mondo*dr 30.4 by Mondiale Media

THE INTERNATIONAL PUBLICATION FOR TECHNOLOGY IN ENTERTAINMENT

ROG MOGALE & ALEX SKAN

The founders of Void Acoustics discuss their memorable journey with the company.

THEME PARKS & ATTRACTIONS

The latest projects from the interesting world of theme parks and attractions.

MAY / JUNE 2020

MEDIA SERVERS & PROJECTORS A round-up of the latest media servers and projectors.

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MONDO*DR 30.4 MAY / JUNE 2020

to feature in our Sound & Vision section, get in touch! In this issue, we’ve focussed on the everinteresting world of Theme Parks and Attractions for the report, while our Product Guide features all the latest, state-of-the-art media server and projector technology. We’ve covered some incredible venues, too, including an impressive d&b audiotechnik install at Hard Rock Hotel London, as well as a full audiovisual and lighting project at Chicago’s latest nightclub - Dance Studio Vol. 1. Finally, don’t forget to submit your entries for the mondo*dr Awards Americas! The deadline is June 1: www.mondodrawards.com Stay safe and see you soon.

N EO &

In the last issue, I mentioned that the industry was heading into a period of uncertainty as the Covid-19 virus began to take effect and we saw tradeshows cancelled. That uncertainty has since become our new reality, however, despite the difficulties, we’ve seen plenty of ingenuity as the industry began to instantly adapt, learn and overcome. From online training through to virtual events, companies are offering countless opportunities during this difficult time. Here at Mondiale Media, we’ve created a portal where you can view these opportunities: www.productionfutures. co.uk/online-training-and-events/ We’ve also launched Sound & Vision - mondo*dr’s place for podcasts and video interviews for the industry. Emma Davidson has kicked things off with a fascinating interview with Void Acoustics: www.mondodr.com/sound-vision/ - if you’d like

Innovation, performance and reliability make Celestion the drivers of choice for a growing number of professional audio manufacturers. Visit our website or contact us now to find out more about our comprehensive range.

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Mondo DR (ISSN 1476 4067) is published in January, March, May, July, September, November and December by Mondiale Publishing Ltd, Strawberry Studios, Watson Square, Stockport, SK1 3AZ, UK Subscription records are maintained at Mondiale Publishing Ltd, Strawberry Studios, Watson Square, Stockport, SK1 3AZ, UK

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9 CONT ENTS

CONTENTS

14 IN DISCUSSION 18 INSIDE VIEW

ROG MOGALE & ALEX SKAN The founders of Void Acoustics chat to mondo*dr about what influenced the company and their creative minds.

IN DEPTH 26 INTERVIEW Rog Mogale & Alex Skan - Void Acoustics 38 REPORT Parks & Attractions

IN FOCUS 64 ADEO EVENT HALL Israel

82 CITY SOCIAL Audiologic and Excite AV combine to deliver a QSC audio system at the Michelin star restaurant.

66 ROXY BALL ROOM Birmingham 70 HARD ROCK HOTEL London 76 ZONA EL PARKING Alicante 82 CITY SOCIAL London 88 VERSE Los Angeles 90 DANCE STUDIO VOL.1 California

100 GRANDE CENTRE POINT HOTEL Thailand

DANCE STUDIO VOL.1 Chicago’s newest after-dark discotheque has been gifted a whole new audiovisual system, installed by Craft Lighting and Sound Investment Audio.

IN BUSINESS 104 PRODUCT FOCUS Avolites 108 IN DETAIL Optocore, ARRI, Link

104 AVOLITES An in-depth look at Avolites’ Ai v12.1 and Q-Series media servers.

www.mondodr.com

114 PRODUCT GUIDE Projectors & Media Servers 124 PRODUCT DIRECTORY 130 LAST PAGE INTERVIEW Sadie Groom - WAVE

10 AD INDEX

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14 IN DISCUSSION

FROM MAJOR FESTIVAL STAGES, TO TEMPORARY HOSPITALS AND MOBILE EMERGENCY RESPONSE CENTRES In the wake of the Coronavirus outbreak, Mountain Productions refocusses to community efforts.

Mountain Productions Inc., the largest staging company in North America, is refocussing efforts to help communities and government officials by providing temporary and mobile large-scale emergency response centres and hospital structures in the wake of the Coronavirus outbreak. The company has seen a show of great solidarity across the industry with over 25 leading industry partners joining its Emergency Services Platform. It has also gained support from the Country Music Association as a charity partner along with other organisations. As well as providing the temporary structures, Mountain Productions has also manufactured anti-microbial vinyl protective gowns for the first responders. These gowns have been rolled out to thousands of hospitals and into the hands of doctors and nurses on the frontline, supplying them with necessary PPE to deal with the pandemic. “We are proud that thousands of our gowns are already deployed and in use. Our team will continue to manufacture at full capacity to keep up with the rapid requests from the healthcare community to meet the deep need during these turbulent times,” said Ron Rose, Global Managing Director.

• Above A member of the Mountain Productions team manufacturing the anti-microbial vinyl protective gowns for frontline workers.

www.mondodr.com

5-6月刊.pdf 1 2020/4/17 17:38:17

CMY

1 16 5 IN DISC IN DISCUSSION USSION

Mountain Productions understands the rigours and tight timelines required for temporary construction due to its vast entertainment production experience with work on events such as Coachella, Ultra Music Festival, Live 8, Papal Visits, The White House Christmas Tree Lighting and the NFL Draft. Therefore, in an effort to help combat this current pandemic it has harnessed its experience to create a series of innovative emergency response structures from existing equipment to produce customisable large scale mobile hospitals and emergency response structures that accommodate up to 30,000 sq ft, along with smaller mobile testing centres, and temporary living quarters. With a large global engineering and design team, the company can

also tailor smaller structures and provide bespoke solutions for Health Care systems with limited space. With a staff of more than 150 and facilities in Pennsylvania, Los Angeles, Las Vegas, and Dublin, Ireland, the company is available to deploy these structures globally on an immediate basis with a build time of three days. “This is a time where our company’s innovation can meet our nation’s need with incredibly unique solutions. We are ready and able to do so and deploy our equipment immediately to support America and those across the world,” said Ricky Rose, CEO, Mountain Productions Inc. Mountain Productions has also been involved in the Dear Heroes in Dublin initiative, which has

www.mondodr.com

seen the walls of the city lit up with messages of love, kindness and gratitude sent from all over Ireland for frontline workers. This campaign will also soon be rolled out across the USA. In this time of crisis, the Mountain Production team is ready to band together to address needs across local, state and federal level to help ease the strain on medical facilities nationally. If you, your company or someone you know has structures or equipment that might aid in these efforts, Mountain Productions is inviting you to participate. We are all in this together and if you have the resources, their team will step up to ensure they are deployed to address this crisis. www.mtnemergencyservices.com

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18 INSIDE VIEW

G-SMATT EUROPE Launched in 2017, G-SMATT Europe is a division of the G-SMATT brand, initially started and developed in Seoul, South Korea. The company, famed for its magical media glass, transforms building façades, shop windows, and festivals into unique, immersive experiences by allowing motion media to be shared and displayed by the glass, and even, in some cases, controlled by audiences. The transformational nature of the technology has already changed and influenced the digital cityscapes of Asia, and the company is now looking to process and present its ideas across Europe, too. www.g-smatteurope.com

Located in Oxford, UK, G-SMATT Europe has already implemented its products into a number of installations across Europe. In a short space of time, diverse markets including retail and events, have noticed the impact and effect of G-SMATT’s technology. “Europe is a bit more traditional than Korea,” said Nigel Sims, Chief Operations Officer at G-SMATT Europe. “But, we are starting to see major brands now having to find that sweet spot between their online and offline activity, and anything that brings that kind of online experience through audiovisual technology in the store is, obviously, very on trend at the moment.” “It just looked like a really impressive product when I first came across it,” explained Leo McDowall, Director of Sales at G-SMATT Europe. “I could quickly see that it wasn’t like anything else around. For someone who comes from a technology start-up background, it’s quite rare and exciting for me to see something particularly unique. The term ‘game changer’ gets thrown about a lot these days, but, for me, this

technology is definitely one that could set a new benchmark within the industry. I think Europe is absolutely ready to embrace these big digital cityscapes, and it’s a good enough reason for us to be at the forefront.” G-SMATT’s architectural grade glass is a laminated product composed of 4mm base glass, coated in fluorine tin oxide, which is both conductive and transparent. The surface of the glass is laser etched to make circuitry, and LEDs are then mounted along with the cover glass, which is usually heat soaked or tempered 6mm glass, to allow the finished unit to be rated as a safety glass. A patented resin-type material is precisely poured between the glass layers and hardened using a UV light to form a laminated glass unit. When this process is finished, it is connected to drivers, which are hidden in an aluminium frame. The whole unit can then be connected to DVI controllers and an external power source, which enables it to operate as a fully-transparent glass LED screen. www.mondodr.com

“So, there are a few different ways in which you can use the glass. You can put it onto the outside of a building and create a ginormous, 1,000-metre transparent screen that would be perfect for an installation on a stadium or train station. Another way is to implement it in temporary structures or on freestanding bases. In a shop, for example, the glass can be pushed up to an existing window on a freestanding base to incorporate selected media into the current display,” furthered Leo. More recently, G-SMATT launched the P20 transparent display system, which offers a scalable, mobile solution for both interior and exterior use in a variety of formats. The P20 is designed for any application requiring an engaging visual display on a smaller scale, such as retail and corporate environments, as well as visitor attractions. All that is required is access to a power supply and then media content for the P20, and indeed any G-SMATT product, can be driven by any industry standard, off the

19 INSIDE VIEW

Media façade solutions G-SMATT’s innovative media glass allows companies to turn glass façades into vast canvases, that can incorporate interactive elements, too.

Art installation of G-SMATT glass The company’s products have the scope to cover a range of media installations, including retail, museums, cinema and sports stadiums.

20 INSIDE VIEW

Artistic architecture G-SMATT’s technology has the ability to display images on buildings to create a stunning digital cityscape.

Leo McDowall Leo is the Director of Sales at G-SMATT Europe. He has a degree in Architecture and has spent 15 years growing businesses in the technology, glazing and construction sectors.

shelf software, for maximum versatility and integration with other media systems. “We have found that customers in Europe require higher resolution products that are suitable for smaller environments. The P20 ticks all of those boxes, offering high-impact visual display solutions in a modular, self-contained format. We are the only truly transparent LED glass display manufacturer in the world, so I’m thrilled to be bringing the P20 to market, as it makes our unique technology available to everyone,” explained Leo. A popular brand that has recently implemented G-SMATT’s unique P20 technology is BMW, with new glass displays fixed into some of its showrooms, as well as two other premium car manufacturers also looking to combine the technology with their retail spaces. The direction the company is moving towards at the moment is predominantly centred around the retail industry, with its technologies also featuring in

big chain supermarkets, however there is scope for G-SMATT products to be implemented across more diverse European projects including cinemas, airports, train stations and, of course, theme parks. “These are all typically places where large numbers of individuals would gather and be excited by the technology. It’s also a place where ideas are spread and developed, and we hope our products really do inspire people to transform their current and future projects!” furthered Leo. Looking towards the future, G-SMATT Europe is hopeful that its technology will start to appear and make an impact across more and more installations, whether that be in retail, corporate events or architectural designs. One of the company’s main aims, however, is still to provide high-quality products, alongside high-quality customer service - something that is already synonymous with the brand. “The main thing for www.mondodr.com

us, is to make sure our customers are well looked after. If you look after your customers, they will buy from you, and then they tend to come back for more. I think as a sales marketing and product delivery organisation, that is our focus day to day, rather than trying to be too strategic, as every happy customer seems to draw in more and more happy customers. So, that’s very much what we’re trying to do. “We’ve got a very good team here, we’ve got experts in content and installation, so we can take on pretty much anything. We’ve rolled this out into Europe now, and we’re also getting inquiries in the Middle East, which some of our UK partners are actually working with us on. So, I think that is really where it’s at for us at the moment. I think enormous numbers of companies can see applications for our products, which is great and we’re just happy to support that,” concluded Nigel.

Photography © Camille Blake at Refik Anadol Latent Being, LAS, Kraftwerk Berlin 2019 © Refik Anadol Studio

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IN DEPTH

•Page 26

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INTERVIEW ROG MOGALE & ALEX SKAN VOID ACOUSTICS

REPORT THEME PARKS & ATTRACTIONS

You might recognise the masterminds behind Void Acoustics from a tradeshow floor, an Ibiza super club or the dancefloor of 1990s rave. With a legacy so firmly rooted in dance music, when Emma Davidson sat down with Rog Mogale and Alex Skan, it became very apparent that the diehard dancing duoâ&#x20AC;&#x2122;s past parties had exuded Voidâ&#x20AC;&#x2122;s vision.

28 INT ERVIEW

• Above left 1990s Rog with his very first sound system. • Above right A recent shot of Rog at Void HQ.

Founded in 2002, Void Acoustics has been at the forefront of the innovative loudspeaker design market for almost 10 years. Breaking down the common ‘black box’ audio-style conventions through the creation of gloriously abstract works of art, the company has brought a whole new perspective to its products and the wider industry - supplying international clubs, bars, restaurants and music venues with audio systems that look as good as they sound. Spearheaded by long-term friends and retired ravers, Rog Mogale and Alex Skan, Void Acoustics has had a journey full of fond memories, seeing late nights into early mornings and possessing a mischievous creativity that, for some in the industry, is anxiously ignored. The early lives of both Rog and Alex weren’t necessarily geared towards audio, or even heavily rooted in music, for that matter, but both knew very early on that a career set in sound was for them. “It’s a weird thing,” explained Rog. “I’ve always loved audio from a very young age, but my family weren’t really into it at all. I came from a strict, medical background,

so my parents would have music on in the house, but there wasn’t a huge emphasis on it. I used to play drums and, at three years old, I’d be drawing circles on boxes and making them look like loudspeakers, connecting them to other boxes. My parents would just look at me and say: ‘what are you doing, Rog?’ - their generation was just entirely different. There was something about music and sound that really got me, though. I don’t think you pick a career in life, I think it picks you - and audio definitely picked me.” “It was definitely not a conscious thing, like Rog,” furthered Alex. “My Dad was very much an electronic hobbyist - he was an intellectual. He worked for a computer company and, as you can imagine, it was very different to what you’d understand a computer company to be nowadays. He had a room that was full of electronic projects, and, as a child, I was naturally very curious, so I’d mess around with stuff and choose records from his collection to record on these random pieces of equipment. From then on, I became passionate about music and I really got into the dance

scene when that came to the UK in the late 80s.” The UK music scene of the late 80s / early 90s became an astonishing time for popular culture. With a turbulent political and social climate as a backdrop, young people embarked on what is widely known as the ‘second summer of love’, where dance music, specifically the acid house genre, gripped a struggling nation with repetitive beats and 24-hour parties that created a safe space for creative expression and provided an escape from the established norms. It was where tribes were formed, where like-minded individuals felt relaxed enough to be themselves, and, also, where Rog and Alex first became fully immersed in extroverted audio. “Acid house came along and completely changed everything,” said Rog. “No one gave you hassle about getting into clubs and you were free to just go mad and have the best time ever, but the sound systems at the time were pretty bad. Audio requirements weren’t particularly high - it was more about being seen on the dancefloor, rather than being heard. I wanted to

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30 INT ERVIEW

change this, and, at the time, I had quite a lot of hire equipment that I’d collected, so I started to help out with some sound in clubs across London. I did one club called ‘Whiskies’ and then it just took off - within a month I had over 20 clubs!” For both Alex and Rog, frustration at the poor quality and design of club sound systems really persuaded them to start challenging the conventional idea of audio. Rog explained further: “Me and Alex would walk into clubs and you could tell they had spent millions on the décor - even the lights were starting to look quite sexy, artistic and different, but the loudspeakers were just really horrible black boxes that were hidden away in the

corner. We thought, ‘they’re totally missing a trick here!’ Now, it’s just not acceptable to have a bad-looking sound system and I feel like we have definitely, in some way, dictated that.” For Alex, the momentous shift in culture, brought along by the acid house music scene of the 90s cemented his passion for the industry. “The freedom and attitude brought along by the scene was new and exciting for us. Almost overnight there was this massive cultural shift. Places where you could dress however you wanted and listen to the coolest music you have ever heard in your life started cropping up – and, for me, being an 18/19-year-old kid, this was the best thing ever. To then have

an active role in creating these parties by making something that played this music for people was so rewarding,” said Alex. When Alex and Rog met in 1992, amidst the colourful chaos of club culture, their first encounter was just as roguish as you’d guess it would be. “I don’t think Rog remembers how we met!” laughed Alex. “I got involved in providing the PA for a local event. Part of the event was to get bands and DJs involved and, at the time, Rog was just starting out with his band ‘Tone Def ’ and someone said he would probably be up for doing the gig. So, I went around to his house and woke him up in his bed by asking him if he fancied being part of the event, so that’s how it all began, I guess!”

• Above Void Acoustic’s products are popular across a range of installations including clubs, bars and restaurants.

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32 INT ERVIEW

• Above Alex from Void.

“I thought we met in a field somewhere!” exclaimed Rog. “At the time, I was starting to record music with my band, as well as supplying audio for all of the big parties associated with the scene. I was helping out with some of the iconic M25 raves, too - huge dance parties that really paved the way for the acid house movement, so me and Alex met through putting on parties.” Before the birth of Void Acoustics in 2002, Alex worked at Thorn EMI, a major British company that was involved in consumer electronics. After leaving there in the mid 90s, he then went on to set up a touring, rental and installation company, which gave him the chance to complete rental and installation in some of the UK’s most renowned nightclubs. Rog had a diverse background in record production, film score composition, and also as a FOH engineer on some major world tours. When they both met in 1992, though, it wasn’t long before they were planning for the future. “When I got to know Rog, we’d spend a lot of time together and I remember when he first showed me how to put a sound system together. He gave me a complete crash course in pro audio

systems sat around a kitchen table at four in the morning. I remember thinking ‘wow, this is so cool’,” recalled Alex. Alex and Rog worked together, danced together and made sure to implement the mantra of dance music; acceptance, passion and originality, into everything that Void stands for. When the company first began, it was imperative for both Alex and Rog to create incredible sound systems with the ability to give people a break from their normal lives. “The last thing we thought about was how we made money!” exclaimed Alex. “I think what we do is give people an immersive experience, no matter what setting they’re in. Be it a club, bar, live show, we want to create a place for people to learn. Thinking back, when we first began, there wasn’t really any sort of plan, we just did what we thought was the right thing to do and, at the time, it happened to be what everyone wanted. We were very lucky with Void that we got it right first time, there was no one there helping us with the business side or commercially - we just went for it.” Looking at Void Acoustics’ portfolio of products, you will see an array of eccenwww.mondodr.com

tric, psychedelic designs that provide a unique interior element to the venues they grace. It’s rare to be entranced by the look of a loudspeaker, as well as the sound it projects, but this was something that was always high on Rog and Alex’s agenda. With a passion for art, Rog is the main creator of each unique design: “I don’t really class myself as a loudspeaker designer at all. I’m an artist, with a real grounding in mathematics and acoustics. When I come up with my designs, though, there are two ways I go about it. I either work to a brief, so I’ll work closely with the sales team and come up with a design that suits and is unique to the customer, or, the other way, which I much prefer, is just me coming up with a wacky design that I really want to see implemented in a venue. Then, I have to make it sound good, and that’s where my acoustical knowledge comes in - I make sound come out of these crazy things that are totally unique to the market.” said Rog. “It’s rare to get someone in this industry that has an artistic, creative side, as well as a real good footing in acoustics. It’s all just in my head and I combine it together to create the products

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34 INT ERVIEW

• Above left Rog in the studio, where he spends a lot of time now working on his own music. • Above right Void’s Nexus 6 at the Tribal Gathering festival in Panama.

we are so famous for.” When questioned about the inspiration behind his creations, Rog struggled to pinpoint exactly where the inventions come from. “That’s a question I’ve never been asked before! I honestly don’t know. I suppose it would be the same question to an artist who gets a blank canvas out and some paints and then something just forms. I think all of the ideas already exist in my mind and then it’s almost like sculpting, I’m just pulling away at each one and bringing it to life.” Focussing on some of the projects and installations Void has been involved with, including big clubs like Ibiza Rocks and DC10, as well as Studio 338, London and Blitz, Germany, you almost instantly notice a Void sound system with its iconic, personal identity that has the ability to add to the aesthetic of a venue, as well as the sound. Places like Ibiza, that already have such grounding and significance in nightlife and club culture, are using Void

systems to add another element to an already immersive, escapist experience. A lot of the bigger clubs that Void has provided with sound systems, also hold live acts and concerts - something that a Void system can adapt to very easily. “I love seeing our products in any club, really. Just seeing people having a brilliant time in front of one of our systems is great. Our systems also powered Notting Hill Carnival and Boomtown Festival, too, so we have the scope to cover a wide range of installation and live settings. Seeing around two million people walking around and letting go in front of a Void system, nothing gets better than that for me.” said Rog. Another perk both Alex and Rog talk about is the Void Acoustics family and how they have built a tight, close-knit Void community and team within the business. “How we’ve changed people’s lives inside this business, as well as outside, is also massive for me,” explained Alex. “The newest member of our team is just 21 years old, www.mondodr.com

and to see that energy, enthusiasm and love walking through the door is really quite inspirational for us. We have an obligation to these guys to make sure that they fulfil their goals and we’re part of that in a very big way, so a lot more responsibility comes with time as well. We feel like proud parents.” Void Acoustics has developed over the years into an established brand that isn’t afraid to think outside of the (black) box and really push boundaries with the design and implementation of its products. The company and its creations are not ready to slow down the growth of great ideas just yet, as Rog was keen to tell us about. “I’m so glad to be part of the company at the moment, because where we are going really is massive. I can’t say too much about it because it’s all relatively new and still in the planning stages, but what I can say is that I don’t see anyone else thinking like we are and where we’re going to take it. It feels revolutionary,

Together, we are facing a truly unprecedented situation. The global coronavirus pandemic is affecting all of our families, our businesses, our communities, and our way of life. In these challenging times, our thoughts and prayers are with those that have been affected by the Covid-19 virus. During this difficult time, our teams are here to support you and we are organizing a series of webinars to share the latest product information, provide product training and answer your questions. If you are interested in joining one of our webinars or would like to discuss your LED requirements, please email us at europe@absen.com.

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36 INT ERVIEW

we’ve been working on this for around 10 years now and it’s a totally different way of delivering sound - the holy grail even.” Alex concluded: “The basic fundamentals of sound haven’t changed much since early talking cinema to the present day. There have been a few exceptions, like the introduction of developer electronics and more efficient, lighter products, but the way you transmit sound hasn’t changed very much at all. That’ll be the next big revolution in what we do, we’ll be doing it in a completely different way.” It’s clear that Rog and Alex have an innate

passion for all elements of audio. Built on the idea of ‘just having a great time’, Void Acoustics has grown into an admirable company with unique roots in club sound, quirky designs and even more extroverted owners. Not only has audio influenced both their careers, but the outside world of both Rog and Alex has been built upon unique sound that has the ability to influence and positively change the lives of those on the dancefloor. 2020 looks to be a big year for the company, so grab your glowsticks, you might soon bump into the Void bunch on a dancefloor near you. www.mondodr.com

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

THEME PARKS & ATTRACTIONS

SA NTA C RU Z B E AC H B OA R DWA L K COMPANY: QSC LOCATION: SANTA CRUZ, USA

Santa Cruz Beach Boardwalk has been a staple of family fun since 1907. With an amusement park full of rides and games, two indoor arcades, a two-storey miniature golf course, laser tag arena and bowling alley, there is no shortage of ways to spend a day by the beach. The parkâ&#x20AC;&#x2122;s audiovisual team enlisted Q-SYS to deliver networked audio and software-based control throughout the park, alongside QSC loudspeakers and networked amplifiers. The previous audiovisual system at the park consisted of disparate audiovisual and control components that were challenging to integrate and support. This upgrade presented an opportunity for the audiovisual team at the Santa Cruz Beach Boardwalk to find a

singular audiovisual platform that had the flexibility to meet the distinct requirements of each area, while providing a holistic audiovisual experience for each guest across the entire park. The solution needed to support a wide variety of applications including individual rides, arcade, laser tag arena and an event centre. The system designers wanted a hybrid processing architecture, using centralised processing for general, park-wide audiovisual functionality, while deploying dedicated processing in mission-critical areas of the park. To meet those requirements, the in-house audiovisual team at Santa Cruz Beach Boardwalk deployed the Q-SYS Ecosystem for network audio and control, www.mondodr.com

along with QSC loudspeakers and amplifiers. Redundant Q-SYS Core 1100 Enterprise Core processors handle the background music, zone paging and software-based control for all general-purpose zones. If the system detects a fault on the primary Core, the redundant Core processor would seamlessly assume full audio streaming and control communication of connected Q-SYS peripherals and third-party devices, ensuring that these functionalities remain uninterrupted throughout operating hours. The primary Core 1100 also handles networked audio and control processing for the Casino Arcade, which also includes an attached 3,500 sq ft laser tag arena. In the arcade, a Virtual Page Station component

39 REP ORT: T H EME PARKS & AT T RACT IONS

manages the zone paging throughout the facility, while Command Scheduling enables automated playback of pre-recorded announcements throughout the day. In the laser tag arena, the team used the Q-SYS Scripting Engine to write custom Lua control scripts and design custom user interfaces for the game operators. Before a match starts, the operator selects a combination of colour and time remaining on a Q-SYS TSC Series touchscreen controller. The Cocoanut Grove event space hosts a variety of in-park corporate and private events. It includes an 8,500 sq ft ballroom along with a number of divisible meeting spaces. The team deployed the software-based Room Combiner component, which offers a simple

and intuitive way to combine audio in divisible spaces. With Q-SYS UCI Editor, the team deployed custom user control interfaces (UCI) to Q-SYS touch screen controllers. A number of high-impact locations throughout the park feature QSC AcousticDesign Series loudspeakers. The team chose AcousticDesign Series because of the consistent acoustic properties shared across different enclosure types (ceiling-mount, pendant-mount and surface-mount). The audiovisual team also chose CXD-Q network amplifiers, which were built for the Q-SYS Ecosystem, to provide power throughout the park. Q-SYS allows for full control and telemetry monitoring of the amplifiers. www.mondodr.com

The amplifiers also feature Intrinsic Correction, a QSC technology that works directly with QSC loudspeakers to provide uniquely optimised sonic performance. “Q-SYS just seemed to be the perfect answer to our problems!” explained Kevin Grewohl, Audio Systems Supervisor at Santa Cruz Beach Boardwalk. “First, it helps us deliver more functionality with less hardware. And because it’s software-based, it will be better prepared to support our future plans as we continue to add more features and capabilities down the line.” www.qsc.com

Photo: Kristopher Grunert

40 REP ORT: T H EME PARKS & AT T RACT IONS

LA MA I S ON DU KA MOU RAS KA COMPANY: AV STUMPFL LOCATION: QUÉBEC, CANADA

Inaugurated in June 2019, La Maison du Kamouraska is a cultural and tourist attraction that highlights the rich history, culture and nature of Canada’s Bas Saint-Laurent region. This innovative tourist experience, and in particular the immersive 360° dome, attracts both local residents and visitors from Québec and elsewhere. In late 2018, the venue contacted Solotech – a world leader in audiovisual and entertainment technology with offices in Canada, the USA and Europe – to request its support during the design phase of the project. After accepting this proposition, Solotech also offered its help to determine La Maison du Kamouraska’s needs in terms of product type, quantity, and indispensable features, especially for the video server and projectors (brightness, colours, resolution and so on). With these requirements identified, the company was able to supply all of the audio, video, lighting, rigging and communication equipment for the project, as well as the dome structure itself. Official Canadian PIXERA distributor, Montreal-based Theatrixx, also offered additional support during the design and programming phase of the project.

Philippe Giron, Business Developer, sales and systems integration division at Solotech, said: “As with any Solotech project, whether in live productions or systems integration, we started with a thorough analysis of the client’s plans and overall project to make sure we delivered the best solutions and services. A long-time systems integrator (we’re actually the first systems integrator in Canada), Solotech offered seamless, turnkey solutions and cutting-edge equipment to realise the client’s vision in the allocated time.” This particular allocation was in fact a very narrow one, so the installation was not without its challenges. “Everything had to be completed within 10 weeks,” said Philippe. “Our team of rigging experts started with the dome structure, then we rigged the projectors on a vertical truss and connected them to the server. We installed the 5.1 sound system below the projectors, on the same truss.” Alexandre Martinet, Technical Project Manager at Solotech, added: “One of the most challenging steps was the projection mapping because dome projection is the hardest kind of mapping you can do. Numerous elements come into play such as reflectivity, degrees of edges, brightness disparities and so on.”

www.mondodr.com

The use of the PIXERA media server system with integrated Vioso dome calibration technology was a first for Solotech, but Philippe was keen to highlight Solotech’s satisfaction with both the results and expertise the company received from AV Stumpfl on this project. “The story between Solotech and AV Stumpfl really begins with the Kamouraska project,” he said. “We were extremely happy with their customer service and technical support, which allowed us to discover the capabilities of the products. We were very impressed with the highly innovative GUI approach of PIXERA and the safety net of AV Stumpfl’s support made the whole experience very enjoyable.” Philippe concluded: “We are very proud of this project and we would like to thank all those who have contributed to making it a success. It wasn’t easy but, in the end, we managed to deliver the project on time. We recently heard that La Maison du Kamouraska is welcoming a great deal of visitors, so we couldn’t be happier!”

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E UROPA-PAR K – VOL E TAR I U M COMPANY: ENDURESCREENS LOCATION: RUST, GERMANY

The Voletarium at Europa-Park is a twin flying theatre, with each including a screen measuring 21.5-metres in diameter, using Endurescreens signature product – the Pro+ Perforated Aluminum product, which covers a 400 sq-metre surface. The Voletarium allows visitors to be part of the technical achievements of the two aviation pioneers, Eckbert and Kaspar Eulenstein. All supporting structures from Endurescreens are cold pressed to the correct radius and then cut to length. From there, steel components are welded together, holes are drilled and then sent to the paint line for the application of the powder coat. All support structures are coated matte black to reduce any reflection from behind the screen. Endurescreens main focus is ensuring a high-quality image on the screen. To achieve this, special care is always taken when it comes to creating each screen panel. The screen paint is customised with high-end powder coating technology, with the panel spraying process being computer-controlled for a one-time coat, which ensures that there is no colour difference on the screen surface. The uniformity is higher than 98%, resulting in higher colour brightness and stronger three-dimensional images to fulfill the highest requirements to the projection image. Endurescreens provide an installation service, too, with a highly trained, proficient team making the project efficient and accurate. Providing a crucial component in creating the flight experience, Endurescreens supplied the screen to Kraftwerk Living Technologies GmbH of Austria, who designed and supplied all of the audio-visual elements of the rides including projection on the concave screen with multiple projectors each with 4K resolution. The result was sensational visuals, taking guests over Europe’s most beautiful cities and fascinating landscapes. Accompanied with special effects – such as scent, wind and water spray - to compliment the high-quality audiovisual system to intensify the flying experience in the 16-metre-high domes. Some of the technical highlights for the project are the spatial immersive audio system, the use of an uncompressed video server cluster with 120 fps uncompressed video playback, as well as the integrated, camera-based alignment system - together with a seamless giant screen, this one-of-a-kind flying theatre gives guests a truly unforgettable experience. www.endurescreens.com

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42 REP ORT: T H EME PARKS & AT T RACT IONS

N A G ASHIM A S PA LA N D COMPANY: HIBINO CORPORATION LOCATION: KUWANA, JAPAN

Hibino Corporation recently outfitted Nagashima Spa Land with a state-of-the-art HARMAN Professional audio solution to provide premium live entertainment experiences for guests. With more than 50 rides and attractions, Nagashima Spa Land is one of Japan’s largest amusement parks, and is one of the 20 most visited amusement parks in the world. After celebrating its 50th anniversary in 2014, the park continues to evolve by introducing exciting new attractions, such as the impressive 4D Spin Coaster, Arashi. The park recently hired audio integrator Hibino to enhance its guest experiences with significant upgrades to its existing audio system. “Nagashima Spa Land asked us to install a robust, self-contained solution to deliver exceptional audio clarity during events,” said a spokesperson from Hibino Corporation. “With the park’s seaside location, the loudspeakers needed to be able to withstand seawater salt damage as well as wind and rain. After careful consideration, we selected HARMAN Professional audio solutions to construct a system which would provide the necessary flexibility

and allow the park to easily expand its platform in the future.” After conducting extensive market research on outdoor-rated loudspeakers, Nagashima Spa Land and Hibino selected JBL Professional AWC82, AWC129 and AWC15LF All-Weather loudspeakers to combat the environmental challenges. The JBL All-Weather Series loudspeakers feature a 14-gauge stainless steel grille, backed with open cell foam and stainless-steel mesh, providing excellent protection in the harshest environments. Hibino placed the JBL AWC speakers throughout the park to deliver background music with optimum wide-angle sound coverage and excellent audio quality with the highest level of weather resistance. Hibino included JBL Control 25-1 speakers to ensure all announcements are heard loud and clear throughout the park. The team also installed highly directional CBT 50LA-1, CBT 70J-1 and CBT 70JE-1 column speakers at the main gate and other attraction entrances to greet guests with powerful music and invite them into the thrilling experiences that await

inside the park. “We needed to replace our outdated audio system with a new system that would enliven the park’s atmosphere,” said a spokesperson from Nagashima Spa Land. “The new system needed to be able to withstand water and other environmental perils. The HARMAN system proved to be the perfect choice. After the upgrades, we no longer receive complaints about the sound - in fact, many guests have complimented the sound quality in surveys. We are pleased to say that the HARMAN system has produced truly satisfying experiences for guests and staff alike.” “It is a privilege to supply robust audio solutions and provide premium sound quality and clarity at Nagashima Spa Land,” said Ramesh Jayaraman, VP & GM, HARMAN Professional Solutions, APAC. “We thank Hibino for their exceptional service, replacing the park’s outdated sound system with industry leading audio reinforcement solutions and creating an immersive space.” www.pro.harman.com

CRYSTAL B R I DGES M U SE U M O F A M E R ICA N A RT – NORTH FOR EST L IG HTS COMPANY: MOMENT FACTORY LOCATION: ARKANSAS, USA

When Crystal Bridges Museum of American Art wanted to bring a nighttime attraction to their mile-long North Forest trail, they asked Moment Factory to develop a concept that would highlight their unique surroundings. The resulting project, North Forest Lights, is an outdoor digital art exhibition composed of five installations grounded in the human relationship with nature. Each piece is driven by locally inspired music and a rich colour palette that bring to light both the human and natural past of the site. Interactive technology lets visitors sing to a great red oak, while illuminated

trees and a custom soundtrack invite everyone to tune in to the hidden wavelengths of the woods. From nature-inspired sculptural elements to immersive soundscapes and lighting design, each step of the experience allows people to deeply reconnect with the environment. This project was conceived in close collaboration with the museum’s team, who provided the guidance that inspired the artists. Moment Factory was thrilled to bring its technical expertise and creative vision to this celebrated cultural institution. www.momentfactory.com

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

MOESG AAR D MUS EU M COMPANY: GENELEC LOCATION: HØJBJERG, DENMARK

Designed by multi-award-winning architects, Henning Larsen AS, Moesgaard Museum (MOMU) is one of Denmark’s leading attractions. Ingeniously designed as an integrated landscape feature, built into and rising up from the rolling hills overlooking Aarhus Bay, MOMU is a vibrant house of culture and knowledge that blends ancient artefacts with modern technology to bring the past alive. The latest exhibition, ‘Bound for disaster – Pompeii and Herculaneum,’ brings to life the events that unfolded around the devastating eruption of Mount Vesuvius in AD 79, killing an estimated 2,500 people. The exhibition unites over 250 objects on loan from seven different Italian museums and cultural institutions, many of which have never been shown outside Italy. Visitors are able to view carvings and gravestones bearing inscriptions that provide vivid descriptions and information concerning family relations, frescoes featuring maritime motifs, landscapes and everyday situations, military and maritime equipment and cargoes of commodities from distant destinations and the commercial harbour at Naples. The

exhibition also includes exhibits demonstrating the terrible consequences of the volcanic eruption, including casts of corpses from Pompeii and skeletons of the dead from Herculaneum. The sound design was created by composer, Søren Bendixen of Audiotect, who specialises in creating soundscapes for exhibitions. Combined with the scenography, video mapping and lighting, the soundscape immerses visitors in the pre-disaster atmosphere of the lively city of Pompeii, before leading them into the post-apocalyptic scenes that followed. “We are using a total of 51 Genelec 4430 loudspeakers, all fed by discrete channels over a Dante network with Ubiquiti Edge switches,” explained Johan Ahrenfeldt, who is responsible for exhibition technology at MOMU. “We’re using QLab software for the playback and a Dante-compatible RME Digiface interface to run a total of 54 discrete channels flawlessly. Various audio formats are used in the sound design, including Ambisonics and Quadrophonic sound, to provide a fully immersive experience. “Many of the loudspeakers are concealed by the

www.mondodr.com

scenography,” he continued, “but in other places they are mounted directly on the walls. However, they blend in very well thanks to the harmonious design of the Genelec enclosures and a new feature implemented in the Smart IP software which allows us to dim the brightness of the on/off LED indicator in the front.” Johan is no stranger to Genelec, having used many 4000 Series and 8330A loudspeakers on previous exhibitions, but he says that the new 4430s introduce a new paradigm to the world of installed sound solutions. “I’m not talking about sound quality – the 4430s meet the same exacting standards as the rest of the Genelec range – but in terms of installation, the Smart IP concept opens up a world of possibilities. The most significant benefit is the flexibility and the functionality added by the network-based infrastructure and the use of PoE+ for powering the loudspeakers. This means lower installation costs, easier, tidier and more flexible cabling, the possibility to add or move loudspeakers late in the exhibition building process, and the ability to monitor and control the loudspeakers remotely. All of these factors made

a big difference to us when installing our newest exhibition.” Johan recalled that ‘Bound for disaster’ was not without its challenges in terms of audio, in particular due to the very open exhibition areas which were delineated by virtue of their sound designs. “One of the main obstacles was to minimise the sonic overlap between the different areas. We achieved this by using many sound sources so we could benefit from their sound directivity and cover the required areas with a low SPL per loudspeaker. Genelec’s superior sound quality with crystal clear definition and intelligibility even at very low levels makes this possible. Despite the openness of the space, the transitions between the different areas work very well. “Our approach is to consider the sound design as a holistic entity where the different sound designs relating to specific areas of the exhibition are edited, mixed and synchronised on site into the

main sound design covering the whole exhibition,” he continued. “The danger, of course, is ending up with ‘audio soup’ but careful design and Genelec’s superior clarity and definition have helped to create a truly memorable visitor experience. “The new 4430 fits perfectly into the market of exhibition technology due to the use of flexible infrastructure, on-board amplification, and the minimal need for cabling – but still delivering class leading sound reproduction,” noted Johan in conclusion. “The reduced cable requirement is often of greatest value in relation to implementing exhibition technology, particularly in old buildings which often are classified as protected cultural heritage. This isn’t the case at Moesgaard which is a new building, but it still makes life a whole lot easier! I’m delighted with this new solution from Genelec and look forward to them expanding the range in the near future.” www.genelec.com

46 REP ORT: T H EME PARKS & AT T RACT IONS

EL S UE Ñ O DE TOL E D O COMPANY: ROBE LOCATION: TOLEDO, SPAIN

Award-winning independent French theme park, Puy du Fou, unveiled its first venture in Toledo, Spain, with an epic night-time immersive spectacular El Sueño de Toledo (The Dream of Toledo), creatively directed by Nicolas de Villiers and the team from Puy de Fou with lighting designed by Koert Vermeulen from Belgian creative visual practice, ACTLD. At the heart of Koert’s lighting spec are 74 Robe BMFL WashBeam and 20 MegaPointe moving lights. El Sueño de Toledo takes spectators on a hi-octane condensed one-hour journey through history – from the Reign of Ricaredo in the 6th century to the arrival of the railways – touching on the battle of Navas de Tolosa and the discovery of America along the way. The 1,500 years of history is represented by 185 actors and a plethora of special effects. Koert and Nicolas have worked together on several previous full-tilt, seat-edge Puy du Fou live shows and projects in France. The company is well known for its commitment to high production values and providing the very best guest experiences, so Koert was delighted to work in Spain with Nicolas and the team, with whom he enjoys a fantastic imaginative synergy. The show is staged outdoors on a performance space approximately 125-metres wide by 100-metres deep, rising up towards the back. The set includes several permanent buildings and structures and a large lake, with the action taking place both on, in front of, and behind the water. Nicolas briefed Koert on the historical narrative and Koert produced a lighting concept for the show, which is played out by the large cast to a special soundtrack composed by Nathan Stornetta.

“The show’s essence was similar to some of those we have created in the French park, so some of the base principles and style needed to reflect a continuity, but it’s a fresh, new and completely unique dramatic tour de force, which needed a lot of attention to detail,” explained Koert. One of the key Puy du Fou requirements was that the show was elegant and refined as well as providing lots of excitement. All of this had to be delivered in a classy collage of lighting, projection-mapped scenery and SFX. With over 1,000 lighting fixtures in total on the show, the 75 BMFL WashBeams are undoubtedly the workhorses confirmed Koert, together with some LED wash lights. Taking on this role, they needed to stand out from all the action and be a truly multifunctional tool. Due to the site topography and the fact that no sky rigging was available for overheads, most of the lighting is shooting in from the sides, with some fixtures at the back and others scattered around the site at ground level, plus numerous smaller concealed luminaires and footlights. Koert auditioned several products in a shootout for the job - initially in 2016 when the project was first confirmed and budgeted – and from this extensive trial, the BMFL WashBeam emerged as “easily the best choice”, especially for the 40 – 100-metre throw distances for which they needed something with “serious power”. Another shoot out to find the best lights for aerial effects was won by Robe’s MegaPointe. “It’s the nicest beam I have seen for a long time,” commented Koert. The BMFLs are positioned mainly at the sides of the performance area with a few around the front, while the MegaPointes are all hidden in the hills at the back. www.mondodr.com

The MegaPointes blast out into the night sky from behind set pieces, slicing through the haze, fog and general natural atmosphere with their piercingly bright beams. They are rigged at different heights to give a variety of positions and some interesting angles. With any show of this scale, lighting is a smart combination of creating mood and ambience and lots of big statements as well as with highlighting and accentuating story-related details and complexities. Koert worked on the general environmental lighting treatments first, and then on illuminating more specific performers and action. He worked closely with the PDF video team and with video content creators, Cosmo AV, so that lighting elements merged seamlessly and harmoniously with video-mapped onto some of the buildings adding a further layer of texture to the bigger picture. He found the BMFL’s frost options helpful in blending lighting into the projections. The big challenge on this project was the time. Koert and his own programming team of Christopher Bolton and Luc de Climmer had three weeks on site overall to get everything into the grandMA3 console, but out of that there was only one complete week of lighting programming. Construction was ongoing for the whole period, adding extra pressure on all technical departments. While the basic building blocks can be visualised to some extent, real time in situ is vital to focus on more complicated cues like the proper illumination of Olivier Beriot’s impressive costumes - all resulting in a truly breathtaking show for the public who are flocking to see it. www.robe.cz

47 REP ORT: T H EME PARKS & AT T RACT IONS

T H E STAT UE OF UN ITY COMPANY: HB-LASER LOCATION: GUJARAT, INDIA

HB-Laser, in cooperation with Pyramid Technologies, has created the largest permanent 3D video and laser mapping on the world’s tallest statue, ‘the Statue of Unity’ in India. Modern Laser and Video systems, as well as exact planning, were the starting point for such an amazing permanent installation on the statue in India. It is the world’s largest use of high-performance projectors with a projection onto a gigantic statue. The special effects used were laser mapping combined with 3D video mapping. By combining and synchronising these various multimedia elements together, the statue is able to tell the inspiring life story of the visionary Indian leader Sardar Vallabhbhai Pate in an engaging manner, whilst delivering a massive multi-sensory impact to spectators. There were several factors that made this project challenging, including a long projection distance of over 600-metres and the distinctive bronze metallic

projection surface with a very low gain. The main challenge was the short time span for this project and the limited space for all the technology. The team only had two-and-a-half months for the entire implementation of this project. They designed the whole space for the technical room and the cooling system and also housed the entire cooling system, the entire packaging and the 50 projectors in this small room. They developed a specialised mirror system to produce the desired projection results, which were only constructed because there was no space. The projection was transformed from horizontal to portrait form by this mirror system. The enclosure was built at a height of 51-metres from the river bed and the finished floor level for viewing was to be at 58-metres. The projection was to be done from seven-metres below access levels and the team didn’t have direct access to carry

the equipment to the projection room enclosure below, since that area was still under construction. Therefore, to move even a single projector or rack, they deployed telescopic cranes which made the transportation of equipment extremely challenging. The goal was to create something unique and ground-breaking that generates a big impact worldwide. The show has to be realised in a way that supports the Statue of Unity’s massive appearance and includes a balanced mix of audiovisual elements that resonate with audiences to deliver a highly memorable experience. The light and sound show has received enthusiastic resonances since its debut on 31 October 2019. Every evening, it attracts thousands of spectators eager to be enthralled by dynamic visuals and colourful lasers. www.hb-laser.com

TWO LENGTHS, A MILLION SHAPES

BLACKWAVE COLLECTION

WWW.LUCENTI.LIGHTING

48 REP ORT: T H EME PARKS & AT T RACT IONS

KNOEB E LS AM US EM E N T R ESO RT COMPANY: BIAMP LOCATION: PENNYLVANIA, USA

Knoebels Amusement Resort in Elysburg, Pennsylvania has completed the first phase of upgrading its park-wide audio systems. Located in the bottom of an abundantly green valley formed by two converging streams that flow through the very heart of the park, Knoebels is America’s largest free-admission amusement park, with over 60 rides, award winning food, swimming in its 900,000-gallon Crystal Pool, games, and gift shops. Visitors can also enjoy golf at Knoebels’ Three Ponds Golf Course. Drew Kanaskie, Knoebels’ Audio Technician, was in charge of the project from conception to implementation, with design assistance provided by Moyer Electronics. Drew explained: “The audio upgrade is planned for completion over several years of off-season projects. The first phase of the upgrade was to replace our ageing 70V system, with a new system that has more comprehensive coverage, which provided an open platform that we can continue to expand. The 45-acre park began back in 1926 and has grown steadily ever since. Finding a way to reach thousands of park visitors today is a different puzzle to solve than it was just 10 years ago. Our goal is to be heard clearly, everywhere.” After much research, followed by on-site evaluation, Drew settled on Community E SERIES column-format line source and point source loudspeaker systems from Biamp. “We are able

to create a canvas of sound using the advantage of E SERIES’ wide angle of coverage,” said Drew. “In the environment of an amusement park there is ambient sound coming from everywhere. To produce the clarity we wanted, it was decided to place a higher density of loudspeakers at locations closer to the listener. By locating loudspeakers at 10 to 12 ft above ground level, we were naturally closer to the listener’s ear. This meant that we could typically use the underside of a building’s roof overhang, or just below the glass fixture of a light pole. We hid many loudspeakers on poles with banners affixed to them; an easy solution with the slender profile of the E SERIES line. The coverage pattern of E SERIES meant that we weren’t wasting audio power up in the air and were getting the broadest coverage with fewer units. By selecting a variety of E SERIES models, we found that balancing the EQ for the total system was easy to accomplish. Once we had shaped the system for the smallest loudspeakers, we basically enjoyed more low-end from the larger models without having to EQ each model separately.” The first phase of Knoebels’ upgrade comprised 54 Community ENT203 loudspeakers, 74 ENT206, eight ENT212 and two R SERIES R.35COAX from Biamp. Drew explained the distribution: “We chose ENT212 loudspeakers for large open areas that are www.mondodr.com

required to reproduce voice and music. In the more intimate settings, below low roofs and in narrower corridors, we chose ENT203, and for all other areas we used the ENT206. In one location, where we have free entertainment performances several times each day, we selected Community R SERIES R.35COAX loudspeakers from Biamp as ideal for the application. We have a fairly open space to fill and a concentrated crowd that is seated and facing one direction. The R.35COAX does a great job and is very efficient.” The new sound system uses the existing fibre network. Drew commented: “Although the park already had a robust fibre network in place, a bit of additional work was necessary to make all of the equipment talk on the network. In a time of audio over fibre, it is essential to have a reliable, high quality network. The Knoebels IT team created and maintained a separate network dedicated only to park audio use, and this is largely responsible for keeping the pulse of the system running.” Drew concluded: “The E SERIES system in use throughout the park has performed excellently. We have all the clarity we wished for and the discrete installation is almost unnoticed. We are able to reproduce music with great fidelity and voice that really stands out when paging.” www.biamp.com

50 REP ORT: T H EME PARKS & AT T RACT IONS

PHA NTAS I ALAN D COMPANY: SMOKE FACTORY LOCATION: BRÜHL, GERMANY

Phantasialand in Brühl, Germany has been operating various Smoke Factory products in its attractions for several years. One of them is the wild water ride, CHIAPAS, equipped with a Data II - a 2600W fog machine - and two Factory Fan (750W wind machines. CHIAPAS was opened in 2014 and was, at that time, the steepest whitewater ride worldwide with a 53° gradient. The guests ride in the boats towards a wall, from which a CO2-like fog comes out just before the boat reaches the wall. The Data II, which is installed behind the wall, is operated with the Fast Fog Extra III from the Smoke Factory, which is necessary to shorten the lifetime of the fog, so that the effect is no longer visible when the next

boat arrives 15 seconds later. Due to the high clocking rate - one fog blast every 15 seconds for an average of eight hours per day - the park has opted for high-quality equipment to keep the service effort as low as possible. Due to the hard to reach position of the machine, Phantasialand uses the Smoke Factory pumping station, which was in the product range at the time, to supply fluid directly from a 20litre barrel, the Fast Fog Extra III. The pump station transports the fluid to the machine 35 metres away and supplies it with fluid continuously. Thanks to the fluid reservoir on the machine, the barrel can be changed while the lane is running without having to sacrifice the effect. www.smoke-factory.de

ORIEN TAL PEA R L RADI O & TEL E VI S I ON TOW E R COMPANY: MAXIN10SITY LOCATION: SHANGHAI, CHINA

The Oriental Pearl Radio & Television Tower (OPT) is arguably the most recognisable feature of Shanghai’s world-famous skyline, so when the management decides to integrate a new design feature into what is already an iconic landmark, it can be guaranteed that nothing is left to chance. In 2019, the decision was made to improve the experience for the thousands of visitors that pass through the OPT’s ground floor foyer each year by turning the inside of its lower ‘pearl’ into a single, 2,500 sq metre projection surface. The content of this 12-minute display was intended to demonstrate the main strengths of Shanghai to its audience: the city’s improving infrastructure; its various cultural treasures; its playfulness; and its status as a truly international destination. These four aspects would be represented by four characters, and the show would run permanently every night for the next five years. In order to help realise this ambitious vision, the client first decided to bring in China’s premiere multimedia production company, Motion Magic, which in turn secured the services of Hungarian projection mapping specialist, Maxin10sity. Although the two companies had no prior experience of working together, the team from Motion

Magic were so impressed by Maxin10sity’s extensive portfolio, the decision was made on the strength of that alone. “The entire process started with a ‘storyboarding’ phase where four of us stayed in Shanghai for a month,” said Agnes Szentannai, Project Manager at Maxin10sity. “During this period, the client firstly had to approve each storyboard as a sketch version, then the second step was adding more colours and details.” With tight deadlines, constant revisions, and a high bar to meet in terms of quality; the process was sometimes a difficult one. With the final design eventually agreed upon, it was time to proceed with the 3D aspect of the production. In order to help with this colossal undertaking, Maxin10sity hired two other collaborators – Ouchhh and Mindscape Studio – which meant there was now four different offices working on the project, each with diverse working hours and methods. “Both the dimensions and the shape of the surface brought us numerous challenges throughout this period,” said Agnes. “Mainly because the façade is huge, yet close enough to the audience to require high resolution content. We had to www.mondodr.com

experiment a lot with the technical set-up, which forced us to think outside of the box sometimes. We also had to consider the different points of view for the animation, as the audience had access to see it from two levels, each of which offered different angles. We had to consider the best option to avoid the distortion as much as possible.” After numerous meetings and consultations, it was up to Motion Magic to make the final choice in terms of the equipment that would be used to realise this project. The company opted for 30 Panasonic PT-RZ21K projectors to cover the entire 2,500 sq metre façade of the dome-shaped ceiling of the ground level of OPT, all of which were operated by Watchout media servers. Tamás Vaspöri, Managing Director at Maxin10sity, concluded: “This project was a huge experience for us. It provided numerous challenges but, in the end, we are happy to create a spectacle that entertains millions of people every year in the most iconic building in Shanghai. Projections on this scale are really enchanting, and we are so grateful for the opportunity to be a part of such a significant project.” www.maxin10sity.com

Fog is our passion! Cobra 3.1 WA LIB I B E LGI UM – P O P CO R N RE VEN GE COMPANY: PAINTING WITH LIGHT LOCATION: WAVRE, BELGIUM

For Popcorn Revenge, Painting with Light needed to drill down into the whole experience and sensory journey in detail before even starting to specify lighting fixtures. “We really had to get our heads inside the psychology of the Popcorn Revenge characters and storyline.” Explained Luc Peumans, CEO of Painting with Light. Maintaining flexibility in the lighting design was another major challenge. All the movies playing in the theatres might be changed or modified in the future, so lighting had to be thought through not just for what is there now, but potential updates or reworks yet to come. The Painting with Light team chose a mix of architectural and show lighting fixtures. Most of the architectural units highlight the many highly detailed decor aspects of the ride. In the theatres, effects lights are instrumental in building a sense of anticipation throughout the all-action ride. Every area needed a unique combination of fixtures. With the architectural and decor lighting being an essential element of the ‘show’, a fine balance of the two treatments was required. Finding this synergy was one of the main overall challenges, and an area in which Painting with Light excels by adding luminescent magic. The Popcorn Revenge interactive dark ride is being submitted for an award due to its innovative character and bold move to change existing ride dynamics, allowing regional family parks to create high-quality, affordable attractions with a unique IP. All involved partners have largely contributed to a successful implementation of all ride aspects. The main general requirement was tha the lighting enhanced and supported the highly detailed video action appearing on the screen in each space, plus additional elaborate scenic elements. It had to help ramp up the gameplay and blend seamlessly with other visual elements to give everyone that ‘ultimate dark ride experience’. Eleven areas in total needed imaginative lighting, including the individual theatre spaces through which the ride cars pass plus the queuing area and car loading station where up six people are allocated to each vehicle. The dispatch area itself features four different moods – black light and

UV denotes the ‘darkness’ and suspense; ‘angry’ is evoked with blue chasing lights; ‘happy’ sees the space lit with bright and positive colours and then there is ‘melodrama’ when the lighting descends into a chaotic atmosphere with flashing and clashing colours. Over 100 Gantom LED fixtures light the primary architectural areas, 80 Gantom DMX RGBW Floods are deployed ride-wide for highlighting and accenting props, curtains and other set pieces. Six Gantom Precision Z Spots in cool whites are picking out the graveyard theatre space spider webs, bringing their intricacy alive with crisp bluish tints. Gantom One Pinspots are used in all the theatre spaces, ‘crowning’ the tops of the stages, and six Gantom Precision Z Floods are deployed lighting the popcorn machine outlets in the queuing areas. The result is based on great teamwork, creativity and fusion of ideas and skills between all expert partners. Together they collectively produced a world-class attraction that is a huge success and a whole lot of fun for the park visitors! Popcorn Revenge is an interactive dark ride in Walibi, Belgium. It marks the world premiere of the innovative non-linear Erratic Ride, routing vehicles via different paths and rooms, each time giving visitors another experience. The Painting with Light experts designed and installed the complete lighting infrastructure for this ride, illustrating the diverse skill sets and experiences offered by its experts working on both entertainment and architectural lighting projects. This brought a dynamic ‘crossover’ theatrical-environmental approach to lighting the different ride areas, adding to the atmosphere, fun and animated buzz. The ride has received international awards, such as the Outstanding Achievement and Park World Excellence Award. The complexity of detail required was probably the most exacting challenge. After receiving the technical drawings of the scenery and descriptions of the visual material in each space, this was translated into a technical lighting design, including illustrations of how the lights would be used and explanations of practical aspects like cabling and maintenance. www.paintingwithlight.com

 New, extremely silent nozzle Noise at max. output: 82.5 dBA  Constant fog output at any pump level due to the use of two pumps  Control via Ethernet, DMX512, analogue (0-10V) or directly at the machine  RDM-capable  Touchscreen with simple navigation  Finest adjustments of the output  Adjustable pump characteristic: Impulse, Extended, Flood, Continuous  Adjustable performance curve to balance different fog amounts  Internal Timer  Internal working hour meter  3100 W, 230V/50Hz

Look Solutions Fog machines made in Germany Look Solutions GmbH & Co. KG Buenteweg 33 · DE - 30989 Gehrden Phone: +49 - (0)5108-91 22 10 · Fax: 91 22 111 www.looksolutions.com · info@looksolutions.com

52 REP ORT: T H EME PARKS & AT T RACT IONS

OSA KA CAST LE PA R K COMPANY: TEMPEST LOCATION: OSAKA, JAPAN

When night falls on The Land of the Rising Sun, Osaka Castle Park comes to life with ‘Sakuya Lumina’, an interactive night walk that blends lighting effects, soundscapes, scenography and audiovisual technology together with beautiful surroundings. Canadian multimedia studio Moment Factory has created an engaging experience inspired by the area’s beauty and local culture. Tempest’s Blizzard and Cyclone enclosures are used to protect projectors powering a series of impressive visuals created to delight guests year-round. “What’s so impressive about this immersive installation - aside from its obvious beauty - is the way Moment Factory has harnessed a host of complex technical elements to enhance the aesthetic of the park, and guide guests through a fun and engaging narrative for all ages,” says Tim Burnham, Tempest’s president. “It’s clear

that visitors young and old are enjoying the experience. Given that it is running every day, it’s vital that the projection equipment remains ultra-reliable. That’s where we come in; ensuring that projectors are well protected from the elements, eliminating the possibility of deadly condensation, and keeping everything running at an optimal temperature.” A total of 10 Panasonic laser projectors – six PTRZ12s and four PT-RZ21s – are protected by Tempest enclosures. Of the six PT-RZ12 projectors, two were placed inside Tempest Blizzard 52.100.U enclosures, and used with ultra-short-throw lenses. The other four PT-RZ21s using standard lenses were placed inside Tempest Blizzard 52.100.L enclosures. All PT-RZ21 projectors were installed inside standard Cyclone 55.210.L enclosures.

R E T URN TO T H E T H R E E GORGES COMPANY: POWERSOFT LOCATION: CHONGQING, CHINA

The experience tells the story of Akiyo, a teenager from the future, who falls through a portal and becomes lost in the present-day Osaka Castle Park. Guests are invited to follow her on her quest to get back to the future, meeting a host of colourful characters along the way. Projection elements are used to map a host of animated content, bringing the story to life. Park features – such as the stone walls – are translated into lively animated cartoons which drive the story forward. The use of augmented reality allows revellers to become part of the spectacle, creating their own ‘joylights’ through face recognition, which is then mapped onto an animated display alongside other visitors at the end of the walk. Sakuya Lumina takes place at Osaka Castle Park in Osaka, and will run for three consecutive years. www.tempest.biz

Award-winning Chinese director, Zhang Yimou, known for Ying Xiong (2002) and Red Sorghum (1987), has created a largescale, mass-choregraphed live show of tales from Chinese poetry, named Return to the Three Gorges. Produced by Beijing Xingguang Film & TV Equipment Technologies, with the Beijing FengShangShiJi Culture Media team as the creative producers, the stage show boasts an innovative and complex audio system, created by chief audio designer Shao Yong, with the support of Ezpro International, which provided audio equipment and all-round technical services, and the assistance of integrator, Beijing Bluepower Engineering & Technology. The stage and seating area for the production were built within a wharf boat. The auditorium seating that surrounds the stage was 111.6-metres long and 36-metres wide, while a separate water performance platform with a length of 160.8-metres, a width of 54-metres and an area of 8,600 sq metres was situated off shore. “The most incredible feature of this project is the stage that is set on water and the surrounding audience seating arrangement,” said Powersoft’s Regional Sales Manager, Arthur Soh. “But there were challenges created by this environment, such as sound diffusion problems caused

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by the water, changes in water temperature during the day and at night and the high humidity. We needed loudspeakers, and a system to support them, that could cope with these adverse factors.” For the audio design, the team chose a main signal system that adopted three layers of fibre optic switches, set up as a private LAN among the machine rooms for the performance platform and the auditorium platform. A key part of this system were the Powersoft Quatrocanali series (46 Quattrocanali 1204s and 23 Quattrocanali 2404s with DSP and DANTE) and X series power amplifiers, which drove hundreds of EAW CXT series ceiling loudspeakers. “We chose the amplifiers in accordance with their power and practical application, as well as the level of technological sophistication required,” said a spokesperson from Ezpro International. “We had a line power loss problem caused by the long distance transmission, which we solved by using Powersoft’s products, achieving best sound for the show.” Detection of any further issues was monitored by Powersoft’s Armonía – a dedicated software tool designed to configure any audio system from a single window – as well as further tuning and adjusting to the system as the show progressed. www.powersoft-audio.com

53 REP ORT: T H EME PARKS & AT T RACT IONS

POKLON N AYA H IL L – C HR ISTM AS BA L L 2020 COMPANY: MADRIX LOCATION: MOSCOW, RUSSIA

The Christmas ball is not only one of the traditional symbols of Christmas but also of the New Year. And Madrix’s large lighting installations in the shape of such a ball have become a symbol of New Year’s Eve in Moscow. The latest project was deliberately chosen to be 20-metres high to welcome the year 2020. Besides RGB lights, Madrix also used RGBWW fixtures. In addition, the ball is decorated with 86 ornamental LED snowflakes. MADRIX 5 KEY maximum is being used for the lighting control. The scope of the project is striking in its scale: 390,000 LED pixels, 16km of LED strips, garlands, ropes and contouring lights, complex metal structures with a height of six floors, 34.5 tons of beauty, 150 KW of energy. All this came together in one exciting installation. It is more than the current official Guinness record with 55,900 LED lights. The main technical feature of the object is the use of light elements installed on a complex metal frame. The frame consists of the base, metal trusses, and horizontal truss ties.

In addition to the common colour channels of red, green, and blue, Madrix added two more channels with different modes of white. This technology is used for the first time in Russia for outdoor installations of a similar scale. It allowed the team to achieve a more accurate and deeper colour reproduction. The ball can shimmer with the cold, mysterious radiance of stars. And it can flicker with a warm and cozy lighting scheme. You can also see the dance of red lights that look like fire. The visual range becomes as saturated as possible and provides great opportunities for the implementation of multimedia ideas. In total, 20 basic scenarios of lighting were created. Bright red lights, amazing warm whites, or noble purple - Madrix was able to achieve all shades of festive lights in one installation. One of the most difficult things was the very tight schedule. The team involved had only three days for the programming. By then, the installation had to be ready for the Moscow Christmas festival. The aim was to create completely new scenarios of lighting, with seamless soft and smooth gradients,

and by using warm-white LEDs. Also, all LED modules had no auto-addressing and were all set manually by Madrix. Another challenge was to avoid visual interruptions in the effects and visuals due to borders and joints. It was overcome by mounting all LEDs extremely accurately and configuring settings carefully. The design combines modern conciseness and traditional, decorative motifs. Lacy patterns on the surface reference the craftsmanship of past centuries. The amazing balance between traditions and modern technologies made this installation truly unique. The Christmas Ball created a festive atmosphere and became the main source of the holiday spirit and joy for all visitors of Poklonnaya Hill. Although the installation is situated in the outer areas of Moscow, it became popular among people and took its place in the ‘Audience Sympathy’ top three New Year’s Moscow decorations. www.madrix.com

54 REP ORT: T H EME PARKS & AT T RACT IONS

T UL A L I P R ES ORT CAS IN O COMPANY: KRAMER LOCATION: WASHINGTON, USA

Opened in 2004, the Tulalip Resort Casino (TRC) is the largest its kind in Washington state. Operated by the Tulalip Tribes of Washington it houses a 192,000 sq ft casino, seven restaurants, extensive meeting facilities, an amphitheatre, and an impressive award-winning 12-story hotel with 370 rooms and suites. Digital signage is prominent throughout the TRC, with monitors used to direct guests to events, display sports broadcasts and keep casino players informed of the latest promotions. TRC has been steadily feeding a growing network of monitors using a cloud-based Kramer Control system. Built with drag-and-drop functionality, remote-control capabilities, and built-in system analytics, Kramer Control has made life easy for Aaron Jackson, who leads audiovisual technical and integration support for TRC. “Set-up is straightforward with Kramer Control,” said Aaron. “That’s why we gravitated towards this system. Kramer has the ‘full-stack’ more than anyone else on the market, especially when it comes to the drivers being pre-written for Kramer Control. The TRC’s in-house IT staff also find Kramer Control simple to use.

However, the current level of digital signage at this dynamic casino is beyond what many hard-wired, switched matrix audiovisual systems can easily handle. To move AV signals over IP, approximately 60 Kramer KDS-EN6 4K60 4:2:0 HDCP 2.2 video encoders were installed inside TRC’s Networks Operation Center. These send signals to hundreds of Kramer KDS-DEC6 4K60 4:2:0 HDCP 2.2 decoders that are connected to monitors throughout the TRC. This vastly increases the scalability, capacity, and flexibility of the TRC’s digital signage network, both in terms of the number of playout channels being supported at any one time and in terms of the groupings of monitors to which these signals can be sent. Even though the TRC’s network capacity is 10 Gbps, the Kramer KDS-EN6 / KDS-DEC6 AV over IP distribution system is capable of supporting 4K60 4:2:0 (10.2 Gbps), ensuring that its digital signage system remains futureproof and won’t become overloaded. What’s more, using Kramer Control and Kramer Network – a software-based AV over IP enterprise management solution – IT teams are provided with extensive levels of

device monitoring and management, including flexible AV signal distribution, room automation and video wall management. All functions can be performed remotely using a secure, password protected web portal 24/7. Moving to an AV over IP signal delivery system has given the Tulalip Resort Casino the headroom it needs to add extra monitors, expand its range of playout channels, and migrate to 4K content when the time seems right. The strategy adds value now and in the long term. This is a level of flexibility that just wasn’t possible with the TRC’s former hard-wired/matrix-based AV distribution system. “The fact that the Kramer encoders/decoders are 4K gives us some room to grow, especially since there isn’t much 4K content available today,” Aaron commented. Chris Kopin, Vice President of Technology at Kramer US, added: “When the Tulalip Resort Casino wanted to extend digital signage throughout its property, Kramer AV over IP was the only realistic solution. Today, the TRC has a high-performance AV over IP network that meets all of their digital signage needs - and then some.” www.kramerav.com

our expertise. When he told us that they wanted to start changing a part of their setup at the museum, we had to assess their requirements and suggest what we thought was the best fit in terms of the equipment used.” Although the client wasn’t immediately aware of Digital Projection’s products, Youssef didn’t hesitate to call on Rayan Soumsom, Regional Manager for Digital Projection in the Middle East, for his advice. After hearing about the requirements of the installation, Soumsom suggested that Digital Projection’s new E-Vision 13000 projectors with RED LASER colour boosting technology would be a perfect fit. The museum’s existing backbone dictated that seven E-Vision 13000 projectors were required to cover the 26-metre screen. The company also provided four more E-Vision units that would be installed facing directly downwards – to cover a 4-metre x 3-metre table surface. The content in the newly upgraded part of the museum charts thousands of years of the region’s natural history, and was created by UK-based audiovisual specialist,

Electrosonic. Since this was an active site, the museum was adamant that the integration process was to be seamless, without affecting the flow of visitors. This meant that a lot of night work was necessary. “We had a lot of support from Digital Projection remotely and we were sure that we could always give Rayan Soumsom a call if we needed to. He also came to the museum for a full day in order to assist us in the calibration process and give us tips on how to make our life easier. The technical support team in UK was in constant contact with Rayan to make sure things were running smoothly,” said Youssef. “Having seen Digital Projection’s full support during the installation, we now want to continue working with them. We want to promote their great products and fantastic service. The next project will surely require us to use the colour calibration service that Digital Projection offers, which colour-matches projectors before shipping them.” www.digitalprojection.com

HA BITAT M US E U M COMPANY: DIGITAL PROJECTION LOCATION:KUWAIT CITY, KUWAIT The Al Shaheed Park in Kuwait City is home to two museums, the Remembrance Museum and the Habitat Museum. While the former focuses on the critical – and often violent – moments that shaped the nation, the latter is more concerned with its natural flora and fauna, containing a large number of interactive exhibitions and scenic recreations. The museum’s centrepiece boasts a 26-metre audiovisual projection that displays the beauty of the different habitats of Kuwait by means of spectacular panoramic views. Although this has remained a visitor favourite since its introduction, the museum’s management decided that a projector upgrade was required to help the exhibit realise its full potential. In order to do so, the museum called on a trusted integrator, SMARTENTITY (SEC), for their advice, knowledge and expertise. Youssef Ismail, Deputy Managing Director of SEC, said: “SEC has had a long relationship with Amiri Diwan at the governmental projects department. He trusts us and

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2020

Musi cVi deoser i es P 2. 3/ 2. 6/ 2. 9

Legendser i es P 3. 9/ 4. 8

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T H IS I S H OLLAN D COMPANY: CLS-LED LOCATION: AMSTERDAM, THE NETHERLANDS

This is Holland, a flight simulation experience in the heart of Amsterdam, takes visitors on a flight over The Netherlands, with wind, mist and scent effects enhancing the experience. Additionally, a Dutch-themed lobby, two pre-shows and a post-show area educate visitors with sounds, sights and interactive displays. Both creative and technical production were in the hands of Leisure Expert Group, specialists in creating immersive experiences. This is Holland is a carefully-designed experience, with synchronised lighting, sound and visuals throughout the entire attraction. The lighting design therefore required individually controllable fixtures with high light output, superior dimming and accurate colour temperature control. Kevin Mohr, Technical Project Lead for Leisure Expert Group said: “Our job was to reduce all the complexity of this project to the simple push of a button. Because once we leave, that button needs to reproduce the exact experience that we have all worked so hard to achieve. So, we wanted to team up with a lighting partner that could guarantee that consistency and reliability for the long term. LED is the obvious choice for this application, plus that we really needed some custom solutions. Having worked with CLSLED before, we turned to them after the first designs were approved.” The CLS Jades series played a leading role throughout This is Holland, with over 300 fixtures installed. It delivers both the light output and dimming capability needed, while providing accurate DMX512 control over track. In addition to versions in 2700K, 3000K and 4000K, the Jade Colour Flow debuted at this project, combining smooth colour mixing with pure white light. Jade fixtures create most of the general lighting throughout This is Holland, as well as colour effects on set pieces, wall decorations and traffic routes. A combination of LON GII and Focus Compact GII fixtures create the illusion of a dynamic air strip, inviting passengers to board their flight after the pre-show. LON fixtures are also installed as room and effect lighting in pre-show one and as various accent lights for decorative objects. Last but not least, the impressive atrium-style lobby deserves special attention. With daylight present during most opening hours, additional bright lighting from the six-metre-high ceiling was required. Originally intended to be tunable white, a demonstration of the CLS Ruby RGBW was so well received, that it was selected instead. With twice the white light output compared to a regular RGBW fixture and completely shadow free colour mixing, it proved to be a perfect match. Custom designed surface mounted versions of the RUBY RGBW now generate a bright summer during daytime and a warm dusky atmosphere during evenings. After closing time, a subtle yet colourful display is This is Holland’s gift to Amsterdam passing by. www.cls-led.com

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H OL IDAY I N DOOR COMPANY: SHOWTEX LOCATION: HASSLOCH, GERMANY

Creativity and durability are key when dressing any amusement park. Whether itâ&#x20AC;&#x2122;s to prepare a theatre stage for daily shows, decorate thrill rides, create a certain atmosphere or mask off backstage areas, choosing the right soft goods are key to create the desired theme park experience. With a huge amount of flame-retardant fabrics, twinkling star curtains, printed backdrops and innovative rail systems from ShowTex, the German Holiday Indoor park did an excellent job in making the Plopsa fairytales come to life. The art of theme park design is not only about thrills and chills, itâ&#x20AC;&#x2122;s about telling a story, setting a mood and making visitors forget reality when they enter the magical world. ShowTex drapes not only to ensure a venue is technically ready to roll in terms of light masking and acoustic enhancements, they can also completely transform it from an empty box into a dreamy and sensational location. To facilitate the daily shows, both the indoor and the outdoor stage at Holiday Indoor are now fitted with durable and flame-retardant theatre curtains. Apart from a colourfully printed backdrop, the stages feature classic borders and legs made of black molton, and a stunning red FOH velvet which highlights the great versatility of extra-wide Velours Delta. Finished with a motorised H100 rail system, the Holiday Indoor theatre is ready to roll. ShowTex prints high-resolution backdrops, indoor and outdoor signage, stretch fabrics, theatrical scrims, vinyl dance floors, large-scale drapes and screens in a variety of weights, materials and transparencies. Their in-house team is specialised in turning any artwork into a high-quality and flexible decorative element. A staggering 2,000 sq metres of Universal 250 backdrop curtains were carefully printed with the

original Plopsa artwork and fully customised to perfectly fit the contours of the thrill rides. With an overall height of 12-metres, the giant printed panels instantly add magic to the impressive venue. Twinkling star curtains provide a theme park design with a classic starry sky backdrop, colourful venue masking and decoration, star tunnels and walls, or even animated video effects. The main roller coaster of the Holiday Indoor park takes thrill seekers in and out of a dark tunnel, fully covered in ShowLED Classic star curtains. The 1,500 sq metres of twinkling LED backdrops add magic and suspense to the ride, making it even more exciting. The LEDs can easily be integrated into any surface or set design for custom and unique applications. Add them to indoor and outdoor textiles, combine them with digital prints or integrate them into set pieces. They offer limitless design options and can even be used to define the atmosphere of outdoor attractions. ShowTex offers a complete selection of stage tracks and drapery hardware for every weight of curtain. To secure the heavy-weight print drapes at the theme park, a multifunctional suspension system of H100 rails was installed all around the park. Custom-curved to the shape of the venue, the tracks provide a solid and smooth trail for the backdrop curtains to travel on. All the track systems can be curved in-house to a certain radius to accommodate the most challenging of designs, whether they are temporary or not. The curtain opens. The curtain drops. It reveals and conceals. Whether dancing across the stage or standing serenely still. Position, timing and technique are key when you want to amaze your crowd. www.showtex.com

58 REP ORT: T H EME PARKS & AT T RACT IONS

D R E AM BAC K TO THE TA N G DY N ASTY COMPANY: SE AUDIOTECHNIK LOCATION: XIAN, CHINA

SE Audiotechnik’s compact yet powerful M-F3A PRO has been key to the success of an immersive production of Dream Back to the Tang Dynasty. Taking place at the Fengming theatre, sound designer Tian Chensheng wanted to create an immersive audio environment for the large-scale fantasy production but without having the technology on show. Dream Back to the Tang Dynasty incorporates poetry, musical drama and traditional song and dance in a production that completely immerses its audience in the story. The theatre itself has been designed to become integrated into the 180º video wall that creates much of the scenery, but a 360º immersive audio solution was required to complete the audience experience. Tian explored the structural characteristics and the sound field in the theatre and decided that it would be possible to adopt an immersive solution.

However, the 30-year industry veteran did not want to break the immersive environment by having large amounts of technology on show. “In the selection of loudspeakers, on the one hand we needed to meet the sound effect requirements, but on the other hand, we had to hide the installation,” he explained. “However, these two aspects are against each other. Hiding requires the box to be small, but the small size will reduce the sound pressure and the sound quality.” To overcome this challenge Tian and the technical team researched various potential solutions before choosing the M-F3A PRO from German pro audio manufacturer, SE Audiotechnik. The small size and high SPL of this ultra-compact two-way active line array element with a unique hornless design was the perfect choice for the complex environment within the theatre. Weighing in at just 8.3kg, the 210 x 317 x 369mm

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enclosure houses eight high-efficiency 2.8-inch neodymium low/mid-frequency drivers and seven one-inch direct radiation dome tweeters that could deliver the audio quality that the sound designer was looking for. While with much of the electronics inside the cabinet, such as a 600W Class-D amplifier and plug and play DSP, it was possible to conceal a relatively large system throughout the venue. Integrating the technical lighting, video and audio solutions into the overall stage design proved to be a challenge for the team behind the production. But careful planning led by the director ultimately ensured success. Inside the theatre almost 300 loudspeakers have been concealed in various staging and structural elements around the venue to create the immersive sound system, with results that have been celebrated by every audience. www.se-audiotechnik.de

59 REP ORT: T H EME PARKS & AT T RACT IONS

TO N GUAN KI LN IN TE R N ATIO N A L C U LTU RA L A N D TO UR I S M C E N T E R COMPANY: KRAFTWERK LOCATION: CHANGSHA, CHINA Last year, two state-of-the-art attractions opened at the Tonguan Kiln International Cultural and Tourism Center in Changsha, China, a newly erected destination of 1.1 million square meters, portraying the 1,200-year heritage of Changsha city in Hunan Province: “Beautiful Hunan”, a 72-seater Flying Theater attraction and 800-seater “Magic Glaze” 5D Theater – both realized with the expertise of Austrian AV system integrator Kraftwerk Living Technologies. In 2017, when the Cultural Center’s construction was already well underway, Changsha was nominated as a Culture City of East Asia and named one of UNESCO’s Creative Cities for its media and arts industries. In an effort to highlight the history and culture of Hunan, the attractions each focus on a particular aspect of life in this part of China. While Beautiful Hunan offers visitors a 72-seat, high-tech flight experience over the spectacular areas of Hunan’s landscape, Magic Glaze resembles a pot or kiln, with a domeshaped screen and 360-degree projection as well as mapping surfaces so that guests are given the impression of entering the interior of a burning oven and are completely immersed in the action. As part of the project scope, the media-based-at-

tractions experts from Wels were responsible for the technical design, detailed planning, supply, integration, programming and commissioning of the “Magic Glaze” theater – including all technological components such as the 3D screen, projection and audio system, SFX motion seats, show control as well as the water and compressed air system, show lighting and special effects. The attraction allows for a maximum daily guest flow of over 20,000, peaking at three 15-minute shows per hour but also features other show control modes, to optimally operate the attraction. “What is special about this 5D Theater is the seamless integration of the cultural center’s main theme, porcelain craftsmanship, into the attraction. When entering the theater, you walk into the interior of a flaming oven – realised with scenic lighting, various projections and special effects. With this ‘flaming’ atmosphere, the stage is set for a great story and entertaining experience,” explained Manfred Meier, CEO at Kraftwerk LT. The film comes from PRANA Studios and tells an exciting, well-written tale of the main characters Xiaoxiao und Tongtong, who chase after the “Magic Glaze”, with which the evil spell over Tonguan town and everyone who lives there can

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be broken. Enhanced with precise motion and well-selected special effects, the experience excites young and old alike and lets the 4D theater, a theme park classic, shine in a new and very bright light. The Beautiful Huna flying theater, provided as a turnkey solution by CAVU Designwerks on the other hand, allows guests to visit the most beautiful locations in the Hunan province as part of a spectacular six-minute fly-over experience. The high-resolution visuals are paired with smooth, realistic motion and several special effects, supporting the feeling of flight. Once again, the media was produced by PRANA Studios and weaves great live action flying imagery with very active visual effects sequences. Kraftwerk LT provided the screen and high-end AV system of the attraction. Anchoring entertainment into the history, geography and culture of Hunan using high-tech techniques, the new attractions introduced by Kraftwerk Living Technologies fit squarely into Tongguan Kiln International Cultural and Tourism Center’s overall mission to inform, as well as entertain. www.kraftwerk.at

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IN FOCUS

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EMEA ADEO EVENT HALL ISRAEL

ROXY BALL ROOM BIRMINGHAM

HARD ROCK HOTEL LONDON

ZONA EL PARKING ALICANTE

CITY SOCIAL • Page 88

• Page 90

LONDON

THE AMERICAS • Page 100

VERSE LOS ANGELES

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APAC GRANDE CENTRE POINT HOTEL THAILAND

The KSLi System.

Nothing has changed. Everything is different. Broadband directivity control. Extended low frequency headroom. Cardioid dispersion. Tailored for fixed installations, the KSLi System unifies all the advantages of the SL-Series with the 40D amplifier; the most powerful installation platform in the d&b range. This combination lays the foundation for the first no compromise audio solution designed expressly for use in medium to large scale fixed installations. Discover what makes the KSLi System distinctly different at: sl-series.com

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18.03.20 13:40

VENUES - EMEA sponsored by

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Protouch supplies Israel’s Adeo Event Hall with an array of mesmerising audiovisual technology.

Protouch has proudly collaborated on the Adeo Event Hall, Israel, a project that has been a top point of interest locally and worldwide. Amidst the overflowing digital era surrounding the world, we find ourselves intuitively reaching for new peaks of digital performance. Reality TV, Eurovision, Superbowl and the age of selfies are making us more and more ‘screen-ready’ and not so camera shy. This is the generation of the upbeat, fast-changing live show. Adeo is a one-of-a-kind, unique collaboration of LED, sound and lighting to provide the best show possible - for the owner, client and guests. The creation

of all-encompassing high screens creates the illusion of a digital world that transports audiences to wherever they want to go, and the thundering bass, pitch perfect loudspeakers vibrate with each sound projected from the hall. From above - a massive 3D lighting structure that colours the scene, fully immerses spectators in their surroundings, creating an enhanced sensory experience. In technical terms; the use of geometrical shapes to project content, and one additional linear screen, all combines to over 150 sq metres of LED screens.

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65 IN BRIEF - EMEA

TW Audio loudspeakers were chosen specifically for the venue, allowing top quality sound to flow to every corner of the room. In addition, the professional lighting from Ablelite was constructed and pre-designed into a pyramid shape made of linear RGB DMX tubular lights, consisting of over 700 in total. Spread across the centre ceiling, each unit is individually controlled to create a spectacular display. Madrix software and countless hours of programming have created excellent results from the R&D team: “The visuals are striking. The high brightness and

fine Pitch 4 really adds to the realness - you see all your work come to life. After countless hours spent planning and measuring, overseeing and approving, it is such a thrill to see it live, even after 20 times!” conluded Shanee Beattie of Protouch’s R&D department. www.protouch.tech www.twaudio.de www.ablelite.com www.madrix.com

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66 VENUE - EMEA

ROXY BALL ROOM

Beginning its journey in Leeds, UK, Roxy Ball Room has been attracting avid bowling fans to its various sites since 2013. Well known for its American-influenced bowling alleys, sporting a saloon-inspired interior, as well as serving an array of by-the-bucket craft beer and cocktails, the venue has now branched out into Manchester, Liverpool and, more recently, Birmingham, where a striking new audio system was on the agenda. Roxy Ball Room falls under the umbrella organisation â&#x20AC;&#x2DC;Roxy Leisure Ltdâ&#x20AC;&#x2122;, which is responsible for the entirety of the Roxy estate and also owns a number of bars across Leeds and the north of the UK. The venues allow customers to get involved with table tennis,

BIRMINGHAM, UK EMEA

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• Above The 10 bowling lanes that make up Roxy Ball Room.

pool, and beer pong alongside enjoying a game of bowling under the watchful eye of Birmingham-born legend, Ozzy Osbourne, graffitied on the brick walls by Roxy’s resident artist, Eject. Spearheaded by brothers Matt and Ben Jones, Roxy Ball Room has provided the UK with the next big nightlife opportunity, combining nostalgic 90s games with the euphoria of a bustling night out. To achieve the desired audio vision for the Birmingham venue, Roxy Ball Room sought help from Leeds-based audio integrator, Audioserv. The installation company already had a strong relationship with the venue owners, as it had carried

out work across the sites in Liverpool and Manchester previously, so it was confident to take on yet another one of its projects. “We knew how the client liked their venues to work,” explained Pete Rollinson, Director at Audioserv. “The Birmingham venue needed the audio confined to specific spaces like the rest of the Roxy venues, so we designed the systems to give fairly consistent coverage across the whole space, but with more impact in certain areas of the venue.” Matt Jones, CEO of Roxy Ballroom furthered: “Audioserv has kitted out over 15 of my venues since I started building bars a long time ago - they know that

I like to have a system that can bring the party when it needs to, but to bear in mind that we are a bar with a love for music, too. We always go for more loudspeakers to ensure a better spread of music around the venues, rather than having to force the volume levels to cover every corner of the room. The design process will start with plotting loudspeaker locations on the official venue drawings to ensure all gaming zones are covered effectively. Then, we decide on the size of the loudspeakers in each location, and look at the potential costs. We then upgrade some loudspeakers or add more to give a better balance of sound.”

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• Above The Ozzy Osbourne mural painted by Roxy’s resident graffiti artist, Eject.

Luckily, for Pete and the team at Audioserv, Matt is known to be very ‘hands-on’ with the venues. With a passion already rooted in music and sound technology, he became actively involved with the design and build stages of this installation very early on. “I used to play drums in several bands when I was younger and always enjoyed the mechanics behind audio,” explained Matt. “I studied music technology in university and then when I moved on to operating bars, it was always a focus of mine to make sure we had good, capable sound systems.” With a drive for really high-quality sound that is synonymous with louder bars and “bringing the party”, as Matt puts it, implementing each individual element of the sound system in a way to achieve this was key for the team. “It is technically background music in Roxy Ball Room as there is rarely a DJ in the Roxy venues, but these guys like to run the systems at a similar level to some of the loud bars who do have DJs which, for all intents and purposes, are basically clubs with an easier door policy,” explained Pete. “Designing a system around this kind of ethos needs to combine the requirements

of complete coverage as you would need for a background system, but with the ability to go loud and sound like a proper club sound system for later evenings,” Pete continued. “One issue that we always need to give consideration to is where to locate the subwoofers. In these types of venues, the best place for them to be is usually right where the layout of the venue dictates that they can’t be. Fortunately, with Matt being very hands on, we could work out a sensible approach to position the subwoofers together. He wanted it to sound really good, not just go through the motions. For the mid-highs, where we have a blank canvas, we usually fly them and make as much use of time alignment as is appropriate. It means that wherever you are in the venue, the sound is coherent and, in the places where it matters, it sounds great.” The system in the venue is firing in one direction, this is from the back, upstairs part of the ballroom, towards the end of the bowling lanes. Audioserv chose a system comprising Turbosound, Powersoft and Audac products to ensure the sound was capable of adhering to a variety of settings that brought the venue to life. Using Turbosound also meant that Audioserv was able to play with a range

of loudspeaker sizes to integrate into the installation. “There are five Turbosound TCS122 loudspeaker cabinets, mounted horizontally to the back wall upstairs. These are complimented by two Turbosound NuQ118b subwoofers. This area doesn’t need to be as loud as the lower part of the bar. It would have been tempting to use smaller boxes, but they would have started to sound thin in such a large volume of space,” said Pete. “The TCS122 tops used have a dendritic waveguide, and, in a space as large as this one, it was really important to us to be able to control where the sound was focussed to avoid unwanted reflections. The high-frequency waveguides allowed our installation team to really control where we could minimise reverb.” Underneath the mezzanine, there is a line of 10 Turbosound NuQ82 loudspeakers mounted above the bar. “These cover the area directly in front of the bar,” Pete added. “There is another line of five Turbosound TCS122 mid-high loudspeakers mounted horizontally onto the bulkhead at the front of the mezzanine. Again, they are paired with two NuQ118b subwoofers. This part of the system covers the area between the bar area and the bowling lanes, but the

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subwoofers also provide the low end for the bar. They are very close to each other, so the difference in time alignment isn’t noticeable for the subwoofers located in the bar area. The rest of the system is time aligned correctly and wherever you stand it is coherent and sounds great, whether it is AC/DC or house music playing. There is also an Audac Ateo 4 loudspeaker in each of the toilets. They, too, have some time alignment on them, to make the transition of walking to the toilets less noticeable.” The venue also uses Powersoft’s Quattrocanali 4804 amplifiers, which are conveniently tailored to small-to-medium installation projects, offering amazing sound quality and reliability. “As a hire company, we have been using Powersoft amplifiers for years and are very familiar with them. In many of our installations, we use multiple channels of audio for either the number of loudspeakers we use, or the amount of different time alignment delays. Having a huge number of channels of conventional amplifiers would take up a massive amount of room in what is usually a very small office. We have supplied amplifiers from Powersoft’s installation range to Roxy Ball Room on different projects before, as well as a number of other clients. They sound excellent, they are extremely small physically and their power consumption is exceptionally low, which translates into not needing air conditioning for the staff in the office where the audio and network equipment

is usually sited,” furthered Pete. Audioserv also selected a Symetrix Solus 8x8 unit for the processing within the venue, as the venue didn’t require any more than eight channels. Symetrix allows venues to treat the different areas like individual sound systems, but with the zoning capability to provide the relevant control to staff and managers in venues such as bars and restaurants. Like most installations, Roxy Ball Room didn’t come without its challenges, but nothing that the team couldn’t soon overcome. “The only real issue that we faced as audio installers was the potential for reverb from such a large reverberant space. As it was a complete shop fit by the main contractor, we had no other problems with any cable routing or loudspeaker positioning as we were able to specify our positions during the design and then the first fix phase of the construction,” concluded Pete. Roxy Ball Room has given partygoers a new way to enjoy the average night out. Combining the childhood, nostalgic fun of ten-pin bowling with admirable interior décor and a sound system to match, the venues are attracting socialites of all age groups to dance, drink and compete across its many venues located in the UK. With the brandnew audio system that Audioserv provided, Roxy Ball Room, Birmingham, is now fully prepared to provide that authentic experience to the city’s thriving nightlife for many years to come. www.mondodr.com

TECHNICAL INFORMATION SOUND 10 x Turbosound TCS122 loudspeaker; 10 x Turbosound NuQ82 loudspeaker; 4 x Turbosound NuQ118b subwoofer; 2 x Audac Ateo 4 loudpeakers; 2 x Powersoft Quattrocanali 4804 amplifier; 1 x Symetrix Solus 8x8 www.roxyballroom.co.uk

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HARD ROCK HOTEL LONDON LONDON, UK EMEA

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Hard Rock Hotel, located in Hyde Park, London, is a newly refurbished and rebranded 1,000-room establishment that comes with its own unique musical history. Formerly the Grand Cumberland Hotel, the infamous rooms have been the regular resting and partying places for the likes of Jimi Hendrix, Buddy Holly, Diana Ross and Bob Dylan â&#x20AC;&#x201C; making it an ideal setting for a flagship rockthemed hotel, restaurant and bar. Hard Rock Hotel, Hyde Park, won in the Bar/Club/Lounge - Europe category at the International Hotel & Property Awards in 2019. Jointly responsible for a leap forward in installed audio design were Blend Technology Consultants, AT&C Audio Visual Integrators, and d&b audiotechnik - the new voice of the Hard Rock Hotel, London. One of the main challenges for the space was to make sure there was a consistent atmosphere throughout the hotelâ&#x20AC;&#x2122;s public spaces - the entrance, the Rock Shop,

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• Above The bar at Hard Rock Hotel, London.

reception, lounge bar, cocktail bar, the Rock Royalty check-in area and lounge, and, of course, the large restaurant area with its stage and four main seating areas for over 200 covers. Basically, a complete audio overhaul - with even the toilets being part of the scheme. Nick Highton, Associate Director at Blend, the company responsible for the audio design, takes up the story: “We were appointed by GLH Hotels as part of a multi-phase hotel refurbishment, via competitive tender process. The ground floor Hard Rock Café was the first of three subsequently phased sub-projects. We received the Hard Rock technology standards and exceeded them in almost all criteria. The Hard Rock standards aren’t the most rigid we’ve seen, which, quite rightly, paves the way for variance across their properties owing to differing geographic and design uniquities. For

this reason, we had some creative license, and our design principles were not stifled. “We and the rest of the design team were aligned to the RIBA (Royal Institute of British Architects) work stages. During Stages two and three - Concept and Developed Design - we built in a sound budget deserving of a Hard Rock property. It followed recently having heard a very impressive d&b sound system in Bar Tausend in Berlin, and attending a d&b demonstration day in The Royal Central School of Speech and Drama. We had d&b in mind from the outset - we acoustically modelled the various spaces throughout the café’s interiors and selected products around the results. The Stage three design and budget was approved, so we proceeded to carefully coordinate positioning, mounting and setting out of loudspeakers with the

interior designer in order to achieve the best possible performance and aesthetic.” It was important that there was a uniform ‘voicing’ across the installation, to make sure customers didn’t get any nasty surprises. Rather than going for d&b’s ‘rider-friendly’ or familiar ranges like V-Series or Y-Series, Blend opted instead for d&b’s larger xS-Series point source installation boxes - the 12S and the 18S-SUB - for the stage, and smaller xS-Series components for the rest of the installation. The bigger boxes are capable of delivering a powerful live performance and, crucially, have ensured that the voicing remains consistent throughout all of the hotel’s public spaces. The main stage area covers a full 180º outlook across the Hard Rock Café dining areas. This is managed by 12S-D wide dispersion loudspeakers in the primary left and right positions, 12S outfills, and

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18S ceiling-mounted subwoofers. 8S ceilingmounted loudspeakers augment the eating areas, while the circular Lounge Bar behind the Cafe has 4S ceiling-mounted loudspeakers above its surrounding tables and booths, along with a 12S-SUB. 8S ceiling-mount units are used for the three main entrance areas, and 5S loudspeakers are installed in the VIP lounge areas and the WCs, coupled with 12S-SUBs. Nick added: “There’s no getting away from the fact that d&b has competitors, so often it’s the finer details in manufacturers’ offerings that are the differentiating factors. Given the principal requirement for live rock music, we felt that the project was deserving of an impressive dynamic range; from kick drum to squealing guitar solos – and the d&b xS series ticked this box “d&b has a very attractive offering in cost versus performance. The project had its budget challenges, but we were able to ringfence cost for audio performance. As well as that, we felt

the clean lines and semi-industrial, ruggedised look of the xS series were well suited to the contemporary rock look that the interior designers -Scott Brownrigg - have achieved. “Plus, the d&b UK team has a comprehensive pre- and post-sales support offering. Having the technical support team readily available to bounce ideas off was key to the project’s success.” Amplification for the d&b loudspeakers is provided by the company’s 10D and 30D fourchannel amplifiers with integrated loudspeaker management and DSP. The installation used the amplifiers’ DSP for tuning and levelling the system. Ian Dunn, Project Manager for installers, AT&C, explained furhter: “We used the R1 remote software to set up the amplifiers, which means they are doing their own jobs, and those settings cannot be changed through access to the main zoning and control system. It also saves on DSP power there. www.mondodr.com

“It just feels like one big space. You wouldn’t know there are nine or 10 different zones - and that’s probably the beauty of this installation. Everything is set, and all the customer needs are managed by overall level presets.” Nick furthered: “As you move around the space, the sound doesn’t change. It might go down a bit in level as you go towards the cocktail bar, but the tone remains constant and you don’t feel like you’re moving into different spaces.” “We worked closely with d&b on modelling this space, to make sure we had the coverage we needed, that there were no dead spots, and that the acoustic would work.” For AT&C, the final stage of the installation, getting the system ready for handover to the customer is always a critical point and requires understanding from all perspectives. “We have a successful history of d&b projects,” said Ian. “They understand that we understand their products and that we also understand

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• Above Hard Rock Hotel London, designed by Scott Brownrigg

it from a client’s point of view. That impressed the team at Hard Rock; they turned up on handover day, we gave them an iPad, and it worked.” “This was a particularly exciting project for us given the genuine requirement for a high performing sound system, used for live sound,” concluded Nick. “The majority of high-end hospitality projects we work on across the world require only back or mid-ground music systems, used for reproducing various genres of music from curated music players. We appreciate our clients and their clients enjoying environments and ambience, which we have helped to create. So, this scheme met a lot of criteria for what we consider to make an enjoyable project.” The new Hard Rock Hotel at Hyde Park is set to continue the building’s longstanding association with the British music scene, thanks to amazing interior work by Scott Brownrigg, and an audio system that more than lives up to the brand, thanks to Blend, AT&C and d&b audiotechnik.

TECHNICAL INFORMATION SOUND Main Bar 2 x d&b audiotechnik 12S loudspeaker; 2 x d&b audiotechnik 12SD loudspeaker; 2 z d&b audiotechnik 18S-SUB subwoofer; 5 x d&b audiotechnik 8S loudspeaker; 4 x Audio-Technica ES945 microphone; 1 x Castle GA904 Electronic Orange Noise Controller System Lounge Bar 2 x d&b audiotechnik 12S-SUB subwoofer; 6 x d&b audiotechnik 5S loudspeaker; 1 x BSS EC-8BV controller Seating Areas 1 x d&b audiotechnik 12S-SUB subwoofer; 2 x d&b audiotechnik 5S loudspeaker; 2 x d&b audiotechnik 8S loudspeaker Rock Royalty 2 x d&b audiotechnik 12S-SUB subwoofer; 4 x d&b audiotechnik 5S loudspeaker; 1 x BSS EC-8BV controlle Entrance Vestibule 4 x d&b audiotechnik 8S loudspeaker Rock Shop 2 x d&b audiotechnik 5S loudspeaker DSP & Amplification 2 x BSS BLU-120 I/O expander; 1 x BSS BLU-860DA DSP; 4 x d&b audiotechnik D10 amplifier; 1 x d&b audiotechnik D30 amplifier www.hardrockhotels.com

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THE SHAPE

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ZONA EL PARKING

Zona El Parking, Alicanteâ&#x20AC;&#x2122;s newest party venue, is now up and running, with an extensive sound and lighting system tailored to suit each individual area. With its hot summers and extremely mild winters, it is no surprise that the seaside city of Torrevieja on the Spanish Costa Blanca is hugely popular with tourists and expats, particularly those from northern European countries like the UK, Ireland and Germany. There are also plenty of Spaniards with second homes in the city, which is renowned for its cosmopolitan vibe and for doing its upmost to offer holidaymakers a good time. No wonder, then, that Grupo Vela Beach, a company specialising in restaurants and nightlife, has set up in Torrevieja and is rapidly growing its portfolio of businesses with a view to appealing to both long term residents and seasonal tourists. Established in 2008 and voted Torreviejaâ&#x20AC;&#x2122;s Innovative Company

ALICANTE, SPAIN EMEA

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of the Year in 2018, Grupo Vela Beach already has two Mediterranean-style restaurants on the Torrevieja seafront, a Mediterranean-Japanese fusion restaurant, a gourmet burger restaurant and the Velice Discoteca, one of the largest discos on the Costa Blanca. But, in recent months, it has significantly added to this total by opening Zona El Parking, a 3,000 sq metre enclosure dedicated to people who want to eat, drink and party. Located in the Casagande Polygon directly in front of the Velice Discoteca, Zona El Parking has four pubs offering very different ambiences and musical styles in order to appeal to the widest possible clientele. There is also a large outdoor garden area with a panoramic terrace, ample

parking for up to 300 cars and the Insaciable restaurant, which is open every day offering a variety of tapas, traditional dishes and a charcoal BBQ grill. Admission to Zona El Parking is free and the leisure area is open throughout the summer season and on weekends and holidays for the rest of the year. To ensure that Zona El Parking delivered a fantastic user experience, Grupo Vela Beach commissioned Alicante-based AV installation and events company RVS Audiovisual Services to install the necessary sound and lighting equipment. “Grupo Vela Beach chose us because we had worked together on other venues previously,” said

RVS Director, Ruben Vidal Pinoso. “We have a lot of expertise in carrying out fixed installations, from pubs and discos to multimedia classrooms in schools and training rooms. We can also specify the right sound and lighting equipment for each venue, including loudspeakers, microphones, mixers, spotlights, moving heads and so on.” Ruben added that the timeframe on this project was tight - the entire installation had to be completed in just three weeks to ensure that the complex was ready for the start of the tourist season. “To meet the deadline, we knew we needed reliable partners who could deliver the

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equipment we wanted on time and in good working order. The equipment list was quite extensive and included audio and lighting products, so we chose Equipson as our main manufacturer because they offer a range that covered everything we needed to complete this task,” said Ruben. Based in Valencia, Equipson SA is a manufacturer and supplier of audio, lighting and installation products, as well as control systems, lifters, trusses, cables and accessories. The company groups most of its audio and lighting products under its WORK PRO marque. “We choose Equipson for several reasons, not least the quality and price of its products and the

security it offered in terms of sales and after-sales service,” Ruben said. “By using products from the WORK PRO range and also including some products from Equipson’s lower-cost MARK brand, we were able to cover the audio and lighting requirements of all but one area of the complex. The only place where we didn’t install a new sound system was in What The Club. This is the site’s disco pub and, in a bid to economise, Grupo Vela Beach asked us to use a 12-speaker V-proof One sound system that they already owned from a different venue. We were happy to do so but we did install a new lighting system that comprised eight MARK Moving Head 195 units and eight MARK multipair units.”

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On the audio spec sheet for the complex were numerous WORK PRO amplifiers, Ethernet DSP audio processors, power distributors and loudspeakers – nearly 80 in total. These ranged from WORK PRO Neo S8 Self Powered and SuW Z15 subwoofers, through to a large number of loudspeakers from WORK PROs Mino passive and SoundNut pendant loudspeaker ranges. In each case, the loudspeakers were chosen for their suitability to the space, taking into account acoustic challenges such as high ceiling structures and reverberant sound fields, so that musical clarity and voice intelligibility remained high throughout. With the lighting systems, RVS Audiovisual

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Services specified Equipson WORK PRO and MARK projectors, fog machines, lighting bars, moving heads and lighting beams. These incorporate the latest LED technology for an intense and varied colour palette, as well as high-performance motors that allow the lights to tilt and pan very quickly. “WORK PRO and MARK systems went into the Insatiable restaurant, the Maremagna disco pub, the Green Limbo garden venue and the Split Terrace area,” Pinoso commented. “We also used 60 MARK Mbar 381ip LED bar lights on the main façade to dress the entire building in blue light, which is Grupo Velo Beach’s corporate colour.” Although this was a large installation, it was relatively straightforward. According to Pinoso, the support he received from Equipson made it even easier because the company’s engineering staff were available at all times to answer any technical queries. “We had no issues with any of the systems because the products all worked perfectly,” he noted. “The most complex system we installed was in the restaurant because this was a very large area with exaggerated high ceilings. Our solution was to use hanging projectors and hanging 10-inch speaker cones that gave exceptional coverage and resulted in a great sound.” Zona El Parking officially opened in 2019 and has proved to be a huge success for Grupo Velo Beach. “Everyone is really happy with the outcome and we are particularly pleased that a project of this size was completed so smoothly and with such good results,” Ruben concluded. “Getting the sound and lighting right is very important if you want to give customers a great experience and, with Equipson’s help, we think we have achieved that.”

TECHNICAL INFORMATION Insaciable Restaurant WORK PRO WPS310 loudspeaker; WORK PRO PA5000 amplifier Maremagna Bar 12 x WORK PRO Mino loudspeaker; 4 x WORK PRO Z15 subwoofer; WORK PRO Zenith amplifiers; WORK PRO WPE 48N processor; 8 x MARK 195 moving head; 8 x MARK multipair fixture Green Limbo Garden 12 x WORK PRO Mino loudspeaker; 2 x WORK PRO Z15 subwoofer; WORK PRO Zenith amplifiers; WORK PRO WPE 48N processor; 8 x MARK 280 Beam fixture; 8 x MARK PARLED 432 6 IP fixture Split Terrace 10 x WORK PRO Mino loudspeaker; 2 x WORK PRO Z15 subwoofer; WORK PRO Zenith amplifiers; WORK PRO WPE 48 processor; 8 x MARK Beam LED 64 fixture; 8 x MARK Cob Spot 50/5 fixture What The Club Bar 8 x MARK 195 moving head; 8 x MARK multipair fixture Main Façade 60 x MARK Mbar 381ip LED fixture www.zonaelparking.com

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CITY SOCIAL LONDON, UK EMEA

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Tower 42 in the City of London is home to Jason Athertonâ&#x20AC;&#x2122;s modern, Michelin star restaurant, City Social. Situated on the 24th floor, the venue commands spectacular views across the Metropolis and serves the best of British ingredients in an elegant, art-deco environment. As well as serving an extensive range of cocktails, fine wines and beers, Social 24, the venueâ&#x20AC;&#x2122;s bar, also hosts popular and busy DJ nights. The City Social management team faced a number of issues relating to its audio provision and consulted with integrators Excite AV and the Application Team at Audiologic to help determine a practical way to overcome some tricky problems. The basic brief was to deliver

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• Above Dining area at City Social, Tower 42’s Michelin star restaurant.

a new background music system that could be used as a main system for DJ events. The existing ceiling loudspeaker system suffered from uneven sound and coverage, with 100V line loudspeakers dotted only near the windows and above the bar. On busy nights as customers gathered on the dance floor, any lift in volume overpowered conversations in the peripheral areas, yet lacked sufficient dynamic range in the central dancefloor area. To overcome this problem, the venue had used larger suspended loudspeakers on DJ nights but the unique design of the building transmitted

vibration to the floor below and had led to the installation of an inconvenient noise-limiter to avoid complaints from other users of the building. Having taken account of the setting and its challenges, Audiologic and Excite AV recommended a QSC solution and arranged a demonstration of QSC loudspeakers at the manufacturer’s London demo room. Suitably impressed by what they heard, the support they received and the speed with which Audiologic was able to provide a quote, City Social went ahead with the design. Excite AV installed six QSC AD-S6T surface-mounted loudspeakers, eight www.mondodr.com

QSC AC-C6T high-quality ceilingmounted loudspeakers and two QSC AD-81Tw ceiling-mounted subwoofers. The system is powered by two QSC CXD4.2 processing amplifiers. A Cloud LE1W Remote Input Plate is also used to provide a connection for an audio source, completing the picture for the venue. Audiologic Application Support Engineer, Yavor ‘Max’ Yanakiev commented: “To address the issues at hand, we suggested the use of surface mounted low impedance distributed loudspeakers positioned above the bar, directed inwards towards the dancefloor, as well as the busy parts of the venue where the

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TECHNICAL INFORMATION SOUND 6 x QSC AD-S6T loudspeaker; 8 x QSC AC-C6T loudspeaker; 2 x QSC AD-81Tw subwoofer; 2 x QSC CXD4.2 amplifier www.citysociallondon.com

energy was required. “The AD-S6T loudspeakers powered by the CXD amplifier have provided the necessary levels, dynamic range, frequency response and headroom in these areas. Adding relatively small loudspeakers to the existing distributed system has allowed a significant reduction in structuretransferred noise, whilst still achieving great clarity and good SPL throughout the venue, without triggering the noise limiter as had happened before.” Jim Thomas of Excite AV reflected on another successful installation: “The principal challenge we faced was to overcome the inaccessibility of the venue’s ceiling which comprised large decorated sound-absorption panels. This made

cabling the in-ceiling loudspeakers on the side of the bar more difficult. Fortunately, the QSC CXD4.2 amplifiers’ ability to go down to 2.4 ohms proved to be very helpful in this instance, as they the allowed us to run the 14 loudspeakers and two subs off two amplifiers.” The installation at City Social demonstrates the value of close cooperation between project partners and emphasises the value of Audiologic’s service-led approach, where its team engages with integrators and end-users in the early stages of a project, ensuring that best-fit solutions are delivered quickly and efficiently. The reaction of City Social’s General Manager, Tim Smith, to the completed install certainly suggested that this is the case: “We went with

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Audiologic and Excite AV because of the speed at which they were able to provide a definitive quote and the helpful support they offered from the start. The staff are very happy with the new system, describing it as clear and more powerful without being overpowering. “A major problem with the previous system was sound travelling through the floor and ceiling to our corporate neighbours. The new install does not have these issues, giving us peace of mind. There is a clear difference between the sound in the bar with the new system as compared to the restaurant with the previous system. We find our visitors drawn to the area with the new system.”

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Meyer Sound and Solid State Logic supply sublime audio to Verse, LA.

Verse, the high-end supper club recently opened by GRAMMY Awardwinning mix engineer Manny Marroquin, Michelin-star chef Paul Shoemaker and hospitality veteran Rob Ciancimino, is no ordinary venue. The restaurant leverages Manny’s Larrabee Sound Studios, located next door, to place patrons in the acoustic ambience of a recording studio alongside the latest audio technology, including a Solid State Logic Live L300 mixing console at FOH and a Meyer Sound Constellation acoustics system including a direct reinforcement system based on ULTRA-X40 point source loudspeakers. “Larrabee has a rich, amazing history with Solid State Logic,” said Manny Marroquin, a nine-time GRAMMY-winner whose worked with the likes of Kanye West. The multi-room complex was the first in Los Angeles to install an SSL console, in 1979. Larrabee is currently outfitted with three SSL XL 9000K Series and two SSL Duality desks. “Meyer Sound is one of the most amazing companies in the industry, too,

from John and Helen on down,” continued Manny. “Their team came up with the complete plan, first controlling the room’s physical acoustics with 28 custom Libra panels on the walls and bass traps overhead. From that baseline we introduced Constellation, which gave us the ability to dial in just the right amount of liveliness by creating a controlled, immersive environment. That is obviously music to my ears!” Verse launched at the end of 2019 to coincide with the 50th anniversary of Larrabee Sound. The 3,800 sq ft supper club, which accommodates up to 140 guests, is located close to Universal City in the Los Angeles neighbourhood of Toluca Lake. Kimberly Biehl Schmidt, who designed the studios, lounges and other spaces at Larrabee, also designed Verse’s interior. A Meyer Sound Constellation acoustics system and 60 loudspeakers, together with the largest installation anywhere of the manufacturer’s Libra custom acoustical panels, help deliver an unparalleled listening experience to patrons.

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FOH Engineer, Steve McGuire, configured the ceiling-mounted Meyer Sound loudspeakers that are managed by the Constellation system into five time-aligned stereo zones, running from the performance area to the rear of the venue. Constellation uses a system of two dozen microphones to constantly analyse a space and, using DSP, can adjust the ambience to behave like a well-controlled recording studio environment, a concert hall, or anything in between. Each zone is driven by a separate stereo bus on the L300 desk, which is installed in a sound booth adjacent to the dining room. “I can put whatever I want into those stems for those zones and change the mix from the front of the room to the back,” said Steve. “You can send one mix to all those zones or you can split them up with different elements; whatever you want to do.” An SSL ML32.32 analogue stagebox feeds signals from the performance area to the L300. “Then, at the L300, there’s a Dante expander card that goes

to a Mac Mini that I use for local Avid Pro Tools recording and playback. I also use the MADI fibre effects loop to get in and out of my Universal Audio UAD-2 Live Rack, which I use for all the reverbs; I like their EMT140 and 250, and Lexicon 480 and 224,” said Manny. A RedNet MADI to Dante Bridge links the ML32.32 stagebox over fibre to the Larrabee studios 500 ft away. “We’re pretty much recording every performance,” Manny reported. In addition to tracking to the local Pro Tools setup, artists can stream their performances over the link to a hub in Larrabee’s machine room, which can feed any K Series or Duality console in the complex, according to availability. “Channels one through to 32 come up right on the desk,” he said. Larrabee’s collection of microphones and instruments, which include a Yamaha C7 grand piano, are also available to performers at Verse. www.meyersound.com www.solidstatelogic.com

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Photos: Alicia Fierro

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DANCE STUDIO VOL. 1 CHICAGO, USA AMERICAS

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The world-renowned Chicago music scene is well known for pioneering a diverse mix of genres, including blues, disco, funk and house. Its nightlife has guided free spirits across the dancefloor and doused onlookers in the afterdark gimmer of disco balls since the early 80s - birthing hugely influential DJs like Frankie Knuckles and Ron Hardy, too. The newest contender to the Chicago club scene is Dance Studio Vol. 1, another venue synonymous with the extravagant interior and party attitude of its predecessors. The new nightclub and event space is a renovation of the dearly departed Studio Paris, which closed in January 2019 after an eightyear run. With a totally redesigned interior,

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• Above The dancefloor inside Dance Studio Vol.1, kitted out with ADJ’s mirror balls.

Dance Studio Vol. 1 is a 350-person venue that hosts live music, DJs and ‘surprise entertainment’. It features an awe-inspiring lighting system that was designed and installed by Chicago-based audiovisual design and integration company, Craft Lighting, and a brandnew audio system installed by Sound Investment Audio. Disco balls have been used to create a sparkling atmosphere in dancehalls and nightclubs for almost a century, though they have become synonymous with the 70s disco explosion, famed for its lavish parties and forward-thinking fashion. Dance Studio Vol. 1, based in Chicago’s

River North neighbourhood, takes this lighting staple to a new level by filling the ceiling above its dancefloor completely with ADJ mirror balls of various sizes. “I have been deeply involved with this client – Lettuce Entertain You Enterprises (LEYE), Chicago’s largest restaurateur – for nearly a decade. I served as their director of AV for many years and my company – Craft Lighting – was heavily involved with Studio Paris,” explained Noah Craft, Owner and Lead Designer at Craft Lighting. “Thankfully, we were tasked with designing, installing and commissioning lighting and visuals for the venue’s expansive and immersive www.mondodr.com

concept, which goes well beyond the nightclub’s second-floor space. “Our clients were exploring visual themes for this project that relied on repeating patterns and textures. They wanted to evoke feelings of nostalgia and pay homage to dance and nightlife of years gone by. Most of all, they wanted it to be a fun venue where patrons felt welcome and included without taking itself too seriously. Our lighting package was geared to suit those goals by being flexible enough to meet the needs of a flexible space with many potential uses, as well as accentuating the space in a visually rich and whimsical manner.”

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Craft Lighting supplied and installed a total of 475 ADJ mirror balls of different sizes, hanging them at various heights to create a sea of glass facets above the heads of dancers. A mixture of standard eightinch, 12-inch, 16-inch and 20-inch balls were combined with three huge 40-inch units to create a truly dazzling, eyecatching installation, which surrounds a moving light package consisting of fixtures from Elation Professional. “The mirror ball installation sprung from conversations and design explorations with the client,” said Noah. “Because we were dealing with very limited ceiling heights, we explored some creative options to add more visual interest using mirror balls and other reflective surfaces to play with. At a certain point within the design process, the client asked if it was feasible to fill the entire dancefloor with mirror balls of varying sizes. The largest challenge with this was the extremely tight timeline directly ahead of the Christmas holiday. However, with the help of the ADJ team and our reps at Pro Media Marketing, we were able to procure all of the equipment in a timely manner and complete the installation on schedule.” In addition to the mirror balls, Craft Lighting also supplied the Elation Professional DARTZ 360 and Fuze Wash

Z120 moving heads that are scattered throughout the ceiling, mingling with the mirror balls. “The Dartz fixtures were a no-brainer for us to specify as the main workhorse for the dancefloor lighting system. Their speed, rich feature set, and astounding output are unparalleled from a fixture of their size and price point. They were a perfect fit for this project,” said Noah. “And the Fuze Wash Z120 moving heads were an excellent complement to the Dartz fixtures on the dancefloor and throughout the rest of the venue, with their excellent output, colour and zoom range. In addition to their use as dance lights, the private events team loves these fixtures for their ability to provide attractive adjustable ‘pin-spotting’ that their clients may require on food stations or activations.” Craft Lighting also supplied 24 of ADJ’s Pinspot LED Quad DMX fixtures. These compact units each feature an efficient 8W quad colour LED source, which is focused into a sharp 15º beam. Offering DMX control and full RGBW colour mixing, these robust fixtures are ideal for illuminating mirror balls. “The Pinspot LED Quad DMX units were a clear choice due to their compact size, price point, and dimming / colour mixing abilities. They allow the lighting operator to have a secondary set of www.mondodr.com

“Our lighting package was geared to suit those goals by being flexible enough to meet the needs of a flexible space with many potential uses, as well as accenting the space in a visually rich and whimsical manner.”

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• Above The mesmerising interior of the club that houses an array of audiovisual technology.

lighting effects running on the mirror ball array without always needing to sacrifice fixtures from the main moving light package,” explained Noah. While many of the mirror balls filling the ceiling are static, Noah and his team also installed 61 ADJ motorised rotators to add additional movement to the lightshow. These are connected to a collection of 10 ADJ DP 415R DMX dimmer/switch packs that are used as relays, allowing the lighting operator to control different sections of motors. This, combined with the colour mixing

pin spots, moving head beam and wash fixtures, makes for a lightshow that is both unique and visually engaging. In addition to the lighting in the venue, Craft Lighting was also responsible for the visuals, which were not originally on the specification for the club’s renovation. “When we initially started the project, we weren’t looking at adding any video elements alongside the lighting package,” recalled Noah. “However, after some discussions with the client, two LED walls were added to the space. The first was a 12 ft-wide 16:9 Aurora LED wall in the

larger room opposite the main dancefloor, which is in an ideal location for private event use. When they use their portable stage in this location, the LED wall provides a perfect full-stage backdrop for DJs, small bands or presentations. The second wall is the centrepiece behind the dancefloor bar which features a 14 ft-wide array that is built into a custom five-tiered archway, trimmed with GLP Neonflex tube. Both LED walls are housed behind two-way mirror, allowing them to disappear and look like large mirrors when not in use.

TECHNICAL INFORMATION SOUND: 1 x Funktion One F124 subwoofer; 2 x Funktion One F118 subwoofer; 2 x Funktion One Res2U loudspeaker; 2 x Funktion One Res1.5TT loudspeaker; 4 x Funktion One Res1.5 loudspeaker; 14 x Funktion One F101 loudspeaker; 2 x Funktion One F81 loudspeaker; 2 x NST Audio ID48; 1 x BSS Blu160; 14 x Lab Gruppen C Series amplifier LIGHTING: 3 x ADJ M-4040 Mirror Ball; 68 x ADJ M-2020 Mirror Ball; 76 x ADJ M-1616 Mirror Ball; 113 x ADJ M-1212 Mirror Ball; 210 x ADJ M-800 Mirror Ball; 24 x ADJ Pinspot LED Quad DMX; 12 x Elation Professional DARTZ 360; 18 x Elation Professional Fuze Wash Z120; 6 x Elation Professional Proton 3K Color LED Strobe; 5 x Elation Professional CUEPIX Blinder WW2 www.craftlighting.co www.soundinvestmentav.com

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“We worked with Aurora LED out of Las Vegas to procure 54 of their 2.8mm panels for this project on an extremely accelerated timeline. We have worked with Jeff Saviano and Richard Zhang at Aurora on a few projects in previous years and were happy to tap them again. They provide excellent products that have held up to years of nightclub abuse. Their products are affordable for this type of client and their team is always extremely helpful in specification, commissioning and support.” The installation perfectly fulfills the client’s design brief; it gives a very significant nod to the nightlife scene of decades past, while having a distinctly modern feel. The mirror ball array, in particular, has a huge visual impact on the space that draws patrons to the dancefloor and is an extremely photogenic element which contributes positively to the venue’s social media presence. A club like Dance Studio Vol.1 needed a sound system that was worthy of competing with some of the very best of Chicago’s nightlife, too. Fronting the audio side of the project was Sound Investment Audio, another Chicago-based AV Integration company which has been working with the client for a number of years. “We have been providing audiovisual support for LEYE for several years and we were excited to be involved in the refit of the venue,” explained Todd

Konecny, CEO of Sound Investment Audio. “Nightlife in Chicago is extremely varied as Chicago itself has many different communities and lifestyles. There is everything here from high-end bottle service venues in the West Loop area, to gritty underground venues on the North Side and right through to long-standing live performance venues of all types. With Dance Studio Vol.1, the client wanted a venue that was more nuanced than ever before, with the ability to host private events, as well as live performances, so the design of the audio system was intended to allow for maximum flexibility with how the rooms are used. “There is a fairly regular distribution of loudspeakers with very few of them being on the floor. The DJ booth can handle national touring DJs as well, and there are input and power locations throughout the venue to support different events and source locations.” For this particular installation, Sound Investment Audio chose Funktion-One loudspeakers for a highly flexible sound system. As the venue has multiple individual zones with independent volume control, selecting the Funktion-One loudspeakers proved useful for when there is a live act in one half of the venue and a DJ in the other. “We feel that Funktion-One loudspeakers www.mondodr.com

are uniquely able to provide high SPL, while maintaining clarity and reliability. The product takes up a small amount of space relative to its output capabilities so it’s easier to place the loudspeakers in the locations that are allowed,” added Todd. Todd and his team also opted for installationorientated Lab.gruppen C-Series amplifiers to provide Dance Studio Vol.1 with a highly efficient system, synonymous with other LEYE venues that have seen positive results from using its products. Moving onto the processing inside the venue, Todd explained further: “The venue’s main signal processing system is accomplished using the NST Audio ID48 platform, which is a powerful unit that has incredible fidelity and control. This unit does all of the filtering, delay, equalisation and limiting protection for the system and is being controlled through a Crestron interface.” Dance Studio Vol.1 is the new kid on the block in Chicago’s nightlife scene. Armed with an array of audiovisual technology set to dazzle onlookers and dancers alike, the club is firmly set for success in the new age of downtown discos. With help from Craft Lighting and Sound Investment Audio, the venue has the capabilities of adhering to a wide range of parties, but be prepared to pack flared pants and platform boots, as the 70s has well and truly made a comeback.

VENUES - APAC sponsored by

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Grande Centre Point Hotel Elevates the Luxury Experience With HARMAN Professional Solutions

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Located in the heart of North Pattaya, the Grande Centre Point Hotel is a 32-story luxury hotel and resort. In addition to 396 lavish rooms the hotel also offers a variety of amenities, including the famous Terminal 21 shopping mall, the Sky 32 rooftop lounge, an amphitheater for events, and a family waterpark. The hotel also includes the Port Ballroom and its seven adjoining meeting rooms, which are used for formal meetings, conferences and private dinner parties. To elevate the entertainment experience, Grande Centre Point hired leading integrators Mahajak Development Co, to design and install state-ofthe-art audio and lighting solutions across the complex. Mahajak selected a wide range of world-class solutions from JBL, Crown, Soundcraft, BSS and Martin. “The client required a versatile audio solution for the meeting room, which consists of seven rooms that can either be combined or separated for events. The family water park required a PA system to make announcements, play background music and more. They required mobile audio, visual and lighting setups for activities such as seminars, concerts and events. Finally, they needed an audio system for the Sky Lounge on the 32nd floor. We decided that JBL audio solutions and Martin lighting systems would be best suited for this multi-faceted project,” explained Pongsakorn Kanchanachayphoom, Director of Projects, Mahajak Development Co. In the Port Ballroom and adjoined meeting rooms, Mahajak deployed JBL Control 14C/T in-ceiling loudspeakers to deliver detailed sound. To power the system, Mahajak selected Crown CDi 2|300 amplifiers for their impressive performance and streamlined functionality. A Soundcraft Si Impact digital mixing console delivers uncompromising sound quality and provides staff with complete control over the system. Mahajak equipped the water park with a complete HARMAN Professional Solutions networked audio system to enable staff to make announcements and play music. Compact JBL Control 25-1 indoor/outdoor loudspeakers mounted throughout the park deliver detailed clear sound with consistent coverage. MTC25WMG-1 WeatherMax grilles provide the Control 25-1 loudspeakers with greater protection against the environmental damage and extend their service life. The system is powered by Crown CDi 2|300 amplifiers and routed through a BSS BLU100 Signal Processor via BLU link. To enable crystal-clear sound for announcements, Mahajak installed a JBL CSPM-1 microphone system. Mahajak deployed JBL Control 29AV-1 loudspeakers in the Sky 32 Lounge to enhance the ambiance with their sleek design and deliver clear background music. With rugged construction and a highly weather-resistant design, Control 29AV-1 loudspeakers are well protected against the elements and offer an extended service life. To provide staff with an easy-to-use mobile production setup for concerts and events, Mahajak deployed a complete HARMAN Professional Solutions audio and lighting rig, including solutions from JBL, Soundcraft and Martin. JBL EON615 and EON612 two-way powered loudspeakers deliver pristine sound in a versatile, easy-touse system. For powerful low-frequency reinforcement, Mahajak included the lightweight JBL EON618S portable subwoofer. The system is controlled with a Soundcraft Si impact digital mixing console. To create immersive lighting displays, Mahajak equipped the mobile production rig with compact, powerful Martin Rush MH 2 Wash fixtures. The lighting system is routed through a Martin DMX 5.3 Splitter and controlled using the intuitive Martin M-Touch stage lighting control system. “In addition to the high-quality performance of the systems, reliability was of utmost importance for us. We are delighted with the solutions provided by Mahajak Development Co., Ltd. The sound and lighting solutions have matched up to our expectations,” said a spokesperson of Grande Centre Point. www.pro.harman.com

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PRODUCT LAUNCH AVOLITES

IN DETAIL OPTOCORE ARRI LINK

PRODUCT GUIDE PROJECTORS & MEDIA SERVERS

PRODUCT DIRECTORY LAST PAGE INTERVIEW SADIE GROOM

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AVOLITES | PRODUCT LAUNCH Although Avolites’ heritage is very much in lighting control, the company has made significant steps into the world of video control over the past decade. With products such as the Q3 media server, not to mention its acclaimed Ai software with protocols such as Synergy, Avolites increasingly caters to an entertainment world where lighting and video are ever more integrated. This year marks an interesting milestone for Avolites, with an updated range of media servers: the Qgen, Q4, Q3Pro and Q3. As video content and projection mapping became ubiquitous in both live performances and installations, and the Synergy feature set made integrating video into designs even easier, the next step for Avolites was to create the ideal hardware to complement its powerful Ai software. Starting the conversation during mondo*dr’s visit was Technical Director, JB Toby. “Avolites has been working on the integration of video and lighting for some time,” began JB. “There are a growing group of people that really understand the importance of a central point of control with-

in a show or project, with lighting and video all going to and being sent out via one source. Now more than ever, we can offer the tools to make this possible.” Having been with the company since the early ’90s, JB has been on the front line of Avolites’ transition to offering a full visual package rather than purely lighting. “We were lucky in many ways that when we started to look into video, we had many at the company who already had a fair bit of experience in the field,” he stated. Toby recalled how the company had a “real trial by fire” during the London 2012 Olympic Games, but since then – especially with the introduction of Ai to the market – Avolites has been able to gain “a secure footing into this side of the visual landscape”. Ron Carrington, Sales Engineer at Avolites, expressed how the recent developments have affected the installation market, too: “These media servers are being used more and more in the install market – especially in the likes of theme parks. We’ve noticed that this particular market www.mondodr.com

is something that, for us, is definitely growing. I think Ai really offers a lot of unique opportunities with the way we can do things, whether that’s projection, LED technology or controlling video walls, it really adds to that idea of an immersive experience. People want to see things that are different.” JB expanded on the latest addition to Avolites’ media server offering. “The Qgen and the Q4 are our new flagship media servers,” he stated. The Qgen has been developed to produce generative content with more focus on the processing and GPU power. The Q4 on the other hand offers more outputs to users with four, 4k outputs and separate GUI output giving users very high-resolution media playback for large-sized tours, corporate events and installations. Further down the range are the Q3 and the Q3pro. For this latest release, the Q3 has received a facelift, now featuring one 4k output and two HD outputs with separate GUI output, as well as new EDID-managed HDMI outputs. The Q3pro meanwhile is a portable server designed for more

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• Above Ai Lead Software Developer, Ciaran Abrams; Technical Director, JB Toby; Software Developer, Peter Bridgeman; Sales Engineer, Ron Carrington

demanding shows, with two 4k outputs and one HD, along with EDID-managed HDMI outputs. Speaking about generative capabilities of the Qgen was Peter Bridgeman, Avolites Software Developer. “We have been very conscious with all updates on the media servers to be able to support the workloads of end users,” he began. “With Qgen, the overriding principle was to provide fantastic hardware and software to produce generative content.” A look inside one of the Qgens on the production line gave mondo*dr a chance to see one of the reasons for its power – namely the powerful NVidia GPU, which delivers approximately 30,000 Notch marks. When released, the Qgen will also come with a two-year Notch Licence. “It’s a real value add for the Qgen,” stated Peter. “You receive a turnkey solution that enables you to hit the ground

running in producing generative shows.” He went on to explain that as well as benefitting end users, the two-year licence will also benefit the rental houses stocking servers, as they will be able to offer a product that is ready to deliver to clients straight away, without the need for further investment in additional licences. “Reliability and build quality of our products has been of the utmost importance for us,” JB asserted. “An example of this is with the Qgen and Q4, both of which are built in suspended frames to protect the delicate parts inside.” The exterior of all the media servers also had an additional benefit in that it serviced a request that had come from various customers. “Many of our customers have complained about the number of input types they have to deal with,” he stated. “Although other media servers give the option to change the www.mondodr.com

effects card for different input types, this often means opening the box. With the new Q-range, you can change the input type all on the exterior depending on the job.” Along with a selection of hardware, the Avolites team were also excited to announce the release of the new version of Ai Software. Talking through some of the latest developments was Ai Lead Software Developer, Ciaran Abrams. Among a selection of upgrades, Ai v12.1 has seen a whole update of the ordinal code base so as to support 64-bit architecture. “This has been one of the biggest demands from our customers, which has certainly been inspired by the use of Notch,” stated Ciaran. “This also means that you can get more memory out of your system and have larger content files.” The new version also supports audio standards 5.1 and 7.1, providing

106 P RODUCT LAUNCH

additional audio channels, which makes it ideal for corporate events and art installations, while the AMD Texture Upload enables users to have additional layers when used in conjunction with an AMD graphics card. One of the other new elements of v12.1, which Ciaran gave a hands-on demo of, was the Pioneer PRO DJ LINK Bridge integration. As an official partner of Pioneer PRO DJ, the company has developed a tight integration with PRO DJ LINK BRIDGE-compatible products such as the CDJ-TOUR1, DJMTOUR1, CDJ-2000NXS2, and DJM-900NXS2. What this means for end users is a greater overview of what the DJ is doing behind the desk, offering real-time information from the BPM of the track, to wave forms of upcoming tracks as well as the song names that are next in the cue. “There is a lot of information for our users,” enthused. “Designers can have their designs speed up and slow down automatically depending on the mix.” While speaking to the Avolites team, it was clear that this was very much the first chapter in the company’s development of tools that will continue to meld the worlds of lighting and video. Ron gave his take on the company’s latest developments: “All of our products, both old and new,

have always worked well with other brands. But when you use all the Avolites pieces together, with developments such as Synergy, it can really take a live performance to the next level,” he commented. From a sales perspective, he also made the case that the latest line of products has very much been designed with the “global market” in mind. “In many ways, the Asian market has been ahead when it comes to the utilising video in entertainment, while the West is catching up,” he explained. “When we create products, we are not just thinking about certain regions or vertical markets. The Q-Series can find a place in multiple markets.” Ron went on to explain that flexibility was also vital when selling these products. “We are seeing trends in the market where large artists are becoming interested in playing smaller, more intimate shows yet still wanting the same arena standard visual show. We’re also seeing newer artists being propelled onto the biggest stages very quickly. In both cases, having solutions that are scalable is of the utmost importance.” He continued by explaining that one misconception about this type of technology was that the entry point was too high for many smaller acts. www.mondodr.com

“It’s not as high as you might think,” he said. “Our Ai Software is compatible throughout the range, from a laptop all the way to the new Q4 and Qgen.” It’s a statement that was echoed by Peter. “Our software is compatible throughout our range so as not to limit designers,” he commented. “Our customers don’t design a show thinking about the limits of the tool they have at their disposal. Therefore, we want to create tools that allow creatives to express themselves and not worry about having the biggest desk or server.” In conclusion, JB expressed what he thought this latest offering to the company’s range would bring to the live environment. “With an increased number of timecode-dependent shows, artists are looking for more spontaneity and creativity within the shows, which is just what the Q-Series – particularly the Qgen – along with Ai v12.1, enables. We are empowering designers to be ‘perfect’ in an imperfect world and helping to make the visual canvas of lighting and video as one entity.” The entire range of Q-Series will begin shipping late Spring 2020, while the new version of Ai v12.1 is available mid-April from the Avolites website. www.avolites.com

PROLED FLEX STRIPS DIGITAL + DiGidot C4 CONTROLLERS

The PROLED FLEX STRIPS DIGITAL are perfect for pixel applications. With the the DiGidot C4 controllers each LED can be controlled individually. MBN GmbH Balthasar-Schaller-Str. 3 86316 Friedberg Â· Germany Phone +49.821.60099-0 Fax +49.821.60099-99

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108 IN DETAIL

OPTOCORE | OPTOSPLITTER

One of the big successes enjoyed by Optocore over the past 12 months has been the popularity of its AutoRouter. What made the device so appealing to sound system designers was that it functioned as an intelligent patch bay, creating a redundant ‘star’ out of the ring topology. It is therefore a perfect solution where mixed ring/ star or star topology is more desirable due to a star-based fibre cable layout. The way AutoRouter works is that it automatically discovers the presence of mobile devices and adds them to the Optocore loop. When such a device is later disconnected, or powered down, AutoRouter automatically closes the loop with the remaining devices. Redundancy is established automatically,

without any user action necessary. Now Optocore has announced the new OptoSplitter, a device which, when paired with AutoRouter, will achieve redundancy. It works connecting all connections from any external equipment, not directly to the AutoRouter as previously, but to this new OptoSplitter. This splits the fibre signal into two and distributes it to both the main and backup AutoRouter. Both routers communicate, leaving only one active at a time and automatically switching to the backup router when the active one is absent. “This allows the system to work flawlessly even when one AutoRouter fails or is powered off,” confirmed Optocore’s Technical Sales Manager, www.mondodr.com

Maciek Janiszewski. “Despite a bullet-proof design, without a single hardware failure since its launch, some customers have requested hardware redundancy.” And OptoSplitter is the company’s dynamic response to market feedback. Finally, he added that since it is a passive device, it is not a point of failure. “Each connection splits within the independent optical splitter - the redundancy switchover takes place automatically and independently.” While OptoSplitter is available as a complete new solution, all customers who already own an AutoRouter or BroaMan Route66 can add redundancy to their existing system. www.optocore.com

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110 IN DETAIL

ARRI | STELLAR 2

Since its introduction, Stellar - ARRIâ&#x20AC;&#x2122;s lighting control app - has paved a new way for lighting control. Complete with a highly intuitive user interface for advanced network configuration and management, Stellar made working with modern LED fixtures easier than ever before. With Stellar 2, ARRI has taken the next step forward. Third-party products are now able to be controlled with Stellar 2. Other features, such as grouping, have become much more convenient making setups faster and more flexible. Stellar 2 is ready to control luminaires from other manufacturers including Litegear, Astera, and Kino Flo. A set of generic dimmers can even be set up to work with tungsten lights (on a DMX dimmer). With Stellar 2, the correct DMX addresses can be assigned to the luminaires in only a couple of steps. If any fixture needs to be swapped out, possibly due to malfunction, it can be easily exchanged without affecting the setup. A re-scan will detect it, if the fixture has not been in your setup before. With Stellar 2, it is now possible to group fixtures

with different CCT ranges. The fixture with the smallest range takes precedence, while all the other ranges are cropped. Stellar 2 is also able to accommodate a variety of unique requirements. Apply your personal value as the default intensity by simply storing it as a favourite in the app settings. The intensity will also remain at the same level throughout all modes. If a fixture can provide RDM functionalities, temperature and mode information, they will be displayed in the fixture setups. With every Stellar update, many small improvements are also made to create a better user experience and improve performance. In Stellar 2, several smaller enhancements have been introduced including: a trial phase expiry warning, smoother looking application when no colour mode change is necessary, improved connectivity handling, pre-sets that apply on different fixtures, and minor usability, layout, and stability improvements. www.arri.com www.mondodr.com

112 IN DETAIL

LINK | LKS DATA

Link recently provided a number of solutions to Teatro Lirico, Milan, the most innovative one being the LKS Data System. This technology consists of a range of products that integrate LK Connectors branded custom-made connectors named, LKS Data. These connectors, paired with their corresponding Eurocable cables, provide a Socapex type connection that is the same size as the traditional connectors, and completely backward compatible, but with the privilege of integrating micro-coaxial contacts in place of the grounding pins and preserving the grounding continuity of the electrical circuits. This allows transmission, in addition to the six standard power circuits, a Gigabit signal or four signals for digital audio or DMX, hence eliminating the use of additional separate cables. Link was also asked to supply for the project

a series of PLB and SCB boxes, floor pockets and customised panels for the rack rooms, all equipped with LKS Data technology for the distribution of power and data signals of the entire theatre. Given their complexity, these systems would normally require the connectors’ wiring to be made by Link specialised technicians. While this guarantees high quality and reliability of the connections, it could also represent a difficulty in the case of fixed installations where cables and connectors cannot be pre-assembled in the manufacturer’s facilities, thus requiring the presence of specialised technicians on site. For this project, Link decided to develop an innovative system to greatly simplify the wiring, allowing the client’s technicians an easy and quick installation without any external help. The system consists of a simplified connection www.mondodr.com

interface inside the boxes equipped with the LKS Data System. Specifically, all LKS Data connectors were pre-wired with common electrical terminal blocks and RJ45 sockets. In this way, the only task left was to insert and screw the power wires into the terminal blocks and, for the data connections, to crimp simple RJ45 connectors and connect them to pre-assembled PCB interfaces. Teatro Lirico, Milan was built in 1779 on a proposal from the Archduke Ferdinand who wanted to provide the city with two theatres; one for the nobles, ‘Teatro alla Scala’, and one for the common people, which after a troubled start in 1894 was definitively named ‘Teatro Lirico Internazionale’. Fallen into decline about 30 years ago, the new restoration project will see it brought back to life. www.linkitaly.com

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Protouch specializes in Turn-Key projects, formation of the concept, developing multimedia products and designing customized integration systems, innovative AV systems, installation and management. www.protouch.co.il/en Mobile: +972-54-8351566 marketing@protouch.co.il

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The NA2-IO-DPRO is a 2IN, 2OUT breakout box designed to connect legacy audio equipment with the Dante network. It features high-quality microphone preamps and 2 Dante ports for either redundant setup or daisy chaining. Audio parameters are adjusted by the DPRO Controller app. www.neutrik.com ®

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114 P RODUCT GUIDE

mediaâ&#x20AC;˘server

[mee-dee-uh sur-ver] n.

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

PRODUCT GUIDE

MEDIA SERVERS SPONSORED BY

disguise is a software on hardware solution. Get Designer as a software-only show design tool to visualise, design, and sequence projects wherever you are. Then when itâ&#x20AC;&#x2122;s time to deliver, pick one of our hardware options with the right amount of power to seamlessly turn your concept into a creation. Since we began, disguise (formerly d3 Technologies) has been used on the largest and most complicated of projects. From live events, concert touring, theatre, fixed installs and broadcast, disguise has brought a new way of working. The disguise solution is all about workflow and collaboration, allowing everyone on your project to view, comment and adjust right up to and including showtime. www.disguise.one

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An excellent tool for analytical listening. Sound on Sound Magazine

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116 P RODUCT GUIDE - MEDIA SERVERS

ArKaos Stage, Studio & 4K ArKaos’ range of media servers are a high-performing turnkey solution that have been used on many different projects ranging from broadcast productions, to theatre installations and multi-arena tours. Thanks to their ability to output in high resolution, ArKaos media servers are a favourite solution for TV shows and broadcasting companies. They provide an easy way to trigger video sequences and camera feeds, or apply live effects without rendering. 3D projections and video are now mainstays in bringing a stage show to life. ArKaos enhances ideas, allowing more interactivity with a production by triggering effects and video sequences exactly when the script - or actors - need it. There is no need for complex programming. Stage - the two Full HD outputs produce smooth visuals that can be easily triggered using a few DMX channels on a lighting desk or notes on a MIDI controller. Studio - runs full HD video on up to four EDID managed outputs. Front display allows use of server without the need for additional screens. Pre-configured to work directly with all market-leading DMX lighting desks. 4K server - Runs 4K video, with dedicated hardware to synchronise the servers through Genlock and frame lock. New interface allows users to operate Genlock and frame lock from the front display. All Arkaos servers come with installed MediaMaster Pro software and have been tested for Shock-resistance up to 2G, as well as heat and vibration. www.arkaos.net

AV Stumpfl PIXERA two RT The new PIXERA two RT media server offers unprecedented data read speed and processing power for extremely demanding real-time graphics projects. AV Stumpfl’s latest media server model is available with four outputs. The system features a compact chassis and allows the playout of up to six simultaneous uncompressed 4k60 8-bit content streams, or four uncompressed 4k60 10-bit content streams. The PIXERA software itself is a multi-award winning 64-bit system for real-time media processing, compositing and management, built around the key theme of usability. A radical new interface logic enables even first-time users to intuitively understand the main software mechanics. Actions in the 2D and 3D space follow the same mechanisms. The system was designed so that users can execute the most important basic actions in record time and with minimum effort. PIXERA’s new Live Preview Editing feature lets users edit timelines in the preview window while the output shows content from a different section of the timeline. This allows changes to running shows to be previewed by the operator and then blended into the output on the fly. www.avstumpfl.com/pixera

Avolites Q Series Avolites is launching its full range of Q Series Media Servers, designed to meet all your pixel processing needs for every performance and project, along with Ai v12.1 release with the Pioneer PRO DJ LINK Bridge integration software. The full line-up of media servers includes the Q3, Q3pro, Q4 and Qgen, giving you the complete solution to power every performance. Video content and projection mapping have become major components in many performances and installations and with Avolites’ Synergy feature set, integrating video into your designs has become even easier. Hence, the next step for Avolites was to create the ideal hardware to complement its powerful Ai software. The Q3 Pro is the perfect portable server for the more demanding shows with two 4K outputs and one HD along with EDID managed HDMI outputs. The Q4 gives you the power to deliver breathtaking detail with four 4K outputs and flexible input modules so you can design your server to meet the most demanding needs. With the rise in use of interactive real-time generative content providers like Notch, the Qgen is designed to deliver stunning graphics, with three 4K outputs and a powerful Nvidia graphics card that can deliver approximately 30,000 Notch marks. It comes with a two-year Notch play back license. www.avolites.com

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117 P RODUCT GUIDE - MEDIA SERVERS

Christie Pandoras Box The Christie Pandoras Box server combines the full feature set of Christie Pandoras Box software with the flexibility and reliability of a powerful hardware platform for 24/7 use to fulfil all needs for maximum creative results. Available in nine languages and more versatile than ever, the Pandoras Box system combines the most powerful render-engine with intuitive media and show control. Pandoras Box is used around the world for live experiences including multimedia events and projection mapping. The system can be set up as a standalone playback device, network playback client or in console mode for direct DMX Control or to route input data to any other output protocol such as Artnet, ACNnet and MA-net. The full turnkey solution offers a large FX Engine allowing real-time compositing in 3D and the creation of elaborate real-time particle effects in a truly interactive compositing space, as well as projection onto any shape and any surface. Among its many features, Multi User mode allows multiple Pandoras Box operators to split the workload of a project and benefit from the increased efficiency by working on different tasks like warping, content encoding, timeline programming or simply work simultaneously on the same sequence. Pandoras Box also features many workflow improvements such as editable meshes and warps, UV map adjustments and live canvas masking and painting all from within the preview window. With the addition of the Pandoras Box Widget Designer, users can easily create multi-touch applications to interact with the content or track people and large-size objects in real-time. With the latest Pandoras Box 6.4, 64-bit processing software, Christie has significantly increased the performance of existing processing hardware for its users, delivering up to 35% more output. Through the facelift of the redesigned user interface, the software has become clearer and more structured, making it easier and faster to keep an eye on important data or settings. www.christiedigital.com

Dataton WATCHOUT Dataton manufactures a range of media servers designed to tap into the creative power of its award-winning WATCHOUT multi-display show composer. Dataton’s WATCHPAX and WATCHMAX media servers are plugand-play, streamlining the installation process and reducing set-up time onsite. The WATCHPAX 20A, released in 2020, is a pocket-sized unit measuring just 127 x 127 x 23 mm and offering two video outputs. The WATCHPAX 40 is a sleek, ultra-portable A4-sized unit with four 4K outputs. This popular unit offers EDID management and smart restore, making it suitable for both permanent installs and project applications. Dataton’s WATCHPAX 20A and 40 servers are characterised by a robust exterior and an attractive, compact design, which means they can be placed close to display sources. The WATCHPAX 60 series comprises three performance-optimised models offering from four to 12 outputs, including eight channels of bi-directional SDI. All models offer dual power supply, HDMI and SDI input, balanced audio, dual 10 Gbit/s network and powerful technical spec for the most demanding applications. The WATCHMAX rack server offers configuration options and up to six 4K outputs. www.dataton.com

disguise xR disguise’s xR (Extended Reality) technology empowers production teams to deliver augmented and mixed reality to create immersive experiences in virtual production environments, opening new opportunities for education, corporate and TV broadcast in the current changing climate. The features and flexible workflows can benefit creatives in a number of ways, such as creating a limitless environment in limited spaces, camera tracking, real-time rendering, use of LEDs and more. xR’s virtual set extension places presenters in environments larger than the spaces available, opening up worlds of opportunity, creating more compelling content to increase audience engagement. This complete immersion allows for interaction with computer graphic (CG) elements, real lighting and support for reflective and refractive props. xR’s virtual environment combines camera tracking and real-time rendering not only visible on screen, but live on set and on camera. This process gives directors and designers more control, and faster calibration workflows. LED screens, or projection surfaces in the space allows actors to be absorbed into the virtual environment where they can see and interact with the entire set. Additional xR calibration features heighten time and cost efficiency, with the ability to pre-visualise camera shots, enabling better coordination between stage or set and camera departments and enabling environments to be created or changed rapidly. www.disguise.one

118 P RODUCT GUIDE - MEDIA SERVERS

Green Hippo Hippotizer Tierra+ The ultimate beast from Green Hippo - the most powerful media server in the Hippotizer range, Tierra+, pushes the boundaries of power and creativity, including four DP 1.2 outputs, unlimited mixes, 8K playback and the highest Notch-marks of any media server on the market. Like other Hippotizer Media Servers, Tierra+ includes a vast toolkit with features including SHAPE 3D mapping, visualisation tools, pixel and video mapping tools and real-time control of any attribute. Two Hippotizer Tierra+ media servers were used at the 2020 SuperBowl halftime show, powering the circular stage adding dynamics to Shakira and Jennifer Lopez’s energetic, highly choreographed performances. “The Tierra+ was also driving pixel-mapping outputs for the LED lighting on the stage, which were fed into an MA3 and merged so that I could control them either via the console or via pixel-mapping,” explained Jason Rudolph, Lighting Director www.greenhippo.com/tierra

Modulo Pi Modulo Player Developed by Modulo Pi, Modulo Player is a versatile and cost-effective media server. Available in different hardware configurations, Modulo Player combines the extensive capabilities of a media server and a low-latency live mixer within one integrated system. With an intuitive interface and simple-to-use workflow, Modulo Player was designed to process media seamlessly and provide the best possible quality. The media server includes classic warping tools for video mapping, as well as the exclusive X-Map function. Using this unique feature, advanced mapping does not require an expensive 3D workflow anymore. The X-Map feature allows to easily handle the warping process in 2D. Modulo Player embeds a low-latency live mixer available through a dedicated application compatible with Mac and PC. The application offers all main functionalities of a mixer including Program/Preview screens, presets management and transition effects. To save time and maximise efficiency, several operators can work simultaneously on the media server and mixer interfaces. All contents and operations are perfectly synchronised. Moreover, Modulo Player offers powerful show control capabilities. The system embeds an extensive library of external devices, including videoprojectors, for fast and easy control and automation. To facilitate daily operations and monitoring, user panels can be created in Modulo Player through drag and drop. www.modulo-pi.com/media-servers/modulo-player

ShowMagic ShowMagic AV Plus The latest version 14.3 release of the ShowMagic AV Plus software includes multi-channel live video capture. This, combined with alpha blending, layering and selection of transitions, eliminates the need for additional AV switchers and vision mixers in numerous applications. ShowMagic AV Plus can play, mix and superimpose video files, captured video, digital signage and images on any one or more of up to five outputs. Using ShowMagic’s unique ‘Virtual Window’ system, any media can be shown at any size and position on external display devices using standard video connections. Media can also be pixel mapped on DMX LED matrices. The facility to synchronise two or more video streams also makes ShowMagic AV Plus ideal for 3D cinema and 360 degree multi-projector, immersive room applications. With other features including multi-channel audio playback and routing, DMX lighting and IP/ RS232 device control, ShowMagic AV Plus is a powerful and versatile all-in-one media server and show control solution. The auto-scheduling features make it particularly useful for running multiple, automatic and independent AV presentations at un-manned sites such as museums, visitor centres, leisure venues etc. www.showmagic.com

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Thank you In these difficult times, good news can be hard to find. So weâ&#x20AC;&#x2122;re especially thankful that G Livelab in Tampere has earned a Mondoâ&#x20AC;˘DR award for best Concert Hall. Featuring over 80 Genelec loudspeakers, G Livelab represents the ultimate live sound experience. An experience that will seem so much sweeter once life finally returns to normal. Stay safe, everyone. Find out more at www.genelec.com/glivelab

120 P RODUCT GUIDE

pro•jec•tor

[pruh-jek-ter] n.

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

PRODUCT GUIDE

PROJECTORS SPONSORED BY

At Digital Projection, we’re committed to going the extra mile for imaging pioneers prepared to push the boundaries of visual experience. We relish helping you — the creative directors, system integrators and dreamers behind the world’s most exciting visual experiences — challenge the status quo. We also take great satisfaction in seeing your projects through to completion. That means we’ll be there from beginning to end, offering friendly advice to help you select the right projectors, as well as responsive technical support should you need it further down the line. We have a wealth of experience helping our partners produce awe-inspiring imaging experiences. We bring that knowledge to bear on our own process, ensuring every element is focused on our partners’ needs, from research through product development to sales and support. www.digitalprojection.com/emea

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122 P RODUCT GUIDE - P ROJ ECTORS

Barco UDM The UDM is a small and ultra-light projector, weighing less than 50kg, saving you time and money in the realisation of your project. It never compromises on the quality of your projection, as it brings your content to life with razor-sharp images and dazzling colours outperforming the Rec. 709 colour space. In addition, the clever and versatile design lifts your creativity to unprecedented levels. Thanks to the extensive list of available peripherals and the capability to rotate in any direction, even the most complex setups and configurations are a breeze. These rugged models enable you to create memorable experiences while also enjoying full peace of mind. And there’s more: the UDM is the first IoT projector. With the integration of the new Barco Insights platform, you have access to your projector’s data anywhere and anytime. The cloud-based solution for enhanced projector management simplifies and facilitates remote monitoring and serviceability. With the introduction of the UDM-4K15 and UDM-W15, and the first shipments of the UDM-22K at the beginning of this year, our laser projectors are ready to take over the AV industry with top-notch quality projection for all kinds of live events, but also theme parks, museums, houses of worship and large auditoriums. www.barco.com

Ben-Q LK953ST With the capability of generating intense BlueCore laser-powered brightness for 20,000 hours of maintenance-free operation, BenQ LK953ST harnesses the enduring DLP picture quality and razor-sharp 4K resolution to deliver impactful visual communication. Operating at a high brightness of 5,000 lumens, the maintenancefree unit equips corporate rooms and event spaces with a powerful and reliable projection solution. Key features including 4K Image Amplifying technology, Auto HDR Colour Rendition and DLP technology ensure the displayed content is distinctive and captivating. With HDMI out for multiple screen applications and versatile installation flexibility empowered by the horizontal and vertical lens shift features, LK953ST is tailored towards the diverse range of application scenarios including simulated environments. By leveraging the innovative HDR technology and industry-leading BlueCore laser light source, LK953ST facilitates impactful and impressive visual display, allowing businesses to present content flawlessly. In addition, its 0.8 short-throw ratio eliminates distracting shadows and glare and the IP5X Dust GuardTM Pro and security bar provides reassurance against damage or vandalism. The BenQ LK953ST 4K HDR BlueCore laser projector is a standout solution for ambient environments. bit.ly/3bBwB95

Digital Projection Satellite Modular Laser System The Satellite Modular Laser System (MLS) offers a small number of simple building blocks that allow users to address a wide range of applications, from single projector installs to complex, multi-channel domes, caves and simulators. Where RGB laser illumination used to be the preserve of only very high-end applications, the Digital Projection Satellite MLS system will make this technology accessible to the wider AV market, at a cost-effective price point. The projector “Head” is fundamentally compact, quiet, lightweight and consumes very little power. This offers huge benefits at every stage of a system design, from transportation and installation to serviceability and lifespan. By separating the projection “Head” from the light source and linking the two by robust and flexible fibre-optic cables up to 100m long, the installer has many more options - particularly where space and access are restricted. Compare the installation and rigging of “Heads” weighing in at between 10kg and 35kg, with that of more traditional integrated projectors that can weigh as much as 150kg. www.digitalprojection.com

Epson EB-L20000U The EB-L20000U is Epson’s workhorse Pro AV laser projector and with 20,000 lumens is the second brightest in Epson’s portfolio. This 3LCD projector is designed for the high-end rental and installation sectors, for use at events, festivals, visitor attractions, trade shows and shopping centres, as well as for corporate and educational auditoria. The EB-L20000U can be easily integrated into existing installations or fleets. It offers Full HD resolution (native WUXGA) and a host of features that hugely benefit the rental and installation sectors, such as backwards compatibility with Epson’s existing lens range and exchangeable interface boards to suit customer needs. Installation is made easy by the compact casing and design, allowing users to project from any angle, including portrait. A built-in camera allows remote diagnostics and set-up and can be used in conjunction with the Epson Projector Professional Tool software to set up multiple-unit installations. The user can also take advantage of advanced techniques such as edge-blending and geometric correction to support projection mapping. Thanks to the advanced laser light source and electrostatic filters of the EB-L20000U, this projector offers extreme reliability and comes with a five-year, 20,000-hour warranty. Coupled with inbuilt self-recalibration, this projector is ready for demanding requirements. www.epson.co.uk/products/projectors/installation/eb-l20000u

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124 DIRECTORY

1. Adam Hall MIDI 5 2D

3. Atlona AT-OME-EX-KIT-LT

Accessibility has become a topic of mounting concern for both public authorities and event organisers over the past few years. With the MIDI 5 2D, Defender is now launching a series of traversable modular cable protectors whose multidimensional concept pairs superior flexibility and easy day-to-day use. The Defender MIDI 5 2D series takes a new approach with its modular, multidimensional, and compatible concept. The system is equipped with a middle section module, a ramp, and an adapter set, which is completely compatible with the MIDI 5 2D. Every middle section has a drive-over ramp, its 6° angle fulfills almost all requirements and standards regarding barrier-free accessibility at events. The flat incline of the MIDI 5 2D Series makes it easy for wheelchair users to roll over the protectors. The MIDI 5 2D Series naturally also features the Defender LaserGrip surface. The MIDI 5 2D modular system can be expanded both in length and width, and it also ensures easy accessibility and safety. The well-balanced design facilitates planning in advance, as well as on-site installation. The module is also outfitted with carrying handles for efficient transport. The middle section has channels on the inside for safely and neatly laying sound, lighting, and power cables one by one. www.adamhall.com

The AT-OME-EX-KIT-LT HDBaseT extends 4K/UHD HDMI video, embedded audio, power, control and USB data over HDBaseT while discreetly offering simple connectivity for collaboration and video conferencing. The newest extension solution in Atlona’s Omega Series of essential audiovisual system components for modern workspaces and meeting environments, the OME-EX-KIT-LT provides the powerful core functionality of Atlona’s proven AT-OME-EX-KIT in a lower-priced configuration, optimised for small spaces with shorter extension requirements. The OME-EX-KIT-LT extends 1080p60 HDMI and USB signals up to 70 metres over HDBaseT, while 4K/HDRHDMI video can be extended up to 40 metres. HDCP 2.2 compliance enables the transport of protected content. Supporting a host PC and two peripherals at the transmitter, plus two ports for peripherals at the receiver, the kit can easily integrate with a PC and speakerphone or microphone at a meeting table, and a camera or soundbar at a corresponding wall-mounted display. The transmitter is powered from the receiver over HDBaseT, enabling convenient, discreet transmitter installation without the need for local AC power. A test button and LED on the transmitter unit enable quick visual confirmation of the integrity of the HDBaseT link between the transmitter and receiver, while a free software utility provides real-time link status plus detailed diagnostic and signal information. www.atlona.com

2. Alcons Audio QB242 The QB242 is designed as a fully-scalable low-frequency extension (LFE) system to the QR24 line-source column system, or as an arrayable LFE system with any Alcons proribbon system. The QB242 can be stacked or flown in multiples. The controlled cylindrical projection of the QR24 can be extended down to the lower frequencies by enlarging the LFE array length through adding extra QB242 modules. The Q-systems are the perfect tool in applications where a high directivity and/or a very long throw is required, combined with HiFi output and concert SPL’s, like theatres, churches, Houses of Worship, and mobile outdoor sound systems. The two direct-radiating 12-inch Neodymium subwoofers are mounted in a vented chamber, with large bass reflex ports. The tight driver arrangement caters for optimal array coupling.The eight ohms system impedance, makes for a very efficient amplifier channel loading, when assembling arrays of multiple units. The QB242 is powered and controlled by the ALC amplified loudspeaker controller. Through the Signal Integrity Sensing (SIS) pre-wiring, the cable-length and connector resistance between the QB242 and ALC is dynamically compensated (system damping factor 10.000), further reducing distortion, while increasing response accuracy. www.alconsaudio.com

4. Chromateq CQSA-E 1024 Chromateq’s new CQSA-E 1024 device has completed the Chromateq range of USB to DMX controllers. This Ethernet communication brings lots of new possibilities to all projects, such as connection of several devices on local networks, long distance connections, stand alone, remote access of devices and memory, faster communication and the use of structured and existing local networks and access points. CQSA-E 1024 is available now and incudes a stable and strong DMX controller for your lighting projects, stand alone WIFI control with the Wi-Light APP for mobile, 1,024 channels (2x512) with five zones, micro SD card, and the new mode with the possibility to update the clock and calendar of the device without computer on site. www.chromateq.com

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NEXT-GENERATION ARRAY TECHNOLOGY

126 DIRECTORY

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1. Madrix Madrix 5

2. Magewell Pro Convert

MADRIX 5 professional is an extensive software license, which is available free of charge as a time-limited license that works until June 01, 2020. It is fully functioning within this time frame. The only requirement is to make a small, one-time purchase for a MADRIX KEY from a local dealer. This USB dongle then remains universally usable for the range of MADRIX software products and licenses. MADRIX 5 professional enables major production value as it unlocks the output for 65,536 DMX channels across its various supported industry output protocols (128 DMX universes, for example) as well as 1,048,576 DVI voxels (a pixel resolution of 1,024 x 1,024, for example). www.madrix.com

Magewell’s Pro Convert AV-over-IP and streaming media decoders transform live input streams into high-quality HDMI outputs for connection to baseband monitors, projectors and switchers. Delivering the low latency, high reliability, assured performance and compact size of dedicated hardware, they are perfect for applications including multisite video distribution between corporate, educational and church campuses; image magnification in churches and entertainment venues; video walls; digital signage; remote production; or bridging legacy and next-generation media infrastructures. Available in HD and 4K models, the Pro Convert for H.26x to HDMI decodes H.264 or H.265 (HEVC) compressed video streams in a wide range of input streaming protocols including SRT, RTMP, RTSP, UDP, RTP and HTTP streaming for broad source compatibility. The Pro Convert for NDI to HDMI supports all the same protocols for internet-based source streams plus NewTek’s NDI technology for AV over IP. The devices can automatically optimise output parameters based on EDID metadata of the connected HDMI display, while FPGA-based video processing enables high-quality up/down-conversion between HD and 4K. The decoders can be powered via external adapter or PoE, and users can manage advanced features of the devices via on-unit controls, a browser-based interface, or connected keyboard or mouse. www.magewell.com

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128 DIRECTORY

1. NewTek Spark Plus IO

3. PR Lighting AQUA LED 1700

The new Spark Plus IO 4K delivers high bandwidth NDI at full 60p for the lowest latency and highest quality in and out over IP. Easily route NDI signals to TV screens or deliver a 4K signal into an NDI workflow. The Spark Plus IO SDI encodes or decodes at rates up 1080p 60 NDI for 3G-SDI environments without disrupting the existing traditional SDI video infrastructure. Both Sparks come with PoE, simple auto discovery, and tally light with NDI support, all packaged in a new compact design that is durable and easy to mount. Spark Plus IO converters bypass the need for a capture card solution. These converters are designed to be in service quickly with the entire setup over one Ethernet cable. A web-based interface allows easy configuration and monitoring from a desktop or mobile browser. Corporate video, esports, education and training, along with other advanced audiovisual scenarios benefit greatly from the versatility of an NDI-based IP workflow. The Spark family of converters are compatible with hundreds of systems, devices, and applications that support NDI technology. Sparks pair perfectly with the TriCaster Mini 4K and TriCaster TC1 for a configuration-free NDI experience and the flexibility to route NDI to screens. www.newtek.com

PR Lighting has announced the release of its new IP65-rated AQUA LED 1700 Framing (PR-8179. Designed to be sufficiently powerful to handle the demands of large outdoor events, the new fixture houses a 730W LED engine (8,000K), enabling an extremely powerful output. It features a motorised zoom function, with a range of 7째-60째, and contains a colour wheel with six colour filters plus open, one rotating gobo wheel (with six exchangeable gobos plus white) and a fixed gobo wheel (with seven exchangeable gobos, plus white). In addition the unit has a full blackout framing system, with four rotating blades that can rotate infinitely and provide a complete curtain effect. Other features include; 4-facet prism; Linear frost (0-100%); Exchangeable graphic effect wheel; 0-100% linearly adjustable focus and dimmer; linear iris (5-100%) with macros; double shutter-blade strobe (0.3-25fps); Pan 540째, tilt 270째 head movement, with auto position correction. Thanks to a robust construction and its IP65 rating, AQUA LED Framing can be used outdoors in all conditions, either for one-off events or permanent installations. www.pr-lighting.com

2. QSC Axon AES67 QSC announces it is now shipping two new Axon AES67 networked audio I/O endpoints, from Attero Tech by QSC. The A8Mio (8-channel) and A4Mio (4-channel) are interoperable, flexible and cost-effective solutions that easily integrate analog mic/line sources into a wide range of network audio applications, including the Q-SYS Ecosystem. These Axon endpoints are Power over Ethernet (PoE) capable offering a single-cable installation in a 1/2-RU (A8Mio) or 1/3-RU (A4Mio) form factor with surface-mount or rack-mount capabilities. www.qsc.com

4. Tasker PR certified cables Tasker is offering a brand new range of CPR certified products for medium risk (Cca) such as public building and high risk (B2ca) such as airport, hospitals and tunnel. Concerning the Cca class,Tasker added two more coaxial cables 75 Ohm for HD-SDI installations, one microphone and a new range of loudspeaker cables, range that involves already 12 different available sections. Concerning the B2ca instead, we offer a new LAN S.F./U.T.P Cat.6, tasker C722, suitable for many different operative applications despite the simple data transfer, such as DMX lights and Audio/Video signal transfer over IP through Dante and HD-BASET protocols. www.tasker.it

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130 LAST PAGE

SADIE GROOM Mentor Programme Director, WAVE UK The AV industry clearly has a high regard for WAVE. Now a new Leadership Team has been announced, what are the next steps and expectations for the year ahead? Launching the new Mentoring Programme in 2020 has been a key focus for WAVE and we are receiving great support from industry associations such as the AV User Group, who really understand the importance of advancing under-represented women in the ProAV industry. Abigail Brown, who administered and managed the group since 2014, was very passionate about getting this programme up and running. Since her passing last November, the Leadership Team has been working hard to ensure the group’s mission is upheld for all its members and followers and that her legacy prevails. The Leadership Team is made up of men and women who have been closely involved in the group since its beginnings, all of whom were close to Abigail with a vested interest and purpose to build dynamic and ambitious opportunities for women’s professional advancement. As a result, the Mentoring Programme has been revived and relaunched, and is now officially open for applications.

Who is the programme open to and how will it be run? The AV sector is predominantly male, and little has changed over the past 10 years. At major ProAV tradeshows such as ISE and InfoComm, female representation is minimal and is not across all roles or levels of seniority. Therefore, the aim of the new WAVE Mentoring Programme is to support women as a minority and give them the chance to build a trusted network with fellow mentees and work their way up the career ladder. Having said that, it’s important to stress that part of WAVE’s remit is to encourage inclusivity and diversity, so the mentor positions are open to both men and women. It’s then the choice of the mentee during the application process as to which they would prefer for their mentor role.

The women recruited onto the programme will be different age groups and at different levels within their careers, and can come from outside the audiovisual industry. It’s also important to add that the programme is principally open to UK mentors and mentees only, but if a company is willing to support an employee from a European country in terms of travel time and expenses, WAVE would be open to having them join. Our funds are raised through sponsorship and the AV User Group is very active in using its network to secure sponsors from all areas of the industry. We’re really pleased with the response and support from our sponsors who recognise that they will be part of an exciting development in our industry. I am also the Managing Director of Bubble Agency, who will lead the programme with our Programme Manager, Carrie Wooten. The funds will be used to pay for professionals and specialists to come to WAVE events and provide experience coaching and quality training, including confidence building, presentation skills and so on.

What are the main strands of the programme? Firstly, it’s most important that the mentee has sufficient time with their mentor. We propose a minimum of six one-hour sessions, the first of which will involve mentor and mentee training on guidelines and expectations. The match is carefully considered based on circumstances and goals of the mentee. It’s very important that the mentee comes into the programme with preconceived goals so that both parties can work towards achieving these. An essential element to forming that trusted and confidential relationship is that the mentors also make themselves available outside the one-hour sessions, either in person, online or phone. From experience, we do see reverse mentoring as well. As a mentor myself, I’ve learned a lot from my mentee through the open conversations we’ve had. Secondly, we will hold monthly mentee meet ups during which every mentee will present on their

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position and responsibilities within their business so that all mentees can learn about the different job roles in the industry, across multiple sectors, for general knowledge sharing, confidence building, and perhaps career movement and progression. Also, during these monthly sessions, we will ask women in industry to come in and tell their career path story and lessons they’ve learned along the way. Thirdly, there will be additional events throughout the year that mentees are encouraged to attend. As well as the WAVE networking events, these could be group meet-ups at tradeshows, where WAVE would also seek to secure a conference panel session or presentation slot where possible. It’s about raising the profile of WAVE and its mission while opening new opportunities for mentees expanding their network.

What would be your message to prospective WAVE mentees and mentors? When recruiting the mentees and mentors for the programme, we’ll be looking for commitment to the cause. The more they put into the relationship and invest time in sharing and developing their knowledge and connections, the more chance they have of achieving their goals. Finally, how do you think more women can be encouraged into the ProAV industry? In general, women will be doubtful about entering an environment without a noticeable female presence. We anticipate that as we build the WAVE brand, infiltrate more business channels and challenge outdated perceptions, inclusivity and diversity in the audiovisual workplace will noticeably improve. If women can see evidence that positive steps are being made by WAVE and schemes such as the mentoring programme to support them, give them status, allow them to be seen and have a voice amongst their peers and climb up the company ladder, then I’m optimistic we will start to see more of an influx over the coming years.

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