mondo*dr 29.1

NOVEMBER / DECEMBER 2018 | 29.1

THE INTERNATIONAL PUBLICATION FOR TECHNOLOGY IN ENTERTAINMENT

TOBY VELAZQUEZ

The ADJ Group President tells how he started in audio, but ended up in lighting.

THEME PARKS & ATTRACTIONS From amusement parks to interactive museums - and everything in between.

NOVEMBER / DECEMBER 2018

MIXING CONSOLES

The latest offerings of digital and analogue desks.

THE INTERNATIONAL PUBLICATION FOR TECHNOLOGY IN ENTERTAINMENT

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An ultra-low distortion 6" midrange driver It’s been a hectic couple of months here at mondo*dr HQ. We’ve now officially launched the mondo*dr Awards 2019 - for both EMEA & APAC and The Americas. Head to the website: www.mondodrawards.com to check out full details of the awards development. Entries are also open, so find your project to submit to be in with a chance of winning.

I travelled to Las Vegas last month, too. Quite unusual for me to fly west - the jetlag was a killer - but it was great to see the changes LDI has gone through since my last visit six years ago.

And good to connect with the American market

MONDO*DR 29.1 NOVEMBER / DECEMEBER 2018

in light of us launching mondo*dr Awards - The Americas in Orlando next year.

We still managed to find time to put an issue together, though! It’s jammed packed with so many different installations – it’ll keep you going all the way until Christmas! Have a good one, everyone.

RACHAEL ROGERSON-THORLEY EDITOR

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

ON THE COVER Scandic Airport Photo courtesy of Prolyte EDITOR Rachael Rogerson-Thorley r.rogerson-thorley@mondiale.co.uk CONTRIBUTING EDITOR Sam Hughes s.hughes@mondiale.co.uk DEPUTY EDITOR Emma Bilardi e.bilardi@mondiale.co.uk EDITORIAL INTERN Emma Davidson SALES DIRECTOR Jamie Dixon j.dixon@mondiale.co.uk

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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

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9 CONT ENTS

CONTENTS 14 IN DISCUSSION 16 INSIDE VIEW

IN DEPTH 22 INTERVIEW Toby Velazquez - ADJ Group

22

34 REPORT Theme Parks & Attractions

TOBY VELAZQUEZ From starting out as a 17-year-old through to becoming ADJ Group’s President - Toby discusses his incredible 30+ year career.

IN FOCUS 58 SCANDIC AIRPORT Helsinki 60 BONUS ARENA Hull 68 BLITZ Munich 76 JNCQUOI Lisbon 80 WESTFIELD London 84 KIEL OPERA Hamburg

94 THE CITY CANCUN The 7,000-capacity multi-level club puts on an impressive show with its new ADJ lighting system.

86 HILTON BAY Tel Aviv 88 YVES SAINT LAURENT SPRING SUMMER MEN’S FASHION SHOW Manhattan 90 ACADEMY Hollywood 94 THE CITY CANCUN Cancun 100 PHRARAJASATTA PAVILION Bangkok 102 MAX WATT’S SYDNEY Sydney 106 THE ROUNDHOUSE Sydney 112 LIVE ROXY Shizuoka

112

IN BUSINESS

LIVE ROXY Shizuoka’s go-to live music venue installs state-ofthe-art lighting and audio systems ahead of its grand opening.

118 SHOW PREVIEW: NAMM Anaheim 122 SHOWCASE EVENT infiLED 124 COMPANY ACQUISITION EAW acquired by RCF Group 126 NEW FACILITY Music & Lights 130 WORLD TOUR Novastar 132 INFOCOMM INDIA Mumbai 134 PROLIGHT + SOUND ME Dubai

138 LDI Our report from this year’s LDI show in Las Vegas.

www.mondodr.com

138 LDI Las Vegas 144 IN DETAIL Barco, LDR, Funktion-One, HOF 150 PRODUCT GUIDE Mixing Consoles 158 PRODUCT DIRECTORY 162 LAST PAGE INTERVIEW Dave Haydon - Out Board

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14 IN DISCUSSION

WORK PRO LIFTERS DYNSYS Stringent health and safety regulations can often be a subject for ridicule in the office workplace - but for Valencia-based WORK PRO LIFTERS, they’re no laughing matter, as Managing Director Juan Jose Vila explains…

As a manufacturer of stage and event technology, you can’t ignore the importance of health and safety. When you’re designing equipment that can raise weights far beyond the lifting ability of any human stage tech, you have to pay care and attention to manufacturing quality, loading tolerance regulations, and the design of suitable failsafe technologies in case things go wrong. If you don’t, people could get hurt.

Of course, these days, no-one is legally allowed to bring products to market unless they meet carefully defined safety standards, and this has massively reduced the scope for accidents in the workplace. But for manufacturers such as ourselves with an international customer base, the question we face is always: which standards do we design for? Our intention is always to sell into a variety of markets worldwide, which means safety certification is required for all of them.

We chose to tackle this issue head on, by improving the design of all of our stage lifters so that they met the most stringent standards there are anywhere in the world. Anyone in the lifters business with a working knowledge of selling in the European Union, and Germany in particular, will be familiar with the DIN 56950 standard. The first section of this multi-part safety standard for technology and machinery employed in the event and entertainment industry was published by the German National Standards Institute, or DIN, in 2012, and four further instalments have followed since.

Technically, the regulation applies only in products that will be used in Germany, but Germany is a very important market for us. Also, we took the general view that it’s better to conform to the strictest safety standards there are - then you know

• Above Juan Jose Vila, Managing Director of WORK PRO & WORK PRO LIFTERS. • Opposite left One of the forthcoming Dynsysequipped lifters in the WORK PRO LIFTERS range, the LW 265. This model also incorporates the WireDrive technology, which ensures the winch cable is safely wound or unwound from its drum each time the lifter is used.

you will almost certainly be able to sell your products everywhere else too. We were also future-proofing our products in developing markets; Health and Safety standards everywhere in the developed world have had an overwhelming tendency to become more stringent over time. By conforming to the tightest regulations, if other countries were to suddenly make their regulations more stringent, that change wouldn’t disqualify our products from sale, because our products would already meet the ‘gold standard’. That was our thinking as we developed Dynsys.

Dynsys is a patented safety feature developed to protect lifter operators by preventing top-loading (telescopic) and front-loading lifters working if they are in an overloaded state. One of the big changes to the DIN regulations on lifters was an increased burden on manufacturers to ensure lifters could not accidentally be used when overloaded.

In the past, it was effectively the duty of the lifter operator to check - if you had the strength to physically turn the winch handle on a lifter, there was nothing to stop you lifting the load you’d placed on it, whether that was safe or not.

We initially received conflicting advice from certification experts about what we needed to do to conform to the new DIN regulations. Some felt it would be sufficient to build in some means of warning the operator if his lifter was overloaded. Others felt that there should be some kind of system to completely block the operation of a lifter in an overloaded condition, so that the decision about whether to continue lifting would be taken out of an operator’s hands. In the end, we decided to take the ‘gold standard’ approach again, and have our www.mondodr.com

lifters incorporate technology that would both advise of an overload and also block potentially dangerous use.

Initially, Dynsys was based around the idea of limiting the torque that could be applied to the lifter’s winch handle, on the grounds that overloaded lifters would always require high levels of force to be applied to the handle to lift the dangerous load. But as we conducted research into our lifters in more detail, we decided to refine the safety technology.

We had used computer analysis to find the optimum sizes for our pullies in the past, and to ensure that our winching cables were manufactured well within the accepted tolerances for lifting, but we had not previously analysed or modelled the winch handle itself and its torque. We made some very interesting discoveries.

The relationship between the force applied to the winch handle and the elevation is not linear for a given load - it’s much more complex than we had realised. We realised that a torque limiter was not enough.

The latest version of the technology, Dynsys 1.2, incorporates torque limiting and elevation blocking. Put simply, Dynsys-equipped lifters will not raise loads at all if they exceed the lifter’s safety tolerances. The torque limiting is now the second line of defence - the winch handle stops working if the operator applies the force needed to lift a load whose weight is 20% over the permitted maximum.

The point of Dynsys is really all about raising awareness in the operator that there could be a problem. If your lifter won’t lift, you’ve probably overloaded it, and that will stop most people getting into a dangerous situation. Of course, you could potentially lighten the load on the lifter until it starts working again, and then put the original load back on... but

15 IN DISCUSSION

by now, the operator should know they are probably doing something that isn’t very sensible. And then, if they have to apply more than 150 Newtons of force to the winch handle, we have engineered it so that it will start to slip, and they won’t be able to raise their load any higher. They might get started, but they’ll soon see that the lifter is overloaded, have to lower it and think again.

Of course, with a torque-limited handle, the lifter will also stop working if it is suffering from other dangerous problems that would require excessive force to raise the load, such as crossed winch cables or damaged pullies. Lifters shouldn’t require a great deal of force to work - that’s the whole point of having them. If you’re having to really push something, that

should tell you that something must be wrong.

The first lifter from WORK PRO to feature Dynsys 1.2, the LW142, is already on the market, and eventually Dynsys will feature in all of the company’s lifters. What’s more, Dynsys wasn’t the only innovation we came up with to meet the DIN 56950 specifications. Our lifters now also have to pass stricter testing at a 5º angle to the horizontal. This increases the strain on their central structure, and necessitated a redesign to strengthen the lifter’s core, a structural innovation we call Dynamic Overlap. We also patented WireDrive, a means of ensuring that the lifter cable spools on and off the winch drum efficiently, without becoming crossed or tangled. Finally, the research undertaken www.mondodr.com

• Above right A close-up of a Dynsys equipped lifter showing the winch handle.

to develop Dynsys has brought us a much greater understanding of the physics of winching. This has led us to begin further refining the design of our handles, and these innovations will be appearing in our lifters in the future. You can see why we hold Health and Safety in such high regard here: as a direct result of wanting to meet stricter safety standards, we have greatly refined the design of our products. www.worklifters.com

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

16 INSIDE VIEW

Guardian Angel Cathedral Originally built in 1963, the Guardian Angel Cathedral is a stunning showcase of colour and architecture with a multitude of stained-glass mosaics created by world-renowned artists Isabel and Edith Piczek. Desiring an updated LED lighting system to more effectively illuminate their worship environment, the church worked with Just Lighting, Inc. and 4Wall Entertainment, which supplied Gallery and Spectra Cyc LED luminaires from Altman Lighting.

“Part of the challenge of this project was that they wanted to maintain the aesthetics of the historic building, originally designed to use a lot of daylight for the worship services.

We really had to focus on the right technology for the job, and the Altman fixtures gave us an extremely versatile and elegant lighting solution,” explained Barbara Brennan, 4Wall Senior Account Executive.

ALTMAN LIGHTING Founded over 65 years ago, Altman Lighting is one of the leading innovators of theatrical, architectural, film and video lighting today. Built on the philosophy of providing top-quality products at an affordable price, the company has created a family of luminaires that both enhance and illuminate any lighting environment with lighting solutions that range from incandescent to LED technology. www.altmanlighting.com

Thorbergssetur Culture Center and Heritage Museum Dedicated to the region’s rich history and the life and works of writer Thorbergur Thordarson, the Thorbergssetur Culture Center and Heritage Museum houses a unique, theatrical-style exhibition.

Wanting to install a completely new LED system, Luxor created an elegant, story-telling design using Gallery LED and PHX 150W LED profile luminaires from Altman Lighting.

“In a project to replace the outdated 12-year old system with a modern LED lighting scheme, the museum wanted to emphasise the many scenes and rooms of the exhibition with naturalistic, accent lighting. Both Altman lighting solutions were very easy to work with, and the museum is extremely happy with their new exhibition lighting design that will last for many years to come,” said Alfreð Sturla Böðvarsson, Lighting Designer, Luxor.

Abottsleigh School Established in 1885, Abbotsleigh is an independent boarding school focussed on empowering their students to be courageous, constructive and compassionate.

Needing an upgrade to their concert and assembly hall lighting systems, the school worked with Barbizon Lighting Company Australia to renovate their concert and assembly hall using PHX LED profile ellipsoidal, Spectra Cyc LED cyclorama, and Chalice LED downlight technology solutions from Altman Lighting.

“The overall scope of the project involved upgrading all the fixtures to LED and updating the associated control systems as well. Stage one was comprised of installing Altman PHX 250W LED profiles in a few front-of-house positions, along with Spectra Cyc 100 LED fixtures installed in the main assembly hall and the concert hall. Stage two was then replacing the existing house and work lighting fixtures in the concert hall with Altman Chalice LED downlights,” Paul Lewis, Systems Sales Director, Barbizon Lighting Company Australia. www.mondodr.com

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IN DEPTH

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INTERVIEW TOBY VELAZQUEZ ADJ

REPORT THEME PARKS & ATTRACTIONS

Becoming the head of a company usually happens one of two ways - either an individual is employed for their skillset, often joining the team from a different industry, or someone works their way through the ranks over a number of years, gaining the experience and knowledge it takes to be a President or CEO. For Toby Velazquez, President of ADJ Group, it was the latter. Having been in the company since day dot, Rachael Rogerson-Thorley got the lowdown on the man behind one the industry’s major players.

24 INT ERVIEW

For a company that is just shy of celebrating its 35th anniversary, it’ll come as no surprise that - having not only survived in a highly competitive market, but also paved the way, innovated and succeeded - ADJ Company looks rather different today than it did in 1985.

However, two of the three originals still remain at the helm.

ADJ Group, headquarted in Los Angeles, USA was founded by Chuck Davies with the help of his brother, Scott and began life supplying lighting solutions for mobile entertainers. At the time of celebrating its 30th anniversary, current Chairman, Chuck, said: “It’s been an incredible journey; from our humble beginnings growing out of my hi-fi store business in the early ‘80s, through various technological innovations, to our position now with a host of respected brands and offices on five continents. At the heart of our success over the years has been our people - many of whom have a background as DJs, performers or lighting designers and therefore really know about what our users need.

Everyone at ADJ shares a passion for what we do, and I think that our customers appreciate that.”

And it was in that very hi-fi store that Chuck took on 17-year-old Toby

Velazquez. But something neither of them knew at the time was that, 28 years later, Toby would become President of ADJ Group - that is what you call a loyal and committed employee. There is a strong bond between the pair. Chuck’s brother Scott also worked in the company for a number of years before flying the nest to take on his next challenge, looking after a new brand, Arriba Cases.

But back to Toby and his love for the entertainment industry, which funnily enough, began in audio rather than lighting, and started when he was just a 12-year-old. Growing up in LA in a family of nine siblings, Toby lived with his five brothers and three sisters along with his parents - who are originally from Mexico - in a cosy house, fighting for space. Toby and his siblings attended the local public school, but even before finishing his studies, he entered the world of work, thanks to his older brother.

Toby remembered: “We started a DJ business doing events, weddings, private parties and school functions. We went on to do some production work, setups for entertainers and I started playing in nightclubs, too. I became really passionate about music and watching people dance. It made me feel great, seeing that I could get people to dance www.mondodr.com

• Above Toby with ADJ Group founder, Chuck Davies in 2012.

and enjoy themselves - it really inspired me.”

This happened over a period of a few years; at 12, his interest was peaked, by 14, he was playing his first high school dance and, by the time he was 16, he was playing in the over 21s clubs in Hollywood. “It was funny because I had to stay inside the DJ booths due to my age. One of the first questions I had was, ‘what if I wanted to go to the bathroom?’

You had to walk through the club to get to it. The answer? I had to go straight there and straight back!”

Continuing in the clubs, as well as other production jobs with his brother, Toby also dabbled in club promotion, and for a period that’s where he thought his future lay - in the music business. Since finishing high school, though, Toby had gone onto study fashion design and was working in a retail store - a slight curve ball, but, at the same time, illustrating that he had many strings to his bow and it was during that time that he met Chuck.

It’s not difficult to imagine how the younger Toby and Chuck first got along.

Both genuine, committed, hard-working characters who would eventually strive for the same goal. Chuck had aspirations of starting up a hi-fi business, so it made

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26 INT ERVIEW

perfect sense to join forces, since Toby had a significant amount of experience in that market for his age. Toby began working for Chuck at the age or 17, and he’s never really looked back. The rest, as they say, is history - the career in fashion design definitely was!

“When I first started working for Chuck, I pitched in with everything. I unloaded containers, I made custom wood boxes, worked in the service department anything that needed doing. I put labels on boxes for UPS, worked in the retail store, as well selling the equipment,” Toby explained. “It wasn’t boring, that’s for sure. It was within a couple of miles from where I grew up, too.”

This was the early to mid ‘80s and what was essentially the launching platform for ADJ Group. Turning their back on hi-fi and audio - for now at least - Chuck setup ADJ Group and lighting brand ADJ with the help of brother Scott and Toby. Then, ADJ focussed primarily on

providing the mobile DJ and entertainers with lighting solutions. There was a lot of customer crossover from the audio / hi-fi side, as many were one-man-bands that turned their hands to all aspects of DJ performance. Chuck had spotted a gap in the market for DJ lighting, pursued it, and boy did it pay off.

Early products from the ADJ range included a mushroom-shaped light, the Hyper Gem and the Vertigo - the latter still exists today, although in a much more advanced version. For Toby, making the transition from DJ and music into lighting stemmed from the day-to-day ADJ operations early on. “We were doing a lot of final assembly and modifications, which allowed me to learn, and I started reading about it, too. I was involved and I was in the middle of it all, so it really grew to be a passion of mine. I learned that lighting was fun, too, I was able to feel the same way about it as I did about music. I was helping to create products www.mondodr.com

that people loved and wanted to buy, who were using them to entertain their own crowds. I was in the same world, just another perspective,” Toby recalled.

It wasn’t long before the company needed to expand, as it quickly built a solid reputation, offering something that others weren’t at the time. During its time of growth, and indeed as the years passed, Toby worked in the warehouse, in the service and logistics departments, R&D, sales, before becoming Director and then President in 2013. Chuck said at the time of the appointment: “Toby has been a key part of our company from its earliest days. He’s demonstrated extraordinary talent and leadership qualities in every job he’s done, and his passion for excellence is second to none.

Based on his abilities and track record, I’m extremely confident that he’s the right person to lead ADJ, Elation and Acclaim Lighting into the future.”

Today, Toby estimates there are 300

•Above The opening of the Mexico office.

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28 INT ERVIEW

• Above Toby in the showroom, which houses products from all the ADJ Group brands.

employees at ADJ Group spread across HQ and the other offices worldwide - a second US one in Miami, one in The Netherlands, one in China and the newest office to open, in Mexico. “When Toby contacted me about developing an operation facility and offices in Mexico, I was very excited because I could offer my experience in the business, and with the ADJ Group we could make this a great success,” expressed Abraham Levit, General Manager of ADJ Mexico.

“Working with Toby and the ADJ Team has been very rewarding because we all listen to each other’s ideas. You can feel Toby’s passion for success, and it has become my passion for success too.”

In line with the company’s growth on the back of a successful business model in the right market, ADJ Group saw the opportunity to expand, and in 2018 has five independent brands housed under the group umbrella. Toby continued: “With ADJ we were really focussed on the DJ market, but we got to a certain point and realised there were more opportunities in other areas. The original idea was to offer a different level of professional DJ products, but we quickly

realised that the products were too similar. We identified there was a bigger market opportunity - the professional market - and with that Elation was born.

“We started to separate the two companies. Initially, we had people multitasking, working in sales for both at the same time, but we really wanted the focus on having the two separate brands.

In between, we also started the truss company - today known as Global Truss America/DuraTruss - selling to the same customers. I think one of the biggest reasons that motivated us to get into these markets was due to nobody doing any of it very well at that time. We had a great team of people, all eager to learn, all eager to do more, and I think that’s why it was easy for us, to go into these different segments of the market.”

Elation today headed up by Sales Director, Eric Loader, who had left ADJ to join Martin Professional and returned to bring great success for both the company and his own career.

He said: “I have known Toby for 30 years and we have worked together now for a combined 17 of those years.

Toby’s leadership and dedication to the www.mondodr.com

company’s success is tremendous, but more than anything he really works hard to make every employee feel like a member of the family. We share the same passion for the industry and drive to keep on growing, which is what we have done every year we have worked together.”

Acclaim Lighting emerged shortly after Elation, and is now a 15-years old company. Toby continued to reminisce: “That started with some friends, in fact, a friend of mine from Hong Kong, who was working in the architectural side.

We saw an opportunity there and started to focus on architectural. It was a long road and took a lot of learning because it’s quite different to the DJ business.

The sales process, customer base is very different, so it really helped us grow in those other segments too, because we had to become a better company to serve those architectural business needs.”

To complete the portfolio, ADJ Group added Avante Audio last year. Toby said at the time of launch: “Avante Audio is a project that our team has been working hard on for some time, and I am excited to now be able to unveil it to the industry.

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23/10/2017 10:11

30 INT ERVIEW

“I think we have great, amazing people. Maybe it’s because you can say to some degree, I grew up with them and they’re like family, and I suppose your always a little bias about your family, right? So, for me that’s the number one thing.”

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Toby outlined that Avante follows the same philosophy as the other brands, and the idea to begin the professional audio brand was based around the increased professionalism he and Chuck were seeing surrounding the other market sectors. This made it a natural step. Toby said they were also keen not to become a DJ stereotype, wanting to show the industry that they could produce both high quality DJ and professional products from the world of lighting, audio and trussing.

Although each operates as an individual entity, Toby explained there are some resources that go across the board. He said: “The buying power is shared between the group. It makes things easier because www.mondodr.com

we share the key resources of parts, we all know the suppliers and the contract manufacturers. We’ve helped them grow from small companies to quite large companies, so we’ve managed to gain a lot of good partnerships over the years. We also share resources with knowledge, day-to-day office duties such as invoicing, warehouse packing and the biggest of all - logistics.”

Having been in the company for the majority of his adult life, Toby has obviously grown with the business, as a person and has witnessed challenges along the way, riding the highs and the lows. Asked what makes ADJ different, Toby simply answered: “The people.” He added: “I think we have great, amazing people. Maybe it’s because you can say to some degree, I grew up with them and they’re like family, and I suppose your always a little bias about your family, right?

So, for me, that’s the number one thing. I’ve been here 25 years, Chuck is still here, a lot of people in the office and sales department have been here over 20 years, so we have a really mature group of people and we’ve been together a long time. We’re paving the

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32 INT ERVIEW

“I’m a big believer that nobody has a big genius idea on their own, we have good and smart competitors, so we have to stay ahead of the game.

We have to do it faster than everyone else… it’s all about timing.”

way for the next step.”

Someone who has long been part of the family is Marketing Director, Brian Dowdle. He described his relationship with Toby: “I have known Toby nearly 25 years! When I came on board with the company, Toby was the US Sales Manager. He was a natural, charismatic leader. He has always had a passion not just about growing the company, but also for product development and pushing the boundaries of entertainment lighting technology.”

In terms of paving the way for the next generation, ADJ Group is looking to setup internship programmes in the not too distant future. Product wise, this year’s LDI show in Las Vegas demonstrated the roadmap with the unveiling of IP rated intelligent lights from both ADJ - the Hydro Beam X1 and Hydro Beam X2 - and Elation’s Proteus RAYZOR 760 and the Proteus Smarty Hybrid. “Pushing the technology is a must,” said Toby. “I’m a big believer

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that nobody has a big genius idea on their own, we have good and smart competitors, so we have to stay ahead of the game. We have to do it faster than everyone else… it’s all about timing.”

On a personal level, the future does include family already, with Toby’s son, Anthony already working for Elation. He and his wife are about to celebrate their 20th wedding anniversary, and together they have three daughters, too - 17, 15 and 12 all still in school - the latter, Toby said also wants to work for the company.

“But only so she can be my son’s boss,” he laughed. Family time is important to Toby, it’s abundantly obvious he is a family man the minute he’s asked the question. Despite travelling too many days a year to count - what’s new in this industry - he said family meal times are special. That is, providing his can convince his children to dine out with him, referring to them as ‘home bodies’… but he wouldn’t have it any other way.

34 R EP ORT: T H EME PARKS & AT T RACT IONS

THEME PARKS & ATTRACTIONS

AUD ITORIU M CON C I LI A ZO N E COMPANY: MOVECAT LOCATION: VATICAN CITY, ITALY

In collaboration with the scientific advisors of the Vatican Museums and realised by Artainment Worldwide Shows, Giudizio Universale (It. Last Judgement) tells the story of Michelangelo’s masterpiece: the Sistine Chapel. An immersive voyage into the Sistine Chapel, conceived and directed by Marco Balich, that combines theatre, technology, music and special effects. One would be tempted to call it a show were the Sistine Chapel not the traditional setting for the Conclave (the election of the new Pope) and bedecked with some of the world’s most famous frescos – as well, of course, as being one of the Vatican’s principal tourist attractions.

The aim of Giudizio Universale is to allow visitors to immerse themselves fully in the marvels of the historical venue and discover its history and secrets.

The sole protagonist of the piece is the Sistine Chapel

itself - visitors are guided through the history of the creation of Michelangelo’s masterpiece, from the granting by Pope Julius II of the commission for the frescos adorning the vault, to the realisation of The Last Judgement on the wall behind the altar, this is followed by a reenactment of a papal election. The 60-minute production ends with The Last Judgement being brought to life around the audience. Balich uses scenery and installations as well as 270º projections to tell the story, which is accompanied by an ambitious soundtrack in the production of which Marco collaborated with top artists such as Sting.

The project also received vigorous support from Germany, acting on behalf of Marco Balich and the Vatican, Giandomenico Barbon, the Technical Director of Creative System, opted for a kinetic system from www.mondodr.com

Movecat. Movecat Italy stepped in at short notice to partner the project and succeeded in assuring its timely execution despite the tight schedule and the diverse technical challenges. Among the objects to be moved and positioned were scenery, turntables and walls. Part of the challenge involved the integration of third-party products and encoders into the Movecat system.

To control the system, Giandomenico chose the new Movecat Expert-T III system controller in conjunction with the Movecat I-Motion NMB-14 network master box. Among the other components used were Movecat V-Motion-30-E-SIL 3 and V-Motion-40-E-SIL3 variable motion powerpacks and Movecat CB-PMC-HVP-C connector boxes, which were used to establish the connections to the external devices. The entire process of installing, adapting, configuring and commissioning

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the system was accomplished in Rome within 12 days under the direction of Jonathan Kruschel and Oliver Nachbauer from Movecat, whilst, to prepare them for the task ahead, the operators were trained to Super User Level at the Movecat Academy on the company’s premises in Nufringen.

The project Giudizio Universale: Michelangelo and the Secrets of the Sistine Chapel is Artainment’s first production. The company, part of the Worldwide Shows Corporation (wscorp.com), was founded specially for productions of this kind: “Having worked on numerous Olympic ceremonies all over the world and ephemeral productions of that kind, I am proud to have created in Giudizio Universale a long-term pro-

duction and one that meets the strict academic requirements imposed by the Vatican Museums,” stated Marco.

The client is delighted by the new attraction: “The Vatican Museums are forever negotiating a fraught path between tradition and innovation, in search of the perfect synthesis of the two extremes,” explained Barbara Jatta, Director of the Vatican Museums. “This is essential to the proper functioning of an institution that welcomes more than six million visitors a year and is willing to embrace new forms of communication. It is in this context that the collaboration between the Vatican Museums and Artainment must be seen and judged.” www.movecat.de www.mondodr.com

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36 R EP ORT: T H EME PARKS & AT T RACT IONS

007 E LEM E N TS COMPANY: KRAFTWERK LOCATION: SÖLDEN, AUSTRIA

Austria gained a unique James Bond experience with the opening of 007 Elements on the Gaislachkogl in Sölden. Audio Visual System integrator, Kraftwerk Living Technologies from Wels, Austria was responsible for the planning and installation of the complex technical solutions of this unique and international cinematic installation.

The installation opened this year, the walk through visitor experience towers at 3,040 metres on the Gaislachkogl, one of the most iconic filming locations from Spectre, the cinematic attraction is a partnership between EON Productions, Metro Goldwyn Mayer (MGM) and Bergbahnen Sölden.

The collaboration between the project’s Creative Director, Neal Callow (Art Director on Casino Royale, Quantum of Solace, Skyfall and Spectre), Optimist Inc.’s Head of Design, Tino Schaedler and his team with Tyrolean architect Johann Obermoser has

resulted in an immersive, interactive and educational experience that places visitors inside the world of 007 while revealing how that world is made.

Like a Bond villain’s secret hiding place, 007 Elements is built on the Gaislachkogl Mountain and extends over two floors, totaling 1,300 sq metres. The visitor journeys through a series of galleries, each distilling the craft of the signature elements that define a James Bond film. While the focus is on Spectre, the other official 23 titles in the franchise are featured - realised with highly modern and smart technological solutions. “By using the right technology, we can bring content, stories and scenes to life and intensify the audience’s experience. With 007 Elements, the entire team has managed to create a spectacular, immersive spatial experience that feels like a walk-in movie and is an absolute highlight for Austria,” said Werner Spiegel, Director of Project Implementation and Service.

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A particular challenge for the Audio Visual experts from Austria were the conditions at 3,040 metres above sea level, which brought not only the team but also the technology to its limits. For the hardware, which is exposed to extremely cold temperatures because the building is not heated so as not to affect the permafrost it is built on, special air conditioning housings had to be developed. These housings guarantee the functioning of the hardware even with only a few degrees Celsius above zero. Werner Spiegel added: “The entire team on site - from the visionary client and the creative leads to the installation team did a great job despite challenging conditions so that this project could be completed in time for the summer season.”

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X CA R E T M E XI CO COMPANY: ALLEN & HEATH LOCATION: PLAYA DEL CARMEN, MEXICO Xcaret México, a resort and amusement park handling 10,000 guests per day in peak season, has upgraded its hotel entertainment venue, The Teatro del Rio, with an Allen & Heath dLive system.

Due to the layout and distance between the stage and FOH, any Cat5 run was impractical. As such, the installation included two dLive DM48 MixRacks, one positioned under the stage and the second in a control room at FOH. Supplied by Representaciones de Audio, the MixRacks are further equipped with Dante cards and connected over two underground fibre-optic links. dLive’s powerful scene management system enables rapid, complex changes on stage, while all signals are then processed and mixed locally with matrix outputs sent over Dante to the DM48 at FOH, where they are patched to a speaker processor.

Sound Engineer, Diego Andrade commented: “dLive is a complete and powerful mixing tool for both studio and live sound. It’s user-friendly but at the same time can be configured to the smallest detail, to handle the most demanding shows.

With the Dante option card, the system can grow and complement itself. It’s definitely a high-end system that guarantees the complete satisfaction of users and listeners alike.”

Additionally, the control centre consists of three IP8 remote controllers and a touch-enabled computer running dLive Director, all connected through a PoE Ethernet switch. The strip layout on the IP8 controllers follows the scene automation, always presenting relevant faders to the operator.

The Head of Audio at Xcaret México, Eduardo Urbina, added: “Excellent sound, practicality, intuitiveness and versatility are some of the amazing qualities this mixing system offers, which caters for the specific needs of running our show at the Hotel Xcaret México.” www.allen-heath.com

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38 R EP ORT: T H EME PARKS & AT T RACT IONS

M AS K I I COMPANY: DISGUISE LOCATION: LONDON, UK

Inside the Great Arch Hall, deep within London’s Somerset House, sits an exciting, primeval, projection-mapped sculpture that challenges its viewers to reconsider their environmental surroundings and, in many ways, their very being.

MASK was originally a co-commission by Somerset House and the popular four-day international photography exhibition, PhotoLondon. However, the sculpture proved so engaging that Somerset House extended its exhibition run to five months. The London Design Biennale has now commissioned MASK II and Devlin has re-envisioned the work, creating a new projection film in response to the London Design Biennale theme: Emotional States.

MASK II takes the form of a 3D aerial-view facsimile of central London, wrapped into a concave ovoid, divided down the centre by the River Thames. The mesmerising piece is underpinned by a perennial loop of thought provoking, distorted projections that seamlessly mould themselves to the contours of the sculpture, constantly transforming the viewer’s perception. Throughout the day the film plays on a loop and with each revolution the layers are further excavated.

Devlin described the concept: “MASK II is an ovoid, mask-shaped concave form, sculpturally imprinted with dense urban geometry. A river divides the map - a mirror-distorted image of a human brain. A film is superimposed on the sculpture, transforming it into a distorting mirror, sometimes glass, sometimes diffusing treacherously into water. A reflected face tries repeatedly to find itself, to define itself, working its way through a series of masks and states - emotional, geographical and geometrical.

“The aim is to challenge people’s perspectives on their surroundings and recreate the correlation between city and emotion,” added Devlin. “I’ve been working with film overlaid onto sculptural surfaces for some time. It is an interesting means of altering the viewer’s terms of engagement with the piece. We view sculpture in a different ‘mode’ to the way we watch films, and I find this overlay of viewing registers intriguing.”

MASK II’s video mapping is powered by the latest product from disguise, the solo media server - a powerful new rack-mount machine that features the same design, se-

quencing and playback power and performance features as disguise’s larger range of professional media servers.

For MASK and MASK II Devlin worked closely with regular long-term collaborator Luke Halls and his co-director Charli Davis, at multi-disciplinary moving image design studio, Luke Halls Studio, to create the video content. Halls, whose portfolio includes the Metropolitan Opera, the National Theatre and Pet Shop Boys, is a keen long-term user of disguise products, choosing to apply the technology across a range of genres including theatre, dance, opera, concert touring and installation.

“Every piece of technology we choose to use has to tangibly and positively impact on our storytelling,” Halls says.

“I prefer to strip tech back unless it serves a real purpose.

With disguise, it’s not just useful for the final technical delivery of a project, but from the very beginnings of an idea. We use it to develop the idea alongside Es. We could very quickly demonstrate what something would look like, create sequences and then fine-tune in our own time.”

Luke says the process of building the layers of the project was demanding: “It’s all very tactile, very creative,” . “We wanted to achieve a raw quality, but at the same time ensure the idea was delivered clearly. It’s a challenge to balance something that looks artistic yet is purposeful and made for the actual sculpture. Es’s videoed hands had to be at perfect scale and move in exactly the right place inside of the sculpture itself. This was one of our biggest challenges. The hands have to appear to remove the various layers as if they are truly part of the 3D sculptural space, so the mapped video and sculpture have to be perfectly aligned.”

“The disguise system has been at the core of all the projection mapped work I have been doing over the past decade: in opera, theatre, concerts and art works,” stated Devlin. “As far as I know, it’s the most advanced system for precisely aligning digital media over three-dimensional surfaces. We also use it to pre-visualise the work, so that I can compose the films with Luke Halls Studio and understand how they will appear in relation to the sculptural surfaces. Parts of the film are conceived to work in very precise relation to the sculpture and other parts are more fluidly overlaid. I would not have included the most precise alignments had I not been certain that www.mondodr.com

I could achieve exact line-up - which is only possible in my experience with the disguise system.”

Halls says that disguise’s creative sequencing is also one of the biggest deciding factors for its use: “We’ll often scope out the framework of a story within disguise. It offers so much creative control in the timeline and we can make fast changes in real time. I love the fact that I can make something, edit it quickly, throw it back out, distort it and change things quickly inside the server then fine tune it later, using other specialist design software.

In theatre this enables me to deeply embed the video and projection into the productions I work on during rehearsals. I have to confess I use disguise on absolutely every project I work on, and, to be honest, I’m a bit lost when I don’t have it!”

For Luke’s co-director, Charli Davis, the solo is a natural progression from the disguise 2x2plus. “It can be used as a stand-alone solution, to design, sequence and play back shows, or as a master in a larger network with pro and gx range machines,” she explained. “In theatre and performance, disguise allows us to embed the projection mapping into the story early in the rehearsal process, making it an integral element in the production from the get go.”

Adding further to its suitability for this project were solo’s compact size and timer capabilities. solo is secreted in a small cupboard in the exhibition space and activates itself at 9am and deactivates at 6pm every day.

In addition, for easy synchronisation, MASK II’s immersive audio, created by res.lab, is also run through the solo server, making it the hub for the entire project.

The success of the project is in the fact that the physical sculpture and the video mapped content of the artwork seem naturally interwoven. As the video reverts back to its beginning, London is stripped back to its bare bones.

Where it was besieged by colour and texture, the urban London now feels atavistic and primordial. The exploration of Devlin’s hands through each layer is like an excavation. The message conveyed most strongly seems to be that there is so much beneath the surface. MASK II invites the viewer to challenge the fixed map in their mind and explore their potentially fluid relationship with the city and the environment. www.disguise.one

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40 R EP ORT: T H EME PARKS & AT T RACT IONS

FA BRICS AN D T H E M E PA R KS COMPANY: SHOWTEX LOCATION: WORLDWIDE

The art of theme park design is not just about thrills and chills, it’s about telling a story, setting a mood and making visitors forget reality from the moment they enter that magical world.

As more amusement parks realise the importance of fabrics, they experiment with different materials, combine them with light and projection, or set them in motion to create the most surprising effects. Belgium’s Plopsa Group, the leading theme parks in Dubai, the award-winning Efteling, Puy du Fou, Disneyland Shanghai, Ferrari World - all sought advice from ShowTex; a specialist with over 35 years of experience in producing and installing these flame-retardant fabrics, rails and motion control systems in theme parks, theatres and events around the world.

Textile decors are often a welcome alternative to large and heavy props or complicated woodwork.

Versatile and flexible drapes can technically

furnish a venue in terms of light masking and acoustics, but they can also create magic and transform an empty box into a dreamy and sensational location.

A great way to personalise any theme park concept is digital textile printing - high-resolution backdrops, indoor and outdoor signage, stretch fabrics, theatrical scrims, vinyl stage floors, projection screens, or very specific materials such as velvet and satin can all be printed with custom-designed artwork. Mount the flexible decorations in aluminium profiles to turn them into stunning freestanding structures and add light or motion to make them stand out even more - a simple yet effective way to make a bold statement.

Besides the more traditional PVC screens, textile projection surfaces are also an excellent tool to bring creative concepts to life. Video www.mondodr.com

designers are exploring their options and look far beyond the traditional screens to realise their ideas, stretch fabrics, sheers and scrims are truly versatile and perfect for creating 3D projection shapes, special effect screens or light diffusers.

Currently at the forefront of the transparent projection technology is the ShowTex PepperScrim, which allows stunning hologram effects - there is nothing more impressive than an image that suddenly appears out of thin air.

Fooling an audience with puzzling reflections doesn’t have to be unworkable, there is a lightweight alternative to conventional mirror panels that can create ditto special effects. Glassless mirror foils are extremely versatile and a lot more convenient to set up with fewer people. By playing with light on and behind the reflective surface, the line between reality and reflection will fade, challenging spectators to explore the

limits of what they think is real.

Theme parks also love to use LED curtains as a starry sky backdrop, colourful venue masking, twinkling tunnel or even as a lightweight video wall. The LEDs are easily combined with prints or integrated into any set design, for custom and unique applications. They offer truly limitless design options and can even be used for outdoor attractions.

By combining all these textile solutions with a

set of drapery hardware, the unique effect will be complete. From the Kabuki Drop to DMX-controlled curtain tracks and the fastest rollup system around; adding an element of surprise is key for creating theme park magic.

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42 R EP ORT: T H EME PARKS & AT T RACT IONS

D OLLYWOOD COMPANY: ELATION LOCATION: TENNESSEE, USA

Besides having Dolly Parton, one of country music’s most iconic personalities as a co-owner, Dollywood in Pigeon Forge Tennessee is a well-chosen mix of traditional thrill rides and entertainment that attracts almost three million guests a year.

Every autumn, Dollywood holds a popular Harvest Festival and, this year, offers a family-friendly, halloween centric addition to the event. Great Pumpkin LuminNights is an outdoor installation of thousands of illuminated jack-o-lanterns, artistic sculptures, playful scenes, pumpkin-themed food and entertainment.

Since lighting would play a vital role in the evening event, Elation Professional dealer StudioVibrant of Lexington, Kentucky, was asked to join the design team from the initial conceptual discussions. “Early in the process, I determined that a theatrical approach to illuminating the show sets was important,” stated Matt Cooper, Principle Lighting Designer at StudioVibrant, who was key in specifying both Elation and Acclaim Lighting on the project. “Most pumpkin events we researched tended toward interior illumination

and negative space, but focusing on only interior illumination misses the opportunity to highlight the form of a pumpkin. It became clear that sidelight, uplight and washing exterior of the show sets would be critical not only in setting LumiNights apart from other events, but in conveying Dolywood’s unique identity and history.”

As conversations evolved, it became apparent to Cooper that the area of the park designated for the event contained several permanent structures that were rich with opportunity for illumination.

The project focused on both supporting temporary show-specific sets (a giant pumpkin spider, among others), as illuminating several permanent elements, specifically two roller coasters, the two roller coasters, the park’s 250ft tall drop line tower ride and several themed structures.

“Because of Dollywood’s tradition of live shows and a polished theatrical presentation, I was very sensitive to the need for a strong colour mixing system to reproduce the amber and pastel tones that are central to the parks palette,” said Matt, explaining that for building wash duties he selected the Elation SixPar 300, an LED PAR light with

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six-colour LED chip, including UV. “The colour mixing system was advantageous for washing the Mystery Mine building and the dedicated UV element was critical in rendering the eerie tone of the structure and related show sets.”

Each jack-o-lantern within the show sets contain individual pixel-mapped RGB diodes and each decorative set vignette receives a wash treatment to highlight the scale of the set and communicate the unique form of a pumpkin to guests. “We used a combination of SixPar 100, SixPar 200 and SixBar 1000 IP fixtures for exterior wash,” Matt said.

“Often times leaning heavily on the the colour mixing capacity of the SixPar series for contrasting sidelight to accentuate the forms and translate the playful, fun, upneat tone of the event.” Additionally, SixPar 200’s with custom top hats were used to help wash the tree canopy and uplight specific themed characters.

Lighting from Elations sister company, Acclaim Lighting, also played a key role as Acclaim DynaDrum HO fixtures took a prominent role in illuminating permanent structures. An array of 16 DynaDrums illuminated the Thunderhead wood-

en roller coaster while six DynaDrums illuminated the Drop Line structure. “The integrated Aria wireless DMX transceiver was a huge asset in facilitating placement pf the fixtures within ride enclosures and landscaping where hardwired solutions would have been impractical,” the lighting designer explained: “I also appreciated the capability to swap filters to vary beam angle which helped our team dial in focus and coverage in the field. The sheer output of the DynaDrum is also very impressive and the illuminated Drop Line tower is now visible from Dollywood’s main parking lot. The output capacity for the dollar is nothing short of impressive.”

To facilitate control of both the fixtures on the temporary show sets and fixtures associated with permanent structures, the StudioVibrant developed and deployed an extensive control network. Over 40 universes of sACN form the backbone

of the control solution including three discrete universes via Aria wireless transmitters. Transmitters were fed from sACN nodes with antennas placed in inconspicuous locations on existing structures. Cooper calls the Aria solution an asset, specifically when coupled with recievers integrated in fixtures.

Product support on the project was provided by Elation manufacturer rep firm Five Lakes Marketing, who Matt was more than happy to work with. “Ed Cheeseman at Five Lakes was instrumental in the process, aiding us in securing demo fixtures for on-site evaluation with the design team and in coordinating arrival times of a great deal of equipment with a non-negotiable opening date,” he said, adding that Dollywood was a tremendous partner to work with.

“Their team is world class, dedicated and tenacious.” www.elationlighting.eu

44 R E P ORT: T H EME PARKS & AT T RACT IONS

PA R C AST E R I X COMPANY: PR LIGHTING LOCATION: PARIS, FRANCE

For the spectacular summer lightshow at Parc Asterix, the popular Paris theme park, technical providers, SBB, a subsidiary of S Group, selected the new AQUA IP65 range from PR Lighting, deploying 14 AQUA 480 BWS heads to animate the show, taking full advantage of the fixture’s combined beam, wash and spot modes.

These were used by Lighting Designer / Programmer Stéphane ‘Winnie’ Saint-Criq, assisted by Boris Jacob, under the direction of Jean Eric Ougier.

Chambéry based SBB had designed a Druid theme this year - each druid dressed to the different meteorological conditions. “We created different atmospheres using a variety of colours, textures and gobos, for each druid,” explained Cyril Prat, Technical Director of lighting supply company Freevox.

This held audiences gathered round Lake Chailly in the middle of Parc Asterix completely transfixed.

M. Prat added that SBB had been seeking an advanced solution to a technical problem - namely, high brightness and speed of execution in a moving head without constantly needing to take the rain covers on and off. “SBB was looking for a reliable fixture that would run without incident for the

duration of the shows and adapt to the extreme outdoor situations. This meant high temperatures in the day, ranging from cool to very humid at night - bearing in mind that the show was also accompanied by pyrotechnics, fountain effects and two walls of water!”

But he added that SBB only adopted the PR Lighting luminaires after consultation with several other manufacturers. “The AQUA 480 BWS simply came out on top of the others,” they confirmed.

The fixture itself was designed to provide three features in one. It has adopted PR patented technology, combining advanced 480W lamp with superb optics.

Under the management of Yannick Abadie and Sylvain Roos, SBB designed two different shows for visitors - an 18-minute presentation every Saturday and a 10-minute daily show. “We left the PR Lighting fixtures on permanently but still managed to avoid any technical problems. The AQUA held up extremely well and we experienced no faults whatsoever.”

Commenting on the AQUA 480 BWS, Stéphane Saint-Criq said: “I really liked these devices for www.mondodr.com

several reasons. The AQUA is powerful when you consider its compact size, and despite its weight the movement is extremely fast. In fact, I was very surprised at how responsive it was, and as for the colours, they are extremely beautiful, demonstrating the marvel of a three-colour mix.

“One can also have a lot of fun with the volumetric gobos, making it possible to dress an environment with the different textures. Finally, I was impressed by the zoom.

“The AQUA opens up a lot of possibilities, and is able to deliver a beautiful beam to rival a spike.”

Cyril Prat confirmed that he received much positive feedback about the AQUA 480 BWS, both during and after the spectacular finished. “The AQUA took on the challenge and won hands down - not only from the artistic aspect of the variation of light beams, but also the technical aspect.

“Overall, this proved to be a very reliable product, operating in the worst conditions outside,” he concluded. www.pr-lighting.com

46 R E P ORT: T H EME PARKS & AT T RACT IONS

VOLETA R I U M F LYI N G THE ATR E COMPANY: VECTORWORKS LOCATION: EUROPA PARK, GERMANY

connectCAD sat down with Hannes Reisinger, Audio Visual Systems Engineer for Kraftwerk Living Technologies. Headquartered in Wels, Austria, Kraftwerk Living Technologies uses Vectorworks with connectCAD to design its Audio Visual projects, and Hannes shared why he has chosen this combination of software, “connectCAD for Vectorworks is used for the majority of our projects. We’re not only using it for Simple Line Diagrams and Rack Layouts, but [we] also extensively rely on its database functionality. For example, in one of our recent projects, the Voletarium Flying Theatre at Europa-Park in Germany, there’s one very specialised and handy workflow we used during the design process, The Voletarium.”

The Voletarium consists of two identical Flying Theatres. After designing the first one, Kraftwerk used the Search-And-Replace function over the Device Report, so the process of designing the second one was simplified quite substantially. “Overall, con-

nectCAD’s handy tools allow us to adapt parts when attractions are similar and leave us with enough flexibility for designing projects and attraction-specific details and requirements,” said Hannes.

Before choosing to switch to connectCAD, Kraftwerk were looking for flexibility and speed, customisability (from a functional as well as an aesthetic point of view) Cross-platform and cross-language without limitations.

“Thanks to connectCAD, our schematics have become the hub of information for every project, this should be a no-brainer, but we keep seeing it left out by the competition: inside our racks and assemblies, every single cable is labelled. From either side, you can tell where to plug it in, and where it’s coming from. Thanks to a connectCAD Cable Report and a handy Excel file, this is an easy streamlined process.” added Hannes.

Kraftwerk use a master tracking list that helps them www.mondodr.com

keep track of serial numbers, address information and implementation progress. The basis for this list is a connectCAD Device Report.

“The database option that connectCAD provides is the basis of all our following workflows,” Hannes explained: “Either internal cable lists, our master technical equipment list, even the device ID stickers are generated out of connectCAD. “We are working in an industry that is in constant change - the availability of new technology might mean a last-minute change to core components of a system. At the same time, tight schedules always demand a very quick output; when there’s a lot at risk already, the plans can’t be another bottleneck. connectCAD has proven to be a tool fit for the job.”

Concluded Hannes.

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48 R E P ORT: T H EME PARKS & AT T RACT IONS

DY R E PAR KE N COMPANY: DIGICO LOCATION: KRISTIANSAND, NORWAY

Covering an area of 150 acres of wild Nordic terrain, Kristiansand Zoo and Dyrepark is Norway`s favourite visitor attraction. Consisting of an entertainment park; a theme park; and a zoo, Dyrepark also puts on performances for guest’s - and their favourite is Kaptein Sabeltann (Captain Sabertooth) – in fact, say the word Dyrepark in Norway and the majority of the country’s population thinks of a pirate. This year, the zoo decided to up the specification for audio on the show and has invested in a DiGiCo SD9 and S21, which have helped to address its complex signal distribution, an issue that its engineers say was easily solved with the DiGiCo system.

Kaptein Sabeltannis is one of Norway’s most popular children’s characters and has been captivating

audiences through stage, film, television, cartoons and books. The show has been performed at Kristianzand Zoo since it was first written in the early 1990s and, in 1994, won a Formoe a Spellemann prize, the Norwegian equivalent of the Grammy Awards, for Captain Sabertooth and the Treasure in Luna Bay. The audio system for the show was designed, programmed, and run by Lars Hareide Swenson and Kristian Bronebakk, with Lars operating the SD9 at FOH, and Kristian deploying the S21 at the monitor position. Design was in consultation with John Idar Bakke from DiGiCo’s Norwegian distributor, Scandec Systemer, suppliers of the consoles, which are owned by Lars and Kristian.

Whilst the SD9 is used as the control system for

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the main PA and surround system, the S21 is used as a convertor from Dante to MADI, and back to Dante, as well as handling the monitor system, which comprises 24 channels of wireless microphones and six channels of IEMs. “The whole idea for the system was to keep the audio signal in the digital domain, using a SD9/ SD11i desk and to be able to listen to the radiomics in the radio room,” explained Lars. “However, we had to solve the Dante-MADI situation and we wanted to do that without using an external box.

For simplicity, we could have used two S21s, but I wanted to have the recall scope of the SD Range consoles available.

“So, our solution was to have an S21 with MADI-and Dante-expansion cards together with the

SD9. All Dante inputs are routed to the S21 inputs and, by using direct out routed to the SD9 via MADI, we are able to share input sources to both desks.

“The ability to go from the beltpack/mic and then all the way through the system to the PA amplifiers in the digital domain with Dante and MADI makes a lot of sense. It provides a noise-free and more flexible system than we had before,” said Kristian. “Also, the ability to monitor and listen to all inputs with the S21 means that we can check and control the mics before, and when, they are on stage really efficiently. The compact S21 console serves as an I/O matrix, monitoring interface and format converter – all in one.”

“All mixes from SD9 are routed via MADI back to S21 inputs, and by using direct-out routed to DME64 via Dante, we were able to distribute all our mixes to all speaker systems,” Lars concluded.

“It’s as simple as that!” www.digico.biz

50 R E P ORT: T H EME PARKS & AT T RACT IONS

D EEP W E B COMPANY: KINETIC LIGHTS LOCATION: ON TOUR

The theme park and attractions industry has always aimed to impress and excite its audiences, creating playgrounds where revolutionary technology and visual artistic explorations merge. In recent years, this field has become an important output for experimentation with virtual or augmented reality as well as new large-scale interactive and immersive environments. The cutting-edge technology used in theme parks showcases sophisticated media control, surround sound and 3D audio, and ultra-high-resolution displays – the media widely explored by a new generation of multimedia artists who use technological innovation as their primary tools. All in all, rather than being based solely on entertainment, the industry offers a great opportunity to display the latest developments in tech-driven art and provides a new type of experience to the visitors who come to theme parks to encounter something out of the home comfort, being no strangers to smart technology and

even virtual reality as a part of their daily routine.

Deep Web is a monumental immersive audio visual installation and live performance created by Berlin-based light artist and founder of WHITEvoid Christopher Bauder and his long-time collaborator – composer and musician Robert Henke. Presented in enormous pitch-dark indoor spaces, Deep Web plunges the audience into a ballet of iridescent kinetic light and surround sound, and invites visitors to be the very centre of the whole happening. The work was presented as a preview at CTM Festival in Berlin at the beginning of 2016 and followed by its original presentation at the Festival of Lights Lyon in December 2016. The collaboration between the two artists started in 2007 and along with Deep Web has resulted in the large-scale audio-visual performances Atom (2007) and Grid (2013; 2018) which also utilise innovative technology to explore the universal beauty of light and music.

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The generative, luminous architectural structure weaves 175 motorised spheres with winch LED and 12 high power laser systems into a high super-structure, bringing to life a luminous analogy to the nodes and connections of digital networks. Moving up and down above the mesmerised audience, and choreographed and synchronised to an original multi-channel musical score by Robert Henke, the spheres are illuminated by blasts of colourful laser beams resulting in three-dimensional sculptural light drawings and arrangements in cavernous darkness.

The high-precision motor winch systems and main control software were provided by Kinetic Lights, while the high-end laser system manufacturer LaserAnimation Sollinger provided the technical expertise and development for this very specific spatial laser setup. Deep Web was developed in cooperation with Lyon-based producer Tetro and its artistic production department Tetro+A.

Although Deep Web was presented to the audiences at two different festivals with completely different messages, both times the massive art piece was perceived with admiration by audiences. In Lyon, where the Festival of Lights has become the world’s principal event for creative light displays, Deep Web was showcased along with the work of worldknown artists and up-and-coming talent in light show design, continuing the Lyonnaise tradition of praising Virgin Mary that started centuries ago when thousands of people decorated their windows and balconies with myriads of little lights. A very different context was discussed during Berlin’s politically charged CTM festival in 2016 where Bauder and Henke’s audio-visual installation was one of the leading artworks celebrating modernity and critical thinking. During CTM,

visitors were invited to ten days of sonic intensities, club music, free experimentation, art, and critical discussions of today’s changing and increasingly interconnected music geographies. The contrast between both festivals clearly shows that when innovative technology is used by forward-thinking artists to speak directly to the profound human emotions, playing with light and darkness, filling empty spaces with surround sound and slowly evolving powerful composition – it becomes understandable and inviting to wide audiences of different ages, even though technological advancement can be confusing or even intimidating at times.

www.kinetic-lights.com

52 R EP ORT: T H EME PARKS & AT T RACT IONS

BETO CA RR E RO WOR L D COMPANY: BOSE LOCATION: SANTA CATARINA, BRAZIL

Beto Carrero World, Latin America’s largest amusement park located in the Penha region, on the State of Santa Catarina, Brazil, recently opened a new thematic zone inspired by the Hot Wheels brand of collectible cars. The sound design for this wide area, that encompasses a full-fledged arena where real cars and motorbikes perform stunts, a merchandise store and a fastfood restaurant, was assigned to the audiovisual distribution and integration companies Seegma and Audio Drummer which, at the same time, relied on the quality and technology of Bose Professional’s line of speakers, amplifiers and sound processors to develop the project.

Beto Carrero World is an immense theme park located in the southern region of Brazil, close to the Atlantic coast, that is visited daily by thousands of locals and tourists from other Latin-American countries, especially those who spend their summer vacations by the sea. The park is known for its wide variety of shows, rides and leisure spots, which include water attractions, rollercoasters and even a zoo.

“Sound goes a long way on delivering a better experience for our visitors. Music helps us create magic and an individual identity for each one of the park’s different areas,” shared Jean Fabio Kolm, Audio Manager for Beto Carrero World.

“For the Hot Wheels project, we tried to generate an atmosphere of immersion with the help of the Bose Professional speakers. As soon as the visitors enter this thematic zone, they’ll immediately perceive an exciting and adrenaline-filled environment.”

The Hot Wheels zone is set in a 322,918 sq ft area and is divided into three large sections: The Hot Wheels restaurant, an official merchandise store and, as the main attraction, the Hot Wheels Epic Show, a live event that takes place every day inside a 3,000-seat arena. During the show, 14 cars, six motorbikes and a truck perform risky stunts on a tight course filled with obstacles. The event is complemented by music and an announcer narrating, with a 700 sq ft LED screen showing a direct feed of the cars and all of the action happening in real-time.

Covering this space was not an easy task, though.

Since this was a brand new attraction, and a potentially noisy one thanks to the motors roaring in the background and the crowds of thousands of people coming and going around the place, the tech team knew that their current PA system, one from a different brand, just wouldn’t cut it in terms of sound pressure and coverage.

Seegma and Audio Drummer concluded that a reliable and resilient sound system would be needed; one that could achieve high levels of sound pressure. Since the speakers were to be installed in an open area, where public announcements are transmitted constantly, the system would also have to deliver clear, intelligible and full-range sound. After an initial evaluation, the companies decided to design a system powered

by Bose Professional’s technology and equipment, set to include not only speakers, but also amplifiers, processors, subwoofers and controllers.

Throughout the park’s illustrious history there was already a precedent of them using Bose. LT 9702 WR and LT 9402 WR loudspeakers were employed in one ride for over nine straight years, with very pleasant results in terms of resilience and sound pressure. This helped tip the balance in favor of Bose Professional and thus, the project started.

“Alexandre Medeiros, Commercial Manager at Seegma, gathered with the team from Audio Drummer and the park’s Technical Director, to plan the implementation of a system that could cover the entirety of the new Hot Wheels attraction with clear and homogenic sound,” added André Espindola, Audio Engineer Director for Seegma. “The park’s owner loves Bose products and sound, and his goal was to improve the audio experience for every person visiting the restaurant and other areas surrounding this ride.

That’s how we started working on a project that would include Bose LT series speakers, as well as PowerMatch 8500N amplifiers.”

“Providing sound for three large spaces, within a noisy environment with tons of people moving around was a difficult thing to do,” explained Osmar da Silva Junior, Sound Engineer at Audio Drummer. “We got the support of the Bose Professional team and we also used the Modeler www.mondodr.com

software to design all of the clusters, with the proper speakers and the best position for each one, in order to really improve the visitors’ sound experience.”

The installation of Bose Professional systems for the arena where the Hot Wheels Epic Show is performed includes 14 LT 9403 and LT 9702 WR speakers, working hand in hand with seven PM8500N amplifiers connected via ESP Link, all of which is controlled through Dante protocol with a ControlSpace ESP-880 processor and a ControlSpace CC-64 controller.

Inside the restaurant and other public spaces, where the main objective was to create an exciting environment and keep people posted on real-time announcements, just like the start of a new show, the system included 35 FreeSpace 360P Series II and 34 FreeSpace DS 100SE speakers, along two FreeSpace 3 Series II modules and three RoomMatch Utility RMU208 loudspeakers as sound reinforcement; with three more PowerMatch PM8500N amplifiers to power the rest of the equipment and a processor-controller tandem of a ControlSpace ESP-880 with a ControlSpace CC-64 functioning as a command centre.

The whole system was divided into seven audio zones, all interconnected between each other via Dante, with individual configurations and setups available for the operators to change any setting or level depending on the time of the day, the event taking place or even if a public announcement was needed. The result was remarkable.

Thanks to the adequate distribution and tuning of the speakers along the many different areas (gardens, seats, walls, ceilings) the technical teams achieved seamless and complete coverage with rich and clear sound, that, if needed, can easily surpass and stand out from the overwhelming noise of the vehicles while they run, drift and spin at top speed. “Ever since the first contact we had with the client, all the way to the installation process, the goal was to fulfill their every expectation, with a perfect service and attention to detail. And we are very glad we could accomplish that. Now we have a happy client who is already talking about new projects.” pro.bose.com

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54 R EP ORT: T H EME PARKS & AT T RACT IONS

A RLETTE GRU S S C I R C U S COMPANY: ROBE LOCATION: ON TOUR

The Arlette Gruss Circus is well known for its love of technology and reinvention, constantly keeping their shows fresh and new- so this year, when they changed up their old Big Top for a spangly new one, they also embraced a new Robe RoboSpot system, which has impressed everyone.

Talented and highly original lighting designer Arthur Oudin had created a brand-new lighting scheme for the Circus in January after receiving a brief from Director Gilbert Gruss and Technical Director Julien Lhomme. With the new Big Top, he adapted the lighting design to the new truss points and integrated the RoboSpots.

Renewing a big top is a key milestone for any circus, and one that usually happens once every ten years or so. Arlette Gruss Circus - never doing things by halves - opted for a radically different tent, Le Privilége, designed by Gilbert and Julien and manufactured by Italian canvas specialist F. Greco SRL … with no inner pole.

This allows a completely enhanced visual experience for the audience with an unhindered 360-degree view, with nobody having to look through any

structural elements. The general aesthetics of the space are wowing everyone who works in, sees, and is entertained in the venue.

The Big Top is effectively anchored in place by its own external pyramid shaped steel superstructure built by Anceschi Carlo & Cie, also based in Italy, and the canvas walls are suspended rather than being supported.

It offers an impressive 16 metres of clearance under the dome, has a 42-metre diameter and a capacity of 1,686 seats which can be expanded to 2,000.

While pole-free construction is a fantastic plus for the audience, it presents several challenges for the lighting crew who now don’t have any follow-spot positions above the ring.

Arthur quickly proposed a cool solution of which he was totally confident, as he’d successfully used Robe RoboSpots for a show by French comedienne and actress, Anne Roumanoff, at the Olympia in Paris.

He suggested a two-way RoboSpot system comprising two BaseStations controlling two BMFL Spots, each with its own MotionCamera clamped

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near the luminaire.

“Looking at products in brand catalogues and showcases is one thing ... and very different from experiencing them for real”, explained Arthur. “I had properly used and road-tested the RoboSpot and knew it was right for the Circus.

“Gilbert is a new technology enthusiast and encourages everyone working with him to be curious and experimental, so I am permanently watching out for lateral and interesting solutions. RoboSpot is definitely one of these.”

Julien Lhomme and his crew, who had used Robe moving lights, Pointes and BMFLs in collaboration with rental specialist Dushow - for the last seasons, were also keen to use the RoboSpot system and discover its many advantages.

Vincent Bouquet from Robe France’s technical services team visited Strasbourg where the Circus is based and conducted a RoboSpot test day, and by the end of this, all the operators were familiar with and happy about using the new system.

“They picked it up very quickly and used the system’s features like positional presets in com-

bination with their own human experience for the best results,” commented Vincent, explaining that they were recalling the position presets on the system to ensure accurate focusing as soon the moment the beam opens, then the operators took over control manually to follow the performer live.

“Right from the very first show but they managed RoboSpot very well by themselves and I received loads of positive feedback,” he confirmed.

Using the RoboSpot BaseStations, the operators were located below the audience stands in a new and comfortable workspace.

Through the searingly hot summer, which gripped Europe this year, they were able to keep a lot cooler than if they had been confined to the old follow spot platforms 10 metres above the ring, and there was also the additional safety of operating from a ground-based position!

Arthur is already thinking ahead, as the latest RoboSpot software upgrades allow multi-device control management which can make things even more dynamic. “We can easily imagine that some of those BMFLs and Pointes in the main rig might be controlled by the spot operators as well and used simultaneously from several positions on the various trusses making up the lighting rig.” www.robe.cz

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56 R EP ORT: T H EME PARKS & AT T RACT IONS

URBA N I CA COMPANY: PROTOUCH LOCATION: NETANYA, ISREAL

A collaboration between architects Linoy Rubinstein, Eran Glenn and Protouch has produced a flowing, turbulent sea wave that rises to a height of 12 metres, a monumental kinetic sculpture in the new branch of Urbanica, a fashion chain, located at the IR YAMIM mall overlooking Netanya’s beautiful beaches. The dunes and the sea were the inspiration of the soft lines of the building and the large ceiling windows that fill the space with natural light and pleasant skies.

This colourful wave by Linoy and Eran reinforces the concept of the mall’s architects, Ami Mor, Rinat Engel and Gabi Gal which is to connect the

MIRA G E C I R C US COMPANY: STAR LIGHTING DIVISION LOCATION: BRAZIL

nature surrounding the building with its interior, while preserving the modern atmosphere.

The Wave is made of a construction of flexible LED display in Pitch 4mm, for maximum visibility from near and far. The strips were custom designed for the interior area surrounding the escalators to guide the shopper with a unique encapsulating experience. Use of monochromatic linear content and colouring add an additional value, emphasising the curvature of the momentous video display.

The planning began with on-site measuring, initial conceptual renderings made by the architects,

Mirage Circus is the most modern and luxurious Circus in Brazil. Its 12x12 screen and array of tech, impresses the public with its immensity and quality.

Just over five years ago, Mirage was the first circus in Brazil to invest in professional lighting design, with trained professionals and a qualified team.

The main idea was to bring the scenic lighting of big theatres into the circus canvas while taking inspiration from the great European circuses and the major International Circus Festivals, who are pioneers in lighting and professional sounding.

The main challenge for the team was avoiding damage to the equipment, due to the monthly assemble and dismount, Star Lighting Division’s products were ideal for this project, www.mondodr.com

and then a creative sit down with Project Manager Yogev Mazuz Project, Lighting Designer- Protouch and the architectural team to understand the vision of the store, the aspects of technical constraints, feasibility and execution.

The workshop drawings were made, rendered in 3D, and then sent to execution. With over 100 running metres of steel and special CNC design, 42 sq metres of LED, 95 control units, a team of 10 and about seven days of work - The Wave came to life, contributing a dynamic, fun and different approach to digital design. www.protouch.co.il

offering high quality, durable equipment and guaranteed support.

To value the stage and artists performances Mirage have several moving heads, beam, spot and wash models. With 200W, 280W lamp power and 285W wash LED power. Effects of motions and gobos were also considered in the choice of the ideal moving heads.

To create the mysterious background and colourful atmosphere, RGBW LED spots and LED strobos were used.

For lighting control, mirage have a dmx Console which works with Star Lighting’s DMX wireless transmitters perfectly for the control of stage, scenography and public light due to its features and versatility. www star.ind.br

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EMEA SCANDIC AIRPORT HELSINKI

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58 IN BRIEF - EMEA

Glittering Prolyte truss adds the wow factor to Scandic Airport.

Finnish Prolyte Group distributor, Electro Waves delivered a gold-coloured truss structure for the main lobby of Scandic Airport at Helsinki-Vantaa Airport, marking the area reserved for the breakfast- and a la carterestaurants. The space is vast and airy with impressive features now heightened by the glowing interior.

The entire structure consists of two gold powder painted RAL Pearl Gold 1036, glossy truss frames. The two frames are standing detached on 10 bases

with diagonal trusses in two layers on top. The frames hold loudspeakers and decorative spheres, which complement the lobby and create an attractive modern feel.

The structure has over 40 corners and special parts and 170 straight trusses - in total almost 400-metres of truss. www.prolyte.com

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59 IN BRIEF - EMEA

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60 VENUE - EMEA

BONUS ARENA HULL, UK EUROPE, MIDDLE EAST & AFRICA

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Opened in August 2018, Bonus Arena is a state-of-the-art, music and events complex located in Hull, UK. With a capacity of up to 3,500 people, the arena attracts large corporate conferences, exhibitions and trade tours, as well as major touring concerts, stand-up comedy, family shows and sporting events. Nuway Audio and Visual was first approached by BAM Construction in early 2017 to assist with the design of the sound, lighting, conference, Wi-Fi, digital signage and communication systems.

The company wAS asked to design an audio system, which would be suitable for spoken word performances including comedy and theatre, as well as smaller touring bands. As the venue has several

THE FUTURE OF THE LINE ARRAY IS STRAIGHT

FOHHN FOCUS VENUE BEAM STEERING FOR CONCERT SOUND seating configurations, the audio system needed to be able to follow the requirements of each event by dividing into smaller layouts.

Nuway invited several leading manufacturers to produce the audio design for the main auditorium. Extensive computer aided simulation was carried out to produce the correct levels for the venue layout. Several manufacturers took a keen interest in the project and offered to demonstrate their systems for the client. The comparison testing took place at the Scunthorpe Baths Venue in August 2017.

“As the budget was limited, we

needed to maximise the output of the design while providing the greatest flexibility without impacting on audio quality,” Danny Hird, General Manager of Nuway AV said. “Once the options were submitted we arranged a shoot-out demonstration day at one of the client’s venues, which enabled them to make a decision based upon cost versus real life audio performance.”

Both systems offered excellent response and the client made the decision to go with the industry leading d&b audiotechnik system.

“Not only did the system provide the best audio quality, but they

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62 VENUE - EMEA

“As the budget was limited, we needed to maximise the output of the design while providing the greatest flexibility without impacting on audio quality,” - Danny Hird

were able to provide all loudspeakers required to fill the space and come within budget,” explained Danny. “We were very impressed with d&b throughout the design and sales process as well as post sales and commissioning support. The design went through a number of revisions before it was finalised and d&b were happy to help throughout.

The audio system consists of front of house line arrays, along with smaller point source loudspeakers, which provide infills throughout the arena, with the ability to sub-divide the area as needed. The rear infills can quickly become front of house

loudspeakers for the smaller auditorium at the rear when required. Thanks to the QSC Q-Sys, DSPs and Crestron control processing, this can be done at the touch of a button.

The Bonus Arena required a desk that all in-house technical staff could operate, as well as any technical operators hiring the venue. There wasn’t a need for a large number of channels due to the digital signal paths used throughput the arena, so Dante integration was very important.

Nuway specified the Yamaha LS9 with Dante Card, which did the job perfectly.

Nuway were asked to design a lighting

TECHNICAL INFORMATION SOUND 8 x d&b audiotechnik Yi8 loudspeaker; 4 x d&b Yi12 loudspeaker; 6 x d&b audiotechnik 10S-D loudspeaker; 4 x d&b audiotechnik 10D amplifier; 8 x d&b audiotechnik E6 loudspeaker; 8 x d&b audiotechnik E5 loudspeaker; 6 x d&b audiotechnik MAX2 stage monitor; 1 x QSC Q-sys 500i digital sound processor; 1 x Yamaha LS9-32 mixing desk; 2 x Yamaha TIO1608D digital stage box; 1 x Yamaha NY64-D Dante card; 8 x Sennheiser EW335 G3 wireless hand held microphone system; 8 x Sennheiser EW312 G3 wireless levalier microphone system; 8 x Shure SM58-LCE microphone; 8 x Shure SM57 microphone; 1 x Shure DMK57-52 microphone kit; 2 x Shure MX418/N Gooseneck microphone; 2 x Shure R158B gooseneck microphone capsule; 6 x Williams Sound WIR TX90 IR assisted hearing system emitter; 6 x Atterotch unDIO2x2 Dante interface; 60 x Williams Sound WIR RX22-4N infra red bodypack receiver www.bonusarenahull.com

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64 VENUE - EMEA

TECHNICAL INFORMATION LIGHTING 1 x ETC CS40AV lighting control console; 8 x ETC ColorSource PAR deep blue XLR CE- black; 8 x ETC D40 & CSPar 35° narrow round diffuser in frame black; 7 x ETC ColorSource Spot XLR CE w/ shutter barrel – black; 14 x ETC Source Four CE - 14º lens tube - black; 14 x ETC Source Four LED - smooth wash diffuser; 7 x ETC ColorSource spot XLR CE w/ shutter barrel – black; 5 x ETC ColorSource spot deep blue XLR CE Engine Only - Black; 5 x ETC Source Four LED fresnel adapter; 5 x ETC Source Four CE fresnel barn door, EU – Black; 2 x ETC ColorSource ThruPower 24 ND 24-channel 10A (2.3kW) dimmer, relay; 2 x ETC ColorSource ThruPower 12 ND 12-channel 10A (2.3kW) dimmer, relay ; 66 x ETC ColorSource PAR XLR CE black; 8 x ETC ColorSource spot XLR CE w/ shutter barrel - black; 5 x ETC ColorSource Spot XLR CE w/ shutter barrel - black; ; 11 x ColorSource Spot XLR CE engine only - black; 11 x Source Four LED Cyc adapter - black

www.bonusarenahull.com

system, which incorporated LED fixtures throughout, enabling easy colour change. Also specified were colour spots and moving heads, the heads are loose and can be located anywhere in the space depending on the event. The design includes around 80 ColorSource PAR lighting fixtures with various diffusers along with eight colour spots.

Robert Juliat was chosen to supply the followspots.

A networked Net3/ACN DMX solution was chosen and Paradigm Control Processer with ColorSource 40AV lighting desk were specified, giving the customer total control of performance and house lights from a central location.

ETC was involved in the project from an early stage. It designed a system, which would allow fixed LED colour lighting for the front of house areas and a movable system for the stage area.

“We are a UK partner for Williams Sound audio assistive listening systems and strongly advocate quality audio for all,” www.mondodr.com

Danny said. “With this in mind a high quality infrared system was designed using EASE software and installed using five x WIR TX90 transmitters fed with an easily mixed Dante channel from the desk.”

Nuway designed an eight-metre 4K projection system for the smaller 880seat section of the venue as well as four VIP conference spaces. For the 880-seat space, Nuway specified a Panasonic 10,000 lumens LED laser projector and eight-metre wide tab tensioned electric projector screen, there are a number of input locations for video connectivity, which is handled by Crestron digital media products backed up by wireless presentation from Barco Clickshare all easily controlled from Crestron touch panels or iPads.

Each VIP meeting room features a 5,000 Lumens LED laser projector with repeater screen, lectern with a laptop input and touchscreen control. The rooms are divisible and the technology can

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be linked and unlinked at the touch of a button from the touchscreen control. In addition to this Nuway specified an IPTV and digital signage system throughout the venue which can easily be used for displaying menu boards, upcoming events and real time camera feeds from the main arena on any screen in the building.

Panasonic projectors and displays have been used throughout, due to their reliability, 24/7 operation capability and the ability to provide products that fulfil each requirement.

Crestron were specified for system control, signal routing and scaling throughout the building. Exterity IPTV and digital signage system was specified to deliver engaging content to displays throughout the venue.

“We designed, installed and commissioned all presentation systems within the arena, including audio, lighting, video, conference room AV, room booking system, Wi-Fi and IPTV/digital signage, this provided

the end user with a single point of contact for all technology systems within the building and also ensured that all systems were designed to work alongside each other. For instance, the Crestron control system for the main arena Video System also gives the user pre-set recalls for audio configurations, this means that the system is very user friendly, robust and reliable.”

TECHNICAL INFORMATION VISUALS 1 x Panasonic PT-RZ970 10,000 lumens WUXGA LED laser projector ; 1 x Panasonic ET-DLE085 lens; 1 x seven-metre wide tab tensioned electric projector screen; 1 x Barco – CSC-1 wireless presentation system; 1 x Crestron DM-MD8x8 scaling matrix switch; 1 x Crestron CP3 central control processor; 2 x Apple iPad; 1 x JM Supplies Falcon lectern; 1 x Panasonic TH-75EF1 75-inch large format display; 3 x Panasonic PT-RZ570 5,000 lumens WUXGA LED laser projector; 2 x Panasonic TH-55LF8W 55-inch large format display; 3 x Screen International Compact 250 electric projector screen; 11 x Panasonic TH-49LF8W 49-inch 24/7 display; 17 x Panasonic TH-42LF8W 42-inch 24/7 display; 2 x Panasonic TH-55LF8W 55-inch 24/7 display; 1 x Panasonic TH-75EF1 75-inch 24/7 display www.bonusarenahull.com

www.mondodr.com

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Photos © Simon Vorhammer

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BLITZ MUNICH, GERMANY EUROPE, MIDDLE EAST & AFRICA

Standing in the centre of Blitz’s dancefloor is a pinch-yourself moment in life for any music lover. Here you will feel as if you are inside sound, experiencing music in a way that will fundamentally change how you define what great sound means forevermore. www.mondodr.com

For many, gaining permission to build a night club within Munich’s prestigious Forum der Technik of Deutsches Museum - the world’s largest science and technology museum of its kind might have seemed like an impossible pipedream. For David Muallem, Blitz founder, record producer and resident DJ, however, this was the ideal spot for realising his vision. Every single decision made in executing this project was given thoughtful consideration, resulting in remarkable attention to detail and a club that will undoubtedly attract a strong following for years to come.

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Look-Fan DMX the club, David’s primary focus was “all about the experience for the people. It’s only about that. This includes the DJs who play here; from the moment they step off the plane, to the moment we drop them back to the airport, we want them to feel welcome, comfortable and happy.” Transferring this to the practical application of building the club, the focus was not to have the biggest club or the best looking interior; rather it was to ensure that the design was going to result in anyone going to Blitz experiencing music in a way

that will have a lasting positive impact on them. Consequently, the entire club interior has been meticulously designed to enhance the acoustics of the space, together with the highest spec for all the components of the installation, engineering what is a global first and completely unique to Blitz.

Andreas Müller, Executive Director at Studio KNACK, partnered with Simon Vorhammer, who specialises in Computational Design, to design the club’s interior, acoustics and architectural elements. “From the get-go it was

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“Everyone was openminded about the ideas.

They actually listened to us and wanted to make this work, even though on the outset it seemed like a crazy idea.”

- David Muallem

all about the music. We started our project with the sound as the central goal and everything that you can see in the club, is there for this reason. The form follows the sound,” Andreas said. One of the biggest challenges to overcome was abiding by the multiple building restrictions to comply with, given the age and prestige of the building. “Everything we did in the club had to be reversible. We also wanted the project to be sustainable so all the elements are built to be reusable,” he continued.

Added to this challenge was the pressure of a six-month timeframe to complete the project, which they successfully achieved.

With a capacity of 600 people, Blitz

comprises an extensive main dance room; a second room with a smaller, more intimate dance space; and a creatively decorated restaurant, themed with a brightly coloured Day of the Dead-esque mural running along the full length of the wall. Four custom-designed Void Incubus systems, each incorporating an Incubus Air Array, together with two Incubus Hyperfolds and two Incubus Subs, are strategically positioned in the four corners of the main dancefloor. They face in on an angle to maximise the way the sound travels through the room. As a stacked sound system, all the frequencies come from all directions. Blitz’s Sound

TECHNICAL INFORMATION SOUND 4 x Void Incubus Air Array loudspeaker; 8 x Void Incubus Hyperfold loudspeaker; 8 x Void Incubus Sub subwoofer; 4 x Void Blitz Horn loudspeaker; 4 x Void Stasys Phil loudspeaker; 2 x Void Air Stream monitor; 7 x Void Air Vantage monitor; 2 x Void Nexus Q bass enclosure; 2 x Void Nexus X bass enclosure; 3 x Void Venu 215 subwoofer; 8 x Void Air 8 loudspeaker; 10 x Void Cyclone 55 loudspeaker; 3 x Void Venu Sub subwoofer; 1 x Void Venu X subwoofer; 7 x Void Bias V9 amplifier; 19 x Void Bias V3 amplifier; 7 x Void Bias VQ amplifier LIGHTING & EFFECTS 8 x Studio Due CS4 projector; 1 x Clay Paky Astrodisco fixture; 3 x ADB Svoboda lighting batten; 1 x Panasonic PT-D10000E projector with ET-D75LE1; 1 x Look Solutions Viper 2.6 fog machine; 1 x Look Solutions Unique 2.1 haze machine; 16 x Despar 4x58W fixture www.blitz.club

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Engineer, Laurin Schafhausen, noted: “For dancing the night away, nothing can beat this.” Air Vantage DJ monitors and four custom Stasys Phil loudspeakers complete the sound system in this area. In the second room of the club, Air Vantage mid-high loudspeakers, two Nexus X and Nexus Q low frequency systems, and two Air Stream monitors further enrich the sound. The restaurant’s ambient music is played through 10 iconic Void, high gloss red Cyclone 55’s.

A total of 33 amplifiers, combining seven Void Bias V9s, seven Bias VQs and 19 Bias V3s, power the sound throughout the club, which is one of the largest systems Void Acoustics has ever designed. A separate DSP controller was not required as this functionality is directly built into the Bias amplifiers, working seamlessly with the Armonia software. Owing to his love of rotary mixers, David selected the Crest Rotary 62-10 as the main built in mixer, including the 62-20 expander, plus the four-band Bozak ISO-X isolator.

“They are decent sounding and how they feel to play is just unbeatable on the Crest.

• Above Blitz has been kitted out with a full complement of Void technology.

For me it’s not just about getting the best sound - it’s more about the feeling created in the perfect place,” he explained.

David and Laurin share the view that a sound system is an instrument. David said: “You don’t just play tracks - it’s the way you play the tracks. By changing the frequency and velocity, you can create tension by building it up, almost hypnotising your audience.” Laurin added: “This was all known back in the ‘70s but somehow got lost along the way so we’re reviving this approach.” The Blitz Horn, exclusive to this club, is a 360º high frequency tweeter flying above the dancefloor as opposed to hanging down, making it possible to fire sound outwards. “The DJ can control the volume to whatever level desired to achieve different acoustic effects.” Configuring the sound system in this way means that when the hi-hat is heard, “the sound feels like it’s coming down like rain. Your arms naturally want to go up in the air and once there, when the bass kicks in, you’re defenceless to it so it really hits you,” Laurin explained.

www.mondodr.com

When it came to choosing the best sound system to go with, David selected Void Acoustics because he “liked the products and the people behind it”, knowing it would be the “best choice” for his dream. Having worked with Jörg Sandman, founder of Event Integrator - Void’s distributor in Germany - for over a decade, pairing again in a close partnership for Blitz was essential for David. Jörg was responsible for introducing David and Laurin, from which the trio became a united force in making David’s vision a tangible reality.

A discussion with the team at Void HQ left a lasting impression on David. He said: “Everyone was open-minded about the ideas. They actually listened to us and wanted to make this work, even though on the outset it seemed like a crazy idea.”

Laurin’s drive in using Void products was “not just the best possible sound but the best possible way to transport emotions.”

The lighting solutions were engineered

by Matthias Singer, Director of 507nanonmeter. He said: “My goal was to create a unique setup with a warm

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• Above The lighting design was purposefully old skool, rather than new age LED.

atmosphere, avoiding the all too common RGB-LED-look you often see.” Like Jörg, Matthias also has a long-standing relationship with David so he was fully onboard with David’s vision from the outset. “To support the special look of the location, instead of using any LED-based fixtures, I used old, high-quality light from theatre stages (ADB Svoboda and Despar LHGL), rock shows (Studio Due CS4), a video projector instead of as showlaser, and as a highlight, a Clay Paky Astrodisco from the 1970s. All of the fixtures are used in a way they were originally not intended for,” he added.

To create the main effect on the dancefloor, eight CS4 are hung above the dancefloor, with the fixtures themselves fitting into the style of the venue. As the halogen beams are dimmed most of the time, they emit a very warm light, while the Astrodisco in the middle of the dancefloor is used as a highlight from time to time. Matthias explained further: “The Svobodas act as a horizon behind the DJ and most of the

time glow on a very low level, as well as being used as a blinder. The only effect that produces colour is the video projector which is directed into the audience and used to generate laser-like patterns in the haze.”

In terms of lighting control, each floor has a mini PC running Win10 and customised software, programmed in vvvv. ALivid Instruments OHM RGB on the main floor and a Native Instruments Kontrol F1 on the second dancefloor serve as an interface for the operator. “This custom solution was chosen because it enables control of the video projector and the light setup out of the same console with a small set of parameters. The result is a very intuitive control of the whole system and there are no buttons you shouldn’t press which makes the system reliable and keeps handling errors to a minimum,” added Matthias.

Not only are David and his team bringing impactful entertainment and musical experiences to those that frequent the www.mondodr.com

club, they are also changing lives via the refugee programme they run as a way of giving back to others. Six refugees in total, from Afghanistan, Syria and Iraq, have been sponsored by Blitz to be given an education, learning German and training for a formal qualification in the nightlife and gastronomy industry, together with employment. Sandra Forster, building on her previous experience running a restaurant for underprivileged young people, runs the restaurant at Blitz, where four of the refugees are training and working, gaining valuable key life skills for their future, while the other two trainees work within the club itself.

David’s dedication and belief in his vision emanates as contagious passion. “This club was 30 years in the making - my whole life and all of my life experiences to that point are in here.” His desire to “contribute to the culture” rather than simply run a club is what sets him apart in the industry and will bring countless clubbers back to Blitz, always wanting more.

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JNcQUOI LISBON, PORTUGAL EUROPE, MIDDLE EAST & AFRICA

Perched on the edge of the Atlantic Ocean across seven strikingly scenic hillsides, the Portuguese capital of Lisbon is one of the most picturesque and fashionable destinations in Europe.

The city’s uber-cool designer shopping street, the Avenida da Liberdade, just got even cooler with the recent opening of JNcQUOI (pronounced as the French expression, “je ne sais quoi”) in the historic Tivoli movie theatre building.

An ambitious lifestyle concept with the emphasis very firmly on luxury, JNcQUOI is built over three floors and includes a high-end men’s fashion store, a gourmet restaurant and a chic deli-bar that includes a DJ booth.

Leading Portuguese distribution and AV integration specialists, Garrett Audiovisuais, designed and installed a www.mondodr.com

sophisticated sound, lighting and control system across all three floors based on a range of Genelec loudspeakers.

The brief from the client was simple the owner wanted to offer his clients the best possible audio experience whilst they were eating and drinking, and indeed shopping. Following a comprehensive demo of the Genelec 4000 Series dedicated two-way installation loudspeaker range along with some specific recommendations from Garrett, the company developed a specification based around various models of the 4000 Series depending on where they were deployed, plus two 7040 subwoofers in the men’s Fashion Clinic; eight 8351 SAM monitors for the restaurant area (each of which can be tuned to the specific room environment via Genelec’s GLM

software); and a pair of 8030 monitors and 5041 in-wall subs for the DJ area.

“During the 4000 demo, we also explained to the owner that Genelec was about to introduce a new range of SAM (Smart Active Monitoring) monitors that offered incredible sound definition in a three-way format (so richer sound than a two-way design) and would be perfect for certain areas of a prestigious installation like JNcQUOI,” recalled Garrett Project Manager, Mário Trigueiros. “The client loved the idea of offering ‘silken luxury sound’ to his customers, so that is what we decided to use for the restaurant. The choice was dictated partly by the superior sound quality for the area in which, typically, customers spend a lot of money, and partly because the extremely high ceilings in the restaurant necessitated a loudspeaker choice with sufficient capacity to cover the area adequately with no hot spots and no holes. The 8351’s do the job perfectly.”

One of the main challenges of the installation was that Tivoli is a listed building - this is always an issue for integrators as they have to respect the historical fabric of the building, which inevitably limits how and where equipment can be installed. The second challenge was to ensure that the installation was as aesthetically pure as possible, in keeping with the luxurious surroundings. Finally, there were a number of acoustic issues to address due to the nature of the building - exceptionally high ceilings and lots of very attractive, but highly reflective glass and marble surfaces.

“These are all the reasons why we selected Genelec in the first place,” said Mário. “Although the primary reason was sound quality - for top class, prestigious installations like these, Genelec’s pristine sound reproduction developed over 40 years in high end studio monitoring is simply matchless. The second point is the active system design of the 4000 Series and the 8351’s - not only does it mean less equipment to install and therefore fewer things to go wrong, it also gives us redundancy in that if one loudspeaker fails for any reason, it doesn’t compromise the whole chain. This is very important in an environment like JNcQUOI where all the speakers are working pretty much 24/7.

Finally, all modern Genelec speakers have beautiful curved lines that blend very well into architectural environments. The speakers that are visible were delivered in white and largely fixed against white backgrounds for maximum discretion. All of the subs are hidden.”

In terms of loudspeaker choice for particular areas, Garrett specified 4020’s and 4030’s in areas such as the men’s Fashion Clinic and the common areas where customers are normally moving around, whereas the bigger 4040’s that deliver more low-end punch and higher SPL were used in the Deli-Bar and the pre-restaurant lounge. Garrett supplemented the eighteen 4020’s in the men’s Fashion Clinic with a pair of 7040 subwoofers to compensate for the fact that the space covers a large area, and all the loudspeakers are flown at a height of 2.4-metres. “We wanted to provide an extra boost and greater depth

Mondo DR_313mm x 100mm.indd 3

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to the low frequencies to offset the sound absorption effect of the clothes and the fact that the rest of the monitors were so high off the ground.”

Trigueiros and his team made good use of Genelec’s GLM software to calibrate the 8351 SAM monitors in the restaurant area. “It helped us to fine-tune the parametric EQ of the Xilica processor and we also used it to attenuate the resonance in the room, cutting out the specific frequencies that were causing problems. The results are fantastic.”

Despite the challenges of working with a listed building and a demanding client

with very high standards, Mário reports a smooth and trouble-free installation project. “Firstly, we make sure that we use high quality brands and problem-free products - Genelec obviously occupies an important place on that list - and secondly, we love what we do and we’re very good at it. We already have over 200 successful high quality bar and restaurant installations to our name which has earned us an excellent reputation in this area. We are very proud of what we have achieved with JNcQUOI; it looks wonderful, sounds fantastic, and the owner is delighted with the results.” www.mondodr.com

TECHNICAL INFORMATION SOUND RESTAURANT: 8 x Genelec 8351W monitor; 6 x Genelec 4020BWM loudspeaker DEL BAR & DJ AREA: 11 x Genelec 4040W loudspeaker; 18 x Genelec 8430B monitor; 2 x Genelec 5041 subwoofer; Genelec 4040A loudspeaker; 4 x Genelec 4030W loudspeaker; 2 x Genelec 8030W monitor FASHION CLINIC MEN’S SHOP: 18 x Genelec 4020BWM loudspeaker; 2 x Genelec 7040 subwoofer www.jncquoi.com

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WESTFIELD LONDON, UK EUROPE, MIDDLE EAST & AFRICA

HD Pro Audio has provided BroaMan and Optocore fibre infrastructure for Europe’s largest shopping mall. www.mondodr.com

Celebrating its 10-year anniversary this year, Westfield London has undergone a major £600m renovation to mark the occasion and still remains the largest retail centre in Europe - making it the go-to destination for locals and tourists alike.

Over the past decade, the shopping destination has welcomed more than 270 million visitors, generating over £9.2bn in sales. But as well as shopping, Westfield hosts more than 300 events a year, including concerts for as many as 4,000 people, with relays to its giant retail screens and multiplex cinema.

Building a network infrastructure to carry the myriad of communication signals and IP addresses over fibre across the 2.6 million feet

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of real estate - or 1km end-to-end - has been an organic process, which has been made easier since owners, Unibail-Rodamco-Westfield (URW), in conjunction with audio consultants HD Pro Audio, employed Optocore’s BroaMan routing matrix system.

The Westfield Events team became aware of Optocore products in 2011, during the planning of sister operation Westfield Stratford City, but it was not until 2015 that it was decided the BroaMan system would be an ideal solution for video/ audio distribution. The systems designed and specified in 2015 have now been extended exponentially by current Senior Technical Manager, Ben Davies.

A split inventory of seven remote BroaMan racks can easily plug into facility panels in any public or back of house spaces, in order to link events together. The new outdoor event space, Westfield Square, was specified with a grid of 37 floor traps, each with fibre connections, enabling visitors to enjoy the Royal Wedding earlier this summer from deck chairs on London’s largest external full motion video screen above the Square. “The idea was always for an easy plug and play solution, to quickly link one area to another,” said Ben. Initially the event production team had looked to hire companies to provide temporary solutions for ad-hoc event signal distribution. Huge networks of temporary copper cables were therefore run across event spaces and service yards to facilitate this.

As the event infrastructure grew, and with IP connectivity becoming far more prevalent, HD Pro Audio’s, Andy Huffer

quickly made the case for Optocore and BroaMan, knowing it would cut down the cumbersome business of patching, and at the same time provide a less expensive option than copper, particularly with add-ons such as the construction of a video gallery. “They needed long distance audio feeds with a routing matrix because the point-to-point feeds were time consuming and fraught with problems.

They were initially interested in Optocore but I informed them that BroaMan took the platform a lot further,” he said.

A BroaMan Route66 40x40 with hot-swappable, bi-directional SFPs, accompanied by external WDM frame, was proposed initially for Westfield London - and this was copied for Westfield Stratford City.

Both the Shepherds Bush and Stratford racks are identically configured, with a Route66 Optocore AutoRouter, Route66 40x40 Video Router and WDM Frame; three Mux22-IVT/IVT 8 SDI-In/8 SDI Out and three X6R-TP 8MI/8LO. Each system has the Route66 central matrix with a single Mux22 and X6R in the control room, with the remaining Mux22 and X6R combinations in remote racks.

The systems were installed in-house by the URW Events technical team, with specialist wiring completed by David Tyler of Tower Communications. The systems were commissioned onsite by BroaMan Technical Sales Manager, Maciek Janiszewski.

As for the second phase at Westfield London, which increases the indoor space by a third and adds the outdoor pedestrianised Westfield Square, HD Pro Audio have provided a further Route66 www.mondodr.com

TECHNICAL INFORMATION SOUND BroaMan Route66 Optocore AutoRouters; BroaManRoute66 40x40 Video Routers and WDM Framse; BroaMan Mux22-IVT/IVT 8 SDI-In/8 SDI Out; BroaMan X6R-TP 8MI/8LO; Clear-Com LQ Series outstations; Cisco 550SG fibre switches; Luminex Gigacore 26i, 16XT, 10 switches; L-Acoustics KIVA KILO, ARCS and SYVA, cabinets; EM Acoustics’ Halo line arrays; Yamaha CL3, CL and QL Series consoles LIGHTING Robe intelligent lights; Clay Paky intelligent lights; MA Lighting grandMA2 console uk.westfield.com/london

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• Above left and right The extensive BroaMan setup at Westfield.

Optocore AutoRouter and Route66 40x40 Video Router with WDM Frame, as well as five MUX22 8 SDI-In/8 SDI-Out, and five X6R-TP 8MI/8LO. Before committing to the system, URW had rigorously evaluated the platform against another proprietary media distribution network. “However, we felt that BroaMan was more of an installation product with greater immediate feedback on the front panels - and that the BroaMan product was generally a better solution for our needs,” Ben explained.

“Maciek (Janiszewski) would tell us, with total confidence, that if their system didn’t provide features we wanted, they would simply add them for us.’”

Maciek himself recalls the original concept discussion had taken place at the BVE Show in London many years earlier.

“Over the years we met frequently at trade shows, and built a strong personal relationship with them. Finally we came up with the solution that met their exact requirements.” This was at Prolight+Sound two years ago.

As a result, URW became the first adopters of the Route66 40 x 40 layout.

“Once we delivered the system it just worked smoothly straight ‘out of the box’.

Even though it was quite a large project, with a completely new core hardware router, we were completely confident.

It was reassuring that URW trusted us sufficiently to become the first to use the new product.”

The first Broaman / Optocore deployment could scarcely have been higher profile, when Lady Gaga took to the roof in December 2016, where a ‘snow globe’ had been specifically created to enable her to perform an intimate gig for a 100 prize-winners, with the action relayed

to the multiplex cinema at the top of the building, which itself has already hosted several major film premieres.

Typically, said Ben, for major events, a BroaMan rack would be situated in the FOH control position, another at BOH, one in the press pen, and a final rack at an external location where broadcast trucks park up with line of sight to satellite uplinks. These are all linked together by the Route 66 matrix in the Control Room, routing the correct signals to the correct places.

The remote racks include all the D/A splitting necessary for local audio and video connections, along with Clear-Com LQ Series outstations for communication links.

“As for the [Route66] AutoRouter, if a rack is unplugged, or unused for an event, this will automatically reconnect what is effectively a loop system, without internal re-patching.”

The BroaMan system offers the ability to tunnel through two additional IP streams by fibre. These connections are used for Gigabit connections from a network of Luminex Gigacore switches to stations within each mobile rack. Port aggregation on the Luminex switches allows a maximum 2GB bandwidth to each remote switch.

This addition to the BroaMan racks takes care of all IP traffic - including MA lighting systems, ClearCom communications, internet connections, and various device management connections. Yamaha consoles and stageboxes are also attached to the BroaMan network, as are intelligent fixtures from Robe and Clay Paky - which are controlled using the MA Lighting grandMA2. www.mondodr.com

A redundant stack of Cisco 550SG fibre switches in each control room provides the backbone for the Luminex network.

PA requirements when needed – for events such as Lady Gaga – are taken care of by a mixture of LAcoustics and EM Acoustics line array and point source loudspeakers across both sites, with the latter powered by lab gruppen amplifiers.

Yamaha CL5 consoles at FOH and monitors and a CL3 in the video gallery share a pair of RIO3224D stage racks, plus a mixture of smaller stageboxes and QL consoles across the Dante network, all living within a dedicated group on the Luminex switches. This setup is replicated in both locations.

Trussing and rigging throughout is looked after by Total Fabs and Kinesys, respectively.

“Innovation is extremely important to us at Unibail-Rodamco-Westfield. It is fantastic to have developed and deployed such systems with our consultants and manufacturers, which helps us deliver large scale events, often to tight timescales,” said Ben in conclusion. “We are very proud to have the opportunity to work with so many A-list stadium acts, demonstrating the value of the ‘Westfield’ brand.

“Optocore and their BroaMan system is now central to the behind-the-scenes technical delivery of these events. With so many SDI signals, audio signals and IP streams I don’t think we realised just how great the benefits of BroaMan would be.

The way the Optocore team has worked with us on these systems makes us feel more like a member of an extended family, than customers.”

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KIEL OPERA HAMBURG, GERMANY EUROPE

Hamburg’s Kiel Opera has recently received an injection of new technology thanks to Amptown System Company supplying and installing three new mixing consoles from Yamaha. www.mondodr.com

Amptown System Company (ASC) has supplied Kiel Opera with two Yamaha Rivage PM10 digital mixing systems and one Yamaha CL3. These mixing consoles and their peripherals are compatible with the existing Nexus system and offer sound engineers maximum flexibility in live use, as well as excellent audio quality. One Rivage PM10 serves as the heart of the sound system, while the second console is for mobile use. This means that Kiel Opera will find itself well equipped for a wide range of events in the future.

Kiel has five divisions that produce their own performances: the music theater, the Philharmonic Orchestra, ballet, drama and the fledgling theatre in the Werftpark. Kieler Opernhaus is one of four performance locations including the Opernhaus, Schauspielhaus, Theater in Werftpark and Kieler Schloss that come under the umbrella of ‘Theater Kiel AöR’ (AöR stands for the legal form of an institution under public law), which are supported by the City of Kiel and co-financed by the State of Schleswig-Holstein. Since 2012, the public have been able to enjoy an open-air performance in the form of a popular and highly frequented summer play alternating between opera and drama. The opera is performed every two years on Kiel’s Rathausplatz, while the play is performed in alternate years at the Seefischmarkt on the city’s eastern bank.

The Kieler Opernhaus, a brick-red Art Nouveau building with computer-controlled understage and upper machinery and a revolving stage, offers a wide range of performance possibilities

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Image © Olaf Struck

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and state-of-the-art lighting and sound technology. The opera hall seats over 800 audience members. During the season, the audience can enjoy a broad-ranging program, from baroque operas to musical theatre canons, musicals and operettas, as well as ballet performances by the inhouse company.

Sound Engineer Manfred Bamberg, Head of the Sound Department at Theatre Kiel AöR, explained his investment decision: “We purchased two PM10 Rivage consoles, which are essential for the modern performance process in our opera house. Yamaha has a new, highly regarded sound philosophy that combines both analogue effects and modern sound design, and makes this quality audible. Added to this is the simple and internationally accepted standard of usability. Guest technicians can upload their stored shows and feel at home with their ‘sound tool’ thanks to the clear design of the console surface and excellent ergonomics. The consoles are known for their long service life, meet the requirements of theatrical and opera performance operations and are currently the most modern consoles on the professional mixing console market. We at Kiel Opera are aware that

developments in sound technology are progressing rapidly and dynamically.

With Yamaha, we can be confident that we will be able to integrate future building blocks into our system and thus keep our consoles innovative and flexible over the long term.”

In addition to the consoles, the Yamaha PM10 Rivage mixing system consists of a DSP engine and I/O racks, which are connected to each other via a TWINLANe network. Alternatively the CS-R10 Control Surface and the DSP-R10 DSP Engine can be connected via a ‘Console Network’. Both networks impress with their simple ring connections and fast setup. The ring structure guarantees the redundancy that is an important prerequisite in performance operations.

“As a system house, we work hand in hand with the customer and the specialist planner and install the technology that recommends itself as the definitive system solution,” said Andreas Klöhn, Key Account Manager and sound specialist, describing ASC’s approach: “Thanks to our many years of experience in theatre and opera performance operations, we are able to evaluate what will pay off for the customer in terms of

TECHNICAL INFORMATION SOUND 2 x Yamaha Rivage PM10 digital mixing system; 1 x Yamaha CL3 mixing console www.theater-kiel.de

media technology over the long term. We regularly set up workshops for innovative technologies and after interacting with the current solutions available on the market, we have decided to become a specialist Yamaha PM7 and PM10 Rivage distributor in Germany.”

“The previous mixing consoles used

by Kiel Opera, two Salzbrenner Stage Tec C.A.S. Mix / Triagon, were already getting old,” Klöhn continued. “This is why we took part in a comparative test involving the Yamaha PM10 Rivage digital mixing system that was conducted by the sound engineering department. The PM10 Rivage consoles were able to prove their mettle in this test thanks to their innovativeness and strengths in performance and also their compatibility with the existing Stage Tec Nexus routing system. The mixing console units, including racks, processor and I/O card, have a Dante connection and work perfectly in combination with the connected infrastructure. They deliver the premium Yamaha sound on a level never experienced before. As a sound engineer, there are now more options in sound design and effects that were not available previously - you can even recreate analogue effects. From consultation, procurement and delivery through to installation, training of sound engineers and start-up, we have done everything to ensure that the establishment lives up to its excellent reputation and that sound engineers and audiences will enjoy the excellent sound to the full.”

• Above The exterior of the theatre and Yamaha’s Rivage PM10.

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HILTON BAY TEL AVIV, ISREAL EUROPE, MIDDLE EAST & AFRICA

Hilton Bay - Absolut Beach & Surf, located on the famous Hilton Beach in Tel Aviv, is a hip and exclusive complex that includes a seaside restaurant, bar and a surfing club. www.mondodr.com

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• Opposite The limited edition white Pioneer DJM900NXS2.

• Above The Hilton Bay Beach and Surf located on the famous Hilton Beach in Tel Aviv.

Hilton Bay - Located on the famous Hilton Beach in Tel Aviv is a hip and exclusive complex that includes a seaside restaurant, bar and surfing club. Ibiza meets Mykonos at this exclusive spot, which enjoys glorious views of the most beautiful sunsets the city has to offer.

Taking account of specified plans and working closely with installers Bulldog Pro, Pioneer Professional Audio used EASE Focus 3 acoustic modeling software to plot the area to be covered by the new sound system. The software enabled the team to place selected Pioneer Professional Audio loudspeakers into a virtual space and determine the required accurate SPL levels, frequency responses and coverage patterns.

The system needed to deliver consistent audio across the varying SPL requirements of breakfast, lunch, dinner and sundown, as well as for parties featuring

world-class acts.

A Powersoft X8 amplifier with full-feature DSP powers the system - its eight channels deliver 1,500W at for ohms. The DSP is controlled on each channel via Armonia configuration software.

A spokesperson for Hilton Bay commented: “The Hilton Bay owners are leading figures in Tel Aviv’s nightlife. They were aware of the system through articles in various publications and strongly believed in the Pioneer Professional Audio

brand and its values, making it an easy choice. We wanted the system to have a strong impact throughout the venue and the installation team used software to precisely plot the area to be covered.

Using the data obtained and combining it with speaker data from Pioneer Professional Audio, the team was able to place the loudspeakers for maximum effect.

Everyone involved in the installation is delighted with the outcome.”

TECHNICAL INFORMATION AUDIO 6 x Pioneer Professional Audio XY-101 loudspeaker; 2 x Pioneer Professional Audio XY- 118Sub subwoofer; 2 x Pioneer Professional Audio XY-81 monitor; 2 x Pioneer DJ CDJ-2000NXS2 multiplayer; 1 x Pioneer DJ DJM-900NXS2 DJ mixer; 1 x Powersoft X8 amplifier with DSP

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Mountain Productions builds custom Saint Laurent structures fit for high fashion.

Yves Saint Laurent, the luxury French fashion brand, chose the perfect setting for its 2019 Spring Summer Men’s Fashion Show.

Under the direction of Saint Laurent’s Anthony Vaccarello, a bold look was established featuring towering scaffolding and an endless black marble performance area framed by the skyline of lower Manhattan.

Bureau Betak, the renowned fashion design creative agency, came to Mountain Productions to provide our expertise and to engineer, fabricate, and assemble the bespoke structure.

Bureau Betak is a special events company dedicated to the industries of

fashion, beauty and art. Founded 20 years ago by creative director and producer Alexandre de Betak, the studio specialises in fashion shows, events and exhibitions and operates worldwide, with offices in Paris, New York and Shanghai.

Their global team is comprised of designers, producers and technical artists, whose first mission is to translate Betak’s visionary and avant-garde ideas into the runway universe.

Our team of engineers spent more than two hundred hours of engineering on the structure, with a main performance area spanning 72ft wide, 14ft tall

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and 304ft long, working closely with the Bureau Betak visionaries.

A total of 24 Mountain trailers of scaffolding and nine other Mountain trailers of decking, ballast and support made the journey to the edge of the Hudson River, transforming a remote location into a premier venue.

A custom truss canopy framed the 69 YSL models and stood 282 feet wide and a 60ft tall. 6,000 sq ft of clear vinyl for the truss canopy were manufactured at Mountain Productions campus for adequate weather protection.

With the likes of David Franco, Lauryn Hill, Travis Scott, and Kate Moss in

attendance, Mountain’s custom Seating Risers, Flooring and Stairs needed to be fit for the stars and fashionistas utilising them.

The show was a major event to kick off the season and was simulcast in Times Square and on Yves Saint Laurent’s digital platforms.

“The Mountain Productions team was excited to collaborate with Bureau Betak, using new production tech including VR, to deliver a bespoke and bold structure fit for luxury fashion,” said CEO, Ricky Rose. www.mountainproductions.com

www.mondodr.com

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Photo Š Daniel Boot

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Having illuminated some of the world’s most prominent clubs and biggest EDM festivals, Southern California-based production design specialists SJ Lighting, with Steve Lieberman at the helm, have established themselves as the leader in entertainment technology design for electronic dance music. That reputation continued with the opening of Academy nightclub in Hollywood in January, a new 1,400-capacity space for EDM junkies that has been renovated, rebranded and updated with state-of-the-art sound and lighting technology, including lighting effects from Elation Professional Platinum Beam 5R moving head beam lights and Pixel Bar LED battens.

Academy, formerly the nightclub Create and before that Vanguard (both

ACADEMY LOS ANGELES, USA AMERICAS

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production designed by SJ Lighting), is a joint venture between Exchange L.A. and Insomniac, the Pasquale Rotellaled event production company behind some of music’s leading EDM festivals, most notably Electric Daisy Carnival.

Steve met Academy nightclub’s aim to provide a welcoming environment while maintaining a high production standard through an immersive lighting and video design that involves every guest in a stimulating dance floor experience. One of the largest dance clubs in Hollywood, the DJdriven venue brings in new talent every night and has been praised

for its revamped lighting design.

“It’s really a modern-day dance music hall for EDM,” Production Designer, Steve Lieberman said.

“It’s an immersive, high-tech design with an edgy feel that pushes the envelope more than the previous club did. It’s definitely a technology upgrade and has been well received by client and guests alike.”

Elation lighting has been a staple of SJ Lighting designs over the past few years and the successful relationship continued at Academy. Between rows of overhead LED panels are mounted Elation’s popular Platinum Beam 5R narrow-beam fixtures used

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“We wanted something with power that could keep up with 600+ video tiles and create those big wow moments when they hit hard, and the platinium beams do that.”

- Steve Lieberman

for high-intensity moments while Elation Pixel Bars provide a dynamic visual detail running down each side of the space.

Clean, linear lines of LED video panels extend over the audience then fold down the back wall with more LED panels decking the sidewalls to paint the entire room in a visual surround feel.

“Everywhere but the floor,” the LD said.

“We then put 32 Platinum Beams in the ceiling between the panels and they just crush it. We wanted something with power that could keep up with the 600+ video tiles and create those big wow moments when they hit it hard and the Platinum Beams do that. They are optically sharp and bright and get the job done when we need big aerial looks.”

Also playing a key role in the design and running down the sides of the room from stage to rear are rows of Pixel Bars, linear RGB pixel-controllable LED strip

lights that can be used as a pixel bar for displaying imagery or as a wash luminaire.

“They frame out the ceiling design and are there for balance,” Steve said. “They play an important role in the layered effect along with the video, wash lights, beams and blinders.” All of the Pixel Bars are pixel mapped through a MADRIX LED lighting controller, which allows video looks to run through the lights or lighting looks through the video.

Not all of the lighting gear in Academy is new however. Steve repurposed some existing fixtures from Create to use in the new club and again Elation fixtures play a role with some older but reliable Opti Par lights providing colour over the stage. No place packed in the high-intensity crowds that love EDM like Create. Since opening in mid-January, Academy has continued the trend as arguably Hollywood’s hottest nighttime venue.

TECHNICAL INFORMATION LIGHTING Elation Professional Platinum Beam 5R moving head beam lights; Elation Pixel Bar LED battens; Elation Platinum Beam 5R narrow-beam fixtures; Elation Opti Par lights; MADRIX LED lighting controller www.academy.la

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THE CITY CANCUN CANCUN, MEXICO AMERICAS

With its long sandy beaches, tropical climate, luxurious resort hotels and legendary nightlife, Cancun attracts millions of tourists each year. Travelling from across the US, as well as many other countries around the world, visitors flock to the famous Mexican city for relaxed days on the beach and wild nights of partying.

Standing out amongst the city’s myriad of bars and clubs, The City Cancún is a huge venue with an incredible capacity of 7,000.

This vast multi-level club boasts a truly aweinspiring lightshow, which is anchored by a huge installation of 130 ADJ Vizi Beam 5RX moving heads.

Located in the heart of Cancun’s hotel zone, The City opened in 2004 and is now well-established as one of the resort’s most popular nightclubs. For the last eight years it has been managed by Grupo AntroMex, Mexico’s largest nightlife entertainment company, which operates around 80 www.mondodr.com

nightclubs, bars and restaurants across the country.

Alejandro Vázquez is the Production Director for Grupo AntroMex and has the overall responsibility for the audio, video and lighting production across all of the company’s venues. It’s his job to keep on top of the latest equipment trends, evaluate new products and ensure that all of the Grupo AntroMex venues – especially its flagship nightclub, The City Cancún – stay on the cutting edge of entertainment technology.

The lightshow at the The City Cancún is built around a vast truss structure that Alejandro describes as a spider, because it has eight legs that extend out from a central pair of concentric circles with the whole thing able to lower down on electronic hoists like a spider descending on its web.

This was in situ when operation of the club was taken over by Grupo AntroMex and, although he describes it as looking old and

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They decided to have the structure renovated and added LED video panels and new moving head beam fixtures.

Having evaluated a variety of options, ADJ’s Vizi Beam 5RX was selected by Grupo AntroMex for the club. A total of 90 the fixtures are installed in the roof, predominantly on the spider rig, with an additional 40 units positioned on static truss structures that run along the sides of the venue and around the stage. Powered by the revolutionary Philips Platinum 5R 189W lamp, which offers output comparable to a standard 575W discharge lamp, the fixture generates an intense beam with a 5° angle, which is ideal for generating incredible mid-air effects when deployed in such large quantities.

Due to Mexico’s tropical climate, the club has previously experienced problems with fixtures failing quickly due to the high humidity and so the reliability of the Vizi Beam 5RX was equally important to Alejandro as its impressive output. “It has a very powerful beam and has also worked very well despite the humidity,” he explained.

“Here in Cancún, we have severe humidity and that can be a big problem, but the ADJ gear is very good. Its quality control is high and the fixtures are doing well enduring the most adverse operating conditions on the market. “We’ve made comparison tests with several other brands and ADJ has proven to be the best option

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• Above Eight Vizi Beam 5RXs are rigged to the central circular truss, with an additional 16 units spaced out around the outer circle.

for this type of climate, aside of the great effects and the product quality. To maintain this monstrosity of a lighting rig is a logistical challenge in the area of service, but we receive excellent support from ADJ Mexico and have experienced absolutely no problems with the inventory.”

Eight Vizi Beam 5RXs are rigged to the central circular truss, with an additional 16 units spaced out around the outer circle. This creates a focal point in the centre of the huge space, directly above the main dancefloor, and allows for impressive circular sweeping movements.

In addition, five more fixtures are hung from each of the eight leg trusses, and even more units are rigged to separate triangular truss structures in each

corner of the ceiling. This results in a roof full of beams projecting from every angle which, when combined with the additional fixtures down the side of the room and around the stage, makes for a truly mesmerising lightshow.

This is something that Alejandro feels is immensely important for the success of the whole venue. “The light show is the most important thing in the club,” he stated. “I think, while it pains me to say, it is more important than the music!

The atmosphere you create with lighting, you can’t create with any other effect.

People come to witness the spectacle that is this place and the spectacle that is the lighting, which is programmed by one of Mexico’s best lighting programmers, Gerardo ‘Jerry’ Rodríguez, who works for www.mondodr.com

us in-house”.

As a resident Lighting Programmer, it is Gerardo’s job to use the club’s immense lighting and video rig to create a worldclass lightshow; the reason so many tourists pack out the venue each time it opens. He takes this responsibility very seriously, constantly working on keeping the show fresh by creating new programs.

During the day he works from home, using a visualiser, dreaming up new effects. His evenings are then spent in the club triggering the most appropriate programs to match the music played by resident DJs and visiting artists.

Having worked at The City Cancún since it opened, Gerardo has seen the evolution of the club’s music policy. “I’ve been here through many stages…Tiesto and Paul

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van Dyk at the height of their popularity, but also Akon, Snoop Dogg, Black Eyed Peas, Natalie Cole... the list is endless. MTV and TeleHit also used to host music festivals every year, it’s an incredible place to work.”

With over 25 years of experience in the industry, working in Puerto Vallarta and Mexico City before coming to Cancun for the opening of The City, Gerardo has a wealth of experience using a wide variety of lighting fixtures from all of the leading manufacturers. This means that he knows exactly what he wants from a moving head and he has been extremely happy with the performance of the Vizi Beam 5RX. “It is a great fixture... honestly great,” he enthused.

“It is fast and has very good effects. I like the beam, the prisms, the frost filter, the effect macros, the

colors, the GOBO selection and rotation… I like everything about it! I also like the outside casing design, which looks very nice, and that it is very light. We shaved a lot of weight off the structure when we switched to the Vizi Beam 5RX and it is also nice and easy to carry up for rigging. I honestly think it is better than any other moving head.”

The combination of a powerful beam and ADJ’s world-famous reliability made the Vizi Beam 5RX a perfect fit for The City’s lighting rig. Offering razor sharp optics and a diverse feature set from a compact and lightweight fixture, it allows Gerardo to fill the vast club with piercing beams of richlysaturated colour and generate a wide variety of awe-inspiring effects that are sure to keep visitors to Cancún returning year after year.

TECHNICAL INFORMATION LIGHTING 130 x ADJ Vizi Beam 5RX moving head www. thecitycancun.com

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Phrarajasatta Pavilion revitalised with HARMAN Professional Solutions

Constructed in 1993, Phrarajasatta Pavilion is a beloved addition to Wat Pathum Wanaram, a mid-19th Century Buddhist temple in Bangkok.

Religious devotees and general public alike use Phrarajasatta Pavilion as a sacred place to conduct daily Buddhist activities, including worship, meditation and dharma practice. Mahajak Development recently updated Phrarajasatta Pavilion’s old sound system with a sound reinforcement solution by HARMAN Professional Solutions.

After 25 years of service, temple leaders hired audio integrator Mahajak Development to replace their rapidly aging sound system with a complete HARMAN networked sound system, comprised of premium solutions by JBL, Crown, dbx and Soundcraft. “Houses of worship like Wat Pathum Wanaram require premium audio solutions to provide guests and members of the community with immersive worship experiences,” said Pongsakorn

Kanchanachayphoom, Project Director at Mahajak Development.

“In order to ensure balanced audio coverage and seamless integration with Phrarajasatta Pavilion’s elegant décor, we selected industry-leading HARMAN solutions, which match the venue’s sophisticated atmosphere.

The end-to-end HARMAN solution facilitates network distribution and audio management within the place of worship. Because the client was looking for superior audio solutions with reliable customer service, HARMAN was the ideal choice for the project.”

With the objective of providing an immersive sound experience, Mahajak installed a range of JBL, Crown, dbx and Soundcraft solutions. The team equipped the pavilion with 26 JBL Control 25-1 indoor/outdoor loudspeakers, which deliver rich sonic character, wide coverage and consistent dispersion. Its contemporary high-design appearance and

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versatile mounting features enabled Mahajak to seamlessly integrate each loudspeaker into Phrarajasatta Pavilion. The Control 25-1 is the ideal loudspeaker for houses of worship where the sound quality of background music is essential to the worship experience.

Mahajak utilised a Crown CDi 1,000 two-channel amplifier to power the loudspeakers and a dbx DriveRack VENU360 loudspeaker management system for optiimal system performance. To ensure professional and polished mixes for events at Phrarajasatta Pavilion, Mahajak included a Soundcraft Signature 22 mixing console, which provides exceptional clarity, dynamic range and a superb signal-to-noise ratio. “We required an audio system that would provide adequate power and quality, and blend in aesthetically with the simple design of our modest venue,” said the spokesperson at the Wat Pathum Wanaram.

“We hired Mahajak on very short notice, but they delivered exceptional sound quality with a speedy installation. Our HARMAN system is highly flexible and easy to operate, delivering impactful audio with clarity during sermons and meditation.”

“It is a privilege to be associated with Wat Pathum Wanaram, a cultural landmark of great importance in Bangkok,” said Ramesh Jayaraman, VP&GM, HARMAN Professional Solutions, APAC. “We thank our longtime partner Mahajak Development for using HARMAN audio solutions to exceed the expectations of their clients and delivering an outstanding audio experience for those who pray and meditate at Phrarajasatta Pavilion.” www.pro.harman.com

www.mondodr.com

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MAX WATT’S SYDNEY, AUSTRALIA APAC

Max Watt’s is a live music venue located in Sydney’s Entertainment Quarter, with 500 sq metres of open plan space across two floors and a capacity of 1,500 the venue needed a new PA system that would really pack a punch.

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• Opposite Max Watt’s Live Music Venue.

• Above The Adamson S10 System, a 2-way, full range line array cabinet

Max Watt’s approached 8th Day Sound to update the venue PA system, with the owners wanting something relatively new to the market in the hope that it would hold them in good stead for the years to come.

The Adamson S10 system had been in the 8th Day Sound inventory for around 18 months, though this was the company’s first permanent venue install with the system.

“Two senior Adamson touring systems

technicians collaborated with the support team at Adamson in Canada and came up with a design that met the criteria and fell within budget,” explained Damo Pryor, General Manager of 8th Day Sound.

“We shot the room and drew the plans into Adamson’s Blueprint prediction program and went to work from there.

“The venue has a really diverse calibre of shows on its calendar, each event has its own challenges and the PA system needed to be able to handle the different

content whether that’s loud or low SPL, musical, speech, EDM, whatever the scenario,” said Damo.

“Aesthetically the PA needed to be small and unobtrusive, we also wanted to hit the floor and balcony from the same array although there is a 10ft gap. I think we managed to tick each of those boxes.”

The line array is split with a steel rope, to get around the gap between the balcony and floor. It required a few re-designs to ensure the array would still take effect

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in both locations. The E119 subwoofers are located under the stage allowing the barrier to be as close to the down stage edge as possible.

Lab.gruppen PLM12K and PLM20K amplifiers were selected along with a Lake LM44 processer. The venue supplies AVID mixing consoles, which most touring acts have a show file for and are familiar with.

“The Adamson loudspeaker was ideal for this venue, it’s a new product on the market so the system will be relevant for years to come, plenty of power for its size and weight, it meets the budget and its important that touring artists see the brand on the venues technical paperwork and are happy to use it.”

TECHNICAL INFORMATION AUDIO 16 x Adamson S10 loudspeaker; 2 x Adamson IS7P loudspeaker; 6 x Adamson E119 subwoofer; 6 x Lab.gruppen PLM+ 20K44 amplifier; 1 x EDS amplifier interface system; x 8 d&b audiotechnik M4 monitor; 1 x d&b audiotechnik Q7 loudspeaker; 1 x d&b audiotechnik Q-SUB subwoofer; 3 x Audio-Technica T4051 mic; 1 x beyerdynamic M88TG mic; 2 x beyerdynamic MCE 86 shotgun mic; 1 x Sennheiser MD421 mic; 2 x Sennheiser e604 mic; 1 x Sennheiser e835s switch mic; x 1 Shure Beta 52A mic; 1 x Shure Beta 57A mic; 1 x Shure Beta 91A mic; 6 x Shure SM57 mic; 4 x Shure SM58 mic; 1 x Shure UR4D+ wireless receiver; 2 x Shure UR2 handheld transmitter www.maxwatts.com.au

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All photos: Sam Dodds / The P.A. People

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THE ROUNDHOUSE SYDNEY, AUSTRALIA APAC

A concert, conference and hireable venue in the University of New South Wales that goes back over 50 years. In 2016, ARC - an organisation of students and alumni that manage the venue - initiated an 18-month project to give The Roundhouse the thorough refurbishment it has long deserved. www.mondodr.com

The Roundhouse at the University of NSW is a multifunctional venue with a rich history going back over 50 years. It has hosted some of the biggest musical acts, including the Foo Fighters and Green Day, as well as conferences, theatre performances and private parties.

Since first opening in 1961, there has been work at the 2,200-standing-capacity venue in the past, however, with one eye on the future, the decision was made to begin a substantial transformation.

This project included overhauling the audio system, which was of huge importance to the events held at The Roundhouse.

“This is a venue that needs the flexibility to accommodate a wide variety of uses - from guest lectures and conferences, to creative-arts productions to band performances,” said Shelley Valentine - Director, Student Services, ARC - an organisation comprised entirely of UNSW students and alumni that run the venue.

“We needed to create an AV/PA solution

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that would cater for this current variety and could also future-proof our capacity over the medium-term.”

Sydney’s The P.A. People, delivered the audio, lighting, projection and control systems, working in conjunction with other suppliers. This project was delivered under two contracts of work; one for the builder and one for the University.

The theatre consultant, Richard Stuart, provided the specification for the theatre infrastructure package to Multiplex, which managed the complete building project. Goldline Industries was allocated the entire electrical works task, who in turn brought The P.A. People onboard to deliver the theatre infrastructure component.

The P.A. People installed a new d&b V Series performance sound system, along with a DiGiCo SD12 desk and a QSC audio control system.

The Roundhouse enlisted the help of NAS, asking the company what it would suggest for the audio system, given the

opportunity.

“From the initial chat, it was clear that the set up they currently had wasn’t performing to the standard demanded by the multiple modes the venue runs in,” explained Chris Braun from the projects team at NAS. “ The Roundhouse runs all kinds of events from live bands to university lectures to presentations and they needed a system that could set up fast, no matter the requirement on the day.”

The Roundhouse is a unique venue, with the first challenge being the fact that the room is round - meaning that there were issues to overcome in terms of achieving constant, even coverage.

Chris explained how the NAS team tackled the challenge: “The first step was talking to the venue to identify what they wanted from the system. The team at The Roundhouse have been there for a long time. It became obvious in our discussions that they are invested in the room, they love it, and they pour their heart and soul www.mondodr.com

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• Above The lighting fixtures installed at the venue.

into it on a daily basis.

“The expectations they had for the system were high; with multiple modes, full coverage and excellent clarity being at the top of the list. They also needed to know that the system was going to be rider friendly, and last them well into the future.

“Once we had a clear idea of what was required of the system outside of the normal expectations, we were able to get to work. Having been in the room for concerts over the years, I wanted the system to cover 160º on both levels of the venue and be as even as possible within that listening area.”

After taking everything into consideration, NAS opted for a d&b audiotechnik Vi-Line system due to its directivity - making it ideal for the round venue design - as well as the fact that it is extremely rider friendly.

“As a touring FOH Engineer and Production Manager, I know that when you’re going over rider specs during the advance for a tour, seeing d&b as your PA and then seeing V8/ 12 listed is instantly met with a tick and ‘that’ll work!’ - and that’s what the venue wanted,” said Chris.

Also, from a design perspective, the ViLine system is compact and light, which saves sightlines and keeps up with the SPL required, while targeting its energy where it’s pointed without spraying the walls excessively.

Chris added: “The d&b audiotechnik Vi8 and Vi12 loudspeakers have the advantage of maintaining constant directivity dispersion control right

down to 250Hz. This means that I get extremely accurate control from the array.

The maximum SPL the Vi8 and Vi12 are capable of meant there was never going to be a shortage of horsepower either.

“To continue the horizontal coverage around to my 160º target, we deployed d&b audiotechnik V-Point loudspeakers in a horizontal fashion on the ground level while they were flown vertically for the balcony coverage.

“Choosing V-Point meant the actual sound of the loudspeaker from line array to point source are matched in voicing, allowing for a seamless handover from the main array to the outfill. The V-Point downstairs lays on top of the B22 subwoofers either side of the stage, while the upstairs V-Point is

flown behind the main arrays on one of the coolest custom rigging solutions I’ve seen for a long time.”

The previous space was dominated by a large central ceiling structure, which limited extra rigging and lighting. The new Roundhouse brief called for enhanced rigging and anchor points that could facilitate a broader production capability.

Jands assisted The P.A. People with chain hoists for loudspeaker rigging, plus winches and chain hoists for motorised lighting bars, trusses and scenery battens, as well as a package of curtaining for the venue.

A major challenge with the project was the Barrisol ceiling, which is constructed with a lightweight fabric membrane stretched

TECHNICAL INFORMATION SOUND 12 x d&b audiotechnik Vi8 loudspeaker; 4 x d&b audiotechnik Vi12 loudspeaker; 2 x d&b audiotechnik V7P loudspeaker; 2 x d&b audiotechnik Vi7P loudspeaker; 8 x d&b audiotechnik E8 loudspeaker; 6 x d&b audiotechnik B22 subwoofer; 10 x d&b audiotechnik M4 stage monitor; 1 x d&b audiotechnik B6 subwoofer; 7 x d&b audiotechnik 30D amplifier; 1 x DiGiCo SD12-D2 mixing console; 1 x QSC Q-SYS control system; 4 x Shure QLXD radio microphones; 1 x Jands flying control system LIGHTING & VISUAL 24 x Philips Showline SL BAR 510 LED luminaire; 24 x Philips Showline SL PAR luminaire; 6 x ETC ColourSource spot fixture; 6 x ETC Source Four profile; 3 x Epson LED projector; 3 x Screen Technics motorised screen www.arc.unsw.edu.au/roundhouse www.papeople.com.au nas.solutions

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110 VENUE - APAC

across a segmented pie structure. The stretched membrane needed to be cut to allow the rigging and cabling to pass through. This had to be measured and cut precisely the first time to avoid damage to the ceiling structure.

As well as the audio and control systems, The P.A. People installed the lighting and projection technology at The Roundhouse.

For the lighting system, 24 Philips Showline SLBAR510 LED wash lights have been utilised, along with another 24 Showline SLPARS from Philips. These are supplemented by six ETC CSSPOTS and six ETC Source Four profiles. Control comes from a High End Systems Hog 4 lighting console.

For the projection system, three Epson LED projectors are used, along with three Screen Technics motorised screens.

Now, with the technical revamp completed, The Roundhouse can host major acts, large conference clients and in-house entertainment productions and forums.

In the first month of operating, when the venue re-opened earlier this year, Shelley

• Above The iconic Roundhouse hosting sellout gigs.

said: “We’ve had one sell-out student dance party, four or five comedy acts, three large gigs, one 200-person and one 1,000-person conference. The venue is getting positive feedback from acts and potential clients, with one saying that ‘this is one of the best sounding venues of this size in the country’.”

Chris of NAS was equally enthused by the project: “To be honest, this was a really nice project to be involved in. It was different from a lot of jobs as the client was so invested and involved in their room. They’d been suffering for a long time with an old and underpowered system. They knew what the venue could be capable of, which put a lot of pressure on us to deliver, but it also drove us even more to make sure it was going to absolutely surpass each and every expectation they had.

“The venue has reported nothing but love for the solution we came up with. I’ve checked in with touring engineers that have gone through the venue to make sure it performed to their standard as well and everyone has been blown away with how easy it is, which is what we want.” www.mondodr.com

112 VENUE - APAC

LIVE ROXY SHIZUOKA, JAPAN APAC

Taking its name from Roxy theatres, clubs and cinemas across America and the UK, Live Roxy is a live music club in Shinzuoka, Japan. The venue, which has a total capacity of 882, had its grand opening in February 2018 – and, since then, many artists have performed, making Live Roxy one of the go-to clubs for live music in the city. www.mondodr.com

To ensure the best experience for visitors and further enhance the performances each night, Live Roxy’s owner, Mr. Mitsuhiro Matsuura, wanted to use state-of-the-art technology, with both lighting and audio of vital importance to the venue.

Live Roxy contacted Hibino Lighting Inc. to assist them in finding the perfect lighting system. From there, it was decided that Ayrton fixtures were to be utilised as the main part of the lighting at the venue. Two Ayrton Ghibli fixtures, five Magicdot-R moving heads and one Cosmopix-R luminaire were supplied.

“Since I was a teenager, it has been one of my long-term dreams to open live music clubs,” explained Mr. Matsuura, once a band member himself.

“When I first discovered Ghibli, Magicdot-R and Cosmopix-R, I felt that they would make my 20-year-long dream perfect, because, not only the artists, but also the Live Roxy audience, would experience excitement from the effect of those fixtures.

“I had heard of Ayrton’s good reputation and I found it to be true. Once I saw the fixtures for myself, there was no hesitation at all in my decision to purchase them for Live Roxy.”

Hibino Lighting Inc., Ayrton’s exclusive distributor in Japan, was responsible for

113 VENUE - APAC

• Above The main stage at Live Roxy.

arranging the demo of the fixtures for Live Roxy, and supplied and installed them, along with a full lighting and rigging package and lighting console, before its grand opening in February.

Ghibli is Ayrton’s first LED spot lighting fixture, and has a light output of 23,000 lumens which makes it a very powerful tool to illuminate artists on stage. The optics produce an extremely uniform fat beam with no hot spot, and its gobos and colours exactly meet the needs of live entertainment.

MagicDot-R, one of Ayrton’s most popular products, weighs only 5.3kg and is a highly compact, light, ultra-fast and powerful fixture, which occupies very little space in an installation whilst still delivering a high quality performance.

MagicDot-R offers an overall luminous flux of 1,800 lumens and a luminous intensity of 180,000 candela for an overall consumption of only 130W. CosmoPix-R, another of Ayrton’s steady sellers, is a unique lighting fixture based on the concept of the famous doublerotation spheres with PAR36 lamps, dating back to the early ‘80s. Fitted with 12 separately-controlled 60W LED light

emitters in a 12-face arrangement and having continuous double rotation on the pan and tilt axes, CosmoPix-R has a light output of 18,000 lumens.

“Permanent installation of Ayrton’s fixtures is one of our growing business sectors,” said Mr. Yukitoshi Watanabe of Hibino Lighting Inc. “We listen to what our customers want, and recommend the proper lighting fixtures to meet the conditions of each venue. Ayrton’s lighting fixtures have great reputation in Japan for beautiful light and colours, and for their robustness, all of which meant we had no difficulty in getting Live Roxy’s investment.”

The Hibino Lighting Inc. team had to take the low ceilings of Live Roxy into consideration when it came to the install.

“Live Roxy was built underpass of railroad for Shinkansen, so the ceiling was lower than ordinary venues,” explained a spokesperson from the company. “The poles to support the underpass were positioned at the right and left side of the stage, as well as the audience area, which were obstacles. We simulated how we install the fixtures by using Capture’s visualiser in advance - and we were able

www.mondodr.com

to solve the problems.”

Along with the Ayrton fixtures, Hibino Lighting Inc. installed two Martin by Harman Rush MH 1 profile moving heads and three BOLD Blinder300 fixtures.

For the lighting control, an Avolites Quartz lighting console was chosen for its compact size and user-friendly software.

A Rosco Vapour fog machine is used for performances, too.

Mr. Matsuura added: “I have a big plan to expand our live music club business.

Live Roxy Shizuoka is a baby step for the plan. My first encounter with Ayrton’s fixtures has made me realise that Ayrton’s reputation is real, and this experience has led me to consider purchasing more Ayrton fixtures in the future.”

Hibino Intersound Co. was enlisted to deliver a high-end audio system for Live Roxy, which required a compact, flexible setup.

A spokesperson for Hibino Intersound Co. takes up the story: “The main hall has low ceilings and the distance from the stage to PA area is quite a distance - around 20-metres - plus, are pillars aligned in the audience area. With those aspects to consider, Live Roxy needed

114 VENUE - APAC

compact, high output loudspeakers in order to cover all genres of music.

Focussing on these requirements, we gave a demonstration of various loudspeaker brands. As a result of the demo, CODA Audio loudspeakers were selected.”

For the front of house, Hibino Intersound Co. installed three CODA Audio APS loudspeakers and two U4 subwoofers for each side. Two of CODA Audio’s G515 loudspeakers are used, too. There are eight G512 loudspeakers used as stage monitors, while a HOPS8 from CODA Audio is utilised as the FOH monitor.

CODA Audio provides the amplification for the system, too, with two LINUS14D and three LINUS10C amplifiers used.

“Thanks to the great phase linearity of

CODA Audio loudspeakers, with the appropriate delay level, the sounds of G515 and HOPS8 were nicely merged with the sound of APS,” said the Hibino Intersound Co. spokesperson.

“For this type of installation, the fact that any type of CODA Audio loudspeaker delivers high quality sound, exceeding the performance of conventional loudspeakers, makes them ideal.”

An existing Yamaha CL5 mixing desk is also used at Live Roxy.

“We wanted audiences to enjoy the sound at Live Roxy and visit over and over again. That is why we placed so much importance on a high-quality sound,” concluded Hibino Intersound Co.

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TECHNICAL INFORMATION SOUND 3 x CODA Audio APS loudspeaker; 4 x CODA Audio U4SUB subwoofer; 2 x CODA Audio G515-Pro loudspeaker; 2 x CODA Audio G512-Pro loudspeaker; 2 x CODA Audio HOPS8 loudspeaker; 2 x CODA Audio LINUS14D amplifier; 3 x CODA Audio LINUS10C amplifier LIGHTING & SPECIAL EFFECTS 2 x Ayrton Ghibli LED luminaire; 5 x Ayrton MagicDot-R moving head; 1 x Ayrton CosmoPix-R luminaire; 2 x Martin by Harman RUSH MH 1 moving head; 3 x BOLD Blinder 300; 1 x Avolites Quartz lighting console; 1 x Yamaha CL5 mixing desk; 1 x Rosco Vapour fog machine www.live-roxy.com

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MONDO | STADIA presents AGORA - a new event for 2019 focussing on sporting venue technology, the latest developments in the industry and future projects.

Through panel discussions, case studies and expert keynote speakers, AGORA will explore the benefits of the latest technology, trends and techniques analysing the impact it has and will have at modern stadiums and sporting venues around the globe.

From enhancing the fan experience and modernising stadium infrastructure, through to the planning of cerem aonies and events, AGORA will provide valuable insight that will help to increase knowledge and performance for stadium and sporting venue projects in the future.

Taking place at ISE 2019, Amsterdam, AGORA will offer sporting venue managers and event organisers the chance to network with technology innovators and industry experts.

THURSDAY 7 TH FEBRUARY ISE, RAI AMSTERDAM PRE- REGISTER HERE: WWW.MONDOSTADIA-AGORA.COM

Keynote AVIXA Keynote Scott Willsallen, AUDITORIA

• Page 124

IN BUSINESS

• Page 122

• Page 126

NAMM SHOW PREVIEW ANAHEIM

SHOWCASE EVENT INFILED

COMPANY ACQUISITION EAW ACQUIRED BY RCF GROUP

NEW FACILITY MUSIC & LIGHTS

WORLD TOUR NOVASTAR

INFOCOMM INDIA MUMBAI

PROLIGHT + SOUND ME DUBAI • Page 134

• Page 148

LDI LAS VEGAS

• Page 150

• Page 162

IN DETAIL BARCO LDR FUNKTION-ONE HOF

PRODUCT GUIDE MIXING CONSOLES

PRODUCT DIRECTORY LAST PAGE INTERVIEW DAVE HAYDON - OUT BOARD

118 SH OW P REVIEW - NAMM

NAMM

24-27 January 2019 Anaheim Convention Center The NAMM Show is the definitive platform for the music, sound and event technology communities to unite with the mission of strengthening the music products industry and promoting the pleasures and benefits of making music. Held in Southern California every January, The NAMM Show offers the latest products from more than 7,000 brands, cutting edge industry education sessions, as well as exclusive special events, concerts and experiences. www.namm.org

Adam Hall Cameo OPUS Stand No.: 11514 www.cameolight.com/ OPUS-SERIES → Super bright profile moving head with 15,000 lumen output and huge illuminance of 39,000 lux @ five-metres. → Advanced CMY colour mixing system plus colour wheel with seven dichroic filters. → Linear CTO correction from 6,500 - 2,600K for authentic tungsten emulation. → High quality optics with 130mm front lens and extra wide 6º - 42º zoom range. → Four-blade framing system with +/- 45º rotation.

ADJ Lighting Focus Spot 4Z Stand No.: 11438 www.adj.com → Moving head with 200W cool white LED engine (50,000 hours). → Motorised focus and zoom. → Zoom range: 11-22º. → Two prism FX: Rotating five-facet linear and rotating six-facet circular. → Six rotating, replaceable gobos + open.

Avante Audio Achromic A12 Stand No.: 17313 www.avanteaudio.com → Drivers: 12-inch woofer with 2.5-inch voice coil + 1.35-inch HF compression driver → Amp power: 1,200W peak; 350W Class-D (LF) + 50W Class AB (HF) RMS. → Built-in digital signal processing (DSP) with LCD screen, EQ and multiple presets. → Pole mounting: Dual position 0º or 7.5º. → Output (peak SPL @ one-metre): 123dB. www.mondodr.com

DYNAMIC WIRELESS LOAD MONITORING SYSTEM

THE MISSING Beyma 8MC500Nd Stand No.: 18521 www.beyma.com/getpdf.php?pid=8MC500Nd

TWISTLINK THE NEW TWISTLINK FOR FAST ACCURATE LOAD MEASUREMENT

→ High power handling: 1.,000W program power. → Exclusive Malt Cross Technology Cooling System. → High sensitivity: 98dB (1W / 1m). → FEA optimised neodymium magnetic circuit. → 2,5-inch DUO double layer in/out copper voice coil.

Chauvet DJ Stand No.: 11138 www.chauvetdj.com

Designed to minimise torsional loading Easy & quick connection to other shackles 4.75 tonne safe working load Quick installation Aerospace graded stainless steel Scan here to watch our video...

→ Discover an exciting and powerful line-up of new CHAUVET DJ lighting products. → Experience the most popular and dynamic CHAUVET DJ effect lighting up close and personal in a unique in-booth dark space. → Get inspired with lighting learning! Ask a CHAUVET DJ representative about our seminar ‘Event Lighting for DJs and Bands’, Friday, January 25th at 3pm at the Hilton Hotel next to the convention centre. → The future of video is Vivid! See the exciting in-booth display of video energy with CHAUVET DJ Vivid video panels. → CHAUVET DJ helps achieve event success by identifying types of products that best serve specific kinds of events and space sizes. CHAUVET DJ has the right tools for the right jobs, including bands, DJs, special event producers, fitness centers, entertainment centers, smaller worship and community spaces, intimate black box theatres and more.

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120 SH OW P REVIEW - NAMM

d&b audiotechnik The KSL + The GSL Stand No.: 17915 / Demo Room: 204 A dbaudio.com → The d&b booth and demo room will be alive with all the latest developments from the German audio technology company, → Join us for the international introduction of the SL-Series’ KSL System, a line array offering nothing short of full range directivity control to sound reinforcement projects of any genre, medium or large, mobile or installed. → Alongside KSL at the booth will be a selection of products from the truly comprehensive d&b portfolio. → Down the hall in the demo room, anyone who’s explored the d&b Soundscape corner at the booth can get fully immersed in this toolkit of endless possibilities, in an insightful theory, practice, and listening session taking place several times each day. → When the product exploration’s over, visitors are invited to take time and relax in the booth’s reception area and meeting space, where the team will be on hand for questions and advice.

D.A.S. Audio ACTION 500 SERIES / APP Group Manager Stand No.: 17619 www.dasaudio.com → Presenting Action 500 Series, which is a natural upgrade from the Action Series. New look, new components and new features: → Portable live sound designed. Birch Plywood, Black ISO-flex paint, 90º x 60º constant directivity horns. → LCD screen with DAScontrol for preset selection. HPF selection (full range or with Action subwoofers) → Dual pole mount (0º/10º) → Bluetooth Mobile APP that allows you to control groups of systems using any mobile device.

Presonus CDL12 Stand No.: 18701 www.presonus.com/products/CDL-Loudspeakers → Constant Directivity design uses a vertical array of eight two-inch drivers instead of a horn to disperse high-frequency and midrange frequencies more accurately. → 120˚ horizontal dispersion for clear sound distribution over a wider angle than competitors - more of your audience can hear better. → Can be combined into arrays of up to six CDL12’s for thunderous SPLs and unprecedented symmetrical 120˚ vertical/120˚horizontal dispersion. → Only design in its price range with Dante connectivity. → Great for mobile use and a wide variety of permanent installations. www.mondodr.com

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122 SH OW CASE EVENT

INFILED | SHOWCASE EVENT infiLED EM International ran an exclusive showcase event at the University of the Arts London (UAL), Elephant and Castle from the 4-11 September 2018 - exhibiting a range of its latest LED display technology, in partnership with UAL. With a range of personal viewings and sales meetings taking place over the seven days, the infiLED team welcomed existing contacts, as well as developing new relationships with individuals and companies that promise to deliver an exciting future for the company.

The event included three demo rooms each containing one product from the three series infiLED had on display; the HD Series, the X Series and the ER Series.

The HD Series is infiLED’s premium LED product, with pixel pitches of 1.2mm and 1.5mm, this

series, as suggested by its name, offers a high definition image with 4K capabilities due to its high contrast, high greyscale levels and high refresh rate. On this occasion infiLED demoed its 1.2mm HD Series, configured in an eight cabinet wide by four cabinet high display. The display measured 3.2-metres by 1.8-metres, thanks to the 400mm by 450mm cabinet size and offered a 2,560 by 1,440 (2K) resolution.

The X Series is one of infiLED’s true curved solutions and can be used to create bespoke shape screens. The range is available in three-pixel pitches: 2.9mm, 3.9mm and 6.2mm, with the latter being an outdoor product. Each 500mm by 500mm cabinet can be curved up to 20°, concave and convex, per cabinet - this, along with its flat and chamfered edge capabilities, allow the X Series www.mondodr.com

to form almost any shape, including a perfect circle and wave with as little as 18 cabinets.

The X 3.9mm curved screen was on display at the showcase and was configured using 28 cabinets in a seven high by four wide layout. The cabinets were all set to -20° allowing a large concave curved screen to made from these cabinets. The X Series can be used for a variety of applications including; retail, sports installations and architecturally complex structures.

The ER Series is by far infiLED’s most widely used product due to its durability and ease of installation. This product has one of the widest ranges of pixel pitch, with the smallest being 2.9mm and largest being 10.4mm, with 3.9mm, 4.6mm, 4.8mm, 5.9mm, 6.9mm and 7.8mm in the middle. The ER is also popular due to it being

123 SH OW CASE EVENT

available in both an outdoor and indoor range. The ER 4.6mm was on display in a six cabinets wide by two cabinets high formation. For this product range the cabinets are available in 500mm by 500mm or 500mm wide by 1,000mm high. The 500mm by 1,000mm cabinets were used for demo, which meant the screen, measured three-metres wide by

two-metres high.

Managing Director, Ben DaCosta, concluded: “This week has been a really good opportunity to demonstrate the quality of some of our different LED display products. We’ve had both our existing customers and a range of future infiLED customers in for the event, so it has been a busy week. This is

actually the first time the HD Series has been exhibited in the UK, so it’s been really exciting getting our clients in to show it off. Huge thanks to UAL for accommodating us, we love working with them.”

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124 COMPANY ACQUIST ION

EAW | ACQUIRED

BY RCF GROUP The announcement that Italian professional audio giants, RCF Group, had acquired Eastern Acoustic Works (EAW) from Loud Audio was certainly an interesting development in the industry.

It’s always intriguing to see how these type of acquisitions develop and, despite still being in the early days, it seems that it’s an exciting time to be part of EAW as it looks firmly towards the future.

Celebrating 40 years in the professional audio industry, EAW is a recognised and respected brand with one of the strongest audio technology

portfolios in the industry. Based in Whitinsville, Massachusetts, EAW has delivered significant innovations in loudspeaker technology and now sees those innovative ideas used to support sporting events and performances in stadiums and arenas - not to mention houses of worship, theatres and other venues, too.

RCF Group CEO Arturo Vicari, said in a statement: “We can look at a bright future together.

Being part of our group will provide EAW with the necessary investments and focus for a fast and www.mondodr.com

solid growth. We are very proud to have EAW with us.”

Under the new structure, EAW will remain an independent company, as T.J Smith, President of EAW, explained to MONDO | STADIA: “We’re going to be supported by RCF, though we’re very much still EAW. Being part of the RCF Group will allow us to focus fully on what we do best - developing the technology to deliver the best sound possible.

“We’re going to be putting a huge focus on

125 COMPANY ACQUIST ION

research and development moving forward. This is something we’re really excited about - EAW will continue to improve and grow under RCF.” EAW’s Adaptive loudspeakers are an example of what can be developed when working with a team that is dedicated to advancing the industry through state-of-the-art technology. Many notable sound companies have embraced Adaptive systems and the business it has added to their bottom lines.

Anderson Audio, Sound Image, Mix3, Blackhawk Audio, Live Space, Ic9, Service Solutions AV, TMG Group and McNally Enterprises are just a few of the companies experiencing the advantage of Adaptive products - the loudspeakers series that can change coverage patterns at the touch of a button.

“The type of advanced thinking that created

Adaptive is alive and well in Whitinsville,” said T.J. “We are looking forward to seeing where products like Adaptive and RADIUS can lead us and the industry.”

As well as the focus on R&D, the customer is at the forefront of EAW’s plans, according to T.J: “The announcement of our acquisition has served to not only excite our expanding customer base, but also inspire interest from companies serving market categories that have been neglected for some time.

“We have a strong and knowledgeable sales team in place that is working hard to further our presence in the industry with great success. With the RCF Group behind us, I can’t imagine a brighter future.”

That bright future extends to stadium and sporting venues for EAW, with the area seen as a huge mar-

ket for the company.

“We do some amazing projects in stadiums and arenas, using our audio systems to provide incredible sound at a variety of sporting venues,” added T.J. “Recently, we have completed projects at the Capital One Arena in Washington - home of the Wizards and Capitals - and the Chesapeake Energy Arena in Oklahoma. There’s also the work we did at ASU (Arizona State University) - they use a Anya system at their Sun Devil Stadium. Bryce Jordan Center on Penn State University’s campus is another that we have completed recently, too, with Anya and Otto systems being used - the list is long. We have a very bright future in front of us and welcome you along for the ride.” www.eaw.com

AUDIO MASTER

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“The thing that motivates me is satisfaction – the satisfaction a client says they feel when they enjoy the sound experience that I designed.”

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126 NEW H EADQUART ERS

MUSIC & LIGHTS | NEW HEADQUARTERS On Thursday 4 October, Music & Lights celebrated the official opening of its new headquarters, dedicating a day of exclusive celebration for customers, partners and international distributors.

The new headquarters represents a further phase of development, with over 40,000 sq metres surrounded by greenery and with a covered area of 10,000 sq metres, which brings together offices, research and development, production,

laboratory and logistics.

Music & Lights is an organisation that has acquired a growing international reputation over the years with its brands, which today are at the top of the professional industry of audio-video-lighting, an industry in continuous updating and technological development.

This innovation played a central role in the Distributor Conference, held on the morning of www.mondodr.com

the event and reserved for the international sales network. Then, in the afternoon, the doors of the new exhibition areas opened up; a complex of over 1,000 sq metres, including a stage set up with 700 PROLIGHTS and TRIBE fixtures, loudspeakers DAD, PROTRUSS facilities and a showroom, where the main solutions of each brand are represented. “Our solutions are today the ideal partner

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128 NEW H EADQUART ERS

for every type of event, and our development projects, determine a continuous growth of professionalism and innovation. As a group we are engaged in the search for new technologies and an ever-increasing focus on the needs of the market,” said Managing Director Fabio Sorabella.

“After more than 25 years in the entertainment sector, we are proud that Music & Lights is among the most successful companies in the sector.

In the last 10 years the company has grown considerably and all this is a source of motivation that pushes us to overcome and to continually challenge the status quo,” he continued.

The company not only talked about technology and innovation, but also about professional training. In the future, Music & Lights will be demonstrating its educational development with training courses, as part of its academy. The first

training day dedicated to the world of professional video took place in October.

The Music & Lights grand opening concluded with a show dinner that welcomed over 1,000 professionals, customers, distributors and international guests, who were able to attend a great show of lights and music. www.musiclights.it

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130 WORLD TOUR

NOVASTAR | SEEING IS BELIEVING WORLD TOUR Putting the technology in the hands of people who will be using it, NovaStar embarked on its ‘Seeing is Believing’ world tour earlier this year, and recently made its final stop in Italy - and the company saved the best until last. NovaStar is a company that focuses on complete solutions rather than just individual products, and this stop on the tour reflected that with an emphasis on application-targeted solutions.

Held in the beautiful seaside town of Minturno, Italy, the launch event provided attendees with an escape from the hustle and bustle of the city. In addition to the beautiful scenery, the event itself had plenty of useful information on NovaStar products and the LED industry.

In the past, most NovaStar launch events have been more product-focused. But for the first time ever, this event was solution-based, giving attendees a look at complete solutions targeting various applications across the LED industry.

Some of the solutions on display included: Low Latency Solution MCTRL660 PRO + A8s/A10s If you work with applications such as TV broadcasting, live event coverage, high-end concerts,

or others that have very high requirements for latency reduction, then you’re aware of how latency issues can ruin an event.

Enter the MCTRL 660 PRO, a controller that may be just what you need to solve your requirements for low latency. With your video source connected to the 660 PRO, the signal is processed and transferred to the A8s receiving card with zero latency. The A8s then sends the signal on to your display with a latency of less than 1ms, resulting in a total latency from video source to display of less than 1ms.

is an all-in-one smart card that supports both synchronous and asynchronous modes.

The Taurus was designed with stability and error control in mind, effectively maximising the uptime of your display.

Cloud publishing, an easy to use interface, excellent stability, and advanced stabilisation all serve to make this unit a perfect fit for a variety of applications, including billboards, malls, fixed installations, and more. The Taurus Multimedia Player: finally bridging the gap between display and content.

Stage Rental Solution C1+N9, J6 NovaStar’s high-end stage rental solution consists of the N9 combined with the C1. N9 is a switcher, splicer, and processor designed for both stage control and broadcasting applications. It’s a great unit on its own, but many clients felt that for time-sensitive live control applications, software operation can be complex and unwieldy. Enter the C1, a dual-touchscreen stage control console that literally puts quick and simple control right in your hands. These two are the perfect pair for both rental and TV studio clients.

VX6S - All-in-one Controller NovaStar’s VX6S is a feature-packed all-in-one video controller that is capable of providing everything you need for rental applications, and more.

The VX6S has power to spare, with six Ethernet outputs providing 390 million pixels of loading capacity, you know the picture will be gorgeous.

It also features seven input sources, and supports three layers + 1 OSD. When you need a controller that provides excellent resolution without sacrificing features or stability, the VX6S is the perfect choice. Especially suitable for rental use, the myriad features on the VX6S also makes it suitable for a variety of applications.

Commercial Display Solution Taurus Multimedia Player Recent restrictions on outdoor signage have many clients looking to emphasise the retail market in the coming year. If you have your foot in the digital signage game, the Taurus Multimedia player is a versatile tool for your arsenal.

Eminently suitable for indoor and outdoor billboards, commercial displays, shopping malls, fixed installations, and pole screens, the Taurus

This launch event’s new solution-based approach was a hit with attendees, making it easy for customers to find the perfect fit for their applications. Though this stop marked the end of NovaStar’s 2018 ‘Seeing is Believing’ world tour, stay tuned for the 2019 tour, which will have stops all over Europe. www.novastar.tech

www.mondodr.com

NovaStar World Tour Italy 2018

europe@novastar.tech www.novastar.tech

132 EX P O

• The Vivitek stand

• Meyer Sound presented Constellation to visitors on the Sun Infonet stand

• The Digital Projection booth

• NovaStar displayed its impressive range of LED screens

INFOCOMM INDIA MUMBAI, INDIA / 18-20 SEPTEMBER

I first started traveling to India about eight years ago and, even in that short space of time, I have seen a number of changes in the market. Visiting primarily for PALM Expo in the month of June, and occasionally Broadcast India in October, this year, I decided to try something new and attend InfoComm India as a visitor.

Some might say all three shows are different, with their own identities but, while that might be true, it’s difficult not to draw some kind of comparison - after all, they do all take place in the same

city and the same exhibition centre. There are certainly some crossovers among exhibitors, and to a degree I would say visitors too, but the vibe and the target audience is very different.

At InfoComm India this year, the booths were much more sophisticated than I expected professionalism oozed from the stands, in contrast to the entertainment-style atmosphere that I’m used to. InfoComm caters to consultants, specifiers and audiovisual integrators, as apposed to end-users, so the nature of the conversations

• Door open at InfoComm India

www.mondodr.com

taking place run a certain course.

InfoComm India also offers a full seminar and training programme, which attracts a number of high quality visitors, with a thirst for knowledge still very much apparent in India. It’s something organiser, InfoComm Asia - and it’s parent company, AVIXA – are extremely good at, bringing people together to learn skills and explore new ideas.

Another thing that’s noticeable at the show is the number of manufacturers exhibiting in their

• A busy Bose stand

133 EX P O

• The KEI stand, which distributes the Adam Hall brands

• The Modern Stage Services Pvt. Ltd. team with Franco of MA Lighting

own right. Many actually have regions offices in India and deal direct, rather than using the usual distribution model. The convergence of AV and IT and how important AVIXA feels that is, was also abundantly obvious on the show floor with companies from both fields or a mixture of the two sitting side by side.

September’s InfoComm India marked the sixth edition of the show and continuing with the year on year upward trend, 2018 welcomed 9,902 unique visitors – a 21% increase on last year.

• Daniel of CSC Audio and Lalit of Harness

• Rajesh of Rivera Internatioanl

More than 200 companies exhibited from over 20 countries and 84 new innovations made their debut in the Indian market during the show.

“We are delighted to note that InfoComm India continued to grow in participation numbers, breadth and depth of innovations and technological solutions displayed and explored,” said Richard Tan, Executive Director of InfoCommAsia, the organiser of this show.

“We are even more gratified to note that an increasing number of key industry and public

• Sunny of Acoustic Arts with the Powersoft chaps

www.mondodr.com

• The Christie stand

• Preet of Soundworks

sector leaders have recognised the value that InfoComm India is contributing to India’s road to digital revolution. We are confident that with the continued support of industry and government, the show will grow in tandem with India’s progress.”

InfoComm India returns to the Bombay Exhibition Centre, Mumbia next year on 18-20 September.

For more information, go to: www.infocommindia.com

• Creston’s Rupa

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• Hannah Eakins of TPMEA Magazine, Ramon Oolthuis of Admiral Staging Essentials, Lars Toonen of Prolyte, Kevin Boujikian of Provision AVL, Ralph Stockley of Prolyte and Rachael Rogerson-Thorley of mondo*dr magazine

PROLIGHT+SOUND MIDDLE EAST DUBAI, UAE / 23-25 SEPTEMBER Key decision makers from the regional entertainment, event, media and creation industries gathered in Dubai in late September as the Prolight+Sound Middle East 2018 trade fair opened to wide fanfare. The third edition of the annual three-day expo, held at the Dubai International Convention and Exhibition Centre, had 42 exhibitors from 10 countries displaying over120 brands, representing a healthy 50% increase over the previous year. The footfall at the show also saw an increase with 2,869 pre-audited victors, a 33% rise since 2017.

This year, the show welcomed more than 20 new exhibitors from a variety of countries underlying its growing global appeal in a Middle East and African professional audiovisual solutions market that’s currently estimated to be worth more than US$5 billion.

Among the debut exhibitors were Gator Cases, Stageline and ADJ, while Clay Paky, a subsidiary

of the German lighting manufacturer Osram, was also present with its professional lighting systems for the entertainment sector. As well as some new faces the show also welcomed back returning heavyweights, including Germany’s Monacor International, FBT from Italy and Czech Republic’s Robe.

“This exhibition is very important for our brand because we need to increase our footprint in the region and widen our customer base in the Middle East,” commented Tareq Abu Ghoosh, Sales Representative for Robe. “Being here also helps us to create awareness of our brand and is vital for our marketing strategy. We hope that our participation here makes a difference in our brand image across the region.”

Also sharing his thoughts was Jos Reulen, Export Sales Manager for ADJ: “Prolight+Sound Middle East is immensely important because it is the only tradeshow targeting the sound and light

• Roberto Mataloni and Luigi Paoloni of FBT

www.mondodr.com

professionals, hence it brings together all the key stakeholders, traders and buyers from across the region onto a single platform. We use the show to launch our new products here every year and this has resulted in a lot of new business being generated for us.”

APG used the show to announce its new partnership with Venuetech. CEO of APG, Regis Cazin said: “It’s three years that we’ve been working close with Venuetech, firstly with Active Audio and now with APG, too. It offers the possibility to have the full solution for loudspeakers here in the Middle East. We know each other very well and I appreciate the team.

It’s very nice to work with people like that and we have common views on many things.”

VP of Marketing & Innovation, Gregory Dapsanse added: “The appointment of Venuetech has been pretty perfect for us because they have all the skills and experience in this specific • ADJ’s Steven Samaan and Jos Reulen

• Le Maitre’s Elaine Frost with Kevin Boujikian of Provision AVL

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market, and they are able to manage a complex project from scratch including installation and after sales reports.”

Ahmed Pauwels, CEO of Messe Frankfurt Middle East, the organiser of Prolight + Sound Middle East, said: “The Middle East is a rising destination for the events and entertainment industry.

“With the region continuing to feature as an important stop on the annual calendar of leading international performers, demand for top of the rung professional audio and visual equipment will continue to rise. This is even more evident in the UAE, where the professional audiovisual market is estimated to be worth US$707 million in 2018, while Saudi’s nascent entertainment sector will be another major draw, as the Kingdom earmarks US$64 billion to be injected into live events, theme parks, cinema, cultural attractions and tourism over the next decade.

“The momentum is building and will continue to expand in both the fixed spaces as well as further events and productions, and Prolight+Sound Middle East fills the essential need in the market that is reflective of the enormous developmental energy that is currently driving the regional sector.”

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• Clay Paky’s Fabiano Besio, Alberico D’Amato and Egor Popovski

A returning key focal point this year at Prolight+Sound Middle East was the second Events Technology & Entertainment Development Forum, where 24 thought leaders are sharing their ideas on how the UAE and the wider region can continue its rise as a major destination for large scale entertainment, sporting, business and cultural events.

Among the highlights were the Experience Session with La Perle by Dragone, Dubai’s only permanent theatre performance, along with key insights into the award-winning installation of a complete sound system in Abu Dhabi’s Sheikh Zayed Grand Mosque.

Meanwhile on the exhibition floor, UK brand Celestion and UAE manufacturer ATEÏS Middle East were more first-time Prolight+Sound Middle East 2018 exhibitors looking to make the most of their participation.

Managing Director Hussam Al Haddad said the show was the perfect fit for ATEÏS’ pro audio products: “Audio is our main product and it’s in our company DNA,” said Hussam. “We’re innovators in this segment, whether it’s voice evacuation systems, PA (public address) systems, or professional audio systems. It’s our core business, and as Dubai is our

• Elation Professional’s Frederik Afif

home, Prolight+Sound Middle East is our show.

This year Prolight+Sound Middle East also returned with its successful Dante training workshop by Audinate, where audiovisual professionals can gather more in-depth knowledge about key design concepts and common technologies deployed in typical medium-sized Dante networks.

It’s early days, but Prolight+Sound Middle East is already looking to next year’s event. “We had a small demo zone this year, and we’d like to expand this eventually,” stated Gareth Wright, Head of Public Relations. “We’d also like to extend our workshop programmes to attract more professionals, as well as building on the audio side of the show. We also see Saudi Arabia and Africa as key growth visitor markets, so will look to up the ante in attracting visitors from these markets in the coming years.”

Prolight+Sound Middle East will return Dubai International Convention & Exhibition Centre in 2019 but dates have yet to be announced. For more information, go to: www.prolightsoundme.com

• Elie Kheirallah of Venuetech with Grégory Dapsanse and Régis Cazin of APG

• The La Perle panel

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• Robe Middle East’s General Manager Elie Battah and Martin Michaud of MDG Fog

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138 EX P O

• Modtruss and Blizzard Lighting recreating Charlie and the Chocolate Factory

• The Chauvet team

• Rachael from mondo*dr with Brian, Karen and Jose from ADJ

• The Antari booth

• The Clear-Com stand

LDI LAS VEGAS, USA / 19-21 OCTOBER LDI celebrated its 30th show this year and, having not visited the show personally for six years, it was good to be back to see how it has developed. Exhibitor numbers have definitely increased since my last visit; the audio side in particular; although it doesn’t get close to rivaling what the audio element once was - so I’m led to believe. Overall though, the buzz and vibrancy of the show was positive, pulling in many big names, both exhibitor and visitor wise. Some highlights from the show floor included: Absen headed to LDI after creating a livevenue experience with huge LED stage structures. The Polaris Series brings rental and stagers better speed, agility and flexibility by improving ease of assembly and dismantle, creative curvability and increased contrast. It also includes pixel configuration range of 2.5, 2.9 & 3.9 including Pro and XL levels offering higher brightness.

• An impressive Area Four Industries stand

ADJ launched its groundbreaking Hydro Series IP65 moving head beam fixtures.

Designed for both indoor and outdoor use the compact Hydro Beam X1 is powered by an Osram Sirius HRI 100W discharge lamp offering an operation life of 6,000 hours and with the same longevity the Hydro Beam X2 harnesses the power of an extremely bright Osram Sirius HRI 370W LL. Debuting the next generation AP-150 Altman par, Altman Lighting presented the compact and lightweight, LED wash luminaire which produces deep saturated colours whilst maintaining a smooth beam throughout the motorised zoom range.

Area Four industries brought both the East and West coast teams to LDI this year showcasing new and popular products from their truss and staging brands - MILOS, LITEC, EXE Technology and Mobiltechlifts.

Highlights included the newly launched

• Clay Paky’s light show

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MyT Virtue and the innovative DST 66 multipurpose rail system designed to quickly and safely tow loads during events.

ArKaos previewed its powerful and flexible MediaMaster 5.4 and GrandVJ 2.6 video and media control platforms. With MediaMaster 5.4 and the use of Full Fixture Control can change the appearance of the whole space allowing quick reactions to real-time events. The features also allow seamless synchronisation of video clips with a live DJ. AV Stumpl presented its latest projection screen and upcoming PIXERA media server system this year. PIXERA is a 64-bit system for real-time media processing, compositing and management. It combines one of the most powerful render engines in media server history with a new interface approach.

Blizzard turned heads with an expansion of its moving head range. The Super-G 150 features an ultra-bright 150W LED light

• Sebastien from Astera with Laura from mondo*dr

139 EX P O

• Dennis and GeriAnn from Protapes with Laura from mondo*dr

• The AC Lighting booth

• Jim from Nila • ArKaos training

• Owners of AV Stumpfl Tobias and Fabien with their team

source equipped with a seven colour and white colour wheel. Blizzard also proudly announced its latest project: Redstone, a daring mission to create the first ever lightshow in space.

Redstone 240Z Wash features a 14:1 optical zoom system and is fitted with a high-output OSRAM 240W 4-in-1 LED. The Redstone 440 is a professional intelligent LED moving head, designed with a 440W cool white LED engine and a full CMY colour mixing system. The Redstone 300 Profile: encompasses all of the features of the Redstone 440 Profile, but with a 300W cool white LED engine (7500K) and a total of 12,600 high-CRI (>90) lumens for intense output.

Germany-based Adam Hall Group presented a new line-up of LED lighting innovations from its Cameo brand portfolio this year. Its newly powerful LED moving heads, which feature 130mm front lens, and the updatedfFresnel spotlights show that the Cameo brand has

• ADB stand

• Koy, Brad, Matt and Steve from Avolites

reached a new dimension. The Cameo ZENIT Series has also expanded with W300 and B200 outdoor wash lights.

CHAUVET Professional’s Maverick fixtures made their mark by showcasing the first IP65rated fixture in the range. It features precisionengineered die-cast aluminium housing and 316 stainless steel external screws that enable it to withstand harsh weather conditions. It delivers the brightness needed for outdoor applications and has an output of over 6,000 lumens to offer a new level of dependability.

City Theatrical’s Multiverse wireless DMX system was recognised as the Best Debuting Product in the Lighting accessories and Integration category. The Multiverse system can broadcast up to 10 universes of DMX data from a single transmitter while producing less radio energy than present-day single universe systems.

Clay Paky presented an array of stand out

• Matthias and Larry from Elation

products. The Axcor line won the Gold Star Product Award for best new line of LEDsourced products. The LED moving heads bring together micro-mechanics and optics, powerful reliable electronics and software and advanced lighting technology. The ABD Stagelight also won the Best Debuting Product in the lighting category.

Clear-Com brought new and enhanced intercom solutions to the show. FreeSpeak II. A significant firmware update to FreeSpeak II provides new functionality, and each E-IPA card provides up to 64 ports of IP connections, which effectively supports 64 IPTs. disguise brought its latest hardware and software innovations for collaborative visualisation as well as previewing the new vx 4 server. The server has been engineered to play back video at higher quality than ever before it supports up to four 4K streams of lossless 10bit 60fps video content.

• The Absen booth

• Andy from Provision Staging, Ramon of Admiral with Rachael from mondo*dr

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• Bryan from Dimensions PR with Laura and Rachael from mondo*dr and Jaime from Altman Lighting

• The Adam Hall USA team

• Christian from MADRIX with Rachael from mondo*dr

• Claus from Robert Juliat at the KOI awards with Rachael from mondo*dr

• Juan-Jose from Equipson

• The CODA Audio demo stage

Elation professional provided LDI with originality following a string of innovative product launches featuring TwinkLED, a novel, patent-pending LED twinkle effect that uses dedicated high-brightness pixels inside large front lenses to provide additional layers of creativity for the lighting designer.

Some of the products displayed were the RAYZOR 760, Smarty Hybrid and Cuepix 16 IP all setting high standards in Platinum lamp and LED technology.

Elation also debuted three world premiere products launches - the Artiste Monet, Proteus Profile and Smarty MaX, luminaires that continue Elation’s efforts to bring innovation • Margie from Linea Research and Rachael from mondo*dr

• The Global Truss booth

• The High End Systems and ETC booth

and best-in-class ROI products to the market.

ETC and High End Systems joint forces at the show to display several new automated fixtures including the Relevé Spot fixtures, a mover that combines nearly a decade of LED optical engineering with 40 years of theatrical experience. Also showing for the first time at LDI will be the flagship Hog 4-18 console, which features 18.5-inch touchscreens and a refreshed design with accessory arm mounts on each side.

GLP had its largest booth to date showcasing its distributed brands, Scenex Lighting and Cosmic • The Lamp stand

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• The Dicolor stand

• The Look Solutions stand

• The Link Italy team

• The Le Maitre team

• The Prolights stand

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Paris, November 27-28

THE CREATIVE PROJECTOR

VEGA No matter how you use it, VEGA will quickly become the indispensable partner of your lighting designs, in illumination, in effects, in strobe or in decoration.

VEGA brings you the warm color of tungsten effects, while boosting your creativity thanks to endless possibilities of programming its 462 LEDs, arranged in 2 RGB rings, inner and outer, controllable segment by segment.

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The magic of light

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• Alexandra and colleague from Theatrixx

• The MDG booth

• Mark from GLP

Truss. Highlights included impression E350, a new supercharged LED moving head offering unprecedented output in its class making the fixture perfect for any type of event or installation where dynamic lighting is a key component.

HARMAN Professional Solutions debuted the Martin Allure Profile featuring integrated P3 Creative Video Control. Designed to support the unique performance lighting needs of rental and install clients including TV shows and nightclubs, there is nothing quite like the Martin MAC allure Profile.

Named ‘Software of the Year’ at LDI 2017, the real-time visual creation tool Notch was showcased at several booths at this year’s show, including Green Hippo, disguise, Avolites, Noitom and PRG. The demonstrations included everything from live motion tracking, generative and responsive visuals, projection mapping, broadcast TV and more - all rendered in real-time.

Robe presented part two of its Lost Worlds exhibition at LDI with another jaw-dropping booth design and a high-energy eight-minute live dance extravaganza to illustrate its latest technologies. Robe has raised the bar in entertainment technology expo stand design and presentation over the last two years, showcasing its inventive products in real life scenarios, as well as providing a fun and entertaining story in which all can engage.

Also new, the Zig-Zag Truss from TOMCAT is a unique concept that combines the advantages of Pre-Rigged

Truss - efficient truck packing and speedy load-in/loadout - with a hinging spigot design that allows folding of the truss system over itself for efficient storage/travel and trouble-free unfolding via vertical lift and pinning applications.

Wenger Corporation’s Lieto, the first LED light fixture specifically designed for use in full-stage acoustical shells, won the Best Debuting Product in the Staging & Rigging category. Wenger Corporation introduced the patent-pending Lieto lighting product to the industry at the show. With a 12,000-lumen output, Lieto allows for fewer light fixtures in an acoustical shell ceiling while providing consistent, bright light for the performers on stage.

Sparks were flying at LDI with Pyron Controllers. The completely new range of control hardware provided

by WORK PRO brings together the company’s established background in digital audio and lighting control. WORK PRO’s Pyron range comprises several wirelessly controllable devices designed to provide event organisers and touring companies with control of stage effects and hardware ranging from stage pyrotechnics to CO2, flame and cold fire spark machines.

LDI 2019 will take place on 22-24 at the Las Vegas Convention Center. For more information, go to: www. ldishow.com

• Rachael and Laura from mondo*dr with Nick from LS Group and Justin from RGBlink

• Laura from mondo*dr with the Void guys

• The Wireless Solution booth

• The Prolyte team

• Graham and Mercedes from Green Hippo

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• The Roe stand

• Josef from Robe

• Solveig and Nicole from Schnick Schnack Systems

• Nikk from Spotlight

• Laura from mondo*dr with Siggi from LPS Lasersysteme

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BARCO | IMAGEPRO 4K

The scale of shows in the live event sector increases daily and audiovisual professionals are regularly faced with the challenge of dealing with a range of signal types and formats within the same show, glitches in video are complicated and can occur for various reasons that are hard to predict.

In an ideal world, professional systems would not present any issues - in the real word, the chances of everything working strictly according to plan is about as much as having pink unicorns dancing at your birthday party.

Since its first release in 2004, Barco’s ImagePRO has been the reference when it comes to scaling, scan converting and switching images. The ImagePRO 4K continues to ensure faultless events and also upgrades the experience, bringing rock-solid performance to the higher

image resolutions of a 4K world.

Developed by Barco’s team of experts in Sacramento, California, with over 35 years of experience creating accurate, high quality and ultra-low latency image-processing products, the company continues to deliver uncompromising quality.

Industry demand has driven the development of the ImagePRO 4K, built with two independent 4K scalers in a 1RU package. Designed to go even further than the ImagePRO HD, the ImagePRO 4K scales, rotates, converts and switches the highest quality signals with results delivered with an ultra-low latency of one frame.

The ImagePRO 4K supports 4K 4:4:4 colour subsampling and 60 progressive frames per second at 10-bit grayscale. Using 12-bit internal processing, ImagePRO 4K delivers perfect video quality. www.mondodr.com

Supporting the latest signal standards, ImagePRO 4K allows users to seamlessly convert HDMI 2.0, DP 1.2 and 3G/12G SDI signals and use every format from NTCS to 4K DCI. From the LED display, the push of a single button will bring users to a setup menu where they will be guided through the process of achieving pixelperfect images The flexibility and power of ImagePRO 4K offers a reliable backbone for live events, ensuring installations run without a hitch. Built for maximum up time with a steel chassis that is tested to withstand G-shock, vibration, and extreme temperatures, the live-source preview on the front panel provides the user with a clear view of the incoming signal, keeping the event or installation running flawlessly. www.barco.com

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LDR | ASTRO 250 CM

The Astro 250 CM is the latest addition to the vast range of LDR followspots.

The 250 CM is a stylish and highly efficient RGBW LED followspot, which introduces a number of never seen before concepts and features. Designing the Astro CM involved a unique team of highly skilled engineers that pooled together their collective talents in electrical and lighting design. This new Astro LED followspot sets a new standard in the lighting arena while responding to the market requests for a controllable, powerful and affordable followspot.

The Astro CM uses a 380W RGBW LED engine with a CRI of 90, specifically designed to provide exceptionally uniform and vibrant colours and two calibrated outputs of white light; 3,200K and 5,600K to match any designer’s needs. This fixture outperforms a standard 1,200W tungsten followspot in 3,200K or a 700W MSR in 5,600K. This fixture can be controlled remotely using eight-bit or 16-bit DMX 512 / RDM which includes three choices of fan control and two dimming curves. In the

development of the new Astro CM, LDR had to design a new and unique dimming system to allow the operator control of the output while maintaining the operator’s full control of the followspot’s movement at the same time. The design of the clamp-on dimmer module allows the operator to position the controller anywhere on the left or right handle of the followspot. This flexibility allows for maximum operator comfort as well by using a thumb to move the control slider on the control module.

The control of colour mixing is achieved through another LDR innovation. Each projector is identified by an IP address and employs a proprietary Wi-Fi access point, which recognises a device with a range of up to 12-metres. Access is password-protected and once the connection with a device is made, the control electronics inhibit the possibility for others to connect. On the device users intend to connect there must be a previously installed app. On devices with Android operating system the app ‘Art-Net Controlled’ and on the devices www.mondodr.com

•Above Astro 250 Wi-Fi

with IOS operating system the app ‘Luminair 3 DMX/Art-Net/Smart’. A 360° rotatable universal mobile phone holder is supplied with the Astro CM, which will be clamped on the operators left or right handles. A number of pre-programmed RGBW colours along with a library of Rosco and LEE gels have been created to be downloaded and used with the mobile App. LDR can also provide an Android mobile phone pre-loaded with the control App and colour libraries. Another unique feature is a USB charging port that is incorporated into the rear of the fixture allowing any mobile device to be charged while the operator is using the Astro.

The Astro 250 CM enhances all the benefits of an LED source, while addressing the common problems related to LED fixtures, addressing the issue of shadows and poor optical performance.

The fixture is the ideal product for all applications up to a distance of 20-metres and it utilises a universal power supply with voltages ranging from 100V - 260V. www.ldr.it

146 IN DETAIL

FUNKTION-ONE | F124

Funktion-One’s F124 is a unique addition to the bass speaker market. Launched at NAMM 2018, the low frequency-spanning enclosure combines Funktion-One’s horn-loaded technology with a 24-inch driver - resulting in what Funktion-One founder Tony Andrews describes as the best all round bass speaker he has ever made.

Building on design-thinking first utilised for Funktion-One’s powerful F132 horn-loaded bass, the new F124 takes the company’s bass loading and driver technology to a new level.

As Tony explained; the new enclosure marks the next logical step in bass speaker development: “With the 32-inch F132, we introduced something unique to the market, transient in the sub frequencies, as far down as 25Hz. From there, we felt there was potential to go further by using the knowledge we’d gained when developing the F132 to create a 24-inch bass speaker.”

By re-visiting a 24-inch frame and tooling that was developed during a previous R&D phase, the basis of the new enclosure quickly fell into place.

To create the completed package, Funktion-One invested significant time into ensuring the other elements were exactly right. Key among these was the magnet and coil.

Tony and the Funktion-One design team worked closely with Precision Devices to find the best performing solution, eventually developing a double six-inch voice coil motor with an unprecedented Bl factor of 50 to give the necessary motive power. To Funktion-One’s knowledge, this is now the most powerful electromagnetic structure in a commercially available loudspeaker.

The results are astonishing - two voice coils and intense magnetic flux control a 24-inch cone with impressive accuracy, ensuring excellent transient response and extended depth to below 30Hz and up to 150Hz. This combination of mid-bass speed and impact with low-bass extension from a single enclosure makes the F124 the perfect bass partner for the company’s Evolution systems and other Funktion-One mid-high loudspeakers. www.mondodr.com

As Tony noted, the universally enthusiastic feedback the F124 has received during testing provides confirmation that the team’s time has been well spent. “It was quite a long development process - around two years - but that attention to detail has returned a fantastic result.”

He continued: “The fact that it’s horn-loaded means that its output is solid and precise. At this sort of size, most other manufacturers use bass reflex technology, which gets a completely different result - there’s nothing like this available on the market. With the addition of the F124, I feel that we’ve got a complete range of the highest performing bass speakers on the market.

Full Fat Audio’s Dave Millard - the first user of the F124 - said: “The F124s give such depth to the bass - it’s such an abundant sound that’s so immense but not aggressive. The tonality of it is a pleasure to use and you put it under any other Funktion-One loudspeakers and it just sounds so natural and powerful. It’s quite magical.” www.funktion-one.com

Find us online /mondodr @mondodr

@mondo_dr

Contact us at subcriptions@mondiale.co.uk

prolights.it

148 IN DETAIL

HOF | HOFFORK 350 MLT2

The new, highly flexible 350 MLT2 container truss comes with four new features. The robust steel Rotable Forks are screwed into the truss with a 120mm fine thread and can be unscrewed up to 70mm far, this allows for creating horizontal and vertical circles of different diameters without any additional components, while the telescopic function of the Adjustable Legs (with articulated joints) shortens assembly and disassembly times and enables comfortable and safe attachment of the crossbar . The Folding Dolly is stackable, which is ideal for intermediate storage during or after the show. The new Softshock Wheels by Blickle with extremely good roll characteristics carry trusses and material easily and safely for top heavy loads up to 380kg.

The new MLT² is fully compatible with its predecessor HOFFork 350 MLT. www.mlt2.de

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150 P RODUCT GUIDE

mix•ing con•sole

[miks-ing kon-sohl] n.

In audio, a mixing console or audio mixer - also called a mixing desk, audio production console, soundboard or simply mixer - is an electronic device that is used for combining, routing and changing the level, timbre and / or dynamics of audio signals.

PRODUCT GUIDE

MIXING CONSOLES

EMEA JAMES KENNEDY PEAVEY COMMERCIAL AUDIO

“The sphere of digital mixing is shifting once again - touch screen based modular platforms which provide smaller, scalable footprints and offer convenient transportable benefits are defining the future in mixing. Software-centric systems with plug-in-based processing provide a more customisable, readily upgradeable and future proof environment. Importantly, the sonic quality is not being sacrificed for other design features; in reality, the audio integrity is being enhanced resulting in an economic, convenient and high quality experience.”

APAC BRADLEY DRUMMOND HARMAN PROFESSIONAL SOLUTIONS

“Mixing technology has evolved a lot over the last couple years especially as audio over IP has become more robust. Now mixers of really any size are becoming much more integrated into installed audio systems. This will continue to develop as IP technology advances even further in mixers over the coming years.”

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THE AMERICAS JEFF HAWLEY ALLEN & HEATH

“A number of US festivals and major tours have been downsizing the physical controls they use to mix, pairing a high channel count mix engine with a diminutive surface. I love seeing shots of festival stages with a 19-inch wide desk at FoH. Our C1500 surface (which even comes in under the 23kg baggage limit) has been a star lately. The shift makes sense for bus tours and fly dates, etc., but the ease of transport clearly has been a draw for larger shows, too.”

152 P RODUCT GUIDE - MIX ING CONSOLES

Allen & Heath SQ-7 SQ-7 takes the same powerful XCVI 96kHz FPGA engine as the SQ-5 and SQ-6 and adds extended control and I/O in a larger 32-preamp format.

SQ-7’s inputs and mixes can be individually assigned to 192 fader strips across six layers, while 16 softkeys and eight soft rotary controls allow for customised workflows. Dante, Waves and SLink audio networking cards further extend the scope for expansion, system integration, FoH / monitor splits and recording.

Optional DEEP processing plugins give SQ-7 users access to boutique compressor and preamp emulations, which can be embedded directly into all input and mix channels, without adding system latency.

The console’s SQ-Drive feature makes it easy to capture high-resolution 96kHz stereo and multi-track recordings direct to a USB drive. Another standout feature for audiovisual customers is the inclusion of two independent, fully integrated and assignable Automatic mic mixers, that can be combined to create a mighty 48 channel AMM. SQ-7 is supported by an ecosystem of mixing and personal monitoring apps, remote I/O expanders, audio networking cards and ME personal mixers, multiplying the system’s expansion and integration possibilities. www.allen-heath.com

Avid VENUE | S6L Avid VENUE | S6L is a modular system designed to take on the world’s most demanding tours and events with ease. Offering unprecedented processing capabilities, VENUE | S6L is the industry’s only unified live sound platform that offers 100% software, hardware, and show file compatibility and interoperability across the entire line. It’s also the only system that offers direct Waves and AAX plug-in control directly from the console and VENUE software. Plus, you’ll sound better than ever thanks to 96 kHz support and S6L’s high-performance preamp design. You can also easily share I/O across multiple networked systems - without splitting signals - while True Gain technology automatically manages gain compensation to ensure the proper signal levels in each engineer’s mix. S6L’s also provides 128 tracks of built-in Pro Tools recording/playback over a single Cat5e cable (higher track counts supported via MADI) with integrated Virtual Soundcheck, saving hours of prep time. And now with its newly expanded line of five control surfaces, three engines, and four I/O racks to choose from, it’s easier that ever to configure and scale the perfect system for any live sound requirement. www.avid.com

Cadac CDC five Cadac’s CDC five – the smallest, most affordable of the touch-screen CDC mixing consoles – offers a compact, one box mix solution of unparalleled quality and power. CDC five takes the unrivalled audio performance and operational simplicity of CDC six and the flagship CDC seven-s to a new, all time competitive, price point for a touch-screen Cadac console. The CDC five is a highly competitive entrant in the general-purpose mixing console market, offering superior audio performance and latency management, and an unrivalled intuitive gesture navigation user experience.

The CDC five features a single 23.5 inch touch screen with 28 encoders and 16 faders, with dual banks of user assignable buttons totalling 40. The rear panel boasts 16 analogue inputs, to compliment the eight analogue outputs and eight digital inputs and outputs, as well as the integrated 64 x 64 Waves card. The CDC five also includes dual MegaCOMMS ports, enabling additional MegaCOMMS processing / interfaces to be connected. The CDC five runs 96k/24-bit audio and is capable providing up to 48 inputs and 24 assignable busses, plus LCR and monitors in FoH mode, or 30 assignable busses when operating in Monitor Mode. www.cadac-sound.com

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153 P RODUCT GUIDE - MIX ING CONSOLES

Crest Audio Tactus Built in partnership with Waves, the comprehensive Tactus modular mixing system combines front-of-house and stage input/output boxes with a compact control console and state-ofthe-art software options. A simple, customisable touch-screen operating interface puts all of the audio routing, processing and mixing tools within easy and immediate reach, and the integration of the Waves eMotion LV1 mixer application offers an unprecedented level of control. The result is a powerful, flexible and scalable mixing system, capable of delivering studio-grade sound quality for any size event across a wide range of applications including touring, corporate events, houses of worship, performing arts venues and live music.

The Tactus system comprises three hardware units: the Tactus.FOH audio processing core powered by the Waves SoundGrid audio processing/networking platform; the Tactus.Stage 32-in/16-out remote stage box; and the Tactus.Control tactile motorised fader board which acts as a physical extension of the Waves eMotion LV1 touch screen mixer application.

Tactus.Control offers 16 motorised input faders, two masters and a host of other control options. Depending on the size of your application, you can connect up to two control surfaces via USB to a Windows PC or Mac running the Waves eMotion LV1 mixer application for a fully tactile mixing experience. www.peaveycommercialaudio.com

DiGiCo SD12 DiGiCo’s SD12 console utilises the latest generation of Super FPGA, making it compact in size, but big on power and capability.

The SD12 features 72 input channels, 36 aux/sub-group busses, a 12 x 8 full processing matrix, LR/LCR master buss - all with full processing - 12 digital FX units, 16 Graphic EQs, 119 Dynamic EQs, multiband compressors and DiGi-TuBes, 12 Control Groups (VCA) and SD Series Stealth Core 2 software.

Dual 15-inch digital touchscreens provide 24 channels in one view, dual operator mode and the ability for the right-hand screen to be the Master.

There are eight local mic/line inputs, local line outputs and AES/EBU in/ out for local digital sources, two MADI ports, plus a UB MADI connection for recording at 48kHz: 48 tracks of recording with the console clocking at 48kHz; 24 clocking at 96kHz. Further connectivity is managed by two slots for DMI cards; options include Dante and Waves SoundGrid modules. Plus, as with all SD Range product, there is the option to upgrade straight into the Optocore network, allowing the SD12 to sit happily anywhere on a loop with any other Optocore enabled SD product. www.digico.biz

Lawo mc²56 The third generation of Lawo’s IP-based mc²56 console incorporates groundbreaking features from the flagship mc²96 – including LiveView video previews in fader labeling displays, and ITU 1770 (EBU/R128 or ATSC/ A85) loudness control. Retaining the compact footprint, flexibility and versatility needed by OBs and studios, live performance and recording, the mc²56 has full native SMPTE 2110, AES67/RAVENNA and DANTE support.

Its best-in-class networking hits the next level with the addition of IP-Share gain compensation and Dynamic Surface to Core Allocation.

Features: General: 16-112 faders, 8,192 x 8,192 crosspoints, 888 DSP channels, 144 summing buses/128 aux buses at 44.1-96kHz. Broadcast: Multi-user operation, AutoMix, UpMix, DownMix (Lawo KICK optional), Audio-Follow-Video, 3D/Immersive tools and parallel compression.

Recording: Dynamic time-code automation, Lawo-grade microphone preamps and processing, Machine/DAW remote control and customizable signal chain with four independent dynamic modules.

Performing Arts: Selective Recall, Oversnaps (relative trim-sets), theater automation cuelist with MIDI/GPIO/LTC triggers, SoundGrid and Neumann DMI-8 digital microphone integration, and mirror-console operation. www.lawo.com

154 P RODUCT GUIDE - MIX ING CONSOLES

Presonus StudioLive 32 The StudioLive 32 digital console/recorder is one of the most powerful mixer in its class. The result of nine years of R&D, Presonus’s third-generation StudioLive mixer is fully recallable, with 33 touch-sensitive, motorised faders and 33 recallable XMAX preamps. Yet despite its extensive features, the StudioLive 32 actually improves upon PreSonus legendary ease of use while letting you customise its workflow and operations to fit the way you work. The coveted StudioLive sound is better than ever, including all-new Fat Channel processing, re-engineered from the ground up, and vintage-style EQs and compressors. Add built-in AVB networking, onboard multitrack Capture recording to SD Card, and a complete suite of software, and you have a mixing and recording powerhouse that’s equally formidable in live and studio applications. www.presonus.com

SSL L100 L100 is the latest addition to the SSL Live console family. It provides a physically smaller premium solution for customers who prioritise sonic performance in space-restricted installations, for submix positions, or corporate production. It incorporates the same ultra-low latency Tempest audio engine and highly configurable architecture as the other consoles in the range.

L100 sets itself apart with its compact, 12 + 2 fader configuration frame, while using SSL’s fast access layer / bank switching and Super-Query technology to ensure no channel, group, aux, VCA, or master is ever far away from the engineer’s fingers. Users who require more faders can expand the L100 with the addition of SSL’s new Remote Tile and more screen space can be added via an external touchscreen and tablet control.

The 17-inch multi-gesture touchscreen gives access to all of the console’s functions, and combines with Quick Controls in the Fader Tile to provide intuitive, immediate hands-on hardware control. The integrated tablet device stand combines with the newly released version of SSL’s TaCo tablet control application to offer an additional control interface for channel or Effects Rack processing. The Master Tile also provides Mute Group, Solo/Talkback, Assignable keys, and Automation controls. www.solidstagelogic.com

Studer by HARMAN Vista 5 Black Edition The Vista 5 Black Edition is a cost effective mixer surface that combines a Studer control surface with support for the industry-leading Infinity Core processing engine. The Vista 5 is a highly flexible, compact digital mixer with a superbly conceived control surface that will find favour amongst users in broadcast production, live sound, and performance venues.

The Studer Vista 5 is available in 22, 32 and 42 fader sizes, and supports an optional TFT meter bridge. The console’s features include Studer’s unique Vistonics interface and FaderGlow technology, as well as the Infinity Core’s advanced capabilities such as Dynamic EQ plug-ins and full Core redundancy with up to 1,000 MEQs (Mono Equivalent Channels). The Vista 5 BE supports any of Studer’s range of Infinity Core products, including the Infinity Core 300, 600 and 1000, as well as the new Studer Infinity Core Commercial off the Shelf (COTS) solution. This IT-friendly solution allows customers to run Studer’s real-time audio processing on their own server hardware just by adding a standard PCIe Infinity CoreLink card. www.studer.ch

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THE NEW REFERENCE POINT

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156 P RODUCT GUIDE - MIX ING CONSOLES

Studiomaster DigiLiVE 16 An ultra-compact 16-input, 16-bus, eight-output digital audio mixer, integrating the advantages of dual hardware / touch-screen control and remote iOS tablet operation. Operation is via the seven inch high touch screen and hardware controls, including nine motorised 100mm faders, simultaneously with remote iPad control. The console’s input section features 12 mic input channels on balanced XLR and 24bit / 192kHz AD/DA conversion. Other high end feature include eight ‘smart’ assignable XLR analogue XLR outputs, AES/EBU and SPDIF digital outs, and up to eight internal effects busses. Also featured is onboard USB interfacing and WiFi connectivity. The DigiLiVE 16 is also available in passive and selfpowered 19-inch rackmount variants. www.studiomaster.com

Yamaha RIVAGE PM7 Filling the gap between the CL Series and flagship RIVAGE PM10, the Yamaha RIVAGE PM7 digital mixing system features the same user interface, software features, exceptional innovation, flexibility and audio quality of the PM10, at a more affordable price point.

RIVAGE PM7 is unique in its class, featuring hybrid mic pre-amps with Rupert Neve Designs SILK and the combination of TWINLANe and Dante 96kHz, 32-bit networking Within each channel strip the user has a choice of four EQ styles, two compressor styles and the use of two separate insert points with four plug-ins per insert. Each RIVAGE PM7 console has enough processing power for a total of 384 plug-ins and, no matter how many are used, they can all be time-aligned with the internal delay compensation.

The system also has unique routing ability. The Follow feature allows each send-point between the 120 inputs and the 84 buses to have different behaviour. The send point for the audio can also be set independently from the control: you can have pre-EQ, postfader at the same time. In addition, you can choose if the DCA will also control it. www.yamahaproaudio.com

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1. Bose Bose Array Tool Bose Professional has announced the release of the Bose Array Tool, a new software application to help make sound system design smarter for audiovisual professionals.

The software features an intuitive workflow that requires minimal training.

The Bose Array Tool brings variables - such as room size, budget constraints, loudspeaker model and placement - under control. Using a direct-field calculation engine, system designers can quickly try out different loudspeaker models, placements, and formations to best match the audio needs of a venue.

The software provides intuitive drawing tools to manipulate room surfaces and loudspeakers dynamically and allows for visualising the speakers’ coverage effect in near real time. Ordering lists, rigging, and array information can be easily exported to make the virtual design a reality.

Version 1.0 supports designing with the Panaray MSA12X loudspeaker. Support for more Bose Professional loudspeaker models will be available in future versions. http://www.pro.Bose.com

2. Dynacord IPX Series Incorporating Dante and OCA (AES70) audio networking technology, Dynacord’s IPX multi-channel DSP amplifiers are accompanied by the feature-packed 4.0 release of IRIS-Net software for system configuration, remote control and supervision as well as the ability to create customised graphical user interfaces with individual user access permissions.

Engineered and made in Germany, the IPX Series comprises three four-channel and one eight-channel amplifier model, offering a power density of 5kW, 10kW and even 20kW from a single amplifier with all channels driven. Designed from the ground up for outstanding audio performance, integration flexibility and reliability, IPX Series amplifiers cover a wide range of demanding sound system installations from concert halls, art centres, theatres and houses of worship to distributed systems in stadiums and entertainment facilities. IPX series amplifiers feature eight Dante audio inputs in addition to their analog inputs. In combination with native network redundancy and configurable input fail-over and fallback configuration, this feature represents a new level of system redundancy.

The full potential of the DSP-controlled amplifiers is unleashed with the IRIS-Net 4.0 software. It facilitates the creation of fully customisable graphical user interfaces with user access privileges for different user levels – an important feature to control even the most complex sound systems. IRIS-Net is already used globally in thousands of

audio installations and systems for the configuration, remote control and supervision of complete audio systems made up of multiple devices, all from a single user interface.

Combining pro sound and public address functions into a common system, IRIS Net supports Ethernet, CobraNet, CAN bus and USB as well as OMNEO, Dante and AES70 (OCA). IRIS-Net applications range from live sound systems to complex stadium installs, cruise ships and houses of worship. www.dynacord.com

3. Elation Professional Smarty Hybrid Elation’s Smarty Hybrid is a full-featured spot/beam/wash luminaire and the most compact CMY colour-mixing hybrid on the market. At the heart of the fixture is a new Platinum FLEX 200 lamp, offering a ‘smartly’ designed discharge lamp/ballast package that produces impressively high output (14,000 lumens) for such a compact fixture while performance remains economical with a lamp life guarantee of two years or 6,000 hours. The lamp is dimmable and power to the lamp is reduced when not in use.

Zoom, 13 additional colours, two gobo wheels and prism overlay are just some of its design features. www.elationlighting.com

4. L-Acoustics P1 Plug-in - Q-SYS Platform L-Acoustics proudly announces integration between its P1 processor, which began shipping in June 2018, and the Q-SYS Platform from QSC, allowing users to easily control and monitor P1 through Q-SYS. System designers can now architect highperforming and fully scalable AV environments using the familiar Q-SYS Designer Software and native user control interface, while offering the state-of-the-art audio experience delivered by L-Acoustics sound systems.

Whether catering to sports facilities, theme parks, conference halls, houses of worship, performing arts centres, or educational institutions, installation markets demand versatility, customisation, ease of use, reliability, and interoperability. Over the years, integrators have looked to both L-Acoustics and QSC for scalable solutions that fulfill increasingly stringent and complex requirements, including the use of sound systems to fulfill PAVA (public address/voice alarm) applications.

The L-Acoustics P1 plug-in for the Q-SYS Platform, as well as the LA4X and LA12X Q-SYS plug-ins, can be found on the L-Acoustics website on the corresponding product page. www.l-acoustics.com

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SYSTEM CONTROLLER SAFETY FIRST - MADE IN GERMANY

UNBEATABLE: drives.............240 joysticks.............2 cue buttons..........5 touchscreen.....24“ conformity ......SIL 3

E X P E RT-T I I I SIL 3 SYSTEM CONTROLLER

DYNAMIC STAGE TECHNOLOGY

movecat.de

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1. LPS-Lasersysteme LPS-Bax LPS-Bax is a premium laser projector manufactured by LPS-Lasersystems, Germany that is the ideal solution for professional lighting designers and experienced organisers of different events worldwide.

This high-end pure diode show laser projector used for festivals, tours, theatres, entertainment centres, hotels, government projects, and much more as an eye-catcher, or combined with multimedia water fountain shows.

Reliability, state-of-the-art technology, and attractive prices are some of the reasons why it is the LPS best seller. Another reason is its Easy Outside Beam Alignment that allows easy adjustment of the single laser lines at the housing, if needed.

Equipped with 60 kpps graphic scanners (at 8° ILDA, max. deflection 60°) it projects effortlessly demanding animations, graphics, and text.

LPS-Bax is made in Germany, features scanner safety, has IEC / EN 60825-1 certification and is available up to impressive high-power in Green and RGB (multicolour).

Additionally it is available with a smaller housing, called LPS-Bax XS. Its size is only 28cm x 28cm x 28 cm, from 15kg, including technical refinements and all safety precautions from LPS. LPS-Bax, XS as well, can be upgraded to JenLas D2.mini, Coherent OPSL or OPSL HD, optionally with LPS-RealTIME Pro, integrated FB4 or any Pangolin laser software.

LPS-Bax systems that are not IP68, can be protected by a waterproof Bax Rain Defender. www.lps-laser.com

2. Peavey SP 2P Peavey proves that two are better than one in the new SP 2P Powered Speaker System.

Expanding on the popular SP Series for rock-solid live audio performance, the SP 2P is comprised of two switching power amplifiers that provide a high level of technological sophistication, as well as professional grade speaker components that deliver clarity and impact beyond conventional powered enclosures. With the Peavey SP 2P, users will find a reasonably priced loudspeaker system capable of up to 130dB peak SPL, ideal for a variety of applications, including sound reinforcement, public address, side fill system, karaoke and musical playback.

The dual power amplifiers in the SP 2P system are low-distortion switching units that provide 1000 W peak available power into the nominal four ohm load of the woofer, and a 500W peak available power into the nominal eight ohm load of the tweeter. The power supply for both amplifiers is a switch mode type for low weight and high efficiency. Both amps have Peavey’s DDT compression, which virtually eliminates audible power amplifier clipping.

Like other units in Peavey’s SP Series, the SP 2P has a 15-inch Black Widow BWX series woofer, but now with a long throw voice coil for even stronger low frequencies. The twoinch RX22CT titanium diaphragm compression driver is coupled to a quadratic throat waveguide and has a coverage pattern of 100° horizontal by 50° vertical.

The back-panel of the SP 2P is sure to satisfy a range of pro-audio needs. Two independent

mixed input channels each offer a balanced input to the preamp/EQ electronics and a level control. Each channel has one combo female XLR and 0.25-inch TRS phone jack, switchable between mic-level and line-level sensitivity. Additionally, channel 2 has an added 3.5mm media jack. A line-out section has male XLR connectors, and the Thru outputs allow linking of additional speaker systems or feed of the signal to a powered subwoofer. A rotary knob allows the user to select and choose menu options, such as the dynamic bass boost and nine-band EQ, on the LCD display screen. The SP 2P is fancooled for maximum reliability. www.peavey.com

3. Portman P3 PIX3L P3 PIX3L launched earleir this year the third addition to Portman Lights family of fixtures gave a wide range of possibilities to create lighting shapes limited only by the imagination.

P3 PIX3L is modelled on a retro style lighting unit with three seperate sources of light in one housing, each with DMX and dimmer channel. P3 PIX3L is made in (typical for Portman Lights̀ shape) - the honeycomb. It has an RDM with possibility to W-DMX and special rigging system easy to assemble and disassemble that provide lighting designers with many options to create amazing structures on the stage. Made in Europe and designed with perfection in every single detail. Release your imagination with P3 PIX3L. portmanlights.com

4. Tasker TSK303 Evac / C128 PUR / T42 PUR / C728 PUR / C726 PUR / C149 L.S.Z.H. Providing customers with powerful and high fidelity speakers and microphones using are Tasker’s TSK303 Evac and C128 PUR cables. The first one has a 2 x 2.50 sq mm section and a high resistant sheath, which is also direct fire resistant for up to two hours; the second one is a balanced cable 2 x 0.35 sq mm extremely shielded with flame retardant sheath and resistant to trampling, abrasion, water and UV rays.

Realise high definition footages, with the company’s coaxial cable HDSDI T42 PUR, users can work having the maximum flexibility up to 100-metres away, maintaining the best definition thanks to the 0.80mm stranded conductor and the double braid shielding.

Monitor everything with the C728 PUR (Cat.6A S/FTP), double sheathed and studied for outdoor mobile laying and particularly advised for outdoor mobile laying. This cable allows you to link the newest equipment, keeping a great mechanical resistance. It is also resistant to water, oils and atmospheric agents.

Try Tasker’s Cat.7 S./F.T.P. tasker C726 PUR cable that maintains the same physical and mechanical characteristics of the above mentioned cable it is also available with soft PVC sheath.

All of the cables are available with LSZH sheath, different type of coax and different number of control lines users can also use as power lines for cameras. www.tasker.it

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“TiMax is being drawn into some incrementally diverse applications and customer bases.”

DAVE HAYDON Director & Co-owner of Out Board Tell us how you first got into the audio industry?

Initially, like most people, by mixing bands in small pub and club venues, then I did an electronics degree and really didn’t want to work with washing machines or armaments during my industrial training periods, so I got into the R&D/ Maintenance department at Theatre Projects, building and helping design theatre mixing desks.

In those days, they had a studio and also lighting and sound rental departments, so I blagged my way into a bit of operator training and theatre sound mixing.

How did Out Board begin?

Out Board was started by my business partner and Out Board co-owner, Robin Whittaker, making, among other things, linear-motor faders, which went into Midas and many other live and studio console automation systems. They also featured in Out Board’s own dedicated analogue theatre effects mixers, from which the concept for the earliest digital TiMax spatial audio system was spawned.

I joined him in 2000, and we subsequently restructured the company and product ranges, expanding the original TiMax Classic range, then later re-birthing it as the current evolving TiMax SoundHub platform. We also streamlined a series of rigging control and electrical safety (PAT & Cable) test system designs into more defined and marketable product ranges, which we have also evolved considerably since.

What makes Out Board different to other companies?

Myself and Robin are the core of what we think of as a virtual company. Our manufacturing is subcontracted, which is not unusual, but the main UK factory is owned by our US distributor (an expat Brit), who is also a close business development associate helping us open up other sectors, for example in themed and experiential markets.

Our development team members are engaged as joint-venture partners, so have a vested interest, and benefit from, the commercial success of the particular products they are involved in.

We’re also slightly anomalous in that whilst we work at the very leading edge of live, presentation and experiential audio with our TiMax immersive audio and showcontrol platforms, we are also prominent in belt ‘n braces electrical power control and test, with our rigging controllers being used at probably the majority of the UK events and venues you go to, are also our advanced computerised PAT&Cable test systems being employed by many of the leading production rental companies across the UK as well as several in Europe, Australia and the Middle East.

monastery courtyard in Portugal. We had TiMax in the Barbican Tunnel with 59Productions, providing an immersive modern orchestral mix using 40 cross-firing loud speakers, synced to Disguise servers with 40 projectors video-mapping the whole tunnel. We’ve also just supplied 18 mobile TiMax spatial audio servers for Batman: Knight Flight winged drone ride cars at the new Warner Bros Resorts on Yas Island in Abu Dhabi the world largest indoor theme park.

What has been your favourite project to date?

TiMax was used in a gig at the top of a wind turbine in Norfolk by Super Furry Animal’s keyboard player.

Graham Blyth, one of the founders of Soundcraft, was an investor and shareholder in the early premillenium Out Board.

TiMax SoundHub immersive audio processors are built and tested by unicorns, specially trained.

Hard to find but worth it.

It varies and changes every year -we do amazing West End and Broadway shows as well as open air orchestral and opera, military tattoos, expos, museums, retail, theme parks and club dance arenas, which are all jaw-dropping, so they’re difficult to compare. For sheer wow-factor, the Atlantis Experience at NASA in Florida was impressive, because I got to sit in front of a real space shuttle and help program spatial audio for the visitors’ pre-show reveal. For in-depth engagement, the National Gallery Soundscapes exhibition was especially rewarding due to its wide diversity immersive spatialisation of 24 viola da gamba tracks with electronic music overlays in one room, plus an all-nighter spatial mix session with Jamie xx in another room, doing TiMax immersive panningon-steroids across multiple rows of speakers. ‘Much better than surround’ he reckoned.

What kind of projects has Out Board been working on recently?

The summer always features a host of open-air productions, which Robin and/or myself go and work on, which is invaluable to our intimate understanding of the TiMax workflow and for prioritising particular software features and user-experience developments. So for example, MamaMia at Thun on a lake in Switzerland, Rigoletto to 7,000 audience in a quarry in Austria, Basel Tattoo in Switzerland, a roaming fado quartet with immersive surround effects in a covered www.mondodr.com

Tell us something we don’t know about Out Board?

What are Out Board’s plans for the future?

The TiMax platform is in a continuous state of evolution, we’ve just created our own proprietary FPGA core ,which allows us massive flexibility in terms of functionality and scale. It has facilitated holistic spatial morphing algorithms that adapt their behaviour based on realtime analysis of the signal waveform at an individual sample level scary but immensely powerful. This new core is taking us to an expanding function set such as game-changing interactive spatial reverb, and room enhancement, in systems scaleable to much higher channel counts than now and at higher sample rates for Dante, MADI, dsp and playback. Coupled with this are new performer stage-tracking developments, which will allow even greater precision and at lower entry-level price-points, not only for the usual high-ticket premium projects.

And as the immersive audio conversation is now being stimulated by some major brand players, TiMax is also being drawn into some incrementally diverse applications and customer bases, which is all good.

OUTSHINE THE BAND. INTRODUCING THE MARTIN RUSH MH 11 BEAM Spor ting best-in-class optics, this high-intensity beam moving head is designed for high-end installation and rental applications. The tour-tough MH 11 packs a 2.6° angle high-output beam, and is capable of sharp mid-air effects.

Learn more at www.martin.com Contact us: European.Marketing@harman.com

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05/07/2018 09:49