mondo*dr 30.2

JANUARY / FEBRUARY 2020 | 30.2

THE INTERNATIONAL PUBLICATION FOR TECHNOLOGY IN ENTERTAINMENT

KENTON FORSYTHE

The co-founder of EAW discusses its history, as well as his return to the company.

TRUSSING & RIGGING

The latest projects highlighting mounting structures and lifting equipment.

JANUARY / FEBRUARY 2020

MIXING CONSOLES

A round-up of audio mixing desks for all application types.

THE INTERNATIONAL PUBLICATION FOR TECHNOLOGY IN ENTERTAINMENT

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FINANCE DIRECTOR Amanda Giles a.giles@mondiale.co.uk

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CEO Justin Gawne j.gawne@mondiale.co.uk

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MONDO*DR 30.2 JANUARY / FEBRUARY 2020

tradeshows, travelled with her to Berlin and Hamburg, and shared many stories - about both work and life - along the way. She was a beautiful person, always happy to help out, and had a very keen eye for a good project. Birgit was someone who, to put it simply, was just fun to be around and I, for one, will miss her dearly. I still haven’t quite come to terms with the fact that I won’t see Birgit at ISE this year… but I’ll be raising a glass in her memory.

Rest in Peace.

N EO &

My first editor’s letter of 2020 starts on a sad note, as late last year, news of two terrible losses arrived. While I’m sure there was more than two across the industry, it was these two that I had connections to.

Although, I ‘d never met Abigail Brown, we had recently started to do some regular work with Women in AV and, just by talking to Abi on a few occasions, her enthusiasm for life and her commitment to the association was apparent.

I’ve read many tributes to Abi, and she will be sorely missed.

The sudden death of Birgit Fox came as a huge shock to me. I’ve spent time with Birgit during

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

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9 CONT ENTS

CONTENTS 14 IN DISCUSSION 16 INSIDE VIEW

IN DEPTH 24 INTERVIEW Kenton Forsythe - EAW

24

36 REPORT Trussing & Rigging

KENTON FORSYTHE Co-founder of EAW spoke to mondo*dr about his incredible journey with the company and what lies ahead.

IN FOCUS 54 AMERIKALINJEN HOTEL Oslo 56 OVNEW Barcelona 64 CLUB MISSION Leeds 72 DET NORSKE TEATRET Oslo 76 NTGENT Ghent

64 CLUB MISSION One of Leeds’ clubbing hotspots has had an impressive revamp courtesy of Funktion-One.

80 L’OPERA & GAIO St Tropez 84 GATEWAY CHURCH Texas 86 KAUFMANN CONCERT HALL New York 92 THE MET New York 96 HASTINGS HIGH SCHOOL Michigan 100 NATIONAL CENTRE FOR THE PERFORMING ARTS India

86

102 KUDADOO Maldives

KAUFMANN CONCERT HALL Located in New York, the Kaufmann Concert Hall now has a brand new L-Acoustics sound system to further enhance its cultural and arts programme.

IN BUSINESS 108 SHOW PREVIEW: ISE Amsterdam 114 LDI Las Vegas 122 JTSE Paris 126 COMPANY EXPANSION SIXTY82 130 PRODUCT LAUNCH Genelec 134 NEW SHOWROOM Audiovision

114 LDI We take a look back at the highlights of LDI 2019.

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136 IN DETAIL Zero 88, L-Acoustics, Avolites 142 PRODUCT GUIDE Mixing Consoles 150 PRODUCT DIRECTORY 154 LAST PAGE INTERVIEW Matt Czyzewski - Renkus-Heinz

10 AD INDEX

HIGHEST PERFORMING POSTS

Highlights from CUE, Rotterdam @mondodr

Join us for the mondo*dr Awards 2020!

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DiGiCo 29 Digital Projection 4 DJ Power 5 Doughty 153 Duratruss 93 EAW 155 Elation 91 ETC 45 FENIX Stage 12 & 13 Flash-Butrym 63 Funktion-One 41 Genelec 105 GIS 57 Global Truss 33 Gloshine 131 GLP 135 HARMAN 71 Harmonic Design 147 HOF 111 Koba 52

Kuzar 133 KV2 135 L-Acoustics 2 Laser Animation 27 Lawo 37 LDL 143 Lectrosonics 103 Link 43 Look Solutions 77 Lynx Pro Audio 119 MADRIX 151 MBN 133 Merging 95 Meyer Sound 47 Modulo-pi 49 Music Inside Rimini 22 Neutrik 59 Nexo 59 NEXT-proaudio 49 PALM India 106

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14 IN DISCUSSION

THE SECRET TO CREATING INNOVATIVE AND IMMERSIVE VIDEO CONTENT AOTO Gtek shares its insights about delivering attention grabbing visuals to its audience in a number of different environments.

In the modern world of technology, where the average age for having your own smart phone is just 12-years-old, it is difficult to attract attention away from such devices and social media streams. Companies are having to be savvier than ever before, be creative and innovative to come up with new ideas to grab the attention of an audience.

We, LED screen specialist, AOTO Gtek is developing dynamic and creative campaigns based on customer needs in an aim to get ahead of our competitors.

Digital displays have the possibility to transform an entire room, designed correctly, a display can draw the attention to a specific area in a room or venue, even in the liveliest of environments.

There are a number of examples of such transformations, which AOTO Gtek has been a part of. The first being a 50 sq metre shop in Istanbul, Turkey that played host to a Coca-Cola event. We installed AOTO Gtek Creative Curved LED

• Above left The shop in Istanbul that hosted the Coca-Cola event.

• Above right Fiat Chrysler Automobiles at the Detroit Auto Show.

panels in the middle of a beverage can to create a screen to play videos of a group of happy athletes, playing together to celebrate their win. The video footage was delivered in red hues, in-keeping with the brand’s iconic red colour. The animations transported shoppers into a simulated Coca-Cola ‘magic world’, further enhanced by short artistic snapshot moments during which the entire shop was transformed into a sea of red.

In our opinion, this captured the attention of the shoppers, forcing them to pay attention, and the harmonious environment altered the experience of the environment.

A second example of our work took place at the Detroit Auto Show, where our customer was Fiat Chrysler Automobiles.

The client had been present at the show in previous years, but wanted to increase its presence and improve on capturing the attention of the audience. Fiat Chrysler Automobiles settled on a choreographed www.mondodr.com

stage show featuring audio and lighting technology, as well as a visual surface for innovative content measuring 10,000 sq ft.

Designed to immerse, inspire and entertain, AOTO Gtek Creative Curved Displays celebrated the uniqueness of each brand, with its specially designed content. Highlighting 70 vehicles in a vigorous environment is no easy task, but by creating a mesmerising atmosphere assisted in producing an immersive experience for the Fiat Chrysler Automobiles customers.

Creative video walls with dynamic scenes and the latest in content design have the ability to create first-class technology, and over time, we as a company have upgraded our creative culture. Our plan is to continue to deliver new insights and fresh ideas to our clients.

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

16 INSIDE VIEW

SE Audiotechnik Members of SE Audiotechnik at its manufacturing headquarters in China.

SE AUDIOTECHNIK While still considered a new entrant into the pro audio industry, SE Audiotechnik is a manufacturer with a longer and more prolific history than many may realise. It boasts the kind of production facilities that many of the most established brands aspire to, alongside a large and talented workforce based across the globe. It has also become home to some of the most highly regarded young audio engineers who are now getting the opportunity to make their mark on the industry with some fresh and forward thinking. www.se-audiotechnik.de Michael von Keitz is considered to be one of the most innovative loudspeaker designers working in the industry today. Over the years he had been responsible for creating some of the most popular products from pro audio’s biggest brands. This OEM work has allowed him to quietly go about building a formidable manufacturing facility, which is the first choice for many companies looking for high-quality, reliable products.

While Michael has built his reputation creating products for other people, there have always been some designs that he wanted to do for himself.

These creations have become the foundations of SE Audiotechnik.

The company’s designs come out of its European headquarters in Germany, while production is handled by the extensive workforce at its manufacturing site in China. This gives SE Audiotechnik a global footprint and ensures that it has the scale to match its ambitious plans.

“For many people SE Audiotechnik will be a new name, but actually it is the sum of 22 years of

experience as a loudspeaker manufacturer, and 40 years as a loudspeaker designer,” explained Michael. “While we may not yet have the brand recognition that some other companies have, what we do offer is an understanding of the best way to make a great sounding loudspeaker. This has given us the ability to think differently and create some unique designs which not only help to push forward the industry, but also to make our users’ lives much easier.”

One of the best examples of this comes with the M-F3A PRO. This is an ultra-compact two-way active line array element with a unique hornless design. Weighing in at just 8.3kg, the 210mm x 317mm x 369mm enclosure houses eight high-efficiency 2.8-inch neodymium low to mid frequency drivers and seven one-inch direct radiation dome tweeters. The electronics inside the cabinet comprise a 600W Class-D amplifier and plug and play DSP for maximum ease of transportability and application.

This feature set has seen the system quickly www.mondodr.com

become a popular choice for rental houses across Asia. “The unique properties ensure that our equipment is held in high esteem by knowledgeable professionals as they see a quick ROI combined with great performance,” reflected Michael. “As such, you will see the M-F3A PRO used on countless high-profile events ranging from corporate and political gatherings to largescale live performances.”

Some of the recent examples of this have seen the M-F3A PRO called into action for various different reasons. At the welcome banquet at the second Belt and Road International Forum, for example, it was the system’s power and formfactor that was key to its selection. Here, just four of the M-F3A PRO units alongside their S12 bass partners discretely ground stacked either side of the stage was all that was required to deliver clear sound to leaders and delegates from over 150 countries.

Meanwhile it was the 120º horizonal dispersion characteristics of the system that ensured that

17 INSIDE VIEW

Industry Talent The company is committed to providing opportunities to emerging talent within the audio industry.

Forum on China-Africa Cooperation SE Audiotechnikâ&#x20AC;&#x2122;s M-F3A PRO loudspeakers were used to create a perfect soundscape during the Forum on China-Africa Cooperation event.

The International Horticultural Exhibition Held in Beijing, the exhibition used SE Audiotechnik M-Series loudspeakers to create immersive sound that paired well with the impressive theatrical performances.

18 INSIDE VIEW

Loudspeaker design Unique, simplistic design is at the forefront of SE Audiotechnik’s thinking when it comes to its products.

The brains behind the brand The SE Audiotechnik team strike a pose.

just two hangs of seven M-F3A PRO could cover the entire 2,200 sq metre Golden Hall for the Forum on China-Africa Cooperation. With the two hangs hidden behind acoustic cloth, a perfect soundscape could be created that took nothing away from the gilded beauty of the room.

Finally, with weight restrictions a major restricting factor for the opening ceremony of the International Horticultural Exhibition’s opening ceremony in Beijing, Sound Designer, Ma Xin, turned to SE’s M-Series loudspeakers to deliver a ‘Hi-Fi multichannel immersive sound system’ flown from the canopy structure. The system again delivered a natural sound that paired well with the impressive theatrical performance.

While the M-F3A PRO is the company’s flagship model, it is far from the only innovative design to come out of the company. “One of the great things about SE Audiotechnik is that while we have the backing of Michael and all his experience, he knows that there is a new generation of sound engineers with great ideas too,” said Markus Schmittinger, the recently promoted Business Line Manager at SE Audiotechnik. “We have found some of the best young talent in the industry and we are giving them the opportunity to experiment and create

world-class, new designs.”

This is typified by the B-Line of subwoofers which has been the brainchild of Harold Corneau. The B-Line has been created from the ground up with every preconception about subwoofer design questioned and tested. The result is a lightweight, powerful subwoofer with low port noise that has been built to handle all the abuse you can throw at it night after night.

“I wanted to create a subwoofer without restrictions, that could handle everything a life on the road would throw at it,” noted Harold.

“People have settled for ‘good enough’ for too long. The established design practices lead to too many compromises and the sound suffers.

Re-imagining every component has allowed me to build a family of subwoofers that I believe will out-perform anything else out there. By going back to the drawing board for B-Line and examining every element of the subwoofer, I have created something that we are all extremely proud of.”

Giving young talent the space to be creative and explore new concepts can lead to interesting new developments, but there are plenty of risks in taking this approach. “Pushing the boundaries takes time, it took me two years to create a new

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asymmetrical port that will smooth airflow to reduce unwanted noise, and that was just one small part,” said Harrold. “We don’t just want to make ‘me too’ products, so that means we spend a lot of time trying new ideas and testing different concepts. It takes time and not everything will work as well as you would initially hope. But the end results speak for themselves. When every component is precision engineered like this, the results break new ground.”

Moving forward, the company will continue to take this approach to product development.

“We have a young and talented team filled with great ideas, why would we want to stifle their creativity?” reflected Markus. “We understand that no single person can be responsible for all the great ideas coming out of the company.

We are trying to create an environment where everyone questions and explores the possibilities of what we can do, and this is leading to great things.”

Having already built a strong market share in Asia, SE Audiotechnik’s next step is to grow a powerful position in the European sector.

Its pedigree and creative approach to product design, alongside some unique loudspeaker designs, should ensure that this happens.

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IN DEPTH

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INTERVIEW KENTON FORSYTHE EAW

REPORT TRUSSING & RIGGING

The EAW story is one that dates back more than 40 years - and it’s fair to say that it’s been one hell of a journey. What began as a privately owned company went through a corporate buyout, which eventually saw the founders leave, and it was only in 2018 that one of the founders returned after a second buyout by the RCF Group. Subsequently straplined as ‘it’s good to be back’, indicating a sense of regaining its independence, co-founder Kenton Forsythe spoke to Rachael Rogerson-Thorley about returning to ‘where he belongs’ and what he believes lies ahead in the next chapter.

26 INT ERVIEW

• Above Kenton surrounded by his team at EAW.

Growing up in a small town just outside Boston, Massachusetts, Kenton Forsythe was the son of a railroad executive. Typical of the time, in the 1940s / 1950s, his mother was a homemaker. “She did a great job of it, looking after both my father and I,” he said. But from quite an early age, Kenton knew - that although he did have some interest in railroads - he wasn’t going to follow in his father’s footsteps.

“One thing I remember from the very early days is that I was a big fan of music,” he recalled. “When LPs were first introduced in 1948, I began listening to records and I remember playing some 78s [the conventional format when launched] over and over again, until they were on the verge of wearing out!” Continuing with his passion for music, he learned how to play piano and keyboard, but unfortunately, those skills quickly disappeared after the family relocated to Connecticut.

Kenton describes himself as a good student, who was always willing to learn, and after graduating high school, he went

on to study physics, before changing his major to history. Following graduation, he returned to the first place he called home, to work for the City of Boston, for what they called the Boston Redevelopment Authority. Its aim being to build the so-called ‘New Boston’. “I worked on the transportation side because I had an interest in railroads and transportation. After that, I went on to a Masters at University of California at Berkeley in City Planning,” Kenton furthered.

Although he never lost his love of music, as he always enjoyed listening to it, the spark was reignited with the move to Berkeley. “I picked up some skills and began to make loudspeakers, as a means to help support myself out there, but it was just something I was doing on the side,” Kenton continued. After returning to Boston and the world of transportation for a short time, Kenton knew it was time to turn to his true passion. He started to work in retail, selling professional audio sound systems, as well as building loud-

“Ken is the kind of guy who can sell refrigerators to Eskimos, so we had a few early successes, but it wasn’t quite the right fit for us.”

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28 INT ERVIEW

speakers again for small bands. He set up a business named dB Engineering, but, truth be told, that never really came to fruition.

Somewhere along the way, through friends of friends, Kenton came across a young guy by the name of Ken Berger, and for those of you who know anything about EAW’s history, you’ll know that this was the beginnings of the audio manufacturer. The pair were matched by another guy, Louie Friedman and together they formed an acoustics company. Kenton said: “Ken is the kind of guy who can sell refrigerators to Eskimos, so we had a few early successes, but it wasn’t quite the right fit for us. Ken and I pushed forward and formed Forsythe Audio around 1975, which in essence turned into EAW in the Fall of 1978 with the help of colleague and investor, Greg Garrett. We showcased the company for the first time at AES in New York.”

The SR109 loudspeaker and BH212 subwoofer were the first products introduced under the EAW brand name. Much of

what existed back then was two-way cinema loudspeakers, so the SR109 was one of the first three-way systems to market. “I always felt that a three-way system would be better than the two-way, offering lower distortion, better pattern control, more output and everything operating in a more friendly frequency range. So, in some respects the products were fairly revolutionary at the time,” Kenton explained.

Obviously, there were competitors around, the likes of JBL and Martin Audio, but for Kenton, EAW’s USP was all about the three-way system in the US market.

However, shortly after the turn of the decade, the US economy went through a lot of turmoil and interest rates skyrocketed. “We had a hard time surviving. But we did, just. Ken’s father stepped in and helped us out with guidance and some financial backing, without him we probably wouldn’t have survived. Once we were stabilised, we managed to developed a more complete product range with a focus on loaded three-way touring systems.” The

“I always felt that a threeway system would be better than the twoway, offering lower distortion, better pattern control, more output and everything operating in a more friendly frequency range.”

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30 INT ERVIEW

“You get what you demand when setting up relationships with Chinese manufacturers. If you demand pure excellence and provide support by having people onsite, you can produce high quality products.”

FR Series from EAW launched around this time kept the company progressing, and led to further designs.

“It wasn’t until much later that we partnered with a company that produced high frequency drivers, initially it was a company in the US, one of the few that was actually producing such drivers for OEM work. But by the late ‘80s, more companies were manufacturing and we began to source from B&C Speakers in Italy… Today we work with a number of different component manufacturers,” he continued.

With the integration of the new high frequency drivers, EAW as a company began to focus its attention on the touring market, and created a touring box specifically for US country band, The Oakridge Boys.

The partnership with the band brought a lot of success for the company, and the band is still known today, having played at the late George Bush Sr’s funeral last year.

That product was the CS3, the first truly integrated three-way touring box. It grew into something called a KF850, which funwww.mondodr.com

damentally changed the production and touring market in the 1980s and 1990s.

By the time the next decade came around, Kenton remembers wanting to explore the install market, and the first flagship project EAW completed was Anaheim Stadium in 1992. “It was almost accidental that we got the job,” he recalled. “We received a phone call from the consulting firm, Joiner-Rose, and they were looking for some mid-range boxes to complete the existing PA design, that was primarily using a different brand of loudspeakers. One thing led to another, and we wound up doing the whole stadium. At first, I had no idea how we were going to achieve what they were asking of us, but we figured it out, and that was our first major project in the install world.”

From there, Kenton and the team went on to conquer the club world. During the mid-late ‘90s when the nightclub scene was booming, Kenton became friendly with a man by the name of John Lyons, a Boston-based nightclub operator who ran a chain of clubs under the brand name, Avalon. “We collaborated with John for a

32 INT ERVIEW

• Above Jeremy Forsythe with Steven Desrosiers.

range of systems intended for club installs.

Fundamentally, we just added low frequency capability, so we took a system that had a single driver and then we put two woofers inside it, and that was the club system,” he remembered. Once again, the company enjoyed a lot of success during the clubbing heydays of the ‘90s, but with the buyout by Loud Technologies (nowadays, Loud Audio) in 2000, this, along with a lot of other things at EAW, quickly changed.

The biggest change was the manufacturing move from the US to China. Kenton furthered: “You get what you demand when setting up relationships with Chinese manufacturers. If you demand pure excellence and provide support by having people onsite, you can produce high-quality products. The original factory that was used to manufacture the Loud Technologies portfolio, but unfortunately, that setup collapsed and went out of business. EAW manufacturing was picked up by a Singa-

pore-based factory in Dongguan, where it remains today, and we have an incredibly close and long-standing relationship with the company.

“I was actually over in Shenzhen recently for a technical presentation at a conference, and decided to stop by the factory to take a look at the prototype of a new product we’re developing. I continue to be impressed with their involvement in the manufacturing process, and the problem solving procedures. I really think we’ve got a great working relationship.”

Cementing some of Kenton’s success at EAW, in 2011 he was awarded a Parnelli Award for Innovation. “That was a great honour,” he said. “I didn’t realise at the time, but I was only the second loudspeaker guy to receive the award, the first was John Meyer. I certainly have a lot of respect for the work that John has done over the years, so it is a privilege to be recognised alongside him. I believe this year [2020] is www.mondodr.com

the first time the award is being given to a woman, Karrie Keyes, which again, makes me feel proud to be among those peers.”

After a few more years at EAW, Kenton decided to take a step back, and he retired in 2016. But since making loudspeakers was in his DNA, he continued to keep his hand in the game. In the meantime, a new president, TJ Smith was brought in to run the company. “I didn’t know the guy, but I quickly saw that he recognised the challenges EAW faced, and that he was committed to making changes to get the brand back on track. The perception of the brand had changed so much, but it just needed the right combination of people to return it to its former glory.

“During my retirement period, my son Jeremy joined EAW. He is actually a trained architect and he did pursue that as a career for a number of years, before decided to change course and go into project management and construction.

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34 INT ERVIEW

He began working with John Lyons, of Avalon fame, and he opened a number of clubs for him, over a five-year period, carrying out the design, the spec, the installation - everything really. It was his work with John that led him to form further acquaintances, which eventually led to his appointment at EAW in 2017. I think he’s done a fantastic job so far, and it’s really nice to have a family member as part of the team.

“It was Jeremy who had a hand in my return to EAW. He encouraged TJ to talk to me, and within five minutes we had a deal… I’ve been back for two years or so now.” And it was during the last two years that EAW has undergone it’s biggest change since the turn of the millennium, in the form of new venture capital investment, courtesy of the RCF Group.

“I actually visited RCF years and years ago,

before I even founded EAW,” Kenton continued. “And the acquisition is something I am really excited about. Arturo Vicari is a true entrepreneur and visionary, he started with dBTechnologies, then took on RCF, and the latter today, is at least 10 times what it was. So, you could say he has seen his fair share of success, and I am confident that under the RCF Group leadership, the EAW brand can flourish.”

There are many plans in place for the brand in the not too distant future, which include installs at high-profile stadiums in the US, and efforts to push back into the hospitality and club market. There are product developments in the pipeline, too, some making their debut at NAMM in Anaheim this month, and others that will follow later in the year.

Kenton also advised that the company is doing what it can to play a role in moving www.mondodr.com

• Above EAW celebrating its 40th anniversary last year.

the industry forward as a whole.

In terms of goals for the future of EAW, Kenton finished off by saying: “The goal is to just to get back to where we were 20 years ago, as a real leader in the market.

We know it’s going to take a few years to rebuild the product and infrastructure needed to reclaim our place amongst the most premium brands, but we believe 100% in the team we have to do it. Competition has become much more rigorous in the past 20 years but we’re not afraid of the competition.”

Fighting talk if ever there was any! Watch this space…

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SOH O GAR DE N COMPANY: TRUSS ALUMINIUM FACTORY LOCATION: DUBAI, UAE

Soho Garden offers a unique, diverse mix of dining, pool lounging and nightlife, where the chicest and luxurious events in the city take place. There are four perfectly designed bars, each with its own identity allowing guests to enjoy a different experience every time.

Truss Aluminium Factory a.s. (TAF) has been involved with Sekoya Hotels and Resorts (the owners of Soho Garden) since 2017. This partnership began with the delivery of an arched roof, 12-metres by six-metres by six-metres for the smaller events taking place in this always buzzing area.

Step one of building several trussing structures in Soho Garden took place in 2018, when the slanted roof structure, was delivered to the premises to be used as one of the main stages in the area. The

complete structure was painted black and equipped with lights, loudspeakers and LED screens in order to create a stage for various events.

The managements long-term plans include the possibility of adding two wing structures to the existing roof structure, covering a total of 285 sq metres. The structure was prepared for this possible extension from the very beginning.

The last stage of this project was put into production in summer 2019, with the installation taking place a couple of months later. Sekoya’s management created a challenging design of two triangle structures placed next to each other on a certain angle in order to create two identical stages for various artists to perform in. However, due to various anchoring and structural restrictions at the

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venue the entire project had to be re-evaluated in a very short time. In the end, the structures took the shape of 17-metre by seven-metre and 11-metre by eight-metre large trapezoid slanted units from TT54 trussing. The height was accommodated in order to correspond with the slanted roof structure.

“It is an honour to cooperate with such innovative minds as the Sekoya Management,” The CEO of TAF, Jaroslav Rozboril said. “Of course, every project has its difficulties, but it is important to point out that challenges set before us are also pushing us forward and bringing new experiences and skills to our lives. We are glad that these structures made out of TAF products open new possibilities of entertainment in Soho Garden and the city of Dubai.” www.trussaluminium.com

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ALTICE MEDIA GROUP CAMPUS COMPANY: MILOS LOCATION: PARIS, FRANCE

For a big project in France, several hundred metres of MILOS M290 Quatro truss took on a strong supporting role. In fact, it took on a total of seven supporting roles, for seven TV studios, in four buildings, on the Altice Media Group campus in the French district of Porte de Versailles, Paris. The Altice Media Group campus hosts a total of up to 6,000 students per day and supports the activities of the news organisations Libération, L’Express, and 01 Net. Recently, the Altice Media Group needed to expand the amount of studios on its campus and held a national tender for the construction of seven new studios in four buildings. The company who won the tender for this massive TV project was Red Bee Media, a sister company of Ericsson.

Red Bee is the system integrator of NextRadio TV, a sister company of Altice Media Group, and manages the activities of seven TV channels in France: BFMTV, BFM Business, BFM Paris, I24

News, RMC, RMC Découverte and RMC Sport.

Working together with Red Bee Media for this project was Eric Brancherie (TV Lighting Designer for NextRadio TV), who was responsible for selecting and sourcing all materials in the construction of the seven studios.

You can imagine that the equipment needed to furnish seven TV studios came at a premium cost. Well, you would be right. In fact, a total of €2.5m was budgeted just for the lighting (light, trussing, wiring, installation). The cost for the studio, control board, video equipment, control room and audio components were in addition to this amount.

For a project of this size and importance, Eric needed to source his studio materials from a supplier he could trust and that had a proven track record. The company he chose was ESL, a French company that has one of the largest selections in France of professional lighting equipment and

related services under one roof.

After discussing all details with Eric, and receiving the final order for material, ESL delivered the lighting, truss and chain hoists for all seven studios. The long list of equipment included a few hundred metres of black MILOS M290 Quatro truss, 700 LED spots and fresnels, 900 moving head projectors, 60 chain hoists, a few kilometres of ESL cabling and a few dozen square metres of ESL green screens.

The sheer scale of this seven-studio project is extremely impressive and is one of the largest ever seen in the media world. The combined talents of Red Bee Media, Eric Brancherie and ESL, with a strong supporting role by MILOS, delivered stateof-the-art broadcasting facilities that will bring high-quality content to the French population for many years to come. www.milossystems.com

LEE DS C I T Y CO L L E G E & THE ROYA L CON S E RVATOI R E O F SCOTL A N D COMPANY: AC-ET LOCATION: LEEDS & GLASGOW, UK

SIXTY82’s UK-exclusive distributor, A.C. Entertainment Technologies Ltd (AC-ET) has had a busy year keeping up with demand for SIXTY82’s next-generation trussing and staging systems.

AC-ET has had the pleasure of working with a number of customers all around the UK to provide them with their ideal trussing solution, whether it be a permanent install, a moveable structure for events and productions, or supply for rental companies’ stock.

Leeds City College, one of the country’s largest further education providers, purchased SIXTY82 M29S truss for the permanent rig in the college’s new theatre space as part of its new £60m state-ofthe-art Quarry Hill Campus, opening early 2020.

The Royal Conservatoire of Scotland, one of the busiest performing arts venues in Scotland, has invested in SIXTY82 Model M Tower Systems. This easy-to-use and assemble system can be raised and

lowered as appropriate, depending on the requirements of the specific performance or event. This new piece of equipment will not only be used in performance at the Royal Conservatoire but there are also plans to take the Model M Tower System into schools across the country, giving young people a first-hand insight into the backstage world of the performing arts. Powder coating has seen an upsurge in demand with AC-ET’s customer base this year. Short lead times due to increased stockholding on SIXTY82 M29S - in both the standard silver finish and hardwearing fine-textured RAL9005 - allows urgent orders to be satisfied quickly.

Fine-textured RAL9005 finish seamlessly blends into the background, therefore it is ideal for theatre and corporate clients. SIXTY82’s RFID tracking system has proved valuable in assisting with stock management and tracking. www.ac-et.com

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39 REP ORT: T RUSSING & RIGGING

MEDUSA FESTIVAL COMPANY: FENIX STAGE LOCATION: VALENCIA, SPAIN

FENIX Stage, a Spanish manufacturer of lifting towers, roof systems, trussing, rigging solutions and stage platforms, had the privilege of being a part of the mega event ‘Medusa Festival’ that took place in Culllera, Valencia, Spain. The latest edition of the festival set a new record of over 300,000 visitors in four days enjoying music from various artists like Afrojack, Sebastian Ingrosso, Dimitri Vegas & Like Mike, Beret and many more.

“We are very proud to supply our experience, knowledge and products to this magnificent event. We have been involved in many amazing festivals, but this one was definitely one of the biggest ones,” FENIX Stage’s Export Manager, Alex Bryan, said.

With 3km of black and silver trusses, among lots of custom-made rigging

elements and superb sound and lighting equipment, a spectacular stage was created, which lacked absolutely nothing.

“It turned out to be quite a challenge due to the number of visitors but we are proud to say everyone enjoyed the music to the max,” Alex said.

“The black and silver trusses blended in beautifully with the rest of the equipment and the collaboration between the promoter, organiser, technical team and crew was a great success. We hope to be able to deliver our products and solutions to this great event next year and keep on working on many more upcoming projects like this one.” www.fenixstage.com

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40 REP ORT: T RUSSING & RIGGING

Photo: Courtesy of the Gold Coast Convention & Exhibition Centre

T H E G OLD COAST 2 0 1 8 CO M M O N WE A LTH GA M ES COMPANY: VECTORWORKS LOCATION: THE GOLD COAST, AUSTRALIA

The Gold Coast 2018, Commonwealth Games (GC2018) were held in the City of the Gold Coast in Australia with more than 4,400 athletes from 71 Commonwealth Games Associations. The largest sporting event to be staged in Australia last decade, GC2018 featured the largest integrated sports program in Commonwealth Games history, comprising 18 sports and seven para-sports.

The Gold Coast Convention & Exhibition Centre (GCCEC) was at the centre of the action, as it hosted competitions for netball and basketball and housed the Main Media Centre, including the Main Press Centre and the International Broadcast Centre. The GCCEC is the city’s premier convention and exhibition venue and the largest regional convention centre in Australia.

The venue comprises a 5,000-seat arena and 6,000-metre sq of exhibition space and provides a full in-house technical production service, all under one roof. The Centre has invested significantly in its technology team to create a

seamless event experience for its clients and their guests.

Audio Visual Production Manager, Chris Davey was tasked, among other things, to design a rigging system and make sure the over 800-metres of trussing and 113 chain hoists could be rigged safely and accurately. As soon as Braceworks was released last year, the team at GCCEC immediately saw how incredibly useful it would be. The GCCEC is the first venue in Australia to embrace Braceworks and amongst the first users globally to implement it across a large-scale sporting event.

“The timing couldn’t have been better with such a large amount of trussing going in, and in the end, Braceworks undoubtedly saved us many hours of painstaking work,” said Chris.

“Braceworks seamlessly integrates with our existing Vectorworks Spotlight workflow, and the new module was used to accurately determine the load being applied to the roof structure,” he continued. “With the volume of hanging points, www.mondodr.com

variable fixture weights and positions, and total weight requirements close to the structure’s limits, Braceworks was vital in its ability to compare designs and determine the most effective rigging plot pre-event. Load cells were used on the installation, verifying the calculations from Braceworks were incredibly accurate.”

“The GCCEC provides a tailored production solution for every event,” said GCCEC Executive Manager - Technology Ben Morris. “We are proud of our safety culture and prioritise safe practices from design through to delivery. Braceworks provides a platform to accurately determine loads and compare designs in pre-production, significantly improving the quality of our rigging systems and highlighting any issues well before bump in. Braceworks’ application on this project was a resounding success - it streamlined the engineering process, saving time and money.” www.vectorworks.net

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Vero VX’s patented Lambda rigging system ensures accurate array alignment.The naturally flat response does not require corrective EQ, thus preserving headroom and phase coherency, resulting in very clean output, even at maximum power.

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42 REP ORT: T RUSSING & RIGGING

H E LMU T LI ST H ALL COMPANY: CHAINMASTER LOCATION: GRAZ, AUSTRIA

ChainMaster delivered a new chain hoist system to its long-standing Austrian sales partner A.T.C GmbH, based in Wulkaprodersdorf, Austria. A.T.C GmbH carried out the assembly and installation of the system on-site in the Helmut List Hall in Graz.

For this project, ChainMaster supplied 38 VarioLifts 1,000kg with a two-fall design and a continuously variable speed up to 4.8-metres per minute and a maximum lifting height of 12-metres. The drives are controlled by the XYZ control system, certified according to EN/IEC 61508 SIL3. The control system is currently designed for a maximum of 42 drives. The system is operated via a control panel with a 19-inch touch screen, equipped with two travel levers with deadman switch. Two safety computers with self-monitoring and internet access for remote maintenance operate in the background of the control system.

The ChainMaster XYZ control system is ideal for creating complex motion sequences and is, therefore, a reliable interface between operator and stage drives. The straightforward user interface and the practical configuration of the functions enable simple and intuitive operation at the highest level of safety with constant access to the hoists integrated into the system.

To control the chain hoists, the Helmut List Hall is equipped with a control cabinet system of six units each for four drives and six units for three drives. Equipped with state-of-the-art closed-loop frequency converters, high-resolution displacement sensors and safe load evaluation enable programmable start and stop ramps, full torque at standstill over several minutes, direction changes without interruptions and make the ChainMaster VarioLifts a hoist of the highest performance. www.chainmaster.de

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44 REP ORT: T RUSSING & RIGGING

WORS H I P N I GH T I N A M E R ICA COMPANY: STAGEMAKER LOCATION: US TOUR

TLS, a Hibino USA company, won two separate contracts to provide the rigging equipment and a travelling head rigger for the twomonth-long ‘Worship Night in America’ and Holy Roar Tours, which took place during the spring months of 2018 and 2019 respectively.

The 2018 tour included 24 shows, the circuit ended with an iconic 28th show, The Good Friday Concert, which took place at Bridgestone Arena in Nashville, Tennessee. Jordan Yeo, Production Rigger/Production Manager at TLS, travelled with both tours.

TLS, a distributor of R&M Materials Handling Inc.’s Stagemaker entertainment range of hoists, reported to two production managers and a tour manager over two years to deliver all of the lifting equipment, steel, shackles and controls, plus a rigging workbox that stocked tools for day-to-day use on the road. Jordan was responsible for marking the floor and leading the local crew in rigging the shows safely.

“It was a different lighting rig for both tours and each venue is different,” Jordan said. “Not all venues can hold the same amount of weight and have varying beam layouts. I took each venue’s information and put our show into their building. Sometimes we had to move things around to accommodate venue-specific challenges. Each show had its own rigging plot slightly modified to each specific venue. There were times that certain elements of the show did not hang due to the size of the venue.”

Over 100 hoists were used in total - 57 in 2019 and 56 in 2018 - the majority of which were Stagemakers, ranging from a quarter to twotonne capacity. Jordan highlighted the fact that all of the hoists ran at 16ft per minute, while the length of the chains was typically 60ft or 80ft. There were varying trim heights for the rig; the lowest was 16ft and the audio hangs usually trimmed to 60ft. The lighting trusses’ maximum trim was 45ft. Lighting trusses

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usually had three or four hoists moving at once and the audio main hangs had three hoists working together. The side hangs, meanwhile, had two pick-points that worked in tandem.

Stagemaker entertainment motors are designed to handle stage and theatrical equipment, enabling the safe and accurate position of loudspeakers, lighting systems, stage sets, and sceneries. The range is lightweight, making it ideal for touring events, reducing time and improving ergonomics for riggers. Its compact size permits it to fit inside truss structures, and its quietness makes it ideal for operation during performances.

Jordan recalled the hectic schedule: “We usually chalked the floor around 8am, load-in started at 9am and we were finished with the rig up in the air between 12-1 pm each day.

Soundcheck took between 2-3 pm, doors opened at 6pm and typically the show started around 7pm. After performances, we were

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packed up and ready to move to the next venue in two-anda-half hours.”

The latest tour is memorable because of the scale of the prerig for Tomlin’s final show at Bridgestone Arena.

Pre-rigging is when the tour rigger and local riggers go in earlier than the rest of the equipment and tour personnel to hang all of the motors. Sometimes this is done a day before or a few hours in advance of the main load-in. In this case, the team chose to pre-rig due to time restraints in getting the show loaded with added elements that hadn’t been on the tour previously.

Jordan said: “We added about 20 additional hoists to The Good Friday show due to the performance being almost 100% in the round. There were extra lighting trusses, video walls, and audio hangs to accommodate the seats to the sides that wrapped around the stage. The previous show was in Kansas City and I flew from there to Nashville early to be in time for the pre-rig, starting our day at 6 am. The timing with the driving distance was the main reason why the tour crew and gear did not show up until 11 am. We had 70% of the rigging done by the time the rest of the team arrived.” www.stagemaker.com

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46 REP ORT: T RUSSING & RIGGING

STUD IO 2 1 COMPANY: EUROTRUSS LOCATION: HILVERSUM, THE NETHERLANDS

One of the most famous event venues in The Netherlands has been thoroughly renovated in recent months and transformed into an intimate restaurant with high-tech decor. Madame Jeanette is the successor of dinner show Pandora, the culinary theatre of 2019, with all the ingredients for an unforgettable dining experience.

It is an intense evening full of visual spectacle, where visitors dine in the middle of a vibrant story that is told in a visual, musical and culinary way. In recent months Studio 21 has been completely rebuilt especially for this show, with the kitchen in the centre of the room and a high-tech decor in which the stage, the video and audio are in a 360°setting around the guests.

Dutch lighting, audio, and rigging company Chain was responsible for the technical production. Because of the complete round set up, the decision was made to use six circles in the decor. In the middle of the room a six-metre Eurotruss FD34 circle was used for the centre vieo. On the outside, a 270° LED screen was hung on a Eurotruss HD44 circle of 40-metre. Amazing visuals are presented during www.mondodr.com

the show that sets the scene. In between the smallest and biggest circle, four additional HD44 circles of eight, 20, 30 and 36-metres were added for rigging the lighting fixtures.

Paul Chamalaun of Chain commented: “The entire creative concept is based on an ‘in-the-round’ scenario. This is also the reason that for the spacing and shape of the lighting plan circles were used. In practice, you will find a lot in a ceiling like Studio 21’s, from air conditioners to suspension points and other steel construction parts. Lennart Lindhout, our rigger, has fully mapped the studio in the preliminary phase to achieve both the total maximum load and clearance.”

The development of the show is in the hands of producers Tribe Company and TWOFIFTYK, both agencies with a lot of experience in devising and producing (international) music events like ‘De Vrienden van Amstel Live’ and ‘Armin Only’.

Together with the very latest technology provided entirely by Chain, the ‘Madame Jeanette’ show is ready for the future. www.eurotruss.com

48 REP ORT: T RUSSING & RIGGING

CA PI TOL C E N T E R FO R THE A RTS COMPANY: GLP LOCATION: NEW HAMPSHIRE, USA

Port Lighting Systems, based in New Hampshire, recently completed the design and install for the new FOH lighting rig of the Capitol Center for the Arts’ Bank of New Hampshire Stage (BNH Stage).

“The customer wanted a unique, one of a kind piece over the centre of the room,” recalled Vice President of Permanent Systems and Designer, Ron Kuszmar.

“The BNH Stage needed a rig that could act as a design feature in its own right, rather than simply blending into the background.”

The architect’s original design for the stage was a 20ft by 20ft box shape. Knowing the structure had to be unique, Ron and Senior Project Manager, Dan Bourgeois, created a design made almost entirely of curved truss sections resulting in a structure that evoked an organic and flowing feel.

“The truss has affectionately been dubbed the ‘amoeba‘. The name seems to be sticking as people who walk in the room all seem to refer to it as that now,” Ron explained.

It was always in the plans to light the piece

using the compact impression X4 atom fixtures from GLP, illuminating the inside of the truss to highlight the design of the structure. Explaining the choice of fixture Ron said: “We knew the X4’s small size and zoom were perfect for this project.

We wanted to have the zoom to be able to breathe life into the truss by incorporating subtle changes that the audience would begin to notice over time and allow the truss to take on a life of its own.” The amoeba is internally lit using 12 of the versatile impression X4 atom fixtures.

When Ron and Dan visited the GLP booth at the LDI 2018 show in Las Vegas, the lighting was not the only thing that caught their eye. “Seeing the DNA at LDI I knew we needed to change our plans.

I sent photos to the customer from the show floor and they loved the look of the DNA truss.”

The amoeba structure was redesigned with Ron and Dan opting to switch the entire project to Cosmic Truss, incorporating the F34DNA into the design.

Being compatible with the standard F34 box truss,

this was an ideal choice and fit perfectly with the organic shape of the “Amoeba“ design.

As for using the truss, the team had no issues putting it together. “Once we figured out where the different spacers went and at what angle the adaptors would go between the DNA and box sections it went pretty decent,” Dan said.

“Loading the DNA truss was fine with a single source clamp, which was used for the impression X4 atom fixtures to light the structure internally.

Mounting larger fixtures using two clamps was also easy enough as there are plenty of spacing options on the DNA.” Dan summed the project up, saying: “The DNA truss looks killer, especially when internally illuminated. We have received so many positive comments regarding the design. It is a fun product to design within a space like the one here at the BNH Stage.” www.glp.de

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50 REP ORT: T RUSSING & RIGGING

L ITES C IN E M A STUD I OS COMPANY: VERLINDE LOCATION: BRUSSELS, BELGIUM

Lites Cinema Studios in Belgium offers five sets, from 250-metre sq to 1,700-metre sq, one of which is the world’s only underwater (water stage).

The Lites studio required lifting equipment for its five cinema sets including the water stage set. The 24-metre by 21-metre set with a nine-metre deep tank can be entirely submerged to simulate underwater environments.

It contains a maximum quantity of five million litres in the tank and an additional one million litres when the floor is flooded. The floor of the set is mobile, bears loads of up to 20 tonnes and can be submerged to different depths. The maximum water surface when the set is flooded is 1,250-metre sq. A unique and outsized water filtering and treatment system provide different aspects and effects (crystal-clear, sea, mists, rain, etc.). Waves of up to one-metre high in the tank or on the flooded floor can be generated.

This facility required special equipment for lifting decor items, for example, boats, and for the lighting, sound system, cameras and screens (blue depths and black backdrop).

Equipment had to be reliable and practical for users and able to resist high temperatures (the water is heated to 30°C) and humidity. Joris Van de Wiele, Verlinde’s Project Manager in Belgium, with the close support of a member of the Europont network, proposed two overhead cranes, each weighing three tonnes with a special black coating enabling integration in the decor, four ceiling suspension points for the mobile floor, four EUROBLOC VT3 wire rope hoists with a total lifting capacity of 25 T and a bearing surface of 25-metre sq complete the system. They are fitted with VVF drive for travel and cross-travel lifting. Speed is variable, from slow to very fast, in order to be in phase with the camera. These items have been conceived for their integration in dynamic decors.

A total of 80 Stagemaker SR5 and SR10 hoists were used in the whole studio set complex, these industrial electric winches are especially suitable for their application in the show. They bear loads from 250kg to 1,000kg.

Boasting an entirely ergonomic design, these hoists blend harmoniously with all technical installations and offer the highest levels of safety and productivity. www.verlinde.com

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Amerikalinjen recreates the glamour of a bygone age with Genelec.

The Amerikalinjen building, located in the most central and vibrant part of Oslo, has a rich and colourful history. It was inaugurated in 1919 as the headquarters of the Norwegian America Line, a hugely successful passenger and freight shipping company that opened up the New World for hundreds of thousands of Norwegians. 100 years later the architectural landmark has been reborn as one of Oslo’s premier urban boutique hotels, complete with a comprehensive Genelec sound system supplied by Norwegian pro audio specialists, Benum. Occupying some of Oslo’s most prime real estate, Amerikalinjen - owned by the Nordic Choice Hotels group - has retained all of its authenticity whilst providing today’s travellers with a thoroughly modern experience.

The remit was clear - Amerikalinjen wanted the best possible sound in all areas of the hotel, to match the rest of the high-quality services and fittings.

The requirement was for four separate areas: reception; the restaurant; the

cocktail bar; and the beautifully luxuriant conservatory at the heart of the hotel. Everything should sound extraordinary.

“Genelec was a completely natural choice for this installation,” declared Ronald Hernes, Benum CEO who oversaw the Amerikalinjen project.

“Firstly, the sound quality is second to none. Secondly, they are active loudspeakers, which are therefore easier to cable and install, and there is no need for an amplifier rack room. Finally, you know that once they are in, the client will have a trouble-free service for years. There’s no doubt that, for a project of this calibre, Genelec ticks all the boxes.” Nevertheless, he recalled that the mission was not without its challenges.

“From an architectural point of view, the building is beautiful with lofty ceilings and large windows,” said Ronald. “It looks wonderful, but it’s not ideal when it comes to loudspeaker placement. Our main concern was achieving the required coverage with such large volumes of space to cover.

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In the conservatory, we also had to think about the reflections off the glass roof. Fortunately, there’s quite a lot of greenery which helps deaden the room a little.”

Benum suggested increasing the amount of loudspeakers in each area in order to achieve optimal coverage and sound quality even at low levels, yet still conserving sufficient headroom to be able to turn up the volume when required for a more party-like ambience.

“We opted for eight of the larger 4030Cs in the cocktail bar to make sure they had enough power for the late-night crowd. For reception, the restaurant, and the conservatory ‘garden’ we used lots of 4020Cs. Each area also benefits from a pair of 7040A subwoofers (except reception which only has one) to provide a subtle, but critical boost to the low end without being too physically imposing. In total we installed 38 4020Cs, eight 4030Cs and seven 7040A subwoofers. Everything is on a Dante network distributed via

an Allen & Heath dLive DM0 MixRack which is broken out into analogue at each zone via a Neutrik interface, and then to the loudspeakers via Sonifex active balanced splitters. Each zone is equipped with an Allen & Heath IP1 network controller which gives local operators access to source selection and volume. Finally, we put an Allen & Heath IP6 in reception which provides control over multiple zones,” Ronald continued.

Wilhelm Hartwig, Amerikalinjen’s General Manager, is delighted with the results. “High quality audio, especially in the common areas, was an early focus,” he explained. “We chose Genelec as a premium Scandinavian brand and we are incredibly happy with the results. We are getting positive feedback on the sound on a weekly basis. I’ve worked at many hotels but I can’t ever remember guests commenting on the sound quality before! That is really quite something.” www.genelec.com

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OVNEW

With stunning views across the city of Barcelona, OVNEW sits atop the Hesperia Tower Hotel and is Spain’s second highest restaurant, - the tallest being in Madrid. Built by the same architects as the Pompidou Renzo Piano and Richard Rogers - the domed structure of OVNEW is nothing short of iconic and most certainly stands out in the city’s skyline.

The restaurant - named by a combination of ‘OV’ (OVNI being the acronym for UFO) and ‘NEW’ in Spanish - is the brainchild of Jon Giraldo and Jaime Lieberman. Jon is a trained lawyer and Jaime is an artist, but they decided to follow their passion for gastronomy, so both are chefs, too. The journey began six years

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ago with the restaurant concept starting out in Jon’s living room. He explained: “Working with gastronomy, we felt it wasn’t enough to just have food and wine, humans have five senses and it’s silly to only stimulate two senses during an experience, so we looked at how to enhance the experience.

“Firstly, we looked at lighting. We looked at a cheap solution for my house, as this concept started in my living room, six years ago. More than 9,000 people have had dinner in my living room… although not all at the same time of course! The installation of the lighting was very simple, Philips Hue lighting controlled using an iPhone app, plus two simple loudspeakers in stereo form and our entertainment was

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a soprano singer. People were excited about the experience.

“After two years we opened a restaurant, Spoonik and looked to further enhance the experience.

We added video mapping to the tables and four loudspeakers. Until that point we had no investment, it was just us investing in ourselves, but in year four, Hesperia Hotels entered our lives.”

Another venture had previously occupied the space that OVNEW now inhabits, but when representatives from Hesperia Hotels became aware of Jon and Jaime’s first restaurant venture, Spoonik, and were fans of the concept, they knew who they wanted to be the next tenants in their rooftop venue. Jon and Jaime were well on their way to creating an immersive restaurant experience, but the bar was raised when they visited the Sonar+D festival, which saw Eurecat the technology institute renowned for its ground breaking work in the world of immersive sound technology - unveil its incredible SFËAR 3D live sound technology in a large demonstration space, as part of the Market Lab programme of lectures and events.

“Hesperia Hotels told us they had a special place, and said we had a special concept - so they wanted us to work together. With their investment, we could achieve the idea we’d had in our minds from the very beginning - to create a true experience for the five senses,” Jon continued.

OVNEW is an experience that is born from the

‘neurogastronomía’ that combines a multisensory experience, taking diners to the remotest corners of the planet and to an exquisite interior with haute cuisine. “We are the only restaurant in the world, I believe, to offer this kind of experience with the five senses, as well as offering a spectacular view from 100-metres high,” Jon added. “We feel that people consume experiences differently nowadays, the consumer habits of millennials and centennials, and the fact they have so many inputs during the average day - much of which is down to social media - it’s impossible to have a single focus. We need more things to see, hear, play, we need to have a real immersive environment and a journey with an experience - this was our proposal.”

After the Sonar+D festival, Jon and Jaime discussed their plans with representatives from Hesperia Hotels, as well as with Amate Audio the audio manufacturer used at the festival, and who Jon and Jaime had worked with at Spoonik.

SFËAR, the brand behind the 360˚ live sound technology from Eurecat demonstrated at the festival, was also added to the mix through its relationship with Amate Audio and Jon’s relationship with SFËAR’s, Timothy Schmele.

Originally, Amate Audio had made contact with Eurecat because it wanted to update its filtering technology. After working on a small project together, they decided to partner up and work on solutions for spatial audio concepts - one of the first being the Sonar+D festival.

So, with all the people in place, the next step was

to devise a plan for OVNEW. SFËAR’s Umut Sayin takes up the story: “They wanted something special for both the sound and the lighting. The dome itself is already very special, but when you think about sound here, there is no stage, no focal point, it’s axisymmetric, and it’s best to go for something different.

“Normally when we look at a space, the first thing we decide is, how many loudspeakers do we need.

We look at where we can mount the loudspeakers and we consider where the audience will be.

We worked with the carpentry and metal work teams, and at first we thought we could hang the loudspeakers from the structure. We outlined the loudspeaker distribution in positions we thought would be optimal for space, but we later found out we couldn’t place loudspeakers where we had planned due to structural reasons. So, we had to have a rethink.

“Spatial audio is often designed for a central audience, the loudspeakers are aligned to the centre and they are more or less equal distance from one another, and the core processor is located centrally. In fact, the majority of spatial audio installations out there are designed with a central audience. In here, the bar is in the centre and the audience surrounds it. This is uncommon for a spatial audience with multiple channels, so we had to come up with a solution for this.”

In total, four different models of Amate Audio loudspeakers have been installed at OVNEW. The most important for the spatial audio are the ones hanging in the dome, 26 Nitid N26-SA3D - a

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• Above Amate Audio KEY8A’s are hidden underneath the tables.

SA3D enabled version of the standard Nitid N26 with Dante input. These are carrying out the ‘smart’ FIR filtering for the 3D sound in the dome. The integrated SA3D processing platform performs the distributed processing for the SFËAR software - providing the scalability of the 3D sound. Amate Audio’s Joan Amate explained further: “The spatial version of our DSP carrying out the ‘smart’ FIR filtering is important because we have 26 channels in the dome. There are 26 filtering operations being performed at the same time, but with this setup, it is being performed in each individual loudspeaker, not in a central computer.

We save the resources of the central computer for other tasks, which we then distribute to the loudspeakers.”

Next are 10 Amate Audio Nítid N10’s used for the inner ring, which are used to enhance the immersive sensation, when guests are outside of the central sweet spot. “Around the ring there are eight N12W subwoofers, which provide low-end reinforcement for the restaurant.

Originally, we wanted to go for the larger subwoofers, but they didn’t fit so we had to go for the smaller 12-inch models. This worked well in the end though, since they pair well with the N26’s in the dome. The subwoofers also feature spatial filtering,

and there is management for the spatial bass frequencies,” added Umut.

The management for the spatial bass frequencies was particularly important, because if there are different objects moving in spatial audio, discrepancies can be created if the bass element doesn’t follow. Even though the spatial filtering isn’t as much in the low frequencies as it is in the high frequencies, if they move separately, a discrepancy will appear.

The final loudspeakers from Amate Audio are 15 KEY8A’s - an active version of the company’s KEY8, specially made for OVNEW with a customised ‘facing the floor’ preset as they are installed

TECHNICAL INFORMATION SOUND 26 x Amate Audio Nitid N26-SA3D loudspeaker (SA3D enabled version with Dante input); 10 x Amate Audio Nítid N10 loudspeaker; 15 x Amate Audio KEY8A loudspeaker; 8 a Amate Audio Nítid N12W subwoofer; 1 x MacPro computer; 1 x Linksys LGS552P managed gigabit ethernet switch; 1 x Ferrofish A32 Dante/MADI converter www.theovnew.com

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under the dining tables to offer a more personal listening experience for the audience.

When it comes to the overall control and management of the system, this all takes place within the SFËAR software, with support from the control rack, which comprises a MacPro computer, a Linksys LGS552P managed gigabit Ethernet switch and a Ferrofish A32 Dante/ MADI converter.

Umut explained the control configuration: “The venue has a number of different channels and they are all different elements of audio, which have to be sent individually, so, power and audio separately. This requires a lot of cabling and power management. All of the loudspeaker audio is connected, as we have audio over IP using Dante. With just an Ethernet cable we send the signal and control the monitoring of the DSP. “Additionally, there is the filtering, and we had to take the acoustics of the space into account, too.

One of our concerns initially was the glass, but we have the decorative material that is hung around, as well as many objects that are also part of the decoration, which helped with the acoustics.

“We made an initial calibration of the space, then the decoration came in and we made a second calibration of the space because the acoustics changed drastically. One of the filtering processes

includes the ability to move the audio from place to place. So, the calibration process also had to be uniform with the acoustics, to move the sound from one place to another, and make it portable.

When we talk calibration, we are talking about removing the acoustics and making the audio as transparent as possible for the setup.

“The 3D audio tracks that are played through the loudspeakers, they have been specially produced at Metrica Studio in Ibiza. The tracks are put through a special renderer to function in the dome. We have a special player for 3D audio playback, but what makes it particularly interesting in this case is the playback is nonlinear. There is no set timeline, there are seven different scenarios - named after continents such as Europa, Asia, Oceania - and the transition from one to the other has to work with the food delivery, as well as the lighting change, and the theatrical show - all of which are part of the sensory experience.”

Despite everything being pre recorded it isn’t just a case of pressing play and letting it run, it is always monitored by the in-house technician using a simple iPad interface. The control of the audio tracks, in conjunction with the change in lighting presets - which are also managed from the iPad interface - as well as what’s www.mondodr.com

going on within the performance, the food and the beverages being served is all executed meticulously in order to provide that once in a lifetime experience.

“We essentially have two and a half hours of soundtrack, so the dining experience - during which musicians and performers interact with the diners - last approximately that long, and the show itself is updated in some way each week. We offer this on Thursdays, Fridays and Saturdays, however, alongside that, we also do brunch on the weekends, and we open as a sky bar during the week from 12 noon until 3pm,” Jon outlined.

To keep the concept fresh, and keep diners coming to OVNEW time and time again, Jon and Jaime plan to change the food menu every six months, and the audio tracks with matching lighting effects every 12 months.

It truly is a unique restaurant experience that has obviously been years in the making. But now, it has fully come to fruition and is not only a dream come true for Jon and Jaime, but also for all involved, since having a spatial audio showcase is not an everyday occurrence. Amate Audio and SFËAR now have a platform to build on, and they can look ahead to future projects, all the while knowing, they have been part of this landmark installation at OVNEW.

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CLUB MISSION LEEDS, UK EMEA

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Club Mission is a mischievous retreat tucked away in the corner of one of the UKâ&#x20AC;&#x2122;s clubbing capitals, Leeds. Mirroring rave cultures of the past, Club Mission hones in on the bare bricked boozers of the 90s and has a tight weekly schedule that sees a host of iconic DJs take the club by storm, performing to sweating crowds of students and clubbers alike.

At first glance, the interior of Club Mission is a nod to the aging days of illegal raves and nights that never end with a stripped back appearance and elongated tunnels, guiding the wide-eyed raver by hand through its three different dance rooms. However, the brand new audiovisual systems that have been installed inside have taken the clubâ&#x20AC;&#x2122;s production to the next level,

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• Above The mesmerising 324 tubes installed in the ceiling in Club Mission.

blending the kaleidoscopic minds of dancefloor fillers with the nostalgic strobing and pounding audio of archaic DIY parties.

Installing the new audio system was Leeds based Audioserv, which is fairly familiar with the club after previous work to keep it looking and sounding it’s very best.

“We’ve looked after these guys for quite some years,” explained Pete Rollinson, Director at Audioserv. “We’ve renovated the space before, but this time we wanted to do it properly with a Funktion-One system.”

Pete has worked with the team at Club Mission for over 10 years and has watched

the space reinvent itself from a 1989 ravers’ residency to a well-established club that brings in an array of acts from across the globe. Aware of the recent succession of club closures across the UK, Director at Club Mission, Shaun Wilson, wanted to take the venue to the next level and push clubbing into a new age.

“We’ve been open for 17 years now and it got to that point where we either go full hog and reinvent the club again, or just trickle along like we have been doing,” he explained. “We decided to fully rebrand with new DJ line-ups, incredible new lighting and sound systems, and a new approach to what we do here at Mission.”

To reinvent the venue that he was already familiar with, Pete and the team at Audioserv installed a new Funktion-One Evo-7 sound system in the main dance room, which is the first system of its kind to be installed in a club in Leeds, a unique and wise addition to the Club Mission family. “We are dealers for Funktion-One in the North and we decided to install Evo Dance stacks in Mission as we believe it is a really fantastic system. There is a common misconception that it is just a disco system, but this has never been the case and the new Evo range is stunning for both live and DJs. Club Mission isn’t a live venue but if it ever got turned into

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one, you wouldn’t need to change the system.”

Club Mission’s personalised pounding sound saw Pete create a modern version of the iconic Funktion-One Dance Stack, as found in so many clubs across the world. In the main room of Club Mission, two loudspeaker stacks sit either side of the DJ booth, each consisting of two Evo 7EH loudspeakers, deployed for mid to high elements and two F215MK2 loudspeakers, which take care of the mid frequencies. Below the two F215MK2 bass enclosures, sit two of Funktion-One’s F124 subwoofers that create a bass sound that bewilders even the more experienced partier.

Shaun explained: “We wanted something completely custom built that was also a cross between the two, we wanted the powerful look of the infamous Funktion-One Dance Stack but with the latest technology. Pete merged the two together, to get them right, and that’s what we now have!”

To keep up with Club Mission’s jam-packed party schedule, it was imperative that Shaun and the team behind the venue directed their full

attention to the club’s production, making sure it captivated visitors as much as its 8am licence.

“We feel like if you have a club now, you have to take good care of production and invest in a good system. What’s killing clubs is bars offering the same environment, and most bars are not going to have Funktion-One Dance Stacks and a brilliant lighting system! I suppose the only fight back is to go all out with the production value, that’s how you’ll keep people coming back,” he explained.

After the revamp of Club Mission, the third dance room was equipped with the original KV2 system that was previously installed inside the main room. A system that includes ES1.0 loudspeakers that are still a current and totally unchanged product, Pete moved it over, allowing it to reinvent its potential and fill a room that was more suitable for its power. “The third room was the most challenging acoustically. We reinstalled the system from the main room into this one and it definitely works better in here. Some of the technology that was on offer years ago is

still great, but the advantage back then was that not every club had great kit. Now, customers’ expectations have gone up and the quality of sound does impact whether or not someone will attend a club night,” furthered Pete.

The second room, known as the tunnel, includes two Funktion-One Res 4S loudspeakers flown L-R, four Funktion-One F218’s and one KV2 EX12 active DJ monitor to create and enhance the atmosphere and scope of the nights possible in Club Mission.

Pete worked with existing secondhand loudspeakers, refitting them with new FunktionOne drivers to supply yet another incredible space with the sound it deserved. Pete explained: “I wanted to have all of the subwoofers in the middle of booth, to get more level and better coverage. There are no delays in this room. There were with the previous system, which consisted of bigger but not louder boxes. The Funktion-One Resolution 4’s were definitely the right choice and they work so much better in here. There’s no spill, no unwanted reverb, and because this venue

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• Above The main dance room inside Club Mission that includes the two FunktionOne Dance Stacks either side of the DJ booth.

is arched and all brick and concrete, it’s quite reflective anyway, so you want to be able to control where it goes without destroying the bar staff at the back!”

Each of the rooms in Club Mission are powered by Linea Research 44C Series amplifiers with built in DSP. Optimised for use in installation, these amplifiers combine massive power and peerless audio performance, making it an excellent match for the immersive, crowded dance caves inside Club Mission.

The club is located underneath a 12-track

railway arch that, at first thought, could create a problem for any installer.

However, before the re-fit started, the outer walls of the venue were rebuilt to make sure any sound leakage or disruption was not possible. “Before we started the refit, we had to rebuild the outer walls of the club to minimise noise from the tracks and also any spilling out to the surrounding area. After we did a test to see whether or not we could spend the money on a sound system, we were also unsure whether we could get away

with it, as we’ve got a hotel at the back of us. In the end, we ended up rebuilding the outer wall, so there’s actually three skin walls with all sorts of soundproofing in between to make sure no one can hear us,” explained Shaun.

Pete furthered: “For me, the main challenge was trying to run cables between arches because you can’t get between the arches. It’s not just a thick wall that you can put a drill through. Plus, it belongs to Network Rail so we couldn’t trash the structure and I don’t think

TECHNICAL INFORMATION SOUND MAIN ROOM: 4 x Funktion-One F124 subwoofer; 4 x Funktion-One F215 subwoofer; 4 x Funktion-One Evo 7EH loudspeaker; 2 x Funktion-One F1201 DJ monitor; Linea Research 44c20 amplifiers; Linea Research 44c06 amplifiers SECOND ROOM: 2 x Funktion-One Res 4S loudspeaker; 4 x Funktion-One F218 subwoofer; 1 x KV2 EX12 DJ monitor; Linea Research 44c20 amplifiers; Linea Research 44c06 amplifiers LIGHTING MAIN ROOM: 18 x 9mm VIDLED P9 LED screen panel; 8 x CHAUVET Rogue R2 beam moving head; 4 x CHAUVET Rogue R1 beam moving head; 8 x Elation ACL 360 bar LED moving head blade; 324 x LT-100 tube; 1 x MADRIX 512 software package; 1 x Avolites Titan mobile lighting desk SECOND ROOM: 15 x 9mm VIDLED P9 LED screen panel; 6 x CHAUVET Rogue R2 beam moving head; 99 x Showtec LED 8Bar batten; 1 x ArKaos Media Master Pro server; 1 x Avolites Titan One lighting desk THIRD ROOM: 4 x CHAUVET Rogue R1 beam moving head www.clubmission.com

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anyone wants it to collapse. In the end, we ended up groundstacking the system, mainly because it was what Shaun wanted, but also it may have created problems with the structure if the system was flown.”

As well as the new Funktion-One sound system, Shaun and the team at Club Mission were looking to further expand and energise the enigmatic atmosphere of the space. Aware of the impact a new lighting and visual system can have on a modern-day clubbing compound, and taking inspiration from the many Ibiza superclubs, Shaun invested in the help of Terry Lewsey, Managing Director at Light Design (LDL), to help make his Amnesia-esque vision a reality.

“I’ve been working with the guys at Club Mission for almost 10 years now and Shaun approached us in the middle of summer, saying that he wanted to turn things up a notch. He had a video of some production that was in Amnesia, Ibiza and he explained how he really wanted to take some inspiration from that iconic club and try and integrate it into Mission. We explained that the ceiling height wasn’t the same as Amnesia, and there were quite a number of things that we had to overcome logistically, too. We looked at the products we had and what Shaun wanted to achieve and then we came up with a solution and design that we believed he would like,” said Terry.

In Club Mission, the lighting is an incredibly striking element of the venue. Completely juxtaposing the stripped back, warehouse aesthetic of the space, Terry and Shaun wanted to achieve a production that was fit for a live touring stage, with a number of elements all contributing to an incredibly immersive environment. “The first thing I thought was ‘oh god, this is going to be crazy!’ I knew what the expectation was of somewhere like Amnesia’s main room, so it was firstly all about how we would quantify that, and what the budget was going to be,” explained Terry. “Shaun wanted the peak moment, when it’s really going off inside the club, to be very much production led, and for the audience

to feel as though they’ve been transported to another universe and totally immersed in a 3D environment, through everything from the lighting and video to the sound. It really does create a totally unique, raw environment that clubs with soft furnishings and a more pampered look could never achieve.”

Inside the club’s main room, there are eight CHAUVET R2 beams and four CHAUVET R1 beams all controlled by Avolites Titan software.

These sit alongside eight Elation ACL 360 Bar LED moving head blades. However, the most visually striking part comes from the 324 LT-100 one-metre 3D tubes that wash over the heads of elated ravers. “What we’ve got inside the club now, especially with the tubes, is that you can use them as little or as much as you want.

For example, a dot in the middle of the room can be expanded across the entire rig and it depicts waves flying over the crowd. You can use something as small as that to create a huge impact during a track. Although the rig is so vast, it’s really important it is used in a minimalistic way,” said Terry.

As well as the lighting, Terry also installed an array of complex visuals in the main room using a VIDLED P9 LED screen. This allowed Shaun to achieve his paradisiacal, Ibiza party right in the middle of Leeds by transporting Club Mission to its next and arguably best level. Shaun explained: “In terms of modern-day clubs, the specification for lighting, lasers and sound is really high. In our main room, the 3D lighting scheme is what I saw in Amnesia a couple of years ago and I’m thrilled that we now have something similar in Mission. We are now at the top of our game and some of the bookings we have in for this year are massive, bookings I never, ever thought we would get in here in my lifetime!” All of the lighting and visual elements in the main room are controlled by a MADRIX software package and Terry brought in Max Middleton, a dedicated MADRIX programmer to oversee the integration of the new and old system. www.mondodr.com

Across the other two rooms in the club, Terry installed six more CHAUVET R2 beams and four more CHAUVET R1 beams, as well as 99 Showtec LED 8Bar battens that are again controlled by Avolites Titan software. “The second room in Mission also includes a ninemetre video screen running on ArKaos servers.

Shaun wanted something different in here in terms of the lighting and visuals, so we decided on the battens and spaced them out so we could put fixtures and other effects in-between to give the specific 3D effect that Shaun wanted but in a slightly different way to the main room,” said Terry.

The lighting and visual elements of Club Mission did not come without challenges, especially when it came to the installation of the 324 tubes that hang over the crowd. “As Club Mission has a low ceiling, our main issue was how to avoid people jumping up and pulling the tubes out.

Then, it was mainly about integrating the new and old system together. Obviously there were some issues but the team we had; myself, Max, and installers Stuart Paton and Alexander Burke, was the best for the job. We had the right skillset to rectify and solve any issues that we faced,” concluded Terry.

Club Mission has recently celebrated its 17th birthday and throughout that time the club has grown from a sell-out spot on the second summer of love map, to a well-established production led party that continues to bring together flurries of clubbers every week. Now equipped with some of the most impressive audiovisual kit in Leeds, Club Mission is back at the top of its game, and Shaun and the team are now looking forward to many more years of Ibiza style partying. He concluded: “We’re packed on Thursdays, Fridays and Saturdays, they’ve been sold out since we reopened on the second week of September.

People can’t believe what we’re doing now and the refit has really put us back on the map.”

Photos by Kristoffer Andersson and Edgar Andraa Lien

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DET NORSKE TEATRET OSLO, NORWAY EMEA

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Det Norske Teatret, Oslo dates back to 1912, founded

by Hulda Garborg and Edvard Drabløs, it then opened the following year. Considered one of the most prestigious theatres in the Norwegian capital, Det Norske Teatret is also the large playhouse featuring four stages. Welcoming over 260,000 visitors per year, its programme varies from musicals to new interpretations of Norwegian and European classics, and new Norwegian and international drama. For one particular musical production, Lazarus, which began its run at the theatre last summer, a decision was made to install a new PA. Lazarus, a musical based on the novel The Man Who Fell to Earth by Walter Tevis, was developed into a musical by the late David Bowie and Edna Walsh. It features a number of Bowie songs, including the title track, which was one of two songs that were the last of his written work before he sadly passed in 2016.

Having premiered in New York and then moving to London where it played a limited sell-out season at the purpose built King’s Cross Theatre, it’s easy to see why

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Det Norske Teatret wanted an new PA when it got the license for Lazarus - there were some big shoes to fill.

A theatre - and the impending production - both of such high calibre meant the project was put out to a public tender, and eight companies submitted a bid for the installation. One of the companies was locally based, AVON, the exclusive distributor of VUE Audiotechnik in Norway. A relatively new audio brand by all accounts - founded in 2012 - it is the brainchild of Ken Berger (co-founder of EAW), Jim Sides (no longer with the company) and Mike Adams of Sound Image fame at the helm of R&D. AVON’s founder and Sales Manager, Edgar Andraa Lien took on the distribution for the brand together with Tor Breivik and Tor Erik L Johansen after developing a true passion for the products and the company’s philosophy. So, when this tender arose, he was certain he had the components for a winning bid.

“We were the smallest company with the highest

price, but we won the tender,” Edgar confirmed.

“The project cost €135,000 but we had all the products that we needed in stock, which meant the installation took place in super quick time.”

Edgar was assisted by Holger de Buhr, Managing Director of VUE Audiotechnik Europe, he said of the install: “The layout of the theatre is like a university theatre, so the seating gets a little bit wider as it rises, and it also has a removable wall, which can be lowered from the ceiling to make the audience smaller if required.”

With two different setups to cater for, it was important to make the system as functional and precise as possible. A key part of the design outlined in the tender was to have the PA as the main power source that provided full coverage, without the need for an extensive delay and fill line-up, too.

“We used EASE modelling software to predict the output of the PA, and the data was certified by Tony Sawyer, former VUE Audiotechnik APAC www.mondodr.com

Technical Support Specialist,” continued Edgar.

“We did our calculations in RMS power not peak power, so they might appear lower than average, but they were realistic, and I think this played a part in us winning the tender.”

L-R VUE Audiotechnik line arrays were selected for the main PA, each hang comprises 10 al-8 premium high definition three-way beryllium line array cabinets. The boxes are panned at 15º inwards so the coverage follows the architecture.

“The arrays are positioned perfectly,” added Holger. “Normally they are quite wide on stage and the audience is only a few metres away but here, the arrays are set slightly further in, to gain that full coverage.”

The position of the arrays works for both a full capacity audience and a half capacity audience, as Edgar and Holger implemented two different presets so the in-house theatre technician can quickly and easily move between the different modes. VUE Audiotechnik’s VUEpoint beam

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•Above Simen Scharning of A1, DNT with Edgar Andraa Lien of AVON on stage at Det Norske Teatret.

steering was implemented to create the two different distinct patterns.

To supplement the main PA hangs, three VUE Audiotechnik hs-221 premium self powered infrasonic ACM subwoofers have been flown in the centre of the stage.

Both Edgar and Holger prefer subwoofers to be flown - design permitting - so they were pleased when it was possible to rig the double 21-inch boxes from the ceiling without any complaints from lighting designers, architects or indeed the theatre itself. Everyone was very cooperative to find the best solution.

Holger furthered: “I’m a big fan of flown mono subwoofers. You lose a bit of SPL power in the air, as you lose the ground coupling, but if you have them in a higher position the bass in the complete room is far more even. It’s a luxury to fly subwoofers and you need to have more power than if they were on the floor, but if you want full even coverage, this is the royal way to install them.”

Edgar added: “If the subwoofers were onstage there would be a minimum 24dB difference from the front seats to the back seats.”

In addition to the main audio line-up, Edgar and Holger also added four VUE Audiotechnik h-5 premium self-powered high-definition two-way beryllium wide coverage loudspeakers on the stage lip, another four VUE Audiotechnik h-12 premium self-powered high-definition two-way beryllium wide coverage loudspeakers for surround effects, and one VUE Audiotechnik hs-25 premium self-powered ACM subwoofer hung at

roof height in the middle of the seating, to further enhance the low end sound effect frequencies.

Powering the system are 10 VUE Audiotechnik V6-d six-channel DSP / Dante amplifiers. The theatre also has two Studer consoles, so when it’s in rehearsal mode or when the dividing wall is in place, the mixing position is lowered into the audience - along with the wall but for large productions FOH is at the back of the audience. There are a couple of VUE Audiotechnik e-class monitors and a subwoofer at FOH for the mixing engineer, which are time aligned and frequency aligned.

Despite the installation taking place at rapid speed, Edgar advised they did spend a lot of time in other areas. The EASE calculation document was 75 pages, and more than 150 hours were spent predicting potential problems that might occur. “We began the installation when

everyone left for summer vacation,” Edgar said. “We put up 800-metres of cabling and all the loudspeakers - just three guys in one week. We tried to predict what changes we would be asked to make, and we put a lot of work into that. One issue came up from the lighting side, but we had that problem fixed within four hours, which they were very impressed with!”

With a number of sell-out shows for Lazarus having taken place already, some credit for that must be given to the new audio setup. Whether the audience is fully aware of that or not is a different matter, but in a theatre environment, it’s all about creating an encompassing experience, and the audio plays a vital role in that.

Edgar and Holger certainly seemed pleased with the end result, and with new theatre projects on the horizon, it seems the local market is onboard, too.

TECHNICAL INFORMATION SOUND 20 x VUE Audiotechnik al-8 premium high definition three-way beryllium line array cabinet; 10 x VUE Audiotechnik V6-d six-channel DSP / Dante amplifier; 3 x VUE Audiotechnik hs-221 premium self-powered infrasonic ACM subwoofer; 4 x VUE Audiotechnik h-5 premium self-powered high-definition two-way beryllium wide coverage loudspeaker; 4 x VUE Audiotechnikh-12 premium self-powered high-definition two-way beryllium wide coverage loudspeaker; 1 x VUE Audiotechnik hs-25 premium self-powered ACM subwoofer; 2 x Studer mixing console www.detnorsketeatret.no

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Pub_Mondo_236x333_0120.qxp_Mise en page 1 13/12/2019 16:28 Page1

Visit us at ISE 2020 in Amsterdam on 11-14 February booth 5-U145

DINO & APERTA are the new generation of automatic LED moving heads. Twenty years after the introduction of Starway’s cult range Servo Spot 250, they inaugurate our new range of ultra compact and powerful projectors.

DINO reinvents the LED Spot: 8000 lumens, 11.5 kg for a height of 47 cm, linear zoom of 10 to 25°, wheel of 8 colors, wheel of 6 rotating and indexable gobos, wheel of 6 fixed gobos, 5-facet linear and 6-facet circular prism, frost.

www.star-way.com

APERTA revolutionizes the LED Beam: opening angle of 2.65°, 60,000 lux at 5 m, 13 kg for a height of 47 cm, infinite Pan / Tilt, ArtNet and KlingNet compatible, progressive frost, 14 fixed gobos, 6-facet linear rotating and indexable prism, 8-facet circular rotating and indexable prism.

Photos: Fotografie Lexooo

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ROYAL DUTCH THEATRE GHENT, BELGIUM EMEA

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Passersby can’t help but notice, and be inspired by, the exterior of the Royal Dutch Theatre, Ghent, Belgium Home of the awardwinning performance group, Nederlands Toneel Gent (NTGent) and an array of impressive architectural features, the stately 120-year-old building moves visitors with its uplifting mosaic façade depicting Apollo and the Muses.

Recently, NTGent took steps to inspire creativity in the interior of the building as well, all while making the historic theatre more environmentally friendly, by installing a new LED lighting system that features CHAUVET Professional fixtures supplied by Sotesa.

“This project was reflective of the philosophy of Milo Rau, NTGent’s Artistical Leader and Patrick Martens, the coordinator of production and technical departments, as well as the entire organisation,” said theatre supplier Jan Hooyberghs of Sotesa.

“One of the largest and most important performing art venues in Belgium and the Low Countries, NTGent is committed to serving as a medium between cultures and people by acting as a bridge between old and new, as well as between classic and mythological.

“NTGent has its own multi-cultural troupe of performers and actors that tour internationally - not only to the obvious

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• Above The mesmerising interior of NTGent.

but also to Iraq, the Congo and countries throughout the world,” continued Jan. “Although it has respect for the past, it is also open to new evolutions of today and the future.”

As a founding member of Greentrack and many other environmental initiatives, NTGent is also committed to advancing more sustainability in the performing arts, with the organisation also having its own ECO-team. Given its commitment to promoting versatility and sustainability, the decision to move to a versatile, energy-efficient LED lighting system made eminent sense. NTGent entrusted the process of making this happen to Jan, who has worked closely with the group in the past and shares its values.

“NTGent engaged itself to be a part of the future of theatre.

Not only in the way they choose their plays or have a dialogue with the audience and the city, they aim to be at the forefront of sustainable theatre. Sustainable both towards employees, in ergonomics and workload, as well as technically through less energy consumption, waste and heat spill. The lighting needed to have low energy consumption, maximum versatility, and had to facilitate the work of the technical crew,” furthered Jan. The NTGent technicians and Jan selected 66 Ovation

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TECHNICAL INFORMATION LIGHTING & VISUALS 5 x ChamSys MQ80 console; 16 x CHAUVET Ovation E-930 fixtures; 66 x CHAUVET Ovation F-915VW fresnel; 1 x Panasonic RZ21 projector; 1 x Panasonic RZ120 projector; 1 x Panasonic YB200 projector SOUND 1 x Allen & Heath C2500 mixing console; 1 x Allen & Heath C1500 mixing console; 1 x Allen & Heath dLive DM32 MixRack; 9 x L-Acoustics LA4X amplified controller; 8 x L-Acoustics X12 loudspeaker; 16 x L-Acoustics X8 loudspeaker; 6 x Arcs Wide loudspeaker; 4 x SB18 subwoofer; Shure Axient wireless system; Sennheiser MKE 1-4 microphone; DPA Microphones DPA 4099 microphone www.ntgent.be

•Above The beautifully archaic exterior of NTGent.

•Top Right CHAUVET’S Ovation fixtures installed inside the theatre.

E-930VW ellipsoidal fixtures and 16 Ovation F-915VW fresnel units for the installation. “Our decision was not based on budget, but quality,” said Jan. “The quality was not just with products, but also with people, with our mutual capacity for listening to customers, and with our shared desire to try to understand the clients’ goals.”

NTGent also includes five ChamSys MQ80 consoles, Jan’s belief was cemented by the consoles ability to double the number of playbacks and house a colourpicker that takes seven colours into account, not just RGB. The MQ80 also has the ability to sync audio and lights better due to the possibility of moving light cues on the timeline.

The Ovation fixtures are hung on fly bars, as well as from the sides and balconies of the theatre. They are used for front light and top light and to support a wide range of stage productions, including theatre, ballet, modern dance, and musical performances. “When we put a four-yearold Ovation next to a new one, dimming curves and colours still match perfectly.

This nearly unique attention that the Ovation designers have showed for the matching, gives confidence in the future

of the units,” said Jan. He also noted that the Ovation units will go out on touring productions.

“We needed fixtures that would be equal to the extremely high quality productions this theatre makes and receives,” said.

Jan. “We also needed to factor in the proximity of the fixtures to the audience.

In some areas, they are so close, the audience can touch them, they need to be virtually silent as well. The Ovations were an obvious choice.”

For Jan, the Ovation LED theatrical fixtures are a game changer. “In the past, theatrical lights had the same colour because of the gel and dimmed the same because of the dimmer,” he said. “Ovation fixtures don’t just replace incandescent, they outclass them. No more gels, no more bulbs, no more heat/light inefficiency. Instead, there’s higher output, more evenly balanced colours, tunable white and changing colours, uniformly dispersed light, and so much more. This endows our system with the flexibility needed to support the diverse range of performances by NTGent.

“I have worked with NTGent before, and we have complimentary points of view,” continued Jan. “They look at the

big picture, view technicians equally as artists, and believe people are the true essence of performing arts. They aren’t looking for new products to produce old results; but rather, want to embrace the new with open arms. CHAUVET Professional Belgium allowed me to exceed NTGent’s expectations, because CHAUVET Professional also looks to what the client’s goals are and then delivers.”

With the implementation of the new lighting system at The Royal Dutch Theatre, Apollo and the Muses aren’t limited to just the façade. Now they are also fully embodied by the lighting and performances within the theatre. Jan and the team at NTGent worked in sync throughout this project and that, as Jan concludes, was the driving force that led to this spectacular installation: “What was important to me, was the way the collaboration took form, the human factor. Things like service are crucial.

Because we’re in a very specific sector, it was important to work with people who knew where we wanted to go and helped us get there.”

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L’OPERA & GAIO ST TROPEZ, FRANCE EMEA

Located in the heart of St Tropez village, France, on the waterfront at the marina, that is littered with luxury yachts, are the equally luxurious L’Opera restaurant, and GAIO - a chic evening restaurant and club. Open day and night, L’Opera offers outside dining with views of the old town and the church in the distance, while inside, which is only separated by the venue’s glass doors, diners and clubbers are welcomed into a room full of chic décor, boasting white and gold tones. www.mondodr.com

L’Opera is operated by entrepreneur, David Bremond, who also runs a number of restaurants and bars on the opposite side of the marina. David has been familiar with Gerard Giraudon of Colorsonic - the man known as the audiovisual nightlife legend in these parts - for many years. The pair have worked together on multiple projects, and Gerard makes contact with David ahead of each new season in St Tropez, to make a proposal for upgrades, as is normal for entertainment outlets in the region. There is a constant demand for renovations, so that when the restaurant, bar or club is reopened for the new season, visitors will be treated to an exclusive new experience.

L’Opera is a restaurant for lunch and dinner with cabaret style entertainment including singers, dancers and musicians.

In the evening, there are two dinner services, after which, the venue turns into a small club with live DJ sets to finish off the evening.

Gerard selected eight TW AUDiO M10 loudspeakers in a white finish to match the décor at L’Opera. The M10 is fitted with a 1.4-inch mid-high driver, enabling a deep crossover frequency, and offering sound with the best possible intelligibility and directness. This directness was of the upmost importance with this project, due

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to the glass doors, as controlling where the sound is firing - as well as the sound level - plays a vital role in avoiding reflections.

Gerard furthered: “The number of loudspeakers installed at L’Opera means the system is played very softly, it’s not playing in a loud or powerful way. There is plenty of headroom, meaning we

can minimise the reflections by not firing too much output at the glass surfaces.”

The M10’s are matched in quantity by the B14i subwoofers, which are hidden under the tables, podiums and in the banquets. “It’s a big bass in a small unit, and it has proved very popular since its creation,” Gerard added. They are the perfect

pairing for the M10’s and the additional four TW AUDiO M8i cabinets that have also been installed. Completing the line-up are six Void Cyclone 8 loudspeakers, which are outdoors on the terrace.

A combination of amplifiers from Powersoft provide power for the PA, two X4 DSP ETH

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TECHNICAL INFORMATION SOUND L’OPERA: 8 x TW AUDiO M10 loudspeaker; 4 x TW AUDiO M8i loudspeaker; 8 x TW AUDiO B14i subwoofer; 6 x Void Cyclone 8 loudspeaker; 2 x Powersoft X4 amplifier; 2 x Powersoft Quattro 4804 amplifier; 1 x Ecler MIMO12-12SG digital matrix GAIO:8 x TW AUDiO M12 loudspeaker; 4 x TW AUDiO M8 loudspeaker; 2 x TW AUDio B30 subwoofer; 1 x TW AUDio B18 subwoofer; 1 x TW AUDio B15 subwoofer; 2 x Powersoft K3-ETH amplifier; 1 x Powersoft M28Q amplifier; 1 x Powersoft M50Q amplifier LIGHTING & VISUALS L’OPERA: 8 x Contest Lighting BEAM Dart 60i Infinity moving head; 8 x BEAMZ Init 180spot moving heads; 8 x BEAMZ Init 180beam moving head; 6 x Starway Archikolor Spot moving head GAIO: 36 x Starway moving head; 4 x IMG STAGELINE RGBW 180W Zoom Wash moving head; 12 x Contest Lighting 15QC LED pin spot; 8 x Contest Lighting Dart 60i Infinity Dot fixture; 1 x Sunlite FC interface www.opera-saint-tropez.com/gaio.club

•Above TW AUDiO M12’s and M8’s have been installed in and amongst the gold décor at GAIO.

units and two Quattro 4804 DSP Dante units, all with built-in DSP, sit alongside an Ecler MIMO12-12SG digital matrix, which provides routing from any input to any output.

Lighting wise at L’Opera, David continued to work with Gerard and similarly to the audio, he wanted it to be in keeping with the aesthetics of the white and gold décor. Therefore, the intelligent lighting fixtures also have a white finish. A total of eight Contest Lighting BEAM Dart 60i Infinity moving heads were selected, plus a further eight BEAMZ Init 180spot moving heads, and eight BEAMZ Init 180beam moving heads. Together, they help to create a party atmosphere later in the evening when the venue is in club mode. Outside, Gerard installed six Starway Archikolor Spots, which again are mainly used in the evening time when the tempo rises.

Sitting atop L’Opera is GAIO, which is owned by the Malortigue family of Le Papagayo fame, but again, is operated

by David. The gold theme continues in GAIO, although in a rather different style, as it was important that both venues have their own distinct identity. At GAIO

the décor is modern, yet has a 1920’s influence, and it also features hints of the past, linking to the original club that was first opened back in the ‘60s. A nightclub in its former guise, the newly named GAIO is now a Japanese-Peruvian chic evening restaurant and late-night club, meaning yet again the audiovisual setup needed to be flexible to cater for the three different modes.

The new PA system was an upgrade to the existing audio setup, as the nightclub element wasn’t part of the original concept for the new GAIO. But once the reinvention had been decided Gerard was called in to enhance the sound system.

He selected eight TW AUDiO M12’s and four TW AUDiO M8’s, which are flown horizontally and are distributed around the perimeter of the room. A total of four TW AUDiO subwoofers - two B30’s, one B18 and one B15 - are distributed by zone.

Gerard said: “For this type of venue, we obtain the perfect sound perception at all emission levels from the TW AUDiO products.” Similarly to L’Opera, Powersoft amplifiers were used at GAIO, they come recommended by TW AUDiO and www.mondodr.com

are equipped with presets for the TW AUDiO product range. For GAIO, there are two Powersoft K3-ETH amplifiers, plus one M28Q and one M50Q processed with a Lake LM-44.

Working in conjunction with the audio, is a plentiful lighting inventory. The fixtures have dual purpose, to highlight the traditional architectural features of the space, as well as ensuring the space as a whole works dynamically. An impressive 36 Starway moving heads have been installed alongside four IMG STAGELINE RGBW 180W Zoom Wash moving heads, 12 Contest Lighting 15QC LED pin spots, and eight Contest Lighting Dart 60i Infinity Dots.

The fixtures are controlled using a Sunlite FC interface. Gerard said of the choice: “The interface is easy to use, even for a staff who have little technical knowledge, they are still able to manage the lighting system.”

These two sumptuous venues in an idyllic location are bound to attract a crowd based on that alone, but thanks to Gerard’s input, clubbers and diners alike are treated a to superb experience, no matter which venue they choose.

THE SHAPE

PE

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An All-DiGiCo Console Infrastructure Lets Gateway Church Manage Big Productions.

They do things big in Texas, and Gateway Church is no exception. Founded in 2000 by Pastor Robert Morris, Gateway is a Bible-based, evangelistic church that has experienced unprecedented growth over the past two decades. Today, with eight campuses around the state and another in Jackson Hole, Wyoming, Gateway meets as one church in many locations with more than 30,000 people attending each weekend, and it plans on continuing to open several more locations in the coming year.

The church’s technology ministry sought strategies to manage its audiovisual at this scale, and a key element has been the decision to use DiGiCo audio consoles in every location, offering a consistent user interface to the world’s best digital audio technology for its small army of staff, volunteer technicians and engineers. As part of that same strategy, Gateway’s 4,000-seat broadcast location in Southlake updated all three of its DiGiCo SD7 consoles - used at FOH, monitors, and broadcast - with the latest Quantum engine upgrade.

Quantum7, developed with seventh-generation FPGA devices that further expand audio processing power, offer DiGiCo users an unrivaled amount

of additional power and flexibility. The upgrades were purposely timed to prepare for Gateway Church’s three major annual events: The Gateway Conference in October; and two Christmas stage productions - Christmas City, USA, a holiday musical, and Candlelight Christmas Service the weekend before Christmas.

“We typically plan out our strategic upgrades to be done by summer, because we know we have the events coming up in the fall and close to Christmas,” said Brandon Conn, Senior Audio Specialist, live production.

“We actually began the upgrade process with Quantum7 in February and just had the latest firmware added in September.” And the difference in performance, he said, has been nothing short of amazing.

“With the new Stadius 32-bit mic pre-amps, the vocal clarity has improved dramatically, and it was very good before the Quantum7 upgrade,” he noted. “The worship pastor’s vocal presence is so transparent, it’s as though you’re standing right next to the source.” That, added Brandon, has very practical benefits, as well. “It’s a real improvement in dynamic range on the microphones with the extra bits, so we find that we don’t have to push

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85 IN BRIEF - AMERICAS

the pre-amps as much to achieve intelligibility, and that in turn helps with gain structure.” Brandon added that all consoles share the gain tracking feature during events, which assures each has plenty of headroom and automatically optimises trim. They also allow all monitor engineers to manage gain during the rehearsals.

Among the Quantum7 features they’ve applied so far is Nodal Processing, which applies processing to any node on the auxiliary section of the console, allowing engineers to send unique processing on each end from a single or multiple channels, affording a level of creativity that allows users to tailor and deliver dedicated mixes that were simply not possible before Quantum7. “Our monitor engineers especially like the Nodal Processing feature for how it lets them customise the mix for each group of musicians,” he said.

Another feature, part of the latest update to Quantum7 in 2019, is Mustard, a new set of algorithms and options for channel strip processing that offer enhanced flexibility and choice and make full use of the Quantum engine’s new seventh-generation FPGA infrastructure. The Mustard channel can

be used in conjunction with the standard SD processing to add pre-amp, filters, EQ, gate and a selection of compressor types to any existing channel strip. “We’ve had that in place for the last two months and it’s been cool to insert it on vocal channels, where it really warms up the vocals,” he said.

“You really do notice the change in tone with Mustard.”

Brandon also pointed out that the layout flexibility of the consoles are perfectly matched for churches that combine staff and volunteer mixers.

“We set up a standardised workflow for all the consoles, which helps us maintain consistency for the staff and volunteers,” he explained.

Gateway Church has a DiGiCo SD7, SD8, SD9, or SD10 in every main auditorium, and in all of its eight locations where kids worship services happen there are SD9, SD11, or S21 consoles. “Having a consistent work surface everywhere means our engineers can fill in at any location at any time,” said Brandon. “It’s an easy work surface to understand and learn, and most of our operators are flying solo within three or four weeks after training. We’ve standardised to DiGiCo, and it’s been a good decision.” www.digico.biz

www.mondodr.com

Photos: Andrea Klerides / Michael Priest Photography

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KAUFMANN CONCERT HALL NEW YORK, USA AMERICAS

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The Kaufmann Concert Hall, New York, is a venue that has been a long-standing staple of the cityâ&#x20AC;&#x2122;s creative American, Jewish community. Originally starting out as the home of the Young Menâ&#x20AC;&#x2122;s Hebrew Association back in 1874, the venue became part of 92nd Street Y, a vital hub for local Jewish citizens that included a dormitory for young men and boys, as well as a school of music with an expanding cultural and arts programme.

For almost 150 years, 92nd Street Y has offered many opportunities that have become cornerstones of its service to the Jewish community and general public.

In more recent years, the Kaufmann Concert Hall has been used by jazz musicians and

â&#x20AC;˘ Above The historic Kaufmann Concert Hall inside 92-Y.

dance groups, whilst also welcoming world-renowned artists including Paul McCartney. With such an extensive list of popular performers and a push on admirable activism, it was imperative that the venue had a sound system capable of adhering to the powerful messages of change projected from the hall. L-Acoustics was the chosen manufacturer to complete the new system and the team behind the Kaufmann Concert Hall needed a re-fit that could give even coverage without having to have the volume at a level where it would react with the hall itself.

Jesse Stevens, Application Engineer at L-Acoustics takes up the story: â&#x20AC;&#x153;The Kaufmann is interesting in that they do a variety of material, from talking heads in a panel discussion, to cinema, musical theatre, and from time to time traditional musical acts. We were discussing a traditional L-R or L-C-R system, and the inherent drawbacks of a traditional approach. The team at the hall really wanted a system that was flexible, clear and amazing - and since L-Acoustics L-ISA

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technology is the sort of master key for all of these needs, we started looking at if it could possibly fit for this project. It became obvious that L-ISA was the natural choice to solve all of the needs for the Kaufmann, while also taking the audio of the Kaufmann to the absolute cutting edge of today.”

L-Acoustics specified the Kiva II loudspeakers and SB15m subwoofers for the project. The main reason behind the choice was the smaller footprint of this set-up, as well as not needing the extra kick that was already provided by the wooden, perfect acoustical nature of the room. “There are five hangs of Kiva II that are distributed among the width of the stage, and four SB15m subwoofers. Kiva II allows us to have very even SPL across the entire venue, and has a very wide and stable polar response,” explained Jesse. As well as the sound distribution across the stage, for the immersive technology L-Acoustics also installed four X8 coaxial loudspeakers on each side of the hall and four across the rear, as well as under balcony fills which consist of six 5XT loudspeakers, six X4i compact loudspeakers and two Syva colinear loudspeakers as near fill.

The entire system is also controlled by L-Acoustics L-ISA technology. Jesse explained how the system works: “The important bit about integrating L-ISA into a mixing scenario is the workflow. Inputs from the venue come into the console, and are gained, mixed, and equalised

as normal. Instead of being sent out as a stereo bus to L-R loudspeakers, these inputs are fed post-fader, post processing direct-out to the L-ISA processor, where they become objects to be placed and layered around the room. L-ISA becomes a natural extension of the mixing process that engineers are familiar with.”

L-ISA technology also gives the user a localisation benefit. It uses the frontal sound system to localise the sound to its position on stage, something that is usually a primary issue within live sound. From there, it gives any sound engineer the chance to bring the audience closer to the sound by placing or moving it around them. L-ISA uses an algorithm to correct interferences between loudspeakers so a source can move freely in the listening area creating perfectly smooth and natural audio.

The Kaufmann Concert Hall is a unique venue that has provided the local community with not just a performance and entertainment complex, but a place for discussion and integration. The venue has a rich and important history and it was essential that it had only the best sound system installed. “The Kaufmann is certainly unique in that it is the first L-ISA installation of its kind in the USA. Around the world, there are many concert halls, multipurpose venues, houses of worship, and more that are discovering how L-ISA is really the best and most flexible mixing environment there is for any installation. The www.mondodr.com

Kaufmann being such an historic and iconic venue, and with such a prestigious and diverse program, it was a perfect fit for the first L-ISA concert hall installation in the US,” said Jesse.

Currently, the lighting system inside the Kaufmann Concert Hall includes 10 Martin by HARMAN MAC Quantum Profile LED units, as well as 12 Martin by HARMAN MAC Aura LED units to allow quick focus when time is short. There are also 73 ETC Source Four lighting fixtures and 12 Source Four PAR units for sectional coverage across the stage. In addition to this, the venue has 12 Altman Spectra Cyc 100 units upstage to light the black traveller or white cyc, depending on what the show needs.

“To configure this, we have a rep plot that gives us even coverage for the different types of events we do. This consists of eight Martin MAC Auras over the stage to give us flexibility in having a colour wash for some shows, or to use as backlight for interview setups, which is crucial for the HD video record we do of all our events. We also have six MAC Quantum Profile units overhead to give us isolation on areas and for breakup patters for texture. We also have 21 ETC Source Four units overhead to light specific areas and things like our banners that remain constant for a majority of shows. Furthermore we have a FOH truss with four Auras, two Quantums, and eight Source Fours for frontal lighting. Finally, there are booms midway into the house and at the front of the

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balcony along with a balcony rail with numerous Source Four units to give a more even front light to the talent on stage,” explained Sean Fogarty, Technical Director at the Kaufmann Concert Hall. “For lighting control, we have an ETC Gio in our main lighting booth for more complex shows and an ETC Ion offstage for standard lectures with a single look. These are both networked through a Net 3 gateway along with an ETC RVI at a designers table. This gives us immediate connectivity for whatever type of event we have on any given day.”

The visual element to the Kaufmann Concert Hall consists of a Christie CP4220 (4K) digital cinema projector along with a Dolby server and a Dolby CP950 processor for surround sound. Also the venue is installed with four Hitachi DK-H200

cameras controlled by Telemetrics, giving the venue the ability to acquire HD picture whilst being operated by a single person out of sight.

Like any venue installation, the Kaufmann Concert Hall didn’t come without some difficulties. The main challenge faced during this particular installation was keeping any visual impact of the sound system to a minimum. The stunning interior of the concert hall needed to be left untampered with and L-Acoustics had to make sure the system was as aesthetically pleasing as the room it would be addressing.

“Ultimately we decided to share the existing box truss. We hung the loudspeaker stacks in their ideal locations and fit the lights in between.

We plan to add a few more moving lights on the truss to replace the conventional units that

were lost in the loudspeaker areas. As far as the subwoofers, they are essentially hung behind the centre loudspeaker stack. This keeps them off the lighting truss which avoids any major vibration issues when the lights are used as a smaller focused special. Also, the visual impact is near zero with this configuration. In the end we were very pleased with the outcome,” concluded Sean.

The Kaufmann Concert Hall now has the technology to enhance any performances that passes through its doors. Holding such a rich and historic legacy, the hall can continue that with the help of L-Acoustics who have transformed the venue into a modern, leading creative hub, accepting and projecting diversity and international innovation.

TECHNICAL INFORMATION SOUND 5 x L-Acoustics Kiva II line array; 4 x L-Acoustics SB15m subwoofer; 20 x L-Acoustics X8 coaxial loudspeaker; 6 x L-Acoustics 5XT loudspeaker; 6 x L-Acoustics X4i loudspeaker; 2 x L-Acoustics SYVA loudspeaker; L-Acoustics L-ISA technology LIGHTING & VISUAL 10 x Martin by HARMAN MAC Quantum Profile LED unit; 12 x Martin by HARMAN MAC Aura LED unit; 73 x ETC Source Four lighting fixture; 12 x ETC Source Four par unit; 12 x Altman Spectra Cyc 100 unit; 1 x Christie CP4220 digital cinema projector; 4 x Hitachi DK-H200 camera www.92y.org

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METROPOLITAN OPERA NEW YORK, USA THE AMERICAS

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The Metropolitan Opera House (The Met) at Lincoln Center for the Performing Arts in New York City has recently installed 70 Elation Professional Artiste Monet LED profile moving head luminaires. World-renowned, Tony-Award winning, Lighting Designer, Donald Holder is first to use the new rig of award-winning lights on George Gershwinâ&#x20AC;&#x2122;s Porgy and Bess, directed by James Robinson.

Lighting was supplied by 4Wall Entertainment with Al Ridella as the key account manager.

As one of the worldâ&#x20AC;&#x2122;s premier opera companies, the Metropolitan Opera demands exacting specifications with stage facilities that continue to be updated technically. The lighting purchase was a massive retrofit project that The Met undertook after a multi-brand

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evaluation that took several years. It is the first time in the Metropolitan’s 100 plus years of existence that they have moved to a repertory lighting package, as previously productions rented packages with a seasonal house package, with additions for each production as needed. With the new repertory plot, the Met has made a long-term commitment to the new technology.

The Met’s Resident Lighting Designer, John Froelich, was instrumental in choosing the Artiste Monet and cited three main reasons for its choice: “The output of the LED source was very bright,” he said, noting that in testing it was the brightest fixture available. Secondly: “The native colour of the LED engine was the most appealing to me. Most LED profiles we

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• Above The scenic design for Porgy and Bess features a two-storey set designed

by Michael Yeargan.

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TECHNICAL INFORMATION LIGHTING 70 x Elation Professional Artiste Monet LED profile moving head; Elation Chorus Line ST LED battens www.elationlighting.com

tested had a slight green bias that was really hard to manage quickly from a creative standpoint.

In a large, fast-paced repertory environment like ours, it was such a great thing to find a source that was so artistically appealing.”

The designer said the focus aspect of the Artiste Monet was the best of the units under consideration. “When dealing with LED sources in moving lights, all manufacturers have to deal with the reality that multiple tiny sources rather than a single centre engine of light, such as an arc source lamp, causes chromatic aberration to any shaping object in the lens train. In our testing, the Artiste Monet lens system had the advantage in minimising this issue.”

The Artiste Monet is an exceptionally innovative 45,000-lumen LED profile luminaire, with a patented SpectraColor colour mixing system, as well as an unlimited indexing and continuous rotation framing system. SpectraColor is unique in that it combines CMY colour mixing with RGB flags and variable CTO to produce colour combinations that have traditionally been hard for LED luminaires to achieve.

“The SpectraColor system opens up a lot of possibilities from a creative standpoint,” John stated. “The ability to mix to super-saturated colours without having to revert to the use of colour chips is really advantageous. For example, I can shift from a realistic lighting state in one cue and then fade to a really saturated theatrical state to emphasise a musical moment, mood or event onstage with the same lighting equipment. This is quite helpful in our repertory environment as we have more wide-ranging access to dramatic shifts without having to hang additional lighting equipment.”

He continued: “The system also allows me access to subtle reds, blues and greens that are near impossible to mix with the primary cyan, magenta, yellow mixing system. Having access to these types of colours without losing light output due to the heavy amount of coloured glass in the lens assembly is quite a game-changer.”

The Monet fixtures, along with a complement of Elation Chorus Line ST LED battens, have replaced the entire overhead lighting rig at The Met, everything from a standard tungsten fresnel to a high output 4KW HMI theatre fresnel. “It is quite a wide range of lighting equipment and the transition has been fairly smooth,” John said.

The Chorus Line luminaires were custom made for the venue with RGBA LEDs for a broader colour spectrum.

Located on The Met’s repertory light bridges and at borderlight positions, Donald Holder shared his experience using the Artiste Monet. “It’s a very powerful fixture with excellent colour rendering, dimming and optics,” he said. “Despite the high colour-temperature native source, we were able to achieve a fairly warm, natural-looking colour palette, certainly evocative of sun, candle and torchlight. The variable light to heavy frost option was extremely helpful when creating continuous backlight washes using several fixtures, or using the Monet for a single special with no apparent hard-edges.”

The scenic design for Porgy and Bess features a two-storey set designed by Michael Yeargan that revolves to eight different positions over the course of 16 scenes. Populated by a cast of 93, who occupy almost every nook and cranny of the massive structure, Donald explained: “I needed many fixtures from multiple locations www.mondodr.com

that could carve out specific portions of the set with consistency and accuracy. The Artiste Monet accomplished the bulk of this work, and I was very pleased with the quality and repeatability.”

Citing the luminaire’s excellent colour-mixing and variable frost as important features for his design, Donald uses the Monet’s continuously in the production, constantly refocusing as the set revolves and changes configuration. He describes a special look he creates across the set’s complex sloped roof structure, located at a relatively short throw distance from the Monet’s position on lighting bridges. “Using the wide zoom optics and heavy frost options I was able to simulate a large brushstroke of sunlight glancing across all the rooftops using just one or two Monet fixtures focused from a singular, strategic location.” In another special look that takes place during the funeral of Robbins on a cold, rainy day, Donald created broad swaths of cold wintry backlight that etched the entire space, using the fixtures in open white and again with a wide zoom and heavy frost.

Donald thanked Resident Lighting Designer, John Froelich for having the foresight to bring the Artiste Monet fixtures to The Met, as well as his brilliant assistant team of Aaron Sporer and Keri Thibodeau, along with programmers Ben Eells, Salvatore Nicosia and Max Lagonia.

The first production of Porgy and Bess at the Met since 1990, the show has proved itself a triumph with critics praising both the cast and production. Performances ran through October 16 with the production returning for seven more performances in early 2020.

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HASTINGS HIGH SCHOOL MICHIGAN, USA AMERICAS

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Hastings High School is a public secondary school in the Great Lake state of Michigan, USA. Known for its dedication to its students, with a 25 to one pupil/student ratio, the school dedicates a lot of its programme to the arts. It needed a performance hall that was capable of accommodating the extensive range of talented pupils and guiding them through important recitals, therefore, the school recently upgraded its performing arts facility.

Before beginning work on the new project, Ben Strange, Associate at Auerbach Pollock Friedlander, worked closely with the client to determine the programming needs of the venue. “Coordination and communication are at the centre of any successful architectural project. Our projects begin by working with the client and the design team to determine the programming needs of the venue. These conversations are continually revisited throughout the project. Performance spaces serve many users. It’s important to hear from all perspectives, technical and creative,”

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• Above Hasting High School’s performance hall.

explained Ben. After establishing the scope of the project and working with architects, acousticians, and structural, mechanical and electrical engineers to provide the space with exactly what it needed to bring out its hidden potential, Ben decided to utilise Innovox’s large venue toolbox of loudspeakers. As the project was a consultant-driven project, designed by Ben and installed by Tim Heneveld and his crew at AVI-SPL, Innovox was a brand that became integral and a no-brainer choice for the venue.

“Aesthetically, the loudspeakers are beautiful,” explained Tim. “They matched the space and the auditorium, blending easily into the gorgeously architected facility. It was important that the technology kept up with the space visually, but it also had to perform its duties technically. Acoustically, from the performance, I was not prepared for the

quality of sound that came out of the Innovox boxes. The fullness, the clarity and the smoothness of coverage. I’ve been in the industry over 25 years and it’s hard to innovate with loudspeakers - we can go louder, but this is the first time, in a long time, I’ve been taken aback and surprised by the experience of the sound coming out of these boxes. It’s full, it’s clear - it’s just so impressive.”

Ben specified Innovox’s HLA-Series of line arrays and subwoofers with internal amplification and processing for the Hastings project. “We rely on Innovox to manage the tuning of the elements within the hybrid array so the contractor can focus on aligning the sound system devices to each other, as well as to the parameters of the room.

“Innovox has consistently provided welltuned active devices - on the Hastings project as well as other projects where we’ve used their products,” said Ben.

“We’ve designed many systems with Innovox’s passive, non-powered arrays in the past. The Innovox HLA performance remains consistent, regardless of the processing that we use. That says a lot about Innovox and the products that they provide.”

The project consists of three HLA1650P line arrays as L-C-R mains and three HLA-950P as a L-C-R articulation extension delay system for the balcony.

A custom-enclosed cardioid subwoofer sits adjacent to the main centre array as a visual match to the main HLA array. Five HLA-stage lip loudspeakers line the edge of the stage to provide front-fill for seating in the nearfield. A Symetrix Radius DSP system and Yamaha QL5 digital audio console control the loudspeaker package. While the stage lip front-fill loudspeakers are powered by an Ashly NE amplifier, the processing is provided by the central Symetrix DSP,

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keeping system management simple and more accessible to the client. Dante networked audio is used throughout the system, including the wireless microphone system from Shure’s ULXD line.

Ben explained: “The Hastings High School theatre, like many other high school theatres, serves a wide range of purposes, for a wide range of users. It can be a traditional theatre, a concert hall, a dance space, or lecture facility, among other things. The production requirements of a teacher attempting to use video projector and a lectern microphone for a presentation, and a multi-operator musical event are significantly different. To facilitate this, there is a Crestron control system that allows users to access two primary interface tiers.

“For a single staff event, such as a lecture, the operator selects the respective mode. For audio, this mode provides controls for several automated wired microphones, such as for a lectern or Q&A set up, as well as a few wireless microphones, for more mobile presenters. In this mode, the audio console does not need to be active, as signal management is provided by the Symetrix Radius system alone.”

To accompany the impressive audio, the venue needed a lighting system that was able to accommodate various types of theatrical

productions. It needed to provide focusable front, side and back lighting with the ability to captivate audiences and enhance the onstage performance. Hastings High School was therefore equipped with a system that utilises the current LED fixtures in the venue, which allowed the installation team and Emily Brainerd from Auerbach Pollock Friedlander who were responsible for the theatrical lighting design to reduce the power and heat drawn to the lighting system. Theatrical lighting contractor, LVH Entertainment Systems, worked on the project with the end users to create a repertory light plot that utilises the fixture package specified by APF. The package includes a combination of ETC LED Source Four, ETC ColorSource PAR’s, Altman Lighting’s Spectra Cyc 100 and Lycian Starklite followspots.

Another element to the theatre’s immersive, new renovation is the installation of a visual system which comprises of two sub systems; a presentation style system and a production and monitoring system which allows for remote camera monitoring, as well as a higher level of live video production playout and capture. Ben explained: “The presentation video systems, for both the theatre and classroom spaces, utilise Crestron DMPS3 presentation switchers. The projector chosen for the theatre is the Panasonic

PT-DZ16K2. For the theatre, a Draper Paragon V Series screen is provided with a 1.0 gain Tecvision surface that included additional black drop, as required to lower the screen below the stage drapery and at a comfortable viewing elevation relative to the audience. The screen height is 13.33 ft with a 16:9 aspect ratio. The height was calculated to provide text and detail visibility to viewers at both the front and rear of the venue.

“The production video and monitoring system also uses a Blackmagic Design Smart Videohub 20x20 router to distribute SDI signals to, and from, installed devices, as well as for SDI tie lines at the audiovisual bulkhead panels located throughout the venue.”

The projector was placed out of the way of critical listening environments, to minimise distraction from fan noises and the client specified that they wanted it to be easily manoeuvrable, therefore, it was also placed on a cart so that staff could move it in and out of operating positions.

The re-fit of Hastings High School was a project that turned a former aging performance venue into a place that students are now proud to perform in. With the help of an attentive team the venue has now reached its full potential and can enjoy hosting the best art and creatives the school has to offer.

TECHNICAL INFORMATION SOUND 1 x Innovox cardioid subwoofer array; 3 x Innovox HLA-16P VI150 loudspeaker cabinet; 3 x Innovox HLP-9PVIA5 loudspeaker; 5 x Innovox HLA-Stage Lip loudspeaker; 1 x Ashly Audio ne4250 amplifier; 1 x Yamaha YAMQL5 mixing console; 2 x Ashly Audio ASHNE825070 amplifier; 3 x Clear-Com Intercom System CLEMS702 headset/loudspeaker master station; 2 x Clear-Com Intercom System CLEGM9 microphone; 6 x Clear-Com Intercom System CLEKB701 loudspeaker station; 1 x ClearCom CZ-DX410-4UP belt pack system; 4 x Martin Audio CDDLIVE12 loudspeaker; 2 x Symetrix 80-0102 DSP unit; Crestron DMPS3 switcher/controller; Shure ULXD digital wireless system LIGHTING & VISUAL 31 x ETC Series 1 LED LUSTR+ fixture; 10 x ETC Source Four ellipsodial; 20 x ETC Colorsource PAR fixture; 10 x ETC ES750 dimmer pack; 1 x ETC paradigm processor; 1 x ETC Element 40 500 control console; 16 x Altman Lighting Spectra CYC 100 fixture; 1 x Canto 1200M followspot; 1 x Altman Lighting Ghost Light; 1 x Panasonic PANPTDZ16K2U projector www.hassk12.org

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100 IN BRIEF - APAC

Meyer Sound Systems Highlight 50th Anniversary of India’s National Centre for the Performing Arts.

Widely heralded as one of India’s leading cultural institutions, The National Centre for the Performing Arts (NCPA) in Mumbai recently celebrated 50 years of presenting an extraordinary entertainment by Indian and international artists.

To assure audiences a consistently outstanding listening experience, NCPA recently installed new permanent Meyer Sound reinforcement systems in its two principal venues, the Tata Theatre and the Jamshed Bhabha Theatre.

Established in 1969, The NCPA inaugurated its current building complex including the Tata Theatre - in 1980. The Jamshed Bhabha Theatre was added later, in 1999. Although both are mid-sized venues, they are of dramatically different design. The 1,010 seat Tata Theatre was conceived by American Modernist architect Philip Johnson as an intimate, semi-circular space with only 15-metres separating the first and last seating rows; it is the preferred venue for Indian classical concerts, Western chamber music and both Western and Indian dramatic performances. The Jamshed Bhabha Theatre, with a capacity of 1,109, offers a more typical proscenium venue better suited to opera, ballet, Western

orchestral music, and theatre.

Prior to the recent renovations, the Tata Theatre offered only a minimal vocal system and the Jamshed Bhabha Theatre had no system at all. This was increasingly problematic as a wider diversity of programming coupled with changing public tastes dictated increasing use of amplification.

To develop a technical brief for meeting all performance goals, NCPA management engaged London-based consultant Richard Nowell of RNSS to fashion permanent solutions based on the latest technologies. After visiting the venues and consulting with Nayan Kale, NCPA General Manager and Chief Audio Engineer Ashwin Jyoti, a Meyer Sound solution was chosen for both venues.

“The Tata was originally - and brilliantly - designed for Indian classical music and dance. The design puts the audience 150º around what is effectively a thrust stage. The historical status of the architecture meant we wished the installation to be as unobtrusive as possible. This required a complete rethink of how amplified

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music might be approached in this space. The look of the system was almost as important as the sound. Nayan went to enormous lengths to provide a new rigging system, and Meyer Sound provided coloured cabinets to match the room whilst the new UP-4slims allowed a front fill solution that was visually unobtrusive.”

The distributed system comprises five evenly spaced clusters, each with a UPQ family loudspeaker over a UPJ-1P loudspeaker for even front-to-back coverage.

Spaced between these clusters, three 900-LFC low-frequency control elements supply ample bass energy. Front fills are five UP-4slim loudspeakers, with system management supplied by a Galileo GALAXY 816 network platform and comprehensive system monitoring enabled via an RMServer. Systems for both theatres were supplied and installed by Image Engineering of Mumbai under the direction of Nainesh Vora.

The greater depth and narrower dimensions of the Jamshed Bhabha Theatre pointed to a line array solution, in this case realised by 10 Leopard loudspeakers

per side, with each array flown underneath two 900-LFC low frequency control elements. Near fills are seven UP-4slims, with pairs of UPQ family and UPM1XP loudspeakers positioned back in the auditorium as delays. Also included was a GALAXY 816 processor, an RMServer for monitoring system performance and a pair of UPJ-1P loudspeakers for confidence monitoring in the mixing booth.

“The new systems have definitely reduced set-up time, and they are much safer because of the permanent cabling,” observed Nayan. “Now we have a good level of sound across the seats and greater consistency across different performance types. The Meyer Sound self-powered systems also help save onstage space, which had otherwise looked cluttered with the equipment racks of the hired systems.

“The response from artists and audiences has been overwhelmingly positive, Nayan maintained. “It has satisfied all requirements for performances from jazz to rock and classical. The audiences are appreciating the crystal clear music and speech in every seat.” www.meyersound.com

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KUDADOO ISLAND RESORT KUDADOO ISLAND, MALDIVES APAC

Kudadoo is a a private, adults-only, tropical island resort, which is part of the Republic of the Maldives. Being so remote, equipping this resort with audiovisual equipment was no easy task, however, Dubai-based integrator, Pulse Middle East, took on the challenge and the customer, Kudadoo, is very satisfied with its new sound system, and indeed the overall end result. The resort is now fully prepped to welcome its guests and offer them a luxurious experience. www.mondodr.com

Kudadoo isn’t just a luxury hotel; it’s a private, adults-only, tropical island resort. Part of the Republic of the Maldives in the south-eastern Indian Ocean, Kudadoo offers 15 private overwater bungalows with a spa, bar, restaurant, infinity pool, game room, and much more, it’s also 100% solar powered.

Want 24-hour access to a butler? You get that too, along with just about anything else your heart desires.

Naturally, nothing less than a first-rate sound system would do for such a high-end, luxury resort. For this reason, Kudadoo Maldives private island’s management asked the top-flight team at Pulse Middle East, Dubai, to design and build a sound system that would give them complete flexibility to play background music, and live music from various sources around the island resort, yet be simple enough to operate without a technician on-site.

Led by Managing Director and Audio Engineer Joe Chidiac, the Pulse Middle East team designed a Dante audio network for Kudadoo managed by a Symetrix Radius 12 by eight EX DSP. The system serves the bar, restaurant, pool area, spa, salt room, games room, and restrooms.

“This installation was very special since the location is extremely particular and breathtaking,” said Joe. “The main difficulties

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at Kudadoo were the logistics, the hotel being on an island in the Maldives, and the timeline. The system was installed and integrated over three days, after the initial visit and overseas prep.

Due to the surrounding water body, many measures had to be taken in order to complete everything on time and have a lasting result.”

The team installed 34 Turbosound, TCI52-TR loudspeakers, six Turbosound TCS32C-T-WH ceiling loudspeakers, two Turbosound IP2000 powered loudspeakers and 12, TCS110B 10-inch subwoofers, describing them as ‘the highest quality wallmounted loudspeakers on the market.’ Weather-resistant and built for harsh conditions, these compact subwoofers and ceiling loudspeakers delivered a versatile and robust sound system for the resort.

“Designing a user-friendly interface that could be operated by anyone, while still giving options for different sources and volumes in each zone, was a challenge,” explained Pulse Head of Audio, Andy Morris. “One way we got around this was to use logic automation within the Symetrix Radius EX so that certain events, such as a band starting to play from a certain Dante adapter, would cause the background music to automatically fade out in the concerned zones, gradually fading up again when live input is no longer detected.”

In addition to portable devices, audio sources for Kudadoo’s network include a Pioneer DJM-900 DJ mixer with CDJ-2000s, connected with an AVIO adapter; a Midas M32 console with DN32-Dante card; and several TV receivers plugged directly into the Radius 12x8 EX. The Pulse Middle East team installed CAT6 cable throughout the facility, routing input from the portable devices via Dante connection points to the Symetrix Radius DSP and from the

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“Pulse Middle East is proud to have been a part of this luxurious masterpiece... We continue to stand behind Kudadoo with the most reliable post-sales support system in the region... ready to solve any issues or concerns, whenever needed.”

Radius to the amplifiers. Symetrix ARC-3 wall panels enable simple user control of volume, mute, and source selection.

The Radius 12x8 EX DSP provides 64 by 64 Dante 1000 Base-T networking, along with 12 switchable analogue microphone/ line inputs and eight analogue balanced line outputs. That’s plenty of I/O for the Kudadoo audio network, but more can be added with option cards should that be required in the future. A second Dante port enables daisy-chaining multiple units and redundant Dante network audio implementation. Delivering studio-grade sound, and programmed using Symetrix’ Composer open-architecture software for Windows, the Radius 12x8 EX can run hundreds of audio processing and control modules for a wide variety of applications.

“The Symetrix Radius makes it easy to manage the Dante network, and it’s extremely reliable,” enthused Andy. “We also

like the way Symetrix Composer software makes it easy to integrate our Powersoft amplifiers. Having all the routing set up in Composer instead of using an additional piece of software like Dante Controller saves a lot of time and confusion. All the routings are there in Composer, clear to see and easy to restore should any issues arise.”

“The people at Kudadoo are very satisfied with their new sound system,” confirmed Joe. “Pulse Middle East is proud to have been a part of this luxurious masterpiece.

However, similar to all other projects that we’ve handled, our job isn’t over once the project is completed. We continue to stand behind Kudadoo and the rest of our clients with the most reliable post-sales support system in the region, ready to solve any issues or concerns, whenever needed. This is one of the ways we forge trust between our clients and build iconic projects that have a lasting impact.”

TECHNICAL INFORMATION SOUND 34 x Turbosound TC152-TR loudspeaker; 6 x Turbosound TCS32C-T-WH ceiling loudspeaker; 2 x Turbosound IP2000 powered loudspeaker; 12 x Turbosound TCS110B 10-inch subwoofer; 2 x Powersoft Quattrocanali 4804 DSP+D amplifier; 2 x Powersoft Quattrocanalli 2404 DSP+D amplifier; 1 x Powersoft Quattrocanali 1204 DSP+D amplifier; 1 x Midas MR12 digital mixer; Shure microphones; 3 x Symetrix ARC-3 controller; 1 x Symetrix Radius 12 x 8 EX processor www.pulse-me.com

• Page 122

IN BUSINESS

• Page 114

• Page 126

SHOW PREVIEW: ISE AMSTERDAM

EXPO: LDI LAS VEGAS

EXPO: JTSE PARIS

COMPANY EXPANSION • Page 130

• Page 130

SIXTY82

PRODUCT LAUNCH • Page 134

• Page 154

GENELEC

NEW SHOWROOM AUDIOVISION

IN DETAIL ZERO 88 L-ACOUSTICS AVOLITES

PRODUCT GUIDE MIXING CONSOLES

PRODUCT DIRECTORY LAST PAGE INTERVIEW MATT CZYZEWSKI

108 SH OW P REVIEW - ISE

Adam Hall Cameo H2 Series

ISE

Stand No.: Hall 7 - W200 cameolight.com/ product-news

11 - 14 February Amsterdam RAI

→ A new range of houselights designed for theatres, industrial applications and trade show venues. → Fixed LED room lighting with flexible DMX control options and high dimmer resolution. → Available as full colour, warm white and adjustable daylight versions. → Luminous flux of up to 17,000 lumens (H2D) with 180W LED. → Adjustable beam angle from 20° to 45° via interchangeable lenses.

Integrated Systems Events 2020 ISE 2020 - which will be the final edition held in Amsterdam - is confidently expected to be the biggest in the show’s history with more attendees and exhibitors than ever before. One of the factors enabling this will be the construction of a permanent extension to Hall 5.

In 2021, the ISE exhibition will relocate to the Fira de Barcelona exhibition complex.

Amate Audio X212AF Stand No.: Hall 7 - S185 www.amateaudio.com

Allen & Heath Avantis Stand No.: Hall 7 - C460 www.allen-heath.com → A 64 channel / 42 configurable bus console, with dual full HD touchscreens, an all-new UI, extensive I/O and networking options, and processing from the company’s flagship dLive mixing system. → Avantis delivers the company’s next-generation technology at a price point where most other mixers are still based on DSP platforms, and largely 48kHz. → Centred around two 1080p full HD touchscreens, continuity UI is designed to enable a fast, seamless connection between the physical controls and the displays, → Avantis connects to the full ‘everything I/O’ range of Allen & Heath audio expander hardware, making it easy to put together the right system for the application. → Two additional I/O ports allow Avantis to benefit from the full range of current dLive option cards, including Dante (64x64 or 128x128), Waves, gigaACE and MADI, expanding the scope for system integration, FOH/monitor splits and multitrack recording.

→ V-shape geometry, long-throw, high SPL coverage, proprietary elements include ABS mid-phase plugs, all-new high frequency waveguide, and sonically transparent 1.5-mm 67% perforation coefficient speaker grille. → Touchscreen controlled ACTIVE+ power and control with advanced FIR/IIR filtering, 4,000W Class-D amplification and multi-channel DSP system management. Application-specific pre-sets for nearinstantaneous configuration. Ethernet/Wi-Fi remote control with DSPStudio app, and Dante AoIP support. → Matched X218WF 5,000W programmable subwoofer 2x18-inch subwoofer with ACTIVE power and control.

Optimised preset X2121AF/X218WF configurations in regularly encountered applications; including fully accurate pairing phase-alignment. → 64-bit DSP next-generation platform for round-the-clock operation in the adverse application environments. Four analogue inputs, two AES/EBU input, and eight analogue outputs; all on balanced XLR, with high specification 24bit ADC/DACs (analogue I/Os). → Fully assignable Inputs. Two crossovers per output with selectable filtering and independent compressor/ limiter settings. 10 parametric equalisers, selectable two second/680 metres delay lines for each I/O. 80 password protectable memories. 20 pre-installed ‘factory’ presets for near-instantaneous application-specific setups. USB/ Ethernet connectivity for external control with DSPLink software.

www.mondodr.com

109 SH OW P REVIEW - ISE

D.A.S Audio EVENT-115A & 26A Stand No: Hall 7 - E227 www.dasaudio.com → Double 6.5-inch symmetrical, ultra-compact, lightweight (36 lb). → Uniform 100º horizontal coverage and FIR filers. → Two channel class-D amplifier 800W and IP43 rated. → LCD screen with DAScontrol interface simplifies preset selection. → Flyable single 15-inch wooden cabinet subwoofer,

Digital Projection Satellite Modular Laser System Stand No.: Hall 1 - F90 www.digitalprojection.com → Simple building blocks for complex installations. → Projection heads and satellite RGB laser sources. → Compact projection heads. → Ergonomic design. → Up to 40,000 lumens.

disguise On show at ISE Stand No.: Hall 8 – E250 www.disguise.one → disguise will showcase its award-winning range of software and hardware, designed to suit the needs of four key markets: fixed installations, Esports, live production, and theatre. → disguise will be showing its newly launched r17 software in action. r17 is packed with valuable new features such as Manipulators, PreComps, NDI and further UX improvements - all designed to make it easier and faster to produce incredible live visuals. → Demo’s will include its vx 4 server, engineered to play back video at higher quality, smoothness, and resolution. Optimised to play up to four times uncompressed 4K60, and has the capability of playing lossless 10-bit video. → Visitors can also experience the power of the gx 2c which combines unparalleled output and processing power, allowing creatives to build environments with more particles, effects and richer scenes at higher resolutions and smoother frame rates. → Compactness | minimalistic housing with optimal lightweight in process. www.mondodr.com

110 SH OW P REVIEW - ISE

EM Acoustics Reference Series R10

Epson 3LCD Laser Projectors

Stand No.: Hall 7 - X250 www.emacoustics.co.uk

→ Fully passive flagship point source loudspeaker for theatre, live sound and fixed installation. → Three-way design uses two, 10-inch neodymium low frequency drivers and a coaxial four-inch/2.5-inch mid frequency/high frequency neodymium compression driver on bespoke rotatable waveguides. → Unprecedented frequency and phase responses, as well as ultra-consistent dispersion patterns. → Interchangeable waveguides give two dispersion options. → Swift, discreet and flexible rigging options.

Stand No.: Hall 1 - H90 www.epson.co.uk/proav → Wide range of laser projector solutions from 2,000 to 30,000 lumens. → Epson 3LCD image technology for high colour brightness. → New EB-L12000Q native 4K projector for highend install and rental clients. → Unique lens offerings for creative environments and flexible installations. → Inspiring solutions for sophisticated visitor attractions and retail spaces.

ETC & High End Systems On show at ISE Stand No.: Hall 7 - V185 www.etcconnect.com → ETC and High End Systems will showcase a selection of the very latest product innovations at ISE 2020. → ETC’s new 3D programming environment, Augment3d will be presented on an Ion XE console desk. Alongside this, there will be three families of architectural lighting controls: Paradigm, Mosaic, and Echo. → The newest automated fixtures by High End Systems’ will be on display, including brand new SolaPix 7 and SolaPix 19. These fixtures take the traditional concept of a pixel wash and pushes it to its maximum potential with a variety of looks. → Visitors can see more and receive product demonstrations on stand 7-V185.

Harmonic Design On show at ISE Stand No.: Hall 7 - Z190 www.harmonic-design.com → State-of-the-art hd beamforming technology for install applications. → Smallest footprint, only 78mm wide. → Advanced directivity and room optimisation. → Up to 32 full-range loudspeaker with an associated DSP amplifier channel.. → Cost efficient due to proprietary amplifier, DSP and software platform.

www.mondodr.com

Rotatable Forks Adjustable Legs Folding Dolly Softshock Wheels

by Blickle

sales @ h-of.de www.h-of.de/en

COUPLERS AND CLAMPS High quality produced by CJS Short lead times from our European base in Germany Best price sales @ cjs-europe.com www.cjs-europe.com

112 SH OW P REVIEW - ISE

Kvant Lasers s.r.o Logolas 6000 Stand No.: Hall 15 - C200 www.kvantlasers.sk/product/Logolas-6000 → Full-colour laser display system suitable for laser advertising and architectural illuminations. → A 6W laser output offers up to 150 metres efficient projection throw. → Fast and precise SM-506 or Saturn1 scanning (up to 60kpps). → The content can be changed remotely as often as needed via ethernet. → Inbuilt FB4 control interface with internal timer offers standalone auto-play operation.

Merging Technologies Multi- Speakers & 3D Panning Stand No.: Hall 7 - P182 www.merging.com → Immersive and 3D audio workflows from design to playout - up to 7th order ambisonic option. Object-based mixing and effects, integrated 384 channel low-latency mixer. → Ovation media server and sequencer - fully programmable with multiple cueing options. Full console automation, UDP/IP support, VST3 Plug in compatible, fast and easy cue editing. → AES67 networked audio interfaces for every budget – Anubis, Hapi, Horus, no compromise audio quality with a range of analogue options. → IP Infrastructure and control- legacy I/O format support. ANEMAN Audio Network Manager, MADI, AES/EBU, ADAT, SPDIF → Show control - OSC Support, multi-room, multi-zone, customisable UI, web browser remote control. Easy integration with popular video servers and Medialon.

NEXO P Series Stand No.: Hall 3 - C95 www.nexo-sa.com/systems/p-series/ → Five point source loudspeakers - powerful coaxial eightinch and 10-inch loudspeakers -ideal in both FOH and wedge application. → Modular directivity: from the standard 100° by 100° horn to the rotating 110° by 60° in a few seconds. → Quick release Magnelis steel grille for easy access to the magnetic horns. → Installation and touring versions. www.mondodr.com

Hall 7 | Stand E226

RGBlink X14 Stand No.: Hall 12 - K62, K80 & K85 rgblink.com → Large scale video processing for modern events and venues. → Control multiple video displays as complete systems. → Support for 12 simultaneous 4K at 60 inputs of any signal. → Output 80 mega pixels in virtually any format. → A whole new way to control with XPOSE 2.0.

TW AUDiO Ella Stand No.: Hall 7 - E226 www.ella-inside.com

Are you my perfect match? www.ella-inside.com

TWAUDiO.COM

→ The unparalleled synthesis between an unobtrusive column and a flexible line array. → World-first passive cardioid dispersion technology for drastically reduced rear emissions. → Exceptional driver development guarantees an outstanding high fidelity, high-SPL listening experience with 120° horizontal coverage. → Integrated invisible rigging hardware with captive parts and smooth operation. → Striking dimensions (20cm by 20cm, 5.5kg / 7.9-inches by 7.9-inches, 12.1 lbs) allow easy handling and discreet application for touring and install.

MADE IN GERMANY

114 EX P O

• ADJ’s Alfred, Eddie and Brian • The Astera booth

• Larry and Frederik from Elation

• The Acue Lighting duo

• The AirCom stand

LDI LAS VEGAS, USA / 22-24 NOVEMBER LDI 2019 took place at its usual home, the Las Vegas Convention Center and now in its 32nd year, the tradeshow recorded a record number of visitors, totaling more than 16,000 attendees. They came to see the 400+ exhibitors that were spread out across the show floor, highlights included: ADJ’s launch of the Encore Profile Pro range, which includes the Focus Spot 6Z, the Focus Wash 400, the Encore Profile Pro WW and the Encore Profile Pro Color, all designed for theatrical, broadcast and performance environments.

Adam Hall Group announced the Cameo OPUS X Profile, a high-power profile moving head that features a colour wheel with six dichroic filters and linear CTO correction.

Alongside that was the Cameo EVOS W7, a LED WashBeam moving head with 19 40W RGBW and warm-white LEDs for rich

• Antari effects on display

RGB lighting effects. The Cameo F4 Series comprises three LED fresnel spotlights in tungsten, daylight and RGBW full colour with tuneable white function, all of which were on display. The smaller OPUS H5 is an extremely versatile beam, spot and washlight hybrid with incredible mid-air effects was also launched.

Finally, the OPUS SP5, which produces brilliant, lively colours with a powerful 500W cool white LED engine and huge output.

Area Four Industries portfolio of brands gave some exciting surprises this year. MILOS showcased models from its aluminium truss series. LITEC had its new, innovative PR60 Revolution pre-rig truss, designed to pre rig lighting fixtures inside the truss before arriving at a venue. TOMCAT unveiled a new truss connection accessory allowing more creativity with truss spans, whilst Prolyte brought along its Verto truss featuring a rotating coupler system that’s silent, tool-free

• ChamSys booth

www.mondodr.com

and allows truss to be assembled faster. EXE Technology also demoed products from its EXE Rise electric hoist range including its newest single reeve two-tonne hoist.

Astera made an impact with its newest AsteraApp V11 that offers quick and intuitive control of complex lighting setups and a range of customisable programs and effects. It also previewed the new Wireless PixelBar, a linear wall-washer with integral battery pack and numerous wireless control options. Finally, expanding its range of LED tubes, Astera showcased the Hyperion Tube, Titan Tube and Helios Tube, all with enhanced features including high CRI to be used in TV, film and broadcast.

AV Stumpfl showcased the AT64-SHIFT screen system that can be used for much larger, mobile projection screens. Another highlight was the presentation of the new PIXERA version 1.2 software, which allows

• The Chauvet stand

115 EX P O

• The Cosmic Truss booth

• mondo*dr’s Jamie with Mr Tony of Dicolor

• The D.A.S. Audio stand

• The Mega Systems team

changes to running shows to be previewed by the operator and then blended into the output on the fly.

Ayrton introduced Perseo, a multi-functional, powerful IP65-rated fixture developed for outdoor use with optical efficiency. The fixture is built to withstand the elements, fast on its feet and is built with an array of impressive features. Ayrton also showcased the Huracán-X, a unique profile luminaire with amazing output, advanced colour mixing and brilliant graphical capabilities.

Blizzard showcased the G-Max 200, a 200W LED spot moving head, which packs both precision and power. The MystACL Z, a 30W zoom bar loaded with high quality features.

The Stiletto Ray-Z, a professional moving head fixture fitted with seven 40W Osram Ostar RGBW four-in-one LEDs and full pixel mapping capabilities. Blizzard also had the Flurry Z on show, featuring three zones of

• Drape Kings founder and CEO, Dru

LED control, as well as the Lux Capacitor, a retro blinder with nearly 1.21 gigawatts of power. The Mister Stroboto, an IP65 rated, white LED with 90º strobe effects was also on show.

Brompton Technology unleashed the Dynamic Calibration Technology that enables LED panels to achieve a higher brightness and a wider colour gamut. Brompton Technology also revealed its Hydra System. This solution incorporates all the measurement instruments required for panel measurements to enable its new Dynamic Calibration. Another addition was its High Dynamic Range solution which offers a new approach to delivering better image quality. It also announced new features for its processors including ThermaCal, a solution that gives the user control over how much compensation is required based on the panel temperature and environment. And finally from the company was PureTone,

• Juan Jose of Equipson

• The PIXMOB crew

which allows each panel type to be profiled in order to compensate for non-linearities.

ChamSys offered LDI attendees a look at its new MagicQ MQ70 console, which offers big time scalability, supporting 24 universes of ArtNet/sACN natively, with an option to expand. It also has built in Wi-Fi and MIDI input and output and LTC timecode, allowing easy integration.

CHAUVET Professional won the 2019 LDI Large Booth Design Award. To underscore the IP65 ratings of the fixtures on the booth’s main wall, a video showed vivid images of flowing water that bordered the geometric patterns of the panel display. Also featured in the display was a theatrical display of Ovation fixtures and F2 video panels. The arena-tour grade Maverick MK3 Profile, Maverick MK3 Spot, and Maverick MK3 Wash moving heads, were arranged in a compelling V shape suspended structure.

• The Gloshine booth

• Simon of GLP with Laura from mondo*dr

116 EX P O

• The ROE Visual team

• Sebastian from MADRIX

• The Neutrik stand

• Jamie and Laura of mondo*dr flank Rusty of K-array

• The Le Maitre booth

City Theatrical launched the new QolorFLEX 5x2.5A Multiverse dimmers, which have been designed to be mounted in the smallest spaces.

Another new addiction to City Theatrical’s portfolio of products that were shown at LDI were the Multiverse Receiver Cards used to implement wireless DMX/RDM into projects or equipment in a simple way.

ClayPaky announced the CloudIO, a new IoT device, which provides technicians with complete diagnostics for ClayPaky features. When lighting fixtures run check after use, the unit collects data on the lamp life of each fixture, the conditions of various

• The RenewedVision stand

components, and also updates firmware, simply by connecting to the cloud. Another new tool ClayPaky surfaced at LDI is REFLECTXION, a moving mirror featuring up to 99% reflectance. Other products premiered included Xtylos, Sharpy Plus, Sharpy Plus Aqua, Axcor Wash 600, HY B-EYE and Mini-B. D.A.S. Audio offered guest speaker presentations during LDI, which included talks from Jimmy Kwon, CTS, the Head of Audio for Criss Angel MINDFREAK. Jimmy spoke about the unique attributes of D.A.S. Audio loudspeakers and the benefits of the equipment. Aaron Beck, CTS, • Dominik of Portman Lights

• The Martin Audio stand

• Martin (right) and colleague with the new Vari-Lite fixture

• mondo*dr’s Jamie on the Showven stand

• Rik (centre), Margie (right) and colleague on the Linea Resaerch stand

118 EX P O

• Fabio (right) and colleague from PROLIGHTS

• mondo*dr’s Laura with Becki of JBL

System Designer and Solotech Business Developer, also took to the stage discussing implementing sound reinforcement for fixed installations.

Elation had a string of new products on show including the Proteus Maximus, Artiste Monet, Smarty MAX, Fuze Spot, Fuze Profile, Fuze Profile CW, as well as new additions to its Paladin Series - the Paladin Cube, Paladin Brich and Paladin Panel. These outdoor lights are suitable for a wide range of outdoor applications. Elation also added a few world premiere products to its LDI line up including the Artiste Mondrian, Artiste Rembrandt, Proteus Lucius, Fuze Wash FR and the Fuze SFX. Equipson unveiled the LS-Wing, the latest addition to WORK-PRO’s LightShark DMX-based hardware lighting console range. The LS-Wing can send OSC commands via ethernet networks to any device or software controlled by the OSC protocol and is compatible with almost every lighting, music, video and media server software in use today.

ETC and High End Systems impressed with new products including the Augment3d programming environment, which enables programmers to control and design in a 3D space. The Solapix also made a grand LDI entrance alongside the TurboRay, SolaFrame 1000 and SolaWash 1000.

High End Systems launched the SolaHyBeam 3000 at LDI, a flagship luminaire that has all the elements to cut through the haze and shine brilliantly.

GLP exhibited the impression S350 wash, impression FR10 bar, and the KNV Cube and Arc, the latest multifunctional KNV Dot and KNV Line ‘building blocks’ that work as independent units or can be seamlessly combined together to provide a new level of versatility. Fusion Stick 10 and Fusion Stick 20 were shown to offer a clever connector system and other products including the Fusion Par 7, Fusion Supernova, Exo Beam and Exo Wash. Cosmic Truss presented the F34DNA 12-inch spiral truss and Ubase, a flexible solution for both hanging drop and ladder positions for lighting fixtures. Scenex Lighting also introduced the PixeLit Control Manager, allowing each universe to be run up to 1,500 ft away from its source.

Martin by HARMAN had an array of new products on show at LDI 2019.

The Martin ERA 400, 600 and 800 Performance fixtures, ERA 500 Hybrid IP outdoor fixture, MAC Allure Profile spot fixture, MAC Allure Wash PC wash fixture and the VDO Atomic Dot hybrid lighting and video fixtures.

This new line up offers powerful, versatile and cost-effective solutions for

• A thumbs up from Osram

SPLNTR - CMXX Las Vegas Tucked away in the Arts District of Las Vegas, a unique installation took shape during LDI. Ed Shaw of NEICO and Brett Bolton worked tirelessly to create the first of its kind audiovisual art installation in Las Vegas. With the support of Avolites, Group One Ltd, AG Light and Sound, X-Laser, GLP and Notch, NEICO presented SPLNTR. Ed has had a love for projection since working with 1024 Architecture on the BOOMBOX. The spark for SPLNTR came earlier this year when he saw a projection project named ‘POETIC AI’ by Ouchhh in Paris, and decided that having never seen anything like this in Las Vegas before, now was the time to develop his own idea for an installation. After speaking to a few people, the vision became a reality and he had the go ahead with some help from Avolites. “We were looking for an alternative to a tradeshow that was more appealing to our clients and designers,” Stephen Baird-Smith, Sales Manager of Avolites said. “At the same time Ed had the idea for an interactive installation. We’d worked with him and NEICO before on the OMNIA and JEWEL projects, so we knew we would work well together. It was the perfect opportunity to bring it together.”

From here, Ed created SPLNTR - a totally immersive experience where the visuals and audio are completely controlled by the individual as they move through the building. Working alongside Brett, his team of artists at NEICO, Tom and Satako Wall of Blinkin Lab, Spencer Heron of Rebel Overlay and combined artists from Notch; his vision started to take shape. The visuals were inspired by Ed’s personal taste, but also with the aim to show the audience something different. “It’s content and a style I don’t get to produce very often in the dance music industry,” explained Ed. “A lot of visuals you see nowadays are very polished, glossy 3D environments, and I wanted to bring it back to a more artistic interpretation of my ideal visuals.”

For this, a large amount of kit was needed, which the team of co-sponsors brought together to make this unique experience come to life.

Avolites provided media control for the nine HD projectors needed for the installation. This included six Q3 media servers for the individual walls, another for the custom Notch content, and two pre-production Ai servers dedicated to realtime generative graphics. X-laser brought in its Skywriter HPX M-5 and M-10 lasers and all truss, cabling and data networking provided by AG Light and Sound.

Stephen said after the event: “The audience we wanted to reach was designers. So, we started with the creative output, showcasing two fantastic visual artists, then had all the technology behind the art there for people to get their hands on. Attendance exceeded even our most optimistic predictions, and certainly raised our brand profile in the US market.”

• mondo*dr’s Laura with Ralph of Eurotruss

• Solveig of Schnick-SchnackSystems with André of Acideo Distributions Inc

• David of Traxon and e:cue

entertainment and rental applications.

Interactive Technologies debuted CueServer Software Release 4.0, which delivers new web stations to custom touchscreen layouts which can be published to virtually any device with a web browser. Plugins will enable users to extend functionality of CueServer by dragging one of many plugins into a project file. JavaScript will allow users to mix and match JavaScript code in their projects too and new functions and event handlers will create subroutines in CueScript to provide custom behaviour for external triggers.

MDG made a mark on LDI by exhibiting its bespoke vertical flightcase for easy touring. Designed to carry MDG’s ATMe haze generator, or either of Me1 or Me2 fog generators, plus everything needed to operate under production conditions, these flight cases not only provide rugged, safe transport for the generators, but allow the entire unit to be rolled onto stage and simply plugged in for instant use.

Obsidian Control Systems was pleased to announce the powerful NX 4 lighting controller with DYLOS. Equipped with a range of professional features, and using the latest in industrial components, the NX 4 is designed to handle even the largest show with

ease. Obsidian Control Systems offers DYLOS in each NX 4 console, a pixel composer that far exceeds the capabilities of regular pixelmapping systems.

PixMob stole the sustainable show and won the new Sustainability Award at LDI 2019, following successfully recycling over 1,000,000 wristbands, an initiative recognised by the LDI Awards panel.

PROLIGHTS featured over 200 lighting fixtures to dazzle onlookers every hour, as well as time-coded shows and interactive demo stations, which allowed visitors to have handson product demonstrations. The exhibition celebrated the success of the PROLIGHTS brand in the North American market and included latest products such as the PIXIEWASHXB. As well as this, PROLIGHTS unveiled a new brand design, logo and website.

Robert Juliat exhibited SpotMe, its awardwinning, 3D position track device for followspots alongside the new Maestro server which has been deployed in collaboration with zactrack. Maestro extends the capabilities of SpotMe by enabling it to operate with any DMX lighting control console.

Robe used LDI to put on an impressive ‘Return to the Future’ show, which used the new ESPRITE LED profile moving lights.

• The Robert Juliat stand

• Robe’s Return to the Future themed light show attracted huge crowds

• SGM had an impressive light show

This product is the first to use Robe’s groundbreaking new generation 650W WTE light source. TETRA2 was also on show, a new linear bar fixture that builds on Robe’s Spiider and Tarrantula LED technology.

Spotrack unveiled the 2020 version of its system, which will see the addition of many new features that will allow users more flexibility and enable the use of SpotrackEvolution, allowing an existing follow spot to be used as a controller for Spotrack.

Finally, LDI saw VUE Audio conduct talks about the company and the technology behind ACM subwoofers and beryllium HF drivers.

The al-8 and al-4 stereo arrays were also put through their paces with a variety of musical genres to pump the hs-221 subwoofers, which were positioned in a cardioid configuration, providing tighter control with a rear cancelling effect that listeners were invited to experience.

LDI will return to the Las Vegas Convention Center on 23-25 October 2020.

For more information go to: www.ldishow.com

• The Unilumin booth

• Liam and Adam of Spotrack flank Steph of Sound Marketing

• The Yestech stand

• Franco of Sagitter (PROEL) and Jamie of mondo*dr

THE WORLD'S FIRST TRANSFERABLE LED ENGINE

#RobeInnovation

122 EX P O

• ETC’s booth in the Black Box

• Showtec products on show at the Highlite booth

• Allen & Heath on display

JTSE

PARIS, FRANCE / 26-27 NOVEMBER

Jornées Techniques du Spectacle et de L’Evénement (JTSE) was held again this year at Dock Pullman, Paris, France across the 26-27 November. The petite show packed a punch with an extensive host of exhibitors displaying new products, meeting customers and showcasing everything exciting about their 2019 journey so far. This is the 21st year that the tradeshow has been in operation and it continually offers companies a unique chance to celebrate their

success.

Among the 2019 exhibitors were APG, Bose, L-Acoustics, Solid State Logic, d&b audiotechnik and ETC to name but a few, and this year’s JTSE followed in line with previous years, consisting of three different halls, each offering the exhibitor something different. The first hall housed the main showroom where most of the stalls were situated, with meeting spaces and hospitality areas to accommodate discussions and catch-ups.

The second hall, aptly named ‘Black Box’, was specifically for lighting where manufacturers and distributors were able to showcase their newest and best products properly, in a room that became painted with the trippy visions of brands such as CHAUVET and ETC, the latter which had its newest product, SolaHyBeam 3000 in action. The third and final hall consisted of talks and presentations focussing on topics such as show techniques, held by industry greats and

• Stéphane and Mary Beth from L-Acoustics

• Neutrik picked up a latest issue

• Attendees were invited to pick up a copy of our latest issue

www.mondodr.com

MO RE LOUDSPEAKERS

MORE AMPLIFIERS

M ORE PROCESSORS

FOR BETTER SOUND IN MORE SPACES With the Installed Sound Expansion, we’ve expanded our range of loudspeakers, processors, amplifiers, and controllers. Our established products remain and we’ve added new product families into the mix.

Now system designers and installers can deliver better sound systems in more spaces than ever.

To learn more about our new DesignMax loudspeakers, PowerSpace amplifiers, and Bose CSP processors, contact your local Bose dealer or visit PRO.BOSE.COM/installedSoundExpansion

© 2019 Bose Corporation. DesignMax, PowerSpace, and BOSE CSP are trademarks of Bose Corporation.

124 EX P O

• Bose exhibiting some of their products

• Prolight’s stand at JTSE

• Robert Juliat exhibiting in the Black Box

• The team at CHAUVET France

• Lawo consoles

watched by an audience of students, manufacturers and anyone interested in learning more about their trade.

Some of the new products premiered at JTSE this year included the iX Series from APG, a collection of installation loudspeakers characterised by a combination of uncompromising drivers and a non-diffraction acoustic baffling that allows pure point source directivity.

Next, d&b audiotechnik showcased the A-Series augmented array loudspeaker, an advanced loudspeaker concept which combines variable splay angles, two approaches to acoustic optimisation, and advanced waveguide design giving it the ability to address applications where

coverage is paramount.

JTSE is a fantastic point on the tradeshow map and has established itself as a popular show, attracting almost 3,000 visitors each year. Originally leading the game in France, JTSE has now brought together people from the European and international markets, providing an open space for discussion and celebration of success and progression.

The show will return to Dock Pullman 24-25 of November 2020. For more information head to: www.jtse.fr • The full APG France team

• Shure was there to chat to customers

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• Shnick Shnack systems stand at JTSE

Visit our website with the promo code: MONDO_DR to get your gift!

126 COMPANY EX PANSION

SIXTY82 | COMPANY EXPANSION Headquartered in Drachten, SIXTY82’s goal is to have every component required to change the way that lightweight structural systems are used. With over 100 years of experience in the entertainment industry, SIXTY82 is able to provide the growing demand for craftsmanship and technical know-how. It is committed to the continuation of innovative means of improving product and service, driven by a passion for its craft, to ensure its customers can continue to build incredible things.

Maintaining its focus on supplying the urgent demand for high-quality trussing and staging products and solutions, Prolyte Asia Pacific, also known as PAP, recently announced its transition into SIXTY82 Doughty Asia (SDA).

“For the past 15 years we have operated under the name PAP, however, due to recent events in the industry, PAP has decided to take a step forward and start a fresh chapter with new partners,” stated Menze van der Sluis, Managing Director of PAP, and one of the first people em-

ployed by Prolyte in its early days. Menze played a significant role in the development of the company and, with nearly 25 years of experience, has become renowned and respected within the entertainment industry.

Widely known for its state-of-the-art products, reliability, and education, along with a focus on safe working practice, customer satisfaction, and in-depth service, PAP has been a critical player in the Asian market for more than 15 years.

“These values are essential to our organisation and will remain firmly in place now that we have transitioned into SDA,” Menze furthered.

To ensure the continuation of this philosophy and to secure the ability to innovate, PAP and Doughty have decided to join forces with SIXTY82, forming SIXTY82 Doughty Asia. “SIXTY82 was the best and only choice for catering to the high standards of the extensive PAP customer base,” confirmed Menze.

Spearheaded by the original founders of Prolyte, Fokko Smeding (CEO) and Marc Hendriks www.mondodr.com

(CTO), SIXTY82 is armed with a forward-thinking approach to product development and is even more focussed on the specific needs of the Asian market. “To continue to support our customers in the way that we have been doing for so many years now, this was the only possible way forward,” said Menze. Together, these pioneers and visionaries have had leading roles in the development of innovations for trussing and staging that have shaped the entertainment industry as it is known today.

SDA customers can expect to find the same team of experienced and motivated experts, with an exciting new name and even better trussing, staging and rigging products and solutions. Also worthy of note is the fact that SIXTY82 trusses are seamlessly compatible with products previously supplied by PAP. In line with its existing policies, SDA guarantees full distribution coverage to all APAC countries, delivering products and support unrivalled in quality.

“Our goal is to improve every aspect of our

127 COMPANY EX PANSION

customers’ experience continuously. Expanding our sales network, supporting personnel, and being close to where our customers are is a key initiative towards achieving that,” said Fokko.

“Having the SDA team support us is incredible and ensures that our customers in the APAC region will get the best possible treatment.”

The company also recently announced an extensive expansion of its distributors across Denmark, Germany, Italy, Lithuania, Middle East, Spain and Switzerland. This growth sees an exciting development for not only SIXTY82, but also for the new distributors which are now part of its journey. Starting in Denmark, ETP has been appointed to provide another level of customer intimacy and access to the growing markets for the trussing and staging industry.

With a combination of professional project management experience and technical know-how, ETP have the ability to optimise a project process for the benefit of all parties involved. Flemming Pedersen, CEO of ETP, responded: “We were

seeking a truss and staging manufacturer that could fulfil not only our day-to day needs, but help us with the many special requests we receive from our customers. When we learned about the success of SIXTY82, we decided that it was time to make a move and join the family. Due to our joint passion for the industry, we believe that this partnership can have a real impact on the current market. SIXTY82 has the knowledge and experience to provide our increasing requirements to satisfy the market.”

Next, in Germany, SIXTY82 has expanded its German division as well as partnering with CAST. “The start of SIXTY82 German Division is a reaction to the expanding needs of the live events industry for rapid delivery times of first-rate products and a service that is second to none,” continued Fokko. New distributor, CAST, is an extremely well-established company in the live events industry and will be a valued addition to the SIXTY82 family. With its extensive experience and knowledge of the German market, www.mondodr.com

CAST will be able to help SIXTY82 customer’s every need, so providing markets that have been longing for extensive service. As well as Germany, CAST will also be the new SIXTY82 distributor in Switzerland, continuing to build the existing customer base and make a bigger imPact in the Switzerland market.

In Italy, SIXTY82 has acquired Audiosales as the new Italian distributor. Audiosales will offer expert guidance on a wide range of possibilities, advising customers in Italy on the best SIXTY82 solution for their particular needs. It’s knowledge of the market will be invaluable in supporting SIXTY82 to provide the Italian customers on both academic and industrial levels with a high-quality service. “We are delighted to be working with Audiosales. They have a well-established position in the market, and a strong team of experienced people, so we are very pleased they joined the SIXTY82 family,” said Date Jonkman, SIXTY82’s Executive Account Manager.

STS has joined the SIXTY82 family as the

128 COMPANY EX PANSION

exclusive distributor for Lithuania. This strategic partnership is based on a shared set of values of loyalty, extensive technical service, and the importance of customer relationships. “We believe that STS is the perfect partner to service our customers. This agreement further iterates both the company’s enthusiasm to drive growth and extend relationships with its customers,” explained Fokko.

The UAE, Oman and Saudi Arabia has now expanded to include Unusual Rigging & Engineering LLC as its exclusive representative for its full trussing and staging product range. Unusual Rigging will exercise skilful supervision on a broad scope of possibilities, advising customers on the best SIXTY82 solution for their specific needs.

Denis Bramhall, Managing Partner at Unusual Rigging LLC, commented: “We are delighted to take on the role of distributor for SIXTY82 in the United Arab Emirates, Oman, and Saudi Arabia.

By adding their products to our portfolio, we are offering our customers in the region something new and something which complements our current range. The quality of SIXTY82’s products is second to none, and we are proud to have formed this new partnership with them.”

Following on, Spain has seen Stonex named as the new SIXTY82 distributor for the ever-expanding international network. Stonex will distribute and provide technical support for the full product range of SIXTY82 trussing and staging products to its Spanish customers. CEO of Stonex, Paloma Expósito commented: “In Stonex, we are delighted to become an official distributor of SIXTY82, a worldwide recognised brand that has been delivering great quality since the day they started this journey. Since then it has proven to be a new, admirable standard of industry quality.”

SIXTY82’s far-reaching expansion has opened up many new doors for the company. The partnerships have increased requirements to satisfy the market and support the trussing and staging field. Fokko concluded: “The best partnerships aren’t dependent on a mere common goal, but on a shared path of equality, desire, and a great amount of passion. Strong partnerships can have a real impact on the current market and with the new appointments, SIXTY82 are excited about the future!” www.sixty82.nl

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130 P RODUCT LAUNCH

GENELEC | LAUNCH 4430 WITH SMART IP TECHNOLOGY Finnish audio manufacturer, Genelec selected the country’s capital city to launch its latest product creation - the new 4430 two-way active installation loudspeaker, the first model to incorporate the company’s ground-breaking Smart IP technology. Smart IP provides scalable power, audio and loudspeaker configuration, supervision and calibration features via a standard CAT cable, offering integrators unrivalled power, flexibility, cost-effectiveness and simplicity of installation.

The 4430’s already have a flagship installation at Helsinki’s newest music entertainment venue The Finnish Music Hall of Fame, located in the newly redeveloped Pasila district. The design and installation was completed by renowned Nordic audiovisual integration specialist, Bright, with Head of Installation, Santtu Sipilä leading the team. He said: “We were responsible for designing a digital experience system with the possibility to change exhibitions efficiently when www.mondodr.com

required. As this was the Finnish Music Hall of Fame, some extra attention was needed regarding the sound quality. We investigated several other music museums to ensure that our solution would deliver the best sound quality of them all.

The decision to use Genelec was clearly a determining factor in achieving that goal, and the possibility of using the new networked loudspeakers made it even easier. The Smart IP technology enables us to drive each loudspeaker independently,

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132 P RODUCT LAUNCH

and that opens up a wealth of opportunities for immersive sound experiences.”

The museum was the host venue for the launch event where distributors, installers, dealers and the media were invited to hear the product live via avid Genelec user and talented musician, Petteri Sariola, as well as discover the technical details, which were delivered by Genelec’s R&D Director, Aki Makivirta.

The 4430 is a compact design that accepts both Dante and AES67 IP audio streams, and derives power via both PoE and PoE+ Power-over-Ethernet formats, with the 4430’s proprietary internal power supply helping to deliver an impressive 104 dB of short term SPL, via two integral 50W Class-D amplification stages feeding the woofer and tweeter. As well as receiving both power and audio-over-IP, the 4430’s single rear panel CAT connector also allows access to Genelec’s

Smart IP Manager - a sophisticated downloadable software tool running on Windows 10 that allows installers to configure an almost unlimited number of rooms, zones, loudspeakers and audio channels, and includes device discovery, a versatile room equalisation tool set, system organisation and status monitoring. Additionally, APIs within the 4430 support the hooks to allow external control via third-party hardware, software or house automation.

In terms of specification, the 4430 supports up to eight audio channels in a stream with sample rates of 32-96kHz and 16-bit to 24-bit resolution.

Streams can be managed by both Dante Controller and Dante Domain Manager software, as well as legacy balanced line analogue audio. The 4430 delivers a frequency response of 45Hz - 23kHz (-6dB) via a five-inch woofer and 0.75-inch metal dome tweeter, and the 4430’s compact, lightwww.mondodr.com

weight enclosure utilises Genelec’s trademark Minimum Diffraction Enclosure and Directivity Control Waveguide technologies to ensure neutral, uncoloured sound both on and off axis.

Manufactured using certified sustainable methods, the enclosure itself is produced from recycled aluminium, is available in black, white or 120 custom RAL colours, and is compatible with Genelec’s extensive range of mounting accessories to allow the 4430 to be floor, ceiling, wall or truss mounted.

The presentation of the 4430 was followed by a traditional Finnish dinner and a look around the museum exhibits. And with a future plan to extend the Smart IP technology into other Genelec products, it’s likely it won’t be long until there are more installations in Finland and beyond fitted out with this state-of-the-art technology. www.genelec.com

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134 NEW SH OW ROOM

AUDIOVISION STORE | NEW SHOWROOM Having been active in the professional audio and lighting market for over 23 years, AudioVision Store has become a key player in the Romanian market by offering complete solutions for sound, lighting and special effects, customised for any location - fine-tuned to offer the best experience for any audience.

AudioVision Store is the exclusive distributor in Romania for KV2 Audio, Powersoft Audio, Magic Effects, Eighteen Sound and Euromet, as well as being an authorised representative for a further 28 international brands.

With over two decades in the industry, the company has created the perfect showroom, a place where users can find everything they need for any show: musical instruments, professional audio equipment, professional lights, special effects, DJ equipment, and home audio systems.

With the aim of turning the client’s vision into entertainment, it was time for Audiovision Store to turn its own vision into reality throughout a brand-new showroom that now features: hundreds of musical equipment and instruments displayed on two floors; in-showroom testing for musical equipment and instruments; display and demo area for professional lights; a Hi-Fi audition area; and expert advice, customised solutions and extensive after-sales support.

Professional audio equipment occupies the central area in the showroom. Audiovision Store is recognised by sound professionals as the go-to provider for complete professional audio systems, while the DJs know that the showroom is the place where they can find everything they need for a perfect mix.

The sections dedicated to professional lighting www.mondodr.com

equipment and special effects are guaranteed to make each show an unforgettable experience.

The musical instruments area features carefully selected Romanian and international brands of guitars, percussion instruments, strings, wind and keyboard instruments.

In the section dedicated to home audio systems, Audiovision Store has prepared a special place for a wide range of home audio systems that include: Hi-Fi amplifiers, centre loudspeakers, floor loudspeakers or built-in loudspeakers (ceiling or wall), audio/ video receivers, soundbars and subwoofers.

The showroom for any show by AudioVision Store can be found at Constanta, 213 Aurel Vlaicu Boulevard, Romania. www.audiovision.ro

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136 IN DETAIL

ZERO 88 | RIGSWITCH

*Layout / configurations may vary

Drawing on over 45 years of Zero 88’s experience in entertainment lighting and power control, RigSwitch is a new remote controlled power switching solution suitable for any size entertainment venue. RigSwitch is ideal for switching power for todays’ modern entertainment lighting systems, including moving lights, hot power sockets, specials and LED equipment.

RigSwitch can be delivered in standard 12 or 24 channel cabinets with either incoming RCD or RCBO per channel, with customised configurations available and a wide choice of user control interfaces. Zero 88’s range of user interfaces include multiple customisable keypads, touchscreens, time based triggers and your own choice of switch. These can be configured to match any specification for scene setting, sequencing or manual control.

Customised RigSwitch configurations include larger channel counts and options for RCBO traffic lights and AFDD (Arc Fault detection). With individual relays rated for up to 32A operation, RigSwitch can cater for even the most power hungry user.

Features: • Up to 96 circuits of feed through relays per cabinet • DMX control per circuit (or control via DALI and iCANnet network) • Remote button panels available, or use any switch via contact closure • Intelligent propagation delay to reduce power-up in-rush nuisance tripping • Manual override of any circuit (mechanical, not digital) • Six, 10, 16, 20, 25 or 30 amps per circuit • Neutral disconnect MCBs (with incoming RCD) or RCBO per circuit • Options for leakage current monitoring and/or arc fault protection • Includes cable gland plate insert (top) • Optional glass door and/or lockable door zero88.com

Override Relays • The feed through relays provide outstanding features and performance in a truly competitive package.

• Each circuit is rated for up to 32 amps and is designed to switch heavy loads of all types, including resistive, inductive and capacitive.

MCBs, RCDs, RCBOs • Circuits are protected by neutral disconnect MCBs as standard.

• Optional RCDs break the incoming supply if a fault is detected.

•Upgrade circuits to RCBOs to limit inconvenience tripping to individual circuits rather than the whole unit.

Control Options • Three methods of control are available - DMX, DALI and iCANnet network.

• These can be used exclusively, or brought together to link with a virtually limitless number of other products to build a system of any size.

User Interfaces • Our range of user interfaces include multiple customisable keypads, touchscreens, time based triggers and your own choice of switch.

• These can be configured to match any specification for scene setting, sequencing or manual control.

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138 IN DETAIL

L-ACOUSTICS | L-ISA CONTROLLER V2.0

L-Acoustics has revealed the release of a significant software update for its L-ISA Immersive Hyperreal Sound technology that will enable users to monitor the positioning of any tracked object in a 3D view. With L-ISA Controller version 2.0, source parameters including pan, width, distance, and elevation can be mapped and scaled to all certified tracking systems.

Speaking of which, in tandem with the L-ISA v2.0 update, L-Acoustics announces that it has officially collaborated with four tracking software providers whose technologies can now function within the L-ISA ecosystem. These include Modulo Pi’s Modulo Kinetic, TTA’s Stagetracker II, Robert Juliat’s SpotMe, and CAST Software’s BlackTrax Tracking Solutions.

“After delighting millions of spectators on thousands of shows around the world, L-ISA is the live event production industry’s most realistic, robust, and frequently used immersive audio solution,” noted Executive Director, Creative Technologies Guillaume Le Nost.

“With our latest software and recent tracking system partnerships, the incredibly natural audio reproduction of L-ISA, paired with the smooth and precise real-time tracking of visual elements on stage is guaranteed to raise the hyperreal sound bar even further for our audiences.”

Previously compatible with L-ISA’s earlier software, BlackTrax is a camera-based 2D and 6D tracking system that now offers improved integration within v2.0’s infrastructure. New features include the ability to have Real-Time Tracking Protocol positioning data output format (RTTrPM) converted to Open Sound Control (OSC) protocol in the L-ISA OSC Bridge, as well as the addition of having advanced parametric options within the L-ISA Trackers settings page.

Designed by Modulo Pi, Modulo Kinetic is a high-end fully integrated media server solution.

The new v3.3 of Modulo Kinetic includes full integration of L-ISA, enabling real-time interactions between video and spatial audio.

The spatial audio system is now included in Modulo Kinetic’s extensive library of preloaded www.mondodr.com

devices, allowing bi-directional interactions between Modulo Kinetic and L-ISA. In addition, KineMotion, the tracking module within Modulo Kinetic, becomes a certified tracking system for L-ISA. Conversely, Stagetracker II is a radio frequencybased 3D tracking system for audio, video, and lighting that natively uses the OSC communication protocol and supports PSN. Offering an intuitive L-ISA setup page within its software user interface, Stagetracker II can be reliably used in any environment - indoor or outdoor - and radio frequency tags can be conveniently hidden underneath costumes and clothing.

Robert Juliat’s Spot Me is a manual, user-friendly 3D tracking device relying on a followspot operator. With a fast and easy set-up, SpotMe is able to produce tracking information in realtime with no emitters or cameras. Integrating PosiStageNet (PSN) positioning data output format, PSN is easily converted to OSC in the L-ISA OSC Bridge. www.l-isa-immersive.com

RECRUITING? If you or your company are currently hiring, mondo*dr is offering space to advertise your roles on a new jobs mailer.

If you are looking to fill positions in the live events and technology entertainment sector, contact Fran for more details: f.begaj@mondiale.co.uk

140 IN DETAIL

AVOLITES | INTEGRATION WITH PIONEER DJ’S PRO DJ LINK

Avolites, a leader in state-of-the-art visual (lighting control) canvas consoles, media servers, networking products and dimmers for the entertainment industry has announced its integration with Pioneer DJ’s PRO DJ LINK* on both its Titan and Ai platforms. This exciting new innovation allows users to easily receive realtime feedback from the DJ to their consoles. The features include Pioneer DJ Waveform Display that allows the operator to see the live waveforms from the CDJs in a workspace window and Pioneer DJ BPM Trigger that gives the operator the ability to automatically trigger BPM masters directly from a chosen CDJ in the set-up.

Avolites continuously strives to innovate new, reliable and constructive features that will give users state of the art performance. This latest integration with Pioneer DJ is set to redefine visual control in the clubbing world by allowing operators to focus more on creating impactful looks and shapes instead of manually pushing executor buttons or entering values. It also

removes any guess work, with operators able to anticipate changes in the music with ease, so the visuals are always in sync. The software is a first-party integration, removing the need for complicated set-ups and Pioneer’s PRO DJ LINK BRIDGE handles all of the communication, eliminating any possibility that the integration could cause issues with the Pioneer DJ system itself.

“The direct integration with the console makes the system quick and easy to setup, making it ideal for busking and nightclub environments. I’m excited to see what people do with the integration and for opportunities we have for further integration with Pioneer in the future,” said Fraser Stockley, Senior Software Developer, Avolites.

“At Avolites we’re passionate about delivering innovative new features to our users that aid them to reach the heights of their creativity and craft,” added Paul Wong, Managing Director of Avolites.

“Synchronising the DJ with the lighting and video will allow more accurate visual interpretations of www.mondodr.com

the DJ set. We’re very excited to be working with Pioneer DJ to allow our respective technologies to be integrated and we’re certainly looking forward to experiencing inspired performances from our global users.”

The software is compatible with Pioneer’s CDJ2000NXS2, DJM-900NXS2, DJM-TOUR1, CDJTOUR1 with rekordbox DJ software.

Avolites is looking to release these updates in the summer, along with its latest updates to the Titan and Ai software. The PRO DJ LINK will be compatible with Pioneer DJ professional DJ set up, Avolites Titan consoles and Ai media servers using their free specialised app, PRO DJ LINK Bridge. *PRODJ LINK is a trademark of AlphaTheta Corporation (Pioneer DJ Corporation changed its company name to AlphaTheta Corporation as of January 1, 2020). www.avolites.com www.pioneerdj.com

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142 P RODUCT GUIDE

mix•ing con•sole

[miks-ing kon-sohl] n.

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

PRODUCT GUIDE

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Lawo designs and manufactures pioneering network, control, audio and video technology for broadcast and post-production, as well as live performance and theatrical applications. Products include control and monitoring systems, digital audio mixing consoles, routers, and video processing tools, as well as solutions for IP-based audiovisual infrastructures and routing systems.

All products are developed in Germany and manufactured according to the highest quality standards at the company’s headquarters in the Rhine valley town of Rastatt, Germany. www.lawo.com

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144 P RODUCT GUIDE - MIX ING CONSOLES

APB Dynasonics ProRack - House H1020 The ProRack - House H1020 is a small-format mixer that incorporates a wealth of professional features and exceptional performance in a ten rack space unit. The audio design uses minimum phase-shift circuitry, expressive EQ and integrated BurrBrown microphone preamplifiers in a proprietary front-end circuit. The chassis design features an adjustable connector assembly that freely rotates and can be set to three different angles relative to the front panel. This allows the input and output jacks to be properly positioned, whether the mixers are mounted in a vertical rack, slant rack or used on a desktop.

The unit provides 16 input channels with four operating in a dual mono or stereo configuration. All input channels have insert points and direct outputs to feed external recording devices. Four subgroups can also be used as additional line inputs. ProRack-House includes six auxiliary outputs along with left, right and two additional mono outputs, all on balanced XLR connectors with bus inputs and inserts. The power supply is a plug-in assembly that can be easily field replaced by removing six screws. Special care has been taken to reduce RF interference and eliminate any PIN1related problems.

The result is a product that offers superior audio quality, reliability and serviceability. www.apb-dynasonics.com

Allen & Heath Avantis The third mixer based on Allen & Heath’s 96kHz XCVI FPGA engine, Avantis is a 64-channel, 42 configurable bus console, with dual full HD touchscreens, a super-flexible UI, extensive I/O options, add-on processing from the company’s flagship dLive mixing system, and a rugged full metal chassis.

Based around two 1080p full HD touchscreens, Continuity UI offers a seamless connection between the physical controls and the displays, dynamically surfacing the information users need at any moment and putting control right at their fingertips.

While Allen & Heath expect most users will opt for a GX4816 as a partner I/O product, Avantis connects to the entire range of Allen & Heath audio expander hardware, making it easy to put together the perfect system whether you’re an owner/operator or a rental company with existing A&H I/O stock.

Two additional I/O Ports allow Avantis to benefit from the full range of current dLive option cards, including Dante (64 x 64 and 128 x 128), Waves, gigaACE and MADI, expanding the scope for system integration, FoH/monitor splits and multitrack recording.

The dPack add-on enables additional dLive processing including Dyn8 (16 instances), DEEP Compressors, and the Dual Stage Valve Preamp, plus more models as they’re added. www.allen-heath.com

Avid S1 The Avid S1 offers the unparalleled speed, rich visual feedback, and software integration of Avid’s high-end consoles in a slimline surface that’s an easy fit for any space or budget. Avid S1 gives the user deep handson control of their favourite audio and video software. Together with the free Avid Control app on your iPad or Android tablet, it provides great ergonomic efficiency, easy touch workflows, and Avid S6-style metering and processing views, so users can mix more intuitively and turn around better sounding mixes fast.

While Avid S1 fits easily between the display and keyboard, it packs a lot of mixing power into its small surface.

From motorised faders and knobs that respond to touch, to fast-access touchscreen workflows and soft keys that enable users to perform complex tasks with a single press, S1 provides the speed and versatility to accelerate any music, audio post, or video project. www.avid.com

Cadac CDC Five Cadac’s CDC five takes the unrivalled audio performance, latency management and next-generation glass-cockpit touchscreen-based user experience of the CDC six and CDC seven-s to a new, all-time competitive price point; making the CDC five a unique and highly competitive entrant in the mixing console market.

The CDC five runs 96k/24-bit audio and can provide up to 48 inputs and 24 assignable busses, plus LCR and monitors in FOH mode, or 30 assignable busses when operating in monitor mode. It features a single 23.5-inch touch screen with 28 encoders and 16 faders, plus dual banks of a total of 40 user-assignable buttons.

The rear panel boasts 16 analogue inputs, eight analogue outputs and eight digital inputs and outputs, as well as an integrated 64 by 64 Waves card. It has dual MegaCOMMS ports, enabling additional MegaCOMMS I/O interfaces to be connected.

The advantage of the CDC five over other comparative consoles, apart from its intuitive operation, is the audio quality and a total through-system propagation delay, including all console processing and A-D/D-A conversions, of an astonishing 37 samples ( at 96kHz), or just under 400us. www.cadac-sound.com

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145 P RODUCT GUIDE - MIX ING CONSOLES

Dynacord CMS 600-3

DiGiCo Quantum3³⁸ DiGiCo Quantum3³⁸ is based on seventh-generation FPGAs and includes 128 input channels with 64 busses and a 24 by 24 matrix, all with full channel processing. There is a new look and feel dark mode application and three, 17-inch 1,000nit, high brightness, multi-touch screens, allowing both the meter bridge and soft quick select buttons to be displayed on each screen. There are also 70 individual TFT channel displays, and the floating Quantum chassis features 38 by 100mm touch-sensitive faders laid out in three blocks of 12 fader banks, plus two dedicated user-assignable faders, each complete with high-resolution metering.

A new level of local audio connectivity and performance comes via the ‘Ultimate Stadius’ 32 bit ADC and DAC conversion, which are built into DiGiCo Quantum3³⁸ as standard, alongside six single or three redundant MADI connections, dual DMI slots and a built-in UB MADI USB recording interface.

Mustard Processing, Spice Rack, Nodal Processing and True Solo are also standard on the DiGiCo Quantum3³⁸. www.digico.biz

Thanks to its impressive feature set, the CMS 600-3 mixer is the ideal choice for all professional applications in which few channels, yet high audio quality, are required.

Being light and compact, it poses no transport problems. The CMS 600-3 mixer is also a great solution in many fixed installation applications.

Featuring an intuitive mixer section with eight input channels and two highquality FX effect processors, editable with 100 factory and 20 user presets.

The CMS 600-3 is a versatile and user-friendly mixing console.

Includes professional four-by-four 24-bit/96kHz USB interface, recording software and MIDI interface for FX effects control and stereo EQ for the main mix. www.dynacord.com

Lawo mc²56 Lawo mc²56 audio production console features compact size, flexibility and versatile design, for applications as diverse as broadcast trucks and studios to live performance and recording. It is optimised for today’s IP-video production environment, designed from the ground up for networking in complex production infrastructures, with full native support for SMPTE 2110, AES67 / RAVENNA, DANTE and MADI audio streams. New networking performance features include IP-Share gain compensation and DSCA Dynamic Surface to Core Allocation. The console is incorporating LiveView thumbnail previews of associated video streams, enhancing user accuracy in fast-paced production situations Broadcast Highlights: Multi-user operation, AutoMix, upmix, downmix and optional Lawo KICK, Audio-Follow-Video functionality, integrated 3D/ Immersive mixing tools and parallel compression.

Recording Highlights: Dynamic time-code automation, Lawo-grade mic preamps and processing, DAW remote control and a customisable signal chain with four independent dynamic modules.

Performing Arts Highlights: Selective recall, oversnaps (relative trim-sets), theatre automation cue list including multiple triggers (MIDI, GPIO, LTC), Waves SoundGrid and Neumann DMI-8 digital microphone integration, and mirror-console operation.

Available in frames from 16 to 112 faders (dual fader version: up to 144 faders), 8,192 x 8,192 crosspoints, 888 DSP channels, 144 summing buses and 128 Aux buses at 44.1 - 96kHz operation. www.lawo.com

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146 P RODUCT GUIDE - MIX ING CONSOLES

Midas Heritage D The Midas Heritage D works with existing Midas DL I/O and features 28 faders, 1152 inputs/outputs in total. With 144 flexible inputs, 96 flexible aux sends, left/right/mono, 24 dedicated matrix busses, two monitor busses, two solo busses, and 24 effects slots, with effects from TC and new emulations of classics built for the desk. It runs at 96kHz, with Midas’s famed processing delay compensation and phase alignment giving a maximum latency of 2ms. The most striking feature of the Heritage D is the huge touch screen and the whole design is ergonomic, friendly and solidly built.

The first of the consoles’ innovative features is its internet connectivity to the cloud. This means that firmware upgrades can now be done without a separate download and connection, and various versions can be accessed for up and downgrades. All your show files, in every version, time and date stamped, are stored in a cloud account with no more multiple show files on USB sticks. This also makes remote bug reports and fixes possible.

With built-in RTAs using flexible processing (no more taking up effects slots), incoming signals can be analysed and their source determined. While this feature is still being tested, most of the time it can identify instruments correctly and prompt to load the appropriate labelling, presets, and so on. This can then apply to the most powerful feature of the Heritage-D: metadata.

Everything in the Heritage-D can be tagged with metadata including channel names, functions, buttons and processing. This means users can bring up a page showing all channels that are tagged with certain parameters, for example, all channels with a compressor inserted, or gate, or both. They can then be adjusted simultaneously. www.midasconsoles.com

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

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

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

PreSonus Studio Live 64S With 128 (64 x 64) channels of USB recording, 128 channels of AVB I/O, flexible routing options, and the studio-grade audio quality that made PreSonus StudioLive mixers famous, the StudioLive 64S delivers a truly exceptional mixing and recording experience that’s in a class of its own. Powered by the quad-core FLEX DSP Engine, the StudioLive 64S is equipped with 76 mixing channels, 43 mix busses, and 526 simultaneous processors, including State Space modelled Fat Channel plug-ins on every input channel and mix bus.

A complete recording solution, StudioLive 64S mixers ships with PreSonus Capture, which runs on both a computer and natively on the mixer, allowing users to record to a computer over USB, directly to an SD card - or both simultaneously for live recording and automated virtual soundchecks. No other multitrack software makes recording as fast and simple.

Oh, and did we mention that users can patch any analogue input or digital return (AVB, USB, or SD Card) to any channel? This flexible feature also allows the user to freely route audio to an AVB network and record any of the inputs and FlexMixes on the 64 USB sends. www.presonus.com

Roland M-5000 The Roland M-5000 console’s internal mix architecture is not fixed and can be freely defined within a range of up to 128 input/output channels/busses. This allows the user to essentially build a console structure based on the immediate needs of the application. This makes for a console that accommodates high levels of flexibility for precise response to dynamically changing applications and venues.

Adaptable to numerous audio networks and I/O needs, expansion options including Dante, MADI, Waves SoundGrid, REAC and XI-SD,I opening the door to endless configurations, applications and emerging standards.

Up to 300 inputs and 296 outputs (and more at 48kHz) are managed in separate patchbays. Any input can be patched to any or multiple outputs, including control of gain and phantom power, without having to be patched through a mixing channel. OHRCA makes it possible to control an enormous number of input and output channels across multiple protocols and formats.

The M-5000 maintains all the fidelity of the original source, starting with a high sampling rate of 96kHz. The discrete circuitry was precisely designed with careful component selection and circuit architecture, separation of analog and digital sound modules. www.roland.com

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SHAPE YOUR SOUND. Amsterdam Hall 14 Stand H140

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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.

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148 P RODUCT GUIDE - MIX ING CONSOLES

Solid State Logic ORIGIN As the latest in a long heritage of SSL studio mixing consoles, ORIGIN has traditional analogue studio workflow at its heart, while providing the perfect partner for a modern DAW-driven hybrid production studio. ORIGIN takes a fresh look at what a large format console needs to do to work in harmony with a modern DAW driven production studio.

The functional design looks back at the origin of in-line consoles for signal flow inspiration, but its circuits are at the cutting edge of SSL’s latest analogue developments. These new analogue designs deliver huge dynamic range and bandwidth yet still have the characterful, pleasing qualities of space and depth that analogue breathes on digital audio. www.solidstatelogic.com

Soundcraft Si Impact 2.0 Drawing on over 40 years experience in live sound mixing, Si Impact brings the latest digital mix innovations together with the unrivalled sound quality of Soundcraft. Designed to be as simple as an analog mixer, but offer radical workflow enhancements such as the unique FaderGlow system, massive DSP power, and a pristine 32-in/32-out USB audio interface, Si Impact delivers digital live sound mixing and recording for those who refuse to compromise on audio quality.

The newest firmware - V2.0 Build 0012 optimises performance with the free ViSi Remote iOS application and clarifies terminology when routing to or from stage boxes. www.soundcraft.com

Studiomaster ClubXS The Club XS is a range of compact and portable mixing consoles.

Offering all the features and specifications required from mixing consoles at this level, at a great price point. With features such as THREE band EQ, builtin channel compression, DSP effects and a hugely versatile Bluetooth/MP3/ USB/SD playback and recording system.

Available in five, six, eight, 10, 12 and 16 input models with either one, two, four, six, eight or 12 microphone channels. All of the Club XS range, feature two stereo input channels, a 16 programme DSP effects unit, Bluetooth connectivity and a USB/SD card facility for stereo recording and playback, making the Club XS the perfect mixing console for home recording and live performance. www.studiomaster.com

Yamaha RIVAGE PM Yamaha’s flagship RIVAGE PM system sets a new industry standard for ease of operation, flexibility, expandability, reliability and, most of all, sound quality.

RIVAGE PM’s hybrid microphone preamplifier design features an analogue section with Yamaha’s Natural Sound concept in its most advanced form.

Meanwhile, in the digital stage, VCM digital modelling technology recreates the characteristics of Rupert Neve Designs transformer circuitry and acclaimed SILK RED and BLUE processing, to achieve an extraordinarily musical, spacious sound.

This is complemented by a unique selection of authorised third-party, hardware-based plug-ins from acclaimed industry names like Eventide and tc electronic. A wide range of plug-ins from Yamaha’s legendary Dr K’s Lab - like the award-winning DaNSe advanced noise suppressor - make a big difference in mixing large, complex shows, allowing the engineer to concentrate completely on the sound and not audio problem-solving.

RIVAGE PM features an intuitive workflow, familiar to anyone who has previously mixed on any Yamaha digital console, while the reliability of a system from Yamaha goes without question. With both TWINLANe and Dante networking, an extensive global support network and the choice of PM7 and PM10 systems - the latter with two sizes of control surface RIVAGE PM is the digital mixing solution the industry was waiting for. www.yamahaproaudio.com

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1. ADJ Hydro Wash X7

3. APG iX Range

The latest addition to ADJ’s ground-breaking Hydro Series of IP65-rated professional moving head fixtures, the Hydro Wash X7, harnesses the power of seven 40W Osram four-in-one RGBW LEDs. Each LED can be controlled independently, which allows for the creation of dazzling visuals through full pixel-mapping. The unit also offers motorised zoom with a wide range of between six and 40º. This makes the fixture equally suited to generating large washes of punchy saturated colours as it is to creating narrow solid beams ideal for impactful aerial effects. www.adj.com

The new iX range is characterised by a combination of uncompromising drivers and a non-diffraction acoustic baffling that allows pure point source directivity. For some of the iX models, APG has created coaxial devices that strike a perfect physical alignment between low and hi transducers. The line is made up of five coaxial loudspeaker models: iX5, iX6, iX8, iX12 and iX15; all of which are two acoustic way loudspeakers loaded in bassreflex for low-frequency extension. From an acoustic point of view, the iX range offers stunning musicality down to low mid and even low frequencies and is characterised by an impressive SPL to size ratio and exceptional sound clarity. www.apg.audio

2. Analog Way Aquilon RS alpha Aquilon RS alpha offers eight seamless HDMI 2.0 inputs, four HDMI 2.0 outputs configurable as single screens, edge-blended widescreens or scaled auxiliary outputs, two dedicated 4K multiviewer outputs and up to four 4K or eight HD freely assignable mixing layers in a 4RU chassis. Aquilon RS alpha’s modular design allows to easily swap I/O cards to accommodate a variety of connectivity arrangements to match the source and display requirements. Like all products in the LivePremier range, Aquilon RS alpha combines industrial grade reliability, real-time 10/12-bit 4:4:4 video processing power compliant with HDR and pure 4K60p on each input and output with ultra-low latency.

With the native Dante audio routing capability, up to 64-channels of audio can be embedded or de-embedded over a Dante network.

Aquilon RS alpha is controlled by a cutting-edge HTML5-based user interface that simplifies configuration and operation through unique features such as live program/ preview workspaces, multi-operator collaboration, keyword search and multi-language support. www. analogway.com

4. CHAUVET Professional Maverick Storm 1 Spot The 480W cool white moving spot fixture takes outdoor reliability to a new level, not just with its IP65 rating, but also with aluminium alloy housing, marine grade 316 stainless steel screws, M12 Gore valves and a sunshield optical protection system. The Maverick Storm 1 Spot delivers a flat even field of light with variable CMY and CTO colour mixing to create a wide palette of colours. Other features include an 8º to 48º zoom angle and field angle, 16-bit dimming for smooth control of fades, five-facet motorised and rotating prism, animation wheel, iris for beam control, and independently controlled light and medium frosts. The Maverick Storm 1 Spot also offers a wide array of gobo options. The fixture has seven glass rotating and indexable gobos on wheel one and nine metal static gobos on wheel two. www.chauvetlighting.com

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5. Clay Paky SHARPY PLUS AQUA The SHARPY PLUS AQUA luminaire is an IP65-rated moving head fixture perfect for outdoor events, touring, permanent installations, and much more. Clay Paky addressed and enhanced the design of the SHARPY PLUS AQUA in critical areas to make sure this fixture maintains brightness, efficiency, and performance.

The cooling system was redesigned and optimised specifically for this new outdoor configuration for the Osram Sirius HRI 330W X8 lamp currently used in the Sharpy Plus fixture. This lamp is a proven performer in its reliability, output, and being consistent in both brightness and colour temperature.

The SHARPY PLUS AQUA fixture offers beam or spot mode. The 3° to 36° zoom covers the entire zoom range linearly with a beam that is always perfectly sharp and uniform in either mode. The SHARPY PLUS AQUA also offers the same complement of prisms, rotating and fixed gobos, colour wheels, CMY colour mixing, and more. www.claypaky.it

6. Community Edition L8 CE L8 CE is a new product introduced in the world of three-dimensional visualisation. The difference with the full commercial version is that it does not use a USB key, updates and support are limited to one year from the moment of activation, as well as some restrictions on the number of DMX inputs and the number of fixtures.

The L8 CE license uses the same code and libraries as the full L8 software, and can be easily unlocked with a USB key plugged in.

The L8 CE may be a good solution for simultaneously using the software on a preprogramming workstation and for everyone else involved in the process of creating the show. www.l8.ltd

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1. Hylite Lotus Lamp

3. Prolight Concepts Fury Series

The HyLite LED Lotus Lamp is designed for a quick and easy installation. The LED is available in 20W, 30W, 40W, 60W, 80W and 100W options. The 20W and 30W share the same chassis and will retrofit into the PAR46 Can. The 40W and 60W share the same chassis and will retrofit into the PAR56 Can. The 80W and 100W share the same chassis and will also mount into the PAR64 Can. The HyLite LED Lotus Lamps feature excellent optics for increased visibility and low power consumption. It is available in multiple beam angles: 150, 250, 400 and 1,200 for ideal light distribution. With lamp life of up to 60,000 hours, HyLite LED Lotus Lamps significantly reduce energy consumption and re-lamping, maintenance, and disposal costs.

The Lotus Lamp has dimmable and non-dimming options. All non-dimming Lotus Lamps have an internal 100-277VAC driver. The dimming Lotus Lamps have one of two style dimming devices. The 20W, 30W and 40W Lotus Lamps have a 120VAC integrated driver with a Triac based dimming system. The 60W, 80W & 100W Lotus Lamps have a 100277VAC external driver with a 0-10V dimming system. www.hyliteledlighting.com

eLumen8 have continued to expand its LED blinder line up and broaden its horizons even further by adding these powerful fixtures to the mix. The IP rated Fury Series are available in either two or four cell versions and come loaded with 90W COB LEDs, providing intense tungsten emulation. This provides the designer with a ‘hybrid’ blinder and strobe unit in one fixture, with the added RGB backlight feature giving no end of possibilities for both indoor and outdoor installations, stage, theatre, live or touring applications.

These IP65 multi-use fixtures have a robust housing that meets the demands of the touring and rental markets, whilst still looking super sleek. Each LED pod has a 50° beam angle and the angle of each pod can be manually adjusted thanks to its protractor style markings giving accuracy and ease. www.prolight.co.uk

2. NEXT-proaudio i Series This series comprehends the i4, a four-inch low frequency transducer and a 0.8-inch dome tweeter, the i6, a six-inch low frequency driver with a one-inch high frequency driver, and the i8 composed by an eight-inch low frequency transducer with a one-inch driver.

The loudspeakers are housed in a stylish weatherproof plastic cabinet (IP65), designed for indoor and outdoor applications. The i Series loudspeakers have a four-positions Phoenix connector located on the back plate. The screw connector provides a faster and easy way to wire the system allowing the loudspeaker to perfectly fit the wall shape.

This loudspeaker is an ideal solution for PA applications. For even greater versatility, the whole series’ loudspeakers can be used at 100V or 16 ohms. In high-impedance (100V) operation, a multi tap transformer is available with three different taps to be used according to the pretended 100V power and impedance needed. www.next-proaudio.com

4. Tasker C728, TSK1038, T42, TR11, C725, C862 The first cable series is for audio and lighting and includes the TSK1038 PUR and C862.

TSK1038 is a single pair DMX with a two by 0.35 mm² section and braided tinned copper shielding. The C862 is consists of two by 0.35 mm² with the addition of Kevlar traction inner elements.

The second series is for video broadcast transmission and involves the T42 PUR and TR11 PUR. The T42 PUR is a coaxial HDSDI with a stranded conductor and tinned copper double braid, allowing a 12GSDI signal transmission of up to 70-metres or 3GSDI up to 100-metres. TR11 PUR is a triaxial cable with a stranded silver-plated copper conductor and double braid. These two solutions are assembled with Schill GTS0 and GTRM Series cable drums.

The last series comprises of tasker C725 PUR, C728 PUR e C726 PUR. The first one is a Cat.5e S.-U.T.P. 26/19 AWG with braided shielding and double sheath, perfect for communications on the DANTE protocol. The second is a Cat.6A S.-F.T.P. 24/7 AWG with single shielded pairs of aluminium foil, tinned copper and double sheath; ideal for video transmission on the HD-BASET protocol. The C726 PUR is a Cat.7 F.T.P. 26/7 AWG with single shielded pairs of aluminum foil and tinned copper braid, perfect for the typical data centre’s high connection speed. www.tasker.it

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“We’re bringing cutting-edge steerable sound solutions to the market in a way that simply isn’t offered by anyone else.”

MATT CZYZEWSKI President, Renkus Heinz How did you get involved in the audio industry?

Before taking on the role of President at RenkusHeinz in May of 2019 I had worked for Biamp for 22 years. During that time, I had a number of roles, ranging from product manager to chief executive officer. At the core of what drives me - and, I believe, this industry - is a commitment to, and love for, innovation, science, engineering, integrity and building a corporate family. I’m lucky that I’ve found a company that shares those ideals in Renkus-Heinz.

Renkus-Heinz has been around for over three decades, what do you think the secret is to that kind of longevity?

A big component of Renkus-Heinz’ success is in the ideals noted above. Co-founder Harro Heinz still takes a hands-on role with the company, and that’s because he loves what he has built here. Three generations of the Heinz family work in the building today, but the idea of family goes far beyond that.

It is incredibly common to celebrate 20 or 30-year work anniversaries at Renkus-Heinz. When you have people committed to the company and the Renkus-Heinz corporate family, you see pride in ownership from all.

Furthermore Renkus-Heinz is a genuine technology leader. We’re bringing cutting-edge steerable sound solutions to the market in a way that simply isn’t offered by anyone else. You see this in our DC12/2 ultra-compact steerable array, which has a form factor to put digitally steerable sound in more types of places - such as corporate, hospitality, or small-to-medium-sized businesses across multiple verticals. The DC12/2 also demystifies access to the technology of digitally steerable audio as it comes with a mobile application that allows people to set up steerable sound quickly and effectively, with no more steep learning curve required to get perfectly positioned audio.

You were named president in May last year, how do you see the company progressing under your leadership?

Since May we have been extremely focussed on two

key products: the DC12/2 and the ICLive X Series - a steerable solution that provides extreme flexibility and scalability as it can be built into 12-unit-tall arrays. Between these two offerings, we are bringing an extreme level of precision sound to nearly any environment - from live performance and theatre installations to the corporate boardroom and high school gymnasiums.

Without getting into the engineering specifics, these two offerings have truly cutting-edge technologies within them. This type of innovation and our ability to deliver that innovation to the market is what is going to continue to improve life for end-users, elevate our brand, and strengthen the organisation going forward.

Renkus-Heinz was an early advocate of digital steerable technology, what is the company doing to refine and improve that technology?

The word ‘demystify’ is going to be important as we move forward in development. As noted, we provide a mobile application for the DC12/2 that comes with multiple presets that can be tuned based on room shape and size. Furthermore, we’re making sure we have the ability to provide effective scalability for larger venues and the rental market with our ICLive X Series.

The result of these types of solutions is that steerable arrays and sound positioned for performance is available not only in more types of businesses, but also in more types of applications within the businesses we serve. Moving forward we will find ways that make this process more intelligent, which in turn makes steerable audio more accessible to all.

What are your hopes for the future of the company?

The future of Renkus-Heinz will be firmly backed in our ability to continually improve sound-based experiences for people around the world, and in all types of applications. To do this we will continue to offer more accessible and cutting-edge technologies,

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while also working to expand our outreach to integrators and contractors so we can collaboratively find more ways to use steerable sound. If we do that, we build a better business for the end user, the integrator, and for Renkus-Heinz.

If you didn’t work in the audio industry what would you be doing instead?

I would be working in some capacity in the wine industry.

What has been your favourite project to work on to date?

While I can’t share the name of the location quite yet, we recently worked on a theatre that provided a truly immersive experience across the board from the visual to the sensory. Seriously, it provides weather effects in the theatre! The sound in this application was mission-critical as it serves as the unifying factor that blankets the audience in the experience. Renkus-Heinz offerings were critical in this project as they place the sound where it belongs: on the audience. When you see applications like this - where all components of audiovisual work magnificently together - you see why steerable audio is so critical to an awesome audiovisual experience.

Are there any specific milestones in your career you could highlight?

There are two moments that I can think of immediately. The first is when I started working for an integrator when I was still in high school and then continued with them through college - in fact, that paid for my engineering degree. Second is when I became the Vice President of Engineering at Biamp, which is what put me on the path to think more holistically about business and how to manage a company.

What is your desert island disc?

This is such a tough question because there are so many that I hate to leave out. I will go with Roy Hargrove’s ‘Earfood’, but ask me this question tomorrow and you will get a different answer.

DRIVING HUMAN AUDIO EXPERIENCE