mondo*dr 29.5

JULY / AUGUST 2019 | 29.5

THE INTERNATIONAL PUBLICATION FOR TECHNOLOGY IN ENTERTAINMENT

FRANÇOIS JULIAT

The third generation of the family talks us through the last 100 years of Robert Juliat.

NIGHTCLUBS

A round-up of nightlife venues from across the globe.

JULY / AUGUST 2019

LIGHTING CONTROL

The latest solutions for controlling lighting fixtures in any environment.

THE INTERNATIONAL PUBLICATION FOR TECHNOLOGY IN ENTERTAINMENT

IT’S REAL. IT’S HYPERREAL. Aerosmith – Deuces Are Wild Las Vegas Residency • Adelaide Symphony Orchestra • alt-J • Angus & Julia Stone • BBC Proms • Ben Howard • Bon Iver • Childish Gambino – This Is America Tour • The Classic BRIT Awards • Coachella Antarctic Dome • deadmau5 • EartH – Evolutionary Arts Hackney • Ennio Morricone • Le Grand Bleu Ciné-Concert with Eric Serra • Jazz à la Villette • The Lab at Panorama Festival • Lorde Melodrama Tour • Matthäus-Passion – Hamburg • Mercury Space Moscow • ODESZA • Orchestre National de Lille • Philippe Parreno – Tate Modern Exhibition • Puy du Fou Theme Park • Renaud Phénix Tour • Rossiya Theater • SPYSCAPE • Tomorrowland • UAE 46th National Day • Urban Voices • Wonderfruit Festival • Zürich Openair...

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MONDO*DR 29.5 JULY / AUGUST 2019

bar and lounge concept by the ISMAYA Group in collaboration in FSA360 - which I visited during a recent trip to Kuala Lumpur.

As mentioned in the last issue, we’ve been travelling a lot of late, so we have five show reports to bring you in this issue. The best photo among them is quite possibly Rich Fleming of XTA at InfoComm, where the company launched its MX36 console switcher - Rich looks very excited about presenting the product to the show visitors!

RACHAEL ROGERSON-THORLEY EDITOR

N EO &

I’d like to take this opportunity to say thank-you to everyone who joined us for the mondo*dr Awards - The Americas in Orlando last month.

We’re so pleased with the launch event, and can’t wait to build on it next year. Be sure to check out our post awards supplement for all the highlights, too.

Back to this issue - inside, we have a bumper feature on AIDAnova, the latest cruise ship from the Meyer Werft shipyard, for which Amptown System Company was the system integrator. Turn to page 64 to read the full article. Elsewhere, I report on Dragonfly and Blackbyrd - a nightclub,

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CONTRIBUTING EDITOR Sam Hughes s.hughes@mondiale.co.uk DEPUTY EDITOR Emma Bilardi e.bilardi@mondiale.co.uk

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

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9 CONT ENTS

CONTENTS 14 IN DISCUSSION 16 INSIDE VIEW

20

IN DEPTH

FRANร OIS JULIAT As the French company celebrates its 100th anniversary, we had a chat with the current CEO.

20 INTERVIEW Franรงois Juliat - Robert Juliat 32 REPORT Nightclubs

IN FOCUS 60 KUNSTLINIE ALMERE FLEVOLAND Almere

62 AIDANOVA The latest vessel from the Meyer Werft shipyard that has been kitted out by Amptown System Company.

62 AIDANOVA Rostock 80 THE FORUM AT ERASMUS UNIVERSITY Rotterdam 84 AT PARK Gothenburg, Sweden 88 FRANKLIN AVENUE BAPTIST CHURCH New Orleans 90 CATHEDRAL OF THE HOLY CROSS Boston 98 THE RITZ-CARLTON Singapore 100 DRAGONFLY & BLACKBYRD Kuala Lumpur

100

IN BUSINESS

DRAGONFLY & BLACKBYRD The Jakarta club opens a second venue in Kuala Lumpur, and adds a bar and restaurant with new brand, Blackbyrd.

112 IBC PREVIEW Amsterdam 116 MUSIC INSIDE RIMINI Rimini 120 THE GET SHOW Guangzhou 124 KOBA Seoul 128 PALM INDIA Mumbai 132 INFOCOMM Orlando

132 INFOCOMM The US show is becoming an essential on the annual tradeshow calendar.

www.mondodr.com

144 IN DETAIL Chromateq, Electro-Voice 150 PRODUCT GUIDE Lighting Control 156 PRODUCT DIRECTORY 160 LAST PAGE INTERVIEW Mr Liu YunHui - GTD

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Advertising Index 5 Star Cases 108 Absen 73 Adam Hall 79 Adamson 127 ADJ 41 Amadeus 125 Antari 18 APG 37 ASC 81 Astera 117 Audiocenter 158 Bose 119 Celestion 7 CHAUVET 103 Chromateq 145 CLF 86 d&b audiotechnik 29 77 D.A.S. Audio D.T.S. 53 Daslight 10

Dicolor 57 DiGiCo 65 Digital Projection 87 disguise 109 Doughty 159 Duratruss 159 Elation 17 FENIX Stage 12 & 13 Fine Art 5 Fohhn 91 Funktion-One 25 Genelec 141 Global Truss 155 Gloshine 27 GLP 153 GTD 4 HARMAN 69 Kuzar 137 KV2 45 L-Acoustics 2

Laser Animation 147 Lawo 35 Lectrosonics 57 Link 39 Look Solutions 43 LSC 51 Lynx Pro Audio 115 MADRIX 145 MBN 49 Meyer Sound 96, 97 & 163 Movecat 145 Music & Lights 45 & 153 Neutrik 49 NEXO 137 Pioneer DJ Europe 157 PowerLightsAugsburg 51 Powersoft BC PR-Lighting 95 Pro AVL Jakarta 58 Pro Tapes 143

Prolight+Sound Middle East 110 Prolight Concepts 73 Renkus-Heinz 143 RGBlink 93 Riedel 107 ROBE 123 Robert Juliat 135 ROE 131 SAE 115 Sennheiser 105 Starway 139 Steinigke 47 Sunlite 6 The One Studio 8 TW AUDiO 55 Unilumin 83 Void Acoustics 31 Wireless Solution 3 Yestech 11 Zero 88 151

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18-20 JULY www.tourismtechnologyasia.com

27 -29 AUGUST www.integrate-expo.com

INTEGRATE MELBOURNE, AUSTRALIA

TOURISM & TECHNOLOGY ASIA

MEDIATECH JOHANNESBURG, SOUTH AFRICA

INFOCOMM MEXICO MEXICO CITY, MEXICO

14 -16 AUGUST www.infocomm.org 17-19 JULY www.mediatech.co.za

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17-19 OCTOBER www.aes.org

AVITA AUDIOVISUAL EXPO HELSINKI, FINLAND

PROLIGHT+SOUND SHANGHAI CHINA

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INTERBEE TOKYO, JAPAN

AES NEW YORK USA

LDI LAS VEGAS, USA

22-24 OCTOBER www.ldishow.com 10-13 OCTOBER www.prolightsound-shanghai.com

JTSE PARIS, FRANCE,

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14 IN DISCUSSION

MARTIN BY HARMAN SHINES IN THE BUSY ASIA PACIFIC MARKET Ramesh Jayaraman, VP and GM of HARMAN Professional Solutions APAC, explains how the company’s Martin by HARMAN brand has built its market-leading position in Asia Pacific.

The lighting market across the Asia Pacific (APAC) region has been growing positively with steadily increasing lighting installation numbers. Advances in LED technology have dramatically changed the general lighting landscape and enabled incredible innovation in a number of different market sectors. According to a market research report published by P&S Intelligence, the LED lighting market in APAC is predicted to reach $58 billion by 2024.

At HARMAN Professional Solutions, Martin by HARMAN looms large in the company’s long-term plans, with lighting now accounting for 20% of our annual revenue. Our focus on lighting in this region covers a wide range of industry verticals including: hospitality (restaurants and hotels), convention centres corporate spaces, cruise ships, sports, government, healthcare, education, houses of worship, entertainment, educational institutions and transportation.

Of these segments, the entertainment sector is the liveliest and currently our biggest area. We focus on entertainment categories such as karaoke, live entertainment, nightlife, performing arts, themed attractions, cinemas, casinos, stadiums and arenas.

THE ENTERTAINMENT SECTOR In this space, we’re seeing a trend towards installations that are more sophisticated and which blend seamlessly into the design, both during the day and night.

Yet, at the same time we’re seeing rising demand for more interactive solutions, allowing projects to become more engaging and playful for their customers.

Products like our Exterior PixLine have really helped lighting designers deliver their creative ideas without compromising on a solution that is both simple to install and robust.

Martin by HARMAN has delivered

• Above Ramesh Jayaraman.

countless entertainment installations in APAC including Seoul’s Lotte Concert Hall in South Korea. At the Lotte Concert Hall an array of Martin by HARMAN MAC Quantum Wash fixtures was installed to deliver 360° coverage and near-silent operation in the world-class venue.

Another entertainment attraction brought to life by Martin by HARMAN is the Garuda Wisnu Kencana statue in Bali, Indonesia. The lighting installation has transformed the statue into a bright, compelling sculpture that allows visitors to appreciate the intricate details of its beauty.

On this project it was a challenge to find the best way to reflect the sculpture’s true colour when illuminated, given the statue is made of copper and brass. However, the installation team eventually settled on a range of Martin by HARMAN Exterior Wash and Exterior Projection fixtures to achieve an optimum lighting effect that lets visitors appreciate the statue’s texture and physical appearance.

The Lotte Concert Hall in Seoul and The Garuda Wisnu Kencana Statue in Bali are good examples of how the lighting scene in APAC is evolving and how entertainment is fast-becoming one of the most important sectors in the region. And the high-profile stature of both projects underlines Martin by HARMAN’s premier position in the market.

With a fast-growing middle-class population in APAC, we see an increasing focus on live entertainment. More and more people are attending concerts, and these events are no longer just about the music but rather the experience for the fans. And lighting has a vital role to play in delivering this.

Today’s live concerts are where many artists make the majority of their income, so they strive to deliver a perfect production. As a result, concert organisers are putting more focus on lighting, www.mondodr.com

demanding more creative and complex lighting configurations than ever before.

We’re also seeing an ongoing trend for merging video and lighting together, and having it controlled from the same system to allow for a fully coordinated show.

We recently launched the MAC Allure Profile and Wash to support this growing trend, with the new product combination delivering the first moving heads on the market to blend video and DMX pixelated control seamlessly together.

As the entertainment sector continues to evolve, we see users looking for more flexibility in their lighting setups.

That’s one reason products such as our MAC Allure and VDO Atomic Dots are proving so popular, because they give users and designers the opportunity to cover multiple applications with the same product without compromising their creativity.

Another area of the APAC entertainment segment we are seeing major growth for our Martin by HARMAN business is in theatrical productions. In the past, theatrical lighting designers in APAC have traditionally been reluctant to use LED lighting because of concerns over its quality in theatre applications. However, with the introduction of our MAC Encore, that is changing. The MAC Encore family of full-feature, low weight, LED moving heads delivers high quality, consistent LED-based stage lighting at levels previously unavailable.

THE HOSPITALITY SECTOR One other lighting sector which is growing in APAC is the hospitality segment, which is an increasingly important part of the market. At Martin by HARMAN we’ve recently been a part of two high-profile installations in Singapore - The Pan Pacific Singapore and The Grand Copthorne Waterfront Hotel. At the Pan Pacific Singapore, the customer wanted to create

15 IN DISCUSSION

an immersive and customisable lighting experience for thematic weddings and events in the redesigned 800-capacity ballroom. So, to highlight the ballroom’s abstract, coral-inspired ceiling design, 7,120 VC-Dot 1 creative LED pixels were mounted on the ceiling. Meanwhile at the nearby Grand Copthorne Waterfront Hotel the task was to upgrade the antiquated lighting systems in both the ballroom and function rooms. In this case the designer opted for our efficient RUSH LED light fixtures from Martin by HARMAN. LIGHTING THE ROAD AHEAD As we move towards the end of Q2 of 2019, we are steadily achieving our goals for Martin by HARMAN. One of these was to open a Lighting Center of Competence (CoC), and we have recently delivered on this with the establishment of a new facility in Aarhus, Denmark. It acts as an incubator for new technologies, with a focus on developing key differentiators for Martin by HARMAN products, such as light engines, software platforms and mechanical and optical systems.

The CoC interacts closely with our product development teams in Bangalore, India and Shenzhen, China. CoC and

product development engineers can leverage their collective talents and knowledge base globally. Manufacturing is consolidated in a few main centres, including Pecs, Hungary and Shenzhen, China. With the addition of a number of team members we now have engineers dedicated to R&D work for our lighting products in Aarhus, Pecs, Shenzhen and Bangalore. This new global setup allows for more innovative and competitive product launches as the need grows for different kinds of lighting applications across APAC. With the evolution of technology, the lighting market is constantly changing.

There will be a continuous innovation, which will see lights become brighter and at the same time more compact. We can also expect to see more features. In addition, we will most likely see new light engine technologies and you can expect pixel level control in most professional lighting fixtures into the future. Finally, as in many other industries, we will see more examples of digitisation providing new opportunities for customer value.

As we continue to be a complete audiovisual and lgihting provider globally, it is important to integrate our lighting business with our other audiovisual www.mondodr.com

• Left top The Seoul Dragon City Hotel.

• Left below The Pan Pacific Hotel, Singapore.

• Right The Lotte World Tower in Seoul.

product lines. Very specifically, we have already seen the first examples of this in our lifestyle division. More of our portable Bluetooth loudspeakers already have integrated lighting solutions to make the products more engaging and fun.

Yet while audio, video, lighting and control are now firmly embedded in the digital realm, we still experience it in the analogue, physical world. So, we believe that HARMAN Professional Solutions will gradually become the market leader in delivering an interface between our digital and physical worlds for both enterprise and entertainment applications. We’ve also invested heavily in software development, so as we progress you will see a stronger bond between the software and hardware we’re producing. You will see systems integrate intelligently to create a seamless and simple experience for users and audiences. Finally, we want to stay true to our ‘customer first’ approach to make it as easy as possible for people and companies do business with us. We plan to continue bringing visionary solutions to market quickly and provide industry-leading levels of customer and tech support.

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

16 INSIDE VIEW

Blue Hour at PQ2019 Robe recently supported Blue Hour, a large-scale, multifaceted, immersive installation at the Prague Exhibition Grounds for the 2019 Prague Quadrennial of Performance Design and Space (PQ2019). This complex project was developed from an idea originally conceptualised by the PQ19 event curators, Marketa Fantova and Jan Rolnik. Their vision was an ambitious project to unite a series of innovative and prominent performance designers working in six separate but related disciplines - lighting, video / projection, experimental sound, tactile elements, VR and systems integration - under the direction and guidance of French visual artist, Romain Tardy.

Robe made available 40 of its T1 Profile moving lights, 20 of the new T1 Washes, as well as 40 MegaPointe multipurpose fixtures and 20 CycBar15 LED battens, which were utilised as the main lighting fixtures of the piece, rigged to a variety of temporary trussing and scaffolding structures erected all around the Small Sports Hall interior. Four Spikies were used for assisting the VR part of the Blue Hour experience.

ROBE Robe lighting is based in the Czech Republic and manufactures innovative, high quality moving lights and digital lighting products. Central to the company’s philosophy is the practice of working as closely with its business partners and end users as possible, listening to their needs, thoughts and wishes and understanding their markets and requirements. Over 800 employees work at Robe’s primary 55,000 sq metre facility in Valašské Meziříčí, and the products are exported via a worldwide distributor network to over 100 countries across all continents. Robe products can be found on stages, in concert halls and TV studios all over the world. www.robe.cz

House of Dancing Water The world’s largest and most spectacular water-based show, The House of Dancing Water - directed by the legendary Franco Dragone and staged in the purpose-built House of Dancing Water Theatre in Macau - has just added 63 new Robe moving lights to the theatre’s rig.

The 41 BMFL Wash XFs and 21 Tarrantula LED wash beam lighting fixtures have now been installed in the theatre, as part of a drive to upgrade the technical equipment to include more sustainable and advanced options than were available when the show launched in 2010.

Arts Centre Melbourne The Pavilion event space right in the heart of the Arts Centre Melbourne complex in Australia is a vibrant hub for a diversity of cultural and creative activities, accommodating anything from around 280-300 people for dinner, 450 for a concert set up and 500+ for a cocktails / standing event.

A new lighting rig of Robe VIVA CMY Spots, ParFect 150’s and LEDWash 300+s, six of each, has recently been installed, which has dramatically changed the way in which the space can be used for many events.

Technical Manager for Corporate Events, Jason Fordham, explained: “The Robes have really enabled us to maximise the space properly and increase its utilisation by 60% or more. It’s now hugely quicker and infinitely more practical to morph the room from a daytime conference into an evening dinner.” This is even possible with the element of live entertainment, too, with the finished result also looking vastly better aesthetically. www.mondodr.com

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IN DEPTH

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INTERVIEW FRANÇOIS JULIAT ROBERT JULIAT

REPORT NIGHTCLUBS

As the French manufacturer celebrates its 100th anniversary, Jerry Gilbert caught up with the third Juliat generation, who heads up the company today.

22 INT ERVIEW

• Above left François’ grandfather and company founder, Robert Juliat.

• Above right The first HMI followspot - PIXIE launched in 1976.

It has been a long journey from the era of Early Motion Pictures to Advanced Motion Capture, but you could argue that French theatre lighting giant, Robert Juliat has literally tracked it every step of the way.

As the company celebrates 100 years, the question of whether Robert Juliat is our industry’s first de facto centurion seems less relevant than the fact that it has been guided through the century - starting with the end of the Great War in Europe - by just three generations of the same family.

And yet the story really begins not when Robert Juliat set up a shop in Paris to sell cinema and projection lighting equipment in 1919, but a generation earlier. For out of the age of cinematic illusion - created by effects like Pepper’s Ghost and Magic Lanterns - Robert’s father Jean, a projection and lighting specialist from the golden fin de siècle silent movie era, had worked with the legendary Film Director, Georges Méliès. For it was he who invented science fiction cinema in those incipient days, and on whose life the film Hugo is based.

I learnt this from Jean’s great grandson François, Managing Director of Robert Juliat since 2008. He recalled how this passion, initially for cinema, and generally for lighting, had cascaded through the family as he proudly led me on a journey through

the history of this pioneering company.

He agreed that it was pretty remarkable that a Century of technological development had been presided over by just three generations. “Robert started early, as soon as he got married, when he was only around 22-25 and he stayed with the company until the mid-‘60s.”

This landmark was celebrated in some style by the ‘RJ Family’ (their loyal army of global distributors) during the recent Prolight+Sound show in Frankfurt and the company will celebrate further in France at the end of the year with staff and local customers.

The fact that cinema and lighting should have been in Robert Juliat’s blood is hardly surprising in a country that also gave us Fresnel and the Lumière Brothers. In addition to distributing and selling cinema equipment he would make small lanterns to light performers, who would entertain audiences in cinemas, while the film reels were being changed over at the mid-point of the film (two-reel and three-reel motion picture films were endemic to the French film industry).

In his pursuit of purpose-designed lighting for performers, Robert had developed the first single lens lantern.

“But it was my father, who had the real technician background, and it was he

who pushed the company into a new era of theatre,” explained François. “He was more interested in manufacturing goods and lighting design, and he had to take on more responsibility.”

Carbon arc technology had characterised not only the early cinema projectors in the 1920’s but remained uniquely in the theatre lighting industry, and particularly followspots, for at least another 50 years (while being superseded in other applications with filament lamps). “I still have drawings that my father did with carbon arc,” recounted François.

Jean-Charles joined Robert Juliat in the mid-1960s, and dedicated his career to stage lighting innovation. “His father said he would be better working in the family company,” recalled François, matter-of-factly.

The industry was in a state of flux and clearly Robert Juliat needed to diversify.

“In the late ‘60s our cinema business was going down because firms like Philips and Cinemeccanica were much bigger companies.”

Stage lighting provided the obvious move, while architectural lighting and the outdoor market offered further options.

And so they entered a world dominated by Strand Lighting, one of the few companies whose origins pre-date Juliat, and

23 INT ERVIEW

solid-state dimmers.

Experimentation seemed largely to be the province of the early disco and psychedelic lighting community where projectionists were converting Rank Aldis Tutor II slide projectors. But Robert Juliat also wasted no time in developing a range of special effects including bubble machines - the first outside the US - oil wheels and a gobo changer.

It’s hard to believe, when for most of our natural lifetime, we have thought of Robert Juliat as synonymous with the followspot. Indeed, François confirmed that his company has been manufacturing followspots for 50 years - but what is so

remarkable is that its market position on the world map was forged despites the hitherto predominance of American manufacturers, such as Strong with its Super Trouper, Altman and Lycian.

But when Osram invented and introduced its HMI double-ended metal halide lamp in 1967, primarily for film and TV, the lamp wasted little time in migrating to the producers of theatre technology. Philips quickly followed suit with its MSR, and HMI was quickly seen as a safer alternative to both carbon arc lamps and later xenon arc.

And while disco’s deployment of high intensity discharge would eventually be www.mondodr.com

in fast moving scanners of the 1980’s, Robert Juliat were quicker off the mark.

By 1976 it had produced the PIXIE 575W double ended followspot. “We claimed it to be the first HMI followspot and it was the beginning of a new era for us,” stated François. “Apart from the safety element, HMI was also better because of the output and the fact that it was a new thing. HMI technology was also more compact in size whereas the Super Trouper was massive.”

Robert Juliat always refused to work with the more volatile xenon technology, in which the lamp had to be carried separately from the projector, preferring to leave that to the American companies

• Above Foire de Paris in 1922.

24 INT ERVIEW

• Above Launch of the Lancelot followspot in 2006 at Lightpower in Germany

and other lamp manufacturers such as Ushio. “Europe was not only getting in early on the discharge scene but producers were soon increasing the power, and we went from 575W to 1,200W, 2,500W and then 4K. “But even 40 years ago only 5% of our production was followspots, we were producing mainly fresnels, profiles and cyclights,” stated François.

If the invention of HMI metal halide discharge lighting had offered one lifeline to Robert Juliat, by the start of the 1980’s it was to receive another. With the French presidential election of 1981 François Mitterrand came to power as the first Socialist President of the Fifth Republic after years of conservatism. He quickly decreed that every medium sized town should build a theatre. “And this is when we became focussed on theatrical lighting,” François explained.

In the mid ‘70s they had formed a strategic alliance with Gothenburg based console manufacturer, AVAB - a relationship that persisted until 20 years ago. “They supplied the consoles and we produced dimmers, luminaires and accessories so we could supply a complete package. It was massive.”

Designed to take on the mighty Strand, it

suddenly found itself supplying high profile Paris theatres like the Opera Bastille and the Palais Omnisports de Paris-Bercy.

“Palais Omnisports de Paris-Bercy was the first time a major place wanted high powered fixtures. It was a big turning point as we introduced the 2.5K HMI Profile.

“Most similar products weren’t as reliable or the optics were inferior. So we started to look more at discharge profiles. We already had the HMI technology for followspots and now some DMX, whereas previously we used 0-10V analogue.” The proprietary AVAB digital lighting protocol first appeared in the late 1970’s, but by the early ‘90s DMX would become the industry standard.”

The 2.5K Profile saw both an HMI source, in preferences to tungsten, and a DMX address, with mechanical dimmer control by either DMX or 0-10V. In fact Robert Juliat was the first company to introduce DMX motorised dimmer shutter for perfect synchronisation.

Up until then, rental activity had been less of a priority than install for Robert Juliat but it was about to change at the beginning of the ‘90s. “Lighting designers wanted the same quality in followspots on the road as they had in the theatre.”

The exponential growth of Robert Juliat www.mondodr.com

over the first 70 years had created its own infrastructural challenges to support these massive technology breakthroughs. When Jean-Charles eventually replaced Robert as CEO in 1975 the company employed no more than 10 people, while today it employs 68.

François explained how the company had arrived in the small town of Fresnoyen-Thelle, north of Paris, after originally setting up in the capital itself. “Robert was very affected by World War II, and afterwards decided to move out of Paris for the cleaner air of the countryside. The company moved to a village and by the mid ‘80s it was too small with not much chance to expand. So in 1986 we built up the factory we have now.’’

Robert Juliat decided to move to a new purpose-built 5500 sq metre facility at the current site in Fresnoy-en-Thelle, north of Paris. In 2003, the company was able to expand on its existing land, but when in 2012 another expansion was necessary, this time it had to purchase more land to offer a plant that today measures 10,000 sq metres.

The other notable fact about the first 70 years of its remarkable history is that Robert Juliat had remained largely a purely French company, with little need

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26 INT ERVIEW

• Above François with brother, Frederic Juliat and father, Jean-Charles Juliat celebrating the 90 years of RJ at SIEL, a French tradeshow in Paris.

for export, driven by the momentum of the Mitterand theatre initiative. But all that was about to change.

“At the beginning of the ‘90s we started to look abroad, mainly to Europe. We wanted to move forward internationally.” Before the end of the millennium that wish had been returned with interest. “A number of our followspots, profiles, HMI and tungsten fixtures had been specified by the Canadian production team for Cirque du Soleil and this gave a lot of visibility to the brand internationally.”

By 1999 it was truly on the world stage, receiving its first major accolade when the Cyrano 2500 HMI followspot won the highly prestigious ‘product of the year’ at LDI - the first manufacturer to receive such an award for a followspot. “We had managed to win a followspot award in the country of followspots,” exclaimed François in disbelief. “People were amazed at the quality of the optics and the fact that it could control dimming via DMX. It really had the wow effect - it brought the followspot into a new era and gained us wide recognition.” It was a great way to enter the new millennium.

Crucially, François had been able to witness this first hand, having joined the company three years earlier. Having graduated in International Business Studies, and fulfilled his Military Service duties, he had worked as an intern at the Californian office of audiovisual projection giants, Christie, and at the age of 21 had fallen in love with the

country. It was this more than anything, that had steered him in the direction of the family business.

Despite the rich family heritage it was never preordained that he would join the family business, despite the fact his older brother Frédéric, nearly six years his senior, was already there, and various other family members had been employed along the way. “Far from it,” he said. “My father said we needed new people in the company but he never forced me.”

At Robert Juliat he worked in every department to gain a true grounding, but building up global sales became his mission. Along with China and South East Asia, the US was his prime focus.

It had been his decision to open an office in the US, largely to exploit the follow spot market, after initially working with a distributor. “I convinced my father to open an office in 2003 and proposed Fred Lindauer to run it. I could go directly to the US market, believing that having a direct presence would make the brand more visible and become more trusted, although it took three years to build that trust. To finance the structure we knew the products would need to be more expensive and so we had to work twice as hard. Also, follow spots are not as sexy as moving lights - they just have to work.”

However, in 2014 François took a strategic decision to close Robert Juliat USA with both Fred Lindauer and Pete Engel transferring to the new distributor, ACT www.mondodr.com

Lighting.

In the last 20 years Robert Juliat’s deployment of technology has gone into overdrive, with the consequent recognition by specifiers the length and breadth of the globe. As an example, they supplied 20 of the award-winning Cyrano followspots, equipped with DMX controlled shutters, for the Athens 2004 Olympics.

The followspots had to compete with 1,500 moving and conventional lights used at the opening and closing ceremonies, and the dimming effects had to be synchronised.

Crucially, it freed up manpower so the spot operators could focus on the athletes and performers.

Four years later at the Bird’s Nest Stadium in Beijing it was Robert Juliat’s Lancelot, which had been produced two years earlier, that took centre stage for the Beijing 2008 Olympics. Eight Robert Juliat Lancelot 4,000W HTI followspots were used to cut through the vast quantity of light produced by the largest moving light rig in history. These were specified by Chief Lighting Designer for the Opening and Closing Ceremonies, Sha Xiaolan.

The step up to Lancelot was not simply that it was a long throw follow spot but a complete projector which was easily able to punch above its weight in the face of so many moving lights. “For the first time we had developed a motorised gobo wheel and DMX dimmer control, four blades and filters and colour mixing. It was a complete effects projector, as well as a fol-

Photo: Laurent. Philippe, Philippe Decouflé

Photo: Richard Cadena

28 INT ERVIEW

lowspot with rotating gobo wheel - and it was a major step in followspot technology.”

Having ended the relationship with AVAB, Robert Juliat was now supplying the full package itself - with R&D, optical, mechanical and digital engineers all based in France - and it could respond to specific requests, often from opera houses. For mid-sized followspots it developed the Korrigan, a left-handed operation system, and a motorised dimmer on the remote.

“It’s given us flexibility to make our products evolve, and specials can quickly become standards,” observed François.

It was the memorable Beijing year that Jean-Charles Juliat chose to retire and into the CEO role stepped François. It’s perhaps no accident that this coincided

with the transfer to another new lamp technology. “We had been talking about LED,” François remembered. “He was very much from a metal shop background. He could design tungsten and HMI but LED was more electronic and he didn’t really want to focus on it. He said ‘I want to do only what I can control’.”

Also the world seemed to be spinning ever faster and Jean-Charles recognised that it was time to get off the carousel. In February this year he passed away at the age of 76 and the vast number of tributes speak volumes of the legacy he bequeathed to the industry.

As for the brave new world of LED, Robert Juliat wasted little time in embracing it under François’ stewardship. “The Aledin www.mondodr.com

• Above top Francois unveiling the new Robert Juliat Merlin followspot at PLASA London 2014.

• Below left Dalis providing colourful backdrop to Philippe Decouflé’s, Nouvelles Pièces Courtes.

• Below right RJ team at PLASA 2015 with Innovation Award won for the Dalis cyclight

was our first LED Profile in 2010. We had a partnership with a design company and we worked together. From the Aledin Profile we went on to develop the Aledin Fresnel and then did our own LED development. We worked step by step to raise the power and quality and diversified to follow spot and cyc lights.

“There was a lot of discussion about whether it was the right time to release an LED product, but if you waited for the right product at the right quality you would wait forever.”

Its commitment to the new platform became unmistakeable with the release of the next product, the Oz. “Both new dynamic models feature an exclusive 600W cool white LED source able to deliver a high

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• Above left Merlin followspot at New Zealand’s Tattoo Military Festival in Wellington.

• Above right Lancelot followspots on Ed Sheeran’s DIVIDE tour in Dublin.

• Below Robert Juliat SpotMe at The Award for Innovation Ceremony in London.

output comparable with that of 1,200W discharge followspots.” LED technology was moving fast and the company didn’t want to use third party LEDs that would be obsolete in a few months, he said, so it developed its own LED engine and produced LED fresnel and profile products (the ZEP). “Having our own LED engine gave us better control of the technology.”

Robert Juliat’s goal now is to go better and higher in terms of power output. “We have a followspot equivalent to 1.2K HMI, and we have a nice cyc light using colour named Dalis, and thanks to the automation of spots we now have a new solution, SpotMe, which is a tracking system.

“While nothing will replace the human eye, or operator experience, SpotMe has the benefit of lifting a performer and the operator will be able to follow the people moving on stage in real time where the follow spot will point on stage.”

In fact Robert Juliat’s bespoke, 3D position tracking bolt-on system is the only performer tracking system to be driven via a real followspot. The SpotMe system communicates the X, Y, Z positions and the beam size parameters to the console. All parameters are then used by the console to control any automated or static lights,

and coordinate stage lighting to follow performers, without the need for on-stage/ performer sensors or cameras.

At 100 years young, Robert Juliat appears to be in exactly the place it wants to be, with no loss of appetite for the future. “We have managed to keep small and independent, and that’s been the key,” considered François. “By not expanding too quickly, we have been able to control our growth better. Today, we have a strong presence in the rental business and LED is giving us new opportunities.

“While I have achieved what I set out to do, I still have to make sure the company remains healthy,” he continued. “The market is changing in France - there are more and more big groups now so we have to reorganise our sales strategy accordingly.

But I’m proud that we are still selling so well into China.”

He never forgets the many lessons and words of advice passed down by his father - particularly reminding him that many companies he once admired have now closed.

“LED technology has evolved very quickly and I know some of those companies won’t survive. I want to make sure we remain in the market and to have people trust the www.mondodr.com

Photo: Ralph Larmann

Photo: Blair McLaren

30 INT ERVIEW

brand.

“The other thing my father always insisted on was to know about the technology. I had to know how it works and I had to know how it’s made. He said keep your two feet on the ground and know that things can happen quickly. Stay humble and always listen in order to react quickly.”

At 46, he is nowhere near ready to pass on the baton to the fourth generation of Juliats. When he is, there are two potential heirs in waiting. “My elder son is 16 but I don’t want to put any pressure on him,” he said, towing the family line.

Robert Juliat is quintessentially French in its culture and its business ethic harks back to a bygone era before corporate greed became the business trope that it is today.

To an age when life was simpler, and well... more decent. “Time is accelerating so much quicker today,” he observed.

Only when asked what pursuits he enjoys outside of the workplace does François Juliat appear slightly lost for words. He says he simply enjoys being with his family.

Pushed further, he said: “I’m a big motor bike fan. But I’m a very ordinary person really.”

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32 REP ORT: NIGH T CLUBS

U NIV E R SAL COMPANY: SHOW TECHNOLOGY LOCATION: SYDNEY, AUSTRALIA

After its closure in 2017, Darlinghurst’s legendary gay venue, Midnight Shift, has been resurrected

by Universal Hotels, a Sydney-based hospitality group owned and operated by the Kospetas family.

Universal Hotels picked up the 1000 sq metre building last June for a reported AUD12 million and have relaunched it as Universal, a rebranded music venue and LGBTIQA+ safe place.

“Universal is an evolution of the Midnight Shift, rather than a revolution,” explained owner Jim Kospetas, who plans to respect the special role that the venue has played for the LGBTIQA+ community and continue its long-held legacy of inclusivity.

Jim, who is very tech savvy, contacted Show Technology with a brief that was music to the ear - lots and lots of fixtures. He wanted masses of beams and good sight lines throughout the venue.

Tim Macfie of TDM Productions was chosen to design the lighting system due to his long standing reputation within the clubbing world, plus his understanding of the gay community, as well as the straight events held at the venue.

“They wanted someone who could meet the needs of all markets,” he explained. “As it’s a really tough time in Sydney for nightlife, we needed to look at ways to multifunction the space. Consequently, it was crucial to bring the lighting up to a world class level from a production point of view.”

Tim was keen to create lines of symmetry in the room, while keeping the three circular trusses that the Midnight Shift was known for. Therefore, the initial refurb saw the entire roof stripped out and a brand new mother grid installed. The truss circles were relocated within the venue and a new stage truss established.

Each of the three truss circles is ringed by eight Martin by HARMAN RUSH MH10 Beam FX, a compact and lightweight fixture with an independent, built-in LED ring. The LED ring offers the venue a range of new design opportunities, and the continuous pan and tilt also provides a number of interesting high-speed looks. These unique looking fixtures are certainly a talking point in the venue and Tim loves that they can spin a full 360° without stopping.

“With 24 individually-controllable LEDs surrounding a central beam lens, the RUSH MH 10 FX offers us so many visual effect possibilities,” he said. “We added a further 14 RUSH MH 10 FX located on trusses down the side of the venue.

They really are an excellent choice for a range of creative applications.”

The venue is embellished by a myriad of mirror balls, mirror cubes and a DJ box with a fascia of 1,500 pieces of hand-cut mirror tiles - so lots of beam action was important to get the most out of the mirrors. Consequently, each circular truss also houses four EK K4 LED Beam moving heads

that produce tight, solid beams with 17 gobos and ultra-smooth pan/tilt movement. State-of-the-art LED and optics combine to deliver the coolest brightest beam of its size.

“The K4 LED Beams are very bright and have a very fast pan/tilt rotation,” added Tim. “By adding them to the truss circles I got the symmetry required for the mirror ball hits. We placed eight more down the side of the room to create a different perspective from mezzanine level.”

For a bit of flash, two Martin by HARMAN RUSH Strobe CWL were added to each truss circle with two more located on the bridges framed by mirror clusters. The versatility of these bright and compact LED linear strobes means they can deliver a single flash to a blinder effect, making them the perfect companion for the rest of Tim’s rig.

Tim’s design is targeted towards the centrepieces within the truss circles; each truss circle envelops an Ayrton CosmoPix-R, crystal bead chandeliers and mirror cubes on the centre ring and additional mirror effects on the outer ring. Tim worked closely with Peter Sykes from Psyklonic in all the mirror ball creations and the pair of them decided to go one step further.

“As the CosmoPix-R is shaped like a mirrorball, we couldn’t resist turning it into one,” laughed Tim. “Once you start using your imagination you soon realise this light has a 100 different cool effects.

33 REP ORT: NIGH T CLUBS

A total of 16 Martin by HARMAN RUSH Scanner 1 LED fixtures create dramatic atmospheres and dynamic effects that boost the visual impact of the venue, while still keeping the original feel of Midnight Shift by keeping the retro scanner look.

They run parallel down the sides of the room so that they can cover the entire dancefloor.

At either end of the room are four PROLIGHTS STARKBAR1000 powerful and zoomable LED moving batten, which can be used as a light curtain, CYC light or washlight. Each of the LED pixels are individually controllable for a host of impressive effects.

“I wasn’t sure about them at first but they can completely change the architecture of the room,” Tim said. “They marry really well with the mirror design and if you point them straight out they’re a good events blinder.”

Four PROLIGHTS AIR6PIX LED moving battens are located on four dropper bars either side of the DJ to frame LED screen with Tim saying they provide nice geometric elements. Again, each of the LED pixels are individually controllable, and both sides pivot to create classic ACL looks. With infinite rotation of both pan and tilt, they certainly add a wow factor to the lighting rig.

The balconies are dressed by four strings of Martin Exterior VC-Dot 4 (64 dots per string), a lightweight string of individually controllable, bright Dots, which Tim says provide colour and

depth to the room.

“They are strung around three-quarters of the room, adding a lovely colourful architectural element and as the night progresses they chase and strobe more and more,” he added. “They are a great way to multifunction the room; we used them for the Mardi Gras Awards event which had a specific colour branding and they really liked that we could carry through that colour in the architectural lighting. The VC-Dot 4s help us get away from a standard nightclub feel, to a more stylish and attractive room for the corporate market.”

Atmosphere is provided by a couple of Look Solutions Unique 2.1 hazers chosen by Tim for their reliability - in fact he has them in all the venues he looks after.

Control is via an MA Lighting dot2 XL-B console, which is essentially a dot2 core console with a dot2 B-wing built-in. This effectively adds another 48 button executors to the original core package.

The fact that the team at Universal are able to run this massive rig off a dot2 shows just how powerful this console really is. Truth is that with 3,092 used channels out of the available 4,096, they are utilising just over six full universes of DMX, making Universal’s dot2 XL-B the heaviest populated dot2 console in Australia, and one of the heaviest populated consoles in the world.

“It’s a privilege to see a high profile venue pro-

gramming and operating the dot2 XL-B every week in Sydney,” commented Gareth Mealing, Show Technology’s NSW Technical Sales consultant. “With 405 individual fixtures patched into the console, it allows the programmers endless possibilities while pushing them to use the console and rig to its full potential. It just goes to show this really is a powerful console and should not be underestimated.”

It was quite a journey to bring the sparkle, colour and glamour back to this iconic venue and Show Technology has enjoyed the project.

“The support from Show Technology has been incredible,” commented Tim. “Gareth is fantastic to work with and has given me great support.”

With the new renovation, Universal has raised the standard of performance and production to a new level in Sydney. The team has thought outside the box to add new design elements to existing fixtures, which help tie the entire room design together to entice corporate events and high level performers back to Oxford Street. Having recently re-opened the doors they have already had the privilege of hosting acts such as Ben Bohmer - Anjunadeep, Spencer Brown - Anjunadeep, Return to Rio, Hernan Cattano, James Ziebela, Marco Faraone and Solarstone. www.showtech.com.au

Photos: C Faruolo

34 REP ORT: NIGH T CLUBS

T H E PR I N T WOR KS COMPANY: D&B AUDIOTECHNIK LOCATION: LONDON, UK

Once home to one of Europe’s largest printing presses, Printworks is now a massive clubbing and events hub, mixing industrial aesthetics with world-class lighting and sound technology. Transforming the vast expanses of concrete and metal into a sonically successful space presented some serious challenges, leading Manchester-based sound and lighting outfit, dbnAudile to a d&b audiotechnik solution.

The Printworks’ complex has been welcomed as a much needed cultural and events space for London, echoing the raw, brutalist splendour of Berlin’s Berghain or Gashouder Amsterdam. Six separate rooms are situated within the 119,200 sq ft Surrey Quays building - a network of minimalist shells, which nod to a bygone era while crying out for a raison d’être.

At Printworks’ core is the 3,000 capacity live room - ‘Live’ a rugged and unconventional enclosed space measuring 70-metres by 13-metres, with a

five-storey-high ceiling. On one side of the room, an unforgiving and imposing cliff-face brick wall looms. It is one of the most corridor-like dancefloors in the capital. dbnAudile were commissioned to specify and deliver a loudspeaker solution, which would counter the kooky space and harness its sonic potential.

“Our brief was clear: to supply nothing short of a world-class sound system,” said dbnAudile’s Rob Ashworth. “In this tough acoustic environment, pattern control was the key. The class-leading directivity control of d&b audiotechnik systems made them ideal for Printworks. We obviously had to be very careful about reflections in the live room and ensure that the direct-to-reverberant sound ratio was kept high for every audience member.”

The solution to this - designed and fine-tuned in the d&b audiotechnik ArrayCalc software - was eight

www.mondodr.com

relatively small hangs of d&b audiotechnik J-Series and V-Series tops, configured as mains and three delay lines, flown at low level. These consisted of 24 d&b audiotechnik J8/J12 loudspeakers, 24 d&b audiotechnik V8/V12 loudspeakers, and 12 d&b audiotechnik J-Subwoofers. The d&b audiotechnik D80 is on amplification duties for the J and V tops, with the D12 serving the J-SUB subwoofers.

“The response to the systems has been extremely gratifying,” Rob continued. “With Live being a brand-new space, never used for events before, there was concern that the acoustic environment would lead to poor sound, but everyone’s been blown away with the results we’ve achieved.”

Adjacent to Live is the ‘Electronic’ room, which presented more challenges. Slightly longer than Live, with first-floor balconies down the full length of both sides. The distance between these balconies

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is just five-metres, and approximately 60% of the audience area is underneath them. This eliminates the possibility of a flown system, so ground stacking is the only feasible option.

As with Live, the extreme length of the room demanded a distributed system to ensure consistent high-quality coverage.

“The solution was 12 stacks of J-Series and V-Series tops and subwoofers - 72 cabinets in all, configured as mains and five delay lines,” Rob explained. “We have a pair of J-INFRAs in there too, and the ultra-low frequency response of these is the icing on the cake for club events, giving the sound a real physical element, that and a massive feel.”

“We’re very proud of the bass response particularly. The cardioid subwoofer technology developed by d&b audiotechnik is the key to this - conventional omnidirectional subwoofers in this configuration gave compromised low-frequency coverage with the cancellation that was going on between stacks, but this system gives us exceptional consistency of frequency response - as well as level - across the whole space.”

The d&b audiotechnik system is now regularly pumping out spins by global DJs and acts including Deadmau5, Armand Van Helden and Chase and Status. www.dbaudio.com

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36 REP ORT: NIGH T CLUBS

MR18 C LUB COMPANY: APG LOCATION: GUANGZHOU, CHINA

The MR18 Club project was born from a previous collaboration between the club’s founder and Ben Huang, TR Audio’s owner, Guangzhou-based integrator of many nightclubs in China. Back in 2010, the two had worked together for the Luocheng 88 club, so when the same investors planned to open a new club in Shantou, they wanted to renew the satisfaction they experienced with TR Audio in terms of workmanship and level of service.

Ben understood the level of expectation from the investors, which was building the number one club in Shantou. To answer to this prestigious demand and meet all the requirements, TR Audio trusted APG, French manufacturer of professional loudspeakers, and its Uniline system.

As a demonstration, Ben brought the club’s investors to the 0760 Plus nightclub in Zhongshan, equipped last year with APG’s Uniline.

The clients were impressed by the constant

SPL, showing zero distortion, and the deep and punchy bass. After having heard some other brands’ presentations, they couldn’t find the same performances they experienced listening to the Uniline. Consequently, they chose APG without any hesitation.

The APG Uniline system deployed in the MR18 club comprised eight UL210, 10 UL210D, dedicated down-fill loudspeakers, and eight UL115B for bass reinforcement. The PA system is completed by four DX15’s and two SMX15’s, both APG coaxial loudspeakers. For the subwoofers, TR Audio team elected 14 TB218S’s and four TB215S’s.

Placing them was a significant challenge, in most Chinese clubs; the disposition of the sound system’s choice comes last in the whole installation process. Therefore, integrators have to sacrifice the best location of the subwoofers, already taken by tables, sofas or chairs. To combat this, APG www.mondodr.com

established a study along with TR Audio’s teams, during a visit to the club by Gregory Dapsanse, Sales and Marketing Director at APG and Eric Grandmougin, Marketing and Technical Support Director for Active Audio, APG’s sister company.

Their aim was to find the best location with minimal compromise. APG system’s performances, and the numerous setting possibilities offered by APG through remote electronic control, allowed to deep and powerful bass to be obtained, despite the restrictions.

Responding to the very high level of SPL that the club required, the Uniline has successfully delivered a pristine sound performance without any distortion, thanks to the APG DMS48 digital processor and the remote-control software, APG Live Manager. www.apg.audio

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38 REP ORT: NIGH T CLUBS

T R IO COMPANY: D.A.S. AUDIO LOCATION: SOUTH CAROLINA, USA

Trio, Charleston’s downtown dance club and lounge has a new owner, a million-dollar renovation, and a lineup of internationally-recognised DJs, which were unveiled during the club’s grand opening weekend. Renovations include a technologically-advanced light and video production system and D.A.S. Audio loudspeakers throughout. In addition to loudspeakers from the company’s Artec and Ventec product lines, Trio also serves as a ‘proving ground’ for the forthcoming E11EVEN Sound by D.A.S. Audio loudspeakers. iDesign, a Miami, Florida-based audiovisual design / build integration firm, was contracted to design and deploy the new sound reinforcement systems throughout Trio. Michael Meacham, the company’s owner and lead designer, worked in conjunction with D.A.S. Audio’s National Sales Manager for Installation and Nightclubs, John Fiorito, to create the new sound systems. He discussed the project and his reasons for deploying D.A.S. Audio loudspeakers.

“Trio includes an upstairs club, a downstairs lounge, plus an outdoor patio area - all of which

totals approximately 6,400 sq ft of space,” Michael explained. “The upstairs area focusses on a combination of electronic dance music, Top 40, and generally maintains an open format. This club also has several shows each month on Thursday evenings. The downstairs lounge and patio areas also have live music, with the focus being Top 40 cover bands. Because of the emphasis on live music, it was important to deploy loudspeakers that had accurate reproduction and solid dispersion characteristics so that the sound would be evenly distributed throughout the spaces.”

In the first floor lounge area, the iDesign team deployed four D.A.S. Audio Artec 310.96 twoway point source loudspeaker enclosures. For low frequency reinforcement, there are also two D.A.S. Audio Vantec 18 bass reflex subwoofer systems; this combination of loudspeakers was installed in a mono configuration.

In the second floor nightclub area, Michael and his installation team deployed the forthcoming E11EVEN Sound by D.A.S. Audio loudspeakers.

This was part of an effort to provide world-class

loudspeakers optimised for this type of environment while also being able to fine-tune the performance attributes of the new enclosures. Here, four ES-10 top boxes surround the dancefloor at a height of 12 ft in a true four-point stereo configuration. These are augmented by a pair of D.A.S. Audio’s ES-218 subwoofer enclosures that are coupled in front of the DJ - underneath the stage - in a mono configuration. Completing the setup, there are also two DAS Audio Artec 308 two-way point source enclosures that serve as sidefills.

When queried about the attributes that made the various D.A.S. Audio loudspeakers so well-suited for use at Trio, Michael offered the following comments: “The new E11EVEN Sound by D.A.S. Audio loudspeakers are currently under product development and I’m certain this environment will serve as a terrific application site to learn about and fine-tune the loudspeakers’ various performance traits. The dispersion of the ES-10 is 110° horizontal by 50° vertical. The loudspeaker delivers extremely smooth clarity throughout

the high frequency and the 10-inch woofer handles 1,000W of continuous power. They deliver the beat all night long under the stressful conditions where DJs push the system for hours on end. The system is suspended with M10 eyebolts and three point aviation cable rigging.”

For a project of this nature, responsive support services are crucial. In this regard, Michael rates D.A.S. Audio highly. “D.A.S. Audio’s John Fiorito provided full support from design through final commissioning of the sound system,” he reported. “John is a highly qualified technician who has been a leading installer and designer of nightclubs since 1992 and previously worked for Sound Investment Audio, where he managed the east coast’s most prestigious accounts such as Funktion-One. D.A.S. Audio was a terrific partner on this project.”

With the D.A.S. Audio loudspeaker equipment up and operational, Michael said his client is very impressed. “Trio continues to be one of the busiest nightclubs in Charleston every Friday and Saturday night,” he said. “Trio owner Eric Gussin, the various DJs, and guests have all reported positive feedback. Eric Gussin has been ecstatic with the outcome - stating that he has never heard anything sounding better in terms of clarity and coverage.

The bottom line is, everyone is extremely pleased with the new sound system.” www.dasaudio.com

40 REP ORT: NIGH T CLUBS

H CLUB COMPANY: MARTIN AUDIO LOCATION: HALONG BAY, VIETNAM

Situated at the Starcity Halong Bay Hotel, Vietnam, H Club has not only revived the golden age of nightlife in Vietnam, but has also raised the standard of performance and production to a new level. It follows the business philosophy of enhancing the customer experience by providing the latest technology and advanced architectural design, construction and general services.

To reach this goal, a Martin Audio THV threeway bi-amp loudspeaker system, purpose-designed for advanced nightclub performance, was detailed as the centrepiece of a high specification package provided by Duc Proaudio, Martin Audio’s Vietnamese distributor.

Halong Bay is widely considered to be one of the Seven Wonders of the World. Located in the middle of the Bai Chay tourist centre, H Club was built on an area measuring 4,000 sq metres and has a capacity of 1,200 people.

With more than 10 years’ experience, the investor, Mr Bui Minh Hong has made an enormous contribution to the nightlife tapestry with venues such as Ha Long Club, New Ha Long Club, Ha Long View KTV and Phantom Karaoke. In putting together his operational team for this latest venture, Mr. Hong said: “If you come to Ha Long

and don’t visit H Club, it’s like you didn’t come to Ha Long Bay at all.” A visit to H Club, he said, is required to fully appreciate how this level of investment has taken the clubbing experience to a new height.

The investor selected Duc Proaudio, as the audio design consultants and installation contractors.

Mr Pham Duy Duc, Director of Duc Proaudio, had no hesitation in recommending Martin Audio. “If you are a serious player then you will have heard the superior sound of Martin Audio systems,” Mr Duc said. “As it is a brand name trusted by leading bars and clubs in Vietnam and around the world. Typical names using Martin Audio sound systems, supplied by Duc Proaudio are Gold 2 Club, Canalis Club, Barroco Club, Deluxe 030 Club, Kashso Club, XingXing Club and Gaia Lounge in Hanoi.”

“But the sound system required at H Club takes this to a completely different level,” he continued.

And by this he was referring to the new THV. “These loudspeakers were developed last year to replace the existing H3+ series in Vietnam.”

This high-performance, high bandwidth fully horn-loaded system contains a Hybrid 15-inch low frequency with reflex loaded four-inch voice

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coil and ‘Phase Ball’ loaded midrange. Driven by a 10-inch midrange driver, it maintains the constant directivity characteristics of the horn at the upper end of its range. The 70° by 40° high frequency section features a one-inch neodymium exit compression driver, with Kapton diaphragm for extended high frequency performance.

According to Mr. Duc, this creates a clear, high SPL sound with its own distinct signature. He said: “The sound feels lighter and those who come to H Club will definitely form a strong impression, especially with the SXH218 subwoofer, which is set up based on the latest Martin Audio Subwoofer Array Arc Delay Calculator software.

This creates bass uniformity throughout every position in the club, which really comes alive.”

To achieve this they specified 16 THV enclosures and 16 SXH218 subwoofers, with a further 16 CDD15B as loudspeaker delays.

These are powered and processed by Martin Audio MA2.0 and MA5.2K amplifiers, with an iK42 running Dante from a DiGiCo SD11 mixer.

The DJ monitor system also features four CDD-LIVE 12 loudspeakers and four SXP 118 subwoofers. www.martin-audio.com

42 REP ORT: NIGH T CLUBS

BA R 1 51 COMPANY: ELATION LOCATION: NEW YORK, USA

Tirso Lighting has installed an all-LED Elation lighting package for another Wahi Group club opening in northern Manhattan. This time its Bar 151, an upscale lounge and performance space in the neighbourhood of Inwood, a quieter and more affordable enclave of New York City that has become increasingly popular of late.

Tirso Lighting has been around since 2009, and has been using Elation lighting since its inception. Nevertheless, Bar 151 was the design and integration company’s first all LED lighting project. “I was really looking forward to doing an all LED project and this was a good chance to realise that,” said Tirso Lighting owner, Tirso Pelaez, Lighting Designer on the project, who suggested the green approach to the client. “Elation’s choice of products allowed us to

put together an all LED lighting package for Bar 151 that can stand on its own.”

Bar 151 is an intimate venue with a capacity of about 300. Because it is tucked in a narrow space, Tirso said it was important to keep patrons moving away from the entrance once they enter the club.

His design therefore sought to draw people to the back of the club where the stage is, which doubles as a VIP area.

“We wanted to attract guests to the back, near the stage, and then fill the club in backwards from there,” the designer said. “We covered the stage and the area in front of the stage, which is the dancefloor, with lighting to entice people to move deeper into the club and avoid congestion near the door.”

As the ceiling height in the back of the club is higher

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than at the entrance, it also provided more room to mount lighting fixtures and made for a better space to compose a more effective lighting design.

Tirso took a symmetrical approach to the design, pairing Elation’s narrow-beam DARTZ 360 LED moving head with compact ZCL 360i single beam moving effects over the stage/VIP area. More DARTZ fixtures alternate with E Spot III LED moving heads over the dancefloor. Also over the dancefloor area and directed toward the stage are SixPar 200 LED Par lights along with Protron 3K strobes.

The system works double duty as both performance and dancefloor lighting.

“The DARTZ has a nice beam look. I like that we can also use it as a spot fixture with its prisms that give off a gobo look. Its output is more than enough

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for the space,” said the designer. “The venue’s small size fit well for a compact moving light effect like the E Spot III. It’s a fixture we use often because of its versatility.” On nights when there are no on-stage performances, the stage doubles as a VIP section that overlooks the dancefloor. “We can then use part of the lighting system to put focus on the VIPs on stage and really make them feel like stars.”

Tirso Lighting’s first fully LED lighting project has been beneficial for both company and client with Tirso saying it made for an easier system that bypasses a lot of headaches. “For one, it eliminates steps like striking on and off the lamps. I have heard stories of discharge fixtures being kept on accidentally all night or sometimes for days, the cost associated with that is tremendous. It uses up the bulb but also the components end up failing from overheating, fixtures go down and the club suffers because of it. Once you dim the LED down to zero, it’s off, you get longer lasting fixtures and a more reliable system.” www.elationlighting.com

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TAO COMPANY: K-ARRAY LOCATION: CHICAGO, USA

The Chicago nightclub and restaurant hybrid, TAO, is housed in a landmarked Romanesque Revival building in the River North neighbourhood of Chicago. Designed by New York-based Rockwell Group, the space’s aesthetics reflect the theme of existing TAO locations in New York, Las Vegas and Los Angeles, outfitted with Asian-inspired artwork and décor, such as custom wall sconces and laced chandeliers that accent some of the building’s original architecture, including arches, exposed brick and arched windows.

The restaurant seats up to 300 diners and hosts a DJ booth while the 7,000 sq ft, 1,000-person capacity nightclub resides on the second floor and is equipped with two bars, a lounge area, dancefloor and DJ booth.

Based on prior success and extreme satisfaction with the audio solutions employed in other TAO Group initiatives, Rockwell’s go-to audiovisual consultant, Anthem Sound Stage and Lighting, again selected K-array to meet the many aesthetics, performance, reliability and sound quality require-

ments presented by the clients.

Given its unique performance-to-size ratio, eight Python-KP52 half-metre loudspeakers and eight, Python-KP102 metre-long loudspeakers were integrated seamlessly in the main dining area paired with six Thunder-KMT18P 18-inch passive subwoofers driven by two Kommander- KA24 2,000W amplifiers and two Kommander-KA84 8,000W amplifiers. Tornado-KT2C and KT2 point sources were in abundance and installed throughout the room. The DJ booth in the restaurant was equipped with one Dragon-KX12 driven by one Thunder-KMT18 I subwoofer.

At the other TAO locations, K-array had not been used in the nightclub, however, at TAO Chicago, the owners trusted Anthem’s expertise when they suggested using a live sound system that was less aggressive than the others for a better experience for the clubbers, but yet still maintained a powerful sound with high-definition. Anthem tested the Firenze-KH7 touring system in the venue and TAO was moreover impressed with the high perfor-

mance from its compact design that incorporated perfectly in elegant space.

For the main PA, eight Firenze-KH7 loudspeakers were flown in each corner with eight Dragon-KX12 point sources above the VIP tables. For the low end, six Mugello-KS5 subwoofers were dispersed around the room while three Firenze-KS8 subwoofers were installed under the console at the DJ booth, which was equipped with four Dragon-KX12 units paired with four Thunder-KMT18 I subwoofers.

TAO’s nightclub celebrated its opening weekend in late September with performances by several high-profile DJs, including DJ Ruckus and EDM superstar Deadmau5 leaving no room for error from the system. After a successful launch and continued satisfaction with the audio, the owners and Anthem are all happy with the system’s sound performance. www.k-array.com

tions on the island of Ibiza.

Blue Marlin enlisted manufacturer, GUIL, to design and produce complete stages and individual platforms for go-go dancers in its Ibiza beach club, as well as the VIP and DJ areas, thanks to the wide range of products it offers and how versatile they are.

The TM440 modular platforms were chosen for their special weather resistant finish as standard, as they are used in the outdoor areas of the club.

GUIL makes its platforms with 100% birch plywood from the prestigious Finnish manufacturer, WISA. They are independently tested for a load capacity of 1,200kg per sq metre, with a safety ratio of 1.95, which is required to meet the standards they comply with. These features, along with all the other high quality components used such as the stainless steel connectors and aluminium handrails

and access stairs, makes the stages both reliable and durable.

GUIL took care of the truss structures for the clubs.

The structures were made to order, with TQN290 truss of special shapes and lengths giving them a black anti-scratch coat, creating not only a discreet and sophisticated look, but also adding to their durability. These two main items were accompanied by support equipment for DJs and many rigging accessories such as clamps, slings and hooks, among others, all manufactured by GUIL. The attention to detail in all GUIL’s products is what caught the project manager’s eye: “We wanted solutions that are not only stylish but that would stand the test of time, considering that we are by the sea and most products can rapidly deteriorate in these conditions. GUIL was the perfect option for us.” wwww.guil.es

BLUE MAR LI N COMPANY: GUIL LOCATION: IBIZA, SPAIN

Blue Marlin Ibiza is a sophisticated and cosmopolitan club, located on the island of Ibiza. The most popular artists and celebrities can be seen drinking or dining in the terraces and restaurants of the beach club, enjoying unique and unforgettable moments all year round.

Blue Marlin Ibiza opened in 2004 and including this year, has been open 15 summers, offering an experience that aims to satisfy even the most demanding of customers. Boasting DJ sessions from the most distinguished and renowned DJs in the world, a Mediterranean cuisine that focusses on local produce and a live music scene, full of talent and creativity, which all make for a unique experience.

The club took the opportunity to grow as a brand and created a corporate group that is continually expanding, taking its upscale beach clubs to places such as Dubai, Mexico, Greece and various loca-

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46 REP ORT: NIGH T CLUBS

BOSSANOVA BALLROOM COMPANY: PRESONUS LOCATION: PORTLAND, USA

The Bossanova Ballroom is a multi-storey, flexible use event venue, with an open and inviting atmosphere. The venue is configured to host a variety of events ranging from large concerts for up to 650 people down to intimate gatherings for as few as 50. The venue has two primary floors for live music, plus an intimate third floor space that accommodates up to 150 people for corporate events, wedding receptions, and more. Management recently installed new sound reinforcement equipment and, as an integral part of the new setup, CDL and WorxAudio loudspeakers from PreSonus Audio Electronics of Baton Rouge, LA were chosen.

Viation, an audiovisual design/build firm servicing the worship, broadcast, and commercial audiovisual markets were contracted to design and deploy the new sound system at the Bossanova Ballroom. John N. Wilson, Viation’s President and CEO, who oversees system design, event management, and sales for the company, ultimately penned two systems, one for both upstairs and downstairs. He discussed the project and his reasons for deploying the PreSonus equipment: “The Bossanova Ballroom hosts a wide array of music events, including heavy metal, hard rock, EDM, and jazz,” explained John.

The venue is designed as a multi-use space that can accommodate both seated and standing audiences, and also includes an upstairs VIP lounge.

The management’s two primary directives on this design were wide, even coverage without a centre fill and an extremely high SPL requirement. The main downstairs room measures 40ft wide by 30ft

deep with an 18.5ft ceiling. The stage is centred along the rear wall facing into the width of the room.”

For this space, the Viation team deployed 16 WorxAudio XL1T-P two-way, high efficiency, active line array loudspeakers, flown eight elements each for the left and right sides of the stage. These are accompanied by six WorxAudio TL218SS-P extreme high SPL extended bass subwoofers.

These ‘super-subs’ are positioned on the floor, stacked three enclosures each for the left and right sides. “With eight XL1T-P enclosures per side, we were able to achieve 140dB at FOH, which fully satisfied the SPL requirement,” John said. “The enclosure’s broad, 160° dispersion pattern also provides full stereo coverage up to the front of the stage, therefore eliminating the need for a centre fill.”

“The smaller, upstairs space capitalises on the flexibility provided by PreSonus CDL Series loudspeakers,” John explained. “The setup includes a single PreSonus CDL12 constant directivity loudspeaker pole mounted atop a CDL18s active subwoofer; positioned one pair each for the left and right sides of the stage. This system also takes advantage of the PreSonus digital mixing console technology with the inclusion of a StudioLive Series III 32-channel digital mixer and USB audio interface with motorised faders. This upstairs space is open to the main venue and serves as the VIP lounge during shows. It can also be closed for private events.”

With many installations, questions inevitably arise, so capable and responsive customer / www.mondodr.com

technical support services are crucial to keeping many projects on track. In this regard, John rates PreSonus Commercial Audio customer and technical support services best in class: “As always, PreSonus’ customer service and personal support really sets the gold standard for the industry.

We couldn’t be more pleased with the fantastic support we received on this project, starting with the design and culminating in the final tuning of the system by PreSonus Commercial Division’s Director Tony Flammia.”

The Bossanova Ballroom project was installed in early February and, according to Joe Gallagher, Head of Production and Talent Buying at the venue, the new equipment has been exceeding expectations: “The XL1 line array with the super-subs is really an amazing system. These array enclosures are clear and musical, and with the low-end output from the TL218SS subwoofers, the impact is nothing short of exceptional.”

John was equally enthusiastic about the completed system: “Our crew worked efficiently and tirelessly to get this project completed in the very tight timeframe allotted due to scheduled shows and the worst winter snowstorm in the region in decades. We are pleased to report that the new sound system is being very well received, not only by management, but by the various acts that have performed through it as well as the patrons. The combination of PreSonus products, backed by the company’s excellent support team, has resulted in yet another exceptional installation we are very proud of.” www.presonus.com

Photos: Icarus Wilson-Wright

YES COMPANY: OPTOMA LOCATION: MANCHESTER, UK

The beautiful old Cape Dunn auction house in Manchester has been transformed into a four storey live music venue and bar, comprising two bars, a kitchen serving street food, pizza from Pepperoni Playboys, two gig and club spaces and a roof terrace.

Hollowsphere was appointed to provide both the lighting and projection equipment that would be used for live music visuals, film screenings as well as digital signage.

With a 250 capacity, the Pink Room on the first floor is the largest of the gig spaces and needed a bright projector to fill the large projection area. The team chose the powerful WUXGA resolution Optoma WU515ST projector for the venue, which has a large zoom range, lens shift, built-in HDBaseT and four-corner geometric adjustment to simplify installation. The team ran video over HDBaseT using SY Electronics’ HDMI to HDBaseT converters.

Adrian Ball, Director at Hollowsphere, said: “We needed a super bright projector for the largest gig space and the WU515T fitted perfectly. The inbuilt HDBaseT made installation straightforward.”

They installed the Full HD resolution EH400+ projector in the basement space, which gives a platform to emerging artists, and the short throw Full HD EH200ST on the stairs for digital signage.

Adrian added: “There was very little room on the stairway so we needed the short throw projector to accommodate this lack of projection distance. And the EH400+ is a great cost effective all-rounder for the basement.”

All projectors are fitted with Raspberry Pi boxes to provide scheduled digital signage and can be operated remotely for music visuals on club nights.

YES opened its four-storey sanctuary for musicians and music-lovers in September 2018, with a different vibe on every level. The projectors are used on a regular basis for film events and background visuals for bands and DJs. Adrian said: “Having so many projectors in one building of this type makes it stand out from other bars and clubs. The imagery is bright and vibrant and really adds to the atmosphere of this venue. The feedback has been excellent and the club has been nominated for City Life best live music venue and bar of 2018.” www.optoma.com

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Photo: Luke Dyson

48 REP ORT: NIGH T CLUBS

ST UD I O 3 3 8 COMPANY: VOID ACOUSTICS LOCATION: LONDON, UK

Studio 338 is a crowd-wowing superclub that attracts clubbers from all over the world to its expansive premises in East London. Void Acoustics has been this venue’s sound system of choice from the outset, and together; these two businesses have shared an incredible journey together.

Following a tragic fire at the original club in 2016, the newly rebuilt venue is thriving like never before. Rising like the phoenix from the ashes, as depicted in a mural on the outside of the club, the rebuild brought with it the opportunity to extend the range of Void Acoustics products installed and mastermind an acoustic vision that best served the different indoor and outdoor areas.

Void Acoustics took great care really understanding what the team at Studio 338 wanted to achieve and worked meticulously on planning the sound system to ensure clubbers experience fully immersive sound, whether they are partying inside the main dance room, relaxing upstairs, or enjoying themselves outside in the garden.

Larry Field, Technical Manager at Studio 338, installed several systems throughout the club that are ideal for the different types of space. Opting for a four-point Air Motion system in the Terrace results in an undeniable connection with the music that feels the same, regardless of where guests are positioned in the room. The Studio benefits from six Air Vantages, angled perfectly

for maximum coverage. Meanwhile outside, the Nexus system ensures sound travels in a balanced way, right to the back of the garden, without overwhelming guests dancing near the front. With an aesthetically pleasing all-white fibreglass setup, uniquely customised with Studio 338 branding and logos, the Terrace’s Air Motions, together with the white Air Vantages in the Studio Room, and Tri Motions in The Loft make for a truly powerful audio experience in every section of the club.

Having such a vast area of large open outdoor space, together with indoor floor space to tailor the acoustics to, there were a number of technical challenges to overcome to make this installation a thriving success. Dan Perrin, Studio 338’s Music and Events Director, has praised Void Acoustic’s clever innovations to get the very best from what is, from an acoustic standpoint, an outdoor arena in Zone two of London.

Void Acoustics’ Managing Director, Alex Skan, noted that the biggest challenge was giving clubbers an incredible dance experience without incurring noise complaints from local residents; a mandatory requirement for the outdoor terrace area. “Using several acoustic techniques we’ve developed at Void, it was possible to get a high SPL arena in an outdoor area in the middle of London,” he said. “Previously the club was only permitted to have 89dB on the dancefloor; we managed to achieve levels in excess of 105dB, www.mondodr.com

without any noise issues.”

The problem was solved by deploying a bass array that focusses bass on the dancefloor, while reducing off-site noise to below ambient levels.

The super wide coverage from the Nexus 6 outdoors ensures even mid-high coverage for everyone attending 338’s legendary parties. Dan added that the problem-solving process included working closely with the local authorities to ensure all neighbours are kept happy.

“It’s loud, clear and precise. It’s a special place to play,” Steve Lawler, VIVa Music label boss and regular at Studio 338 said.

Dan has a wealth of experience hearing sound systems all over the world and knows exactly what he he likes: “I have always preferred Void Acoustics installations. We chose Void Acoustics for Studio 338 because we wanted to bring something both sonically and aesthetically new to London. I had already experienced Void systems at places like DC10 but we still put them through an audition process against all the major players.

Unsurprisingly, Void Acoustics won out; we find Void systems have a uniquely warm and round feeling that suits us more than the output found in comparable products from other brands. It’s a bonus that the loudpeakers look so distinctive and eye-catching too. The support we have received from Void has been second to none.” www.voidacoustics.com

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50 REP ORT: NIGH T CLUBS

IMPÉ R I AL COMPANY: OUT BOARD LOCATION: BRUSSELS, BELGIUM

In the heart of Brussels, private members’ bar Impérial oozes with charm and the underground cool of a turn of the last century speakeasy. The vintage atmosphere and jazzy vibe that draws guests in, however, integrates a full, leading edge, audiovisual solution with TiMax SoundHub and dcontrol central to the immersive environment, realised from concept by Belgium’s premier design and installation integrator, FACE Projects.

The vision of Carl de Moncharline, owner and manager of several successful Brussels venues was for an ‘immersive environment creating spherical sound experiences’, as well as a stylish lighting system in keeping with the historical façade and vintage ambience of the venue, that was versatile enough for live jazz concerts, a DJ clubbing experience, or even as a cocktail bar. The challenge to create this in a low-ceiling and small, 300 sq metre space fell to long term and trusted audiovisual partner, FACE Projects, working in conjunction with refurbishment Project Manager, Laurent Grietens, of Wisely.

Simplicity was key to the specification for the venue.

Dramatically different sound environments would need to be recreated at the flick of a switch, which for FACE, made TiMax a necessity. FACE CEO, Karel De Piere, said: “I do not even want to think how we would set up the sound system without TiMax, no other product could provide this level of precise control.”

The TiMax SoundHub-32S spatial audio matrix controls a total of 38 discrete loudspeakers from Electro-Voice. Effective sound control without spillage is a deliberate consequence of the many distributed

loudspeaker sources, which help avoid noise pollution for the neighbouring buildings. Having said that, the loudspeakers integrated into the walls and ceilings of the venue are powered by three eight-channel Powersoft Ottocanali amplifiers and a Duecanali for the subbass units, which ensure a solid club vibe in the space.

Dave Haydon, Director of TiMax developers Out Board, visited to assist with immersive rendering of the space and programming object-based spatial effects. Zone overlays were created within TiMax to segment the venue space, which can also be aligned across the full venue area. From a static image for live music sets to dynamic movement for evenings of clubbing with a DJ, presets and different spatial effects are defined to suit the requirements of each of the club’s audio configurations and performance formats.

One of the most exciting soundscapes that activates the clubbing experience is described as a sound shower, which as the name suggests, submerges guests in sound, with TiMax spatially blending speakers spread along the low-arched ceiling of the venue with others in the walls. Stijn Vermeiren, FACE Project Engineer, added: “One of the set-ups makes soundscapes very simply travel into 180° on two axes, which even at quite low levels gives a very clear spatial feeling.”

Controlling TiMax, as well as all the other elements of the venue’s audiovisual system is the control solution, dcontrol, developed independently by FACE’s Vermeiren. Driving integration to the next level, dcontrol is a software-based solution that interconnects unrelated audiovisual equipment, fixing the highly complex

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problem of connecting devices that do not natively speak to each other. dcontrol links the venue’s devices, synchronising the settings and controls across an open management system not limited by a few brand protocols or closed systems.

The club’s haute technological backbone interfaces, but does not disrupt the magical veneer of the club’s ambience: the authenticity of its visage is paramount.

Impérial glows in the warm white rows of Lucenti Pearls, controlled and powered via DMX. Configured as a pixel LED ceiling matrix, 230 individually controlled Pearls are daisy-chained on wired festoon cable. The lighting integration appears historically authentic while also serving as versatile entertainment lighting, which has the full colour spectrum at its disposal for video-mapped lighting displays on club nights. It is also functional within the space as the festoon fitting and discreet DMX powering complement the low ceiling and further house lights are not required.

Club founder, Carl de Moncharline, is delighted with the outcome of the club integration. “The results are just as I planned for. The building is beautifully historic and we have worked with its style to create an equally beautiful inner space for guests to enjoy, which adapts to the club’s changing needs. I work with FACE because they realise in the space exactly what I ask for and more,” he said. www.outboard.co.uk

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52 REP ORT: NIGH T CLUBS

PA NAMA COMPANY: PIONEER PRO AUDIO LOCATION: AMSTERDAM, THE NETHERLANDS

The Panama nightclub in Amsterdam has been at the forefront of the Dutch music scene for more than 16 years, presenting a wide variety of styles and featuring a well-balanced mix of global and local DJs. The venue has a capacity of over a 1,000, and as well as its essential nightclub function, acts as a multi-purpose event space that puts on a diverse programme of events.

The production team at Panama is tireless in seeking to improve its customer experience and has progressively improved the sound system at the club over the years. Although happy that its existing system was good and met most of its needs, the club’s management wished to take the club’s audio provision forward and introduce even greater clarity, power and detail, to further enhance every aspect of its offer.

Seeking a more immersive solution, Panama chose Pioneer Pro Audio XY Series loudspeakers and appointed AVL Rent under the leadership of Wouter Ruijter to install the system. The new front of house system at Panama comprises four XY-3B and eight XY-118S and Club Manager, Thijs Eilerts, was immediately struck by the improvement: “My first impression was that I was

very, very happy. This was a far more immersive experience - way more crisp and it takes people to another level. You can hear way more detail in the sound through the system so you tell far better what the producer was trying to communicate through the music...through the sound system. As a sound engineer myself, that makes me very happy indeed.”

The clarity and power of the system and its importance to audience and performer alike, was a theme taken up by highly respected DJ, producer and owner of Toolroom records, Mark Knight, who recently played through Panama’s new XY-Series system and shared his thoughts: “When you go to a nightclub you want to immerse yourself sonically, so the system needs to have a real presence. If you play on a good sound system like tonight’s, loud doesn’t hurt you, loud is cool, it’s distortion that hurts and there was no distortion at all. What I really did notice was the stereo field was really quite distinct. There are certain things I play that I don’t normally notice playing live outside the studio but they were really quite apparent tonight.”

The feedback from clubbers has been excellent.

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Thijs reported that since the new system was installed, he has been approached by customers who are very enthusiastic about what they see as a clear improvement in the venue’s sound quality.

Panama’s Programmer, Nick Van Houtrijve, as might be expected, is delighted with the response. He sees the new XY-Series system as a fundamental driver of business at the club: “The first thing to say is that the sound is so clear.

It doesn’t matter how hard the system is being driven. That’s what people want - they want loud music but they want it clear. If the system is no good, people complain and the promoter is not going to come back. If you put in a new party and it’s the first time they’ve heard Panama, Amsterdam and they think it sounds amazing, they’re going to come back.”

The verdict on Panama’s new XY Series system is unanimous. The decision to upgrade the club’s system has been endorsed by management, customers and performers and is considered an integral part of maintaining Panama’s position as a hugely influential venue at the heart of Amsterdam music culture. pioneerproaudio.com

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54 REP ORT: NIGH T CLUBS

D C10 COMPANY: POWERSOFT LOCATION: IBIZA, SPAIN

Over the years, Ibiza’s storied venues and their associated parties have achieved mythic status among the initiated, and one of the White Isle’s most infamous hotspots, DC10, recently celebrated its 28th birthday, as well as marking two decades since the introduction of its keystone event, Circoloco. In order to properly acknowledge this momentous double anniversary, owners and co-founder of DC10 and Circoloco, Andrea Pelino and Antonio Carbonaro, gave the green light to a large-scale overhaul of the venue’s already impressive audio setup.

The new installation was set to encompass three main areas of the club, including their individual DJ booths - and required a major system architecture redesign. This vision became a reality thanks to a number of key relationships, and resulted in a comprehensive and professional audio system for the club - driven by a substantial backbone of Powersoft amplifiers.

Valerio Cherubini, owner and founder of project integrator, Loud Professional, explained: “For the last few years we have been extensively testing Powersoft gear, especially the X Series, and have had our best ever results. The optimisation of the system installed at DC10 became more precise thanks to the amplifiers’ fidelity and to the great potential of Armonía for truly detailed and smooth sound reproduction - we’ve never heard anything like it. This is why we decided it was imperative to have Powersoft by our side.”

The massive amplifier inventory previously installed at DC10, which has been in place for the past six years, was substituted for 20 of Powersoft’s powerful and energy-efficient X8 units. The ambitious project required an elite international team, which was comprised of George Stavro, Director of Sonic Lab Audio USA / Integral Sound, Christophe Chappelle (also from Sonic Lab Audio) and Loud Professional Italy’s Cherubini, Fosco Cicola, Michele Azzimonti and David Mandaradoni. There was also a local in-house team that comprised of Pedro Comesaña and Adil Jaabak, who provided additional assistance and were responsible for the day-to-day operation of the sound systems throughout the season.

Loud worked closely with George on the new loudspeakers, taking time to focus on presets that would help to achieve the desired results.

In the main room at DC10, the new system was designed with an L-C-R configuration consisting of four Loud Professional Formula F215 line arrays, four Loud Professional VH Sub121H subwoofers, eight Loud Professional VH Sub 118R subwoofers, four Loud Professional VH F15 loudspeakers and two Loud professional VH Sub 118Rs subwoofers. It takes five Powersoft X8 amplifiers to drive this configuration, with a pair of Xta DP448 audio management systems and a cisco router also in place.

On the terrace, the main system, again in L-C-R configuration, is made up of eight Loud Profeswww.mondodr.com

sional Formula F215 line arrays and 10 Loud Professional Formula F221 subwoofers, with the DJ booth housing a similar setup to the main room, consisting of four Loud Professional VH F15 loudspeakers and two Loud Professional VH Sub218R subwoofers. This setup requires seven Powersoft X8 amplifiers, as well as two XTA DP44801 digital processing amplifiers and a Cisco Router.

Finally, in the garden area, the main system consisted of six Loud Professional Formula F215 line arrays and four Loud Professional VH Sub218H subwoofers, with two delays - a larger L-C-R configuration consisting of four Loud Professional VH Layer112H+EMD line arrays and four Loud Professional VH Sub218R subwoofers, and a smaller L-R setup made up of four Loud Professional VH Layer112H+EMDs line arrays.

While the garden DJ booth rig was identical to that on the terrace, the system required eight Powersoft X8 amplifiers and two XTA DP448 digital processing amplifiers along with a Cisco Router.

DC10 owner, Andrea Pelino, concluded: “In my opinion, this is the best installation we have had at DC10. Everybody seems to agree, from DJs and producers, to promoters, booking agencies and visitors. We did it for all of them, ensuring that the sound quality is at its best and guaranteeing the maximum comfort.” www.powersoft-audio.com

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56 REP ORT: NIGH T CLUBS

Photos: Courtesy of Le Milk

L E M I LK COMPANY: HORTUS AUDIO LOCATION: MONTPELLIER, FRANCE

Hortus Audio recently developed a sound vision for a transformative project in a popular local nightclub in Montpellier, France. The plans were set for Hortus Audio’s French distributor (and parent company), Audio Sud, to install over 50 individual items from its inveentory of international brands. The loudspeakers, bass cabinet, line array cabinet, amplifiers and controller stemmed from nine different Hortus Audio products.

Le Milk , which is located in Saint-Jean-de-Védas in the Montpellier metropolitan area, would forever be changed by synchronised sound waves emanating from Hortus Audio’s premium clubbing system. With a capacity of 1,200, Le Milk’s owners sought acoustic power and reliability to cover the 600 sq metre nightclub.

With an average height of 5.5 metres, the 400 sq metre dancefloor was the centrepiece of Audio Sud’s installation of 16 610W two-way passive speakers and 16 1000W subwoofers. The 610W MP15 has a 15-inch bass reflex loudspeaker, a two-inch compression driver and delivers at eight ohms. The MP15 is part of the Hortus Audio passive speaker S Series, while the BW118 subwoofer is among four other products in the bass cabinet series. Five nights a week at Le Milk,

the 18-inch BW118 delivers at eight ohms with a bandwidth of 65Hz to 250Hz. The 16 loudspeakers and 16 bass cabinets were mounted across the walls in an equally distributed manner to channel all the songs and beats for the majority of clubbers. To further equip Le Milk, Audio Sud integrated two of Hortus Audio’s passive line array bass cabinet, the LVT15, in the 200 sq metre VIP lounge. The 15-inch double wave loudspeaker cabinet is often used with the 480W two-way passive line array, the LVT6. However, beyond the LVT Series, its versatility allows for multiple configurations. For the VIPs, each LVT15 powers four MP15. Meanwhile, for all the clubbers, the DJs wield a full range system to monitor and reinforce the sound levels.

Audio Sud installed two EVO-12A for the DJs. The 1000W low-frequency + 250W high-frequency amplified EVO-12A comes with an integrated digital signal processor (DSP). It has a 12-inch double wave loudspeaker, four by four-inch bass reflex loudspeakers and a oneinch compression. Hortus Audio’s sound vision and Audio Sud’s installation further expanded to crystallise Le Milk’s music and clubbing experience.

Behind the scenes, a delicate and comprehensive

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Hortus Audio sound system of amplifiers also enables the boom and bass for the club goers. A total of 11 amplifiers were integrated alongside the other equipment. Aside from installing eight amplifiers originating from three recently discontinued Hortus Audio DN series models, Audio Sud placed three EA-1000 amplifiers at the disposal of the club’s sound technicians and DJs. Developed in the middle of Hortus Audio’s EA Series between the EA-450 and EA-2000, the EA-1000 powers two 1,000W at eight ohms. It can also power two 1,700W at four ohms, as well as two 2,800W at two ohms.

The installation of the Hortus Audio DSP processor, the HSL-48, was vital for overall sound precision as well. With four inputs and eight outputs, the HSL-48 expands on Hortus Audio’s HSL-36 (three inputs and six outputs) and its HSL-24 (two inputs and four outputs). With built-in DSP and Wi-Fi, the HSL-48 processes the music ensemble for Le Milk in addition to processing a much wider range of Hortus Audio products. To the present day, Le Milk has chosen to solely rely on Hortus Audio to provide diverse music and beats for thousands upon thousands of clubbers in Southern France. www.hortusaudio.eu

8月刊.pdf 1 2019/6/20 15:50:31

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60 IN BRIEF - EMEA

Dutch theatre complex adds Clay Paky Axcor Spot 400’s.

The Kunstlinie Almere Flevoland (KAF) in Almere, The Netherlands, recently installed 16 Clay Paky Axcor Spot 400 fixtures in its theatre. Clay Paky distributor, AED Nederland provided the compact, bright LED moving spotlights.

KAF is a theatre and exhibition centre in Almere, which opened in 2007 and was renovated and took its current name in 2016. The complex features three performance spaces in the theatre and an exhibition hall.

“We were looking for lights that would work with a wide range of theatrical performances, concerts and event rentals,” said Maarten Bolt and Menno van Houten, Light techicans at KAF. “We did a long shootout of fixtures, and the Axcors stood out from the competition for their design, performance and attractive price. Plus, we had used the Axcor Spot 300’s once and liked them, so we opted for the new Axcor Spot 400 models.”

Part of Clay Paky’s Axcor family of fixtures, the Axcor Spot 400 offers

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61 IN BRIEF - EMEA

medium-power applications a compact, bright LED-moving spot with exceptional projected visual effects. It features two rotating dichroic glass gobo wheels with a total of 14 rotating gobos, an animation disc, a rotating prism, power-driven iris and 16-bit dimmer. It also boasts highly advanced colour management tools and an incredible 5.5º-55º zoom with extremely uniform light distribution at every beam aperture.

While lighting usage at KAF varies from show to show the new fixtures are

typically positioned with 12 in the hood and four on the floor, according to Maarten.

“Although the Axcors are brand new, we are very satisfied with the their performance so far,” he concluded.

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Photo: © AIDA Cruises

Photos: AllIs Amazing

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ROSTOCK, GERMANY EMEA

The latest vessel in the AIDA fleet, AIDAnova’s contract for construction was awarded to Meyer Weft in 2015 and built in its Papenburg shipyard for the world’s largest travel leisure company, Carnival Corporation.

Weighing 183,000 gross tonnes and measuring 337-metres in length, AIDAnova is the world’s fifth largest cruise ship and the world’s first liquefied natural gas (LNG) powered cruise ship.

A total of 2,626 cabins house a maximum of 6,654 passengers - the ship’s staterooms are available in 21 different categories, including double, single or family cabins, verandas and junior suites with a well-lit winter garden, as well as premium or penthouse suites with an area of up to 53 sq metres. AIDAnova features facilities such as a kids clubs and a beach club, a luxury spa, a spacious sun deck, and a fitness centre.

The cruise ship’s other features include a water park, a climbing garden and a mini golf course, in addition to a wide range of public areas and deck spaces for relaxing.

AIDAnova has a total of 17 eateries, including six-á la carte, five speciality and five buffet restaurants. The ship’s Lanai deck, which wraps around half of the ship and offers stunning views, is also equipped with restaurants, bars and a Lanai Bar at the stern.

System integrator, Amptown System Company (ASC) has integrated the ship’s media technology into the entertainment spaces onboard the AIDAnova. “In the highly competitive cruise market, it’s important for a shipping company to set itself apart from its competitors,” Malte Polli-Holstein, ASC Vice President Maritime Business explained. “A great deal of planning has taken place with the entertainment offerings and the restaurants on the AIDAnova to wow the guests. This literally

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started with a blank sheet of paper and began to develop tailored and innovative technical concepts. We refined these in the engineering process, together with the shipping company’s designers and planners and the Meyer Werft shipyard, and implemented them together with manufacturers using state-of-theart technology. We were able to take the experience we gained from previous projects, for example, in the areas of video and projection, or in the transmission of all multimedia signals in a fibre-optic network, and apply it to AIDAnova to spectacular effect and in new forms.”

The new AIDA show programme is perfectly taken care of by the new, extended technical features. The new ship in the AIDA fleet offers a different, innovative entertainment experience for every taste every day in a total of 13 locations, whether it be a live band set, a theatrical or circus performance on one of the many stages, DJs in a nightclub, or an all-encompassing dinner and show in one - the latter on AIDAnova being Time Machine. “Since the launch of the first AIDA ship, AIDAcara in 1996, a lot has changed in the design of the ship and therefore so has the entertainment,” said Ursula Maile, Senior Development Manager of AIDA Cruises.

Responsible for new entertainment programmes and interface management between departments, Ursula develops ideas and objectives, manages the conceptual aspects of these processes and passes on the mature ideas to operative colleagues including Bernhard Loesken, Senior Superintendent of Media Technics at AIDA. Bernhard, along with Malte highlight its most exciting and innovative entertainment technology while docked in Arrecife, Lanzarote, starting with the onboard Art Gallery.

ART GALLERY Passengers may not have the time to browse a gallery or attend an auction in their everyday, busy lives, but on the AIDAnova they have the time to idly browse artwork, invest in pieces and learn about the artist, thanks to the combination of a video wall and several multi touchtables.

A split screen Planar LCD video wall displays the artwork, as well as pictures of the passengers taken by the ship’s photographer. The custom video wall is six displays wide and two displays high - it is touch-sensitive on its entire surface and, offering the familiar functionalities of smartphones, with four XI-MACHINES servers powering content. XI-MACHINES is a leading manufacturer of high-performance workstations, server and custom solutions for professional continuous use based in Hamburg, Germany.

Passengers can engage with the wall, choose artwork, learn about the artists and resize prints.

Sensfloor mats from Future-Shape are hidden beneath the corridor’s wooden floor, directly in front of the display wall. People walking over the floor generate signals that are transmitted to a receiver. The Sensfloor receiver SE10F can calculate the number of people, their direction of movement and speed - the floor becomes a touch pad.

JBL Control 26C loudspeakers built into the ceiling add sound to the space, and are also used for when movies are shown on the display wall.

Three smaller, split screen display walls can

Photo: © Amptown System Company

Photo: © Amptown System Company

Photo: © Amptown System Company

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be found in the photo shop, they are used exclusively to display the ships photography, ready for guests to purchase. A Planar three-metre by two-metre wall is used to display content. A display with an identical configuration is located on the opposite side of the room, while a smaller two-metre by one-metre screen is located behind the shop’s counter.

Four eyefactive, waist height, multi-touch tables are also utilised in the space, passengers can play games on the tables, access itinerary information, and see exactly where in the world the AIDA fleet is located at that precise moment.

The tables also have an external sensor, which will eventually be used to allow passengers with their personalised RFID boarding cards to make restaurant reservations and pay using ship currency.

FOUR ELEMENTS The ship’s main activity area, Four Elements extends over decks 16 and 17 and houses a waterpark complete with three slides, a junglethemed high-rope activity course, popular with both adults and children, a sports deck and ample room to relax and catch some rays, thanks to the retractable roof.

An outdoor Absen XD10 LED screen, measuring 12 sq metres plays commercials, programmes and weather information throughout the day, while at night it serves as an outdoor cinema www.mondodr.com

showing the latest films. It has also a small dancefloor, which is used for the kids disco and various other events.

The air humidity is noticeably higher in Four Elements compared to other areas of the ship and special measures had to be taken before installation could take place. “The humidity places special demands on the technology installed,” Bernhard pointed out. “It’s an indoor location that has to be treated like an outdoor area in terms of electronics.”

All of the d&b audiotechnik loudspeakers are seawater-resistant (SWR) versions that protect against salt water. This also applies to the line arrays, comprising d&b audiotechnik Yi8 and Yi12 components with ultra-compact B22 subwoofers, as well as E8 and E12 point source loudspeakers. The line arrays are powered by four d&b audiotechnik 30D installation amplifiers. The d&b audiotechnik Y, E and Bi Series loudspeakers were customised with stainless steel and special Nano coatings, and the colour of the casings carefully match the specifications of the architect to blend seamlessly into the structures and columns.

“The cabinets are treated by the manufacturer with a UV resistant surface coating,” explained Malte. “The research and development team at d&b audiotechnik worked very carefully in view of our previous experience, they sealed the glued wood cut edges of the loudspeakers enclosures with oil to prevent possible swelling. All of the

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Photo: © Amptown System Company

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• Above Four Elements - the design of the Activity Deck was inspired by the elements water, air, earth and fire.

metal parts of the loudspeakers, no matter if they are rigging points, front grilles, connection plates or screws, are made of seawater resistant V4A stainless steel. It’s not just the technology that’s protected, the line array rigging is also made of V4A stainless steel to prevent corrosion.”

Martin by HARMAN Exterior WASH 210’s and SGM G-1 Beam moving heads contribute significantly to the ambience of the dancefloor. The lighting is controlled by a central grandMA3 from MA Lighting, located in the Broadcast Centre (BCC). Different lighting installations can be synchronised from the ship’s BCC to make the vessel a spectacular sight when the ship is anchored in a harbour. Local control of the spotlights in Four Elements is also possible, though it is mainly used for special occasions.

TIME MACHINE RESTAURANT A different kind of family entertainment awaits guests at the Time Machine restaurant, a quirky dinner theatre venue unlike anywhere else on the ship. The entrance of the restaurant is a gate with an old departures sign above, restored from a German airport. The display, which combines the mechanical parts from the old scoreboard with a modern digital control system indicates the forthcoming show in the venue. Guests who visit Time Machine are treated to a three-course dinner, lasting two hours that is accompanied by a show put on by professional actors using ‘Professor Tempus’ as the central figure.

The gate opens and the host leads guests into an elevator, which is in fact a room that leads directly into the restaurant.

Framed display screens from Sharp Sharp PN-R556 and PN-R496 - line the elevator, cleverly disguised as windows, www.mondodr.com

the screens run dedicated content that gives diners the illusion of falling, aided by a vibrating plate built into the floor that moves 8cm up and down.

A height adjustable, revolving stage can be found in the middle of the restaurant, QSC AD-S4T-LP ceiling loudspeakers are installed above the podium and QSC AD-112sw 12-inch subwoofers are hidden in the benches. The CXD43Q amplifiers are also from QSC. These CXD4.3Q networked amplifiers, as well as AD-S loudspeakers, are - like many QSC components onboard part of the Q-SYS ecosystem. The ‘Intrinsic Correction’ feature running on the Q-SYS Cores ensuring brilliant audio throughout various areas of the ship, passing sound through the ship wide Q-LAN network.

The restaurant is steam punk themed with elements of brass, machinery and moving cogs. A further 80 Sharp screens

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TECHNICAL INFORMATION AUDIO 51 x d&b audiotechnik 10D amplifier; 8 x d&b audiotechnik 10S-D-SC loudspeaker; 27 x d&b audiotechnik 12S subwoofer; 4 x d&b audiotechnik 4S loudspeaker; 17 x d&b audiotechnik 5S loudspeaker; 20 x d&b audiotechnik 5S SWR SC loudspeakers; x 17 d&b audiotechnik 8S SWR SC loudspeaker; 6 x d&b audiotechnik Bi22 SWR subwoofer; 4 x d&b audiotechnik Bi6 SWR subwoofer; 6 x d&b audiotechnik E12 SWR SC loudspeaker; 8 x d&b audiotechnik E12 D SWR loudspeaker; 6 x d&b audiotechnik E15X subwoofer; 52 x d&b audiotechnik E6 SC loudspeaker; 73 x d&b audiotechnik E8 SC loudspeaker; 30 x d&b audiotechnik E8 SWR SC loudspeaker; 26 x d&b audiotechnik M4 monitor, 9 x d&b audiotechnik M4 SWR monitor; 3 x d&b audiotechnik M6 monitor; 8 x d&b audiotechnik V subwoofer; 8 x d&b audiotechnik V12 loudspeaker; 10 x d&b audiotechnik Vi GSUB subwoofer; 10 x d&b audiotechnik Vi subwoofer; 29 x d&b audiotechnik Vi10P SC loudspeaker, 2 x d&b audiotechnik Vi10P SWR SC loudspeaker; 16 x d&b audiotechnik Vi8 SVS SC line array loudspeaker; 12 x d&b audiotechnik Vi8 SWR SC loudspeaker; 12 x d&b audiotechnik Yi10P SC loudspeaker; 4 x d&b audiotechnik Y12 SWR SC loudspeaker; 12 x d&b audiotechnik Yi7P SC line array loudspeaker; 4 x d&b audiotechnik Yi8 SWR SC loudspeaker; 1 x DiGiCo Mini-Rack unit; 1 x DiGiCo Nano-Rack unit; 4 x DiGiCo SD-Rack unit; 2 x DiGiCo SD-Rack unit; 1 x DiGiCo SD10 console; 3 x DiGiCo SD11 console; 1 x DiGiCo SD7 console; 2 x DiGiCo SD8 console; 72 x JBL Control 26C loudspeaker; 16 x JBL Control 28-1L-WH loudspeaker; 2 x JBL Control 29AV-WH loudspeaker, 2 x JBL SB2 subwoofer; 4 x QSC AD-112 subwoofer; 66 x QSC AD-C4T loudspeaker; 4 x QSC AD-S10T loudspeaker; 12 x QSC AD-S28Tw subwoofer; 10 x QSC ADS4T loudspeaker; 1 x QSC CDX4.2Q amplifier; 24 x QSC Core 110F processor; 3 x QSCCXD4.3Q amplifier; 5 x QSC CXD8.8Q amplifier; 1 x Sennheiser e845-S microphone; 20 x Sennheiser e908B microphone; 10 x Sennheiser e908D microphone; 40 x Sennheiser EK 2000 IEM Bw receiver; 10 x Sennheiser EM 2050 Aw wireless microphone; 9 x Sennheiser EM 2050 Gw receiver; 6 x Sennheiser EM 300 G3 receivers; 25 x Sennheiser EM 3732-II L wireless microphone; 52 x Sennheiser HSP 4ew-3 neckband microphone; 4 x Sennheiser HSP4ew neck strap microphone; x 2 Sennheiser K 6P microphone; 6 x Sennheiser LSP 500 PRO PA wireless loudspeaker; 2 x Sennheiser ME 36 shotgun microphone; 2 x Sennheiser ME 62 microphone; 1 x Sennheiser MKH 50-P48 microphone; 2 x Sennheiser gooseneck MZH 3042 microphone; 18 x Sennheiser SKM 2000 microphone

line the walls and ceiling, displaying content specially created for the themed restaurant and the dinner show’s storyline. The content runs fluidly throughout to create the illusion that the restaurant is moving through time.

“It was very difficult to find a manufacturer that could make a screen to fit the entire length of the ceiling,” Malte noted. “The screen has to hang facedown without falling out of its frame, and with the ship’s vibrations we needed to be certain it wouldn’t. The frame had to be big enough to secure the glass plate, which is why we had to use smaller screens and separate them. The frames now give the illusion of ceiling beams or windows. The window frames are also inclined so passengers can see ‘outside’, no matter where they are sat in the dining room.” A close collaboration between ASC, AIDA, the manufacturers and the architects was essential for a

LIGHTING 25 x Elation ACL 360 effect lighting bar; 16 x Elation CUEPIX Batten LED effect lighting bar; 59 x Elation CUEPIX Strip Tri LED lighting bar; 16 x Elation DTW Bar 1000 fixture; 1 x Elation SDC DMX controller; 48 x Elation SixBar 1000 fixture; 8 x Elation SixBar 500 fixture; 4 x Elation SixPar 200IP fixture; 45 x Elation TVL 4000 II fixture; 4 x Elation UNI PAK MKII compact DMX dimmer; 6 x Martin by HARMAN Exterior Wash 310 fixture; 32 x Martin by HARMAN MAC Aura XB LED washlight; 20 x Martin by HARMAN MAC Encore Performance CLD moving head; 20 x Martin by HARMAN MAC Encore Wash CLD moving head; x 16 Martin by HARMAN MAC Quantum Wash LED washlight; 16 x Martin by HARMAN MAC Quantum Profile LED spotlight; 54 x Martin by HARMAN RUSH MH 6 washlight; 42 x Martin by HARMAN RUSH Scanner 1 effect; 30 x Martin by HARMAN RUSH strobe light; 24 x ETC Source Four LED Series 2 fixture; 7 x ETC Source Four Series 2 HD fixture; 37 x Eurolite ML-56 COB spotlight; 40 x ETC PAR-56 par spot; 8 x Eurolite PAR36 pinspot; 2 x MA Lighting dot2 core lighting console; 2 x MA Lighting grandMA2 lighting console; 32 x SGM G-1 Beam moving head; 6 x SGM G1 Wash moving head; 17 x SGM G-7 spotlight VIDEO 220 x Absen A3 Pro LED display; 168 x Absen A3 Pro custom LED display; 504 x Absen N2 indoor LED display; 36 x Absen N4 curved 1 x 2 LED display; 80 x Absen N4 curved 2 x 2 LED display; 312 x Absen N5 LED display; 100 x Absen XD10 SMD outdoor display; 50 x Absen XD6 SMD outdoor display; 8 x Planar video wall controller; 1 x Planar custom matrix multi-touch MT32 LCD video wall; 26 x Planar MX46HDU-L-ERO-100 LED display; 4 x eyefactive PCAP LCD multi touchscreen; 361 x ROE Hybrid 15S LED screen; 33 x Sharp PN-R496 LCD monitor; 48 x Sharp PN–R556 LCD monitor; 3 x Sharp PN-Y326 LCD monitor; 4 x Christie D13WU-HS projector INFRASTRUCTURE 1 x Guntermann & Drunck KVM system; 1 x Beckhoff Automation control system; 20 x Broaman Route66 - Optocore AutoRouter unit; 3 x XI-MACHINES 1U media server; 7 x XI-MACHINES M1 media server, 1 x XI-MACHINES M2 media server; 13 x XI-MACHINES M3 media server; 4 x XI-MACHINES custom configurated VBO unit; 7 x Christie Pandoras Box media server www.aida.de www.amptown-system.com *Technical specification is an excerpt only.

Photo: © Amptown System Company

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successful outcome.

“The challenge in planning the equipment of a ship is to obtain the desired technical products in sufficient quantities at the time of construction,” explained Bernhard. “If you look at flat screens, for example, you would be hard pushed to find the current models on the market in three years time. For us, however, it is important that the specifications and dimensions defined during the planning work are adhered to exactly, as the interior fittings are difficult to change at a later date for a major project, such as a ship.

It’s essential that we work closely with our system integrator, ASC and the manufacturers involved. We receive the dimensions of new products from the manufacturers that exist only as prototypes or even plans, we can then incorporate the specifications into our own plans for a new vessel.”

The show is completely automated using Beckhoff Automation control technology. “Everything is based on coolux, though the hardware is from XIMACHINES, the Beckhoff system acts as a kind of translator between coolux and the various sensors,” Malte explained.

Due to the complexity of the technology, the Time Machine restaurant has its own technology centre, located in a room adjacent to the dining area.

“The computers work reliably all round, and we are very satisfied with them,” Bernhard said. “The requirements for a media server on a ship are pretty much the same as those on land. The storage capacities for the video content are very generously dimensioned; with the vibrations of the ship in mind, hard disks are only used when large amounts of data have to be stored. In the Time Machine Restaurant alone, more than 40 terabytes of video content comes together for a show.”

ASC did implement the technology within the restaurant so staff rather than technicians can operate it though. When it comes to the show performance, the actors and the servers are all provided with tablets, and each department must press a button to confirm they’re ready and in their places before the show can begin. And once the show has started, diners will be mesmerised by the journey that blurs past, future, reality and fantasy all-in-one.

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“The challenge in planning the equipment for a ship is obtaining the desired technical products in sufficient quantities at the time of construction.”

Photo: © Amptown System Company

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• Above With its 360º stage, the Theatrium forms the central entertainment highlight of the ship.

• Opposite The Beach Club, flooded with light and equipped with audio, lighting and video technology in matching colours to withstand humidity and high temperatures.

THEATRIUM Moving on to the Theatrium, an impressive and unusual take on the entertainment hub of a cruise ship. This space combines a typical atrium with a theatre, right in the heart of AIDAnova.

“After our first three ships, which classically had a closed theatre with a peep-box stage in the front part of the ship, we started with AIDAdiva in 2007 to develop the idea for a combined theatre and atrium in the centre of the hull for the next class of ships. For AIDAnova we have created an even more sumptuous stage setting than we did with our predecessors,” explained Ursula.

The Theatrium extends over decks six to eight and includes a 360° stage, allowing passengers to enjoy the ship’s varied entertainment programme wherever they are seated. One show staged in the Theatrium is Voice of the Ocean, after AIDA bought the rights to the original - The Voice - to have the same format onboard the ship.

Small technology islands equipped with spotlights, cameras and antennas adorn the surrounding balconies. The loudspeakers are partly integrated into the ceiling, with custom made casings by ASC, colour-matched to the architecture.

The loudspeakers in the Theatrium are all once again d&b audiotechnik with products from the V, Y and E Series. The sound system is configured to do justice to the visual opulence of the venue. Some are partly integrated into the ceiling with custom-made casings by ASC, colourmatched to the architecture. Subwoofers are located on the left and right sides of the stage, below seating areas and islands and are protected by customised decorative grids on the galleries. The remote subwoofers are operated with a delay time appropriate to the main PA. A special foam material is used to decouple the loudspeakers from the ship’s structure, reducing vibrations.

The room acoustics in the venue were optimised with the help of various measures including perforated ceiling elements backed with insulating material, numerous upholstered seating areas and the large carpet area.

The FOH is located in the middle of a balcony and contains a DiGiCo SD7 console. Audio signals coming from the stage are usually routed to DiGiCo SD Racks and then distributed digitally via fibre-optic cable. At the heart of the fibre infrastructure is Broaman’s Route66Optocore AutoRouter, which acts as a www.mondodr.com

digital interpreter between the fibreoptic incoming signals and the DiGiCo system. The fibre-optic infrastructure is designed to anticipate future developments in media technology. End devices such as digital audio consoles can be replaced with newer products without having to re-route the cabling.

The analogue patch panels, which are of course also installed onboard, come from manufacturer, Ghielmetti.

“We think it makes sense to have one brand of mixing consoles,” said Bernhard. “It makes training our staff much easier, and if you look at a small or large DiGiCo console, the philosophy of using either one is the same. This is something, which is very important.

DiGiCo had the right product and the manufacturer and was able to supply different sized consoles for different needs in each of the venues. They are also very reliable.”

Sennheiser’s 5000 Series is also at home in the Theatrium combining state-ofthe-art wireless microphones, versatile transmitters and powerful rack mount and portable receivers. Frequency interference is obviously an issue with a moving vessel, and regulations change from port-to-port, so AIDA keep a close

Photo: © Amptown System Company

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“The challenge was to bring the design and entertainment needs together, while keeping the lighting designers in mind, too. It had to be a flexible lighting design because there are so any different shows and nobody is coming in to do a show with their own lighting rig.”

eye on this element of the technology inventory. It’s thought that an update to a digital system will take place in the not too distant future.

A comparatively large number of moving lights are used, in contrast to a theatre on land and all of the fixtures were chosen with flexibility in mind. Technicians are forbidden from using ladders onboard, so it’s essential that the positioning of individual lamps can be handled remotely. When the ship is docked in port, technicians can use ladders to realign fixed spotlights if necessary.

“The challenge was to bring the design and entertainment needs together, while keeping the lighting designers in mind, too. It had to be a flexible lighting design because there are so any different shows and nobody is coming in to do a show with their own lighting rig,” Malte explained.

The lighting technology that met the requirements includes ETC Source Fours and Source Four LED Series 2’s, Martin by HARMAN MAC Quantums and MAC Encores, Elation SixBar 500 and 1000’s, Elation ACL 360 Bars, GLP impression X4 Bar20’s, and Martin by HARMAN JEM Glaciator fog machines.

Lighting technology is controlled by an www.mondodr.com

MA Lighting grandMA console.

“The Elation spotlights are real workhorses and perform their duties onboard without any notable problems,” noted Bernhard. “Elation’s headlights are installed, put into operation, and then everything runs smoothly.”

“The advantages of products such as the MAC Encore and MAC Quantum are that they offer are clear, innovative and sophisticated solutions, including reduced heat, no lamp replacements and they are energy-saving. Only LEDs are used on AIDA and the spotlights are very low-maintenance,” added Morten Gjoetz, Sales Director, Global Cruise & Marine for Martin by HARMAN. “For more than 20 years we have been working with AIDA Cruises and ASC together in the maritime business, ASC is one of the top integrators, no matter whether it is a new building or a refit - it is a very long-term partnership with Martin Professional [now Martin by HARMAN] and a real tradition.”

AIDAnova is one of the first ships on which almost all the lamps onboard are based on LED technology. The advantages are obvious. The LEDs generate less heat during operation than conventional light sources, and they

Photo: © Amptown System Company

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• Above The Cube’s impressive light and LED elements set the scene.

also consume less electricity - if you look at the ship as a whole, the energy savings are considerable and contribute to the endeavour to make cruises as environmentally friendly as possible.

LED light sources also require little maintenance during their long life cycles.

On the visual side a total of 11 Absen LED walls line the back of the stage, which are partly motor driven and entirely movable. A custom substructure attached to a rigging system from Bosch Rexroth was manufactured by ASC to ensure a secure hold. ASC also manufactured a substructure for the LED tiles to attach to the balconies, creating a curved impression.

Onboard AIDAnova it was clear from the outset that many of the LED surfaces would have to be custom designed, so, the team worked closely with manufacturers, Absen to meet their needs. “Not all manufacturers are willing or able to respond to such special requirements. Absen is a company that responds to our needs and the LED surfaces integrated into the architecture are well received by the guests,” said Bernhard.

For safety and security, the shows in the Theatrium are all pre-programmed, and time code triggered. There are lighting, sound and rigging operators who will react if something unexpected happens or dancers or singers are in the wrong position.

Not a single moment of action will be missing though, thanks to the five cameras permanently installed, which are controlled from the BCC - video content is stored on servers from XIMACHINES. Images of live events can be distributed on screens around the Theatrium, so that guests seated in the bars can follow the action on stage.

BEACH CLUB During the day, the Beach Club is a pool deck and swimming area covered with a retractable foil roof, which allows the UV light in, so passengers can soak up the rays regardless of what’s going on outside.

The Beach Club includes several pools, a jacuzzi and a tropical themed bar.

This area is popular with families in the daytime but at night the space transforms into a nightclub, with live bands and DJs entertaining passengers late into the night. Four Christie D13WU DLP laser projectors are installed near the DJ booth, projecting images on to the foil roof, illuminated by 560 Martin

by HARMAN Exterior PixLine 10 LED video sticks, which can be controlled either locally or from the BCC. “The ceiling lighting at the Beach Club allows different lighting moods to be achieved. It’s about ambience, it’s about atmosphere - our goal is to inspire the guests,” furthered Morten.

The focal point of The Beach Club is its www.mondodr.com

41 sq metre Absen LED wall. Made up of XD10 tiles, ASC integrated two highresolution XD6 fields in 16:9 format, ideal for videos and TV broadcasts.

“Integrating the Absen LED modules was possible without any problem, the Absen tiles are the same size regardless of their resolution,” Malte continued.

“The reason that two 16:9 screens were embedded at all is due to the door that had to be installed in the middle of the LED surface, allowing musicians and the drum kit placed on a roll riser access to the stage.”

Content for the screens is stored on XIMACHINES servers. “The requirements for media servers on the ship is similar to those on land,” Bernhard explained.

“The storage capacities for the video content in the Beach Club are generously dimensioned. Taking ship vibrations into account, solid-state disks are mainly used here instead of conventional hard disks.”

Mixing requirements are taken care of by a DiGiCo SD8 console. “We have been working with DiGiCo for many years,” said Bernhard. “For the guest acts, the sound engineers accept DiGiCo consoles without hesitation, the desks comply with the international industry standards and the engineers also receive support from our technicians working onboard if required.”

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B22 subwoofers from d&b audiotechnik are concealed within two columns at The Beach Club. All are covered with acoustically transparent and specially treated grilles.

ASC also selected six d&b audiotechnik M4 loudspeakers for stage monitoring.

Here, and elsewhere on the ship where d&b audiotechnik cabinets are installed, the company’s 10D and 30D amplifiers power the boxes. “The four-channel 10D and 30D models from d&b audiotechnik’s portfolio, designed exclusively for installation applications are used onboard as power amplifiers, typical touring amplifiers can’t be found on the ship,” Bernhard explained.

Uwe Henne, Marketing Manager from d&b audiotechnik, added: “An essential argument for d&b audiotechnik onboard is the system integration of the power amplifiers into the ship’s system and the connection possibilities to the environment through GPIOs. The possibilities of the system monitoring and the system operation by d&b software simplify the process for the user, for example, the show conversion, customised presets can be stored and recalled in the final stages, meaning it can also be recalled in complex stage situations. Many of the advantages of d&b audiotechnik’s multichannel power amplifiers can also be applied to loudspeakers from other manufacturers.”

Lighting consists of Martin by HARMAN 210 and 320 Series Exterior washlights, as well as outdoor moving heads, G-7 spotlights and G-1 Beams from SGM. “We have a long history of working with Martin Professional [now Martin by HARMAN],”

Photo: © Amptown System Company

Photo: © Amptown System Company

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Bernhard recalled. “So the R&D department informs us of new developments that could be of interest to us at a very early stage.”

Just like Four Elements, this indoor area is treated as an outdoor area in terms of equipment and safety. Exposure to sunlight was also included in the material planning. “We had a positive experience with SGM products on other ships in the AIDA fleet,” explained Bernhard.

“Especially the weather protection, class IP65 has proven to be resistant in challenging environments.”

THE CUBE A lounge, bar and nightclub all-in-one, The Cube’s mirrored, tunnel entrance leads guests into a stylish, modern hotspot where the DJ booth dominates the space. The entire booth is encased in LEDs behind the DJ, 32 sq metres of Hybrid 15 LED panels from ROE Visual with integrated LED spotlights provide powerful effects.

MADRIX software serves as lighting control, using the music being played at any given time as the basis for creating lighting and video effects. Both the effect lighting and the light implemented by the architecture are integrated into the control system in the nightclub. For a variety of stunning effects and colours, Martin

by HARMAN’s Rush MH1’s, Scanner 1 LED lights and strobes, as well as LED PARs and Eurolite UV floodlights are utilised in the space.

Installing the lighting was a challenge for ASC due to the low ceiling height in the club. For this reason Martin by HARMAN scanners with their electro-mechanically movable mirrors were the www.mondodr.com

perfect solution.

Vi10P three way high-performance point source loudspeakers from d&b audiotechnik, supplemented by Vi-GSUB basses, as well as E8 and E6 as fills provide excellent sound with a powerful SPL for the dancefloor.

Additionally, two coaxial d&b audiotechnik E12D high-performance loudspeakers are placed either side of the DJ. The four 10D and 30D amplifiers powering the PA are characterised by comparatively low power consumption and a favourable thermal working range, despite their professional performance, the space requirement is low. The ability to monitor and control the system using the d&b software is an important feature in distributed installations, saving technician’s time and unnecessary journeys.

Presets stored in the power amplifiers simplify conversions for different stage shows software updates keep the sound system up-to-date at all times.

ROCK BOX Next door to The Cube, guests can enjoy live rock music every night at the Rock Box bar.

Designed to look like a classic ‘80s rock venue, the main focus is clearly on the stage. Live sound comes from the d&b audiotechnik portfolio. The main PA consists of Vi10P loudspeakers and ViGSUB subwoofers set up either side of the stage.

The live sound is mixed at FOH on a DiGiCo SD8 console.

Brick walls, dark furniture and thoughtful lighting turn the ambience from cruise ship to casual bar with a traverse ceiling. PAR cans and ACL blinders with an analogue aesthetic are

Photo: © Amptown System Company

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fitted with LED light sources, in-line with AIDA’s energy saving concept.

RUSH spotlights from Martin by HARMAN, Elation CUEPIX Strips, Blinders and SIXPAR 200’s provide the effect lighting, and are controlled by an MA Lighting desk.

BODY & SOUL ORGANIC SPA The morning after the night before, guests can relax and recover at the Body & Soul Organic Spa and Wellness area on decks seven and eight.

Covering 3,545 sq metres the wellness area offers five saunas, three jacuzzis, a sun deck, a fireplace and a tepidarium.

ASC installed two d&b audiotechnik E6 and E12 loudspeakers, carefully colour matched to the interiors, supplemented by four matching E15 subwoofers, all of which are powered by two 30D power amplifiers.

Six sq metres of Absen N2 LED walls line the entrance to the spa, displaying nature scenes such as running water and trees, depending on whether it represents the sports area or the wellness areal.

THE YACHT CLUB The Yacht Club is a spacious buffet restaurant at the stern of the ship directly connected to the Lanai Bar, so that guests can dine al fresco in good weather. Inside, ASC integrated an impressive custom-made LED wall that simulates an outdoor ambience with maritime motifs.

Built from Absen’s fanless N2 modules, this sophisticated substructure was made to measure

by ASC, the animated motifs are computer

generated and change according to the time of the day. Stored on two XI-MACHINES servers located in the BCC, Christie Pandoras Box software takes over the control, elsewhere Datapath Fx4 units serve as display controllers.

“The LED wall extends almost across the entire width of the ship, and it’s really unusual,” Bernhard said. “ASC has built a suitable substructure that can withstand all mechanical loads and is reliable even with large ship movements.”

INFRASTRUCTURE The intercom system used throughout the ship, comes from RTS Intercom Systems - a manufacturer belonging to the Bosch Group and is grouped around an ADAM-M matrix. The technicians use wireless DECT-based TR-1800 four-channel belt packs with HR Series headsets.

The audio systems on AIDAnova are divided into two areas: the entertainment sector and the Public Address General Alarm (PAGA) system. In the entertainment sector, a QSC Q-LAN network is used for the ship wide distribution of audio signals, all venues are interconnected in this way. A connection to the PAGA part, which is also based on a Q-LAN network, is established the analogue way via tielines. The PAGA, with its numerous ceilingmounted loudspeakers - separated into A/B lines, network-compatible power amplifiers from the CXD-Q Series - is assigned servers for the playback of background music. Different channels are streamed into different areas of the ship, in the sushi house restaurant for example, a different sound backdrop can be heard than www.mondodr.com

in the Italian restaurant. In order to connect the entertainment venues to the background sound system, the cross-connection between the two systems was set up.

Each venue on the AIDAnova is equipped with its own QSC Q-SYS Core110f system centre. The decentralised structure with a total of 24 Core110f is intended to ensure greater operational reliability and avoid a single point of failure in the form of a higher-level main matrix. The Cores are interconnected so that signal transmission is possible. Each Q-SYS core processor offers local inputs and outputs, signal processing, control, conference camera routing, endpoint bridging, high-quality echo cancellation and equaliser functions.

Control options include QSC touch panels (TSC-7) on which for example, a channel for background music or local inputs can be selected. Via the QSC Q-SYS system, control commands are also transmitted via TCP/IP to the d&b audiotechnik amplifiers, in which presets - for example, to suit the current stage configuration - can be switched.

Even loudspeaker sharing is possible, on certain occasions ceiling-mount loudspeakers of the PAGA system are jointly operated with subwoofers of the entertainment system. Unlike the PAGA components the subwoofers don’t need to be connected to a UPS unit when this happens.

Solutions from Guntermann & Drunck are important tasks onboard. “If you briefly imagine how many devices from the entertainment sector on board the AIDAnova can be controlled with keyboard, mouse and screen, the use of a

• Above DiGiCo SD 7 desk located the FOH position in the Theatrium.

• XI-MACHINES media servers.

• Each venue has its own QSC Q-SYS Core110f system centre.

• RTS TR-1800 four-channel DECT-based wireless beltpacks with HR Series headsets.

Photo: © Amptown System Company

powerful KVM system makes absolute sense,” said Bernhard. “We can access any machine from different positions, and if, for example, a technician needs access to a particular media server in the Theatrium, they can conveniently control the device in real time from their current position without having to go to the associated technical room. Almost all areas on the ship are connected to the KVM system; connections can be made in many places via wall panels. We have set up our own network for the KVM system, due to the size of the application, two G&D matrix systems are connected to each other.”

CONCLUSION When selecting the products for use on the ship the team pay particular attention to quality and durability. “As you can imagine it’s not possible to quickly procure a spare part in the middle of the sea,” Bernhard said. However, for a lot of

Photo: © Amptown System Company

Photo: © Amptown System Company

Photo: © Amptown System Company

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the key products, there is a back-up held in the ship’s warehouse, in the case of a replacement being needed urgently.

“Our concept is to use reliable equipment from a few selected manufacturers for all venues onboard, which simplifies replacing and repairing the equipment.”

This can lead to some less consequential venues being equipped with highquality and comparatively expensive equipment. For outsiders this may seem a little extravagant at first, but under the circumstances the homogenous equipment onboard makes sense.

“It’s good if we can work with manufactures and suggest features that are important in our specific context,” Bernhard continued. “We work closely with the right people and the right products to delivering a first-class entertainment experience.”

ASC prepares the media technology as far in advance as possible on land. “The challenges of this project go far beyond www.mondodr.com

the usual framework for a new build on land. All 19-inch racks, for example are pre-configured and internally wired so that they only have to be connected on the ship. This is still a lot of work and requires perfect timing and extensive testing,” Bernhard explained.

It is this level of detail and planning that has kept ASC and AIDA Cruises in partnership since 2002. Bernhard summed up their relationship: “We are absolutely satisfied with the results on every new ship, it’s so important for us to have partners we can trust, who we know will deliver.”

Malte concluded: “The new building program includes another two AIDA cruise ships in the Helios class on which we will have the honour of installing the complex entertainment technology. The next cruise ship is planned for 2021, with the third vessel scheduled for delivery in 2023.”

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Senior Project Manager for new builds at AIDA Cruises

Responsible for entertainment programmes and interface management between departments, Ursula and her colleagues from the technical and specialist departments are constantly creating new and exciting experiences for guests onboard an AIDA cruise ship.

Ursula initially completed training as a hotel clerk before beginning a career in the cruise industry in 1991, with a job in River Navigation. This new career really laid the foundation for a future career in project management, the day-to-day role included the inspection of the shell of the ship and the development of entertainment concepts.

In 1997 AIDA Cruises offered Ursula a new challenge, setting up the entertainment department for the young shipping company in Rostock.

Ursula worked on the company’s first cruise ship, AIDAcara, followed by its sister ship’s AIDAvita 2002 and AIDAaura 2003. Based on the philosophy of offering dream destinations at affordable prices, AIDA took its entertainment programme seriously, hiring a professional cast and crew from the off.

“We moved to a former school in an old brick building with high rooms in the Hamburg district of St. Pauli,” Ursula recalled. “As a musical city, Hamburg offered us a lot of potential for artists, especially as we were able to gain prominent support from the neighbouring theatre and art scene. We went our own way in the new forge in Seilerstraße and created our own productions.”

The nearby AIDA Entertainmenthaus houses the costume design, tailoring, production and operation departments, as well as a generous equipment storage space. It includes four spacious rehearsal rooms, an artists stage, a pre-programming room, recording studios and a recording room to enable sound design and entertainment managers, event technicians, artists, dancers, singers and musicians to meticulously prepare their assignments onboard.

“A lot has changed in the design of the ships since 1997 and therefore also with the entertainment side of things, we wanted to go one step further

Photo: © AIDA Cruises / Susanne Dupont

URSULA MAILE

than with the predecessor models, which classically had a closed theatre with a peep-box stage in the front area of the ship. That’s how we invented the mixture of theatre and atrium,” explained Ursula. “The Theatrium is the heart of this ship class; it extends over three decks and is the setting for rehearsals, our own productions and breathtaking shows.

On the newest ship, AIDAnova, the architects have gone one step further with the covered Beach Club and the Four Elements on one deck, a greater variety of restaurants and a more versatile Theatrium. “The stage in the Theatrium can be played at 360°, which still takes some getting used to for some bands and artists because the guests are so close,” she continued.

“Audience participation is part of our concept of contemporary entertainment.”

“I develop ideas and objectives, manage the content and conceptual aspects of these processes and pass on the mature ideas to my operative colleagues, including Bernhard Loesken, Senior Superintendent Entertainment / Media Technics New Buildings, and his team,” explained Ursula.

“The food and beverage team also has a lot of input, there’s a lot of entertainment going on in our restaurants and bars. On AIDAnova, for example, we have 17 restaurants and 23 bars the entertainment restaurant, Time Machine is just one of the features we have thought about intensely over the years. All those involved in the project, including our system integrator, Amptown System Company, worked so hard on the task: constantly asking how do we manage to integrate the incredibly complex technology and the media part into this very limited space?”

Ursula draws her inspiration from trade shows, regularly visiting InfoComm, ISE and Prolight+Sound, and from trips to Bangkok, Tokyo or at home in Hamburg, more precisely in St. Pauli. A good example of this is the Rock Box on AIDAnova, inspired by a live music venue from the Hamburg music scene. “The Rock Box on AIDAnova was a dream of mine for a long time. I had the company’s support and together

we thought about what the location needed to achieve, the atmosphere, the size of the bands we’d have and how much room they had to work with, what kind of guest experience we want to achieve.

We communicate these answers to the architect and the marketing department - and with the motivation and commitment of everyone, a new successful entertainment highlight is created.”

Ursula was involved with the entertainment side of AIDAnova from the very beginning.

“From the first drawing, to the concept, to the questions - which personnel do we need? Where will the artists be accommodated? What content must be created? What does the spatial concept look like? Our entertainment areas have to be versatile in order to deliver a new guest experience during the longest cruise of 21 days onboard. This goes hand in hand with reliable, multifunctional and modern technology that is available at numerous locations throughout the world.”

Over the years, Ursula has acquired a great deal of knowledge and technical know-how, she knows what guests have come to expect from an AIDA cruise, how to wow new guests and make old friends of them.

“Like the other AIDA ships, AIDAnova is a German-speaking ship when it comes to onboard communication and the language of the ship - in terms of safety aspects, signage and crew selection, we act in German/English,” said Ursula.

“Several generations can spend their holidays here together and everyone will find something that will make their time with us an unforgettable experience. ‘Welcome home’ is the slogan our guests will find at the gangway.”

Looking back on 22 years of AIDA Cruises, Ursula concluded: “I had never imagined staying in a company for so long. But AIDA Cruises has offered me so many rich facets - I have learned new things every day. Architecture, technology, entertainment, food and drink culture, guest structure - everything is subject to permanent change and therefore always challenging me.”

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THE FORUM AT ERASMUS UNIVERSITY ROTTERDAM, THE NETHERLANDS EMEA

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Erasmus University Rotterdam, established in 1913, has seven faculties and focusses on four areas - health, wealth, governance and culture. Erasmus MC is the largest and one of the foremost academic medical centres and trauma centres in The Netherlands, while its economics and business school, Erasmus School of Economics and Rotterdam School of Management, are well known in Europe and beyond.

In 2017, Erasmus University Rotterdam was ranked among the top 10 business schools in Europe by the Financial Times and, back in 2015, Times Higher Education ranked the university as 20th in Europe and 72nd in the world, with its social sciences as 40th, and clinical health as 35th in the world - highlighting its standing in education.

The Forum at Erasmus University is based in the Van der Goot building. Located on the third floor, the venue is perfectly suited for conferences, lectures, presentations and business meetings for up to 190 people. As The Forum is used extensively, the Media Support Center at Erasmus University, which is responsible for advising on investment in new audiovisual equipment, recently recommended an overhaul of the facility, including the installation of a new conference system.

Peter Hullegein, Co-ordinator / Planner at Erasmus University’s Media Support Center, takes up the story: “First and foremost, the system had to be user-friendly. The conference room is available both for commercial clients and for the university - it had to be easy to use for different type of users, some of whom have no, or

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• Above The Forum at Erasmus University Rotterdam.

very little, audiovisual experience.

So, we needed a several things - a system that was simple to install with good sound quality, network remote control and solid components. Plus, we needed to cater for up to 119 delegate units in the room, so that was the challenge.”

The team at the university worked with its audiovisual consultants, Kinly/MK2, based in Breda, The Netherlands, on the project at The Forum.

“It was they who advised we should demo the Audio-Technica ATUC-50 system,” added Peter. “We had a list of must-haves for the system and it looked to be a good fit for us. Once we’d seen it in operation, it confirmed fairly quickly that it fitted all the requirements and functionality of the room really well.”

There were 119 delegate units needed for the project, all of which had to be installed simply and quickly.

“We already had Cat 5 infrastructure that we could expand. Our preference was to have a system with built-in redundancy and, in conjunction with Kinly/MK2, it was a straightforward process to incorporate Audio-Technica’s ATUC50 control and delegate units into the infrastructure to deliver the reliability and flexibility that the room needed,” explained Peter.

There are three of Audio-Technica’s ATUC-50CU central control units used with one acting as the master unit. There are three rings in total that are connected to each other in the audiovisual rack - and they are connected to the Audio-Technica control units. There is one system that controls all the 119 delegate units making it simple for visiting delegates to operate. However, there is also the option to control the system remotely from the Media Support Center’s helpdesk in a different building, ensuring that each event goes smoothly with non-disruptive support when needed.

Audio-Technica’s ATUC-50 was deemed ideal for the project at The Forum, as Peter explained further: “It’s a combination of a variety of factors. The build quality, the friendly-user interface, the fact that it’s straightforward to have a large number of delegate units in use, and the actual sound quality of the system were all key in the decision to invest in the system.

“The simple set-up with the Cat5 infrastructure and, of course, network control were really important to us, too both aspects of the ATUC-50 that stood out for us.”

Aside from the new Audio-Technica system, the project saw a variety of audiovisual equipment upgraded,

including an investment in an Allen & Heath SQ-5 digital mixing system, Panasonic laser projector, Sennheiser digital wireless microphoness and a Westlab Audio amplification and loudspeaker setup.

“We had to bring in the installation in the summer when the university was closed, so there was no downtime during the autumn term. The main challenge was really to have all the equipment installed on time for the new college year,” said Peter. “Happily, the installation and integration with existing infrastructure was as smooth as possible and there were no significant issues with having everything up-and-running on time.

Overall, the project at The Forum was a huge success, with the university receiving great feedback.

Peter said: “I can say everything works well, we are happy with everything that was installed, and we’ve had good support from both Audio-Technica and Kinly/ MK2 throughout and post-installation.

The feedback from users as far as the ATUC-50 discussion system is concerned has been really positive as well - it’s not intimidating for inexperienced users, which has been very important and very pleasing to us.”

TECHNICAL INFORMATION SOUND 119 x Audio-Technica ATUC-50DU discussion unit; 3 x Audio-Technica ATUC-50CU control unit; 1 x Audio-Technica ATLK-EXT165 link extender; 1 x Allen & Heath SQ-5 digital mixer; Sennheiser digital wireless microphones; Westlab Audio loudspeakers VISUAL 1 x Panasonic laser projector www.eur.nl/en/campus/locations/spaces/forumzaal

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AT PARK

Situated on the main street in the heart of the bustling Swedish city of Gothenburg, the Elite Park Avenue hotel is one of Gothenburg’s premier hotels. It also hosts one of the city’s most famous restaurant addresses run by Michelin-starred chef, Stefan Karlsson.

At PARK is a Swedish-inspired brasserie offering traditional Swedish dishes with a modern gastronomic twist. The restaurant can accommodate up to 130 diners including a long chefs table next to the kitchen. There is also a separate and an exclusive ‘chambre separée’ that can host up to 25 people. And, a long bar that is perfect for a drink with friends and colleagues, or even a bite to eat.

Uppsala-based systems integrator, Kreativ Teknik was commissioned to develop a complete solution, including audio and lighting automation for the restaurant and bar. The focus was on premium quality sound at both high and low levels with the ability

GOTHENBURG, SWEDEN EMEA

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• Above The restaurant, run by Michelinstarred chef, Stefan Karlsson has been kitted out with a full complement of Genelec loudspeakers.

to accommodate a DJ at the weekend.

Kreativ Teknik had no hesitation in identifying Genelec as the ideal solution to At PARK’s requirements.

Kreativ Teknik’s, Daniel Landmark explained why Genelec was such a good choice for At PARK: “Our first priority was sound quality,” he said. “We needed to achieve smooth, even coverage and a balanced soundscape at low volumes that is pleasant to listen to without being aggressive or intrusive. However, the system is running almost 24 hours a day and, during the weekend, also needs to be able to run comfortably at high SPLs for several hours when the DJ is in residence.

We required a high quality system with both detail and headroom that was also aesthetically pleasing. Genelec’s 4000 Series range of installation loudspeakers fitted the bill perfectly.”

Landmark specified a total of 30 4030CMM loudspeakers in order to achieve full coverage of the space. “It wasn’t as straightforward as you might think, actually, but fortunately Genelec has solutions for most things,” he noted.

“The first issue was how to physically mount the loudspeakers, as many of the walls in the dining area are covered with murals from Peter Apelgren, who is a well-known Swedish artist and comedian.

However, Genelec has a vast range of mounting options compatible with the 4000 Series, so it was possible to find a good compromise.”

The second issue was how to reinforce the low-end in the bar area for the DJ sessions. The 4030’s were still ideal for the mid-high ranges, but Kreativ Teknik had to be able to extend the low-end. “There was simply nowhere we could reasonably www.mondodr.com

install a subwoofer without it looking out of place, so instead we installed a pair of Genelec 5041A active in-wall subwoofers, which are totally discreet and do the job perfectly,” recalled Daniel. “We faced the same problem in the dining area as well, so we got around that by installing a pair of Genelec 7350A SAM Studio subwoofers hidden in the base of a couple of sofas! The 7350As are perfect when space is limited yet they deliver absolutely premium performance. Furthermore, we could benefit from Genelec’s GLM software to handle any crossover or calibration issues, so it was an excellent solution.”

Daniel confirmed that the Genelec solution provided by Kreativ Teknik ticked a large number of boxes for the client. “Firstly, thanks to their wide range of loudspeakers and accessories,

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as integrators we are confident that we can rise to just about any challenge - as we proved at At PARK. We also appreciate that they are active loudspeakers, which makes installation even more straightforward. Secondly, there was a clear directive to work with manufacturers who offer sustainable solutions that will deliver reliable performance for many, many years. Finally, of course - and this is what makes Genelec such a great choice for these sorts of applicaions - is just the purity of the sound. It will never sound messy or woolly, even played at relatively high levels.

What’s more, we don’t have to spend hours EQing the system or tweaking audio settings because

we know that Genelec will perform amazingly straight out of the box. The client is delighted and so are we.”

TECHNICAL INFORMATION SOUND 30 x Genelec 4030CMM loudspeaker; 2 x Genelec 7350A SAM Studio subwoofer; 2 x Genelec 5041A active in-wall subwoofer www.goteborg.com/en/at-park

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88 IN BRIEF - AMERICAS

L-Acoustics Kara(i) caps off new sanctuary at Franklin Avenue Baptist Church.

Franklin Avenue Baptist Church (FABC) has been a mainstay of the community since its founding in the mid 20th Century. It even withstood the apocalyptic Hurricane Katrina in 2005, moving back into its repaired 8th Ward sanctuary soon after the waters receded.

But the growing church was straining the bounds of its longtime home on Franklin Avenue, and last December moved into a brand new building on a 25-acre lot, a short ride to the east of its original location. The US$35m, 126,000 sq ft sanctuary topped by a 132ft sky-blue tower now also has a new PA system that fills the 3,500-seat venue with true musical joy.

Nashville-based audiovisual systems integrator, Mankin Media Systems designed and installed the L-Acoustics long-throw Kara system.

The church’s new Kara sound system comprises three hangs of 11 Kara(i) boxes each. Low-end is supported by six floor-stacked KS28 subwoofers plus arrays of four SM18i subwoofers flown next to the L-R Kara hangs.

Two short throw X8 extended-bandwidth loudspeakers provide frontfill, while a pair of medium throw ARCS Wide loudspeakers flown behind the SB18i serve as choir monitors. A dozen LA4X and two LA12X amplified controllers power and process the entire system.

“The challenge was the sheer size of the new sanctuary, which also has a 175-seat choir loft and massive stage with a thrust and an orchestra pit,” said Mankin Media President and Founder, Ben Mankin. “But the Kara loudspeakers were the perfect solution. The curve of the line array perfectly

www.mondodr.com

89 IN BRIEF - AMERICAS

follows the rake of the seating, the throw of the Kara is excellent for distance in a large church, and using Soundvision software - which we use for everything - we were able to design and tune the system to cover every seat in the venue within less than 2dB of any other seat.”

Ben added that the Soundvision files are able to illustrate clearly, accurately and unambiguously to end users how the sound will propagate in any given space, which is a tremendous help in the house of worship market, and also provides a precise plan of action for technicians on site.

FABC Audiovisual Media Director, Jestin J. Quiett also saw the potential for the church’s long term in the new sound system. “Moving from the old building to the new building is night and day,” he commented. “The

technical tools we have now can help us grow for a long time, and the new audio system is amazing. There’s not a bad seat in the room.”

But the Kara system was also able to give this reborn church the ‘thump’ it wanted. “This was quite a step up in the kind of space they’ve been used to, and they wanted a sound system that could provide real impact,” said Ben. “In fact, after hearing the new system one of the pastors said, jokingly, ‘We’d better get some new singers, because everyone is going to hear every note through this sound system’. I understand what he meant, though the L-Acoustics sound system allows you to hear every nuance of what’s coming from the stage. For a church with a message, that’s just what it needs.” www.l-acoustics.com

www.mondodr.com

90 VENUE - AMERICAS

CATHEDRAL OF THE HOLY CROSS BOSTON, USA THE AMERICAS

www.mondodr.com

With roots dating back to the 19th Century, the Cathedral of the Holy Cross in Boston, USA, was designed by architect, Patrick Keely. After quickly outgrowing its first home on Franklin Street, work began on a new structure. It naturally suffered delays due to the American Civil War, but finally received its dedication in 1875.

The cathedral is the largest church of any faith in New England and has long served as an important gathering place and ‘Mother Church’ for Catholics living in the Archdiocese of Boston. It can seat almost 2,000 people and is also home to the largest, and arguably finest, organ built by the world-renowned Hook and

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Hastings Company in 1875.

Despite being a very old building, little renovation work has been completed over the years, perhaps partly due to the local Roxbury puddingstone and grey limestone that was used for construction.

However, last year, it was decided that an extensive upgrade would take place now that the Gothic revival cathedral is 150-years-old.

This renovation included a fullscale overhaul of the cathedral’s sound system, which includes an Innovox Microbeam PA system

powered by Powersoft amplifiers.

System integrator, Landry Audio Division, Commlink Integration Corporation designed and installed the new audio setup, with Landry Audio CTO and President, Evan Landry heading up the project.

“The primary focus of the system acts as an acoustic anchor, so that all the sound, sounds like it’s coming from the chancel the place where it looks like it’s coming from,” Evan said. “The purpose of this setup is to increase listener engagement, clarity and

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“It’s a very easy-to-use platform, and it has a lot of flexibility. We’re kind of lumping together a number of things when we talk about sound quality, but that refers to the quality of the amplifier sections, as well as the sound quality of the DSP. And the quality of the Ottocanali DSP is very high.”

intelligibility.”

Due to dimensional limitations in the cathedral, a customised sound system was required, and Evan turned to Innovox for a solution. According to its website, all Innovox loudspeakers are ‘designed using decades of multisensory research, and provide extraordinary speech intelligibility, precise musical detail and enhanced visual aesthetics’.

Evan settled on two Innovox MicroBeam 32 column loudspeakers, which serves as a focal point for the entire sound system.

However, rather than featuring the usual 32 drivers in a continuous line array configuration, only 26 per array were used for this project. The customised arrays also make use of Powersoft’s D-Cell 504 module, which provides processing and power for the dipole spaced low frequency section and processed line level outputs.

The Innovox MicroBeam steerable line arrays use a total 26 active mid-/lowfrequency elements (2.75-inch cone drivers), as well as 26 high-frequency elements (3.25-inch ribbon drivers).

“Virtually everything Innovox does as a company uses either ribbon or AMT [Air Motion Transformer]-type highfrequency elements,” said Chris Oswood, owner of Innovox Audio. “We do this for the principle reason of improved transient response over conventional means, and that has everything to do with delivering the speech chain to the listener without the degradation that results in

loss of articulation. We do that to keep the transient information present, and to optimise for speech clarity - but it has a kind of corollary benefit, which is clarity and detail in musical reproduction.

“We use the D-Cell modules in our MicroBeam designs primarily because of the sound quality of the processor and amplifier sections. Additional benefits that we find useful are the form factor, small physical size and power density of the modules. Many of our products are columnar in shape, and these modules are easily integrated as a result,” Chris continued.

In addition to the MicroBeam columns, a further 18 Innovox line arrays were installed as delays, to extend the coverage from the chancel to the rear of the nave, which covers 200ft. The line arrays are mounted on the support columns that run along the aisle.

For powering each of the support line arrays, an additional five channels of monitors, plus another loudspeaker acting as a mirror image of the acoustic anchor, Evan and Chris selected Powersoft Ottocanali 1204 amplifiers.

“We knew that we needed one discreet channel per loudspeaker in the column, because we needed to have them appropriately delayed from the perspective of the MicroBeam,” Evan said.

“There are 18 columns that essentially have to have unique delay times, so we knew our channel count was going

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to be high, and we knew the amount of power we were going to need was going to be relatively low, since the column loudspeakers were just used for articulation extension. The Ottocanali 1204 had the combination of high channel count and low power channels, while maintaining the sound quality that we needed to make this a world-class installation.”

Chris said that it’s not just sound quality that keeps him using Powersoft amplifiers on other house of worship projects in which Evan installs his Innovox loudspeakers. “We certainly encourage the use of Powersoft,” he said. “The difference in sound quality between Powersoft and other manufacturers is significant, and in my opinion - really under-appreciated in the industry.

“Build quality is also very high with the product, as well as the package density.

Often various parties in projects really battle for rack unit real estate, and high

power density is really helpful on these projects. The efficiency of the product is not lost on us either, in terms of power consumption over time, cost to operate, and environmental considerations. That’s another area, of course, where Powersoft is leading - but the real driver for us is sound quality.”

And, to set up the system’s DSP, Chris used Powersoft Armonía software, which he now knows very well. “We use Armonía routinely in other products by Powersoft,” he said. “It’s a very easy-touse platform, and it has a lot of flexibility.

We’re kind of lumping together a number of things when we talk about sound quality, but that refers to the quality of the amplifier sections, as well as the sound quality of the DSP. And the quality of the Ottocanali DSP is very high.”

With a new state-of-the-art sound system in place, the Cathedral of the Holy Cross is ready and waiting to serve its parishioners for years and years to come. www.mondodr.com

TECHNICAL INFORMATION SOUND 2 x Innovox Audio MicroBeam 32 line array (customised); 18 x Innovox Audio line array; Powersoft Ottocanali 1204 amplifiers; Powersoft D-Cell 504 modules; Powersoft Armonía software holycrossboston.com

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98 IN BRIEF - APAC

Photo: The Ritz-Carlton, Millenia Singapore

HARMAN Professional Solutions creates dazzling lighting for The RitzCarlton, Millenia Singapore Ballroom.

Concept Systems Technologies recently upgraded The Ritz-Carlton, Millenia, Singapore grand ballroom with a state-of-the-art Martin by HARMAN lighting system for conventions, weddings, celebrations and more.

The Ritz-Carlton, Millenia, Singapore is a five-star luxury hotel located in the heart of the Marina Bay. Featuring a luxurious grand ballroom with seating for up to 1,200 guests, Ritz-Carlton, Millenia, Singapore is known for hosting prestigious corporate events and social celebrations. Recently, Ritz-Carlton, Millenia, Singapore decided to update its multi-purpose

ballroom with a new LED lighting solution capable of delivering stunning visuals for a wide range of events and performances. To achieve these goals, Ritz-Carlton, Millenia, Singapore hired industry-leading audiovisual integrators, Concept Systems Technologies, which recommended the Martin MAC Quantum Profile, MAC Quantum Wash, Rush MH 1 Profile Plus, MAC Aura and the JEM Hazer Pro. “The Ritz-Carlton, Millenia, Singapore wanted to upgrade their old discharge lamps with dynamic, intelligent LED fixtures to make their events more immersive,� said a spokesperson for Concept Systems Technologies.

www.mondodr.com

99 IN BRIEF - APAC

“Thanks to the wide array of diverse fixtures from Martin, we were able to design a custom lighting solution capable of creating a visually impactful experience for any event.”

Concept Systems outfitted the Ritz-Carlton, Millenia, Singapore ballroom with four MAC Quantum Profile fixtures and four RUSH MH1 Profile Plus fixtures to create crisp, clear beams using minimal power. Four new MAC Quantum Wash fixtures and four MAC Aura fixtures were selected to provide rich, highly saturated color backdrops. Two JEM Compact Hazer Pro units quickly create thick atmospheric smoke effects for added

ambience.

“HARMAN Professional Solutions takes great pleasure in collaborating with Ritz-Carlton, Millenia, Singapore,” said Ramesh Jayaraman, VP & GM HARMAN Professional Solutions, APAC. “We thank our country partners, Concept Systems, and acknowledge the trust and confidence Ritz-Carlton, Millenia, Singapore has placed in HARMAN Professional Solutions to deliver lighting solutions and stellar visual experiences.” www.harman.com

www.mondodr.com

Photos: AllIs Amazing

100 VENUE - APAC

DRAGONFLY & BLACKBYRD KUALA LUMPUR, MALAYSIA APAC

www.mondodr.com

Lifestyle operator, ISMAYA Group is a leader in its field of conceptualising and designing entertainment outlets. With more than 90 properties in the portfolio - from Dubai to Jakarta - which includes restaurants, lounges, nightclubs and festival experiences, it is important that each is unique to retain the success story it has established since its inception. One of the latest additions to the line-up is Dragonfly in Kuala Lumpur, Malaysia. It is the second establishment of the same name from the group, and its older sibling opened in Jakarta back in 2004.

Dragonfly Jakarta has undergone a number of renovations, in 2008, 2012 and 2015/16 - the latter lead to the venue winning the

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• Above The Void Acoustics Nexus 6 loudspeaker arrays flank the DJ booth.

mondo*dr Award for best nightclub and global winner in 2017. With the new Dragonfly in Kuala Lumpur, the idea was to retain the DNA of the original, but with the addition of the BlackByrd restaurant and lounge. The concept has evolved to encompass a whole evening of entertainment.

Located in the heart of the city, atop the Naza Tower, Dragonfly and BlackByrd wrap around the top floor, offering spectacular views of the Kuala Lumpur skyline. The idea is that guests arrive for dinner at BlackByrd and are served

by Michelin star chef, Jason Tan, who is a culinary veteran with over 10

years experience in French dining.

Describing his cooking style as ‘gastro botanica’, diners are presented with Jason’s interpretation of comfort food, all of which are essentially flavours that South East Asians are familiar with.

After dinner, guests move through to the BlackByrd lounge, where they can enjoy a cocktail among the hand-crafted wood and rattan interiors. Patrons finish their journey in Dragonfly, where they are treated to a state-of-the-art lighting concept and a high-end sound system that resonates throughout the space.

Having not worked in Malaysia before, ISMAYA Group teamed up with local

company, FSA360 for this project.

Managing Director, Jeremy Lim takes up the story: “During my travels to Jakarta and Bangkok, to name just a couple of places, I had noticed a certain restaurant concept, which I felt was missing from Kuala Lumpur. I thought there was a gap in the market for it, so with the help of ISMAYA Group, I set about creating this concept with my own unique spin.”

The space Dragonfly and BlackByrd occupy was previously used as offices, so it felt quiet cold in terms of atmosphere and featured double height ceilings. “We didn’t feel that was the right ambience for the restaurant so we worked hard to get

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the vibe right, and everything else evolved from there,” Jeremy continued. “The idea was to create something comfortable that the people of Kuala Lumpur haven’t experienced in the city before.”

This was everything from the furnishings, to the F&B, the décor and the technology - to ensure the ambience in each area was just right. ISMAYA Group employs more than 4,000 people across its outlets, making it a truly successful brand, so Jeremy knew the bar was high for this project and set his aspirations accordingly.

ISMAYA Group already had technology partners from the first Dragonfly in Jakarta, and although they were kept informed of the new project and produced a tender, in the end both ISMAYA Group and Jeremy decided that a local company onboard was the best choice. Having a local supplier that can provide local support when needed was an important factor, and is why Motifv8 was brought in to design and install an audio system throughout.

Co-owner of Motifv8, Sham Iskhandar saw the space in December last year. He had an existing relationship with Jeremy as his business partner, Ben and Sham’s business partner, Henry have worked together on festivals in the past. So, while they look after the live events side of the businesses, Sham and Jeremy take care of the installation projects.

Sham explained his approached: “We used EASE simulation to demonstrate our plans. We needed to provide an intuitive and competitive design, and we also proposed a system that had not been installed anywhere else in the region - the Void Acoustics Nexus 6. It’s the first system in Malaysia and, of course, new clubs always like to have a UPS and something to brag about.”

The Void Acoustics Nexus 6 cabinets are hung either side of the DJ booth, which sits at one end of the elongated room. The radical styling of the Nexus 6 was born from the innovative internal layout of its transducers. The four-way Nexus 6

consists of no less than 20 high power drivers, housed in a sculpted fibreglass enclosure. Sham said: “It could be described as a line array but in a single enclosure.” The Nexus 6’s are supplemented by three Void Acoustics Stasys Xair high output, double 18-inch horn-loaded subwoofers housed under the DJ booth, which extend the low frequency response.

“Because the room is quite long, we have deployed a few delay loudspeakers that provide the high SPL and energy throughout the club.

Similarly on the dancefloor, we had to choose the cabinets that gave the headroom they required,” Sham continued. Here, the Void Acoustics Venu Series was selected, 14 Venu 12 passive two-way surface mount loudspeakers and four Venu X reflex-loaded dual 12-inch subwoofers, as well as another Stasys Xair subwoofer at the back of the room. The Venu Series offers flexibility as they can be mounted vertically or horizontally and are also easy to install with their Easy Hang wall

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• Above The panelled ceiling is the focal point of the room.

bracket.

The VIP section, next to the DJ booth, has its own loudspeakers and subwoofer, to ensure the clientelé occupying that area are experiencing the best possible sound.

The DJ booth itself has a monitoring system too, comprising two Void Acoustics Venu 12’s and one Venu X. Amplification for the club space comes from Void Acoustics’ Bias units - four Bias Q2’s, two Bias Q5’s and one Bias V9 - with Armonia software, as well as an external processor from Bose, the ControlSpace ESP-4120.

“We had some challenges with the roof structure. We had to tame the low-end frequencies, so there was no rattling on

the roof. There is also a lot of wooden material used for the décor, which offers a warm ambience, but it did pose some challenges for the audio. We overcame this when we tuned the system, and again, it included taming the subwoofers and the low-end frequencies,” Sham furthered.

Audio elsewhere - in the BlackByrd restaurant and lounge - is a mixture of Void Acoustics and Bose. The lounge makes use of four Void Acoustics Venu 10 cabinets and two Venu 215 subwoofers powered by two more Void Acoustics Bias Q2 amplifiers. While the restaurant boasts six Bose FreeSpace DS 16SE and four Bose FreeSpace DS 100F surface mount loudspeakers running off a single Bose

PowerShare PS604A amplifier and a Bose ControlSpace ESP-880 processor. Five Bose ControlSpace CC-16 zone control panels are also installed around the venue, so each zone has its own volume control and is able to switch music sources when required.

Jeremy said of the audio installation: “The service Sham provides is very different as he understands the nightlife scene and the business model, as well as knowing what the operators need. You need someone who is energetic and dynamic, and when dealing with someone like me who doesn’t fully understand technology, I need to turn to someone I can trust.

“I can turn to him and say, ‘Sham, I want

TECHNICAL INFORMATION SOUND DRAGONFLY: 2 x Void Acoustics Nexus 6 loudspeaker array; 4 x Void Acoustics Stasys Xair subwoofer; 16 x Void Acoustics Venu 12 loudspeaker; 5 x Void Acoustics Venu X subwoofer; 4 x Void Acoustics Bias Q2 amplifier; 2 x Void Acoustics Bias Q5 amplifier; 1 x Void Acoustics Bias V9 amplifier; 1 x Bose ControlSpace ESP-4120 processor BLACKBYRD LOUNGE: 4 x Void Acoustics Venu 10 loudspeaker; 2 x Void Acoustics Venu 215 subwoofer; 2 x Void Acoustics Bias Q2 amplifier BLACKBYRD RESTAURANT: 6 x Bose FreeSpace DS 16SE surface mount loudspeaker; 4 x Bose FreeSpace DS 100F surface mount loudspeaker; 1 x Bose PowerShare PS604A amplifier; 1 x Bose ControlSpace ESP-880 processor; 5 x Bose ControlSpace CC-16 zone control panel LIGHTING & EFFECTS DRAGONFLY: 12 x Clay Paky Axcor Spot 300 moving head;12 x Martin by HARMAN Rush MH6 moving head; 4 x Martin by HARMAN Atomic 3000 LED strobe; 4 x Elation LED blinder; 2 x Look Solutions Unique 2.1 hazer; 2 x Antari fan machine; 4 x Magic:FX CO² jet; 1 x Avolites Tiger Touch II lighting console; 200+ LED panel; 1 x four-metre by three-metre LED screen; MADRIX software package; Resolume software package www.ismaya.com/eat-drink/dragonfly

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106 VENUE - APAC

“We used EASE simulation to demonstrate our plans.

We need to provide an intuitive and competitive design, and we also proposed a system that had not been installed anywhere else in the region - the Void Acoustics Nexus 6.”

to hear the sound like this or that’ and he can instantly interpret what I mean. Or, I can say, ‘I don’t want to feel this shake from the subwoofers’, and he can identify which frequencies need to be altered.

I consider Sham more than a system integrator, he is a business partner, as he has been with me throughout this entire journey.”

Sham echoed his sentiments: “For me, with all the projects I undertake, I develop an attachment to them. I want to ensure the customer is really happy with the end result, so I will address and fix any concerns they have. I will work with them to establish a long-lasting relationship.”

When it came to the lighting element at Dragonfly, ISMAYA Group and Jeremy were keen to replicate the iconic LED mapped ceiling from the Jakarta venue, so LEDsCONTROL was invited back to recreate the lighting design. Managing Director, Rebeca Sánchez Pastor takes up the story: “We converted the original design, but adapted shapes and quantities.

We also updated certain lighting elements www.mondodr.com

to the latest technologies, which allowed us to keep the original essence, but adapt it into this new space.”

The ceiling comprises more than 200 individual controlled panels, and each individual light box is a pixel in the MADRIX software. “The way we use LEDs is mainly for pixel mapping in low resolution applications,” Rebeca continued. “From the beginning, MADRIX software was made for that.

When others were focussed on the high pitch LED screens, our German friends were steps ahead of what pixel mapping meant. After almost 15 years, I can say, it’s one of the most powerful tools for this kind of installation.”

The panels span across the full ceiling in the club space. It creates a rather enveloping effect for the audience, especially with its Dragonfly wing graphic effects. There were a lot of panels to setup and install, and the schedule was challenging, but the local team worked together with our team leaded by LEDsCONTROL partner and executive producer Miquel Clot made sure

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108 VENUE - APAC

everything was completed on time.

Rebeca furthered: “In general, here at LEDsCONTROL, we develop the content accordingly for each individual venue, dependent on how the night evolves music wise and guest interaction. Earlier in the evening at Dragonfly, we have created an intimate, warm environment pitching the venue as more of an ultra lounge.

However, as the night progresses, and the music evolves and people want to dance, we change the lighting design to encourage that. Over the course of the evening, an experience is created, which we hope entices people to come back.”

In addition to the panels, a selection of intelligent

lighting fixtures and effects have also been installed at Dragonfly. The inventory includes Clay Paky Axcor Spot 300’s, Martin by HARMAN Rush MH6’s, Martin by HARMAN Atomic 3000 LED strobes, Elation LED blinders, as well as hazers from Look Solutions, fan machines courtesy of Antari and CO2 jets from Magic:FX. Additionally, there is a four-metre by three-metre LED screen that serves as a backdrop in the DJ booth, and more than 2km of RGB LED strips. An Avolites Tiger Touch II controls the lighting fixtures and effects, while the LED screen utilises a Resolume software package.

The venue opened in preview mode only at the

end of April, this was to ensure everything was just right before opening officially. Jeremy said in the lounge and restaurant, this was mainly about service, wanting all serving and waiting staff to provide the best experience for every guest.

During the preview period, he was confident his objectives and goals were met. Dragonfly was a more complicated beast, and as with any high-end nightclub, fine-tuning can take some time. But, after two months of finalising the details, the venue as a whole has gained a number of high praise reviews and has become a hotspot in the capital city.

15 – 17 October, 2019 Dubai World Trade Centre, UAE www.prolightsoundME.com

Get your business in sync with the latest trends In the field of systems integration, the synergy between your business and the market is of vital importance. At the Middle East’s premier trade show for professional lighting and sound, discover cutting-edge innovations and get up to speed with current industry standards at free-to-attend conference sessions and training workshops.

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IN BUSINESS

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• Page 120

EXPO MUSIC INSIDE RIMINI RIMINI

BY EMMA BILARDI

EXPO THE GET SHOW GUANGZHOU

BY JAMIE DIXON

EXPO KOBA SEOUL

BY EMMA BILARDI

EXPO PALM INDIA • Page 128

• Page 132

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• Page 160

MUMBAI

BY RACHAEL ROGERSON-THORLEY

EXPO INFOCOMM ORLANDO

BY RACHAEL ROGERSON-THORLEY

IN DETAIL CHROMATEQ ELECTRO-VOICE

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PRODUCT DIRECTORY LAST PAGE INTERVIEW MR LIU YUNHUI - GTD

112 SH OW P REVIEW - IBC

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In 2018 IBC attracted more than 55,000 attendees from 150 countries around the world, exhibiting more than 1,700 of the world’s key technology suppliers

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and showcasing a debate-leading conference.

From Lounge Talks exploring diversity and sustainability in media and entertainment to Tech Talks taking a deep dive into the latest tech trends and innovations; and from big-hitting Executives giving exclusive business insights to global YouTube stars revealing the consumption habits of the next generation - see it differently at the IBC Conference.

Over the five day conference 1,700 delegates and guests from across the globe will hear from our outstanding line-up of 300+ speakers, enjoy fantastic networking

opportunities and be inspired to embrace the changes in our industry together.

From students through to the top C-Level executives driving the industry’s agenda; theatres hosting demonstrations, presentations and briefings; the future of technology and research from leading R&D labs; and even blockbusters on show at our custom built Big Screen!

There is something for everyone, whether creative, technical, old or new - this is your chance to explore all that IBC has to offer across six days of groundbreaking insight and innovation. https://show.ibc.org

→ Professional 8K switcher with 8K DVE, standards converted 8K inputs, SuperSource, Chroma Key and multi-view. → Designed for large scale live events, music festivals and live sports, with a huge number of inputs and DVEs for multi-layer compositions to cover all the action. → Four M/Es, 40 x 12G-SDI inputs and 24 x 12G-SDI aux outputs for working in HD or Ultra HD. These features can then be combined for 8K live switching. → Powerful internal graphics and four ATEM advanced Chroma Keyers. → Built-in talkback and a professional 156-channel Fairlight audio mixer with EQ and dynamics.

disguise xR Tecnhnology www.disguise.one → disguise will be showcasing the latest in their xR (extended reality) technology to create fully immersive production environments, utilising the latest in Augmented Reality (AR) and Mixed Reality (MR) workflows for live broadcast. → They’ll also be showcasing the latest in disguise’s powerful hardware, the gx 2c which features increased capture capabilities and rendering power, unlocking powerful new capabilities for broadcast and live productions. → See how the disguise solution is used to power video mapping and in-vision screens in TV studio environments, as well as how the disguise software can be used on site as a show controller, editor, calibration interface and more, so teams can achieve the best creative results possible.

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113 SH OW P REVIEW - IBC

ROE Visual Amber Stand No.: 8.B24 www.roevisual.com/ products/amber.html

Lectrosonics D² System Stand No.: 8.C74 www.lectrosonics.com/US/DigitalWireless/category/d2-system.html → Eight-channels in single RU. → 24-bit / 48kHz digital audio for studio grade sound quality. → Three receiver diversity modes. → Compatible with digital and digital hybrid wireless transmitters. → Dante.

→ The Amber LED platform by ROE Visual offers uncomplicated installation, adaptable design and easy low-key maintenance. → Amber offers a fine pitch LED platform for environments where excellent visuals count - deliverable in pitches ranging from 0.9mm till 1.5mm. → Equipped with robust IM components, the LED performance will be flawless from the start and will keep that way - no matter how often its used. → Amber offers a seamless canvas with zero bezel tolerances. Goodbye to disturbing white or dark lines in the display, and content will be displayed as it is - no visual noise, just pure brilliant visuals. → The Amber LED platform is equipped with a fully redundant power supply system, so users don’t need to worry about unplanned downtime of the screens. The dual power supply will keep the panels up- and running at all times.

VITEC EZ TV IPTV & Digital Signage Solution for Sports Venues Stand No.: 7.C34 www.vitec.com

→ Simplifies deployment and management of IPTV, digital signage, and video wall content for sports venues of any size. → Delivers a breathtaking visual experience to every screen, enhancing the fan experience and driving new opportunities for engagement and revenue. → Features low-latency native playback of IPTV streams up to 4K, and supports interactive content, video, and imagery transformations. → Seamless access to on-demand content and a custom electronic program guide with the same DVR capabilities found at home. → Offers a cost-effective, flexible, and open architecture that is ideal for the ever-changing video, marketing, and sales requirements of today’s sports venues. www.mondodr.com

114 OBIT UARY

OBITUARY | PAUL MACCALLUM: THE WOMBLE OF WEMBLEY

BY JERRY GILBERT

The professional sound industry was this month mourning the death of Paul MacCallum, known affectionally to his friends as The Womble (on account of his stint as Great Uncle Bulgaria in Mike Batt’s furry collection), but to the many PA companies who relied on his professional services as Wembley Loudspeaker’s, Recone King.

Paul was born in Harrow on September 13, 1948 (making him 24-hours older than me). He was brought up by his mother and her parents in Bournemouth, where he also went to school.

It was here that he first met bandleader Zoot Money, with whom he later played bass guitar, and the two performed in the school orchestra together. He was later a member of Zoot Money’s Big Roll Band from the late ‘80s onwards.

During the 1970’s Paul played and toured in bands, backing well-known pop stars such as Helen Shapiro and Billy Fury, and also working as a session musician. In the ‘80s, he also played with Ruthless Blues and Dana Gillespie before touring with The Wombles.

In 1966, he met Arthur Lampkin, who went on to found Wembley Loudspeaker five years later, and the two men developed a reputation as the UK’s leading loudspeaker repair and refurbishment experts from their workshop in Shepherd’s Bush.

Their clients ranged from nightclubs, pro studios, sound hire companies, musicians (including BB King, Mark Knopfler and Eric Clapton) and when Arthur retired, Paul took over the business and employed Paul Mansfield and Tony Collins for many years.

But Wembley Loudspeaker was far more than a repair shop. It designed some nifty cabinets of its own, most notably the popular B-Line bass cab, but also the equally popular Spyder, Deuce, Maxicube, Minicube, used by churches, some high-profile discos and theatres, both in the UK and beyond.

After the onset of a degenerative form of Parkinson’s Disease had forced him to give up Wembley Loudspeaker, Paul continued to play bass with Zoot’s band right up to the point where it was no longer possible. As a musician, he will be remembered with affection by the crowds at the Bull in Barnes, which along with the 100 Club, was one of his favourite gigging venues.

“We had endless laughs the whole time I knew him - from secondary school till the end,” stated Zoot. “Paul was a fellow musician, excellent company, a friend and solid in a crisis.”

Having shared our landmark 50th and 60th birthday parties together with parties at the 100 Club (conveniently during the PLASA Show), I also have many fond memories.

Paul was also a major player (in every respect) on the international circuit. During the heyday of the disco industry, when the industry’s sound and lighting suppliers would decamp to the notorious Rose & Crown English pub, off the seafront in Rimini during the golden days of the SIB trade fair, he somehow managed to sell the owner a new Wembley Loudspeaker sound system for installation. How anyone was sober enough to do business in a bar that never seemed to close, and ended in carnage on most nights, remains a mystery to everyone.

I also had the great privilege of presenting him with ‘The Unsung Hero Award’ at the very first TPi Awards in 2002. It was to be a complete secret and I was to build up the suspense during the blurb before finally revealing his identity.

But what made my task harder, was meeting up ahead of the event at the Hilton on Edgware Road with a few industry chums, when who should walk in but Paul. Keeping a straight face had never been harder.

Four hours later, standing behind the mic, I was following my brief, trying to avoid making eye www.mondodr.com

contact with The Womble on table 39. But when I set the scene by referring to one TV show, on namechecking a popular female TV presenter at the time, and led onto ‘he’s done just about anything it’s possible to do in a Womble suit’, the place went wild.

But everyone has their favourite anecdote about Paul, who was loved by everyone. You only need to look at the swathes of tributes on Facebook and other social media sites to realise this.

Paul was married four times. With Vanessa, his second wife he had three children and then gained a stepson when he married Viviane. He was married to Viviane for the last 22 years of his life, having been together for six years prior to that. He also leaves behind four much-adored grandchildren (with another on the way).

Paul died on June 26 from Multiple System Atrophy, a rare neurological disorder, which progressively started to overwhelm him from early 2016.

Several months prior to his death, when already confined to a nursing home, a benefit concert was held at the O2 Academy Islington, giving the industry the opportunity to pay its respects.

Hosted by Zoot Money, and featuring Papa George and Alan Price, the smile never left Paul’s face the whole evening as he sat in rapt attention in the front row, playing air bass and wishing for all the world that he could have been up onstage with the ensemble.

The family is asking for donations to be made to either the MSA Trust or Princess Alice Hospice.

MSA Trust www.justgiving.com/fundraising/paulmaccallum Princess Alice www.justgiving.com/fundraising/paulmaccallum1

116 EX P O

• ETC’s Releve Spot

• Jens from Lumen Radio

• Void Acoustics products on show

• DTS’ Alchemy 5

•High End Systems’ Full Boar 4 desk

• Press corner

MUSIC INSIDE RIMINI RIMINI / 5-7 MAY

The fourth edition of Music Inside Rimini was held on the 5-7 of May at Rimini Expo Centre.

The 2019 edition proposed a new live format, focussing on four specific areas: entertainment technology, integrated systems, live broadcast production and music production. As always, the show was flanked by a series of events, including ‘Lighting Designers at Work’ with renowned lighting designers Jo Campana, Giovanni Pinna and Mamo Pozzoli, who showcased their skills, putting together a cue list on a lighting console, in a simulation that precisely recreated their work in the field.

The ‘Live You Play’ format, officially part of

the MIR brand since last year, announced two new stages: rock and theatre. The latter was equipped with audio, video, lighting and effect technology from the sector’s key companies, where live performances enabled visitors to better appreciate the solutions featured, while the rock stage featured a live band complete with set-up.

One of the new features of the broadcast side of the show was an area dedicated to drones.

An aerial imaging workshop was held with DJI Enterprise, pioneers and leaders in this sector.

Clay Paky focussed on the MINI-B, which made its debut at this year’s Prolight+Sound,

• An outdoor video sculpture displayed branding

the smallest LED beam light ever made by the company for the professional market. Despite its small size, it incorporates the most modern and innovative technology.

RCF celebrated its 70-year anniversary at MIR, displaying the audio technology that will accompany Italian singer songwriter, Luciano Ligabue on his Italian tour.

Bose displayed its new audio system from the Philips Stadion in Eindhoven - Arena Match AM 40. The spotlight was on Relevé at the ETC stand, a decade of LED optical engineering resulted in this impressive, automated fixture, designed specifically for the

• Pioneer Pro Audio’s live DJ set

118 EX P O

• FBT presented the MYRA touring solution

• Luca from disguise

• RCF’s 70th anniversary

• Robe celebrates its 25th anniversary

theatre. Pioneer Pro Audio showcased its XPRS loudspeaker series with a live DJ set, which was definitely one of the highlights of the show floor.

There was a strong focus on club culture at the show, with appearances by DJs Coccoluto, Fabio B and Alex Neri. A series of talks titled ‘Tender is the Night’ were led by Italian indie artist, NicoNote and journalist, Pierfrancesco Pacoda.

Discussions took place about the concept of nightclubs as places where cultural languages are created, not just entertainment venues.

Music Inside Rimini attracted more than 12,600 visitors this year confirming its role as Italy’s national reference point for entertainment technology.

Music Inside Rimini returns to Rimini Expo Centre next year between 8 -10 March. For more information, go to: www.musicinsiderimini.it

• Clay Paky stand

• Set up for the live music demo

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• LITEC launched the My T Truss at MIR

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120 EX P O

• Judy of Kupo

• The ACME stand

• The GET Show overseas guests party

• mondo*dr’s Jamie with Mr Power of The One Studio

• Alan of GTD

• The DXG booth

THE GET SHOW GUANGZHOU / 8-11 MAY

The Guangzhou Pazhou Poly World Trade Centre recently hosted the 18th edition of The GET Show, one of the largest entertainment technology shows in Asia.

This year, The GET Show boasted over 1,000 exhibitors spread across nine halls, covering 100,000 sq metres.

The layout of the exhibition followed a similar formula to previous years with three halls dedicated to audio, along with a large outdoor space for demo’ing the impressive range of line arrays.

The remaining six halls were dominated by

• Tech Team stand

lighting exhibitors.

It was noticeable that the areas outside the halls had also been utilised well, accommodating small shell scheme booths, presumably due to the increase in exhibitors.

Among the extensive amount of stands were many clients and friends of mondo*dr including Adamson, Sennheiser, Pioneer, MADRIX, Wireless Solution, MEGA Systems, PR Lighting, FINE ART, Global Truss, The One Studio, Laserworld, GTD, TECHTEAM and LAMP. A great excuse to catch up and learn about new and exciting products and projects.

• The LAX team in full force

• Andy and the Shinestage team

PR Lighting was difficult to miss with its impressive booth and it had taken a fresh approach - in comparison to previous years - to its vast, 558 sq metre booth design.

On display was the 580 Series, which debuted at Frankfurt’s Prolight+Sound, earlier this year. This included two waterproof units - the AQUA 580 BWS and the AQUA 580 Beam - as well as two indoor units, the XR 580 BWS and the XR 580 BEAM. Away from the bright lights in those halls, I was able to catch up with CEO of PK Sound, Jeremy Bridge. He said: “China is a key market for PK

• Wireless Solution stand

• SAE team

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95 EX P O

• The Real Music stand representing Adamson

• The Cabada brother on the Mega Systems stand

• The Avolites stand

• RAC Pro distributes L-Acoustics and DiGiCo

• Viky Lighting booth

• The MADRIX stand

• The DJ Power stand

• Cui Lin and the LiteLees team

• Jack of Global Truss

122 EX P O

• mondo*dr’s Jamie with Judy of Worldwide Focus Media

• Paul and Jeremy of PK Sound

• Christophe and the SFAT team

• The Lantian booth

• The Hotion stand

• The EK Lights stand

and The GET Show is the most prominent local show focussed specifically on this market. This was our first show to cement our presence in the APAC region, which is a major focus area in our growth plans. Our plan was to meet a number of new partners and work on potential business opportunities.”

It was also brought to my attention that The GET Show is the first in China to initiate a noise-free exhibition, in a bid to provide a more comfortable environment for those wanting to talk business. It’s great to see this philosophy being put in to action, a welcome introduction for anyone who has visited

• Void Acoustics’ Callum with his distributors

shows in Asia in the past, and has been subjected to ‘Hotel California’ on repeat at full volume for many years!

With approximately 100,000 local and overseas visitors, it’s fair to say that the ‘City of Flowers’ is blossoming in to Asia’s largest technology show.

The GET Show will return to the same location nect year, but will run earlier in the year. Dates have been announced as 16-19 February 2020. For more information, go to: www.getshow.com.cn • The Dicolor stand

• Susan from Weifa

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• Tina of GZ Yuelight with Jamie of mondo*dr

BIGGER

BRIGHTER BOLDER

124 EX P O

•Anthony Harrison from Calrec

• disguise utilised an interactive floor to demo its innovative software

KOBA

SEOUL, KOREA / 22-25 MAY

This year marked KOBA’s 29th show at the COEX Convention and Exhibition Center and ran from 22-25 May. A total of 43,905 people visited 906 exhibitors from 35 countries. Co-organised by Korea E&Ex and KOBETA (Korea Broadcasting Engineers & Technicians Association), KOBA was a unique opportunity to experience innovative broadcasting solutions first hand and check out the local audio and lighting market.

The show was split into three parts: professional audio and lighting equipment, post production and distribution and production and broadcasting equipment.

The professional audio hall was located on the

ground floor, and featured a select few lighting stands, while the vast upper levels of the COEX focussed on broadcast, with some smaller demo rooms available.

There were a lot of familiar brands on show thanks to a number of Asian distributors. Seoul based distributor, Sama Sound presented an impressive stand with well-known brands such as Shure, Allen & Heath, HK Audio, TC Electronic, K&M, Genelec, Peavey, Martin Audio, Neutrik, LEA, and Barco readily available.

The lighting on offer was scarce, with at least half devoted to TV, film and photography, however, the likes of Vari-Lite, Robe and Acme were present to represent the entertainment lighting

• Christie exhibited for the first time this year

sector. The limited lighting presence was due to Hansam and Tongsuh deciding not to exhibit this year.

My first visit to KOBA did not disappoint, much like the city itself, the show was innovative and bustling with people. Although heavily broadcast based, KOBA does attract some solid brands in the audio and lighting industry, as well as offering the opportunity to catch up with the local market.

KOBA returns to the COEX Convention and Exhibition Center next year between 13-15 May. For more information, go to: www.kobashow.com

• Sama Sound’s impressive stand

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125 EX P O

• Yamaha’s interactive stand proved to be a hit with visitors

• Nikki Jung from Klausys Co

• HARMAN stand

• The Absen booth

•Ryan Kallas of Triad-Orbit

126 EX P O

• Chainmaster stand

• Vari-Lite’s Total Plus on show

• Kevic’s Hae-Young Park • Changyu Choi from Dasan

• Riedel stand

• Dicolor’s colourful display

• Blackmagicdesign booth

• Edan Kwon from Sama Sound and Simon Purse from Martin Audio

• Danley Sound Labs on show

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YOU DON’T NEED KEVLAR. But... when the rain is pouring in sideways you’ll be happy they’re not paper.

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An Adamson systems sounds the same from the first to the last note.

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128 EX P O

• The Star Dimensions team

• Hannah of SAE with distributor, Pro-Tech Audio

• The QSC stand

• The opening ceremony

PALM EXPO MUMBAI, INDIA / 30 MAY - 01 JUNE After taking a year off from PALM Expo in 2018, mondo*dr returned to the show in Mumbai this year. It felt familiar with setup day still unbearable due to the excessive heat - and no air-conditioning - and the dust.

However, as is usual, the doors opened the following morning, and it is transformed.

There is no doubt PALM Expo is a busy show, pulling in 30,949 visitors across the three days,

• Peter of Wharfdale flew in to support his distributor

with 23,241 of them being unique. They came to see the 311 exhibitors that were split into three halls. The main hall is primarily audio, although some of the Western lighting and visual brands also feature there. Adjacent is the HARMAN Arena, which hosted seminars and live performances throughout the show - a long-standing feature, that is still going strong.

Next is the lighting and effects hall, which

• Andrew of Bishop Sound

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is dominated by Chinese manufacturers, as well as local manufacturers. A third hall that was new for this year housed AV-ICNx. This is a co-locating show, which is aimed at the integration market, hence the name, AV Integration, Communication, Networking Expo. However, this was actually changed just a week before the show opened, as it was previously AV Integrated Systems Expo,

• The Bose team

• Kevin of Lavoce

135 EX P O

• Local distributor, Modern Stage Services with manufacturer representatives from PR Lighting and Antari

• The Yestech stand

shortened to AV-ISE, which obviously caused friction with the European show by a similar name - as the two are not connected.

That said, there were a number of exhibitors who took up a space in the new hall, some of which were new to PALM Expo, while others have exhibited before but decided to take a space in the new hall.

In addition to the halls themselves, there were

• Mr Power and Wing from The One Studio

• Ian of DiGiCo, Peter of L-Acoustics and Rajan of Hi-Tech

also the Demo Qube outside, which featured Beta Three, Bose, dBTechnologies, Pope Professional and RCF. The line array demo was moved indoors this year, when previously it has been outdoors. Brands that took a demo slot included Dare Audio, Harmonic Deisgn, Magnetic and Z Sound. For the competitive element, the DJ Championships took place at the show again this year, as well as the ninth

PALM Sound & Light Awards.

The show for mondo*dr, is a good one, as we are there to see the exhibitors, find out what new products they are displaying and what projects are in the pipeline. Gathering so many of the major distributors in one space makes it a real worthwhile visit. Further backedup by the fact that many Westerners still fly out to support the local teams. As the years

• The team on the IES booth

• The Audiocenter stand

• A busy HARMAN booth

• The LightLink stand

130 EX P O

• Keith, Rob and Marcus from Allen & Heath with distributor, Neeraj

• James from AVID with distributor, Ansata

• The KV2 booth

• Live demos from NEXO

gone by, the show has gone from strength to strength, as the market has developed, however, it does seem to have reached a peak. The show is therefore sustaining that standard, but it will need to continue to diversify to keep up with the competition.

Raising the standard in the market was some news from the Hi-Tech stand. Ian Staddon of DiGiCo explained: “The Best Brothers have agreed at the show that they are going to update their SD7 to Quantum, and they have confirmed they will be buying another SD7 Quantum next year.”

The Best Brothers added: “We are very pleased with the board and believe it is the best in the market. After you have used the SD7, you will never use another board. It’s been a wonderful experience to wok with DiGiCo and Hi-Tech, and we were the first to get DiGiCo into India, we purchased the D5, when they didn’t have any distribution in 2007.” The rental house has many plans for the upgraded SD7 Quantum.

The final word goes to Ramesh Chetwani, Exhibition Director, he said: “I congratulate all PALM Sound and Light Awards winners this year, which included Bollywoods’ Filmfare Awards

• Karan and Ben representing Adamson

• The Meyer Sound stand

• The Celestion guys

for Best Stage Show, featuring most outstanding lighting showcase on stage in India. The Lighting Showcase feature was remarkable, as it was open to all lighting engineers attending PALM to showcase an impromptu lighting choreography…

Lighting accounted for 21% of the exhibition floor, with increased exhibitors from last year. PALM also cooperated with MA lighting and Avolites in ensuring PALM retains its focus on providing an exhibition platform that allows only original product and brand exhibits. We earned kudos from exhibitors for this action. India’s lighting market in stadia, as well as install across solutions in entertainment, hospitality, and retail are witnessing a marked growth, adoption of premier brands, fuelled by an economy growing at 8% annually, PALM felt this surge of integrators at the show, delivering more professionals and decision makers, rather than ‘visitors with interest’.”

PALM Expo will return to the same location next year from 28-30 May. For more information go to: www.palmexpo.in

• Michael of d&b audiotechnik

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• Steve and Rod of RGBlink with their Indian distributor

• Martin Audio’s new distributor, Preeti

• The D.A.S. Audio booth

Creating a Myriad of Possibilities ROE Visual introduces Installation Range LED panels ROE Visual introduces a range of LED panels specially adapted for use in AV integration and permanent installations. Based on its in-depth experience with LED screens used in the live event industry ROE Visual presents a LED panel range based on the same philosophy; adaptable products that offer excellent visual quality and are easy to install, maintain and use. Creating an infinitive range of installation possibilities, ROE Visual supplies the display solution that suits your requirements, no matter how demanding they are.

DISCOVER THE POSSIBILITIES AT IBC, AMSTERDAM HALL 8 B24

132 EX P O

• The Adam Hall booth

• Avante Audio booth

• Marc, Jeremiah and Ben from Adamson

• The Air Star stand

• The Blackmagicdesign stand

• The d&b audiotechnik stand

INFOCOMM ORLANDO / 12-14 JUNE

Many people were surprised when I said that this year was my first time at InfoComm, because those of you that know me well, will know that rarely a month goes by without me getting on a plane. Generally, though, the direction is East, not West. With InfoComm gaining significant traction in recent years, establishing itself as one of the top dogs on the tradeshow calendar, I was intrigued to see what it had to offer. We had also selected the show as the platform to launch the mondo*dr Awards - The Americas too, which took place one evening after the exhibition, and was a great success.

This year, the show recorded 44,129 registered attendees, of which 37% were attending for the first time and 18% travelled to the show from 117 countries outside the US. I’m told the Las Vegas

• Antari products on display

version is even bigger than Orlando, but the latter certainly had plenty to offer visitors. Here are some of the highlights from this year: ADJ introduced its new Hydro Series of moving head fixtures, the flagship being the Hydro Beam X2. The second fixture in the new series, the Hydro Beam X1, is a compact yet potent moving head powered by an Osram Sirius HRI 100W discharge lamp. The final model in the Hydro Series to date is the new Hydro Wash X7 a powerful LED wash fixture.

In one of the many demo rooms, Alcons Audio showcased how its systems are an optimum solution for a wide range of applications, delivering the best audio quality and intelligibility at all SPLs, with maximum gain before feedback. Astro Spatial Audio

•Bjorn and Graham from Astro Spatial Audio

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demonstrated how using Alcons loudspeakers with its SARA II Premium Rendering Engine delivers the ultimate clarity and coverage for object-based immersive audio.

In addition to working with Alcons Audio, Astro Spatial Audio debuted full integration if its technology with the renowned BlackTrax real-time tracking technology. Based on a ground-breaking new algorithm which seamlessly converts Real-Time Tracking Protocol (RTTrP) signals to Open Sound Control (OSC) commands, the BlackTrax integration formed the centrepiece of a busy show for Astro Spatial Audio.

AtlasLED showcased a number of new solutions.

One highlight was the Z Series, an all-in-one sound masking solution consisting of either a

• Garth from Atlona

133 EX P O

• Josh from Audinate

• The BARIX team with PR consultant, Brian

• The Dataton stand

• Brian takes centre stage with the ADJ team

• Ryan from Group One and Tim from DiGiCo

• BrightSign booth

• Rob of Brompton Technology

• Rob of Brompton Technology and Graham of digiLED

• The CODA launch

• The Chauvet stand

• Bob from Clear-Com

• The Community stand

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134 EX P O

• Ken of CP Communications

• mondo*dr’s Rachael and EAW’s Ken

• The Elation stand

four-zone (Z4) or two-zone (Z2) high-definition acoustical system. With integrated pink and white noise generators for sound masking, plus a mic-line input for paging/background music and a Bluetooth receiver for wireless music transmission, the Z Series provides high-quality speech privacy, high-definition background music, and paging functionality.

Atlona, in partnership with new owners Panduit, accentuated the importance of quality network infrastructure and connectivity in the AV over IP ecosystem. Panduit demonstrated its latest enterprise-level equipment racks, cabinets and connectivity solutions for audiovisual environments in Atlona’s booth, with a focus on helping integrators and end users streamline the installation and management of their core system architectures.

Atlona also introduced an expansion of its Rondo • Guy of Electro-Voice and Dynacord

• The D.A.S. Audio stand

• Sagar from disguise

family of HDMI distribution amplifiers and three new offerings in its rapidly-growing Omega Series of switching, extension, and video processing solutions for modern audiovisual communications and collaboration.

Barix continued to enhance the RetailPlayer multi-site background music streaming system by introducing powerful new capabilities. The seamlessly scalable RetailPlayer solution enables retail, hospitality and corporate customers to easily stream background music and messages to any number of locations over the internet.

Bose displayed a number of new product lines at InfoComm including: the DesignMax loudspeakers, which bring outstanding audio and aesthetics to any commercial installation; PowerSpace+ and PowerSpace versatile power amplifiers for premium

• The FBT booth

• The Fulcrum Acoustic stand

• The Barco stand

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• Brian and Ken ENCO

• Global Truss stand

136 EX P O

• The GLP team

commercial applications; and the ArenaMatch DeltaQ array and ArenaMatch Utility loudspeakers.

Brompton Technology unveiled its latest Tessera Processor Software 2.3 for its entire range of processors, as well as High Dynamic Range (HDR) video technology. Tessera Processor Software 2.3 includes a number of new features for the SX40 such as High Frame Rate and sub-fixture support, and Ultra Low Latency mode. Brompton also worked with LED screen manufacturer, digiLED which featured the Brompton Tessera SX40 LED processor and XD 10G data distribution unit on its booth.

Visitors to Clear-Com booth saw the latest version of LQ Series Audio-over-IP interfaces, which enable users to bring their IP-based intercom wherever they go by networking geographically-dispersed audio and communications devices of any brand or technology type over secure LAN, WAN or even the public internet.

CODA Audio launched its brand new ultra-compact two-way arrayable point pource N-APS at this year’s InfoComm exhibition in Orlando. Combining the versatility of a point source with the perfect arrayability of a line array, N-APS creates a unique category of sound reinforcement system for small to medium size venues by delivering twice the power handling, as well as significantly more low-end, than other comparable sized systems.

CP Communications exhibited for the first time at InfoComm with a strategic systems integration vision for commercial audiovisual that includes a new family of IP-based, broadcast-quality

• Gamers on the Panasonic stand

• David of HARMAN

• JJ from Carousel

content acquisition and streaming solutions. CP Communications’ STREAM packages made their debut at the show.

The all-new A-Series from d&b audiotechnik introduces the augmented array: an advanced loudspeaker concept born from the d&b audiotechnik applied evolution system development philosophy. Combining variable splay angles, two approaches to acoustic optimisation, and advanced waveguide design, the A-Series addresses applications where coverage flexibility in both the horizontal and the vertical is paramount. It was on show at this year’s show.

Fans of Audinate’s popular Dante protocol were pleased to learn that DiGiCo had the new DMIDante 64@96 card in Orlando for its 4REA4, S-Series and select SD-Range consoles (SD12 and SD7 Quantum). DiGiCo also revealed Mustard, a new set of algorithms and options for SD7 Quantum channel strip processing that offer enhanced flexibility and choice when extra control and creative adjustment is needed within a mix. disguise announced the official launch of a new gx range flagship server. The gx 2c server features even more GPU processing power, more capture and storage, as well as 10-bit and HDR support.

Digital Projection used its impressive booth to give a technology preview of its latest innovation - the Satellite Modular Laser System (MLS). In short, Satellite MLS offers a small number of simple building blocks that will allow users to address a wide range of applications, from single projector

• Jeff and Mike from Danley

• The Renewed Vision team

• The Digital Projection booth

• KV2 Audio’s David

• Taft from JustAddPower

• K-array’s Francesco

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• Laura of mondo*dr and Maureen of Martin Audio

• The L-Acoustics booth

• Bart and Margie on the Luminex booth

• Miek from Magewell

installs to complex, multi-channel domes, caves and simulators.

Earlier this year, EAW introduced the KF810P installation line array. At InfoComm, EAW launched the new SB818P|F companion subwoofer for the KF810P. The SB818P|F is direct radiating, with an optimally tuned, vented enclosure that houses an 18-inch neodymium transducer with long-excursion 5.3-inch voice coil and tremendous motor strength, enabling reduced system weight and increased output response at all output levels.

The new MFX multi-function monitors, MFX-12MC and MFX-15MC from Electro-Voice are passive 12-inch and 15-inch two-way coaxial monitors with a performance level engineered to complement the X-Line Advance line array models X1, X2, X12128 and X12-125F, and corresponding installation versions. Visitors to the booth could see both on display.

• Gary from Pilant Technologies

• The Mega Systems booth

Innovox launched Synergy Slim at InfoComm 2019.

Flex Synergy Slim is an ultra slim conferencing solution custom-sized to match the exact width of any size video display in a depth of only 3.5-inches.

Flex Synergy builds on the knowledge gained from development of the Innovox HLA large venue and SLA compact line array products.

L-Acoustics announced the launch of the LS10 Avnu certified AVB switch. LS10 offers an out-of-the box AVB solution for connectivity, providing a simple, reliable networking solution.

LEA Professional released the Connect Series amplifiers with four mid-power models of IoT (Internet of Things) enabled professional amplifiers for the professional installation market. The Connect 354, Connect 704, Connect 354D and Connect 704D aim to provide system designers and integrators simple and powerful solutions to drive their largescale installations with the capacity to support

• Pioneer Pro Audio products

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• The Linea Research team

• David of PixelFLEX

• Powersoft press call

STARWAY

The magic of light

Want to be our exclusive distributor for a specific region ?

Please email us at info@star-way.com

www.star-way.com

The magic of light

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• Jim from Presonus

• The Proel booth

monthly recurring revenue (MRR) business models.

Listen Technologies showcased its full suite of personalised listening solutions. Products on display included the recently launched Listen EVERYWHERE, new ListenTALK Systems and listen-only receivers and accessories for the awardwinning ListenTALK, a new ListenRF receiver, the ever powerful and universal ListenIR and the latest innovation in hearing loop technology available via ListenLOOP. Continuing its tradition of delivering reliable and cost-effective solutions addressing key market trends, Magewell announced the immediate availability of its new Pro Capture Dual SDI 4K Plus video and audio capture card. Shipping since last month, the new model combines flexible support for multiple 4K SDI interface standards with dualchannel capture density to provide an exceptional combination of versatility, performance and efficiency.

Meyer Sound expanded its booth and demo room footprints to showcase multiple new products - most notably the ULTRA-X40 point source loudspeaker - and to immerse visitors in a captivating preview of Spacemap LIVE, a prototype spatial sound mixing tool. Based on technologies developed for the newest generation of LEO Family line arrays, ULTRA-X40 features a distinctive driver configuration, a rotatable horn, and a new amplifier and processing module.

Surprisingly, given NEXO’s long-standing global reputation for point-source loudspeakers, this is the first time the company has designed a 12-inch enclosure. The much-anticipated P12 promises to establish a new benchmark for the all-purpose pointsource cabinet that can deliver at front-of-house, on stage, and as part of a distributed system.

Obsidian Control Systems previewed a new and comprehensive data distribution range of products - NETRON. NETRON encompasses Ethernet to DMX gateway, DMX splitter and DMX/RDM splitter solutions, supporting applications from live production and venue installations to architectural environments.

InfoComm 2019 saw the US debut of yet another enhancement to Peavey’s Elements C Series

weatherproof loudspeakers. Following last year’s announcement of the upgrade from IP45 to IP56 rating, the unveiling of marine-grade versions that are specially designed to withstand the ravages of salt water, making them an ideal choice for cruise ships, swimming pools or coastal outdoor applications such as theme parks and resorts, fun fairs, restaurants took place at the show.

Pliant Technologies debuted its newest wireless intercom system, MicroCom. It offers a simple and affordable wireless intercom solution for any budget.

Available in 900MHz (where legal), MicroCom provides single channel, full-duplex, multi-user intercom for applications where high-quality audio, excellent range, and low-cost are essential.

Italian audio innovator Powersoft unveiled its newest amplifier platform - Mezzo. It is a highly reliable and flexible system from one of the leading innovators in amplifier technology - making it ideal for a range of fixed application scenarios. Furthermore, Mezzo is simple to set up and can be monitored remotely, making it attractive to integrators seeking reduced installation times and more efficient deployment of audiovisual staff in the field.

Visitors to the Renewed Vision booth saw premieres of powerful new versions for two of the company’s highly-acclaimed software solutions.

Demonstrations included the new version 3.3 of the feature-rich PVP3 multi-screen media server, video processor and screen control solution, alongside new innovations in the ProPresenter Scoreboard multisport score presentation platform.

Renkus-Heinz debuted several of this year’s hottest new products including the all new IC-Live X series high-powered steerable arrays. With greater power density, higher output, simple integrated hardware, and a unique coaxial driver arrangement, the IC-Live X brings a new level of flexibility for integrators.

Riedel Communications showcased the new Artist-1024 node, a powerful new addition to the Artist intercom ecosystem. Artist-1024 features an incredible 1,024 ports in just 2RU and is targeted toward IP installations with its full SMPTE ST 211030/31 (AES67) compliance.

ROE Visual presented a new series of LED screens.

• The Renkus-Heinz team

• The RGBlink team

• The Studiomaster team

• Jeff on the Sennheiser booth

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Norrsken House in Stockholm, Sweden features Genelec 4030C active loudspeakers in Grass Green RAL 6010 colour

Always a Perfect Match Our 4000 series loudspeakers offer premium performance, beautiful aesthetics, easy installation and total reliability.

And with 120 RAL colours to choose from, finding your perfect match is easier than you think. www.genelec.com/4000series

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• The Triple Play team

• Trey from Visix

• The VITEC team

These new LED products, named Amber and Jasper are designed to serve the market for fixed installation and audiovisual integration. The Amber LED panels support HDR technology resulting in an excellent graphic quality with added greyscales and excellent colour depth. While the Jasper LED panels are developed to play into the demands for permanent video installations.

SSL’s Live consoles have gained a reputation for superior sonic performance, ease of workflow and reliability. From the compact L100 to the latest L550 flagship console, all the mixers are based on the low latency SSL Tempest Audio Engine with an extensive range of I/O options, including SSL SuperAnalogue stageboxes (over MADI or Dante), local analogue and digital I/O, and Blacklight. All of these solutions were presented at the show.

TiMax showcased an exhilarating sampler of TiMax immersive audio soundscapes along with panoramic and 3D spatialised music playback, in conjunction with a multi-channel immersive sound system of Renkus-Heinz compact, Dante-enabled active installation loudspeakers.

Visionary Solutions took the wraps off its new PacketAV Sentinel software. PacketAV Sentinel

enables proactive network audiovisual monitoring with real-time alerting, making it simple to monitor the status of the network and network-connected audiovisual devices from any location.

Visix Inc debuted new user interface designs for both Touch and Connect room signs. The new Touch UI offers more customisation options than any competitive product currently available.

WORK PRO’s LightShark DMX-based hardware lighting consoles were a hot topic at InfoComm 2019 thanks to the launch of LS-Wing, a brand new fader wing that doubles the number of direct DMX universes available with each product in the range.

XTA introduced the MX36 ‘DSP Enabled Console Switching System’, to give it its full title, during InfoComm. It has been designed to offer a uniquely simple solution to the long-standing problem of handling multiple mixing consoles’ audio feeds in a multi-stage situation. Packed full of features, all of which are fully user configurable via the front panel, so there is no need to connect a computer or depend on an app with a wireless connection.

InfoComm heads to the Las Vegas Convention Center from 17-19 June 2020. For more information, go to: www.infocommshow.org

• The Void Acoustics stand

• The Visionary Solutions team

• The VUE Audiotechnik stand

• Rich of XTA with the new MX36

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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.

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

ICONYX DC 12/2

ICONYX IC 12/3

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CHROMATEQ | PIXXEM

French manufacturer, Chromateq is celebrating its 10th anniversary this year, and since its inception, it has built a name for itself as a specialist in the DMX market. Pixxem, is the company’s latest software and hardware for video and pixel mapping projects for live shows in the stage and entertainment industry, as well as architectural projects.

The team presented a Beta version for several months to gather direct feedback from Chromateq’s experienced and professional customers, in addition to future users. Pixxem is an ideal solution for pixel mapping projects - multiple DMX and 3D matrices, LED strips and DVI - and with it featuring popular industry standards, the Chromateq software interface is easy-to-use. Features include fixture patch, profile editor, effects and transitions managements, customisable live mode, and audio timeline synchronisation.

The Pixxem patch tool is very powerful. When editing a patch, users can remove some pixels and personalise the global shape, and the position of the matrix in the environment. Standard and customised matrices, as well as LED strips can be created and patched easily. Users can organise each pixel separately, by group selection or by a

line of LED strips, easily altering configuration and shapes. For example changing a square and reshaping it as a triangle or a circle. This easy to use function is not only simple, but incredibly creative.

This new generation of software offers a massive library of graphic effects to make every show unique and creative. A bank of 500 types of customisable effects can be used for all video files. Combined with the multi-layer option, users have an unlimited number of graphic possibilities within the following categories: static colours, video files, animated gif, picture files, text editor, shape editor and sequencers, graphics and textures, particles, moving 3D objects, 3D matrix and more.

Pixxem includes a user-friendly selection tool with custom shapes to directly select some pixels from the project. Users can import their own selection of shapes in the project from a file, select a part of the matrix, or apply a video of effect on the shape. Transitions can be created to fade in and out instantly from one visual effect to another.

Users can manage their show quickly and easily with Pixxem’s user-friendly timeline tool, using it to synchronise the graphic effects with audio www.mondodr.com

and video files. It’s so easy, just drag and drop the effect onto the timeline and adjust the block duration for perfect synchronisation.

Pixxem includes a lot of graphic effects that can play in-line with the sound and the beat of the music. Users can connect the software audio input to the computer’s microphone or the line in audio source directly. Making this an amazing audio to visual effects creation.

Pixxem accepts different types of communication to trigger and command the main software controls, MIDI, DMX in, RS232, keyboard keys, hardware triggers like buttons, dry contact, as well as infrared and Ethernet commands. It is also possible to synchronise Pixxem with other Chromateq software packages such as Pro DMX, and play some DMX scenes from the Player and Pro software. This means the Pixxem system will interface with any application from DJs, bands, exhibitions, museum, promotional launches, theatres, live events and much more.

Pixxem is available on Mac OS X, Windows 8 and 10 only and is compatible with the Chromateq packages, CLUB 1024, CQSA, PRO NET 16 up to Pro Net 255. It is available as a free download from the website now. www.chromateq.com

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D8 PLUS RIGGING HOIST

DYNAMIC STAGE TECHNOLOGY

movecat.de

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ELECTRO-VOICE | MFX-12MC & MFX-15MC

Electro-Voice has recently introduced the MFX multi-function monitor - the MFX-12MC and MFX-15MC - are passive 12-inch and 15-inch two-way coaxial monitors with a performance level engineered to complement the X-Line Advance line array models X1, X2, X12-128 and X12-125F, and corresponding installation versions.

MFX multifunction monitors utilise highoutput, coaxially aligned high frequency and low frequency transducers matched with an innovative new Electro-Voice-engineered Constant-Directivity waveguide and a new crossover design. Coverage in monitor orientation is 40° H x 60° V. The dimensions and location of the waveguide interact with the woofer to effectively create a bipole output, enhancing coverage control through the midrange frequencies.

In addition to providing a stable sound image as the performer moves off-axis​, the compact coaxial design presents a significantly lowerprofile footprint on stage in comparison to competitive high-end monitors, helping to maintain audience sight lines and reducing stage clutter. A new cabinet concept with dual monitor angles (35° and 55°) allows the output to be precisely focussed towards the performer.

MFX multifunction monitors are optimised for use with TGX10 or IPX10:4 amplifiers from Electro-Voice’s sibling brand, Dynacord.

Both models can be deployed in passive or bi-amp configuration, and can be optimised for different uses via DSP settings in the amplifers.

Power handling for the MFX-12MC is 450W (continuous) and 3,000W (peak), the MFX15MC delivers 500W (continuous) and 3,500W (peak). Each model has a maximum SPL rating

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of 135dB and 136dB, respectively.

In addition to their primary function as highperformance stage monitors, both the MFX12MC and MFX-15MC feature an integrated pole cup - neatly located in one of the two side handle recesses - so they can serve as shortthrow main/full-range sound reinforcement for portable applications using tripods or subwoofer poles. Coverage in this orientation is 60° H x 40° V. Extending their truly multifunctional design, each model features four M10 suspension points. U brackets, yokes, a tilt adapter, truss clamps, stand-mount adapters and a rigging bar are available for temporary or permanent installations. A rugged EVCoat finish - available in black or white - and 1.5mm-thick corrosionresistant grille combine professional-grade durability with sleek aesthetics. www.electrovoice.com

TWO STEPS AHEAD – ALWAYS! Laser projectors and laser show controllers manufactured in Berlin

DEEP WEB

CHRISTOPHER BAUDER ROBERT HENKE KRAFTWERK BERLIN I 12.07. - 23.08.2019

LaserAnimation Sollinger GmbH Crellestraße 19/20 10827 Berlin Phone +49 (30) 780 963 00 Fax +49 (30) 780 963 25 Mail info@laseranimation.com Photos © Ralph Larmann (right), © Liam Tarnish (left)

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light•ing con•trol

[lahy-ting kuh n-trohl] n.

Lighting control - whether hardware or software - is used to control multiple intelligent lights at once and many are able to control special effects fixtures too. Lighting control devices are also equipped to manage the intensity of the lights by communicating via an electronic control protocol, such at DMX512.

PRODUCT GUIDE

LIGHTING CONTROL

EMEA CAT SHEPHERD ETC

“Lighting control often feels like the foundation to any good lighting system; the linchpin of how well a tech rehearsal goes, or how happy a customer will be with their new auditorium when you hand it over.

With technology in general changing s o q u i c k ly , i t f e e l s a b s o l u t e ly imperative that these products not only remain innovative in their design, but also stay intuitive for the people interacting with them - a hard balance to keep.”

APAC RENÉ BERHORST MA LIGHTING “Lighting control is the art of creating emotions with light. Today’s lighting control solutions, like the ones from MA Lighting, are tools that further, allowing lighting designers and their teams to control almost any device. A huge step forward for harmonisation, will be the new GDTF and MVR protocols. These that allow the lighting control system to understand the devices and exchange the information with visualisation and planning tools.”

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THE AMERICAS BRAD WHITE AVOLITES

“Today’s shows are getting very complicated with video and lighting technology. Every designer is pushing the envelope with a seemingly unlimited arsenal of tools.

Streamlined control of your complete visual canvas from programming to playback is paramount. Avolites’ goal in combining lighting console and media server control with Synergy software is to keep the process as visual and intuitive possible. Spend more time dreaming up ‘looks’, less time programming.”

WWW.MONDOSTADIA-AGORA.COM INTERESTED IN AGORA 2020? CONTACT SAM (S.HUGHES@MONDIALE.CO.UK) SPONSORSHIP: JAMIE (J.DIXON@MONDIALE.CO.UK) OR LAURA (L.ILES@MONDIALE.CO.UK)

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Chromateq CQSA 1024

Avolites Sapphire Touch

The new CQSA 1024 hardware includes all the latest standalone features, like SD card, multiple zone management, advanced standalone menus with additional page and auto colour mode, standalone mode customisation (the ability to choose what mode to activate or not in standalone), split and merge DMX signals and light intensity sensor.

CQSA 1024 has eight selection and four option buttons, seven dry contacts, SD card slot, multiple zone mode (it can play up to five scenes at a time on 1,024 channels), triggers scenes by DMX in and can merge two signals.

The SD card reader can support all FAT formats, memory size and speeds. Simply add your show file to the SD card with the Chromateq software and power the interface. This allows more possibilities and the flexibility to easily update a show with a SD card and there are no limitations to memory capacity.

CQSA is compatible with Led Player, Pro DMX, Studio DMX and new Pixxem software and unlocks up to 16 Art-Net output universes from the computer. www.chromateq.com

The Sapphire Touch is Avolites flagship console with high performance features and the power to control larger and more challenging shows.

The Sapphire Touch has 45 motorised faders, as well as another 20 programmable macro buttons for greater freedom of expression.

The console outputs 16 DMX universes and can be networked with the Titan Net Processor to expand to up to 64 universes.

The Sapphire boasts two 15.6-inch touch screens for seamless programming and visualisation. This is the ideal console for Titan and Ai v12 that includes Synergy - a feature set which integrates lighting and video into one intuitive system and benefits for the twin touchscreen workspace. www.avolites.com

Daslight Daslight 4

Compulite Vibe The Vibe family is an advanced line of intuitive and flexible lighting control consoles. These consoles utilise multi-touch screen technology and provide lighting operators with a virtually unlimited number of touch controller buttons and faders. Using a keypad and motorised faders for fast fixture selection and control, they enable quick access and are very powerful.

Designed using the latest technologies available, the Vibe family is optimised for graphical speed and network connectivity, providing lighting professionals all the tools needed to realise even the largest production. www.compulite.com

With over 15,000 lighting fixtures, a new effects generation engine and iPhone/ iPad/Android control - Daslight 4 lets users create bigger and better light shows easier than ever before.

Daslight 4 can be used with any DMX512 compatible lighting fixture.

Lights are linked to a PC or Mac by connecting an XLR cable to one of Daslightâ&#x20AC;&#x2122;s DVC4 USB or Ethernet DMX interfaces.

Users can choose from Daslightâ&#x20AC;&#x2122;s library of over 15,000 fixture personalities (SSL2 files), or create their own using the Scan Library Editor (included). Adding a lighting fixture to a show is as simple as dragging from the library and dropping onto the patch grid.

Map out lighting fixtures on the 2D view, either by dragging and dropping or using the shape generator to create lines, circles and matrices. Create a different layout for each type of light, and then a master layout, which can be shown by clicking the General tab. Lights can also be sorted into groups for quick selection.

Users can build their show with ease using Daslight 4: create a scene, select some lighting fixtures, and set the levels with the faders. Create a dynamic scene by adding steps. Jump between steps with wait times or change gradually with a fade time. Scenes can be arranged into colour coded groups and stacked to quickly combine different effects.

Daslight 4 has packed in over 150 scenes on a 1920x1200 screen without moving and scrolling windows. The new live toolbox provides touch-screen friendly buttons for creating live edits, jumping between scenes, tapping a pulse and more.

Users can layout their show with moving heads, scanners, LEDs, trussing and staging. Pre-render lighting effects, colours, dimmers and gobos with the all new real-time 3D visualisation tool. www.daslight.com

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Elation NX 4 Obsidian Control Systems offers the powerful NX 4 lighting controller with new DYLOS pixel composition engine. Equipped with professional features and using the latest in industrial components, the NX 4 is designed to handle even the largest show with ease. With a well-arranged combination of motorised and manual faders, along with an array of playback buttons, it offers 44 total playbacks in a compact yet extremely powerful package.

The NX 4 includes a high-brightness, 15.6-inch, full-HD multi-touch screen with support for two external 4K touch displays. Eight assignable parametre encoders, a dedicated Intensity encoder, an assistive minitouch screen, full keypad and command section, and a dedicated grand master make for an intuitive control surface. Two independent playback sections offer instant access. The main playback with 10 motorised faders plus 10 play-pairs allow for quick page changes, while the sub playback with 12 faders and 12 button playbacks means important cues are always at your fingertips.

NX 4 houses a powerful new Intel Hexa-Core processor, high-speed NVMe SSD drive and 16GB of DDR4 RAM. Fast boot times, instant operation and the ability to process 64 universes right inside the console without the need for costly external processing networks, results in unprecedented power in this form factor. www.elationlighting.com

ENTTEC Pixel Octo The new Pixel Octo from ENTTEC allows for the control of LED digital pixel strips through an intuitive web interface, or by receiving up to eight universes of eDMX. Each of the Pixel Octo’s two outputs can support both three-wire and four-wire LED pixel protocols, ensuring a compatibility with a wide range of the most popular products. In addition to this, ENTTEC consulted many industry professionals to ensure that the Pixel Octo would be the ultimate installerfriendly device.

The end result features a market-leading variable voltage input range of 4V-60V, an internal temperature sensor, forward facing LED indicators, a robust metal DIN-mountable form factor, and an easy solution for linking multiple units together using an integrated network switch for the highest level of cabling efficiency. There’s also an ‘identify’ button to make checking your installation a breeze.

With an internal effects engine and stand-alone functionality, even users with no knowledge of DMX, or access to a lighting console, can control LED pixel effects with ease through the user-friendly local host webpage. www.enttec.com

ETC EOS ETC’s Eos family of entertainment lighting control brings award-winning technology in consoles that are suitable for any size venue and budget. As part of the latest v3.0 software, ETC has created a new fully integrated 3D programming environment, Augment3d. Eos users will be able to control and design in three dimensional space, while also interacting with their fixtures through augmented reality via Eos focus remote apps. Augment3d will be available as a free upgrade later this year for any Eos console running Windows 7 or later including the flagship Eos Ti and the compact but powerful Gio @5. ETC’s leading lighting console, Eos Ti, combines powerful hardware and software with large-format, high-resolution multi-touch displays. Gio @5 brings the same high-end control in a portable console that meets venues with smaller spaces and budgets.

The Eos family of lighting control offers advanced, powerful programming technology and unprecedented colour control tools. There are products for every scale of application, including theatre, TV, film or live events.

ETC’s Eos platform provides a sophisticated environment that is acknowledged as a leader in the industry. www.etcconnect.com

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LSC Mantra The Mantra Lite console and Mantra Wings combine the ease-of-use of a fader-based console, with the power of a familiar touchscreen graphical user interface. The intuitive software guides the user what to do next, ensuring a very easy learning curve for even a novice. Power users are also catered for with Shape FX, Chases and Cuelists with individual in/out fade times and powerful Fan functionality.

The Mantra Lite console controls 24 individual fixtures, each with a physical fader for intensity. A large 18cm colour capacitive touchscreen provides a powerful user interface, similar in operation to modern smartphones, giving the user the feeling of familiarity and comfort. Playback is controlled by 10 dedicated playback faders, each with 10 pages of memories.

The addition of a wing expands the Mantra Lite with an additional 12 fixtures faders, 10 playbacks and another DMX universe. Up to two Wings can be connected for a total of 48 fixtures, 30 playback faders and three universes of DMX, via Art-Net, sACN and XLR5. RGB, CMY, amber, white and UV parameters are all controlled by either a graphical colour picker or touch sliders, pan and tilt via a virtual touchpad and other parameters by touchscreen faders. www.lsclighting.com

GDS Prodigy Series Prodigy Series offers perfect and intuitive lighting control, suitable for a range of entertainment and commercial applications.

The Prodigy Controller is a DMX and DALI hybrid with Art-Net that serves the right amount of light and delivers specific lighting actions exactly when you need them. Designed to work with virtually any type of hardware, Prodigy Controller is also available with desk, wall or rack mount options for easy installation.

The Prodigy Control Modules are routed through the RJ45 terminal for easy installation and provide aux I/O for additional switches, snap-covers on the front and LED indicators. It is an excellent out-station system that includes three fader, eight button and combi modules to offer flexibility for all users at the same time. www.gds.uk.com

MA Lighting grandMA3 Founded on the legacy of the previous grandMA consoles, the grandMA3 represents a radical re-think of whatâ&#x20AC;&#x2122;s possible from a lighting control platform. The elegant new system-architecture incorporates new fixture, feature and effectshandling at its very heart. The system features ground-breaking concepts from top industry visionaries, presented within a refined user interface, and is designed to make practical tasks more intuitive.

The physical design detail of the grandMA3 range is extraordinary and focussed on delivering the best possible user experience, now and into the future.

The grandMA3 full-size and light models feature huge multi-touch screen surface area. All dedicated encoder and playback information is accessed directly on the letterbox screens allowing the larger screens to be fully-configured to suit user needs. grandMA3 breaks the limitations of Local Area Networks (LAN) with the ability to access Wide Area Networks (WAN). Software updates, technical support, online help and fixture downloads are all features to be supported within the WAN framework.

Using the advanced MA-Net3 protocol, grandMA3 systems can output up to 250,000 parameters. There are three sizes of grandMA3 processing units to expand the console parameter count. www.malighting.com

MADRIX MADRIX 5 Create the most original lighting designs and achieve the most stunning results with the award-winning pixel mapper made in Germany. Real-time generative content, parametric visuals, and audio-reactive effects provide an unprecedented level of customisation and creative freedom for pixel-perfect and colour-accurate results.

Take full control and bring projects to life with creative 2D pixel mapping and real 3D voxel mapping in a powerful tool that is extremely easy to use. Drive everything from small to large setups. It also runs in tandem with lighting consoles and more as it easily integrates into the users overall lighting system.

Operate with enormous flexibility thanks to an unparalleled number of options for input and output. Users can directly connect to a wide range of LEDs and compatible first-party or third-party LED controllers. MADRIX 5 supports a huge array of industry standards that allow for ultimate LED control via Art-Net, DVI, DMX512, NDI, sACN, SPI, and many more. www.madrix.com

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THE ORIGINAL

ANYTHING ELSE IS JUST A COPY

2. –  /GLP.German.Light.Products  /GermanLightProducts  www.glp.de

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Theatrixx Octo-Splitter

Schnick-Schnack-Systems Pixel-Gate Firmware Version 3.3

The Theatrixx Octo-Splitter is a rock-solid, rack-mounted DMX opto-splitter. With fully independent, buffered outputs, and individual status LEDs, the device allows for quick troubleshooting and includes a built-in termination switch on the DMX input.

Every input and output is galvanically isolated up to 1,000V, which protects the unit and valuable lighting fixtures and controllers connected to it from damage. The device’s ports are fault-tolerant and self-healing, even with voltages up to 120V applied directly on the signal pins.

The Theatrixx Octo-Splitter can be ordered with five-pin, three-pin or hybrid XLR connector configurations to suit all lighting rigs. A locking, professional PowerCON TRUE1 connector with loopthru and built-in power supply guarantees continuous uptime and eliminates the need for unreliable external DC power adapters.

The unit is also available as three-channel DMX splitter in a Reversible Module package, for highdensity, modular rack mounted applications, as well as in stage boxes and other customised enclosures upon request. www.theatrixx.com

The recently released Firmware Version 3.3 for the Pixel-Gate, enables all Pixel-Gates to act as an Art-Net* output. Therefore the Pixel-Gates can now be used with all devices controllable by Art-Net not just SchnickSchnack-Systems products.

Some rare minor defects have been fixed as well in this version. PixelGates manufactured before 2014 (with versions before 3.x) may need a hardware update, too. *Art-Net - Designed by and copyright Artistic Licence. www. schnick.schnack.systems

Wireless Solution WDMX G5 Wireless Solution (W-DMX) has spent the last 16 years focussing on delivering a technology that can be trusted by its lighting heroes, and G5 is the product of all its efforts. The new technology is capable of transmitting DMX over large distances, not only on 2.4GHz, but also on 5.2GHz and 5.8GHz. Wireless Solution is the only manufacturer in the world offering tri-band transmission, across most of its product line. Additionally, its 5th Generation is capable of multiplying the number of universes sent from a single transmitter, through a new feature called Double-Up. This new feature allows the use of the existing hardware and also doubles the number of DMX universes sent between BlackBox, WhiteBox or ProBox G5 units, for the same cost as before. www.wirelessdmx.com

WORK PRO L-S Node Series The LS-Node Series is the new RDM/DMX streaming range from WORK PRO that supports industry standards Art-Net and sACN. They feature from one up to four DMX universes, with three different models: LS-Node1, LS-Node2 & LS-Node4, each of which adds its respective number of freely configurable DMX universes.

These small LS-Node products are available in the same quarter-rack physical format as the original LS-Core, are powered via a compact USB-C connector or by PoE, which is helpful when used in installations where they may be rack-mounted with an optional LS-AR 19 rack chassis.

All LS-Node products come with an integrated Ethernet switch with two ports and are multiprotocol, supporting the industry standards Art-Net and sACN. LS-Nodes are powered via a compact USB-C connector with a cable lock to prevent accidental removal. They also support PoE power. www.workpro.es

Zero 88 FLX Range The rapid adoption of LED lighting, colour mixing and moving fixtures has also provoked increased expectations for a more sophisticated lighting show or experience. There has never been more pressure to create great show lighting quickly, simply and with affordable equipment. The Zero 88 FLX range of lighting consoles has been specifically designed to deploy a range of intuitive time saving features to meet this challenge in an understandable and financially attractive package .

FLX range consoles are portable and powerful with a small footprint, free Apps are available for wireless monitoring of the lighting rig and support for a range of networking accessories. Inbuilt tools include the clever ‘RigSync’ feature, helpful step-by-step guidance, and ‘Auto Palettes’ and ‘Effects’ to assist with the prep work.

Colours can be quickly and accurately selected via the award-winning multi-touch Colour & Image Picker; encoder wheels allow precise adjustments whilst built in ‘Mood Boards by LEE Filters’ save time in selecting emotive colours that work well together. www.zero88.com

www.mondodr.com

GLOBAL TRUSS

DNA TRUSS SERIES NOW AVAILABLE

GLOBALTRUSS.cn | +886-2-2577-6608 SERVICES THE GLOBAL TRUSS TOOLBOX

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/GlobalTruss

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1. Celestion CDV1-1757

3. MILOS M290

Celestion has announced the availability of the CDV1-1757 compression driver. The CDV1-1757 is designed for optimum vocal clarity across the critical vocal band, which makes this driver especially well-suited to applications such as, mass notification systems, voice alarms and emergency evacuation systems as well as long-distance call to prayer loudspeakers.

The new CDV1-1757 delivers enhanced performance in the vocal range for superb clarity and intelligibility. The driver features Celestion technology built in, including a 1.75-inch (44mm) edgewound copper clad aluminium voice coil; tough, single piece polyimide diaphragm/surround; plus finite element analysis (FEA) optimised magnet assembly and phase plug. This enables the driver to deliver 120W continuous power handling (60Wrms, AES standard) and 107dB sensitivity. It features a next-generation proprietary Sound Castle diaphragm clamping system for superb reliability, even in the most demanding of applications.

A standard 1.38-inch (35mm) screw fitting on the CDV1-1757 provides maximum compatibility with a range of Celestion and third party horn flares. celestion.com

MILOS has introduced a redesign of the short truss segments in its M290 range, which incorporates thicker bracing tubes. The redesign of these tubes increases the shear load capacity of the short truss sections, resulting in strength equal to that of MILOS regular truss sections.

With the introduction of this new design, short truss sections can now be placed anywhere within users’ truss structure without having any adverse impact on the structure’s loading capacity. The planning process is therefore simplified and the risk of errors during structure assembly is eliminated. www.milossystems.com

2. CHAUVET Professional Ovation E-910FC IP CHAUVET Professional has introduced the Ovation E-910FC IP. An IP65 version of the revolutionary Ovation E-910FC ellipsoidal, the new ERS Style fixture is ideal for outdoor theatre, festival and event applications. Featuring the same RGBA-Lime LED colour mixing system as its non-IP cousin, the new fixture creates rich colours and bright whites.

It also produces a flat even field of light for gobo projections, especially when paired with Chauvet Professional’s IP rated gobo rotator, the GR-1 IP. The Ovation E-910FC IP includes CHAUVET Professional’s standard beam shaping shutter assembly and lenses, as well as colour temperature presets of 2,800K to 6,500K that match the output of a tungsten source to perfection. A virtual colour wheel can also be used for quick programming to match popular gel colours.

Ultra smooth 16-bit dimming, and eight-bit dimming curves result in smooth fades, and adjustable PWM (Pulse Width Modulation) avoids flickering on almost any camera, making the fixture well-suited for broadcast applications. Versatile and user friendly, the Ovation E-910FC IP also features RDM (Remote Device Management) making it a flexible lighting tool indoors or out. www.chauvetprofessional.com

4. Prolight Concepts Group Spectra QX40 Pixel The powerful LEDJ Spectra QX40 Pixel is an IP rated exterior fixture outperforms other LED washes of this size, and will withstand the elements, illuminating event spaces, stages or facades in all weathers.

Utilising quad-colour technology from its 40 10W RGBW LEDs, the Spectra QX40 Pixel can produce a wide colour spectrum from rich, primary colours through to subtle pastel hues. This, coupled with five segment pixel zone control, allows lighting designers to create stunning effects. This multi-use fixture can also be truss mounted via the included Omega clamps, making it perfect for use as a blinder, strobe or stage wash panel too.

The QX40 features a heavy-duty alloy chassis with precise 180° tilt angle adjustment, quick release omega brackets, powerCON TRUE1 connectors and IP rated five-pin XLR connectors both fitted with protective rubber covers. It also has an easy to navigate four button menu with OLED display plus both wired DMX and W-DMX from Wireless Solution, further widening its application use.

The LEDJ QX40 has a long-throw 8° beam angle as standard but this can be easily changed with the optional 15° x 60°, 40° and 20° fast fit beam shaping lenses. Barn doors or a snoot to reduce glare and light spill are also available. Keeping the fixture safe is an optional custom designed flightcase holding up to four units and accessories. prolight.co.uk

www.mondodr.com

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1. QSC Premium Business Music Solutions 2

The new QSC Premium Business Music Solutions range brings together QSC’s long history of quality and its product experience across amplification, processing, mixing, control and loudspeaker technologies. This comprehensive portfolio delivers a user-friendly, aesthetically pleasing, high performance audio experience unlike anything currently available.

The Business Music Solutions range comprises, MP-M Series paging and music mixers, including wall-mount controllers and smart device apps, the MP-A Series multi-channel amplifiers, and AcousticDesign Series SUB/SAT loudspeakers. The series offers a complete end-to-end audio solution for background and foreground music reinforcement in retail, restaurant, hospitality and other commercial spaces. www.qsc.com / www.audiologic.uk

2. Tasker TSK1078 L.S.Z.H, TSK1091, TSK1070 LSZH & T42 PUR The company’s flagship product is the Tasker TSK1078 L.S.Z.H., a double-shielded coax with dimensions of 0.8mm/3.5mm/7mm, ideal for applications for up to 120-metres. This product is also available with polyurethane (PUR) sheath, resistant to flame, UV rays, oils, and water, chemical and atmospheric agents. In addition to being halogen free, it can be submersed in water or other liquids down to 50-metres deep. It is suitable for both cold and hot applications, thanks to its temperature range of -40/+80°C. Over the years, the needs of its customers have led Tasker to develop different types of compound cables that allow users to have different services in a single cable. An example would be the TSK1091 Series, which offers six different combinations of 3G-SDI coaxial cables and DMX audio.

The TSK1070 LSZH has also proved to be a great success, as it allows Tasker to supply a three 2.50 sq mm of power in a LAN cable Cat.7 S./F.T.P. The best SDI coaxial cable is the T42. This is an extremely flexible cable with 26/7 AWG (0.8mm) stranded formation in O.F.C. red copper, with dielectric in injected gas PE of 4.80mm and double O.F.C. tinned copper braid with a coverage of 89% and 86%, respectively.

The T42 PUR is suitable for broadcast installations, but also for the drag chain with efficiency tests performed at 500,000 cycles, with a maximum speed of 3.3-metres per second and maximum acceleration of four-metres per second. www.tasker.it

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DuraTruss B.V. Junostraat 2 6468 EW Kerkrade The Netherlands Tel. +31 45 546 85 81 info@duratruss.com

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“My priority is to come up with a strategic plan to cope with the changing environment, and adjust it in accordance with new situations.”

MR LIU YUNHUI Founder and CEO of GTD Lighting

Tell our readers a bit about your history and how you first got into the lighting industry?

In the early stage of my career, I worked at TCL for a long time. It’s the thirdlargest television and home appliance manufacturer in the world. I worked my way up from a technician to the Vice President of TCL Communication Technology Holdings Limited, Senior Manager of Reform and Innovation Center of TCL Group, Member of TCL Brand Management Committee, and General Manager of TCL Cultural company. Later, I studied for an MBA course at Liverpool University and graduated with a Masters degree. I learnt and benefited a lot from the years of strategy-making and operation experience I gained at TCL.

When and how did GTD begin?

Guangzhou has long been the cradle and centre of lighting manufacturers in China. Over 70% of lighting fixtures in the world are manufactured in Guangzhou. The year 2012 was a turning point in my career and my life. I saw an opportunity - gathered a group of friends and former colleagues and founded GTD. What makes GTD different from other lighting manufacturers?

We are the first company in the professional stage lighting industry in China, to introduce a stock incentive plan. It allows GTD to share ownership with our employees, and aligns the interests of the employees with those of the company.

I value talent, and I understand how important a positive working environment is to keep employees www.mondodr.com

• Above Mr Liu YunHui

happy, and ensure they are productive.

I spend a lot of time selecting senior management personnel, and building a corporate culture that values the spirit of entrepreneurship, innovation, dedication, credibility, team spirit and merit-based selection. For example, the Marketing Director, He Dayuan, used to work for the Alibaba Group, which provided him with a good platform and a promising career development prospect. In order to get him onboard, I held the position open for him for more than six months, and offered him stock shares to show my sincerity. He now plays a vital role within GTD. The number of shareholders has increased from 14 to 59, I now own less than 20% of GTD shares, and some of the employees even have higher salaries than mine. It doesn’t matter, what matters to me the most is to keep them contributing

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to the development of GTD. I believe he who wins people wins the future.

Have you always been CEO of GTD or did you work in other roles within the company previously?

I’m the founder and CEO of GTD. The company is like my child. I have witnessed its growth, its ups and downs, and I’m looking forward to see it getting bigger and stronger.

Can you describe your day-to-day duties at GTD? I mainly focus on strategy. The competition is getting more and more fierce, each year. My priority is to come up with a strategic plan to cope with the changing environment, and adjust it in accordance with new situations. Solving major operational problems is another of my daily tasks.

What have been the major milestones for GTD so far? Do you have a standout project or product?

Every year, GTD had made remarkable achievements. Soon after the company was founded, our product, the 230 Beam was used for a famous TV programme, ‘I’m a Singer’, a singing contest similar to The Voice.

It was a tough battle, we competed with over 10 domestic and foreign lighting brands, but we won the project. Thanks to this programme, we entered the market rapidly, and our products gained a good reputation, so much so, that they were then used for a number of events both domestically and internationally.

The events included the G20 Summit Performance, Belt and Road Forum Performance, Nikulin Circus and the LA Global Theatre.

In 2018, we created another brand TUNGDOU for the rental market.

TD-LMZ 3019 is our best seller. Our customers continue to be impressed with its rich effects. It is a super bright LED wash luminaire, using 19 30W LEDs and an efficient 14:1 zoom optical system.

The narrow 3° beam can make a smooth transformation into a wide 42° wash output. The fixture has a rich colour spectrum and can create a charming washlight effect with a smooth transition, thanks to internal 16-bit LED dimming system. It is fitted with fast-spin motors, which utilise our popular super speedy software, driving technique.

The TD-371 BSW is our new product that was released during this year’s, The GET Show. It drew customer attention immediately. TD-371 BSW is a multifunctional moving head that combines beam, spot and wash capabilities. Its

• Top The GTD Lighting logo • Below The new GTD headquarters

features include sharp, crisp optics with a powerful wide zoom range from 60º-3º.

The fixture can also produce a range of complex and precise mid-air effects through an independent eight-facet flat prism.

How has the business grown over the years, what are the most significant changes?

GTD has grown rapidly in just seven years. It took us only three years to become number one in China. My secrets are the innovations in our sales model and the user experience we are able to deliver.

Distributorship was the only sales model for many years in China, but I decided to do direct sales. Some say it was a bold decision, but I was confident. Now, GTD has over 70 sales and service centres, covering all provincial and prefecturelevel cities in China.

www.mondodr.com

Products and service are the most important reflectors of a company’s strength. By setting up a service network, we are able to respond to customer needs within a short space of time. Service was undervalued in this industry, it was free of charge but unsatisfying, and we wanted to change that.

We came up with a supplementary maintenance service for parts that are excluded from warranty, or when the warranty has expired. User experience and satisfaction have improved enormously, thanks to this policy. It also helped us to establish deals with two of our most important strategic partners, Songcheng Group and Huaxia Group (cultural groups in China that own a large quantity of theatres and entertainment resorts). Gradually, the whole industry in China has started to realise the significance of after-sales service and support.

162 LAST PAGE

How much of the business is local and how much is export?

We are number one in terms of sales in China. Our export volume is relatively small compared to that in domestic market.

What is your plan for the international market?

We are looking for distributors worldwide, aiming to expand our overseas market share in the next few years. We provide a full support package including annual rebate, market support, spare parts support, design support, exhibition support and sample support, to make sure that our partners have an abundance of resources to promote GTD products in their local markets.

I’m positive that there is great growth potential for GTD and our partners.

Geographically, are there any markets you would like GTD to be more prominent in?

We have been working with South American dealers for a long time. This year we paid a visit to Mexico City, and it was a productive trip. We will continue to focus on exploring opportunities in this area. We also have several large projects going on in South East Asia, and another market is the Middle East, where we have setup a subsidiary.

Does GTD have any major plans for the future? What can you tell our readers?

GTD is very stable in terms of R&D, quality control, cost control, management and sales, so I do have to start thinking about our next step. I remember when I was at TCL, the Chairman, Li Dongsheng used to say, ‘a big enterprise might not be a strong one, but a small enterprise is definitely not a strong one’. I couldn’t agree more. But the question is… how?

Diversity is my answer.

Recently, the Chinese Government has released a series of policies to promote cultural development. The prosperity and continual increasing needs of the entertainment market is driving technology forward.

I notice the great potential that lies in creative projects. At the end of 2018, we brought in a production team that has years of experience in design and schematisation, having worked with Ms. Wang Chaoge, a famous director who has produced a series of popular performances.

As the manufacturer, we were unable to get involved in the process of art creation, but the acquisition of the design team enables GTD to enter the cultural and creative element of the industry. We can now provide a full package to our

customers from design, programming, product supply, installation and maintenance.

Where do you see yourself and GTD as a company in five years time?

To make GTD bigger and stronger has always been my goal. Now, we have two business segments, the first focussed on technology, meaning we will continue to manufacture innovative products including luminaires, truss, telescopic bleachers and platforms, as well as improve service. The other focus is on culture, and will allow us to be more involved in creative projects.

Also, our new building - GTD Centre - is under construction, and we be working in a brand-new office five years from now.

What do you like to do when you’re not working at GTD? I like fishing and skiing. When I was a www.mondodr.com

child, I would catch fish in the Summer with my brothers and sisters. The water was so clear, so finding the fish wasn’t a problem, but catching them wasn’t as easy as it looked!

You need to be patient and let the fish get used to you being around, and when you set the target, you need to be very fast and accurate. I was one of the best at catching fish in my village. Fishing always reminds me of happy and simple times. Skiing is a sport I got into recently, I love the feeling of sliding down a hill - it makes me feel refreshed.

Do you have a motto for life?

I believe that whoever understands ‘Dao’ can go far. ‘Dao’ in Chinese has multiple meanings. It can refer to the law of development, the way of working, and most importantly, the truth of life. I created our Chinese logo, based on it to remind myself, and I inform others about the wisdom behind it, too.

• Top Russian Nikulin Circus • Below The GTD team at LDI

Delighted, Elated, Overjoyed ...It’s lighter and my back is excited about that... ...so flexible you can pretty much put them wherever you need them...

...by far the best point source speaker I have ever heard...

...a rigging solution for almost any application...

...blown away by the clarity and power...

Since we announced the ULTRA-X40, we’ve been delighted, elated, and overjoyed from your compliments and accolades. Thank you!

You asked for a highly-configurable point source loudspeaker for a wide variety of applications. We delivered a loudspeaker with 11 integrated rigging points and an abundance of mounting accessories. Self-powered but smaller size and weight than the UPA. Simplified 90˚ horn rotation. And of course, clear, precise and pristine sound.

We hope you enjoy your ULTRA-X40 for many years to come.

MEYERSOUND.COM/MON

DRIVING HUMAN AUDIO EXPERIENCE

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