Theatres & Concert Halls Report

34 REPORT: THEATRES & CONCERT HALLS

NATIONAL THEATRE

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

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 REPORT: THEATRES & CONCERT HALLS

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

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 REPORT: THEATRES & CONCERT HALLS

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,

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

MOSCOW ART THEATRE A.P. CHEKHOV

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 1989- is 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

38 REPORT: THEATRES & CONCERT HALLS

SSE ARENA WEMBLEY

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

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

www.mondodr.com

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 REPORT: THEATRES & CONCERT HALLS

ROYAL SWEDISH OPERA HOUSE

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 containers

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

42 REPORT: THEATRES & CONCERT HALLS

MALY THEATRE

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, redundant

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

44 REPORT: THEATRES & CONCERT HALLS

BURDEKIN THEATRE

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

BROAMAN – THE GOLD STANDARD IN VERSATILE FIBER SOLUTIONS

46 REPORT: THEATRES & CONCERT HALLS

RYMAN AUDITORIUM

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

ROYAL ACADEMY OF ARTS

COMPANY: SOUND SPACE VISION LOCATION: LONDON, UK

Photo ©Benedict Johnson

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

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

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

OPERA NEO

COMPANY: LINEA RESEARCH LOCATION: SAN DIEGO, USA

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,

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

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FLOYD CENTRAL HIGH SCHOOL THEATRE

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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ZARYADYE CONCERT HALL

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

THEATER DE BLAUWE KEI

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

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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52 REPORT: THEATRES & CONCERT HALLS

KING ABDULAZIZ CENTER FOR WORLD CULTURE

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

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 Polaris- Voile 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 aluminium

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

ROSSIYA THEATRE

COMPANY: L-ACOUSTICS LOCATION: MOSCOW, RUSSIA

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

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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THE MAYFLOWER THEATRE

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

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

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THE GALLI THEATRE

COMPANY: LINK LOCATION: RIMINI, ITALY

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

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

CREATIVE ARTS ACADEMY OF ST. LUCIE

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

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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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.

“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

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

DOORNROOSJE

COMPANY: CLF LIGHTING LOCATION: NIJMEGEN, THE NETHERLANDS

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

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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Photo’s © Christopher Bauder

NATIONAL CENTRE FOR THE PERFORMING 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

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

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THE ART HOUSE

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

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

www.mondodr.com

64 REPORT: THEATRES & CONCERT HALLS

GRAND 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)

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

66 REPORT: THEATRES & CONCERT HALLS

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

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

EDINBURGH GANG 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

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

47 REPORT: THEATRES & CONCERT HALLS