 63 Mega Systems 13 139 & 149 Milos 41 & 145 Music & Lights NAMM 64 NEXT-proaudio 129 Palm India 8 Philips Entertainment 53 Philips Lighting 81 Pioneer DJ Europe 101 PR-Lighting 87 Pro Tapes 131 Prolyte 137 PXM 63

Renkus-Heinz 131 RGB Link 51 Robe 45 Sennheiser 47 SGM 157 Sommer Cable 113 Starway 105 State Automation 79 Steinigke 133 Studio Due 153 Sunlite 10 Tech Team 123 The GET Show 116 43 TW AUDiO Vitec 79 VMB 155 Wireless Solution 3 Xilica 61 XTA 75 YODN Lighting 161

Dank des Zeitalters der digitalen Technologien, dürfte jeder von euch auf dem Laufenden darüber sein, dass die mondo*dr Awards bereits auf Hochtouren laufen und derzeit eine konstante Zahl an Teilnahmen eingeht.

Die ersten Sponsoren haben wir auch am Start... alles sehr spannend. Nur als kurzes Update, für den Fall, das jemand in den vergangenen Monaten in einem schwarzen Loch ohne WLAN gefangen gewesen sein sollte: Wir freuen uns, mit TW AUDIO und Music Group unsere ersten beiden offiziellen Sponsoren begrüßen zu dürfen. Verfolgt die neuesten Einsendungen unter: http:// m o n d o d ra wa rd s . c o m /a l l - v e n u e s / Um zu sehen, wer entscheiden wird, welche Projekte die Trophäe erhalten, folgt diesem Link zur Jury-Seite: http:// mondodrawards.com/the-judges/ Es ist immer noch genug Zeit euer eigenes Projekt einzureichen und es gibt einen schnellen und einfachen Weg dies zu tun. Das Online-Formular unter http:// m o n d o d ra wa rd s . c o m /e n t e r - n o w / führt euch Schritt für Schritt durch die Anmeldung. Solltest ihr dennoch irgendwelche Fragen haben, schreibt einfach eine kurze Nachricht an das Team und wir reichen euch eine helfende Hand.

Grazie all’era digitale della tecnologia, sono sicura che la maggior parte di voi sapranno che si sta svolgendo il mondo*dr awards. I concorrenti stanno pian piano arrivando e abbiamo anche i nostri primi sponsor sul posto... tutto molto eccitante. Tanto per ricapitolare, nel caso in cui qualcuno fosse rimasto intrappolato in una fossa senza Wi-Fi per quasi tutto il mese scorso, siamo onorati di avere TW AUDiO e Music Group come i nostri primi due sponsor ufficiali.

Se volete controllare le ultime messe a punto dei concorrenti, visitate il sito: http://mondodrawards.com/all-venues/ e per vedere chi giudicherà i progetti che potranno portare a casa il trofeo, fate riferimento alle pagine dei giudici qui: http://mondodrawards.com/the-judges/.

C’è ancora tempo per sottoscrivere il vostro progetto ed è semplice e veloce da fare, utilizzando questo link che vi guiderà attraverso il modulo online: http://mondodrawards.com/enternow/. Se doveste avere qualsiasi tipo di problema, potete tranquillamente scrivere ad ogni membro del team e vi daremo una mano per aiutarvi.

Gracias a la era digital de la tecnología, estoy segura que la mayoría de ustedes estará al tanto de que los premios mondo*dr están en marcha con entradas llegando a paso firme. También tenemos a nuestros primeros patrocinadores, todo muy fascinante. Solo para recapitular, en caso de que alguno haya estado en un agujero negro sin Wi-Fi durante el último mes, estamos honrados de contar con TW AUDiO y Music Group como nuestros dos primeros patrocinadores oficiales.

En el caso de que quisieran verificar el último estado de las entradas, por favor visiten: http://mondodrawards. com/all-venues/ y para ver quiénes serán los que decidan cuáles serán los proyectos que se lleven un trofeo a casa, diríjanse a las páginas de los jueces aquí: http://mondodrawards. com/the-judges/ . Aún hay tiempo para que ingresen sus proyectos y es muy rápido y sencillo hacerlo. El formulario en línea- http://mondodrawards.com/ enter-now/ - los guiará a completarlo pero si surge algún inconveniente, no dejen de contactar a algún miembro del equipo y les daremos una mano.

Advertising Index Absen 107 Adam Hall 73 Adamson 97 ADB 31 ADJ 57 Alfalite 123 Antari 29 Ashly Audio 151 Audac 98 Bose 109 Camco 147 Celestion 7 Chauvet 91 Chromateq 143 Clair Brothers 163 Coda Audio 141 coolux 37 d&b audiotechnik 71 D.A.S. Audio 135 78 d3 Technologies Daslight 6

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.

12 IN DISCUSSION

BYPASS THE ‘FEAR FACTOR’ Emma Bigg talks us through her history in the audiovisual industry and how this has led to her setting up her own audiovisual installation design consultancy, Octavius RE. On 1st February 1999, I joined SSE Audio Group as a Hire Sales Assistant - I never imagined I would end up working at SSE for a total of 16 years over two stints and progress to level of Company Director.

But I did. I started working in the Hire Business but left to pursue a long time wish to be a Production Manager. I then re-joined in 2006 to helm the new London operation born out of the acquisition of Tarsin Entertainments. Pro audio was my field and I felt very confident in handling the design and support side of audio installations. However, we now had to embrace effects lighting and video display systems. Grasping these new disciplines and exploring the technology was a great adventure and really inspired my imagination. This is how I developed my passion for designing elegant, versatile and, most importantly, well thought out audiovisual installations. And that is how, after ten years of developing the installations business for SSE in London, I came to the point where I handed my notice in 18 months ago.

The arrival of my son three years ago and soon to start school; an itching to work for myself that I was finding harder to ignore and a frustration born out of years of seeing customers left with mediocre or poorly installed systems all contributed to the creation of Octavius RE - my audiovisual installation design consultancy.

My mission is to bring audiovisual design as a service to the whole world of audiovisual installations. Certainly on large, high-budget projects, consultants are regularly brought in to produce specifications for tender, but that concept has not filtered through to all echelons of the market, with many venues relying heavily on their Installer to provide good advice or the ‘send the same information out to three companies and see who comes in with best price’ approach.

Both approaches can be deeply flawed

depending on who and how good your installer is.

Over the years at SSE, I won a lot of business on the back of being very successful at re-engineering existing solutions so they operated as required for a venue. At that point, most of the money had been spent and the installation had handed over, so our works were limited by what little budget was available and hugely disruptive to trade. My constant bugbear was that the extra cost and disruption could all be avoided with better advice at the design stage and an understanding of the commercial value that an audiovisual system has to a business.

Good design is not prohibitively expensive for smaller projects with tighter budgets. Many clients forget about the intangible cost to a business of a poorly designed audiovisual system, such as diverting non-technical staff from their core role; disruption to business; damage to the venue concept because the audiovisual does not dovetail with the overall vision and so on. The crazy thing is the clients on all levels of projects are used to buying in design services from Architects, Structural Engineers, Interior Designers, M&E Consultants, IT Consultants and so on, so why not audiovisual, too? Surely having a design that has been developed with you and for you with no external bias or interest in selling you a specific product is worth having. Sending that specification out to three companies and going for the one with best price is a process that will get the client the right system and all the proposals should be comparable. You also bypass the ‘fear factor’ which is when an installer really wants the business so is afraid to push the client on certain items that might be more expensive but, in the long term, will give the venue a better system or, in fact, assist in creating new revenue streams through audiovisual for the venue. This is where mediocrity sets

www.mondodr.com

• RIght The 10 principles of design by Dieter Rams.

in and you get a system the fits the budget which is not the same as the system needs for the business. There may well be times where the client cannot stretch to that more expensive item, but you could discuss wiring for the more advanced option so when the system needs to be upgraded, it’s simple and cost effective to do so.

It is our job as audiovisual designers and installers to give our clients the benefit of our knowledge and experience to enable them to make the best decisions and not to just keep rolling out the same okay, but not great systems for fear of rocking the boat.

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

14 INSIDE VIEW

Allianz Riviera The 35,000-seater Allianz Riviera stadium in France - one of the Euro 2016 venues - relies on EN-54 certified audio equipment from Electro-Voice. The solution involved dividing up the Allianz Riviera into 26 zones with 90 loudspeakers from the EV-Innovation Series. With their differing coverage patterns, EVH loudspeakers can be relied upon to adapt perfectly to the sound reinforcement demands. Their coaxial, horn-loaded system design allows them to achieve at the same time high sound pressure levels and excellent intelligibility. Away from the playing area, 35 Electro-Voice ZX1i-100Ts provide optimal sound for the surrounds and stadium approaches. The loudspeaker systems are fed at five different points by one main and four sub-racks with seven N8000 digital matrices and 34 multichannel CPS amplifiers.

ELECTRO-VOICE A professional audio industry leader since 1927, Electro-Voice designs and manufactures worldclass microphones, digital signal processing, amplification, and loudspeakers for the broadcast, retail, commercial, install and concert sound markets. Electro-Voice has been behind some of the most significant innovations in the history of sound reinforcement and it is no surprise that Electro-Voice products are used in the world’s biggest tours and finest installations - including the Olympic Games, the Soccer World Cup, the Rolling Stones and AC/DC - to name a few. www.electrovoice.com

St Peter and St Paul’s Church Dating back to Saxon times, St Peter and St Paul’s Church in Buckingham, UK has modernised its sound system to accommodate today’s worship style. For clarity of speech, Creative Audio-Visual installed a pair of eight-inch, twoway Electro-Voice ZX1i loudspeakers to each of four pillars in the sanctuary, with two more serving the balcony. A single ZX1i serves the choir area. As drilling into original stone and marble of the historic building was not an option, CAVS engineers mounted loudspeakers and video screens to the pillars using using custom band brackets that clamp around the columns. Floor-mounted ZX1Sub subwoofers augment the low-end response from the worship band’s bass and drum components, while ElectroVoice Contractor Precision Series (CPS) amplifiers provide the powering of the system. An Electro-Voice N8000 system controller completes the system allowing powerful equalisation, dynamics, filtering and crossover control.

MS Braemar Fred Olsen Cruise Lines recently engaged England’s EW Production Services Ltd (EWPSL) to install a new sound system aboard MS Braemar, the most modern among the company’s fleet of four cruise ships. The MS Braemar’s Neptune Lounge hosts a wide range of activities, including live music, comedy, cabaret and full theatre productions. EWSPL’s system design improves the entertainment experience for customers while addressing unwanted sound transmission affecting passenger cabins on adjoining decks above and below. To tame the room’s sound, EWPSL designed a system based on models from the Electro-Voice EV-Innovation loudspeaker and the Electro-Voice N8000 NetMax digital matrix controller. The primary loudspeakers are four EVU-2082 mains hung above the stage and sonically matched with two EVA-1151D subwoofers. Three Electro-Voice CPS series multi-channel amplifiers equipped with RCM-810 remote control modules power the entire sound system. The amplifiers integrate via IRIS-Net software into the N8000 digital matrix controller, enabling complete tailoring of each channel. www.mondodr.com

ONE PATENTED 21“ DRIVER MOVING 76 mm CLOSER TO THE BELLY Hearing does not have to be seen.

So why so many curves when LINEA FOCUS or FOCUS MODULAR take a direct path to the target? And by van in place of truck? Somewhat upstanding: BEAM STEERING TECHNOLOGY BY FOHHN. www.fohhn.com

32 DISTINGUISHED HIGH-PERFORMANCE LOUDSPEAKERS FOR SPEECH AND MUSIC

16 MONDO*DR AWARDS

SPONSORS

The Luckman Nightlife Venue | The Americas

Hangar 58 Integrated Resort | Europe

Opera Bastille Performance Venue | Europe

President Hotel Integrated Resort | Europe

Lock, Stock & Barrel Nightlife Venue | MEA

Central United Methodist Church House of Worship | The Americas

17 MONDO*DR AWARDS

VIEW ALL THE LATEST ENTRIES ONLINE mondodrawards.com/all-venues

BEAM Nightlife Venue | APAC

Parc Olympique Lyonnais Sporting Venue | Europe

Black Sea Arena Performance Venue | Europe

Orpheum Theatre Performance Venue | The Americas

JEWEL Nightlife Venue | The Americas

Dai Show Theatre Performance Venue | APAC

JUDGING PANEL

18 EX P O DIARY

16-18 NOVEMBER www.inter-bee.com

23-25 APRIL www.soundcheckexpo.com.mx

7-10 FEBRUARY www.iseurope.org

28 FEBRUARY – 2 MARCH www.bveexpo.com

6-8 DECEMBER www.infocomm-mea.com

27 FEBRUARY www.tpiawards.com

INTERBEE TOKYO, JAPAN

INFOCOMM MEA DUBAI, UAE

JTSE PARIS, FRANCE,

ISE AMSTERDAM, THE NETHERLANDS

NAMM ANAHEIM, USA

TPI AWARDS LONDON, UK

PROLIGHT+SOUND GUANGZHOU, CHINA

19-22 JANUARY www.thenammshow.com

BVE LONDON, UK

THE GET SHOW GUANGZHOU, CHINA

SOUND CHECK EXPO MEXICO CITY, MEXICO

PROLIGHT+SOUND FRANKFURT, GERMANY

INFOCOMM BEIJING, CHINA

27 FEBRUARY - 2 MARCH www.getshow.com.cn

4-7 APRIL www.prolight-sound.com

29-30 NOVEMBER www.jtse.fr 22-25 FEBRUARY www.prolightsound-guangzhou.com

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12-14 APRIL www.infocomm-china.com

19 EX P O DIARY

9-10 MAY 2017 www.llb.se

16-19 MAY www.kobashow.com

MAY (DATE TBC)

AUGUST (DATE TBC)

www.macauinternationalclubbingshow.com

www.facebook.com/MusikManilaPH/

14-16 JUNE www.infocommshow.org

31 MAY - 2 JUNE

7-8 JUNE

www.live-event.jp

www.abtt.org.uk

26-28 JULY www.tourismtechnologyasia.com

LLB GOTHENBURG SWEDEN KOBA SEOUL, KOREA

PLASA FOCUS LEEDS UK

MICS MACAU CHINA

INFOCOMM SAO PAULO, BRAZIL

LIVE ENTERTAINMENT & EVENT EXPO TOKYO, JAPAN

PALM EXPO INDIA MUMBAI, INDIA

INFOCOMM ORLANDO, USA

ABTT LONDON, UK

TOURISM & TECHNOLOGY SINGAPORE

PALM EXPO BEIJING CHINA INDIAN DJ EXPO NEW DELHI, INDIA

MUSIK MANILA MANILA PHILIPPINES

AVL+M BANGKOK, THAILAND

1-3 JUNE 2017

9-10 MAY www.plasafocus.com

www.palmexpo.in

2-5 JUNE 2017 www.palmexpo.com

JULY (DATE TBC) www.indiandj.in

23-25 MAY www.infocomm.orgÂ

www.mondodr.com

JULY (DATE TBC) www.avlmthailand.com

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Find out more: www.iseurope.org Organised by

Integrated Systems Events A joint venture partnership of

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IN DEPTH

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INTERVIEW GEORGE KRAMPERA KV2

REPORT HOUSES OF WORSHIP

There are many people in the industry that can be referred to as veterans and can be described as having a passion for audio, and some of those have contributed significantly to moving technology forward over the years. Co-founder of KV2, George Krampera most definitely falls into that category, as Clive Wilson found out.

24 INT ERVIEW

Before you attempt to read this interview turn, if you will, to KV2’s home page and observe the photo.

If you ever thought a picture was only worth a thousand words, think again.

To the far right of an otherwise empty theatre auditorium sits the lone figure of George Krampera, his face a line between puzzlement and enigma. The Mona Lisa but with the smile replaced by that somewhat Central European countenance that suggests weltschmerz. It is truly iconic, an allegorical depiction almost.

Yet speak to many of the Czech’s disciples at his company KV2 - and let’s call them that rather than employees - and they are united in saying that George Krampera’s holistic approach to sound has but one goal… namely to make people smile.

And if that is your mission in life, then where better to start than at the top?

When a KV2 Audio ESR215 system was used at last year’s AES Conference on Sound Reinforcement held in Montreal, legendary producer and fellow inventor, George Massenburg, commented after mixing a local jazz band: “We simply don’t realise what we are missing until we hear a system of this quality.” To which AES chairman Peter Mapp added: “This is the best sound we have had at an AES Conference in the last 25 years.” There’s some serious gravitas behind those comments. That first remark would have made George himself smile, because his goal is also about plugging drop-outs missing content in the signal chain, to

achieve perfectly articulated sound.

So now turn back to that home page and read the caption underneath that picture.

Just for a few minutes, forget everything else you have read about speaker system design and think about what truly defines clear, quality sound.

Suddenly it all has more resonance… by packaging a lethal combination of transducer, electronics and acoustic design, it is as if some meteorite representing the source is hurtling off at hypersonic speed to the earth’s core. Replacing slick user interfaces with their own hybrid A/D conversion, and avoiding destructive interference of the HF his technique is as masterful and beguiling as anything the Sirens conjured up for luring people into places they thought they didn’t want to go. And that is the traditional world of point source.

In an industry increasingly dominated by a confederacy of corporate suits producing homogenised systems, the febrile mind of George Krampera continues to challenge perceptions, old tenets and modern trends alike. In fact, as soon as our Skype call became active, he began immediately riffing on sound theories, largely bypassing the introductory pleasantries.

From building sound systems in communist Czechoslovakia, both before and after the Russian invasion of 1968, his journey both figuratively and geographically has taken him and his family halfway around the world. www.mondodr.com

• Above Milevsko in 1982 - the view from George’s former flat.

After producing some of the industry’s best-loved guitar and bass amps, and small powered speakers, his long-term destiny was fulfilled 14 years ago when he set up KV2 in the small town of Milevsko in Southern Bohemia. He will gainsay those who throw the word ’genius’ at him, stating that he has simply respected the laws of physics - and the ‘appliance of science’, that he has been learning since building his first radio at 10.

The fact that George’s father had been one of the first TV and radio specialists in Czechoslovakia may help to explain his precocious talent. “The drawers were always full of tubes and resistors rather than clothes,” George remembered. Inevitably, it wasn’t long before, as a teenager, he was also surrounding himself with valves and transistors that would form the basis of those early super-heavy guitar amps, plugged with so many transformers, in the era before solid state. This was serious ordnance, and the holy grail of every audiophile, and applications ranging from radio and TV to military radar.

Continuing his electronic training after leaving school, George worked as a technician in Prague repairing equipment while retaining a strong connection with the local music scene. His die was already cast, when in the ‘60s the pop revolution from the UK swept into the country, and the world was turned upside down.

George was born in 1950, and with its rich, industrialised heritage, Czechoslovakia had provided the perfect oppor-

25 INT ERVIEW

tunity for an empirical adventure. “We were fortunate that the government had invested large sums of money in military and propaganda, and that included high quality audio and recording technology.

For example, all studios were equipped with Studer consoles and recorders, and in many cases recordings from those times are better than they are today.”

In the second half of the ‘60s, the regime was more open to the West and therefore musicians had more freedom. “But when in 1968 the Russian tanks came in, they stopped that freedom and there was a complete loss of movement,” he said wearily. George was building amplifiers for top Czech bands and in the late ‘70s started making a living mixing the sound for the best band in the country, ETC. “I also built a mixer for live music with 13 knobs on each channel including two parametrics - everyone said who needs it, but today it’s the norm, it’s standard.”

Yet there was a pervading feeling of hopelessness bordering on nihilism. “I didn’t see any future for my kids, they could not study at University. Everything was going down and I could only see things only getting worse.” And so in 1982, still in his early ‘30s, George loaded his young family into their car and left everything they owned behind to escape to Austria via Yugoslavia. Once safely across the border, George was granted asylum status and, after waiting six months for the paperwork to come through, his family emigrated to Canada - George, his wife, daughter Jana and son Jiri (George) who was five years her junior.

“My wife was the best support I ever had,” he exclaimed with genuine passion. And yet arguably today that same observation could be applied to his son, who is KV2’s CEO, and a firm hand on the tiller after the uncertainties of previous enterprises.

While the rest of the family has relocated to the Czech Republic, Jana has remained in Toronto.

“I knew electronics very well and knew I could make a living repairing TV sets in Canada,” he continued. He remained doing this in Saskatchewan for 18 months - before arriving at Yorkville in 1985.

“They were trying to design guitar and bass amplifiers [under the Blok name] and I was in the right spot at the right time,” he said, tracking the timeline. The Cube tube amps from Roland were the big competitive models and George completely designed a new line of amplifiers to compete with these, taking on as his first assignment the Blok 100G guitar amp.

“It was mid-July and I remember in one week giving them three different sounds.

Six weeks later we had our first prototype and, one month later, we produced 100 amps.”

George remained three years at Yorkville, designing various instrument amps, as well as the Elite line of processed speakers, using RCF drivers. He has always credited Yorkville for their influence on his career.

This continued after he established his first company, Rexx, situated in Canmore, Alberta, where he built high quality and much loved solid-state guitar amplifiers (such as the classic Model 1602 Guitar Head). “We sold more amps in the second year in Canada than Marshall,” he exclaimed with obvious pride.

Reasoning that the only part missing in the acoustic chain was loudspeakers, he returned to Europe to take up a job offer with Italian speaker manufacturer RCF, where he made an immediate mark developing their advanced transducer philosophy that persists to this day, and coming up with the ART composite active boxes.

But his biggest contribution was probably the invention of the Silicon Sealed Spider, which functions as an air pump, expelling hot air and drawing in cool air every time the cone assembly moves.

Explaining the underlying significance of this breakthrough, he said. “When I came to RCF in 1991, speakers were the one problem as they were losing resonance by almost half. I developed the Silicon Spider to keep the resonance and also to get better control over the moving mass and, therefore, the speaker became more powerful as well. I also wanted to eliminate inductance to achieve much lower distortion.”

Quite what his peers made of the eccentric George is uncertain - but once his 40ft container arrived in Europe, he was there to stay. He was quickly acknowledged for his customised cars as much as his electronics nous. “I had a Volvo S80; it was a nice car but I didn’t like the road noise and so I improved it dropping the level by 7dB,” he said, matter-of-factly.

He also maintains that when he joined the company, pro audio speakers represented 7% of RCF’s turnover and when he left it was 69% - but the canny Czech had negotiated a deal whereby he was paid by the percentage of sales.

By 1993, his family had rejoined him in the new Czech Republic, now split from Slovakia, and he carried out his work from twin locations. “ART was designed in Czechoslovakia and I took it to Italy. I was travelling 200 times a year between the two countries. But when Mackie bought RCF I left.” www.mondodr.com

RCF’s Phil Price remembers George as being “radically left field”. He said: “I met him in 1992 when he came in as head of R&D, at a time when RCF President, Dr. Giuseppe Bozzoli, wanted us to produce a range of enclosures [instead of just OEM drivers]. He was a true pioneer and questioned a lot of theories.”

He also recalls the invention of the LICC [Low Impedance Compensated Crossover] where the damping factor is limited by the impedance of the network. By using a low inductance coil in series with the woofer, it offered superior and much faster transient response between woofer and tweeter.

And, of course, George will forever be remembered for designing the original ART300 using Class-H amplification.

He still favours the extra efficiency of Class-H technology, with its seamless transition and infinitely variable supply rail today, since it doesn’t require any filtering.

But Phil believes that when RCF was taken over by Mackie, they didn’t want him to maintain his R&D resource in Czech - which led to a parting of the ways.

Instead, George remained in Italy - but continued his transducer development work instead with B&C. “I was designing Zero Inductance speakers with the extra coil on the centre pole piece. Distortion - mainly third harmonic - came from modulation of the inductance voice coil. The main problem was the source of distortion as the cone

• Above George mixing.

26 INT ERVIEW

• Above George with the current R&D team at KV2.

is moving, and so we set out to modulate the inductance and eliminate the distortion from 1.0% to 0.1%.” The zero inductance principle is one of the core values of KV2 technology today.

By the late ‘90s, George had relocated back to his homeland, forming his own pro audio design company, Class A. Here, using B&C components, he moved into the large format world for the first time, working on an active system that could cover big crowds and distances with optimum quality and clarity. This was the genesis of Fussion speakers, which were to follow.

In partnership with one of his old team from RCF, Marcelo Vercelli, the pair launched Fussion, taking the prototype of the new Fussion 3000 to the NAMM Show in 1999. Hearing the system in the demo room, Greg Mackie was so impressed that he offered to buy the company, assuring George he would be given a free rein to develop the system under the Mackie Fussion banner. And since Mackie had already acquired RCF, it wasn’t long before George was back in Italy.

Phil Price remembered: “The Fussion system was unbelievable, the SPL was fantastic. It was a three-dimensional ‘out of the box’ sound and compared to similar size cabs the output was incredible. Also, the reliability of the system was impressive.

You could square wave the Fussion boxes

and it would take the devil’s job to mess it up.”

But at the same time George was also tasked with designing Mackie commodity products. He recalled with a wry smile that “Mackie decided to build the Mackie Fussion 3000 immediately. So the first 100 components came from B&C and when they loaded the container they were celebrating, the fact they were selling a competitive product to RCF!” Taking Mackie into pro loudspeaker technology George claims the company went from 0% turnover to $35m.

But his desire was still to build large format devices and carry forward the vision he had embraced from the beginning - but this time providing a full end-toend solution in which he would have complete control not only of the signal chain, but his own destiny.

KV2 was named after its founders, Krampera and Vercelli, and the ‘2’ denoted that it was their second enterprise.

There was no shortage of people wanting to buy into any new venture that had George’s name on it, including Phil and Andy Austin-Brown, while another Brit, Jonathan Reece-Farren, who had successfully marketed the Fussion system through his Yorkshire-based company Fun Time, invested heavily after the departure of Marcello Vercelli, and became CEO. Other integral links were Alessandro www.mondodr.com

(Alex) Pagliani, of Arcade Audio, the exclusive distributor in Poland, who joined as EMEA Sales Manager, while another of George’s close RCF colleagues was Andrea Manzini, who became involved with a new transducer manufacturer called Eighteen Sound. Working alongside Andrea, George co-designed components to match the products he wanted to develop.

The company showed the prototype of the ES1, a small point source system, at the influential NAMM 2003 in Anaheim and their future looked assured. “It was my initial intention to make a small PA for bands which could be operated by one person, cover up to 1,000 people and fit into a Station Wagon,” he recalled. This was followed by the EX line, which like its predecessor was zero inductance.

Today, George’s original R&D lab still stands, nestled by a stream down the road from the new factory. It was here that he developed the original range of KV2 speakers. Many of the new R&D team are studying electronics at the local university and their knowledge of cutting edge technology such as digital processing, combined with George’s years of experience and understanding on exactly how to achieve the best performance out of any piece of equipment, makes for a creative atmosphere “But I don’t care if it’s digital, analogue or potato technology, I just think in terms of sound,” is George’s mantra. But it is well known that he is no great fan of digital - at least in so far as its application in professional sound reinforcement is concerned.

Digital, he believes, leads to information drop-out, which cannot be mitigated by standard DSP. “For proper time and phase alignment of the system, you need a high-quality delay line [rather than conventional PCM] that means dramatically increasing the sampling rate.

I did a sampling test on the sound of the flute with a typical velvet sound. Starting at 5MHz the sound was harsh, and only at around 20MHz-22MHz did it start to sound smooth.”

Their own PDM (Pulse Density Modulation) delay line, the SDD3, they believe, surpasses any other digital format.

George Jr puts this into perspective when he stated. “KV2 is all about the basics of the design itself and most of our designs are analogue. Rather than use PCM, the time alignment processor we’ve designed is used to represent an analogue signal with a binary signal - and this is a crucial aspect of achieving optimum sound quality at 20MHz.” He continued: “My father’s philosophy is all about how you eliminate that distortion and loss of information in the signal path, thus providing sound reproduction that has true dynamic range and repre-

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28 INT ERVIEW

• Above left George in one of his many ‘Technical Talks’.

• Above right George and George Jnr in Frankfurt at the Prolight+ Sound show last year.

sentation of the source.”

Which segues into the ultimate question of the (sound reinforcement) universe: why point source over line array? George is in no doubt: “All line array tests are done under ideal situations in empty halls and when people show up the high end disappears; as air starts moving you lose the HF and things like cymbals disappear completely.” In other words, destructive interference of the HF. “If you only have one point you have nothing to bounce to and if it’s done correctly the sound comes from the stage and not the speakers and the output from a single source will better carry to the back of the room.

“A single HF driver is the equivalent of 10 drivers in a line array at 10kHz. You don’t need all those drivers because a single point doesn’t cancel as multiple points; at the same time, to set up a system in front of 10,000 people takes only one hour [with point source].”

He believes that with their own hybrid electronics they have managed to gain optimal results. “We have the complete chain under control - all the processing and amplification - and with this, you can almost make your dream come true; that’s our big advantage.”

After the so-called Velvet Revolution in Czechoslovakia and breakup of the old Eastern Bloc, a number of companies went bankrupt. At the factory occupied by KV2, there were 600 women making shirts 10,000 shirts a day. “95% of production went to Russia but from 1987 they stopped paying,” claimed George. “Czech broke from Slovak, but they never did it the way they did in Yugoslavia and start killing each other, it happened peacefully. Labour

was so cheap, everyone was investing here.”

And today industry is thriving - not least in the entertainment sector, with market leaders like trussing company, Milos and lighting manufacturer, Robe lining up alongside KV2.

The pro audio manufacturer today has a fairly small roll of around 60 employees.

They occupy 7,500 sq metres (housing a giant anechoic chamber), plus 1,800 sq metres for the paint shop and are adding another 1,000 sq metres on the side of the factory for woodwork, which will see the introduction of yet more CNC machines.

The investment has been made possible by the security introduced by George Jr, who arrived from the wood and forestry and real estate industries in 2005 after the departure of Marcelo Vercelli. “The EU provided security so any business could run with the other countries,” he said.

“The legal system was set and stable and that was the most important aspect.

“My previous businesses were purely with a view to making money,” he continued.

“I am proud to be part of KV2 to help and try change the world, but if I had joined any earlier it would have been difficult as I needed to have my own life.” This he certainly did, and proved himself a successful businessman with the sale of his enterprises.

Initially in charge of manufacturing, he was tasked with harmonising KV2 under one roof and making it completely self-sufficient in manufacturing. “We had the expertise but wanted to have full control.”

When he first arrived at KV2, George Jr was not tasked with finance, but rather in turning a company with a fantastic engiwww.mondodr.com

neering resource into a full-blown factory.

“For example, we now wire our own toroidal transformers [favoured over switching power supplies for their efficiency and untouchable reliability]. The cost of buying it is the same but we can use optimum wires, cores and isolation, it’s all little details that are so important. To achieve this, we had to be able to get financing and we received some grants from the EU. It’s a very happy story and we have been growing between 20-30% year on year.”

Meanwhile, George Sr had assembled a team of top engineers, people like the experienced Radek Stöhr, who headed the development of the SDD3 Digital Delay utilising 20MHz PDM conversion. It should also be noted that their converter from digital to analogue is running at 40MHz - making them unique in the market.

“Everyone here is either a qualified sound engineer or musician. It’s difficult to find anyone this good - everyone is proud of what they do,” said George. “Southern Bohemia is very peaceful and the workers are aware they are part of a team, part of the family.”

I suggested that KV2 had carefully targeted different market segments with their products - for instance the VHD5.0 Constant Power Point Source Array for concerts, the ESR215 for theatre and so on. But George demurred. In his world, things are a lot more fundamental - all systems will fit all applications.

He explained: “When we developed ESR we were told that’s not what the market will accept or what it needs - yet it’s something that the theatres love. If you have a one point system, you are providing the same sound everywhere in many cases.

30 INT ERVIEW

• Above George and his family in Austria, 1983 at the Mozart monument.

Theatre systems are the same as DJ systems. If you put in an open system that’s precise, it will work in any application.”

The only product he has ever designed on demand is the discreet ESD5 5-inch, a powerful coherent solution for theatre under-balconies and front stage fills, with an impressive dynamic range.

However, it is worth dwelling on the impact KV2 has had in the otherwise closed world of West End and Broadway theatre with the adoption of the ESR Series.

After being impressed by demos at Prolight+Sound in April, Andreas Hammerich of and Michel Weber, theatrical sound coordinators for German production company Stage Entertainment, began discussions with award-winning sound designers, the late Rick Clarke, John Shivers and David Patridge about the possibility of implementing KV2 sound reinforcement into its forthcoming shows.

In addition to its performance and definition the vast reduction in real estate means that more seats can be released in venues, while a huge reduction in transportation cost is a further bonus.

Throughout our interview George remained endearingly unpredictable.

Ask him about influences, and he states that he learnt most during his time at Yorkville, while he directs his early admiration at Electro-Voice. “They were always able to optimise their systems.”

But quiz him on the achievement he treasures most fondly over his distinguished career and you couldn’t see the answer coming. “The turning point,” he pondered, “was the time I built some amps for a local band. They wanted me to mix

the sound and I said first we had to build a PA … and I sold my mother-in-law’s car in order to build the speakers. She knew it was the right thing at the time, but she was really mad.”

It’s a difficult concept to get your head around until you realise that George’s career has been all about turning points. In terms of consequence, had he not taken this fork in the road his career might have spiralled in a totally different direction.

Needless to say, at 66, KV2’s founder has no plans to slow down. In fact, said his son and successor, the company is busy diversifying. Taking full advantage of the momentum - which notched up a gear when Australian Dave Croxton took over global sales in 2011 - they will soon be turning to mixing consoles. “Digital controlled analogue consoles is the future,” believes George Jr. “This is something we have been working on for six years and the circuit is already designed.

“It is definitely something that people will tell us is not sellable or usable - and when that happens we will know are onto a winner,” he said sardonically.

And so what legacy will his father bequeath to the pro audio world? Jonathan Reece-Farren, who today heads up KV2 Europe, has no doubt. “He should be remembered for pushing boundaries and for refusing to simply follow today’s market forces, which he believes severely compromise and limited everybody’s audio experience,” he replied.

“He thinks people should have a choice and if they care enough about the sound, he will provide them with a solution. Line array had the momentum, but the tide www.mondodr.com

has now turned.

“He strives to deliver the atmosphere and emotion from a performance direct to the audience and loves to see people smile when they experience that for the first time.” There’s that smile again!

But, most tellingly, he says that George exposed him to sound he had never experienced in his life. And he is not alone.

“While everyone else is trying to bend the laws of physics, he takes simple concepts and is at one with nature.

When we released VHD 2.0, large format high definition point source system at Frankfurt in 2006, one [pro audio] journalist commented that it would seriously change people’s thinking.”

It had indeed been a memorable exposé.

Using just one flown VHD 2.0 mid/high enclosure per side, with accompanying subs on the ground, they certainly held a rapt audience in amazement.

But possibly Andy Austin Brown provides the most apt summing up when he said: “Although I was once a professional trumpet player, I know there will only be one Mozart - [geniuses] come along every 500 years and I would put George in that category. There is not one ordinary person in the company, they are constantly pushing the boundaries of musical reproduction.

“George is constantly innovating but remains completely resilient, he said. “If he is not given due recognition in his lifetime, people will one day look back and say ‘everything he said was correct’.”

Meanwhile, in Milevsko, they continue to believe that they will change the world.

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32 REP ORT: H OUSES OF WORSH IP

S ISTINE C H AP E L R E P L ICA COMPANY: ROBE LOCATION: MEXICO CITY, MEXICO

A recent life size replica of the Sistine Chapel was built in the heart of Mexico City adjacent to the Monumento a la Revolución (Monument to the Revolution).

Housed in a temporary structure, this unique project was the brainchild of Creative Director, Gabriel Berumen and his brother Antonio of event production company B-Productions, in collaboration with technical solutions provider, Vatel Producciones, which is headed by Miriam Villalobos.

The project was Vatican approved, and over 2.8 million photos were involved in recreating one of the world’s greatest heritage sites that enabled up to 25,000 people a day to appreciate the magnificent renaissance artworks - frescos, decorations and sculptures - originally created by Michelangelo in 1512 in the real Sistine

Chapel - that feature on the roof and walls of this 1:1 model. The initial month long expo in CDMX was so successful that it was extended by another four weeks, and plans are now being discussed to tour the concept to other cities in Mexico and worldwide.

Lighting the space was a delicate and intricate operation achieved using 40 Robe PARFect 100’s and 20 LEDWash 300’s in a scheme designed by Gaston Forti.

All lighting, audio and video equipment for the Mexican replica was provided by Vatel.

Lighting the replica was even more challenging due to the fact that the lighting in the real Sistine Chapel is completely different, very low key so as not to damage the priceless works and there is no audio.

A different approach was required for this idea to work www.mondodr.com

as an atmospheric visitor experience that also needed to inform people about the art and relevance of what they were about to see and feel once inside.

An LED solution was proposed to be efficient on power, low on heat and need minimal maintenance, and Robe fixtures were chosen as the best options for their reliability and for the quality of the light output.

The initial specification was evolved by the LD and Product Specialist, Alberto Garcia of Robe’s Mexican distributor Vari Internacional, and the luminaires were purchased by Vatel for the project. Vatel already has Robe Pointes and other fixtures in its rental stock, so it didn’t need any additional reassurances it was the right choice of brand.

It was essential that the lighting was reverential and

Image by Louise Stickland

33 REP ORT: H OUSES OF WORSH IP

in keeping with the aura and drama of the real Sistine Chapel environment.

The PARFects and LEDWash 300s - split equally in numbers - were positioned on a ledge nine-metres off the ground running down the two 40-metre long sides of the 18-metre high walls of the replica structure.

This was recommended by the LD as the optimal position to mimic the lighting in the real Sistine Chapel, and from here they could light the entire space and the floor in zones which illuminated according to an audio narrative explaining the various components of the art.

A team from the Vatican was in attendance for consultancy throughout the installation and everyone was delighted with the results.

“This is a massive achievement for everyone involved

and we are immensely proud to be able to share the end results with so many,” stated Gabriel. B-Productions organise and produce all aspects of multiple genres of events and this year’s portfolio has included handling Pope Francis’ visit to Mexico in February.

In addition to supplying the primary lighting installation, Vatel also delivered an L-Acoustics sound system for the main chamber and the video projections and lighting in the annex where guests entered and watched a video briefing on the basics and history of what they were about to see. This area was also installed by Vatel in collaboration with Vari Internacional, and Vatel Producciones assisted in producing the video content.

Future installations will see around 20 more PARFects www.mondodr.com

added to the lighting scheme.

Gabriel co-ordinated all the organisations and individuals needed to realise the project - including finding sponsors and getting government backing. All of the structure was proudly constructed in Mexico - the metalwork, all the scenery and cloth work and props.

Two universities were involved, the Instituto Politecnico Nacional which designed the structure and the Escuela Nacional de Artes Plasticas which made the scenery.

www.robe.cz

34 REP ORT: H OUSES OF WORSH IP

CUNERAKERK

Image by HGT Beeld & Geluid

COMPANY: FOHHN AUDIO LOCATION: RHENEN, THE NETHERLANDS

www.mondodr.com

The Cunerakerk in Rhenen is an impressive example of late gothic architecture. Built during the 15th Century, the town’s main house of worship has undergone several periods of restoration, largely as a result of fire and war damage. Today, the magnificent building with its impressive 81.8-metre tower and striking architectural interior forms a significant landmark in the area.

Until recently, the Cunerakerk was almost exclusively used for worship. However, requests from the local community have resulted in the building becoming a venue for classical concerts, lectures and other activities - an expansion that also highlighted the need for a new sound system.

Tasked with the installation, HGT Beeld & Geluid of Veenendaal opted for a rather unique solution in the form of freestanding, electronically steerable loudspeakers mounted on subwoofers. This solution would not only meet acoustic requirements, but would also minimise any potential aesthetic issues associated with installing loudspeaker systems in a historic architectural setting.

Earlier computer simulations had revealed that a conventional system with lots of column loudspeakers would not deliver the required results. However, tests carried out using Fohhn Linea Focus LFI-350 line source loudspeakers with beam steering technology proved immediately convincing. Just two strategically positioned loudspeaker systems could deliver extremely even levels of sound coverage throughout the church.

Forming part of Fohhn’s Focus Series, the Linea Focus LFI350 is a slender, lightweight 350cm beam steering system equipped with 24 four-inch neodymium chassis, integrated 24-channel DSP amplifier and 24 separate DSP channels.

Specially designed for long-range, precision use in challenging acoustic environments, the speaker’s beam characteristics, including its vertical sound inclination angle (-40°/+40°) and vertical beam width (0°-90°), can be precisely adjusted in real time (in 0.1 increments).

Dual-beam technology enables simultaneous coverage of different congregational areas, while a specially developed algorithm enables the suppression of any unwanted side lobes in the beam. This reduces the occurrence of unwanted reflections from the walls; floor or ceiling that could potentially compromise the sound quality. The speakers can be networked and remotely controlled using Fohhn’s Audio Soft control software.

A decision was made to team the LFI-350 systems with Fohhn’s Arc-Series AS-22 subwoofers. Characterised by their clear, powerful reproduction of bass frequencies, the compact 500W active subwoofers add a powerful extension to the beam steering systems, proving highly effective for the reproduction of both live and recorded music. Two towering combinations comprising one LFI-350 loudspeaker and one custom-built AS-22 subwoofer each stand a proud four metres high, forming the main PA system for the church.

For additional coverage in the choir area and at each side of the rood screen, Linea AL-50 slim, two-way line source systems have been unobtrusively installed. Intended for short/ medium range coverage in demanding acoustic conditions, these speakers have been run-time optimised, but can also be used independently of the LFI-350s for smaller-scale applications.

Operating the sound system has been made a very user-friendly process. Using a small keypad, the various microphones and speakers can easily be switched on or off from the Sexton’s chair.

For larger events at the Cunerakerk, system control is carried out in conjunction with a connected mixing desk. The overall combination of Fohhn loudspeakers and subwoofers has provided the Cunerakerk with an efficient and reliable system that can now cater for a whole range of future events. www.fohhn.com

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ST MA RY ’ S C H U R C H COMPANY: AUDIO-TECHNICA & ALLEN & HEATH LOCATION: HITCHIN, UK

Built on the site of a Benedictine monastery founded in 792AD, St Mary’s Church in Hitchin dates back to the 14th and 15th Century in its current form. However, despite its long history, the building’s sound system is required to perform to modern standards. A recent improvement program saw an array of Audio-Technica microphones and an Allen & Heath Qu-Pac digital mixer installed in place of an outdated radio microphone set-up. Harpenden-based Church audio specialists, DM Music, carried out the new installation.

From the outset, the clergy at St Mary’s requested a solution that moved towards more fixed, hard-wired microphones for ease of use, with six Audio-Technica ES195S cardioid condenser gooseneck microphones and a pair of U891RX cardioid condenser boundary microphones employed to enable the clergy to conduct services from a number of different locations, with each microphone having a simple, illuminated on/off switch.

With choral music an essential part of weekly life at St Mary’s, ensuring the delivery of excellent sound quality from the choir was key to the new installation. Six Audio-Technica AT897 shotgun condenser microphones were specified to provide reinforcement and balance against the church’s powerful pipe organ, and to allow for high-quality recordings of choral events.

The church’s new audio complement also includes a four-channel Audio-Technica System 10 Pro wireless set-up, operating outside UHF frequencies and delivering simple plug-and play operation for its non-professional users.

At the heart of the new installation is an Allen & Heath Qu-Pac digital mixer, paired with two AB168 portable audio racks. Upgrading to a digital, programmable mixer brought St Mary’s the benefits of a much simpler cabling system and simple one-button operation to recall pre-programmed settings for a variety of services. This allowed for members of the clergy and choirmasters the ability to use their iPads or iPhones to simply and wirelessly control audio levels around the church, with the system also enabling the recording of services to USB stick.

Finally, a trio of Apart Audio Revamp 4240T power amplifiers, including Apart’s PCR3000RMKIII multisource CD/USB/SD card music player with Bluetooth connection, drive the new system. Apart’s MASK4T-W two-way loudspeaker also features in the new solution’s multi-zone 24-speaker array.

Combining the church’s ancient, historic ecclesiastic aesthetics with the new system sets St Mary’s Church apart from most parish churches across England. www.audio-technica.com / www.allen-heath.com

C HR ISCO C HU R C H COMPANY: DBTECHNOLOGIES LOCATION: MACHAKOS, KENYA Constructed on land donated by the family of the Director of CMC Motors, the Chrisco Church located in Vota, Machakos, received praise from the Kenya’s President, Uhuru Kenyatta, following the recent installation of a dBTechnologies system in the church.

The main PA and visual system for the event was supplied and installed by Sound Creations, which was contacted by Gurmukh Panesar, interior designer at the Chrisco Church. In return, it delivered high quality audio output for the venue, flying dBTechnologies DVA mini line array systems, side by side and groundstacking 18H subwoofers, while FM12 monitors were installed as stage monitors.

Shure SLX24E/SM58 and Shure BLX1288E/MX53 wireless microphones

www.mondodr.com

are also part of the audio inventory. The audio output was controlled and managed by an Allen & Heath QU24 digital mixer.

To enhance the visual aspect of the event, Sound Creations installed data video camera, Christie projectors, a PTC HD camera and intelligent lights from Chauvet.

The installation was carried ou by Project Manager, Mike Rutherford, Kevin Mehta and Vincent Manwa.

The church’s interior designer, Gurmukh also the Director of Grasp Design, was very impressed with the sound, he said: “The audio quality is good, it satisfies the needs. Generally there are no issues.”

www.dbtechnologies.com

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THE HO U SE HO L D O F FAI TH CHURCH COMPANY: ANALOG WAY LOCATION: LOS ANGELES, USA

Based in Gonzalez, LA, The Household of Faith is a church that holds services and events for the community, accommodating up to 1,200 worshippers.

Recently, Pastor Bledsoe wanted to enhance the worship experience and captivate the congregation’s attention using video. With this in mind, he decided to upgrade the church’s audiovisual installation and invest in new material that could provide a more flexibility to the church.

Assurance AV Solutions, a company that provides audiovisual services for houses of worship, advised the church to design the new video system. Charles Breaux, Assurance AV Solutions Director explained the church requirements: “Pastor Bledsoe wanted a high-definition on video system offering a lot of new features in the worship centre where the congregation on is used to gathering together on Wednesday and for Sunday services.” The church was already equipped with all standard definition devices. The challenge was to move forward while still utilising their older

equipment including standard definition on cameras, computers, screen TVs, and more. Charles continued: “The church was really concerned about having HD content and showing it. The pastor wanted to go to digital while still using some of the analogue gear.”

The church did not replace all the old material at once and needed a switcher that could support both the analogue gear and HD material - all the new HD devices that the church would buy in a second step.

In addition, the pastor wanted Charles to figure out how to create a three-screen experience. Assurance AV Solutions installed three 168-inch by 94.5-inch screens directly over the stage area and three Panasonic projectors running full HD. For the video processing, Charles chose the SmartMatriX Ultra, a powerful multi-screen seamless switcher based on Analog Way’s LiveCore platform, allowing them to support both the legacy analogue sources, as well as new HD equipment. It offers four outputs to plug the three video projectors and keep another

output available.

All the screens in the church are fed by the SmartMatriX Ultra and can be used to create a landscape of an image that runs over all three screens, or each screen can be used individually to create different atmospheres. In addition, the church has several additional monitors spread out through the facility, and the Analog Way switcher gives them a lot of flexibility since they are now able to send different types of contents, including HD formats. Some basic presets were built during the commissioning stage, and the church continues to build new ones via the Web RCS, the Analog Way intuitive user interface for the LiveCore platform. The church also use a Shot Box, a solution to easily control the presets on the LiveCore Series. Charles concluded: “Simplicity for the end user was paramount and the Shot Box is the user-friendly device they needed.” www.analogway.com

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T HE IMM AC ULAT E HE A RT O F M A RY COMPANY: DPA MICROPHONES LOCATION: CALABRIA, ITALY Based in Paravati in Southern Italy, The Immaculate Heart of Mary, Refuge of Souls Sanctuary was officially opened last year. Built by the Natuzza Evolo Foundation and covering 150,000 sq metres, it has a four separate chapels including one very large space that accommodate up to 900 people.

A key priority during the construction was to ensure the very best sound reproduction and speech intelligibility in all four chapels. The foundation worked closely with acoustician Toni Soddu, founder and CEO of London-based Grand Acoustics, with extensive experience in designing auditoria, conference halls, rehearsal rooms, theatres and music venues.

“My brief was to provide a user-friendly sound reinforcement system that was unobtrusive and included the latest technology. It also had to be built to last for many years to come,” explained Toni. “The chapels are all different sizes so once they were completed, my first task was to check the reverberation times in each one and see how this impacted on speech intelligibility.”

The two smaller chapels, confession and almighty were designed with cupolas and had very high reverberation times of seven seconds at 1,000Hz with a long decay in the middle of each room. To reduce this down to 2.6 seconds at 1,000Hz, the level needed for optimum speech reproduction, circular acoustic panels were treated with sound absorbing material and installed 1.5-metres below the cupolas. The same sound absorb-

ing material was used on the cupola ceilings and was made to look like the original wood.

The main chapel and Natuzza’s tomb were given similar treatment, resulting in a massive improvement in reverberation times. The sound absorbing material used in the tomb was mounted on false ceiling, matching the sanctuary’s original white design.

The sound equipment installed in the sanctuary included a range of loudspeakers form Italian manufacturer LSS Advanced Speakers Systems, who are also based in Calabria. Some of the models were off the shelf, but others specifically designed for this project. Toni also specified a Lab.gruppen loudspeaker management system and amplifiers, BSS Soundweb London signal processing, VDL mic pre amplifiers, an AKG wireless system and range of microphones including a large stock of DPA Microphones, supplied by the company’s M. Casale Bauer.

“I chose DPA Microphones because I’ve used their microphones for many years, particularly on music projects, and I know they are extremely reliable,’ Toni explained. “They also sound fantastic and exceptionally well designed, providing optimal vocal reproduction even in places like a church where hard marble surfaces can make reverberation times quite high. As we have installed an active monitoring system, we also needed microphones that had high rejection to feedback. DPA fitted this brief perfectly across its entire range.” www.mondodr.com

The sanctuary had a variety of DPA products including eight s:screet podium microphones, eight d:fine directional headset microphones with wireless adapters and eight d:screet necklace microphones, featuring the company’s legendary d:screet 4061 miniature omnidirectional capsule in a soft rubber necklace.

“We ran extensive tests before making our choice, but in the end it was an easy decision because DPA microphones gave me exactly what I was looking for in terms of audio performance, ease of use and reliability,” Toni said. “The d:screet podium microphones are perfect for standing use, especially for inexperienced speakers who don’t know how to deal with a hand held mic. The d:fine headset microphones are great for ceremonies where there are multiple celebrants and the d:screet necklace microphones are ideal for single celebrants, especially priests who want an invisible solution that doesn’t detract from their religious dress. With d:fine headset and necklace microphones, the celebrants can also move around and don’t have to worry about knocking microphones out of position.”

The response from Sanctuary staff has been very positive. “Everyone loves the DPA mics and if my customers are happy, then I certainly am,” Toni said.

Although waiting for official inauguration from the Archdiocese of Mileto, the sanctuary is now open. For Soddu, the project has been a unique experience.

“I don’t normally get involved at such an early stage, but on this occasion I was involved right from the start,” he said. “This meant I could run live tests on the acoustics and equipment in real dynamic situations.

It was a fantastic project and I am so pleased that we were able to tailor a high-tech, integrated system exactly to the Foundation’s needs.” www.dpamicrophones.com

WOODSTOC K C I T Y C HU R C H COMPANY: MARTIN BY HARMAN LOCATION: GEORGIA, USA Woodstock City Church is part of North Point Ministries, a network of six churches throughout the metro Atlanta area. The church takes a modern approach to worship by incorporating popular music and games into its services.

Lighting Director, Rob Shawver and the Woodstock City Church production team selected 34 Martin by Harman fixtures for the church’s main auditorium, including MAC Viper AirFXs, Atomic 3000 DMX strobes, RUSH MH3 Beams and more.

“This was the first time we’ve designed a lighting rig from the ground up, and we were excited to work with the Harman team to build a state-of-the-art rig for our church,” explained Rob. “I’ve always liked Martin fixtures, and their customer service has been

Image by Woodstock City Church

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great - they make us feel like we’re part of their team.

We’ve received great feedback on our new Martin lighting rig, and people are always telling us how beautiful the lights are.”

With the lighting playing such a big part in the church’s services, it was important Woodstock City Church’s production team to design a lighting rig that could complement the high-energy performances that take place; simultaneously maintaining versatility to deliver beautiful, atmospheric segments for more intimate experiences. The Martin rig at Woodstock City Church now consists of 21 MAC Viper AirFX, two Atomic 3000 DMX strobes and 11 RUSH MH3 Beams. The MAC Viper AirFX plays a huge role in the production for its ability to combine

hard-edge, mid-air effects and a beautiful wash field in one luminaire.

“The MAC Viper AirFX fixtures have been great, and they give us so many creative options,” stated Rob. “The colour mixing is smooth, and the colours have excellent punch. We absolutely love that they can mimic a beam as well as a super-wide zoom. We use mid-air effects to create really dynamic lighting and evoke the emotion that complements the music.

They’ve been amazing.”

The new Martin lighting rig enables Woodstock City Church to bring concert-style lighting to a wide range of events and provide a compelling worship experience to more than 4,000 people each week. www.martin.com

The main body of Derby Cathedral was constructed in a neo-classical style by the architect James Gibbs in 1725.

Its tower is even older, dating back to the 1530s. Recently, the cathedral received a grant to extensively refurbish its interior, a project which was long overdue for Derby’s most iconic building. Part of the brief was to retrofit a low energy lighting system and designer, James Morse, specified the use of GDS ArcSystem, having become familiar with its qualities on previous installations. Specialists, Great British Lighting, installed the scheme, which featured extensive use of ArcSystem Decor MR16 fixtures, ArcLamp Candle and Golfball luminaires. The finished project created what Derbyshire Life magazine described as: ‘A glory of light that twinkles in the chandeliers and illuminates the great pillars and capitals of this eighteenth century masterpiece’.

Matthew Lloyd, Managing Director of GDS, observed: “This particular scheme, nominated and shortlisted for a number of awards, reflects ArcSystem’s fast-growing influence in this demanding sector. Lighting designers are tightly constrained by limitations on how much they can impact on the fabric of historic buildings. ArcSystem not only affords them the flexibility of wireless control but has the range of fixtures to meet the widest possible demands.

When ArcSystem’s stunning light quality and environmental benefits are taken into account, it’s easy to see why its reach is continually extending into such prestigious settings.” www.gds.uk.com

D ERBY CAT H E DRAL COMPANY: GDS LOCATION: DERBY, UK

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T H E SO LOMON T E M P L E COMPANY: K-ARRAY LOCATION: SÃO PAULO, BRAZIL

www.mondodr.com

Built as an exact replica of the ancient Temple of Solomon in Jerusalem, The Solomon Temple is considered by many as the largest religious building in Brazil. Following its inauguration, this spectacular new landmark in the city of São Paulo is one of the most ambitious houses of worship builds using state-ofthe-art technology.

“Universal Church brought us a big challenge - to install a sound system in this huge area, using invisible, light and ecologically correct sound equipment. Large indoor places require a lot of caution and study, because they usually have big reverberation and acoustic reflections, making it difficult to understand the voice,” explained Esteban Risso, Director of Gobos do Brasil.

Established in an area of approximately 35,000 sq metres, the complex, which has almost 100,00 sq metre of built-up area, is divided into two large blocks, interconnected by the sanctuary, which comfortably holds 10,000 seated people. It is 126-metres long, 104-metres wide and 55-metres high. The inside of the temple is decorated with golden materials, stone and wood.

In particular, both the walls and floor are coated with stones brought over from Israel.

Commenting on the design, Esteban stated: “We presented the architect and directors of the build a detailed study where our solution showed a high level of intelligibility and clarity, besides counting on a great SPL left.”

Spreading the word with faithfulness, clarity and intelligibility was essential to match the temple decadent design. With this in mind, the Universal Church of the Kingdom of God’s choice of the engineering team was unanimous - K-array. The systems of the Italian company, represented in the country by Gobos do Brasil, were installed in almost all the facilities of this monumental work.

Inside the original Temple of Solomon there wasn’t sound equipment to amplify the church’s message. The task was to create an audio system where the loudspeakers could not be seen but they had to be heard. Placed in acoustic niches above the ceiling of the large hall 42 KH4 and six KO70 were installed 18-metres high and hidden by perforated plates specially designed in order not to interfere with sound propagation. 20 K-array KP102, Python loudspeakers have been used as monitors at the sides of the altar and four KMT18 were installed for the subwoofers; both solutions are also invisible to the eyes, but provide a remarkable sound and coverage. The pulpit has also received an innovative solution, increasing the hearing comfort of the celebrant bishops and pastors with a KV50.

The Esplanade, an external area that gives access to the Sanctuary, has received a sound system with in-wall loudspeakers KP102’s, personalised in the same colour of the stones from Israel. In the conference rooms custom painted KRM33P loudspeakers have been positioned on the ceiling providing controlled horizontal dispersion and extended frequency response broadcasts the sermons around the building. For FOH monitoring, inside the control room are two KK52’s and two KU36’s all powered by 12 KA40 amplifiers. Solomon´s Temple is the first Temple in Brazil to achieve LEED (Leadership in Energy and Environmental Design) Certification, an acknowledgement of the ‘green seal’ enterprise. K-array’s compact and lightweight speakers have contributed greatly to the energy efficient features. www.k-array.com

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CO PT I C CHURCH COMPANY: RENKUS-HEINZ LOCATION: DOHA, QATAR

St. Peter & St. Paul Coptic Orthodox Church is a unique landmark in the capital city of Doha. It represented a unique acoustic challenge for Maged Amin, Head of Design - Audiovisual, for leading regional systems integrator Techno Q. With high ceilings, an interior constructed largely of marble, a mezzanine level, and a 50ft dome near the building’s entrance, The St. Peter & St. Paul Coptic Church was beyond the reach of ordinary loudspeaker technology.

The design and creation of the audio system within St. Peter & St. Paul Coptic Orthodox Church has drawn on the determination and skill of all involved. For Techno Q, and for Maged in particular, the project required great patience, as ideas that were proposed at the very beginning were left waiting until the church was ready to move forwards. Nevertheless, through-

out the long development, Maged’s opinion remained steadfast - with the church facing acoustic problems that would render a regular system unusable, the best solution was Renkus-Heinz.

“During services and events, the church becomes very crowded and there is a lot of noise in the back, so it becomes very difficult to cover the entire area evenly,” explained Maged. “Also, the interior is marble with high ceilings and the very high dome. It’s a very challenging environment. We ran a lot of simulations, working closely with Renkus-Heinz, and we had to convince the clients that we had the right plan. From the church’s point of view, they were investing in technology that was new to them.”

Following a commissioning phase that saw substantial collaboration between Techno Q and Renkus-Heinz,

The old protestant church of the Rijsenhout protestant community was burned down following a disaster a few years ago, leading to the old church being replaced with a brand new building.

After some thorough preparation, Dutch audiovisual system integrator, Schaapsound, in conjunction with interior architect, Pim van Dijk and the Geluidburo (soundoffice) Acoustic Advisors have designed, delivered and installed a brand new audiovisual system.

As part of the new design, the church now consists of two separate rooms that can be connected as one.

The loudspeakers are mounted in a conference setting, in which people sit in a half circle so the loudspeakers are mounted around the centre. This was a big challenge in terms of feedback control, but all the audio DSP tools inside the Xilica Audio Design Neutrino A1616 digital processor contributed to providing a clear, solid speech and music transfers in every room.

Using Xilica’s free SolaroControl iOS and Android control app, Schaapsound designed the specific control features the users requested to provide system remote control via multiple wireless tablets and PCs. Xilica’s SolaroControl app provides the ability to create multiple control pages on the control device with password protection. One page could provide basic controls only for the operators but using their password - management could access pages that provide more detailed system control.

The advantage of this solution is that operators with no technical knowledge can only control the basics functions as programmed into the control - such as volume and mute. http://xilica.com

the strategy has now paid off. The church benefits from two Iconyx IC24-R-II arrays, covering the main ground floor worship area, while a further two IC8-RII arrays serve the upper balcony area.

“We deployed beam steering in such a way that the coverage avoids the dome and still successfully reaches the rear seating,” said Norbert Bau, Renkus-Heinz Sales Manager for the Middle East. “After we’d finished, a representative of the church came to listen to the results. He walked from the rear of the church to the front, and as he did so he started smiling. Then he asked what kind of magic we had done.”

“Renkus-Heinz gives you the flexibility to adjust performance and coverage,” concluded Maged. “I was very happy with the results. It’s a very high-end solution.” www.renkus-heinz.com

RIJSENHOUT PROTESTANT CHURCH COMPANY: XILICA LOCATION: RIJSENHOUT, THE NETHERLANDS

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WAT ERM AR K CH UR C H COMPANY: ADJ LOCATION: ALABAMA, USA

Two years ago, when Watermark Church in Ashford, Alabama constructed a new larger sanctuary, they brought in local audio visual company, Premier Entertainment Group, to install a brand-new lighting system.

Long-time ADJ customers, the Premier team specified an all-ADJ rig to provide colour, movement and GOBO projections to create the right atmosphere for the church’s dynamic worship services.

Having grown significantly over the past decade, Premier Entertainment Group started out as a DJ company but has expanded its services to the point that it is now predominantly a production and installation company.

Headed up by Dave Guiler and Stephen Krietemeyer, the business offers concert and event production - covering audio, video and lighting - as well as permanent installations specialising in houses of worship.

Premier Entertainment Group had previously worked with Watermark Church on their special ‘Night of Worship’ events, when they provided extra lighting to supplement the church’s in-house rig. Through these events, Dave and the Premier team built a strong relationship with Lead Pastor Todd Thorpe, Worship Pastor Tim Flowers and the technical volunteers at Watermark Church. This meant that when it came to kitting out the church’s new 850-seat sanctuary, Premier Entertainment Group was the logical choice to design, specify and install a full new audio, video and lighting system.

The church already owned twelve ADJ Mega Bar 50 RGB LED wash bars, which Dave decided to retain for the new system. Most of these were positioned along the back of the stage to provide coloured up-lighting for the textured backdrop behind the area used by the church worship band. A further three were then mounted above

the stage to provide coloured downlighting for the three musician risers spread across the stage.

These were then augmented by seven new ADJ Flat Par QA5Xs positioned above the stage, but further forward, to wash the front of the stage from above. Powered by five 5W RGBA LEDs, these par fixtures are used to add bold colours to the stage during worship sets, while their Amber element means that they can also be used to provide a warm stage wash during sermons.

To complete the overhead rig, Dave’s team also installed four ADJ Inno Spot Elites to provide moving mid-air effects for upbeat songs, as well as to project GOBO patterns onto the stage to add interest during slower, more intimate times of worship. Powered by a potent 180W white LED engine, the Inno Spot Elite offers a host of professional features – such as rotating replaceable GOBOs, a 6-facet prism, and motorised focus and iris – while still coming in at a very affordable price point.

“Although it’s a very contemporary church,” explains Dave, “they didn’t want the lighting to be too distracting. That’s why we went for the Inno Spot Elites, as they came into the budget, but still featured a 6-facet prism that is great for throwing a tonne of subtle texture out there on the stage to get a really nice solid look. We also didn’t want to go with a discharge fixture, as we didn’t want them to have to worry about striking lamps or replacing them over time. The Inno Spot Elite was ideal as it offered the right level of brightness for the size of the room, as well as the features we needed, at a price the church could afford, so it really was a home run!”

The system was completed by four ADJ Inno Color Beam Z7s which are positioned on top of Global Truss totems, at two different heights, spread across the stage.

www.mondodr.com

Each powered by seven 10W RGBW LEDs, these versatile fixtures feature motorised zoom, which allows their beam angle to be altered between 10- and 60-degrees.

This means that the same four fixtures can sometimes be used to wash the stage and congregation with swathes of diffuse color, while at other times focused to generate tight beams of light for engaging mid-air effects.

In total, 27 ADJ fixtures were used to create the rig, and we were interested to know what led Dave to specify an all-ADJ setup. “We gave the guys at the church a few different options, but they said, ‘We’re happy with the ADJ equipment we already have, so we think we should stick with them’. I said I think you’ve made a great decision, it’s really solid product. And it definitely was the right decision, as the rig has been in there for more than two years now and they haven’t had a single issue. It’s rock solid!”

Although far from a big-budget installation, by carefully choosing the right fixtures from ADJ’s value-centric range, Dave was able to put together a highly effective and fully versatile lighting system for Watermark Church. While enjoying the low-maintenance and low-power advantages of an all-LED system, the church now has a lighting rig capable of drenching their sanctuary with bold colours, adding texture to their stage and enhancing energetic worship songs with fast-paced beam movement. What’s more, having now served the church faithfully week in and week out for the past two years without a single problem, this installation by Premier Entertainment Group demonstrates that ADJ lighting offers not only excellent value but also dependable reliability. www.adj.com

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LOV E R S LAN E UN ITE D METHODI ST C H U R C H COMPANY: FULCRUM ACOUSTICS LOCATION: DALLAS, TEXAS

In the late 1940s, a small group of faithful founded this Methodist Church on a Dallas Street called Lovers Lane. Though the church has since moved several blocks away, the name remains a part of its history and culture. Lovers Lane United Methodist Church’s sanctuary is a stunning architectural gem, its soaring glass walls and 36ft ceiling making it the largest free-standing stained glass structure in North America, whilst the church’s architecture is awe-inspiring, it also presents several acoustic challenges.

Firstly, because of the extensive stained glass and hard surfaces, a reverberant chamber is unwilling created within the church. Adding to this, its new sound system needed to be visually unobtrusive so as not to distract from the sanctuary’s remarkable architecture, and the system also needed to provide improved intelligibility and output.

Designer and system integrator, Ford Audio-Video Systems selected Fulcrum Acoustic’s AH Series horn-loaded loudspeaker systems. “The previous point source loudspeakers were medium-long throw systems, but lacked the tight pattern control the space require, particular in the mid and low frequency range,” explained Ford’s, Shawn Slocrum. “The AH65’s 60º by 45º pattern covers the seating area but ends just inside the angular side walls, limiting reflections and improving intelligibility.” The existing pew back system adds coverage for the far outside seats, and a pair of Fulcrum Acoustic US212 subwoofers installed in the front organ towers, adding low frequency reinforcement that the sanctuary had never previously enjoyed.

“The new system delivers a marked improvement in both intelligibility and frequency response for parishioners seated in both the main floor and balcony areas,” Shawn reported. Adding that the next phase of the project will include several Fulcrum DX896 loudspeakers to provide greater forward imaging for the front third of the main floor. “The new system has already made a dramatic difference, and will be even when the front fills are installed next year.” fulcrum-acoustic.com

T UIRAN KI R KKO C HU R C H COMPANY: PROEL LOCATION: OULU, FINLAND Designed by architect Harald Andersin in 1916, the historic Tuiran Kirkko church is an evangelical Lutheran church located in Oulu, Finland.

Since its creation, the church has benefited from two extensions with the most recent happening in 1992.

Its sound system, preceding the time of the second renovation, was in urgent need of an upgrade to cater for today’s larger congregations and more modern style of worship.

Looking for a more modern audio solution of the type afforded by compact line array systems but was not particularly aware of specific brands, and turned for advice to Oulu-based HifiStudio, which suggested the church looked at Proel’s Axiom compact line arrays as having a suitable performance to size ratio that would give them top-end quality while having a minimal aesthetic impact on the building.

Senior Audio Sales Manager, Jorma Tikka of Bright Finland, Proel’s distributor in Finland, explained: “We modelled an Axiom system of AX2065P passive line array modules and AX1115P single 15-inch subwoofers using EASE Focus to simulate performance across the 300-seat audience space. The AX2065P uses two 6.5-inch woofers and a 1.4-inch high frequency compression driver in a nicely sized compact cabinet with 100° horizontal dispersion, and we felt that it would provide the ideal audio solution without being obtrusive”.

The Axiom proposal was duly accepted, and Bright Finland set about a sympathetic installation in the historic church. Two clusters of four AX2065P were flown at left and right, close to the balconies that run on each side of the building. The AX1115P subwoofers were discreetly placed on the floor. The system is www.mondodr.com

controlled by PC-260 system processors and powered

by HPX-900, HPX-1200, HPX-4600 and HPX-6000 amplifiers. Additionally, LT8P eight-inch passive twoway speakers provide delay coverage around the room, and low profile WD10A 10-inch two-way powered monitors are installed for floor monitoring.

“We were slightly constrained as to the height of the flown PA, so achieving good vertical and horizontal coverage with the limited number of boxes available in the budget was challenging,” said Jorma. “But by assembling tight clusters of four cabinets and angling them carefully with the help of the initial EASE Focus simulations we were able get even coverage and excellent intelligibility to every seat in the church.

www.proel.co.uk

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A BBEY C H U R C H COMPANY: HARMONIC DESIGN LOCATION: BAD GANDERSHEIM, GERMANY The newly-installed Harmonic Design loudspeaker system integrates perfectly with the ancient, imposing structure of the Abbey Church in Bad Gandersheim.

Harmon Design’s application support team undertook the acoustic design and the installation was commissioned by their Göttingen-based sales partner, Sound and Vision.

Harmonic Design’s HD ML24 - equipped with 24 twoinch drivers - were used for the centre nave with the former loudspeaker positions being utilised, but with the new column arrays, the total amount installed was reduced from 24 to 10.

Bad room acoustics and poor speech intelligibility made the understanding of simple speech very difficult - even in the front rows, but with the newly installed system, usability was dramatically improved with the use of focussed sound radiation according to the principle of cylindrical wave propagation, resulting in consistency for every seat.

The church sound system was extended with two HD Sub12 subwoofers - in a special RAL-colour finish - that come into play during musical presentations. This extends the usable frequency range down to 40Hz and enables the use of the newly-installed loudspeaker system for live

SHEPH E R D’ S GROVE C HU R C H COMPANY: ELATION LOCATION: CALIFORNIA, USA Pacific Coast Entertainment recently specified and installed an Elation lighting system at Shepherd’s Grove Church in Garden Grove, California, the esteemed church from where the popular Hour of Power Christian television program is broadcast weekly to a worldwide audience.

The facility’s main sanctuary features a beautiful stainedglass skylight that was backlit by outdoor ambient lighting.

After the skylight was sealed in order to give the venue more control of their ambient light levels, an alternative backlight white-light solution was found by installing 24 warm-white Lumina Strip LED washlights, turning the skylight into a brightness-controllable lightbox. Kent Flemming of Pacific Coast Entertainment was the main lighting designer on the install, working with Shepherd’s Grove Executive Pastor, Chad Blake.

“Due to the accessibility issues of getting to the fixtures once installed, we needed an LED strip light that was

reliable,” Kent explained of the decision to go with the Lumina Strip. “We wanted them to be LED in order to cut down on power needs and heat buildup within the light box. The fixtures needed to emulate the sunlight that used to come through the skylight but needed to give the facility the power to go black on the skylight for lighting control purposes to eliminate most of the ambient lighting coming into the sanctuary. The Lumina Strips worked perfectly, giving just enough punch to the skylight so as not to diffuse light throughout the sanctuary.”

Pacific Coast Entertainment also replaced 10 chandeliers with 10 Elation Colour Pendant colour-changing LED lights with white housings for house lights. “The Colour Pendants are used as general illumination for day-to-day operations throughout the congregation and replace their older fluorescent chandeliers,” Kent said. “They afford the flexibility to add colour during special events like Easter services.” www.elationlighting.com www.mondodr.com

concerts or any other kind of worship service with speech and music. The small subwoofers fitted discreetly left and right of the altar.

The system is powered by four Crown XTI1002 DSP amplifiers, with Harmonic Design loudspeaker presets installed in the HD DSC3 system processor acting as a matrix and global equalisation unit using FIR-filters to optimise the very reverberant room acoustics.

The church sound system was renewed within just six days, meaning there was minimal disruption to the church services. www.harmonic-design.com

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FLAT IRON S C H U R C H COMPANY: LECTROSONICS LOCATION: LAFAYETTE, USA

Flatirons Community Church in Colorado has been ranked among the largest mega-churches in the US for the last several years, attracting an average weekly attendance of about 20,000 people to multiple weekend services at its three Denver area campuses. The non-denominational evangelical church upgraded the wireless microphone systems at its main campus in Lafayette at the start of the year, expanding its Lectrosonics digital hybrid wireless equipment list with the addition of 12-channels of Venue 2 receivers paired with HH handheld and LT belt pack transmitters.

“I’ve always respected Lectrosonics for its ruggedness, more than anything, and for its rock-solid reliability,” said the church’s audio director, Bryce Boynton, who first mixed church audio while in his teens before going on to engineer regularly at the annual Aspen Music Festival and work as a freelance sound consultant with a variety of churches and other venues. Bryce also held positions with Schoeps and DPA Microphones before taking a fulltime role at Flatirons Community Church.

In addition to the main 162,000 sq ft campus in Lafayette, the church has a second campus in Golden, and also holds a Sunday service at downtown Denver’s historic Paramount Theatre.

In the newly expanded wireless system at the 4,000-seat auditorium in Lafayette, said Bryce: “We have two new six-channel Venue 2 frames fitted with 12-channels of VRT2 IQ dynamic tracking filter modules. We also have an original

Venue, because we bought our first system over a year ago, so we now have three Venue receivers.

We also now have six handhelds - one HHa, the new model, and five HHs - and we have six LT belt packs.”

Boynton did his due diligence before choosing Lectrosonics. There were good alternatives available from other manufacturers, at almost the same cost, he said: “But our big needs here aren’t really crazy frequency agility and connectivity and all the bells and whistles. I just want really rock-solid wireless. And at the end of the day, the sound quality of Lectrosonics is just better.”

Not surprisingly, given Boynton’s work history, the Lectrosonics wireless transmitters are all paired with DPA Microphones products.

“The HH handhelds all have the d:facto vocal microphone capsule - it sounds so good. And with the LT belt packs we have a combination of DPA d:vote 4099 instrument microphones and the d:fine 66 headset microphones, or instrument cables, active or passive cables, right-angled or straight cables - a combination of everything,” he conitnued.

Bryce didn’t purchase the Venue 2 receivers specifically for the wide tuning range, but the capability has certainly turned out to be very useful, he said: “Lafayette, which is east of Boulder, isn’t a major metro area where I’m trying to run 40-channels - although I just did at Easter,” he laughed. “The point is, the wide tuning bandwidth of the newer system, bands A, B and C, is really helpful. It was nice at Easter, when we did

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have 40-channels, that I was able to coordinate the Lectro channels last, because they have the most agility. I don’t need for them to change frequencies in real-time, I just need them to be flexible.” For that event, especially, he added.

“The monitoring features in the latest version of Lectro’s Wireless Designer software are really helpful.”

Flatiron’s worship services typically include a couple of teaching pastors plus the church’s contemporary worship band, which can feature 20 or more singers and musicians. With so many presenters and performers involved, in addition to the high-tech audio systems that he must manage in the auditorium, Bryce is grateful for the no-nonsense operation of the Lectrosonics equipment. “I have a lot of checklist systems, a lot of things I have to go through. So I like the control that Lectro gives me. I have the LT transmitters set for 10dB of input gain, in instrument mode for the high impedance input, and you really know what you’re getting,” he said.

In choosing a wireless system, the longevity of the manufacturer was also an important consideration for this purchase, according to Bryce.

“This stuff has to last a long time. Lectrosonics is a stable company, and the product doesn’t become obsolete quickly; it has a great lifespan. I appreciate that, and that was a big factor.”

That said, he added: “The Lectro stuff won out just because it sounds the best, and it’s the most rugged. Those were the two biggest factors.” www.lectrosonics.com

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B IR C HM A N BA PTI ST CHURCH COMPANY: LSS LOCATION: TEXAS, USA

The Birchman Baptist Church is a multicultural and multi-congregational house of worship located in Dallas Fort Worth, Texas. During every Sunday worship, a full instrumental combination with lead and ensemble vocalists perform, along with a grand piano and traditional organ, 30 people in orchestra, and a 200-strong choir.

The Living Sound was hired to design and install monitor speaker system to improve the monitoring environment for the instrument players and vocalists, and to provide improved clarity for pastor’s microphone.

Living Sound provided four LSS SP220 series as floor wedge monitors on four separate mixes and two LSS WM2 coaxial wedge monitors for the grand piano and the conductor, as well as two LSS Pulce for the podi-

um. The church performers love the great clarity and the naturally balanced sound of the new system. The church is so fascinated by the LSS loudspeakers that it’s planning to replace the current monitor loudspeakers with six LSS M30.2 cabinets for the choir, which has 200 members.

“The floor monitors clarity is outstanding. We get a straight unprocessed audio feed of vocal and instrument sound, and we’ve found that we have to do almost nothing on the console to make it sound great for the monitor. The clarity and presence of the LSS loudspeaker system create an optimum environment for worship by producing a sound that’s immersive, but never distracting,” said Daniel Salls, Worship Leader for Birchman Baptist Church.

“I immediately fell in love with the LSS system,” added the pianist, Karyn Laing, about the WM2 used for monitor of grand piano. “It was a spectacular and natural sound I had never heard before in my space.”

In addition, Living Sound strongly recommended the Pulce, an extremely compact three-inch loudspeaker, and models have the powerful and clear sound for podium monitoring. “With the Pulce speaker in place, the previous complaints about ‘raspy and moody’ sound and missing words in the speaking have disappeared,” concluded Collin Hain is Director of Communications at Birchman Baptist Church.

www.lss.it

www.rgblink.com

Integrated video scaling and mixing just got even better

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T HE CH U R C H ON 6 8 COMPANY: WORXAUDIO LOCATION: NORTH CAROLINA, USA The Church On 68, South Greensboro, North Carolina offers a wealth of programmes to bring greater relevance to all who worship there. The church offers people the opportunity to participate in the Sound team, video and lighting team, the worship team - or praise band - a kids team, and more.

Music plays an essential role in church’s worship programme, to ensure the best possible sound for performers and the congregation alike, the church recently upgraded its sound system, which now draws from the catalogue of WorxAudio Technologies.

Selah Media Productions of Mount Holly, an audiovisual systems design and installation firm that caters to the worship and commercial markets while also operating a live production division, was contracted to design and deploy the new sound reinforcement system at The Church On 68. Buck Roberts, President of Selah Media Productions, oversees system design, sales, installation, and training services for the company. He discussed the project and his reasons for deploying WorxAudio’s TrueLine XL1 Line array modules - powered by the company’s recently introduced PDA Series integrated power amplifiers - along with the company’s legendary TL218SS sub bass enclosures.

“Music plays a major role in worship services at the church,” Buck reported. “There is an outstanding praise band that generates a terrific vibe, which really gets

people involved. Because of this, church management wanted a sound system that delivered a big, rich musical experience. Speech intelligibility was another vital concern. The previous sound system used distributed loudspeakers throughout the space and coverage was very inconsistent. Hence, the ability to hear clearly articulated speech throughout the room was considered extremely important. We’ve done several projects with WorxAudio line array systems in the past, so I knew that the broad horizontal dispersion pattern of these systems would make a significant difference in this space.”

The Church On 68’s sanctuary is quite large. The space is 110ft by 110ft with an exposed steel ceiling at a height of 25ft. Seating capacity is for 1,500 people.

Acoustically, the room is challenging, as Buck described: “While there is a carpeted floor, there are a lot of reflections due to parallel walls. Because of this, we treated the surfaces with acoustical panels to control the reflections.”

The WorxAudio loudspeaker setup that Buck and his crew deployed includes six WorxAudio XL1 Line elements per the left and right edges of the stage area.

These self-powered enclosures - driven by WorxAudio’s PDA Series integrated amplifier modules - are flown at a 19ft height, 4ft from the downstage edge.

For low frequency support, two WorxAudio TL218SS www.mondodr.com

subwoofers accompany the XL1 line arrays. These two dual 18-inch enclosures reside on the floor in front of the stage.

On installations of this scope, quality technical support is an important concern for many audiovisual integrators. Here too, Buck was very pleased with his WorxAudio experience. “WorxAudio / PreSonus brought Hugh Sarvis and Tony Flammia out to assist in the tuning of the space,” he said. “We absolutely love WorxAudio. We’ve been dealers for a number of years and are really passionate about the quality of their products. The company takes a very active role to ensure the success of our projects.”

With The Church On 68 project fully operational, Buck reports he has received numerous kudos: “This was the right solution for this church. I don’t think there is any other combination of products on the market that could have accomplished what we did - especially at this price point. The staff at the church is very complimentary of the system. They feel they finally have a system that delivers a world-class experience capable of supporting concerts, church services, and other significant events.”

Whitman Toland, Senior Pastor, shares Buck’s enthusiasm, “In choosing a company for our sound system upgrade, one of the most important things was not only the quality of the sound equipment, but communication and how easy it was to use once installed. We have discovered WorxAudio not only has the finest state-ofthe-art components and equipment, but also commitments to helping us provide the best experience for our congregation and our sound engineers.”

www.worxaudio.com

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CH URCH OF ST AN N E COMPANY: POLAR AUDIO LOCATION: LIVERPOOL, UK

The Church of St Anne in Aigburth, Liverpool, dates back to 1837 and is a National Heritage Grade II Listed building. Built to offer Christian worship for the occupants of the large houses built at the time in the area, as well as local farmworkers, St Anne’s congregation grew quickly and additions to the building followed in 1853 and 1913. Still a growing church, St Anne’s sits at the heart of its community offering not only a contemporary place of worship but also a space for a wide range of activities and musical performances. Modern day churches are often multi-purpose venues that require the best in AV provision - where new-builds can take this into account during the design process, listed Victorian buildings regularly present all manner of interesting challenges.

POLARaudio customer, Dan Orange of integrators Electric Orange, was invited by this forward-looking church to modernise its audiovisual facilities. St Anne’s wanted a system that could be used to present slides for notes, hymn lyrics and visual content to accompany sermons but that could also offer video facilities to be used in services, presentations and assemblies. A new PA system was required which could be combined to provide an overall audiovisual system that was both flexible and competitively priced. Multiple displays

were to be installed throughout the church to enable projection from multiple sources, including widescreen laptop and video recorder with cameras. The possibility of adding future HDMI and VGA sources also had to be taken into account.

Strict regulation surrounding the building’s listed status meant that the installation had to be as inconspicuous as possible, with minimal physical impact on the fabric of the interior. Dan consulted with POLARaudio to determine the best way ahead, taking into account the church’s budgetary and architectural constraints.

AD Systems i.Flex loudspeakers were used throughout, chosen for their acoustic performance, numerous mounting options and pleasing aesthetic. Two i.Flex 10, two i.Flex 8 and a further two i.Flex 6 loudspeakers were situated for optimum coverage. The loudspeakers were powered by MC2 T1500 and T1000 amplifiers, delivering clean sound alongside ultra-reliable performance.

The distribution of audiovisual signals in the most efficient and discreet way possible was central to the task at hand. The nature of the building and the constraints of its listed status meant that cable runs had to be kept to a minimum. A Wyrestorm SW-0501-HDBaseT presentation switcher and scaler was used in conjunction

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with five Wyrestorm AMP-001-010 HDBase receivers/ digital amplifiers, enabling all required signals to be transmitted up to 70-metres using a single Cat5 cable to connect each amplifier via its transmission-repeating function. In this way all the required signals could be routed to the displays with minimal cabling. The audio output capabilities of the amplifiers also allowed audio to routed over the Cat5 from the video location, to be extracted at the amplifier nearest the Mackie iPad-controlled audio mixer. This completed a comprehensive audiovisual scheme that offered thorough functionality, great value for money and preserved the integrity of the church.

Dan was pleased with the outcome: “Installing audiovisual systems into listed buildings always presents challenges beyond the norm and in a church, it’s especially important to achieve discretion and keep the impact to a minimum. The i.Flex speakers offered great sound and gave me options to mount them in a way most sympathetic to the interior. Their flexibility allowed me to ‘hide’ them in plain sight on the church’s beams. The Wyrestorm system reduced what could have effectively been a matrix with multiple cable runs, to a single Cat5 cable, daisy chaining both video and audio signals. Using a single Cat5 cable was also a huge

SA IN T J O HN PAU L II N ATION A L S HRI N E

Image by Paul Karalius

COMPANY: MEYER SOUND LOCATION: WASHINGTON D.C., USA

bonus in terms of the of the projector and main screen, which were mounted 8-metres above the floor. As a result, what could have been a real mission was made into a straightforward, great value and very tidy install.

As ever, POLARaudio were very helpful and visited the site in order to recommend the most appropriate PA. We went with the i.Flex loudspeakers and they look and sound great.”

Dave Ball, Business Development Manager at POLARaudio, added: “Dan had a clear idea about how he would meet the brief and deal with the obstacles presented by this kind of sensitive installation. The Wyrestorm solution really came into its own, saving a great deal of potential hassle. I visited the church to take a closer look and Dan was happy with my recommendations for the PA. Everyone concerned is very satisfied with the results and St Anne’s now has a first-class AV system that offers a high degree of flexibility without having a detrimental impact of the interior of this listed building.” www.polaraudio.co.uk

At Saint John Paul II National Shrine in Washington D.C., what formerly was an unremarkable meeting and exhibit space has been exquisitely transformed - visually and aurally - into the Redemptor Hominis Chapel. To complement the striking artwork with acoustical surroundings ideal for traditional Catholic worship, the Norwalk, Connecticut consulting firm of Jaffe Holden specified a Meyer Sound Constellation acoustic system.

“The room dimensions and ceiling height were dictated by the existing structure and couldn’t be expanded,” explained Mark Reber, Principal at Jaffe Holden. “So although the proposed chapel architecture would be somewhat reverberant, it would not have the rich, full characteristics typical of traditional Catholic churches. But by applying specific absorptive treatments together with the active acoustics of Constellation, we were able to re-balance and enhance the acoustical signature of the room. The effect can range from subtle to dramatic, and is remarkably effective.”

“When we were doing the final commissioning, the owners were blown away by how Constellation makes the room’s sound more all-enveloping yet it is completely natural,” added Andrew Nagel, Senior Consultant at Jaffe Holden. “Constellation evens out the frequency envelope, resulting in the sound qualities you would expect in a purpose built church.”

At the core of the system is a D-Mitri digital audio platform, the host DSP engine for the patented VRAS acoustical algorithms. Ambient room sensing is via 14 miniature condenser microphones, and the desired acoustical characteristics are reproduced by 18 MM4XP self-powered loudspeakers, 13 Stella-8C installation loudspeakers, and 10 MM-10XP subwoofers.

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“I was pleasantly surprised at the amount of reverberation that could be generated in the room while the system operated with absolute stability,” commented Mark. “Constellation demonstrates how far this technology has advanced in recent years.”

Three reverberation presets are available, with a baseline setting on throughout the day and for most celebrations of the Mass. Two longer reverberation settings are touchscreen-selectable for special musical events or when a capacity audience introduces greater sound absorption.

Direct reinforcement of speech and occasional music is supplied by a pair of CAL 64 column array loudspeakers with advanced digital beam steering technology. The beam angle and vertical spread are calibrated to carry highly intelligible speech to the rear pews - a distance of about 90ft - without overexciting what are effectively the live acoustics of a large church.

“Of all the beam-steering columns out there, the CALs are exceptional in both their sound quality and controllability,” said Andrew. “And despite their size, they practically disappear.”

The audio installation also includes a Symetrix Jupiter auto-mixer and Shure ULX-D digital wireless microphone systems. System integrator for the project was Onyx AudioVisual of Chesapeake, Virginia.

First opened to the public in 2001 under a different designation, Saint John Paul II National Shrine was purchased by the Knights of Columbus in 2011.

Redemptor Hominis Chapel, which features mosaics by world-renowned artist Father Marko Rupnik, was designed by LSC Design - Architects and Engineers of York, Pennsylvania. www.meyersound.com

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THE BRI DGE C H R I STIA N C HU R C H COMPANY: VITEC LOCATION: ARIZONA, USA

The Bridge Christian Church is a non-denominational church with two campuses in the greater Tucson area.

Each campus has a live band, classrooms for kids of all ages, a food court, and many different ways for congregants to be involved. The Bridge streams services between the main and satellite campuses so that worshippers can experience the service, providing both high quality video and low latency in an attempt to make the streaming experience as smooth as possible.

Traditionally, achieving The Bridge’s aim was only possible using a very expensive broadcast satellite service or one-way fibre link that is financially out of reach for most organisations. The alternative was to record the service onto a portable storage device and then physically take it to the other campus for later playback. However, the technical team at The Bridge had been looking for a more affordable way to connect the two campuses by seamlessly live-streaming services and events from the main church to the satellite, or vice versa.

To make seamless bidirectional streaming a reality, The Bridge installed a Vitec MGW Nano HD encoder and MGW Premium HD decoder at each location. Vitec offered a balanced combination of high quality and low latency that is ideal for both point-to-point streaming and two-way, interactive streaming, both of which The Bridge does regularly.

The Bridge uses the Vitec solution most often for point-to-point streaming, whereby the output of the

TriCaster system at the main campus is fed into the MGW Nano HD encoder for streaming to the MGW Premium decoder at the satellite campus. In this way, The Bridge congregants at both campuses experience the Sunday service in parallel.

The Bridge uses both sets of Vitec encoders and decoders for two-way communication between the two campuses - an important way to bring worshippers closer together during services, Bible studies, and other events. In this scenario, an easy signal-switch allows the main sanctuary to accept the feed from the satellite campus and vice versa so that people can communicate with each other. It’s as simple as selecting an input.

The simplicity of the solution was an important selling point for The Bridge. The technical team appreciated that it was easy to set up and use. Once a signal is present and the settings are adjusted using Vitec’s intuitive interface, the encoder and decoder handle the job automatically, so it’s easy to set it and forget it.

Even more critical was, of course, the ultra-low latency, a key component in seamless bidirectional streaming between the campuses. With Vitec, The Bridge experiences minimal video streaming delays. Furthermore, the pristine quality of the live HD video looks flawless on The Bridge’s IMAG screens.

What was most impressive to The Bridge’s technical team was that those high-quality, low-latency streams could be achieved over the public Internet, which can be notoriously unstable. This benefit is due in large www.mondodr.com

part to Vitec’s cutting-edge hardware - which uses advanced video compression technology to encode and stream up to 1080p60 video - coupled with Zixi Stream Protection for zero-error delivery over unmanaged networks. Being able to use the Internet rather than a costly satellite transmission service makes the Vitec solution a much more affordable streaming option.

With a Vitec MGW Nano HD encoder and MGW Premium HD decoder installed at its main campus and satellite location, The Bridge can ensure worshippers at both campuses experience the same live service simultaneously. The ability to share high-quality HD video between the campuses - and especially to do so in both directions - fosters a sense of community among the church members who might not otherwise have the chance to interact with each other. And the ability to do so over the public Internet, without delay or error, is a technical and financial win for The Bridge.

“The Bridge is committed to offering a live-streaming solution so that our campuses can experience the weekend services and other church events together,” said Jay Patton, technology operations minister for The Bridge Christian Church. “The Vitec solution allows us to use high-end technology over the public Internet, which is a huge cost savings versus satellite. And with it we can bring both locations closer together. At no time is this benefit more evident than when the two campuses are engaged with each other using bidirectional streaming.” www.vitec.com

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FIRST BAPT I ST C H U R C H COMPANY: VUE AUDIOTECHNIK LOCATION: TENNESSEE, USA

Having taken its old mono PA system as far into the future as it could go, First Baptist Church Hendersonville was ready to provide its growing congregation with an immersive modern worship experience including a state-of-the-art sound system, video and lighting.

VUE Audiotechnik loudspeakers and amplifiers were chosen for the upgrade, with installation handled by video and audio consultant/designer Technical Innovation of Nashville, Tennessee.

VUE loudspeaker arrays were installed on either side of the sanctuary, each consisting of ten al-8 high output line array systems and three al-8SB flyable subwoofer systems flown in a cardioid configuration, for coverage of the main congregation area in the 2,200-capacity room. Eight VUE al-4 subcompact line array systems were placed on the floor at the lip of the stage, to serve as front fills. The al-4’s controlled dispersion pattern (90º horizontal by 10º vertical) enables the front rows of the congregation to clearly hear; the setup’s extremely low profile doesn’t interfere with sightlines either.

Six V6-i and two V4-i VUE V Series system engines power the new system. A newly installed Soundcraft Vi3000 digital live sound console serves as the system’s front end, providing the front-of-house and monitor mixes.

“We had an old mono centre cluster system and at the time of its installation it was intended for use with a vocal mic and a piano,” said Ben Swaby, Director of Communications and Information Technology, First Baptist Church Hendersonville. “Since that system was installed, we’ve grown to the point where we have 170 choir members, a 60-person orchestra and our modern

praise band every week. We also host a lot of events, such as the Southern Baptist Convention. We needed an audio system that would help us leap forward. The people at VUE and Technical Innovation were the only ones confident enough to say ‘we can do this whole thing by creating a system that produces a stereo image.’ That was one of the biggest selling points right up front because we wanted that stereo image due to how much fuller and richer it would sound.”

Balancing the al-8’s enhanced high-frequency reproduction are both low and mid-frequency drivers, developed specifically for use in the al-8. Two eight-inch low-frequency transducers feature three-inch voice coils for increased power handling, while a quartet of four-inch drivers with Kevlar cones and Neodymium magnet structures handle the midrange. VUE’s lateral acoustic shade acoustically ‘moves’ the midrange drivers closer together to optimise directivity at their upper operating range for a smooth transition to the HF driver across the entire coverage area.

The antiquated wedge monitors from the old system were replaced with six VUE a-8 compact full range systems that feature a pentagonal shape appropriate for use in horizontal or vertical orientation. The a-8 is a two-way, passive design with an eight-inch, Neodymium low-frequency driver and a compression driver coupled to a 70º x 55º rotatable horn. Swaby says the a-8s, while being significantly smaller, “blow away the old wedges” the church had used up to this point. Two a-10 loudspeakers were also installed on each side to cover the balcony stairway area.

“Technical Innovation introduced us to VUE,” said Ben. “There were probably about 25 factors we looked www.mondodr.com

for while we were looking into the systems. We wanted clear, accurate reproduction of sound throughout the sanctuary across a wide frequency range. We compared other systems to the VUE loudspeakers and VUE was consistently the best throughout the entire sanctuary. Our sanctuary has a pretty long response time in terms of echo, and without any treatment VUE produced the best response and intelligibility.”

Ben adds that a deciding factor when picking the system was the high-frequency compression driver in VUE’s al-8, which employs its proprietary Truextent beryllium diaphragm. When compared to traditional diaphragm materials, such as aluminium or titanium, beryllium possesses a very high stiffness-to-mass ratio.

This characteristic dramatically reduces mechanical deformation or ‘breakup’ of the diaphragm under stress and shifts the diaphragm’s resonant frequencies well beyond the audio range. The result is smoother high-frequency response and increased definition even at much higher SPLs than is possible using traditional materials.

“A big goal for us is intelligibility,” said Ben. “If you come in to worship and what you hear is unpleasant to your ears, then you close up as a person. We don’t want people shutting down and leaving exhausted because the sound is unpleasant. Many people came to me after the install and said ‘I can’t recall the last time I remembered a sermon a week later. I don’t know what you have done but it has been great. I am retaining the word and the gospel.’ As a church, that is what we want to do.” www.vueaudio.com

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Evolution Series A series of high-intensity touring and installation loudspeakers, engineered for even coverage, outstanding control and unforgettable audience experiences.

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Image © Emmalee Schaumburg / Schaumburg Photography

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PL E ASAN T VALLE Y BA PTIST C HU R C H COMPANY: CHROMA-Q LOCATION: MISSOURI, USA

Missouri’s Pleasant Valley Church has invested in 120 Chroma-Q Inspire colour-mixing LED house lights, to provide an immersive worship environment for its congregation, and dramatically reduce the venue’s running costs.

Pleasant Valley Baptist Church (PVBC) is on the north side of the Kansas City metropolitan area, and has a weekly attendance of around 4,000 people. The church has existed since the 1940s at various locations, but was purpose-built at its current location in 1997.

PVBC has three unique styles of worship service happening every weekend in the same room - the main Worship Center - meaning that flexibility and reliability of the lighting system is very important.

Kansas City-based worship lighting installations specialists, Stark Raving Solutions provided an LED house light shootout in collaboration with North American lighting distributor, A.C Lighting Inc., with a view to replacing PVBC’s old 500W incandescent house can lights, which had been installed in 1997.

“When demoing and comparing house lights with DMX control from multiple manufacturers, the Chroma-Q Inspire fixtures totally hit the mark for price and functionality,” said Stark Raving Solutions’ Marcus Hammond, who was also Technical Director at PVBC from 2004 - 2014.

“Some of the more traditional services have only white house light, while the more progressive or

contemporary services use single colours - or an entire spectrum of colours - across the whole room, to provide the congregation with an immersive worship experience.”

Providing a range of beautiful whites, soft pastels and bold saturates all from a single fixture, the Chroma-Q Inspire’s fully homogenised lens offers a choice of stunning mixed colours, with no unsightly colour separation shadows.

“Having a smooth dimming curve down to 0% was a huge factor in PVBC choosing the Inspires,” Marcus continued. “The goal was to have a product that felt like an incandescent fixture at low levels, but would not blink off at a level of 5% or 10%, like other solutions we’ve tried.”

The Inspire fixtures also met the criteria for an energy-efficient solution that would provide reduced maintenance and running costs.

Marcus explained: “Following an LED retrofit of all types of lighting across the church’s entire 200,000 sq ft campus - of which the Inspire house lighting in the main Worship Center was the largest wattage differential from old to new fixtures in the entire project (the house light system’s energy consumption has been reduced by over 75%) - the church has seen a monthly reduction in energy consumption of more than $8,000 per month. The running cost savings of having LED lighting for the whole campus are therefore huge, equating to a potential annual saving of up to $100,000.”

www.mondodr.com

In addition to the LED lighting’s long-term energy savings, the church’s local energy utility company offered a significant rebate program, at $1/W differential per fixture. The Inspire is a 120W fixture, replacing a 500W incandescent fixture, so the rebate was around $380 / fixture multiplied by (120) fixtures. A rebate of more than $45,000 for the Inspire lighting alone.

By incorporating industry standard DMX-512 control, the Chroma-Q Inspire range is able to integrate seamlessly with an existing stage lighting infrastructure and can be controlled by any DMX-supported lighting console, to provide seamless lighting from stage to audience.

“The option for colour has been beneficial for special events, such as the ‘4th of July Patriotic Service’, and special music-only nights that are an intentionally immersive worship experience for the congregation,” Marcus explained. “The fact that the Inspire is also convection-cooled was beneficial to the church. They wanted to minimise the need for future repairs or regular maintenance, such as cleaning filters. It also means the fixtures are totally silent during services.

“We’ve been highly recommending the Inspire since the product was made available. Stark Raving Solutions knows the quality and reliability associated with the Chroma-Q brand, and the Inspire is a great example of this.” www.chroma-q.com

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BATH ROA D M E T HO D I ST CHURCH COMPANY: PHILIPS SELECON LOCATION: BATH, UK

The task of providing a reliable, tasteful and low energy house and performance lighting system to meet the demands of the modern multi-functional Bath Road – Methodist Church fell to National Stage Technology.

Noel Hunt of Bath Road Methodist Church presented National Stage Technology with the challenge, he said: “The combination of inaccessible halogen flood lights, sodium panels and fluorescent strip lights were becoming increasingly expensive to maintain and run.

Limiting the impact on the aesthetics of the building was also an issue to be considered.”

To address the requirements for day to day use of the

space - which includes regular services and specialist functions such as events and presentations - National Stage Technology worked very closely with lighting manufacturer Innovation LED to create a bespoke lighting panel that would fit straight into the available space without the need for any packing or rebuilding of the ceiling grid. The Panels offered high LUX output, with simple DMX control over colour temperatures and intensities, allowing subtle changes to the ‘feel’ of the church when in use and offering warm looks for the winter and daylight effects for the summer.

To address the requirement for illumination of the dias

VAL LEY BAPT IST CH U R C H COMPANY: J. R. CLANCY LOCATION: CALIFORNIA, USA

Valley Baptist Church in Bakersfield, California, provides three worship services every Sunday in its 1,800-seat Worship Center - two with a choir and orchestra, and a third with a praise band playing guitars and drums.

“We wanted a way to update the stage look between the two services without losing the ability to use video projection screens upstage,” said Jason March, Director of Engineering at Valley Baptist. “We wanted a backdrop that would come down and separate the orchestra and choir from the praise band, and we wanted our screens

to come forward in front of all the backdrops.”

Idibri Design began the renovation by replacing the screens with two 5.4-metre by three-metre LED display walls, increasing the system’s movability. The challenge, however, came with the need to reduce the stage size to make the space more intimate for the contemporary service. The church needed to move the screens downstage 8.5-metres, and then lower them to 2.4-metres above the stage.

To create this custom solution, Idibri and Pacific West Sound turned to J. R. Clancy, Inc. “Clancy had done www.mondodr.com

and choir seating areas, National Stage Technology installed eight Philips Selecon PL Fresnel lanterns which allow a soft and subtle directional spot. The lanterns are powered by Selecon’s patented LED colour engine which offer a vast palette of colours for users to choose from.

“Throughout the project we were highly impressed by the professionalism and knowledge of all the staff. The end result far exceeded our expectations,” said Noel.

Project Manager from Nation Stage Technology, Mark Wiggins concluded: “We were delighted to present an elegant and bespoke solution to the client.” www.seleconlight.com LED gantry systems that moved up and down or in and out, but this one had to do both,” said Chris Berendsen, Installation Manager at Pacific West Sound. “It was truly unique.”

“We designed a way for the screens to travel upstage and store flush with the back wall,” said Patrick Finn, Product Manager with J. R. Clancy. “It required a custom hoist and gantry system, using components of our PowerLine line shaft hoist - but configured in a custom way.” Clancy’s SceneControl 5200 control console serves as the controller for the LED gantry system.

With the system in place, Valley Baptist can transform the entire stage in minutes. “If you can imagine, we actually strike most of the orchestra pit, and we do a whole audio changeover between services - in about 15 minutes,” said Jason. “Having the screens move forward has improved the dynamic of our services, without a lot of extra effort.

The LED screens and movable gantries have allowed us to put them wherever we want, without worrying about how the projections will appear.”

The choir loft in the original facility was a permanent, concrete-and-steel structure. In the 2015 remodel, Valley Baptist’s music minister suggested that updating the loft to a portable option on a flat stage would offer more flexibility. A four-tier StageTek riser system was purchased from Wenger for the choirs, which number from 75 to 90 voices.

“The simplicity in reconfiguring the StageTek risers is great, although we don’t do this very often,” explained Jason. “Several weeks ago we moved a couple sections of the first tier forward to make a square drum riser for a contemporary band. When we’ve needed reconfigure them, it’s been easy to do.” He noted they were initially concerned about footfall noise, so they had all four stairways carpeted. www.jrclancy.com

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Every January, the industry gathers in California to get the business year started.

And with a new focus on professional live and touring sound, plus dedicated live sound and pro audio seminars, there’s more business to be done than ever before.

To learn more and to register for badges visit: namm.org/thenammshow/2017

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• Page 94

• Page 88

IN FOCUS

• Page 102

EMEA YOUNG VIC THEATRE LONDON

G LIVELAB HELSINKI

PLAYHOUSE THEATRE DURBAN

LING LING MARRAKECH

BILLIONAIRE MANSION DUBAI

THE AMERICAS JEFFERSON BRIDGE INDIANA

MY WAY • Page 112

• Page 92

• Page 68

MEXICO CITY

VALOR CHRISTIAN HIGH SCHOOL COLORADO

APAC NEWPORT PERFORMING ARTS THEATER MANILA

JENJA JAKARTA

66 IN BRIEF - EMEA

White Light work closely with GDS to revitalise the lighting at the Young Vic.

Located on The Cut near London’s South Bank, UK, the Young Vic is one of the capital’s most exciting theatres, showcasing work and artists from across the globe. The venue recently decided to replace the house lights in the main house space and approached White Light to oversee the installation.

Chris Harris, White Light’s Business Development Manager, commented: “The main house at the Young Vic is really impressive, spread across three floors with a capacity of up to 550. Every one of these seats needs house lighting, both for practical purposes as well as adding to the mood of the production. The original house lights were GU10 Birdies and had been in there for 10 years, so it was definitely time for a change.”

The project was overseen by the Young Vic’s Head of Lighting, Nicki Brown, and Senior Lighting Technician, Nicole Smith. Nicki stated: “A major problem

was that the previous fittings simply did not provide enough coverage for all of the seats resulting in some being lit and others being missed. To counter this limited coverage, we would have to run extra birdies in from our theatre stock, which became problematic - especially as we had to do it in a different configuration for each show.”

White Light worked closely with GDS to improve the original set-up. This included installing a series of GDS MR16s as part of the inner and outer ring.

With the MR16 being a compact LED unit that only consumes 10W, it was the ideal product to provide the illumination for the house seating. White Light installed 60 of these on the first floor balcony alone. To control the lighting, White Light picked up the power from the existing circuits and used this to run new data across all three levels. This was all controlled by LSC DMX splitters.

www.mondodr.com

67 IN BRIEF - EMEA

Due to the layout of the main house space, the house lighting had to integrate with the theatrical lighting rig. Chris stated: “On the bridges, where the theatrical lighting rig is positioned, there were 12 ETC Source Four PARs. These were positioned to light the first three rows of the audience. Therefore we had to find a replacement that was a similar size to the Source Four PAR, as anything larger would block the main lighting rig and potentially cause patches on the stage”.

After demo’ing a range of lights, it was decided that the ETC Colour Source PAR were the ideal solution. Chris added: “The ETC Colour Source PARs are compact yet extremely powerful. They also produce a range of colours with the touch of a button meaning there doesn’t need to be any jarring between the house lights and the pre-set lighting on stage. Rather, the two can blend

seamlessly.”

White Light also worked with GDS to formulate a solution for the exit signs.

Chris stated: “A problem with many productions is that the exit signs are often both visible and bright during a performance. To solve this, we created custom-made exit signs using Philip Payne signage with GDS Drivers that could be remotely dimmed using DMX. This means that the show can achieve a perfect blackout if needed. Similarly, we created portable exit signs that could be moved around according to the production’s requirements, working with the bigger sets that might use the most of the space.”

Overall, the installation took three weeks to complete and, since then, there have been two shows in the space utilising the new setup. www.whitelight.ltd.uk

www.mondodr.com

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G LIVELAB HELSINKI, FINLAND EUROPE, MIDDLE EAST & AFRICA

When Livelaboratorio Oy set about offering a fresh take on the live music venue, the importance of a superior sound system became its top priority.

The new organisation - owned by The Finnish Musicians Union - aimed to tackle a challenging industry climate by bringing an unrivalled audio experience to the scene. www.mondodr.com

G Livelab is a stunning 150-seat venue in Helsinki, which is designed to cater to all musical genre. It opened its doors at the end of August. The venue is fully equipped with a flexible bespoke Genelec sound solution, including the first Finnish install of the new 1236A SAM studio monitors, as well as the 8430A IP studio monitors, the first commercially available audio-over-IP studio monitor.

“As we have seen a slight overall decline in music club audiences in Finland and elsewhere, we wanted to dig a little deeper into what the reasons might be and what could be done to improve the situation,” said Ahti Vänttinen, Chairman of the Board of Livelaboratorio Oy. “First of all, we were convinced that music hasn’t turned bad. Instead, the level of expectations of the audience has probably gone up in many ways. People are used to a pretty good audio quality, as a lot of us go around wearing headphones. Many seem to be unhappy with the general standard of live audio today.”

Noting these raised standards in audio, Livelaboratorio Oy first examined what options were available to them in order

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to deliver an experience that would exceed expectations. “We were not happy with the commercial live audio solutions offered by the major players of the business, as their main objective seems to be to focus as much sound pressure as possible to far away from the loudspeakers, i.e. to cover the whole listening area with as few loudspeakers as possible and do it as cost-effectively as possible. Our starting point was only the best possible sound quality for the whole audience. We soon realised that the logic of the live audio systems will not work, as we would need to provide the audience with direct sound, not reflections.

The only way to do this seemed to be with a lot of loudspeakers arranged so that everyone in the audience could get - as much as possible - a near-field loudspeaker exposure,” Ahti continued.

Having set such exacting requirements, the next question for the venue was to decide which loudspeakers to install, and Livelaboratorio Oy felt that Genelec was the perfect fit for its audio ambitions.

“Musicians seem to consider Genelec an industry standard which they are used to

listening to, especially in recording studio situations,” added Ahti. “Genelec stands for neutral, transparent sound, which suited our idea of leaving the decision of how the music should sound like to the musicians. In addition, many music professionals involved in the creation of G Livelab had been using Genelec for a long time in various situations. As there is a high emphasis on design in G Livelab, we also think that Genelec loudspeakers represent Finnish design in a great way.”

The install took full advantage of Genelec’s extensive range, including the 8430A IP studio monitors, which contractors Bright Sales & Installation Oy selected.

“The Genelec 8430 IP SAM studio monitors with AES67 network offer a huge variety of possibilities for sound designers in the newly opened club G Livelab in Helsinki,” said Santtu Sipilä, Head of Installation of Bright Sales & Installation Oy.” The original specification for the club’s ‘Lokki’ virtual acoustic system was with Genelec 8030B studio monitors, but the networked approach quickly became the first choice for audiovisual contractor Bright Sales www.mondodr.com

& Installation Oy. The ‘Lokki’ virtual acoustic system was designed by Tapio Lokki, a professor at Aalto University.

“The design team at Bright has a long history with audio networks including Dante and Q-Lan, both of which to soon have AES67 compatibility. Easier cabling and integration and future possibilities to route any audio channel to any loudspeaker were the key decision points in choosing the networked loudspeakers.

The future of installed audio is in the network and it is great to see Genelec as one of the first manufacturers to offer networked loudspeakers for these kinds of applications,” said Ahti.

Whilst the potential to create a new live music experience for Helsinki was an exciting opportunity, there were a series of challenges to overcome in order to achieve such a bold and innovative install, including a need to change perceptions.

“The first major challenge was the attitude of the live audio gurus we initially talked to. Some of them said that this cannot and should not be done. A common object of mistrust was the directional capabilities of Genelec loudspeakers. Later that

• Above left The huge Genelec 1236 monitors flank the stage.

• Above right The bar area.

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TECHNICAL INFORMATION SOUND 2 x Genelec 1236 monitor; 14 x Genelec 1237 monitor; 42 x Genelec 8430 monitor; 4 x Genelec 8030 monitor; 7 x Genelec 4020 install loudspeaker; 6 x Genelec G One active loudspeaker; 2 x Genelec F One active subwoofer; 1 x Yamaha CL5 mixing console; Yamaha Rio Series A/D converters; QSC Core 250i processor with IO Frame 8S LIGHTING & VISUAL 10 x Ayrton ROLLAPIX fixture; 12 x Ayrton NANDOBEAM S3 moving head; 14 x Arri L5C fixtures; 84 x TDE Moodspot RGBW lighting fixture; 3 x Chroma Q ColorOne 100 RGBA fixture; 2 x ETC Paradigm control processor; 1 x ETC Paradigm PT-S7-PE touchscreen; 1 x ETC Paradigm four fader, seven button station; 1 x High End Hog4PC + Hoglet4 lighting console; 1 x Luminex EtherDMX8 MKII Ethernet node; 2 x Luminex EtherDMX2 MKII/Truss Ethernet node; 3 x Luminex DMX512-A 2.10 Hub DMX splitter www.glivelab.fi

proved to be entirely unfounded,” said Ahti. “Another challenge was making sure there was enough headroom for amplified rhythm music, especially the drum set.

In the end, it was a surprise how much power is needed to reproduce in sufficient SPL a rhythm section. Although the multi-loudspeaker system with delay lines makes it possible to keep the overall volume lower than usual, we still needed to use the biggest main loudspeakers Genelec makes.”

The virtual acoustics system at G Livelab is unlike any other in existence. It consists of 40 Genelec 8430 IP SAM loudspeakers, eight of which are on the stage area and 32 in the audience area. The system takes input from six microphones in the ceiling of the stage or from the stereo auxiliary output directly from the desk.

Thus, the virtual acoustics can be used with purely acoustic acts, but also with amplified acts together with the normal www.mondodr.com

PA system. The input signals are fed to a custom made 64-channel time-variant feedback delay network that generates natural reverberation, which is routed to the 40 virtual acoustics loudspeakers.

The outputs are delayed according to the position of each loudspeaker to guarantee the proper localisation of sound sources on the stage. The reverberation can be adjusted so that the space sounds like anything from a bar environment all the way up to a cathedral. In addition, the levels of reverberation on the stage and in the audience area can be separately adjusted to optimise both the support for the musicians and the spatial sound for the audience.

When the virtual acoustics system is properly used, it is imperceptible to the spectators of a live gig. The space merely feels live and intimate to those watching on, while the focus stays on the act on the stage. The virtual acoustics help the

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INSIDER INSIGHTS NAME: Oskar Krogell JOB TITLE: Project Designer, Bright Sales & Installation LIKES ABOUT TECHNOLOGY: Lighting control for theatres and venues, both show and venue lighting.

DISLIKES ABOUT TECHNOLOGY: Products not actually doing what the spec says the product should do.

THE NEXT BIG THING IN TECHNOLOGY WORLD: Lighting control is becoming more and more advanced and the knowledge of users and programmers makes it possible to create even more stunning visual installations with lights.

mixing engineers to keep the main PA signals clear, as the system allows the distribution of reverb equally to the whole audience area. Therefore, each act from a string quartet to a hard core metal band can be optimally mixed to fit in to the venue.

Theatre Consultant, Tapio Ilomäki, from Akukon Oy, summarised the system: “The signal path of the sound system is fully digital from mic preamps to Genelec monitors. In addition, it is fully possible to connect an analogue audio sound console in parallel with the digital.

“The console and the A/D converters are Yamaha CL5 and Rio Series. The analogue console is connected to the system via Klark Teknik mic splitters and RIO A/D converters. Broadcast companies can easily use this system and connect also by using a MADI interface. For example, a Finnish national broadcasting company has been interested in this. At the moment the system supports 56 channels but in the near future the capability may increase to 96 channels.

“The system processing and routing are handled via QSC’s DSP. The QSC also works as a processor in audiovisual use when the console is not needed.

For people with hearing problems, the signal distribution has been made with Sennheiser’s IR system, which can also be used for interpretation purposes.

“The audio signal is divided into the main audience area. Genelec monitors are also used backstage, in office spaces as well as in the toilets, all delayed to match the main PA system.

“Both audio and HD quality video can www.mondodr.com

be recorded as multi track versions to 64 channel hard disk. This material can be sent to the artist or performer as a memory or to be finished with post production work. Audio and video can also be distributed online via a live Pobit system. Thus for example, sitting on the terrace, one can watch performances with their own smart phone or tablet.

“The venue is also equipped with a 5.1 sound system for watching movies. The screen is naturally perforated to enable the best audio experience. The venue’s microphone selection covers all needs starting from small classical or acoustic performances to large scale big band recordings.

“The video system of the venue is implemented with HD resolution but the infrastructure allows also 4K. The video system enables the use of two different stage spaces for presentations. In addition to that, the performers’ audio and video can be broadcast outside the venue. All the cameras fulfil the needs of broadcast.

The HD video is distributed to backstage and office spaces as well.

“Acoustically the venue is almost fully disconnected from the rest of the house and outside world. The acoustics of the venue is reasonably neutral throughout the audience area. This has been tested by listening to a natural violin sound in all listening places. The sound stays neutral and carries nicely into every last corner of the venue. The Genelec SAM monitors with their automated calibration system have been a great help with this as well.”

The end result is a venue which delivers a live sound unlike any other. The

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• Above left The venue makes use of Genelec monitors in every corner of the space.

flat, neutral response of the Genelec loudspeakers is perfectly complemented by the venue’s interior, which was designed by Marco Casagrande, and incorporates urban materials - including brick, concrete, asphalt, glass, copper, steel, leather and ceramics - into its stylish design. G Livelab now proudly sits within the rich cultural landscape of Helsinki, and makes a unique contribution to its music scene by hosting a string of stellar acts - both Finnish and international.

“After a couple of weeks of performances with different types of music from classical, to pop, jazz and rap, the audience response has been very enthusiastic,” added Ahti.

“Music professionals say they have never heard anything like this in a live setting, where you can hear all the nuances of music even in the last seat in the bar. The rest of the audience are also noticing the difference, as they can hear everything wherever they sit, and the music does not need to be as loud as it very often is. There are also other types of benefits.

Even discussion during a soft or acoustic performance is not as annoying as it might be, as there is usually a loudspeaker closer to your ear than those who speak,” he continued.

As well as the audio solution, Bright was also in charge of supplying the lighting technology for G Livelab, which was

designed by LD, Teemu Nurmelin. The stage area features 10 Ayrton ROLLAPIX fixtures mounted on the back wall to create a ‘wall of light’ effect, plus 12 Ayrton NANDOBEAM S3 moving heads and 14 Arri L5C fixtures for front stage lighting.

Elsewhere in the seating areas, bar and toilets, 84 TDE Moodspot RGBW lighting fixtures have been installed to create the desired atmosphere at any given time. Three Chroma Q ColorOne 100 RGBA fixtures are also in place for the instrument wall.

The lighting is controlled via an ETC Paradigm system together with a High End Hog4PC + Hoglet4 lighting console. ETC Paradigm is the house light controller for the colour-changing lights and can also be used the control stage lights for straightforward stage performances. “For more advanced lighting shows the lighting is run through the console. The DMX data from Paradigm and the lighting console is on the network with sACN so the change from controlling the lighting from one to the other is very simple and doesn’t require anything to be repatched in the cabling. The lighting presets stored in Paradigm can also be snapshotted from the lighting console. So a lighting look is build with the lighting console and snapshotted to the Paradigm controllers www.mondodr.com

memory,” said Bright Project Designer, Oskar Krogell.

“The ETC Paradigm control is also integrated with the QSC system so that the lighting can be controlled from the QSC iPad controller together with sound and video. The ETC Paradigm works well for the venue because the mood of the venue can be changed easily from Paradigm via QSC’s iPad control or Paradigm’s own touchscreen.”

Concluding Oskar said: “The end result of how the venue looks like is really stunning and what can be done with lighting to change the mood complements the interior design of the venue.”

“Personally, as the one responsible for the whole project and especially the loudspeaker concept, I couldn’t be happier. At some point there was some uncertainty and stress, as the final result was not yet at hand. We were clearly taking a risk, as nothing quite like this had been tried before. But now I think we can say that we changed the rules of live audio to some extent. I hope this can serve as a model for future development in other venues.

“A great big thanks to the guys at Genelec for their patience and flexibility as we worked our way towards the perfect end result. It took some time and effort, but was definitely worth it.”

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76 VENUE - EMEA

THE PLAYHOUSE THEATRE DURBAN, SOUTH AFRICA EUROPE, MIDDLE EAST & AFRICA

The venerable Playhouse Theatre Company in Durban, Kwa-Zulu Natal, South Africa, recently issued two major tenders for complete upgrades to its audiovisual systems. Local distributor, Electrosonic made the winning bid and reinstalled the huge upgrade at The Playhouse Theatre, as James Sey reports. www.mondodr.com

The tenders were for the supply of new theatrical lighting fixtures and for the supply of a large, stage-set LED screen.

Along with the tenders, the Playhouse management called for demonstrations of the products that they required. One of the country’s most experienced theatrical lighting designers, Denis Hutchinson, was called in by the theatre to consult on the submissions and demonstrations and ultimately advise on the best options.

With Denis and the technical theatre crew under the auspices of Dylan Heaton driving the process, all local distributors of the products required were invited to show their particular portfolios, allowing the theatre to make a decision based on what they had seen and experienced first-hand from different suppliers. This demo process formed part of the tender requirement. Denis said: “The tender process is an arduous one, and in this case was especially complicated. We couldn’t simply compare the brightness or output of different products, especially when it came to the LED screen. For tender situations like this, a shootout is an essential part of the process to compare what products will do in an actual theatrical situation - for example,

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• Above left Electrosonic purchased more Martin

by Harman fixtures and initally buying Martin Professional - as it was then known fixtures more than 10 years ago and being happy with their performance.

• Above right The impressive 12.5-metre by sevenmetre LED videowall.

if they have smooth dimming curves, an essential part of the theatrical lighting mix. The shootout process also enabled us to demonstrate to the whole of the tender committee of the theatre what the fixtures, LED screen and consoles could do, since some of them are not technical experts. In the current market, we can’t simply go with a particular brand, because the products in the market are all much closer to each other in terms of functionality and reliability. So, factors such as relationships with the theatre technical staff, the reliability of product support and backup, were crucial factors.

Some of these factors are obviously more difficult to score on a tender scorecard than others. With the eventual award of the tender, a big factor was the total cost of ownership of the new product, not just the list price comparison - for example, would extra training be required for theatre staff? The fact that staff was familiar with existing equipment was therefore important.”

After a thorough process of assessment and discussion involving the input of many different suppliers, the decision was made to award prominent local distributor Electrosonic SA both tenders

For the significant first tender of the two, the supply of the Playhouse’s theatre lighting fixtures, a big part of the decision to go with Electrosonic was the fact that the theatre had been working with a previous purchase of Martin Professional lighting for more than 10 years. These fixtures had proven their reliability and their sophistication and engineering excellence as far as the build quality and optics were concerned. The technical management at the theatre were therefore confident that newer Martin fixtures would give them at least a further 10 years of the superb theatrical lighting that they required.

With the fixture upgrade went a new look at the lighting control systems too.

Similarly, the theatre’s logic was that they should replace control systems with newer versions of the kit that had worked for them previously. So both the theatre’s lighting control systems were upgraded on this basis. When it came to lighting their cycloramas with an LED based fixture, the ETC Lustr Series 2 with cyc attachment proved to be the most suitable. Some of the key criteria for theatrical productions in such control systems focus on colour mixing, output www.mondodr.com

and innovative optics - all catered for by the levels of engineering specialisation and service support ETC, as a world-class theatre technology supplier, could offer In fully satisfying the tender requirements, Electrosonic supplied and installed a range of high-end lighting equipment. Two Martin M6 lighting controllers with extended DMX Universe licence packs took their place alongside two Luminex MK8 Art-Net units for DMX data distribution. In the rig itself, 24 Martin by Harman MAC Quantum Profiles offered the requisite white LED lighting source, while another 20 Martin by Harman MAC Aura XB fixtures catered for the sophisticated needs of theatrical colour mixing with the requisite levels of brightness. An impressive rig of 40 ETC Lustr Series 2 with cyc attachment catered for the lighting of the Playhouse cyc with the spread of light thought the full spectrum that productions require.

The second aspect of the tender process required the supply of a stage LED screen. The installation of such a screen was a serious creative decision for the theatre’s management, since it was their first foray into equipment to allow

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“The lighting rig is now state-of-the-art for any theatre in the country, and we are especially proud of our part in installing the first LED wall we have put into a theatre.�

for video scenery as a part of their production design. Again, they decided to go with the best demo performance in the tender process, along, obviously, with the best priced product. The tender requirements included a black-backed high contrast LED to be used, as well as all rigging and cobbling to be black, allowing the complete wall to be hidden in the darkness of the stage when it is not used. When it does come to life therefore, it is theatrical illusion at its finest.

The screen solution eventually settled

on is the biggest LED wall installed into a theatre in Africa, comprised of 175 ShowLED X Series indoor 6.25mm extruded 500x1000 black LED panels making up an impressively huge 12.5-metre by seven-metre LED videowall.

This massive piece of equipment is fitted with two Kramer 4LC fibre cables with transmitters and receivers to send HD video from the FOH control booth to the LED wall on stage. A Kramer video distribution system is installed for

splitting and processing the video used for the wall.

Controlling and sending signal and content to the wall are two Green Hippo AMBA media servers, supplying a full HD signal and capable of 4K quality.

With the use of these particular media servers the theatre technical crew are able to control the content displayed on the wall with the compatible Martin

by Harman M6 lighting controller programmed in via DMX / Art-Net. Safety and security is a key concern with

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80 VENUE - EMEA

FRANÇAIS

La vénérable Playhouse Theatre Company à Durban, Kwa-Zulu Natal a récemment lancé deux appels d’offres majeurs pour des améliorations complètes à ses systèmes audiovisuels. Les appels d’offres consistaient à l’approvisionnement de nouveaux appareils d’éclairage théâtral et d’un écran LED géant de scénographie. L’un des concepteurs les plus expérimentés d’éclairage théâtral au pays, Denis Hutchinson, fut appelé par l’administration du théâtre afin de consulter sur les soumissions et les démonstrations et finalement de conseiller sur les meilleurs choix. À la suite d’un processus rigoureux d’évaluation et de discussion impliquant l’avis de plusieurs fournisseurs, il y a donc eu décision d’octroyer les deux contrats au distributeur local de renommée Electrosonic SA. L’entreprise a fourni et installé une gamme d’appareils d’éclairage sophistiqués. Deux contrôleurs d’éclairage Martin M6 avec des lots de licence prolongée DMX Universe utilisés en conjonction avec deux unités Luminex MK8 Artnet pour distribution de données DMX. Dans le dispositif-même se trouvent des appareils Martin Mac Quantum Profiles, Martin Mac Aura XB et ETC Lustr Series 2’s. Un total de 175 panneaux LED noirs d’intérieur extrudés 500x1000 de marque ShowLED X Series 6.25 constitue un mur vidéo LED de grandeur impressionnante mesurant 12.5-mètre x sept-mètre. Un système de distribution vidéo Kramer est en place pour diviser et traiter la vidéo utilisée pour le mur. Le traitement et l’acheminement du signal et le contenu au mur comprend deux serveurs média Green Hippo AMBA, fournissant un signal « Full HD » et capable de fournir une qualité 4K.

DEUTSCH

Die ehrenwerte Playhouse Theater Kompanie in Durban, Südafrika, hat kürzlich zwei bedeutende Aufträge für eine komplette Erneuerung ihrer audiovisuellen Anlagen vergeben. Teil der Ausschreibung war die Einrichtung einer neuen Theaterbeleuchtung sowie die Installation einer großen LED-Wand für den Bühnenbereich. Denis Hutchinson, einer der erfahrensten Lichtgestalter des Landes, wurde engagiert, um die Eingaben und Demos zu begutachten und das Theater bei der Auswahl der unterschiedlichen Optionen zu beraten. Nach gründlicher Begutachtung und intensiver Diskussion, die auch Vorschläge verschiedener Anbieter beinhaltete, entschied man, beide Aufträge dem prominenten lokalen Unternehmen Electrosonic SA zuzusprechen. Die Firma lieferte und installierte eine Reihe von High-End-Lichtequipment. Zwei Martin M6 Lichtsteuerungen mit erweiterten DMX Universe Lizenzpaketen fanden ihren Platz neben zwei Luminex MK8 Artnet Einheiten für die Verteilung der DMX-Daten. Zur Ausstattung gehören auch Martin Mac Quantum Profiles, Martin Mac Aura XB Scheinwerfer und ETC Lustr Series 2 Leuchten. Eine Gesamtmenge von 175 ShowLED X Series indoor 6.25 mit 5000x1000 großen schwarzen LED-Panels bilden eine beeindruckende 12,5 mal sieben Meter große Videowand. Ein Kramer Videodistributionssystem wurde eingerichtet, um das von der Wand verwendete Signal zu splitten und zu verteilen. Zwei Green Hippo AMBA Mediaserver kontrollieren und senden die Videoinhalte an die LED-Wand und liefern dabei ein Full-HD Signal, das 4K Qualität ermöglicht.

ITALIANO

Il venerabile Playhouse Theatre Company a Durban (Kwa-Zulu Natal) ha recentemente pubblicato due offerte importanti per un completo ampliamento dei propri sistemi audiovisivi. Le offerte riguardavano la fornitura di nuovi apparecchi di illuminazione teatrale e la fornitura di un grande schermo a LED da palcoscenico. Uno dei più esperti lighting designer teatrali del paese, Denis Hutchinson, è stato chiamato dal teatro come consulente per dei consigli e delle dimostrazioni e per dire l’ultima parola sulle migliori opzioni. Dopo un accurato processo di valutazione e discussione che coinvolge l’introduzione di diversi fornitori, è stata presa la decisione di assegnare entrambe le offerte ad Electrosonic SA, un importante distributore locale. La società ha fornito e installato una gamma di apparecchi di illuminazione di fascia alta. Due mixer luci Martin M6 con pacchetti di licenze estese DMX Universe sono stati posizionati accanto a due unità Luminex MK8 Artnet per la distribuzione dei dati del DMX. Nell’impianto stesso ci sono delle Martin Mac Quantum Profiles, delle Martin Mac Aura XB e delle ETC Lustr Series 2. Un totale di 175 ShowLED X Series da interni 6,25, estrusi dai pannelli Led neri da 500x1000, compongono l’enorme schermo Led a muro12,5m.x7m. Un sistema di distribuzione video Kramer è stato installato per la scissione e l’elaborazione del video utilizzato per la parete. Per il controllo e l’invio del segnale e del contenuto alla parete sono stati utilizzati due media server Green Hippo AMBA, fornendo un segnale Full HD e in qualità 4K.

ESPAÑOL

La respetable Compañía de Teatro Playhouse en Durban, Kwa-Zulu Natal emitió recientemente dos licitaciones para completar las actualizaciones de sus sistemas audiovisuales. Las licitaciones correspondían al abastecimiento de nuevos artefactos de iluminación teatral y a la provisión de una gran pantalla LED para el escenario. Uno de los diseñadores de iluminación para teatros más experimentado del país, Denis Hutchinson, fue convocado por el teatro para consultarle sobre las presentaciones y las pruebas y para que aconsejase acerca de las mejores opciones. Luego de un riguroso proceso de cálculos y de discusiones sobre el ingreso de diferentes proveedores, la decisión se tomó eligiendo al renombrado distribuidor local, Electrosonic SA, para ambas licitaciones. La empresa proporcionó e instaló una variedad de equipamientos de iluminación de alta gama. Dos controladores M6 de Martin con paquetes de licencia extendida de DMX Universe tuvieron su lugar junto con dos unidades Luminex MK8 Artnet para distribución de datos DMX. En el equipamiento hay artefactos Martin Mac Quantum Profiles, Martin Mac Aura XB y ETC Lustr Series 2’s. Un total de 175 ShowLED X Series de interior, paneles LED negros de 500 x 1000 conforman la impresionante pared LED de 12,5 x 7 metros. Se instaló un sistema de distribución de audio Kramer para separar y procesar el video utilizado para la pared. Hay dos servidores Green Hippo AMBA que controlan y envían la señal y el contenido a la pared, proveyendo una señal full HD con capacidad de brindar una calidad 4K.

equipment this large and heavy, so the LED wall rig includes five Milos 4GS-62 three-metre truss structural systems, supplied of course in black, which is used to mount the rigging bars that hold the LED wall. This is a heavy duty highly specific trussing used in such heavy lifting situations - in this case it is holding just over two tons of LED wall on a 15-metre length.

Robbi Nassi is the Technical Sales and Support Executive at Electrosonic. He commented: “This two-part tender has been an awesome project to work on, and we are very proud of the work we have been able to do thanks to Denis Hutchison, Dylan Heaton and the rest of the technical team at The Playhouse.

The lighting rig is now state-of-the-art for any theatre in the country, and we are especially proud of our part in installing

the first LED wall we have put into a theatre.”

Dylan concluded: “It was a pleasure to work with the Electrosonic team for the installation of the equipment required by the two tenders. The installation had to done in a very short space of time. With Robbi Nassi at the head of both projects, the team was always on the ball and prepared to go the extra mile to make sure everything was in place. So a big thank you to the install team at Electrosonic SA, comprising Omar Sharfoodeen, Alphas Nkomo, Jesse Dullabh and Evan Lyle. We were always confident we would get the service levels we have been getting for many years from Electrosonic.”

Text and images supplied by Pro-Systems magazine.

TECHNICAL INFORMATION LIGHTING & VISUAL 24 x Martin by Harman MAC Quantum Profile moving head; 20 x Martin

by Harman MAC Aura XB moving head; 40 x ETC Lustr Series 2 fixture with cyc attachment; 2 x Martin by Harman M6 lighting controller; 2 x Luminex MK8 Artnet unit; 175 x ShowLED X Series LED panel; 2 x Green Hippo AMBA media server; 1 x Kramer video distribution system; 5 x Milos 4GS-62 truss structural system playhousecompany.com

www.mondodr.com

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24-02-16 16:10

82 VENUE - EMEA

LING LING

MARRAKECH, MOROCCO EUROPE, MIDDLE EAST & AFRICA

Many a Hakkasan Group venue has graced our pages over the years.

The hospitality operator is probably best known for its US superclubs - despite it being a global brand - and, most recently, that is exactly what you’ll have seen featured in mondo*dr. Scratch beneath the surface though and you’ll also find an array of high-class restaurant brands that fall under the Hakkasan umbrella, too. A new Ling Ling restaurant has just opened its doors in Marrakech, Morocco, which sees them venturing into the African market for the first time - and expanding the Hakkasan Group portfolio even further. www.mondodr.com

A common denominator within Hakkasan Group projects of late has been collaboration between the group and integration specialist, Audiotek. The company, headed up by Frank Murray, has been a fixture for a number of years - providing design, specification and installation needs. Audiotek’s Chris Kmeic furthered on the topic: “We have done a lot of projects with the Hakkasan team, and we are now one of their first calls when opening a new venue. We are very proud of our close links with our customers, there are big benefits to involving an audiovisual supplier as early as possible in a new space and this is a role we have a lot of experience in.”

Unlike the superclubs Audiotek has fitted out for Hakkasan Group of late, Ling Ling in Marrakech required a more subtle approach with the technology.

Rather than creating a hypnotic sound system that plunges clubbers into a memorising state, Ling Ling needed a discreet and flexible system, yet one which was still powerful. “The audio set up in this venue needed to cope with a number of different uses. The primary use of the venue is as a bar and dining space, and because it is located within such a prestigious hotel, it acts as a pre-dinner meeting space for guests, as well as continuing late into the night,” said Chris. “The later entertainment

Join us @ JTSE

84 VENUE - EMEA

“The Tannoy VX range was chosen due to the size of the boxes versus the volume needed. They were also chosen due to success with the product range on previous projects carried out by both ourselves and by the Hakkasan team.”

INSIDER INSIGHTS NAME: Chris Kmiec JOB TITLE: Technical Manager at Audiotek LIKES ABOUT TECHNOLOGY: Figuring out how it works, and how we can use that to make our lives easier or more enjoyable.

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and private party events are all very DJ driven. This meant we needed a system that would be both refined enough for clean background listening with dining customers, but also have the power to run all night in a DJ driven event.”

The design process was very much a twoway conversation between the Hakkasan team and Audiotek team. Hakkasan has a lot of experience in dining and lounge venues, so knows what works well and what doesn’t. The winning design was a distributed system in order to create an even coverage throughout, hitting each and every seat with background music.

The system comprises a combination of Tannoy VX 8 loudspeakers and Tannoy VSX 8.2BP subwoofers, all of which are ceiling mounted - even the subwoofers.

This ensured the floor space remained flexible at all times, so tables and seating could be moved without any interference.

The boxes are spread evenly down the room to allow an even sound.

The VX 8’s provide a compact yet punchy and dynamic sound solution, which coupled with the VSX 8.2BPs - extend the frequency response of the system below 40Hz. This means the overall output levels are what would normally be

TECHNICAL INFORMATION SOUND 14 x Tannoy VX 8 loudspeaker; 8 x Tannoy VSX 8.2BP subwoofer; 9 x Lab. gruppen IPD2400amplifier; 1 x QSC Q-Sys Core 100f DSP platform; 1 x QSC TSC-3 touchscreen lingling.hakkasan.com/marrakech

www.mondodr.com

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Time the Missing Dimension in Today‘s Pro Audio Human Hearing, Total Distortion and Loss of Information Point Source vs Line Array The Art of Transducer Design Amplifier Technology

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The Future of Sound.

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FRANÇAIS

86 VENUE - EMEA

Au cours des années, plusieurs établissements du groupe Hakkasan ont fait l’objet d’articles dans le magazine mondo*dr. Cet exploitant du domaine hôtelier est sans doute plus reconnu pour ses superclubs américains mais si on examine de près, on constate qu’il y a une myriade de marques de restaurants gastronomiques sous l’égide du groupe Hakkasan. Une nouvelle addition à la chaîne Ling Ling vient tout juste d’ouvrir ses portes à Marrakech au Maroc.

Un dénominateur commun parmi les projets récents du groupe Hakkasan est la collaboration entre ce dernier et le spécialiste d’intégration Audiotek. La firme dirigée par Frank Murray est un élément essentiel de l’ensemble depuis plusieurs années remplissant les besoins de conception, de spécification et d’installation.

Contrairement aux superclubs qu’Audiotek a aménagés pour le groupe Hakkasan dernièrement, Ling Ling à Marrakech nécessitait une approche technologique plus subtile. La conception gagnante est un système distribué comprenant une combinaison d’hautparleurs Tannoy VX 8 et de caissons de grave Tannoy VSX 8.2BP. Les cabinets Tannoy sont alimentés par neuf amplificateurs Lab. gruppen IPD-2400 et la plateforme de traitement est un QSC Q-Sys Core 110f DSP avec un écran tactile TSC-3. Même s’il n’y a pas d’éclairage intelligent installé sur les lieux, Firefly Lighting Design a installé de l’éclairage décoratif, complétant ainsi l’aspect global et la convivialité du restaurant.

DEUTSCH

Viele der beeindruckenden Venues der Hakkasan Group wurden über die Jahre auf den Seiten von mondo*dr bereits vorgestellt.

Das Hotel- und Gastgewerbeunternehmen ist vor allem für seine Megaclubs in den USA bekannt. Wenn man jedoch etwas unter die Oberfläche schaut, sieht man, dass auch eine ganze Reihe von hochklassigen Restaurantmarken zu Hakkasan gehört. Ein neues Mitglied der Ling-Ling-Kette hat gerade in Marrakesch, Marokko, eröffnet. Die Zusammenarbeit mit dem Integrationsspezialisten Audiotek hat sich bei den jüngsten Projekten der Hakkasan Group zu einer echten Konstanten entwickelt. Das von Frank Murray geführte Unternehmen ist seit Jahren gesetzter Bestandteil und liefert Design, Spezifikationen und die notwendigen Einrichtungen. Im Gegensatz zu den Megaclubs, die Audiotek zuletzt für die Hakkasan Group ausgestattet hatte, verlangte das Ling Ling in Marrakesch nach einen raffinierteren technischen Ansatz. Zum ausgewählten Design wurde ein verteiltes System, das eine Kombination aus Tannoy VX 8 Lautsprechern und Tannoy VSX 8.2BP Subwoofern umfasst. Die Tannoy-Boxen werden von neun Lab.grppen IPD-2400 Endstufen bedient, die Signalverarbeitung findet über die QSC Q-Sys Core 110f DSP Plattform und einen TSC-3 Touchscreen statt. Obwohl es keine beweglichen Lichtelemente in den Räumlichkeiten gibt, so wurden doch dekorative Leuchtmittel von Firefly Lightning Design eingerichtet, die das Ambiente des Restaurants unterstreichen.

ITALIANO

Nel corso degli anni, molti articoli di Mondo*dr si sono occupati di un locale appartenente ad Hakkasan Group. L’operatore nel campo dell’ospitalità è probabilmente più conosciuto per i suoi “super club” negli Stati Uniti, ma scavando sotto la superficie troverete anche una serie di catene di ristoranti di alta classe che rientrano nella cerchia Hakkasan. Una nuova aggiunta alla catena Ling Ling ha appena aperto le sue porte a Marrakech, in Marocco.

Un comune denominatore tra i progetti “notturni” di Hakkasan Group è stato la collaborazione con lo specialista di integrazione, Audiotek. La società guidata da Frank Murray ha fatto parte dello schieramento per un certo numero di anni rispondendo alle esigenze di progettazione, specifiche e installazione. A differenza dei super club che Audiotek ha allestito per il Gruppo Hakkasan “notturno”, Ling Ling a Marrakech ha richiesto un approccio più sottile con la tecnologia. Il progetto vincitore è stato un sistema distribuito composto da una combinazione di altoparlanti Tannoy 8 VX e subwoofer Tannoy 8.2BP VSX. I cabinet Tannoy sono alimentati da nove amplificatori Lab.gruppen IPD-2400 e la lavorazione si presenta sotto forma di piattaforma QSC Q-Sys Core 110f DSP e un TSC-3 touchscreen. Anche se il locale non prevede l’istallazione di nessuna illuminazione intelligente, qualche luce decorativa è stata implementata da Firefly Lighting Design, completando l’aspetto complessivo del ristorante.

ESPAÑOL

Son muchos los artículos sobre Hakkasan Group que han aparecido en las páginas de mondo*dr a lo largo de los años. El agente hotelero probablemente sea más conocido por sus súper discotecas en los Estados Unidos, pero basta con hurgar un poco para descubrir una variedad de marcas de restaurantes de alto nivel que también entran debajo del paraguas de Hakkasan. Una nueva incorporación a la cadena, Ling Ling, acaba de abrir sus puertas en Marrakech, Marruecos. Un común denominador dentro de los últimos proyectos de Hakkasan Group ha sido la colaboración entre éste y el especialista en integración, Audiotek. La empresa encabezada por Frank Murray ha brindado una especie de articulación durante varios años, ahora supliendo las necesidades de diseño, especificación e instalación. A diferencia de las súper discotecas, Audiotek ha sido quien equipó a Ling Ling, la reciente incorporación de Hakkasan Group en Marrakech, ya que necesitaba un acercamiento más sutil con la tecnología. El diseño ganador resultó ser un sistema de distribución compuesto de una combinación de parlantes Tannoy VX 8 y subwoofers Tannoy VSX 8.2BP. Los gabinetes Tannoy son potenciados por 9 amplificadores Lab.gruppen IPD-2400 y el procesamiento viene de la mano de una plataforma QSC Q-Sys Core 110f DSP y una pantalla táctil TSC-3. A pesar de que el lugar no cuenta con una instalación de iluminación inteligente, Firefly Lighting Design ha implementado algo de iluminación decorativa completando el aspecto y la sensación general del restaurante.

associated with much larger enclosures, further demonstrating the flexibility of the system. “The Tannoy VX range was chosen due to the size of the boxes versus the volume needed,” Chris explained.

“They were also chosen due to success with the product range on previous projects carried out by both ourselves and by the Hakkasan team.”

The Tannoy cabinets are powered by nine Lab.gruppen IPD-2400 amplifiers, a natural choice given that both brands fall under the Music Group umbrella. But these models were also chosen for their small form factor - the whole system fits into a 12U rack - which proved key as back of house space was at a premium.

“The IPD also offers DSP on every output, allowing us to add additional tuning to certain areas and across the room where needed,” added Chris.

Processing for Ling Ling comes in the form of QSC Q-Sys Core 110f DSP platform and a TSC-3 Touchscreen. Chris explained the set-up: “The Core 100f was chosen due to its flexible outputs, in this system we have a number of different inputs such as background music players and DJs. The venue needed each preset control for the different input sources, as well as output levels set so as to not disturb the guests of the hotel. Access password control then allows other modes of the system that give more level for

www.mondodr.com

those big one off events.”

The turnaround time for this project was very tight. Housed in the Mandarin Oriental, the space that Ling Ling now occupies was initially going to be a tapas restaurant, so the venue had to be overhauled quickly, as the hotel itself was already open and in operation. Although there is no intelligent lighting installed at the venue, as it simply wouldn’t create the right ambiance, some decorative lighting was implemented by Firefly Lighting Design. Director, Peter Veale, explained the company’s role: Our job was to review the lighting that had been installed for the previous occupants - designed by the interior designers - and redesign the scheme, both inside and out to make it more suitable for a Hakkasan Group restaurant. We saw our role very much as adding the sparkle, the life and the accents.”

Ling Ling Marrakech is only the second restaurant under the Ling Ling brand, with a third opening next year in Oslo, it is still a fairly new concept for the Hakkasan Group. Chris summed up: “Ling Ling has been positioned as ‘Hakkasan’s naughtly little sister’, it’s a really flexible venue, and as such needed a flexible sound system. What has been installed really is capable of handling anything thrown at it.”

88 VENUE - EMEA

BILLIONAIRE MANSION DUBAI, UAE EUROPE, MIDDLE EAST & AFRICA

With so many high-end, extravagant venues to choose from, opening a new nightclub, bar or restaurant in Dubai, though obviously rewarding, can be an unenviable task. From the very beginning, the pressure is on to create something that is unique and appealing. However, when it comes to Billionaire Mansion, it isn’t a surprise to hear that this latest venture has already become a real highlight.

The Billionaire Life brand, which is behind the latest Billionaire Mansion venue, was born out of the exquisite fashion label, Billonaire Couture, that was conceived in 1998 by Flavio Briatore, the former Benetton and Renault F1 team boss. Following that success, the Italian

businessman opened the Billionaire Mansion is Porto Cervo, Sardinia. From there, the brand has gained a legendary, worldwide appeal, with Billionaire Life’s projects open all around the world.

The latest venue that the Billionaire Life team have put their experience into is the Billionaire Mansion, located in the luxurious Taj Palace Hotel, Dubai, which has been meticulously planned by Flavio, along with Lebanon-based Pragma Group and the Indian family, Nanda, who are the owners of the building itself. The location is the ideal setting for Billionaire Life’s latest offering, with Dubai being well known as a go-to destination for many celebrities - so, it won’t be surpriswww.mondodr.com

ing to see Billionaire Mansion hosting some A-list names.

The design of Billionaire Mansion is along the same lines as the other Billionaire Life venues in Monte Carlo, Sardinia, Istanbul and Bodrum, with a distinctive, opulent colour scheme of a rich golds, smooth creams and warm browns throughout the premises. Within the venue, there are different sections catering for various types of clientele.

Firstly, there is the Billionaire Grill, an in-house restaurant serving Japanese and Italian signature dishes. The award-winning contemporary cuisine from world-renowned restaurant, Sumosan, offers mouthwatering delicacies, while

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The latest luxiorious, high-end venue from the Billionaire Life brand has been given an audio upgrade, courtesy of TW AUDiO and PULSE ME. diners are entertained each night by an extraordinary live dinner show performed by an international cast of professional dancers, singers and acrobats.

Billionaire Mansion also has a lounge bar and its own nightclub, along with a room dedicated to karaoke and the Diamond Khalian terrace with a Shisha bar.

With so much on offer, it’s easy to see how Billionaire Mansion has become synonymous with glamour, uniqueness and, above all, quality. The main asset of Billionaire Mansion, aside from its incredible variety, is that there is a natural flow and ease of interaction between the separate areas of the venue. This highlights just how important an audio

system is to a venue like this, which is why Billionaire Life made sure they chose wisely when it came to the installation.

Billionaire Mansion was added to the long list of clubs, bars and restaurants that have been equipped with an exceptional TW AUDiO system. PULSE ME, a well-known system integrator based in Dubai, were in charge of the whole process - it had to plan, design and install a TW AUDiO system that would be the perfectly suited to a venue of such variety.

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FRANÇAIS Billionaire Manor, le dernier de la franchise appartenant à l’ancien chef d’écurie de Benetton et Renault F1, Flavio Briatore, est situé dans l’hôtel extravagant Taj Palace de Dubai et a été conçu par Briatore en collaboration avec le groupe Pragma, avec siège au Liban, et la famille indienne, Nanda. Billionaire Manor comprend un salon-bar et une discothèque, une salle réservée pour le karaoké et une terrasse climatisée Diamond Khalian avec un bar à Chicha. La renommée du club l’a transformé en une marque reconnue et est un synonyme de glamour, de qualité et de caractère unique. Les DJs du monde entier font la queue pour le privilège de divertir les clients du club. Afin d’accentuer ce lieu de divertissement, un système de sonorisation sophistiqué était de mise, ce qui a entraîné l’addition de Billionaire Manor à la longue liste de clubs et de restaurants équipés d’un système TW AUDiO par l’intégrateur de système bien connu PULSE ME de Dubai. Huit haut-parleurs TW AUDiO T24N, dix M12’s, quatorze M8’s, dix caissons de grave B10, treize B15’s, six B18’s et un B30 furent déployés sur les lieux, alimentés par douze amplificateurs K3DSP et dix amplificateurs K2DSP. “Ce fut un grand privilège d’avoir été invité à planifier, concevoir et installer un système de telle envergure pour Billionaire Manor,” déclara Joe Chidiac de PULSE ME.

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DEUTSCH Die Billionaire Mansion, jüngste Unternehmung des Franchises von Flavio Briatore, einst Teamchef der Formel-1-Rennställe Benetton und Renault, befindet sich im extravaganten Taj Palace Hotel Dubai und wurde von Briatore gemeinsam mit der libanesisches Pragma Group und der indischen Familie Nanda geplant. Billionaire Mansion umfasst eine Lounge, eine Diskothek, ein Karaoke-Privé und die klimatisierte Diamond-Khalian-Terasse mit einer Shisha-Bar. Der gute Ruf der Clubs hat Billionaire zu einer namhaften Marke gemacht, einem Synonym für Glamour, Qualität und Einzigartigkeit.

DJs aus der ganzen Welt reißen sich darum, für die Gäste zu spielen.

Zur Aufwertung des Venues war ein High-End-Audio-System nötig, so wurde die Billionaire Mansion Teil der langen Liste von Clubs und Restaurants, die von den bekannten Systemintegratoren von PULSE ME in Dubai mit einer Komlplettanlage von TW Audio ausgestattet wurden. Acht TW AUDiO T24N Lautsprecher, zehn M12, vierzehn M8, zehn B10 Subwoofer sowie dreizehn B15er, sechs B18er und ein B30er, die ihre Leistung aus zwölf K3DSP und zehn K2DSP Verstärkern beziehen, wurden in der Location eingebaut. „Es war uns eine große Ehre ein System von diesem Ausmaß für die Billionaire Mansion planen, entwerfen und einrichten zu dürfen“, so Joe Chidiac von PULSE ME. ITALIANO Billionaire Mansion, l’ultimo del franchising dell’ ex capo della Benetton e di Renault F1, Flavio Briatore, si trova nella stravagante Taj Palace Hotel Dubai ed è stato progettato da Briatore insieme con il libanese Pragma Group e la famiglia indiana Nanda. Billionaire Mansion è composto da un lounge bar e una discoteca, una sala dedicata al karaoke e una terrazza climatizzata Diamond Khalian con un shisha bar. La fama dei club ha trasformato il Billionaire in un marchio prestigioso e sinonimo di glamour, qualità e unicità e qui i DJ di tutto il mondo fanno la fila per intrattenere gli ospiti del locale. Per migliorarlo, è stato richiesto un sistema audio avanzato che ha portato il Billionaire Mansion ad aggiungersi alla lunga lista di club e ristoranti che sono stati dotati di un sistema TW AUDiO del noto system integrator PULSE ME di Dubai. Intorno al locale sono stati schierati otto altoparlanti T24N TW AUDiO, dieci M12, quattordici M8, dieci subwoofer B10, tredici B15, sei B18 e B30, insieme a dodici amplificatori K3DSP e dieci K2DSP che forniscono la potenza. “È stato un grande onore essere stato chiamato per pianificare, progettare e installare un sistema di queste dimensioni per il Billionaire Mansion”, ha detto Joe Chidiac di PULSE ME. ESPAÑOL Billionaire Mansion, la franquicia más reciente de Flavio Briatore, ex director deportivo de F1 de Benetton y Renault, se encuentra ubicada en el extravagante Taj Palace Hotel de Dubai. Ha sido planificada por Briatore junto con Pragma Group, con base en el Líbano, y la familia India, Nanda. Billionaire Mansion está compuesta de un salón reservado y discoteca, un salón dedicado al Karaoke y la terraza Diamond Khalian con aire acondicionado y un bar Shisha.

La fama de la discoteca ha convertido a Billionaire en una marca prestigiosa y en sinónimo de glamour, calidad y originalidad. Djs de todo el mundo hacen cola para entretener a los invitados del lugar.

Para resaltar el sitio, se requirió un sistema de audio de alta gama, lo que provocó que Billionaire Mansion comenzara a formar parte de la larga lista de discotecas y restaurantes que han sido equipados con un sistema TW AUDiO del reconocido integrador de sistemas PULSE ME de Dubai. Se han desplegado alrededor del lugar 8 parlantes TW AUDiO T24N, 10 M12’s, 14 M8’s, 10 subwoofers B10, 13 B15’s, 6 B18’s y un B30 con 12 amplificadores K3DSP y 10 amplificadores K2DSP para suministrar la potencia. “Ha sido un gran honor haber sido convocado para planificar, diseñar e instalar un sistema de este porte para Billionaire Mansion,” dijo Joe Chidiac de PULSE ME.

quality of sound in all areas of Billionaire Mansion. The loudspeakers are supported by 10 B10 subwoofers, 13 B15 subwoofers, six of the B18 models and one B30 subwoofer - all of which offer exceptional bass reproduction.

The TW AUDiO system is powered by Powersoft’s K Series of amplifiers, too, with 12 K3DSP and 10 K2DSP used in the installation.

Joe Chidiac, Audio Specialist and Managing Partner at PULSE ME, said: “It has been a great honour having been asked to plan, design and install a system this size for Billionaire Mansion and a pleasure to work with Mr. Briatore’s team of consultant.

“From a technical perspective it has been a straightforward installation. In the

end it was just a question of tweaking the system to the specific needs of the mansion’s individual rooms. It all works perfectly together and we achieved a balanced sound throughout the club. The system certainly has won the approval of the client.”

As well as approval of the client, it seems that Billionaire Mansion has become a huge hit with visitors, too. The exclusive, elegant venue is a one-stop destination that offers unique concepts of dining, drinks and nightlife.

To be able to deliver on all this required an audio system that could adapt and enhance the venue even further - TW AUDiO and PULSE ME have certainly given that to Billionaire Mansion.

TECHNICAL INFORMATION SOUND 8 x TW AUDiO T24N loudspeaker; 10 x TW AUDiO M12 loudspeaker; 14 x TW AUDiO M8 loudspeaker; 10 x TW AUDiO B10 subwoofer; 13 x TW AUDiO B15 subwoofer; 6 x TW AUDiO B18 subwoofer; 1 x B30 subwoofer; 12 x Powersoft K3DSP amplifier; 10 x Powersoft K2DSP amplifier www.billionairemansiondubai.com

www.mondodr.com

92 IN BRIEF - AMERICAS

James Thomas Engineering ignites interactive light display over water.

www.mondodr.com

93 IN BRIEF - AMERICAS

James Thomas Engineering played a crucial role in bringing to life a one-of-a-kind interactive lighting display in South Bend, Indiana to celebrate its 150th birthday and add another layer of revitalisation to the city. Designed by internationally renowned lighting designer Rob Shakespeare, it’s the world’s first interactive display of light over a body of water.

South Bend is a picturesque city with the St. Joseph River majestically flowing through its downtown area. Beautiful and vibrant during the day, the river turns dark and grim when the sun goes down. Rob’s goal was to activate this area in the evening and unite the different demographics of the east and west banks with a fun, interactive destination.

The unique, interactive lighting display is made up of five components: The Jefferson St. bridge, the ‘Keepers of the Fire’ sculpture, the downstream crescent that lights up the cascades, the trio sculpture on Century City Island, and the Forest Towers directly across the river at Seitz Park.

James Thomas Engineering aluminium trusses are used in eight interactive sculptures (17ft - 33ft tall), one 45ft horizontal arc sculpture, four arches on the 500ft Jefferson Bridge, illumination of diSuvero’s ‘Keeper of the Fire’ sculpture, and dynamic lighting of the river’s 250ft white water cascades.

Rob Shakespeare and Aaron Perri, Executive Director of Downtown South Bend Corp., worked together for three years to realise this project.

Members of the project team who contributed their time and expertise included Richard Chapman, Corey Noland, Tim Moran, Mike Brubaker, Sean Smallman and landscape architect, Chris Chockley.

James Thomas Engineering gives you the means to think outside the box with its offer of truss and support structures. A world of possibilities is in your hands. jthomaseng.info/

www.mondodr.com

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MY WAY MEXICO CITY, MEXICO THE AMERICAS

Despite only opening earlier this year, My Way has really set the standard, with a state-ofthe-art audio system and a truly phenomenal lighting and visual installation that catches the attention of the nightclub’s many visitors. www.mondodr.com

Opened recently in Mexico City, My Way has quickly established itself as one of the most prestigious nightlife venues in the country. The club, which was created by a team including the co-owner of Baby’O club in Acalpulco, has already become a reference for it use of sophisticated audio, lighting and video systems.

Inside the club is split into three main areas - the bar, the cube and the dancefloor - along with the terraces. Each of the zones within My Way has its own distinct style, which is something that had to be taken into consideration by Ricardo Flores, the Director of RFDesign, who was the Project Manager for the whole installation.

Ricardo explained how the project came about: “Three years ago Eduardo Cesarman called me - he is a co-owner of Baby’O club in Acapulco - as he, along

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of Baby’O club in Acapulco - as he, along with other partners, started a project that has evolved into My Way. Eduardo is someone who likes to innovate. His primary requirement is brand-new designs - and that is something that we have accomplished in every project we have completed.

“The main idea for My Way was that it should appear to be ‘alive’. That is, that everything inside the venue should move, resembling the inside of a human body. With the idea well established, we gathered our resources so we could achieve our goal.”

With such an ambitious plan in place, Ricardo had to ensure that the design team he was working with could deliver, with everyone having a specific role in terms of the project.

“Basically, the design team included five

members. There was Luis Angel Diaz, an expert in video, control, mapping and programming - he also made all the renders used to show clients the developed ideas. Juan Carlos Morales, an electronic engineer, designed the DMX electronic interfaces for motor control. There was also Emilio González, an expert in developing and building all the mechanisms for the movement inside the disco. Carlos Nager was our Audio Consultant and, finally, I was the Project Manager and Director, designing the audio and lighting systems and supervising the whole project, along with Luis.”

When it came to the audio install, the systems were all based on the needs of each specific area, so the three main areas all had separate audio installs.

Firstly, in the bar area, Ricardo and www.mondodr.com

“The main idea for My Way was that it should appear to be alive. That is, that everything inside the venue should move.”

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“It was a more complex matter with the lighting and video because all the equipment used was custommade.”

• Top Custom-built LED screens above the dancefloor • Left The Compulite Vector console • Right Entrance to My Way nightclub

his team installed their own custommade five-way audio system, which is comprised of systems that were developed by Richard Long in the seventies and eighties and Gary Stewart in recent years. The system has manual control for super-high frequencies and, at the front end, there is a Bozak AR-6 mixer, along with an EQ-6 equaliser and Pioneer CD players.

The install resulted in the bar area having a sound system that delivered a genuine, warm analogue sound of the seventies.

For the cube, a JBL Professional Marquis Dance Club Series system was installed across the whole floor, delivering a powerful, electrifying sound that is well suited to the club setting. The setup also features BSS Soundweb London processing and Crown amplifiers for power.

“For the cube, we used a six-way system, including the active floor, featuring selective switching between audible subs and the active floor acting like a lowfrequency resonator,” said Ricardo. “The www.mondodr.com

effect is that you can ‘feel’ the audio subs without really hearing them, which is impressive. The whole control system for the cube comes from Pioneer.”

Within the main dancefloor area, which is the largest section in My Way, the sound had to be perfect. This led Ricardo to choose a system from Adamson, with additional super-high frequencies via JBL Professional tweeters, Lake processors and amplification from Powersoft.

Ricardo explained the system further: “A six-way audio system is also used in the main dancefloor, since the dancefloor has ultra low-frequency audio shakers, too. Additionally, a system developed in Germany named 3D Sound is installed to provide movement of the audio via an iPad. With this system, you can move the audio through the loudspeakers, like when a tennis ball bounces from one place to another - the effect is fantastic.

“Also, the control system is a Pioneer mixer, with a parallel connection through splitters to a Bozak AR-6 Mixer, so it is possible to mix with each of them, and

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• Above The impressive cube display.

also play any signal source connected to them.”

For the lighting and visuals at My Way, Ricardo, Luis and the team had to come up with a meticulous, custom-built plan, which made the install a challenging one.

“It was a more complex matter with the lighting and video because all the equipment used was custom-made.

For instance, LED video screens for the dancefloor were triangular. Of course, this is not common, but the project demanded such custom designs. In a similar way, all equipment was custommanufactured to achieve brand-new effects for the audience as was originally planned,” explained Ricardo.

The overall lighting design at My Way is basically a light movement package, with the video system being the same. None of the effects are static - each of them have

X-Y-Z mechanical movements, with the exception of robotic fixtures that only have Z-axis movement. The combination of all the movements and effects is what makes the design put together by RFDesign so eye-catching - which, in turn, made the choice for the fixtures vital.

“We studied parameters from several luminaries brands, and from all of them, we liked DTS,” said Ricardo. “It was not only for their advantages, but also because it perfectly matched our budget.”

A wide range of DTS moving heads were used to deliver dynamic lighting of the main areas. Overall, there are 30 JACK moving heads fixed to the wall along the perimeter of the cube. This allows the design to come to life, with their projections creating a series of luminous geometries to a spectacular effect.

Elsewhere, there are 23 MAX moving heads and 10 NICK NRG 1201 fixtures are hanging above the dancefloor, which colour the entire area for the ideal atmosphere for My Way. For the lighting control, Compulite Vector lighting consoles were installed, which had been used before by Ricardo on previous projects.

For both the motor and lighting control, CueLux Pro software, a console-like software made by Visual Productions, was used, which offers incredible precision for motor control.

Ricardo went on to further specify the detail that went into the mechanical elements for lighting and visuals: “The mechanical elements were extraordinary.

For the dancefloor, 350 of our custommanufactured motors were installed.

They control all movements of the video

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FRANÇAIS

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Ayant tout récemment ouvert ses portes, My Way est devenu l’un des clubs les plus prestigieux du Mexique, doté de systèmes de sonorisation, de vidéo et d’éclairage sophistiqués installés sur les lieux. Le projet à My Way, qui fut complété par Ricardo Flores de RFDesign, est tout à fait fascinant, comprenant cinq zones distinctes, chacune avec son propre système de sonorisation et d’éclairage lui fournissant un caractère particulier. Un système JBL est en place pour une zone, avec un processeur BSS London et un amplificateur Crown. Ailleurs, Adamson a fourni le système de sonorisation pour la salle principale, comprenant un processeur Lake et un amplificateur Powersoft. Une gamme variée d’appareils DTS assure un éclairage dynamique à travers toutes les zones de l’établissement. Ceux-ci comprennent 30 lyres JACK, lesquelles sont montées au périmètre du ‘Cube’ afin de créer des projections à grand effet. De plus, 23 lyres MAX et 10 lyres NICK NRG 1201 se trouvent au-dessus de la discothèque afin de colorer complètement le plancher de danse. “La vision des propriétaires, et leur désir de prendre des risques avec de tels investissements, sont extrêmement importants – non seulement pour ce projet, mais pour tous les projets comportant un facteur d’innovation,” déclare Ricardo.

DEUTSCH

Obwohl erst kürzlich eröffnet, ist das My Way bereits einer der angesehensten Clubs in Mexico – nicht zuletzt aufgrund der außergewöhnlichen Klasse an Audio-, Video- und Lichttechnik, die im Venue zum Einsatz kommt. Das Projekt im My Way, das von Ricardo Flores von RFDesign betreut wurde, war faszinierend.

Es umfasste fünf separate Bereiche, jeder davon mit einem ganz eigenen Sound- und Licht-Konzept, das den individuellen Charakter betont. In einem Raum wurde eine JBL-Anlage mit BSS London Prozessor und Verstärkern von Crown verwendet. Adamson lieferte das Soundsystem für den Main-Floor, wo Lake-Prozessoren und Verstärker von Powersoft Verwendung fanden. Eine ganze Reihe von DTS-Scheinwerfer kommt für die dynamische Beleuchtung im Hauptteil der Location zum Einsatz. Dazu gehören auch 30 JACK Moving Heads, die entlang der Abmessungen des „Cube“ angeordnet sind, um den maximalen Effekt ihrer Projektionen zu entfalten. Darüber hinaus wurden 23 MAX und zehn NICK NRG 1201 Moving Heads über den Diskothekenbereich gehängt, um den Dancefloor komplett in Farbe zu tauchen. „Die Vision der Betreiber, und ihre Bereitschaft mit einem solch umfangreichem Investment auch Risiken einzugehen, sind extrem wichtig – nicht nur bei diesem Projekt, sondern bei allen, bei denen es um Innovation geht“, so Ricardo.

ITALIANO

Nonostante abbia aperto solo recentemente, il My Way è diventato uno dei club più prestigiosi in Messico, con il suo sofisticato livello di sistemi audio, video e luci installati presso il locale. Il progetto My Way, che è stato completato da Ricardo Flores di RFDesign, è risultato interessante in quanto prevedeva cinque zone separate, ognuna con il proprio impianto audio e luci per conferirgli una personalità distinta. In una zona è stato usato un sistema JBL, con un processore BSS London ed amplificazione Crown e, altrove, Adamson ha fornito il sistema audio per la stanza principale, con il processore Lake e l’amplificazione Powersoft. Una vasta gamma di apparecchi DTS sono stati utilizzati per l’illuminazione dinamica proprio di fronte alle zone principali del locale ed includono trenta teste mobili JACK, fissate lungo il perimetro del “cubo” per creare le loro proiezioni con grande effetto. Inoltre, ventitré teste mobili MAX e dieci NICK NRG 1201 sono state appese sopra la zona discoteca per colorare completamente la pista da ballo sottostante. “La visione dei proprietari e il loro impegno a correre rischi con un investimento di questa portata sono di enorme importanza, non solo per questo progetto, ma per tutti i progetti in cui l’innovazione è presente”, ha detto Ricardo.

ESPAÑOL

Habiendo abierto recientemente, My Way se ha convertido en una de las discotecas más prestigiosas en México, con su sofisticado nivel de audio, video y sistemas de iluminación instalados en el lugar.

El proyecto en My Way, que fue finalizado por Ricardo Flores de RFDesign, fue un proyecto fascinante, con cinco zonas por separado, cada una con su sistema de audio e iluminación propio para otorgar una personalidad diferente. En una de las zonas se utilizó un sistema JBL con un procesador BSS London y amplificación de Crown. En otro lugar, Adamson suministró el sistema de audio para el salón principal con procesamiento de Lake y amplificación de Powersoft.

A lo largo de las zonas principales del lugar se utilizó una amplia variedad de artefactos DTS para una iluminación dinámica. Ello incluyó 30 cabezales móviles JACK, que fueron sujetados a lo largo del perímetro del Cube para crear proyecciones con gran efecto.

Además, en la zona de la disco se colgaron 23 cabezales móviles MAX y 10 cabezales NICK NRG 1201 para darle color a la pista.

“La visión de los dueños y su compromiso de tomar riesgos con inversiones como esta, son extremadamente importantes - no solo para este proyecto, sino para todos los proyectos en los que la innovación está presente.” dijo Ricardo.

movements of the luminaries installed throughout the venue. We chose this design because no-one has done anything like this before anywhere.”

“The hardest part by far was the mechanisms - the adjustments and tuning of each, along with the mapping and programming were overwhelming tasks. However, the results attained compensate for the effort put in,” added Ricardo.

As Ricardo mentions, the effort that went into the audio, lighting and visual elements of the install was truly

incredible. The initial plans for My Way specified that the project had to provide something that was brand new - and it has to be said that Ricardo and the team have certainly provided that.

“The vision of the owners, and their commitment to take risks with investment like this, are the most important,” said Ricardo.

It may have been a risk, but with innovation and creativity at the forefront of the design, My Way has been an incredible success.

TECHNICAL INFORMATION SOUND RFDesign custom five-way audio system; Bozak AR-6 mixers; Bozak EQ-6 equalisers; JBL Professional Marquis Dance Club audio system; BSS Soundweb London processors; Crown amplifiers; Adamson audio system; JBL Professional tweeters; Lake processors; Powersoft amplifiers LIGHTING & VISUAL 30 x DTS JACK moving head; 23 x DTS MAX moving head; 10 x DTS NICK NRG 1201 moving head; Compulite Vector lighting consoles; Visual Productions CueLux Pro software; Custom-built LED screens www.mywaymexico.com

www.mondodr.com

official audio partner of

MAGDALENA | BERLIN

GS-WAVE SERIES Bringing energy back to a former power plant in Berlin, the phenomenal sound system at techno club Magdalena comprises eight 3-metre GS-WAVE stacks plus extra subs and lenses, and eight tweeter pods above the dance floor. This huge installation, driven

by Powersoft’s K Series amps with built-in DSP, provides total coverage of a modestly sized 800-capacity room. Keeping most of its power in reserve, the system can run effortlessly when the club is open for days at a time.

Pioneerproaudio | pioneerproaudio.com | #madeintheuk

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VALOR CHRISTIAN HIGH SCHOOL

COLORADO, USA THE AMERICAS

The Colorado school enlisted the help of Clair Solutions, which were tasked with designing and installing the audio, lighting and visual systems for the Valor Center for Culture and Influence - a new performing arts centre that is packed with state-of-the-art technology. www.mondodr.com

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Since opening its doors to students in 2007, Valor Christian High School, which is based in Highlands Ranch, Colorado, USA, has strived to become an excellent foundation that provides its students with the opportunity to achieve the highest level of academic, artistic and athletic achievement possible. In a bid to take this a step further, plans were put in place by the school to create a premier, technologically-advanced performing arts centre unlike any other - this led to the Valor Center for Culture and Influence.

With the media and arts being a huge part of the school’s culture, Valor Christian went above and beyond to utilise the most state-of-the-art technology throughout the 94,000 sq ft building, with a particular focus on room acoustics and interconnectivity.

Kurt Butler of Butler Engineering & Technology Group, served as the school’s representative for all aspects of technology on the project. Having successfully collaborated with Clair Solutions in the past, Kurt recommended Clair as the audio, video, lighting and acoustics integrator. Bill Simmons, the Senior Lighting Designer at Clair Solutions, was the Project Manager for the install at Valor Christian - he takes up the story: “Kurt asked us to take

a look at design development drawings. I then gave Valor a list of questions about the project, which led to a series of meetings, phone conversations and brainstorming sessions. Clair Solutions then formed a design team made up of Bill, Justin Graybill as Acoustical Engineer and Seth Morth as Video System Designer.

“There was a great energy between the Valor staff and the technology design team and a wonderful synergy was formed. We were fully hired to be designers, which then turned into design and build, too. We approached it in the true spirit of working together as an owner and an integrator to provide the best possible solution for the school’s audio, video, lighting and acoustical needs.”

If the plans for Valor Center for Culture and Influence were to come to fruition, there was plenty of work to be completed. Clair Solutions was tasked with designing and installing audio, visual, lighting, rigging and automation systems throughout the venue, including a 750-seat performance hall, a recording studio, the main lobby, an event lobby, two dance studios, two rehearsal halls - one medium and one large - a black box theatre and a

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INSIDER INSIGHTS NAME: Bill Simmons JOB TITLE: Senior Lighting Designer, Clair Solutions LIKES ABOUT TECHNOLOGY: I like the fact that you can do more with less. For example, we just sold a certain light fixture to a church that takes all the attributes of what used to be three lights (wash, spot and beam) and puts it into one. This gives a designer many more options at his fingertips.

DISLIKES ABOUT TECHNOLOGY: Sometimes I dislike the speed with which things are evolving - that is, we’ve got to a point with new technologies where changes are made just to make a change. I’m certainly not opposed to change, growth or evolution, I just think there are times when technological updates could be made more strategically in batches rather than, as it often seems, haphazardly.

THE NEXT BIG THING IN TECHNOLOGY WORLD: Specifically for lighting, I think the next best thing is voice-activated entertainment lighting, control and programming.

TV studio.

“In a nutshell, the aim was to make, within reason, everything as cutting edge as possible. That meant utilising a lot of the most current technologies across the board. We were trying to forward think the project as much as we could. They wanted the best for their students but also wanted a good value for the dollar,” said Bill.

“This facility was to encompass theatre, film, music, animation, dancing, design, studio arts and photography. When going into building the Valor Center for Culture and Influence, the goal was to build a world-class facility.”

Clair Solutions got to work on the audio aspect of the install in the performance hall of the Valor Center for Culture and Influence, which includes a full-fly space, a mechanised pit-lift, along with high-end video and lighting systems. For the performance hall, Clair Solutions’ Justin Graybill worked diligently to create a variable acoustical system through the use of motorised curtains. The use of these curtains was the ideal fit for the venue that holds a diverse range of performances, as it allows the acoustical environment of the space to be fine tuned, depending on the requirements at the time.

In terms of the audio technology used at the Valor Center for Culture and Influence, Kurt explained the decisions made further: “We decided to select the Clair Brothers system because the school specifically wanted a nocompromise loudspeaker solution. Clair Brothers offered a solution with custom asymmetrical waveguides built into one of their existing line array systems. This allowed for acoustical amplitude shading as well as consistent frequency coverage throughout the seating area. As a result, the system achieved incredible multipoint imaging.” www.mondodr.com

Taking the audio requirements into consideration at Valor Christian, it was clear that a one-size-fits-all approach to the install simply would not work - everything had to be specific to the ever-changing needs of the venue, due to the wide range of performances. That is why the install features a one-of-a-kind L-C-R PA, which was custom designed

by Clair Brothers, while the power for the system comes from Lab.gruppen D Series 80:4L amplifiers - offering a truly tailored sound system.

The design process involved careful study of the space’s architecture and acoustical design in order to first determine the length and position of the arrays that were to be installed. Following that, a 3D model of the space with the arrays spatially located was used to create a sculpted continuously variable waveguide.

“A project like this is very exciting to do from the perspective of array tuning by solving the fundamental acoustical challenges with acoustical solutions.

The amount of DSP equalisation and amplitude shading was far less than what would be typical with a non continuously-variable dispersion array.

We were very pleased with the results,” commented Josh Sadd of Clair Brothers, who designed the custom loudspeaker solution.

The custom PA for Valor Christian is augmented by Clair Brothers’ iS118-i flow sub arrays and CS218 subwoofers, along with kiT12 full range loudspeakers for sound effects and 12CX-75 coaxial loudspeakers for balcony delays.

For control, a DiGiCo SD10 FOH console is used to communicate with multiple SD-Racks via DiGiCo’s Optocore protocol in order to allow for maximum speed, reliability and future expansion.

In the end, the final result was nothing short of remarkable. The system drastically decreased the amount of

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106 VENUE - AMERICAS

TECHNICAL INFORMATION SOUND Clair Brothers custom-built PA; Clair Brothers iS118-i flow sub arrays; Clair Brothers CS218 subwoofers; Clair Brothers kiT12 full range loudspeakers; Clair Brothers 12CX-75 coaxial loudspeakers; Lab.gruppen D Series 80:4L amplifiers; DiGiCo SD10 mixing console; 1 x Clear-Com HelixNet intercom system LIGHTING & VISUAL 1 x ETC Sensor3 48-module dimmer rack; 10 x ETC Source Four fixture, 20 x ETC Desire D60 Vivid LED luminaire; 8 x Source Four LED Series 2 Lustr fixture; 12 x ColorSource PAR LED fixture; 8 x ETC ColorSource Spot LED profile; 10 x Elation Platinum FLX luminaire; 1 x Barco HDX-W20 projector; 2 x Sony VPLFHZ700L/B projector govalor.com

side wall reflections, while producing prominent stereo imaging throughout the room. A big benefit to the customised waveguide was that tuning the system involved very little in the way of gain shading or equalisation.

When it came to the lighting, much like the audio installation, versatility was seen as a key element, as well as the ability to expand even further in the future, if need be.

“They wanted the versatility to be able to do virtually anything while also being able to play with some fun ‘toys’,” said Bill.

“So, that meant providing an infrastructure that would have a base level of equipment that could be expanded upon as either budgets allow or a specific need arises but also provides that wow-factor for a wide variety of uses www.mondodr.com

for the space.”

ETC’s Sensor3 48-module dimmer rack and Echo relay panels serve as the backbone of the performance hall’s theatrical lighting system, however, the lighting package for the Valor Center for Culture and Influence includes over 220 ETC fixtures in total.

This complete package includes 142 Source Four fixtures, 20 Desire D60 Vivid LED luminaires, eight Source Four LED Series 2 Lustr fixtures, 12 ColorSource PAR LEDs and eight ColorSource Spot LED profiles, among others. The system also includes 10 Elation Platinum FLX three-in-one luminaires, which can be utilised as a beam, spot or wash fixture.

Also, with plans to expand the video capabilities in the near future, Clair Solutions installed a Ross Video carbonite

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108 VENUE - AMERICAS

Depuis 2007, Valor Christian High School basée au Colorado s’est efforcée de devenir un excellent fondement fournissant aux étudiants l’occasion de réussir. Pour continuer dans cette veine, on a demandé à Clair Solutions de concevoir et d’installer des systèmes d’avant-garde de son, d’éclairage et d’équipement visuel dans leur nouveau Valor Centre for Culture and Influence. Pour la sonorisation, un amplificateur de puissance sur mesure Clair Brothers, alimenté par des amplificateurs Lab.gruppen D Series 80:4L, est augmenté par des sous-ensembles Clair Brothers’ iS118-i et des caissons de grave CS218, ainsi que des haut-parleurs à gamme étendue kiT12 et des haut-parleurs coaxiaux 12CX-75. Une console DiGiCo SD10 FOH est utilisée pour communiquer avec de multiples SD-racks via le protocole DiGiCo’s Optocore. Le rack ETC’s Sensor3 48-Module Dimmer agit comme l’épine dorsale du système d’éclairage théâtral de la salle de spectacles, par contre, l’ensemble complet d’éclairage comprend dix appareils Source Four, 20 luminaires Desire D60 Vivid LED, huit appareils Source Four LED Series 2 Lustr, 12 LEDs ColorSource PAR et huit profiles ColorSource Spot LED, entre autres. De plus, Clair Solutions a installé un commutateur Ross Video Carbonite, un projecteur central Barco HDXW20, deux projecteurs latéraux Sony VPLFHZ700L/B et un système d’intercom Clear-Com HelixnetNet. “Je sais que l’équipe de Clair Solutions a constamment excédé la demande, et ce, à plusieurs occasions et nous sommes très reconnaissants,” déclare Jody Goff, le directeur des finances et de l’exploitation de Valor Christian High School.

DEUTSCH

Die Valor Christian High School in Colorado strebt seit ihrer Gründung im Jahre 2007 danach, ihre Schüler ausschließlich mit den besten aller Chancen und Möglichkeiten auszustatten. Clair Solutions wurde beauftragt, für das zur Schule gehörige Kulturzentrum, das Valor Center for Culture and Influence, ein Audio- Video- und Lichtsystem der Spitzenklasse zu entwerfen und einzurichten, das dem Exzellenzanspruch der Bildungseinrichtung widerspiegelt. Den Sound liefert eine individuell angepasste Clair Brothers PA, die mit Lab.gruppen D Serie 80:4L Verstärkern ausgestattet sowie mit hintereinandergeschalteten iS118-i und CS218 Subwoofern von Clair Brothers bestückt ist. Der Output erfolgt über kiT12 Breitband- und 12 CX-75 Koaxiallautsprecher. Eine DiGiCo SD10 FOH Konsole kommuniziert über das eigens vom Hersteller entwickelte Optocore-Protokoll mit den verschiedenen SD-Racks. Ein ETC Sensor3 48-Modul Dimmerschrank bildet das Rückgrat der Lichtanlage, das komplette Paket umfasst jedoch unter anderem noch zehn Source Four Strahler, 20 Desire D60 Vivid LED-Lampen, acht Source Four LED Series 2 Lustr Scheinwerfer und 12 ColorSource PAR LEDs sowie acht ColorSource LED-Spots. Darüber hinaus installierte Clair Solutions einen Ross Video Carbonite Bildmischer, einen zentralen Barco HDX-W20 Projektor sowie zwei Sony VPLFHZ700L/B Seitenprojektoren und eine Clear-Com HelixNet Intercom-Anlage. „Das Team von Clair Solutions hat unsere hohen Erwartungen an ihre Arbeit in vieler Hinsicht übertroffen. Wir sind wirklich unglaublich dankbar“, sagte Jody Goff, Finanz- und Produktionsleiterin an der Valor Christian High School.

ITALIANO

Dal 2007, Valor Christian High School (con sede in Colorado) ha cercato di diventare un’eccellente istituzione che offre agli studenti un’opportunità da cogliere e per farlo, è stato chiesto a Clair Solutions di progettare ed installare dei sistemi audio/video/luci all’avanguardia nella loro nuova Valor Center for Culture and Influence. Per l’audio, è stato costruito su misura un sistema PA Clair Brothers alimentato da amplificatori Lab.gruppen D Series 80:4L e potenziato da subwoofer per array iS118-i della Clair Brothers e subwoofer CS218, insieme ad una gamma completa di altoparlanti kiT12 e altoparlanti coassiali 12CX-75. Una console DiGiCo SD10 FOH è stata utilizzata per comunicare con più sd rack tramite un protocollo Optocore di DiGiCo. Un Sensor3 48-Module Dimmer Rack della ETC funge da spina dorsale del sistema di illuminazione teatrale della sala per le performance, tuttavia, il pacchetto completo di illuminazione comprende, tra gli altri, dieci impianti Source Four, venti luci a Led Desire D60 Vivid, otto apparecchi Source Four LED Series 2 Lustr, dodici ColorSource PAR LED e otto sagomatori ColorSource Spot LED. Inoltre, Clair Solutions ha installato uno switcher Ross Video Carbonite, un proiettore Barco HDX-W20, due proiettori laterali Sony VPLFHZ700L/B e un HelixnetNet Intercom System della Clear-Com. “So che il team Clair Solutions è costantemente andato al di là in tanti modi e gli siamo veramente grati”, ha detto Jody Goff, il Director of Finance & Operations presso la Valor Christian High School.

ESPAÑOL

Desde 2007, Valor Christian High School, con base en Colorado, ha tratado de convertirse en una excelente fundación que le proporcione a los alumnos la oportunidad de tener éxito. Para continuar con eso, se le solicitó a Clair Solutions que diseñe e instale sistemas de audio, video e iluminación de última generación en su nuevo Valor Center para la Cultura y la Influencia. Para el audio, un PA construido a medida de Clair Brothers, potenciado por amplificadores D Series 80:4L de Lab.gruppen es aumentado formaciones iS118-i de Clair Brothers y subwoofers CS218, junto con una amplia variedad de parlantes kiT12 y parlantes coaxiales 12CX-75. Se utiliza una consola SD10 FOH de DiGiCo para la comunicación con SD-racks múltiples vía protocolo Optocore de DiGiCo. Un Sensor3 48-Module Dimmer Rack de ETC sirve como segmento principal del sistema de iluminación teatral del salón de actuación, sin embargo, el paquete completo de iluminación incluye 10 artefactos Source Four, 20 Luminarias LED Desire D60 Vivid, 8 artefactos Source Four LED Series 2 Lustr, 12 ColorSource PAR LEDs y 8 perfiles ColorSource Spot LED, entre otros. Además, Clair Solutions instaló un interruptor Ross Video Carbonite, un proyector central Barco HDX-W20, 2 proyectores laterales Sony VPLFHZ700L/B y un Clear-Com HelixnetNet Intercom System. “Sé que el equipo de Clair Solutions ha superado las expectativas constantemente de muchas maneras y estamos verdaderamente agradecidos,” dijo Jody Goff, Directora de Operaciones y Finanzas en Valor Christian High School.

switcher, a Barco HDX-W20 centre projector, two Sony VPLFHZ700L/B side projectors and a Clear-Com HelixNet intercom system.

Discussing the overall project at Valor Christian, Kurt highlighted that it was a total success, though; it was not without its difficulties.

“As they were not able to fully fund the technology package they wanted when they broke ground, we prioritised and reprioritised the project scope throughout the entire build portion to work with the funds they had available,” Bill explained.

“This meant that we had to be extremely fluid with the timeline and make a lot of changes on the fly. The project is still a work in progress as the school continues to fundraise. There was also a very aggressive construction schedule that we had to stay on top of.”

Despite the financial and time constraints of the project, Clair Solutions delivered a truly exceptional install to create the Valor Center for Culture and Influence - and that hasn’t gone unrecognised

by Jody Goff, the Director of Finance & Operations at Valor Christian High School, who has expressed gratitude to the company.

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“I know that the Clair Solutions team has constantly gone above and beyond in so many ways and we are truly grateful. It has been a pleasure working with such an outstanding group of professionals,” said Jody. “Sometimes, it seemed they worked miracles with our compressed and everchanging budget. As our Project Manager and Theatrical/Lighting Designer, Bill was just terrific.

“It was so exciting to see the beauty of the lights and hear the amazing sound in the auditorium for our grand opening celebration. It was truly remarkable and the feedback we have recieved has been so positive. This building will be a blessing to our school and community for years to come.”

The final word on the Valor Christian High School Project goes to Bill: “At the end of the day, it was a highly successful project to the level that it is currently completed. The school was so thrilled by the collaborative process. We are continuing that collaboration today looking forward to fleshing out what is still remaining to be incorporated.

Everybody who worked on it was incredibly proud of the work that we did.”

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110 IN BRIEF - APAC

The Newport Performing Arts Theater at Resort World Manila gets an audio upgrade courtesy of Clair Bros.

After initially installing the Newport Performing Arts Theater (NPAT) at Resort World Manila back in 2009, local distributor and integrator, Systech Lighting & Controls was invited back recently when the audio equipment was in need of an upgrade.

Director of Entertainment Technical Ops, Ernie De Leon said: “The original system wasn’t sub-standard but we just needed to move to the next level,” he said. “All clients want different things; some clients want power, some want clarity, and all want quality.” Systech supplied the theatre with a Clair Bros PA to demo for a couple of weeks. “It was a long demo because we needed to make sure the sound system was suitable for the venue and suitable for our client,”

continued Ernie. “With Clair we think we get all the requirements - power, clarity and quality - in one so we’re happy with the performance of the system.”

Wayne Grosser, Managing Director of Clair Bros Australia, takes up the story: “My brief was to design a new premium system with even coverage and intelligibility throughout the venue. The system needed to have headroom with longevity. It was important that the system brand name was globally accepted from engineers and acts from around the world and locally too.”

The NPAT has a majestic 49-metre wide stage so a L-C-R configuration was imperative to achieve the audio goal. Eight i212-M 90º cabinets are flown per side, while the centre cluster comprises two i212M 90º elements at the top and

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111 IN BRIEF - APAC

two i212M 120º elements underneath. The combination provides great centre coverage for both concert mode and theatre mode.

The different modes are determined by the subwoofer presets. In concert mode, the eight iS218M subwoofers are split evenly and positioned directly below the left and right hangs. For theatre mode - which includes musical productions with large orchestras - the eight subwoofers are deployed across the front of the stage. Wayne said: “The iS218M subwoofer was select for its flexibility between the two preset modes. It has very tight sub low punch and reproduces a detailed low-end with high output.” Completing the new install are eight FF2-HP-Ms for lip fill and Clair Bros PLM10Kand PLM20K amplifiers with built-in Lake

DSP to drive the system.

Ernie added: “The main challenge we faced was the room and its acoustics. We couldn’t get a perfect acoustic measure and got lots of slapback delay. Wayne experimented with the angles of the loudspeakers and the placement. Once that was determined he also made a few visits to make sure the calibration of the system correct and all the loudspeakers were correctly aligned.”

With the implementation of the new system, NPAT rarely has production companies bringing in their own kit anymore, which is proof enough that the Clair Bros install has gone down a storm with both performers and audiences alike. www.clairbrothers.com

www.mondodr.com

112 VENUE - APAC

JENJA JAKARTA JAKARTA, INDONESIA ASIA-PACIFIC

After the successful opening of Jenja in Bali, Indonesia the owner decided a second outlet was needed to expand the brand and chose Jakarta as the next location. Situated inside shopping mall, Cilandak Town Square in the south of the city, Jenja Jakarta, bares some similarity to its older sibling, but at the same time has its own unique identity too.

The first comparison that can be drawn is the reappointment of DMP Musik partnered with PT. Electro Audio Engineering as the sound designer and www.mondodr.com

installer. Having completed the audio fit out in Bali, David Soewondo, Thomas Rulyanto, Kenny Soewondo with their team were invited back. “After being thoroughly satisfied with Jenja Bali, the owner contacted us again and asked us to take a look at his plans to open Jenja Jakarta. We surveyed the venue - during construction - and then came up with a design for a Funktion-One system, which we thought would deliver an excellent audio experience for every guest visiting the venue,� said Kenny.

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The aim of the audio set-up was to achieve a very accurate and controlled dispersion pattern. Thomas and his design team decided the best way to meet those needs was to supply a hornloaded Funktion-One based sound system connected using Van Damme cables.

Four Funktion-One Resoltuion 4 three-way loudspeakers are split evenly left and right of the DJ booth, which is situated at one end of the dancefloor. For added punch, Thomas also installed four Funktion-One F218Mk2 subwoofers in the centre, underneath the DJ booth, in line with the owner’s request for high SPL on the dancefloor.

For the seating areas, DMP Musik and PT. Electro Audio Engineering used Funktion-One F1201 loudspeakers

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114 VENUE - APAC

coupled with MB212 subwoofers. “This combination is ideal for the medium to high SPL requirements in the seating areas,” said Kenny. “The team spent a lot of time devising the best plan for loudspeaker placement and along the way, we made some adjustments in order to provide the optimum sound coverage.

“Because Funktion-One products are very accurate, sensitive, and natural in their sound reproduction with very low distortion, people can listen at high SPLs for a long time without experiencing fatigue. We really like how the products sound, and with their horn-loaded design we can achieve a very precise sound dispersion,” he continued.

Two sets of amplifiers were selected for

TECHNICAL INFORMATION SOUND 4 x Funktion One Resolution 4 three-way loudspeaker; 4 x Funktion One F218Mk2 subwoofer; 10 x Funktion One F1201 loudspeaker; 4 x Funktion One MB212 subwoofer; 1 x Funktion One BR118 subwoofer; 2 x Funktion One X04A digital controller; 1 x Funktion One E25 amplifier; 2 x Funktion One E45 amplifier; 2 x Funktion One E90 amplifier; 2 x Full Fat Audio FFA 6004 amplifier; 1 x Pioneer DJM-900 Nexus DJ mixer; 2 x Pioneer CDJ-2000 Nexus multiplayer; Yamaha amplifiers clubjenja.com

Jenja Jakarta, MC2 Audio - OEM’d for Funktion-One - for the main system and Full Fat Audio for the distributed delays.

A total of five amplifiers from the MC2 Audio E Series were selected, the E25 and E45’s feature MC² Audio’s proprietary current driven output stages, meaning they produce highly defined sound across the full audio bandwidth. While the E90 is a Class-D amplifier capable of higher power and increased efficiency, all the while retaining its reliability. The two Full Fat Audio FFA-6004’s also feature Class-D technology and are able to deliver four channels of 800W into eight ohms or four channels of 1,500W into four ohms. Kenny describes the products from both manufacturers as high quality and says they compliment each other well in this zoned set-up.

Two Funktion One X04A DSPs manufactured by XTA - look after loudspeaker management throughout the venue. Kenny said: “The XTA processing products are ideal for this installation because the sound quality is top notch and they are also very reliable. I speak from our experience installing many of them at other venues throughout the archipelago.” Completing the audio line-up at Jenja Jakarta is a Pioneer DJM900 Nexus DJ mixer, a pair of Pionner CDJ-2000 Nexus multiplayers, and some www.mondodr.com

Yamaha amplifiers to power two of the Funktion-One F1201’s and a BR118 subwoofer for DJ monitoring.

When asked about challenges during the project, Kenny explained: “The acoustics were challenging because the shape of the venue is elongated. The owner had requested the sound to be concentrated on the dancefloor area, so we had to brainstorm to find the best loudspeaker positions to achieve that, as well as ensuring ample coverage throughout the seating areas too. With the distributed delay system, we also had to consult frequently with the interior designer to make sure that the loudspeakers and subwoofers would blend in with the aesthetics of the venue.”

The collaboration between Jenja and DMP Musik partnered with PT. Electro Audio Engineering is clearly one that works for all parties, as the word is spreading throughout Indonesia and the rest of the South East Asia region. Open from Wednesday through to Saturday, Jenja guests will be greeted visually by a lavishly surreal, sensational lounge of rich colour and a menagerie of geometrical wooden abstract shapes. And then through the Funktion-One sound system, guests are invited to ‘touch the future of sound and dance until they can taste the music on their skin’.

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•Asia's most influential pro-light&sound exhibition •From China Entertainment Equipment Industry Base •First China high-end no noise exhibition •Over 630 international exhibitors •Ad hoc worldwide big brands pavilion •More new products launch and high-tech showcase

• Page 122

IN BUSINESS

• Page 118

• Page 126

EXPO PALM EXPO BEIJING

BY JUSTIN GAWNE

EXPO BPM | PRO BIRMINGHAM

BY SAM HUGHES • Page 136

• Page 132

• Page 144

EXPO LDI

• Page 162

LAS VEGAS

BY JAMIE DIXON

IN DETAIL DIGITAL PROJECTION PIXELFLEX ROBE

PRODUCT GUIDE LIGHTING CONTROL

PRODUCT DIRECTORY LAST PAGE INTERVIEW MICHAEL SOLLINGER

118 EX P O

PALM Expo BEIJING, CHINA 1-4 SEPTEMBER LOCATION: China International Exhibition Centre EXHIBITORS: 400+ VISITORS: 50,000+ BRANDS ON DISPLAY INCLUDED: ETC Asia, Columbus McKinnon, Yamaha, Antari, d&b audiotechnik, DiGiCo, Avolites, Meyer Sound, Fine Art, SGM, EAW, GTD, PR Lighting, EK Lighting.

NEXT YEAR’S SHOW: 2-5 June 2017 WEBSITE: www.palmexpo.net

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119 EX P O

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120 EX P O

BPM PRO

BIRMINGHAM / 11-13 SEPTEMBER

With BPM celebrating its 10-year anniversary, this year’s BPM | PRO promised to be an interesting one - particularly with it being held in a new venue, too. The show, taking place from Sunday 11th until Tuesday 13th September, was at the Genting Arena at NEC Birmingham and, with a solid two days of visitors and a further day dedicated to trade visitors, the overall reaction was positive.

With a social space for DJ & Studio, a full-height arena for professional lighting and special effects and individual rooms for audio demonstrations, the move from a traditional exhibition space into the new venue proved to be a huge success.

There was a diverse range of visitors at the show, with lighting designers, sound technicians, venue owners, music producers and DJs, all flocking to the show, creating a fantastic atmosphere at the Genting Arena over the three days. The plethora

of visitors was a huge positive for exhibitors, with brands from around the globe given the opportunity to promote new products, reveal upcoming plans and cultivate new business relationships.

Mark Walsh, Marked Events Director and cofounder of BPM | PRO, spoke positively about the landmark show: “We have made a lot of changes this year, and they appear to have all paid off. A change of days has not affected our visitor numbers, but has allowed us to build on creating a strong trade visitor demographic in the up and coming years.

“The new venue has been the absolute right choice for our industry. Not only is the space fresh and exciting; it’s also surrounded by plenty of hotels, bars and restaurants, which allows the show atmosphere to continue on through the evenings.”

• 16-piece orchestra - Symphonica and Mr Switch - in the Chauvet Arena

At BPM | PRO this year, Martin Audio showcased its latest series of loudspeakers, the BlacklineX. Martin Audio’s R&D team have engineered a whole new range of speakers delivering the signature sound of warmth, nuance and clarity at a price point not previously possible, all in a clean, smart design with nocompromise between the needs of installation and portability. Comprising of four, two-way systems - from the ultra-compact X8 to the powerful X15 - and three subwoofers, including an unobtrusive slimline model, the multipurpose BlacklineX Series raises the performance of loudspeaker systems in its class to a new level.

During the show, Martin Audio hosted several demos off from the main hall, giving visitors a chance to hear the whole range. James King, Director of Marketing at Martin Audio, commented on his experience at the show: “It • FBT’s Jack Wilson

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121 EX P O

• The team on the Chauvet stand - Paddy, Agustin, Sam and Caroline

• The Adam Hall team

certainly gave us the opportunity to get in front of a core customer target with over 300 people going through the demonstration it helped reaffirm that we have a winning proposition with BlacklineX.” Elsewhere, Germany-based TW AUDiO, which has recently announced the launch of its UK branch, used BPM | PRO to introduce TW AUDiO UK to the market, as well as announce Simeon Ludwell, who has been appointed as Managing Director.

Speaking to Simon on the show floor, he discussed his plans for the company’s future: “This coming year we will be looking to strengthen sales in the UK by adding a dealer network. BPM | PRO produced some good conversations and

• Prolight Concepts had a busy show

• The team from Pyrojunkies and Magic:FX line up

we are in talks with potential dealers.”

Bose showcased its new ShowMatch DeltaQ loudspeaker to the marketplace at the show, which Sue Harrison, Business Development Manager for Bose Professional explained further: “The timing of BPM | PRO could not have been better as we embarked later that week on a European Roadshow to launch the ShowMatch DeltaQ array loudspeaker.”

The ShowMatch DeltaQ could be heard in the demo area. Sue commented: “The Pro Audio Demo Area allowed visitors to the show to be the first to see and hear the new arrays, and the feedback we received was positive and very encouraging. We also had our VIP room that allowed us to meet customers

• The Bose team

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• The JTS stand

122 EX P O

• A LeMaitre demo in full swing at the FX Stage

away from the busy show floor, and many valuable discussion took place there during the show.”

Along with a large selection of products from the ADJ stock room, the company also showcased one of its latest releases, the AV6X, an affordable 6mm LED video panel designed for nightclubs, bars, bands and mobile entertainers. The new features on the AV6X, which have been upgraded from AV6, are that it uses higher quality LEDs for better colour consistency and a darker black masking for higher contrast.

Brian Dowdle, Marketing Director of ADJ Lighting, discussed ADJ’s experience at the show: “BPM | PRO has always been a fantastic show for ADJ Lighting.

With the recent PRO side of the show, ADJ has been able to properly demo our products to their fullest potential to dealers, production professionals and end users.”

This year’s show also saw the Chauvet Arena return, with the company making the most of the new location. An impressive array of Chauvet’s newest fixtures were on display in one spectacular stadium-

• Demos on the Pyrojunkies stand

ready lighting concept. This collection included the Maverick MK2 Wash and MK2 Spot, STRIKE 1, Rogue R1 FX-B, and Ovation E-910FC. The new arena offered the Chauvet team an opportunity to showcase the latest fixtures in their natural habitat. Chauvet Europe General Manager, Michael Brooksbank, added: “We’re very enthused about our new products being presented in the larger and improved Chauvet Arena this year.”

FBT UK used the show to display its wide range of audio products, including demonstrations of its renowned MUSE and MITUS line array systems in the Pro Audio demo space. New to the UK market and shown on the main FBT stand was the Vertus CS1000 compact line array system. Also on show was the Ventis range of passive and active speakers, as well newcomers to the FBT range, the ProMaxX, which represents the company’s latest refinements to a long established leader in polypropylene housed enclosures.

During the three-day event, as well as showcasing

• RCF’s Dean Davoile

• ADJ’s Kris Dawber and Brian Dowdle

• The QSC team

• The TW AUDiO team

• POLARaudio’s Dave Ball and XTA’s Waring Hayes

124 EX P O

• The Aura Audio team

• As well as its own, AudioTechnica also displayed Allen & Heath products too

• NEXO’s Gareth Collyer and Florian Eustache

several new products for the DJ market, AudioTechnica also displayed a variety of Allen & Heath’s digital mixing systems. The flagship dLive S7000 control surface was one of the main highlights, with the new app-controllable Qu-SB and touchscreenequipped Qu-Pac digital mixers and popular Qu-24 also on the stand.

Aura Audio was also offering live demos of its system, as well as a pre-launch of its new subwoofer, which Mike Isotalo, Managing Director of the Finland-based manufacturer, discussed further: “We’ve chosen BPM | PRO to display our new-game changing passive end-fire subwoofer, which is due for official release in the near future. The show looks great and there’s been a good turnout. The pre-launch of our new sub is going really well as a result.”

Le Maitre were equally impressed with the show, as Head of Sales, Elaine Frost, expressed: “PRO was a great show once again for Le Maitre. It is always good for us to be able to show our pyro in action and PRO provides the perfect opportunity for us to do so.

Our twice-daily shows on the FX Stage were packed,

• The Wharfdale Pro duo

attracting hundreds of visitors over the three days. It was the ideal platform to show a wide range of our products, explain all about them and answer people’s questions. The show floor seemed really busy with a good flow of visitors, and it was a good chance to catch up with industry friends and make lots of new contacts too.”

BPM | PRO’s Mark Walsh reflected on another successful show, while looking ahead at 2017’s edition: “I am extremely thankful to all those exhibitors who have supported the show over the past t10 years and especially to those who took a chance on us again this year.

“Myself and my team are already excitedly working on the 2017 event, where we will build on the positives from this year and listen to feedback from both visitors and exhibitors to create an even bigger and better show for 2017.”

BPM | PRO will return to the Genting Arena in 2017 and the dates are due to be announced soon. For more info go to: www.bpmpro.show

• The Martin Audio team

4010A

4020A

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Accessories

Audio Excellence for AV Installations Genelec is the leading loudspeaker brand amongst audio and music professionals. This position is built on products that deliver unrivalled sound accuracy and reliability, and Genelec 4000 Series brings these qualities to AV installations. Installation of Genelec loudspeakers is extremely easy.

Our extensive selection of accessories provides you numerous mounting options.

Four models 4010, 4020,4030, 4040 – pick a size to suit your project

Wide range of installation accessories available

Environmentally friendly ISS™ (Intelligent Signal Sensing) also saves money for your client

Compact and powerful loudspeakers

Active loud­ speakers that save on rack space and amplifier set up and cost

www.genelec.com/av-install Genelec also manufactures a range of active in-Wall and in-Ceiling loudspeakers for architectural installations

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28.4.2015 13.14

126 EX P O

• Darren Jackson and Toon Servaes of Marq Lighting

• Eric Loader of Elation

• The DTS team - Paolo Albani (centre) and Antonio Parise (right)

LDI LAS VEGAS, USA / 21-23 OCTOBER From October 20th to the 23rd, Las Vegas was, yet again, host to the LDI exhibition, which saw the 29th edition of the show welcome visitors from all over the world.

We have attended a multitude of exhibitions throughout 2016 and, as the show calendar nears the end of another busy and vibrant year, it was now time to see what LDI had to offer…

Highlights on the show floor began with ADJ,

• The Le Maitre team

• The AV Stumpfl stand

which unveiled 13 new products including Vizi BSW 300, AV3 LED video panel, Penta Pix five-head beam fixture and myDMX 3.0 DMX control software.

For AV Stumpfl, LDI 2016 was the official global debut of its technically innovative mobile projection screen stand. Avolites offered two, one-day training courses covering the basics behind its Titan V10 controller.

Airstar announced the enhancement of its successful Crystal range with the launch of two brand new innovative products Sunshade and Crystal White.

Chauvet showcased new products from its Ovation, COLORado and Maverick Series including the highly publicised Ovation E-260WW. Christie officially launched its Pandora’s Box

• PixelFLEX cool dudes

• The Antari stand

www.mondodr.com

• RGB Link team

135 EX P O

• The Light Converse team

• The Vectorworks team

• Caroline and Albert Chauvet with Michael Brooksbank

• The Look Solutions stand

• The Robe team in full force

6.0 media server, as well as its new Widget Designer 6.0 from the coolux brand, allowing customers to create dedicated user interfaces and interaction logic simply by connection visual control components.

Making it debut at LDI was Doughty’s Articulated Carriage, a new product added to its Studio Rail 60 range, designed with film, TV and theatre in mind.

DTS showcased some of the newest products in its range including the Core hybrid moving head, the Katana LED bar and NRG 1401 the LED beam/wash projector. Elation showcased new products, including the Platinum 1200 Wash, as well as hosting live demonstrations as part of the LDI Show and LDI Live Outside.

• Martin Audio’s Jason Baird and Rob Hofkamp at the outdoor demo

• Avolites Steve Warren and Rebecca Harding flank Group One’s Jack Kelly

• The A.C. Lighting stand

• The Kvant stand

• The ArKaos team - Jean-Louis Blanchard, Agnes Wojewoda and JF Canuel

128 EX P O

• Mercedes Stevao-Boase of Green Hippo with the Datapath guys

• Chris Pease of Lightronics

• Teresa Vallis and Anna-Louise Fairtlough on the Philips stand

• The GTD team - Ting Chen (right)

ETC celebrated its 40th anniversary with its full ColorSource family including ColorSource audiovisual lighting control desks, and offered pre-tradeshow training on Eos-family consoles as part of the LDInstitute training sessions.

High End Systems showcased its Hog 4 range of lighting consoles and introduced new products from both its SolaRange and FX lines, as well as holding the finals of its annual Hog Factor National Collegiate Lighting Show Programming Competition.

Green Hippo exhibited independently for the first time, with both the UK and US offices working together to pull it off. Visitors were able to discover the latest hardware - Karst DP, Boreal DP, Taiga DP and Portamus - and

• The High End Systems stand

• Lauren Davis of Light Tape

the capabilities of the new version of Hippotizer software, V4.2. Luminex network intelligence introduced its family of DMX/RDM splitters, whilst Marq Lighting was invited by visual production company CG Creative to provide exciting visual effects for the Isagenix annual awards gala and the after-party the following day. Marq Lighting’s RezoTubes were selected as the perfect product for the job.

Phillip Lighting launched an array or new entertainment products including the Phillips Showline SL Ledspot 300 and the Phillips SL Hydrus 350.

PixelFlex hosted an augmented reality experience, debuting its AR-LED LumiFlex and ultra-high resolution LED technologies.

Prolyte Group presented its new Verto

• The Airstar team

• A busy Dataton stand

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• The GLP stand

• The Christie stand

• The Martin by Harman stand

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130 EX P O

• The TMB wings

truss, highlighting the product during the New Technology Breakfast on the Saturday.

RCF demonstrated its new large format HDL50-A system as part of the Live Outside at LDI. Robe showcased its new Spiider LED, the centrepiece of the booth, as well as other products such as the Halo and the Spikie.

According to statistics, the head count for this year’s show was in excess of 12,000, which comfortably surpassed the healthy showing of visitors from the year before. It must be said that it was particularly pleasing to see such a strong presence of international attendees at the show, with representation from over 80 countries.

Also, with the show boasting 350

• The Clear-Com stand

plus exhibitors, all of which were providing live demos of and faceto-face meetings about their new, exclusive products, it was an ideal opportunity for everyone to refresh their knowledge and catch up with the latest news.

Overall, it was certainly a case of Viva Las Vegas for this year’s LDI and it’s fair to say that I’m looking forward to another roll of the dice in 2017!

LDI will return to the Las Vegas Convention Center from 17-19 November 2017. For more info go to: www.ldishow.com

• Andy Dunn and Leigh-Anne Aitken of SHS Global

• The Harlequin Floors stand

• Clay Paky displayed its new logo

• Lauren Proud of Rosco

• The Aryton stand

• The Stagemaker stand

www.mondodr.com

• The ETC stand

• The Osram stand

• SGM’s Litte Dalsgaard

132 P RODUCT LAUNCH

BOSE PROFESSIONAL | SHOWMATCH Finding the right time and place to launch a new product onto the market can be a tricky business.

Bose Professional opted for a combination of a tradeshow platform and a dedicated event held at Millennium Studios in Bedford, UK. First up was the launch at BPM | PRO in Birmingham at the beginning of September.

After the success of RoomMatch - Bose’s range of DeltaQ array loudspeakers that are designed for permanent installations and feature large-format waveguides with a choice of 42 coverage patterns - comes ShowMatch, the versatile sibling.

The compact and versatile ShowMatch loudspeaker features DeltaQ next-generation array technology, offering the ability to build traditional (J-Array or Constant Curvature) and DeltaQ array configurations, allowing both portable/ rental and installed applications to deploy selectable coverage control. DeltaQ originates from the ability to change directivity or ‘Q’ for each array module. When combined in an array, acoustic energy is highly focussed and can be

matched to audience areas more accurately. This is an advancement from traditional line arrays, which typically have significantly less pattern control.

After the launch in Birmingham, Business Development Manager, Sue Harrison said: “The timing of the show could not have been better, as we embarked later that week on a European Roadshow to launch the latest product in the DeltaQ line - the ShowMatch DeltaQ array loudspeaker.

The Pro Audio Demo Area enabled visitors to the show to be the first to see and hear the new arrays, and the feedback we received was positive and very encouraging. Our VIP Room allowed us to meet customers away from the busy show floor, and many valuable discussions took place there during the show.”

So far, three loudspeaker models and a subwoofer have been released. The three loudspeakers - SM5, SM10, SM20 offering 5/10/20-degree vertical coverage patterns respectively - feature a compact two-way design including four www.mondodr.com

improved Bose EMB2S compression drivers and two proprietary Bose eight-inch neodymium woofers. Each model ships with two sets of field-changeable horizontal waveguides for narrow or wide pattern control. The SMS118 subwoofer houses a single high-output 18-inch driver and includes integrated four-point rigging that may be deployed forward or rear-facing. A front grill-mounted NL4 connector enables easier wiring for cardioid configurations.

The loudspeakers are fitted with removable rigging-guard/handle side caps which allow ShowMatch modules to be optimised for both installation and portable applications, and the top of the subwoofer supports third-party mounting poles and optional accessories for ground-stack configurations. The series as a whole offers a full set of rigging accessories for up to 24 modules, mixed arrays with subwoofers, sub arrays including cardioid sub arrays - and ground stack configurations.

The BPM | PRO launch was just ahead of the

133 P RODUCT LAUNCH

product series beginning a worldwide tour of demo events. The first stop on the ShowMatch DeltaQ European Roadshow was Millennium Studios, Bedford. Sue said of that event: “Four sessions over two days in Bedford launched the Bose European Roadshow to introduce the new ShowMatch DeltaQ array loudspeakers. Over a hundred customers attended the event, including existing UK partners and overseas distributors, but this was also a chance for Bose to meet with rental companies and FOH engineers to demonstrate how the new ShowMatch product could offer a flexible solution for the corporate audiovisual rental market.

“Breakout sessions, including an opportunity to get hands-on with mixing the system, were valuable in allowing attendees to gain a more in-depth knowledge of the product. The response was fantastic, with guests commenting that Bose has definitely come up with a product that will compete very favourably with other systems on the rental market. The roadshow will now travel all over Europe visiting 11 cities, including Paris, Frankfurt, Rome, Prague, Barcelona and Stockholm.”

Similar events are also taking place across the US and Asia and the series will begin shipping to dealers in November. That month will see Bose make another significant release - the Modeler sound system software version 6.9 - which will support acoustic designs using the new ShowMatch array loudspeakers.

The versatility of the new ShowMatch array design helps ensure the best possible sound quality for a wide range of applications and settings, ranging from small clubs, houses of worship or corporate audiovisual events, to performing arts centres and amphitheatres. A great addition to the Bose Professional range, it has to be said.

What’s next… watch this space! pro.bose.com

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134 IN DETAIL

DIGITAL PROJECTION | HIGHLITE LASER II • Flexible Mounting Orientation

For maximum flexibility, the HIGHLite Laser can be operated in both portrait and landscape mode, pointing up and down and almost every angle in between

• Built-In Edge Blend

Superbly capable edge blending and multi-projector tiling is provided by way of high bit depth processing that ensures a seamless, contiguous image can be created from multiple projectors.

• Lamp-Free Projector The HIGHlite Laser II is a lamp-free projector meaning extensive savings on expensive maintenance and replacement cycles.

Remarkably bright, the HIGHlite Laser II delivers a stunning 13,000 lumens from a stable solid-state light source, capable of producing over 20,000 hours of illumination.

Developed with ‘Fit and Forget’ directive, the HIGHlite Laser II delivers an impactful imaging solution that installers and system integrators can deploy with 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 HIGHlite Laser II are incurred at time of purchase. This key characteristic allows the HIGHlite Laser II to have a much lower cost of ownership over the lifespan of the display. Venues looking to produce a compelling visual experience will realise true cost-saving

benefits through the HIGHlite Laser’s advanced illumination technology.

Combine the exceptional bright, longlife 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. Additionally, active 3D functionality with frame rates up to 144Hz is included. DisplayPort, Dual HDMI 1.4, DVI and 3G-SDI inputs enable the latest high speed video delivery. HDBaseT connectivity further augments the HIGHlite LASER’s input options. A diverse selection of both fixed and zoom lenses and extensive lens shift ensure that integrators installing the HIGHlite LASER have complete flexibility with respect to projector placement. www.digitalprojection.com

www.mondodr.com

• Projector Control Software Projector Controller software allows full management and operation of multiple projectors from a single centralised PCbased application. Ideal for use in large installations or where projectors are installed in multiple locations within a building, the software can dramatically reduce the time required for set up and configuration.

• HDBaseT Connectivity

Built in support for transmission of uncompressed high definition video over standard CAT5e/6 LAN cable.

This allows projector to be placed up to 80-metres from source with low cost cabling.

• Five-Year Warranty Due to the proven reliability and long-term performance of the laser projectors, Digital Projection provides a full five years / 20,000 hours warranty.

artec 300 series

Installation systems for quality sound in any type of venue

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.

www.dasaudio.com sales@dasaudio.com D.A.S. Audio, S.A. C/ Islas Baleares, 24 46988 Fuente del Jarro Valencia - Spain Tel. +34 961 340 860

D.A.S. Audio of America, Inc. 6900 NW 52nd Street Miami, FL 33166 - U.S.A. Toll Free: 1 888 DAS 4 USA

D.A.S. Audio Asia PTE. LTD. 3 Temasek Avenue, Centennial Tower #34-36 Singapore 039190 Tel. +65 6549 7760

136 IN DETAIL

PixelFLEX | TrueFLEX

The award-winning LED video display manufacturer PixelFLEX has recently announced the launch of the TrueFLEX LED video tile. Ideal for fixed installations which require a nontraditional LED solution, TrueFLEX offers more flexibility than ever before through its ability to curve in any direction and attach to virtually any surface while still providing a highresolution LED video playback system.

Available in 2.5mm, 3.0mm, 4.0mm, 6mm and 10mm indoor pitch options, the TrueFLEX LED video system now gives designers the opportunity to achieve unlimited creativity where traditional LED displays were not possible.

“Our goal at PixelFLEX is to provide our customers with the technology that will afford them the ability to create without boundaries or limitations,” said David

Venus, PixelFLEX Director of Marketing.

“As we have continued to grow in the video integration and audiovisual design markets, we’ve experienced designers and architects alike asking for the ability to create more than normal rectangle or square LED video displays. With its limitless curving aspects, high-resolution modules, and completely quiet operation, TrueFLEX not only provides an ideal solution for these applications, but it is also one of the most innovative LED video products available today.”

Designed to create seamless convex or concave curved video walls, TrueFLEX offers a wide range of pitch options for high-resolution video playback of creative LED video content. The fanless design allows for a no-noise solution that can operate in any indoor space, and its slim and lightweight construction provides a low-profile installation that

www.mondodr.com

• PixelFLEX’s new TrueFLEX LED tile.

needs very little space for wiring and mounting. With its single module replacement for easy onsite service, TrueFLEX uses magnetic modules and set screw ports to attach to virtually any surface, and the external sending and receiving control, paired with quality connectors, guarantee safe and reliable module connections.

“When looking at the full potential of LED video displays in the architectural market, TrueFLEX now gives designers the freedom to create an unforgettable display no matter if the mounting surface is curved or flat,” continued David.

“Today, LED video displays are becoming more than simple video playback, they are becoming immersive experiences and this was the driving force behind the introduction of our TrueFLEX LED video technology.” www.pixelflexled.com

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138 IN DETAIL

ROBE | SPIIDER

Robe’s Spiider is a brand new and totally unique LED wash beam luminaire that builds on the extreme success of Robe’s best-selling industry standard LEDWash Series.

The Spiider comes with all the great features that make Robe’s LEDWash Series such a well-respected industry standard, including virtual colour wheel, tungsten lamp emulation, individual pixel control, built-in wireless DMX on request and much more.

As the superbright next generation of LED WashBeam luminaries, the Spiider comes with a completely new concept and optics. Using 18 30W and one 60W LEDs, and combining it with a very efficient 12:1 zoom optical system ranging from tight 4° Beam to wide 50° Wash, makes the Spiider one of the most powerful LED fixtures currently on the market.

Beautiful convergence of hard edge in-air effects, punchy beams and smooth homogenised wash are all encapsulated in the unique Spiider, too - highlighting

just how special this fixture is.

Rich colours of 19 powerful RGBW LEDs can create charming washlight, with velvet-smooth transitions, thanks to internal the 18bit LED dimming system.

Dynamic video effects are also easily achieved by mapping individual pixels and controlled by DMX desk or media servers, via sACN with internal HTP merging, DMX or by Kling-Net protocol.

The Spiider offers a unique, eye-catching central piece, with Robe’s exclusive Flower Effect, which is driven by 60W RGBW LED multichip for new, innovative, sharp multicoloured spikes of light, rotating in both directions at variable speed - adding yet another new visual effect to the show.

Spiider is set to redefine the parameters of moving LED wash light technology and judging by the immediate reaction from those in the industry, it will make a major impact as another innovative lighting tool from the team at Robe. www.robe.cz www.mondodr.com

•Top left Spiider in action at LDI in Las Vegas.

•Top right At the official launch at PLASA in London.

•Below Live demo at LDI. •Right The Spiider.

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140 P RODUCT GUIDE

light•ing con•trol

[lahy-ting kuh n-trohl] n.

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

PRODUCT GUIDE

LIGHTING CONTROL

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“ L i g h t i n g c o n t ro l i s b e c o m i n g more and more advanced and the knowledge of users and programmers makes it possible to create even more stunning visual installations with lights.”

APAC KEITH BRADSHAW SHOW TECHNOLOGY “Lighting controllers are continuously evolving and reinventing themselves into different markets and the desires of LDs and operators are constantly changing with the introduction of new and innovative lighting fixtures. A great example is MA Lighting, Not only do they have the world leading consoles in the MA2 range but as a business they are continuously driving themselves into markets which they have never before been able to penetrate. MA Lighting continue to push new markets with the Dot 2 range to cater to the smaller market of schools, house of worship and small theatre, where the operators need the power and reliability of MA2 but on a very user friendly platform that takes the fear aspect away from an inexperienced operator. It’s always exciting whether you look at ETC, Martin, Hog or MA, where they will be heading next and what functionality is going to be available to designers and operators in the future.” www.mondodr.com

THE AMERICAS JONATHAN KEMBLE HIGH END SYSTEMS

“Lighting control has taken some interesting turns recently, as the scale, scope, and complexity of productions continues to increase.

Despite these challenges, controllers must provide ever simpler and faster ways to translate creative visions into reality. As we continue to develop the Hog series of consoles, we’ve seen the flexibility of its unique ‘real world’ values in providing both powerful programming tools, and adapting to new equipment such as video matrix switchers.”

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142 P RODUCT GUIDE - LIGH T ING CONT ROL

ADJ myDMX 3.0 myDMX 3.0 is ADJ Lighting’s latest edition of its popular, yet affordable, DMX control software available for MAC or PC users with exciting new features to take greater command in programming lightshows.

This edition includes a robust hardware dongle that allows users to save scenes directly onto the dongle.

New software highlights include the ability to play multiple scenes at once and arrange them into groups, sound to light with BPM audio analysis, live snapshots, BPM tap, flash scenes and blind editing (edit scenes without outputting the DMX). myDMX 3.0 offers 512 DMX channels, a profile editor, a large library of fixture profiles built-in, MIDI triggering and a drag and drop effect generator. myDMX 2.1 users may download the new software as a free upgrade. Plus, additional plug-ins may be purchased from a link on the myDMX 3.0 website. www.adj.com

ArKaos MediaMaster Pro 5.0 With this professional media server software, multiple server synchronisation is only one click away. Featuring up to 36 layers, it turns any powerful computer into a full-fledged professional media server capable of running video shows in sync on multiple servers.

The MediaHub is a new extension designed to run with MediaMaster Express or MediaMaster Pro. It’s designed to swiftly share your content between servers or computers and synchronise your content library over networks. MediaMaster Pros 5.0 also features a new lyric player designed to easily synchronise text for singers, church performances and corporate presentations. With the introduction of MediaMaster Pro 5.0 ArKaos continues to stay ahead of the competition by combining maximum functionality with simplicity of operation. MediaMaster Pro 5.0 retains the user-friendly and broad functionality that has become the trademark of the ArKaos product range. www.arkaos.net

Avolites Quartz The Quartz is the newest addition to the Titan Mobile family, complete with on-board processing and a bright, vibrant 12.1-inch screen, in the company’s smallest full-featured console. Super compact, measuring only 42.5cm wide, the Quartz is the ideal companion for all lighting projects, from touring and festivals to clubs and one-offs.

Featuring the same high quality faders and hardware users have come to expect from Avolites, the Quartz can go anywhere you can, ideal for life on the road.

The Quartz can also be combined with a Titan Mobile Wing for a massive 30 precision playback faders and 50 programmable executable buttons all packaged up in a travel case you can throw in your car or hold luggage. www.avolites.com

Chromateq LPSA-SLIM LPSA-SLIM standalone interface is the ideal DMX512 software package for all indoor installations and projects. It can be easily wall mounted on any surface. All connections are inside the housing and can be fitted with a Europe or US wall plug as standard.

The LPSA-SLIM includes an interface with 512 or 1,024 standalone DMX channels that can play black a show without a computer. It includes a powerful standalone mode to playback scenes without a computer use and trigger scenes scheduled by time or calendar. The interface is compatible Windows and Mac Os X systems and has the CE certification. www.chromateq.com

City Theatrical B-Series Dimmers City Theatrical has launched a new group of uniquely featured, high quality, constant voltage B-Series Dimmers in a variety of capacities and configurations - all of which partner perfectly with City Theatrical QolorFlex professional quality LED tapes.

The B5 Dimmer is a five-channel x 8A constant voltage dimmer in a rugged steel case. The five outputs give users the ability to run a full 40A of load such as RGB (three channels) plus bicolour tape (two channels), or RGBA (four channels) plus WW (one channel). Three types of DMX connections are included (five-pin XLR, RJ45, and terminals), as well as a four button user interface to make address and parameter selections The B4 x 5A RDM Dimmer is a sleek and tiny constant voltage dimmer that can control 20A of LED tape load. Its connections are all on terminals. B4 x 5A RDM DINrail Dimmer is a DIN rail version of the B4 x 5A RDM Dimmer with all the same features, for users who prefer a DIN rail approach to installation. All connections are terminals. The B4 x 5A RDM DINrail RJ45 Dimmer is a DIN rail version of the B4 x 5A RDM Dimmer with all the same features except the DMX connections are by RJ45 connectors for fast setups. Power in and output connections are on terminals. www.citytheatrical.com

www.mondodr.com

Compulite Vibe The Compulite Vibe utilises the latest operating system software and computer hardware with multitouch screens technologies to provide a totally flexible and dynamic customisable control surface. Vibe has the minimum amount physical buttons with the touch screen giving the user the flexibility to layout the desktop exactly how they would like with buttons, display windows and playbacks wherever the user wants them. This also allows for different desktops to be configured for separate sections of the show or for multiple users. www.compulite.com

Daslight Daslight 4 Daslight 4 is a DMX lighting control software package for PC and Mac. With over 15,000 lighting fixtures, a new effects generation engine, 3D visualiser, sound-light and iPhone/iPad/Android control - Daslight 4 is ideal for DJs, clubs and live shows.

The new Show mode allows you to build a completely customised screen. Add pan/tilt grids, colour wheels, buttons and faders, then position and colour them to create your very own controller. In addition to controlling scenes, effects and levels, Show mode allows you to link a button to almost any live software command including tempo TAP, group selection and dimmer controls.

The free Easy Remote app allows you to control Daslight from your iPhone, iPad or Android. Connect to the same WiFi network as Daslight 4 and Easy Remote will take all buttons, faders, colour wheels and pan/ tilt grids from the Show screen and display them on your smartphone or tablet. A canvas size and zoom level can be chosen to ensure all components fit. Multiple pages can be created allowing you to add large buttons to your smartphone whilst being able to fit more buttons on larger tablet screens. www.daslight.com

144 P RODUCT GUIDE - LIGH T ING CONT ROL

ETC ColorSource Consoles

Electron ACTOR B 610

ColorSource consoles from ETC come in two sizes for control of up to 40 or 80 LEDs, moving lights, or dimmers, and optional AV and Ethernet capabilities. Developed for smaller venues and those with a limited budget, the consoles are designed to provide full LED control in a plug-and-play setup.

RDM-enabled lights automatically populate in patch, and other fixtures can be manually selected from the extensive onboard library. An onboard touchscreen and faders give users the ability to control moving lights and mix LED colours, either on the fly or programmed in advance. Sound, lighting and visual media can be combined into the same playback.

Unlike other small lighting consoles that operate in a limited range of colours, ColorSource desks support the colour-mixing systems of all mainstream fixtures, including the extended gamut of ETC’s sevencolour Source Four LED and Desire luminaires. ColorSource consoles’ touchscreen interfaces include swatches of pre-programmed, attractive colours and a colour wheel for quick, full-spectrum selection. www.etcconnect.com

The ACTOR B 610 is a professional dimmer manufactured by Electron, which comes in two models for both leading and trailing edge dimmable loads. Both models features DMX in/out with signal buffer, soft power up for inrush current limiting, three selectable Laws (curves), preheat level and soft start adjustable per channel, 12 pre-programmed chases and more.

The ACTOR Series is also enriched with a new model. ACTOR 616 with bypass has six three-position switches (dimmer/ off / by-pass) and it is ideal for installations that require changeover dimmable and non-dimmable loads. www.electron.gr

GLP Creation II Series The GLP Creation II Series is a range of professional DMX lighting controllers, for up to 4,096 DMX control channels, or eight DMX universes.

There are two main control platforms, the 1,024 and the 4,096, depending on the size needed, along with a PC / MAC version, which is downloadable free of charge, and out board accessories for additional control faders and buttons.

Each controller features a 5.7-inch full colour touchscreen, 10 playback faders, multi console networking, and timecode input and output and external monitor capability amongst its many rear panel connectors.

Software functions include a comprehensive effects generator, a powerful fanning engine, full HTP/LTP configuration, individual parameter timings, fixture cloning, and touch screen color picker making it a flexible and powerful lighting control solution.

Accessory items, such as additional fader wings and button wings connect directly via USB. The USB ports also allow for fast external backups, and easy show migration between the PC / MAC software version and the dedicated controller platforms. www.glp.de

High End Systems Hog 4 The Hog 4 is the flagship in High End Systems newest range of consoles. Replacing the much loved Wholehog III, it embraces the latest technology, while retaining the Hog’s familiar control surface. Users are able to walk up to the Hog 4 and start programming without having to learn a whole new interface. The new encoders, jog shuttle wheel, lcd keys, motorised faders and integrated keyboard all serve to enhance this experience, making the Hog 4 completely customizable. Users can now have virtually all the most important attributes on hand at any time.

Retaining the sleek look of generations past, the Hog 4 offers the user an advanced programming experience in an established environment. The Hog 4 console, at the top of the Hog line, is designed to handle the largest shows.The console provides three monitor outputs, MIDI input and output ports, eight USB ports, fast Fast Ethernet ports on a rugged Neutrik Ethercon connector allowing you total flexibility.

Programmers and operators are prepared for everything from the smallest industrial job requiring a single console to the largest stadium show, theme park installation or Broadway spectacular requiring a multi console setup with full network backups. www.highend.com

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Jands Jands Vista and Jands Stage CL Jands offer two product families - Jands Vista and Jands Stage CL. The Vista comes with a system to suit almost any scale of show or budget, and enables users to enjoy powerful yet simple control. Offering the simplicity to work fast, with the power to control the finest details, Vista’s incredibly visual workflow lets everyone focus on creating great lighting effects, not programming a desk, whether they’re lighting a show, an event or a venue.

The same simple, powerful and visual software is shared across the entire Vista range, allowing the flexibility to move easily and seamlessly around the hardware options as needs and budgets change. You can choose between all-in-one consoles, more compact control surfaces or PC/MAC software-only solutions to best suit your requirements and accurately transform your ideas into stunning lighting designs.

The operator-friendly Stage CL is a compact, yet comprehensive, console that is designed to bring your LEDs to life and produce stunning shows, all with very little training. The Stage CL offers intuitive manual controls that are easy to learn and use, even with no previous lighting experience. www.jands.com/lighting

JB-Lighting LICON 2X The LICON 2X is a lighting console for live application characterised by a clear structure, easy handling and operation and above all by adequate hardware. The two capacitive multi-touch screens ensure easy and fast programming. A total of 24 motor faders and a large number of keys are available and can be configured freely. This extensive hardware makes the LICON 2X absolutely unique for the professional market segment.

The Licon 2X offers eight DMX universes and real-time control for up to 65,536 DMX via Art-Net and JBNet - which are even expendable by JBLighting network splitter and Art-Net. It offers an extensive library and a quick-setup for DMX-devices which might not be included.

Various effect engines are available for fast and simple programming such as pre-programmed patterns, a chase generator and a LED matrix generator.

The Licon 2X can be synchronised by SMPTE, sound-in or DMX and it features a WIFI access point.

Remote configuration can be executed via smart phone, tablet, notebooks (Android, Windows, Mac OSX, IOSI). Data storage is executed on SSD drive. www.jb-lighting.de

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LSC MANTRA Lite

Leprecon XC-350 The XC-350 control console from Leprecon is an all-in-one console for controlling intelligent, LED and conventional fixtures. The XC-350 is designed for events ranging from improvised performances in live entertainment and touring production to tightly scripted theatrical shows for theatre, educational and houses of worship.

The XC-350 features an extensive fixture library and includes four front panel encoders allowing for quick access to setting intensity, colour, beam, position and timing parameters. Colour, beam and position parameters can be saved to pallets for easy recall when creating new looks. Recorded scenes can be played back using the cue stack control, six stacking playbacks, 24 sub master faders or 12 button-activated Quick Looks. Playbacks, sub masters and Quick Looks have 20 pages of recordable space.

The XC offers multiple programming options including a keypad and mouse along with optional touchscreen for additional navigation. With a Linux operating system and industrial grade PC, the console features five USB ports, two - DMX-512 ports, one Ethernet port for DMX over Art-Net, and supports one VGA or HDMI monitor. www.leprecon.com

The Mantra is simple - make control of LED fixtures easy and intuitive, while still allowing control of moving lights and conventionals.

Mantra Lite, and the Mantra Expansion Wings combine the ease of use of a fader based console, with the power of a touch screen graphical user interface. The software shows the user what to do next, ensuring a very easy learning curve for even the novice user.

Power users are also catered for with many advanced features and the ability to record up to 1,000 memories, across 100 cuelists or chases, and playback 10 simultaneously on the console. Each optional wing increases this by 10 playbacks and 100 cuelists. The DMX output is also available as sACN and/or Art-Net via an RJ45 connector on the console.

Control of 24 individual fixtures is provided on the Mantra Lite console, each with a physical fader for intensity. The optional expansion wings each provide an additional 12 fixtures, 10 playbacks and a universe of DMX. Connect up to two wings for a total of 48 fixtures, 30 playbacks and three universes of DMX. A large 18cm colour capacitive touch screen provides a powerful user interface, similar in operation to modern smartphones, giving the user the feeling of familiarity and comfort.

RGB, RGBA, RGBAW and CMY parameters are all controlled via a simple colour picker, Pan and Tilt via a trackpad and other parameters by virtual sliders. This allows the Mantra to control not just colour, but all the parameters of modern moving lights.

The unique Animate feature provides a simple and intuitive way to quickly create chases and patterns in a single cue - usually within just a few seconds.

Fixture library updates and new software features are easily installed via USB stick and show files can be backed up to USB stick for off site storage. www. lsclighting.com

Lumen Radio DMX Transmitter The CRMX Nova TX USB 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 xtures with built-in CRMX technology.

This unique product offers all of the advanced features of the larger CRMX Nova products but in a smaller enclosure; Automated Cognitive Coexistence, DMX delity and error correction, lowest latency in the industry at 5ms and 128 bit encryption - it’s all there. www.lumenradio.com

MA Lighting dot2 Intuitive operation is the core of the dot2 philosophy and with a comprehensive set of connectivity hardware on all console models, the dot2 range is suitable for most theatre, touring, corporate, television and education lighting environments. The easy to operate dot2 software is available in multiple languages and provides onboard Help and Direct Hints to guide a new user to operate the console to its full potential. Simply Patch and Go, with no additional setup required. A full range of clever programming and playback features provide intuitive access to advanced functionality. The dot2 onPC software incorporates all functions of a dot2 console and provides its full potential on a PC. It works as an off-line tool for preprograming with the free of charge dot2 3D visualisation software, or as an online tool in connection with a real console as a full-tracking backup. With the SW version 1.2.2.8 MA added free to use 512 DMX channels that can be outputted via sACN or Art-Net as the first DMX universe. Additionally the dot2 onPC software can output up to 1,024 channels of DMX across any of the eight DMX universes when connected to a dot2 Node4 (1K). www.malighting.com

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MADRIX LED Control System MADRIX’s LED control system allows industry professionals, lighting designers, VJs, and operators to make use of 2D pixel mapping and 3D voxel mapping in all three planes - X, Y, and Z - to produce the most creative designs possible.

Quickly delivering media, such as images, videos, streams, and screen captures, the main advantage is the built-in effects engine, including the exceptional Sound2Light. The software generates unique effects, visuals, and animations live for the user. No additional content is required and all visuals can be created, modified, and combined in a matter of seconds with an unprecedented level of customisation. Remote control and pixel-perfect results are easily possible since a wide variety of industry standards is supported. This includes DMX512, Art-Net, Streaming ACN (E1.31), Philips Color Kinetics (KiNET), Philips Hue, T9, A8, 5A, and DVI, but also ASIO, CITP, MA-Net, MIDI, Remote HTTP, Time Code, and more. Combined with reliable MADRIX hardware interfaces, this modern LED control solution is powerful yet easy to use.’ www.madrix.com

Martin by Harman M-Touch and M-Play Martin M-Touch and M-Play are a powerful yet simple control surfaces for the Martin M-Series controllers, they are one of the most affordable professional lighting solutions on the market. Fully compatible with all M-Series consoles and M-PC software, Martin M-Touch has 14 touch faders allow control of playbacks and fixture parameters while 20 velocity-controlled pads allow for new types of effects. Additional programming buttons such as Record, Edit, Update, Load and Clear are accessible directly from the M-Touch control panel. Martin M-Play is the perfect control surface companion for both M-PC and M-Touch. Featuring a truly innovative control surface with 12 FSR faders that let you control playbacks, while 48 velocity-controlled pads over a dual bank system let you access playbacks and any function key.Both Martin M-Touch and M-Play are USB powered and come with one DMX 512 Universe for direct control of any compatible DMX device.M-Touch and M-Play are plug-and-play solution with an innovative control surface like no other lighting console. www.martin.com

Nicolaudie STICK-CU4 The STICK-CU4 is a 512 channel DMX lighting controller, priced in the middle of the wall mounted STICK range. The controller is USB programmable from a PC or Mac using the ESA2 effect software. Up to 36 scenes can then be stored within the controller and directly recalled via six touch sensitive scene buttons.

The STICK-CU4 is aimed at lighting installations requiring an advanced level of programming - colour changing effects, specific colours. The controller has been specifically engineered to meet the needs of lighting designers, whilst providing a clean and user friendly panel. Featuring an on/off button, six scenes and a colour wheel, the STICK-CU4 is the most intuitive and easy to use STICK within the range, making it perfect for hotels, homes and public environments. www.nicolaudie.com

Philips Strand 500ML Console A smart way to play and create great lighting for all your important occasions. Building on the Philips Strand range of lighting control consoles, the new 500ML console from is designed to operate dimmers, LED fixtures, and moving lights.

The eight-inch TFT colour touchscreen allows for fast set up. Backlit command buttons aide in the ease of use making the 500ML console and ideal control platform solution. If required, the unit has one external DVI port to add a touch monitor to give even more control. In addition, the 500ML console provides you with 24 faders. Each may be used as a Master, Sub Master, or Playback. Equipped with backlit Play, Pause/Reverse, and Bump buttons they allowing cue stacks to be triggered as required for those busking ‘moments’. www.strandlighting.com

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Steerable sound isn’t just about being heard, it’s about being understood.

ICONYX Gen5 steerable loudspeakers.

Intelligent design for intelligible performance.

Sure, Iconyx Gen5 loudspeakers are powerful. But what good is power if your audience can’t decipher what’s being spoken? Iconyx Gen5 steerable technology gives you unmatched control over multiple beams of audio — to focus sound on your audience, and away from reflective surfaces. The audience hears every word in every corner of the hall.

Crisp, intelligible, understandably superior. To learn more or for a demo, visit www.renkus-heinz.com.

©2016 Renkus-Heinz

renkus-heinz.com/iconyx-gen5

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PXM PX340 The PX340, an advanced DMX-512 controller is part of the PXM’s controllers series. It can be used in the variety of applications, such as architectural lighting, museum lighting and the multimedia control or fountain control. It supports very dynamic and fast light changes, as well as slow and smooth transitions.

It also allows to play many scenes and programs simultaneously.

The device is equipped with one DMX-512 output line (512 channels). It also has one DMX input line, 16 ON/OFF inputs (that can be configured as a sink or source), four analogue inputs and two analogue outputs.

It is programmed using an advanced PC software via the Ethernet connection. The software has a built-in library of executive devices that allows to create the configuration in the graphic mode. It also supports the simulation of controller’s behavior. The device can also be controlled by the mobile app.

The controller has a built-in real time and astronomical clock. It supports the Modbus protocol, NTP clock synchronisation, external access (only in installations with public IP) and processor timing synchronisation.

The capacious internal memory allows creating complicated and extended configurations with complex logic including recording DMX input data stream. It supports dividing output channels into separate zones and creating users’ accounts with different permissions. www.pxm.pl

Wireless Solution UglyBox The UglyBox has the capability to receive W-DMX signals to check their signal strength, as well as the output of DMX channels, it is great for testing the limits of the W-DMX radio system and/or checking DMX data, all in a portable, pocket sized device. The UglyBox is great for site-survey before undertaking a wireless installation, and checking DMX levels in a system. The W-DMX UglyBox can also be used to record W-DMX signal history through a microSD card, allowing the user to later check any transient problems in the system, and export the data into an excel spreadsheet. The Uglybox runs on a battery and can last up to 10 hours, and rechargeable through a micro USB connector, allowing to be recharged with a phone power bank.

This gadget can control a full DMX universe, and features a touchscreen with an easy user-interface, and all the patented-technology from W-DMX including Adaptive Frequency Hopping, data-safe and invisi-wire technologies - and it works on triple-band, including 2.4, 5.2 and 5.8GHz. www.wirelessdmx.com

Visual Productions CueCore2 The CueCore2 is a lighting controller for permanent installations. The device is completely solid-state, with no moving parts; it is a secure and low-maintenance installation control solution that has only a minimal power consumption. The onboard l­arge memory allows for storing DMX shows which can be downloaded from CueluxPro or recorded from DMX, Art-Net or sACN. The CueCore2 features powerful playbacks to control multiple zones independently. It’s protocol suite which already contained DMX, Art-Net, MIDI, MTC, SMPTE, GPI, UDP, OSC now has been extended with sACN, KiNet, TCP, NTP, MSC, MMC. The support of many protocols makes the CueCore2 a very powerful merging device. All operating and programming is done through its dynamic web interface which also hosts an onboard lighting console. The CueCore2 includes a two-universe licence of the CueluxPro Lighting control software. www.visualproductions.nl

Zero 88 FLX With the rapid adoption of LED lighting and colour mixing and the increasing expectations for a more sophisticated lighting experience, creating great lighting designs has never been under more time pressure.

The FLX lighting console has been specifically designed to deploy a range of time saving features to meet this challenge. Utilising an internal seven-inch capacitive touch screen, the console’s comprehensive feature set operates across 2,048 channels and 240 playbacks as standard. Programming time is reduced with a simple three-step programming method - what you want, how you want it, where you want it, releasing precious additional time for users to spend on the creative lighting design process.

Fast and easy to learn, FLX is compact, tough and portable and has been developed to be used in a wide range of dynamic lighting applications from touring and live events to TV and theatre, from exterior architectural projects to worship and educational use. www.zero88.co.uk

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NX AMPLIFIERS ADAPT.

Power Requirements

Multi-Mode Operation

Network Expansion

Energy Efficiency

Remote Control Options

Choose from 36, two-and four-channel models from 75, 150, 400, 800, 1500, 3000 Watts per channel.

All with common feature sets and come with a 5-Year warranty.

Set each individual output to drive Low Impedance (2, 4, 8 Ohms), or Constant Voltage (100, 70, 25 Volt) systems, via rear-panel located DIP-switches. 25V available exclusively on 1U models.

Expand onto a network with Dante™ or CobraNet® network audio for audio transport and control. Without DSP (nXe) or together with Ashly Protea™ DSP (nXp) for complete command over the system.

With a universal power supply, NX reduces power consumption with features like Ashly’s Energy Management System by triggering a <1W sleep mode and Power Factor Correction available on all 1U models.

Ashly Remote, a free iPad®/ iPhone® app, allows for design and deployment of custom remotes for iOS, and/or hardwired Ashly remotes including analog, as well as serial and Ethernet. (nXe & nXp models)

Design your next audio system with us.

5-Year Warranty

Ashly-nX-Adapts-Ad-MONDO.indd 1

WWW.ASHLY.COM

8/26/16 10:25 AM

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1. Acme Solaris CM-56

3. AMX by Harman N2300 Series

Acme Lighting has announced the release of the new Solaris CM-56. With multiple, white and full colour LEDs that alternate and merge themselves on the front side of the fixture while a mirror shield on the b-side complete the unit. The Solaris CM-56 produces infinite possibilities for creating shows and choreographies, using features including pan and tilt.

DMX leaves the control to Art-Net for a natural pixel mapping finish. www.acme.com.cn

Harman Professional Solutions has announced the new AMX N2300 Series of 4K video over IP solutions. With a bandwidth of less than 200 megabits per second, users can distribute 4K video over existing Gigabit Ethernet networks with a latency of only one frame.

AMX ensures simple installation of the N2300 Series with support for HDMI 2.0 and HDCP 2.2, making the line compatible with the latest 4K sources and displays. The N2300 encoders and decoders are PoE-powered, avoiding the need for an external power supply simplifying installation. The products do not contain an internal fan for cooling, making them perfect for use in quiet environments.

Like other AMX networked audiovisual products, the N2300 Series has Native NetLinx capabilities for fast integration into Harman Solutions. Additional features include keyboard/ mouse support; RJ-45 and SFP network connections, support for balanced and unbalanced analog audio, and RS-232 and IR ports for device control.

The NMX-DEC-N2322 decoder is available as a standalone unit perfect for mounting behind a display. The NMX-ENC-N2312 encoder is available both in standalone and card-based configurations, providing options for installation near a source or in a rack, using the AMX N9206 2RU Rack Mount Cage. The AMX N9206 holds up to six cards for a clean rack mount installation and optional consolidated power supply. www.amx.com

2. Amate Audio TPD 2.1 The new TriPhonic Digital amplifier (TPD) from Amate Audio sees the concept evolve with latest generation Class-D amplifier circuitry, extensive on-board Digital Signal Processing and Switched-Mode Power Supply.

With its powerful on-board DSP, the TPD offers the performance advantage of Amate Audio’s active speaker systems with passive installations, including remote PC operation and preset settings for optimum configuration with Amate Audio’s KEY and Joker series speaker systems.

Featuring third-generation Class-D amplifier circuits, providing for exceptional sonic performance, high efficiency operation and an almost total absence of thermal challenges.

The TPD’s stereo channels each provide 500W of power and 1,000W for the sub bass channel, all at four ohms. Despite such impressive power ratings, the unit weighs just 8kg.

On-board DSP includes highly accurate filters, parametric EQs, peak / RMS limiters and delays, enabling time-alignment of amplifier channels. No less than six DSP channels include three fully configurable outputs for processing additional external amplifier racks.

Universal switched-mode power supply with Active Power Factor Correction, enable the amplifier to operate with any mains condition between 85V and 240V AC. Amate Audio’s EcoMode operation means that the amplifier automatically goes into standby in the absence of an audio signal and instantly powers on as soon as a signal is introduced. www.amateaudio.com/en/

4. Blizzard Lighting Look Blizzard Lighting has announced their new dual beam fixture Look. Look is loaded with two mega bright, high output 60W RGBW four in one LEDs with a 4.5° ultra-sharp beam angle. Both of these two high powered RGBW four in one LED’s is surrounded by a foursegment aura effect ring with RGB LEDs. The Look features 13/24/45-channel DMX, user adjustable white balance settings, user selectable 32-bit dimming modes, and 0-20Hz strobe effects. It also has to offer an easyto-use four-button TFT display menu interface, and operates in standalone, master/ slave, auto, and sound active modes.

Look is equipped with three-pin and five-pin male/female input and outputs, PowerCon Compatible AC power In/Out connectors, and a Look Klamp is available (sold separately).

Look is backed by Blizzard Lighting’s two-year warranty. www.blizzardlighting.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.

Viterbo (Italy)

t. +39.0761.352520

f. +39.0761.352653 marketing@studiodue.com

Kling & Freitag balances passion with precision for uncompromising audio quality and 'German engineering'.

We are driven by a desire to provide and technically guarantee music and sound as a genuine sound experience. This is what each product by Kling & Freitag stands for – or, as we say, 'PASSION BUILT IN'.

Kling & Freitag GmbH | www.kling-freitag.com | Harbin Grand Theatre, China

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1. Chauvet Ovation E-260WW IP

3. d3 Technologies r14

Chauvet has a new addition to its Ovation line - the new Ovation E-260WW IP, which is the first IP65-rated LED ellipsoidal. The new indoor/ outdoor fixture, which has the same familiar form factor as standard ERS style fixtures, joins the Ovation E-260WW, which was introduced earlier this year. The two Ovation LED ellipsoidals have an output that surpasses that of a 750W HPL ellipsoidal (6,910 lux at 5M with a 26° lens), making them the brightest LED ellipsoidals on the market. www.chauvetprofessional.com

d3 Technologies is excited to announce r14, which is their third major software release this year. r14 introduces two brand new features: real-time generative effects and device recording as well as improved DMX patching, sACN and CITP support, cue lists, as well as various under-the-hood performance updates.

Leading r14’s features is Gold support for Notch real-time generative effects playback, introducing a new era for content and effects creators, letting users edit and create high quality real-time content in a node-based environment, then transfer and play back in d3 without time-consuming rendering. Notch content is rendered in real-time on the GPU, so it can also apply effects to your live video capture / IMAG or be made responsive to live stage data, such as audio, MIDI, automation or BlackTrax tracking. r14 also comes with a library of sample effects to get users started including: Colour Correction/ Grading, Distortion, Edge Detect, Edge Ghosting and many more. www.d3technologies.com

2. Chroma-Q Color Force II Color Force II marks the latest addition to Chroma-Q successful Color Force Series.

Using the very latest fully homogenised optics, the Color Force II fixtures’ output is a single, clean and pure beam of light, delivering a superior colour blend with no unsightly colour mixing shadows. The homogenised optics and improved Chroma-Q technology provides high quality saturates and pastels, and a purer white – all from a single source.

In addition, the models deliver at least 50% more output than their predecessors. Other features shared include exceptional colour consistency fixture-to-fixture and batch-tobatch, theatrical grade dimming, and ultra-quiet operation. www.chroma-q.com

4. Danley J3-94 Jericho Horn Danley have announced the newest member of its Jericho Horn Series – the J3-94 Jericho Horn. Delivering 142dB of continuous output using 18 drivers that combine using Danley’s patented technologies to produce a single phase-coherent signal with “home hi-fi quality”, intelligibility and musical impact. Like the original J1-94, the J3-94 produces a 90deg horizontal by 40deg vertical beam width (with Danley’s characteristically steep drop-off outside that beam). However, the new J3-94 is nearly half the J1-94’s weight, with slightly less bass output as the compromise.

The J3-94 is a tri-amped cabinet that uses four amp channels: two for the lows, one for the mids, and one for the highs. There are eighteen drivers in the horn: six 15-inch woofers, eight 6.5-inch mids, and four 1.4-inch highs with built-in overload protection. It can be easily flown by many different standard lifts or towers and comes standard with 3/8-inch fly points on top and bottom and L track on the sides. www.danleysoundlabs.eu

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

The 4000 Series active loudspeaker is perfectly suited to music playback, whatever the chosen environment. Allied to the premium performance is the renowned Scandinavian design and 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.

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

Read more

The 4000 Series active loudspeaker is perfectly suited to music playback, whatever the chosen environment. Allied to the premium performance is the renowned Scandinavian design and build quality which combines high quality materials with stylish looks to make this range the new benchmark for loudspeakers in the audio visual sector.

Genelec_Mondo_210x150mm_2_01.indd 1

Genelec Oy T +358 17 83 881 genelec@genelec.com www.genelec.com

31.10.2016 12.59

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1. dbTechnologies VIO

3. DTS Lighting Nick NRG 1401

dBTechnologies’ VIO is a large-format, active line array platform with revolutionary new technology and exceptional performance. Equipped with polyurea-coated 18mm multiplex wood enclosures and amplifier rain covers, VIO’s line array modules are sturdy, lightweight and ready for all types of events including outdoor festivals and concerts. An integrated three-point rigging system offers precise adjustments and a fast, one-person setup while VIO’s specially-designed transport carts speed system load-in/load-out.

VIO’s L210 full-range line array module features two high-power 10-inch woofers with 2.5inch voice coils and a 1.4-inch compression driver with a three-inch voice coil. The L210 boasts a unique acoustic design with aluminium LF phase plugs and a newly-designed HF waveguide to achieve precise coverage control, high efficiency and very high SPL while maintaining excellent voice intelligibility and great musical sound quality.

VIO’s S318 subwoofer is a powerful low-frequency module with three 18-inch woofers in a compact enclosure. Two of the S318’s woofers are half horn-loaded and one is front loaded, and they feature mechanically aligned voice coils for perfect LF phase response. A simple software adjustment converts three S318s (one facing rearward) into a high-output, cardioid-pattern subwoofer system for greater LF control and throw distance. www.dbtechnologies.com

Nick NRG 1401 is a high-performance LED wash moving head. Extreme brightness, single pixel control, and 4° to 52° zoom range make this fixture perfect in a range of applications, either as a beam light with multi-colour rays, or as a wash light with a very wide projection. Nick NRG 1401 is suitable for medium to large venues - and it’s the perfect solution for television studios, delivering top-of-the-line visual effects or perfectly uniform wash lighting. Nick NRG 1401 is equipped with 23 Ostar N RGBW LEDs. www.dts-lighting.it

2. Doughty Engineering Studio Rail 60 Articulated Carriage Doughty Engineering has added a new item to its Studio Rail 60 range – an Articulated Carriage. The new Articulated Carriage allow the Studio Rail perimeter tracks to be used for scenery or lighting, which presents a significant benefit to both television and theatre applications. It consists of a laser profiled 6mm backbone chassis with independent bogies attached at either end. Both bogies are fitted with guide wheels to steer the carriage around each curve. One bogie is fitted with a large hook for pole operation while the other features a pole-operated brake. The Three Point Receiver allows the spigot to rotate freely when corners are encountered, allowing two carriages to work in unison.

Compatible with any Studio Rail 60 curve or straight section, the Three Point Receiver is suitable for Euro Spec 28mm spigots and has a safe working load (SWL) of 200kg. www.doughty-engineering.co.uk

4. Elation Professional Compact Rayzor 360Z Elation Professional announces launch of a new beam/wash moving head in its Rayzor Series of compact and high-speed LED luminaires - the Rayzor 360Z. Featuring an effective wash light, colour temperature is variable from 2,700K - 8,000K and colours mix uniform from vibrant saturates across beautiful pastels to authentic, warm and cool shades of white.

Offering a full complement of other professional features, including electronic strobe and 0-100% dimming with selectable dimming curve effects. The fixture allows for individual pixel control, which opens up for custom designs or users can turn to the convenience of built-in macros. Refresh rate frequency and Gamma brightness are also adjustable.

The fixture is controllable via multiple DMX channel modes, includes ArtNet and KlingNet protocol support and is RDM ready (remote device management). Multiple unit power linking makes for quick installation and customisable setups.

Featuring a full colour 180° reversible LCD menu display with a seven-button touch control panel. Professional grade 5-pin XLR DMX in/out, RJ45 etherCON and Powercon True1 in/out connections are included. The fixture operates flicker free for use in TV and other broadcast applications and an auto-sensing power supply covers worldwide voltages and frequencies.

The Rayzor 360Z offers all the benefits of LED like greater reliability, less maintenance and increased energy efficiency for a lower cost of ownership and its long life rated LEDs will rarely if ever need replacing. www.elationlighting.com

www.mondodr.com

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1. Focusrite Focusrite iOS Control App

3. GLP X4 atom

Focusrite’s iOS Control App lets you control your interface from your iPhone or iPad. The new, free app allows users to adjust cue mixes and preamp settings remotely from an iPad, iPhone or iPod Touch.

Focusrite iOS Control works with the Focusrite Control desktop application that comes with all Focusrite audio interfaces from the Scarlett 6i6 (2nd Gen) up, including the Clarett and Red interface ranges. It gives you complete control of hardware inputs, software playback, panning, solo and mute as well as the preamp settings on your interface - all from your iOS device.

With this app from Focusrite, the possibilities are enormous. Adjust your own monitoring levels while sitting at the drum kit or in the vocal booth , for example - all from your iPhone or iPad. www.focusrite.com

GLP has announced the release of the upgraded 30W version of their popular X4 fixture.

Adding a new high power light source into the unit has doubled its brightness, and introduced greater optical efficiencies within the unit. At the same time, an additional six-way PSU has been added to the product line up.

Concurrently, and supporting GLP’s philosophy of promoting longer product life cycles, the company has undergone a complete market swap-out of current units, allowing all existing owners and users to benefit from this technology upgrade immediately, and without cost.

The brighter 30W RGBW LED source is from the same family used across all GLP’s X4 range. This ensures full colour matching across fixtures and enables the X4 atom to really cut through, despite its compact size.

The X4 atom houses a lot more besides a bright source, starting with a 9 to 1 ratio zoom that goes from a wide 34° wash down to a tight 3.5° beam for pinpoint accuracy and great mid-air effects - all the while maintaining a clean output and even distribution of colour and intensity.

The X4 atom runs from an external power supply, with a six-way and a 12-way option available, that feeds fixtures via an industry standard four-pin XLR cable, tapping into existing infrastructure and reducing the overall environmental impact of the fixture. www.glp.de

2. Fulcrum Acoustic CS118 & CS121 Fulcrum Acoustic announces its new range of cardioid subwoofers, designed with patentpending Passive Cardioid Technology to overcome the excessive rear low frequency (LF) radiation that is a major challenge of many loudspeakers.

Fulcrum’s Passive Cardioid Technology, introduced in their FL283 and FLS115 line array products, is now the basis for a line of cardioid subwoofer includes CS118 18 inch and CS121 21 inch models.

Fulcrum’s unique cardioid subwoofers eliminate excessive rear LF radiation without the extra cost, space requirements and inconvenience of active cardioid systems, with a single passive cardioid speaker doing the work of an active cardioid array. By achieving impressive LF directional control without additional amplifiers, drivers or signal processors in less than half the space required for active cardioid array systems, Fulcrum Cardioid Subwoofers allow for cardioid arrays in applications that might not otherwise have the budget or space to accommodate an active cardioid solution.

Fulcrum speakers’ subcardioid behaviour is produced by a meticulously conceived acoustical circuit that balances the position of the low frequency driver, the enclosure depth and volume, and specially constructed rear-mounted ports includes a calibrated resistive element. By opting for a subcardioid pattern as opposed to a pure, hyper or super cardioid pattern, the rear rejection increases when the modules are deployed in an array.www.fulcrum-acoustic.com

4. Laserworld EL-230RGB The Laserworld EL-230RGB is a new RGB white light laser system with sound-to-light, stand-alone and DMX operation mode.

Especially suited for entertainers, mobile DJs and small nightclubs, who often demanded a low-priced, easy-to-operate, but well visible laser system for basic applications.

The EL-230RGB comes standard with many pre-programmed patterns and can individually be triggered through DMX (or automatically run in stand-alone or music mode).

The total power of this laser system is specified at 230mW with a minimum guaranteed power of 170mW: 100mW/650nm red, 20mW/532nm green and 50mW/445nm blue.

The patterns are created with fast stepper motors. www.laserworld.com

www.mondodr.com

MULTIBAND DYNAMICS

48 TRACK RECORDING

S21 & S31

10 X 8 MATRIX

96kHz AS STANDARD

2 X PLUG-IN CARD SLOTS FOR INTERFACING WITH

Awesome Specification. Exceptional Performance. Stunning Value.

INDUSTRY FORMATS

Quite simply a game-changer, the S-Series has all the power & flexibility of Stealth Digital Processing™, the technology behind the legendary DiGiCo SD consoles. 96kHz as standard, equivalent to 80 DSP channels, 46 Busses, local I/O with 24 Mic line inputs,12 Analogue outs.

With plug-in DMI cards the S-Series can chat to, and play nice, in a wide variety of environments.

MADI, Dante, Waves, or Calrec’s Hydra 2 Network - it’s got all this. And more.

www.digico.biz Unit 10, Silverglade Business Park, Leatherhead Road, Chessington, Surrey KT9 2QL

DiGiCo S Series Advert - MONDO.indd 1

INTUITIVE TOUCH USER INTERFACE

STEALTH DIGITAL PROCESSING™

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1. Luminex LumiSplit Series Luminex has announced their newest line of DMX/RDM splitter, LumiSplit series. Marking the result of 10 years of experience at Luminex with Remote Device Management. After a decade of building DMX/RDM splitters, Luminex has designed the ultimate family of splitters with multiple, enhanced features.

With LumiSplit users will be able to organise and configure their lighting devices like never before. The LumiSplit family consists of three DMX/RDM splitters in 2.10 rack, 1.6 rack and 1.6 truss versions. Users can easily merge, back up and regenerate their DMX sources directly from the splitter.

Each model comes with RGB LEDs for a better status indication and user experience.

Per-port RDM filtering is also offered. The RDM filter per zone (A/B) or per port prevents lighting fixtures from being flooded by undesired RDM packets. LumiSplit is expected to ship in mid-December 2016. www.luminex.be

2. Martin Audio BlacklineX Martin Audio have released their new BlacklineX range of speakers. Martin Audio’s R&D team has engineered a whole new range — delivering the signature sound of warmth, nuance and clarity at a price point not previously possible — all in a clean, smart design with no-compromise between the needs of installation and portability. Applications range from portable sound reinforcement and stage monitoring for live bands, DJs and corporate events, to installations in nightclubs, bars, commercial spaces and Houses of Worship. Comprising four two-way systems; from the ultra-compact X8 to the powerful X15, as well as three subwoofers, including an unobtrusive slimline model, the multipurpose BlacklineX Series raises the performance of loudspeaker systems in its class to a new level. Each symmetrical, multi-angle full-range enclosure features a user-rotatable horn for horizontal or vertical orientation, and has a screw-free, foam-backed steel grille.

Comprehensive mounting options include wall-bracket, eyebolt suspension and pole mounting. Ergonomic handles at the rear of each full-range enclosure make for easy handling while maintaining clean lines.

All BlacklineX Series enclosures are constructed from plywood and are finished with a durable black textured coating, with white and custom RAL colour options available to order. www.martin-audio.com

3. Prolight Concepts GB-1 Reflectabeam Transform your beam effects with this innovative effect from eLumen8. Inside the robust, metal and fan-cooled housing are six individually controllable multi-faceted dishes, all of which can be rotated continuously in any direction at variable speeds. When strategically placed, the Reflectabeam can have beam effects aimed at it, producing a multitude of bright pin sharp shards of light that are reflected across walls and floors, adding an extra dimension to venues and dancefloors. prolight.co.uk/product/gb-1-reflectabeam

4. Sommer Cable C-AQUA Marinex Outdoor wiring is a demanding task especially when many products fail due to poor UV resistance and lacking waterproofness. Sommer Cable is now presenting the new SCAQUA Marinex LED Control. Relying on outstanding weather durability, commending itself as a professional RGBW-LED control-cable. Featuring a five-wire design, that is completely halogen-free and transversely waterproof. Due to its tight braiding, the cable is ideally suited for mobile use, in particular for extending RGB strips, as RGB signal supply line or also for medical and electro-technical applications. sommercable.com

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“LaserAnimation is the first company to use the new, revolutionary IEEE 802.1 AVB standard for streaming of laser images via LAN.”

MICHAEL SOLLINGER Founder of LaserAnimation What is your background and how did you get into the industry?

I initially started working with lasers at university at a physicist and, from there, I almost inadvertently slipped into the laser show business. I started out in the industry by creating one of the first dedicated laser show controllers in my living room. That was the beginning for LaserAnimation, which now employs 16 people and serves clients all over the world. Plus, we’re celebrating our 30th anniversary this year, too.

What is your role at LaserAnimation?

I’m the founder and Managing Director, however, for most of the 30 years, I have been involved in everything at LaserAnimation, from initial development through to production and also marketing. We’re forever searching for ways in which we can do things better - and not just for the sake of change itself. Everything we do is specifically aimed at fulfilling clients’ wishes.

What specific changes have been made at LaserAnimation in recent years?

Well, in 2003, here at LaserAnimation, we began to produce our own brand of laser show projectors, which have been setting standards ever since. Our first Accurate Blitz laser projector came about after we ordered a DPSS laser for use in house. Once it had finally arrived at our office after long delays, I knew there had to be another way. From then on, it took only a few months of development until the first Blitz was built and delivered.

Is that a typical example of LaserAnimation’s strategy?

That is how we have shaped the business for three decades. We see what is possible for us to do technically, as well as economically - then we set about getting to work in a bid to make it a reality. Often, by the end, we find that we have exceeded our own initial ideas.

What else is key to the success that LaserAnimation has experienced?

Motivating everyone you work with to feel the same drive and the same need to do things as well as they possibly can be done or even better.

Of course, as well as that work ethic, having the contacts in all corners of the world and knowing the market is essential. If you know where things are heading, you can always have a new idea in the making that might be the next big thing in lasers.

What are the future plans for LaserAnimation?

LaserAnimation is the first company to use the new revolutionary IEEE 802.1 AVB standard for streaming of laser images via LAN. We think this will change the way laser shows are produced, stored and operated. Laser display data is treated in the same way as audio data i.e. laser images can be used like samples and modified in terms of size, and colour. We hope this will open laser to a much wider range of artists, since no special laser show programming knowledge is necessary.

Our new PHAENON accurate laser projector is the first in the row of projectors equipped with www.mondodr.com

the AVB interface, while retrofit kits will also be available.

Tell our readers something they wouldn’t know about LaserAnimation?

We are currently working simultaneously on several technically-demanding projects and a patent application, which can’t be disclosed at this time. Also, we put all of our profits back into our R&D department, so we are well equipped for the future.

What other hobbies or interests do you have?

I have wide-ranging interests, but I am particularly passionate about the arts. In fact, I have worked with many creative artists, providing them with access to laser technology, which enabled them to create works of art that would not have been possible using a different medium.

What three things would you take with you on a desert island?

If there are only three things that I could take, it would have to be be a Swiss army knife, a saucepan and a rope.

What is your most prized possession?

The things that are priceless are my cats, my horse and my mule.

Where is your favourite place in the world?

On the back of my horse in any place where I can feel content and happy.

THE

CLARITY

*These people are not stock photography models.

They are genuinely rocking out to the C15 at the amazing, new Fillmore Philadelphia.

www.clairbrothers.com

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