mondo*dr 29.2

JANUARY / FEBRUARY 2019 | 29.2

THE INTERNATIONAL PUBLICATION FOR TECHNOLOGY IN ENTERTAINMENT

WARING HAYES & RICHARD FLEMING The two individuals from XTA talk past, present and future.

THEATRES & CONCERT HALLS

The ever-popular report featuring case studies from all corners of the world.

JANUARY / FEBRUARY 2019

MEDIA SERVERS & PROJECTORS The latest offerings from the visual technology industry.

THE INTERNATIONAL PUBLICATION FOR TECHNOLOGY IN ENTERTAINMENT

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7 LEADER

An ultra-low distortion 6" midrange driver Happy New Year everyone, wishing you all the very best for 2019 – let’s hope it’s a good one! It’s been a busy start to the year already with lots of deadlines approaching and the first major tradeshows of the year on the horizon. Jamie and Laura will be NAMM in Anaheim, and the full team will be heading out to ISE in Amsterdam, if you haven’t already made a meeting with us, drop me a line.

We’re also looking forward to our first MONDO | STADIA Presents AGORA conference in

MONDO*DR 29.2 JANUARY / FEBRUARY 2019

Amsterdam, tickets are still available, so if you’d like to register to attend, go to www. mondostadia-agora.com The entries deadline for the mondo*dr Awards - EMEA & APAC is fast approaching too, 31 January to be exact. Make sure you get your entries in to be in with a chance of winning.

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 Aures, London Photo courtesy of Aures 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

MONDIALE PUBLISHING Strawberry Studios, Watson Square, Stockport SK1 3AZ , UK Tel: +44 161 476 8340 Fax: +44 161 429 7214

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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

22

IN DEPTH 22 INTERVIEW Waring Hayes & Richard Fleming - XTA

WARING HAYES & RICHARD FLEMING The pair discuss their XTA journey.

34 REPORT Theatres & Concert Halls

IN FOCUS 70 AMERICAN RAG CIE/ANGELS Dubai 74 PIRATES PARADISE Lille

82 AURES The London hotspot combining the city’s creativity with an impressive new audio system.

82 AURES London 90 INDIGO London 96 THE NATIONAL SPACE CENTRE Leicester 100 REEM CENTRAL PARK Dubai 102 THE WALLS OF JERUSALEM Jerusalem 104 RACKET CLUB Miami 106 MIRAGE DETROIT Detroit

104

112 SHANGHAI TOWER Shanghai

RACKET CLUB Miami’s elegant new dance club ensures exceptional sound quality with Martin Audio.

IN BUSINESS 116 SHOW PREVIEW: ISE Amsterdam 130 JTSE Paris 134 STORYTELLING EVENT Sennheiser Evolution 138 IN DETAIL Lectrosonics, Bose, ROE

134 SENNHEISER EVOLUTION A celebration of 20 years of Evolution Series Microphones.

www.mondodr.com

144 PRODUCT GUIDE Projectors & Media Servers 146 PRODUCT DIRECTORY 160 LAST PAGE INTERVIEW Tom van de Sande - PVS

10 AD INDEX

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DiGiCo 163 Digital Projection 45 disguise 77 Doughty 133 Duratruss 135 Elation 51 Fenix 18 & 19 Fine Art 5 Fohhn 107 Funktion-One 131 Global Truss 93 Gloshine 63 GLP 101 Green Hippo 11 GTD 4 Harmonic Design 143 ISE 137 Kling & Freitag 141 KOBA 20 Kuzar 139 KV2 81 L-Acoustics 2

Laser Animation 53 Laserworld 57 Lectrosonics 129 LightLink 81 Link 55 153 Look Solutions Lynx 141 Madrix 133 MBN 41 Movecat 133 37 & 159 Music & Lights Neutrik 65 Nexo 139 Outboard 97 Panasonic 25 Peavey 59 Pioneer DJ Europe 79 PowerLightsAugsburg 43 Powersoft 17 PR-Lighting 61 Pro Tapes 57 Prolight + Sound 39

Prolyte 87 RAM Audio 48 Renkus-Heinz 129 RGBlink 85 Riedel 49 ROBE 119 ROE 95 Sennheiser 65 ShowTex 43 Showven 33 Sixeye 41 Sound Projects 24 Starway 125 Steinigke 91 Sunlite 6 Tasker 155 The GET Show 8 TW AUDiO 109 VMB 157 XTA 157

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14 IN DISCUSSION

Photo © Amptown System Company

Photo © Royal Caribbean International

AMPTOWN SYSTEM COMPANY: THE FUTURE OF CRUISE SHIP ENTERTAINMENT TECHNOLOGY Malte Polli-Holstein has been docked at Amptown System Company since September 2015, supporting founder Ulrich Muller with the requirements of complex maritime projects. Here, Malte reflects on his 20year career and the future of cruise ship entertainment technology.

My role at Amptown System Company (ASC) is Key Account Manager for maritime projects, which means that I am the first contact for cruise ship owners. I work closely with the company’s founder Ulrich Muller, an experienced media technology specialist for maritime projects and benefit from his experience in this field.

The first steps I took in terms of entering this industry was studying at the School of Audio Engineering in Hamburg and Zurich, then through an apprenticeship at the IHK, I received a certification as a project manager. I worked as a freelance technician for well-known rental companies like PRG for a while before I was hired as a DJ on the AIDAcara cruise ship. On the first day the cruise director asked me if I knew anything about technology, I said yes, and so, I went to sea for two years as an audio engineer.

This developed into a 15-year career as a Technical Director and Sound Designer for AIDA Cruises. I then went into business for myself, and worked for three

• Above Malte Polli -Holstein, Key Account Manager for maritime projects

and a half years with AIDA experienced and artistically orientated colleagues as Owner and Technical Director of the technical-creative agency, Three in One Entertainment & Consulting GmbH. This agency is specialised in cruise ship entertainment, especially in entertainment systems and show productions. During this time, I have dealt commercially with the business and expanded my focus from pure sound technology to the overall entertainment technology system. In my career including my years with ASC, I accompanied the construction and commissioning of 18 cruise ships.

A lot has changed since then, entertainment technology is developing rapidly these days; the half-lives of the device generations are almost those of the IT industry. In contrast, cruise projects are very long running projects. However, our customers rightly expect state-ofthe-art technology when their ships are put into service. At this point, however, a good three to four years of planning have already flowed into the project. As a result, www.mondodr.com

it is simply no longer enough to be at the cutting edge of technology development, you have to be about three to four years ahead of development.

How do you do that? We maintain very close contact with well-known manufacturers, know their ‘roadmaps’ and know what they are working on. If future trends can be derived here, this is discussed with the shipping companies during the concept phase and they are made aware of the existence of these trends and the advantages for the entertainment concept. On the other hand, the shipping company also has new ideas shortly before completion and would like to have a system solution changed, then the greatest possible flexibility and sovereignty in re-planning are required.

In the audio sector, the trends are already known and immersive audio will become an issue. But where there will be many more developments; there are the resolutions and the use of video walls.

Here, as a system house, you have to be flexible in installation and work on the

15 IN DISCUSSION

Photo © Moment Factory Photo © Moment Factory

Photo © AIDA Cruises

substructures. Other mechanical rules and requirements apply compared to the outdoor area of events. This is mainly due to ship vibrations and limited space, added to this are high-grade crosslinking solutions. Here, too, vibration and oscillation are an issue that conventional computers do not like - therefore we work with special computers. The intensive UV radiation and high salt content of the air are added issues in the outdoor area, loudspeakers, spotlights, LED walls and other technical equipment must be protected from this. Headlights and LED walls can be encapsulated, but this does not work with loudspeakers. We then work with special paints, nanocoatings or special stainless steel alloys to protect the equipment from rust.

Entertainment is a unique selling point for shipping companies; the entertainment systems that are used on a cruise ship are a means to an end and must ultimately always serve a concept and create a desired atmosphere. It is in this area of tension that we at ASC move

Photo © AIDA Cruises

when we develop new concepts, the art is to develop a customised system that serves the concept of the customer and economically is justifiable to operate with the limited resources of a cruise ship. The Quantum series from Royal Caribbean Entertainment, for example, was a milestone in the history of ASC system integration. ASC has installed innovative media technology amongst other things in the Two70, a multifunctional room in the stern of the ship with dancing robo screens, the image content designed

by Moment Factory is programmed to smoothly and seamlessly adapt to the movements of the screens. Factors such as economy, reliability and environmental friendliness are becoming increasingly important in cruise ship entertainment tech. We have recently completed installation work on the AIDAnova - it is the first cruise ship to be powered by liquid gas. The newest AIDA Cruise ship has many new and unexpected entertainment attractions. This drives us again and again, and we want to deliver www.mondodr.com

• Above Two70 is an entertainment venue aboard Royal Caribbean’s third Quantum-class cruise ship.

• Left AIDAnova • Right AIDAnova’s Theatrium

the best possible result. Visiting trade fairs such as Infocomm and LDI in Las Vegas and ISE in Amsterdam allows us to gather important information to keep up with the times. From a technical point of view, networking and the merging of the individual systems into a whole are becoming more and more important. The topic of IT is becoming more important.

From the application point of view it is more about the holistic experiences of the guest, classical theatre will always have its place onboard, but the experience begins when the guest boards and ends when they leave the ship. I think entertainment technology will increasingly merge with interior design going forward. How you respond to your target group, what kind of emotions you create - these are the differences between cruise brands. www.amptown-system.com The opinions expressed in this article are the opinions of the author and not necessarily of mondo*dr magazine.

16 INSIDE VIEW

Web Summit 2019 The international technology conference Web Summit, held in Lisbon, Portugal, has recently featured equipment by Wireless Solution Sweden, the manufacturer of the W-DMX wireless DMX technology. A total of 20 universes of DMX data over wireless were used, combining nine W-DMX BlackBox F-2 G5 transceivers plus two W-DMX BlackBox F-1 G5 transceivers. All the devices were setup in 2.4GHz, controlling over 200 LED tubes around the circle seating in the arena.

The audiovisual setup all the transceivers at FOH and transmitted to the units, utilising the maximum channel count the units could do, so they could create pixel mapping effects. The distances were never above 100-metres, but what was most impressive was running such a large number of universes over wireless, in the same space.

Wireless Solution is known for providing reliable wireless DMX technology for several high-profile events, including the Eurovision shows, Super Bowl events and several Olympic and Commonwealth games worldwide.

WIRELESS SOLUTION Wireless Solution Sweden Sales AB is a manufacturer of the reliable and exciting wireless lighting control equipment, W-DMX, now celebrating 350,000 units sold worldwide and around 50 high end OEM partners. Founded in 2003 by top professionals from the lighting industry and wireless communication engineers, the company designs and produces this twice award-winning wireless DMX system that is today the unofficial standard for those that require the most dependable product available for transmitting lighting control data wirelessly, no matter the distance or location. www.wirelessdmx.com

Science Museum The Science Museum in London went through a new lighting installation for exhibition Making the Modern World, and in doing so, it took over 12 Micro R-512 G5, five WhiteBox F-1 G5, two BlackBox F-1 G5 and one WhiteBox F-2 G5 transceiver, in order to control different areas wirelessly.

Given a new infrastructure would be extremely costly, a scheme was conceived that made use of existing lighting tracks and wiring, and relied upon wireless technology for data transfer, therefore allowing the museum to maximise the spend on actual fixtures and avoid costly changes to infrastructure.

Due to the complex nature of the space, it was realised that a clear coverage was needed - something easily achieved with four transmitters. By ensuring that all spotlights had micro-receivers, this immediately reduced the need for any extra data cable and made it much easier to retro fit fittings. The Micros were perfect to sit alongside fixtures discretely.

The Streets of Amsterdam In Amsterdam, colour changing LED lighting fixtures were placed to adapt the lighting mood to social situations. Dutch company RENA Electronica installed a high tech LED lighting system hanging above the Reguliersdwarsstraat and its alleys.

The system was installed in the existing nostalgic fixtures.

RGBW high power LED boards, drivers and control from RENA were placed inside the existing fixtures. They change colour according to the desired atmosphere on the street. All the fixtures have a W-DMX NANO TRX G5 module with a 2dBi antenna, for remote wireless control. With this installation, three WhiteBox F-2 G5 were also used to repeat the signal at different blocks of the avenue. Over 20 fixtures were hung, spanning over 250-metres, with three perpendicular streets. Thanks to Wireless Solution’s proprietary Adaptive Frequency Hopping, the units run on 2.4GHz in a busy urban centre such as this one, in the middle of Amsterdam.

www.mondodr.com

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IN DEPTH

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INTERVIEW WARING HAYES & RICHARD FLEMING XTA

REPORT THEATRES & CONCERT HALLS

More often that not, when we conduct these interviews with duos, it’s a sibling, parent and child or a marriage relationship. However, evidently from this issue’s interview, you don’t have to be related to form part of a winning pair.

Although their job roles and responsibilities differ, their business areas of expertise complement one another, which has led both of them to have played a significant part in the company’s growth and development over the last 15 years or so. Rachael Rogerson-Thorley travelled south, down the M6 in the UK, to Stourport in The Midlands to chat to Waring Hayes and Richard Fleming of XTA fame.

24 INT ERVIEW

The Ti-Series - what a fantastic product. There were three core people in that development team and we were two thirds of it.”

You’d never know The Midlands, UK triangle of Bewdley, Kidderminster and Stourport-on-Severn was a hotbed for audio, unless, of course, you work within the professional audio industry. It is home to manufacturer Midas / Klark Teknik currently owned by Behringer - a local office of Cadac, again headquartered in the UK, but overseas owned, in this case, China. It is also home to well-known industry figure, David ‘Webby’ Webster - formerly of DiGiCo - when he isn’t travelling the world in his new position at CODA Audio.

However, during the latest visit to the region, the prime destination was the XTA

offices to grill Technical Brand Manager, Waring Hayes and Sales Application & Support Manager, Richard Fleming about the past, present and future. After a pub lunch that featured the safe word ‘yoghurt’ - don’t ask - we sat down with a mug of builder’s tea for an entertaining interview that delivered the perfect blend of professionalism and laughter.

It’s difficult not to laugh around Rich, whether it’s at one of his many funny anecdotes, or simply at his infectiously loud laugh that’s hard to miss! Waring is equally measured in his dry sense of humour, I never read an email from him without

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26 INT ERVIEW

laughing out loud at my desk. Of course, it’s not all about the fun and games, but we are an industry that very much lives by the ‘work hard, play hard’ motto. And, over the years, these two have worked at XTA, they have most definitely worked hard to drive the company forward and deliver the products the industry has asked for.

But let’s look back a little further first, and see how each of them first got involved with audio. For once, it isn’t the story of failing to become a rock-star!

It’s immediately apparent from his accent that Rich is a local lad; he grew up in Kidderminster and studied electronics at college. “In the ‘80s - when we made things in the UK - people were into electronics, it’s just what you went to college and did,” began Rich. “It gave you a springboard into lots of different jobs but that has all changed now. There are not as many electronics courses in the UK anymore, so, it means a lot of younger engineers

don’t have the same electronics training background nowadays.”

After finishing college, he took his first job at the aforementioned Midas / Klark Teknik in the mid-‘80s. But it was as he was leaving the company that he first came into contact with Waring - who was just starting at that company - during a Midas / Klark Teknik pub-crawl that began at Kidderminster train station - more of that later.

“After I left Klark Teknik, I went to work in the test department at HH Electronic,” Rich continued. “I spent about six weeks in test, then they moved me to R&D and that’s where I paid my dues working for an audio product manufacturer. I did everything that went into making a product; metal work, PCB design, circuit design, implementing a line to build powered mixers and so on.

“Out of hours, when I wasn’t working, I was getting my hands dirty as a man with www.mondodr.com

a van and a small PA system. At weekends, I’d be doing small PA jobs and a couple of times a year big shows like The Olympia in Blackpool. I used to cart a load of sound and light equipment up there, I knew a promoter who put 2,000 kids in the hall for a school disco, and I’d provide the gear and DJ. I got to the point where I was asking myself, ‘do I become a hire company or do I stick with the day job?’” Obviously, Rich stuck with the day job, but the skills and knowledge he picked up from his DJ days have come in handy later in life.

“Your average R&D guy probably hasn’t got hands-on experience, but when you’re providing sales application support - as I do now here at XTA - I do come across problems, but I often know how to fix them, thanks to those early days.”

Rich joined XTA in 2003, when the company started making backpack modules, and assisted with the design, helping get that product range into production.

• Above A quality mic placement in 1989; Waring at his trusty HH desk with built in analogue effects; Band meeting 1989 in Belfast.

28 INT ERVIEW

• Above Rich out and about in the early years.

“Next, I got involved with the Ti-Series of network breakout and amp products, for which I was working on hardware design as well as tech support. At that point, I realised there was more fun in sales and applications, rather than sitting behind a computer screen all day - that was about eight or nine years ago now. I’ve been travelling the world, showing people how our products work, and being the sales and applications manager ever since.”

Waring shares a similar background to Rich, in as much that he worked with local bands doing recordings during his youth, spent his first student loan on a mixing desk, and studied within the realms of audio and electronics, too, studying Electronic Systems Engineering in Belfast.

“I did a sandwich degree, so I worked for a year in-between,” Waring explained. “But

the places we were offered were either boring jobs in Northern Ireland in telecom companies, or there were a few placements in Germany, at companies such as NCR. I was into Hi-Fi stuff, but there was nothing like that in Northern Ireland, so I looked further afield, but, every week, I was getting rejected by the places I was applying for – no placement students in Hi-Fi it seemed.”

“I decided that I needed to look more at audio, not just Hi-Fi and that’s when I found Klark Teknik. They gave me a year placement, then I went back to Northern Ireland, did my finals and got my degree, afterwards they offered me a job in R&D. I stayed there for 9-10 years until the last buyout before Behringer,” Waring added.

After working on his own for a few months, Waring joined XTA in 1999. “I’d www.mondodr.com

spent nine years in R&D writing software and doing product designs, there was nowhere else locally where I could do anything similar,” he continued. “I developed the software side of the backpack modules, and the industrial design and software for the Ti Series for MC2 but, following the success of those, there was a need to expand the R&D department – and, at that point, I knew there were people who could write better software than me, so I decided to stick with the product design and visual side instead, which lends itself to the marketing side of things, too.”

Originally, Rich and Waring met through a mutual friend at Klark Teknik. Staff, both past and present, would often go out to celebrate birthdays, usually starting at the train station pub. “We were introduced one time,” said Rich. “And I was told we’d

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30 INT ERVIEW

• Top Strike a pose!

get on great.” Seems that mutual friend was right on the money. But how did their working relationship develop? “At heart, we are both engineers, and we still get excited about that,” said Rich. “Over the years, if there’s been a new loudspeaker, for example, we still get excited about it. The Ti-Series - what a fantastic product. There were three core people in that development team and we were two thirds of it.”

The Ti-Series is a range of scalable and networkable amplifiers and processors. Today, it includes networkable power amplifiers, breakout boxes, signal processing and powerful iCore monitoring and control software. The series was developed in conjunction with technology partner MC2, the amplifier manufacturer that merged with XTA back in 2007. Based in Devon, today, MC2, has a separate manufacturing site to XTA, as well as logistics and some management still existing in the south coast office. However, the R&D department and the majority of the management have travelled North and are based in Stourport

with the rest of the XTA team. With building expansion in the early noughties, there was plenty of room for growth.

“I’m not a big football fan myself, but my wife is,” said Rich. “And I’d liken the merger to a football team getting a new manager, you have to prove yourself. I think the fact that we’re still here means we’ve passed the tests, but it has been quite an interesting time. You only have to look at the scope of R&D and engineers we have here, they are award-winning heavy hitters. It’s one of the reasons we get on so well, because, when you’re both engineers, you have a mutual respect for one another.

When it comes to developing product though, both Waring and Rich agree that there is a constant battle between R&D engineers who have designed it, worked with it and know exactly what they want it to do versus what the customers want it to do. “It’s really easy to over complicate things early on in a product and it happens so often,” said Waring. “We have a good understanding how people work out in www.mondodr.com

the field, we then go back to the engineers who don’t have that experience and report on what the markets wants,” Rich added.

As far as XTA goes, the company cut its teeth in signal processing with the 2 Series, followed by the 4 Series, which was an evolution of its predecessor. “I think if you spoke to engineers of this generation now, they’d say the 4 Series is the more successful product, it’s what gave the company its name for DSP over the years,” continued Waring. “As for MC2, I think the E-Series made them what they are today. It was about four or five years ago when that series was in its heyday, so not too long after the merger. It was at that point that people were saying ‘you have fantastic processing and amazing amps so why don’t you have them together in one box?’”

Step forward, the APA Series. Launched in 2014, this range of products was the first to combine the technology from the two companies. Featuring native Ethernet control, Dante audio networking and sufficient processing to power four channels

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plus supply digital audio back onto the network, APA features a power amplifier platform that can provide up to four x 5,000W per channel with an enhanced power supply.

The research into the power amplifier design led to the introduction, in 2017, of MC2’s first DSP amplifier - the Delta Series, which also became the DPA and DNA Series for XTA later that same year.

The DPA and DNA amplifiers offers unique features such as four channels of processing and four independently processed aux outputs (DPA), and the ability to output these auxes onto the Dante network to be used by either other DPA amps or by DNA amplifiers that were non-DSP designs, with the ability to accept analogue or network audio.

For these more recent product series, Rich said: “It was a time when I got more involved with the engineering side, so I contributed to the workflow of the front panels and the software. Waring is the one who draws and documents it all!”

Waring added: “I always find that, when I’m writing a product spec, if I write it in enough detail for someone to design and build a product from that spec, all I need to do is scale it down and you have a manual, then, from the manual, I can put a website description together or anything else you might need. That’s how it worked with the Delta Series, and I was also responsible for the industrial design, aiming

for a look that wasn’t an anonymous black box, but also nodding to the E Series, with the idea that both ranges could work in harmony, both visually and in engineering audio realms.”

The series was launched to rave reviews after a big teaser marketing campaign and was quick to receive the recognition of product awards. “I think the best start to finish campaign was Delta and it was one of the best we’ve done in recent years,” said Rich. And on many levels it has paved the way for the future, although Waring is not convinced that it’s all about an all-in-one solution. “I’ve been noticing conversations that have been going on via social media and it’s almost the opposite of what we were asked for five years ago, which was ‘why can’t you do DSP and amplifiers altogether?’ Now, people are asking for them separately. We thought that people didn’t want that as much anymore, but maybe there’s still a market,” he said.

Rich chipped in: “I think this year will be big for XTA products, and I’m excited! We will see something that people have wanted from us for a while.” A hint at what is to come, but he wasn’t giving too much away.

When these two are not at the office, they have plenty of other interests, too. Waring offered: “I’m learning to play the piano again. I learnt as a kid until I was around 14. The piano teacher I had was a friend of the family, and a jazz pianist, so not the best teacher, he was just too laid back and www.mondodr.com

• Above Rich and Waring in reception at XTA headquarters

it wasn’t very structured. I have a room full of music equipment as I used to do a lot more re-mixing and make music and, a couple of years ago, I decided to get rid of the old junk and I bought an Allen & Heath digital desk to tinker with instead.

I also have an unhealthy obsession with light bulbs.” I didn’t delve any deeper on that one!

For Rich, it’s all about the festivals, and he still does the odd DJ gig from time-to-time too. He’s also into skating. “I spend a lot of time rollerblading. Over the past couple of years, I’ve been experimenting with different types of blades and having a lot of fun.

It’s fair to say that there are times outside of work when it is extremely colourful and I’m not sure what some people in work would make of some of the fun stuff you get up to outside of work!”

This mischievous side of Rich - and in fact, Waring too - surfaced at the end of the interview when I conducted a photo shoot at the office to produce some accompanying imagery for this article. They had me in stitches with their poses, but they went one better and decided to take a few additional shots of their own when I wasn’t looking. I found the evidence the following morning at the office, which, of course, made me smile. And with that, it isn’t difficult to see how these two charismatic individuals have made their mark on the industry.

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NAT ION AL T H E AT R E COMPANY: DISGUISE LOCATION: LONDON, UK

Situated on the South Bank of the Thames in London, the National Theatre is one of the UK’s most prominent publicly funded performing arts venues. It features three theatres, a learning centre, restaurants, a riverside bar and a bookshop. The National Theatre presents up to 25 new shows every year, as well as appearing in its own theatres, these productions often play in the West End and tour around the country, as well as on Broadway in New York and around the world. Productions are also broadcast to over 2,000 cinemas worldwide through National Theatre Live or streamed free to UK schools.

The National Theatre continually innovates in service to its audience and is not afraid to embrace new technology. It was the first theatre to broadcast a live 4K production to cinemas, it has installed a fully integrated and wireless communications system across

the whole facility, and operates a dedicated Immersive Storytelling Studio to explore ways to tell stories using emerging digital technologies. In keeping with this forward-thinking ethos, it recently adopted the disguise OmniCal camera-based projector calibration engine to aid complex production design.

“We use projections on stage in numerous ways to enhance productions, from supplementary scenic design through to narratively mapped visual objects and video walls. Sometimes this will present realistic backdrops and images, sometimes the projections will interact with a performance, and at other times it will narratively lead the direction onstage,” said Dominic Bilkey, Head of Sound and Video, National Theatre. “However, we had been finding it increasingly difficult to use traditional 2D media server projection to map onto 3D surfaces www.mondodr.com

and complex shapes. We needed to find a solution that would allow us to be more accurate with the projection surfaces whilst achieving a better results, in less time.”

Dominic’s team began looking at the available options on the market and narrowed their research to look at 3D workflows, so that mapping was an integral part of the programming rather than just a way of lining up.

“As a repertory theatre that presents different shows with short or sporadic runs, we are continually installing sets and equipment for a performance and then quickly removing everything to facilitate the next show - often twice in a week. The ability to perform a video lineup quickly was therefore crucial in order to turn shows around fast, as we need to be able to fully rehearse the projection cues in conjunction with lighting prior to a performance,” said Dominic. “The disguise

35 REP ORT: T H EAT RES & CONCERT H ALLS

Photo © Mark Douet

OmniCal system seemed to offer the best option for what we needed, particularly as we had invested in two disguise 2x4pro servers a few years ago. Our proximity to the disguise HQ was also helpful in enabling us to build a good rapport and be confident of a close working relationship from the start.”

As fortune would have it, the first complex show for which the team planned to use disguise was with a designer who has been using disguise solutions for many years. “This gave us added confidence to jump into a new workflow for this show,” said Dominic.

The set-up was powered by two 2x4pro servers with DVI VFC cards and four designer laptops. The National Theatre followed up with a second investment of two new Solo servers which feature 10GB networking ports and a Pro Audio card.

The OmniCal engine has been designed to improve projection quality and setup time. OmniCal works by capturing hundreds of images of the stage and creating a ‘point cloud’, accurately calibrating projectors, and conforming pre-existing surface meshes to match reality.

This is a step change in projection mapping workflows - no longer a multi-day process to map an object neatly, the capture process takes a matter of minutes, and final adjustments can be carried out offline, not intervening with projection surfaces, and enabling other disciplines in the space to proceed with their technical time.

Whether its lighting, sound, set or rehearsals, everyone benefits from the use of OmniCal on a production.

The first show to benefit from the OmniCal system setup was The Lehman Trilogy, directed by Sam Mendes and performed in the Lyttelton Theatre. The show www.mondodr.com

featured a large 27-metre by six-metre curved wall that was projected upon throughout the performance to create the horizon and world outside of a revolving glass cube. The OmniCal system enabled five Panasonic 21K projectors with .38 lenses to project accurately onto this huge curved screen and was able to complete the lineup on a turn-around day in just 60 minutes.

Dominic concluded: “On the whole we have been very impressed with OmniCal’s capabilities. It enables us to continue to be bold and deliver the designers’ wishes without having to compromise on any aspect - especially considering that each show needs to be able to turn around fully in such a short time.” www.disguise.one

36 REP ORT: T H EAT RES & CONCERT H ALLS

AUDITORIO DE LA PLAZA PURÍSIMA COMPANY: ALTMAN LIGHTING LOCATION: GUANAJUATO, MEXICO

Located in Purísima del Rincón, Guanajuato, Mexico, the Auditorio de la plaza Purísima is a new performing arts centre built for the benefit of the more than 200,000 citizens in the Rincón municipalities. Created as part of the Plaza Purísima complex, the new facility was backed by the Public Works Secretariat and envisioned to be a shining example of modern architecture.

With an expectation to implement the latest in lighting technology into the design, Interlight Mexico worked with the design team at Genesist and installed Chalice LED downlights, PHX LED ellipsoidals, and Spectra Cyc LED cyclorama luminaires from Altman Lighting.

“We’ve had the opportunity to work with the client and specifier on the project on a couple of past occasions, so they know our company well and trust our experienced design team,” began Jose Zedillo, General Director, Genesist. “Through this relationship, we really have the freedom to explore the best solutions possible for each lighting challenge, and it is always our goal to utilize the most innovative technology in our designs.”

As Genesist and Interlight got to work, the theatrical lighting design would first be influenced by the desire to use an energy-efficient solution for the unique venue. Additionally, the team had to be cognisant of

selecting fixtures that could keep pace in an active production environment.

“Due to the layout of the theatre space and energy-savings specifications, we needed to identify LED lighting solutions that were both powerful and provided a wide variety of beam angles for the fixtures chosen,” explained Jose. “We also needed performance luminaires that were consistent and long-lasting, from a trusted manufacturer who could provide full support during the bidding process. As we are very familiar with the dependability of Altman Lighting, we chose Chalice, PHX, and Spectra Cyc luminaires because they meet all our needs.”

With mounting options that include pendant, recessed, aircraft cable, wall and yoke mount, Chalice LED downlights are also available with dimming choices ranging from mains dimming to DMX, and a variety of LED colour or white light options. State-of-the-art theatrical luminaires designed with a number of innovative features, PHX LED ellipsoidals are available in LED array choices that include RGBA, RGBW, 3,000K, 5,600K, and tunable white 3,000K/5,600K. The popular Spectra Cyc cyclorama family utilizes a diverse line of LED choices including RGBA, RGBW, 3,000K, 5,600K,

www.mondodr.com

and tunable white versions, to blend beautiful, rich colors via their patented LED blending lens.

Jose continued: “The stage of the performance venue measures 10-metres high, by 14-metres wide, and 10-metres deep, so the Chalice fixtures were a particularly great choice for the project. We are using them as work lights hanging from pipes in the grid, and with their wide variety of lenses to choose from, they are doing an outstanding job.”

Now complete, the new 500-seat Auditorio de la plaza Purísima is a cultural gathering place for those seeking to be both entertained and educated. As a public facility constructed to host the regions many artistic and academic events, the design inside stands ready to illuminate the creativity below.

“On this type of government project, they are looking for state-of-the-art technology solutions, that will last for several years, but also be affordable,” concluded Jose. “The fixtures we choose have to be powerful and trustworthy and with the Altman luminaires, we got it all.” www.altmanlighting.com

MOS COW ART T H E ATR E A .P. CHE KH OV COMPANY: GUIL S.L AND LIVE SOUND LOCATION: MOSCOW, RUSSIA

This summer the Moscow Art Theatre A.P. Chekhov had a complex project in mind that was made a reality by the stage platform manufacturer, GUIL and its exclusive distributor, Live Sound Ltd. The Moscow Art Theatre-changed to include the name A.P. Chekhov in 1989is one of the oldest theatres in Russia, was founded in 1898 by the playwright Vladimir Nemirovich-Danchenko (head of Moscow’s acting school, the Moscow Philharmonic Society) and actor Konstantin Stanislavsky-founder of the renowned theatre club, The Society of Art and Literature- to bring the arts to the working class. A truly innovative concept in its time, MAT significantly reformed the procedures by which plays were rehearsed and set new standards for ensemble acting that ultimately influenced theatres around the world. The majority of its productions created realistic illusions, replete with sound effects, architectural details, and archeologically researched costumes and sets.

The set for the most recent play ‘XX Century Ball’ (XX VEK. BAL) by the director, Alla Sigalova, continues this legacy by creating a most complex stage construction as the central part of the set decoration; using a ramp and stage construction made especially to fit the existing stage by Spanish Manufacturer GUIL S.L. With the help of its Russian distributor Live Sound, the unique design of 108 stage platforms of the model TM440, which is certified by DEKRA for 1,200kg/ sq metres, come together to make a spectacular construction in a ramp that was made possible thanks to the modular design of the GUIL stage decks. “The theatre needed a bespoke construction that had to fit seamlessly to their original stage, at the same time being quick and easy to assemble and take down, as it is only used for certain productions the theatre presents,” reported Live Sound’s Sales Manager, “They are very pleased with the quality and professional finish of the platforms as they had requested a durable product. The 21mm plywood panel used by GUIL, supplied by the Finnish brand WISA, is 100% birch giving a flexible underfoot feel and has a non-slip water resistant finish giving the theatre the opportunity of incorporating water in their future productions without the worry of it damaging the stage. Thanks to the telescopic legs and stainless steel platform connectors they can be set up flush with their stage.

All of these characteristics made the GUIL platforms the perfect option for them.

“We were on a tight deadline and considering the size and complexity of the design, GUIL were able to have everything ready very quickly and in more than enough time for the theatre’s deadline.” www.guil.es

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38 REP ORT: T H EAT RES & CONCERT H ALLS

SS E A RE N A W E MB LEY COMPANY: VIVITEK, DELTA ELECTRONICS LOCATION: LONDON, UK

In a city already brimming with famous landmarks, the imposing SSE Arena Wembley in London holds a special place in the hearts of many. For generations, it has been a venue where memories have been created, thanks to it hosting countless music, comedy, family entertainment and sporting events since it opened its doors in 1934. Originally commissioned to host the British Empire Games, since then it has been home to popular TV shows like the X-Factor, while also being a high-profile platform for artists ranging from Tom Jones to Def Leppard to perform to their thousands of fans.

Surprisingly, the building’s striking and distinctive shape is not the result of an architect’s creative streak, but that of the enthusiasm Building Engineer Sir Owen Williams had for reinforced concrete construction. Sir Owen saw Wembley as a potential opportunity to show how attractive looking and groundbreaking architecture could be when using the material for buildings. Despite its unconventional start, the venue’s look has certainly stood the test of time, and now Wembley Arena - which boasts 12,500 seats - has Grade II listed building protection bestowed upon it

by Historic England, the Historic Buildings and Monuments Commission for England.

While the building has remained largely unchanged externally, visitor and audience expectations have of course evolved considerably over the last 80 years, as has the technology used to bring an event to life. To meet next-generation requirements, today, state-of-the-art Delta Electronics LED 50/50 Strip Displays are being used to bring attention-grabbing images to the 53-metre wide gable on the top section of the arena. Installing such technology into the building’s unusual shape was far from easy, and it was down to the expertise of Visual Technology to merge new technology with historical design, which presented it with a number of installation challenges.

First, the top section of the building rises to 14 metres at its highest point, and down to a mere metre at its shortest point. Added to that, Visual Technology’s expert team had little space in which to conduct the installation, after all, Wembley was built in an era way before such displays were common, and making room behind the façade for their installation was not a priority for Sir Owen. Second, a further consequence of the building’s design meant that the small space behind the façade - combined with the prodigious heat generated by the ‘greenhouse effect’ of the glass - created a very hot working environment

www.mondodr.com

for the team to operate.

Despite these obstacles, from an advertiser’s investment perspective, the display still had to be highly reliable and capable of showing images consistently all through the year, irrespective of the weather. One final consideration for Visual Technology was the request by Historic England that the building’s iconic design would not be compromised by the installation of the displays; it insisted on at least 50% transparency to enabled sight through the displays, so the back wall was still visible to passers-by.

Given these challenging requirements, Visual Technology decided that an LED solution was best suited to Wembley’s needs. With its interactive technologies for large exhibitions, tradeshows and command/control room environments, Delta Electronics’ LED 50/50 Strip Display made an ideal choice for this application; not just for its flexibility, but also for the company’s proven reliability in even the most demanding environments.

Mounted inside the building to preserve the entire façade unaltered, Delta Electronics’ LED solution displays information in support of events that are taking place inside Wembley Arena, as well as tour posters or adverts for any global

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brands associated with an event, like Coca-Cola or Pepsi. Given the arena’s prominence and the stunning images produced by Delta Electronics’ LED 50/50 Strip Displays, it has also been used for displaying seasonal greetings as well as for sharing messages of solidarity following high-profile tragedies in the UK and overseas.

To ensure that the displays always perform as expected, Visual Technology inspects the system twice yearly, and thoroughly assesses many critical components like fans, control equipment and PC and video processors, while also checking that mechanical connections are firmly located.

To date, the arena’s not reported any major problems, and that’s thanks to Delta Electronics’ products’ versatility and legendary reliability. As a result, Delta Electronics is the choice for installers or customers, who can choose from a wide array of display technologies including: rear projection DLP video cubes, super thin-bezel LCD screens, high-resolution indoor/outdoor LED displays, high-resolution projection and its Distributive Vision Control Systems.

Commenting on their deployment, James Saunders, Chief Operating Officer, Wembley Arena, said: “With a building as iconic as Wembley Arena, it is our responsibility to strike a careful balance between maintaining its heritage while embracing the future. Vision Technology’s sensitive integration of Delta Electronics’ LED 50/50 Strip Displays satisfies both requirements, heightening the experience for visitors while driving value for acts hosted here and for our event sponsors.”

With Wembley Arena already boasting a proud history, it seems it is set to continue to make an impression both now and in the future, thanks to the spectacular performance delivered by Delta Electronics. www.vivitek.eu

40 REP ORT: T H EAT RES & CONCERT H ALLS

ROYA L SW E DI S H OPERA H OU S E COMPANY: VECTORWORKS LOCATION: STOCKHOLM, SWEDEN Isak Gabre, the former Systems and Project Manager at the Royal Swedish Opera, transformed the Royal Swedish Opera house into Dracula’s gothic castle. With the use of projection and sound technology, his team gave the house’s stately exterior an impressive revamp.

Vines crawled up the sides of the stone façade, blood cascaded down to mask the pale exterior, and men climbed the opera’s pillars during this eerie projection to promote the world premiere of Victoria Borisova-Ollas’ opera Dracula.

Isak and his team use Vectorworks Spotlight for every show. “My work is mainly as a light board operator and we do renderings or openGL as far into the process as possible, inserting all scenery models into the Opera House model in Vectoworks, where we can see the scenery on the actual stage and in the actual house,” he said. “For all the shows, we make drawings and insert models from set designers and our workshops into Vectorworks and do the setup of scenery and fixtures. Then we use the built-in export function to export scenery drawings and the Spotlight plugin for grandMA2 to export show specifics into the lighting control system.”

The program’s visualisation capabilities are some of the most beneficial aspects of Vectorworks Spotlight for Isak and his team. “We usually don’t have the time to do creative experimenting on stage,” said Isak. “If the clients can be shown their own models and design together with an accurate model of the theatre right in Vectorworks, rather than on paper, and have the ability to look at angles and entrances and set design on screen, or through VR or AR, that’s a great benefit

for us.”

Isak’s expertise with Vectorworks Spotlight helped him execute the exterior projections for Dracula in a short time frame. “We had about five weeks from the first production meeting until the show’s premiere,” Isak explained. “Our marketing department wanted to make the premiere special and started brainstorming with my department manager, Patrik Becker, who has a great deal of experience with projections and cinema. He suggested that they should go for a façade projection.”

Luckily for Isak and his team, the show was already in rehearsal and contained a lot of projections they could use for the façade. Because of the tight time frame, the content designers from Goodbye Kansas could not afford to try out different ideas, but instead had to go with the original plan and storyboard. “Their experience in the field saved us a lot of trial and error,” said Isak. “They knew what would work and what not to spend time on and basically delivered a final content version that we used straight off, without doing on-site editing.”

Incorporating Vectorworks Spotlight into his workflow not only helped Isak execute the designs; it also helped him to quickly move through the process of acquiring permits. “It took me one or two hours to make all the permit application drawings that we needed,” said Isak.

“We did not have to send different versions back and forth with the city officials, as they found every detail and all information in the first draft. Vectorworks saved us a lot of time and helped make very clear what we wanted to do with this projection.”

Isak worked with several teams of people on this project, the sound design was made in-house by Andrea Rea and Sebastian Lönberg, and the projections were executed by an in-house staff member who turned them on every day and locked them up every night.

Colleagues from Goodbye Kansas Studios generated storyboards and created the content for the projections. Scenteknik AVL AB supplied the four Barco HDX20 projectors, the lenses, and purpose-built conwww.mondodr.com

tainers for the project, and Stage & Event Light supplied the Martin by Harman Viper Performance with outdoor housing and SGM P5 washes.

Isak appreciated the software’s ability to seamlessly collaborate with other programs. “No matter who we’re going to send files to or get files from, there’s always an import or an export function within Vectorworks,” he said. “So, we can still work with every other part of our chain, even if someone uses a different software.”

“With a project like this, there was a lot of pressure on all parties involved, partly thanks to the nature of the price tag linked to this kind of projection mapping,” said Isak. By using Vectorworks to make the drawings and plans as precise as possible, the team was able to share accurate information and visualisations with all collaborators. “That meant that we managed to do it right on the first try and didn’t have to spend time or energy redoing or changing the setup.”

“In a more traditional theatre like the Royal Opera House, this kind of technically advanced mapping is not included in our everyday work. Therefore, the drawings and renderings we made not only allowed us to share information with the collaborators, but also with the in-house staff to give them an idea of what we were working on and aiming for.”

When all the hard work was done and the team’s visions were realised, you could see pedestrians stopping by, busses and cars coming to full halt - all just to watch the dramatic spectacle.

“It was a huge hit,” said Isak. “The marketing department said that nothing we’ve ever done has given us this much publicity. My favourite part about working on the projection façade was that it is not that often that you do a production like that. It’s kind of rare, and it involves a little bit of experimenting along the way. It was really fun!” www.vectorworks.net

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42 REP ORT: T H EAT RES & CONCERT H ALLS

MA LY T H E AT R E COMPANY: ASTRO SPATIAL AUDIO LOCATION: MOSCOW, RUSSIA

Having been based in its present location for more than 190 years, Moscow’s Maly Theatre is not only a cornerstone of the city’s theatrical community, but of Russian arts in general.

The theatre has a formidable reputation for its production of theatre’s ’set texts’, with plays by Bulgakov, Molière and Shakespeare among those featuring in recent seasons.

But while its repertoire might sway towards the classical, the theatre’s well-earned reputation is that of an innovator, choosing the very latest technological tools to enthrall its audiences. In this forward-looking context, the theatre’s management initiated a major audio upgrade project in 2011, working in conjunction with Salzbrenner Stagetec Mediagroup Russia (SSMR). Now completed the new system is counted amongst the most advanced in the world, complete with true object-based immersive audio and adaptive room acoustics by Astro Spatial Audio.

“The Maly Theatre is a wonderful example of how a very traditional space can be augmented with object-based 3D audio from Astro Spatial Audio,” explained ASA Director Bjorn Van Munster. “One of the key benefits of our technology is that we don’t make damaging demands of the theatres, opera houses and venues in which we

work - instead our technology’s inherent scalability means we can adapt to suit our environment.

For a building as historic as the Maly Theatre, that means it’s possible to deliver incredible immersive experiences without unduly harming the beautiful architecture.”

Within the Maly Theatre, a core audio system based around d&b audiotechnik loudspeakers and amplifiers with StageTec mixing consoles is now fully integrated with Astro Spatial Audio’s SARA II Premium Rendering Engine - the heart of the Astro Spatial Audio solution.

The 3U, rack-mountable SARA II brings the creative possibilities of object-based 3D audio to live entertainment and installation projects, plus room acoustics and more, all in an easy to use package. The engine converts audio signals into audio objects, attaching meta-data to each object, including its position in 3D space, its acoustic characteristics and much more. SARA II then renders the position of each audio object in real-time within 3D space (depending on the user’s choice of room shape) up to 40 times per second. The result is a seamless, phase-free, three dimensional audio canvas.

Boasting a 2.8-inch touchscreen display, the SARA II includes ultra-low noise cooling, redun-

dant on board SSD drives and up to 64 MADI or 128 Dante configurable network pathways, all of which are assignable to at least 32 audio objects.

Browser-based access to a user-friendly GUI ensures ease of operation with simultaneous control from up to 10 devices. Crucially, the SARA II premium rendering engine is also entirely brand agnostic.

With the specification of the Astro Spatial Audio solution the theatre is planning for the longterm creative future of its productions and the opportunities that will arise from the integration of cutting-edge technology.

“This is a very innovative system and it is fair to say that the technical team is still studying the new equipment and getting to grips with its immense creative possibilities,” continued Bjorn. “It is early days, but already the quality and feature-set of the system has become very apparent to the team at the Maly, and to visiting productions and technical staff. In fact, they are filled with enthusiasm for the new technology.

We are very proud to be part of such an important project.” www.astroaudio.eu

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44 REP ORT: T H EAT RES & CONCERT H ALLS

BURD EK I N T H E AT R E COMPANY: CLAIR BROTHERS LOCATION: QUEENSLAND, AUSTRALIA

Located in the Burdekin region of Australia’s home for arts and entertainment, the Burdekin Theatre plays host to a diverse range of live performances including musicals, plays and rock concerts. It also hosts conferences and seminars, plus local events such as dance recitals, school award nights, and more. The theatre features an impressive 473-seat auditorium with proscenium arch, fly tower, and orchestra pit, supported by a professional technical staff who work in its state-of-the-art facilities.

To see this venue is to understand that the Burdekin Theatre is a first-class establishment that aims high at every turn, so naturally Clair Brothers topped the list after a competitive review of major loudspeaker brands.

“As time went on, I knew our old system was reaching the end of its life expectancy. It just wasn’t keeping up with our ever-rising standards,” explained David Luscombe, Theatre Technician, at Burdekin Theatre. “I saw it as an opportunity to upgrade, so I took a listen to several top brands before I got the opportunity to experience an in-person demo with Wayne Grosser, the Clair Brothers’ audio and design consultant here in Australia.

After hearing the system Wayne proposed, I was sold, and knew right then that Burdekin Theatre was about to install a loudspeaker system from the best manufacturer in the market today.”

At the demo, David’s audio brief for the upgrade was a system designed by Wayne at Clair Brothers speaker combination that would provide longevity and the best

audio experience to the theatre’s audiences from rock to opera. The configuration was an L-C-R system, which would give the venue and its engineers total flexibility and headroom, while using Dante to drive the system from their Allen & Heath iLive console. “My design approach was to use the same speaker elements in all three main hangs horizontally arrayed, which fitted within the theatre’s proscenium,” added Wayne.

The Burdekin thankfully possesses naturally flowing acoustics, so the installation of the new sound system wasn’t so much about overcoming challenges as it was about making sure the room achieved its maximum potential with the perfect complimentary components. It’s why this proposed Clair Brothers kiT12 system was the ultimate choice. Each kiT12 is in bi-amp mode and has its own two-amp channels and Lake processing with a total of twelve 1000w into 8ohms amplifier channels for the six kiT12s (three CB-D 40:4L amps). This allows David and his team of engineers to trim or shade the bottom kiT12s if necessary, for the orchestra pit or certain productions that perform on the extended downstage area. Two kiT-Subwoofers placed on either side of the stage provide even subwoofer coverage throughout the seating area powered by a CB-D 80:4L four x 2000w into 8ohms. Four 5CX front fills work perfectly to provide vocal image to the front VIP seating rows.”

David elaborates: “Having the exact same Components in the LCR hang has made a significant

improvement to the tonality and intelligibility in the room. And having front fill with the same voicing as the main hangs was a genius decision, really. When you hear the results, you realise why I knew this was the only way to go. Then, when you add in the four fantastic sounding Clair Brothers CB-D40:4L amplifiers, you get headroom for days. What more can I say?”

With regards to video, the kiT12 system enables the team to hang the loudspeakers in such a position so as not to impede the sight lines of the theatre’s proscenium arch or obstruct video projection onto the rear cyclorama. In conclusion, David puts it this way: “The kiT12 system is a great system all the way around. Its flexibility provides us with an accurate presentation of what is being fed into the system. The contrast compared to our previous system is night and day. And honestly, from an audio engineer’s point of view, it has completely changed how I mix in this room. I no longer have to do combat audio just to get it to sound respectable. Now I can mix from a creative perspective, allowing a much more enjoyable show from both a patron’s point of view and the crew’s perspective. The icing on the cake is that since the installation, we consistently receive compliments from attendees and performers alike that notice how great the sound is. Absolutely they do - It’s a Clair Brothers system after all.” www.clairbrothers.com

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46 REP ORT: T H EAT RES & CONCERT H ALLS

RY MA N AUDI TOR I U M COMPANY: CLAIR SOLUTIONS LOCATION: TENNESSEE, USA

Opened in 1892, Ryman Auditorium in Nashville, Tennessee is best known as the home of the Grand Ole Opry radio broadcast between 1943 and 1974. Its age and cultural significance led to its inclusion on the National Register of Historic Places in 1971. One of the most prestigious music venues in the world and a coveted, bucket list under-play for artists across all genres, her iconic stage has seen the likes of Bruce Springsteen, Mumford and Sons, Harry Styles and Garth Brooks in recent years.

In partnership with Opry Entertainment Group, JBL, and Yamaha, Audiovisual integration firm Clair Solutions recently completed a significant overhaul of the Ryman’s sound reinforcement system, which required a lot of upfront due diligence and testing, sensitivity to the venue’s historic interior, and a deft installation to work around the Ryman’s packed calendar.

JBL’s new VTX Series A12 System rose to the top, but the Ryman engineers wanted to hear the system in-place before fully committing to the installation. Clair Solutions developed an EASE model and optimised a design in collaboration with JBL engineers Raul Gonzalez and Nicholas Mourn.

JBL provided an entire demo system that Clair Solutions put in place on temporary lifts. “It was a real proof-of-concept,” Dan Heins, Regional Vice President at Clair Solutions said.

“We learned a lot from the demo and decided to go from eight boxes a side to ten. Although the main system didn’t change much from its original design, we learned from the demo that the under-balcony system needed a complete rethink. Given the particulars of the space, we ultimately went with a miniature line array with sub support” The installed system consists of 10 JBL VTX-A12 three-way line array elements and eight JBL VTX-S28 subwoofers in a center hang. Two JBL CSX-F35s provide side fill, and 10 JBL VT4886 line array elements provide front fill. A total of (36) JBL VT4886s paired with eight JBL VT4883 subwoofers make listening to a concert under the balcony every bit as exciting as the main floor. Crown i-Tech Series amplifiers with onboard DSP condition and power the system. For the consoles, two Yamaha RIVAGE PM7 digital audio consoles were the preferred selection of the Ryman team based on their experience using the Yamaha PM10 console at the Opry House. “Based on our experiences with the PM10, we were confident with our decision to add the dual PM7 consoles, without a formal demo, due in part to Yamaha console familiarity and reliability,” stated Jeff Hatfield, Director of Technical Services for Opry Entertainment Group. “This was a great collaboration between four iconic companies: The Ryman is known as the Mother Church of Country Music and is one of the most well-known and well-loved venues in the country, JBL is a legendary American brand, Yamaha is world-renowned, and Clair Solutions has built their stellar reputation by pushing the envelope to create the best live sound experiences possible. The Ryman is committed to making sure that every fan gets the best possible experience.” www.clairsolutions.com

47 REP ORT: T H EAT RES & CONCERT H ALLS

ROYA L ACADE MY OF A RTS COMPANY: SOUND SPACE VISION LOCATION: LONDON, UK In 2012 Sound Space Vision (SSV) beat all competition to become the theatre design and acoustics consultant for David Chipperfield Architects’ master plan to unite the Royal Academy of Arts’ 18th century Burlington House with its neighbour, Burlington Gardens, and transform the interiors throughout. SSV’s brief was to modernise and equip Burlington Gardens’ 19th century lecture theatre for 21st century presentation and performance, and this was later expanded to include acoustics advice on the new gallery spaces and the learning centre, as well as mechanical systems.

In collaboration with the architectural teams, SSV facilitated a design with minimal impact on the heritage features of the Grade II* listed building, yet provides a future-proofed technical design for the Academy’s planned lectures, debates, panel discussions, conferences, recitals, and hires.

The form of the new lecture theatre went through several iterations, common to all being the reduction in height from three to two storeys. The form settled on a tight, almost semi-circular, bowl with a steep rake

OPERA N EO COMPANY: LINEA RESEARCH LOCATION: SAN DIEGO, USA

Photo ©Benedict Johnson

for a total capacity of over 250, bringing audience and presenter into close communication.

The combination of windows on all sides and a listed historic interior at first floor level presented SSV with two specific challenges: to find projectors and a Photo © AIDA Cruises screen that would be usable in daylight, and to provide sufficient acoustic dampening to overcome the natural reverberance of the volume of space which hinders good speech intelligibility. Associated with this was the choice and location of loudspeaker to serve the bowllike audience.

SSV devised a full package, which overcame this and more. Lighting bars hang discreetly on three sides of the room to light speakers’ faces without shadows. An infrastructure of lighting and Audiovisual connectivity is available at three levels around the room- in the ceiling, the balcony floor and the stage floor. Edge-blended projectors support large format, high-quality art presentations with excellent colour rendering - imperative for the Academy - and facilitate in-house broadcasts and web casts. A digital audio system provides

Opera NEO is a venture for the new generation of young opera singers, created to prepare and inspire them to grow and perform at the highest level. For this year’s Summer Opera Festival and Workshop the group called upon Coral Canopy to further engage their audiences with unforgettable performances.

Alan Chang of Coral Canopy explained: “When I first met with the Artistic Director of Opera NEO Peter Kozma in January, we discussed the complexity and requirements of what this open-air outdoor opera concert series would need in order to give it a full operatic experience. Decked with a 40 cast size, a 40-person orchestra, sound effects playback, moving set pieces and a show changeover limited to only two or three rehearsals each performance is a challenge in itself.

“I initially designed the system around several other brand amplifiers knowing that we would be providing a limited set of loudspeaker reinforcement to the house and stage. As we moved further into tech week the amount of speaker reinforcement grew by the day. Now we’re needing a L-R main, subwoofers, stage monitors,

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amplification and pick-up for recording, streaming, hearing assistance and interpretation. Digital column array loudspeakers provide clarity in a challenging reverberant acoustic. Crucially, SSV continuously reviewed the technical specifications through the long design and build process to ensure the infrastructure serves a wide range of capabilities with state-of-the-art technology, whilst continuing to meld with the historic fabric of the listed building and the architect’s design of the refurbishment.

SSV is proud that its contribution has provided the Royal Academy with a unique venue capable of hosting an outstanding new programme of events and upholding its reputation for aesthetic and academic excellence and growth. The Benjamin West Theatre has recently been shortlisted for the AJ Architecture Awards. www.soundspacevision.com

backstage monitors, and FOH monitors.

Alan continued: “Nearing out of power as well as channels, I immediately placed our Linea Research 44M10 amplifier in line for mains duty and fired up with the same cables and setup. I was speechless and so were several of the creative team members who immediately noticed the sound quality difference once the amplifier changeover had taken place.

“The LR 44M10 provided a much smoother and tonal quality without any harshness nor distortion as compared to my previous choice.

As I further fine-tuned the settings for the loud speakers deployed, the entire system was snappier and cleaner. This time there was more than enough juice to power our rig including the subwoofer altogether while I assigned our PLD for stage monitor and backstage duties.

“The LR 44M10’s UI is simple and easy to understand. It’s a dream to use once connected to System Engineer with its vast control of parameters to further adjust for our system. performances.” www.linea-research.co.uk

48 REP ORT: T H EAT RES & CONCERT H ALLS

FLOYD C E N T RAL H I G H S CHOOL T H E AT R E COMPANY: ELATION LOCATION: INDIANA, USA

Southern Indiana’s Floyd Central High School puts a special emphasis on the performing arts, a focus that has produced one of America’s premiere high school theatre programs. Not only does Floyd Central High School have one of America’s top high school theatre programs, it has a full Elation lighting rig to boot, a house rig that the school purchased in 2015 from Phoenix Lighting of Louisville, Kentucky.

Last year, Floyd Central was one of a handful of schools across the U.S. selected by Disney Theatrical Group to test the Tony award-winning Broadway musical ‘Newsies’ before it is made available to schools everywhere.

Lighting industry pro and Floyd Central alumnus, Michael Nevitt of Crossfade Design, LLC served as lighting designer and lighting mentor on the production. “Disney wanted to see what the challenges would be for high schools and Floyd Central could then provide them with feedback,” explained Michael, who has kids that attend the school. “For example, how to get around the fact that there are lots of boy characters in the cast while many, sometimes most, theatre students are female. That meant they had to test out casting girls in roles originally written for boys. Another challenge is staging a play like this on a school’s more limited budget.”

The Elation package at his disposal consists of LEDbased Arena Q7 Zoom PAR wash lights and Platinum Spot 5R Pro moving heads, along with Colour Chorus 48 LED batten wash lights and white-light Cuepix Blinder WW2 lights. For ‘Newsies,’ Michael added to the rig Elation Artiste DaVinci LED moving head spots and Elation EMOTION moving head digital lights.

The Artiste DaVinci is a high-performance CMY and graphics luminaire with a 300W LED engine and 7° to 48° motorised zoom. “We chose to add in the Artiste DaVinci fixtures because a lot of the set is tall with performances up high and we needed a strong LED light with zoom to light those top performers,” Michael said. Working from three overhead electrics, the DaVinci fixtures were used as fill light on top of platforms for specials and for gobo texture onto the stage floor. The EMOTION digital lights- a plug-andplay DMX moving light with on-board media server -filled the show’s projection needs, for example to project scrolling headline news onto a chalk board and other visual tasks.

The designer spread the Arena Q7 Zoom wash lights across three overhead electrics for backlight and downlight wash with more fixtures on three booms for low sidelight. “The colour system is well suited for a theatrical application and the zoom range is terrific,”

Michael stated. “The wide 10° - 60° zoom range allows them to be used as tight spots and beams in the air while also zooming to become excellent stage wash lights.” Also working from the three electrics were Platinum Spot 5R Pro moving heads used as specials and for gobo pattern projections. The 4ft long Colour Chorus 48 LED batten wash lights played a role as backdrop lighting while the Cuepix Blinder WW2s were used more as work lights during rehearsals, according to the LD. Floyd Central High School’s Director of Theatre Arts, Robbie Steiner, directed the production. It was Robbie who took his concern about the quality of the school’s theatre lighting to school administrators several years ago, starting a process that ended with the purchase of the Elation lighting system. He said: “Many of our students pursue careers in technical theatre and I am thrilled that they are able to work with some of the newest lighting technology out there. They have been able to learn technology that they will encounter in the professional world and gain valuable experience that can be transferred to work at the college and professional levels.” www.elationlighting.eu

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50 REP ORT: T H EAT RES & CONCERT H ALLS

Z ARYA DY E CON C E RT HAL L COMPANY: ROBERT JULIAT LOCATION: MOSCOW, RUSSIA

Early September saw the inauguration of Moscow’s new Zaryadye Concert Hall.

Russian project partner, Doka, specified over 100 Robert Juliat profile lanterns, fresnel fixtures and followspots as part of the new concert hall’s state of the art lighting inventory.

Zaryadye Concert Hall is one of the most complex venues in Russia in terms of the scope and volume of its technical equipment. This is partly thanks to Doka’s involvement in the project since 2015 and its contribution to the development of the venue’s concept and technology.

“We decided to specify Robert Juliat for this prestigious, high-profile venue not just because of RJ’s reputation for superb quality and 100% reliability, but also because our experience when using RJ equipment in the best symphony halls around the world has confirmed this to be true,” said Doka’s Director of Lighting, Vasily Litvin.

In total, over 100 Robert Juliat luminaires were

supplied, including 29 RJ 325LF Cin’k and 20 RJ 326LFV Cin’k fresnel tungsten fixtures, 20 RJ 710 SX2 and 12 RJ 711 SX2 profile tungsten lanterns, 24 RJ D’Artagnan 930SNX 2500W discharge profile lanterns, and four RJ Victor 1800W HMI followspots with DMX control.

The RJ 325LF Cin’k fresnels were fitted with 2.5kW tungsten lamps and the RJ 326LF Cin’k Fresnels with 2500W discharge lamps before all were mounted in motorised yokes and rigged in the overhead grid. From here the fresnels are used to deliver soft edged, bright beams of light to the orchestra pit and the stage, largely due to the 250mm fresnel lens present in both types of fixture. “The fact that the diameter of the fresnel lens is the same for both halogen and discharge spotlights is very convenient for working with the orchestra,” stated Vasily. “The motorised yokes enable quick, remote positioning of the pan, tilt and focus of the ceiling-mounted Cin’k fresnels,

while the choice of tungsten and discharge sources allows us to create a perfect balance of warm and cold light during television broadcasts of the stage performances.”

The Robert Juliat fixtures are installed in both the main Philharmonia hall and the smaller 400-seat studio, with the four Victor followspots installed permanently in both venues. The 10°-25° zoom range of the RJ 710 profile and the 8-16° zoom range of the RJ 711 profile with its extremely narrow beam are very useful for the multiple uses to which they are put. “The profiles are used as side light, as front light from stationary soffit bridges and as conductor lighting,” said Vasily.

“Each lighting designer has his own preferences for where the equipment should be installed, so the RJ’s versatility is a huge asset.” www.robertjuliat.com

T H E ATER DE B LAU W E K E I COMPANY: CHAUVET PROFESSIONAL LOCATION: VEGHEL, THE NETHERLANDS

Photo’s © Henk Hendrickx

Widely regarded as one of the most important theatres in northern Europe, Theater De Blauwe Kei made history earlier this year when it became the first all-LED theatre in The Netherlands. The theatre’s new 650-seat facility features an all-CHAUVET Professional rig, supplied and installed by Stagelight.

“For the new location, the theater was questioning whether it was still necessary to invest in traditional incandescent ellipsoidal and Fresnel fixtures,” said Robert Frijns from Stagelight.

“We tried looking at what other theaters in the region had installed, but it turned out there were no 100% LED theaters yet in The Netherlands. De Blauwe Kei decided to go all in, and the results have been quite astonishing.”

These results have been achieved with a stage lighting rig made up of an impressive collection of Ovation LED ellipsoidal and fresnel fixtures This includes Ovation rig consisting of 20 Chauvet Professional Ovation E-260WW, 36 Chauvet and Professional Ovation E-910FC ellipsoidal fixtures, as well as four Chauvet Professional Ovation F-265WW and 40 Chauvet Professional Ovation F-915FC fixtures By specifying this selection of Ovation LED

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fixtures, the theatre ensured that cumbersome dimmer packs were no longer required. Despite this, the fixtures retain the classic dimming curve of tungsten fixtures, thanks to Ovation’s advanced 16-bit dimming technology.

Positioned from above stage truss to the front and sides of the stage, the Ovation fixtures provide a wide range of looks for different purposes. The E-260WW and E-910FC fixtures, for example, were specified for their ability to provide a mixture of soft and concentrated wash effect lighting for the stage.

The Ovation E-910FC fixtures were specified for their ability to provide high-power, full-colour Fresnel-style mixing. Thanks to its RGBAL LED system, the fixture provides a beautifully soft field of light, from subtle pastels to punchy saturates and nearly any temperature of white.

Features such as adjustable motorised zoom (with a range from 30° to 85°) and 16-bit dimming curve ensure theOvation E-910FC fixtures provide all the tools for a full spectrum of theatrical lighting. “The output and the colors of the Ovation fixtures are very good,” Robertcommented. www.chauvetprofessional.eu

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KING A B DU LAZ I Z C EN TE R FO R WO R L D C U LTURE COMPANY: SHOWTEX LOCATION: SAUDI ARABIA, UAE

The striking King Abdulaziz Center for World Culture with its stunning auditorium called for a unique frontof-house curtain to complement its exclusive design.

Using an impressive multi-layered theatre drape, designer Petra Blaisse and ShowTex worked together to realise just that.

Three layers of flame-retardant stage fabrics, each with their own specifications, form the main focal point in the room. A sound-transparent Velours TransSonic CS was printed with a stylish gradient design and backed by a layer of Blackout Double to prevent any light from shining through the curtain. The unique printed velvet

ROS S IYA T H E AT R E COMPANY: L-ACOUSTICS LOCATION: MOSCOW, RUSSIA

and blackout material is finished with a thin lining of PolarisVoile CS for a surprising special effect.

ShowTex perforated the two front layers of flame-retardant fabric with a symmetric pattern of eyelets to add subtle movement to the theatre curtain. As the PolarisVoile CS lining breaks all light that shines through the little holes, a dynamic light effect appears on stage.

In front of the 10-metre high by 18-metre wide stage drape is a custom structure of frames and steel cables in which golden stretch fabric is tightened. The glamorous leather-look triangles were confectioned to size and carefully fixed to the frame using lightweight alu-

minium profiles. By covering some sections from the back and others from the front, parts of the structure remained visible and made the tensegrity piece look even more appealing.

The majestic curtain consists of two parts, each confectioned in a very different way, resulting in sleek and unpleated panels above the golden frame structure and a more playful stage curtain below, that gains more pleats towards the bottom. www.showtex.com

Since it was founded in 2012, the Moscow Musical Theatre has earned a considerable reputation for its original productions and unusual approaches to classic stories.

Just in time for the 2018/2019 season, the Musical Theatre has made a new home for itself in the remodelled and refurbished Rossiya Theatre on Moscow’s famous Pushkinskaya Square. This new venue has provided the perfect opportunity for the sound department to push the creative potential of the theatre to an exciting new level by installing the first permanent theatrical installation of L-Acoustic’s L-ISA Hyperreal Sound technology.

The theatre’s sound department can now take advantage of object-based, multidimensional mixing, with realistic and distinct localisation of audio objects, driven natively from its DiGiCo SD10 console using the recently introduced Desk Link L-ISA integration. And in turn, directors can upgrade their ambition.

Maria Lenarskaya is Head of Sound at the theatre, and sees this new chapter as a natural evolution of the sound department’s culture of innovation: “Our theatre is growing rapidly; new productions appear regularly, and every year we always try to do something new, to step forward somehow,” she said.

Before the L-Acoustics installation, Maria and her team

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were already experimenting with discrete sources, but with traditional technology, which pushed the limits of console automation and matrixing systems. “It was interesting, but not easy,” she said. “It requires painstaking work on the mix. With the purchase and installation of L-ISA, we now have lots of opportunity for bringing new colours to our performances in a convenient and intuitive way. Everything is connected, and it’s quick to change anything according to artistic need.”

Plans for remodelling the Rossiya Theatre got underway in August 2017, as soon as the decision had been made to relocate. The existing auditorium-previously used as a cinema-was too wide, so that was reconfigured and given new seating and additional aisles. The challenge of specifying the PA system for the new venue was given to Stage Audio, a long-standing partner of the theatre.

Along with the client’s creative requirements, maximum audience coverage and an accurate sound-stage were the priorities. According to Stage Audio, once those needs had been identified, L-ISA was the obvious solution.

Stage Audio, together with L-Acoustics and its Russian distributor Sonoruss, designed and installed the new L-ISA configuration. www.l-acoustics.com

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54 REP ORT: T H EAT RES & CONCERT H ALLS

THE MAYFLOW E R T HE ATR E COMPANY: J&C JOEL LOCATION: SOUTHAMPTON, UK

The Mayflower Theatre in Southampton has reopened its doors after a multi-million pound refurbishment including a new drapery package provided

by J&C Joel. As part of the £7.5million restoration project, J&C Joel supplied drapery to all parts of the auditorium in their Norland IFR Trevira Velour (VEL650) which was custom dyed to the client’s specification. Working closely with leading architect Foster Wilson (FWA), J&C Joel was heavily involved in the design of the decorative elements of the drapery package, which included custom braid, fringing, rope and 11 appliqued Mayflower fabric ships.

There were four key challenges with this project, which set it apart from other large-scale theatre projects J&C Joel has undertaken in the past. The first challenge was to design and manufacture 10 fabric centrepiece Mayflower ships, which were to be the focal point for the box and arch pelmets together

with the main pelmet.

The original artwork was produced by FWA based on an old sketch of the original Mayflower. J&C Joel’s design team then broke the artwork down and created a series of production drawings, which were used to manufacture the pieces. Using a combination of antique gold (REG004) and mustard (REG008) Regal Satin together with custom dyed rope, the ships were produced with the aid of magnifying lamps and tweezers. All ships were framed with a custom 8mm diameter gold rope.

The second of the challenges was the pelmets for the boxes that flanked the stage. Due to the high-profile nature of the venue, it attracts the largest touring shows and with it a requirement for numerous lighting positions. However, the boxes contained key lighting bars, which clashed with the new pelmets.

Working with FWA, J&C Joel manufactured slits

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into the pelmets, which could be peeled back when lighting bars were required. When not in use, an infill piece fitted over specially placed Velcro on the rear of the pelmet to give the appearance of a solid drape. In order to make this element work, the pelmets had to be manufactured with immense precision to ensure that all trimmings lined up when the slit was not in use. To finish the boxes off, J&C Joel produced selflined legs with custom tiebacks installed on timber battens, fixed into the underside of the box.

The penultimate challenge related to the new pelmet and frame, which was a late addition to the package.

The pelmet was required to sit flush to the underside of the uneven proscenium arch, as opposed to resting behind it, which meant the new pelmet needed to be made with precision. The J&C Joel team took measurements every 100mm across the width of the proscenium and these dimensions were used to

Photo © Mayflower Theatre

produce a CAD drawing and ultimately the pelmet frame.

The final challenge was the measuring, design and production of six arch pelmets, which sat at a high level in the auditorium. The difficulty with this element was that the arches curved in both planes, which presented a challenge from a fixing perspective. To add another level of complexity, the fixing solution needed to incorporate some LED lights, which were designed to showcase the artwork adorning the wall. In addition, J&C Joel produced new door and vision panel drapes, new drapes for the sound desk and orchestra pit and drapes to give some privacy for the seating booths that flank each level of the auditorium. Commenting on the project, Head of Specialist Drapery Oliver Marns said: “On a technical level the project stood out due to the intricacy required to produce appliqued ships. Having carried out such work for over 40 years, J&C Joel had never produced pieces with this level of detail and we were delighted with the result. I would like to thank the entire Joel’s team, FWA, GF Holding, the other subcontractors on site and the Mayflower team for their assistance throughout the project. www.jcjoel.com

56 REP ORT: T H EAT RES & CONCERT H ALLS

The Galli Theatre, originally constructed in 1857, is a theatre with a troubled past. Bombed by the Allies during the Second World War Conflict, looted in the immediate post-war period, and victim in the subsequent years of partial reconstruction, it has taken until 2018 to reopen to the public with a completely new and technologically advanced infrastructure.

In the most recent renovation and modernisation work, everything pertaining to terminations and wiring was assigned to LINK; the Italian company based in Rome, Italy and Middleton, USA. “Among the critical requirements was the need to concentrate a large number of cables in the smallest possible space”, stated Daniele Naldi, Technical Director of the Municipal Theatre of Bologna and project consultant.” LINK was the only company able to provide a single cable that could integrate both power and data signals, significantly reducing the number of cables and optimising the installation,” added Daniele.

LINK designed all outlet panels, junction boxes, and rack cabinets with extreme care in terms o All electrical distribution was developed to be equally clear and easy to use with full compatibility with the Sensor3 dimmer system by ETC whom also provided most of the light fixtures. For this reason a QR code has been printed alongside the CEE sockets in order to allow the ETC app to directly switch the socket from dimmer to direct and vice versa. This automated patching solution provides a significant advantage in terms of setup

T HE GA L LI T H E AT R E COMPANY: LINK LOCATION: RIMINI, ITALY

time and flexibility for the end user.

Since the venue needed to support many forms of live entertainment, flexibility was a key concern in the design of the power and data infrastructure.

The grid and truss structure needed to support both conventional and automated luminaires with multiple types of power and data. In order to future proof the Galli, 120 optical patch points were outfitted in the grid, niches, and in the stage house. In addition to providing the low profile patch boxes, LINK recently introduced and provided unbreakable fibre cable. This new ruggedised optical cable tolerates extreme radius bending, suitable to patching to boxes in tight spaces. Among the other solutions proposed for the Galli Theatre we find one of the first Company Switch installed in a theatre in Italy.

This electrical infrastructure will allow touring or rental companies to connect their equipment to the theatre’s electrical system through commonly used connections such as Power Lock or CEE sockets. The Galli Theatre is a classic example of how, through a meticulous and careful selection of suppliers and materials, it is possible to create a power and data infrastructure that is both flexible and future proof. www.linkitaly.com

CRE ATIVE ARTS A CA D E MY OF ST. LU C IE COMPANY: PRESONUS LOCATION: FLORIDA, USA Creative Arts Academy of St. Lucie-also referred to as CAST-is one of those rare schools where academics and art truly go hand in hand. Every day, its students discover the magic of learning in unique environments that use music, art, dance, and drama as an instructional strategy, creating a distinctive type of learning environment in the process. The school recently upgraded its main performing arts hall and, as part of the renovation, a new sound reinforcement system utilising loudspeakers drawn from the WorxAudio catalogue of PreSonus was installed.

Creative Sound and Lighting Solutions of Cape Coral FL, was contracted to design and deploy a combination of audio, video, and lighting improvements. As for the sound system, Rob Robinson, co-owner of Creative Sound and Lighting Solutions, discussed the project and his reasons for deploying a combination of WorxAudio V5M ultra-compact line arrays and ULT18 active sound

reinforcement sub bass enclosures.

“With the renovation of the school’s auditorium, this facility will be named The Big Speak Theater,” Rob reported.

“The left and right main loudspeakers consist of two WorxAudio V5M line array enclosures positioned on each side of the proscenium,” Low frequency support is provided by a pair of PreSonus ULT18 active subwoofers.

These closures are positioned on each side of the stage, vertically aligned with the V5M enclosures overhead, with approximately 20ft distance between them.

When asked about the feature attributes that made this combination of PreSonus loudspeakers the ideal choice for this project, Robinson offered the following thoughts, “First and foremost, speech intelligibility was a crucial consideration and the speech intelligibility provided by the WorxAudio V5M is amazing. The compact size of the V5M was another very important factor, as the way they

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are mounted was pivotal in having the ability to aim the top V5M on each side toward the balcony while aiming the lower enclosures onto the floor area.”

The Creative Arts Academy of St. Lucie renovation took place during July 2017 in preparation for the upcoming academic year. With the new sound system up and operation, Dr. Lori Anne Reid, Principal at Creative Arts Academy of St. Lucie, offered a positive assessment of the completed project, “The lighting / sound system and the support we received from Rob Robinson, Russell Byas, and the Creative Sound and Lighting Solutions team was phenomenal. Not only did the team design a superior system and install it perfectly, they provided a personal touch that supported our students and school.” www.presonus.com

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58 REP ORT: T H EAT RES & CONCERT H ALLS

THE MUNI COMPANY: POWERSOFT LOCATION: ILLINOIS, USA

When upgrading the sound system at The Muni, a locally revered natural amphitheatre now in its 53rd season, Trent Keeling, Senior Design Consultant at Advanced Audio and Lighting Systems, selected two Powersoft power amplifiers - the Ottocanali 12K4 DSP+D with Dante and Duecanali 4804 DSP+D with Dante to power the outdoor systems LCR theatrical system.

An avid user of Powersoft amplifiers for the last five years, Trent and his firm was searching for an amplifier solution that offered Dante connectivity to feed to The Muni’s upgraded Yamaha Q05 front of house console.

“I needed amplifiers that had Dante connectivity, but also filled some of the other important requirements such as quality DSP, multiple channels and power density in a small rack space,” Trent explained. “The Ottocanali 12K4 DSP+D and Duecanali 4804 DSP+D fit the bill perfectly.”

When searching for the best amplifier solutions for The Muni’s L-C-R theatrical system, Keeling was drawn to the Ottocanali 12K4 DSP+D multiple channel count and sound quality along with the simplicity of the DSP programming of the Duecanali unit.

DOORN ROOSJE COMPANY: CLF LIGHTING LOCATION: NIJMEGEN, THE NETHERLANDS

“The Duecanali amp’s DSP programming is very straight forward, and it offers some wonderful attributes like we’re able to control the overshoot with loudspeakers which makes up for signal loss,” explained Trent. “We also liked the redundant analogue rollover function for this application as we are not only feeding Dante, but also analogue.”

As a non-profit, The Muni raises funds strictly through its ticket sales, so Trent was looking for amplifier solutions that would deliver for years to come.

“There’s obviously a few more affordable options on the market, but when performing upgrades for a non-profit venue like The Muni - where their money is precious and hard-spent - they’re looking for a return on their investment,” Trent explained. “By using high-quality systems from Powersoft, you not only know they are going to work for years to come, but you can rest easy knowing the sound you’ll get from the amplifiers will be of the highest quality.”

With four different production runs each summer, Trent needed a system that offered reliability night after night.

“Each weekend we have a lot of people waiting to see the

One of the most energetic and appreciated rock bands in The Netherlands returned to their home base to launch their fourth studio album with help of the brand new CLF Orion hybrid, and just one of the venues they played at was Doornroosje. Lighting Designer, Roy Baarslag was looking for an extensive floor setup to emphasise all the accents in Navarone’s dynamic musical style. “The band wants me to create a lively and energetic show with a lot of variety.

I needed fixtures that offer a huge amount of effect versatility, so that’s why the CLF Orion definitely caught my attention.” A powerful light source and efficient optics enable the Orion to produce heavy mid-air effects. “Their output really surprised me, sometimes I even had to reduce it to achieve a balance with the house rig.”

In addition, the extensive feature package of the Orion was a useful tool for Roy. “I have created freaky effects with help of the animation wheel.

While I also like the smooth CMY colour mixing and I’d like to draw attention to the zoom speed, which is really fast. When designing upcoming shows I would like to include more

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show, and we really have to hedge our bets on the reliability of our system. I can’t have a show with doors at 7:00 and be like ‘oh gosh, we have an amplifier problem.’

Reliability is key, and Powersoft affords us that.”

In addition to reliable sound, Trent turned to Powersoft for its unparalleled sound quality - which is critical for an outdoor performance venue. “I attribute some of the high-fidelity, high-intelligibility and musicality directly to the Powersoft amplifiers,” he said. “Quality loudspeakers benefit from quality amplification. The new coverage is very wide and very musical.”

Located lakeside, The Muni amphitheatre put on live productions of Little Shop of Horrors, Sister Act, Legally Blonde and Annie this season and continues to be considered an institution in the Central Illinois community.“It’s a really idyllic spot,” Trent explained.

“The theatre is cut into a berm and features a natural amphitheatre slope to it. It’s a great place to see a show.

The level talent is really high - a lot of the members have real industry experience - so the acting and set design is very well done. www.powersoft-audio.com

Orion fixtures.

They are multifunctional, from a powerful beam all the way to a soft wash.”

The CLF Orion units were placed on vertical trusses, accompanied by CLF LEDbar PRO fixtures. “The LEDbar PRO fixtures allowed me to be very creative,” Roy commented. “The big reflectors resemble the look and feel of old fashioned strip lights, but add RGBW colour mixing. I love the intense colours of the LEDbar PRO. Together with the punch and smooth dimming they just deliver.”

The set was complemented by CLF Ares XS these LED washes were used to illuminate all the band members from the floor. “I like to go for a very dark stage, especially in quieter songs.

The intense and highly saturated colours of the Ares XS are helpful when creating an intimate atmosphere on stage. On the other hand, their output is big enough to keep up with the other fixtures during more energetic songs”, concluded Roy. www.clf-lighting.com

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60 REP ORT: T H EAT RES & CONCERT H ALLS

Photo’s Š Christopher Bauder

NAT ION AL C E N T RE FO R THE PERFO R MING ARTS COMPANY: WHITEVOID LOCATION: BEIJING, CHINA

Chinese director Zhang Yimou and Berlin-based design studio WHITEvoid have collaborated on a theatre stage performance 2047 APOLOGUE. Zhang Yimou who is best known for his movies Raise the Red Lantern (1991), Hero (2002) and The Great Wall (2016) as well as directing the opening and closing ceremonies of the Beijing Olympics in 2008 returned to the theatre stage with his concept performance produced by L!VE Kingway at the National Centre for the Performing Arts (NCPA) in Beijing. Based on Peking Opera Sanchakou, 2047 APOLOGUE breaks the form of traditional stage plays, combining Chinese folk tales with

the latest technology-driven art pieces. Throughout numerous acts, both shows explored how technology is rapidly entering human life and mirrored our reality where science and technological innovation are nowadays inseparable from people of all occupations. The two editions of the show consisted of eight parts, each combining a traditional Chinese craft, music or dance performances with modern high tech such as lasers, robots, drones, and kinetics.

For the second edition of 2047 APOLOGUE in June 2018, WHITEvoid created a mesmerising kinetic installation Mirror Mirror. The precisely moving www.mondodr.com

installation is composed of Winch LED Pixel system and Mirror Disc light fixtures, designed and produced by the German motor winch brand Kinetic Lights.

The perfectly synchronised mirror discs were directed and programmed to act along the dancer and create an atmosphere of a living machine and underline the fundamental idea of 2047 APOLOGUE - a harmonic and organic interaction of people and technology that goes beyond work or goods production and touches upon creativity, art, and human emotions. www.whitevoid.com

62 REP ORT: T H EAT RES & CONCERT H AL LS

T H E A RT H OUSE COMPANY:THE P.A. PEOPLE LOCATION: WYONG, AUSTRALIA

The Art House Wyong is a new, much needed fly-tower equipped performing arts venue in the heart of the NSW Central Coast.

Project Manager for The P.A. People was Brett Steele, worked with Council and Schuler Shook to ensure that the technical fit-out for the venie was industry standard and the very best they could afford. Chris Dodds (MD, The P.A. People) led design and to this end, several changes to the specified design were made as the project evolved: “One of the biggest changes was the LED lighting rig,” said Brett. “Originally they had specified various GPOs around the lighting bridges and galleries to power up the LEDs, but to turn them off they would have had to do a site walk and switch them off manually. We convinced them of the virtue of putting in dimmer racks that, with patches to the lighting bars, would give them the option of using traditional incandescent fixtures if they wanted, but also use them as power distribution through relay switching and turn the rig off from the control room or dimmer room. In the end, both the Theatre and the Studio have a dimming system. The Theatre is an LED rig and the Studio is a traditional rig of 40 Profiles and 40 fresnels.”

Another significant change to the technical specification was the decision to make the audio control and distribution digital instead of the original analogue design. Analogue cabling is now costly, time-consuming and inflexible compared to digital systems; Brett and The P.A. People recommended a Yamaha mixing and signal distribution solution, moving to a Yamaha QLS digital mixer and various Dante enabled 1/O devices installed or floating around the venue.

“Changing to digital saved infrastructure costs,” Brett agreed, “They got a great desk in the Yamaha QLS. It’s very well understood and recognised in the industry. With operators coming and going with touring shows, The Art House needed equipment that techs feel comfortable to come and use.”

The theatre’s PA is a JBL VRX 900 Series system, with four elements each of VRX932LA-1 at L-C-R. Two VRX918S subwoofers are flown above centre. Front fill is provided by five JBL ACl 8/26s, with a further two ACl 8/26s used for under balcony fill. The rig is powered and processed by a combination of Crown DCi 4 and DCi 8 amplifiers. Further processing for the BOH system is courtesy of a BSS BLU-100, also connected to the Dante network. The Studio’s PA is a flexible system of JBL EON61 Ss and 61 Os that can be flown or tripod mounted as required. The house mic kit is a mixture of wired and wireless models from Shure.

Mixing desks are Yamaha digital on a Dante backbone, with a QLS for large shows in the theatre and a smaller TFl for the Studio, or smaller, single operator shows. A Yamaha Rio3224-D sits at the theatre’s prompt side, a Riol 608-D at opposite prompt. A second Riol 608-D is sleeved and can be deployed anywhere on the Dante network as needed. An eight-in Ri8-D and an eight-out Ro8-D are mounted in the bio box for local 1/0. Dante sits on a separate switch from the building’s IT network, with the Primary and Redundant connections running on separate V-LANs. There are 24 dedicated Dante patch points throughout the building.

The stage management console is a custom build www.mondodr.com

by The P.A. People and houses a Jands EZICOM 401 master station, a Leon Audio QLM16 MK4 cue light master station, Shure mic and a dual eight inch LCD video monitor. Comms headsets are from Beyerdynamic and the BOH area paging is through a combination of JBL and TOA ceiling and surface-mount loudspeakers.

Theatre lighting control is from an industry standard ETC Gia, while the Studio is run from a smaller ETC Element 40. The system is built around 20 ]ands HPC12 digital dimmers, which control a predominantly LED rig built around ETC Source 4 LED models and Selecon Rama LED Fresnels, flown from Jands JLX-Pro lighting bars. Cyclorama wash is provided from seven Chroma-Q Color Force CF72 LED battens.

The P.A. People also installed Jands curtain tracks in the Studio, JLX Lite lighting bars, and designed and installed the lighting grid in the Studio. They installed 11 LED video displays, three cameras for digital signage and performance relay throughout the building and the video infrastructure to support it, including HD-SDI links between the Studio and the Theatre to enable the Studio to be used as an orchestra room.

After positive beginnings, The Art House is taking solid bookings into the future. Well received by locals and visitors alike, both Council and the team who worked on the building are proud of its success, which comes down to all parties working together to deliver the best possible bang-forbuck. www.papeople.com.au

64 REP ORT: T H EAT RES & CONCERT H ALLS

G RAN D T COMPANY: APG LOCATION: NANTES, FRANCE

The artistic adventure of the Grand T in Nantes, France, began in 1983 with the inauguration of the Espace 44, an impressive 879-seat theatre designed by architect Claude Jeffroy and scenographer Igor Hilbert.

Designed on the principle of an insulated staging area, Le Grand T stands out due to the short distance between the stage and the last row, creating an intimate feeling between the actors and the audience. To enhance this proximity, Le Grand T recently decided to upgrade the entire front-fill sound system. French integrator, Sonowest, trusted APG, a French manufacturer of professional loudspeakers, and its new Uniline Compact to answer the drastic and complex technical requirements and specifications.

Patrick Morilleau, Technical Deputy Director of Le Grand T, explained: “Our previous sound system was aging and we could hear the difference of tone between the speakers. More importantly, the sound coverage we had wasn’t homogenous, which in turn created a sensation of hotspots when subjected to strong acoustic pressure. This manifested as a lack of coverage on the tip of the stage, thus creating a major void in the centre of the pit, as well as a pressure drop towards the last rows and therefore the control room.”

In order to ensure those specific requirements were met, Le Grand T reached out to a number of loudspeaker manufacturers to assess the different options and techniques available. “APG stood out from the crowd by providing the most even coverage, with an accurate and efficient acoustic pressure all the way to the last rows. The nearfield speakers coupled with the sub bass system was perfectly attuned, and allowed to map out a qualitative sound,” explained Patrick.

He added: “We have been pleasantly surprised by the design of this three-way loudspeaker from APG, which is able to reproduce a high bandwidth and a really dynamic sound by distributing the energy back equally to each transducer. What’s more, the Uniline Compact boasts open and unrestrained processing which, when handled by a skilled user, provides a faithful and true sound reproduction to the audience.”

The Uniline Compact uses three different acoustic modes: a large bandwidth mode (UC206N/ UC206W speakers only) for voice and musical reproduction at moderate levels, an extended mode (UC206N/W coupled with a UC115B bass speaker or another APG subwoofer) for music applications, and a full mode (a combination of UC206N, UC206W, UC115B and APG subwoofer)

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for high power applications across the entire audio spectrum.

The extended modularity of the Uniline Compact system allows for a large number of configurations (hung or floored) and an almost unlimited number of combinations between these three speakers, so the system can adapt to the different to the specificities of each venue.

A total of 14 UC206N medium / long-range loudspeakers and four UC115B bass speakers now create a stunning sound at Le Grand T. These are complemented by five UC206Ws for the middle configuration. Finally, four Uniline SB118 bass speakers situated on the floor ensure the sub frequencies.

The Uniline Compact range stands out from the competition as it is the only speaker capable of guaranteeing two distinct horizontal directivities: 70° for the N version and 105° for the W version.

At Le Grand T, the audio kit is made of 70° enclosures, so that sound doesn’t spill on the side walls, and sound reflections are minimised. The middle configuration is made of UC206W loudspeakers (105° opening) for efficient beams crossing. www.apg.audio

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66 REP ORT: T H EAT RES & CONCERT H ALLS

TEATRO GALLI COMPANY: GDS LOCATION: RIMINI, ITALY

Constructed between 1843 and 1857 and designed by architect Luigi Poletti Teatro Galli was once one of the biggest theatres in Italy. Celebrated composer Giuseppe Verdi contributed the Opera Aroldo for the Teatro Nuovo’s inauguration and until an earthquake forced its closure from 1916-1923, it enjoyed great success. Following a first restoration, the theatre flourished until it was bombed in 1943 during World War 2. Badly damaged, the theatre lay derelict until 1975 when it was partly restored and the City Council moved into its refurbished foyer. In more recent times, a long and intense culture-based debate took place about how to best reconstruct the entire theatre.

Following these discussions and with regional and EU support, a full restoration commenced in 2014 and was completed in October 2018. The fully restored Theatre Galli is nothing short of a masterpiece - one that UK technology company GDS has played a small but very important part in helping to paint.

Theatre-technology specialist, Decima 1948 as part of its wider brief across the project, was responsible for installing the house lighting and naturally enough, sought to find the best possible light quality and dimming performance. Exceptional dimming, in particular, had proved problematic to source in the Italian market and having, through its rich heritage, developed a formidable reputation for excellence, Decima 1948 was reluctant to entertain any compromise on this vital feature in such a flagship theatre.

CEO Enzo Trovato was directly involved as a consultant to the project from its early stages and in 2016, he attended the ABTT show where he met GDS’s Darren Jackson, who subsequently arranged a presentation to showcase the Bristol-based manufacturer’s product ranges, as well as examples of their wide-ranging application. It was immediately clear to Trovato that in GDS ArcSystem, Decima 1948 had found the high-quality dimming that such a prestigious project deserved.

Impressed with what he had discovered, the Decima 1948 chief demonstrated the products to the project architects for sign-off and GDS ArcLamp fixtures were added to the project inventory.

Decima supplied drawings to GDS, enabling Darren to specify the products, which in turn led to Applications Engineer John Blamey travelling to Rimini to oversee the commissioning of the system. His impressions were universally positive: “Installers Decima 1948 carried out one of the best and highest quality installs I’ve ever seen. Everything on site was in perfect working order, which made for stress-free commissioning. The job was completely straightforward from our point of view - the system worked as expected and is a fitting addition to what is a tremendous setting. The Teatro Galli has certainly come a long way from being a bombed-out shell and it’s great to have played a part in its wonderful revival.”

This was the first time GDS had worked in Italy and the company was gratified to have made its Italian

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debut as part of such a prestigious and high profile project. More than 450 ArcLamp 24V Fade to Warm Candle Clear 2,700K fixtures were installed at Teatro Galli as part of what has been the largest theatre restoration of its kind in Italy. Reflecting on a successful new partnership, GDS Business Development Manager, Darren Jackson, could not have been happier: “It’s an absolute honour to be working with a company that has such a truly amazing heritage in the theatre sector.

Having found a partner of such calibre it seems entirely fitting that we began GDS’s Italian journey with such a historically important and prestigious project.

What Decima 1948 have achieved within the theatre is nothing short of spectacular.”

Enzo Trovato, CEO at Decima 1948 was sure he had made the right choice: “We were looking for the best lighting product that gave us top-performing theatrical dimming and GDS delivered on both fronts. The quality is exceptional and we are delighted with the end result.”

From success to dereliction and back, Teatro Galli opened its doors to the paying public for the first time in 75 years on 28 October, 2018. Multi-award-winning Mezzo-soprano Cecilia Bartoli took to the stage to launch a two-month run of special inaugural events that will place this cherished venue firmly back on the map. When the GDS ArcLamps dimmed for the very first performance, a renaissance was complete. www.gds.uk.com

E DIN BURGH GAN G SHOW COMPANY: BLACK LIGHT LOCATION: EDINBURGH

Continuing their work with Edinburgh Gang Show Productions Limited, Scottish lighting, stage, sound and AV company, Black Light provided their services for the annual production of the infamous Edinburgh Gang Show at the King’s Theatre. The production is the biggest annual theatrical show starring young people from Scouting and Girlguiding in the UK. With a cast of over 250 young people aged between 8 and 25 years old, the long-established show follows a fully balanced and recognised format of variety theatre set within a modern context.

Having worked at the King’s Theatre many times before, Black Light were fully equipped to supply technical services, design, programming/operating and lighting equipment for the six shows.

It is important to them to keep developing the design and look of the show, both to enhance the performances of the young cast and to keep the technical side of the show as up to date and modern as it can possibly be. Utilising their lighting design skills, the team created a multifunctioning lighting rig that allows for looks, effects, eye candy, architectural and lighting of the cast.

The versatile rig consisted of a range of products

by Martin, Robe Lighting and ETC. Several of the Black Light team helped with designing and building the rig, load in and get out, focusing the lights and programming. It was a team effort in conjunction with the Gang Show team.

Black Light’s Hire Operation Manager, Paul De Luca stated: “Now in our eighth consecutive year, we were delighted to be back at the King’s Theatre with Edinburgh Gang Show this November.

Every year we are thrilled to be able to deliver a high-quality production lighting package for their show and we look forward continuing to support them. We’re proud to be able to give something back to the younger generation and we assist where we can with ensuring they have the best week possible.”

Black Light have worked closely with the Edinburgh Gang Show over many years, ensuring the delivery a high standard of work that allows the cast to thoroughly relish in every moment they have during the show week. With its many scenes and a large cast, mostly of children, the production throws its challenges, which Black

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Light tackle head on. One of the challenges when delivering the production was the short time scale Black Light had to adhere to. Load in began at 9am on the Monday morning and was built and complete by 6pm the following day, included in this time was a dress rehearsal. All technical departments work to a tight schedule to ensure they produce a high-end show.

Edinburgh Gang Show Director, Andy Johnson says, “I cannot over emphasise the contribution Black Light have made to the quality of our shows over the last five years. They understand how a variety show works and how each section needs a beginning, a middle and an end. The team is hugely versatile and adaptable to whatever strange demands or whims I come up with, the little tweaks and changes that make for a truly great final product. I have no hesitation in saying that, without a doubt, Black Light are an integral part of the production and that Edinburgh Gang Show would not be the same without their expertise.” www.black-light.com

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• Page 90

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IN FOCUS

• Page 70

EMEA AMERICAN RAG CIE/ANGELS DUBAI

PIRATES PARADISE LILLE

AURES LONDON

INDIGO LONDON

THE NATIONAL SPACE CENTRE LEICESTER

REEM CENTRAL PARK DUBAI

THE WALLS OF JERUSALEM JERUSALEM

• Page 96

• Page 100

• Page 106

THE AMERICAS RACKET CLUB MIAMI

MIRAGE DETROIT DETROIT

APAC SHANGHAI TOWER SHANGHAI

70 IN BRIEF - EMEA

Pulse Middle East transforms two Rostamani retail group stores in the Dubai Mall.

In the past decade, the retail industry has transformed from merely shopping spaces into full-fledged client centred experiences. With a significant rise in the concept store model, retailers are increasingly turning to audiovisual companies in an effort to keep up with the trend of providing customers more than just a shopping space, but rather a heightened overall experience.

Pulse Middle East, a renowned audiovisual companies in Dubai, has recently completed the transformation of two Rostamani Retail Group stores in the Dubai Mall.

The first project was for American Rag Cie, a well-known Los Angelesbased concept store that opened its doors for the first time in Dubai this

September. The store provides for an immersive and captivating customer experience, largely due to the remarkable audiovisual setup inside and around the store.

Shoppers are treated to a full-fledged show thanks to the fascinating entertainment lighting, quality professional audio and DJ booth. The setup is complemented by a mesh screen on the ceiling that can play movies, graphics, branding or mirror the huge screen installed near the American Rag Cafe. Another interesting feature of the screen is that once it turns off, it becomes transparent, showcasing the epic Burj Khalifa from the store’s skylight ceiling.

Finally, the most interesting feature is the live in-store interactive screen

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71 IN BRIEF - EMEA

that mirrors all movement in front of it, uncovers different content and creates a snow cloud that follows shoppers past the window.

The second project, Angels, a kids’ luxury fashion store is also designed with a full focus on innovating customer experience. In order to appeal to both kids and their parents, Pulse Middle East implemented a fun and interactive solution for the retailer.

The first attention grabber, a large media façade installed at the store’s entrance, is a 3D visual installation creating a floating optical illusion of the brand’s famous angel wings. To achieve a fully interactive space, Pulse Middle East installed LED flooring under the screen which integrates together with all the TVs scattered inside the shop. The cherry on top, an

interactive touch screen placed within the table of the waiting area. On it, kids can enjoy their stay by playing their favourite games allowing their parents to shop with ease.

The retail landscape has changed substantially in the past decade. Most, if not all, retail brands are increasingly relying on non-traditional means of improving their customer experience including modernising their stores with lighting, audio and video. With (minimal investments) in store revamps, retailers are able to convert passers by into shoppers and avid brand supporters. www.pulse-me.com

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THURSDAY 7 TH FEBRUARY ISE, RAI AMSTERDAM TICKETS: WWW.MONDOSTADIA-AGORA.COM

09:30 REGISTRATION - ROOM E102 09:50 OPENING REMARKS

SAM HUGHES, EDITOR, MONDO | STADIA

10:00 KEYNOTE FROM AVIXA

DAN GOLDSTEIN, SENIOR VP OF CONTENT AND COMMUNICATIONS, AVIXA Sports venues know fans demand a peerless experience when attending a sporting event, and the rise of the at-home experience means standards are higher than ever. A view of the field of play is no longer enough. Fans seek an immersive, electrifying experience. The energy and excitement must begin even before entering the park. Inside, it must pervade, with fans able to stay in the action on the concourse, in commercial spaces, and even the pass through spaces. In response, venues make large investments in the total experience to ensure it is exceptional. Technology, of course, plays a large role, whether in the form of the large jumbotron screen on the field, the omnipresent announcement system, or the digital signs spread throughout the facility. Behind each aspect are specialists who assist the venues through consultation, design, and integration. Enter Pro AV and, with it, the Audiovisual and Integrated Experience Association (AVIXA). Dan Goldstein, AVIXA’s, Senior VP Content and Communications, will share some of the research that the association has done to shed further light on the opportunities presented by exceptional fan experiences to creative AV professionals.

10:30 LOW, LITTLE, LOUD, AND LUCID - RAISING THE AUDIO PERFORMANCE BAR IN STADIUMS AND SPORTING VENUES MIKE HEDDEN, PRESIDENT, DANLEY SOUND LABS

As stadium infrastructure becomes more sophisticated, with a clear focus on video and fan engagement, the challenge for the audio system inside sporting venues has developed significantly. With a huge amount of stadium projects completed over the years - including the state-of-the-art Mercedes Benz Stadium in Atlanta Danley President, Mike Hedden, will take a look the recent changes, the new demands that have emerged and what the future holds for the audio sector in sporting venues.

11:00 CASE STUDY: STADE DE FRANCE JONAS DJIAN, VENUE MANAGER, STADE DE FRANCE

Opened in 1998, Stade de France, with its capacity of over 80,000, is one of the most recognisable stadiums in the world. As the largest stadium in France and a packed schedule year after year, Stade de France maintains its position as a go-to venue through the continued development of its technology and connectivity as stadiums step into the future. Jonas Djian, Venue Manager at Stade de France, will explain what investments were made, why connectivity is so important to the stadium and the new services that can now be provided to fans.

11:30 COFFEE BREAK 11:45 PANEL: HOW TECHNOLOGY ENHANCES THE FAN EXPERIENCE

CHAIR: MARTIN IZZARD, SENIOR ACCOUNT MANAGER, RED LORRY YELLOW LORRY | JAMES KEEN, GROUP MARKETING MANAGER, TRIPLEPLAY | LUKAS BUHL, R&D ACOUSTICS, TW AUDIO | STEPHEN HOGG, HEAD OF SPORTS PROJECTS, D&B AUDIOTECHNIK | THIERRY CHAPITEAU, GLOBAL SEGMENT DIRECTOR, SIGNIFY Leagues, organisations and teams need to engage those inside the stadium in order to create the best possible fan experience. In this panel session, we’ll discuss how this can be done inside stadiums and venues and the part that technology plays. Featuring key stadium technology providers, the session will be centred around the integration of a new hypothetical multi-sport stadium.

12:15 CASE STUDY: ANOETA STADIUM JUAN IRAOLA, HEAD OF DIGITAL, REAL SOCIEDAD

In January 2016, Real Sociedad launched a digital transformation project at their home ground, Anoeta Stadium, as a result of a remodelling process. Since then, the club have activated 34 projects in fan engagement, business improvement, sport areas and the stadium. Following on from that, in a bid to introduce the smart stadium concept, Real Sociedad reached an agreement with Microsoft Sports and the Global Sports Innovation Center to launch a start-up programme, in which 11 technology pilots will be implemented to improve the facilities at the stadium, enhance innovation and transform the fan experience. Juan Iraola, Head of Digital at Real Sociedad, will discuss the digital projects at the stadium and how the Sport Thinkers Smart Stadium programme will impact Anoeta Stadium.

12:45 KEYNOTE FROM AUDITORIA SCOTT WILLSALLEN, DIRECTOR, AUDITORIA

From major international tournaments to club matches, the importance of sound in engaging the stadium audience and enhancing sporting drama is significant.

Well-produced audio content and quality live input systems, passing through an optimised signal processing chain to a well-designed, high-performance loudspeaker system, in the hands of an experienced operator will provide greater impact and engagement than any other element of sports presentation.

Scott will discuss the ideal stadium audio workflow, including improving the audio quality of video packages, audio and video sync, optimisation using plug-ins and external processing, signal distribution for redundancy and electroacoustic design for quality, impact and intelligibility. Scott will also present some thoughts about what the future may hold for the live stadium audience in terms of applications for immersive 3D audio.

13:15 CLOSING COMMENTS SAM HUGHES, EDITOR, MONDO | STADIA

NETWORKING LUNCH

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PIRATES PARADISE

Eating out with the family isn’t always easy, adults want good quality F&B, while children need to be entertained. Family man, Jérôme Descamps with five kids of his own decided he wanted to change that and offer the people of Lille, France a viable option. Having seen similar concepts in the form of Hard Rock Cafe and Planet Hollywood, Jérôme set about creating a restaurant that would appeal to the same clientele, as there was little competition in France.

While undertaking some research though, Jérôme did come across Pirates Paradise in Montpellier - a pirate themed restaurant. He made contact with the owner and together they made an agreement for a licensed

LILLE, FRANCE EUROPE, MIDDLE EAST & AFRICA

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• Above Pirates Paradise, a restaurant retreat for all the family.

contract, meaning Jérôme could open a restaurant under the same name in Lille, which he would wholly own. But, should any further restaurants open, the ownership would be 50/50 split.

Stepping inside the Lille restaurant, diners are met by the bar, which hints at the pirate theme with palm trees and wooden furnishings. It is a stylish entrance where guests can relax ahead of taking their seats for dinner. Moving through to the main restaurant, the first thing to notice is the sheer size of it - unexpectedly large from its exterior. It seats 500 and, on weekends some tables are served more than once, so the kitchen feeds 500+

guests at weekends. Surrounding the seating is an impressive decorative pirate structure, dominated by a huge pirate ship. The scenery - which also includes a row of drinking establishments / houses, a volcano with a skull face embedded into the rock and a jail - took four months to configure and install, as it was all handmade. It was important to Jérôme that the decoration was realistic, especially because it is so heavily used in the nightly pirate performance that entertains the guests. Additionally, there is a huge soft play area for kids adjacent to the restaurant, for added fun.

“Before opening Pirates Paradise, I was www.mondodr.com

in the luxury gifts industry,” said Jérôme.

“So, yes, you could say this is a little bit different. I wanted a career change, with the aim of having a closer relationship with the customer and I think the restaurant industry is the best place to have that. My dream was to create the best restaurant I could, offering good decoration, furniture, atmosphere, food, sound and lighting. It was important to me to do everything properly, so I engaged a company that could help me spec the highest quality audio and lighting systems.”

Jérôme reached out to local company, Public Address, with General Manager,

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Gregory Devilder and Head of Technical, Benjamin Pauwels taking up the challenge. And it was a tough task, having to design the PA system from drawings alone, while the venue was being built. Gregory and Benjamin recommended CODA Audio for Pirates Paradise, knowing it would produce top quality sound across the entire venue. The system needed to cater primarily for background music during dining hours, but is also needed for the nightly performance for speech, and at the weekends, the atmosphere can get a little livelier later in the evening.

The main PA comprises two hangs of two CODA Audio CoRAY4i cabinets and a single G18SUB subwoofers flown head-on as you enter the space, L-R above the row of drinking establishments / houses. The pirate ship is housed on the righthand-side as guests enter the restaurant, and two more CoRAY4i cabinets and two G15SUB subwoofers are housed in this area. Opposite is what is known as the jail, and it’s the same setup from CODA Audio - mirrored from the pirate ship side.

The CoRAY4i is the installation version of the CoRAY4, which has been specifically optimised for permanent applications. It features high power handling of 700W, which is achievable thanks to its dual four-inch high frequency neodymium planar wave drivers and four five-inch ultra-low distortion cone speakers. Unwanted reflections can easily be eliminated with the CoRAY4i

orion

by altering the horizontal and asymmetrical coverage, for greater intelligibility. This feature is utilised at Pirates Paradise due to it being a large space with textured surfaces - the decoration - so, a bit of a tricky space.

The G18SUB subwoofers are hidden among the scenery throughout the venue, but each one offers powerful and extended low frequency response down 28Hz and a maximum SPL of 139dB. The G15SUB subwoofers used on the wings of the venue, offer a similar spec but with a 15-inch driver. Benjamin said: “Because we were only working with drawings, we didn’t really know how the finished venue would look. We decided on where to hang loudspeakers, but we had to wait for the scenery to be built before we could install anything. The subwoofer placements were essentially decided once all the decoration was in place.”

The system was designed in conjunction with CODA Audio France, in particular Yves Guegan and Philippe Pelmelle who made suggestions for loudspeaker and subwoofer placements.

They were also on-hand during installation and assisted with tuning, too. The electricians took about a month to run the cables, before Public Address and CODA Audio France moved in, to complete the fit-out over the course of two weeks.

“We carried out a lot of tests ahead of opening,” continued Benjamin. “There is no delay in this system because we have people everywhere, so

it was important that everything was tuned and aligned correctly.”

Aside from the main PA, a combination of CODA Audio HOPS5, HOPS8i and D5’s have been installed to ensure even coverage around the entire room. The D5 two-way coaxial loudspeaker is ultra compact and so sits discreetly within the scenery, while delivering a true one point source output. These are housed in the jail area, by the skull volcano and next to the pirate ship.

Centrally, over the diners are two trusses, each of which comprise four HOPS8i that acts as fills. Up on the mezzanine level, which plays a role in the nightly performance, are two HOPS5 and another G15SUB bass cabinet. And to complete the lineup, four HOPS8i and two U12-SUBs are at home in the bar area.

Seven CODA Audio LiNUS10C amplifiers, which features integrated DSP, power the entire system.

The four-channel loudspeaker management amplifiers provide 10,000W of total RMS power output, and incorporate four-in, four-out DSP, network and amplification to deliver maximum flexibility. A Medialon MAS Pro Dante audio server is also housed in the rack, as well as a Xilica Rio R1616 Dante I/O interface device.

In the bar area is a Yamaha MG Series mixing console, where the bar staff can select presets depending on the time of day. A smart device can also be connected as an audio input.

Working in conjunction with the audio is a

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• Above The stage lighting and audio design create an immersive environment that makes the entire room part of the pirate experience.

lighting setup from Chauvet DJ, which was also overseen by Gregory and Benjamin. “I had worked with the brand before for events,” said Benjamin. “They have a factory about half an hour from here, which makes after sales and service very easy.” Public Address contacted Lighting Designer, Jocelyn Morel, who designed a light show using CHAUVET DJ Intimidator, COREPar and EVE

fixtures. The light show is sequenced by the Barco Medialon Showmaster controller, which was set-up by Arno Viandier of Axions.

“I know Grégory quite well and understood what he was looking for from the lighting design,” said Jocelyn.

“The lighting system here must do more than merely illuminate the room, it must also contribute to the theatrical looks of

the live shows that happen several times during the dinner portion of the day. Of course, while doing that, lighting must also contribute to the mood of the setting by making the scenic elements come alive with colour and movement.” For effects on the stage and throughout the venue, Benjamin specified eight Intimidator Wash Zoom 450 IRC and eight Intimidator Hybrid 140SR fixtures.

TECHNICAL INFORMATION SOUND 8 x CODA Audio CoRAY loudspeaker; 2 x CODA Audio G1B-SUB subwoofer; 3 x CODA Audio G15-SUB subwoofer; 12 x CODA Audio HOPSBi loudspeaker; 2 x CODA Audio HOPS5 loudspeaker; 9 x CODA Audio D5 loudspeaker; 2 x CODA Audio U12i subwoofer; 7 x CODA Audio LiNUS1OC amplifier; 1 x Medialon MAS Pro Dante audio server; 1 x Xilica Rio R1616 Dante I/O interface device; 1 x Yamaha MG Series console; 1 x Xilica Rio R44 Dante I/O interface device ; 1 Sennheiser SL Handheld Set DW LIGHTING 8 x Chauvet DJ Intimidator Wash Zoom 450 IRC fixture; 8 x Chauvet DJ Intimidator Hybrid 140SR fixture; 6 x Chauvet DJ COREPar 80 USB fixture; 10 x Chauvet DJ EVE P-130 RGB fixture; 18 x CHAUVET Professional Ovation H-605FC fixture; 8 x Briteq Pro Beamer Zoom fixture; 8 x Briteq Pro Beamer MK2 fixture; 106 x CLS-LED Jade fixture; 4 x CLS-LED Emerald Office M downlight; 4 x CLS-LED LINA CLIP HP batten; 30-metres of LED strips; 1 x MA Lighting grandMA onPC software package; 1 x Visual Productions CueCore 2 controller VISUAL 1 x Barco Medialon Showcontrol Pro controller; 1 x Barco Medialon MAS Pro Dante media server; 2 x Visual Productions B-Station button panel; 1 x PC with touchscreen; 4 x Cisco switch www.pirates-paradise.fr

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“Because we were only working with drawings, we didn’t really know how the finished venue would look.

We decided on where to hang loudspeakers, but we had to wait for the scenery to be built before we could install anything.

The subwoofer placements were essentially decided once all the decoration was in place.”

Colourising the live performances, as well as the scenic elements located throughout the restaurant, are six COREPar 80 USB and 10 EVE P-130 RGB fixtures.

A collection of 18 Ovation H-605FC fixtures from CHAUVET Professional is also used at Pirates Paradise for house lighting. These fixtures have black casing to blend in with the restaurant interior.

Although guests are unaware of the inconspicuous black-housed luminaires above them, they are certainly moved by the smooth even fields of light that emanate from the Ovation units. Aside from providing white audience lighting, the Ovation H-605FC is also used to transform the restaurant by covering the entire area in various colours to reflect different moods. Coordinating the house lighting from the Ovation units with the scenic and stage lighting from the CHAUVET DJ fixtures, Jocelyn is able to create a totally immersive environment that makes the entire room part of the Pirates Paradise experience.

The scenic and intelligent lighting fixtures www.mondodr.com

are all controlled via an MA Lighting grandMA onPC software package running on a computer. Table lighting at the restaurant was another important aspect of the design. Bejamin used CLS-LED Jade fixtures, Emerald Office M downlights and LINA CLIP HP battens, which are controlled using a Visual Productions CueCore2 controller. Both the in control platforms are sequenced by the Barco Medialon Showmaster controller.

Pirates Paradise makes good use of its state-of-the-art audio and lighting systems through a pirate-inspired performance, which runs every night. It highlights the shipwrecks, treasure chests, mysterious coves and is a story of a pirate battle, good defeating evil - and it gets the kids involved, too. The story is acted out by the waiting staff, all of whom are dressed as pirates. There is a real sense of camaraderie throughout the restaurant, with everyone in character, embracing the playful theme and the audio and lighting set-up subtly help to bring that to life.

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AURES LONDON, UK EMEA

Aures is an immersive event space that breaks all boundaries creating an exhilarating, artistically free environment, which has been kitted out with a sound system by Pioneer Professional Audio. www.mondodr.com

Take a left outside the main entrance of Waterloo Station in London and you’ll find yourself inside a tunnel of graffiti art, bombarded with colour, inspiration and expression. Also known as ‘Banksy Tunnel’, Leake Street is Europe’s largest legal graffiti site and its ever-changing artwork has made the street world-famous. Eight former railway arches next to the famous graffiti tunnel are in the process of being brought back to life to provide a carefully selected collection of independent restaurants, bars and entertainment spaces that capture the essence of urban culture. One of these spaces is Aures, an arts and events venue that uses technology to go beyond the conventional event space.

Aures founder, Sam Davis - born to West Indian parents in Toronto - has been obsessed with sound technology from a very young age.

With over 20 years experience in hospitality across the UK, Canada and Japan, he had

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• Above Aures welcomes different types of events and performances each week.

become frustrated at the poor audio quality he experienced at every venue he visited and lack of development from the industry. So, as a fanatic audiophile, he took matters into his own hands and led an uncompromising drive for the very best in sound and the development of new standards in venue audio – and with that commitment, he founded Aures.

Working with Catherine Radojcin - in charge of press and marketing who engaged Alex Barrand of Pioneer Professional Audio to help design a state-of-the-art audio system with the aim of achieving the best sounding venue in Europe. Together they have created a wide range of audio experiences - true stereophonic, soundstage, binaural and 3D audio - the listener is immersed in the purest sound quality. This is a revolutionary sound experience where

songs guests have heard thousands of times can sound completely new.

Originally dubbed an audio laboratory, the space is now used by artists, musicians, cinematographers and event companies - all of which make use of the immersive technology that impacts the audience’s sensory memory and creates unforgettable experiences. Not only does Aures boast the world’s first permanent 3D and true stereophonic sound system, which offers crystalline sound, it is also capable of life-like projection mapping and holograms produced by partners Observatory London, as well as custom scents, and molecular drinks and food to engage all the senses.

Sam explained how the process for the audio spec began: “We had the opportunity to go to a place in Kings Cross and listen to a Pioneer Professional www.mondodr.com

Audio setup. The first thing I noticed was that we were surrounded by sound.

Despite it being a L-R studio setup, it was pushing the boundaries. It’s quite a weird experience to be immersed in a sound system and that was what I was really attracted to.

“At Aures, it’s not about volume, it’s more about controlling sound. We can still create loudness, but it’s only 90dB, and the sound remains the same no matter where you are in the venue.

“We wanted to be as geeky and as sciencelike as possible and none of the other brands had sonic immersion, so that was what made us think these guys were geeky. They did everything right, we had a common ground of geekiness so, I knew we could create something that would be scientifically true. We looked at other brands, but my main thing was always the

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post-sales, tuning, making sure everything is right and getting artists in here. We wanted people to walk out of here and be like ‘wow that was nuts’.

Being able to work together to constantly improve and develop the system really matters to me.”

The positioning of the loudspeakers and crossover points is abnormal at Aures because the subwoofers are in the middle of the room, but the frequency range of the bass units is nearer the higher frequencies, producing more harmonics and adding another dynamic to the system. A total of 50 Pioneer Professional Audio boxes have been installed around the room and they sit across three sound planes. Down the length of the room, the boxes sit in clusters of five, two XY-81’s truss mounted approximately three metres from the floor, a single XY-115S in the centre and a two

further XY-81’s underneath.

The XY-81’s are two-way full range loudspeakers with a eight-inch LF driver and a one-inch compression driver, they also offer a wide dispersion of 90º by 60º. “The drivers are bullet proof,” said Alex. “This setup is different to what other brands call immersive sound. It’s a different type of configuration, it doesn’t lean on the DSP, it uses analogue fill instead so the boxes are doing what they should be doing at the right time, which creates a much more real and natural response.”

Sam knew what he wanted from the venue, and with it being a long, narrow room, there were some length to height ratios to consider, however, this was managed with the loudspeaker placement. The curved ceiling is an aesthetically

pleasing feature of the venue, but naturally, there is sound leakage with an arched ceiling. Sound reflections have been minimised where possible though, and it seems spectacular effect, as to date there have been no noise complaints.

When it came to spec’ing the venue, Alex admitted that he can’t take all the credit, as Sam was very focussed on his vision. “I offered the right performance boxes from our line-up to make that vision a reality,” Alex said.

“The XY-81 was my first choice because it has a one-inch driver, meaning the frequency response is a lot more natural, which suited here perfectly.

Using a reflex loaded cabinet means everything is in line, which in turn transpires to minimal delay from the configuration. It produces a more natural sound because you’re not delaying

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• Above Aures’ ethos is about stimulating all the senses.

everything, so it definitely fitted the brief here, and the results speak for themselves.”

Alongside the Pioneer Professional Audio cabinets, Alex installed 16 Powersoft M Series amplifiers to power the sound system. These will be upgraded to the Powersoft X8 Series imminently to get the most out of the system and to ensure optimum sound quality.

“I had no doubts about the products delivering, and I was really confident with the performance of the XY’s because they always punch above their weight. They are designed to be bullet proof, in so much that that you can chuck anything at them and they will be reliable,” continued Alex.

“Looking at the reliability of the products and what we’ve already done with them in the past, it was always ‘yes it’s going

to deliver, but how good will it deliver’.

The only thing we had to modify was the subwoofers because they are flown in here, and they’re not designed to be flown typically, so we had to modify the hanging brackets to accommodate.”

Sam and Catherine are thrilled with the results, too. Catherine said: “We’ve both been in the hospitality sector for a while, and there’s always that thing with audio - it’s too loud or you can’t hear it at all, and you rarely go somewhere where you’re like ‘wow this sounds amazing’.

It’s more noticeable when it’s not good.

Audio still gets a bit forgotten about, it doesn’t translate to the mainstream. It can be quite emotional as well, when you hear certain tracks it can trigger a feeling or emotion - a sensory memory, if you like, as soon as you hear a certain sound

you recall ‘that summer when you were fourteen’. You’re visual memory isn’t as strong.

“That said, the whole point of Aures is the five-senses. The sound is important, but so is the visuals, the scent, the taste, and the touch - it’s all part and parcel of the concept. Projection and lighting are the main things we want to bring into the venue next. Bringing in new technology is really important to us, we want to be a showcase for different companies, and keep pushing boundaries.”

Aures is already working with Observatory London to create some visual content. Canada-based BlackTrax has also carried out some tracking of conventional lights from Chauvet Professional that are installed, as well as 3D mapping. And the company is now

TECHNICAL INFORMATION SOUND 40 x Pioneer Professional Audio XY-81 loudspeaker; 10 x Pioneer Professional Audio XY-115S subwoofer; Powersoft M Series amplifers www.aures-london.com

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“I had no doubts about the products delivering, and I was really confident with the performance of the XY’s because they always punch above their weight.

They are designed to be bullet proof, in so much that that you can chuck anything at them and they will be reliable.”

working on audio tracking at Aures, too.

Everything combined has seen the venue welcome a lot of corporate companies recently, a travel company entertaining 500 Israeli tourists, album launches, a fully immersive dance show, and, moving forward, Catherine and Sam are keen to launch an apprenticeship scheme, too.

Catherine explained further: “The idea is to get young people coming through to continually progress the innovation of the venue. We want some established artists to be founding members and mentors, then we can have the younger kids coming to learn from them. We want it to be like a lab with new technology, and keep everything fresh. It’s easier to promote the concept to older audio guys, but we’ve had some kids here who are really interested and we want to harness that.”

Having witnessed the venue first hand, and even had a one-on-one audio demonstration, it’s not difficult to see how this venue is making waves. Alex concluded: “We’ve stepped out a little further in terms of trying to innovate

more with sound in nightclubs. I think that will push Pioneer Professional Audio in terms of credibility-we’re trying to create a unique, new experience, and I truly believe we’ve achieved that here.”

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INDIGO LONDON, UK EUROPE, MIDDLE EAST & AFRICA

indigo, located under the roof of The O2, has established itself as one of the most devoted venues in London, drawing fans closer to their favoured artists than ever before. www.mondodr.com

The O2 is perhaps one of the most iconic structures on the London skyline. Originally built to house the Millennium exhibition, the Dome was redeveloped as a leisure, concert and exhibition venue in 2006. As well as the main arena, nestled under the giant roof structure is indigo - a 2,750 capacity live music hub, for music events, club nights, after show parties and corporate events. The intimate setting has housed a huge range of musicians from Ed Sheeran to Chic and with a 24-hour entertainment license the venue plays host to some of the best club nights and VIP events London has to offer.

After 12 years of service, the venue’s house PA system was beginning to show its age so the decision was taken to upgrade it. With the

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Technical Manager, Rob Burrows was tasked with finding the optimum system to suit indigo’s needs. “We looked at a few of the big players for PA before opting for the d&b audiotechnik J-Series,” explained Rob. “I’ve long been a fan of d&b audiotechnik’s system design ethos and its J-Series. With added J-Infra subwoofers it will be ideal for the wide variety of music that passes through here.”

Last year d&b audiotechnik introduced

d&b Soundscape, a new toolkit that combined the company’s loudspeaker system with object-based mixing and room emulation in an effort to create acoustic environments where sound sources can be placed and moved at will.

Alex Penn, Director of Sales at SSE managed the sale and install for the company. “I’ve been talking to Rob about this for a few years. We initially met five years ago when SSE first supplied the consoles here. I did a pretty good job of selling SSE to Rob, new technologies and finding our own niches to embrace are what make us stand out. Rob had already been through the testing process and the decision to go with J-Series for indigo www.mondodr.com

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• Above left Backstage at The O2 indigo • Above right d&b audiotechnik J-Series in action

was set. For SSE it was a case of coming up with the optimum configuration that worked from both the audio and aesthetic perspectives.

“The previous install was flown as a single array to cover both the ground floor and the circle and this had an impact on sightlines to the stage. With the J-Series we opted for separate hangs to cover the upper and lower areas and this has significantly improved the view of the stage from all seats.”

At the heart of the new system is a QSC Q-SYS Core 510i installed in the comms rack backstage, performing DSP and control for the entire system. At FOH SSE has installed a second Core 510i, configured as an I/O frame with analogue, Dante and AES inputs; these inputs are used to connect both house and visiting FOH consoles into the J-system.

SSE also installed three touch screens - at FOH, on stage and in the comms room, each with its own custom designed graphical user interface. The functionality of each screen differs, applicable to its location in the venue. At FOH, engineers can route the console output through to the house system, make EQ adjustments to tailor the system to their own personal taste, and monitor amplifier outputs.

Each visiting engineer is assigned their own login, which allows them to recall any settings they have saved from previous sessions at the venue. Rob explained: “We have a constant stream of visiting engineers passing through indigo for the many acts we host. We wanted to give them an interface where they could access all the primary controls quickly

and easily. The Q-SYS allows engineers to tune the system to their own personal taste and recall those settings each time they mix here. Then at the end of a show we can restore the default settings ready for the next event.”

The GUI screen on stage has a similar setup to the FOH screen, but features a matrix where outputs from the monitor console can be routed to different amplifiers that power the onstage monitors and side fills. It is an innovative design that has advantages when it comes to install as it’s simple and straightforward to use, meaning prior knowledge is not essential. In the communications room the screen can access all the functions of the FOH and monitor positions along with additional admin features and access to the d&b audiotechnik R1 control software.

A total of four hangs of J-Series have been installed in the venue, two flown low left and right to cover the ground floor auditorium, with two further hangs flown higher to cover the indigo’s balcony seating. Each hang comprises six J-Series cabinets making a total of 24 across the four hangs.

Six d&b J-SUBS and two d&b J-INFRA Subwoofers have been installed underneath the stage apron to provide the bottom end to the system, with a further three J-SUBS flown centre offering consistent LF coverage across the venue. Also under the apron are six d&b audiotechnik T10s to provide lipfill, with a single V10P left and right, ceiling mounted to provide outfill to the ground floor of the auditorium.

In the upstairs balcony area six Y10Ps act as delays providing coverage to the rear

TECHNICAL INFORMATION SOUND 24 x d&b audiotechnik J Series loudspeaker; 9 x d&b audiotechnik J-SUB subwoofer; 2 x d&b audiotechnik J-INFRA subwoofer; 6 x d&b audiotechnik T10 loudspeaker; 2 x d&b audiotechnik V10P loudspeaker; 6 x d&b audiotechnik Y10P loudspeaker; d&b audiotechnik V8 loudspeakers; d&b audiotechnik V-SUB subwoofers; d&b audiotechnik V-Sub subwoofers; d&b audiotechnik M2 monitors; d&b audiotechnik M4 monitors; d&b audiotechnik amplifiers; d&b audiotechnik ArrayProcessing software; 2 x QSC Q-SYS Core 510i processor LIGHTING Robe, PROLIGHTS and GLP lighting fixtures; 1 x MA Lighting grandMA2 console; Luminex Ethernet-to-DMX converters; LSC APS 12-channel advanced power distribution racks; Pharos touch panel www.theo2.co.uk/events/venue/indigo-at-the-o2

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94 VENUE - EMEA

seats. The entire system is powered by the d&b audiotechnik range of installation amplifiers with the audio for both FOH and monitors run entirely over a Dante network.

The system is also configured to run d&b audiotechnik’s ArrayProcessing. This software provides signal processing for each individual box and enables a uniform tonal balance to be delivered throughout the auditorium. ArrayProcessing was key to delivering the performance indigo required from the J-Series. Alex explained: “The premium seats in the venue are the front rows of the upstairs balcony. The issue was that these seats are very close to the array hangs, which could result in the public being exposed to excessive dB levels. We used the ArrayProcessing to ensure consistency was maintained wherever you are seated in the venue.”

As part of the package SSE supplied a comprehensive d&b audiotechnik monitor system for on stage. Side fills of d&b audiotechnik V8 cabinets and V-SUBS are mounted on dollies to enable quick and easy positioning. A d&b V-GSUB with a d&b audiotechnik M2 monitor is used for drum fill and 17 d&b audiotechnik M4 monitor cabinets are available for the artists individual monitor mixes. The entire monitor package is again powered by the d&b audiotechnik installation range of amplifiers.

Rob expressed his delight with how the system sounds: “We have a system here that does justice to indigo at the O2’s role as one of the premier live music venues in the capital. The system went live at the end of August and the response from

promoters, engineers and the general public has all been really positive.”

Alex summed up: “It was great to work with Rob and the rest of the team at indigo once again. The result is a top spec system, which is simple to operate and will provide them with excellent service for many years to come.”

The venue was also supplied with a new state of the art stage lighting rig. With such an impressive roster of artists using its production facilities, when the stage lighting rig was in need of an upgrade after 12 years of service, Rob needed a system that was cutting-edge to satisfy clients’ discerning requirements.

He commented: “In the years since the original lighting rig was installed, LEDbased fixtures have well and truly caught up in terms of their overall performance.

Combined with the increasing cost of maintaining the old fixtures, it was the right time to make the jump to a new full LED rig.”

After using AC-ET for several years, Rob approached the company again to provide the complete supply of all components for the new stage lighting rig. Bob Allen in AC-ET’s UK Lighting sales team handled the project, which included assisting with the specification of over 40 products and supplying over 550 separate pieces of equipment.

Rob continued: “Beyond the excellent service I had received previously from Bob, I chose A.C. as it was able to offer the convenience of dealing with just one person and company to source absolutely everything I needed, without being restricted in the choice of key technologies www.mondodr.com

or brands offered.”

The powerful new 200-fixture lighting rig features some of the very latest moving head, PAR, batten, blinder, strobe and followspot LED innovations from brands including Robe, PROLIGHTS and GLP. The control system includes two MA Lighting grandMA2 network processing units connected to Luminex Ethernet-toDMX converters. The system is powered

by LSC APS 12-channel advanced power distribution rackstriggered by a Pharos touch panel.

All power and data cabling was manufactured by AC-ET’s in-house Tourflex Cabling custom cable assembly service. The company also supplied the rigging and effects requirements, including an overhead square truss grid, modular frame assemblies, clamps, connectors, safety wires, and a haze generator.

Since the lighting upgrade completed, it has helped the venue stage stunning shows for a diverse range of events, including Ed Sheeran, various BluesFest and Country 2 Country music festival artists’ performances and the Metal Hammer Golden Gods Awards.

Summarising his experience working on the project with AC-ET, Rob said: “I’m really pleased with the lighting rig and I’ve had nothing but great feedback from our clients. Over a series of phone calls and site visits, A.C. really pulled out the stops to ensure that the project supply ran smoothly, making sure we got exactly what we needed, when we needed it. Bob and A.C’s technical assistance, service and support have also been excellent.”

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NATIONAL SPACE CENTRE

The National Space Centre in Leicester, which opened in 2001, is a visitor centre and educational facility focussed on space science.

One of the UK’s most successful millennium projects, it welcomes over 300,000 visitors a year and boasts the largest planetarium in the UK at 58ft, with 196 seats.

Modern planetariums use projectors to project 360° images directly overhead, producing a truly immersive feel within a hemisphere. The perception of where the projection starts and ends is lost, giving a great feeling of depth that is similar to 3D but without the constraint of 3D glasses.

Recently the technical team at the National Space Centre wanted to replace its existing endof-life projection system. The old projectors only worked with 2.5K dome performance and would not work with the National Space Centre’s planned reduced gain dome.

With limited budgets, the National Space

LEICESTER, UK EUROPE, MIDDLE EAST & AFRICA

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Centre decided to look beyond the traditional expensive planetarium projector providers and source more cost effective equipment that would stand up to the challenge of projecting the universe.

There were several challenges unique to planetariums that had to be considered.

Hemispherical projection creates strong crossbounce of light, which badly compromises the projected image contrast. To compensate for this, the National Space Centre wanted to change the colour of the planetarium dome, pushing the colour (screen gain) down to a very dark grey - beyond anything usually attempted with planetariums. This would only be practical if several very bright HD projectors could be coordinated to produce a high resolution, bright single hemispherical image.

In addition, some of the projectors would need to be mounted at extreme angles in order to project to the top of the dome (zenith).

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“Our subsidiary organisation, Creative Services, had previously worked with BenQ to upgrade other planetariums across the UK and recommended that we speak to them,” said Graham Law, Chief Engineer at National Space Centre. “The BenQ team were very helpful from start to finish, they took time to understand our specific requirements and came up with an superb solution using the LU9915 model.”

The BenQ LU9915 BlueCore laser projector is a highly popular choice for large venue applications, featuring 10,000 ANSI-lumen brightness, 100,000:1 contrast ratio and superior colour performance. It also runs very quietly - an important feature when running multiple projectors simultaneously.

BenQ loaned the National Space Centre multiple LU9915 projectors to allow development testing of both spherical image blending and screen gain, and worked with the technical team to modify the projectors’

firmware to dynamically control the power of the laser light source in a manner suitable for efficient planetarium use. The projectors also proved to be flexible enough to enable 360° rotation and portrait orientation.

“The LU9915 projector is a very costeffective solution to give a 5K+ image over the centre of the dome, whilst being able to produce a total of 130,000 lumens of light in our configuration before mechanical blending. This produces deep blacks with the new low gain screen, but also powerful bright high-resolution imagery when required,” explained Graham.

Following successful tests, the National Space Centre design was finalised to comprise 16 LU9915 projectors, 13 are in full time service, one is dedicated for corporate use, and two are pre-mounted on quick release mounts to enable rapid replacement if required - which has not been necessary to date. BenQ was able to arrange a factory www.mondodr.com

batch run for the projectors in order to match them as closely as possible.

The projector also has 3D capability, which is being used in-house by Creative Services to demonstrate new 3D shows created by the National Space Centre production team to planetariums worldwide.

Graham concluded: “Working with BenQ has been a very positive experience - the team worked closely with us throughout the design and installation to ensure the best possible result. Their customer service and after-care is outstanding, and the equipment offers excellent quality and great value for money.”

TECHNICAL INFORMATION 16 x BenQ LU9915 projector spacecentre.co.uk

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REEM CENTRAL PARK ABU DHABI, UAE EUROPE, MIDDLE EAST & AFRICA

www.mondodr.com

Laservision Mega Media has partnered with Aldar Properties PJSC (‘Aldar’), Abu Dhabi’s leading listed property development, investment and management company, to create a bespoke, immersive experience and art installation for the public at Reem Central Park, the AED 200m, 1,000,000 sq ft modern outdoor lifestyle destination on Reem Island.

The urban park is made up of sports facilities, a community lawn, skate park, playground and a city beach, as well as the spectacular water fountain that hosts stunning light shows. The park’s aim is to offer something for everyone and provide a new platform for the residents of Abu Dhabi where leisure and recreation can flourish.

Laservision created and installed the immersive, permanent attraction that features a modern sculpture fountain, known as ‘The Wave’, and utilises the latest in entertainment

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technologies, including dynamic fountains, powerful lasers, synchronised LED lighting, underwater projection-mapping and drop-screen projection technology. The attraction, which opened to the public on the 1 of December, provides a multi-sensory experience to visitors and is a focal point for many ground-breaking productions and events scheduled throughout the year.

Paying homage to the rich coastal beauty of Abu Dhabi, the immersive experiences and activations at ‘The Wave’ draw upon this theme and feature beautiful marine life projections, dynamic dancing fountains and other stunning activations throughout the day and night.

“We are thrilled and honoured to be partnering with Aldar and providing our world-class entertainment solutions to Reem Central Park and Abu Dhabi,” said Mr. Shannon Brooks, Chief Executive Officer of Laservision. “This art installation and immersive experience provides a very unique, intimate and beautiful entertainment offering to visitors at Reem Central Park. The beautiful and rich content used in each activation and experience is produced by our award-winning, in-house creative studios and draws in large audiences throughout the day and night. We couldn’t be more proud.”

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WALLS OF JERUSALEM JERUSALEM, ISRAEL EUROPE, MIDDLE EAST & AFRICA

www.mondodr.com

The Walls of Jerusalem is one of the most iconic landmarks in the historical Middle East city. The walls are around 4,000 years old and have been partially destroyed and rebuilt many times. Between 1537 and 1541, they were rebuilt once again under the orders of Suleiman the Magnificent. The walls were to prevent invasions from local tribes and to discourage another crusade by Christians from Europe - they even withstood artillery fire during the war of 1948.

The walls are 4,018-metres long, with an average height of 12-metres and a thickness of 2.5-metres. There are 34 watchtowers contained within the walls, with eight gates open; Jaffa Gate, New Gate, Damascus Gate, Herod Gate, Lions Gate, Golden (Eastern) Gate, Dung Gate and Zion Gate - there are two minor gates that have been reopened by archaeologists, too.

The Old City within the walls is divided into four quarters - Armenian, Jewish, Muslim and Christian. The modern city of Jerusalem is much larger and includes a wider variety of

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• Above The projection on the historic Walls of Jerusalem.

business and residential areas than the Old City. In 1981, the Walls of Jerusalem, along with the Old City, were added to the UNESCO World Heritage Site list.

The Walls of Jerusalem, with such a rich, varied culture and history, have become a central symbol of Jerusalem, so any project involving the site would prove to be a unique challenge - and that is exactly whatlocal integrater Protouch experienced.

The team at Protouch was asked to provide a system that would project images onto the Walls of Jerusalem waking the walls up and turning them into an active participant, as well as a witness to thousands of years of history.

The installation took place in a central road, adjacent to the Mamilla Shopping Mall, which required a detailed work schedule, police and Municipality Corporation, along with a technical team ready for the task at hand.

For the project, Protouch decided to

install eight Christie projectors, with the high-performance Crimson Series used. The 3DLP laser projectors are engineered to withstand the rigours of demanding, high-usage applications, making them perfect for the Walls of Jerusalem project. Each projector was protected in weather-resistant cases to help maintain the temperature using a unique filtration system. The projectors are controlled using an Extron control system. Watchout software is also utilised, allowing for the creation of one continuous projection using all eight Christie projectors.

Despite cranes, excavations and the construction of a designated area for a control room, tremendous effort was made to maintain the overall architecture and keep interference with neighbouring facilities and residents to a minimum, which was achieved due to excellent organisation and communication from everyone involved with the installation.

www.mondodr.com

The new visual system was successfully integrated - and, now, there are evening projections on a 200-metre section of the Walls of Jerusalem every day. The projections, which are scheduled from 8pm to 11pm, have since become a main feature of the city. In the most central area of the city - for both locals and tourists - the projections are viewed by thousands of visitors on a daily basis.

As a combination of both history and modern technology, the Walls of Jerusalem has been a huge success.

TECHNICAL INFORMATION VISUAL 8 x Christie Crimson Series projector; 1 x Extron control system; 1 x Watchout software

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Photo: World Red Eye

Miami’s popular rácket club showcases Martin Audio.

Uncharacteristically sleek and upscale for the funky Wynwood Arts district north of downtown Miami, the elegant new rácket dance club features a comprehensive Martin Audio system designed and installed by Audio Video Lighting Innovations Inc (AVLI). to ensure exceptional sound quality, coverage and control for a variety of reinforcement purposes in an acoustically challenging environment.

As AVLI’s James Reed pointed out: “rácket is a new build and the first high end place in Wynwood. The venue has Martin Audio everywhere, all the way down to the restrooms. We wanted to provide a flexible system that would be great for live performances and bands as well as DJ’s with consistent, high quality audio with no dead spots anywhere you walk.

“The main dancefloor/bar area includes two Martin Audio THV’s for the

main L-R stage PA system with two CSX218 subwoofers underneath. Then as delays down the right and left sides of the main room, we installed two CDD8’s with four Blackline X210 subwoofers underneath. We also put in four CDD12’s in the front bar area and another CDD12 for the pool table area stage left.”

The venue also houses a separate private room upstairs where people can socialise, that can be combined with the music downstairs or self-sufficient.

That particular room has four CDD12’s for high-mid frequencies and four CSX118’s for subs, plus all six bathrooms have a Martin Audio C6.8T speaker.

Michael Callahan, Reed’s colleague, friend and stylistic polar opposite at AVLI, added: “rácket’s a place where you can dress up and still have a good

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time. Originally, they were going to be heavier into live music so we gave them a system that creates a sound image from the stage with the stacks, CDD8’s and X210 subwoofers as delays from there out into the room.

“Then, of course, they switched to more of a DJ-focused experience, but the system we designed handles everything without a problem because there isn’t that much of a throw to begin with. Now they’re back to live R&B and funk bands, so they’re covered either way because of the CDD’s wide dispersion, audio quality and amazing coverage.”

The room did pose some challenges as the high ceilings and reflective surfaces made it difficult to keep everything sounding tight and together.

Michael added: “Even though a distributed system that covers the bleed-off, it wasn’t the easiest room and layout to work with.

“We also had to be creative about subwoofer placement because real estate is at a premium in this type of club, so the fact that the X210’s are super low-profile worked out great. They can be hidden away under sofas and they do a really good job, we’re very happy with them. Overall, the system sounds really good,” Michael summed up.

“Our client’s really knocked out,” added James. “They’re not used to an audio system of that calibre given the quality of components and how the system design works so well for the space. They’re pleased because the club’s business is off the chain, it’s really taken off on Thursday, Friday and Saturday nights with people lined up down the street just to get into the place and the audio system plays a major part in that success.” www.martin-audio.com

www.mondodr.com

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Photos: Doug Aiken

VENUE - AMERICAS

MIRAGE DETROIT DETROIT, USA THE AMERICAS

Renowned Production Lighting Designer, Andi Watson , recently undertook one of his most challenging projects ever - this time, in the art world, thanks to a collaboration with LA-based mixed-media artist Doug Aitken.

Conceived by Doug Aitken Workshop, the mirrored art installation, Mirage Detroit, has transformed the 100-year-old Savings Bank in Detroit into a mesmerising, mind-altering adventure for visitors, due in part to the judicious use of customised GLP fixtures, which are used exclusively to light the space.

Detroit is an American city that captures the imagination, with a history rooted in both industry and culture. Walking through the streets of downtown, the venue for Mirage Detroit greets its viewer with a grand stone facade, where a set of stairs leads to an entryway. Inside, a vast interior space that spans nearly a full city block is lined with classical columns. Anchored in the centre of the space is an antiquated bank vault, frozen in time, along with the aweinspiring architectural details waiting to be www.mondodr.com

reawakened. Passing through the space and walking further into the darkened room, slowly choreographed light illuminates Mirage Detroit. River rocks and earth displace under foot as the lights reflect off the structure and beckon the viewer to enter the artwork.

Andi explained that the collaboration came about largely by chance. “I had been working on another project in Detroit with the Library Street Collective team who were in the early stages of putting together Mirage Detroit with Doug. Several things fell into place and Anthony and JJ from LSC suggested to Doug that he and I should talk about the lighting component of the piece.”

The concept, in which the 70,000 sq ft Silvers Building was transformed into a kaleidoscopic world of reflective mirrors, fomented over several months and via a myriad of conference calls. “Doug sent me detailed drawings and renders of how the piece was going to look in the space and we discussed how the lighting would be used

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to bring both buildings to life” added Andi.

His first site visit proved inspirational as he became immersed among the white marble walled interior and arched Roman colonnades. Describing the building as “incredible”, he noticed that this internal architecture gave an impression of “strength, confidence, safety and security.” But he also observed that, over the decades, it had been damaged and become vulnerable.

Both collaborators agreed that only white light would be used in the installation. Andi said: “To me, light is the medium and the language with which the Silvers Building and Mirage communicate. I wanted that communication to be as pure as possible and not affected by a subjective colour choice.”

However, this presented a conundrum as there was nothing on the market that would satisfy the

colour requirement and deliver the combination of power and control.

With time running out, GLP stepped in. Andi continued: “At the time I was putting the design together for Mirage Detroit, I was on tour with Radiohead.

I had quite a lot of GLP X4L (large LED moving heads] and X4 Bars in the rig and I had completely fallen in love with them. The combination of rich, saturated colours a clean white, really good optics and pixel level control enabled me to create both beautifully lit scenes and gorgeous modulated effects. Everything was perfect about the fixture for Mirage Detroit, except the colours.

I explained this to Mark [Ravenhill] and he amazingly said that GLP could fabricate custom cold white/warm white versions of the X4 Bar, X4 L and X4 XL” Mirage Detroit is a suburban house, built using mirrored panels which

FOHHN FOCUS VENUE BEAM STEERING FOR CONCERT SOUND

Flown or stacked straight.

Dispersion characteristics controlled in real time using software. Just experience perfect live sound.

For further information: www.fohhn.info/focusvenue

108 VENUE - AMERICAS

• Above GLP fixtures are used to light the mirrored art installation, Mirage Detroit

sits on a bed of stones sourced from a local river. The interior is empty and for the visitor, the shape and structure of the piece is revealed by the multiple reflections of the building, the pebbles, the wooden floor and, of course, the visitors themselves.

The installation is in essence how light plays with all the surfaces in this illusory world reflecting from the Silvers Building to Mirage and back again in a constant conversation.

One of the key building blocks of the lighting installation was the creation of a custom dimmer curve that matched ‘normal, resting’ human breathing. Andi explained: “I wanted the buildings to breathe and be alive and for people to perceive that on an almost unconscious level. My programmer, Rob Gawler, researched and created a scientifically accurate and sublimely beautiful dimmer curve that became the basis for nearly everything we did.

“Because the fixtures only ever move in blackout, the only parameters we had to play with were the very limited colour range - warm white to cold white - and the individual cell intensities. Rob and I spent many nights programming the various intensity modulations and delicate colour shifts. There is always a reason why the lighting is changing in the way it does. Often this is a result of my ideas about the conversation between

the buildings and how the emotions, memories, dreams and hopes could be represented by the movement and the temperature of the light.

“Because the lighting is constantly changing, even if almost imperceptibly so, it creates an ever changing environment that enables this dialogue between the Silvers Building and Mirage. The number of unique perceived environments is limited only by the time spent in the space. A visit could last minutes or even hours and always feel unique.”

The visitors themselves become a modulating factor in the end result.

“When the lights are directed across the stones, shadows of people are created which affects the overall look and feel,” added Andi. “Inside Mirage, the experience is very much about the distorted and fragmented reflections that repeat almost endlessly and so when the visitors themselves form part of those reflections, and are lit or are in shadow, they themselves become a part of the visual experience. Since Mirage is made of

highly polished mirrors, you only see it by what is reflected in it.”

Everything is controlled from a MA Lighting grandMA 2 and the lighting installation is built from variable sets of cues that segue together. “We are using the functionality of the console to switch everything on and off and run various cue sequences depending upon the time and exact date.”

The sources needed to be as discreet as possible, and the fixtures, other than the X4 XL’s, that backlit the arched windows on the second floor of the building, were sensitively made to blend into the fabric of the building.

In terms of deployment and functionality, the X4 Bars were used to uplight the marble columns, light Mirage directly or act as down/cross lighting for the pebble floor. The X4 L fixtures were used to backlight the second floor arched windows and were also used in the corners of the room where there are ‘L’ shaped columns. The giant pan-head X4 XLs were used with to downlight from

TECHNICAL INFORMATION LIGHTING GLP impression X4 Bar fixture; GLP impression X4 L luminaire; GLP impression XL X4 fixture; MA Lighting grandMA 2 lighting console

www.mondodr.com

110 VENUE - AMERICAS

the ceiling of the Silvers Building, either with a narrow beam directly through Mirage’s chimney or with a wider beam to reflect light and colour from the pitched roof of Mirage back up onto the ceiling.

Finally, the tiny X4 atoms were used for an improvisational performance by Jónsi of Sigur Ros on the opening night and subsequently to discreetly light the inside of the bank safe.

For the live performance, Andi, in his more familiar metier, had wanted to keep the lighting holistic with the rest of the treatment for the space. “So, when [Jónsi’s] team informed us that they wanted him lit with Birdies, I immediately contacted Mark [Ravenhill] to see if he could provide some atoms, which he graciously did. In that way, we could keep everything LED-based and maintain consistency between the colours used everywhere in the space.”

Other than the GLP fixtures, the

remainder of the equipment was supplied

by John Bahnick from Upstaging, including control, cabling and custom metal and woodwork.

Reviewing the overall effect of the lighting, Andi is in no doubt that it achieved everything that he had hoped for. “To me the installation works on so many levels and whilst it is certainly immersive, it is at times contemplative, at other times dynamic and always mesmerising. The lighting enabled the conversation between the two structures and became the language they both spoke.

“I think it would have been almost impossible to create what I was looking for with any other set of fixtures,” Andi concluded. “The brightness and colour purity of the fixtures allowed me to really make both the Silvers Building and Mirage come to life.

“The cold white and warm white colour temperatures worked spectacularly well

www.mondodr.com

with the white marble columns and gold leaf decorated ceiling, and could make Mirage look as if it was made entirely of silver or gold. In addition, the level of control over the individual cells of the fixtures allowed us to programme incredibly intricate, delicate or dynamic modulations that made the light appear to be blowing in a breeze, rippling as if underwater or caught up in a tornado. It was truly beautiful.”

Mirage Detroit will offer free access to visitors and host a calendar of cultural events throughout the duration of its stay, including educational programmes, musical performances and conversations open to the public in partnership with the Cranbrook Academy of Art and Art Museum, the Museum of Contemporary Art Detroit (MOCAD) and College for Creative Studies.

112 IN BRIEF - APAC

PR Lighting AQUA 480 Beam chosen for Shanghai Tower Shanghai Tower, China’s tallest building measuring 632 metres high, has been brought to life by powerful beams from PR Lighting’s IP65-rated AQUA 480 Beam from 128 storeys up.

It was selected following comparative tests with other leading brands by Beijing Fengshangshiji Culture Media Co. They were tasked with finding a solution, having been approached by the builders, Shanghai Construction Group. As a result, 129 of the waterproof heads have been installed on the top three of eight interlayers, installed in the body of the tower to store building cleaning devices.

There are 43 fixtures mounted at each level.

The contractors have enjoyed a long-term relationship with PR Lighting having collaborated with the Guandong based company most notably in the construction of the Birds Nest Stadium for the 2008 Olympic Games, followed

by APEC-2014 in Beijing, G20-2016 in Hangzhou and SCO Qingdao Summit in Qingdao earlier this year.

Owned by Shanghai Tower Construction and Development the skyscraper was originally constructed in the Lujiazui Pudong district between 2008-2014 at a cost of 20 billion yuan (US$3.14 billion). But the lighting installation was considered to lack impact.

The AQUA 480 Beam was seen as the a perfect highly visible all weather alternative - a fact proven beyond doubt when it threw beams from the top of the Eiffel Tower in Paris during the recent French National Day. This is due to the powerful Ushio PR 480W lamp and large aperture beam making it perfect for long-range, razor sharp beam projections, embellished with a full range of gobos and effects.

However, first the fixture had to undergo rigorous tests.

A spokesperson for PR Lighting said: “As this is the tallest building in China, the company owners needed to ensure safety issues when a moving head is operating on the building, The contractor conducted tests over a long period, concerning the quality of the fixtures and fittings, as well as a waterproof test, tests for durability and the power and punchiness of the beam.”

One key point in specifying the the AQUA 480 Beam, however, is that it is sufficiently compact to fit in the flexible lift where it can be concealed on the top of interlayer.

According to PR Lighting Senior Engineer, Mr. Lu: “There is small, narrow room, making it difficult to fit the unit into the interlayer; therefore a Davit arm was used to suspend the unit from the top of the building to each interlayer.

“To ensure the unit operates without interruption in view of the height limitation PR engineers reprogrammed the tilt angle function between 0°-90° .

Both the building owner and contractor are said to be delighted with the high impact produced by the installation. According to Engineering Director, Mr. Ma: “This is another great project we have achieved with PR Lighting, and we will continue to work closely together in the future, as we believe PR has more excellent products that will service our forthcoming projects.” www.pr-lighting.com

www.mondodr.com

113 IN BRIEF - APAC

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Recognising Production Talent In The Middle East

SAVE THE DATE 24 April 2019

For sponsorship opportunities and to book tickets, please contact Hannah Eakins or Justin Gawne.

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• Page 132

IN BUSINESS

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SHOW PREVIEW ISE AMSTERDAM

EXPO JTSE • Page 136

• Page 147

• Page 149

• Page 160

PARIS

BY EMMA BILARDI

STORYTELLING EVENT SENNHEISER EVOLUTION LONDON

IN DETAIL LECTROSONICS BOSE ROE

PRODUCT GUIDE PROJECTORS & MEDIA SERVERS

PRODUCT DIRECTORY LAST PAGE INTERVIEW TOM VAN DE SANDE - PVS

116 SH OW P REVIEW - ISE

ISE

5 - 8 February Amsterdam RAI

Welcome

By Mike Blackman, Managing Director, Integrated Systems Events I look forward to welcoming attendees to ISE 2019. For our 16th edition, we have continued to grow the show to support the increasing demand from exhibitors and attendees. We have 15 halls once again, but we’ve extended Hall 5 of the RAI Amsterdam by 2,500 sq metres. Overall, our net exhibit space has gone up by 5% to 56,100 sq metres.

We’ve also expanded the show’s footprint beyond the RAI by hosting ‘ISE at the Okura’ – a programme of five conferences over four days at the nearby five-star Hotel Okura. I’m delighted that one of these, the new AGORA conference, is being hosted

by MONDO | STADIA. There are another five conferences at the RAI, making a total of 10.

Another new addition for this year’s show is the ISE Main Stage, located at the centre of Hall 8. This will

Adam Hall Cameo ZENIT W300 Stand No.: Hall 7 - W200 cameolight.com/zenitw300 → 21 x 15 W RGBW CREE LEDs with 10,000 lm total output for uniform and powerful colour mixing. → 21° beam and 35° field angles without diffuser. → Optional SnapMag filter frames for 25°, 45° or 100° and elliptical 60° x 10° beam angle selection and installation without tools or dismantling. → Built-in 2.4 GHz W-DMX transceiver. → Wireless master and slave operation.

www.mondodr.com

present an outstanding programme of thought leadership content each day of the exhibition. These free-toattend sessions, produced by AVIXA, CEDIA, AV Magazine and ourselves, comprise a mixture of case study presentations, best practice sessions and panel discussions.

I’m very much looking forward to Monday’s Opening Address from master projection artist Bart Kresa. Bart is one of the leading figures in the world of projection mapping, and it’s great that he will be unveiling his new work Sviatavoid here at ISE. We’re also working with the RAI to create another projection mapping spectacle, on the façade of the new nhow hotel on the RAI complex. And on Friday, our Closing Keynote will be given by Tupac Martir, another visual designer with a global reputation: he will be exploring the interplay between technology and creativity in live events – and I’m sure he will give a very entertaining and memorable presentation.

Safe travels to Amsterdam!

117 SH OW P REVIEW - ISE

Advertima Visual Interpretation of Human Behavior Stand No.: Hall 8 - C460 advertima.com/ise → Self-learning software understanding in real-time appearance, motion, and context of people in the physical world. → Proprietary single-person recognition providing 3D data including head pose, body skeleton, walking path, and appearance details (beards, glasses, etc). → Products for Location Analytics and Smart Signage integrate case-dependent as a stand-alone solution, recommendation engine or API with real-time sensor data; all with optional cloud access. → The Linux-based edge software runs hardware on either ARM64 or x86-64 (AMD64) architecture. → Privacy-compliant with EU GDPR and Swiss DPA regulation.

Amate Audio X212AF advanced 3-way line array Stand No.: Hall 7 - W225 ww.amateaudio.com/x212

Allen & Heath IP1 Remote Controller Stand No.: Hall 7 - K200 www.allen-heath.com → IP1 is a simple yet powerful programmable wallplate. → Interfaces with Allen & Heath’s range of Installation Solutions. → Provides non-technical users with simple, convenient control. → Connects via standard TCP/IP Network connections. → Can be networked with other controllers, computers and third party devices using a standard Ethernet infrastructure.

→ Full range, phase linear, -way large-format line array, with 2 x 12-inch LF, 4 x 6-inch MF and dual 3-inch HF transducer configurations in discrete enclosures; independently powered and protected with separate limiter settings, → Advanced V-shape geometry delivers 100° horizontal and 8° vertical coverage, employing proprietary acoustic design elements like the ABS mid-phase plugs, all-new HF waveguide and sonically transparent 1.5mm speaker grille with 67% perforation coefficient. → Next generation ACTIVE + integrated power and control platform with advanced FIR/IIR filtering, combines 3rdgeneration 4,000W Class D amplification and multi-channel DSP system management; with Ethernet / Wi-Fi remote control (with DSPStudio app), and Dante AoIP support. → Application specific pre-sets achieve optimum system performance in a fraction of the time required to tune conventional line arrays; while the extraordinarily light weight (just 65kg) and an array of flying and mounting accessories and aides, including onboard tilt angle indicator, make for incredible handling. → Ergonomic GUI with rapid, simple operation via a rearmounted colour touchscreen, which also provides monitoring of system performance and protection parameters, including Amate Audio’s unique AC overvoltage protection circuit. www.mondodr.com

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ANOLIS by Robe Lighting Divine 72 RGBW Stand No.: Hall 7.0 – N229 Hall 7 - N229 anolislighting.com → Outstanding performance | 72x high power LEDs in combination of 18-bit color mixing. → Optical design | six-degree narrow beam for long throw applications. → Durability | IP67 & IK10. → Easy control | wirelles control with RDM. → Compactness | minimalistic housing with optimal lightweight in Process.

Barco ImagePRO-4K Stand No.: Hall 12 - F100 www.barco.com/ise2019 → Discover how to work your magic in a 4K world with the ImagePRO-4K: the all-in-one 4K video scaler, scan converter and switcher. → Meet our growing family of fixed installation projectors. Book your demo and find out more on FL40, FS40, F80 and the new family member G60. → Be the first to see the brighter UDX, our most recent LED walls and the new EC-210 Event Master. → Don’t forget to grab your free entrance ticket with access code 703630.

CLF Lighting CLF Orion Hybrid Stand No.: Hall 15 - R290 www.clf-lighting.com/product/orion

Clear-Com V-Series Iris Panels Stand No.: 7K190 www.clearcom.com/meet-iris → AES67 Audio over IP allows the new V-Series Iris Panels to deliver high quality audio from user to user at high speed. → The new V-Series Iris panel’s full color OLED displays allow a user to quickly process color-based messaging at a glance. → Combined with a single E-IPA card, a user can deploy up to 64 panels in an AES67 based network giving them high density and speed. → Productions which have fully converted to IP based communications for distribution of video and audio can leverage the AES67 based V-Series Iris panels to piggyback intercom on a network buildout. → The V-Series Iris Panels offer backward compatibility for use with the MVX-16-HX and IVC-32-HX matrix interface cards. www.mondodr.com

→ An all-in-one workhorse, with a wide lens which allows for big mid-air effects. → The 471W Osram light source provides a very bright and punchy beam, which can be zoomed from 2° to 42°. Colours can be mixed smoothly by using CMY, but a fixed colour wheel is also available. → A fixed and rotating gobo wheel, both equipped with autofocus when zooming. Two prism wheels and an animation wheel are also part of the feature package. → Hotspot control enables smooth projection, and a high CRI filter is available for television and theatre use. → The fixture is equipped with two turnable quick triggers for quick installation.

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Community Professional Loudspeakers I SERIES Modular Vertical Array 600 Stand No.: Hall 1 - H140 www.communitypro.com/iv6 → 5-inch and 15-inch two-way elements and an 18-inch subwoofer. → Modular design allows configuration flexibility from constant curves to straight arrays. → Built-in Passive Acoustic Optimization (PAO) settings allow array response shaping using one or few amplifier channels. → Designed for permanent installation with multiple rigging options. → Indoor and outdoor (weather-resistant) models available.

Daktronics Optica Series Stand No.: Hall 8 - K245 www.daktronics.com/ISE → Daktronics will be introducing Optica Series at ISE 2019. → Optica is the industries first sub-1mm microLED technology capable of true outdoor brightness. → At a .9mm pixel pitch, capable of reaching 6,000 nits brightness, Optica is capable of capturing the attention of any audience in any environmental conditions. → Optica is the most power efficient technology in the industry, with similar power consumption to competitor microLED offerings at 6x the brightness. → Optica displays also feature a full HDR compliant system, from display through the control system to enable display owners to feature fully immersive messaging and experiences for their audience.

disguise vx4 Stand No.: Hall 8 - E250 www.disguise.one/en/community/news/ise-2019 → More playback: up to four 4K lossless video streams at 60fps. → More capture: 16 3G-SDI sources, or four 4K sources (2160p60). → More network: two 25Gb/sec and two 10Gb/sec ethernet ports. → More storage: 4TB of ultra-fast NVME SSD. → More quality: 10-bit and HDR support; high-res OLED front panel.

www.mondodr.com

122 SH OW P REVIEW - ISE

EM Acoustics HALO-B Stand No.: Hall 7 - W194 www.emacoustics.co.uk → EM Acoustics will show its new HALO-B medium format line array, designed for indoor and outdoor live sound reinforcement and fixed sound system installations, on booth J-W194 at ISE. → Maximum headroom design approach ensures consistent performance regardless of SPL; stable dispersion pattern across operating frequency band presentations and workshops of Syva, P1 and L-ISA Live. → Bi-amped format of dual 8-inch LF drivers and four 1-inch neodymium HF drivers on a custom plane-wave manifold results in lower amplifier count and more efficient use of amplifier power. → Continuity of voicing across entire HALO series ensures compatibility when used as in-fills / out-fills with larger HALO-A, or as a long throw solution with smaller HALO-C. → Intuitive three-point high-tensile steel rigging system with durable Xylan coating for safe flying and handling; discreet aesthetics and compact dimensions blend easily into installed environments..

Fohhn Audio Arisono Stand No.: Hall 7 - R190 www.fohhn.com → Arisono: Fohhn’s new acoustic simulation software. An in-house developed web application enabling customers to intuitively, quickly and accurately simulate any Fohhn systems taking the room acoustic into account.

Sophisticated tools and a report configurator are included. → New Linea Focus DLI models: Fohhn’s award-winning range of Beam Steering line source systems is extended with the new DLI-330 and DLI-430 models. Specially developed for applications where extra long reaches are required. → New Focus Modular module: Fohhn’s modular Beam Steering line array series gains a new low-mid extension module, designed to offer even greater flexibility. → New DI-Series amplifiers: Fohhn’s DSP-controlled amplifier range is extended at both ends, with a new 4 x 100 W model for small rooms, media applications and background sound, and the new DI-2.4000 providing 2 x 4000 W of power - ideal for driving Fohhn’s new 18” PS-800 and PS-850 concert sound subwoofers. → New Focus Venue accessories: A range of new accessories for Fohhn’s Focus Venue concert sound system will also be on show.

Genelec Smart IP audio platform Stand No.: Hall 3 - C95 www.genelec.com/ise-2019-amsterdam → Genelec will be unveiling their new Smart IP audio platform at ISE 2019. → This IP technology platform delivers power, audio and loudspeaker management features via a single CAT5 cable. → The new smart IP platform is also powerful enough to run small to medium sized loudspeaker systems - a world first. → ISE visitors can also audition the S360 two-way smart active loudspeaker - which is perfect for any installation that demands high SPL levels but with true clarity and precision. → The much-loved 4000 Series active loudspeakers will also be on display - which are available in 120 RAL colour finishes along with a wide range of mounting accessories.

www.mondodr.com

artec 300 series

Installation systems for quality sound in any type of venue

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

www.dasaudio.com sales@dasaudio.com D.A.S. Audio, S.A. C/ Islas Baleares, 24 46988 Fuente del Jarro Valencia - Spain Tel. +34 961 340 860

D.A.S. Audio of America, Inc. 6900 NW 52nd Street Miami, FL 33166 - U.S.A. Toll Free: 1 888 DAS 4 USA

D.A.S. Audio Asia PTE. LTD. 3 Temasek Avenue, Centennial Tower #34-36 Singapore 039190 Tel. +65 6549 7760

124 SH OW P REVIEW - ISE

Harmonic Design

hd Beamforming Column Speakers Stand No.: Hall 14 - H140 www.harmonic-design.com → State-of-the-art hd Beamforming technology for install applications. → Smallest footprint, only 78mm wide. → Advanced directivity and room optimisation, → Up to 32 full-range speaker with an associated DSP amplifier channel. → Cost efficient due to proprietary amplifier, DSP and software platform.

Link LKO Optical/Power connector Stand No.: Hall 15 - S290 www.linkitaly.com → LKO hybrid optical/power connector is the answer to the increasing demand for higher density designs that leverage both optical and copper into a single cable/connector solution. → Four-channel expanded beam optical connection and 5 x 10 mm² (8 AWG) electrical contacts. → Ideal for transporting three phase 32A power and highspeed data when used in conjunction with the tactical optical cable (4 Single mode 9/125 wires, ref. Eurocable CVS LK FO4SM 8/5). → Adding the DGlink mux/demux modules, it can provide up to 72 optical channels at up to 100 Gps. → Learn more about Link Hybrid solutions World visiting us at booth 15-S290configurations.

Luminex AV Networking Made Easy Stand No.: Hall 7 – S197 www.luminex.world → Transport most AV protocols with just one switch (Dante, AES67, AVB/Milan; ArtNet, sACN, MANet, and more). → No IT knowledge required. → Out of the box redundancy. → Intuitive user interface . → Robust, flexible, reliable and powerful.

www.mondodr.com

Frankfurt am Main 2 - 5 April 2019

N O I T U B I

R

IST D E V I S EXCLU

!

N E P

Visit us at our booth C38 in Hall 12.1

O

light f o c i g e ma h T I y S t a r wa

WANT TO JOIN THE STARWAY ADVENTURE ?

WELCOME !

Want to be our exclusive distributor for

Germany England Italy

Portugal Spain Switzerland

Please email us at info@star-way.com or visit us at the prolight+sound show

www.star-way.com Pub_Mondo_Starway_333x236_0119-MS.indd 1

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126 SH OW P REVIEW - ISE

RGBlink 4K Video Processing Solutions Stand No.: Hall 12 - C58 www.rgblink.com → See the X14 processor for up to 80 mega pixels of output - ten 4K in one device. → Experience the next release of RGBlink XPOSE® for video processor control and configuration. → New fibre and mini extender solutions on show. → New 4K product solutions the first time at ISE. → RGBlink ARO advanced hardware video rotation and edge blending solutions at scale.

ROE Visual Black Marble LED system Stand No.: Hall 12 - F50 www.roevisual.com → Versatile LED system to create LED floors, walls, multi-level stages and stairs. → Provides stylish and unique integration solutions with excellent LED performance. → Available in four different fashionable finishes: mirror, black matte, black highcontrast, grey high-contrast, added optional spotlights guarantee dramatic effects. → Triangular LED panels create endless design possibilities. → The system is completed with a modular lightweight, aluminum support system that is easy to build and offers safe support for your stairs or platforms.

TiMax 3D Spatial Audio Showcontrol Stand No.: Hall 7 - S197 www.outboard.co.uk

Sennheiser TeamConnect Ceiling 2 Stand No.: Hall 2 - B50 sennheiser.com/tcc2 → Ceiling array microphone with automatic adaptive beamforming technology. → Patented technology automatically captures the active speaker in the room. → Ensures crystal clear speech and flexible usage of a space. → Remote management through Sennheiser Control Cockpit software. → Easy installation and integration: Power over Ethernet, compatibility with Dante Domain Manager (DDM) and Crestron control system, open media control protocol (API). www.mondodr.com

→ New standards in spatial audio rendering and showcontrol workflows. → StageSpace adaptive auto-rendering of immersive spatialisation objects. → New bespoke FPGA DSP core, versatile spatial and acoustic enhancement. → Touch-screen control, from OSC entry-level to fully custom browserbased. → Tools optimised for experiential, presentation and performance sectors.

Precision audio performance with an attentive eye towards industrial design.

IS-SERIES is a new range, purpose built for the world of the integration.

It’s all online at www.adamsonsystems.com.

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128 SH OW P REVIEW - ISE

TW AUDiO M12i Stand No.: Hall 1 - M110 www.twaudio.com → 12-inch LF | 1.4-inch HF combination with excellent voice transmission. → Cost effective solution using standard amplifiers without DSP. → 65° x 45° and 90° x 60° HF-horn available. → Use with or without subwoofers. → For vertical and horizontal operation.

TW AUDiO B14i Stand No.: Hall 1 - M110 www.twaudio.com → Ultra compact low profile design with only 24 cm (9.5-inch) of height. → Invisible under sofa subwoofer. → Wall or (suspended) ceiling mounting. → 14-inch long excursion chassis with 3.5-inch voice coil and 1,400W program power. → Six dB more SPLmax compared to a traditional 2 × 8-inch subwoofer.

VUE e-Class Architectural Series Stand No.: Hall 14 - A190 www.vueaudio.com/ise2019 → The uber-performing architectural loudspeaker. → e-352 dual 3.5-inch Nano loudspeaker with Truextent beryllium compression tweeter. → e-351 coax 3.5-inch Nano loudspeaker with Truextent beryllium compression tweeter. → es-269 subwoofer, with patent-pending ACM technology. → VUEDrive V242 Systems Engine with Dante networking and sophisticated DSP. www.mondodr.com

Big Shoes.

Small Footprint.

We posed a question.

Could we bring the focus, clarity and control of our industry-leading ICONYX series Digitally Steered Speaker Arrays to more intimate environments? Could we translate our cathedral-filling, airport-taming designs into solutions for corporate offices, mid size industrial locations, restaurants, health clubs, universities and civic facilities?

The answer is: Yes. Introducing the ICONYX IC 12/3 and DC 12/2 Directivity Controlled vertical column speakers from Renkus-Heinz.

Delivering the ICONYX experience to smaller venues, the revolutionary DC12/2 is a ready-to-roll solution featuring predefined, user-selectable presets and control via smartphone or tablet. And the IC12/3 delivers a modular, stackable system which can be easily customized for any location.

ICONYX IC 12/3

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Take a walk to www.Renkus-Heinz.com and take your first step towards incredible audio.

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Proven.

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Since its introduction, the Lectrosonics SSM bodypack transmitter has endeared itself to sound designers, costumers and talent alike. From TV and Film production to opera and musical theater, the SSM delivers.

With patented, compandor-free Digital Hybrid WirelessÂŽ transmission, the SSM provides pure sound and rock solid RF reliability. Then there are the clever features like the app for changing settings, the ability to take updates in the field, and the selectable input configuration for a wide variety of lav and headset mics. Plus, at 2.3 Oz, it is feather light.

Demo the Lectrosonics SSM and join the ranks of fans worldwide.

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1/4/2019 9:21:02 AM

130 EX P O

• Work Pro Light Shark Series

• Lighting companies showcased products in a black box environment

• ETC booth

JTSE

PARIS, FRANCE / 27-28 NOVEMBER

Now in its 22nd year Journées Techniques du Spectacle et de l’Évenement (JTSE) is located in the Docks de Paris and took place on the 27 and 28 November 2018.

The main hall hosted around 140 exhibitors, while two more halls were used to showcase lighting and audio, a format I’m told has been commonplace since 2016.

The lighting hall hosted 14 stands, fairly equal in size where visitors could experience various

lightsing products in action against the backdrop of the black boxes. Brands such as Adam Hall/ Cameo, ADB, AED, Algam, Chauvet, Christie, ClayPaky, Dimatec, ESL, Freevox, Robert Juliat and Robe were present.

The audio hall hosted six workshop/training sessions by Avid, Best Audio, EVI Audio France, Freevox, Lawo and Yamaha Music Europe.

In this hall, mixing desks were on show and could be demo’d. A number of talks were

also held under the umbrella term ‘present technologies’ these included topics such as immersive sound reinforcement, 100% LED lighting and Eco-design European directive, all very well attended.

APG took the opportunity to celebrate its 40th anniversary at JTSE. The brands very first product was exhibited alongside its latest.

A gallery of photographs also tracked the company’s history from 1980 to present day. The

•Avid consoles on display

• Guests could pick up a copy of mondo*dr

• Chainmaster stand

www.mondodr.com

F1evoMondo ad_JAN2019.pdf

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Evolution Series

Evolution is a series of high-intensity loudspeakers that feature Funktion-One's latest driver and waveguide developments for unprecedented performance.

A complete range of installation and tour-ready loudspeakers, Evo systems are versatile and extremely scalable. They are engineered for class-leading directivity and efficiency, naturally delivering high output and effortless clarity.

www.funktion-one.com

132 EX P O

•Great to see the guys at StarWay

• Fun with a DiGiCo desk

• Audio demo hall

• APG celebrate 40 years

team celebrated with attendees, a party and cake, a very festive and friendly vibe.

It’s easy to see why JTSE is a main fixture on the tradeshow calendar, it’s a great space full of diverse companies and interactive demos. I had a great time introducing myself to the more established brands and meeting the newer players, overall I really enjoyed my first experience and will definitely be back next year.

Date for JTSE 2019 have yet to be announced. For more infomration, go to: www.jtse.fr

• MA Lighting’s grandMA3

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134 STORY T ELLING

SENNHEISER | THE EVOLUTION OF EVOLUTION 2018 marked the 20th anniversary of Sennheiser’s evolution microphone series, which has become a global industry standard for live microphones and Sennheiser’s most successful microphone series to date.

Sennheiser is one of the world’s leading developers and manufacturers of microphones and headphones for the music and entertainment industries. Wherever people are passionately recording, transmitting or playing back sounds, Sennheiser is there.

Along the way, Sennheiser has been responsible for many technological milestones: the first shotgun microphone in the 1950s, open headphones in the 1960s, infrared transmission technology in the 1970s and multichannel wireless transmission in the 1980s. The 1990s saw the development of head-orientated surround systems, intelligent audio information systems appeared for the new millennium and today, the company continues to drive digitalisation of the audio world forwards.

The past year has been characterised by the letter ‘E’ Over the course of the year, evolution, Sennheiser’s most successful microphone range ever, celebrated its 20th anniversary. To celebrate and say thank-you to all the musicians, sound engineers, rental partners and content creators who have made evolution such a success, Sennheiser hosted an exclusive event of audio storytelling at the London EDITION Hotel in London, UK, where stories about the evolution series were

told, and, in November mondo*dr was invited to listen.

The storytellers included host Jamie Gosney, who has worked in the pro audio industry for over four decades, touring with a bunch of famous artists and designing audio systems for prestigious venues; Michael Polten, the former Director, Customer Relationship Management at Sennheiser, currently in retirement; Martin Fischer, Senior Product Manager for Sennheiser’s professional division; Andrew Lillywhite, currently part of the European Customer Development and Application Engineers team at Sennheiser; Pete Malandrone, guitar technician to Dr Brian May CBE, since 1994; Monitor engineer, Joe Campbell, who has worked with IEMs since the mid ‘90s and is currently touring with Adele; and Chris Denman, who has been at Global Radio (formerly Capital Radio Group and GCap) for 18 years.

The Stories Jamie: Martin Fischer, you were instrumental in the development of evolution wireless.

Martin: I was involved in the development of evolution. Michael [Polton], who joined the company in 1991, was more involved in the evolution wire-bound range and I was much more involved in the wireless line.

When I joined Sennheiser was focussed on

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the broadcast, theatre and professional sound markets. There was nothing about MI, because Sennheiser wasn’t present in the MI market. In the early 90s when Michael joined, there was the first discussion about how Sennheiser could join the MI market. This was Michael’s task.

We first looked into wired mics, which needed to cover what musicians wanted, i.e. being stage proof and affordable. This was run by Michael.

I came into play when it came to the question about wireless. We knew that if we wanted to seriously enter the MI market we needed a wireless line. Michael and I worked as the product management team. He was focussing on the acoustic side and the external communication. I was working internally, focussing on the wireless technology and transmission type. This started shortly after the wire-bound development.

There were some key features that we defined for the first generation of evolution wireless. It needed to be stage proof, so it should have a rugged metal housing for receivers and transmitters.

Transmission reliability, superior sound by exchangeable mic capsules from the evolution line, ease of use, flexibility and fulfilling our quality standards were also vital. And last but not least, it should be available for musicians – I don’t mean low budget musicians, but the more advanced musicians. These were the targets for the first evolution wireless line.

With the price point determined, we had a clear target. We said it should be a real stage proof

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136 STORY T ELLING

system and the price needed to be right. We managed in a very short development time to set up a complete line. The evolution wireless line consists of the 100, 300 and 500. They differ in features and we defined the ENG line, the portable line, with a portable receiver for camera use, and the wireless in ear-monitor line. We managed in a short time to bring five evolution lines in to the market with 30 models and 50 articles, because we had to cover different frequency ranges due to varying country regulations.

We fulfilled all these really ambitious features and the preview was in 1999 at London’s PLASA Show. We also had a nice location where we had a special launch. This was done with prototypes, but when we showed it to customers and to the market, we generated a real hype for evolution wireless. We seriously under estimated the demand, so in a couple of months we were sold out for the whole of the year 2000. On the one hand this is a good message, that it was so loved, but on the other hand we needed a whole year to manage the back orders.

The demand from the market was incredible.

Before we launched evolution, we had a share of under 1% of the MI market. We succeeded in managing the back orders and in the second year the demand was increased, so we had two-digit additional demand and shares year by year.

In the first year there were 40-50,000 links (a link is a combination of transmitter and receiver) and in the next few years we ended up with a quarter

of a million links. The growth is also reflected in the company’s turnover. In recent years, almost a third of the turnover was generated by evolution / evolution wireless, so it had become a major microphone line for Sennheiser.

We also had to extend our production facilities.

We started in the German HQ and in the first years it was only produced in Germany. In 2007, when we introduced the second generation of the evolution series, we got an additional production site in the US in Albuquerque. And it has remained like that until now and the fourth generation.

Jamie: So what does the future hold for Sennheiser?

Martin: There has been a change in the last few years. What was demanded by customers over the years was transmission reliability – it just has to work – ease of use and flexibility are very important, and rental companies demand compatibility, so they don’t have to change everything when they move from one generation to the next.

Over the last couple of years, there have been additional requirements. One is spectrum efficiency. The available spectrum is shrinking because it is being sold to other mobile services, so the microphone industry has to look for alternatives.

The pro market sees this as they move from country to country; each country has its own regulations and take frequencies away from mi-

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crophones and give them to the mobile industry, so this is a very important aspect that we have to take care of.

What is also important is ease of use: smart workflow. We see there are more and more situations where less people are involved in setting up systems and it has to be done faster. The workflow is very important, taking into account that there are more complicated devices used in live shows, such as digital mixing consoles, and the IT infrastructure is being used more in these type of applications. There is more complexity, less time, less manpower and shrinking budgets, so the equipment that is used in these big shows has to be a reasonable price and it becomes more difficult to replace expensive equipment in the field.

This is where evolution wireless and our medium sized wireless microphones are good.

What I can say is that the next generation of wireless microphones will be digital and of course we will address all these major future customer requirements, so we are up to date with the needs and the pains of the pro users. Also, the new products will implement less hardware but more software – the control and monitoring facilities will go into other domains such as a PC, tablet or smart phone, so we’ll make sure that our next generation can take care of this.

www.sennheiser.com

BRINGING EVENTS TO LIFE The leading exhibition for show-stopping innovations ISE is the European destination for the global AV industry - discover the concepts, products and solutions that will help to shape future events and shows.

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138 IN DETAIL

LECTROSONICS | DUET V2.0

Lectrosonics has announced a major firmware update for its acclaimed Duet digital wireless monitor IEM/IFB system, V2.0. The 2.0 firmware update includes a host of new features and improvements that are the result of valuable customer input, including improved audio quality, shortcuts on the front panel to assist in quick setup, a volume lock and additional flexibility in setting the audio gain and limiter functions. With the new update, users can now do a front panel IR sync operation and similarly turn on or off the RF transmission without requiring access to the menus.

Added flexibility to the M2R receiver audio setup now includes an option for negative gain on the limiter screen, allowing adjustment to the maximum gain available, for instances where artists may be using extra sensitive earphones. The limiter screen now also features a metre showing the amount of gain reduction acting on the signal. Additionally, there is now also a

‘threshold off ’ setting, which allows users to bypass the limiter altogether for a more dynamic audio response.

The M2R receiver now lets users turn the LEDs on or off, by pressing the ‘up’ or ‘down’ arrow buttons on the pack, for cases where users might want to minimise the visual impact while worn on talent. And, since many users are employing the Duet system as an IFB solution for broadcast facilities, mono earphones may be used with the receiver.

Thus, a stereo/mono earphone selection is available in the menu.

“The Duet system has been an incredibly successful product for us in the past year since its introduction” said Karl Winkler, VP of Sales and Service at Lectrosonics.

“We’ve enjoyed learning about the variety of ways that this equipment is being used, from churches to tours to TV studios. All the user input during that time has been invaluable in terms of improving the product and adding these new features.”

The Duet system consists of the M2T www.mondodr.com

• Above The Duet V2.0

dual-stereo half-rack transmitter and M2R diversity belt pack receiver. The Duet covers the UHF frequencies of 470-608MHz in a single range, uses digital modulation for transmission, and can accept analogue or Dante digital inputs. The new system is designed and developed with professional touring, installation, theater, filmmaking and broadcast customers in mind.

The Duet firmware V2.0 is available for download from the Lectrosonics web site.

Lectrosonics Wireless Designer software is required to perform the update. Once the update had been performed, Wireless Designer must also be updated to V1.3.13 or higher to communicate with the M2T. (Please also note that V2.0 must be installed on both M2T transmitters and M2R receivers, as the new version is not compatible with any 1.X versions.)

www.lectrosonics.com

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140 IN DETAIL

BOSE | PS404D & PS604D

Bose Professional has expanded its line of PowerShare adaptable power amplifiers with two new models: the Dante-integrated PS404D and PS604D, joining the recently introduced models with AmpLink connectivity, the PS404A and PS604A. With the release of PowerShare adaptable power amplifiers in 2016, Bose Professional armed installers with a powerful new advantage - the freedom to put amplifier power where it’s needed and waste less of an amplifier’s drive potential where it’s not. “The notion of a multichannel amplifier that breaks free from the fixed-power-per-channel architecture has been well received,” reported Bose Amplifier Product Line Manager, Ashraf Elghamrawi. “Integrators told us that ‘power-sharing’ makes their projects more responsive, and they asked for

digital input options for even more flexibility.” Answering the call, Bose Professional has added these four new digital models.

The new PS404D (400W divisible into four-channels) and PS604D (600W divisible into four-channels) PowerShare amplifiers feature integrated Dante audio networking for increased connectivity flexibility, while giving installers the freedom to place the amplifier away from the source. The recently introduced PS404A and PS604A offer AmpLink connectivity. AmpLink is Bose Pro’s in-rack Cat 5/6 digital audio distribution solution and is supported in their latest DSP units. The Dante models allow mixed inputs using either digital or onboard analogue audio connections. www.pro.bose.com www.mondodr.com

•Above The Danteintegrated PS404D and PS604D

Kling & Freitag GmbH | www.kling-freitag.com

142 IN DETAIL

ROE | VANISH V8 1

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ROE Visual has announced the launch of the Vanish V8 transparent LED panel. The Vanish Series V8 LED panel is designed to create hightransparency solutions for LED walls in any indoor environment.

The ROE Visual Vanish V8 made its debut at LDI 2018, where customers could view front and back of the panel’s unique high-transparency and lightweight frame.

The Vanish V8 complements the Vanish Series of transparent LED panels. With a transparency of 60%, this ROE Visual LED panel offers outstanding performance through its highbrightness and excellent viewing angles.

Designed for indoor applications, the Vanish V8

is lightweight and slim; with each panel weighing approximately 6.5kg and measuring 35mm depth. The ROE Visual Vanish V8 offers excellent curving capabilities to create either curved or straight LED walls, each with stunning seethrough video effects.

Easy to handle and install, Vanish V8 creates large screen transparent displays easily, fashioning a playful layering effect for the user’s product introduction or retail environment.

“Extending the Vanish Series of LED panels with the high-transparent V8 is the result of close partnership with our customers and playing in to the ever-evolving market demands. Transparent LED screens are in high demand and we’re happy www.mondodr.com

to offer this solution to our customer base,” commented Jason Lu, General Manager of ROE Visual.

User benefits: • 60% transparency • Lightweight design • Easy maintenance • Excellent video performance • Dual application

www.roevisual.com

For ten years running, Absen has been the top Chinese exporter of LED displays, making it the brand of choice for integration partners and rental/staging companies around the world.

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144 P RODUCT GUIDE

media•server [mee-dee-uh sur-ver] n.

A media server can be any device with network access and an adequate bandwidth for the sharing and saving of media. It controls and manages the content supplied to any surface that can be utilised as a projection screen or any surface capable of being pixel mapped.

pro•ject•or [pruh-jek-ter] n.

A projector receives a video signal and projects the corresponding image on a projection screen using a lens system or it may be built into a cabinet with a translucent rear-projection screen to form a single unified display device. The most common projector technologies include DLP, LCD, LED and laser.

PRODUCT GUIDE

MEDIA SERVERS & PROJECTORS

EMEA LEANDER WERBROUCK BARCO, STRATEGIC MARKETING DIRECTOR

The search for a suited projector should never be the boundary of creativity, that’s why we are constantly looking for new solutions. With an enormous brightness range up to 75K, our single chip and three chip laser projectors enable our users to deliver content as intended. We’re there for both our rental partners who need solutions built for the road, and those who need a worry-free lasting solution in a permanent installation.

THE AMERICAS CURTIS LINGARD CHRISTIE

“When trying to pick a high brightness projector it’s important to understand what each solid state illumination technology has to offer.

Laser phosphor typically has similar performance, in terms of brightness levels and colour gamut, to mercurybased lamp projection. However, the saturation and colour ratio is often better, so you can have perceived improvements in colour richness and contrast, but the colour gamut itself is not much different. RGB laser illumination is the future though. It provides a colour gamut that is simply not attainable with lamps or laser phosphor.”

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EMEA DAVID ALEKSANDERSEN, COMMERCIAL SUPPORT MANAGER, DATATON AB

“Media server technology has really matured over the last few years which is great news for users and manufacturers. WATCHOUT customers still have the option of self-build servers, but many prefer the black-box approach – buying a plug-and-play unit that is ready to roll.

As the Dataton system is used heavily in both fixed installs and live events, we believe it’s important to offer a range of units to cater for different requirements.”

SONA2.5

Amplify sound, simplify control

AUDAC TouchTM provides you an out of your pocket total audio solution. Using this application, different dashboards can be effortlessly created and customized allowing you to control your preferred AUDAC equipment and multiple third party devices like lights, projector screens and many more.

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146 P RODUCT GUIDE - P ROJ ECTORS

Ben Q LK970 The BenQ LK970 laser projector brings true 4K UHD detail and the power of maintenance-free BlueCore laser light source for beautiful visual communication. It is also equipped with DLP 4K UHD DMD’s 4.15 million micromirrors and advanced image processing capability of the DLP 4K UHD chipset to achieve CTA’s 4K UHD specification, delivering a 3840 x2160 resolution with 8.3 million distinct pixels for each frame. Ideal for entertainment simulators and gallery exhibitions, LK970 generates supreme picture quality to reproduce true-to-life images for totally immersive experiences for audiences and eliminates problems such as blurriness, shadowing and interference patterns.

BenQ BlueCore laser projectors are guaranteed for 20,000 hours of superior image quality and performance, as the laser light source resists colour decay over time. The LK970 supports continuous 24/7 operation or up to 60,000 hours of operation in Eco Mode, making it suitable for public display applications in museums or exhibitions. It also boasts flexible installation features such as H/V lens shift, big zoom, 360° projection and portrait capability, making it a versatile projector perfect for diverse venues. www.benq.com

Canon 4K5O2OZ The 4K5020Z features a compact and lightweight chassis yet, delivering 5,000 lumens of brightness. This interchangeable-lens projector enables unrivalled image quality thanks to the newly developed RS-SL07RST, a 4K lens which utilises Canon’s most advanced lens glass, for powerful and accurate optics. Further boosting Canon’s projector portfolio, the LXMH502Z is an affordable, best in class DLP laser projector, using innovative pixel shifting technology to easily achieve 4K UHD resolution. www.canon.com

Christie CP2315-RGB By combining 2K resolution, an expanded colour gamut, and contrast ratios that far exceed the DCI specification, the CP2315-RGB keeps stride with the enhancements in cinematic content by revealing a whole new depth of detail. Add to those advantages their high frame rate (HFR) capabilities and an extended contrast ratio of 3000:1, and the CP2315-RGB sets a new standard for mainstream cinematic exhibition.

- Long-lasting, high-performance light source - Christie RealLaser illumination provides amazing colour, extended contrast capabilities and over 30,000 hours of optimal brightness performance - Impeccable image quality-Expansive colour gamut and an extended contrast ratio of 3,000:1 deliver an ultra-realistic presentation quality - Christie CineLife electronics - Streamlined UX-designed interface for simple playback, scheduling and management of cinema content - Future-proofed - High Frame Rate capable with 4K 60fps or 2K 120fps performance out-ofthe-box, along with an upgrade path for 4K 120fps capabilities - Compact form factor - Fits seamlessly into existing booths for easy installation - Backwards compatibility -Fully compatible with existing accessories including the Christie Rack Mount Pedestal and existing lenses for additional cost savings. www.christiedigital.com

Digital Projection INSIGHT Laser 8K Digital Projection’s INSIGHT Laser 8K is a commercially available 8K DLP laser projector. Put simply, 8K delivers 33 million pixels at 7680 × 4320 resolution, which is the equivalent of 16 Full HD Projectors, or four 4K projectors (rather than two 4K projectors, as some might assume). It uses laser technology, a solid-state illumination system which eliminates the need for regular lamp replacement cycles and allows for continuous system operation.

The projector makes use of the DLP technology, incorporating three x 1.38-inch DarkChip, DMD and ColorMax technology to ensure superb colour accuracy and black levels, while the 8K laser technology provides a new performance benchmark. This projector sits in an elite class of its own when it comes to performance, providing ultra-high resolution through 25,000 lumens.

Digital Projection’s INSIGHT Laser 8K provides a new performance benchmark in the industry, making it the perfect solution for elite entertainment venues that are looking for the most immersive image quality in order to offer the ultimate experience through large-scale imagery, from the most advanced auditoriums, to the world leading planetariums and visitors attractions. www.digitalprojection.com

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147 P RODUCT GUIDE - P ROJ ECTORS

Optoma UHD51A

Epson EB-700U

Film buffs, TV and sports fans can now get brighter imagery, coupled with the same high-end specifications as the popular UHD51A, with the launch of Optoma’s UHD51ALVe 4K Ultra HD smart home projector.

Featuring Alexa voice control, 4K crystal clear detail and 3200 lumens, this projector is the ideal solution for big screen viewing any time of day.

The UHD51ALVe comes equipped with a 4K UHD media player that can play content directly from a USB memory stick and sophisticated PureMotion frame-interpolation technology. This advanced processing eliminates motion blur or image judder, even in high-speed action films or fast-paced sports.

The projector can display true 3D content from almost any 3D source, including 3D Blu-ray players, 3D broadcasting and the latest generation games consoles.

Set-up is simple with vertical lens shift for fuss free positioning and a host of connection options such as two HDMI 2.0 ports. The compact UHD51ALVe with sleek black casing is also lightweight and easy to move around. Packed with the latest technology and features, it boasts High Dynamic Range (HDR) compatibility, HDCP 2.2 support and includes stereo speakers.

With full 8.3 million on-screen pixels, the new model delivers razor sharp, vivid images capable of showing four times more detail than standard HD. Equipped with Optoma’s Amazing Colour technology which includes an enhanced colour wheel and multiple modes and settings to choose from, users have the freedom to select the best setting for the content www.optoma.co.uk

Epson’s EB-700U ultra-short throw laser projector can create a bright, scalable image of up to 130 inches and delivers 20,000 hours of reliable performance. Whether it’s a gallery, museum or exhibition, the projector can bring any space to life, with the potential to show a much larger image than traditional flat screens. Thanks to 3LCD technology, the EB-700U offers a digital signage display, up to three times brighter than competing products, and its 2,500,000:1 dynamic contrast ratio produces more vibrant colours and a more accurate reproduction.

The laser projector allows users to create large, spectacular displays from a very short distance to take human interference or blocking out of the equation. Epson’s 3LCD technology remains superior in the audio-visual (AV) industry and enables the EB-700U to transform the interior of any venue. Its core functions include projector focus, display size and image preferences which can be customised by the user through an internal, adjustable lever. Alongside this, the manual movement of the projector can also adjust the end result, should users want to mount the product, enabling easy, flexible installation. Following this, the projector can be rotated 360 degrees, and project in portrait mode - allowing venues flexibility to present images the way they want, where they want, easily and effectively. www.epson.com

Vivitek DU9800Z Vivitek’s brightest single chip laser projector - the DU9800Z - is a solid state illumination source projector that offers 18,000 ANSI Lumens with a native WUXGA 1920 x 1200 resolution. Delivering an impeccable standard of colour and detail and with 20,000 hours of laser light operation, this projector far exceeds the average lamp-based projector.

Traditionally, three-chip DLP projectors are used to reach such a high level of brightness, but the DU9800Z delivers an impressive 18000 ANSI lumen resolution with one-chip DLP technology, providing laserphosphor illumination and colour accuracy.

Vivitek offers a new Constant Brightness feature, reducing blending maintenance with customisable brightness. Equipped with a smart sensor, the DU9800Z continuously measures light output, and adjusts the illumination to maintain constant brightness. This innovative feature reduces the need for installers to recalibrate the projectors regularly.

The DU9800Z also features advanced thermal management technology from Delta, and a unique sealed optical engine design, featuring a liquid cooling base and better airflow cooling. This ensures greater robustness, as it eliminates any dust impact, while driving quieter operation. As the laser light source features maximum thermal control, the DU9800Z’s operation is very stable and is ideally suited to 24/7 operation with low user intervention. www.vivitek.eu

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148 P RODUCT GUIDE - MEDIA SERVERS

AV Stumpfl PIXERA PIXERA is AV Stumpfl’s new groundbreaking 64-bit media server system, which is comprised of two models (PIXERA One and PIXERA Two), as well as a radically new user interface.

Supporting the new FLEX input card technology; both models use the latest processor technology and offer many à la carte options for specifying hardware components, input cards and/or software upgrades.

This new generation of media servers boast real-time media processing, compositing and management and is built around the key theme of usability.

The system was designed to allow users to execute the most important basic actions in record time and with only a minimum of effort, thanks to a radical new interface that will allow even first time users to intuitively understand the main software mechanics.

PIXERA is the only media server that truly lets users focus on their work instead of having to focus on technology. It features seamless integration of 2D and 3D spaces for fast show programming, compositing and warping/projection mapping, an integrated projector and LED display database for drag and drop pre-configuration, NDI streaming as well as a powerful render engine for ultra-high resolution content Available with two to four inputs, PIXERA One is a compact 1U server model that can be upgraded to play back uncompressed 4K at 60fps. With a depth of only 45cm, the PIXERA ONE is perfect for installation environments.

PIXERA One is a 2U server model that offers extra customisation options as well as a redundant power supply. It is available with two, four or eight outputs. avstumpfl.com

ArKaos 4K Studio Server The ArKaos product line of media servers are used all over the world by leading designers and rental companies. They exceed today’s needs by giving lighting designers and operators rock-solid, professional control of their shows. The 4K Studio Server is a full-option media server, which runs 4K video on up to six EDID managed outputs and includes one HD-SDI inputs and fast SSD drives. It includes dedicated hardware to synchronise the servers through genlock and frame lock.

This powerful system comes with a touch screen on the front panel to control outputs, network, thermal regulation, performance and the start of MediaMaster.

The MediaMaster Pro software installed has 36 layers and includes a number of powerful add-ons, including: MediaHub for network sharing; Video Mapper, which allows for easy mapping of video onto irregularly shaped surfaces; LEDMapper with unicast to drive LED panels; Lyric Player, which allows for easy synchronisation of text; and Kling-Net, the plug-andplay protocol for easy operation of LED devices.

Kling-Net protocol streamlines the process of creating and matching profiles between the media server and each individual device and can be controlled with DMX, MIDI and timecode. Kling-Net’s auto configuration capabilities allow a large range of devices to be controlled by the same media server, thus avoiding the painful process of creating and matching profiles between the media server and each individual device. www.arkaospro.com

Avolites Q3 The Q3 is Avolites’ brand new media server, packed with the full power of Ai. The industry leading AiM codec, EDID management, AutoBlend and Timecode control puts the power in the users hands to achieve the most imaginative brief from a server half the size.

The Q3’s cutting-edge hardware is the perfect vehicle for our Ai software.

Offering industry-standard connections to the rest of your system, as well as the firepower to drive our built-in live effects, which support Notch integration. The front-mounted screen allows configuration of outputs from outside the OS for rock solid reliability. It’s slim formfactor and competitive pricing delivers pixelpower to the people. www.avolites.com

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149 P RODUCT GUIDE - MEDIA SERVERS

Christie Coolux Pandoras Box

Dataton WATCHPAX Dataton offers a range of media servers designed to run with their WATCHOUT multi-display solution. All servers feature a built-in WATCHOUT license and a hardware profile tuned for performance with the software.

Dataton’s WATCHPAX and WATCHMAX media servers are plug-and-play, in order to minimise setup time on site. The WATCHPAX range is characterised by a robust exterior matched with an attractive, compact design which means they can be placed close to display sources. The smallest unit is the pocket-sized WATCHPAX 20 which offers two x 4K outputs. The WATCHPAX 4 is a sleek and ultra-portable A4-sized unit with four x 4K outputs. The latest addition to the WATCHPAX family is the WATCHPAX 60 series, debuting at ISE 2019. This server has up to 12 outputs and a dual power supply for demanding applications like live events and broadcast.

The WATCHMAX series of 19-inch rack media servers come in three core models for full flexibility. WATCHMAX media servers offer four to 12 output channels, different storage options and a range of capture cards. www.dataton.com

Christie Pandoras Box Server combines the full feature set of Christie Pandoras Box software with the flexibility and reliability of a powerful hardware platform for 24/7 use to fulfil all needs for maximum creative results. More versatile than ever, the Pandoras Box system combines the newest rendering technology with intuitive media and show control.

Pandoras Box is used around the world for live experiences including multi-media events and projection mapping. The system can be set up as a standalone playback device, network playback client or in console mode for direct DMX control.

The turnkey solution offers real-time compositing in 3D and allows for projection onto any shape and any surface. Among its many features, Multi User mode allows multiple Pandoras Box operators to split the workload of a project and benefit from the increased efficiency by working on different tasks like warping, content encoding, timeline programming or simply work simultaneously on the same sequence. Pandoras Box also features many workflow improvements such as editable meshes and warps, UV map adjustments and live canvas masking and painting all from within the preview window.

With Pandoras Box 6.1, the user interface has now been localised in nine different languages, and a host of features and improvements have been added, including Multi-User resource locations. Other refinements have been made to further enhance usability and content playback. www.christiedigital.com

Green Hippo Hippotizer V4+

disguise Solo

Green Hippo’s latest version of the popular Hippotizer Media Server line-up, V4+ uniquely combines ease of use with a real-time 2D and 3D system. Hippotizer V4+ software runs on dedicated hardware, designed for the rigours of touring and live events work. The hardware features the latest computing technology for market leading performance. Hippotizer products range from the compact Amba+: a single RU server offering a 4K output and dual channel live capture to the 4RU Taiga+ which is capable of outputting six 4K streams simultaneously and capturing four x DP1.2 inputs.

The Montane+ is a 4RU system with over 27,000 Notchmarks, making it the most powerful generative media server available.

In response to the industry trend for less production and rehearsal time, Hippotizer software is designed for fast setup and efficient operation.

Being a real-time system; all changes whether from the timeline, DMX or an external controller are applied immediately. Hippotizer V4+ is also network based; the free control application, ZooKeeper allows many servers to be controlled from one (or many) Windows based computers. Show control, content upload, media distribution and system management are all handled in ZooKeeper. V4+ includes a full 3D tool-set called SHAPE, featuring a full suite of projection mapping tools including correspondence based projector line-up, blending, warping and mesh editing. A full set of content workflow tools are available such as Cinema 4D integration in SHAPE and Plugins for popular applications like Adobe’s Media Encoder. www.green-hippo.com

disguise solo brings the power of its solution to smaller productions and experiences within theatre, fixed installs, studio set-ups and smaller venues.

It offers the support of the full disguise production suite with the power and performance to meet modern demands. The solo is the natural progression from the disguise 2x2plus, future proofed for evolving industry needs with a significant increase in power, output resolution, plus additional storage. 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.

The 2U base units can be customised with HDMI and SDI capture, professional audio and 10GB Ethernet ports, 4K outputs, fixed storage, 2TB SSD and fully redundant capabilities, meaning there is a tailor-made disguise system to suit all needs and budgets. www.disguise.one

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1. 4EVAC IMPACT

3. ARX AV DI Plus

IMPACT has already made an impression as the latest addition to 4EVAC’s cutting edge range of modular systems, namely the COMPACT 500 and LoopDrive.

IMPACT features 4EVAC’s signatory modular control and monitoring products that deliver secure communications to wide areas.

A key feature is their redundancy, which enables evacuation instructions and general announcements to be broadcast even if the carrier network becomes damaged or faulty.

The IMPACT concept takes existing 4EVAC products, including the DCA-2.500 amplifier and 4EVAC Manager programming application, and integrates them with a new CONTROLLER to create a powerful yet compact system. IMPACT is able to distribute messages over multiple loudspeaker lines to more zones using fewer amplifiers.

The DCA-2.500 amplifier itself sits in a 2U, 19-inch rack. Van Der Hout describes it as “an old school” type of amp, with a transformer isolated for 100V and 50V outputs. It can also be bridged into a total output of 1000W. The DCA-2.500 is a D-Class unit and conforms to the EN54-16 and EN54-4 standard. www.4EVAC.com

The new AV DI Plus from ARX Systems is a stereo Audio Visual Active Direct box that features industry standard dual 6.5mm, RCA and Amphenol stereo mini jack inputs and dual balanced Amphenol XLR outputs. Designed for interfacing computer sound cards, smart phones, iPads and similar devices with professional sound systems, the AV DI Plus provides a straightforward solution to the increasingly familiar problem of having to deal with a number of different types of analogue audio connectors when connecting to consumer level devices.

The latest addition to the Audibox range of interfaces from ARX Systems, the AV DI Plus converts Unbalanced Audio signals to Balanced, Low Impedance signals suitable for use with professional equipment and long cable runs. Switchable Ground isolation provides low-noise operation suitable for any application, preventing ground loops and other extraneous noise.

As an added feature, for those applications including Corporate AV and Computer interfacing the AV DI Plus also features a Mono’ing switch allowing Stereo signals to be easily mono’d, thereby requiring only one mixer channel for playback. Finished in a heavy-duty all-steel chassis and with a fibreglass PCB, the compact AV DI Plus is built to last. An optional mounting bracket is also available. The AV DI Plus features a -20dB input Pad & Mono output switch plus Phantom or 9 - 18V DC power options. www.arx.com.au

2. ADB OCEAN ADB Stagelight recently presented the OCEAN for the first time ever in the world at JTSE in Paris. This innovative lighting console, designed for theatres, opera houses and multipurpose venues, immediately attracted a great deal of interest among sector workers.

The Ocean’s most striking feature, as well as one of its main strong points, is its high-resolution touch screen, with a 70cm-wide (27.5-inch-wide) viewing area. It provides operators with full access to all functions and control of all parameters through a single screen, which greatly simplifies control desk ergonomics.

Due to its ultra-stretched display format, the console and screen itself are still very compact, both in depth and height. This means the operators have a perfect view of the stage from every angle, regardless of where they are sitting, and can place the console on small surfaces.

Moreover, its shallow depth allows them to access the touch screen very easily.

The obvious ergonomic and practical advantages of the Ocean, however, should not be allowed to overshadow the advanced software and hardware technology it is equipped with. For example, to respond to the ever-increasing need for multiple connections, it is the only console on the market with four Ethernet outputs, which means you no longer have to provide additional Ethernet access. Please read the information leaflet published on the ADB website to find out all the other remarkable technical features of the Ocean. www.adblighting.com

4. Atlona OmniStream v1.2.2 Atlona has unveiled the OmniStream v1.2.2 firmware providing integrators and end users with a powerful AV over IP feature set to drive and manage high-resolution content over the network.

The latest OmniStream firmware strengthens AV over IP distribution to video walls and system management within meeting spaces. Key performance enhancements include seamless high-speed switching - or ‘fast switching’ - and new daisy-chaining capabilities for OmniStream’s existing encoder grouping functionality.

The new fast switching feature, available in OmniStream Pro and R-Type systems, greatly accelerates switching time for sources. The new switching mode actively manages EDID and HDCP negotiations between sources and destinations, including displays and video walls.

With switching time reduced to less than 10 milliseconds, Atlona’s fast switching innovation outperforms competitive products for switching speed across packet-based AV systems.

Atlona’s new OmniStream firmware further enhances video wall performance with new integrated processing functionality, which ensures precise synchronization of content between each decoder and corresponding display tile. The result is a single, cohesive image magnified across all displays, without the appearance of ‘breaking up’ if video streams to decoders are mistimed. atlona.com

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5. beyerdynamic TG 1000

6. Brompton Technology Tessera Software 2.2.0

beyerdynamic’s TG 1000 Dual Receiver is a go-to wireless system for a variety of applications and venues. Featuring an impressive 31 MHz of the UHF bandwidth, TG 1000 is the first 24bit digital wireless system. TG 1,000 boasts 2,1 ms total latency with TriplePlay Codec for low latency and high error resilience to create the finest audio quality. The automatic frequency selection, encrypted data transmission, and browse control and monitoring through an integrated web server are designed for the future to ensure maximum flexibility. The TG 1000 is Dante-enabled and compatible with any network, including PC, Apple Macintosh, tablet PC, iPad and many more, through the integrated Ethernet. beyerdynamic.com

Brompton Technology have introduced its new Tessera Processor Software 2.2.0 for the 4K SX40 processor, to deliver an enhanced feature set that follows the easy-to-use style of its intuitive user interface.

The SX40 is Brompton Technology’s highest-ever capacity processor and offers support for full 4K screens at 60Hz with 12 bits per colour output, a zero-latency up/down scaler that matches the source to the screen, plus all of Tessera’s industry-leading processing features such as ChromaTune colour correction, On Screen Colour Adjustment (OSCA), and more.

Used in combination with the Tessera XD distribution unit, which is a sophisticated single box solution designed to manage the complications of mass cabling that can arise with large LED display systems, the SX40 provides a cost-effective yet powerful system that will support the biggest, brightest and boldest LED projects.

By updating the SX40 to the latest 2.2.0 software, users can now access a suite of handy new features such as Panel On Screen Display (OSD), Processor Redundancy, 90º rotation and Chinese language support in the user interface. www.bromptontech.com

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NAVIGATOR „All maritime projects require special vision and experience, to navigate around the planning cliffs.“ MALTE POLLI-HOLSTEIN Key Account Manager Maritime Projects

DOING BETTER

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1. Celestion Axi2050 Celestion has announce the debut of the Axi2050 wideband axiperiodic compression driver. Performing the role of two speakers in one, the Axi2050 is a high power, high-output driver which reproduces a frequency range of 300Hz-20,000Hz without the need for a midband crossover. The Axi2050 delivers an exceptionally coherent signal, particularly in the critical listening band; and an extended frequency range: enhancing clarity and speech intelligibility, as well as reproducing music more dynamically and with greater coherence.

In contrast to most existing high-sensitivity, wideband drivers which are designed with two separate diaphragms, the Axi2050 uses a single, large diameter, sculpted, circumferentially axiperiodic, annular titanium diaphragm. This breakthrough technology enables the device’s remarkable wideband output, as well as providing a number of other significant advantages.

The result of more than five years’ research, the Axi2050’s patented diaphragm design consists of many curved, axiperiodically symmetrical elements which adds immense strength to a very thin and light sheet of titanium. Consequently the shape of the mechanical vibration modes are tailored so they do not couple with the acoustic modes; enabling the device to deliver a very uncoloured performance by avoiding resonance peaks.

This single diaphragm has a diameter large enough (more than 175mm) to reproduce frequencies as low as 300Hz, while still having a small enough moving mass to facilitate high frequency reproduction. And the diaphragm’s large surface area and axial flexibility enables the generation of very high SPL, even at low frequencies. celestion.com

2. CHAUVET Professional COLORado Panel Q40 CHAUVET Professional makes it possible to cover a wider area with an even colored wash on indoor and outdoor stages. The company’s new IP65 rated COLORado Panel Q40 features a magnetic flood filter that produces a very wide, but still even wash.

Powered by 40 15W RGBW LEDs, the rectangular wash fixture has a bright output (up to 9,480 lux at five-metres) and creates perfectly smooth edge-to edge color mixing. An adjustable beam angle of 15° or 24º adds to its versatility.

Ruggedly constructed, the COLORado Panel Q40 measures 20.27 x 7.71-inches x 11.96-inches (515mm x 196mm x 30 mm) and weighs 28.2lbs. (12.8kg), making it efficient to setup and transport. Its outdoor rated power and data connectors can be connecting quickly and easily without the need for propriety cabling.

The user-friendly wash fixture can be controlled via DMX, W-DMX and RDM. It has a colour temperature range of 2,800 to 10,000K and selectable Pulse Width Modulation that avoids flickering when lighting concerts and festivals that will be videoed. www.chauvetprofessional.com/

3. D.A.S. Audio ACTION 500 Series D.A.S. Audio has introduced the ACTION-500 series, consisting of eight active and eight passive loudspeaker models, which include a 12-inch monitor, full-range systems consisting

of eight-inch, 12-inch, 15-inch and two 15-inch, and three subwoofers. The complete renovation of one of D.A.S. Audio’s most recognised series upgrades both design and physical features - making the systems more compact and lightweight, with an attractive modern design.

The ACTION series was born with the mission of offering a range of products that take advantage of the vast experience acquired by D.A.S. Audio in the demanding world of sound touring. The ACTION Series provides a range of products that offer true value, thanks to its excellent price/performance ratio.

The ACTION-508 incorporates a newly designed DAS 8GV transducer and M-34 compression driver. The ACTION-508A powered version incorporates a new Class D power amplifier - providing higher power, thus optimising the performance of the system. All fullrange systems in the ACTION series, including the ACTION-508/512/515 and 525 have new horns that provide improved frequency response on both the vertical and horizontal planes while offering a wider 90ºx 60º dispersion for room-filling coverage. The horns can be rotated to maintain coverage coherency when used in the horizontal position. The ACTION-512/512A and ACTION-515/515A have dual angle pole mounts, 0º and 10º, making it possible to adapt the coverage when needed.

All active systems incorporate a mixer with two signal inputs, offering versatility when used by performing musicians, DJs, or any application requiring two sound sources. DAScontrol technology with a rear located LCD screen enables the selection of up to three different presets (Live, Dance, and Monitor) and HPF and LPF filters that optimize the systems when used with subwoofers. The powered systems provide the option of using the logo as a limit indicator, which can easily be seen from the front of the cabinets. www.dasaudio.com

4. Datapath VisionSC-UHD2 Datapath has launched a new dual 4K capture card, the VisionSC-UHD2, and it is the most powerful 4K card in the company’s portfolio.

Datapath’s Vision SC-UHD2 provides two HDMI 2.0 capture channels with HDCP 2.2 at 4K 60p and full 4:4:4 chroma sampling. This latest high-end card compliments Datapath’s hugely successful Vision SC capture card family and offers the ultimate in frame grabber technology.

Rogers’ claim is backed up by some impressive specification. In order to capture two channels of 4K 60p 4:4:4 without any loss of quality or dropped frames, 4GB/s of raw data is needed and this requires a minimum of eight lanes PCIe Gen3. Other dual 4K solutions offering eight lanes of PCIe Gen2 are not enough once data bus overheads are accounted for. With this in mind, Datapath’s VisionSC-UHD2 is the only professional solution with enough performance to handle two channels of 4K without any loss of quality or dropped frames.

With a full 10-bit processing pipeline, the VisionSC-UHD2 is suitable for the full spectrum of high quality displays, from command and control rooms to creative, high-end corporate applications.

Purposely designed for high performance controllers, Datapath’s latest card works seamlessly with the company’s latest iolite 12i chassis – delivering a single appliance, 12 output solution for 4K video walls and menu boards. www.datapath.co.uku

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Fog is our passion!

Battery-operated fog generators to be built into costumes and props, powerful Hazeand Fog generators from 650 W to 3 kW, a 9 kW machine to fill big halls and stadiums, a powerful low fog machine as a low power or high power version an attachment to produce low fog and a powerful fan: We have the right machine for any effect.

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NEW: Cobra 3.1 Fog generator 3000 W, very silent nozzle, Ethernet, Touchscreen, - available this summer

Tiny S, Tiny FX, Tiny CX, Power-Tiny Battery-operated fog generators, 30 W/70 W/400 W

5. DPA Microphones d:screet CORE 6060, 6061 & d:fine CORE 6066 BDPA Microphones has introduced its smallest high-end pro audio microphone capsule, the d:screet CORE 6060, 6061 Subminiature Microphones and the d:fine CORE 6066 Subminiature Headset Microphone. In addition, DPA’s d:vote CORE 4099 Instrument Microphone and d:facto™ 4018VL Linear Vocal Microphone will be used during live in-booth performances throughout the show. DPA will also be participating in a variety of educational sessions as well as supplying mics for several NAMM events.

Measuring in at three millimetres (0.12-inches) in diameter, the Subminiature mics may be small, but they are powerful in terms of performance. All three microphones incorporate the company’s TEC-nominated CORE by DPA amplification technology and have achieved an IP58 waterproof rating, which provides water and moisture resistance. In terms of technical specifications, all three 6000 series capsules are omnidirectional and have a frequency range of 20Hz - 20kHz. The d:screet 6060 lavalier has a noise floor of only 24dB(A), while the d:screet 6061 lavalier and d:fine 6066 headset have noise floors of only 26dB(A).

The d:vote CORE 4099 Instrument Microphone also incorporates CORE by DPA amplification technology. The d:vote CORE 4099 line is designed for use with every woodwind and acoustical instrument. Known for its discreet size and versatile mounting/clip options, the d:vote CORE 4099 mic is a great fit for a variety of applications ranging from the studio and theatre to live performances. For the d:vote CORE mics, the dynamic range has gone from 100dB to 108dB for the Loud SPL and from 95dB to 109dB for the Extreme SPL. www.dpamicrophones.com

6. Elation RAYZOR 760 Driven by seven, independently controlled, 60W RGBW LEDs with a wide 5º to 77º zoom, the RAYZOR 760 can produce an intense and well-defined mid-air beam of over 8,000 lumens that stands out on any stage and then spread exceptionally wide for even wash coverage.

The fixture’s seven oversized front lenses create a large surface that is enhanced by SparkLED technology, 28 x 2W white LEDs strategically placed inside the lenses themselves to create a unique additional layer of effect. The dedicated high-brightness pixels give lighting designers all new possibilities to create layers of effect through elegant lens illumination and eye-candy twinkle effects. The new effect concept is unique to the RAYZOR 760 and allows designers access to a fresh, fun and innovative way of creating interest and depth on stage. SparkLEDs are controllable via the lighting console or driven by a multitude of internal effects patterns.

In addition to its powerful wash and enhanced effects, this all-new visual effect offers precise continuous pan and tilt rotation, allowing variable speed from slow to extremely fast movement effects. Combining its powerful output with SparkLED while utilising the 360° movement opens up for a multitude of design possibilities from mid-air beams or wide stage washes to more subtle effects for mood generation, both off and on camera. www.elationlighting.com

Unique 2.1 Haze generator, 1500 W

Viper S, Viper nt, Viper 2.6 & Orka Fog generators, 650 W, 1300 W, 2600 W, 3000 W & 9000 W

Cryo-Fog & Cryo-Gate Cryo-Fog Low fog generator, 2300 W and Cryo-Gate, attachment to produce low fog with any professional fog generator

Look-Fan DMX Powerful fan 850 W, DMX controllable, speed-up time from 0 to 100 = 2.5 sec.

Look Solutions Fog machines made in Germany Buenteweg 33 · DE - 30989 Gehrden Phone: +49 - (0)5108-91 22 10 · Fax: 91 22 111 www.looksolutions.com · info@looksolutions.com

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1. Electro-Voice EVID Series The C4.2LP, C6.2 and P6.2 join the extensive EVID product lineup, which includes acoustically and aesthetically matched ceiling-mount, flush-mount, pendant-mount and surface-mount models suitable for installation in spaces of every shape and size, indoors or outdoors.

The C4.2LP is a two-way full-range ceiling speaker with a four-inch woofer and a 0.75-inch HF driver. Its low-profile design offers a mounting depth of just 3.75-inch - the shortest in its class and ideal for tighter spaces. The C4.2LPâ&#x20AC;&#x2122;s wiring runs from the side of the unit for additional ease of installation. The C6.2 is a two-way full-range ceiling speaker with a 6.5-inch woofer and a one-inch HF driver. Both the new ceiling models have the same diameter as the existing EVID eight-inch ceiling speakers, ensuring consistent appearance across multi-model installations. Sold in pairs and available in white, both include a 30W transformer with an eight ohm bypass option, and are UL1480A and CSA 22.2 No. 205 certified for indoor use.

The P6.2 is a two-way full-range pendant speaker with 6.5-inch woofer and one-inch HF driver. Its magnetic grille allows for easier servicing and installation. Sold per piece and available in black and white, the P6.2 includes a 30W transformer with an eight ohm bypass option, and is UL1480A and CSA 22.2 No. 205 certified for indoor and outdoor use. ww.electrovoice.com

2. Fohhn Arisono Fohhn has announced the premiere of Arisono, its new acoustic simulation software. The in-house developed web application enables customers to intuitively, quickly and at the same time accurately simulate any Fohhn systems taking the room acoustic into account.

Sophisticated tools and a report configurator complete this new application.

As one of the leading manufacturers of professional sound reinforcement systems with cutting-edge Beam Steering technology, Fohhn offers an extensive portfolio - along with matching control peripherals and software. 2019 sees an expansion of the current portfolio to include two new Linea Focus DLI line source systems for applications where extra long reaches are required. The Focus Modular product range gains a new low-mid extension module. www.fohhn.com

3. Laserworld Showcontroller Laserworld has released Showcontroller, a new laser show control software that was especially designed for professional use. The software is designed as a software suite with several parts to the program that cater for different kinds of laser show applications.

Showcontroller was designed as intuitive, easy-to-use ILDA software for beginners up to high professional users.

The Showcontroller software suite consists of five program parts: Showcontroller LIVE for easy live laser show operation, Showcontroller RealTime for programming timeline or media based laser shows, Showcontroller PicEdit for creating laser-optimised artwork, Showcontroller Tracer for converting pixel-based pictures to laser graphics (Logos, drawings, etc.) and Showcontroller SVG-Tool for converting vector based graphics to lasercompatible files.

Showcontroller was designed to extend the range of Laserworldâ&#x20AC;&#x2122;s laser control software products further. It is available in two versions, Showcontroller and Showcontroller PLUS. Showcontroller PLUS also supports the 3D visualisation Software REALIZZER 3D and allows for the visualisation of even very complex laser and multimedia shows.

The licensing concept of Showcontroller was designed to keep costs low: The license comes on license dongle, so only one license is required to use several ShowNET LAN output interfaces (DACs).

With using the Laserworld ShowNET LAN interfaces it is possible to use the same interfaces with Laserworld Showeditor (Free laser show software that comes with every ShowNET interface) or with Showcontroller. Both software products use the same type of signal transmission, so the ShowNET interfaces can be used in a very versatile way. www.showcontroller.com

4. LEWITT LCT 040 MATCH and LCT 140 AIR Renowned as the new choice of discerning recording professionals, the extraordinary accuracy of LEWITT microphones is about to set new standards in home studios worldwide, as the Austrian innovator launches its most affordable ever condenser mic.

Chosen and trusted by a worldwide community of elite audio professionals, the LEWITT LCT range combines ground-breaking innovation with hard-wearing Austrian craftsmanship. The result is an award-winning range of small and large-diaphragm condenser and tube microphones offering a truly modern alternative to older, traditional designs. Now, for the first time, that same level of LEWITT quality will be available to home studio owners wanting to record acoustic instruments, whose ambitions need never again be limited by their budget.

The LCT 040 MATCH offers the definition and pinpoint accuracy for which the celebrated LCT range is known, but with a new stripped-back, ergonomic design for maximum positioning flexibility even in the most restricted spaces. Inside the compact and sturdy metal housing, the custom-designed capsule is optimised with instant transient response for the natural qualities of acoustic instruments; ranging from acoustic guitars to drums and strings, every moment is captured in fine, crisp detail, with pleasant high-end.

Delivering the same exact performance and flexible functionality is the LCT 040 MATCH stereo pair. To guarantee flawless matching, LEWITT is using a custom-developed process which extensively analyses the microphones and couples those exhibiting identical behaviour. This introduces new possibilities for studios striving to achieve the best possible stereo recordings of drum overheads, acoustic guitars or even choirs for a price not normally associated with this degree of precision. www.lewitt-audio.com

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5. Mackie DRM

6. Magewell Pro Convert

The DRM Series professional powered loudspeakers deliver class-leading power up to 2300W via ultra-efficient Class-D amplifiers with next-gen system protection. Universal power supplies (100-240V) feature Power Factor Correction technology that regulates incoming voltage for peak performance even with unstable AC power.

At the heart of every DRM Series loudspeaker, is Mackieâ&#x20AC;&#x2122;s Advanced Impulse DSP module. Precision crossovers, transducer time-alignment, and meticulously tuned FIR filters overcome inherent physical attributes that can contribute to poor sound, especially at high SPL. The result is crystal clear, punchy sound typically experienced only with massive touring systems.

The DRM Control Dashboard features a best-in-class high-contrast, full-colour display on the back panel for quick and easy setup. On the default screen, you will see all the most important settings, levels, and meters. With single knob control, you can navigate to the settings you need quickly. Full-range models offer three-band parametric EQ, venue specific voicing modes, alignment delay, user presets, and system lock. The subwoofer features a variable crossover, cardioid mode, and more.

Custom high-sensitivity woofers and titanium diaphragm compression drivers housed in braced plywood cabinets are designed for consistent performance in the most demanding applications. On the exterior, each DRM is covered in a touring-grade textured coating and paint that is made to last. The unique ported design of DRM cabinets allows for punchy, responsive bass while simultaneously helping to keep the amplifier cool. mackie.com/drm

Magewell has presented a new Pro Convert family of NDI encoders. Built on NewTekâ&#x20AC;&#x2122;s extremely popular NDI media-over-IP technology, the compact Pro Convert devices help users reliably bring traditional video signals into IP-based live production and AV infrastructures. Available in 4K and 1080p60 configurations with a choice of input interfaces, the converters enable users to easily and cost-effectively connect their existing equipment into NDI-enabled networks www.magewell.com

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1. Martin Audio Wavefront Precision Longbow

3. Modulo Pi Modulo Kinetic

Wavefront Precision Longbow (WPL) brings this high performance, optimisation, flexibility and control to large-scale touring and installation applications. Designed as a complete system with external iKON multi-channel amplifiers, automated DISPLAY™ optimisation software and VU-NET control platform, WPL provides financial accessibility to the higher echelons of touring and install sound - from stadium concert and outdoor festivals to arena and House of Worship installations.

The complete system philosophy guarantees that WPL arrays perform predictably and effortlessly to their design maximum, as well as ensuring that they are compatible with other WPL systems throughout the world.

WPL is a full-scale line array that is capable of exceptionally high output for its modest size and weight. A three-way, bi-amped system, WPL’s very high output is achieved by utilising Martin Audio’s trademark horn-loading technology across all frequency bands - increasing the acoustic output of the low frequency section as well as the midrange and HF. It incorporates two x 12-inch (300mm) drivers with Hybrid® horn/reflex loading, two x 6.5-inch (165mm) cone drivers on a midrange horn which covers the vocal frequency range from 300Hz to 4kHz, and three x one-inch (25mm) exit HF drivers operating from 4kHz upwards. Each section features innovative horn-loading techniques and refinements which raise the acoustic performance of WPL to a superior level - both in terms of output and smooth 90° horizontal coverage patterns of the mid and HF horns. Sonically, WPL’s exemplary horizontal dispersion pattern translates to an incredibly consistent frequency response off-axis, with minimal variation from the on-axis response. martin-audio.com

Modulo Pi has announce a new version of Modulo Kinetic, the ultimate media server designed for the most challenging projects. Modulo Kinetic is a fully integrated real-time media server solution that can be used across the complete workflow including show study, simulation, encoding, playback and show control.

Modulo Kinetic features a user-friendly 2D compositing tool with non-linear timelines, a low latency live mixer, and a powerful 3D engine and show controller, all brought into one consistent environment.

Modulo Pi’s ultimate media server solution is ready for outstanding visual quality.

It handles the most advanced formats including Apple ProRes, HAP up to 8K+, and uncompressed still sequence TGA or 10-bit DPX. Through Modulo Kinetic’s intuitive and collaborative user interface, one can easily simulate and visualise a show in 3D. Modulo Kinetic’s new version makes real-time VR easy for improved show study and simulation: one single button in Modulo Kinetic’s software allows to visualise a show scene from any angle with a VR headset. No coding is needed to enjoy all the benefits of Modulo Kinetic’s real-time interactive VR. To optimise performance and usability, Modulo Pi has developed its own tracking system.

Available in Modulo Kinetic’s new version, the optical tracking module allows real-time projection on moving objects, as well as video-projectors auto-calibration. Modulo Kinetic is also compatible with other tracking and motion control solutions such as BlackTrax, or Kinesys. modulo-pi.com

4. NEXT-proaudio N-RAK

2. Meyer Sound USW-210P Meyer Sound has introduced the USW-210P Compact Narrow Subwoofer, a self-powered loudspeaker providing robust forceful low-frequency reproduction in a slender form factor that is ideally suited to space-restricted installations or very small performance stages. The dual 10-inch driver configuration produces greater output than typical single 12-inch designs, making the USW-210P a preferred alternative wherever convincing bass power must be combined with minimal cabinet width and depth.

The USW-210P has an operating frequency range of 30Hz to 140Hz with a conservatively rated linear peak SPL of 126dB free field at one-metre using pink noise. The long, slender bass reflex cabinet employs the same port design as Meyer Sound’s flagship 1100LFC low frequency control element for high efficiency and low port distortion. Cabinet dimensions are 41.33-inches (1,049.78mm) high, 12-inches (304.8mm) wide and 12-inches (304.8mm) deep. A slanted connector panel allows mounting flush to a wall surface with cables connected. Weight is 56.0lbs (24.6kg).

The USW-210P cabinet houses a two channel Class D power amplifier with dedicated onboard processing including crossover, driver protection, and frequency and phase correction.

The optional RMS remote monitoring system module provides comprehensive monitoring of loudspeaker parameters from a Mac or Windows-based computer running Compass control software via the RMServer interface. Optional XLR 5-pin connectors allow the use of composite cables for carrying both balanced audio and RMS signals. www.meyersound.com

NEXT-proaudio has developed a unified rack solution N-RAK, designed for optimum performance flexibility and setup simplicity. The new rack was configured to interface seamlessly allowing multiple configurations for the entire NEXT-proaudio’s product range. Consisting in a family of four different models, N-RAK 20, N-RAK40, N-RAK60, N-RAK80, all the N-Raks are equipped with Powersoft X8 and/or X4 amplifiers, featuring Dante audio networking functionality (optionally).

N-RAK was created as a universal platform developed to facilitate cross-rental between NEXT-proaudio’s Users worldwide and to ensure compatibility with the cabling standard of the systems.

The N-RAK has Dante (optional), AES3 and analogue inputs for multiple connections, making the setup process greatly simplified and much more efficient than the former LA Rack. With the Powersoft amplifiers already built in and no assembly required, it’s an easy-to-configure, all-in-one amplifier solution that eliminates the process of building amp racks.

The N-RAK touring rack offers an advanced rack solution for all NEXT-proaudio’ systems covering signal and power distribution in a plug-and-play touring package. The N-RAK features Armonia software for convenient, simplified and standard control. www.next-proaudio.com

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1. Outline V10 and V15

3. Pro Glow Gaff

Outline has announce the launch and immediate availability of its latest breakthrough concept, the V10 and V15 systems.

Engineered specifically for users and performers who transport and operate their own sound reinforcement systems, V10 and V15 offer something genuinely new in this area of the market - professional-grade products delivering exceptional acoustic performance and power in a portable, self-contained package, at a price point not previously achieved by any product of this quality.

In fact the price to power-ratio is nothing short of extraordinary, with the mono-sub V10 producing 4.5kW and the dual-sub V15 system delivering a massive 12kW of pure, uncoloured audio power.

Like all Outline products, both V10 and V15 systems are entirely Made in Italy, in the same factory as Outline’s top-line touring systems and to the same exemplary standards.

All enclosures are fabricated from top-quality birch ply, again the same material used in Outline’s premium products, rather than the moulded plastic favoured by many manufacturers competing at this level - this makes them not only much more durable but also better sounding. The V10 and V15 kits are fully supported by a no-quibble, 36-month factory guarantee. solutions.outline.it

Pro Glow Gaff is a premium gaffer product that glows in the dark. It boasts the same high quality adhesive system as the premium gaffers product, therefore it has good adhesion and clean removability. Pro Glow Gaff is also printable and can be die-cut to shapes or to size!

Applications for stage safety are numerous, including marking stairs, exits, wire/cable hold down and dancefloor marking. This product is hand tearable. www.protapes.com

2. PixelFLEX EF Series Created to meet the high demands of budget-friendly, indoor video installations, the award-winning LED video manufacturer PixelFLEX has announced the new EF Series. With its economical and efficient design, the EF Series meets all the PixelFLEX standards for quality performance and reliability, while offering an innovative simplicity to installation and serviceability.

In addition to its straight-forward design, EF Series tiles are fully front serviceable making it an ideal wall-mount solution for your house of worship, entertainment venue, corporate facility, and more. The EF Series also offers custom upgrade capabilities to meet the specifications for right-angle and curved displays, and is available in a 3.9mm, 5.2mm or 6.25mm pixel pitch. With multiple cabinet sizes and built-in alignment pins to guarantee proper alignment of panels, the EF Series is complete with standard power and data connectors, as well as pass through channels, making wiring quick and easy. www.pixelflexled.com

4. RCF HDL SYSTEM RCF’s best selling HDL range of composite line array enclosures has received a further boost with the announcement of two new models - all with optimised control, since all have the latest version of RDNet, RCF’s proprietary monitoring and management platform, onboard.

The HDL 26-A is a development of the HDL 6-A and is a double six-inch device with a mighty three-inch compression driver (rather than the one-inch CD found in the HDL 6-A). Replacing the 1,400W amplifier is the uprated and newly developed ,2000W Class-D amplifier. The smallest member of the HDL family allows extended bottom end and a pristine sound for a wide range of applications and configurations.

Also new to the series is the HDL 28-A which builds on the success of the popular HDL 10-A, suitable for a wide range of applications, both indoors and outdoors. Because the woofer is a two x eight-inch device, with 2.5-inch voice coil and a 2200W Class-D amplifier it is capable of far more bottom end, pristine mids and low distortion, with an emphasis on vocal intelligibility.

With the addition of the RDNet Networked Management protocol, the advantages of having these speakers on the network is highly significant. RDNet 3.2 will allow design of the arrays inside the management software, recognizing and connecting them immediately when turning on the devices. While the new Bass Shaper function will allow adjustment of the line array low frequencies, the Air Compensation function will now correct the system response in real-time. www.rc.it

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5. Schnick Schnack Series D illumination on the one hand, and video controlled RGB light on the other. Especially for media- and effect- suitable area lighting, whereby even large areas can be perfectly utilised.

The Series D combines premium quality and efficient RGB LEDS and warm white 2,000K LEDs into a flexible and high performance RGBW system with an outstanding colour-rendering index of Ra<90 â&#x20AC;&#x201C; a lighting quality that simply cannot be delivered by RGB LEDs alone. In addition, the white complements the spectrum of RGB LEDs considerably. For skin tones, the spectrum is essentially complete and very close to the incandescent spectrum.

Series D strips and tiles are easy to control with video sources, an internal colour processor takes care of the pixel-perfect conversion from RGB to RGBW. It takes into account the spectrometrically measured colour and brightness data of each individual LED for perfect lighting and backlighting results. The white LED is thus automatically included in the colour rendering, but can also be controlled via a fourth channel. schnick.schnack.systems

6. SSL L350 & L550 Solid State Logic has announce a further evolution of its Live console range with the release of SSL Live L350 and L550 consoles; the most powerful, no-compromise, SSL Live consoles to date. Alongside these new consoles comes X-Light; the next generation of touring-grade high bandwidth Dante AoIP infrastructure technology, a new Stagebox and new V4.8 software.

The new L550 features a total of 288 processing paths, 36 Matrix outputs and 48 VCAs, assignable to any of the 36 + 2 faders on the control surface. L350 features a total of 216 processing paths, 36 Matrix outputs and 36 VCAs in a compact 24 + 2 fader frame. Both consoles can be augmented with USB Remote Fader Tiles or be connected to remotely from another console, a laptop running SOLSA remote control software or tablet running the TaCo control app for a truly flexible and expandable work surface.

The L350 and L550 replace the L300 and L500 Plus in the current SSL Live console range and are showfile compatible with all other SSL Live consoles. All existing SSL MADI and Network I/O Dante stageboxes can be deployed with any combination of SSL Live consoles to suit the requirements of even the most complex production. Upgrade kits are also available to existing L300 and L500 Plus owners who wish to upgrade their consoles to the latest specification to benefit from the processing power increase and keep their console inventory up to date. www.solidstatelogic.com

your show, whatever the weather

prolights.it

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“We’re not just selling products, we’re delivering solutions and this allows us to grow as a company internationally.”

TOM VAN DE SANDE Chief Executive Officer of PVS

How did PVS begin?

It all began with my father, a young Patrick Van de Sande who, at the age of six, was inspired by a technician who came and repaired his parent’s television.

Watching the technician bring the broken television back to life left a huge impression on him. He started tinkering with any kind of device he could get his hands on and by the age of 11, he was able to build his first crystal radio receiver.

What started as an interest became a hobby when he set up his own repair shop in the attic of his parents home.

After his day job, he would rush home to start repairing different kinds of electronic equipment for his customers.

By the age of 26 he had saved enough money to start his own shop and PVS was officially born.

What is the aim for PVS? Providing audio visual solutions that exceed users expectations. We are not just selling products, we are delivering solutions, this strategy allows us to grow so much as a company internationally.

The company recently celebrated its 35th birthday, what do you think is the reason behind that longevity?

We have always stayed true to our values; these have not changed much in all these years. We also attached great importance to our family character and this is something we share with all our partners as well by building long-term close relationships.

You were recently named CEO following your father’s www.mondodr.com

• Above Tom Van de Sande with father Patrick.

retirement, how do you see the company progressing under your leadership?

I have succeeded my father as CEO of PVS- I realise this is quite a legacy and that I will have to keep surrounding myself with great people. But I’m not alone right away; my father will remain on board as Technical Director.

For the future, we will keep focussing on innovation through design and technology. Our product and R&D departments are the cornerstones of our organisation and ensure that we can keep offering innovative audio solutions to the market.

What areas have you been focusing on in terms of expansion?

We have just completed an investment of 12 million Euros in our new logistics

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• Above In 1992, PVS started to invest time and resources into developing its own brand.

• Left Patrick and Tom. • Right PVS HQ.

centre, complete with new testing facilities and R&D centre. We had outgrown our current location and there was no room for expansion. So, thanks to the move to this brand new location, we can continue to grow and develop.

How do you ensure these new facilities will continue the success?

By continuously innovating, we have developed a strong customer portfolio over the past years, but there is no room for complacency. We must work hard to keep delivering the highest quality that our customers are used to. With these new facilities, our team has all the resources available to make this possible.

Which markets are the strongest for PVS geographically speaking

and are there any you would like to infiltrate more?

Thanks to our strong local anchoring in Belgium, the gateway to Europe, we have succeeded in approaching this market completely. Of course, we look beyond Europe too. In recent years we have already entered into several strategic partnerships in growth markets such as Asia and the Middle East.

What makes PVS different to other audio companies?

We are still a family owned company; this allows us to shift fast in a rapidly changing market, if we have a great idea that will deliver a huge benefit to our customers, we just start building it. We are still very close to our customers and pay attention to their tips and feedback. This is something that will not change in the future.

www.mondodr.com

Are there any plans in the pipeline for the company you can share?

We will be launching our AUDAC Touch 2.0 platform very soon. With the release of the AUDAC Touch 2.0 update we will introduce several groundbreaking new features and this will give its users the configuration and usability of a consumer app but with professional functionalities.

What are your hopes for the longterm future of the company?

We would like to further strengthen our position as an innovative, trend setting company in the audiovisual market.

Technology is now changing faster than we have ever seen before, so we are very excited for the future.

If you didn’t work in the audio industry, what would you be doing

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instead?

This is a tough question. I have literally grown up with audio equipment. I believe if you find something in your life that sparks your passion and you put your focus on this, you have quite a good shot at being successful with it. I really couldn’t imagine doing anything else than what I do. It is such a unique industry.

Tell our readers something they don’t know about PVS? PVS holds a ‘Crazy Thursday’ almost every month where all team members come together after work; enjoy Belgium beers, nice food and fun games. A lot of the times team members challenge each other and end up swimming in the company pond.

Typically, what type of installation projects are PVS products suited to?

This is one of our strengths, you will find our products in bars, restaurants, shops, but also in distribution centres, hotels,

large sporting venues and so on. So, from background to foreground systems in small to large environments, we have a wide range of solutions available.

Are there any specific milestones in your career you could highlight?

Of course, receiving this new appointment as CEO has been quite a great accomplishment. It was also very rewarding hearing all the positive feedback from our customers and the market in general.

Can you outline a typical day at PVS HQ? The exciting thing about this is that thanks to the rapid growth of the company there are not much of these typical days. Each new week brings new challenge with them that we tackle together as a team. We communicate very closely with each other every day so typically I tend to make a short tour through the company to see what is happening and to stay very involved in www.mondodr.com

the daily processes of all departments.

What is your desert island disc?

Mack the Knife - Bobby Darin I’d Rather Go Blind - Etta James Try Again - Aaliyah Full Performance - Les Miserables What Kind of Woman Is This - Buddy Guy I am A Good Man (Mousse T. Breakbeat Mix) - Martin Solveig Bohemian Rhapsody - Queen Creep - Radiohead Funk Cover - Scray Pockets What possession could you not live without?

I have never really attached much importance to materialistic possessions.

Since the birth of my first child a few weeks ago, I have realised even more that the happiness and health of my family is the most important thing in my life.

• Above Plans for the new industrial location in Stevoort with a total surface area of 55,000 sq metre

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

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