mondo*dr 27.2 by Mondiale Media

JANUARY / FEBRUARY 2017 | 27.2

THE INTERNATIONAL PUBLICATION FOR TECHNOLOGY IN ENTERTAINMENT

MICK HANNAFORD

Robe UKâ&#x20AC;&#x2122;s Managing Director takes a 40-year trip down memory lane.

TRUSSING & RIGGING

The mounting essential for any piece of kit.

JANUARY / FEBRUARY 2017

MICROPHONES & CABLES The latest offerings from the two product categories.

THE INTERNATIONAL PUBLICATION FOR TECHNOLOGY IN ENTERTAINMENT EUROPE & AMERICAS EDITION

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MONDO*DR 27.2 JANUARY / FEBRUARY 2017

for smaller boxes Game-changing innovations in coaxial speaker design ON THE COVER San Paolo Stadium, Naples Photo supplied by Litec 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

Happy New Year, everybody - I hope you are all well rested after the festive break. As the New Year arrived, so did the closing date for entries for the mondo*dr Awards. I’d like to take this opportunity to say thank you to everyone who has submitted an entry and to all our lovely sponsors, it’s great to have your support for the very first mondo*dr Awards. I am also pleased to announce that our awards evening will be taking place during Prolight+Sound (PL+S) in Frankfurt in April, and I’d like to invite you all to come along and celebrate with us and the winners. Shortlists will be announced over the coming weeks so keep your eyes peeled to see which projects have been selected by our judging panel. More details about the awards evening and how you can guarantee yourself entry will also be released, so save the date of Wednesday 5 April… a tricky task during PL+S, I know, but it will be great if you can join us. In this first issue of 2017, there are many features well worth a read. I’d like to direct you to the Mick Hannaford interview, currently Robe UK’s Managing Director, but with a career spanning back four decades, he has got a tale or two to tell, which I’m sure will spark memories for many of you in the lighting world. Next, check out the Hard Rock Hotel in Tenerife, which Sam paid a visit to at the end of last year. It’s the first European installation of Bose’s new ShowMatch array, and the complex itself is pretty impressive. Finally, take a look at Zouk in Singapore. The well-known nightclub - that has been covered a few times over the years in mondo*dr - has relocated to Clarke Quay. The original sound system has been reinstalled, but the lighting and visual technology has been designed from scratch by LEDsCONTROL, and it has to be seen to be believed. I’m hoping that I get to check it out in person next week when I head to Singapore with Laura. We’ve decided this will be the focus for our next country specific supplement, so if you have a story from the region, please do get in touch.

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

RACHAEL ROGERSON-THORLEY EDITOR

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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

9 CONT ENTS

CONTENTS

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

MICK HANNAFORD Robe UK’s Managing Director, talks Jerry Gilbert through a colourful history.

IN DEPTH 22 INTERVIEW Mick Hannaford - Robe UK 34 REPORT Trussing & Rigging

IN FOCUS

58 ATLAS THEATRE & WILDLANDS ZOO An eye-catching, impressivelydesigned building with a concept to match.

56 MAMA KELLY The Hague 58 ATLAS THEATRE & WILDLANDS ZOO Emmen 66 SHEIKH JABER AL AHMAD CULTURAL CENTRE Kuwait City 74 HARD ROCK HOTEL Tenerife 82 KRASNODAR STADIUM Krasnodar 88 SENTRALEN Oslo

90 FABRIC London 94 JOPIN HIGH SCHOOL Missouri

SHEIKH JABER AL AHMAD CULTURAL CENTRE Located in the heart of the capital, Kuwait City and forming Kuwait’s new national cultural district.

96 THE NEW NATIONAL THEATRE Tokyo 98 ZOUK Singapore

IN BUSINESS 108 ISE SHOW PREVIEW 118 PROLIGHT+SOUND ME Dubai

98 ZOUK The world renowned nightclub moves to a new home in Singapore.

www.mondodr.com

124 JTSE Paris 128 IN DETAIL XTA, RGBlink, DTS 134 PRODUCT GUIDE Microphones & Cables 148 PRODUCT DIRECTORY 154 LAST PAGE INTERVIEW Matthias Moeller - Prolyte

FRANÇAIS

Bonne Année tout le monde ! J’espère que vous êtes tous bien reposés après cette trêve des fêtes de fin d’année. L’arrivée de la nouvelle année a marqué la date limite des inscriptions pour le Prix mondo*dr. Je voudrais donc saisir cette occasion pour remercier tous ceux qui ont présenté leur candidature et tous nos généreux commanditaires, dont le soutien est très apprécié pour cette toute première édition du Prix mondo*dr. Je suis également heureux d’annoncer que notre soirée de remise de prix aura lieu en avril durant le salon Prolight + Sound qui se tiendra à Francfort. Joignez-vous à nous pour accueillir et arroser les gagnants. La liste des candidats présélectionnés sera annoncée dans les prochaines semaines, alors gardez les yeux grands ouverts pour découvrir les projets qui ont été choisis par notre jury. De plus amples détails au sujet de la soirée de remise des prix et du mode de participation seront bientôt disponibles. Alors, tous à vos emplois du temps pour faire une petite place à ce grand événement pendant le PL+S !

DEUTSCH

ITALIANO

ESPAÑOL

d3 Technologies 150 Daslight 6 DiGiCo 143 Digital Projection 4 Doughty 129 DPA 39 DTS 49 Duratruss 43 Elation 37 Fenix 51 Fine Art 5 Focusrite 119 Fohhn 13 Genelec 105 Global Truss 127 GLP 115 Green Hippo 121 Infocomm India 135 Kling & Freitag 121 KOBA 20 KV2 123 L-Acoustics 2

Le Maitre 151 LEDsCONTROL 99 Look Solutions 61 Lynx Pro Audio 123 Madrix 129 Martin Audio BC MBN 131 Mediatech 106 Meyer Sound 155 Milos 41, 85 & 145 Music & Lights 47 & 129 NEXT-proaudio 53 NovaStar 27 137 Outline Palm India 54 Philips Entertainment 73 Pioneer DJ Europe 93 PowerLightsAugsburg 133 Powersoft 139 PR-Lighting 79 Pro Tapes 131 Prolight+Sound 67

65 Prolight Concepts Prolyte 49 PXM 149 Renkus-Heinz 119 RGBlink 77 Riedel 15 ROBE 87 Sennheiser 11 Starway 141 State Automation 65 Steinigke 83 Studio Due 125 Sunlite 10 Tech Team 4 The GET Show 8 Theatrixx 44 TW AUDiO 71 VMB 125 Wireless Solution 3 XTA 33

Frohes Neues Jahr für alle, ich hoffe, Sie haben sich während dieser feierlichen Pause gut erholt. Mit Beginn des neuen Jahres nähert sich der Einsendeschluss für den mondo*dr Awards. Ich nutze diese Gelegenheit und danke all denen, die einen Eintrag eingereicht haben, und all unseren netten Sponsoren, Ihre Unterstützung für den allererstern mondo*dr Awards ist sehr hilfreich. Darüber hinaus habe ich das Vergnügen zu verkünden, dass unsere Preisverleihung während der Prolight+Sound in Frankfurt im April stattfinden wird und ich lade alle ein zu kommen und mit uns die Gewinner zu feiern. Engere Auswahllisten werden im Laufe der nächsten Wochen verkündet, halten Sie deshalb die Augen offen, um zu sehen, welche Projekte durch unsere Jury ausgewählt worden sind. Mehr Details zur Preisverleihung und darüber, wie Sie sich Ihre Teilnahme sichern können, werden ebenfalls veröffentlicht, behalten Sie deswegen in Ihrem Terminkalender noch Platz… Ich weiß, eine knifflige Aufgabe während PL+S!

Felice anno nuovo a tutti, spero che vi siate ben riposati dopo la pausa festiva. Essendo arrivato il nuovo anno è arrivata anche la data di chiusura delle iscrizioni per il Mondo*dr Awards. Vorrei cogliere l’occasione per ringraziare tutti coloro che si sono candidati e a tutti i nostri amati sponsor, è bello avere il vostro sostegno per il primissimo Mondo*dr Awards. Sono anche lieta di annunciare che la nostra serata di premiazione si svolgerà durante il Prolight+Sound di Aprile a Francoforte e vorrei invitare voi tutti ad unirvi a noi per festeggiare con i vincitori. La lista dei finalisti sarà annunciata nelle prossime settimane, in modo da tenere gli occhi aperti per vedere quali progetti sono stati selezionati dalla giuria. Inoltre vi daremo ulteriori dettagli sulla serata di premiazione e su come potete garantirvi l’ingresso, quindi tenete aperte le vostre agende...un compito difficile durante il PL+S lo so!

Feliz Año a todos, espero que todos hayan tenido un buen descanso durante este receso festivo. Así como llegó el Nuevo Año, también llegó la fecha de cierre para las inscripciones para los Premios mondo*dr. Me gustaría aprovechar esta oportunidad para agradecer a todos los que han enviado la inscripción y a todos nuestros patrocinadores. Es grandioso contar con su apoyo para el primero de los Premios mondo*dr. También tengo el agrado de anunciar que nuestra tarde de premios se llevará a cabo durante Prolight+Sound en Frankfurt en Abril y me gustaría invitarlos a todos a que vengan y celebren junto con nosotros y los ganadores. La preselección será anunciada en las próximas semanas así que manténganse atentos para saber cuáles son los proyectos que han sido seleccionados por nuestro panel de jueces. También se darán a conocer más detalles acerca de la tarde de premiación y sobre cómo pueden garantizarse tener una entrada. Así que mantengan sus agendas abiertas, una complicada tarea durante PL+S, lo sé!

Advertising Index Absen 133 Adam Hall 103 ADJ 63 Alfalite 35 Allen & Heath 17 Antari 31 Ashly Audio 113 Audac 138 Aura Audio 111 Avolites 111 B & C Speakers 149 Bose 45 Camco 147 Celestion 7 Chauvet 69 Chromateq 153 City Theatrical 92 Clay Paky 81 Clear-Com 113 115 Coda Audio d&b audiotechnik 29 D.A.S. Audio 117

12 IN DISCUSSION

CLEAR-COM HELIXNET: THE GO-TO SYSTEM FOR THEATRE COMMUNICATIONS Vinnie Macri, Market Outreach Manager for ClearCom, explains how the HelixNet digital partyline system has become increasingly popular with those involved in communications technology within modern theatre productions. Since 1968, Clear-Com has served the performing arts industry with intercom systems from the analogue partyline domain. From Broadway shows in New York to theatre productions in London’s West End, one can easily locate a ClearCom branded beltpack or station on the desk or hip of every producer, director, lighting and sound designer, production manager, technical director, and so on. More recently our HelixNet digital partyline system have become increasingly popular. The upswing in HelixNet usage in modern theatre can firstly be attributed to the big increase in more sophisticated and complex productions. While analogue systems may still work in some of these productions, they lack the flexibility, scalability and capabilities to do what these modern productions required - effortlessly and faster. This led sound companies to search for a new type of system. We listened to what the theatres and sound companies needed and set out to develop a digital communication platform for the next generation of theatre sound designers and engineers. When HelixNet was first introduced, Clear-Com engaged several of our customers to test the system. One of these was the Benedum Center in Pittsburgh, USA. This is a starting point for most big shows going to Broadway, so many people were exposed to the system. This, coupled with the exposure from the Disney Broadway shows gave us more vital feedback from theatre engineers. The response to the HelixNet from these users was overwhelmingly positive. They liked being able to run 12 partyline channels over a three-pin XLR, and the addition of a remote browser-based configuration tool was very popular. They were also excited to have expansion slots for two-wire / four-wire interfaces on rear

• Above Clear-Com’s HelixNet digital partyline system

of master stations for integrating wireless intercom or other audio devices. However, the key attributes, according to the testers, were the intuitive controls and - perhaps most important of all - great sound quality. On a technical level, the single biggest difference that HelixNet has made for theatre usage is that laying out a tech table is infinitely easier. Some complex productions cannot be served with the traditional four-channel analogue system, and the complexity of a matrix system is simply too high. What used to be audio, lighting carps and electrics as production channels has for a long time been expanding into a list like this: - SM Calling - FOH Sound - Booth LX - Auto Deck - Auto Fly -Tech - LX Office - SM Office - Props Office - Carp Office - House Manager - Spots - Conductor - Fly Rail - Sound TT - Prod Mgmt - Video - SM Tech - Lighting TT - LD1.1 - LD1.2 - LD2 - ALD1.1 - ALD1.2 - ALD2 - Prod Elec www.mondodr.com

- ML Programmer - Conv. Programmer - LX Op Multi-core is now being replaced with a simple off-the-shelf PoE switch to 2-48-12 channel remote stations. The audio team no longer needs to run new cables, reconfigure and test systems, or check the labels of every beltpack, which previously would take hours after every changeover or new production setup. Additionally, if the production team heard even a slight hum or buzz in the analogue system, valuable time would be spent tracking down the source of the noise. HelixNet has eliminated all of these issues for the venue. Repeatable and re-scalable to dynamic configuration changes, the HelixNet digital partyline intercom system has brought theatre communications technology up to date, and in doing so has also saved theatres a significant amount of time and effort in setting up the intercom for all of their productions. The opinions expressed in this article are the opinions of the author and not necessarily of mondo*dr magazine.

REINFORCEMENT AT THE FIRST TIER FOR ALL TIERS

Dramatic coverage, exceptional speech intelligibility, electronically controllable sound dispersion, and precision spatial locating. Cue the high performance FOCUS MODULAR beam steering system. About the most accomplished line-up for opera houses and theatres. And for the National Opera of France, the Opéra Bastille? It’s in the house. www.fohhn.com

Opéra Bastille, Paris

Hearing does not have to be seen.

INTEGRATED IMPERCEPTIBLY AT THE PROSCENIUM

14 INSIDE VIEW

Anthem of the Seas

Anthem of the Seas is a showcase of cuttingedge technology designed to create dynamic and immersive experiences for cruise guests. A complement of tightly integrated Riedel Communications solutions, delivered by Finland-based broadcast system integrator, TV Tools, plays a central role in supporting many of the ship’s video deployments. The unique architecture of Riedel’s MediorNet fibre-based signal transport system provides the network topology for a highly-reliable fiber backbone for signal distribution and routing. More than 20 networked remotecontrolled cameras throughout the ship feed video to the BCC via the MediorNet system. The MediorNet system is complemented by Riedel’s Artist digital matrix intercom system and Acrobat digital wireless intercom, which together address wired and wireless communications across the ship.

RIEDEL COMMUNICATIONS

Riedel Communications designs, manufactures and distributes pioneering real-time video, audio, data and communications networks for broadcast, pro audio, event, sports, theatre and security applications. The company also provides rental services for radio and intercom systems, event IT solutions, fibre backbones, and wireless signal transmission systems that scale easily for events of any size, anywhere in the world. Riedel is headquartered in Wuppertal, Germany and employs over 450 people in 19 locations throughout Europe, Australia, Asia and the Americas. www.riedel.net

Parc Olympique Lyonnais France’s new Parc Olympique Lyonnais stadium uses Riedel systems to redefine the live sports and entertainment experience. Together, the Riedel MediorNet realtime media network, RockNet digital audio network, Artist digital matrix intercom system, Acrobat wireless intercom system and Performer digital partyline system provide a decentralised fibre-based network for flexible signal transport, routing and processing, as well as communications, throughout the innovative building including the technical facilities for Olympique Lyonnais TV. The Riedel gear allows all types of signals - video, audio, data, intercom and sync - to be picked up anywhere in the stadium and routed and/or processed to any outputs elsewhere in the home of football club, Olympique Lyonnais.

Lusail Sports Arena Lusial Sports Arena, a 15,300-capacity indoor sports arena has rapidly gained a reputation as one of the most spectator-friendly venues in the world. Advanced audiovisual technologies and other vital communications systems required the installation of a state-of-the-art fibre network that could manage the transport and routing of many signals throughout the building in the most efficient manner. To meet high expectations and enable flexible, efficient transport of video, audio, data, and communications signals, the Lusail Arena chose the MediorNet real-time media network and RockNet real-time audio network to simplify management of numerous signals throughout the massive sporting venue.

www.mondodr.com

THIS IS

NOT

STATE-OF-THE-ART WIRELESS COMMUNICATION SEE RIEDELâ&#x20AC;&#x2DC;S NEXT STEP AT

www.riedel.net

16 MONDO*DR AWARDS

SAVE THE DATE

Wednesday 5 April

Awards evening taking place at Prolight+Sound, Frankfurt

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LLB GOTHENBURG SWEDEN ISE AMSTERDAM, THE NETHERLANDS

TPI AWARDS LONDON, UK

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BVE LONDON, UK

THE GET SHOW GUANGZHOU, CHINA

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PALM EXPO BEIJING CHINA PALM EXPO INDIA MUMBAI, INDIA

MEDIATECH JOHANNESBURG, SOUTH AFRICA

INFOCOMM ORLANDO, USA

MUSIK MANILA MANILA PHILIPPINES

INFOCOMM MEXICO MEXICO CITY, MEXICO

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19-21 JULY 2017 www.mediatech.co.za

2-5 JUNE 2017 www.palmexpo.com 14-16 JUNE www.infocommshow.org

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9-11 AUGUST 2017 www.infocomm.org

IN DEPTH

•Page 26

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•Page 28

• Page 34

• Page 40

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Page 42

INTERVIEW MICK HANNAFORD ROBE UK

REPORT TRUSSING & RIGGING

For those of you that have been in the lighting world long enough to remember the Wild West days of the ‘80s, this issue’s interview is sure to be a trip down memory lane. With a career spanning four decades, Robe UK’s Managing Director, Mick Hannaford recalled his memories when Jerry Gilbert paid a visit to UK headquarters in Northampton.

24 INT ERVIEW

‘We had everything before us, we had nothing before us.’ The opening lines of A Tale of Two Cities could easily presage the dawn of disco - and Mick Hannaford was one of the frontiersmen responsible for infusing life into the new idiom. In a career spanning four decades, he has witnessed more than his share of lumen-rich lightwaves, dancing down the light path - between the Clay Paky Spiders that dominated dancefloor ceilings in the 1980s, and the current (two-I’d) Robe Spiiders that have lit up a post-nightclub world. Mick has been responsible for selling both, in vast quantities, into their respective market segments. Positioning himself as the eternal shadow in the testosterone-fuelled twilight world of barrelling alpha males in the brave new world of disco, he has strategically operated just behind the front line, where his influence would be strongest. To those who knew him back in the Wild West days, his claim to have been merely a jack-of-all-trades would undoubtedly have been followed by the words ‘and master of all’. Mick has presided over some of the most momentous events in the lighting canon - whether the opening of the Palace Blackpool in 1986, described as Britain’s first superclub, or more recently the vast 1,000 sq metre Robe Arena at PLASA 2014. His influence has also extended to the role of chairman of the industry’s trade association. And so it goes on. Robe UK’s MD was at the vanguard of protocol-independent, pre-DMX lighting control, at a time when manufacturers were trying to do clever things like dim inductive loads during the original ‘pinspot revolution’. A vast catalogue of relevant products emerged from his company, Rossula - from the ubiquitous LightProcessor 436 piano keyboards, to hydraulic rams, complex and bespoke

multiplex systems - for the Blackpool Palace, part of a massive £680K contract carried out by his Lightfactor partner, John Adams - full open reel and cassette based programmable synchronised sound and lighting control systems. In fact, his audiovisual processor delivered the whole enchilada of integrated pre-programmed audio-visual atmospherics for a venue off the end of a VHS tape machine. This was way ahead of the curve at the advent of microprocessor technology, and in many ways is the soundtrack to the entire evolution of show technology. In fact, we may have heard nothing more of Mick 10 years ago, when after a series of company takeovers, first by Polaron and then Cooper Industries, he was contemplating retirement. But then Robe’s CEO, Josef Valchar came calling. We are sitting among the ghosts of lighting past, hoping they will remain dormant. This is the same Northampton building where Ian Brown’s Coe-Tech first put the Robe brand in its own right onto the UK map - although Robe’s lineage can be traced back much further to just after the so-called Velvet Revolution in the Czech Republic, when Ladislav Petřek first started importing equipment from Germany. Moving into scanner manufacture, by 2002 they were ready to abandon their successful OEM strategy in favour of launching their own brand at SIB in Rimini. But when things failed to work out with Coe-Tech, Robe took over the UK building in 2004, when the operation was overseen by Czech, David Srba - before Mick took over the reins in 2008. David was keen on repatriation back to the Czech Republic, and Josef, who had teamed up with Ladislav in the early ‘90s, made the call to a man he had known informally since first politely enquiring how DMX worked a couple of decades earlier, at a time when Mick was still www.mondodr.com

• Above PLASA 1993 - Lightfactor & High End Systems exhibit outside the PLASA Show at the Park Inn down the road from Earls Court - as the PLASA organisers can’t offer enough space or power.

building his manufacturing company, LightProcessor. “We had always exchanged pleasantries at exhibitions, and when Robe decided to do their own thing all those years ago, it seemed we were destined to work together,” said Mick. “I had been selling top-end High End Systems gear through Lightfactor and I could now see a great opportunity to set up Robe UK.” But it wasn’t to happen as the idea of a subsidiary company was a stretch too far at that time for the new Robe own-brand operation, and Mick was not prepared to match the undertaking by Coe-Tech to guarantee a million pounds’ worth of business from a standing start in eight months. “Although Lightfactor was an established sales outlet, I could not make that promise,” he said - which showed a lot of courage. By the time Josef contacted Mick again, six years had elapsed and the latter had sold both LightProcessor and Lightfactor. “I was at the start of my 50s and had thoughts of possible retirement - or maybe one last project. But I was hating the life of leisure, and could see that David [Srba] was a Czech out of water.” The compromise from Josef was that he believed Mick could run the operation part time, on three days a week - a fairly idealised notion which immediately turned into the springboard to bigger and better things. His other option had been to buy back Lightfactor, now owned by electrical control giants, Cooper Industries. “I offered them some money because I could see they had no real interest or understanding in the distribution of products not made within the same organisation, and were ruining it. They initially agreed a price but then suddenly reneged. “But, in a matter of a few days, we had the [economic] crash, and I thought thank God. I was watching the rest of the world

25 INT ERVIEW

• Left Lightfactor open day at Greenford circa .

Top Peter Miles of Spot Co and Phil Capstick of AC Lighting. Middle John Adams talks through the Intellabeam with Steve Warren of Avolites. Bottom Peter Marshall, of Theatre Projects, now PRG with Paul DeVille of Action Lighting.

squirm.” However, the Robe option seemed at odds with everything else he saw around him. The set-up was totally different to anything he had experienced before. “Firstly they were extremely strong financially - everything they had was bought and paid for - secondly, their competitors were either making people redundant or arguing with each other and threatening litigation. Although I had built three other business before, I always had

shareholders, so I had no concerns about working for someone else, as I had always thought of myself as an employee.” The mission quickly turned from three days a week into a five-days-a-week crusade. Like many of his generation, Mick’s electronic education was self-taught. Hailing from north-west London, as a teen he was building his own DJ systems, sound, lights, anything electronic - setting the paradigm for the new disco industry before developing into an inscrutable www.mondodr.com

and implacable negotiator. It seemed like things rarely went wrong on Mick ’s shift, and it’s easy to see why he would later walk away away from a Dutch auction with Coe-Tech. When Peter Salussolia founded Glendola Leisure in 1973, part of a burgeoning leisure hospitality empire, the 17-yearold became his DJ and entertainments operations manager. And this is where the story truly begins. “Spending your life in clubs seemed a great way to earn a living,” he reasoned. “But I told them the equipment could be so much better than this. They threw down the gauntlet and so I built a mixer, amps, lighting and control - and kitted out their entire club.” One venue led to another before the mid-70s recession hit. “They had to put the planned expansion on temporary hold, but wanted me to stay as part of the team and get involved in the operation of the venues we already had. So I was introduced to pub and club management, quickly learning how to duck bullets and when to shut up.” And when Mick later decided to forsake management in favour of a return to electronics, Glendola offered to bankroll his new venture. “We started Rossula - an off the shelf company,” he related. “We always meant to change the name but never did.” Rossula was soon undertaking club installations for others outside the Glendola empire, one of whom was Tony Kingsley at Avitec Electronics. Through the Glendola operations he came into contact with the Goodhews chain, operated by Ray Bain and Atholl Souter. It was here that he was introduced to the largerthan-life partnership of Keith Hardy and Dick Carrier, who were to play a major part in his fortunes. “Keith was already importing Rotolite pinspots from VueMore and with Dick Carrier undertook an installation project for Glendola in Brighton in 1978.” When Dick subsequently joined Le Maitre, and set up the distribution company LSD, he asked if he could manufacture control equipment under their own name. “We were making our own control equipment at Rossula in any case, and so we developed the Lumiere - the industry’s first low voltage controller - exclusively for Le Maitre.” But the big breakthrough came after he met the mercurial John Adams. With a sales background honed at Roger Squire’s retail chain (and later Avitec), he breathed confidence in everything he did. “He was really the yin to my yang,” believes Mick - and both wanted to work with the other.

26 INT ERVIEW

• Above Radio Luxembourg DJ Benny Brown hosts the Disco Inetrnational Awards 1985 at the Park nightclub in London. Dick Carrier and Mick collect the Best Lighting controller award for the LightProcessor 436 Series.

And so, in early 1982, the two men sat down in a local Wimpy Bar (who remembers them?) and sketched out the idea that would become Lightfactor - an architectural and entertainment lighting distribution company. “John brought with him the Clay Paky distribution, which we shared with Avitec and also Meroform space frame and a décor product called Isoglist. “Not long after, the lighting control business began to outgrow the arrangement with Le Maitre, so we decided to make controllers under our own name: LightProcessor.” And with the arrival of the fun pub idiom, and a requirement for automated ‘hands off ’ microprocessor lighting control, he started to investigate tape-based lighting programming, as referred to earlier. “One memorable cocktail bar, I recall, was Swifts in Southampton where amongst other lighting features the keys of the piano were triggered automatically to run a show pre-programmed on one channel of a Tascam tape - synced to the custom-recorded music programme provided by associates Candy Rock Recording; the combined audio and visual system set the appropriate atmosphere from typical peaks and troughs throughout the trading evening.” Big Brother had definitely arrived early on the south coast. But John Adams’ destiny was in the world of installations, taking on ever more challenging and stupendous projects involving advanced rig movement. In fact, the Palace Blackpool’s overhead

lighting rig was one of the most complex engineering feats ever performed. “Installation is where his skills lay - he was bored by distribution and so we split the company into Lightfactor Contracts and Lightfactor Sales,” Mick recalled. In addition to lighting, Mick was also prudent in building up a portfolio of premier pro-audio brands, sub-distributing first Bose, then TOA and later US high-end concert systems from Apogee. But nothing in life lasts forever. One day the telex rattled into life and John watched aghast as the message from Gabriela Savoldi at Clay Paky announced the company’s new pact with Pulsar, which ended their long-standing distribution agreement. Aside from John, another ex-Squires store manager, Laurie Taylor-Duncan, was drafted into the team, while a third emigré, Nigel Morris, was now making JEM smoke machines, challenging the once sacred turf of Le Maitre. “We started selling them and shipping to Richard Belliveau [at Blackstone Audio Visual in Austin, TX],” Mick remembered. “One day he came to us and said they had moved into manufacture, and had this new [multiple-head laser system] Laser Chorus, which their manufacturing company Lightwave Research had produced for [sister company] High End Systems.” After experimenting with multiple distribution, including Avitec, High End appointed Lightfactor exclusively in June 1990, and soon had a slew of ‘must have’ products in their portfolio. In addition to www.mondodr.com

Laser Chorus, this included Intellabeam, Color Pro and the Dataflash AF1000 - the world’s first DMX strobe - a giant bank of which had debuted at SIB Rimini the previous year along with Intellabeam. The display was so bright that a sub-station was required to provide the necessary power. Anyone who had confronted ‘the wall’ would have risked simultaneous retinal lesion, photosensitive epilepsy and advanced neurotransmission across the blood-brain barrier. Lightfactor still had its colours nailed to the disco mast, continuing to represent Italian brands such as Lampo and Programsistem, when High End Systems Director, Bob Schacherl declared that his company planned to move out of disco into rock and roll touring. “He asked, ‘Are you coming with us or staying in disco?’ Mick remembered. “And that was the pivotal point. John and I both agreed we wanted to go where they were going. “Besides, we were both bored with disco because either we took ages to get paid or we were competing [for contracts] with people able to be somehow more ‘persuasive’ than we were able to be. So we said we were with them.” But he had never forgotten the start that Dick Carrier had given LightProcessor while with Le Maitre, and now that Dick had become disillusioned at the Croydon outfit, he was happy to honour a promise to take him on when the latter decided to close LSD. “Dick stayed four years and always said he would leave when he was 50.” He was as good as his word, and on the day of his 50th birthday he left the industry and opened a pub. Meanwhile, High End’s product surge, fuelled by Richard Belliveau’s advanced work in dichroics, continued unabated. First they launched Cyberlight, and two years later, in 1996, Studio Color 575. This was highly significant in being the first moving yoke wash fixture to be widely available for purchase, thereby breaking the Vari-Lite stranglehold. But by then John had long disappeared to Austin, Texas, to work within the bosom of High End itself - and breaking all ties with the UK. No-one saw it coming, and his 13-year business relationship with Mick was over. Yet paradoxically, while the mid-90s marked a period of turbulence for High End Systems, resulting in the company being propped up by venture capital money, Mick remembers the period post1994 as being some of the most rewarding and successful years in his life. John’s departure had forced him to reinvent himself. “Previously, I had never sought the limelight as I saw myself purely as a facilitator, empowering people and making sure they had the right tools. Suddenly, with John’s imminent

*Rotation is available for specific models that might not support 4K display

28 INT ERVIEW

• Above left Dick Carrier, Rob Field of LightProcessor R&D, and Mick outside the Greenford building that housed both Lightfactor and LightProcessor from 1984 to 2006. • Above right Bob Schacherl and Richard Belliveau with Lightfactor at PLASA.

departure, I now had to become the face of Lightfactor and High End in the UK.” Yet this period was also mired in litigation - starting, Mick remembers, when in 1995 Bob Schacherl had wanted to call Studio Color: ‘Technicolor’. “He brought it over for PLASA but virtually as soon as we opened, we had lawyers at our door.” A long war of attrition then developed with Vari-Lite when the latter filed for patent infringement - in fact Bob once hit me with the startling revelation during a PLASA Show that his company now had more patent attorneys on their payroll than R&D staff. But surely Mick hadn’t made it through to the mid-90s unscathed, or without some regrets along the way, despite seemingly always being in the right place at the right time? Had providence always cast him such a fortuitous hand? With Zero 88 and Mode as their major adversaries, he admits ruefully that his big failing had not been setting up a global strategy for LightProcessor’s hugely relevant control products. “We did really well with these products but I was too busy building a manufacturing infrastructure and overlooked building a far reaching international external sales force, while around the world companies like Zero 88 were making hay. People now say ‘if only you had come to us’.” The company also took a major hit when Glantre Engineering went into receivership on the eve of the new Millennium, although there is something of a gallows humour in the way Mick speaks of the warped satisfaction he derived from this. Lightfactor had been selling High End products into Disney’s ships via Glantre. “We had spent a lot of time building up the cruise business, but Martin [Professional, now Martin by Harman] were chasing us hard. Glantre decided to go

with Martin on their next project and I fought tooth and nail to get the spec overturned. As a result, almost £300K of High End kit went in instead - but three weeks later Glantre filed for liquidation. “I had never come first in anything - but now I was first on the creditors list, with £275K owed me!” he quipped. “It gave me a perverse sense of satisfaction as financially it didn’t cause a blip - even though I had bought out Glendola Leisure’s interest three or four years earlier - because we had built such a strong base. I was able to make it clear to everyone that we weren’t about to go under.” Between LightProcessor and Lightfactor he was now responsible for 65 employees “But then came another twist,” he said. “Bob [Schacherl] suddenly said they had bought Flying Pig - which would give them a UK base, and therefore didn’t need us anymore, and that he would only supply us on a non-exclusive basis. “This seemed a stupid decision because what he had with Lightfactor was a good thing - whilst there were plenty of other territories around the world that needed time and effort to develop and maximise the potential. But I will always believe the pressure brought on by the involvement in the business of VC’s, made for lots of poor decision making.” Mick’s response was to take on the SGM brand for Lightfactor and rev up the LightProcessor operation, with High End ironically selling the brand in the States under ‘Powerline’. It also started to gain further traction in the UK boosted by their move into architectural control used in many of the growing numbers of ‘chain’ restaurants and exclusively throughout Luminar Leisure’s burgeoning nightclub estate. Lightfactor was now under the stewardship of Paul DeVille, when in 2006 everything was to change again. “I was www.mondodr.com

approaching 50, the lease was coming up for renewal and my kids had finished school. So when a competitor-turned-customer Polaron asked if I fancied selling the business, suddenly it seemed so many ducks were in a row.” Polaron’s Joe Stelzer had been developing a controls business, and was raising capital via the USM. “He wanted to build the largest dimmer manufacturing company in Europe and wanted me to stay on. Since they were based in Watford and I lived in nearby Chorleywood, it was perfect.” Polaron plc were also in the process of acquiring iLight and Zero 88. They had originally intended to keep their dimmer business at LightProcessor’s base in Greenford and close down Zero 88’s factory in Cwmbran. “But it later became clear that Cwmbran had to stay because a previous Welsh Development Grant meant they were not in a position to leave - so Polaron had to make the manufacturing team at Greenford redundant,” Mick recalled. After two decades of sparring, Zero 88 had finally won the battle over long-term competitor LightProcessor. “People asked how I could possibly sell out but I had no qualms,” he continued. “I expected it to be new and invigorating but then reality hit and it did not quite go in the direction we thought.” Cooper Industries then went for a full take over of Polaron. “I stuck it out for two years - thinking I could change it, but then gave up and left with a grim view of US corporate ownership,” he said. The pay-days he had received through the various transaction stages would have provided the pension for a blissful retirement but for the intervention of Josef Valchar. “With Robe, life became everything I had expected Polaron to be, but wasn’t,” he said with a contented smile.

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30 INT ERVIEW

Playing hardball at the corporate end had helped Mick hone his negotiation skills and this was no better seen than during his time on the committee of trade association, PLASA. He proved himself to be a tough adversary - first as treasurer, and later chairman, succeeding Paul Adams who had helped stabilise the ship in choppy waters. “When I left in January 2003 after six years as chairman, [the association] had net assets of over £1m,” he said proudly. Yet he had been a fierce critic of the merger with ESTA (Entertainment Services and Technology Association) in 2010. “Matthew Griffiths [PLASA CEO] said it would be embarrassing if I voted [against the merger] so I abstained. I could see no way that members in the UK could directly benefit. ESTA was failing financially and we should have offered to take them over, certainly not merge with them.” As for his own business interest, with the passing of the first decade of the new millennium, and the industry still deep in recession, had there really been no negative impact on Robe’s fortunes? “It seemed there would be no tougher challenge than taking over a company in 2008,” he agreed. “But in retrospect everything just fell into place. “Robe equipment is of exceptional reliability - and some might say it was over-engineered, particularly in the early days.” He draws the stark comparison with the early days of disco, when quality expectations were considerably lower. After a succession of highly responsible

management positions - dating right back to Glendola Leisure - Mick had found the perfect role for his skill set. “I didn’t need to know how to fix a BMFL, because someone else would - and to be able to use the experience I have learnt to benefit the business, instead of knuckling down with the detail, was part of the attraction.” During his time in charge the business, staff levels at Robe UK have doubled. Ever since Lightfactor first burst onto the scene, with multiple page trade advertising, Mick has been a great fan of active, above-the-line promotion - which fits perfectly within the ethos of Robe for whom anything that has a molecular structure is apparently brandable. Arrive at any industry tradeshow anywhere in the planet and I guarantee the first four letters you will see glaring down are ROBE. In fact, when I cleaned my camera lens for the purpose of this picture shoot, I even found a Robe-branded lens wipe in my camera bag. In 2014, Mick saw a golden opportunity to raise the benchmark to unprecedented heights and also give PLASA a shot in the arm at the same time. With the trade show ailing since its move to ExCeL, and in danger of forfeiting its international status, it was time to book real estate de luxe in the form of the 1,000 sq metres Robe Arena - a joint celebration of their 20th birthday and the perfect launch-pad for BMFL, which topped a suite of 12 new releases. This was flag waving on steroids. The company committed a huge amount of money, integrating Anolis, their architecwww.mondodr.com

• Above TV LD Mike Lefevre at the Lightfactor Studio Color Cyberlight open day in 1996.

tural LED company and Lightware, the battery-powered LED range, within the presentation. “PLASA really needed it,” believes Mick. “But we were never given the extra-special deal as some people thought. I was worried about the perception of what the arrangements with PLASA were … after all, I’ve been on the inside and I know exactly what other exhibitors would think. This was a totally commercial decision on our part - just fantastic that it could benefit the PLASA organisation as well. I am a great believer in PLASA and it’s just disappointing that it’s lost its way a little.” He was also confident that it would be a risk free exercise. “It’s the same as buying a spot on a high street. We know weeks before the event that we are going to have a good show because we’ve already done all the homework. It costs nothing to send out an email to invite people at the top level to see the new kit and have a beer - and it certainly made a lot of overseas people attend the show.” Proof of that was the staggering launch of BMFL where back orders had risen to a staggering €14 million by the end of November 2014. And yet PLASA had been given no easy ride in selling the space, and whatever his feelings are about the show, Mick remains vehement that the association lacks leadership. “They are their own worst enemy,” he said. “They have spent the last five years asking members, ‘what do you think we should do?’ But people see that as a weakness. I put it to them simply, saying ‘if you don’t sell me an entire hall, then ExCeL will’.” PLASA acquiesced, and Robe’s UK’s frontman knows that it was a good move for all parties. So as the show begins its recovery in scaled-down form at Olympia, where does PLASA now fit into the exhibition tapestry? “The best trade show in the world is Frankfurt,” Mick believed. “But it is just a tradeshow and in that respect we do more business for the UK in Frankfurt. But the creative people and LDs are in London - so there is definitely a need for the London show to continue and prosper.” And he is not alone in that regard. So what has been the legacy of a lifetime of industry experience and self-taught management? “I am fortunate that I consider I have never really done a hard day’s work in my life. This isn’t work - it’s just what I do. Nothing compares with digging holes in the road - now that’s hard work.” Mick has heeded the lessons handed down, and one of the most useful, ironically, was learnt from the Americans.

32 INT ERVIEW

“When I worked with High End I understood the importance of attention to detail. Also, if you keep telling people long and loud enough that something is great, then it’s great. In Europe, we are more subtle, possibly, but in the US it has to be a smack in the face.” He has steadfastly followed his philosophy of picking a team capable of keeping him at the top of the pyramid. And it is a mixture of stone ground industry experience combined with new blood - along with a programme very much geared to the industry’s next generation. “I always know where to find experts,” he said. His management team today includes experienced Sales Director, Ian W Brown, and Ashley Lewis, whose key accounts include both premiere and up and coming lighting designers, while Bill Jones is a refugee from Lightfactor with serious audio chops gained from his days at Harman. But turning to the younger generation there is former RADA and Avolites trainer and product demonstrator, Amy Kerr as well as sales development graduate, Greg Westwood. “We also have a big student campaign called NRG [Next Robe Generation],” he said. “We aim to offer real-world experiences - for instance, a recent visit to the X Factor rehearsals to encourage the LDs of the future. We also go to colleges who specialise in the industry and tutors have really bought into it. In this way we can really put something back into the industry.” Complementing Robe, of course, is Anolis, Robe’s fast growing architectural LED sister company, presided over by Northampton-based John Saunders. Meanwhile, the product output from the Czech Republic seems relentless, as Mick explained. “Josef ’s philosophy was to have new products for launch at each major exhibition - but now that’s had to change to keep pace with the speed of company growth into new markets and

• Above left Louise Stickland, who has done PR for Mick since 1985/1986. • Above right Josef Valchar and Mick at PLASA Focus Leeds 2013.

sectors. “We always look for one ‘biggie’. For instance the ROBIN 600 LEDWash was an absolute stormbuster followed by the Pointe. Although it came out three years after the [Clay Paky] Sharpy, it still smashed all forecasts and the company sales record.” The conversation turned towards the economy - largely the currency exchange fluctuations in a post-Trump world and post-Brexit Britain. “The UK economy seems healthy enough,” considered Mick. But what about the weakness of the pound? “We, like all of our competitors, are importing into the UK and paying in either Euro or Dollars - so at least we are all in the same boat,” he said pragmatically. But being shrewd, he always purchases Euros in advance, and took on an additional exchange contracts the afternoon of the Brexit vote as a safety buffer. Explaining this prescience, he said: “I had a brief, but very successful career in foreign exchange and made far more than I ever could have selling lights on that day! But, since then, we have had to increase our pricing accordingly.” Continuing the theme, he said: “In the short term, I feel that some purchases have been put on hold whilst the customer waits for Sterling to recover. However, this may not happen anytime soon.” As for trade tariffs, he believes this is an altogether more complex issue. “Tariffs or border controls may hinder the smooth movement in goods traffic to the point that we have to hold more stock in the UK to service the last minute nature of the industry. On the other hand, the availability of pan-European rental stock would also suffer the same delays - possibly encouraging our customers to increase their own stock levels. “It is interesting to listen to my counterparts from the rest of the world when we get together. For example, it seems Russia www.mondodr.com

could actually be benefitting from the sanctions the west have imposed by forcing their own farming and manufacturing activity to increase - producing more goods at better prices and consequently more employment and better balance of payments. Whatever the scenario, it is my task to ensure Robe is best placed to make the best of the situation. There are opportunities in every outcome.” Mick is sufficiently world-wise to realise that Robe’s success has not been based on product innovation alone but sheer ubiquity and brand presence. “It has partly been built on our competition losing its way and a lot of that is because we are the only quality manufacturer that is privately owned and therefore without all the disadvantages of a large corporate structure. Every dog has its day so let’s enjoy ours.” In conclusion, he couldn’t be more positive about the journey Robe has taken him on so far. “It has all been very enjoyable and in the last five years we have made sure we have become as relevant to the television and theatre industry as concert touring. It’s still moving lights but in theatre [operation] has to be silent.” As he confronts his 60th birthday, Robe UK’s MD has more than recovered the passion that deserted him a decade earlier. He can look back with pride at his governance of both LightProcessor and Lightfactor, but more importantly at how that experience is shaping and defining his role today. Moving from the words of Dickens, with which we opened this story, to William Shakespeare, would Mick qualify as someone who has had ‘greatness thrust upon him?’ Put it another way, subtract him and this whole industry backstory - from the annals of entertainment technology, erase all reference to Rossula, LightProcessor, Lightfactor, and A-list brands he has nurtured so fiercely down the years, such as Clay Paky, High End Systems, SGM and Robe UK - and what is left?

34 REP ORT: T RUSSING & RIGGING

VEL ICE COMPANY: FENIX STAGE LOCATION: ALICANTE, SPAIN

Opened in late 2016, VELICE nightclub - part of the renowned Vela Beach Group - is located in the popular city of Torrevieja, Alicante, Spain. It has a 2,200Â people capacity and three different stages, one of which is an outdoor terrace measuring 1,000 sq metres. The venue has 30,000W of sound, four LED screens, moving heads, and effects. Of course, all of this equipment needs a home, and this is where FENIX Stage came in, with VELICE inviting the trussing company to renovate and redecorate its trussing roof and the whole DJ area. In the first phase of the project, a rectangular, black square truss grid was manufactured using FENIX SQ-29. This is suspended from the ceiling of the main room using PO-500 hoists that support a maximum load of 500kg, and adjustable AC-603 clamps that withstand a ton. It houses the majority of the

lighting fixtures. In the second phase, a two-floor stage in the form of a half octagon was designed and manufactured. The lower part - a DJ cabin - comprises a table with four square SQ-29 truss legs in black, and a square base BQ-29 table top. To secure the surface of the table made of opaque glass, the truss clamps were attached with AC-646 for 50mm tube with a special anchorage to hold the glass tightly. On the second floor a mixing table has been installed, for which four more SQ-29 truss pillars are used to hold a platform made with more SQ-29 trusses and a black grating surface and anti-slip methacrylate. The grating is a very stable, lightweight and resistant electro-welded grid that allows light to pass through, so this platform is perfect as a stage for the visual shows that accompany DJ sessions. A spiral staircase

www.mondodr.com

made of steel gives access to the top floor from the DJ booth. All the trusses used in the project have an EN AW-6082 T6 alloy, 50 x 2mm main tube, 20 x 2mm interior braces and a conical connection system. Being manufactured in this alloy characterised by its great resistance and reduced weight, together with the conical connection system that allows a quick installation, we have a lightweight, strong, easy to assemble and very versatile. Also, its standard tube measure makes the SQ-29 truss compatible with most rigging accessories and clamp existing on the international market. On 2 December, the disco opened its doors with its new stage fully installed and ready to fulfill all expectations. www.fenixstage.com

AN ST

36 REP ORT: T RUSSING & RIGGING

JOHN LE W I S ST UD IO COMPANY: ACSP LOCATION: LONDON, UK

A.C. Special Projects Ltd. (AC-SP) have recently specified, supplied and installed premium performance lighting fixtures, complete with a truss ground-mounted structure, for John Lewis’s new content production studio in London. This modern, purpose-built facility is used for photoshoots and filming, to generate content for the websites, mobile apps and magazines of what is one of the UK’s leading retailers. Underwood Carpenter, which project managed the setup of the new facility, approached AC-SP, requesting an installed lighting rig to suit the wide variety of applications the space would need to cater for. AC-SP proposed a full turnkey solution to meet the requirements for a flexible system, which would allow the operator to create high quality lighting scenes for numerous subject types, quickly and easily. AC-SP Senior Project Manager, Andy Holmes commented: “During initial discussions with the John Lewis content production team, it became clear that they required a very flexible lighting system that would work for both still photography and moving images. The Chroma-Q Space Force softlight was ideal for this application, as its flat field of light helps illuminate the wide range of subjects with an ‘all-encompassing’ high quality light.” He continued: “The high CRI of the Space Force ensures that colours are accurately reproduced on camera. The added flexibility of variable colour temperature control means that cooler colour temperatures can be used to capture imagery of products like white goods, whereas warmer tones can be used when photographing clothes and

models. The Chroma-Q Space Force and Studio Force Phosphor fixtures also have the ability to change the refresh frequency of their LED sources, which means that the lights can be tuned to work with video cameras running at varying frame rates, including high speed ‘slow-mo’ videos.” AC-SP installed the Chroma-Q LED softlight products - the majority of which were mounted on over 140-metres of Litec truss also provided as part of the installation. One of the innovative features of the Chroma-Q Space Force is its ability to be mounted on a floor stand, something that has previously not been possible with traditional space lights. The lighting system is controlled by a Jands Vista M1 console, allowing users to change the lighting scenes from the ground - thereby reducing the requirement for staff to work at height. The intensity, colour temperature and other functions can be controlled from the M1 console. LumenRadio transmitters and receivers were added to increase the flexibility of the M1 console, meaning the control system can be positioned anywhere within the space to suit requirements. AC-SP provided on-site systems training for John Lewis’s Content Production team. Lewis Rhodes, Studio Assistant, commented: “AC-SP have been extremely helpful and thorough in their training, which was simple and easy to understand for a team possessing a wide range of different ability and skill levels. The team are excited to start using the lighting rig.” www.acspecialprojects.com

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38 REP ORT: T RUSSING & RIGGING

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T H E ROYAL S PA C E N TR E COMPANY: GLANTRE ENGINEERING LOCATION: LEAMINGTON SPA, UK

The Royal Spa Centre in Leamington Spa, owned and operated by Warwick District Council, has made a significant investment in a new automated stage rigging system and new stage lighting dimmers for its provincial theatre. The auditorium seats 677 people, arranged over two levels, and hosts a varied artistic programme. The old stage rigging system, was very limited in its capability, only offering the facility to move three bars at a time, without any positional control functionality. The theatre had identified the need for a rigging system which offered them more flexibility as well as the added benefit of speeding up pre-rigging of shows and the all-important get out. John Greet, Technical Manager talked about the old system: “Since joining the Royal Spa team, I had noticed that the dimmers were reaching the end of their life after we had some failures on some dimmer circuits. This was also a good time to review the flying system control. The dimmer procurement had started and the council thought that instead of doing two separate procurements it was better to do the both systems at the same time. The old system flying was very restrictive. We could only move three bars at a time and the Lighting bars were on a separate system. The old system also slipped over time causing us to re-dead every 3-4 days on weekly shows.” Glantre was engaged as Principle Contractor by Warwick Council to perform the complete strip out of the existing over stage machines, dimmers, ageing and

non-compliant dimmer circuit wiring, containment and incoming power distribution. New systems to replace those stripped out comprised: 29 ASM HWCA Junior BGV-C1 certified hoists, 500kg WLL, 0.4m/s on 200mm centres; SIL-3 certified control system with advanced touch panel control console; new head pulleys and loft blocks to suit the new installation; new wire ropes and ladder bars; new hoist power / control cable infrastructure and containment; new technical power sub-distribution boards; new dimmer racks; new dimmer circuit cabling and containment; and new lighting control and Ethernet cable infrastructure. Within a short overall contract period of 13 weeks, Glantre stripped out the old systems and designed, manufactured, installed, commissioned and completed training of venue staff on the new systems. Furthermore, the systems were delivered within the council’s original budget allocated to the refurbishment works. The short time frame of the contract was particularly challenging. Standard lead times for motors and gearboxes are usually in the region of 12 weeks, so every supplier in the chain was under pressure to perform to meet the tight deadline. The on-site period was strictly limited to the theatre’s eight week dark period over the summer which, when combined with the manufacturing period for the machines, made the need for an efficient site installation process absolutely imperative. Before the site work could begin a number of existing risks were identified that required action from the venue to address to make the site safe. The most significant www.mondodr.com

of these was the means of access to the grid for personnel. Various additions to the existing system over the years had combined to cause personnel accessing the grid, via the cat ladder, to have to negotiate an upward path, through the wire ropes on top of the grid, while trying to exit the ladder. The venue recognised the importance of the issue and employed a specialist contractor to improve access to the grid in advance of the construction period. The resulting solution now means that the venue’s own personnel are now permitted to access the grid as required, where access was severely restricted before. The original hoists were sited in various locations around the stage left gallery and the grid, with a mixture of control systems and power sources feeding them. Once they had stripped out the old equipment, Glantre arranged for all of the machines, containment and cable that were removed, to be recycled by local contractors. The electrical work was undertaken at the beginning of the onsite period and was largely complete by week four. Hoist installation commenced during week five and was completed by the end of week seven, leaving only tweaking and operational training for week eight. The replacement rigging system is a significant improvement over the previous equipment, offering safety certification and programmable / positional capabilities that far exceed the requirements of the tender specification issued by Warwick DC. The hoists are now all located together on the stage left gallery. They

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are suspended from the existing grid steelwork, on extended mounting brackets to bring them down to a convenient level for maintenance access. The mounting brackets each incorporate a pivot mechanism, allowing individual machines to be swung out from the wall to be able to inspect and maintain them. In this position, access to the motor, brakes, encoder, limits, etc. is straightforward and achieved without requiring ladders / access equipment. The ASM HWCA Junior hoists selected by Glantre for this project are certified to the BGV-C1 standard. The control system itself is both intuitive and fully featured. The architecture is straightforward and consists of the hoist power pack on each machine, LC-8 hoist controllers located centrally and the portable control desk. The hoist power packs each connect via radial links to an LC-eight controller (eight hoists per LC-8), while all LC-8 controllers and the control consoles communicate over a separate serial bus. The technical team can connect the control desk in two locations, one connection point is on the fly gallery, the other point is at the Stage management position, stage left. The Spa Centre technical team were particularly pleased with the control aspect of the project, the end result far exceeded expectations and has delivered many benefits, some of which were unforeseen at the outset of the project: John continued: “Get-ins and outs are quicker as many members of the crew can be trained on the system in minutes. The control panels’ touch screen is very easy to use and intuitive. Having different user levels is a ‘god send’ because we can train our casuals on a ‘basic user level’ while permanent technician can have more control. Now with the new system we can rig the LX on any bar and choreograph scene changes instead of have a set order that everything happened. Safety wise, we have the ability to set soft deads and lock bars so there is no way of bringing in heavy equipment by selecting the wrong bar! For our productions, the initial programming it takes a little longer but in exchange we get much higher production value. Scene changes happen quicker, quieter and slicker. We can now time scene changes and have the luxury of everything hitting the marks at the same time.” www.glantre.com

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40 REP ORT: T RUSSING & RIGGING

YOUTUB E ST UDI OS COMPANY: DOUGHTY LOCATION: LONDON, UK

When Peter Daffarn was first offered the opportunity to work as a lighting consultant for some new London studios, little did he know at the time that he’d be specifying kit for one of the biggest names in the industry YouTube. “I was approached by a broadcast consultant who was unable to name names, but it sounded like an exciting project so I got on board and, based on the project brief, I immediately knew that I’d be getting Doughty Engineering involved too,” explained Peter. The brief was to kit out three studios, two of which were double height. It is in these studios that YouTubers with more than 10,000 subscribers can book free studio time in order to create the content required for their channel. Peter drew up all the designs and prepared all the documents, sending them through to the client, ready to go out to tender. In a twist of fate, the job never went out to tender, with the client instead offering Photon Beard the opportunity to run the project instead. From this point on, Photon Beard worked closely with the main contractor, which was responsible for fitting

out the studios and for putting in all the infrastructure, but the project was in full swing before it became apparent that the client was YouTube. “We installed Doughty motor gear boxes to raise and lower the trusses in the double height studios, while the single height studio has a Doughty barrel grid and Doughty internally wired bars,” said Peter. “All three studios have Studio Rail curtain track installed. Meanwhile in the community area, where YouTube employees congregate and mingle, in the training room and down a long corridor called ‘The Street’, we have fitted a simple Doughty barrel grid, so that if anyone is doing any recording in public areas, they have somewhere to hang the lights and the monitors.” Dan Phillips, Project Sales Coordinator at Doughty, added: “Doughty has a great working relationship with Photon Beard, so we were delighted to get on board with such a high profile project which, as most projects do, set us some interesting challenges. The grids in the studios, for example, are a slightly unusual design in that they are all on one level - normally barrel grids see www.mondodr.com

the bars running at 90º with each other. However, we did something similar, again with Peter Daffarn, some years back at the Tate Modern and it was aesthetically very pleasing so we decided that with so much on public view, we’d use the same concept. Also, in the studios, you won’t find the standard self climbing hoists. Instead we’ve installed lighting trusses - the sort of thing you may see on the main stage in Glastonbury, for example - suspended using a Doughty motor gear box system so that they can be raised and lowered electrically. This is a completely bespoke system that has been built specifically for YouTube.” Peter concluded: “We knew that working on a prestigious job such as this, we needed to partner with companies who provide the very best in products and customer service. Doughty ticks both these boxes. We have a happy client with some excellent, high quality, 4K studios, kitted out with everything a professional YouTuber could ever need.” www.doughty-engineering.co.uk

42 REP ORT: T RUSSING & RIGGING

LDI SHOW COMPANY: COSMIC TRUSS LOCATION: LAS VEGAS, USA

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Exhibiting on the adjacent stand to its US distributors, GLP Inc., Cosmic Truss’s display at the LDI Show in Las Vegas took on an alluringly ghoulish theme - which really galvanised visitors, who may have thought they had arrived at the Gates of Hell. In fact the fantastic custom-created skull that hung above the booth to draw people in, was arguably the most photographed item at the show. The skull itself is a version of one that had been conceived earlier by Australian designer Aldo Fabrizio in collaboration with Cosmic’s territorial distributor, Design Quintessence. Cosmic Truss Business Manager, David Park said: “We wanted to highlight that truss can really be used as a design feature, not just as a structural element.” The structure itself combines standard off-the-shelf components along with a few with custom pieces - and exemplifies the fact that with a strong concept and a creative design team truss can become a high impact, expressive statement. The concept also appealed to the LDI judges who awarded the stand with the ‘Best Product Presentation’ of the exhibition. In addition to this visual highlight, Cosmic Truss was promoting its new range of staging platforms which are rugged, strong and flexible, with standard sections running alongside curved pieces, steps and a full set of handrail and balustrade accessories. Also on display were a variety of new adaptor plates, corner sections, some new additions to the range of clamps and couplers - and a range of other market driven product solutions to everyday trussing needs. Cosmic Truss Sales Manager, Paul Saghbazarian commented: “All of the new items that we showed were really well received by customers. We supported them with the new staging range and other existing products, like our safety barrier range and they have all been shipping since the exhibition ended.” Summing up, David said: “The show was a huge success and we are grateful for the support that we received from our manufacturing staff in getting a complex structure made in just a couple of weeks. We can’t wait for the next challenge.” http://germanlightproducts.com/product-category/cosmic-truss/

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44 REP ORT: T RUSSING & RIGGING

A MST E R DAM DAN C E E V E N T COMPANY: EUROTRUSS LOCATION: AMSTERDAM, THE NETHERLANDS

Eurotruss’ rental partner in The Netherlands, Focus Amsterdam & Rent-All supplied three huge venues during the Amsterdam Dance Event 2016. The Amsterdam RAI, Ziggo Dome and Heineken Music Hall were fully kitted out with Eurotruss. Wellknown DJs such as Tiesto, Axwell & Ingrosso, Hardwell and Martin Garrix were supported by Eurotruss products as part of their amazing shows. More than 1,500-metres of multi-purpose FD/HD34 truss was errected inside these popular venues as well as 200-metres slender shaped XD truss and 200-metres of heavy duty ST Truss. www.eurotruss.com

N BA O P E N IN G N I G HT COMPANY: MOUNTAIN PRODUCTIONS LOCATION: OHIO, USA

Photo by Mountain Productions

Mountain Productions kicked off the opening night of the NBA season in Cleveland, Ohio by providing staging for the NBA on TNT Road Show outside of the Cavalier’s Quicken Loans Arena. The event was the launch of Turner Sports’ interactive road show sponsored by American Express and featured TNT’s Inside the NBA studio team providing pregame, halftime, and post-game coverage on-site along with a musical performance by Grammy-nominated rapper, Wiz Khalifa. Interactive experiences setup for fans completed this event including TNT Personality Themed Events, the On-Court Hoops Experience, “Singer Slam” Studio, and much more. The Mountain team is proud to have been involved with the NBA’s Opening Night, and built the SL-320 mobile stage and a 26ft 6-inch tall scaffold spot tower along with providing two ADA access hydraulic lifts. www.mountainproductions.com

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46 REP ORT: T RUSSING & RIGGING

REGENT STREET COMPANY: UNUSUAL RIGGING LOCATION: LONDON, UK

London’s Regent Street celebrated the start of the festive period on the 17 November with the official switch on of its famous Christmas lights. The display, described as a throwback to Regent Street’s first set of Christmas lights which went up in 1954, has been designed by James Glancy Design who in turn contracted Unusual Rigging to work alongside them to fulfil all their rigging requirements. Paula Gordon Senior Project Manager at James Glancy Design explained: “Paul Dart, head of design at JGD and the designer of this year’s lights, wanted to create a stunning concept based on a contemporary Spirit of Christmas theme, whilst staying in keeping with an elegant and traditional look, honouring Regent Street’s time honoured yet progressive values. People have commented that the lights seem especially spectacular this year and indeed the project was incredibly ambitious. Sometimes it can be very easy to lose sight of the

design, especially when we have to place such a huge focus on safety. But by enlisting the support of Unusual Rigging, they took that responsibility on board and allowed Paul to focus on creating a successful scheme.” Following several meetings earlier in the year, Unusual Rigging was given the contract to rig the Regent Street Christmas lights for the next three years. The Unusual team, headed by Jim Dugan, Head of Event Management, and Adam Sutton, Rigging Crew Chief, was tasked with rigging and managing the install/ takedown of the lights, devising suitable solutions for rigging the decorations and managing road closures for the duration of the project. Andy Cooper, Technical Project Manager added: “We brought Unusual on board because of their excitement to take on an ambitious project such as this. It was clear from the first meeting with Unusual that complicated jobs inspire rather than concern them. This, cou-

www.mondodr.com

pled with a confidence in the company’s skills, ethos and experience in large scale and high profile projects made it an easy decision for us at JGD to award the contract to Unusual.” Jim commented: “The first thing we had to do was a complete survey of the electrical outlet on Regent Street - as well as testing and surveying all the eyebolts that were already in place from previous years. At the beginning of October we carried out some remedial works, installing or upgrading eyebolts that weren’t sufficient for the scheme. This was closely followed by the actual install which ran for 16 nights. During this time, we worked closely with Westminster Council to ensure that the appropriate road closures could take place for work to be carried out safely.” Adam added: “The biggest challenge from a rigging point of view was the fact there was insufficient time to redo the eyebolts exactly as we’d have liked and so

we used nearly 11km of steel wire rope to ensure we didn’t pull the eyebolts out! In addition to this, Regent Street is such a wind tunnel, we had to work with the structural engineer to ensure he was satisfied that the system we had designed would work regardless of wind strength.” Paula concluded: “From the first meeting to the last decorations being hoisted into the air, working with Unusual has been a great experience. They have a great work ethic and are prepared to keep powering on until the job is done. We had complete peace of mind that they had the experience to overcome any rigging problem. We knew the entire rigging and logistics side of the project was in safe hands and we were confident at every stage that everything was organised to an extremely high standard, fitting within various timelines throughout the year. The client (The Crown Estate) was also really happy that we were working with Unusual and was impressed by the company’s track record and professionalism throughout. We are already looking forward to next year.” www.unusual.co.uk

Photo by Leroy Gibbins

48 REP ORT: T RUSSING & RIGGING

MIL LER OUT DOOR THE ATR E COMPANY: J R CLANCY LOCATION: HOUSTON, USA

Several years ago, J.R. Clancy inspected the rigging at the Miller Outdoor Theatre in Houston, Texas, and found it was near the end of its useful life after 48 years. Not surprising, considering the length of operation, the venue’s busy schedule and extreme environmental conditions. The Miller’s older rigging equipment was also having difficulty handling some very heavy sets. The fact that J.R. Clancy components lasted nearly a half-century is a testament to their quality and regular maintenance. The Miller is a unique venue - a free, outdoor, full-proscenium theatre; the original facility was built in 1923. Rebuilt in 1968, the Miller now includes a 64ft by 41ft stage, 54 line sets, orchestra lift and a 100-tonne air conditioning system to cool the performance area. Seating is provided for approximately 1,700 patrons, with a sloping lawn that accommodates roughly 4,500 more. To assist with the renovation, J.R. Clancy turned to Beck Studios; the two firms have partnered for more than 20 years and together have nearly 300 years of combined experience. Beck Studios is a J.R. Clancy dealer, also helping with rigging installations and project management. “It’s a great partnership,” said Matt Mullen, Vice President of Beck Studios. Matt first joined Beck Studios over 30 years ago; several years ago he left to work at J.R. Clancy for two years in domestic sales. In the Miller renovation, Matt said basically everything was ripped out - except the T-bar guide tracks - and replaced with new equipment, including new loft blocks, head blocks, arbors and floor blocks, new locking rail and SceneControl controller. Of the 50+ counterweight sets, 10 lighting battens were changed to motor-assist. Matt said this is a big timesaver, enabling the Miller’s crew

to hang or take off lights without going up and loading/unloading weights. The theatre consultant on the project was Tom Folsom with KTRP. Before the rigging renovation, it took two or three crew members to move the most heavily loaded line sets. Now one person can do it easily. The difference? J.R. Clancy developed a compensating chain system that was customised to the existing guide system. “The benefits are tremendous,” said Matt. Normally a compensating chain system will occupy a considerable amount of space offstage of the guide system. In the past, retrofitting a compensating chain meant that the guide system had to be totally dismantled and often the fly galleries needed to be relocated further onstage. “This was the first compensating chain system I’ve seen that was adaptable to an existing set,” explained Matt. “This retrofit really worked well.” In operation, the compensating chain system offsets the shifting lift line weight at any position. This maintains the set’s balance and keeps the set moving with the same effort throughout its travel. The Miller’s #1 set is the main curtain that flies in and out. Before the renovation, it took three staff members to move this curtain and clear the proscenium fast enough - about 300ft per minute to satisfy the directors. Getting three people up on rails was not very cost-efficient. In the renovation, a Titan hoist was installed; it travels up to onethird faster, at 400ft per minute. “This gives them a different look and more options right from the control station,” said Matt. “They can fly the curtain out faster or even slow it down.” Along with increased speed, the new rigging system has also improved flexibility, ease of operation and safety. “Previously, staff members were climb-

www.mondodr.com

ing up to the loading bridge and taking off weights just to remove a couple of lights or tie off a set, making lighting changes to out-of-balance sets,” Matt explained. “With motorised rigging, it now comes down the touch of a button, so they can add or remove a light easily and safely.” Of the 10 motorised sets, several are side-by-side so those battens can be married and controlled together, creating some real unique lighting plots. Matt said this is very beneficial when hanging large Cyc lights or a configuration where fixtures are needed on both battens. These married battens give the lighting designer more options. The extreme heat and subtropical climate in Houston is a large challenge that was considered in the renovation. Matt said the building gets very hot in the grid and loading bridge; limiting the number of times staff needed to go up to load and unload weights was a big motivating factor in motorising the electrics. To withstand the heat, since the Titan hoist is positioned on the grid, an internal air conditioner was added to the master control cabinet panel to help keep all the components cool and prevent the drives from overheating. Sealed components protect against humidity. Matt, who has been in the business 32 years, said he rarely works with a venue as accommodating as the Miller Outdoor Theatre. “Their entire staff pitched in wherever needed, bending over backwards to make it all happen,” he recalled. “They wanted a better rigging system that would last a long time, without any shortcuts taken, and I totally respect that.”

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50 REP ORT: T RUSSING & RIGGING

SA N PAOLO STADIU M COMPANY: LITEC LOCATION: NAPLES, ITALY

LITEC has recently introduced a new concept in heavy-duty portable roofs - the MyT Folding Steroid Roof System. The MyT Folding Steroid was purpose-designed by LITEC engineers to answer the needs of live events that require mammoth structures and extreme loading capacities. The successful debut of the MyT Steroid Folding Roof System was at the San Paolo Stadium in Naples, Italy, which served as both a test build and massive roof structure for an important live concert. The custom made 30-metre by 15-metre MyT Folding Steroid Roof System was expertly delivered and erected by Massimo Stage, one of Europe’s premier event production and rental companies that specialises in big events. The modular design of the MyT Folding Steroid Roof System consists of heavy duty components made from high grade EN AW-7003 T6 aluminium alloy. Integral structural parts are assembled without any welding to optimise performance and eliminate any issues relating to weld heat affected zones. The unique construction also creates a 100% serviceable truss, with any damaged or worn parts easily replaceable. With these features combined, the truss has a remarkable 40 tonne capacity with free-span capabilities up to 35-metres with ex-

tremely low deflection. A unique, groundbreaking feature of the MyT Folding Steroid Roof System is its folding design that allows a single person to fold and store a single three-metre section in less than three minutes. This unique folding feature, which reduces each section to two-thirds its size, greatly reduces storage space requirements and transport costs. LITEC’s MyT Folding Steroid Roof System also features steel sleeve blocks, steel tower base ballasts, fully mechanical steel safety block and a fully integrated tower base with a modular steel ballast system. These design elements contribute to the distinctive modular and self-contained environment of the MyT Folding Steroid system. Massimo Stage srl was the first company to purchase the MyT Folding Steroid Roof System after LITEC introduced them to this new structure and its unique design elements. Massimo Stage has been servicing the entertainment industry for over twenty years and takes part in a wide range of events. They offer qualitatively high-standards in the arrangement of space, with maximum safety and reliability as their company’s trademark. Features of the LITEC MyT Folding Steroid Roof www.mondodr.com

System delivered to Massimo Stage included: a 50-metre stage frontage (including 18-metres of PA); a colossal 23-metre high and 20-metre deep stage area; 27,000 kg maximum payload capacity; certified operational wind speed of up to 27-metre per second; steel sleeve blocks and steel tower base ballasts; unique, fully mechanical steel safety block solution; and a fully integrated tower base with a modular steel ballast system. LITEC Sales Manager Raffaella Scaccia was deeply involved in this project and worked closely with Massimo Stage in the sale, delivery and buildup of the MyT Folding Steroid Roof System. When asked about her participation, she commented: “We are pleased to have cooperated with Massimo Stage for this big project. LITEC have striven to develop a high quality and performing structure that meets our customers’ needs and deliver exceptional service. Our company has always been devoted to doing the best possible work for our clients to ensure creativity, innovation and design. The exchange of knowledge with our business partners is fundamental to achieving mutual success.”

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LITEC sat down with Massimo Stageâ&#x20AC;&#x2122;s Managing Director Gennaro Chinelli to discuss his companyâ&#x20AC;&#x2122;s initial experience with the MyT Folding Steroid Roof System. LITEC: What are the reasons you decided upon the purchase of the Litec MyT Folding Steroid truss structure? Gennaro: The main reason was to be in a position to satisfy market demand where artists ask for more and more competitive structures with high load capacities and better performance. LITEC: What qualities of LITEC MyT Folding Steroid truss are most important for you? Gennaro: Being manufactured with the special 7003 T6 aluminium alloy enables very high load capacities. The MyT Folding Steroid System also allows for quick set up, while guaranteeing high safety standards. Finally, this truss is foldable and that means easier storage thus reducing transport costs. LITEC: How did build-up of the structure go in Naples? Gennaro: Despite our lack of experience with the structure, since we only knew it on paper, we had no difficulty with build up even though it was our first installation. LITEC: How did the structure perform at the live event? Gennaro: The artist and the crew were amazed and extremely satisfied. LITEC: Did the structure meet your expectations? Gennaro: Yes.Totally. LITEC: How did breakdown of the structure go? Gennaro: Everything went according to schedule, despite it being constructed in the centre of the San Paolo Stadium pitch. LITEC: What are your plans for use of this structure in the future? Gennaro: We have already received several inquiries for this structure for some very important events in Italy and abroad. LITEC: Did LITEC provide you with the service you required? Gennaro: Yes. We had impeccable assistance from LITEC. They were real professionals who went above and beyond the call of duty. We received immediate answers and solutions to our problems. They assisted us in fully constructing the structure. LITEC: Would you recommend the LITEC brand and its products to other rental and event production companies? Gennaro: Absolutely. LITEC is a serious company, has excellent products with high quality standards, and charges quite reasonable prices.

UNTOL D F EST I VAL COMPANY: PROLYTE LOCATION: CLUJ-NAPOCA, ROMANIA

The fast-growing festival industry has learned to rely on Prolyte products to build its stages and related infrastructure. From the large EDM festivals, like Untold, Dance Valley and Alfa Future People, to established names such as Rock Werchter and smaller local festivals, like British Summer Time, and Concert at Sea, producers and technical staff rely on Prolyte products to make it happen. The often outrageous stage designs need a solid and safe base to create the spectacular sets and lights shows. Producers and technical staff turn to Prolyte for support, whether this is found in its wide array of products to equip the festival ground, or in its

Photos by Arena Events

52 REP ORT: T RUSSING & RIGGING

engineering support, to make sure constructions are calculated and safe. One of the newest pretenders to the top table of European festivals, Untold, combines massive EDM and house DJs with representatives of pop and urban music. Untold was winner of Best Major Festival at the 2015 European Festival Awards, prised for its uniquely themed staging, a flavour of Romanian folk-lore, and an international audience. For the Untold festival 2016 a range of Prolyte equipment was specified including 250-metres of crash barriers, over 80 ProLyft hoists, 300-metres of S52SV truss and over 300-metres of H30V and H40V truss, as well as a Prolyte roof structure. www.mondodr.com

Corneliu Ladin, owner of Untold production company Arena Events commented: “We only want to work with the best brands, like Prolyte. Their products give us the comfort of 100% reliability and unmatched support. That’s just what you need for an event like this. We have worked with Prolyte for a couple of years now and it still builds as flawless as the first time. At the Untold festival the world’s best DJ’s will be performing, like Afrojack, Armin van Buren and Hardwell, trust me we want to eliminate risk as much as we can. When you are responsible for the safety and well-being of so many festival-goers you don’t take any chances.” www.prolyte.com

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EMEA MAMA KELLY THE HAGUE

ATLAS THEATRE & WILDLANDS ZOO EMMEN

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56 IN BRIEF - EMEA

Stylish Mama Kelly restaurant kitted out with Audacâ&#x20AC;&#x2122;s WX502 wall speakers.

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57 IN BRIEF - EMEA

In the old Callabero factory of The Hague, one of the trendiest eateries in the city, recently opened its doors. The newly opened restaurant calls itself an urban bistro and goes by the name of Mama Kelly. Designed by the world-famous hospitality designer Rein Rambaldo, it succeeds in recreating the old industrial atmosphere by preserving many of the authentic interior elements, such as the original cigarette factoryâ&#x20AC;&#x2122;s heating system. Housing a restaurant in such a gigantic old factory naturally comes with

some acoustic challenges. To provide the space with background music, Rein decided to work with 10 Audac WX502 wall speakers. Due to their compact, modern and robust design, they blend in perfectly with their surroundings. But above all, it is possible to create a warm yet crystal clear sound, facilitating the perfect balance between the raw industrial setting and the intimate ambiance. www.audac.eu

www.mondodr.com

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ATLAS THEATRE & WILDLANDS ZOO EMMEN, THE NETHERLANDS EUROPE, MIDDLE EAST & AFRICA

An eye-catching, impressively-designed building with a concept to match, the Atlas Theatre and Wildlands Zoo now combines its popular attractions and facilities with state-of-the-art entertainment technology to enhance its unique mix of culture and nature. www.mondodr.com

The Atlas Theatre and Wildlands Zoo, based in Emmen, The Netherlands, is a unique building that incorporates a large surrounding park, offering a place in which culture and nature combine to great effect. Designed by Danish architect, Henning Larsen, the building serves as an entrance to a large zoological park of 10 hectares, with the building itself being a large performance space - the Atlas Theatre - which has two stages, along with exhibition and conference spaces. Besides the two theatres, the building also includes a congress centre, offices and hospitality facilities. The theatre, which has a total seated capacity of 822, has one large auditorium with two balconies that is designed as both a theatre space and concert hall. As well as that, there is also a black box theatre / event hall, which seats 300 guests - or 800, if standing. With such an interesting project in place that would host a diverse range of

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events, the audio technology that went into the building had to be versatile and, of course, provide an excellent sound quality, whether it’s a theatre production or business conference. This led to extensive work that was formulated by Steven Kemland, a consultant from Theateradvies BV, while the plans themselves were implemented by Ampco-Flashlight’s Project Manager, Frans van Houten. The motto from Steven throughout was ‘everything has to be possible everywhere’ - maintaining the forward-thinking design and focus on culture. When it came to the audio for the large auditorium, two separate systems were put in place, with both offering a highquality sound that was totally adaptable depending on the event. A d&b audiotechnik Y8 line array system has been installed in a left-center-right configuration with theatre productions in mind. This line array system is supported by d&b audiotechnik E-series outfillls,

which delivers a clear, balanced sound for every seat in the theatre. The Y8 system that is in place can be easily replaced by simply placing it on dollies, too, which makes room for the permanently-installed Renkus-Heinz Iconyx Live system. This expansive system from RenkusHeinz extends throughout all public and back of house areas, including the venue’s black box theatre and, of course, the main auditorium. Using the active beam steering technology, the IC Live system addresses the challenge of covering each seat within the theatre evenly, which makes it perfect for speech and music reinforcement for congress, presentation and event situations. Two permanently installed IC Live arrays are positioned to the left and right of the stage, both comprising a single ICL-F-DUAL-RN and single ICL-F-RN. The columns provide all-important support. “The IC Live system, with its active beamsteering technology, is for this venue www.mondodr.com

the ideal system - it’s very versatile,” explained Frans. “The system performs as a fixed installation with three beams per side ensuring even coverage over the floor seating and the auditorium’s two balconies. “The Renkus-Heinz system functions precisely as we intended, with its powerful beam-steering functionality, it delivers clarity to every seat in the auditorium, making certain that every in the audience is happy.” Also, in the black box theatre, which has a retractable seating system to allow for standing guests and an increased capacity, a d&b audiotechnik T-series line array system is used with flexible grid systems, which allows the clusters to be installed in different configurations to support the multitude of different seating - and standing - arrangements. Plus, d&b audiotechnik MAX-II floor monitors, powered by D20 amplifiers, are used in all venues, too. The theatre’s control system includes

• Above The entrance to the Atlas Theatre and Wildlands Zoo.

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DiGiCo consoles, with an SD8 and SD9 console used, along with D2 I/O racks, which can be used either separately or combined, as needed. With the DiGiCo consoles in place, the venue has a flexible, integrated system to deliver an outstanding performance for every production or event. The DiGiCo consoles are connected to Lake LM44 processors, which connect to both Powersoft and d&b amplifiers to power the audio system. Engineers that visit the Atlas Theatre can set their own equalisation and delays via WiFi on a laptop. Signal routing can be patched in software and in hardware to optimise workflow and efficiency. For the Atlas Theatreâ&#x20AC;&#x2122;s paging and www.mondodr.com

stage monitoring system, there are over 200 Martin Audio C48T, CDD5 and CD6 loudspeakers throughout the entire building. To power the system, Symetrix Radial processors send signals to Powersoft Ottocanalli 100V amplifiers, which are ideal for multi-zone applications in medium-to-large installs, such as this one at Atlas Theatre. The eight-channel amplifiers support any combination of lo-Z loudspeakers, monobridgeable channel pairs and 70V/100V Hi-Z distributed lines with no need for output step-up transformers. In almost all of the rooms within the building, there are Symetrix control panels for local volume control, while in selected rooms, source selection is available to listen to

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the main auditorium, the black box theatre or a local source. The Symetrix systems’ 40 input/88 output matrix also routes intercom, as well as movie and theatre surround effects through additional Symetrix Radius processors that perform the processing for the flexible acoustic reverb/surround system. Engineers from Ampco-Flashlight designed a user-friendly interface that runs on password-protected MSI touchscreen PCs for the routing of sources to various dressing rooms. These can be operated by the theatre’s engineers or office employees, with the interface being simple to use. To allow for simple, clear communication between the engineers and stage crew for theatre productions and events, an extensive intercom system has been installed at the Atlas Theatre, with Clear-Com Digital Eclipse HX Delta matrix frames used. For separate communication for audio, lighting, stage crew and the stage manager, there are 12 channels of Helixnet, while the six wireless Freespeak II Beltpacks from Clear-Com connect to an almost unlimited number of channels and offer total mobility

• Above The Atlas Theatre, which has a total seated capacity of 822. • Left The d&b Y8 line array system in place at the theatre.

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“The Renkus-Heinz system functions precisely as we intended, with its powerful beam-steering functionality, it delivers clarity to every seat in the auditorium.”

for all those working on the project. There is additional antennae coverage across the entire building, which doesn’t conflict with the Shure ULX-D wireless microphone system that is installed in the theatre. Also, as the Clear-Com matrix is linked to the Symetrix matrix, it offers the unique option for one of the wireless Freespeak II Beltpacks to announce messages to the dressing rooms, or vice versa. Another interesting aspect of the install was at the Wildlands Zoo, which opened in March 2016, replacing a local zoo in Emmen that had closed at the end of 2015. Described as an animal theme park, the Wildlands Zoo is inspired by Disney’s Animal Kingdom and SeaWorld Orlando

- making it one of the most popular attractions in the area. The team at Wildlands Zoo contacted Jora Entertainment, a leading theming company, who developed modern, storytelling-themed areas to bring the zoo to life. An important aspect of this project was the need for dynamic, decorative lighting that enhanced each attraction within the zoo. To achieve this, Jora Entertainment installed over 170 Level Q7 IP LED Par fixtures from Elation Professional. The colour-changing fixtures uplight buildings and other objects on display in a whole range of shades to complement and support the planned atmosphere for each theme. Foliage areas are also accentuated by

TECHNICAL INFORMATION SOUND d&b audiotechnik Y8 line array system; d&b audiotechnik E-Series; Renkus-Heinz Iconyx Live system; d&b audiotechnik T-Series line array system; d&b audiotechnik MAX-II floor monitors; d&b audiotechnik D20 amplifiers; 1 x DiGiCo SD8 console; 1 x DiGiCo SD9 console; Lake LM44 processors; Symetrix Radial processors; Powersoft Ottocanalli 100V amplifiers; Martin Audio C48T loudspeakers; Martin Audio CDD5 loudspeakers; Martin Audio CD6 loudspeakers; Clear-Com Digital Eclipse HX Delta matrix frames; Clear-Com Freespeak II beltpacks LIGHTING Elation Professional Level Q7 IP LED Par fixtures; Elation Professional Rayzor Q7 LED moving heads www.atlastheatre.nl

www.mondodr.com

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FRANÇAIS

Le Théâtre Atlas situé à Emmen, aux Pays-Bas, a ouvert ses portes en octobre 2016 et offre un espace de théâtre et de conférence multifonctionnel au sein d’un impressionnant complexe qui englobe même le parc animalier Wildlands Zoo. Dans la grande salle de spectacle, des colonnes d’enceintes Y8 de chez d&b audiotechnik ont été installées pour les pièces de théâtre. Des haut-parleurs E-Series du même fabricant épaulent cette installation, offrant ainsi un son équilibré et cristallin à tous les spectateurs. Les Y8 peuvent facilement être retirées et remplacées par une installation fixe Renkus-Heinz Iconyx Live. La salle carrée très simple du théâtre est équipée d’enceintes T-Series d&b audiotechnik munies de trames flexibles, permettant que différentes configurations de caissons soient aménagées. Des retours de scène MAXII d&b audiotechnik alimentés par des amplificateurs D20 sont utilisés dans tous les espaces de spectacles. Dans la régie, des consoles DiGiCo SD-8 et SD-9 jumelées à des armoires D2 IO sont utilisées. Les consoles DiGiCo sont connectées aux processeurs Lake LM44, qui à leur tour sont connectés à des amplificateurs d&b et Powersoft. Le système de radiomessagerie et de surveillance repose sur des processeurs Symetrix Radial qui envoient des signaux aux amplificateurs Powersoft Ottocanali de 100V, qui alimentent plus de 200 enceintes Martin Audio dans tout le bâtiment. De plus, les ingénieurs et le personnel de scène communiquent via un vaste système d’interphone reposant sur un cadre matriciel numérique Eclipse HX Delta de chez Clear-Com. Dans le parc animalier Wildlands Zoo, l’éclairage est assuré par Elation qui a disposé plus de 170 LED Level Q7 IP un peu partout dans le parc afin d’éclairer les bâtiments et d’autres objets à l’aide de nuances de couleurs variées qui servent à parfaire l’atmosphère des thèmes choisis. Les lyres LED Rayzor Q7 de chez Elation sont également utilisées durant les spectacles tout au long de la journée.

DEUTSCH

Das Atlas Theater in Emmen, den Niederlanden, wurde im Oktober 2016 eröffnet und bietet ein multifunktionales Theater und einen Konferenzbereich innerhalb eines beeindruckenden Komplexes, der selbst den Wildlands Zoo umfasst. Im großen Auditorium wurde ein d&b audiotechnik Y8 Line Array System für Theateraufführungen installiert. d&b audiotechnik E-Serie In- und Outfills unterstützen das Line Array System für einen ausgewogenen und sehr klaren Sound für alle Sitzplätze. Das Y8-System kann leicht herausgenommen werden und Platz für ein dauerhaft installiertes Renkus-Heinz Iconyx Live-System schaffen. Für das Black Box Theater wird ein d&b audiotechnik T-Serie Line Array System mit flexiblen Rastersystemen bereitgestellt, dank dem Cluster in verschiedenen Konfigurationen installiert werden können. Durch D20 Verstärker angetriebene d&b audiotechnik MAX-II Bodenmonitore werden im gesamten Treff verwendet. Für die Kontrolle werden DiGiCo SD-8 und SD-9 Konsolen zusammen mit D2 IO Racks benutzt. Die DiGiCo Konsolen werden an Lake LM44 Prozessoren angeschlossen, die ihrerseits an Powersoft und d&b Verstärker angeschlossen sind. Die Rufanlagen- und Bühnen-Überwachungssysteme basieren auf Symetrix Radial Prozessoren, die Signale an Powersoft Ottocanali 100V Verstärker senden, welche mehr als 200 Martin Audio Lautsprecher im gesamten Gebäude versorgen. Des Weiteren wurde für die Kommunikation zwischen den Technikern und den Bühnenarbeitern ein umfassendes Intercom System konzipiert, das auf Clear-Com digital Eclipse HX Delta Matrix Frames basiert. Im Wildlands Zoo stammt die Beleuchtung von Elation, mit mehr als 170 Level Q7 IP LED Par Scheinwerfern im gesamten Park zur Beleuchtung der Gebäude und anderer Objekte in vielen Nuancen, die die Atmosphäre von jedem Thema ergänzen und unterstützen. Elation Rayzor Q7 LED Moving Heads werden ebenfalls während der Veranstaltungen im Laufe des Tages verwendet.

ITALIANO

Il Teatro Atlas, con sede a Emmen (Paesi Bassi), ha aperto nel mese di ottobre 2016, offrendo un teatro polifunzionale ed uno spazio per le conferenze all’interno di un imponente complesso che comprende persino lo zoo Wildlands. Nell’auditorium grande è stato installato un sistema di line array d&b Audiotechnik Y8 per gli spettacoli teatrali. Degli altoparlanti di riempimento D&B Audiotechnik E-Series sostengono il sistema di line array per un suono bilanciato e molto chiaro per tutte le sedute. Il sistema Y8 può essere facilmente estratto, facendo spazio ad un sistema Renkus-Heinz ICONYX Live installato in modo permanente. Per la scatola nera del teatro, un sistema di line array T-Series della d&b Audiotechnik è dotato di tralicci flessibili, permettendo ai cluster di essere installati in diverse configurazioni. Dei monitor da palco d&b Audiotechnik MAXII, alimentati da amplificatori D20, sono utilizzati in tutte le aree. Per il controllo sono state utilizzate delle console DiGiCo SD-8 e SD-9, insieme a dei rack D2 IO. Le console DiGiCo si collegano ai processori Lake LM44 che, a loro volta, si connettono a degli amplificatori Powersoft e d&b. I sistemi di monitoraggio del palco e paging si basano su processori Symetrix Radial, che inviano segnali agli amplificatori Powersoft Ottocanali 100V alimentando oltre 200 altoparlanti Martin Audio in tutto l’edificio. Inoltre, per la comunicazione tra i fonici e la squadra dei tecnici che lavorano sul palco, un vasto sistema di interfono è stato creato basandosi sul Eclipse HX Digital Delta Matrix Frames della Clear-Com. Nelle altre aree, tra cui il giardino zoologico Wildlands, l’illuminazione è stata fornita da Elation, con oltre 170 luci Level Q7 IP LED PAR situate in tutto il parco per mettere in risalto gli edifici ed altri oggetti in una varietà di sfumature che completano e supportano l’atmosfera di ogni tema. Delle teste mobili Elation Rayzor Q7 LED sono utilizzate anche durante gli spettacoli che si svolgono tutta la giornata.

ESPAÑOL

El Teatro Atlas, ubicado en Emmen, Holanda, se inauguró en Octubre de 2016, ofreciendo un teatro multifuncional y un espacio para conferencias dentro de un impresionante complejo que, además, incluye al Zoológico Wildlands. En el gran auditorio se ha instalado un sistema de formación de parlantes Y8 de d&b audiotechnik para las obras de teatro. La serie E de d&b audiotechnik le brinda soporte al sistema de formación para lograr un sonido equilibrado y claro en todas las ubicaciones del lugar. El sistema Y8 puede removerse fácilmente generando así más espacio para un sistema de instalación permanente como el Renkus-Heinz Iconyx Live. Para el sector de teatro experimental se ha suministrado un sistema Serie T de d&b audiotechnik con sistemas de rejillas flexibles lo que permite que los clusters puedan instalarse en diferentes configuraciones. Los monitores MAX-II de d&b audiotechnik cuentan con el soporte de amplificadores D20 y se utilizan en todos los lugares. Para el control, se utilizan consolas SD-8 y SD-9 de DiGiCo junto con racks D2 IO. Las consolas DiGiCo están conectadas a procesadores Lake LM44 los que, a su vez, se conectan a Powersoft y amplificadores d&b. Los sistemas de monitoreo del escenario están basados en procesadores Symetrix Radial, enviando señales a amplificadores Powersoft Ottocanali 100V alimentando a más de 200 parlantes Martin Audio a lo largo de todo el edificio. Además, para la comunicación entre los ingenieros y el personal del escenario se ha creado un amplio sistema de intercomunicación basado en matrices digitales Eclipse HX Delta de ClearCom. En otro lugar, en el Zoológico Wildlands, la iluminación ha sido suministrada por Elation, con más de 170 luces Level Q7 IP LED Par en todo el parque para iluminar las edificaciones y otros objetos, con una variedad de sombras que complementan y aportan a la atmósfera de cada punto temático. Durante los shows también se utilizan cabezales móviles Elation Rayzor Q7 LED durante el día.

coloured light from the Level Q7 IP LED Pars, which are all-weather IP65 rated and house seven x 15W RGBW LEDs for full colour mixing. The Elation Professional fixtures are used for attractions indoors, too, highlighting their versatility. In total, there are three different areas at Wildlands Zoo - Jungola, Serenga and Nortica - all of which come with their own separate themes, offering a unique adventure with animals, rides and attractions. In Jungola area, where the Jungle Jim Show takes place, compact Elation Rayzor Q7 LED moving heads are used during the show for a variety www.mondodr.com

of dynamic visuals from colour washes and chase effects, through to sharp beam looks. The RGBW Rayzor Q7’s are also used at the Jungle Jim Show area to highlight the surrounding décor. Since its completion, both the Atlas Theatre and Wildlands Zoo have been praised for their design and facilities, making them the go-to attractions in Emmen. A huge part of that is the initial plan that looked to combine culture and nature and, with the help of the impressive technology that has been installed throughout, this has certainly been achieved with great success.

We look forward to performing for you in 2017...

At State Automation we continually strive to ensure we provide our clients with proven world class control technology, enabling them to confidently operate their venues, artisitic & entertainment productions in a safe, reliable and energy efficient manner.

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Introducing the innovative GB-1 REFLECTABEAM Inside the robust housing of the unique GB-1 are 6 individually controllable multi-faceted dishes 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 a new dimension to venues, dancefloors and stage sets. Order code: ELUM076

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DESIGNED & ENGINEERED IN THE UK

16/12/2016 15:04

Photo by SVETLOST TEATAR

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SHEIKH JABER AL-AHMAD CULTURAL CENTRE KUWAIT CITY, KUWAIT EUROPE, MIDDLE EAST & AFRICA

Officially opened on 31 October 2016, the Sheikh Jaber Al-Ahmad Cultural Centre, is located in the heart of the capital, Kuwait City and forms Kuwaitâ&#x20AC;&#x2122;s new national cultural district. It includes state-of-theart theatres, concert halls, cinemas, conference and exhibition halls and a library archive. His Highness the Amir Sheikh Sabah Al-Ahmad Al- Jaber Al-Sabah, said the opening day was a momentous occasion and to have His Highness the Amir in attendance - who opened the $750-million centre - augmented the joy of the event. www.mondodr.com

Tickets and information: prolight-sound.com It was designed by BDP and built by SSH and Al Hani Construction and Trading Company. At the time of winning the contract, Project Director at BDP, Richard McDowell said: “A key driver for us is the desire to create a new centre with a sense of place, a timeless edifice that acts as a focal point for the new city of Sabah Al Ahmad but that also fulfils the role of a spiritual heart space in the city. Creating this project on such a scale while maintaining a humanistic approach is a complex challenge culturally, architecturally and environmentally, and we intend to set a new international standard for such facilities.” Spanning across 240 000 sq metres, the centre incorporates four buildings - Theatre Building, Music Building, Conference Building and Library Building - and 11 multi-purpose halls. The textured outer skin of each building is made up of complex geometric forms inspired by Islamic architecture, which creates dramatic public spaces that benefit from the interaction of light and shadow. Al Hani sub-contracted SVETLOST TEATAR of Serbia to provide the complete integration of the stage technology systems including: the supply and installation of stage machinery and control system; stage lighting and control system; and the sound, video and communication systems. The SVETLOST TEATAR team for stage lighting and control systems consisted of Marko Ilic as Senior Engineer and Lazar Stojanovic as Executive. While the team for sound, video and communication systems included Dejan Ljubisavljevic as Senior Engineer and Milos Dmitrovic as Executive. SVETLOST TEATAR began with the Main Theatre, located in the Theatre Building, and which has a capacity of 2,000 seats. It

Stage & Theatre It’s vital that everything functions perfectly – both behind and in front of the curtain. The Stage & Theatre area at Prolight + Sound 2017 places the spotlight on the vast product spectrum of the film and theatre industry, including sound, lighting and stage technology as well as theatre planning. Experience innovation and expertise at the most important date in the event industry calendar. info@uk.messefrankfurt.com Tel. +44 (0) 14 83 48 39 83

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was designed to accommodate large stage productions - such as opera, musicals, ballet and dance - as well as large conferences. Due to the three balcony levels and the sheer size of the space, the SVETLOST TEATAR team opted for a L-R line array configuration. Each array comprises 10 Meyer Sound Leopard compact linear line array loudspeakers, which reproduces audio with tremendous power, superior intelligibility, and extremely low distortion. For lowfrequency support, Meyer Sound 900-LFCs have been implemented. To cover the balcony the team opted for six Meyer Sound UPJ-1Ps, plus 10 Meyer Sound MM-4XPs, mounted on the edge of the stage for sound reinforcement to cover the first few rows, and eight Meyer Sound MM-4XPs on the edge of the first and second movable platforms. On stage monitoring is provided by Outline’s ISM 115’s and ISM 112’s, and combined Milos is confident the entire hall is covered with evenly distributed sound. The National Concert Hall in the Music

Building is another line array system, this time using 20 Meyer Sound Mina loudspeakers, again split evenly left and right of the stage. They are accompanied by two Meyer Sound 600-HP arrayable subwoofers per side. More MM-4XPs mounted on the edge of the stage are used for front fill in this 1,500-seat venue. The set-up is different in the Studio Theatre, where the main sound system is from Outline. Two DVS 15P iSPs, one per side with low-end support from Outline’s DVS 115 subwoofers. The Studio Theatre can also be converted into a screening theatre so Outline DVS 8P SPs were added to provide surround sound. “The DVS 8P SPs are compact and have truly great sound quality,” said Milos. “Overall, we chose Meyer Sound and Outline products for their power, clarity and versatility without compromise.” DSP processing is via Meyer Sound’s Galileo 616’s. Designed as the perfect partner to Meyer Sound’s self-powered loudspeakers, the Galileo system includes presets for Meyer Sound systems, www.mondodr.com

“We wanted a 96K solution, a console that can handle a huge number of audio channels with great processing power. So the only solution for this project was DiGiCo consoles.”

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• Above There is a total of 11 multi purpose halls within the complex.

and digital implementations of popular features developed over the years by Meyer Sound, including air absorption, compensation filters, and equalisation. The console manufacturer of choice was DiGiCo. “Their consoles are fast, stable, easy-to-use, can handle a lot of audio channels without any problems, and have great software. We wanted a 96K solution, a console that can handle a huge number of audio channels with great processing power. So the only solution for this project was DiGiCo consoles,” continued Milos. In all control rooms, there is a permanently installed SD9, plus a SD5 console that can be installed at front of house when required. “The SD9 in combination with the D-Rack and SD-Rack is the ideal solution for small to medium sized venues. For larger events, the SD5 is used as the main console with the help of an SD10 as a monitor mixer. Other consoles force you to work the way they want you to work, but DiGiCo consoles allow the user to determine what workflow works best for the individual. Overall, the SD Series of consoles from DiGiCo are super-flexible, feature a completely integrated system powered by Stealth Digital Processing, and floating point Super FPGA technology, which equals great processing power for a huge number of audio channels. “The entire system for all the buildings is designed and configured so that you can connect audio consoles anywhere via fibre, data or a MADI network and

you can access all audio/microphone signals from the stage area, orchestra pit, and working galleries if needed. This completely digital system can run up to 448 channels of I/O at 96KHz across, up to 14 SD Series I/O racks with the addition of 56 console-to-console tie lines. Three redundant MADI ports complete the line-up,”. DiGiCo’s Dubai-based distributor, Delta Sound, was brought on board to commission the consoles, update the firmware and ensure that all the boards were working, as they should. Continuing with the audio installation, SVETLOST TEATAR also equipped the cultural centre with a fully digital routing system for audio signals, creating a distributed system comprising multiple locally powered devices, using standard Gigabit Ethernet hardware for audio transport and control. “It is a complete QSC integrated system that encompasses everything from the audio input to the output of the loudspeakers; it provides all the routing, processing, control and monitoring, while maintaining the audio quality and reliability,” said Milos. When it came to the lighting systems, the brief was diversity, to ensure any of the spaces could cater for theatre plays, concerts, dance performances, opera and other performing arts, as well as conferences, congresses and exhibitions. Power and data distribution had to be designed to easily accommodate the requirements of touring companies

www.mondodr.com

and shows, and it was important that the equipment specified was consistent across the venue and rider-friendly in the region. The lighting inventory across the culture centre includes LED based profiles and cycs from ETC - Source Four Series 2 Lustr+ and Studio HDs. Of the choice: “Series 2 have the brightest outputs and very good colour rendering. ETC’s x7 colour system combines a balanced recipe of up to seven colours to create evocative colour mixes. In conjunction with ETC EOS Series consoles, lighting designers are able to use x7 colour fixtures in completely new way. Utilising the console’s unique spectral colour mix capability, the designer can maintain the chosen colour, while changing the intensity of its seven components. This feature allows different colour rendering of scenery and costumes, while keeping the same hue,” said Marko. LED washes from Philips Showline range have also been installed. The Showline luminaires are designed to work seamlessly together to match colour, dimming and operation. Harmonised colour calibration technology ensures consistent colour matching between all Showline luminaires. While intelligent fixtures come in the form of Robe Robin MMXs and Vari-Lite’s VL Series. The Robe MMX Series features a new Philips Platinum 35 discharge technology that has similar light output to most existing 1,200W luminaires. The Robe

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FRANÇAIS

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Le grand Centre culturel Cheikh Jaber Al-Ahmad a récemment ouvert ses portes au Koweït. Fort de ses 240 000 mètres carrés, le centre comprend quatre bâtiments : le théâtre, la salle de spectacle, le centre de conférences et la bibliothèque, ainsi que 11 salles polyvalentes. Le centre culturel a été conçu et construit par Al Hani Construction & Trading Company, qui à son tour a retenu SVETLOST TEATAR de Belgrade, en Serbie, pour compléter les installations technologiques. SVETLOST TEATAR a usé de toute la portée de ses activités professionnelles en offrant des équipements audiovisuels personnalisés pour chacun des espaces, y compris pour l’agencement et la finalisation des réglages de l’ensemble du système audiovisuel. Les marques Meyer Sound et Outline ont été sélectionnées pour les haut-parleurs principaux en raison de leur puissance, leur clarté et leur polyvalence sans faille. Le système couvrant tous les bâtiments est entièrement conçu et configuré pour que les consoles audio puissent être connectées n’importe où à l’intérieur du théâtre à travers la fibre optique, les données ou le réseau MADI, et que tous les signaux audio/micro de la scène, de la fosse d’orchestre et des galeries puissent fonctionner à l’unisson si nécessaire. Chaque espace dispose d’une console DiGiCo fixe dans la salle de contrôle, en plus d’une plus grande console qui peut être installée en régie. Sur scène, une table de mixage peut également être placée. En ce qui concerne l’éclairage, le centre culturel dispose de lyres asservies LED de chez ETC, de projecteurs LED de chez Philips Showline et de luminaires motorisés de chez Robe & Vari-Lite.

DEUTSCH Das große Sheikh Jaber Al-Ahmad Kulturzentrum wurde kürzlich in Kuwait eröffnet und erstreckt sich über 240 000 qm, die sich über vier Gebäude Theatergebäude, Musikgebäude, Konferenzgebäude und Bibliotheksgebäude - und 11 Mehrzweckhallen verteilen. Das Kulturzentrum wurde vom Unternehmen Al Hani Construction and Trading Company konzipiert und gebaut, das seinerseits SVETLOST TEATAR aus Belgrad, Serbien angeworben hat, um sie bei der Technologie-Installation zu unterstützen. SVETLOST TEATAR kümmerte sich mit dem gesamten Umfang ihrer professionellen Aktivitäten um die Ausrüstung und Entwicklung der audiovisuellen Ausrüstung in jedem Bereich, um die Installation und um die letzten Anpassungen des gesamten audiovisuellen Systems. Die wichtigsten Lautsprechermarken sind Meyer Sound und Outline und diese wurden aufgrund ihrer Power, Klarheit und kompromisslosen Vielseitigkeit ausgewählt. Das gesamte System für alle Gebäude wurde so konzipiert und konfiguriert, dass Sie überall im Theater eine AudioKonsole über Faser-, Daten oder MADI-Netzwerk anschließen können und Sie erhalten bei Bedarf sämtliche Audio-/Mikrofonsignale aus dem Bühnenbereich, dem Orchestergraben und den Arbeitsgalerien. Jeder Treff verfügt über eine dauerhaft installierte DiGiCo-Konsole im Kontrollraum sowie über eine größere Konsole, die im Publikumsbereich installiert werden kann. Des Weiteren können selbstverständlich Monitoring-Mixer auf der Bühne installiert werden. Die Beleuchtung im Kulturzentrum umfasst LED-basierte Profile und Cycs von ETC, LED-Washes von Philips Showline sowie motorisierte Leuchten von Robe und Vari-Lite.

ITALIANO Il Sheikh Jaber Al-Ahmad Grand Cultural Centre ha recentemente aperto in Kuwait, estendendosi su 240.000 metri quadrati e incorporando quattro edifici: il Theatre Building, il Music Building, il Conference Building , il Library Building e 11 sale polivalenti. Il centro culturale è stato progettato e costruito dalla locale Al Hani Construction end Trading Company, che a sua volta ha ingaggiato SVETLOST TEATAR di Belgrado, Serbia, per assistere con l’installazione della tecnologia. SVETLOST TEATAR si è impegnato professionalmente anima e corpo nell’allestimento e nello sviluppo di attrezzature audiovisive in ognuno degli spazi, nell’installazione e negli aggiustamenti finali di tutto il sistema audiovisivo. I principali marchi di altoparlanti utilizzati sono Meyer Sound e Outline e questi sono stati selezionati per il loro potenza, chiarezza, e versatilità senza compromessi. L’intero sistema per tutti gli edifici è stato progettato e configurato in modo da poter collegare console audio ovunque all’interno del teatro via fibra, rete dati o MADI e si possono avere tutti i segnali audio/microfono dalla zona palco, dalla platea dell’orchestra, dalle gallerie in caso di necessità. Ogni zona dispone di una console DiGiCo installata in modo permanente nella sala di controllo, più una console più grande che può essere installata in posizione frontale e, naturalmente, sul palco può essere anche installato un mixer di monitoraggio. Per quanto riguarda l’illuminazione del centro culturale, sono stati utilizzati dei sagomatori e delle luci cyc a LED della ETC, dei Led wash della Philips Showline e delle luci motorizzate della Robe e Vari-Lite.

ESPAÑOL El Gran Centro Cultural Sheikh Jaber Al-Ahmad abrió recientemente en Kuwait, alcanzando 240.000 metros cuadrados e incorporando cuatro edificios - un teatro, un edificio destinado a la música, un edificio para conferencias y una biblioteca- y 11 salones multi-propósito. El centro cultural fue diseñado y construido por Al Hani Construction and Trading Company, quienes a su vez, contrataron a SVETLOST TEATAR de Belgrado, Serbia para que asistan con la instalación tecnológica. SVETLOST TEATAR se comprometió con todo el alcance de sus actividades profesionales con el desarrollo del equipamiento audiovisual en cada uno de los espacios, la instalación y los ajustes finales del todo el sistema audiovisual. Las principales marcas de parlantes son Meyer Sound y Outline, las cuales fueron seleccionadas por su potencia, claridad y versatilidad. El sistema entero para todos los edificios fue diseñado y configurado de manera que se pueda conectar la consola de audio en cualquier sitio dentro del teatro vía fibra, datos o red MADI y así poder tener todo el audio / señales de micrófonos desde el área del escenario, el foso de la orquesta y las galerías en funcionamiento, si fuera necesario. Cada lugar cuenta con una consola DiGiCo instalada de forma permanente en la sala de control, más una consola más grande que puede instalarse en posición FoH y, por supuesto, también puede instalarse una mezcladora de monitoreo en el escenario. En cuanto a la iluminación, el centro cultural presenta perfiles basados en LED y cycs de ETC, focos LED de Philips Showline y luminarias motorizadas de Robe y Vari-Lite.

exclusive hot-spot lamp control feature allows remote adjustment of flat beam uniformity or power beam hot-spot. “One of the key features of the MMX is the dual graphics wheel, two fully controllable contra-rotating plates that can be positioned anywhere across the light path to produce unique visual effects,” said Marko. “The Vari-Lite motorised tungsten luminaries have silent operation and consistent colour temperature of a tungsten source. This is crucial for live theatre, as well as and classical and traditional music shows. The VL1100 ERS luminaire combines the functionality of one of the most popular conventional lighting tools - the ellipsoidal reflector spotlight - with the versatility of an automated luminaire. It includes an automated, four-blade shutter mechanism that provides control of all shutter functions popular in conventional ellipsoidal reflector spotlights. The VL550 features patented and innovative Dichro*Tune radial colour mixing system which employs three sets of 16 radially mounted dichroic blades - magenta, blue, and amber - designed to produce a smooth, full spectrum of colour crossfades,” Marko continued. For control it’s a combination of ETC and www.mondodr.com

MA Lighting - the ETC Eos Series being the standard choice, due to the consoles being highly adaptable and user-friendly. An ETC Cobalt desk and MA Lighting grandMA2 are also onsite so that lighting operators can choose their preferred console. An ETC Unison Paradigm Control System - which is integrated with the production lighting and house lighting control - is also in place as the worklight control system. “The data network combines fibre optics, Ethernet and DMX distribution. Networking is carried out via a sACN with ETC DMX RDM gateways. The sACN protocol provides the best traffic management for high capacity applications, speaking directly to complex devices and enabling RDM utilisation,” said Marko. Projects of this magnitude can often take years to come to fruition, and although planning may date back a while longer, Sheikh Jaber Al-Ahmad Cultural Centre took just 22 months to build. Surprising enough in itself, but the fact that Kuwait is not your typical entertainment hub, adds an extra element of the unexpected. It will be interesting to see if Kuwait City continues to expand its cultural district and what it’ll mean to the Middle Eastern region as a whole.

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HARD ROCK HOTEL TENERIFE TENERIFE, SPAIN EUROPE, MIDDLE EAST & AFRICA

With Hard Rock International opening their second European hotel on the Spanish island, a state-of-the-art audio system was needed throughout the resort, which combines high-end luxury with the energy of live music and events. Bose were the natural choice - and they delivered a truly impressive installation. www.mondodr.com

After the successful launch of Europeâ&#x20AC;&#x2122;s very first Hard Rock Hotel in Ibiza back in May 2014, it was only a matter of time before we saw a second project take place between Palladium Hotel Group and Hard Rock International. This time around, they have created a second European hotel on the Spanish island of Tenerife. Opened in autumn 2016, Hard Rock Hotel Tenerife is located on the southern coast near Adeje and offers five-star facilities and services to its guests, all while maintaining the immersive music environment that is synonymous with the Hard Rock brand. Divided across two towers - Oasis and Nirvana - are a total of 624 rooms, including 266 suites, which combine contemporary design and high-end amenities with Hard Rock Internationalâ&#x20AC;&#x2122;s fascinating collection of priceless music memorabilia, which are all displayed throughout the hotel. The guests at the hotel are spoilt for choice when it comes to the leisure options, with three pools, a natural salt water lagoon, the Rock spa, Body Rock

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gym, kids and teens clubs and even a 620 sq metre convention centre, which can host up to 525 people for meetings, events and conferences. There are a huge selection of culinary delights to be enjoyed at Hard Rock Hotel Tenerife, too, with six restaurants from around the world, including traditional Spanish tapas, an Asian restaurant, a steakhouse, an all-day buffet, Tex-Mex offerings at the sports bar and, of course, The Beach Club. Elsewhere, there are a further six bars serving the guests refreshments, including the rooftop sky lounge bar, which offers truly breath-taking views of Tenerife, including Teide, Europe’s highest volcanic cone and Spain’s tallest mountain. What really makes Hard Rock Hotel Tenerife stand out, though, is the open-air live music area that is just steps away from the property. With a total capacity of 5,000, the stage - which is adjacent to the seawater lagoon - is able to play host to all kinds of acts, turning the hotel into a live music venue. With such a wide range of varied facilities, Palladium Hotel Group and Hard Rock International had to ensure that the audio setup was perfect for each individual area. The immersive audio experience is where Bose come in, with the manufacturer working alongside Privium Solutions to provide the sound

throughout the hotel, from the lobby and rooms right through to the restaurants and spa - as well as the open-air live music area. Danny Gomez, PR & Sponsoring Manager at Palladium Hotel Group, takes up the story: “It first started three years ago in Ibiza, where we managed to make a deal with Hard Rock International, offering them the opportunity to launch the first Hard Rock Hotel in Europe, which was a very big success. What we managed to bring into the Hard Rock Hotel concept was not just experience relating to the rock bands, pop stars and memorabilia, but also the experience of live bands playing on stage. “When they came to Ibiza and saw what we were doing, they understood this was possible. What we like in new products is to take the experience of the client a step further. For example, if you are enjoying a top holiday in locations like Ibiza and Tenerife, you can now have a great band performing for you on stage in your hotel, too.” Bose saw this an opportunity to use its brand new ShowMatch loudspeakers, which feature 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. www.mondodr.com

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. The team at Bose felt that the ShowMatch loudspeakers would be a perfect fit for the openair stage at Hard Rock Hotel Tenerife, as Fuat Koro, Director of Global Sales & Marketing at Bose, explained. “We’re very excited about our DeltaQ technology and we’re looking at this project as the start of the next several years - we’re going to be doing a lot more in terms of live music applications. We feel there’s been a shift from recorded to live music and there’s definitely an important role for Bose to provide a better experience in that market.” “Live music sound reinforcement hasn’t really changed in the last 10 to 15 years as the underlying line array technologies have somewhat stabilised. So, we like to think that we’re ushering in the next generation compared to typical line array products - that’s why it’s such an exciting time to be here,” added Fuat. Bose, working with Privium Solutions and Hard Rock, created the perfect open-air performance

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area at Hard Rock Hotel Tenerife, using 12 Bose ShowMatch™ SM 5 DeltaQ™ array loudspeakers and two ShowMatch SM 10 DeltaQ array loudspeakers for the stage, along with 16 ShowMatch SM S118 array subwoofers in total. For the DJ monitor, there are three ShowMatch SM 20 loudspeakers and one more ShowMatch SM S118 Array subwoofer. There are also six Powersoft X8 amplifiers with Dante used to power the Bose loudspeakers. Palladium Hotel Group and Hard Rock International put the Bose ShowMatch loudspeakers through their paces with their ‘Children of the ‘80s’ grand opening party in December 2016. Bringing the spirit of the 1980s to Hard Rock Hotel Tenerife’s open-air stage, the party offered an extravaganza of dancefloor fillers and sing-a-long classics to the guests at the hotel. Performing live at the event were the Village People, who reeled off their disco classics including ‘In the Navy’, ‘Macho Man’ and ‘Y.M.C.A’; Italian trio, Blackbox, creators of the 1989 best-selling record ‘Ride on Time’; American dance-pop and hip hop group C+C Music Factory, known for a string of hit singles including ‘Gonna Make You Sweat (Everybody Dance Now)’ and ‘Things That Make You Go Hmmm’; African artist, Rozalla of dancefloor

classic ‘Everybody’s Free’; and DJ trio Dream Team Reload, fresh from their Ibiza season. In keeping with the tradition of all Hard Rock hotels across the globe, the opening party also featured Hard Rock’s legendary ‘Guitar Smash’ to officially mark the Hard Rock Hotel Tenerife’s arrival. There were challenges right across the hotel, with each specific area needing an audio system that suited the design and individual atmosphere, as Hans Vereecken, Sales Manager EMEA at Bose, explained: “We worked with Privium Solutions to design the perfect audio system throughout the whole hotel, but not in the usual way of a manufacturer simply supplying the equipment - we set out to create a real experience for the guests. That is not just supplying loudspeakers, it’s making sure that the sound is the same high-quality wherever you are in the hotel. For example, if you leave the restaurant, you will still be able to hear and experience that perfect sound on the balcony or wherever you go. “When there’s an event going on, you can hear the live music from the event in the lobby or your room if you want to, so you get to experience the event that is going on as soon as you arrive or walk around the hotel. I think it’s that kind of detail that made Bose such an attractive option www.mondodr.com

for Hard Rock, so we had to make that a reality.” The coverage and quality of sound at Hard Rock Hotel Tenerife is certainly something that strikes guests, with music in the background as soon as you arrive at the car park with 20 Bose FreeSpace® DS 16SE loudspeakers providing the sound. As you enter into the lobby and lobby bar, 20 Bose FreeSpace DS 40F loudspeakers are used to provide background music. The DS 40F loudspeaker is used extensively in the hotel, with the flush mount speaker providing background and foreground music in a whole host of areas – highlighting its versatility. In the main buffet restaurant, 26 DS 40F loudspeakers, with a Bose ControlSpace ESP CC-16 zone controller, were specified to provide the right level of background sound for the guests. In the hotel’s snack bar, another four DS 40F loudspeakers are paired with two Bose FreeSpace DS 100SE loudspeakers. Also, the DS 100SE is used to great effect on the terrace and in the terrace bar, with 12 of the loudspeakers providing the perfect ambience for guests enjoying their food and drinks throughout the day and into the evening. As mentioned earlier, the convention centre at the Hard Rock Hotel Tenerife is an impressive space for businesses to host conferences, meetings and all kinds of events for up to 525 guests. It

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was important for Bose and Privium Solutions to provide the ideal audio setup for such a vital area - and this was certainly achieved. Using 18 Bose FreeSpace DS 100F loudspeakers and three Bose PanarayÂŽ modular bass loudspeakers, the sound is crystal clear, with excellent coverage right across the conference room, while control is simple and easy to use, with another ESP CC-16 zone controller and a Bose ControlSpace CC-64 control centre. For the range of restaurants at the hotel, a mix

of DS 40F and DS 100F are used to set the atmosphere while guests enjoy their meals, while the Sports Bar - the 3rd Half - uses two different setups for indoors and outdoors. Inside, there are 10 DS 100F loudspeakers and four Bose Freespace 3 acoustimass modules to provide the bass to the system, while, outside, there are six DS 100SE loudspeakers used. With these loudspeakers, along with another ESP CC-16 zone controller, guests can enjoy live sport on the big screens with the perfect, immersive sound.

Elsewhere, the spa and gym area provided a complex task for the installation team, with specific design to take into consideration, along with the fact that the products used needed to be totally waterproof. DS 40F loudspeakers were again chosen to provide the relaxing background music throughout most of the spa, including the cabins, sauna and wet room. As well as four DS 40F loudspeakers, the Rock Spa also benefits from a Bose B1 bass module, while the external area of the spa, where guests can go in the pool

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INSIDER INSIGHTS NAME: Fuat Koro JOB TITLE: Director, Global Sales & Marketing at Bose LIKES ABOUT TECHNOLOGY: At Bose, we are obsessed with performance on what matters most to customers. My favourite like about technology in that context is that it allows us to push things further, challenge the convention and make products that customers truly value and love. DISLIKES ABOUT TECHNOLOGY: Developing technology for the sake of technology usually leads to confused customers and wasted resources. If the technology development doesn’t start with the customer, it’s easy to get trapped into a solution looking for a problem - and sometimes that problem may not exist. THE NEXT BIG THING IN TECHNOLOGY WORLD: Although not a new technology, I see digital audio networking as the next big thing in pro audio from an adoption standpoint. Most new technologies tend to provide value on one dimension or force trade-offs. Digital audio networking is uncommon in that it checks all the boxes of convenience, simplicity and cost.

or relax on loungers, has its sound provided by five Bose FreeSpace 360PII 100V loudspeakers in granite green and four Bose Panaray 802 II loudspeakers in black. For the control, a ESP CC-16 zone controller is used again. The fitness centre and gymnasium had to have an excellent sound system for guests wanting to use the facilities during their stay, so it was decided that six DS 40F loudspeakers would be accompanied by four FreeSpace 3 acoustimass modules - all of which provide a sound that packs plenty of punch for the up-tempo music. For the bars and clubs at Hard Rock Hotel Tenerife, there was a different approach in terms of the audio system, with Bose and Privium Solutions having to move away from the background music setup that features throughout the hotel to a more prominent sound for guests. Bar Piscina, for example, uses 24 Bose FreeSpace 360PII 100V in granite green, along with four Bose Panaray 802 III, with control coming from a ESP CC-16 zone controller. Club Azotea goes one further, using Bose’s exceptional RoomMatch® technology to provide sound of the highest quality for guests visiting the venue. In total, there are eight RoomMatch Utility RMU208 loudspeakers in white, as well as two RoomMatch RMS215 subwoofers, with a ESP CC-64 and WP22BU-D Dante wallplate offering the control. There is a Pioneer DJ set, too, with two Pioneer CDJ-900 Nexus multiplayer and a DJM900 Nexus mixer used. Power for the audio systems throughout the hotel comes from Bose amplifiers, with six ControlSpace ESP-1240’s, one PowerMatch® PM4250N, four PowerMatch PM8250N’s and 12 PowerMatch PM8500N’s used, with a ControlSpace ESP CC-64 serving as the main control centre. Overall, the running theme when discussing the project at Hard Rock Hotel Tenerife with the parties involved was www.mondodr.com

that it was a hugely positive experience and one that excited everyone in terms of the future potential. “I think what was great when working with the Hard Rock team was that they’re such discerning listeners when it comes to the sound quality, so it wasn’t just ‘we want a sound system’, they really wanted to go in depth and find the right solutions for each individual area - and that was absolutely perfect for us,” said Fuat. “However, Hard Rock is a great start for us in allowing sound engineers to experience a quality that they haven’t come across before. The brand values that we at Bose often talk about include the notion that music evokes emotion and better sound actually enhances that. It’s not just about the technical specifications, it’s about the experience – and the fact that ourselves, along with Hard Rock and Privium Solutions, really care about that experience is shown in the results.” Danny, too, was left delighted with the project: “Everything went well, Bose used a great installation team that is definitely needed with such a complex system. You need experts behind you all the way providing their assistance and maintenance. These guys are also used to working with us on previous projects that makes future projects a lot easier. “Now, the next step for us is to create more new experiences and ventures using our strong relationship with Bose,” he added. The end result is an integrated resort that perfectly combines the experience of live music and events with the luxury amenities you expect from a high-end hotel. The partnership between Hard Rock International and Bose is one that seems to make perfect sense - to the point where you wonder why it didn’t happen sooner. However, it’s now a reality and, with some outstanding projects already in place, the future plans are well worth keeping a close eye on.

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FRANÇAIS

Le Hard Rock Hotel de Tenerife est un hôtel entièrement rénové qui a ouvert ses portes en octobre 2016. Cette station balnéaire unique réunit les tours Oasis et Nirvana qui proposent 624 chambres, dont 266 suites. Trois magnifiques piscines sont réparties sur la propriété, qui propose également toute une série d’équipements de loisirs haut de gamme. Le programme d’événements fort alléchant du Hard Rock Hotel de Tenerife offre une expérience musicale immersive à ses invités ; des concerts sont présentés sur une scène en plein air située tout près de la lagune marine et pouvant accueillir 5 000 spectateurs. Des DJ, des groupes acoustiques et des chanteurs peuvent également jouer dans divers endroits de l’hôtel tout au long de la journée. Afin d’offrir ce qui peut être qualifié d’une expérience audio sans précédent pour un hôtel, l’équipe du Hard Rock a sélectionné Bose Professional. Différents systèmes audio Bose sont utilisés sur tout le complexe, y compris la première installation européenne de la toute nouvelle colonne de haut-parleurs ShowMatch DeltaQ. Le nouveau système a été inauguré pour l’ouverture du spectacle « Les enfants des années 80 » présenté par le Hard Rock International et le groupe Palladium Hotel, offrant un spectacle haut en couleur, de la danse et des chansons classiques.

DEUTSCH

Das Hard Rock Hotel Tenerife ist ein komplett renoviertes Hotel, das im Oktober 2016 eröffnet wurde. Der einzigartige Strandresort verteilt sich über die Oasis- und Nirvana-Türme mit insgesamt 624 Zimmern – einschließlich 266 Suiten - und drei schöne Swimming Pools befinden sich neben einem kompletten Angebot an hochwertigen Freizeiteinrichtungen auf dem Anwesen. Hard Rock Hotel Tenerife bietet seinen Gästen eine immersive musikalische Erfahrung mit einem interessanten Eventprogramm von Livekonzerten im OpenAir-Bühnenbereich des Hotels mit einer Kapazität von 5.000 Gästen neben der Meerwasser-Lagune. DJ-Sessions, Akustik-Bands und Sänger spielen ebenfalls den ganzen Tag über in verschiedenen Bereichen des Hotels. Das Team von Hard Rock entschied sich für Bose Professional, um diese für ein Hotel beispiellose Audioerfahrung bieten zu können. Verschiedene Audiosysteme von Bose werden im gesamten Komplex verwendet, einschließlich der ersten europäischen Installation des neuen ShowMatch DeltaQ Array Lautsprechersystems der Marke. Das neue System debütierte bei der großen Eröffnungsparty ‘The Children of the ‘80s’’ von Hard Rock International und von der Palladium Hotelgruppe, die ein Feuerwerk an Farben, Tanzflächenfüller und Klassiker zum Mitsingen lieferte.

ITALIANO

L’Hard Rock Hotel di Tenerife è un hotel completamente rinnovato che ha aperto nel mese di ottobre 2016. Il resort esclusivo sulla spiaggia si sviluppa attraverso le torri Oasis e Nirvana, con un totale di 624 stanze, tra cui 266 suite e tre piscine scintillanti che abbracciano la proprietà insieme a tutta una serie di strutture di alto livello per il tempo libero. L’Hard Rock Hotel Tenerife offre ai suoi ospiti un’esperienza musicale coinvolgente con un programma energizzante di concerti dal vivo nella zona dove è situato il palco all’aperto, adiacente alla laguna con acqua marina che ha una capacità di 5.000 persone. Le DJ session, le band acustiche e i vocalist possono anche suonare in ogni parte dell’albergo durante la giornata. Per fornire quella che è un’esperienza audio senza precedenti per un albergo, il team dell’Hard Rock ha selezionato Bose Professional. Diversi sistemi audio della Bose sono usati per tutto il complesso, inclusa la prima istallazione europea del nuovo sistema di altoparlanti lineari DeltaQ della ShowMatch. Il nuovo sistema ha debuttato al Grand Opening Party dell’Hard Rock International e Palladium Hotel Group, chiamato “the children of the ‘80s”, che ha dato una stravaganza di colore, riempitivi per la pista da ballo e classici intramontabili.

ESPAÑOL

El Hotel Hard Rock Tenerife es un hotel completamente renovado que abrió sus puertas en Octubre de 2016. El exclusivo complejo frente al mar se extiende por las torres Oasis y Nirvana con un total de 624 habitaciones- incluyendo 266 suites- y tres destellantes piscinas que abarcan la propiedad junto con un sinfín de instalaciones de primer nivel. El Hotel Hard Rock Tenerife le ofrece a sus huéspedes una envolvente experiencia musical con un energizante programa de conciertos en vivo en la zona del escenario que tiene el hotel al aire libre, adyacente a la laguna con agua de mar con capacidad para 5.000 personas. A lo largo del día, y en varias partes del hotel, también puede haber sesiones de DJ, bandas acústicas y cantantes tocando. Para hacer entrega de una experiencia de audio sin precedentes para un hotel, el equipo de Hard Rock seleccionó a Bose Professional. Se utilizaron varios sistemas de audio de Bose a lo largo de todo el complejo, incluyendo la primera instalación europea del flamante sistema de parlantes ShowMatch DeltaQ. El nuevo sistema debutó en la Gran Fiesta de Inauguración The Children of the 80’s que dio Hard Rock International y el Palladium Hotel Group, que hizo entrega de un gran espectáculo de color, invitados en la pista de baile y de clásicos de los 80.

TECHNICAL INFORMATION SOUND 1 x Bose B1 bass module; 13 x Bose FreeSpace 3 acoustimass module; 29 x Bose FreeSpace 360PII 100V loudspeaker; 36 x Bose FreeSpace DS100F loudspeaker; 16 x Bose FreeSpace DS100SE loudspeaker; 15 x Bose FreeSpace DS16F loudspeaker; 20 x Bose FreeSpace DS16SE loudspeaker; 126 x Bose FreeSpace DS40F loudspeaker; 8 x Bose Panaray 802 III loudspeaker; 3 x Bose Panaray MB4 modular bass loudspeaker; 4 x Bose RoomMatch RM12005 array module loudspeaker; 1 x Bose RoomMatch RMS215 subwoofer module loudspeaker; 2 x Bose RoomMatch RMS218 subwoofer module loudspeaker; 4 x Bose RoomMatch Utility RMU 208 loudspeaker; 19 x Bose ControlSpace AMS local source Input module; 22 x Bose ControlSpace ESP CC-16 zone controller; 3 x Bose ControlSpace ESP CC-64 control centre; 3 x Bose ControlSpace WP22BU-D 2in/2out Dante wallplate OPEN-AIR LIVE MUSIC AREA: 12 x Bose ShowMatch SM5 DeltaQ array loudspeaker; 2 x Bose ShowMatch SM10 DeltaQ array loudspeaker; 8 x Bose ShowMatch SM5WG55 waveguide for SM5; 17 x Bose ShowMatch SMS118 DeltaQ array subwoofer; 3 x Bose ShowMatch SM20 DeltaQ array loudspeaker; 1 x Bose ControlSpace ESP-880 processor; 2 x Bose ControlSpace Dante card; 5 x Powersoft X8 with Dante amplifier www.hardrockhotels.com/tenerife

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KRASNODAR STADIUM KRASNODAR, RUSSIA EUROPE, MIDDLE EAST & AFRICA

Designed by GMP Architekten, with a capacity of 33,000 divided over two tiers - the upper tier being a wave shape - is FC Krasnodar’s new home, Krasnodar Stadium. Funded by the football club’s billionaire owner, Sergey Galitsky, the stadium design is a nod to a historic Roman colosseum, however, having being equipped with a stateof-the-art audio system and a 360º video screen, the stadium is far more futuristic than most. www.mondodr.com

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Edelweiss Audio completed the sound installation at Krasnodar Stadium following 18 months of listening tests, design negotiations, new loudspeaker developments and a large-scale installation. From the very beginning, the owners were determined that the sound system and the audio quality would be a priority. The Funktion-One distributor tendered for the project in early 2014 and was invited to take part in a listening test alongside companies representing most, if not all, of the professional audio manufacturers active in arena/stadium sound. This was the start of an unusually detailed specification process. Having impressed the owners, Edelweiss was then invited back to attend a second round of listening tests featuring a shortlist of companies. “A number of factors, not least the geometry of the stands, meant that a horn-loaded solution would work best,” explained Edelweiss Audio’s Technical Director, Andrei Kremenchugskiy. “We were looking at up to 90º coverage, which is very hard to achieve effectively using line-array.” The owners were sold on the Funktion-One sound, which at the time was demonstrated using Resolution 5s, and appointed Edelweiss as the audio contractor for the project. The roof has two layers, which are split by a cavernous space. The architect originally wanted the loudspeakers to be positioned between these layers – a suggestion that would make most audio people wince. Andrei consulted with Funktion-One’s Tony Andrews. Subsequently, there was dialogue between Edelweiss and the architect and a trip to a similarly designed stadium in Germany was planned. Funktion-One’s John Newsham joined Edelweiss and the owners for the trip. The outcome went little way to supporting the architect’s argument, as the customer wasn’t particularly impressed with the audio quality at the German stadium. Therefore, a compromise was needed. Edelweiss originally wanted to use Funktion-One MSTs with smaller subwoofers, however, this plan didn’t align with the architect’s vision, so a new Funktion-One Evo configuration was developed. Andrei worked closely with John and others at Funktion-One in the UK to come up with a solution. This resulted in the development of new customised product - the Evo 6EHQ. These specially-designed enclosures house four Evo 6 waveguides, arrayed two

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wide and two deep. John recalled: “We spoke to Andrei and he explained that if we could get 90º vertical and 45º horizontal dispersion, then he could deliver a really good solution for the stadium. On paper, it looked like combining four Evo 6EHs would work the way we wanted but we needed to do some tests in order to find out exactly how to combine them. We didn’t have the height available to just do a vertical hang.” Working with Thomas Gude, John carried out some field tests at Funktion-One HQ in the UK. He continued: “For the horizontal coverage of 45º, we wanted to figure out whether coupling the mids or the high-frequencies would produce the smoothest result. In the end, the best solution was to couple the mids and let the high frequencies separate. We then developed a special cabinet to house the four Evo 6 waveguides fixed at the correct angles.” A total of 18 Evo 6EHQ enclosures have been

deployed around the stadium, approximately 20-metres apart. Funktion-One F215 Mk2 bass enclosures were installed between the Evo 6EHQs. Six standard Evo 6EH loudspeakers were supplied for pitch coverage. In one final twist to the sound design, a request for more bass led to the newly developed Funktion-One F124 24-inch bass enclosures being paired with the F215 Mk2s, to extend the frequency range down to 30Hz. The F215’s were reinstalled so they were now applied in pairs, which left nine gaps between the EVO6EHQ’s to be filled with the new F124’s, also installed in pairs. To say this level of audio installation for a stadium is unusual would be an understatement. As Andrei pointed out, the coverage is very even across the stadium, with good intelligibility throughout. As each Evo 6EHQ cluster is split left and right, it’s possible to achieve stereo sound between the clusters. www.mondodr.com

Peavey’s MediaMatrix Nion nx processors have been installed for DSP - two units in control room - for redundancy - and one in each amplifier rack, which comprise Lab.gruppen C-Series amplifiers. Audio is transmitted over fibre lines between the control room and the amplifier racks via Dante. “We have had a lot of experience with MediaMatrix in the past and it was probably the main reason why we choose it,” said Andrei. “The amplifiers were chosen for their reliability, good remote control and optimal quality to price ratio.” Installed alongside the impressive audio solution is an equally spectacular video screen, which is a huge 606-metres in length and covers an area of a staggering 4,676 sq metres. The design and installation of the screen - similar to the audio system - was put out to tender and a number of companies placed a bid. However, it was Moscow-based Alpha-LED that won the contract, and in another likeness to the audio, Alpha-LED too, worked closely with the architect and owners

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Au stade de Krasnodar, après 18 mois de tests sonores et de négociations conceptuelles, Edelweiss Audio a complété une remarquable installation à grande échelle avec de nouveaux haut-parleurs Funktion-One. Le stade de Krasnodar est une merveille architecturale de l’acabit d’un Colisée romain, ce qui a aussi influencé l’architecture sonore sur plusieurs plans. Les plans de l’architecte exigeaient que les haut-parleurs soient cachés entre les deux couches que présente le toit du stade. Sur ce point, le directeur technique d’Edelweiss Audio, Andrei Kremenchugskiy, a consulté Tony Andrews de chez Funktion-One. À l’origine, Edelweiss voulait utiliser les MST avec de petites enceintes de chez Funktion-One, mais une nouvelle configuration évolutive Funktion-One a été conçue, créant ainsi un nouveau produit sur mesure — le Evo 6EHQ. Ces caissons spécialement conçus abritent quatre guides d’ondes Evo 6 ; deux de large sur deux de profond. Au total, 18 caissons Evo 6EHQ ont été placés autour du stade à environ 20 mètres l’un de l’autre. Des caissons de basses F215 Mk2 Funktion-One ont été installés entre les Evo 6EHQ. Six haut-parleurs Evo 6EH standards ont été rajoutés pour couvrir le terrain. Dernier rebondissement du design sonore, une demande exigeant davantage de basses contraignit les concepteurs à créer les nouveaux caissons F124 de 24 po FunktionOne qui ont été jumelés aux F215 Mk2, et ceci afin d’amplifier la gamme de fréquences jusqu’à 30 Hz. Les propriétaires qui souhaitaient d’abord et avant tout une qualité sonore ont finalement obtenu un stade qui propose l’un des meilleurs systèmes sonores du monde.

DEUTSCH Edelweiss Audio hat im Krasnodar Stadium nach 18 Monaten mit Klangversuchen, Konzeptverhandlungen, Entwicklung neuer Lautsprecher und einer großformatigen Installation eine herausragende Funktion-One Installation fertiggestellt. Das Krasnodar Stadium ist ein architektonisches Meisterwerk in der Art eines römischen Kolosseums und dies beeinflusste das Audiodesign in verschiedenen Phasen. Das Dach des Stadions verfügt über zwei Schichten und das Design der Architekten verlangte, dass die Anordnung der Lautsprecher zwischen den Dachschichten versteckt wird. In dieser Phase konsultierte der technische Leiter von Edelweiss, Andrei Kremenchugskiy, Tony Andrews von Funktion-One. Edelweiss wollte ursprünglich Funktion-One MSTs mit kleineren Subs. verwenden, doch anstelle wurde eine neue Funktion-One Evo Konfiguration entwickelt, die ein neues, kundenspezifisches Produkt ergab – Evo 6EHQ. Diese speziell entworfenen Gehäuse beherbergen vier Evo 6 Wellenreiter, zwei sind weit und zwei tief angebracht. Insgesamt wurden 18 Evo 6EHQ Gehäuse im gesamten Stadion konzipiert, ungefähr in 20 Meter Abstand. Funktion-One F215 Mk2 Bassgehäuse wurden zwischen den Evo 6EHQs installiert. Sechs Evo 6EH Standardlautsprecher wurden zur Rasenabdeckung bereitgestellt. In einer letzten Wendung des Sounddesigns, führte die Anfrage nach mehr Bass zu den neu konzipierten Funktion-One F124 24in Bassgehäusen, die mit den F215 Mk2s gekoppelt werden, um den Frequenzbereich bis auf 30Hz erweitern zu können. Für die Besitzer hat die Audioqualität Priorität und dies führte letztendlich zu einem der Stadien mit dem besten Sound weltweit.

ITALIANO Edelweiss Audio ha completato una straordinaria installazione Funktion-One al Krasnodar Stadium dopo 18 mesi di test audio, trattative sulla progettazione, ampliamento di nuovi altoparlanti e un’installazione su larga scala. Il Krasnodar Stadium è una meraviglia architettonica che si rifà ad un Colosseo romano e questo ha influenzato le diverse fasi della progettazione audio. Il tetto dello stadio è dotato di due strati e la progettazione dell’architetto ha richiesto che gli altoparlanti dovessero essere nascosti tra gli strati del tetto. In questa fase, il direttore tecnico Andrei Kremenchugskiy di Edelweiss si è consultato con quello di Funktion-One, Tony Andrews. Edelweiss originariamente voleva usare Funktion-One MST con i subwoofer più piccoli, invece è stata sviluppata una nuova configurazione da parte di Funktion-One Evo, sfociando nella creazione di un nuovo prodotto personalizzato, la Evo 6EHQ. Questi involucri Evo 6 appositamente progettati per le guide d’onda sono schierati due di larghezza e due di profondità. Un totale di 18 involucri Evo 6EHQ sono stati dispiegati intorno allo stadio, a circa 20 metri di distanza. Degli involucri per subwoofer Funktion-One F215 Mk2 sono stati installati tra gli Evo 6EHQ, mentre sei altoparlanti standard di Evo 6EH sono stati forniti per la copertura del campo. Un’ultima sterzata nella progettazione audio é stata una richiesta di ulteriori bassi che ha portato alla nuova concezione di involucri per subwoofer Funktion-One F124 24 accoppiati con le F215 Mk2, per estendere la gamma di frequenza fino a 30Hz. I proprietari hanno considerato la qualità audio come una priorità e sono arrivati ad avere uno dei migliori sistemi audio negli stadi in tutto il mondo.

ESPAÑOL Edelweiss Audio ha finalizado una destacada instalación de Funktion-One en el Estadio Krasnodar luego de 18 meses de pruebas, negociaciones de diseño, desarrollos de un nuevo parlante y una instalación a gran escala. El Estadio Krasnodar es una maravilla arquitectónica del tipo de un Coliseo Romano y ello impactó al diseño de audio en varias etapas. El techo del estadio tiene dos capas y el diseño del arquitecto exigió que los arreglos de los parlantes estuvieran ocultos entre las capas del mismo. En esta instancia, El Director Técnico de Edelweiss, Andrei Kremenchugskiy, consultó con Tony Andrews de Funktion-One. Originalmente Edelweiss quería utilizar MSTs de Funktion-One con subs. más pequeños, pero en su lugar, se desarrolló una nueva configuración Evo de Funktion-One, resultando en un nuevo producto hecho a medida – el Evo 6EHQ. Este producto especialmente diseñado contempla cuatro guías de onda Evo 6, ubicadas dos a lo ancho y dos de profundo. Se han desplegado un total de 18 Evo 6EHQ alrededor del estadio, aproximadamente a una distancia de 20 metros. Se instalaron bajos F215 Mk2 de Funktion-One entre los Evo 6EHQ. Para cubrir el campo se suministraron seis parlantes estándar Evo 6HQ. En una última vuelta de rosca al diseño del sonido, un requerimiento de más bajos condujo a que se emparejaran los bajos F124 24in de Funktion-One recientemente desarrollados con los F215 Mk2s, para ampliar el rango de frecuencia hasta 30Hz. Los propietarios establecieron que la calidad del audio era una prioridad y acabaron por tener uno de los estadios con mejor sonido en el mundo.

of the stadium. The design took Vladimir Venerov and the team at Alpha-LED six months to complete - and then an additional six months was needed for the installation. Due to the screen stretching the entire perimeter of the stadium, there was no margin for error and very high precision was required with the installation of each individual module. And that’s not all, as Vladimir explained the next obstacle he had to overcome: “The screen sits between the upper tier and the roof of the stadium and every element had to lie up in sync. The slightest deviation in the vertical alignment during installation would have led to an over-running error, and as a result the upper or lower modules might not have fitted into place.” It was a huge task, but one that was worth

the effort, to produce 594 pieces of irregular and complex shape modules in order to completely replicate the wave-like shape, which arises from the stadium’s geometry. “We designed 56 types of modules,” continued Vladimir. “PCB boards and moulds were made for each specific type.” This careful design and execution means that the screen appears unified within the structure. Alpha-LED used Dataton’s WATCHOUT software - as well as 22 DVI ports - to deliver content for the video screen. The screen itself comprises a total of 50,509,440 LEDs, which translates into 16,836,480 pixels - not your standard LED screen installation by any stretch. In fact, the Krasnodar Stadium is probably setting its own standard now, to which other stadiums around the world will be compared to for years to come.

TECHNICAL INFORMATION SOUND 18 x Funktion-One Evo 6EHQ enclosure; 18 x Funktion-One F215 Mk2 bass enclosure; 6 x Funktion-One Evo 6EH loudspeaker; 18 x Funktion-One F124 24-inch bass enclosure; 4 x Peavey MediaMatrix Nion nx processor; Lab.gruppen C-Series amplifiers VISUAL 4,676 sq metres of LED screen; Dataton WATCHOUT software fckrasnodar.ru

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SENTRALEN OSLO, NORWAY EUROPE, MIDDLE EAST & AFRICA

Sentralen is a new centre for culture and innovation in Oslo, Norway, recently redeveloped from the old DNB Bank buildings. d&b audiotechnik systems were chosen by Sentralen and installed throughout. www.mondodr.com

What was once the home of Norway’s oldest savings bank is now one of the country’s biggest workshops for creative forces in Norwegian culture. Based in the heart of Oslo, Sentralen is a new centre designed as a cultural hub, featuring six unique venues, including a concert hall with a capacity of 800, and workspaces for over 350 creative people. d&b audiotechnik systems were chosen by Sentralen and installed throughout the centre’s rooms, delivering the simple, user-friendly operation, and exceptional sound quality that’s so important for visiting sound engineers. From the club-like Vault and reflective Marble Hall to more intimate rehearsal rooms, the d&b audiotechnik solutions helped overcome a variety of audio challenges. The project began in 2007 when Sparebankstiftelsen DNB (the DNB Savings Bank Foundation) bought the DNB Bank buildings, which used to be home to the oldest savings bank in Norway. As part of the foundation’s pledge to give back to the Oslo community, Sentralen is accessible to anyone who needs a venue. Technical Director, Lasse Baklien, joined Sentralen in 2015, and is responsible for the centre’s sound, lighting and technical equipment for each of its venues. Before this time, Lasse was a self-employed Sound Engineer, touring with numerous artists, and was also a systems engineer for venues. “My first task was to prepare specifications, after which we invited five or six companies to tender,” he explained.

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• Above left to right The marble hall, the directors hall, winter garden, the vault and the gymnasium.

Sentralen has five venues that needed systems, including the acoustically challenging Marble Hall, with its pillars and reflective surfaces. The system was installed by d&b audiotechnik distributor, Drammen Lyd, with Rasmus Eide and Paul Ivar Skjærvold leading the project. “For Sentralen, it was very important to have a user friendly brand,” Rasmus explained. “The centre has lots of visiting engineers, who just want to get in a room and work - they are already familiar with the d&b sound and system configuration, so can simply concentrate on achieving the best mix for that particular artist or event. The Marble Hall had very lively acoustics, but the room now sounds absolutely amazing, with great definition and a crisp sound, whether for a chamber concert or rock gig.” Rasmus continued: “The component design of d&b systems means that we had a very broad range of models to choose from. The project was privately funded by the DNB Savings Bank Foundation, so we had many more options to choose from.

Although the d&b loudspeakers weren’t perhaps the cheapest on the market, their clever system configuration meant that the systems came in at the same price. This gave Sentralen the brand that both they and their visiting engineers liked, with the high quality sound that the rooms required.” A d&b audiotechnik system comprises loudspeakers, rigging accessories and amplifiers, along with software for performance prediction and centralised remote control. For Sentralen, it was important that the loudspeakers they chose for each room shared similar sound characteristics. The consistent voicing across the d&b audiotechnik product range ensured that products from any d&b audiotechnik loudspeaker Series could be utilised depending on the requirements for each room. d&b audiotechnik’s Y-Series loudspeakers are designed to provide configurable solutions, even in the most difficult sound reinforcement situations. One of the smaller d&b audiotechnik line arrays, the Y-Series features a range of horizontal dispersion characteristics combined with an innovative custom waveguide to ensure constant directivity over a wide bandwidth. Sentralen’s Marble Hall - the biggest of the six venues, is a flexible, multi-purpose hall with a capacity of 800 people standing or 300

people seated. d&b’s Y-Series Y8 and line array loudspeakers are combined with the smaller E6 loudspeakers and 16C columns attached to the back of the pillars, used as delays. The Marble hall also features Y-Series subwoofers, as well as d&b audiotechnik’s D80 and D20 amplifiers. Additional sound attenuation is achieved effectively with the aid of advanced curtain systems. “With the d&b systems installed throughout the venue, every room is both user friendly and fantastic sounding, with the great quality we had come to expect from the brand,” explains Lasse. “We not only hold music events at Sentralen, but the rooms house art galleries and poetry recitals, too, so the systems need to perform under a wide range of conditions. The Y-Series loudspeakers offered a great combination of clarity and powerful performance, with excellent speech intelligibility and enough power for the largest concerts, and were flexible enough for all our spaces,” Sentralen’s system is spread across all six of its multifunction venues, with each venue’s sound driven from the d&b audiotechnik’s Y-Series line array. The result of this is a powerful, highly synchronised and integrated system helping Sentralen achieving its aim in becoming one of Oslo’s most vibrant meeting places for creative people.

TECHNICAL INFORMATION SOUND d&b audiotechnik E6 loudspeakers; d&b audiotechnik Y10P loudspeakers; d&b audiotechnik Y8 line array loudspeakers; d&b audiotechnik Y12 line array loudspeakers; d&b audiotechnik 16C column loudspeakers; d&b audiotechnik Y7P loudspeakers; d&b audiotechnik 8S loudspeakers; d&b audiotechnik 24C column loudspeakers; d&b audiotechnik MAX2 monitors; d&b audiotechnik MAX12 monitors; d&b audiotechnik Y subwoofers; d&b audiotechnik B6 subwoofers; d&b audiotechnik D80 amplifiers; d&b audiotechnik D20 amplifiers; d&b audiotechnik 30D amplifiers; d&b audiotechnik 10D amplifiers www.sentralen.no

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90 VENUE - EMEA

FABRIC LONDON, UK EUROPE, MIDDLE EAST & AFRICA

Pioneer Pro Audio is now the official audio partner of the revered Room Two at London nightclub, fabric. Clubbers will experience Pioneer Pro Audio’s new sound system, which uses speakers from the versatile XY Series, and replaces the previous setup which had been in use for 14 years. www.mondodr.com

Since its creation in 1999, fabric has become a cultural icon for clubbers worldwide and an integral part of the electronic music scene. Consistently rated as one of the best clubs in the world, fabric is renowned for its strict underground dance music policy, impressive sound systems and ‘bodysonic dancefloor’ where sections of the floor are attached to 400 bass transducers emitting bass frequencies of the music being played. Prior to the club’s recent temporary closure, the system in the 500-capacity Room Two had become tired and wasn’t delivering the full dynamic range, explained Andy Blackett, Promotions Manager at the club. “With techno it was fine, but if you played house in here it always sounded raw and a bit too punchy. So, we decided to look at new systems to help correct that.” Pioneer Pro Audio was selected as the new official audio partner of the revered Room Two. Clubbers who now visit the club experience Pioneer Pro Audio’s new

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• Above Room Two at fabric.

sound system, which uses loudspeakers from the versatile XY Series, and replaces the previous set-up, which had been in use for 14 years. When invited to demo a system in the club, Pioneer Pro Audio’s Manager, Alex Barrand, chose the XY Series because its versatility and relatively small cabinet sizes meant that loudspeakers could be positioned anywhere necessary to ensure even coverage in the awkwardlyshaped room. “We listened to a handful of systems and gave them two demos each, and it was clear after the first demo that Pioneer Pro Audio won every single demo hands down. It blew your socks off and none of the other systems had that initial impact,” remembered Andy. “I was looking for full-range sound, a lot of sub-bass, a lot of bass but also a very full range and I found Pioneer Pro Audio was the best system for that, easily,” added Keith Reynolds, fabric’s Technical Manager. While Cameron Leslie, founding partner at the club, said:

“You could see everybody looking at each other and just nodding as if to say, ‘yes, that’s perfect’.” Once the Pioneer Pro Audio system had won the demo process, the installation challenges began. Housed in a Victorian cold store, fabric’s brick structure, railway arch ceilings and the unusual shape of Room Two create audio challenges that can change as often as every half an hour. The number of people in the room, the temperature inside, and even the weather outside can all affect the performance of the sound system. To make things even trickier, the club wanted to begin installation on a Sunday and open as usual the following Friday night. “I was scared about that,” admitted Keith. “But the guys from Pioneer Pro Audio came in and did it in three days. We were ready by Wednesday and we spent Thursday just tuning and smiling. It was some feat.” The install comprises 26 loudspeakers from the XY Series, including 10 XY218S twin 18-inch subwoofers and 12 www.mondodr.com

XY-122 12-inch full range speakers, and the whole system is driven by Powersoft K Series amplifiers with AES digital connections. “Putting the XY Series in there and having clusters around the dancefloor created total coverage,” explained Alex. “You also hear a lot more definition and detail because instead of four compression drivers which were previously in the room, there are 12 now. We had to be mindful not to cause any undue fatigue to people on the dancefloor because of the compression drivers, but to really work with it in a way where we can enhance the full dynamics and coverage of the system.” Having been used for a few weeks before the club’s temporary closure, the new system is already a hit with both the club’s staff and the artists who perform there. “The power beats the awkward shape of the room, but it has the warmth in the bass and the midrange to still fill the room,” explained Keith. International DJ, Jackmaster added: “I always really

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“I was looking for full-range sound, a lot of sub-bass, a lot of bass but also a very full range and I found Pioneer Pro Audio was the best system for that, easily.”

liked the system in Room Two, but to my surprise they’ve made it even better. I really noticed the difference in there. The energy seemed to really step up a notch.” On Pioneer Pro Audio’s partnership with fabric, Mark Grotefeld, General Manager of Marketing, Pioneer DJ Europe said: “The fabric team take sound so seriously, it’s an honour and a privilege to work with them. We’re proud that they’ve

chosen Pioneer Pro Audio as partners and we can’t wait to collaborate with them on future projects.” ACameron concluded: “I’ve been really pleased that it’s been so smooth and collaborative. It’s been really easy, and to that extent you can tell that it’s going to evolve and move on. It goes beyond just a commercial partnership; we’re on the same page.”

TECHNICAL INFORMATION SOUND 16 x Pioneer Pro Audio XY-122 12-inch full range speaker; 4 x Pioneer Pro Audio XY-152 15-inch full range speaker; 10 x Pioneer Pro Audio XY-218S twin 18-inch subwoofer; 2 x Pioneer Pro Audio XY-118S single 18-inch subwoofer; 6 x Powersoft K10 DSP amplifier; 5 x Powersoft K3 DSP amplifier; 1 x Powersoft K2 DSP amplifier www.fabriclondon.com

FABRIC’s NEW SOUND XY-SERIES Few nightclubs in the world are as synonymous with sound as London’s fabric. Since 1999, clubbers have travelled from across Europe to hear the underground dance music and powerful audio systems the club is famed for. fabric’s team constantly strives to create the best dancefloor experience possible and recently partnered with Pioneer Pro Audio to install a new sound system in the club’s 500-capacity Room Two. The versatile XY Series was the natural choice to deliver the full dynamic range and even coverage in the awkwardly shaped space. Even the most discerning audiophiles have been blown away.

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11/01/2017 16:44

94 IN BRIEF - AMERICAS

Joplin High Schoolâ&#x20AC;&#x2122;s Performing Arts Center is Reborn with Renkus-Heinz.

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95 IN BRIEF - AMERICAS

In May of 2011, a catastrophic F-5 category tornado ripped through Joplin, killing 158 people and leaving a mile-wide swath of devastation in its wake. Joplin High School was one of many buildings destroyed, its students and faculty forced to scatter among multiple temporary homes while the community has rebuilt. And rebuild they have. The new Joplin High School is an architectural gem, and the school’s 1180-seat performing arts centre is its jewel in the crown. The impressive hall boasts a massive stage, orchestra pit, and state of the art audio and video systems installed by AVL Systems Design in Edmond, Oklahoma. The auditorium’s PA system is centred around Renkus-Heinz IC² steerable line arrays in a L-C-R configuration, with three arrays of four IC² cabinets each and a single hang of four IC118 subwoofers. As Marc Pierce, President of AVL explained the steered array technology was ideally suited to the challenge of designing a sound system for the space. “The original design had specified a more traditional distributed point source system,” Marc said. “As the design phase progressed, it became clear that access to the speakers would be limited, and we would need a system that would give us

the ability to aim the sound where we needed it without physically moving the speakers. The IC² enabled us to design a system that did not impact the architectural design, and saved the client a lot of complications.” “The IC² made a lot more sense in terms of the nature of the space,” added AVL Director of Engineering, Ryan Zemke. “The ability to create multiple beams in the RHAON II software, and to vary and aim those beams to reinforce the sound where it needs to be while avoiding hard surfaces like the walls and balcony facing, enabled us to provide consistent coverage to every part of the auditorium.” The hall has been a tremendous inspiration not only for the school, but for the local community as well. “The design of the hall allows us to do much more than we could in our previous space,” observed Joplin HS Technical Specialist, Adam Bell. “Not only for our school and our students - it’s enabled us to open the space to the community. We’ve had some great shows and some national touring acts come in, and that’s all because of the new sound system.” www.renkus-heinz.com

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96 IN BRIEF - APAC

Photo by Shinjiro Oono ©PRG

Clay Paky lights selected for The New National Theatre, Tokyo

The New National Theatre, Tokyo (NNTT) is one of the world’s finest art theatres - which opened in October 1997 - as a complex of theatres dedicated to the performing arts of opera, ballet, dance and drama. NNTT has three theatres; The Opera House, The Playhouse, and The Pit. Each is equipped with facilities of the latest technologies and designed to accommodate diverse requirements from productions performed every

night. The Opera House, also known as the Opera Palace is Japan’s one and only theatre built specifically to stage opera and ballet productions. It is a proscenium arch theatre and has four stage areas: the main stage visible to the audience; a rear stage; and the left and right wings. The stage lighting facilities include portable bridges and towers, four-layer

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97 IN BRIEF - APAC

galleries, lighting bridges and ladders, with rich variety of conventional and automated lighting fixtures installed. During the most recent technical renovation at the Opera House, PRG KK, Clay Pakyâ&#x20AC;&#x2122;s sole distributor in Japan, installed Clay Paky Alpha Profile 700 STs, Alpha Profile 1500 STs and Alpha Wash 1500â&#x20AC;&#x2122;s. PRG KK has a 30-year history of handling automated lighting fixtures, and with its accumulated

knowledge and developed knowhow, it is equipped for after-sales services too. In addition to repairs and maintenance work, PRG KK is able to make suggestions for lighting products and systems to suit the need of the facility. PRG KK also provides technical training and can assist with planning a fixture overhaul upon request. www.claypaky.it

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Photo credit: Colossal Photos

98 VENUE - APAC

ZOUK SINGAPORE

SINGAPORE ASIA-PACIFIC

Nightclub Zouk has been a featured venue in mondo*dr since its inception in 1991. Founded in Singapore by Lincoln Cheng, the worldrenowned entertainment venue was originally housed in the Jiak Kim Street building, which consisted of three warehouses that were built along the Singapore River in 1919. After opening a sister venue in 2004 in nearby Malaysia, named Zouk KL - which recently relocated to TREC, a purpose-built, urban F&B, lifestyle and commercial destination - the attention returns to Singapore, where the venue has also relocated to Clarke Quay. mondo*dr reports on the move, exactly 11 years to the issue since Zouk Singapore last featured in the publication. www.mondodr.com

design and execution of lighting projects

After Lincoln sold the club in September 2015, it is now owned and operated by Genting Hong Kong, an affiliate of the Genting Singapore. Executive Director - Chairman’s Office and Chief Information Officer of Genting Hong Kong, Hui Lim said: “The Zouk brand is an institution that is iconic to the local scene and is consistently recognised on the global clubbing stage as one of the best nightlife spots across its years of operation. With this relocation, we saw an opportunity to evolve with the culture of music, a chance to create a new atmosphere that will breathe new life to the brand with the promise of new experiences. This big move has been much anticipated by all and I couldn’t be happier with the result of a spectacular superclub that is the embodiment of progression with nods to the history that we all have come to love. Leading the relocation has been exciting, I’m truly honoured to be a part of it and I am confident that fans will love this refresh.” Housed within Clarke Quay’s Cannery Block and spanning two floors, the new Zouk complex includes signature dance stages Zouk and Phuture, which stretch across 631 sq metres and 267 sq metres, respectively. In an exciting twist, though, the new home allows the two to merge together to create one large superclub, which comes into play when the biggest events take place and the most popular artists perform. The walls separating the outlets are soundproof double walls that are easily removable when

from inspiration to reality www.ledscontrol.com | info@ledscontrol.com Artwork: Zouk Singapore light pattern by LEDSCONTROL

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INSIDER INSIGHTS NAME: Rebeca Sánchez JOB TITLE: LEDsCONTROL Managing Director LIKES ABOUT TECHNOLOGY: The proof of our endless curiosity and capacity to solve problems. DISLIKES ABOUT TECHNOLOGY: How it became a need/addiction instead of just a tool and extension of our capacities. THE NEXT BIG THING IN TECHNOLOGY WORLD: The coexistence between the real and the virtual without asking what is what.

required. As well as Zouk and Phuture, the new complex houses the recently launched restaurant and bar, Red Tail, and a soon-to-be-unveiled fourth concept. Despite the new ownership, a number of historic elements remain intact at Zouk Singapore. Firstly, interior and concept designer, Phillips Connor of Independent Concepts - who has been involved with redevelopments of Zouk since the late ‘90s - was back on board. The concept of the new spaces revolves around the idea of evolution in the music scene and club culture, initially demonstrated by the overarching neo-industrial and futuristic aesthetic, inspired by the underground rave clubs and refurbished warehouses in New York and Berlin. “Evolution is the theme and the overall concept of the design of this new space, so we wanted to play around with the idea of a space that is dynamic and versatile. While its predecessor is known for four distinct yet independent outlets, the relocation has provided us with the opportunity to break down the barriers of stand-alone spaces to inject flexibility and coherence to the signature outlets without losing the essence of both Zouk and Phuture,” said Phillips. The second historic fixture is the reinstallation of the original sound system that was custom created by the renowned, late audio engineer, Gary Stewart. At the time it was installed in the original venue, Gary said: “This majestic, custom-built analogue sound system is the final answer to the club’s quest to own a system that all others will try to compare to and has been replicated from the era of legendary New York venues - Paradise Garage and Studio www.mondodr.com

54. We have fitted Zouk with a mixture of new and classic audio products, some of which have been custom built. From our console to our patch bay, then a trip to the signal processing, the signal flows to the final stop - the amplifiers which are located in our speak stacks. All connections have been hand-built to maintain a level of perfection throughout.” Until his death in 2012, Gary recalibrated the GSA system on a yearly basis for up-to-date configuration and to ensure a warm and crisp quality sound. Today, after moving the sound system to Clarke Quay, the in-house sound team at Zouk take care of system operation and maintenance, which includes regular software upgrades and EQ monitoring. Technical Manager at Zouk Singapore, Rexx Lim explained how they went about the move: “The brief in the new venue was to make it simple, minimise the chain of processing and reduce audio latency for the GSA system. The design process started one year before the move to Clarke Quay. The process included looking into cable quality, cabling routing to optimise the performance, designing the signal processing, modelling of GSA loudspeaker placement from EASE by partnering with our appointed system integrator.” On the dancefloor at Zouk, four GSA stacks have been reinstalled. Each stack comprises twin 1,000W 18-inch subwoofers, a quad 3,600W 15-inch cabinet, and twin acoustic lens HF/UHF mid-range horn loaded with two coaxial neodymium compression drivers. Four GSA custom-built bullet tweeter arrays are also flown over the dancefloor. “Among all the equipment that makes up the system,

Photo credit: Colossal Photos

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the most important feature to retain - in order for these stacks to produce the right sound - was the GSA (RLA) electronic crossover,” continued Rexx. “This system works well for the venue because the stacks are fully customised for Zouk and it is a one-of-a-kind creation that is specifically equalised and built to suit all genres of dance music. The twin acoustic lens fin that was incorporated on top of the stack for the compression drivers helps eliminate nasty and piercing high frequency that will cause irritation when listened to for prolonged period of time. The system’s top‐of‐the‐line bass horn from GSA, featuring the Bertha with a large horn extension for improved air coupling is one of the finest bass horns ever made, in my opinion, and it can handle the largest of clubs with ease, while providing the finest bass reproduction.” With the move, the decision was made to upgrade the amplifiers to drive the stacks. Rexx and the team tested a number of different brands but selected Powersoft as the best for the job - nine X4 four-channel amplifiers. Rexx continued: The Powersoft X Series has a warm, open sound with enormous power, and complements the custom GSA speaker system perfectly. It has really helped amp it up, allowing the loudspeaker system to perform better than ever.” For live mixing capabilities, a DiGiCo SD11 has been installed. It was chosen for its excellent function to size ratio. It has all the features required to manage the live performances at Zouk and can be set-up quickly and easily as needed, yet is compact enough to store when it’s not in use. “We also have an iPad remote app

that allows us to connect to the console through a wireless system, so we can tweak the settings from anywhere within the venue,” said Rexx. To complete the audio line-up, Rexx equipped the DJ booth with six L-Acoustics KARA loudspeakers and four L-Acoustics SB18 subwoofers to extend the low frequency, as well as a Lake LM26 processor and industry standard Pioneer CDJ-2000 Nexus 2 multiplayers and a DJM-900 Nexus 2 DJ mixer. Mimicking the original venue, clubbers enter Zouk through a tunnel, the new one purposely lit and sculptured in a dramatic fashion to offer guests a glimpse of what lies ahead. The answer? The mothership (or UFO as it is also referred to) - a modular sculpture with a kinetic laser light system, based on a decagon configuration dressed with LED technology and narrow beam mini moving lights. The centrepiece is suspended above the dancefloor and was realised by Barcelona-based lighting design firm, LEDSCONTROL, with the idea of creating a sensational focal point that could bring about cosmic immersion of light and dance. “We approached this project by constantly asking ourselves how can we create an icon for Zouk, how can we create a standout piece that will be representative of the club’s new home while retaining it’s identity,” said Rebeca Sanchez Pastor, Co-Founder and Director of LEDsCONTROL. “It was not an easy feat creating a centrepiece worthy of the unique identity that the club has amassed over the years. But when we did, the result was this out-of-this-world structure

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TECHNICAL INFORMATION SOUND 4 x GSA customised loudspeaker stack; 4 x GSA customised bullet tweeter array; 8 x GSA coaxial cube; 8 x GSA asymmetrical two-way loudspeaker; 1 x GSA (RLA) three-way electronic crossover; 2 x QSC Q-Sys Core 500i processor; 9 x Powersoft X4 amplifier; 1 x Pioneer DJM-900 Nexus 2 DJ mixer; 4 x Pioneer CDJ2000 Nexus 2 multiplayer; 1 x Lake LM26 processor; 6 x L-Acoustics KARA loudspeaker; 4 x L-Acoustics SB18 subwoofer LIGHTING, VISUAL & EFFECTS 16 x Robe miniPointe moving head; 8 x ADJ Asteroid 1200 moving head; 32 x ADJ Event Bar PRO fourhead pinspot system; 8 x Clay Paky Alpha Beam 700 moving head; 6 x Clay Paky Alpha Spot 300 moving head; 16 x Elation ACL 360 Bar; 14 x Martin by Harman Atomic 3000 LED strobe; 4 x Martin by Harman Atomic 3000DMX strobe; 22 x Martin by Harman Rush MH 8 mini profile; 28 x EK-Lighting Orb blinder; 4 x Chromlech Jarag 5Par30 fixture; 1 x Minuit Une Pyramid 10W RGB laser; 5 x Minuit Une Carré 10W RGB laser; 4 x Magic:FX stage propeller; 4 x CO2 jet shot; 4 x confetti shot;8 x Smoke Factory Tour-Hazzer II haze machine; 6 x LINAK LA37 linear actuator; 6 x Wahlberg DC motor DMX controller; 1 x MA Lighting grandMA2 Light console; 1 x Chamsys MagicQ MQ100 Pro console; 1 x Chamsys MagicQ MQ60 console; 850-metres digital LED strip RGBW 24V; 3,500 RGB pixel dot; 200 DMX-SPI converter; 180 x PS 24DC IP67 LED driver; 60 x PS 12DC IP67 LED driver; 8 x Madrix Luna 16 Art-Net node; 2 x Madrix Luna 8 Art-Net node; 2 x Madrix Luna 4 Art-Net node; 1 x Madrix Key Ultimate license; 1 x Madrix Key Professional license; 1 x Madrix Key Entry license; 2 x Akai APC40MK II controller; 2 x Akai Mini APC controller; 1 x Extron XTP crosspoint system; 1 x Barco ImagePRO II video scaler; 1 x Resolume Arena 5 software package; 1 x Akai APC40 VJ controller; 1 x Panasonic HD PTZ AW-HE130 camera; 1 x Hippotizer Amba media server; 1 x Datavideo TLM monitor; 5 x three-in-one SMD LED wall https://zoukclub.com

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that I’m sure, has never been done before. I am extremely excited to showcase this explosion of light that the UFO and mothership-like structure was made for, to all Zouk fans.” Designed to be liken to a central mothership of lights, the structure is surrounded by eight perimeter pieces that are shaped like arrows that are intended to draw in the crowd. It features more than 120 light patterns across a 360º view, resulting in an infinite possibility of lighting combinations. “We liked the idea of creating a multi-narrow-beam forest that would give the sensation that you are the inside of an illuminated effect, surrounded by sculptural pieces in which the light is embedded,” Rebeca continued. Miquel Clot, also Co-Founder and Director of LEDsCONTROL added: “The technology that is embedded in the sculptural pieces - the mothership and eight perimeter pieces - are based on digital LED strips and LED dots, so everything can run calmly and smoothly, if or when the moment requires. Along with the hardware, we have also developed a programme that caters to different moods and music styles - something that can tell different stories during the night and is able to portray a multifaceted functionality for different events. Of course, we also liked the idea of a design that looks beautiful even when not in function, hence the structural design of the mothership.” A total of 850 metres of digital LED strip RGBW - which has individual control across every 8.5cm as a single pixel - is embedded in the central mothership structure that measures seven metres in diameter. While the eight perimeter pieces, each 4.5-metres by five-metres features 3,500

RGB pixel dots. These are controlled via Madrix LUNA 4/8/16 Art-Net nodes and Madrix software packages with their accompanying keys. “The patch in the Madrix system was very complex as the perimeter pieces are all not configured in the same way. We had to select pixel by pixel to create the shape in Madrix. In total, we have more than 120 DMX universes created just for the LEDs.” Intelligent moving lights are also hidden in and around the mothership, these include: 32 ADJ Event Bar PROs - a four-head pinspot system distributed inside the structure and act as the main beams for the venue; as well as eight ADJ Asteroid 1200 spherical LED lights and 16 Robe miniPointes. Completing the line-up of moving lights are Clay Paky Alpha Beam 700’s, Clay Paky Alpha Spot 300’s, Elation ACL 360 Bars, Martin by Harman Rush MH8’s, and Robe DL4’s on the balcony perimeter. “Naturally, we take into consideration the most suitable technology on the market, but more than using branded hardware, it’s about the end product and what we want to achieve from it. Of course, we like to work with brands, which we know will deliver in performance, provide warranty and a good pre/after sales service,” continued Miquel. “For this project, we chose the brands, which are able to provide small and powerful moving lights. For example, we found that the ADJ Event Bar PRO was a good solution. It was also good fun playing around with the retro-style Asteroid 1200 disco lighting effect, also from ADJ. The Robe miniPointe is ideal for a nightclub setting because it has a good balance of features for its size, it helped us to achieve our idea of creating a multi-narrow-beam forest.” www.mondodr.com

“Furthermore one Minuit Une Pyramid 10W RGB laser and five Minuit Une Carré 10W RGB laser are hidden in the structure and can be lowered when required, thanks to the LINAK LA37 linear actuators - a device that converts the rotational motion of a low voltage DC motor into linear motion (push and pull movements) and six Wahlberg DC motor DMX controllers,” added Gabriel Scapusio, Project Manager at LEDsCONTROL. An MA Lighting grandMA2 Light console is in place to control the intelligent lighting fixtures. Rebeca explained the reason for the choice: “As one of the top clubs in the world, Zouk Singapore is very active in bringing in the big names from the dance music scene, so we recommended using a lighting console features regularly on international riders. Of course, we also took into consideration that it was a console that could fulfil the needs of the venue.” A Chamsys MagicQ MQ100 Pro desk and a Chamsys MagicQ MQ60 console are also in place at Zouk. LEDsCONTROL was also responsible for the LED backdrop for the DJ booth. Crafted in organic fluid forms of concrete as a nod to Zouk’s heritage, the DJ console sits in the centre of the front stage and between three VIP seating pods, offering an overlooking view of the dancefloor. The central LED screen behind the DJ booth measures fourmetres by three-metres with a pitch of 3.91mm and is flanked by three strips - each measuring 0.25-metres by three-metres - which feature a halo effect to illuminate the brick wall that sits as the backdrop of the DJ console. There is a perimeter LED screen that runs around the venue below the balcony - on the second floor - and measures

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FRANÇAIS L’établissement de divertissement le plus ancien de Singapour, le Zouk Singapour, a récemment dévoilé son nouvel emplacement dans la zone commerciale piétonnière de Clarke Quay. Situé dans le quartier Cannery Block de Clarke Quay, les deux étages du nouveau complexe du Zouk présenteront une fois de plus un ensemble de concepts uniques : des pistes de danse signées Zouk and Phuture, un restaurant et bar Red Tail récemment ouvert, ainsi qu’un quatrième concept à découvrir sous peu. Conçu par le cabinet de design d’intérieur Independent Consultants, le concept des nouveaux espaces s’articule autour de l’évolution de la scène musicale et de la culture des clubs. La sono originale, créée par le feu et célèbre ingénieur du son Gary Stewart, a été conservée par Zouk et Phuture qui continuera de fournir cette qualité sonore chaleureuse et cristalline pour laquelle le Zouk a toujours été reconnu. Tous les ans, Stewart recalibrait personnellement la sono pour la mettre à jour ; aujourd’hui c’est l’équipe son du Zouk qui s’occupe de cette création unique et ajustée spécialement pour satisfaire tous les genres de musique de danse. La pièce maîtresse et tape-à-l’œil du Zouk est la structure lumineuse plutôt encombrante suspendue au-dessus de la piste de danse. Cette pièce maîtresse est une installation personnalisée conçue et programmée par une société de conception d’éclairage de Barcelone — LEDSCONTROL, qui a souhaité créer une œuvre sensationnelle invitant les danseurs à s’immerger dans l’énergie cosmique de la lumière et de la danse.

Singapurs älteste Entertainmentinstitution, Zouk Singapore, hat kürzlich ihren mit Spannung erwarteten Umzug in das Nightlife- und Vergnügungsviertel in Clarke Quay enthüllt. Der neue Zouk-Komplex im Cannery Block in Clarke Quay erstreckt sich über zwei Etagen und ist einmal mehr eine Sammlung einzigartiger Konzepte, bei denen die charakteristischen Tanzbühnen Zouk und Phuture und das kürzlich eröffnete Restaurant mit Bar Red Tail beibehalten werden sowie einem bald vorgestelltem vierten Konzept. Das durch das Innenarchitekturbüro Independent Consultants entworfene Konzept neuer Bereiche kreist um die Idee einer Weiterentwicklung in der Musikszene und Clubkultur. Zouk and Phuture behalten das ursprüngliche, von dem berühmten verstorbenen Toningenieur Gary Stewart konzipierte Soundsystem und bieten auch weiterhin die Soundqualität, für die Zouk seit jeher bekannt ist. Das Soundsystem, das jährlich für die aktuelle Konfiguration persönlich durch Stewart und nun durch das Soundteam von Zouk neu kalibriert wird, ist eine einzigartige Kreation, die speziell abgeglichen wird, um für jede Art von Tanzmusik geeignet zu sein. Ein sofort ins Auge fallendes Kernstück des Zouk ist die scheinbar stark wirkende Lichtstruktur, die über der Tanzfläche hängt. Das Kernstück ist eine kundenspezifische Installation, die durch das in Barcelona ansässige Beleuchtungsdesignunternehmen LEDSCONTROL entworfen und programmiert wurde. Es wurde um die Idee herum konstruiert, ein sensationelles Teil zu schaffen, das eine kosmische Immersion von Licht und Tanz verschaffen kann.

ITALIANO La più longeva istituzione dell’intrattenimento di Singapore ha recentemente svelato il suo tanto atteso trasferimento nel distretto della vita notturna e dell’intrattenimento di Clarke Quay. Ospitato nel Clarke Quay’s Cannery Block ed esteso su due piani, il nuovo complesso Zouk sarà ancora una volta una collezione di concetti unici con il mantenimento della firma dei palchi di danza Zouk and Phuture, il ristorante/bar recentemente lanciato, Red Tail, come anche un quarto concetto sul quale si tiene ancora il riserbo. Progettato dagli interior designer della Independent Consultants, il concetto dei nuovi spazi ruota intorno all’idea dell’evoluzione sia nella scena musicale che nella cultura del club. Mantenendo il sistema audio originale, personalizzato dal rinomato tecnico del suono Gary Stewart, Zouk and Phuture continueranno a fornire la fragrante e disciplinata qualità del suono per la quale Zouk è conosciuto. Annualmente ricalibrato e aggiornato personalmente da Stewart e adesso dai fonici di Zouk, il sistema audio è una creazione unica, appositamente livellato per adattarsi a tutti i generi di musica dance. Un immediato “pezzo forte” di Zouk è la struttura leggera ma apparentemente pesante che è sospesa sulla pista da ballo. Un’installazione personalizzata progettata e programmata dalla società di lighting design di Barcellona LEDSCONTROL, il quale “progetto forte” è stato costruito intorno all’idea di creare un pezzo sensazionale che potrebbe portare ad un’immersione cosmica di luce e danza.

ESPAÑOL Zouk Singapore, el lugar de entretenimiento más extenso de Singapur, ha revelado recientemente su nueva ubicación, que fuera tan anticipada, en Clarke Quay. Ubicado dentro de Cannery Block en Clarke Quay y abarcando dos pisos, el nuevo complejo Zouk será una vez más una colección de conceptos únicos con la retención de los distintivos escenarios de baile Zouk y Phuture, el restaurante y bar recientemente lanzado, Red Tail, así como un cuarto concepto que se dará a conocer en breve. Habiendo sido diseñado por la empresa de diseño interior, Independent Consultants, el concepto de los nuevos espacios giran entorno a la idea de la evolución en la escena de la música y la cultura disco. Guardando el sistema de sonido original, que fue creado a medida por el reconocido ingeniero de sonido, Gary Stewart, Zouk y Phuture continuarán brindando el nítido sonido de calidad por el que Zouk siempre ha sido conocido. Habiendo sido recalibrado personalmente por Stewart de forma anual para una configuración actualizada y ahora por el equipo de sonido de Zouk, el sistema de sonido es una creación única en su tipo que es especialmente ecualizada para encajar en todos los géneros de música dance. Una flamante atracción principal de Zouk es la estructura de luces de aspecto aparentemente considerable que está suspendida arriba de la pista de baile. Dicha atracción, una instalación a medida diseñada y programada por la empresa de diseño de iluminación con base en Barcelona, LEDSCONTROL, fue construida alrededor de la idea de crear una pieza sensacional que provocara la inmersión cósmica de la luz con el baile.

Photo credit: Zouk Singapore

DEUTSCH

50-metres by one-metre and a pitch of 10mm. And a further three LEDs screen located at three of the five bars throughout the Zouk venue. Rexx Lim furthered: “For the routing of the system, we used the Extron XTP Crosspoint system along with the Barco ImagePRO II video scaler that is installed into the system to support the requirements in today’s fast-moving visual technology landscape. For transmission and receiving of signals, we go through a twisted pair and fibre optic I/O boards to deliver end-to-end capability for extending 4K video along with audio, control and Ethernet over a single cable.” The Akai APC40 VJ console utilises Resolume Arena 5 to control content. “We are also set up for live scene can be captured through a Panasonic HD PTZ HE130 camera and fed through all screens across the club,” continued Rexx. “Previewing of the scenes is carried out via the Datavideo TLM monitor that we have installed.” A Green Hippo Hippotizer Amba has also been installed at the venue to support the different needs required for various events and this is done by having a capture card ready built in to allow for a mix between live feed and visual displays. Additionally, 14 Martin by Harman www.mondodr.com

Atomic 3000 LED strobes have been installed at the back of the DJ booth. Miquel commented: “We enjoyed the use of the Martin Atomic 3000 LEDs, which can be as powerful as the Atomic 3000 DMX, but the added RGB detail on the reflector make it very versatile and interesting in its display.” With a world-renowned reputation on the line, everyone involved was keen to make it a success, but such projects don’t come without their obstacles. Miquel said: “The main challenge we faced during the installation was time. We had a very short time to install all the equipment, but we were very lucky to have access to all the required facilities and the support of the Zouk team and all other vendors/ contractors, allowing us to respectfully deliver on time without compromising on the quality of the finishing touches.” Nowadays, not so many nightclub brands have the heritage that Zouk has, with more then two decades in the business. It has survived in what some would describe as an overcrowded nightlife scene in Singapore and now in its new home, it is wowing both the dedicated original fans of Zouk, as well as the new generation of clubbers.

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108 SH OW P REVIEW - ISE

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Integrated Systems Events is a joint venture between InfoComm International and CEDIA. The annual four-day event is more than an exhibition, with the addition of show floor theatre sessions, preshow and at-show events, as well as tech tours, networking opportunities and other business initiatives. The result is a show that has a friendly and positive atmosphere.

Adam Hall Group LD Systems MAUI 28 G2 Stand No.: 7-K200 www.adamhall.com → All-in-one column system for sound reinforcement and monitoring. → 2,000W of Class-D peak power for stunning performance and lightweight. → Uniform dispersion with BEM-optimised HF waveguide. → LD Systems DynX DSP technology for distortion-free performance at all levels. → Integrated four-channel mixer with Bluetooth stereo audio streaming.

Adam Hall Group LD Systems CURV 500 Series Stand No.: 7-K200 www.adamhall.com → WaveAhead technology for seamless array configuration. → Easy scalability with the ‘slide-and-lock’ mechanism. → Full install flexibility thanks to the SmartLink adapter. → 1U 19-inch rackmount four-channel DSP amplifier. → Up to 24 CURV 500 loudspeakers with one iAMP amplifier.

Allen & Heath dLive C Class Stand No.: 7-K175 www.allen-heath.com/dlive-c-class → New dLive C Class compact digital mixers → XCVI 160×64 FPGA core, 96kHz sample rate → 128 input channels with full processing → DEEP processing - powerful embedded plugins → Includes 19-inch rack mountable C1500 Surface

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109 SH OW P REVIEW - ISE

Amina Edge Series Stand No.: 1-N18 www.amina.co.uk → Amina’s public launch of the all new Edge Series of plaster up to product. → Edge 7 has staggering 93 1W/1m efficiency and frequency range of 45Hz20KHz. → The speaker utilises a completely new front panel material using a glass filled core. → Perfect for dry lining and retrofit applications. → Panel material has excellent fire retardant and low smoke plus fume properties.

Audix M3 Stand No.: 3-C87 www.audixusa.com → An innovative, tri-element hanging microphone system designed for applications where aesthetics, sound quality, and ease of installation are critical. → Ideal audio capture solution for video conferencing, distance learning, courtroom activities, and surgical procedures as well as for ambient room miking and surveillance. → Incorporates three phase coherent hypercardioid capsules with tailored frequency response optimised for speech intelligibility. → 4ft mic cable allows for adjustable mic to floor height. Custom cable lengths beyond 4ft are available. → Available in white or grey. Also available with hard-mount option (M3WHM) for installations without drop tile ceilings (dry wall/gypsum).

Barco F90 Series Stand No.: 12-F100 www.barco.com → A brand-new portfolio of DLP laser phosphor projectors → Up to 13,000 lumens brightness → Up to 40,000 hours operating time without need for lamp changes → Ultimate installation flexibility, installation in any orientation → Increased uptime, reduced costs

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Dataton WATCHOUT & WATCHPAX 4 Stand No.: 12-E70 www.dataton.com → Discover WATCHPAX 4: four-output, plug-and-play display server with built-in WATCHOUT license. → See new WATCHPAX 4 powerful, compact display servers in action showing 8K output. → Check out upcoming WATCHOUT features for live production IP workflow, using NDI, plus improved capture engine. → Get a preview of the redesigned audio engine in WATCHOUT for 24-channel ASIO support. → Save the date - stand party Thursday 9 February.

Fohhn Audio PT-70 & Digital Linea Stand No.: 7-H190 www.fohhn.com → New products include, among others, the passive, fully horn-loaded twoway loudspeaker system PT-70, which can be manually switched between cardioid and vented operation modes (Convertible Dispersion Technology). → At ISE 2017, Fohhn will also present Digital Linea, the next generation of the award-winning, electronically steerable Linea Focus product series, which will be optionally available with analogue or digital inputs (AES/EBU, Optocore, or DANTE). → Further highlights include the new DI-Series, more powerful digital Class-D amplifiers with integrated digital signal processors, and the Media-Series, which comprises audio solutions for professional video conferences.

Klark Teknik DM8000 Stand No.: 7-H179 www.klarkteknik.com → Advanced digital audio processor with open architecture software-configurable functionality. → Comprehensive library of DSP algorithms optimised for installation applications. → Eight channels of wide band Acoustic Echo Cancellation (AEC) for telephone and video conferencing. → Auto mixer functionality for multiple microphone applications. → Multiple format IP-based audio networking for ease of integration.

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Meyer Sound Galileo GALAXY Stand No.: 1-M94 www.meyersound.com → Galileo GALAXY network platform has been certified by the AVnu Alliance as fully compliant with the open AVB/TSN networking protocols developed through IEEE. → Incorporates the latest FPGA-based processing with up to 64bit resolution for increased dynamic range, a lower noise floor, and analogue-in to analogue-out latency of only 0.6 ms. → Available tools include five-band U-Shaping and 10-band parametric EQ, a delay matrix and improved delay integration. → Three versions are available - Galileo GALAXY 408, Galileo GALAXY 816 and Galileo GALAXY 816-AES3. → In order to receive AVnu certification, Galileo GALAXY was required to pass stringent testing procedures for seamless interoperability with other compatible audiovisual systems based on the AVB/TSN protocols.

Moose Sound LANE3200 Stand No.: 7-S220 www.moosesound.com → Compact self-powered PA system, for live app or fixed installation. → Active subwoofer equipped with 18-inch EU transducer. → Column speaker fitted with four six-inch and 1.4inch NEO driver coupled to a waveguide. → Powerful SMPS Class-D amplifier, universal 85264Vac mains supply. → Fully programmable DSP (five presets), 48KHz sampling frequency, 24-bit AD/DA converter.

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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

WWW.ASHLY.COM

Ashly-nX-Adapts-Ad-MONDO.indd 1

8/26/16 10:25 AM

HelixNet: Turn Your Production Intercom from Ordinary to Extraordinary Founded on traditional partyline concepts, this all-digital system oﬀers you more than meets the eye. More channels and more users supported. The updated HelixNet now delivers 24 intercom channels on a single mic cable and supports up to 60 user devices on a combination of standard mic cable and Power-over-Ethernet (PoE) on a single Main Station. HelixNet is unlike any digital partyline system out there. Reach us today for more powerful solutions. www.clearcom.com

NEW

& SHIPP ING NOW

114 SH OW P REVIEW - ISE

RGBlink CP3072pro Stand No.: 12-N35/36/37 www.rgblink.com → Get hands on with all-in-one scalers and mixers CP3072pro and X3 Live. → See Art-Net integrated into video processors like never before. → Experience X7 – 32x32 video inputs/outputs and 36 mega pixels of processing. → Be the first to try MSP200pro professional audiovisual signal generator and monitor. → Try XPOSE, the RGBlink universal app for video processor control.

ROE Visual Carbon CB5 Stand No.: 12-H40, 12-F45 www.roevisual.com → → → → →

Ultra lightweight Magnetic assist Multicolour 2727 black face Half panel and curveable Touring system

SoundTube IP Speakers Stand No.: 3-C87 soundtube.mseaudio.com → Bring control and management of audio all the way to the end point in your system. → Simple category cable wiring to each speaker - no need to pull new wires if configurations change. → Each speaker is individually addressable with its own signal, EQ, calibration and report-back. → Up to 40W PoE when used with SoundTube’s STNet Switch. → IPD4 speaker option provides economical coverage through outputs and power for three standard SoundTube BGM speakers.

www.mondodr.com

Photo: Ralph@Larmann.com | Design: Thomas Gerdon

GLP German Light Products GmbH

NEW

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 +49 (7248) 972 19 0  info@glp.de  /GLPimpression  www.glp.de

116 SH OW P REVIEW - ISE

Steinigke THA-250F Stand No.: 7-F215 www.steinigke.de

→ Founded in 1979 and still a family business with 170 members of staff. → Over 7,000 products available - one of the biggest wholesalers in Europe. → Innovative - one of the first companies to present flat PAR spots or COB LEDs in the show technology industry. → Focus on the latest LED spots for film and photo studios or rental companies.

TW AUDiO T24N Stand No.: 14-D150 www.twaudio.com → 143dB SPL maximum → 2 x 12-inch / 1 x 1,4-inch point source top → 60° x 40° and 90° x 50° version available → Allows biamp and passive mode → Only 33kg

Visual Productions CueCore2 Stand No.: 7-S160 www.visualproductions.nl → Dutch manufacturer of solid-state, multi-protocol lighting control systems for Mac /Windows /Linux /iOS /Android. → Interactive, networking products for namely systems integration, architectural, themed environments, Installation markets. → Protocols include: DMX, ArtNet, sACN, Kinet, UDP, TCP, OSC, MIDI, MTC, SMPTE, RS-232 → New RDMSplitter: a DMX512 splitter booster that is compliant to bi-directional RDM. 9-24 volts DC, DIN Rail enclosure for easy installation by electrical installers and systems integrators. → New CueCore2 with tried and trusted features of the solid-state Core-family products plus more storage capacity and protocols; a cost and time effective lighting controller, recorder, merger, converter and show-controller for the installation market.

www.mondodr.com

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

118 EX P O

• The GSL stand

PROLIGHT+SOUND ME DUBAI / 31 OCTOBER - 2 NOVEMBER

After acquiring the PALME Middle East show in February 2016 from Informa and rebranding it as Prolight+Sound Middle East (PL+S ME), all eyes were on Messe Frankfurt at the end of October 2016 to see what the tradeshow giant could offer the region. Lined up alongside 40 exhibitors from 12 countries, various international brands targeted the burgeoning market that is home to spectacular installations, including clubs, theme parks, shopping malls and performing arts centres that require the latest technologies to enhance the visitor experience. It attracted the some of the biggest names in the business, with

the likes of Bose, Sennheiser, Martin by Harman, Adam Hall, and Monacor International rubbing shoulders with top regional distributors such as GSL Professional, Echo Beats, and AVISS. Prolight+Sound Middle East featured Stage On, a live outdoor demonstration area replete with the latest PA and audiovisual systems from a selection of exhibitors. The three-day tradeshow also played host to a series of seminars. As part of its increased focus on the Greater Middle East region, Area Four Industries were in attendance featuring products from MILOS and LITEC, as well as representing the EXE Technology and Xstage brands. All were met with

• The Adam Hall team

www.mondodr.com

great enthusiasm by show visitors, and there was a particularly good response to the new EXE-Rise hoist range from EXE Technology and the S8 stage from Xstage. Also present was Adam Hall, showcasing its various brands of event technology solutions including the patented CURV 500 portable line array series from LD Systems, as well as many new LED lighting products from the rapidly growing Cameo brand, Gravity. A particular highlight was the new wireless LD Systems U500 Series. Bose was among the headline exhibitors at the event, rolling out a range of new product

• The Area Four team

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.

renkus-heinz.com/iconyx-gen5

120 EX P O

• Nour Assafiri and Elie Battah of Martin by Harman

lines including its ShowMatch DeltaQ array loudspeakers and PowerShare amplifiers. Fuat Koro, the Director of Global Sales and Marketing at Bose Professional, said: “What’s really interesting, especially in the Middle East, is that there’s a very active corporate audiovisual market such as conferences and tradeshows that need sound reinforcement from a portable rental system. Their audio requirements have changed over time, from perhaps just a speaker going onstage and delivering a PowerPoint presentation to what is now very rich media delivery at a conference.” Introducing its MAC Axiom Hybrid stage beam to the region was Martin by Harman Middle East. The moving head combines beam and spot functionality into a compact unit, offering diffused wash and remarkable intensity. Sennheiser demonstrated its commitment as a founding partner of the show by showcasing a wide range of wireless headphones including the industry standard evolution G3 series, the dual-channel 2000 Series, and its high-end analogue wireless 3000 / 5000 series range, as well

• Echo Beats Rami Najjar and ADJ’s Jos Reulens

as its range of in-ear monitors. Mig Cardamone, Director of Sales and Marketing at Sennheiser Middle East emphasised the importance of this venture for the industry: “It is important that the main players support this initiative to help firmly establish it as a must attend event in the Middle East calendar.” With Infocomm MEA hot on its heels - taking place just a few weeks after - it was important that PL+S ME made an impact. Bolting it onto Light Middle East - Messe’s show in the region for architectural lighting - was a good move, as it increased the footfall. Despite some major players not taking any stand space, most could still be spotted walking the aisles, making the show a good networking opportunity. However, I think most would agree there is room for improvement, and I’m sure Messe will be striving to deliver that when its hosts the show for a second time. Prolight+Sound Middle East will return to the World Trade Center in Dubai between 1717 October 2017. For more info, go to: www. prolightsoundme.com • The ladies from ACTC

• The Sennheiser team line up

• The Genelec team

www.mondodr.com

• The Bose team

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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122 EX P O

• The Nexo team - Florian Eustache, Stephanie Alonso, Jean Jacques Vias and Paul Massiani

• Lawo’s Hervé de Caro

• The Christie stand

• The black box to showcase t he latest lighting products

• Spotlight’s Thomas Nell

JTSE

PARIS / 29-30 NOVEMBER

JTSE falls in line with my work anniversary, and it was my first industry tradeshow when I joined mondo*dr three years ago. It’s a great show to end the year on, there is a lively central bar where you can liaise with clients and friends - share a coffee or a wine - and catch up on what has happened in our industry over the year. In the time I have been visiting the show, I have seen it evolve, however, what is refreshing is that it’s stuck to roots, and hasn’t sold out to cash in on the big bucks. The Parisian show - with a primary focus on theatre - started out in 1998 and moved to the Docks of Paris in 2006, where it remains today.

• The Audio 2 stand

Booths are simple and of similar size, meaning whether you’re a big industry player or new to the market, every company appears equal. The concept is humbling and the fact that it hasn’t changed over the years proves it’s a successful approach. Once upon a time, the Siel Expo somewhat dominated the French market, and for a few years it co-located with Satis to provide a broadcast element to the audiovisual show, but through research online, it appears there is no trace of the former show nowadays, although Satis does continue in its own right. So, with JTSE now flying the flag solo for the

world of audio, lighting and visual integration, it comes as no surprise to find all the major French manufacturers at the show - many of which have supported the event for a number of years. L-Acoustics, Nexo, Amadeus and APG were all out in full force. Local distributors including Audio 2, which looks after DPA, Cadac and Outline; Freevox that distributes JBL, AKG, Starway and Green Hippo to name to a few - the latter having a dedicated room at the back of the main hall to showcase its products; and Axente that takes care of Aryton, D.A.S. Audio, MA Lighting, Prolyte, Spotlight and Zero 88. The show also saw the launch of Full Fat Audio’s iPad

• Robe and Anolis products on display

www.mondodr.com

• Dave Millard with FFA’s new iPad app, FatWare

Watch Technical Talks with George Krampera / Time the Missing Dimension in Todayâ&#x20AC;&#x2DC;s Pro Audio / Human Hearing, Total Distortion and Loss of Information / Point Source vs Line Array / The Art of Transducer Design / Amplifier Technology www.kv2audio.com/techtalks

124 EX P O

• Hughes Coffy and Lucia Moreias of S2CEB

• Chauvet in action at JTSE Lighting

app, FatWare for its G2 DSP software. Overall, the 2016 edition played host to more than 140 brands from the local market and 30 from overseas. Aside from the main hall at Dock Pullman, there is a black box area - JSTE Lighting - which showcases the latest products to enter the lighting market. Companies such as Adam Hall, Chauvet, Clay Paky, Robert Juliat, SGM, Robe and Spotlight all took part. Alongside JTSE Lighting is the aptly named JTSE Audio, but rather than an audio shootout that is most commonly seen at tradeshows around the globe, the French show offers a silent and controlled environment

• The QSC stand

• The Robert Juliat stand

for companies to demonstrate their equipment, one-by-one. New for 2016 was the Laboratory of Arts & Technology of Stereolux Nantes, topical conferences about numeric technologies and their future in the society organised in partnership with Editions AS. Coming across a show that you can’t pick holes in is quite a rare occurrence these days. And although you can’t please everybody all of the time, JTSE is certainly ticking a lot of boxes for a significant amount of people, and I’ve no doubt we’ll be visiting again next year. JTSE returns to the same location on 21-22 November 2017. For more info, go to: www.jtse.fr

• L-Acoustics’ Mary-Beth Henson and Stéphane Ecalle

• The d&b audiotechnik stand

• Bill Woods (right) of Funktion-One

• Freevox’s Arnaud Leschemelle and Umberto Maurizio

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cable hidden in the bracket new optional handle

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STUDIO DUE light s.r.l.

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128 IN DETAIL

XTA | APA-4E8

The APA-4E8 adaptive processing amplifier from XTA is the result of years of research into both processing and amplifier technology. The new power and DSP platforms have been designed to interact intelligently and adapt to prevailing conditions, protecting drivers, and significantly enhancing performance from all speaker systems. By including studio quality analogue to digital converters at the outputs as well as the inputs, real time audio currents and voltages presented at the speaker terminals can be fed back into the DSP in addition to processing the incoming audio, allowing the amplifier to adapt and correct its performance continuously. The tight coupling of the power supply’s behaviour through real time monitoring of the mains supply, as well as over twenty temperature sense points means that the amplifier can control and adjust its power consumption and output drive to ensure that maximum permissible power is always available. The Class-D amplifier design, combined with a highly efficient power supply and generous energy storage reservoirs result in an amplifier that not only is better at converting input mains power into output speaker power with less wasted

heat (system efficiency is 80%), but is also able to offer better sustained peak power at low frequencies - where you need it most. The APA can deliver incredible levels of sustained power - not just miniscule bursts at high frequencies - meaning all that careful tuning of the system sounds great at any level. The APA-4E8 - features four channels of power totalling 20kW peak output into 4R, and continuous power available of 3400W per channel into 4R. Four audio inputs allow all four amplifier channels to be individually utilised if required, with a full suite of XTA’s world renowned DSP including dynamic EQ, FIR - and phase linearisation - and classic IIR filtering, mix matrix and our famously transparent limiters, and soft knee compressors. The APA can route audio from analogue, AES or network sources (Dante and AVB). USB and internal SD cards offer additional audio choices for playback of emergency evac messages, and quick upload of presets or download of performance logging data. The APA also includes extensive GPIO and remote control. The elegant front panel interface has a large colour LCD which, in combination with innovative user selectable metrics and tricolour www.mondodr.com

•Top left The APA-4E8 adaptive processing amplifier from XTA. •Top right APA-4E8 amplifiers all set up. •Below The XTA amplifiers showing their endurance in the desert at Burning Man festival, Nevada.

multimode panel metering, offers reassuring feedback of the amplifier status from any distance. The APA4E8 is a 2U design and weighs 12.8kg. New remote software, via an Ethernet connection, and written to run natively on Windows and mac platforms, is also available. The amplifiers have been receiving some great feedback on their performance and power capabilities, including a serious workout at the Burning Man festival in the Nevada Desert - a true test of endurance. A total of nine amplifiers, capable of a peak power of 180,000W powered a FunktionOne Evo dance system and didn’t put a foot wrong during the gruelling week long event, where daytime temperatures soared and night time temperatures could drop to near freezing point. Oz Jeffries, the founder and MD of Audiofeed who supplied the system, had only good things to say: “We took fewer cabinets and fewer amplifiers than ever before and yet had a more powerful and even better sounding system! What we didn’t take was a chance with APA - the results and reports from all users have been that it sounds amazing and it didn’t let the side down in the desert.” www.xta.co.uk

130 IN DETAIL

RGBlink | CP3072pro

RGBlink has steadily been building a name for itself for professional video processors, particularly in events and live applications. In 2015, it released its first combined scaler and video mixer, which was well received and challenged what was the status-quo of having to use separate devices for mixing and scaling. Now RGBlink has launched its latest iteration - CP3072pro. CP3072pro remains a compact economical video processing and mixing solution, but RGBlink have clearly listened to their customers, adding considerable refinement as well as bringing in new features. First up, pretty significantly, all the inputs for CP3072pro as modular. There are nine input slots and a host of inputs options from the usual HDMI and DVI to DisplayPort, CVBS 3G-SDI and USB Media. CP3072pro is without any inputs fitted, so the choice is really to suit individual needs. Often in these small devices we see inputs types restricted by type. With CP3072pro it would be conceivable, for arguments sake, to have nine 3G-SDI inputs, if that was your need. There are four HDMI outputs, while

these are nominally duplicated preview/ program outputs, these can be configured for dual 2k or 4K split operations too, really adding immensely too and increasing flexibility. Also on the back panel is a dedicated multi-view output for source and PST/PGM on HDMI and VGA. Plus CP3072pro has a Genlock Y input too, especially useful where cameras are in use. On the control surface, CP3072pro has large illuminated buttons for quick and clear access to key features, and LCD display for further information, as well as the mandatory T-Bar. Transition effects are available on the T-bar and also for timed operation via the TAKE button. On-board there are 30+ transition effects, and RGBlink allows installation of custom transition effects via USB. Entirely new on their compact all-in-one, is a layer mask facility. Again, there are 30+ built-in masks and the ability to load your own creations. A mask can be positions and scaled together and independently of the related video layer. Output resolutions are configurable with virtually all common resolutions preconfigured, as well as the ability to create www.mondodr.com

• Above The CP3072pro integrated vision mixer and scaler.

any custom output resolution that might be needed. Input video is scaled directly on board, transcoded and scaled to the required output. For standard presentation operations, CP3072pro supports two foreground layers (or PIP’s) plus background video layer, these in any combination, preview to program. DSK/Chroma Key functions and blending are also available for the foregrounds layers. Additionally, LOGO and STILL images can be stored on board CP3072pro and added on the foreground on demand - ideal for channel logos or splashes. OSD - On Screen Display - of text is configurable from an app, with text stored on board. Recall and TAKE of OSD is independent to video TAKE - great for pacing lyrics or subtitles separately as is often needed. The attractive wings shown here are an option, nonetheless CP3072pro is delivered with production ready in a flightcase. The CP3072pro is a big step up on earlier models, meeting today’s needs.

www.rgblink.com

PROLED INGROUNDS

INGROUND ADVANCE RGB LARGE

PROLED.COM

+/- 20°

MBN GmbH Balthasar-Schaller-Str. 3 86316 Friedberg · Germany Phone +49.821.60099-0 Fax +49.821.60099-99 info@proled.com proled.com

132 IN DETAIL

DTS | KATANA

Katana by DTS is one of the most advanced LED light ever designed for the entertainment market. The Katana introduces a brand new type of light beam: the dynamic ‘blade’ projection, which is an extra-bright, super-narrow blade of light with the capability to cut through any show. The DTS fixture delivers top luminosity, which is down to 12 Osram Ostar Stage N 20W RGBW LEDs, coupled with a high-efficiency, custombuilt optical group. Also, with single pixel control, 3.5° to 30° zoom range and an ultra-fast motorised tilt, the Katana is the ideal addition to concert and television studio setups. In these settings, the fixture can create eye-catching, dynamic visual effects that really enhance the existing atmosphere or add real impact. Despite coming as a compact LED bar weighing just 14kg, the Katana contains an impressive

array of high-tech features. Katana offers perfect RGBW colour mixing and linearly adjustable colour temperature - from 2,700K to 8,000K. Plus, the automatic LED colour calibration system that is used in the making of Katana guarantees a flawless colour uniformity, as well as the correct colour matching with all of the fixture used within the same lighting rig. The single pixel control capability of the Katana also lets you deliver stunning multicolour effects, as well as create a whole pixel-mapped array of bars. Not only that, but the Katana is a fantastic option as a wash light, offering a wide and uniform projection.

www.dts-lighting.it

www.mondodr.com

• 12 x 20W full colour LEDs • Pixel to pixel control • Integrated full-range PSU • 9,600 lumens • High-quality colour mixing • Linear motorised zoom • 16 million colours • Linear colour temperature - 2,700 8,000K • Ultra-fast motorised tilt ±95° • Multifunction LED display • Controlled via DMX 512 and RDM digital communication protocols • Internal operating system updatable via DTS RED BOX interface • 67 DMX channels

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134 P RODUCT GUIDE

ca•bles [key-buhls] n.

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

PRODUCT GUIDE

CABLES

EMEA TOM VAN DE SANDE PROCAB

“Over the past decade, digital evolution has encountered major breakthroughs in the audio and entertainment industry. As a cabling manufacturer, the challenge is in creating products that embrace these constant changes in the market. In the past, it was more common that each audio, video or lighting application required a specific type of wiring. Nowadays, this entire bunch of cables is changing into a single network cable. For this reason, we invested in the development of a large range of network cables that can serve all kinds of applications. Last year, we made innovations in CAT cable, making it withstand extreme temperatures, abrasion, humidity and many other extreme conditions making it fit to serve for daily use in live, broadcast and pro rental.”

APAC STEPHEN RICHARDS AMPHENOL

“Amphe-Dante is a neat and simple solution allowing easy integration of your analogue outputs into a Dante network. It offers studio quality lowlatency audio via standard XLR connectors in a compact dongle cable design. A key benefit is the utilisation of standard CAT5e network cabling saving on installation costs and time. You can quickly and easily connect the Amphe-Dante to a PoE powered network port and within minutes you can be routing signals throughout your building or campus.”

www.mondodr.com

THE AMERICAS PASCAL MIGUET SOMMER CABLE

“Cable manufacturers have to find a compromise between good electrical values and a maintainable stability of the insulation and jacket. To meet particular requirements - such as, for example. the cross-water tightness up to a pressure of 20bar for our SC-AQUA MARINEX MIKRO - is for me the special attraction of cable production.”

136 P RODUCT GUIDE - CABLES

Amphenol Amphe-Dante Amphe-Dante are Dante audio to analogue audio adapters, each with one RJ45 Dante input, and one and two (respectively) AX series XLR analogue outputs in a molded housing. Amphe-Dante products enable simple connection of analogue equipment to a Dante network and can receive audio channels from a Dante network and provide studio-quality, lowlatency audio via an XLR connector to analogue audio equipment. Any audio available on the Dante network can be routed via the XLR outputs to an amplifier, powered speaker, mixing console, digital signal processor (DSP), or other analogue audio device. Amphe-Dante feature high-quality digital-to-analogue converters, and support a range of sample rates and bit depths. They can provide a hardware master clock for a Dante network. As with other Dante products, the freely available Dante Controller software application is used to automatically discover and configure AmpheDante devices connected to the Dante network. Device names, channel labels, signal routing and other parameters (for example, sample rate and latency) can be configured via the network using Dante Controller. A variety of network and clock synchronisation diagnostic tools are also available in Dante Controller. Amphe-Dante products use Power over Ethernet (PoE). Power can be provided through the Ethernet cable from a PoE-capable network switch, or from a separate PoE injector that complies with IEEE 802.3af specifications. www.amphenolaudio.com

PROCAB PCT50SF PROCAB have launched an Ethernet cable specifically targeting rental and staging companies. The long-lasting PCT50SF cable can withstand extreme temperatures, abrasion, nuclear radiation and many other extreme conditions. This is a consequence of PROCABâ&#x20AC;&#x2122;s new technology called Duraflex. The technology achieves extreme durability by using the advantages of a polyurethane outer jacket for high resistance against mechanical wear due to pulling, bending, cracking and UV exposure, while the PVC inner jacket keeps it easy for handling. The combination of these two plastics is accomplished by using a double-extrusion technique. The conductor section of the cable consists out of four pairs of stranded 24 AWG conductors. These guarantee an optimal signal transmission while double shielding consisting of an overall aluminium foil surrounded by a braiding offers a high immunity to noise and interference caused by external devices. Supports 10Base-T, 100Base-TX and 1000Base-T gigabit networks. www.procab.be

Klotz StarQuad SQ422Y The Klotz StarQuad SQ422Y is an ultra-dynamic microphone cable that offers an authentic transient, with superb attention to detail. With the SQ422Y, there is no distortion, helping to deliver a superbly balanced sound, along with no phasing and an ultralow signal compression. The cable is free from microphonics, too, and has a high crosstalk attenuation, thanks to the StarQuad configuration. StarQuad cables are equipped with four conductors - rather than two - so they have a better symmetry than twisted pair cables. This makes them suitable for microphone signals with high amplification degrees. www.klotz-ais.com

S2CEB AUDIOLAN6A The AUDIOLAN6A from S2CEB is a cable that is created specifically for dedicated use within audio, video and lighting applications. The flexible, robust cable has been developed to offer the best flexibility, making it perfect for all installations: fixed or mobile, indoor or outdoor and reel cables applications. In addition, the AUDIOLAN6A offers a high level of protection against interference signals, thanks to it double shielding, as well as an excellent resistance to abrasion (high tensile and tearing strength) with its PUR outside jacket. It is the perfect cable for a multitude of applications. www.cae-groupe.fr

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138 P RODUCT GUIDE - CABLES

SommerCable SC-AQUA MARINEX MIKRO The AQUA MARINEX microphone and AES/EBU cable is the standard installation cable in wet areas such as aqua parks or water oases. It does not only ensure an excellent audio signal transmission, but it also enables the triggering of visual effects. Particularly for long-time events such as sporting events or in the demanding OB van technology, AQUA MARINEX provides the ideal connection. To handle great water pressure and minimise mechanical stress and electrical interference we have stabilised the wires internally and fitted the cable with two tight copper braidings which are insulated against each other, i.e. for reasons of safety one screen can be tied to the shell of the XLR connector. The cable is a bit stiffer than conventional PVC cables, but thatâ&#x20AC;&#x2122;s what helps make it practically indestructible. www.sommercable.com

Van Damme Tourcat Series Recent developments from Van Damme have seen two new TourCat tactical data cables introduced - a Category 7 solid conductor polyurethane cable and a Category 6A stranded patch cable. These cables offer robust transmission of Gigabit and 10G. The comprehensive Van Damme cable range provides elegant connectivity solutions for the Audio, Video, Broadcast, Lighting and Smart Home markets. If you need to transmit analogue or digital audio, ethernet and fibre audio protocols; composite, 1080i, 1080p and 4K video; 100V line or low impedance speaker signals; DMX and lighting power, Van Damme has the right cable for your application. www.van-damme.com

Tasker C128 Range The C128, 2 x 035 sq mm with braid shielding, is a classic Tasker microphone cable, with an outer diameter of 6.30mm for long distance application. The C128 is a microphone for a whole range of dedicated applications, with different versions all suited to specific tasks. For example, there is the C128 LSZH, which is ideal for a public installation. The C128 PE is water resistant, making it well suited for outdoor use, while the C128 PUR - which is also water resistant - is specifically for heavy-duty outdoor use. Finally, the C128 AR is the armoured, rodent-proof version for underground installations. www.tasker.it

Truly modular

audio players reinvented...

Internet

DAB

Media

Voice File

Bluetooth

Experience them at ISE 2017 Booth nr 7-N190 www.audac.eu/audioplayers

140 P RODUCT GUIDE

mi•cro•phones

[maky-kruh-fohn] n.

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

PRODUCT GUIDE

MICROPHONES

EMEA WOLFGANG FRAISSINET SENNHEISER

“The microphone industry is undergoing substantial changes these days - with the shift in content consumption habits, manufacturers are witnessing strong trends towards consumerisation and digitisation. There is one thing, however, that will always hold true: the microphone as the first link in the audio signal chain is the decisive element to ensure quality audio. A good microphone is the single most useful tool to ensure overall production quality for music, speech and any audio/video material.”

APAC DAVID NOLAN AMBER TECHNOLOGY

“At the forefront of microphone technology is DPA Microphones, which is one of the very first miniature microphone developers. Each DPA microphone is assembled by hand, individually hand-tuned and calibrated up to 15 times before final approval; with all sensitivity options done acoustically between the diaphragm and the pre-polarised back plate, all within the capsule and not the electronics. It is this type of ingenious engineering and robust design that makes the d:fine, d:screet, d:dicate and d:facto range of DPA Microphones the pro’s choice being used in Hollywood blockbuster films, Broadway musicals, international broadcasts and for Grammy award-winning musicians.”

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THE AMERICAS TUOMO TOLONEN SHURE

‘We know very well that absolute perfection cannot be attained, but we will never stop striving for it.’ - S.N. Shure. “The above quote from our founder is the guiding principle for everything that Shure stands for. S.N. Shure was dedicated to creating products of exceptional sound quality, durability, technical innovation, consistency and value. This commitment to the highest quality standards and the methodical pursuit of perfection are the cornerstones of our brand and are reflected in every Shure product and associate.”

Pub_Mondo_333x236_1216.qxp_Mise en page 1 13/12/2016 09:43 Page1

“The Servo Spot 15K is the most sophisticated and innovative Starway spot moving head ever designed”

y m a r e h C vo Spot 15K d r e r S a e h n t r s e e v B lo ay designer, Starw

000 lux minance of 28 lu il le ab rk head. rema spot moving 50° and its l na to io 7 pt of ce e ex wheel, an angl lors + open Spot 15K is its opening co o th 8 rv wi s Se it e ve th si O, , CT cet prism Impres 0W LED source ichromy, its is, its 3-fa 42 tr ir a Y s r CM it fo y l, ar °) ee nt at 5m (7 suppleme bos + open wh t mix of its s 6 fixed go it l, ee wh With a perfec ly 23 kg. en ojector of on ng gobos + op pr ti a ta in ro 7 on s ti it rfec it’s just pe e it! and Frost... , you’ll lov

x 5K at Freevo Servo Spot 1

international

The Starway brand is made by Freevox, www.freevox.fr. Contact: Umberto Maurizio, export manager, +33 670 895 096, umaurizio@freevox.fr

142 P RODUCT GUIDE - MICROP H ONES

AKG C7 The AKG C7 reference handheld condenser microphone delivers premium studio-quality condenser sound and hassle-free operation on any stage. With pristine clarity and sparkling high end, the C7 allows lead and background vocals to shine through. And thanks to specially engineered circuitry and custom-designed components, C7 prevents feedback, spill, handling noise, and pop noise from interfering with your performance. No matter where you’re performing, C7 delivers premium, worry-free vocal reproduction so you can focus on what really matters. www.akg.com

Audio-Technica ES933 Audio-Technica’s ES933 hanging condenser microphone is designed for quality sound reinforcement, professional recording, broadcast and other demanding sound pickup applications. Its low profile and excellent response make it ideally suited for suspending over choirs, instrumental groups and theatre stages and the mic’s excellent off-axis rejection allows for plenty of gain before feedback. Available in three guises, the model offers a choice of cardioid (ES933C), hypercardioid (ES933H) and narrow pickup ‘MicroLine’ (ES933ML) options with acceptance angles of 120º, 100º and 90º respectively. Additional interchangeable elements allowing pickup between 90º and 360º are available separately, increasing the model’s versatility for different applications. The ES933 is equipped with a 15.2-metres (50ft) permanently attached miniature cable, terminated with an XLRM connector, or TA3F-type connector that attaches to compatible Audio-Technica power modules (ES933*/MIC variants). UniGuard RFI-shielding technology protects the microphone from radio frequency interference (RFI). Each of the ES933 variants is available in either black or white finishes (low reflectance for minimum visibility) and comes with a two-stage foam windscreen and vinylcoated steel hanger. www.audio-technica.com

Audix 40 Series & 60 Series The 40 Series and 60 Series from Audix are perfect combinations of features, performance and price. BothsSeries are available in single channel and dual channel versions. The R41 Diversity Receiver and R42 Two Channel Diversity Receiver feature 32MHz wide spectrum tuning with a 300ft operating range. The R61 True Diversity Receiver and R62 Two Channel True Diversity Receiver feature 64 MHz wide spectrum tuning with a 450ft operating range. The handheld and bodypack transmitters are 64MHz and work with all systems. Vocal models include Audix’s popular OM Series dynamics and the VX5 condenser. Bodypacks may be used with lavalier, headworn and instrument microphones as well as electric guitar and bass. The Performance Series offers intuitive menus, soft key control of output levels, squelch, pilot, lockout, a high contrast LCD display, and one-touch auto scan and sync for quick, easy setup and configuration. There are over 60 system options available. Systems include receiver, antennas, power supply, bodypack or handheld transmitter and microphone. www.audix.com

beyerdynamic TG V50 The combination of sleek design and rugged construction that is perfect for the stage, this exceptional sound makes the TG V50 a reliable companion that you will never want to be without. Whether in the rehearsal room or on a stage of any size, the dynamic TG V50 is an excellently tuned live vocal microphone. Especially notable are its balanced sound that is both powerful and natural, its very wide pick-up range thanks to its cardioid polar pattern, and its high feedback rejection; the whole product range is also outstanding in its handling, ruggedness, look and touch. The readiness of the TG V50 is also impressive - plug it in, activate the high-pass filter and it’s ready. It is advantages like these that will win it many fans for use in lead and backing vocals of all music genres as well as by professional rental companies and sound technicians. The switch, which is embedded in the grip, can be locked and doesn’t emit any ‘clicking’ sound. www.beyerdynamic.com

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SD10

SD10 

132 Input Channels



56 Aux / Sub-Group Busses



LR/LCR/LCRS/5.1 Master Bus



24 x 24 Full Processing Matrix



2 Solos



218 Dynamic Equalizers



218 DiGiTuBes



218 Multiband Compressors



24 Digital FX



24 Graphic Equalizers



Optional Waves Integration



48/96 kHz Sample Rate



Standard Optics

SD10 Now with Stealth Core 2 DiGiCo’s acclaimed SD10 now comes with the Stealth Core 2 Software. More powerful & with more processing channels, Stealth Core 2 delivers a wide range of enhancements including expanded bussing and a greater palette of on-board effects. Plus, there's Dynamic EQ and a DiGiTube on every channel and buss. Stealth Core 2 continues to keep DiGiCo users one step ahead of the rest. To find out more & for upgrade details, go to: digico.biz/core2

DiGiCo UK Ltd. Unit 10 Silverglade Business Park, Leatherhead Road Chessington, Surrey KT9 2QL. Tel: +44 (0) 1372 845600 www.digico.biz

SD10 Core 2 Pro Mondo 30-8-16.indd 1

30/08/2016 12:13

144 P RODUCT GUIDE - MICROP H ONES

DPA d:facto The d:facto Linear Vocal Microphone is engineered specifically for audio engineers who prefer setting their own unique impression on the final sound. It captures electrifying performances and accurately replicates a singer’s voice transparently, consistently and thrillingly. The mic is optimised for use in sound reinforcement as well as recording applications. It offers natural sound, high separation from nearby sound sources and SPL handling up to 160dB. The d:facto Linear Vocal Microphone uses the superb d:facto Supercardioid Capsule, which features an isolation-optimised supercardioid polar pattern. It is specifically designed to enhance the human vocal range using directional characteristics from the best of two worlds - both cardioid and supercardioid patterns. The supercardioid front lobe ensures complete focus on the sound source, while the back lobe, which is smaller than on a normal supercardioid, ensures there is minimum bleed. The capsule’s directional pattern and definition gives high separation and true sound clarity onstage making it ideal for PA amplification and recording. Frequency response and phase, both on- and off-axis, are linear. The d:facto Linear Vocal Microphone comes either with a d:facto Handle for a wired solution or with an adapter for wireless use. www.dpamicrophones.com/dfacto

Electro-Voice ND Series Successor to the renowned N/Dym Series, the new ND Series expands EV’s product offering with four vocal and four instrument models for live performance and studio applications. Each ND Series model is equipped with features that are unique to both its price point and its particular application - all designed to offer superior sound quality, acoustic control and robustness. At the heart of the new dynamic models is a new large-diaphragm capsule design, which takes the technology of the original N/Dym capsule to new levels of sonic performance. Vocalists can select a specific ND Series model to provide optimal results according to singing style and stage volume. Sound engineers and musicians will benefit from an easy set-up due to innovative mechanical solutions that solve typical instrument mic placement challenges. The series features dent-resistant Memraflex grilles, humbucking coils to guard against EMF noise and shock-mounted capsules to minimise handling noise. The four ND Series dynamic vocal microphones are designed to address three distinct application scenarios, and are differentiated by polar pattern, capsule voicing and grille shape. The three dynamic models and one small-diaphragm condenser ND Series instrument models on the other hand are an excellent choice for both live sound and studio work, each optimised for their applications by polar pattern, capsule voicing and mechanical design. www.electrovoice.com

Lectrosonics HHa The HHa uses state-of-the-art Digital Hybrid Wireless technology, selectable RF output power at 50 and 100 mW, and a versatile microphone capsule mounting system to meet the needs of audio professionals and vocalists. HHa features include a wide tuning range of 75MHz (or three standard Lectrosonics blocks), AA battery power, IR (Infrared) port for fast setup and an external button which can be set as mute, cough, power, or talkback. Along with providing peerless audio quality with wide frequency response and dynamic range in native 400 Series mode, the technology used in the HHa includes compatibility modes for Lectrosonics 200 Series, 100 Series and IFB receivers, and some systems from other top manufacturers. Lectrosonics also offers the HHC cardioid condenser capsule, sold separately from the HHa. The compandor-free Digital Hybrid audio chain preserves the quality of the selected microphone capsule and delivers it to the sound and recording system without coloration. This superb audio performance and highly reliable RF transmission makes it ideally suited for high end stage and studio production, including live performance, broadcast, audiovisual rental and houses of worship. www.lectrosonics.com

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146 P RODUCT GUIDE - MICROP H ONES

Royer Labs R-122 MKII The Royer Labs R-122 MKII Phantom-Powered Ribbon Microphone is essentially an R-122 with two additional features: (1) a switchable -15dB pad and (2) a switchable bass cut filter. The switchable -15dB Pad allows for high SPL recordings with no microphone distortion or preamplifier overload, which is useful for close miking electric guitars. The pad is positioned before any of the microphone’s electronics - reducing any potential for headroom related distortion. With the pad engaged, the R-122 MKII has 2dB lower output than the company’s flagship R-121 microphone. The MKII’s switchable bass cut filter is positioned at 100Hz (6dB per octave). When activated, this filter helps reduce the excess low end created by proximity effect. It is also useful when miking electric guitars in sessions (or live performances) where less low-end buildup is desired. The R-122 MKII utilizes a low mass, 2.5-micron, pure (99.99%) aluminum ribbon element in Royer’s patented offset-ribbon transducer assembly. The microphone’s increased sensitivity is accomplished by the utilization of a special Royerdesigned toroidal transformer that delivers 13dB higher output with no additional self-noise being generated. The toroidal transformer also gives the R-122 MKII a faster transient response than traditional ribbon mics. www.royerlabs.com

Mojave Audio MA-1000 The Mojave Audio MA-1000 Large-diaphragm Multi-pattern Tube Condenser Microphone is the first model in the company’s recently introduced Signature Series line of products. Designed by Technical Grammy award-winning microphone designer David Royer, the MA-1000 features an original new old-stock 5840 tube, a 251-style capsule, and a custom-designed transformer built by Coast Magnetics. Among its notable attributes, the MA-1000 includes a remotely controlled, continuously variable polar pattern selector that is located on microphone’s power supply. The MA-1000 also offers a switchable 15dB pad that facilitates high SPL recordings with no microphone distortion or preamplifier overload. This is particularly useful for close miking electric guitars. Similarly, the microphone provides a switchable low frequency roll-off designed to reduce the excess low end created by proximity effect, the bass buildup commonly experienced during close miking of vocals and acoustic instruments. The LF roll-off capability is also useful when miking electric guitars where less low end buildup is desired. Cosmetically, Mojave Audio’s Signature Series represents a step forward for Mojave’s traditional ‘working class’ designs. The MA-1000 package comes complete with a protective case and an innovative new shock mount design, which was created by and licensed from sibling company Royer Labs. www.mojaveaudio.com

Sennheiser MK 4 digital One of Sennheiser’s most popular recording microphones, the MK 4 large-diaphragm true condenser microphone, has gone digital thanks to Apogee A/D conversion and pre-amp technology: The MK 4 digital connects directly to iOS devices, Mac and PC computers. It is the ideal partner for any mobile recording task requiring great sound quality with the typical warmth and detail of a true condenser microphone. The MK 4 digital is a must-have microphone for the home studio and in mobile recording, whether in the rehearsal room or on the road, offering bands and artists freedom and flexibility in recording their tracks and song ideas. It is also an ideal tool for users from across the audio and video production spectrum, where the MK 4 digital will excel at any recording task from high-quality voice-overs to podcasts. The microphone is delivered complete with a USB cable and a Lightning iOS cable for connecting to iPad, iPhone or iPod touch as well as a microphone clamp and a pouch. It can be used with common media production programs such as Logic Pro X, Final Cut Pro, Adobe Premiere, Pro Tools or Ableton Live and iOS recording apps such as GarageBand and Apogee MetaRecorder. www.sennheiser.com

Shure KSM8 Dualdyne With two ultra-thin diaphragms and ground-breaking reverse airflow technology, the KSM8 Dualdyne is the result of Shure’s 90 plus years of experience in developing world-class microphones. In 1939, Shure introduced the world’s first single-element unidirectional dynamic microphone - the Unidyne 55. In developing the Dualdyne concept, Shure have once again thrown out the rulebook to develop a new dynamic microphone technology from the ground up. Not to be confused with dual-element microphone technology, KSM8 Dualdyne features two ultra-thin diaphragms in a single element that receives the entire frequency range. The second diaphragm sits in the microphone resistance network to help control proximity effect. To achieve this, Shure undertook a massive engineering project spanning seven years to reverse the airflow of a dynamic mic. The result is a new dynamic microphone design that produces virtually no proximity effect, has a huge sweet spot, and boasts a textbook cardioid polar pattern. For the artists and engineer, this featureset translates into minimal requirement for EQ and processing, more natural sounding off-axis stage bleed, and greater performance freedom. www.shure.co.uk

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148 DIRECTORY

1 2

1. ADJ myDMX 3.0

2. APIA APNET Network Manager

ADJ has announced the latest version of its immensely popular software-based DMX control package, myDMX. The new version 3.0 release offers the same easy-to-use interface and powerful lightshow creation features that have made myDMX so popular in the past, but enhanced with exciting new features that allow users to take greater command of their lightshows. The myDMX 3.0 package includes the advanced myDMX 3.0 control software, which is compatible with both PC and Mac, together with a compact, yet powerful, interface box (dongle). It allows control of up to 512 DMX channels and offers a variety of powerful, user-intuitive features for creating impressive synchronised lightshows across a variety of different fixtures. The standard version offers all the functionality that most users will require. However further advanced features, such as a 3D Visualiser, MIDI control and mobile phone App, are also available as optional upgrades. Building on the success of previous versions, the myDMX 3.0 software offers a number of improvements and new features designed to give users even more creative potential when programming and running their lightshows. Using the new software, users can arrange Scenes into groups, allowing different effects and looks to be combined for a new level of on-the-fly creativity. Scenes can also now be flashed as well as edited during a live event using the Blind mode, which allows changes to be made without outputting a DMX signal. The new software also introduces Live Snapshots, Live Scene dimming and Scene speed controls. With its winning combination of an easy-to-use interface and advanced programming capabilities, myDMX has attracted a large user base throughout the world. It is utilised by lighting users at all levels, to control shows ranging from modest mobile DJ setups to large club installations. Now, with the release of the new and improved 3.0 version, this success looks set to continue as both new and existing users will be able to take advantage of the powerful scene layering and manipulation tools, as well as the advanced sound-to-light features, offered by myDMX 3.0. www.adj.com/mydmx-3

APIA begins 2017 with the release of APNET Network Manager - native software for the management of amplifiers (QDX Series) and self-powered product lines (AXI Series). APNET via ethernet connection allows users to manage, edit and customise presets and libraries for APIA’s products. Real time control, EQ, Dynamic and Delay controls are just some of the tools of APNET. It interfaces to all the APIA devices, equipped with DSP from DFM, a well-known German brand used by many pro audio manufacturers. APNET Network Manager, can be downloaded from APIA website where users also find all GLL files for using the EASE FOCUS 3 aiming-software. www.apia.pro/software

3. Audio-Technica ATUC-50 Audio-Technica has extended the functionality of its ATUC-50 digital discussion system with the launch of the ATUC-50INT simultaneous interpretation unit. Designed for ease of use in situations where up to three languages are involved, the ATUC-50INT places control in the hands of interpreters thanks to the systemís intuitive web remote-based conference management software application. The unit’s straightforward control panel allows easy selection of headphone volume level as well as the choice of floor or relayed language and two ATUC-50INTs may be linked to deliver each language for hardware redundancy. Discussion participants can select between the three interpretation channels on their ATUC-50DU discussion units, or the languages can be transferred to an existing wireless language distribution system via the ATUC-50CU control unit. Multi-language discussion recording is also made simple with the ATUC-50CUís onboard four-channel recorder. Building on the ATUC-50’s reputation for class-leading speech intelligibility, the ATUC50INT is designed as the ideal solution for bi- and tri-lingual discussions and applications where cost-effectiveness is an important consideration. www.audio-technica.eu

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150 DIRECTORY

1. B&C Speakers RBX Series 1

Building on the success of the recently released 18RBX100 high performance ferrite subwoofer, B&C Speakers has added a 15-inch alternative to the RBX range. The 15RBX100 high output subwoofer features a 25mm high, four-inch (100mm) diameter copper wire voice coil that is combined with a laminated double silicone spider, water resistant curvilinear cone, and triple roll surround - for even more excursion and linearity. The corrosion resistant motor structure incorporates an aluminum demodulation ring that effectively controls inductive rise as well as harmonic and intermodulation distortion. This subwoofer can be used for a wide variety of applications, including compact vented enclosures as small as 80 litres. www.bcspeakers.com

2. Blizzard Lighting Colorise Sky

Colorise Sky fixtures come fitted with seven 15W high output six-in-one RGBAW+UV LEDs with a 25° beam angle. Loaded with built-in AnyFi wireless DMX receiver, which can flawlessly support both Skywire and W-DMX wireless DMX signal types for ultimate wireless DMX connectivity capability. Fans of Blizzard Lighting’s SkyBox EXA fixtures will be delighted to hear that the Colorise Sky comes with the same features but is unique in the fact that it is like an outdoor fixture with a fanless, convection cooled housing. In addition, the internal Intelion Lithium-ion battery system makes this fixture ultimately durable and portable. Users can control Colorise Sky fixtures in master/slave using either 4/5/6/7/9 or 12-channels of DMX, plus, it has an easy to navigate LED control panel menu with four electronic touch-sensitive buttons that make programming (and button-pushing) a breeze. The fixture features five built-in auto programs that can be accessed individually via the control panel, or in DMX mode with a separate speed control channel. Users can also program and store up to three of their own 20 scene programs, which can also be accessed in DMX mode. Scenes may consist of custom colours, strobe effects, colour fades, or even insert any of its built-in programs with separate speed control settings. Colorise Sky fixtures come equipped with dual mounting brackets, industry standard PowerCON®compatible power connections, and three-pin / five-pin DMX. www.blizzardlighting.com

3. Caymon WPR White Series With almost every amplifier rack being black in colour, Caymon decided to try something new. Its WPR406 & WPR409, six and nine unit wall racks, now also come in a white version. In a staging context a black rack is the obvious choice, but with 90% of office walls being white, the idea to bring out a white rack made perfect makes sense. The WPR white series just blends much better with the office environment in which it is mostly used. www.caymon.eu

Design. Sequence. Control. Visit d3 at ISE, where a range of demonstrations will show you how d3 comfortably sits at the heart of any interactive production or installation.

ISE Amsterdam, 7-10 February 2017, Hall 8 - H312 d3technologies.com

4. Chauvet Professional COLORdash Par Q12 IP The new RGBA LED wash delivers bright, colourful, flicker-free light indoors or out, regardless of weather conditions, thanks to its IP65, outdoor/wet rating (pressure equalizing M12 GORE valve), Powerkon IP65 power cord and IP-rated DMX connections. In addition its IP rating, the COLORdash Par Q12 IP offers designers and production companies multiple other advantages. Chief among these benefits are its intense output and realistic colour rendering. Powered by 12 8.4W RGBA LEDs, the latest addition to the COLORdash line has an output of 865 lux at five meters. It also has a colour temperature range of 2,800 to 10,000K, and its advanced optics result in effective colour mixing. Adding to the versatility of the COLORdash Par Q12 IP are its selectable smooth dimming curves, which eliminate choppy fades, and its 20⁰ beam angle, which provides broad wash coverage. The fixture’s adjustable PWM (Pulse Width Modulation) results in a flicker-free output, making it well suited for lighting events that are going to be videoed. A double bracket yoke allows the versatile COLORdash Par Q12 IP to be flown on truss or be positioned on the floor. The fixture’s compact size makes it handy for applications where stage space is at a premium. As user-friendly as it is versatile, the COLORdash Par Q12 IP has an OLED full text display with password protection and a touchscreen interface. Along with the fixture’s direct power and DMX connections, this feature will make setup and tear down go faster and more smoothly. Anyone who works outdoors should appreciate this added convenience, because like the weather itself, scheduling at festivals and other open air projects can often be unpredictable. www.chauvetprofessional.com

5. Chroma-Q Color One 100X PAR Chroma-Q is pleased to announce the UK launch of its must-see LED PAR, the Color One 100X. With nearly 60% more output than its predecessor and one of the brightest fixtures in this category, it enables users to reach NEW heights of performance. The Color One 100X combines its superb output with the proven performance benefits of the original Color One 100 - including homogenised RGBA colourmixing, extremely smooth and uniform output, a pure white, theatrical-grade dimming, convection cooling for quiet operation, and Chroma-Q’s exceptional fixture-to-fixture consistency. www.chroma-q.com

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1. KRK V Series 4 The V Series 4 nearfield studio monitors are specifically designed for audio production applications where accurate reproduction is critical. Recording and broadcast studios as well as sound design and audio production houses will benefit from adding the V Series 4 as the go to monitor of choice. The new V Series is comprised of four, six and eight inch models. V-Series 4 includes 49 user selectable equalizer settings to ensure proper setup for room acoustics and placement anomalies as well as taste and individual preference. The KRK design team has painstakingly modeled and analyzed hundreds of monitor placement and room acoustic situations to ensure that KRK delivers the most useful tools with minimal adjustments. www.krksys.com

2. Light Converse Ltd LIGHTCONVERSE TOOLS LIGHTCONVERSE TOOLS is a specialised 3D design program focused on stage design of all types and sizes, and is fully compatabile with LIGHTCONVERSE 3D SHOW PLATFORM. From theatre spaces, corporate events and TV studios, to rock tours and awards shows, the software offers unique design, documentation and inventory options to quickly and effectively build shows from the ground up while decreasing the time and material expenses of implementation. Equipment Inventory options include user-created custom ‘warehouse’ databases for storing existing supply levels which match real-world inventory, allowing users to form a precise equipment base and intuitively work directly from it. Efficiency is increased further as the ‘warehouse’ mode smartly shows the user the presence/absence of required elements for the current project. For detailed project paperwork, the software offers custom executive documentation design and print options for precise technical documentation of the project’s construction. Additional features include full libraries of constructive elements and equipment, including trussing, scaffolding, podiums, sound and musical gear, lighting gear and multiple other highly-detailed 3D objects; standardised library elements; different truss manufacturers pre-loaded in library; snapping tools for quick automatic docking of trussing and scaffolding; and the ability to operate in both imperial and metric measurement systems. http://lightconverse.net

3. Merging AKD8D & AKD8P Part of the outstanding success of Merging’s Horus and Hapi Networked Audio Interfaces was due to the remarkable quality of the A/D conversion and the integral microphone preamplifiers. Hailed by top engineers and producers from all over the globe as a revolution in headroom and transparency, Merging has announced a new generation of A/D cards that embrace the latest innovations in technology. The boards are available in two versions as it was with the previous generation. The AKD8D is the standard version giving superlative results up to 192kHz PCM. The AKD8DP extends the range up to 384kHz and includes all variants of DSD up to 256 and DXD. The new boards are already being shipped to fulfil the significant order rate that has been consistent since Horus and Hapi were introduced. As with the previous cards, Direct Analog Out connections are present to allow a mic level feed to be sent to an analog mixer or recorder. The RAVENNA/AES67 connection on Horus and Hapi allows for full remote control of all parameters including the ability to switch individual channels to Mic or Line. Phantom power switching, phase reversal, and low cut filters can be enabled from the control room or locally from the front panel of the unit. Merging’s team of engineers has redesigned these circuits using the latest components and achieving remarkable transparency and performance. A dynamic range of better than 120dB is easily achieved. The input stage now features the ability to select the optimal impedance for condenser or dynamic microphones and this can also be done on a per-channel basis. In order to improve any leakage induced noise from the phantom power during warm-up, lower value, higher voltage high grade electrolytic capacitors have been used. Particular care has been taken to minimise any DC offset to the inputs of the A/D converter. This improvement to the DC servo loop guarantees that the offset is under 1mV over the whole gain range up to a maximum of 66dB. Analog detection that is a feature of the ADA8 cards is now incorporated to ensure that gains are switched near to zero. Both these features combine to suppress any clicks caused by switching the gain settings. In summary, the AKD8D/P offers ultra-low distortion and noise floor at low levels whilst reducing latency even more. Another remarkable feature of the Merging Audio Interfaces is the low power consumption. The new components reduce that further by saving over 2W per board which could be as much as 12W on a fully loaded Horus. www.merging.com

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4. NEXT-proaudio HFA106p NEXT-proaudio has grown its HFA Series with the inclusion of the compact six-inch HFA106p. This model was designed to complement the existing larger products within the series. The quality and the power of the system make it perfect for installation, small systems for live music, as well as front-fill or side-fill. It is a system with a ”fantastic ratio between the size and its sound pressure” says the company. The HFA106p is a 6.5-inch model with a 90° x 40° dispersion (user rotatable) entirely made in Portugal, using quality custom made components, loaded by birch plywood enclosures, coated by a scratch resistant textured paint to assure an outstanding performance and an extensive use. Versatile enclosure design, combined with a wide range of mounting options and associated hardware, provides unrestricted flexibility for both portable and installed applications. On this series there are several color combinations available. To further simplify creating active two-way systems the companion subs HFA112s, HFA115s, HFA118s use an integrated two-channel digital amplifier to power external fullrange passive speakers. www.next-proaudio.com/series/hfa

5. QSC K Cardioid Subwoofer

As QSC approaches the celebration of nearly one million K family loudspeakers sold since their introduction in 2009, the company has announced the newest member of the family, the K Cardioid Subwoofer. Deploying innovative design, legendary QSC amplification and advanced DSP in a single, compact enclosure, the K Cardioid Subwoofer represents a single-box powered cardioid subwoofer solution for highly portable entertainment and installation applications. Typically, subwoofers radiate sound equally in all directions, resulting in troublesome, unwanted low-frequency build-up on stage as well as undesired, wasted LF energy at the rear of the system. In more recent years, concert sound providers have been able to create cardioid (heart-shaped) coverage of their subwoofer arrays through some clever manipulation of placement, delay and polarity, redirecting desired LF energy forward and minimising energy at the sides and rear. Unfortunately, this technique is costly and requires multiple enclosures, amplifiers and processors. Representing a breakthrough in innovation and design, the K Cardioid Subwoofer uniquely provides all the benefits of a cardioid subwoofer array but in a single, compact enclosure. ‘Keeping bass in its place’ for mobile entertainers, audiovisual production and rental professionals, as well as modestly-sized performance venues, the K Cardioid Subwoofer is unparalleled in its ability to manage low frequencies on the stage, or any application where undesirable low frequency energy needs to be minimised. Powered by a 1,000W Class-D amplifier, processed with the latest DSP technology, and featuring dual 12-inch long excursion drivers each arranged in a 6th order bandpass chamber, these elements all combine seamlessly to produce a staggering 15dB more output at the front of the cabinet than at the rear. Highly portable, the cabinet features comfortable, aluminum handles and four, rear-mounted casters. Two M20 sockets are provided to accept a 35mm speaker pole in either vertical or horizontal deployment of the subwoofer. Additional features and specifications to be announced. www.qsc.com

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“Prolyte Campus is our intiative to provide knowledge, competence and safety awareness in our industry.”

MATTHIAS MOELLER Senior Technical Advisor at Prolyte

How did you first get into the industry? I started as an Assistant Worker in installation of sound and light equipment at Thomas Fischer’s Multivision in 1988, studied communications engineering and joined Fischer Art of Light & Sound GmbH in 1994. I became Product Manager for truss, stage and rigging equipment, including Prolyte gear in 1996. The company morphed to Fischer Vertriebsgesellschaft mbH & Co. KG in 2005 and I became Sales Manager for the same group of products. When and why did you join Prolyte? I joined the Prolyte Group in the beginning of 2011. In 2010, Prolyte convinced me that working for a Prolyte distributor for 15 years was long enough. They offered a job that matched my future plans quite well, providing enough room for voluntary contribution to the trade organisations I had already established and to be involved with national and continental standardisation work. Being able to do that for a company that is passionate about raising the standards of our industry and which is highly involved in safety and knowledge transfer was - and still is - a dream job for me. What makes Prolyte different to other companies? There are many differences to other companies and, given my background, I have experienced the differences. If I have to name some, I would choose the R&D, engineering and innovation departments that Prolyte has. Like no other company, Prolyte dedicates much time, effort and money to this. This results in continuous product development; sometimes this leads to new products and in other cases to product updates or new insights. It’s also important for us to really listen to how people experience our products on the road. There’s always room for improvement. Another thing about Prolyte is their great crew - there is enormous mutual respect between and

within the teams, with people challenged to give their best. This also translates to Prolyte’s partner network, we have a very loyal network who really are part of the Prolyte family - meeting our partners at yearly events feels like meeting old friends. What installations have Prolyte been involved with recently? Most installations are realised through our partners and clients around the world, and are supported by us. We did some bespoke indoor stage structures, TV studio support structures and ProLyft chain hoist installations, along with the vast number of Roof-System projects in close cooperation with our partners and clients. And the fun thing is that we can be as proud of a small installation, with its specific challenges, as we are of the larger ones. Each completed and successful project brings new lessons to be learnt. Tell our readers more about Prolyte Campus? Prolyte Campus is our initiative to provide knowledge, competence and safety awareness in our industry, especially when handling our products. Our partners are encouraged to host a Prolyte Campus for their clients at least once a year and they really appreciate it. This gives us the opportunity to be very close to the users of our products. As a lecturer, it’s great to be out there and meet so many Prolyte users. It’s fascinating to see how people are open to learning and really draw every drop of knowledge. It’s also very rewarding - with every successful Prolyte Campus, we contribute a little to making our industry safer and getting the awareness across. Participants are always thankful for spending time with us, too, how great is that? What are the future plans for Prolyte? I don’t want to elaborate too much on our plans, but rest assured that there are plans. Of course, you don’t introduce a game-changing product like

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the Verto each year, but we still have a long list of product innovations waiting to be introduced to the market. Our industry offers many challenges still, so there’s plenty to work on. We like to be at eye-level with our partners and clients to offer products and services that can help making their daily work practice easier and safer. Tell our readers something they wouldn’t know about Prolyte? The problem is that it’s our philosophy not to have so many secrets. Prolyte is pretty transparent overall, we have deliberately chosen to be very open on how we calculate our truss and what the basic assumptions for these calculations are. You don’t get any surprises if you buy Prolyte. One of the things not so many people might be aware of is that Prolyte actively engages in European, Dutch and German standardisation on truss, stage decks, electric chain hoist systems and event structures. We have an involvement in many workgroups and committees, based on our belief that by creating standards and regulations that work for our industry, we help our industry getting to a higher level of safety. What three things would you take with you on a desert island? It would depend on the geographical position and topography of that desert island. If there would be a chance to survive, it would be a fishing rod, knife and a fuelled Zippo. Without a chance to survive, it would be a bottle of Oban single-malt, a guitar and cheap sunglasses. What is your most prized possession? My family! Where is your favourite place in the world? Any sandy beach with breaking waves and chance to go surfcasting.

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THE LEO FAMILY TRUE SOUND IN LINE ARRAYS.

The LEO Family provides power and clarity for nearly every application, from intimate performance spaces to the world’s largest outdoor festivals. LEOPARD, the smallest in the family, is gaining a following for being the most lightweight and versatile line array in its class. From small to midsize to large-scale, this family of line arrays has you covered.

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

Close Date

PUBLISTING Mondo February 2017 Creative: Believe IT - LEO Family

Contact: Elania Nanopoulos Phone: 510 486.1166 x115

Unit:

FP4C

Live:

210 x 310mm

Trim:

236 x 333mm

INK: 4/c

Bleed:

242 x 339mm

STOCK: magazine

Gutter:

n/a

PRODUCTION NOTES Keylines do not print

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THE SOUND OF THINGS TO COME

CDD-LIVE! brings everything rental companies, system integrators and musicians require from a self-powered loudspeaker into sharp focus. Combining the ‘point-source’ benefits of coaxial designs with the consistent coverage of Differential Dispersion technology, CDD-LIVE! projects sound evenly front-to-back while exhibiting wide horizontal coverage close to the speaker — delivering ultimate fidelity and impact to all corners of the audience. All at a price that makes commercial sense.

Dante™ is a trademark of Audinate Pty Ltd.

Visit martin-audio.com to discover more

Unite Your Audience The Martin Audio Experience

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