JULY / AUGUST 2020 | 30.5
THE INTERNATIONAL PUBLICATION FOR TECHNOLOGY IN ENTERTAINMENT
DANIEL & ANDREAS SENNHEISER
The brothers and co-CEOs discuss their core family values as Sennheiser reaches its 75th year.
HOUSES OF WORSHIP
We take a closer look at the impressive uses of technology in venues across the world.
JULY / AUGUST 2020
MOVING HEADS
A round-up of the latest lighting fixtures.
THE INTERNATIONAL PUBLICATION FOR TECHNOLOGY IN ENTERTAINMENT
AFTER THE SILENCE…
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7 LEADER
While we’re all, as an industry, still feeling the effects of the global pandemic, it’s always great to see the new ways in which we adapt to keep things moving. It was disappointing to see InfoComm 2020 cancelled, of course particularly as we were really looking forward to our mondo*dr Awards - The Americas event - however, InfoComm Connected was a real success in bringing us together in these trying times. Speaking of the mondo*dr Awards - The Americas, as I’m sure you know, we had to move the event online, too. The shortlists have been announced, which you can view on page 26,
MONDO*DR 30.5 JULY / AUGUST 2020 JULY / AUGUST 2020 | 30.5
THE INTERNATIONAL PUBLICATION FOR TECHNOLOGY IN ENTERTAINMENT
DANIEL & ANDREAS SENNHEISER
The brothers and co-CEOs discuss their core family values as Sennheiser reaches its 75th year.
HOUSES OF WORSHIP
We take a closer look at the impressive uses of technology in venues across the world.
with the winners announced across our social media channels from July 13-17. Good luck to those shortlisted! For this issue, we spoke to brothers and coCEOs, Daniel and Andreas Sennheiser, who gave us some fascinating insight into the company’s history, values and what it has planned for the future after reaching its 75th anniversary. Finally, a huge congratulations to our own Emma Davidson, who has recently been made Assistant Editor - well deserved! SAM HUGHES EDITOR
FINANCE DIRECTOR Amanda Giles a.giles@mondiale.co.uk
JULY / AUGUST 2020
MOVING HEADS
A round-up of the latest lighting fixtures.
CREDIT CONTROL ar@mondiale.co.uk
THE INTERNATIONAL PUBLICATION FOR TECHNOLOGY IN ENTERTAINMENT
GROUP CHAIRMAN Damian Walsh MONDIALE PUBLISHING Strawberry Studios, Watson Square, Stockport SK1 3AZ , UK Tel: +44 161 476 8340 Fax: +44 161 429 7214
ON THE COVER Bassins de Lumières, Bordeaux Image courtesy of Module Pi EDITOR Sam Hughes s.hughes@mondiale.co.uk
ANNUAL SUBSCRIPTION RATES (7 ISSUES) UK: £30.00 / Europe: £50.00 / Rest Of World: £65.00 Two year rates are available on request. Subscribe online at www.mondiale.co.uk or call +44 (0)161 476 5580 ISSN: 1476 4067
ASSISTANT EDITOR Emma Davidson e.davidson@mondiale.co.uk
Mondo DR (ISSN 1476 4067) is published in January, March, May, July, September, November and December by Mondiale Publishing Ltd, Strawberry Studios, Watson Square, Stockport, SK1 3AZ, UK
SUB EDITOR Peter Iantorno p.iantorno@mondiale.co.uk
Subscription records are maintained at Mondiale Publishing Ltd, Strawberry Studios, Watson Square, Stockport, SK1 3AZ, UK
SALES DIRECTOR Jamie Dixon j.dixon@mondiale.co.uk SENIOR ACCOUNT MANAGER Laura Iles l.iles@mondiale.co.uk DESIGN & PRODUCTION Mel Capper, Dan Seaton CEO Justin Gawne j.gawne@mondiale.co.uk
mondo@mondiale.co.uk www.mondodr.com Printed by Buxton Press, Palace Road, Buxton, UK
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9 CONT ENTS
CONTENTS
30
14 IN DISCUSSION 18 INSIDE VIEW
DANIEL & ANDREAS SENNHEISER The co-CEOs discuss the company’s history, core family values and the future as they celebrate a very impressive 75th anniversary.
IN DEPTH 30 INTERVIEW Daniel & Andreas Sennheiser 42 REPORT Houses of Worship
IN FOCUS 68 ÅBO SVENSKA TEATER Turku
76 BASSINS DE LUMIERES A former WWII submarine base turned into the largest digital art centre in the world.
70 DÜSSELDORFER SCHAUSPIELHAUS Düsseldorf 76 BASSINS DE LUMIÈRES Bordeaux 84 L’HYDROPHONE Lorient 90 THOMAS J. WATSON RESEARCH CENTER New York 92 JAY & SUSIE GOGUE PERFORMING ARTS CENTER Auburn
92
100 LIZZIE’S STARLIGHT San Francisco
JAY & SUSIE GOGUE PERFORMING ARTS CENTER Aurburn University’s venue gets a complete audiovisual upgrade.
106 MARQUEE Singapore
IN BUSINESS 110 INFOCOMM CONNECTED Online 112 IN DETAIL Adam Hall, HOF, LEA Professional
100 LIZZIE’S STARLIGHT A new audio system installed at the San Francisco venue.
www.mondodr.com
118 PRODUCT GUIDE Moving Heads 126 PRODUCT DIRECTORY 130 LAST PAGE INTERVIEW Bruno Falip – Nicolaudie
10 AD INDEX
HIGHEST PERFORMING POSTS
New board of directors at Sonosphere
mondo*dr Awards Americas shortlist announced
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L-Acoustics install at Sierra Linda High School
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14 IN DISCUSSION
IMMERSIVE AUDIO Joan Amate discusses the topic of immersive audio, and the importance of implementing it into mainstream installations.
Immersive audio, or 3D audio, is not just about multi-channel systems or surrounding the audience with loudspeakers – it goes way further than that. It is not simply the switching of channels from one loudspeaker to another, but the rendering of signals to, or dynamically through, exact positions in space, regardless of the positions of the loudspeakers. For example, a multi-track recording or live performance can send individual channels to different positions within the space and also move them around the audience in real time. So each loudspeaker receives a different sound mix in real-time, which needs to be processed with a particular filter. In comparison with stereo, in which we only control one dimension (width), immersive audio effectively adds two more dimensions (depth and height) to recording and / or performing. Today several immersive audio solutions, with very different approaches, are competing for attention. Even though the concept has yet to go mainstream, the user experience – where it is available – is outstanding. The principal caveat
• Above Joan Amate participating in the PLASA Beyond Surround 2016 technology seminar, alongside Johan Wadsten, Product Manager for Merging Technologies’ Ovation ‘audio and event sequencer’ and Alex Barrand, Professional Audio Manager at Pioneer Professional Audio.
of immersive sound is that far higher investment is needed, and that specific audio material needs to be created for it. Amate Audio has been involved in the development of 3D audio as a fully commercial proposition for AV applications, principally in partnership with Barcelona-based 3D audio technology developers SFËAR, since 2015. The OVNEW restaurant installation, featured on the front cover of the January / February issue of mondo*dr, is the first commercial application of that partnership. SFËAR is a series of real-time audio plugins that allow the creation and animation of audio in space. Panners for mono, stereo and multi-track media allow intuitive and accurate localisation, as well as animation of each audio source with full automation and MIDI control. SFËAR transmits the discrete processed audio signal for each track to each loudspeaker required to render the audio program accurately within the space. To do that the system needs to know how many loudspeakers are being used and their respective locations, in order to www.mondodr.com
calculate the specific FIR filters for each loudspeaker and the respective audio source being rendered. All of which is extremely processor hungry. In immersive sound applications, in which each loudspeaker requires its own amplifiers and DSP channel, active models are a clear advantage, as are powerful compact designs, given the number of loudspeakers required. At Amate Audio, we have taken things a considerable step further, developing a smart spatialisation engine within an active loudspeaker design. Such nextgeneration ‘smart’ loudspeakers should be a key component within any practical audiovisual solution for immersive sound. As the final element of the chain, we generally expect that the loudspeaker does not mess up all the complex processing further back up the chain; immersive systems demand from loudspeakers that they are as phase coherent as possible, and that their directivity is smooth and controlled. With our SA-3D DSP engine, a significant element of the ‘further back up the chain‘ processing is integrated in the onboard DSP within the
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16 IN DISCUSSION
loudspeakers; thus the loudspeakers are essentially a unified element of the SFËAR platform. Such ‘distributed processing’ via the loudspeakers is a crucial means of ensuring reliability, practicality and scalability in commercial 3D audio applications. During installation, the system will calibrate and SFËAR will generate specific FIR filters, which are transmitted to the SA3D loudspeaker DSP. This enables the loudspeakers to relieve much of the processing load on the central control platform. Using an audio networking protocol like Dante, just two cables are required to connect each loudspeaker; the mains power and the Ethernet carrying
the DSP control data and monitoring and the audio stream. Scalability is also built into the system; adding to or reducing the number of loudspeakers to increase or reduce the size of an installation, simply requires uploading the revised loudspeaker positioning to the SFËAR software, which recalculates and transmits the revised filters to the loudspeakers. While immersive audio technologies have long been available in different implementations and concepts, and have become commonplace in cinema and, to a more limited extent, in in-home entertainment products, whether they achieve significant penetration in the audiovisual market remains to be seen. www.mondodr.com
• Above OVNEW Bar/ Restaurant in Barcelona. • Below SFËAR / Amate Audio SA3D 3D audio system at Sonar Festival.
The need for more complex technical productions and specific immersive content creation still present barriers to wider adoption. However, equally important is for audio manufacturers, sound designers and integrators to rise to the challenge of making the implementation of such complex technologies as easily deployable as possible. For more information: https://amateaudio. com/en/sa3d-powered-by-amate-audio/ The opinions expressed in this article are the opinions of the author and not necessarily of mondo*dr magazine.
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18 INSIDE VIEW
AUDINATE Audinate is the leading provider of professional digital audio networking technologies globally. Audinate’s Dante platform distributes digital audio signals over computer networks, and is designed to bring the benefits of IT networking to the professional audiovisual industry. Using Dante-enabled products ensures interoperability between audio devices and allows end users to enjoy high quality, flexible solutions - typically with a lower total cost of ownership. www.audinate.com Audinate’s journey began back in 2003 as a set of ideas from current co-founder, Aidan Williams. Based in Sydney, Australia, the company soon gained approval and backing from the NICTA (Australia’s Information and Communications Technology (ICT) Research Centre) and spun out officially as a company in 2006. Aidan’s goal has always remained the same – to use networking technologies to simplify and improve the distribution of audio and video. Today, Audinate is at the heart of the AV – IT convergence with Dante. Just some of the manufacturers utilising Dante include; Allen & Heath, Bose, Genelec and K Array, to name but a few. “Audinate ensured that Dante would gain the support of manufacturers by offering a welldesigned, complete solution to the problems of network transport that was readily available to all. This approach allowed the company to continue growing, reaching our current state of thousands of compatible products,” explained Josh Rush, Senior Vice President of Marketing and Product Development at Audinate. Dante works by sending data across a network. This isn’t necessarily anything new, however, Dante
revolutionised the concept by successfully implementing a media delivery system that incorporated Precision Time Protocol (PTP). This then allows Dante media packets to be accurately time-stamped so that all devices can resemble them into the original streams with perfect accuracy and very low, deterministic latency. Josh furthered: “The real magic of Dante is in the layers of control and management that Audinate has included. This ‘full stack’ approach goes well beyond simple transport and makes Dante easy to use, secure, scalable and incredibly reliable.” Dante technology covers everything from installed systems to live sound. Recent projects include, Stephen F. Austin University, Texas and Texas’ 12th Man Productions, as well as many others, covering everything from houses of worship to bars and restaurants. Some of the key projects that really helped to implement and develop the Dante platform however, include the 2010 Winter Olympics in Vancouver and the Queen’s Jubilee Concert in London. “These highprofile events helped establish Dante’s reputation, and I guess the rest is history!” said Josh. www.mondodr.com
As the audiovisual market changes and adapts to the uncertainty of recent times, Audinate has been looking into expanding its horizons and delving into newer markets. With the time to refocus efforts, Josh explained how the company is looking to adapt the Dante platform even further: “We’re actually at a very interesting time at the moment. Even though Dante has been around for 14 years now, there are still many non-networked installations in service. As these age out, there are an evergreen source of new Dante systems in our existing markets. In addition, the value of networked audio and video is starting to take off in other, adjacent markets such as transportation, residential and MI spaces, opening up new opportunities for Dante.” During Infocomm 2019, Audinate introduced Dante AV, which is a solution that that brings Dante’s control model and ease of use to networked video. Josh explained further: “It’s designed to work on the 1 Gbps networks that are widely deployed today, allowing integrators and end users to use it without tearing out existing infrastructure. Video presents different challenges to audio, especially with regard to
19 INSIDE VIEW
Texas 12th Man Productions 12th Man Productions provides access to all Texas A&M fans thanks to Dante and Dante Domain Manager.
Authorized Implementer Program The new Authorized Implementer Program for manufacturers seeking to fast-track the development of new Dante AV products.
20 INSIDE VIEW
Dante(R) AVIO Adapters The two new models of the popular line of Dante AVIO audio adapters, offering USB-C and Bluetooth connectivity for use with Dante networks.
Stephen F. Austin University The University’s music and sound recording technology program and its school of music’s jazz bands have found a harmonious relationship with one another thanks to a powerful Dante network.
network bandwidth. While some manufacturers are focusing on AV-over-IP applications for 10 and 40 Gbps networks, these solutions remain out of reach for many locations. We’re seeing increased interest in the 1 Gbps space, and look forward to seeing this market evolve.” Audinate have also recently introduced the Authorized Implementer Programme for Dante AV products. The Authorized Implementer Program is ideal for manufacturers seeking to quickly add Dante AV-based products in the shortest possible time. The program gives manufacturers access to turnkey ODM products such as full-featured PTZ cameras and receive/ transmit AV-over-IP video endpoints that can be ‘white-labelled’ with the manufacturer’s brand. They also get immediate expertise in developing new video products, such as hardware design, software development, supply chain management and regulatory compliance. Working with a Dante AV Authorized Implementer, manufacturers get a head start towards getting a product to market using a base design which can be customised to suit their unique requirements. Other recent announcements from Audinate
include the launch of the new Dante AVIO Adapters, which allow users to easily use nonnetworked audio equipment on a Dante audio network. It is a class-compliant USB audio device that requires no additional drivers and works with any application, making it ideal for rapid setup of conference rooms, background music and more. The Dante AVIO USB-C adapter may be powered by the connected device or via PoE and it works with common USB-C to USB-A adapters. When using PoE, it features power pass-through for mobile devices, enabling smartphones to remain charged while connected to a Dante network. The company has achieved some impressive milestones over the years, and Josh was keen to share some of his favourite moments with the company: “The milestones keep coming! The bigger events that I mentioned before – the 2010 Winter Olympics, The Pope’s appearance in Sydney, and the Queen’s Jubilee Concert were huge when they happened, but now we measure our milestones by new product releases and adoption, and number of products end-users can purchase. We now have manufacturers producing www.mondodr.com
more than 2,300 Dante-enabled products, and that will be an ongoing milestone for us as we grow. “In 2019, we added the visual side of AV with the introduction of Dante AV. We are seeing manufacturers introduce their first solutions with that update now and are very excited about the future. We also won a Technology & Engineering Emmy Award in 2020 for contributions in enabling the production industry’s transition of analogue audio and video onto the network.” Audinate’s Dante platform has been widely accepted as the industry standard for audio distribution across a range of applications. With the introduction of Dante AV, and the urge to expand into more diverse markets, the possibilities seem endless for the company as they look to the future. Josh concluded: “We can’t give too much away at the minute, but Audinate is always considering how the world of AV is changing, and how Dante and related technologies can make things easier and more efficient for our customers.”
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22 COVID-19 INDUST RY RESP ONSE
COVID-19 INDUSTRY RESPONSE As the pandemic disrupts modern life as we know it, the AV industry has learned to adapt, learn and overcome through resilience and ingenuity. Here we shed a rare positive light on some of the incredible stories and products that have come out of a challenging few months.
R IED E L Riedel Communications recently introduced DisTag, an all-new distance monitoring device. Worn around the neck or carried in a pocket, DisTag is a reliable and precise instrument that immediately alerts its wearer via haptic, visual, and acoustic signals whenever the mandatory minimum distance to other people is about to be breached. Featuring a compact and minimalist design, DisTag is ideal for media and event production, industrial operations, retailers, medical facilities, public and cultural institutions, and schools and universities. The device offers three signal levels: a two-stage vibration alarm (haptic), a two-stage LED signal (visual), and a two-stage sound signal (acoustic). The proximity limits of the warning signals can be individually defined and adjusted in accordance with local regulations for social distance. “After weeks of quarantines and other limitations due to the coronavirus pandemic, our society is gradually returning to normal – but it’s a new type of normal. Slowing the spread of the virus is still a top priority as key industries, organisations, and institutions start to reopen and people begin returning to work,” said Thomas Riedel, Founder and CEO, Riedel Communications. “In recent months, we’ve learned as a community to adapt to new behaviour patterns and situations, and a fundamental aspect is for employees, visitors, and customers to maintain a safe distance between each other. That’s where the new DisTag device comes into play.”
M O U N TA IN P RO D U CTI O N S As businesses begin to reopen across the US, people are looking to enjoy experiences missed over the past few months. While many owners are busy preparing for the reopening of their businesses, it is very important that social distancing measures are implemented to keep us safe. In order to practice social distancing, many owners will experience a troubling shortage of dining space. Mountain Production’s MTN decking and barricades provide a quick, flexible space extension onto the nearby street without compromising a unique dining experience. With the aid of the compact truss pieces, owners can decorate the unit with the www.mondodr.com
same lighting to keep the entire area consistent with their character. The company is also providing mobile stages that can serve as an exclusive VIP area, allowing families and friends to enjoy meals without interacting with other guests. The SL-100 mobile stage, which has previously been erected for thousands of concerts and outdoor events, gives diners a real, immersed music experience while performers can leverage the sophisticated system to up their game. The premium glass barricades around the seats and the elevated platform are used to help separate customers from passers-by for a nice evening out with the city landscape.
23 COVID-19 INDUST RY RESP ONSE
LG Representing the first in LG’s all-new series of Health Protocol Solutions, digital signage packages are designed for indoor and window-facing use in either landscape or portrait orientation. Each easy-to-use package includes a webOS Signage LG display, a Peerless-AV SmartMount Flat Panel Cart and a limited-time free trial of content management software (CMS) that’s compatible with multiple webOS Signage software application partners. “More than ever, relaying important information to employees and customers is critical, and digital signage solutions allow businesses to
PH I LI P S The Apteekkari restaurant and bar in Kuopio, Finland, recently invested in the PeopleCount technology from Philips Professional Display Solutions as part of strict new safety measures placed on the food and beverage industry in order to facilitate a gradual reopening. PeopleCount uses Android-powered digital displays combined with intelligent camera technology from Bosch Security Systems and bespoke software to monitor and manage venue capacity without any staff assistance. A traffic light system automatically informs customers when it is safe and when it’s not safe to enter specific areas to avoid overcrowding and allow for social distancing. Mikael da Fonseca, Sales Director at Philips Professional Display Solutions, said: “We’re delighted to have been able to support Osuuskauppa PeeÄs in the safe reopening of its Apteekkari restaurant. “At Philips Professional Display Solutions, we feel a great responsibility in bringing new products and solutions to market to meet the needs of our customers. In this extreme instance, we were able to foresee and respond immediately to the conditions caused by COVID-19, and respond to their very sudden changing needs to create a solution that, in January this year, did not appear on any roadmap.”
update messaging as often as necessary, and as quickly and safely as possible,” said Dan Smith, Vice President of Business Development, LG Business Solutions USA. “Our goal is to help businesses during this challenging time with easy-to-use digital signage packages that can be used now for displaying immediate critical messages and re-deployed later to communicate changing health protocols as employees return to the workplace.”
24 COVID-19 INDUST RY RESP ONSE
YA M A HA Yamaha Unified Communications helped the residents of Cornerstone at Milford Assisted Living & Compass Memory Support in Milford, Massachusetts, stay connected during the coronavirus and beyond. The company donated a CS-700 Video Sound Bar to the facility as a way for residents who struggle to see and hear calls on smartphones and tablets to have a more comfortable and enjoyable audio and video experience. “Staying connected while apart is vital to mental health, especially for those who are living in retirement and care communities and aren’t able to see their loved ones now,” said Meghan
Kennelly, Yamaha UC’s director of global marketing and communications. “While mobile devices are convenient, they don’t always provide sufficient volume or a large enough picture to see clearly. I saw how much my grandmother and others at Cornerstone were struggling with mobile devices, and Yamaha immediately wanted to help. The CS-700 was built around the idea that conversations – whether they happen in a meeting room or in a care facility – need to be clear and stress-free to be effective and enjoyable. We love hearing all the stories of the residents who now look forward to this time with their families.”
MUS I C & LI GH TS The spread of COVID-19 put the world on its knees, and Italy has been the first European Country to deal with the consequences of the global pandemic. But even in the moment of the greatest struggle, many initiatives have been put in place in order to give light to these very dark times. PROLIGHTS products lit up the facade of the Enelpower plant in Cassano d’Adda and the Financial Police Academy, in Bergamo, providing two striking installations which reproduced the Italian flag colours. The installation has been set up by Airone Service. Sergio Dellavite, Production Director for Airone Service, who oversaw the work in person, said: “An accurate, homogeneous and impactful illumination was requested, which could above all be the subject of propaganda via social media and through the official channels of the company. To illuminate the building, we used 30 PROLIGHTS SunBlast 3000 FC placed on the ground 1.5-metres away from the wall, whose powerful output lit up a 180-metre by 20-metre facade.
GENELEC Genelec is set to donate a percentage of every sale of its new RAW loudspeaker range to the Audio Engineering Society (AES), for the remainder of this year. Additionally, Genelec will be funding 10 one-year AES memberships for those individuals whose lives have been impacted by the COVID-19 crisis. The AES is the only professional society devoted exclusively to audio technology. Genelec has been a sustaining member of the AES for many years and greatly appreciates the benefits that the Society brings to individuals for career advancement, and to the audio industry as a whole. The AES’s crucial Standards work, promotion of audio research, development of milestone events and education spanning the breadth of audio technology has led the industry forward for more than 70 years.
25 COVID-19 INDUST RY RESP ONSE
STE IN IG K E In April, Steinigke organised thousands of medical protective masks for emergency organisations, old people’s homes and other medical facilities as well as all fire brigades in the city and district of Würzburg. More than 150,000 medical protective masks were procured to support people in system-relevant occupational groups. The masks were purchased in China and arrived at the Waldbüttelbrunn location in mid-April. Steinigke
UNU S UAL RIG GI N G Unusual Rigging is urging its industry counterparts to consider what mental health in the workplace will look like in a world adapted for COVID-19. As the entertainment industry has been knocked sideways by the global crisis, Tom Harper, Managing Director at Unusual Rigging, believes the time is right to tackle the growing problem of work-related mental health problems head on and to nip it in the bud rather than simply putting a plaster on it. Tom said: “If ever there was a time for it to be OK to not be OK, it’s now. With the world as we know it turned on its head, those who can put their hands up and say they’re ‘absolutely fine’ are, without doubt, superhuman. With lives and livelihoods lost, or at least put on hold, we need to think about the solution. What can we do to look after our own mental health, but also ensure the wellbeing of our friends, family and colleagues?” He continued: “Our business revolves around theatres, museums, live events, sporting events – all of which have been closed until further notice, postponed or cancelled. A number of our staff have been put on furlough while we navigate this tricky period. But they’re still our colleagues and friends and so we embrace the amazing technology that wouldn’t have been accessible a decade or two ago. WhatsApp and Microsoft Teams meetings are vital to help employees that are on furlough stay in touch with others. We’re also making sure that we’re reaching out and talking one-to-one with our people; whether that’s to let them simply talk about how they’re dealing with another day at home or are worried about sick family members – some have even suffered bereavements.” While the pandemic has thrown the entire nation’s mental health into focus like never before, it has also opened the dialogue with more people feeling confident to admit to their feelings. Tom added: “It’s time to get under the skin of mental health and to ask ourselves what does good mental health look like and what should it look like in a COVID-adapted world. It will take time to adjust, but if we take the issue seriously, we should be looking to do more than bounce back – we should be bouncing forward. This time has given so many of us the opportunity to consider which bits of normal we wish to return to. So, while we can’t chat casually over the water cooler in the office, there’s nothing stopping any of us from picking up the phone, calling a workmate and just asking, ‘Are you OK?’”
Showtechnic paid for the entire logistics costs. The Johanniter planning staff took over the further distribution. As long as the crisis persists, Steinigke Showtechnic will continue to support the rescue services, medical facilities and aid organisations with the available personnel and organisational resources – in the hope that this will also contribute to shortening and overcoming the crisis as quickly as possible.
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IN DEPTH
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INTERVIEW DANIEL & ANDREAS SENNHEISER SENNHEISER
REPORT HOUSES OF WORSHIP
With COVID-19 grinding the professional audio world to an unprecedented halt, this year, some of Sennheiserâ&#x20AC;&#x2122;s 75th anniversary celebrations were also postponed. On an impressive milestone that most companies only dream of achieving, Emma Davidson chatted to brothers and co-CEOs, Daniel and Andreas Sennheiser, about how the company is coping in these challenging times, and the core family values that are keeping the business alive.
32 INT ERVIEW
• Above left Lab W in Hannover, the very first Sennheiser factory • Above right Jörg and Fritz Sennheiser
Founded in 1945, Sennheiser began its journey in a small village outside of Hannover in Northern Germany. Laboratorium Wennebostel, more commonly known as ‘Lab W’, was the start-up business set up by Fritz Sennheiser, a researcher and scientist with a real knowledge and interest in the technicalities of electromagnetic and acoustic vibrations. 75 years on, the company still remains an independent, family-run business. Now spanning three generations, it has positioned itself at the forefront of the professional audio industry and is now spearheaded by brothers, Daniel and Andreas Sennheiser, who have embodied their grandfather’s admirable work ethic to create an established brand with a worldwide reputation. The celebration of such an astonishing anniversary feels bittersweet, as the entire population carries itself through the uncertain ups and downs of 2020. However, for Sennheiser, this year has been important to reflect on what the company has achieved across its 75 years in business. Daniel explained: “COVID-19 has affected us all in our private life, as well as our
business life. We definitely feel that, on the professional side, this will really challenge and change us as a company. As this is also Sennheiser’s 75th anniversary this year, there are a lot of mixed feelings: On one hand, we have so many stories to tell about the company’s successes over the years and, on the other, we’ve been really hampered by something which was completely unforeseen for everyone in the industry. So, while we of course want to celebrate, the circumstances are really difficult. “We were looking forward to some exciting events that we had planned, which we inevitably had to cancel. Our employees set a strong example for our customers; they embodied our anniversary motto ‘This Is Your Crew’ by sharing photos of themselves working from home to demonstrate that ‘no matter where we are, we keep going!’. Instead of the planned celebrations, we have supported our customers by giving musicians and other professionals a common platform on our social media channels. Together, we have created new formats with the hashtags #DontStopTheMusic, #DontStopTheEdu-
cation or #AtHomeWithNeumann. Some of these ideas are likely to live on after the COVID-19 pandemic because we expect long-term changes for the future due to the current situation. When it comes to products, we’re really focussing on the home recording equipment. As you can imagine, this side of the business is the one field working well at the moment, and it’s given us a good opportunity to refocus efforts into that market. We’ve seen the highest growth in years here and it has allowed us to support customers through our anniversary promotions and online platforms.” Daniel and Andreas both started their role as co-CEOs of the company back in 2013. Coming from entirely different backgrounds, but following in the footsteps of their father, they combined their expertise to guide the company into the next phase of family history. Coming from a largely engineering background, Andreas explained how he adapted his skills to suit his CEO role at Sennheiser: “The audio side was something that was very present from the early years. We always had
34 INT ERVIEW
music in our home, it was a very important part of our education. For me, I was always more interested in the technical side. Sennheiser has always been living in two worlds; one being the highly technical world and the other, the emotional world of arts. I always loved that combination from very early on. I studied Electronic Engineering at Zurich University and then worked for a power tool company in the construction industry. All of this prepared me for joining the company with my brother.” For Daniel, his passions always lay in creativity, design and marketing. After studying product design at university, he couldn’t see a role for himself within Sennheiser straight away, however, over the years, the company changed, allowing Daniel to use his skillset to benefit his family business. “Today, our products need to be well designed, but they also need to
be carefully and strategically marketed. It was a coincidence that me and my brother came into the company at the same time, but it turned out to be a really great thing. Especially in difficult times, it’s good to be diverse as a leadership team and to be able to look at the challenges we’re facing as a business together. That will be what ultimately allows us to come out of the other side stronger.” Their childhood was built on the foundations of their grandfather and father’s work, being so fully immersed in the world of audio, Daniel recalled how, as a child, he took for granted his family’s business: “I don’t think you realise what you have until you grow up and, in our case, see that not everybody has a company at home. That was an important moment for me. I always used to love coming to the factory and playing with bits of trash and smelling the metal in the milling ma-
chines. I have very, very vivid memories of that and that was definitely all part of the journey.” Daniel and Andreas’ journey into Sennheiser was, of course, massively influenced by the incredible work of their grandfather, Fritz. When he started the company in 1945, it was purely from a research perspective, using the farmhouse laboratory as a base to create necessities for post-war reconstruction. A retired university lecturer, Fritz then went on to build microphones and other audio equipment from his farmhouse, all of which Sennheiser are so famous for today. “He once said that it took him more than 10 years to fully enjoy being an entrepreneur,” said Andreas. “He had to make the transition from just researching the history of audio to actually building and developing products. He was a very determined, persistent man and very practical
• Above left An early picture of Fritz Sennheiser • Above right The iconic HD 414 headphones in 1968
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36 INT ERVIEW
in the way he worked.” Both Daniel and Andreas talked passionately about the skills and determination they had learned from both their grandfather and father. “That research-minded approach is still very present in the company, it has ultimately led to the quality of the products we have. We also learned that persistence is key, as well as creating a working environment that allows people to come together and make something great by achieving their full potential. That is really the secret ingredient to creating great things,” said Daniel. For years, the Sennheiser name has been synonymous with high-quality sound and iconic products that have revolutionised the professional and consumer audio world. From the introduction of the first open-back headphones, to the supply of wireless microphones to a host of international artists and performers, the company has always had a strong footing in R&D. More recently, Sennheiser coined the term ‘AMBEO’, this refers to fully immersive, end-to-end 3D sound that can be implemented into a range of applications. AMBEO has been a key area for Daniel and
Andreas, who were keen to explain more: “We’ve said that Sennheiser is the future of sound since 1945. So, the next big frontier for us really is immersive audio. We pulled together many research projects within the company such as spatial recording and how the human perception of sound really works and put it altogether into the AMBEO programme. We believe AMBEO is the next step – comparable to the step from mono to stereo – and that’s true for processing, mixing and also for playback. Our microphones are able to record in 3D, depending on the configuration and the model that you use, but also the playback is possible over headphones and sound bars. The next thing in this field is AMBEO Mobility, which brings immersive audio to the car. We have just announced a collaboration with Continental,” explained Daniel. Immersive audio as a concept is something that is increasingly thought about when putting together an art exhibition, live show or nightclub experience. More recently, AMBEO sound was used as part of the Pink Floyd exhibition in London’s Victoria and Albert Museum. www.mondodr.com
“Immersive audio has the ability to directly access your emotions, and where there are emotions, there are memories.”
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38 INT ERVIEW
• Above left AMBEO microphone being used in the desert • Above right AMBEO sound in a car • Bottom right Limited edition 75th anniversary HD 25 headphones
A live recording of the classic prog rock hit ‘Comfortably Numb’ was remixed at Abbey Road Studios using AMBEO 3D technology. This technique enabled crystal clear sound and provided the sensation of a live gig within the exhibition. This way of implementing audio not only creates a uniquely immersive environment, but can also evoke an active, emotional response to sound. “AMBEO can be brought into any kind of installation where you are trying to reproduce a spatial soundscape, this could be something like a game or a movie, or it could be a full live concert. I think the Pink Floyd exhibition really showed how AMBEO sound can leave a lasting impression wherever it is implemented,” explained Andreas. “You can close your eyes, but you can’t close your ears - sound is hardwired into our brains. So, especially with immersive audio, we have direct access to our emotions and, therefore, we believe it! Immersive audio has the ability to directly access your emotions, and where there are
emotions, there are memories.” For the brothers, their co-CEO journey has been filled with incredible memories, and the company’s anniversary is a good time to go back and reflect on some of the most memorable moments of their career so far. 2013 saw the company win a prestigious Philo T. Farnsworth Award at the Primetime Emmy Engineering Awards, honouring its incredible contributions over the years, however, for Andreas, some of the smaller milestones are just as close to his heart: “For me, there really isn’t one stand-out moment, there are many little things. Sometimes, it’s just a quick interaction, a backstage talk with an artist or being in a studio and seeing something being created from just an idea. I also love being at a concert and seeing our microphone in the hands of a famous artist, there are so many things that come together to create a lasting memory.” Daniel continued: “The work we have done with the AMBEO programme is really
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something that I have pushed myself quite heavily to further. I’m looking forward to working closely with the concept and discovering new ways we can apply immersive audio to our products and installations. I also love a huge stadium show where you see a great, well-trained team working together to produce an incredible sounding show in front of 15,000 people using Sennheiser products. That gives me goosebumps because the emotion is transported from the artists and the technical team straight to the heart of the audience.” Thinking of the audiovisual world post COVID-19 seems like a complex task, especially in an industry that is built on live shows, hospitality and packed-out sporting events as its backbone. However, with the reopening of some of these venues across the globe, Sennheiser, like many other companies, is now setting out a blueprint on how to rebuild and refocus its efforts after a difficult few months. “The situation we are living through now
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40 INT ERVIEW
has been one of the most difficult times we have ever faced,” explained Daniel. “In my opinion, there are three really important things that we will continue to focus on. First of all, we need to make sure that our audio quality is rock solid and reliable in anything that we do, but we also need to understand the workflow of our customers much better. A lot of things are going digital and we really need to focus not only on the microphones, but also the mixing and processing elements. This is something we are looking to heavily invest in. The third thing is to really keep an eye on where the market is going, so we can stay curious and develop further with our customers. We were quite surprised with the very, very good performance of our Neumann brand, as well as our home recording products because everyone is equipping themselves at the moment whilst they’re creative at home. These are the studios of the future! A lot of music these days is created at home and, of course, we cater for that, too.” Andreas furthered: “Most of our customers are making their living with our products as their tools. So, for us, the most important thing is that we make reliable products that allow them to make the most of their art. Right now, we are living
through a really transformative period, where the world post COVID-19 really isn’t so clear. What we need to figure out is what are the rules of the new game and how we can still be the best to allow everyone in the industry to succeed in their art.” After overcoming the recent hurdles, Sennheiser is reflecting back on 75 years of innovation and ingenuity, with family at its very core. 2020 has been difficult for the whole audio industry, but Daniel and Andreas seem to have an admirable determination to keep going and, once we’re at the end of this extremely uncertain period, Sennheiser looks to have an exciting future.
www.mondodr.com
“Right now, we are living through a really transformative period, where the world post COVID-19 really isn’t so clear. What we need to figure out is what are the rules of the new game and how we can still be the best to allow everyone in the industry to succeed in their art.”
42 REP ORT: H OUSES OF WORSH IP
ST. E UG E N E ’ S CAT H ED RA L COMPANY: D&B AUDIOTECHNIK LOCATION: DERRY, NORTHERN IRELAND
St. Eugene’s Cathedral, the mother church of the Roman Catholic Diocese of Derry, opened in 1873 – and throughout the years since, generations of congregations have struggled with the acoustics inside the soaring stone interior. Now, however, following an extensive architectural refurbishment and technical systems upgrade, congregations can hear the services loud and clear and with greater consistency than ever before. St. Eugene’s previous sound reinforcement system had never performed satisfactorily, as it is difficult to tame the reflections and reverberations in this type of space. Looking for a better solution, the church’s management turned to acoustical consultant, Michael Kielty, of Belfast-based MK Audio. Michael recommended a distributed system, and contacted Absolute Technologies for a specific solution recommendation that would meet the church’s requirements. Absolute Technologies, with their experience of similar
reverberant spaces, from Christchurch Cathedral in Dublin to numerous smaller churches, had an immediate understanding of the challenges. Through their experiences, they became familiar with the exceptional pattern control and cardioid performance offered by the xC-Series column loudspeakers from d&b audiotechnik. Absolute Technologies’ Ian McKeown, supported by Oran Burns from d&b’s Application Support team, made an initial design for the church using d&b ArrayCalc software to predict coverage and decide on suitable loudspeaker positions. Following this, an in-situ system demonstration was arranged, which confirmed the ArrayCalc predictions and delivered the significant improvement the client was looking for. The design uses an inner pair of d&b 24C-E cabinets at the front and an outer pair of 24C serving the aisles; further down the room are two more pairs of 24Cs as www.mondodr.com
delays, again arranged as inner and outer pairs. The system is powered by two d&b D10 amplifiers. Absolute Technologies’ installation manager, Colin McKendry, explained: “In a big, highly reverberant room like this, one of the challenges is to stop reflection off the high ceiling, which can be heard as an annoying echo from above. The standard d&b 24C cabinet has six four-inch low-frequency drivers and a high-frequency line array, giving us pattern control below 400Hz. The ‘E’ is an extension to the low-frequency drivers, which sits at the top of the 24C, giving another octave of pattern control, which helps to combat that problem.” The other significant feature of the xC-Series columns is that they’re cardioid in the horizontal. Colin explained: “While a lot of column loudspeakers lose pattern control at around 2.5kHz, forcing the engineer to EQ out much of the lower frequency information to achieve intelligibility, the cardioid characteristic of the
43 REP ORT: H OUSES OF WORSH IP
xC-Series extends that horizontal pattern control all the way down to the low frequencies.” Colin said: “The system’s main use is for speech, but also occasionally acoustic music. The d&b system handles it all perfectly: the tonal quality is excellent and the dispersion is very well controlled.” For control, simplicity was key, with as little user interaction required as possible. An Allen & Heath Qu-Pac mixer is provided, with presets for the various regular services. “Most of the time it’s an automix of the main fixed microphone positions,” said Ian. “And there is always the capability for full mix control (using the R1 remote control) on an iPad.” Aside from intelligibility, St. Eugene’s presented another major challenge: building restrictions forbid the fixing of hardware to walls and pillars. The only option was the creation of custom floor-mount brackets. “Again, the appearance was very important,” Ian emphasised.
“The mounting had to look right in its environment and with the speakers. The brackets couldn’t enclose the rear of the speaker so as not to interfere with the cardioid pattern control, and because there could be no adjustment once it was mounted, the angle of pan for each speaker had to be built into the design of the bracket. Again, ArrayCalc was very useful in achieving this.” Designed in conjunction with the architect and a specialist engineering company, each bracket is unique, to account for floor height and pan angle, and incorporates a plate for mounting beneath the floorboards and a rear cover to hide mounting bolts and cable. The back plate is finished in the same RAL colour as the loudspeaker, and the base plate in stainless steel to reflect its surroundings. “The mounts look like they are part of the speaker – it is a very elegant solution,” commented Ian. www.mondodr.com
“We all worked together to identify clear parameters and goals for the system and to tailor the design before installation commenced,” Ian said. “Having d&b’s support gives us access to skills we may not have in-house, plus a high level of knowledge and experience from all types of projects. We’ve worked with Oran on a number of projects, and his knowledge of electroacoustics is invaluable. It gives the customer a great deal of confidence knowing we have the support of the manufacturer behind us.” With the installation complete and the intelligibility and aesthetics boxes ticked, that confidence has been validated. “The clients have been delighted with the system,” Ian confirmed. “Right from the very first use, parishioners commented on how clearly they could hear, even at the back of the church, which was always an issue before.” www.dbaudio.com
44 REP ORT: H OUSES OF WORSH IP
SAINT HIPPOLYTUS CHURCH COMPANY: CHAUVET PROFESSIONAL LOCATION: GELSENKIRCHEN, GERMANY
With it’s green copper-capped spire reaching 75-metres toward the sky, Saint Hippolytus Church stands high above the houses, shops and modern, small industrial buildings that surround it. Those who step inside the impressive neo-Gothic structure encounter an interior that rivals its exterior in splendour. From the beauty of its colourful “Praise the Space” choir windows, to its towering yoked ceiling and cantoned pillars, the space inside the historic 650seat church is at turns imposing and reassuring. Accentuating the transformative effect of the church’s timeless architectural features is a new LED lighting system featuring CHAUVET Professional fixtures that were installed by Lambda Light and Media Design. “We had already done some projects for services and celebrations at Saint Hippolytus, so the church was familiar with our work,” said Markus Lipphaus of Lambda. “There was an understanding, that the old lighting system needed to be replaced. LED fixtures were the logical choice, especially considering the energy savings.” Markus and the Lambda team had clear goals in mind for the upgrade project at the church, which was built in 1898. “This is an official landmark, so for us, it was important to highlight the great architecture,” he said. “I had the idea of indirectly lighting
the ceiling, which was already pure white, and therefore perfect for this type of illumination angle. “Next, we wanted to highlight very particular spots, like the side of the church with the huge windows,” continued Markus. “Also, the middle pillars are great for uplighting. With the NET-X II, we were able to program different scenes for the different services very easily. For concerts or other events, we are able to control and change everything easily via sACN. This enables very different types of lighting effects.” The lighting rig installed at the church features 40 COLORado fixtures and 12 Ovation units in addition to the single NET-X II. These include eight COLORado 1-Quad fixtures positioned in the main hall, as well as 24 COLORado 2-Solo and eight COLORado 1-Solo units, which are used in the main hall and for uplighting. “We are able to rely on the COLORado fixtures’ zoom wherever needed in the main hall to achieve the right colour balance,” said Markus. “In some spots, the beam angle perfectly matches the gaps in the wall, so I selected the Quads rather than Solo because of cost.” Some of the COLORado Solo fixtures were also used with a pair of Ovation C-805FC units to uplight the church’s majestic pillars and other impressive features, including its organ. At the entrance
area, Markus mounted 10 Ovation FTD-55WW warm white Fresnel units with barn doors. “The Fresnels create a very nice impression, illuminating the entire entrance area in a bright light,” said Markus. “With the barn doors and the zoom, I was able to set some highlights while other sections of wall were left out of the highlighting, as they were not as nice looking due to their age. “From a lighting perspective, an old church is different in many ways,” continued Markus. “The old structure requires a lot of thinking ahead, as well as a secure installation. The electric situation had to be analysed by an electrician first and some details had to be renovated in order to support LED lighting. With the church’s impressive structure, the fixtures had to be very subtle; you don’t want the lighting system to pop in the eyes on first sight. The fixtures needed to be very quiet, but still had to be IP65 rated, because of them being placed in a moist and old structure.” It was a challenge, but by meeting all requirements and expectations, the Lambda team enhanced an interior vista that is timeless in its beauty and inspiring in its effect. www.chauvetprofessional.com
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To celebrate its iconic jubilee, the famous Sacré-Cœur Basilica in Paris opened the doors to its crypts, for the very first time in 100 years. With a scenographic installation on the biblical verse ‘Come to me’ (Mt 11, 28), scenographer, Bruno Seillier, designed a sensory discovery through the Bible that combines light, audio and over 1,100 sq metres of display fabrics by ShowTex. All printed with spiritual artworks, the fire-rated materials are carefully selected and perfectly made to fit the curved shape of the crypt’s arches. The team at ShowTex advised an exciting combination of backlit and blackout materials to either block all light out or create stunning backlit effects that mimic the illusion of stained glass. This is just what they do best. Their broad range of printable materials and availability of both three-metres and five-metres-wide printers allows them to cover all high-resolution printing needs. The smart mix of printed lightboxes and blackout drapes surely defines the serene atmosphere of the installation. But, it’s not all backlit and blackout drapes in the crypt. On both sides of the walking path, elegant sheer fabrics are printed as well, with impressive graphics of giant saints. The inherently flame-retardant voile produces a high-quality image on both sides of the fabric, thanks to its translucent print-through effect. An effect that becomes even more powerful by mounting the drapes one behind the other. The see-through figurines watch over anyone walking in, guiding them to the massive printed showpiece at the end of the path. A must-see if you can make it to Paris this year. www.showtex.com
• UL924 Listed Emergency option • DMX/RDM and wireless control options • 2700K, 3000K, 3500K, 4000K and 5000K color temperature options • White, Black or Custom color finish
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LJUBLJAN A M OS QUE COMPANY: BOSE PROFESSIONAL LOCATION: LJUBLJANA, SLOVENIA
The Muslim Cultural Centre Ljubljana, colloquially known as Ljubljana Mosque, is the first purpose-built mosque to be opened in Slovenia. Around 3,500 worshippers attended the special opening back in February, with a formal inauguration event planned for this Summer. Matej Bevk, cofounder of award-winning Bevk Perović Arhitekti who are based in Ljubljana, designed the complex. The 12,000 sq metre site comprises six buildings which hold the mosque, community offices, an education centre, library, restaurant, basketball court and parking, as well as a 34-metre tall minaret. The mosque itself is a 24 sq metre cube that can hold 1,500 worshippers, with ample room outside in the courtyard for up to 1,500 more. Discussing inspiration behind the design, Matej said: “We wanted to link traditional Islamic architecture values with contemporary architecture.” The result is striking. The complex is clean and light with intricate facings on each of the exterior walls. The buildings are made from white concrete combined with steel, glass and wood. A blue textile-made dome dominates the interior of the mosque, referring to heaven and reminiscent of famous mosques like Istanbul’s Blue Mosque. Matej added that “the centre’s glass facades were meant to show transparency and openness”.
Audio for the entire site is provided by Bose Professional loudspeakers with Entero electronics. The system was designed by Lorex, the Bose Professional distributor for the Balkan region. Dušan Osojnik, the owner of Lorex, explained how they became involved in the project. “When the mosque was finally approved and architects were being commissioned, we approached Mr. Porić, the Islamic Community’s secretary general, to discuss a Bose Professional installed solution for the complex. He visited King Fahd’s Mosque and Gazi Husrev-beg Mosque in Sarajevo which were installed by us with Bose Professional products and are prime examples of high-quality audio systems specially designed for audio consistency and clarity within mosques”. Having been impressed with the audio solutions in Sarajevo, Lorex was selected as the preferred audio partner. Over the next two years, as the architectural designs were developed and adapted, so too was the design of the audio solution. Lorex worked closely with Mr. Bevk to find the perfect balance between aesthetics and audio performance. Bose Professional Panaray MA12 loudspeakers were chosen because the modular design allows stacking of multiple enclosures in a line array configuration to provide increased vertical pattern control which improves ‘throw’ distance and reduces unwanted floor/ ceiling reflections.
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10 Panaray MA12 loudspeakers were installed in the main prayer hall where special efforts were made to conceal the loudspeakers on the front wall, resulting in floor to ceiling recesses cast into the concrete wall that give the impression of an interesting design feature, whilst further minimising the visual impact of the Panaray MA12 stacks. Lorex installed a Shure QLXD wireless microphone system for voice pickup from the podiums. Across the rest of the complex Bose FreeSpace loudspeakers were selected to provide clear background sound and speech intelligibility. Bose 402 Series IV loudspeakers were installed in the minaret. This sound-reinforcement loudspeaker features a full-range-driver array, eliminating the need for tweeters and crossovers, to provide unsurpassed reliability and vocal clarity. The Articulated Array design, with wide 120º by 60º coverage, can reduce the number of required loudspeakers. The loudspeakers were installed inside the minaret were positioned precisely to focus the audio coverage within the complex itself, minimising overspill to the wider community. The system is powered by Entero ESA8250 amplifiers with processing and control handled by a Bose Professional Controlspace ESP-880 processor and Entero ESC II Controllers. www.bose..com
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M O U NT PA RAN C H U R C H COMPANY: L-ACOUSTICS LOCATION: ATLANTA, USA
For more than half a century, Atlanta’s Mount Paran Church has been celebrated by the evangelical world as a beacon of effective ministry and engaged, growing membership, evidenced by its 13,000-plus-member congregation. In fact, it was this very community of faith that pioneered the ‘one church in two locations’ concept in the late 80s that eventually laid the groundwork for multiple satellite campuses, now a hallmark of many of today’s houses of worship. So it should come as no surprise that Mount Paran is forward-thinking when it comes to the technology it uses to communicate its message, a point that was clearly underscored by its recent distinction as the world’s first house of worship to install a sanctuary loudspeaker system built upon L-ISA Hyperreal Sound technology. “Good sound is one of the most essential elements in today’s churches, and achieving consistent, engaging audio throughout an entire worship space is mission-critical, so that the congregation has a shared community experience,” explained Tim Corder, Strategic Accounts Director – House of Worship for Diversified, the technology solutions provider that delivered the project. “The previous loudspeaker system in Mount Paran’s main auditorium had been in place for many years, and as it aged, it began to have component failures that created erratic coverage – sonically ‘hot’ and ‘cold’ spots throughout the room – which was
hampering the worship experience for many of their congregants.” Although Diversified initially considered specifying an L-R-based design for Mount Paran’s loudspeaker retrofit, the presence of large LED screens on either side of the stage meant that the array lengths necessary for providing optimal coverage would create sightline issues, particularly for those seated in the balcony. Furthermore, the church wanted to minimise the amount of modifications made to the worship space’s striking architecture, both for aesthetic and budgetary reasons. “With so little space to work with above the screens, we chose to explore an L-ISA design, which offered us the ability to spread the system’s power out horizontally versus vertically,” said Nick Geiger, Account Executive and Audio Lead for Diversified. “This enabled us to achieve the SPL and coverage that we needed while keeping the loudspeaker hangs compact enough to not cause visibility issues with the lighting and video facilities.” In a case of near-perfect timing, L-Acoustics had recently rolled out its medium-throw, constant curvature A Series, and the new product line was quickly deemed ideal for the project. “The A15, in particular, is really what made L-ISA a viable, practical, and budget-friendly option for Mount Paran,” Tim shared. “We designed a frontal system featuring seven A Series arrays, and the overall price point was very comparable www.mondodr.com
to a traditional L-R PA design while also allowing us to meet our fidelity and sightline goals.” Installed late last year, Mount Paran’s new loudspeaker complement is now comprised of five arrays of four L-Acoustics A Series enclosures – two A15 Focus over two A15 Wide – spread evenly and flown over the front of the stage as the Scene system and flanked by two arrays of one A15 Focus over two A15 Wide as the Extension system. Dual hangs of two A15 Wide deliver outfill coverage to the far left and right front seating areas, while two rear-firing A15 Wide positioned above the stage provide monitoring for the approximately 150 choir seats. Four KS28 subwoofers, concealed by a scrim and centrally flown behind the Scene system, deliver ample low-end reinforcement throughout the entire auditorium. Frontfill is achieved by six short-throw X8 enclosures deployed across the stage lip, with four compact 5XT systems located at centre stage for sermon monitoring. Further out in the house, two A15 and eight ARCS Focus systems serve as the delay ring around the catwalk covering the upper reaches of the balcony, while four locations of Kiva II provide underbalcony outfill. A combination of one LA12X and 13 LA4X amplified controllers power and process the entire loudspeaker system, while an L-ISA Controller and Processor combination facilitate the church’s new panoramic, object-based mixing approach.
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Diversified also furnished Mount Paran’s FOH mix position with a new DiGiCo SD12 console, which is connected to L-ISA via Desk Link, natively bringing all source controls onto the desk surface and allowing engineers to access L-ISA as an integrated element of their existing workflow. “L-ISA is an incredible tool for Houses of Worship,” enthused Nick. “As an audience member, you don’t just want to feel as though you’re sitting in the room spectating something that’s happening onstage. Mount Paran has a large choir, orchestra and praise team, and L-ISA enables you to feel enveloped by their sound – like you’re a part of it – in every seat in the house.” Tim agreed, adding that the audio imaging capabilities of the new system produce a very natural-sounding binaural listening experience. “When the left side of the choir has a solo, you feel it come from the left side,” he said. “I’ve heard them stagger vocal intros between the left, right and centre sections, and you really feel that localisation - and it’s stunning! You totally forget that you’re listening to a PA because it just feels like you’re listening to the choir. I’ve never had that experience before.” Mount Paran Church Technical Director, David Mendoza, said that intelligibility was one of the key points his church was striving to improve
with a new system, and L-Acoustics delivered on that, and more. “We wanted our entire congregation to be able to understand every single lyric being sung by the music team and every single word being spoken by the pastor,” he added. “When I heard L-ISA, I was blown away; it was a completely euphoric feeling. Not only is the sound pristinely clear everywhere, but the amount of control that it gives our tech team over the placement and presence of each object is amazing. Being able to creatively control so many parametres – like distance, width, and elevation – minimises the distractions within the worship experience here at Mount Paran, helping our congregation feel more connected to what’s happening onstage.” “We at Diversified pride ourselves on being at the forefront of emerging technologies that are making an impact in our industry,” said Tim. “You really must experience L-ISA as one of the several thousand people gathered in the room during a service to understand the full impact that this technology and loudspeaker system makes on the engagement of the congregation. Words do not do it justice. It is inspiring on a level that is quite literally paradigm-changing.” www.l-acoustics.com
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VILL E R S AB B E Y COMPANY: KVANT LOCATION: ABBAYE DE VILLERS-LA-VILLE, BELGIUM
The Choral Music Festival is a unique event that is held over three days, running for hours each day – something very different from the usual electro gigs or big concerts that are usually associated with impressive laser shows. The host venue is what adds something completely different to proceedings, with the ruins of the famous Villers Abbey, located in the town of Villers-la-Ville, Belgium welcoming revellers over the three days. To enhance the incredible setting, Thomas Avisse of Lightdiction was enlisted to create a laser display, for which he opted to use Kvant lasers. Thomas takes up the story: “The show production was not only about creating a nice beam show, I had to take into account the relatively calm atmosphere of the space and surroundings – making sure to match my laser display style to it. “Since it was a vast space to cover, the obvious choice would be two different live show stations. However, as I was the only laserist available, running two live shows at the same time was not possible. On the main stage, I operated the lasers live, performing an ambient atmospheric show. This performance covered an area that was about 70-metres long and 15-metres wide.” For the second setup, Thomas decided to do laser mapping of the ruins, which run continuously in a three-minute loop. He mapped with lasers two different walls, from projection distances between 20 to 50-metres. To achieve this, Thomas used four Kvant laser display systems. There was one Atom 20 to project the ambient atmospheric show at the main stage inside the Abbey, one Clubmax 6800 FB4 and two Clubmax 3000 FB4 to laser map the ruins. Thomas added: “To keep the effect minimalistic and kind of calm, I chose uniform colours and a larger pattern. The lasers were supposed to emphasise the artist and not to take the attention away from him another reason I preferred using simple patterns.” The use of Kvant lasers were perfect for the project, as Thomas explained further: “As the event took place at the Villers Abbey ruins, this was not really an indoor job. For sure, I covered the lasers when it was raining heavily at times. But still, I needed reliable systems that could be used in outdoor conditions - and my Kvant lasers were just perfect for that. “For the mapping part, I needed to run the lasers in the Auto mode, because I was at the main stage controlling live my Atom 20 system. Thanks to the built-in FB4 interface in each unit, I didn’t have to set another computer with Pangolin license to control these lasers. I just prepared the mapping in advance using Beyond Ultimate laser software and loaded the three-minute show onto the FB4 SD card. This way, I could run the mapping show autonomously every night just by selecting the appropriate show file on each FB4. “Not all lasers can always achieve good scanning accuracy and quality beam over distance. However, my Kvant Clubmax 6800 FB4 and Clubmax 3000 FB4 are great at this! Even when I was projecting from about 50-metres, the beams looked as sharp as if I was projecting from five-metres away. The audience loved the entire show, which offered an atmospheric, immersive experience and nicely fitted the mood, while the laser mapping highlighted the architecture of the Abbey. It was certainly a new - and, perhaps, surprising - experience for the majority of attendees. “In conclusion, the lasers from Kvant made my life a lot easier at this event. They are incredibly versatile and reliable machines that will never disappoint you,” said Thomas. www.kvantlasers.co.uk
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C3 C H U R C H COMPANY: VECTORWORKS LOCATION: SAN DIEGO, USA
Vectorworks Spotlight is often touted as the industry standard for entertainment design, documentation, and production. But what else can the programme accomplish? There’s an entire world of event planning that requires an all-inone solution; a program not only to design, but one to make plans, present them, and have them reviewed, too. The megachurch – defined as having at least 2,000 people in weekly attendance – is known for putting on huge shows. You’ll see extravagant lighting frame a central stage and a passionate, practiced pastor subject to the gaze of thousands – they often look like a concert with its intricate arrays of loudspeakers and lights. Recall Joel Olsteen’s popular television-broadcasted sermons that gather over seven million weekly viewers. Megachurches certainly have become a spectacle. So, what goes into producing these large-scale events? We had the pleasure of speaking with Reuben Poon, the production manager at C3 Church in San Diego. He’ll be hosting a webinar with us in October to talk about his experience running events. It’s his job to organize the spectacle — from stage design to seating layout, the auditorium is his workspace. And his tool is Vectorworks Spotlight.
He says he’s not an entertainment designer, rather that his work requires certain design elements – he instead uses Spotlight as an organisational tool to show stakeholders what the church’s show will look like pre-production. In an introductory email, Poon wrote that before Spotlight, his presentation capabilities consisted of precisely nothing. Outside of hand drawings and Photoshop drafting, Poon said that events would simply be a surprise to stakeholders. “None of these gave us as much flexibility or accurate drawings for stakeholders to make informed decisions. We couldn’t foresee and fix problems beforehand, because we weren’t able to plan things out as accurately.” He presents his drawings mostly in top views due to their ease of access, because it doesn’t take technical know-how to understand the above drawing. It gives Poon the ability to share production ideas with senior leadership, which he does by publishing PDFs and mockup renderings for feedback. It’s a workflow which rewards simplicity. He presents multiple different ideas, all understood by the intuitive nature of top view PDFs. And while his renderings aren’t all-encompassing, they’re a great presentation tool to consider before investing in the show. Poon says designing on a budget is challeng-
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ing. His ideas, in their extravagance, sometimes escape his allowance. It’s part of the reason he started using Spotlight – he wanted an easy way to communicate his idea so he could get accurate cost estimates. He cited Braceworks as a perfect example of how he uses Vectorworks: “While I don’t know the ins-and-outs of Braceworks, I know enough to present a drawing and ask professionals if my idea is even possible.” In that way, Poon has maximised Spotlight as a presentation and communication tool. As the C3 Church looks to do renovations and expansions, Poon said he’ll use Vectorworks to map out the new buildings. By importing Revit architectural drawings, he’ll be able to present production features like screens and lights laid out across the new buildings. “Before, we never shared anything outside of the tech team. We can now share plans that non-tech people can see and make decisions on,” he said. “Spotlight offers us the ability to do planning and designing for our events in ways that give more accurate representations of what we’re going to do. Before we do it.”
www.vectorworks.net
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GAT E WAY C H UR C H COMPANY: MEYER SOUND LOCATION: SOUTHLAKE, USA
Gateway Church is ranked among the nation’s largest multi-site congregations with an average of more than 30,000 worshippers weekly attending 29 weekly services at nine campuses – eight in the Dallas-Fort Worth area plus an extension campus in Wyoming. To keep pace with the latest audio technology, and to further enhance worship at Gateway’s flagship Southlake campus, the 4,000-seat auditorium at that facility was recently upgraded with 51 new Meyer Sound LEO Family loudspeakers configured as a novel mono-stereo ‘hybrid’ system. Like many other contemporary churches, the Gateway Southlake auditorium is designed with wide, fanshaped seating that wraps around the stage. Although this promotes a greater sense of intimacy, it challenges audio system design in general and, in particular, makes it difficult to maintain a stereo image while ensuring high intelligibility throughout the space. Accordingly, the prior system based on Meyer Sound MILO line arrays was designed as an LCR mono configuration. “This time we wanted to see if we could leverage the latest technology to open up our sound with a stereo feel for most of the congregation while still maintaining excellent intelligibility and without the effect being distracting to anyone,” said Brandon Conn, Gateway Senior Audio Engineer for Live Production. “We had already upgraded some of our satellite campuses to LEOPARD line arrays, so we were confident that the clarity and control of the LEO Family would help us achieve this goal.” The new system was designed and engineered as a collaborative effort by Gateway Church audio staff, Meyer Sound’s Director of System Optimisation, Bob McCarthy, and system integrator, Pro Sound & Video (a Solotech company). On-site installation was supervised by Pro Sound & Video’s Shaun Philips, assisted by TJ Volts, under the direction of company CEO, Rod Sintow. The eventual solution was to deploy three hangs of fiveeach LEOPARD line array loudspeakers aimed to cover the first ten rows of seating, all carrying a mono signal.
The main centre section with the great majority of seats is covered in stereo by left and right arrays each with five LYON-M main over six LYON-W wide coverage line array loudspeakers. “The idea here was to create a stereo image where it works well, but not attempt it where it would compromise performance or intelligibility,” said Bob. “Up front, a split left and right would be so wide it would pull you away from the stage. So there, a mono image reinforces an intimate connection with the stage, then from row 11 back it blends seamlessly into a more open stereo image.” Brandon recalled: “When we put the LEOPARD arrays in the satellite campuses we knew the new technology would be a game-changer, and that has been the case here as well. We can hear the difference in overall output level, with the power on the low end, and with the intelligibility as well. Everybody who comes in here for special events is blown away by how great it sounds.” To assure uniform frequency response front-to-back in the field of the main arrays, McCarthy implemented Meyer Sound’s new Low-Mid Beam Control (LMBC) in the tuning process. “When Bob inserted those filters, the improvement was impressive,” recalled Brandon. “When he turned it off and on it was easy to hear the difference.” The audio overhaul also included new low-frequency components, with the former ground-stack only system replaced by dual flown gradient cardioid arrays of five each 1100-LFC low frequency control elements for uniform dispersion throughout the auditorium. Four new 1100-LFC elements placed under the stage enhance the visceral effect up front. Eight UPQ-1P loudspeakers replaced the former stage side fills, and five GALAXY 816 Network Platforms took over signal optimization and drive. The existing delay systems, comprising a combined total of 41 UPQ-1P, UPQ-2P and UPJunior loudspeakers, were tested, found to be performing perfectly, and left in service. According to Brandon, sound is now uniformly excellent throughout, but the subtle differences allow worwww.mondodr.com
shippers to select their preferred experience. “People who are musically inclined and want the stereo image will sit more toward the middle,” he added. “Where those who want direct energy from the stage will congregate toward the front. And those who want it just a bit quieter will go to the back, but with no sacrifice in the fullness of the music or speech intelligibility.” “I love the way the LYON and LEOPARD system allows us to deliver energy and clarity at many different volume levels,” said Director of Live Production Broadcast Systems, Jason Aulds. “Because of our many different types of events, and our desire to mix with dynamics at each event, we can swing 20 dB or more within the music portion of worship and not affect the integrity of the mix. And we are equally happy with what it offers for spoken word and our theatre productions.” All nine Gateway Church campuses are equipped with Meyer Sound systems, with most satellite locations updated to LEO Family systems based on LEOPARD compact line arrays. “I love our continuing partnership with Meyer Sound,” continued Jason. “Their customer service as well as their investment in system design and support give us the consistently high level of audio experience we require.” The productive three-way partnership also includes Pro Sound & Video, principal supplier for audio systems since 2007. “We always look forward to working with the audio team at Gateway,” Rod Sintow added. “They are welcoming, forward-thinking and fully involved from beginning to end. When we turn the systems over to them, they know the technology inside-out and can get up and running right away.” Launched by Founding Lead Senior Pastor Robert Morris in 2000, Gateway Church holds services at six permanent campus locations and one temporary location in the Dallas-Fort Worth metroplex; at the new location in Jackson Hole, Wyoming; and at four prison locations in Texas. Total active attendees number at, on average, 71,000, though not all were present every week. www.meyersound.com
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ENJOY C H U R C H COMPANY: NEXO LOCATION: MELBOURNE, AUSTRALIA
Enjoy Church, headquartered in Melbourne, is the fastest-growing church in Australia. As is common for many churches in the country, the main campus is situated inside a warehouse, which has undergone mainly cosmetic improvements to transform it into a functional worship space. It can now seat approximately 1,800 people, but its acoustic environment is not ideal: the venue’s construction is typical of a warehouse, concrete walls with metal roof. Initially the main worship sanctuary was defined only by drapes, but, over the years, internal sheet rock walls have been added as the seating capacity needed to be increased and sound transfer to other areas of the building mitigated. The ceiling of the worship sanctuary consists of acoustic absorbent material directly fixed to the underside of the sheet metal roof. Forefront Productions had installed a NEXO GEO S12 line array system in this building in 2009, but, in order to keep up with its expanding congregation, Enjoy Church asked Nick Burns and Matt Wever to implement a purposeful main speaker system upgrade. The aim was to apply more modern sound reinforcement technology to the venue’s geometry, and better cater for future changes in presentation as well as capacity. Forefront’s Nick Burns selected the STM Series modular line array from NEXO as the main building block of the new system. “For this project, we needed to supply coverage to a greater area without increasing the overall line array length (so as to not impede sight lines), and at the same time increase headroom and sonic capability. The STM system allowed us to deploy double wide main arrays of M46 main and B112 bass modules, with under hangs of the smaller M28 omnipurpose module. Using
M46 main cabinets only for the centre fill and outfill arrays meant we could keep the same HF/MF sonic signature without the expense or physical size of the main arrays. STM’s modularity means it can change and expand really easily. “It really is the Lego of speaker systems. We can simply add more STM cabinets of any form to the system to further extend the value of the investment.” The main sanctuary space is quite a challenge. It has a relatively low roof/ceiling line to that of the width and depth of the auditorium. This geometry together with the usual stage lighting and video reinforcement infrastructure plus other mechanical services means not only is there a battle for sightlines but also limited unobstructed positions for PA to fly within. Add to this the rudimentary acoustic treatments and seating arrangements that curve around the stage – this meant a heavy reliance on the speaker system design and implementation to achieve desired results. Forefront’s designers Nick Burns and Matt Wever used NEXO’s proprietary NS-1 calculation and coverage prediction software to provide an extremely true representation of the actual system performance. “It is a valuable tool in producing any NEXO system design, coupled with mechanical information and of course the ability to also produce 3D visual representations. Having been very meticulous in the design phase of the system, we were again particularly impressed by how true to life NS-1’s MIF calculations are.” In just three days, the Forefront Productions team installed the new main PA, comprising 19 Nexo STM M46; 10 Nexo STM B112; eight Nexo STM S118 Sub Bass; six Nexo STM M28; four Nexo PS8; nine Nexo
NXAMP4x4 amplifier / processors; and one Nexo NXAMP4x1 amplifier / processor. NEXO NXAMP4x4 amps were deployed with the inclusion of AES interface cards – existing NXAMP4x4s were augmented with new additional units. This allowed all processing to be conducted via NeMo network control. All system tuning and processing is achieved onboard the NX-AMP4x4s with NeMo allowing any elements to be grouped and zoned together as desired. The results are notable. One of the great characteristics of the STM system is its perceived “near field” sound. This extends to the furthermost corners of the auditorium area, giving the listener the impression that they are very close and drawn to the action. From full range live band program material to speech, the intelligibility and consistency in coverage throughout the space is impressive. With the acoustic environment, there were of course existing nodes and antinodes within the listening area. Careful placement, angulation and tuning of cabinets such as in the outfill areas produced much improved sonic consistency and coverage. Enjoy Church routinely employs a front stage thrust, which encroaches into the usual seated area and places the presenter’s handheld or headworn microphone within the field of coverage. This presented a unique challenge when considered alongside one of our aims for this system installation being to remove the need for smaller front fill speaker elements and keep sources to a minimum. Our design resulted in downfill elements of STM M28 elements to the main arrays, some with 120º horizontal dispersion, as well as a centre flown cluster of M46. This results in the same sonic signature
across the front audience area and is time aligned to make the centre cluster largely imperceptible. Perhaps even more notable, the ability to achieve incredible gain before feedback from performers and spoken word presenters even with poor microphone technique venturing onto the stage thrust area. Another remarkable improvement is the stereo imaging. With a relatively wide room and main arrays quite wide, the known attribute of the STM’s stereo imaging has indeed presented listeners with a very perceivable increase in stereo imaging – allowing mix engineers to enjoy mixing in a stereo state without concern for certain seating areas missing the benefit. With the much improved increase in headroom that the STM system has delivered, Enjoy Church can cater for outside events without any concern or need for additional equipment. The auditorium is routinely used for external events such as school gatherings, musical presentation and touring artist concerts. Normally to achieve the scale of increase in performance and quality in sound that this project has delivered, you would expect to see a much more sizeable system to that of the GEO S12 it replaced. In fact, the bottom of the STM main arrays is only 70mm lower than the former system. The perceived increase in size has come in main array width, which in the black of over stage space is unnoticed. The former system had subs flown behind
the main arrays as the client brief was a clear front stage area, whereas with the STM system we have been able to achieve a clear front stage area by insetting the horizontal sub array of STM 118’s. Together with the LF produced in the air by the B112 cabinet arrays, the LF and sub bass has proven to be very controllable in the space, with even coverage. The STM system has provided an overall cleaner look in the overhead space. This installation not only provides a significant and notable sonic improvement, but allows Enjoy Church to cater for its various needs, both in style of its presentations from contemporary church high impact band reinforcement, to dramatic theatrical performances, spoken word and everything in-between. This system also uniquely demonstrates the ability for an organisation to extended the value of their technical investment. Enjoy Church’s original NEXO GEO S12 system has been redistributed across three of its smaller campuses, providing upgrades to those venues, and enabling the church to extend the value of its investment. By keeping their systems within the NEXO brand family of products, Enjoy Church can continue to augment with new technology, achieving significant improvements across the different venues in their organisation whilst keeping up to date and at the Forefront. www.nexo-sa.com
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SP RINGS C H U R C H COMPANY: MARTIN AUDIO LOCATION: COLORADO SPRINGS, USA
The Springs Church in Colorado Springs, CO recently underwent an audio upgrade with a Martin Audio WPS system spec’d and installed by Sight and Sound Technologies, the first installation of the new system in the United States. Asked about the project, Sight and Sound COO Kris Johnson explained: “It was basically an upgrade of their PA. They had an aging left-centre-right line array system that in some respects was overkill for what they needed plus they were starting to have some problems with the speakers. They had a plan to repurpose them in another room which worked out really well timewise for us because we were able to pull the old ones down, test them out and re-install a handful of them in another room. “In terms of the main room or sanctuary, we had already installed the Martin Audio WPM system on multiple occasions and really liked it. Then we got to hear the new WPS system at a trade show and it was like the WPM with more beef because of the eight-inch drivers
so we decided to look at those for the sanctuary. When we ran the projections, the system looked amazing so we moved forward with it.” Springs is a modern church with a contemporary worship service featuring an electric band and several vocalists. The sanctuary is a 2,000-seat room which gets wider from the stage towards the back corners of the room. According to Kris, the widening shape of the space “made it a bit of a challenge in terms of getting the coverage we needed in the back. We wanted to be sure we had enough power, another reason why we chose WPS.” The system consists of six WPS enclosures a side flown off an I-beam with six CDD8 for front fill mounted across the front lip of the stage, all powered by an iK81 amp with one-box resolution for optimum coverage, impact and the extra control. Describing the results of the new WPS system, Kris enthuses, “the coverage is amazing. There are two I-beams that run left and right from front to back in the room
and they drop pretty low so we had to be under those beams otherwise we’d hit them with the top speakers. So we went ahead and mounted them under the beams. I like where the speakers ended up in the room and in a perfect world I’d have loved to put the system about two feet higher, but we accomplished our goal: great coverage front to back with very little dB difference. “In terms of music reproduction, WPS sounds amazing. For weeks, I was getting text messages from their audio technician raving how good and clear the system sounded. That, plus the parishioners love how the services sound with the new system. They’re all smiles. “Being able to hear what is said and sung in terms of the message is the key to any good worship service. We’ve heard systems that might do one or the other, but WPS absolutely does both speech and music incredibly well. Bottom line, the church is ecstatic, both the staff and the congregants, which is the most important thing.” www.martin-audio.com
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ST. J OSE PH’ S CHURCH COMPANY: PXM LOCATION: TORUŃ, POLAND
The St. Joseph’s Church in Toruń in Poland is a relatively young building, because it was not consecrated until 1964. Despite this, in its internal construction it refers to the Renaissance and Classicism, while its external body has clear Gothic reminiscences. During the last modernisation, the interior of the church received modern lighting made entirely in LED technology. The exception is chandeliers, in which the classic incandescent lighting remains. An important feature of this installation is the ability to smoothly adjust the brightness of each light source from the central controller. Such a solution allows for appropriate illumination of selected parts of the church, depending on the liturgy performed. This gives the opportunity to create the right atmosphere that is conducive to prayer and reflects the nature of the ceremony. Different lighting scenarios include, for example, rituals such as: a daily mass, Sunday mass, a solemn
concelebration, adoration of the Blessed Sacrament and Way of the Cross, For each of these rituals, a corresponding lighting scenario has been programmed, which can be activated at any time via the touch panel or from the relevant smartphone application. Directional LED lamps with different colour temperatures of white light and RGB lamps were used as light sources. The colour temperature of individual lamps has been selected individually for the objects they illuminate. For example, the gilded altar is illuminated by light with a colour temperature of 2700 K, while the stone wall of the apse is illuminated by light with a colour temperature of 5000K. Selecting the right colour temperature allowed to bring out the individual features of the illuminated material and give depth to the whole space. The vault of the church was illuminated by LED
strips hidden behind cornices. RGB lamps illuminating the apse allow to emphasize different periods of the liturgical year with appropriate colours, for example: purple - fasting time; red - the feast of Pentecost; and pink - third Sunday of Advent. In the main altar, there is an painting of Our Lady of Perpetual Help, which is automatically revealed and covered at set times. This is accompanied by music played from an audio player controlled by the DMX protocol. All LED lights, chandeliers, painting opening and closing as well as music playback are managed by the central controller using DMX protocol. The controller used allows you to create any lighting scenarios, and since it has a built-in real-time clock, it also activates the church bells, in addition to operating the church interior lighting. www.pxm.pl
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COAST B I B LE C H U R C H COMPANY: ADJ LOCATION: CALIFORNIA, USA
A modern church lighting system not only allows worship to be enhanced with colour, movement and texture, but it also ensures that pastors, preachers and worship leaders can be seen clearly by their congregation as well as those watching via the increasingly popular and powerful medium of online streaming. That was the motivation behind the recent renovation of the lighting system at Coast Bible Church in California, which commissioned the installation of more than 30 ADJ moving head luminaires. This flexible new system not only vastly increases the church’s creative potential when it comes to lighting times of worship, but it also ensures that its new live-streaming initiative provides crystal clear video to those watching from home. Known locally as ‘the church on the hill’, Coast Bible Church in South Orange County, CA was founded in 1967 and since then has grown into a thriving local church. Based from a modern purpose-built sanctuary, the church had already invested heavily in high-quality audio and video systems when, in early 2020, the leadership felt that it was the right time to bring their lighting system up to the same high standards. To achieve this, the church brought in Bill Coblentz and his company Cinema Solutions. Established in 1998, the business provides audio visual design and installation services for both commercial and residential projects throughout Southern California. Bill rarely advertises, instead relying on referrals and recommendations, which is testament to the passion, excellent service and attention to detail he brings to every project. A well-established ADJ dealer, Bill was confident
that ADJ’s range of high quality, reliable and competitively-priced lighting fixtures would be ideal for the Coast Bible Church installation. He was also aware that a project of this scale would need a lighting specialist to create the design for the system and creatively program it to allow the church’s team of volunteer techs to make full use of its potential. Bill reached out to ADJ’s sales team for advice on who to bring on board and they were quick to recommend ex-ADJ employee turned fulltime freelance lighting designer and programmer Edgar Gonzalez. Also based in California, Edgar was excited to take on the project as Bill was happy to give him creative freedom, so he drove to the church for a site visit and to meet with the church’s Lead Pastor, Tom Bennett. From there Edgar used the Capture software to create a design and produced still images and video clips of various lighting looks from its visualiser to present Tom and the rest of the church’s leadership team with a visual impression of what they could expect from the new system. “The church’s primary concern when we discussed their requirements on the site visit was key lighting and flexibility,” explained Edgar. “Their previous system was outdated and basic, consisting of static washes with single-diode RGB LEDs. This meant that they were getting off-colour whites and the lighting was focussed on particular parts of the stage, so if a worship leader moved too far they’d hit a dark spot. They told me that nice warm white light for streaming services was important to them and they’d like the flexibility of being able to change focusses from service to service and even
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for different sections of the same service as the people on stage moved to different areas. It quickly became clear that the obvious solution was ADJ’s Par Z Move. This offers the ability to zoom in and out as well as reposition on the fly, and also give that nice warm white colour temperature they were looking for.” The Par Z Move is a moving head wash fixture that harness the power of a 200W COB warm white (3000K) LED engine and offers the versatility of a nine – 43º motorised zoom range. Edgar’s design for Coast Bible Church utilised 12 of these fixtures, with six hung from a truss above the stage and six more positioned further back in the sanctuary (three on the left and three on the right). When it comes to mid-air effects and GOBO projections, the rig’s primary fixture is the ADJ Vizi CMY300. This powerhouse hybrid moving head utilises an impressive 300W LED light engine and functions interchangeably as a beam, spot or wash. An expansive feature set combines the fixture’s signature CMY colour mixing with an additional colour wheel (including CTO and UV), two GOBO wheels and two rotating prisms as well as motorised zoom, focus and iris. “The Vizi CMY300 has been one of my favourite ADJ products for a while now,” enthused Edgar, “and it’s a go-to fixture when I am spec’ing rigs. I’ve had great success with them on all of the projects I’ve put them in. They are super punchy with that 300W LED, I like the zoom range, and the GOBOs are great. I also like their modular design. Fortunately, I haven’t had any issues on any of the designs that I’ve done where they’ve needed repairing, but the fact that you open the case by removing four screws and then remove two thumbscrews to take out a module shows how easy they would be to fix if anything ever did go wrong. And we demonstrated this to the client and they understood it was a real advantage to have such easy access to things like the CMY and GOBO modules.”
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Six of the Vizi CMY300 fixtures are hung from the main front truss, which allows them to project GOBO patterns down onto the stage as well as out over the heads of the congregation to generate aerial effects. A further six of the fixtures are positioned – three on each side – on narrow ledges that run down the side of the auditorium. To secure these, Bill constructed platforms that are hidden from view but allow the fixtures to be firmly bolted down. Making use of this existing design feature of the space not only helped to blend the lighting installation with the aesthetics of the building but allowed Edgar to program looks that completely immerse the room in light. “As part of the presentation that I prepared for the church,” continued Edgar, “I included a video recorded from Capture that showed the CMY’s projecting large break-apart GOBOs that slowly rotated on the side walls, with the colour set to a custom golden hue, and I think that’s what ultimately sold them on the fixture. I gave the church the option of a lower-cost alternative, but they understood that having CMY colour mixing would give them greater flexibility to create any look they wanted.” Interspersed with the Vizi CMY300s, both on the front truss and side ledges, are nine of ADJ’s Vizi Wash Z37 moving head wash fixtures. Each incorporating 37 20W RGBW four-in-one LEDs, these potent washes offer motorised focus allowing for a variable beam angle of between 10º and 60º. “The original plan included a quantity of ADJ COB Cannon Washes mounted above the seating areas to provide variable-coloured house lighting,” explained Edgar, “however that part of the design had to be cut from the final project specification. Unfortunately, we were unable to source loading information for the pipes that were already fitted in the ceiling and the church didn’t want to add any additional hanging points. So instead we went for the Vizi Wash Z37s, which can pan up and colour the ceiling and also pan down and wash the room, which worked very well. They have a super punchy output, but what I
really like about them is how instant that zoom is compared with other LED wash fixtures, in snaps in and out very quickly. What the church liked about them was that I could use the colour temperature DMX channel to easily match them to the Par Z Moves so that they could be used as additional stage wash fixtures if needed.” The church’s stage has a multi-tier stepped design and Edgar utilised the highest of these to position a ground package that can be used to shoot beams up over the heads of the band during worship sets. For this purpose he specified six of ADJ’s compact yet powerful Focus Beam LED fixtures. Combining an 80W white LED engine with precision-engineered optics the Focus Beam LED outputs a razor-sharp 2.5º beam that can be customised using a dichroic colour wheel, GOBO wheel, two rotating prisms and a motorised focus function. “I was pleasantly surprised by the Focus Beam LEDs, because beam fixtures still more commonly rely on discharge lamps. But the brightness from these compact LED-powered fixtures was very good. They performed very well and didn’t look out of place alongside the 300W CMYs when they were set to beam mode. For this project, the Focus Beam LEDs were the perfect choice as we wanted to specify an all-LED rig, to minimise the power consumption for the church and also keep on-going maintenance simple.” The ground package was completed by five ADJ Allegro Z6 fixtures, positioned between the Focus Beam LEDs at the rear of the stage. These quick-moving motorised linear LED fixtures feature six individually controllable 40W RGBW LEDs and offer motorised zoom for a variable beam angle of between four and 32º. “This was my first time using the Allegro Z6 and I was impressed,” commented Edgar. “When I zoomed them all the way in and tilted them down, they created really punchy mid-air effects, which created a good combo with the Focus Beam LEDs. But when I zoomed them out and pointed them up
at the wall they created a nice even wash. I appreciated having individual control of each LED and the people at the church liked that I could use this to create some nice chasing patterns. To transition between the wall-washing and facing out positions, I programmed a 10-second sweep and the movement was nice and smooth.” To fill the space with atmospheric haze, Edgar specified two MAGMA PRIME haze machines from ADJ’s new sister company Magmatic. A total of five DMX universes were utilised, four for the ADJ lighting and a fifth to control house lighting and automated shades using Crestron integration. The DMX signal was transmitted around the large sanctuary using Cat 5 cable via Elation Professional eNode 4s, while control is provided by ADJ’s Compu Show software. “The original proposition for control was an Obsidian NX2 console,” stated Edgar. “But as I spoke to the church I realised that they would need something very easy to use because the operators didn’t have a lot of experience with lighting. This meant that having them learn to run a console wouldn’t be practical, so instead I setup and programmed Compu Show with a touch screen that made it very easy for anyone to select between the various different scenes – positions, colours, effects – and the people at the church really liked that.” “The people at the church were amazed by the finished system,” enthused Edgar, “and the complements I got from the pastor were great. He couldn’t believe how good it looked and how much of an experience it could create in their facility. That’s the beauty of a well-designed and implemented church lighting system, it is able to provide a worship team with creative tools to enhance the praise experience without detracting from the service or the aesthetics of the space. This is certainly what has been achieved at Coast Bible Church through a perfect synergy of Edgar’s design flair and Bill’s excellent installation work. www.adj.com
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CATHED RAL OF T H E HO LY C ROSS COMPANY: POWERSOFT LOCATION: BOSTON, USA
With roots dating back to the 19th Century, the Cathedral of the Holy Cross in Boston, USA, was designed by architect, Patrick Keely. After quickly outgrowing its first home on Franklin Street, work began on a new structure. It naturally suffered delays due to the American Civil War, but finally received its dedication in 1875. The cathedral is the largest church of any faith in New England and has long served as an important gathering place and ‘Mother Church’ for Catholics living in the Archdiocese of Boston. It can seat almost 2,000 people and is also home to the largest, and arguably finest, organ built by the world-renowned Hook and Hastings Company in 1875. Despite being a very old building, little renovation work has been completed over the years, perhaps partly due to the local Roxbury puddingstone and grey limestone that was used for construction. However, last year, it was decided that an extensive upgrade would take place now that the Gothic revival cathedral is 150-years-old. This renovation included a full-scale overhaul of the cathedral’s sound system, which includes an Innovox Microbeam PA system powered by Powersoft amplifiers. System integrator, Landry Audio Division, Commlink Integration Corporation designed and installed the new audio setup, with Landry Audio CTO and President, Evan Landry heading up the project. “The primary focus of the system acts as an acoustic anchor, so that all the sound, sounds like it’s coming from the chancel – the place where it looks like it’s coming from,” Evan said. “The purpose of this setup is to increase listener engagement, clarity and intelligibility.” Due to dimensional limitations in the cathedral, a customised sound system was required, and Evan turned to Innovox for a solution. According to its website, all Innovox loudspeakers are ‘designed using decades of multisensory research, and provide extraordinary speech intelligibility, precise musical detail and enhanced visual aesthetics’.
Evan settled on two Innovox MicroBeam 32 column loudspeakers, which serves as a focal point for the entire sound system. However, rather than featuring the usual 32 drivers in a continuous line array configuration, only 26 per array were used for this project. The customised arrays also make use of Powersoft’s D-Cell 504 module, which provides processing and power for the dipole spaced low frequency section and processed line level outputs. The Innovox MicroBeam steerable line arrays use a total 26 active mid-/low-frequency elements (2.75-inch cone drivers), as well as 26 high-frequency elements (3.25-inch ribbon drivers). “Virtually everything Innovox does as a company uses either ribbon or AMT [Air Motion Transformer]-type high-frequency elements,” said Chris Oswood, owner of Innovox Audio. “We do this for the principle reason of improved transient response over conventional means, and that has everything to do with delivering the speech chain to the listener without the degradation that results in loss of articulation. We do that to keep the transient information present, and to optimise for speech clarity – but it has a kind of corollary benefit, which is clarity and detail in musical reproduction. “We use the D-Cell modules in our MicroBeam designs primarily because of the sound quality of the processor and amplifier sections. Additional benefits that we find useful are the form factor, small physical size and power density of the modules. Many of our products are columnar in shape, and these modules are easily integrated as a result,” Chris continued. In addition to the MicroBeam columns, a further 18 Innovox line arrays were installed as delays, to extend the coverage from the chancel to the rear of the nave, which covers 200ft. The line arrays are mounted on the support columns that run along the aisle. For powering each of the support line arrays, an additional five channels of monitors, plus another loudspeaker acting as a mirror image of the acoustic anchor, Evan and Chris selected Powersoft Ottocanali 1204 amplifiers. “We knew that we needed one discreet channel per www.mondodr.com
loudspeaker in the column, because we needed to have them appropriately delayed from the perspective of the MicroBeam,” Evan said. “There are 18 columns that essentially have to have unique delay times, so we knew our channel count was going to be high, and we knew the amount of power we were going to need was going to be relatively low, since the column loudspeakers were just used for articulation extension. The Ottocanali 1204 had the combination of high channel count and low power channels, while maintaining the sound quality that we needed to make this a worldclass installation.” Chris said that it’s not just sound quality that keeps him using Powersoft amplifiers on other house of worship projects in which Evan installs his Innovox loudspeakers. “We certainly encourage the use of Powersoft,” he said. “The difference in sound quality between Powersoft and other manufacturers is significant, and – in my opinion – really under-appreciated in the industry. “Build quality is also very high with the product, as well as the package density. Often various parties in projects really battle for rack unit real estate, and high power density is really helpful on these projects. The efficiency of the product is not lost on us either, in terms of power consumption over time, cost to operate, and environmental considerations. That’s another area, of course, where Powersoft is leading – but the real driver for us is sound quality.” And, to set up the system’s DSP, Chris used Powersoft Armonía software, which he now knows very well. “We use Armonía routinely in other products by Powersoft,” he said. “It’s a very easy-to-use platform, and it has a lot of flexibility. We’re kind of lumping together a number of things when we talk about sound quality, but that refers to the quality of the amplifier sections, as well as the sound quality of the DSP. And the quality of the Ottocanali DSP is very high.” With a new state-of-the-art sound system in place, the Cathedral of the Holy Cross is ready and waiting to serve its parishioners for years and years to come. www.powersoft.com
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Jeonju-Paul Church is the largest Evangelical Holiness Church in South Korea, with 1,500 seats and 15,000 members. Simultaneously with the new pastor’s inauguration service, the main loudspeaker system was completely replaced. Outline’s Seoul-based distributor Hebsiba Multimedia opted to deploy a main rig with a L-C-R set-up. The Left and Right hangs each comprise 12 Outline Eidos 265 line array elements for mid-high frequency reproduction and a FlySub 15 enclosure to add bottom end punch. Four more Eidos 265s were deployed for the center channel. Outline’s Eidos 265 was designed for applications ranging from live events to permanent installations. With its low weight (just 21kg) and great size:performance ratio, it houses two 6.5-inch mid/low-frequency transducers and a high-frequency compression driver with a 2.5-inch diaphragm and 1.41-inch throat, loaded with a 100° (horizontal dispersion) waveguide. A pair of Outline LAB 15 subwoofers is positioned on either side of the stage. Equipped with a single long-stroke 15-inch loudspeaker, the LAB 15 is a hybrid waveguide indirect radiation subwoofer system able to completely recover low frequency sound emission from the rear of its 15-inch woofer. It’s able to push out a continuous SPL of 134dB @ 1m (140dB peak) from 33Hz. The set-up’s powerhouse comprises Outline’s T-Five amplifiers with on-board DSP. Each amplifier channel is capable of driving up to 4 Eidos 265 or up to two Flysubs. A number of Outline Vegas 10 and Vegas 12 point-source enclosures are used for stage monitoring. Hebsiba used Outline OpenArray 3D software for sound prediction, coverage and weight distribution calculations. The Jeonju-Paul Church’s current pastor is Hyun-mo Shin and the church broadcasts YouTube online worship services simultaneously with offline worship that practices social distancing due to COVID-19. www.outline.it
J EO N J U - PAU L CHURCH COMPANY: OUTLINE LOCATION: JEONJU, SOUTH KOREA
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L-Acoustics Syva Resolves Audio Challenges for Åbo Svenska Teater
Åbo Svenska Teater, a Swedish speaking theatre in the heart of Turku, is the oldest still functioning theatre in Finland. Exuding 19th century glamour, the venue is known for hosting high-end plays and musicals such as Les Misérables, Hair, and The Rocky Horror Show. This April, the theatre’s audio system was brought up-to-date with the installation of L-Acoustics Syva, which has solved the theatre’s complex acoustical challenges. The system was delivered in March and originally scheduled for installation in May. However, when the theatre was shuttered and all performances cancelled due to the pandemic, it was decided to use the hiatus productively and install the system ahead of time, made possible by the theatre’s team performing the installation themselves. Pauli Molnár of L-Acoustics Certified Provider Distributor, Audico, has a long history with the theatre. In 1991, he had worked there as a followspot operator and assistant to the lighting designer. “I got to know the team there very well and I had known the sound guys even before that,” he said. “The same two guys, Olli-Pekka Lepovouri and Jouni Haavisto, have
worked there ever since.” In Autumn, Olli-Pekka and Jouni approached Pauli with the challenge of upgrading their existing PA system. They knew they had a challenge of combining the aesthetics of the Mozart-era architecture with modern technology, and the visual aspect of the system was as important to the team as the electronic and acoustical properties of the sound system. They had already heard about L-Acoustics Syva, and were interested by its exceptional sound and remarkably fluid form. “They follow the current trends and knew that Syva ticked a lot of boxes,” Pauli continued. “When we demoed the system, they liked every aspect of Syva so much they decided to base their new system around it.” The 500-seat auditorium comprises stalls and two balconies. Syva, with its DOSC waveguides, J-shaped progressive curvature and +5º and -21º dispersion, which is optimised for ultra-wide horizontal coverage with extended throw capability, provided the ideal solution. Three separate stereo pairs of Syva were installed, each pair addressing a separate layer
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of the audience, along with a single central subwoofer, the configuration providing consistent coverage for the entire area. X4i provide front fill - attached invisibly to the front of the stage lip - and additional fill for the sides. Two further X4i sit under the second balcony to provide fill for the first balcony. Two Syva low are hung centrally from the proscenium. The entire system is driven by three LA4X amplifier controllers. The theatre’s metal workshop built custom brackets, which were attached to a bar on the proscenium that allows adjustment for height and azimuth angle. The bottom Syva is positioned to avoid the balcony overhang, as there are hard reflecting walls which create extremely difficult acoustics. “The theatre’s auditorium has a very challenging geometry,” said Pauli. “It’s like a parabolic reflector. This has always made things really difficult because, no matter at what angle you approach the audience, the audio will always hit the walls and come back to the audience in the middle of the stalls. In the end, we identified one unique position for the bottom two
Syva, which allows for even coverage without exciting the façade of the balcony.” By avoiding the balcony overhang and positioning this particular Syva under the box, a much better result was achieved. “There are still reflections present, but they are much more controlled than before,” said Pauli. “The high frequencies don’t interact at all between the stalls and the balconies. During the calibration process it became clear that the balconies are all listening to their own system, which is exactly what we wanted. The central subwoofer takes care of the low end all round.” The theatre is scheduled to resume rehearsals in July in anticipation of a new show in August. “The team at Åbo Svenska Teater is extremely pleased with their new sound system,” concluded Pauli. “They are currently prepping to re-open the venue to the public in September and cannot wait to share the improved experience with performers and audiences.” www.l-acoustics.com
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DÜSSELDORFER SCHAUSPIELHAUS DÜSSELDORF, GERMANY EMEA
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Like any modern theatre, the Düsseldorfer Schauspielhaus’s goal is to keep pace with everincreasing demands from production teams. And in the case of a multi-space complex such as this, an agile digital infrastructure, with multiple routing options and optimum interconnectivity, is paramount. Hence the theatre’s technical team recently upgraded its Optocore network, originally installed back in 2011, to a far more advanced, and future-proof system. This has brought their previous analogue setup entirely into the digital domain, and at the same time increased their connectivity. These efficiencies have also created side benefits, such as faster change-over and set-up times, in turn
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• Above The interior of the theatre in Düsseldorf
enabling longer rehearsal times. The latest integration, undertaken by Amptown System Company GmbH (ASC), was overseen by the Theatre’s Tonmeister (and Deputy Head of Sound), Torben Kärst, who designed the audio system. This has seen the installation of Optocore M-series MADI boxes in both the large and smaller theatres, and an AutoRouter (in the latter). “The installation was about achieving increased routing options, better sound quality, an increased channel count and greater flexibility,” he stated. “In theatre, if a director has an idea he/she wants to try out, the scenario is expected
to be delivered in minutes. And in terms of transmission, it is also mandatory to keep system latency as low as possible,” he continued. “This is where Optocore is absolutely the market leader. In addition, there are advantages of reliability and the small form factor of the devices so you can easily build large decentralised systems. This is why Optocore was the choice for us.” The three-building complex includes the main theatre at Gustaf-GründgensPlatz (GGP), housing an 800-seat main auditorium, a 350-seat smaller studio theatre and U’haus (a small cellar stage). All the locations at GGP are now on an www.mondodr.com
Optocore network. The original Optocore installation had increased routing options in the large theatre, and opened a gateway to the future. “It was always our intention to upgrade the small hall as well, and have access to the same features we have in the larger space,” revealed Torben. “The idea of a new ‘house loop’ came later and was the culmination of the intensive work the team had carried out on the future orientation of the audio technology in the theatre.” The team comprised Head of Department, Peer Seuken, Tim Deckers, who oversees the video, and Torben himself, whose task it is to ensure all
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the ideas work technically, with full integration and interconnection. However, the design blueprint underwent many iterations and drafts over a five-year period. Along the way this included a modification to the Optocore I/O boards when the theatre switched its mixing consoles to a DiGiCo platform. But the significant changes occurred last year, and Torben tracks the development leading up to the deployment of Optocore’s M-series MADI boxes. “Once we received the go-ahead from our management, we approached [Optocore MD] Marc Brunke and discussed different options and approaches. From the original proposal for a ‘stand alone’ Optocore system for the small venue came the possibility of exchanging audio signals between both the larger and smaller theatres. “The biggest leap forward was when we decided to
centralise our entire wireless system,” Torben continued. “Since then, we have been able to send audio signals across the whole building.” Critically, the third Optocore loop, the Haus-Ring (house loop), was a much simpler but more powerful version of the original design. These three rings now comprise the two Optocore/DiGiCo loops in both the large and small venues, and the house loop which interconnects both networks with other locations in the building, such as the U’haus, Foyer, rehearsal stage and recording studio, via MADI. The Small Room now features an Optocore AutoRouter and M8-BNC in DD4MR emulation mode. Three PCs are connected via MADI to the DiGiCo system. Meanwhile the house ring now comprises an Optocore M12 in the RF room. The M8 in the smaller venue is connected www.mondodr.com
“The installation was about achieving increased routing options, better sound quality, an increased channel count and greater flexibility.”
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via MADI to the SD10, while an M8 and M12 (in redundancy mode) have been installed in the large venue – the M8 collects the signals and the M12 distributes it to the two engines. The M12 OPT/BNC in the RF room is equipped with Optocore’s new sample rate converter. “It is the centre point of the house loop,” Torben confirmed. “With this device, we distribute our 56 radio mics and feed the 16 IEM devices. It’s also the clock master of the whole audio system.” At the same time, the theatre’s tech team had kept abreast of developments with Optocore partner company, BroaMan. As a result, three BroaMan Repeat48 devices are now deployed for video distribution. One Repeat48-24 device in the small hall converts the fibre connections to SDI in the central video rack, while two Repeat48 WDM-12 exchange video channels between the small and large halls via just a single optical connection. Another major leap forward, said Torben, had been created with the arrival of the Optocore
AutoRouter in the smaller theatre. He explained: “With AutoRouter there is no need for patch cables to close a loop, as this is now done automatically. Each connection point on stage is connected to the AutoRouter as well as the permanent devices as a loop and the DiGiCo console. Connecting the console separately, and not as part of the permanent loop, provides us the possibility to power off the console and check the optical status of the system using the Optocore control software. So we are able the see the RX
and TX power of each transceiver in the system, which makes troubleshooting much easier.” Summing up the value of this upgrade, Torben was unequivocal. “For the small venue, we now have an increased channel count with fixed installed connection points spread all over the hall. This includes Mic/Line inputs, Line outputs, loudspeaker outputs, video I/O as well as sufficient Cat7and fibre ports. “That creates an awful lot of flexibility.”
TECHNICAL INFORMATION SOUND 2 x Optocore AutoRouter; 1 x Optocore M12-OPT/BNC; 1 x Optocore M12-BNC; 3 x Optocore M8-BNC; 3 x Optocore X6R-FX-8MI/8LO; 1 x Optocore X6R-TP-8LI/8LO; 2 x Optocore V3R-TP-8LO; 1 x Broaman Repeat48-24; 2 x Broaman Repeat48WDM-12 www.dhaus.de
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Kayman-KY102 Stainless steel line array element with 4” drivers | k-array.com
12 Stories, which features modern artwork and industrial-chic design, boasts a 3,500-sq-ft rooftop cocktail spot. Located at the InterContinental Hotel in Washington, D.C. lounge owners requested a system that could deliver high SPL in a compact enclosure. Global Audio Systems selected K-array’s Kayman-KY102 line array loudspeakers for its ability to achieve high output SPL yet remaining very musical even at lower volumes. The Kayman’s tight vertical coverage pattern, helps keep the sound off unwanted surfaces providing clearer intelligibility and an overall enhanced experience throughout the venue.
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BASSINS DE LUMIERES
In June 2020, Culturespaces Digital inaugurated the largest digital art centre in the world: Les Bassins de Lumières (The Ponds of Light). Installed in a former World War II submarine base in Bordeaux, France, the venue offers a spectacular immersive art experience. The new digital art center relies on solid technology with more than 30 x Modulo Kinetic media servers at the cornerstone of the AV setup. Since 2018. Culturespaces Digital has been working on a major project to develop and enhance four basins at a former World War II submarine base in Bordeaux, France. In
BORDEAUX, FRANCE EMEA
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• Above An impressive digital art projection at Bassins de Lumieres.
addition to the restoration work, the revamp of the whole site – including floors, tanks, foundation, electricity, soundproofing etc. – and the creation of technical areas, such as offices, production room, servers, Culturespaces made the decision to develop the site in order to improve the visitor experience – with the aim being to offer a spectacular, immersive art experience like no other. The work has resulted in Bassins de Lumières becoming largest digital art centre in the world, with a total projection surface reaching 14,000 sq
metres. Overall, the venue consists of four vast ponds – 100 metres long, 22 metres wide and 12 metres high - all of which are dedicated to the main art exhibitions. To complete the visitor experience, additional areas were created, including an immersive tank, a cube dedicated to contemporary immersive art, a museum space and an educational area. After a seven-week delay due to the COVID-19 lockdown, the newest digital art centre was inaugurated in June 2020. Bassins de Lumières is the fourth venue created by Culturespaces Digital following
the tremendous success of its other digital art centres, including the Atelier des Lumières in Paris. To make the initial plans a reality, structural works began in May 2019 with restoration of floors, tanks, foundations, electricity and more. This was followed by the AV installation, which started in October 2019 and handled by French integrator, Cadmos. Augustin de Cointet de Fillain, Director of Culturespaces Digital and Bassins de Lumières, explained: “This project came with two major challenges: the huge size
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• Above Modulo Pi media servers, along with Barco projectors deliver the visual experience.
of the venue and the humidity conditions. As we are in a former submarine base with water ponds, we had to deal with unfriendly conditions.” To ensure a seamless projection of art exhibitions across the monumental canvas, more than a hundred video projectors were required, including 71 Barco F80-Q12 and 24 Barco G60-W10. All of the venue’s video projectors were mounted within waterproof enclosures to be protected from potential water infiltration from the building’s roof. As well as the visual element of the exhibition within the venue, the audio also played a huge role in capturing the immersive experience that the team were aiming for from the beginning. However, this led to a new challenge for the Bassins de Lumières team. With the venue being
made of concrete and home to large water ponds, reverberation was very high. To offer a quality listening experience free from reverberation, 80 Meyer Sound CAL 32 loudspeakers were installed to provide a 5° vertical beam focused on the areas where the public is walking. As for its other digital art centres, Culturespaces Digital chose the Modulo Kinetic media server by Modulo Pi. “The system is steady and user-friendly. As we open more and more sites, we’re in a logic of scalability. Working with the same media server solution allows us to significantly anticipate the processes and media creation,” added Augustin. To feed the video projectors, there are 31 Modulo Kinetic media servers were installed, with three Kinetic Designer and 28 V-Node servers equipped with four www.mondodr.com
outputs each. Modulo Kinetic was instrumental throughout the project workflow, including study, simulation, edge blending, warping, playback and show control. The compositing tools embedded in Modulo Kinetic helped to deal with the challenges that came with this unique venue. As an example, the water in the ponds rises and falls by 1.5 metres daily due to the ocean tides. Video projection is set on low tide and some dynamic masks in Modulo Kinetic create a gradation to ensure a smooth image transition when the tide is coming in. Thanks to the Graph Editor receiving the measures of a laser meter in Modulo Kinetic, the masks’ position automatically changes to follow the water level. Moreover, the compositing tools in
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expected, for example. Modulo Kinetic gives us the flexibility to fix any colorimetry issue which is much valuable. That saves us from doing the media and exporting them once again.” For a seamless projection across the spectacular venue, edge blending and warping is another major step in the workflow. The process was handled by the Modulo Kinetic, thanks to the system’s 2D and 3D warping tools. “The venue comes with very different spaces. You have uneven walls, some cylindric surfaces. Relying on a user-friendly tool that allows finetuning the mapping for each architectural detail is really helpful” furthered Augustin. To speed up the process and ensure the best result, several technicians could use the Modulo
Kinetic Warp Remote application to warp simultaneously from their laptop, while being close to the area they are warping. In terms of the lighting, 167 Anolis LED architectural lighting fixures were installed to enhance the unique architecture of Bassins de Lumières between show projections. The company, 4eleven, oversaw the lighting design for the project. The light show was encoded in a grandMA2 console by MA Lighting, while the playback was done through Modulo Kinetic. Nicolas Valette, Lighting Designer on the project, explained: “Modulo Kinetic captured the DMX data of our nine universes to play them. We needed a flexible playback process to avoid the
installation of a dedicated lighting console. This way, daily management would be simplified for the technicians on site. Modulo Kinetic could adapt to our constraints as lighting designers. It now works as a replacement of a lighting console for simple playback functions.” As for the light during shows, LED mapping through Modulo Kinetic offered show designers the ability to control lights through DMX, so that video and light could perfectly harmonise. To further simplify the venue’s control room, Cadmos and Culturespaces Digital took advantage of Modulo Kinetic’s show control capabilities. All video projectors are controlled directly through Modulo Kinetic. Using the media server’s UI Designer, a custom show
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A Ghostlight burns in empty theaters as a beacon against the dark and as a promise to soon retake the stage. We will all return to the stage. Until then, GLP will keep its own Ghostlight burning for all of you. More at ghostlight.glp.de
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different actions such as turning on/off the video projectors, launching shows, lights and so on. Other user panels were created in the UI Designer, including a version for the reception desk to control service lights and see the daily schedule of exhibitions hours, as well as the next show start and end times. The information is retrieved from Modulo Kinetic’s Graph Editor, which is configured to calculate a dynamic countdown. A lighter panel version is also available on smartphones for service lights. With Bassins de Lumières being available for private booking, several Modulo Kinetic V-Node servers are equipped with live capture cards.
Using Modulo Kinetic’s embedded live mixer, it is possible to display camera feeds and PIPs. Augustin concluded: “Thanks to Modulo Kinetic, technology is no longer an issue. We have a stable and reliable system that frees us from many technical aspects and allows us to focus on what’s essential: art and creation”. After its opening, and despite the special modalities due to the COVID-19, Bassins de Lumières has already welcomed more than 30,000 visitors who could enjoy the first exhibitions dedicated to Gustav Klimt and Paul Klee.
TECHNICAL INFORMATION VISUAL 31 x Modulo Pi media server; 3 x Modulo Pi Kinetic Designer media server; 28 x Modulo Pi VNode media server; 71 x Barco F80-Q12 projector; 24 x Barco G60-W10 projector SOUND 80 x Meyer Sound CAL 32 loudspeaker LIGHTING 167 x Anolis LED architectural lighting fixture; 1 x MA Lighting grandMA2 lighting console www.bassins-lumieres.com
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L’HYDROPHONE LORIENT, FRANCE EMEA
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Home to two separate concert halls, five rehearsal studios, two master control rooms, offices, dressing rooms, catering facilities and much more, l’Hydrophone – based in Lorient – is one of the go-to venues for music and arts in the French city. The venue itself has an interesting history, having been a submarine base, as well as the largest Germanic structure built outside of Germany during the Second World War. After many years of post-war occupancy by the French Navy, who eventually abandoned the base in 1997, the decision was finally approved in 2017 for the city of Lorient to invest five million euros in converting bays five and six into a centre of creativity, dedicated to nurturing the culture of contemporary music. The jewel in the reinforced concrete crown is the 500-capacity concert hall that is fully equipped with a d&b audiotechnik V-Series line array system, fully optimised using the d&b ArrayProcessing technology.
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• Above The performance area at l’Hydrophone.
The second, more intimate concert hall known as ‘Le Club’ is deliberately designed to be a space in which young, emerging talent can perform. It is equipped to the same world-class standards, with two d&b Vi10Ps per side, four Vi-GSUBs and four M6 stage monitors. The equipment for both rooms was supplied by the d&b regional distributor, Eurolive, and installed by Lorient-based rental company and integrator, Galloud Sonorisation. For Mathias Alonso, Manager of l’Hydrophone, the brief was simple and straightforward. He wanted a highquality, compact sound system that would be capable of handling all types of contemporary music, from rock to folk and everything in between. “At the time, we were using Q-Series, which sounded far better than anything else I had used up to that point,” Mathias
explained. “When the rental company – Eurolive – upgraded to V-Series, I was even more impressed. The amount of power generated by such a small system combined with the clarity and definition of the sound put everything else in the shade.” Having reviewed a variety of options, Mathias contacted d&b’s Thomas Ebran to discuss the possibilities. It quickly became clear that the ideal d&b solution would be the three-way, 10-inch V-Series. “The V-Series offers the perfect powerto-size ratio for l’Hydrophone, with plenty of headroom whilst remaining compact and visually discreet. Power output, directivity and coverage are tremendous. The competing solution was so much bigger and more cumbersome to achieve the same power output, it ended up being a very easy
choice,” Mathias added. With the decision made to go with the d&b system, Galloud Sonorisation was enlisted to install the system. Yves Le Galloudec takes up the story: “Once we found out there was a call for tenders on the audio system for l’Hydrophone, we had to respond – especially as we have worked with the team behind the venue for many years. “The brief for l’Hydrophone contained very precise specifications and we were confident we could complete the project to a high standard.” On Mathias’ wish list, although not incorporated into the initial specification due to budget constraints, was d&b’s patented ArrayProcessing technology. “The difference made by applying the ArrayProcessing algorithms is nothing short of stunning,” admitted Mathias. “Even working with what
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is already an excellent system that is optimally set up and tuned, when you hear it again with ArrayProcessing, it’s like night and day. If you have the budget to do it, because it means effectively doubling your amplifier count, it’s worth every cent.” ArrayProcessing works by analysing the performance of the array at a large number of receiver points along the listening plane. A powerful filtering algorithm is implemented within d&b’s ArrayCalc simulation software to optimise the tonal balance of the system so that each audience member enjoys the same auditory experience wherever he/she is in the room. It
also enables precise control of level over distance; defined by the user, this tool compensates for any anomalies in the room including differences in temperature and humidity. “It really is the most amazing tool,” added Mathias. “The sound is completely natural and transparent, and you can hear every detail of every instrument without straining your ears.” With the new system in place, there has been nothing but good feedback from everyone involved. “The first concert was Jane Added and, admittedly, there was a little pressure, however, at soundcheck, we could see that the acoustics
of the place were very good. All the feedback we received was hugely positive – everyone believes it delivers a very, very good sound,” said Yves. “Same goes for me – I think it’s been a great success and that is down to using the best sound equipment.” Mathias is in full agreement, too: “The reactions so far have been 100% positive. Indeed, the results surpassed even our own expectations, so yes, we’re delighted. A big thanks to all at d&b. Dealing with d&b and their partners – Eurolive and Galloud Sonorisation – has been a pleasure and I know we can count on them for future support.”
TECHNICAL INFORMATION SOUND 6 x d&b audiotechnik V8 loudspeaker; 4 x d&b audiotechnik V12 loudspeaker; 2 x d&b audiotechnik V10 loudspeaker; 4 x d&b audiotechnik V10P loudspeaker; 10 x d&b audiotechnik V-SUB subwoofer; 12 x d&b audiotechnik M4 monitor; 4 x d&b audiotechnik M6 monitor; 6 x d&b audiotechnik D80 amplifier; 4 x d&b audiotechnik D20 amplifier; 2 x Allen & Heath dLive S7000 mixing console; 1 x Allen & Heath SQ-7 digital mixer www.hydrophone.fr
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#togetherwearestronger
We want to personally reach out to all in our entertainment technology and production community as we face this unprecedented health challenge. All of us – manufacturers, rental companies, venues, broadcasters, festival and event organisers, production managers, artists and of course our vast pool of highly talented individuals, designers, engineers and creative freelancers – to everyone working in all disciplines and across every each sector making this incredible industry go round – we offer our solidarity, strength, thoughts and positive energy.
together our strength will shine. We are all facing an incredibly tough few months ahead. Cooperation, empathy, humanity and mutual respect should be paramount and in the true spirit of this great industry … please be kind and considerate to others. When we come through, we will be stronger and more united, and our industry will be more dynamic than ever.
Josef Valchar
Ladislav Petrek
Harry von den Stemmen
at the heart of our community
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Radiance LED Creates Massive Upgrade for Technology Juggernaut
One of the largest industrial research organisations in the world, IBM, has pioneered scientific breakthroughs across many promising and disruptive technologies. They are credited with bringing the first personal computer to life, as well as creating the first hard disk, to name just a few. Today, the company is leading research in cutting-edge fields such as artificial intelligence, blockchain technology, and quantum computing. This includes IBM Watson, the company’s suite of enterprise-ready AI services, applications, and tooling. One location spearheading these innovations is the Thomas J. Watson Research Center: the headquarters of IBM’s Research Division. Researchers at the centre often need to present findings in executive and client engagement meetings which take place in their impressive 240-seat auditorium, designed by neo-futuristic industrial designer, Eero Saarinen. Tackling some of the world’s most complex problems and promising opportunities, IBM requires presentation displays that are effective and inspiring to truly communicate the importance of their projects. To do this, they selected a Digital Projection Radiance LED Video Wall for their primary display. The previous display technology utilised in the auditorium was a Digital Projection TITAN Pro Series projector with a motorised screen. The client’s
vision involved upgrading to direct-view LED technology to create a brighter, more colour-rich and dynamic presentation space, uninhibited by ambient light, and capable of delivering ultra-high resolution up to 8K pixels. The modular Radiance LED solution also allowed IBM to benefit from a totally seamless image across the entire front wall. In order to achieve the desired resolution, and to ensure an excellent viewing experience from every seat in the venue, the 1.2mm pixel-pitch Radiance LED Performance Series was selected. Designed to be maintained completely from the front, and needing only a few inches of depth, the Radiance LED system required very little modification to the auditorium wall infrastructure. The actual LED display panels fit perfectly where original wood panelling was installed. The result was a dynamic and immersive LED display, measuring 34ft wide by 16ft tall, installed to match an architecturally significant curved wall, which was important to the aesthetic of the auditorium. In partnership with HB Communications, Digital Projection provided design engineering and installation of the curved wall, ensuring a successful deployment of the enormous, near-8K resolution display. Lorraine Herger, former Director of Research Integrated Solutions at IBM
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had this to say about the project: “We believe that profound breakthroughs come when businesses, governments, academic institutions, and others work together to tap into diverse points of view and expertise. Our vision was to provide a stunning, ‘jaw dropping’ image that would make presentations more memorable to the audience. The full screen image with its immense size is amazingly lifelike and impresses the audience.” Collaborating with HB Communications, a new state-of-the-art presentation and production system was developed to compliment the fine-pitch LED video wall. Tim Hutton, Senior Account Executive at HB Communications, described the integration process: “We included an Analog Way multi-layer premium seamless switcher, Ross SDI routing system, Crestron NVX network AV encoding/decoding system, Shure MXA910 Beamforming Ceiling Microphones, Meyer Sound surround sound speaker system, and Panasonic HD PTZ camera systems, to name just a few.” As for the room design itself, Tim goes on to add: “One of the main challenges for this application was meeting the client’s technology requirements while preserving the architectural integrity of the auditorium. The front wall of the auditorium consisted of wood panelling, which IBM wanted to retain, so an ingenious solution was needed. Multiple
high-resolution pictures of the front wall were taken and combined into a single background image, which perfectly emulated the wood panelling when displayed on the Radiance LED Video Wall. Digital Projection was engaged from project inception to completion. DP engineering and sales worked seamlessly with both HB Communications and IBM on the design, structural requirements, installation, and system commissioning to make this impressive installation possible.” When the installation was finished, IBM’s guests and staff were “stunned”, as Lorraine described: “During our opening event, we displayed a highdefinition image of our original wall on the LED wall and our community did not know the original wall had been removed and replaced with an image. The colours, brightness, clarity, and depth of vision that can be achieved are amazing! “The Radiance LED wall brought our vision to life with image quality exceeding our highest expectations. We were extremely impressed and grateful with the level of dedication and meticulousness that the DPI installation team showed in order to provide us with this wonderful LED experience.” www.digitalprojection.com
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JAY AND SUSIE GOGUE PERFORMING ARTS CENTER AUBURN, USA AMERICAS
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The Jay and Susie Gogue Performing Arts Center located inside Auburn Univeristy, Alabama, is a premium, state-of-the-art entertainment venue offering a diverse mix of performances, from jazz to musical theatre and chamber arts. The Center holds performances in its 1,200-capacity indoor Woltosz Theater, as well as its 2,500-capacity outdoor Amphitheatre. Committed to elevating and transforming the stateâ&#x20AC;&#x2122;s cultural landscape, the Center holds regular artist talks, masterclasses and school shows by visiting influential artists. With such an impressive arts programme, the university upgraded its entire audiovisual system with help from Wilson Butler Architects, Akustiks Acoustical Consultants, Theatre Projects Consultants, Rabren General Contractors and Wenger Corporation. The focal point of the 85,000 sq ft Gogue Center is the Woltosz Theatre, which required superior acoustics to ensure every type of
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• Above Inside the beautiful Woltosz Theatre at Auburn University.
performance would be accommodated. Here, Wenger installed a custom Diva Acoustical Shell that had the flexibility to serve all purposes. “This region has always had to drive to Birmingham, Atlanta or Columbus to have exposure to touring performing arts,” said Taylor Dyleski, Director of Production at the Gogue Center. “Now, we get to bring that experience to Auburn to make this an even better place to live and go to school.” The real aim for the Center was to create the perfect acoustical environment that would suit the needs of a range of artists and performers. With each performance that passes through the Jay and Susie Gogue Performing Arts Center so uniquely different to the last, the audio had to be able to adapt to crowds watching anything from a saxophone lead jazz quartet, to an audience participated
stand-up comedy show. “We’re connecting the sound on stage to the audience, and allowing the musicians to really hear themselves, hear each other and react to the room,” said Russ Todd of Akustiks. 10 Wenger Transform Motorised Acoustical Banners line both house right and house left of the audience chamber. They have the ability to be individually controlled, so the user can lower or raise them to adjust the acoustics in the room. The banners are controlled by a J.R. Clancy SceneControl 12 Motion Control System. “It’s very customisable and adaptable,” said Chris Burke, Audio Production Manager at the Gogue Performing Arts Center. “The banners are great for our multi-purpose venue. If we have a classical artist, the banners can be up, so
we get the best live sound possible. We can put them down for amplified shows where we need to absorb the acoustic energy in the space.” A shell of this size would normally take hours to set up and strike, but Wenger’s engineers made it so three people can place the entire shell into performance position within 45 minutes and strike in just 20 minutes. As well as the Wenger Diva Acoustical Shell, the Jay and Susie Gogue Performing Arts Center needed an audio system that would work well with the acoustics of the room. The Gogue Center’s sound is courtesy of d&b audiotechnik, QSC and Yamaha. Chris takes up the story: “With a space designed to have multiple functions, the audio system needed to be very flexible. We have multiple ways of getting audio around the building, and
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while most of them are digital in nature, we still implemented some analog patching to make sure we could support any older system in the space. “The backbone of the audio system is a QSC QSYS network that manages all of the systems from the audio distribution from the main amplifiers, lobby and backstage loudspeakers, to processing lobby microphones and playback systems for background music. It really is the brain of the system. Our main method of audio transport is via Audinate’s Dante audio-over-IP protocol. This transfers audio from the onstage inputs to the console and is directly wired into QSYS so that the console can send that audio directly to the amplifiers and subsidiary systems.” As the Center has a unique, modular design, it was imperative that Chris and the team were able to put out enough volume, while also being very consistent across the frequency spectrum for amplified events. They also had to make sure the loudspeakers were small enough to hide when the shell was erected, and the space was converted for an acoustic event. “We have two systems for the Woltosz Theatre. We have a d&b audiotechnik Y series rig for amplified events with eight Y cabinets per side, as well as three Y-Sub subwoofers per side, one flown in the array and two ground stacked. Using d&b’s ArrayProcessing
software, paired with a few d&b 8S balcony fills and E4 front fills, we have very even coverage across the entire listening plane. This means the person in the front is getting the same experience as the person in the top row of the balcony.” He continued: “When we convert to using the Wenger shell deployment, we raise the main array up to the ceiling to conceal it as much as possible. This is where the d&b 24c column loudspeakers come into play. These are recessed in the wall just to the left and right of the proscenium on the balcony and floor levels and give us just enough amplification for an announcement microphone or light instrument amplification on stage during a classical event. Sometimes these are not used at all, but having a way to address the audience is good in case of a last minute change or emergency notification.” Alongside the d&b audiotechnik loudspeakers and subwoofers, the Center also uses d&b’s 30D and 10D amplifiers, which are required to perform the ArrayProcessing software function to get uniform coverage across the entire listening area. There is also a Yamaha CL5 mixing console at FOH and a Yamaha QL5 for monitors. Chris furthered: “One of the coolest things to me about this project, was that the lead donor wanted it to ‘sound good’. This is always good
news for the sound guy! A large portion of the budget went to making sure that the space was acoustically perfect, whether it be an amplified event or an acoustic one, the sound needed to be phenomenal. I really do believe that was achieved. “Another fun fact is the noise criterion rating was around 17-18 dB in the space, this is well below your average quiet room which is around 45-50dB. This gives a blank canvas to paint the picture of sound on whatever event we have on any given day, whether it be a loud amplified rock show, or a solo violin playing pianissimo on the highest string. The space is designed to make all of these experiences possible in one flexible space at the highest level of quality.” As well as supplying the transformative Diva Acoustical Shell, Wenger also developed a custom solution that combined the shell with its Lieto White and RGBW LED fixtures, as well as Transform banners, JR Clancy hoists and motion control systems to accommodate a variety of performances, and effectively and efficiently store the shell when not in use. The Wenger fixtures provide more lumen output than other fixtures currently used in acoustical shells, meaning fewer fixtures are required in the shell ceiling. They’re also silent, which is critical for performers on stage, much cooler than
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• Above The main stage in the theatre with the Wenger Diva Acoustical Shell in place.
conventional lighting and dim down to zero percent. Plus, they’re easy to adjust, with three-axis beam positioning to provide tool-free pan, tilt and rotation, as well as the ability for front-face focussing. The orchestra shell was also one of the first to use the new Lieto and Axceleron LED fixtures from Aquarii Lighting. “We also introduced ceiling cove lights using Martin by HARMAN LED strips to provide a glowing edge around the shell,” explained Steve Rust of Theatre Projects, who was also the project’s Lighting Designer.
He continued: “Lighting is critical in all performance venues. We often hear it said that good lighting should go unnoticed. A balance must be struck between that sentiment and that audiences enjoy visual fascination in performances and auditoriums. We believe the team struck that balance at the Gogue Centre.” “Usually with acoustical shells, you struggle with lighting the orchestra so they can see and be seen,” said Paul Anton, Production Manager in charge of lighting at the Gogue Center. “With this
system, everything is incredibly well lit, the colour is unbelievable, and we have a variety of options.” “Now we have something up our sleeve for when we’re doing a Pops event or when we are presenting something unconventional in front of the shell,” Taylor said. “We can do white light, and we can do a pop of colour on top of that white light, and it won’t affect the musicians while performing.” The Center also utilises ETC’s Source 4 conventional fixtures and LEDs and CHAUVET Professional’s Rogue R3
TECHNICAL INFORMATION SOUND: 8 x d&b audiotechnik Y8 loudspeakers; 8 x d&b Y12 loudspeakers; 6 x d&b Y-Sub subwoofers; 4 x d&b 8s loudspeakers; 6 x d&b e5 loudspeakers; 4 x d&b c24 column loudspeakers; 2 x d&b 4s loudspeakers; 9 x d&b 30D amplifiers; 5 x d&b 10D amplifiers; 1 x Yamaha CL5 mixing console; 1 x Yamaha QL5 mixing console; 1 x Wenger Diva Acoustical Shell LIGHTING: 16 x Chroma Q strip light; 30 x CHAUVET COLORado 2-Quad Zoom; 50 x ETC Source 4 PAR lighting fixture; 220 ETC Source 4 ellipsoidal; 34 x Wenger Lieto White lighting fixture; 17 x Wenger Lieto RGBW fixture; 20 x Aquarii Aceleron fixture; 3 x Lycian X3K followspot; 1 x ETC Eos console www.goguecenter.auburn.edu
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POWER and ELEGANCE finally TOGETHER Introducing Synergy 7 Profile, a new projector that has become “the Stallion” in our team of moving heads. With an output up to 55,000 lumens, the Synergy 7 Profile offers incredible versatility and freedom of use. • More stunning effects and new possibilities with Iris • Three silent modes switching from DMX • Great profiling perfectly focused at any zoom angle and distance • Selectable double CRI >90 or >75
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Wash fixtures. The concert lighting over the stage is made up of the Lieto, Axceleron and Martin fixtures. These washes are supplemented by ETC Lustr+ Series 2 LED profiles for front light. The system is controlled by an ETC EoS Console. The Jay and Susie Gogue Performing Arts Center was not a project that came without its difficulties. The introduction of new lighting fixtures and features can always be challenging, as Steve explained: “As with any new technology it is critical to work hands-on with the fixtures during the design phase. Fortunately, we had a client and design team who were dedicated to executing mock-ups. Full scale tests of the orchestra shell ceiling and lighting helped us refine the design layout and to reassure the client we were not heading into uncharted waters.” Though acoustics were a priority for the shell, it had to be beautiful and blend into the existing room. “It was a little bit of a three-way effort,” said Josh Stiling, Senior Associate Architect at Wilson Butler Architects. “We hit the ground running with the theatre consultant and acoustician. We had a great history with Akustiks and Theatre Projects and collaborating early was critical. The process involved several iterations and design reviews.” Kelly Chiaradonna, Interior Designer at Wilson Butler Architects drew inspiration for the look of the shell from local materials. She used southern heart pine in both lighter and darker stains for the veneer of the shell. The forestage reflector ceiling was designed to match the over stage orchestra shell ceiling’s
design, so it appears to be a single, seamless ceiling. The forestage reflector is suspended from a motorised hoist, which allows the users to adjust the angle of the forestage ceiling reflector. The shell towers work well since theatre staff can move them around more easily, breaking them down in under an hour. The user has control over the curvature of the panels and depths of recesses in the shell ceilings. “It was very fluid working with this team because everyone knew where their strengths lay, and we knew what to expect from each other,” said Josh. “This was a very collaborative design.” As the theatre equipment designer on the project, Michael Nishball, Director at Theatre Projects, took the lead and recommended J.R. Clancy automated rigging and controls. On stage, they installed three PowerAssist Hoists, which have a 2,000 lb (907 kg) capacity per hoist, as well as a custom high-speed counterweight assist hoist on the house curtain and custom controls to maneuver it. The hoist can move up to 360 ft per minute (1.83 m/s), to quickly open or close the curtain. Finally, they installed a 60 ft wide by 38 ft tall (18.28-metres by 11.58-metres) steel-framed fire curtain, weighing nearly 10,000lb (4,536kg). To move it, the team installed a custom traction drive hoist with a lattice track and arbor. For the FOH, they installed a custom portal header drum hoist. The frame weighed almost 10,000lb (4,536kg), so they installed a double purchase system. Next, they chose a custom drum hoist for the forestage reflector, allowing www.mondodr.com
the user to change the angle of the reflector panel to achieve the desired acoustic results. A custom drum hoist for the forestage loudspeaker arrays completes the system, which controls the synchronous raising and lowering of the left and right arrays. “We worked with the design team, including the architect, theatre consultant, acoustician and Auburn staff to ensure we delivered what they needed while providing multiple options,” said Ryan Cole, Project Manager at Wenger Corporation. “Wenger | J.R. Clancy has been a leader in equipment development and ISO quality control, as well as safety, training, inspection and maintenance,” Michael said. “We have worked with them on many projects and enjoy collaborating with them.” The Gogue Performing Arts Center opened its doors in August 2019 with a four-day festival featuring 27 performances at both the Gogue Center and the school’s outdoor amphitheatre. “It is a beautiful building that provides the area with options to bring in all different types of talent and performances,” Ryan said. “The extensive customisation allows staff many different ways to maneuver their systems to get the very best acoustics possible, no matter who is on stage.” “The community loves it,” Chris said. “There’s never been anything like it here before. We have full houses for everything, and it’s great to see the local community support what we’re doing.”
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100 VENUE - AMERICAS
Photos: Brian Dowdle
LIZZIE’S STARLIGHT
The luxurious Sir Francis Drake hotel has been a fixture of San Francisco’s Union Square since 1928. Since the 21-storey hotel’s opening day, Lizzie’s Starlight – originally named the Starlight Room – has drawn guests and locals alike to it’s rooftop for entertainment, food and drinks. Inspired by Queen Elizabeth I’s alleged dalliance with the legendary corsair, Sir Francis Drake, the venue has borne witness to almost a century of San Francisco’s history. Nowadays, Lizzie’s Starlight offers delicious small plates and eclectic cocktails, with an ever-changing cast of world-class DJs providing atmosphere – all set to a suitably spectacular backdrop of the city. In 2019, major renovation work began at Lizzie’s Starlight, with the whole venue entirely remodelled after being stripped back to bricks, exposed floor and bare ceiling. With the work complete in terms of venue design, attention turned to revamping the technology.
SAN FRANCISCO, USA THE AMERICAS
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101 VENUE - AMERICAS
• Above Lizzie’s Starlight – the rooftop venue at the famous Sir Francis Drake hotel in San Francisco.
Chicago’s Ayre Productions – the company behind multiple projects for owners Kimpton Hotels and Restaurants – designed and installed a new audio system for the venue. Co-Founder, John Wagner, takes up the story: “We worked on this project for two years, and the design has changed three or four times. We’re a Pioneer Pro Audio dealer, and we specified Pioneer loudspeakers before we were involved with Linea Research. “Pioneer partners with another amplifier company, so we had planned to use those amplifiers. But then, we were introduced to Linea Research amplifiers through Martin Audio, another of our lines. We did comparative listening tests with Linea Research amplifiers and two other major brands, including the amplifiers in our original design, and the Linea Research amplifiers came out on top because of their warmth and
overall clarity. So, we not only changed the design for Lizzie’s Starlight, we sold off our other amplifiers, and now we just install Linea Research.” The biggest challenge at Lizzie’s Starlight was the room combining scheme. Although the overall space is not all that large, it’s divided into four meeting rooms of varying sizes – one of which includes the main dance floor – that can be combined into a single space. It’s a configuration that enables the venue to draw daytime business for meetings and other events, in addition to its traditional identity as a nightclub. Not surprisingly, it somewhat complicated the sound system design. “Because of the size of the four areas, we made the focal point the centre of each area,” added John. “With the rooms separated, there is minimal bleed-over between rooms. The client
wanted a different, yet fun-looking, loudspeaker to accent the new décor, so we choose Pioneer Pro Audio XY-2 loudspeakers, with XY-81s for small fills where the XY-2 wasn’t needed. The South Room, with the dance floor, is set up with two XY2s, two XY-81s, and a XY215S subwoofer, plus Pioneer Pro’s new CM-C56T in-ceiling loudspeakers in acoustically treated ceilings. The North, East, and West rooms use various combinations of XY2 and XY-81 loudspeakers, as well as XY-115s subwoofers. The host area, elevator entrance, and restrooms have acoustically treated ceilings with CMC56T in-ceiling loudspeakers.” The Pioneer XY-2s and subwoofers are driven by a four-channel Linea Research 44C10 and two eight-channel Linea Research 88C06 amplifiers. Optimised for installations, the 44C10 provides
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2,500W RMS per channel into two ohms, four ohms, or 70/100 volts and 1,500W RMS into eight ohms, with all four channels driven. The 88C06 delivers 750W RMS per channel into two, four, or eight ohm loads or 70/100 volts, with all eight channels driven. “Most company’s rate their power amplifiers in peak power, so when I started using Linea Research amplifiers, I had to get used to designing based on RMS, where a 10,000W amplifier is really 10,000W,” said John. “We can easily run four subwoofers on one Linea Research amplifier. We use Furman power sequencers that provide 20A per amplifier, and I’ve yet to have a problem with that not being enough.”
The new audio system at Lizzie’s Starlight is managed by one Symetrix Prism 12x12 and one Prism 0x0 DSP, as John explained further: “We installed a Dante audio network throughout the space, and each meeting room has two Dante connection points, although in one meeting room the two points are the same connection. However, I did not use the Dante version of the Linea Research amplifiers. Maybe I would if I were doing it again, but feeding the amplifiers from the 12 analog outputs of the Symetrix Prism 12x12 DSP works well.” All processing for the Pioneer Pro loudspeakers and subwoofers is done using the Linea Research amplifiers’ onboard precision 96 kHz DSP.
“I rebuilt all of the profiles for the Pioneer loudspeakers, loading them into the amplifiers,” said John. “With Linea Research’s programming GUI, I was able to do whatever I needed. Aside from signal routing, I mostly use the Symetrix DSP for special needs and last-minute things like live-microphone feedback control.” With the new system now in place and fully operational at Lizzie’s Starlight, the feedback has been hugely positive, with the venue already noticing the difference. “They are very happy with the sound and performance of the new audio system. It is a night and day improvement over the system they had before,” concluded John.
TECHNICAL INFORMATION SOUND Pioneer Pro Audio XY-2 loudspeakers; Pioneer Pro Audio XY-81 loudspeakers; Pioneer Pro Audio XY215S subwoofer; Pioneer Pro Audio CM-C56T in-ceiling loudspeakers loudspeakers; Pioneer pro Audio XY-115S subwoofer; Linea Research 44C10 amplifiers; Linea Research 88C06 amplifiers; Symetrix Prism 12x12 processor; Symetrix Prism 0x0 processor lizziesstarlightsf.com
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ICRAVE Supplies Stunning LED Technology at Singapore Nightclub
Marquee, Singapore is a nightclub really pushing boundaries when it comes to LED technology. The stand-out space has a full-sized Ferris wheel and a three-storey slide in its interior, but the real way this club exceeds the expectations of what a club can be is in the LED technology that surrounds the dancefloor, designed and installed by ICRAVE. The LEDs allow for the venue to be highly flexible and creates a new space typology for performers. The look, feel, and mood of the space can completely change based on what content is on the screens â&#x20AC;&#x201C; it is more than just bells and whistles or an afterthought, it is an integral part of the club that
allows the vibe to change from high-energy to a moody lounge, and even to a IMAX-sized film display or esports arena. These screens also allow for DJs and entertainers to create a whole new way of visual storytelling to go along with their standard stage shows. Marquee also has a Funktion-One sound system, to really enhance the experience. The club is both larger-than-life with its huge vaulted spaces, but also very compact and human scaled, which makes for an amazing party. Marquee is truly engineered for letting loose and having fun. The main installation challenges came from the space being purpose and
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107 IN BRIEF - APAC
custom built for a state-of-the-art performance theatre. It was extremely challenging to try to fit a fully functioning, multi-storey nightclub into it. So, while the space is extremely tall and lofty, the plan is quite tight, which meant the installation team had to strategically fit the technology to accommodate the venue fully. Marquee Singapore is a game changer for the nightclub world by combining the best of festival and nightclub design. By converting a space custom built for a state-of-the-art theatre, it provided ICRAVE with a unique and challenging project, but the 70ft-high soaring ceilings provided ICRAVE
with the opportunity to do what would be unthinkable in nearly any other location; a first of its kind 8K 60ft-diameter LED screen, a full-sized 40ft diameter Ferris wheel, a three-storey double slide, and numerous bells and whistles that make the club so unique. The space is a ‘Nocturnal Carnival’, a playground for adults – each bar and area is a uniquely designed beacon in the space – something to see from across the room, something to inspect and explore. The space is a collection of follies, soaring spaces, and technology that come together to make an incredibly unique nightclub. www.icrave.com | www.funktion-one.com
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• Page 110
IN BUSINESS
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EXPO: INFOCOMM CONNECTED ONLINE
IN DETAIL ADAMSON HOF LEA PROFESSIONAL
PRODUCT GUIDE MOVING HEADS
PRODUCT DIRECTORY LAST PAGE INTERVIEW BRUNO FALIP
110 INFOCOMM CONNECT ED
INFOCOMM CONNECTED 16-18 June Digital Event
AVIXA hosted it’s first-ever complete virtual InfoComm show, bringing together AV professionals from around the globe to learn about the latest products from top manufacturers, tune into keynotes and presentations on trends in technology and markets, and forge new relationships. Total registrations for InfoComm 2020 Connected came to 23,408. The show featured 495 exhibitors, and views of the exhibitor showcases came to 53,433. The show’s sessions were also highly viewed – totaling 59,662. There were 74 live sessions and on-demand presentations from 67 companies. Live sessions were presented for 11 hours each day from 6:00 a.m. to 10:00 p.m. Popular topics included conferencing and collaboration; fusing space, technology, and content; trends that have emerged through the COVID crisis; higher education; and the state of the industry. www.infocommshow.org
AUDAC AMP203 www.audac.eu → Mini stereo amplifier featuring network input through Dante or AES67. → Various DSP functionalities allowing all configurations to be made in AUDAC Touch 2 or via RS485 and Ethernet → Links multiple TouchLink compatible devices together. → Connected and powered using only one CAT cable. → AUDAC Touch 2 allows you to get a complete overview of your entire installation.
AJA Ki Pro Ultra 12G www.aja.com/products/ki-pro-ultra-12g → 12G-SDI I/O up to 4K/UltraHD 60p in single-channel mode. → 4K/UltraHD/2K/HD recording to Apple ProRes or Avid DNxHD/ HR MXF. → HigFlexible HD recording options: one, two, three or four-channel HD recording at up to 1080 60p with independent ProRes codec profile support for each channel. → Four 3G-SDI 4K/UltraHD 60p in single-channel mode or HD in multi-channel mode. → Optional 12G SFP+ Fiber and HD-BNC support
Lectrosonics D Squared www.lectrosonics.com → Eight channels in 1 RU - extreme rack density. → Three encryption modes available. → Receiver offers three diveristy modes. → 24 bit, 48 digital audio for studio-quality sound. → Receiver backwards compatible with Digital Hybrid transmitters. www.mondodr.com
111 INFOCOMM CONNECT ED
Christie Digital Griffyn 4K32 www.christiedigital.com → 360º orientation capabilities. → Includes patented next-generation Trulife+ all-in-one electronics for a blur-free experience. → Lightweight at only 175 pounds. → Exceptional colour, sound performance below 50dB at full brightness. → Christie’s first projector to offer new digital convergence giving users the ability to select Red, Green, or Blue individually and adjust each color by remote control.
Meyer Sound Ultra X40 www.meyersound.com → Features a concentric driver configuration, new amplifier and processor technologies drawn from the LEO Family of line array loudspeakers. → Extraordinary power-to-size/weight ratio. → Wide selection of versatile rigging options. → At home in any portable or installed application requiring predictable, controllable wide coverage. → Incorporates a newly designed and highly efficient three-channel Class D amplifier that produces a total peak output power of 1950 W with very low power consumption due to its highly efficient design.
Elite PrAV Tripod Tab-Tension Pro CineGrey 5D www.eliteproav.com → 4K/8K Ultra HD and HDR ready → Black masking borders absorb projector overshoot while enhancing perceived image contrast → ISF Certified – D65 colour neutrality, superb contrast and dynamic range performance → Adjustable keystone eliminator → Variable screen height settings create a variety of aspect ratios www.mondodr.com
112 IN DETAIL
ADAMSON | CS-SERIES
The CS-Series brings the heralded performance of Adamson’s sub-compact S-Series loudspeakers into the networked future with onboard amplification and DSP, plus Milan-ready AVB connectivity. Rounding out the series are a suite of CS rack-mounted systems and a dedicated CS software solution. The CS-Series loudspeaker offerings are available as standalone products or as an upgrade to existing S-Series enclosures. Their Milan-ready AVB architecture offers a seamless transition into the future of network integration and boasts built-in network redundancy contained in a single cable to relay audio and control signal, as well as assurance of long-term viability as part of an IEEE standard. The new CS-Series is comprised of: the ultracompact CS7 two-way, full-range array enclosure; CS7p point-source enclosure; and companion CS118 subwoofer, along with the sub-compact CS10 two-way, full-range array enclosure; CS10n
narrow-dispersion array enclosure; CS10p pointsource cabinet; and companion CS119 subwoofer. CS-Series loudspeakers feature the same form factors as their S-Series counterparts, and their fully compatible sonic signatures are uniform with the S-Series and IS-Series, ensuring scalable configurations from portable corporate solutions to high-performance touring and installed systems. Meanwhile, the turnkey CS upgrade kit allows any existing S-Series cabinets to be easily converted to CS models in minutes by simply removing four screws, connecting the CS Jackplate with the provided wiring connectors, and switching the front grille. Also included are four rack-mounted products designed to provide the necessary tools to get the highest level of performance out of the CS-Series. The CS Gateway is a 16 by 16 matrix with 16 channels of DSP, containing dual-LAN, Milanready AVB, AES/EBU, and analogue connections. www.mondodr.com
The NDS is a network and analogue patch bay that allows users to send redundant audio and control to CS loudspeakers on a single network cable. The PDS ensures that all CS-Series systems receive ample power, regardless of region, and also allows the user to monitor consumption data, both per power output as well as overall draw. The CS Bridge is designed to replace existing network infrastructure in Adamson’s E-Rack, allowing users to seamlessly integrate the CS-Series into their existing inventories by converting dual-LAN, Milan-ready AVB signal to AES/EBU, while also offering six channels of DSP per unit. Finally, Adamson’s new CS software enhances the user’s ability to design, deploy, control, and monitor systems in mobile and installed environments with a simplified workflow and easy-to-navigate user interface that moves logically from design and simulation through to patch, control, metering, optimisation, and diagnostics. www.adamsonsystems.com
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114 IN DETAIL
HOF | STAY SAFE ROAD TEST
HOF has introduced the Stay Safe Road Set, which includes the following components: three Touchless Disinfection Dispensers, which can be used with the included power supply or with batteries. The dispenser has a filling volume of 1,000ml. One filling volume delivers ca. 3,000 spraying sequences. Three Stay Safe Holders, made out of anodised aluminium and a high-quality, black powder-coated base plate with plastic nubs. The holders come with a usage sign and a drip tray each. The set also includes one Road Case
for three Stay Safe Sets. The case has an additional accessory tray, which can be used for large disinfectant recipients. The case is equipped with Penn-Elcom fixtures and Tente wheels. On top, the road case is optimised for transportation: with its dimensions of (height = ca. 170cm, width = ca. 125cm, depth = ca. 46cm), three Road Cases fit next to each other into a Sprinter; and even five Road Cases into a 7.5-tonne truck. www.h-of.de www.mondodr.com
Find us online /mondodr @mondodr @mondo_dr Contact us at subcriptions@mondiale.co.uk
116 IN DETAIL
LEA PROFESSIONAL | CONNECT SERIES
Comprehensively delivering on the promise of IoT-connected high-performance amplifiers, LEA Professional recently began global shipments of its 160-Watt and 80-Watt Connect Series amplifiers. LEA Professional – the startup-turned-industryplayer in amplifier and systems design – is now shipping the eight, low-power models of IoTenabled, professional amplifiers to provide system designers and integrators simple and cost-effective solutions for professional-grade, small-scale system installations. The new models consist of the Connect Series CS84, CS88, CS164, and CS168 in both Network and Dante. All eight of the Connect Series low-power models are built with fully routable analogue input/outputs, as well as three network
connection options: using the built-in Wi-Fi Access Point, connect to an existing Wi-Fi network, or using a local area network Ethernet connection. Once connected to a network, integrators have access to LEA’s new cloud platform, leaprofessional.cloud for remote control and monitoring. Designed and engineered to optimise configuration capabilities and control for integrators, the Connect Series amplifiers also feature DSP with built-in crossovers, PEQ, limiters, and load monitoring. The models also feature LEA Professional’s proprietary Smart Power Bridge, universal switch mode power supply, and direct LoZ and HiZ selectable per channel in a-one-rack-unit chassis.
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The new Connect Series models are compatible with the LEA Professional Web UI and via the cloud platform for control and monitoring. The cloud platform utilises a built in Amazon Web Servies (AWS) IoT core, which allows integrators to control and monitor critical operational datapoints that are integral to maintaining system health securely and remotely. The capability delivers greater visibility and response time, which enhances preventative maintenance, simplifies troubleshooting, and cuts down or even eliminates on-site maintenance requirements. All of this together provides a unique opportunity for new recurring revenue streams for integrators to add to their service contracts. www.leaprofessional.com
118 P RODUCT GUIDE
mov•ing heads
[moo-ving hedz] n.
Units tend to be of two types - the light beam is modulated by a moving mirror with the luminaire stationary, or, the luminaire moves to create motion. A typical unit, usually powered either by a small discharge lamp or LED, is equipped with various functions including intensity, focus, iris, colour, gobo, rotating gobo, pan / tilt, speed control and reset.
PRODUCT GUIDE
MOVING HEADS SPONSORED BY TIRSO LIGHTING
“Moving head lighting fixtures play a big role when it comes to our lighting design approach. I feel its important that a lighting rig have variety; tools from which the operator can pick from to create different looks. Our hierarchy when selecting fixtures starts from top to bottom as follows: Spots; Wash; Beams; and Effects. If and whenever possible, we also go towards using hybrid fixtures. Having a rig designed in this way helps us prioritise how many fixtures of which kind we can allocate toward the project’s budget. I remember when all moving fixtures lamp sources used to be lamps. Now, with advancement in technology, we have options with LED-based light sources. LED light sources have helped solve so many issues that we faced in the past. No more are the days of ‘I forgot to lamp off the moving heads on Sunday at the club’. Next thing you know, you show up the venue and fixtures are not working properly because they overheated over the last few days. I look forward to more advancement from manufacturers that continue to push the envelope. Moving head fixtures will continue to get smaller, brighter and more reliable.” www.tirsolighting.com
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Mission Control by Merging Paradise City demanded an ultra-high-quality DXD background music system and the integrator, C2 Artecholozy, knew there was only one system that would provide a multi-zone system with a host of additional features. Merging Technologiesâ&#x20AC;&#x2122; Ovation.
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MERGING+OVATION is a product created by Merging Technologies. Merging Technologies SA, Le Verney 4, CH-1070, Puidoux, Switzerland T +41 21 946 0444 E ovation@merging.com W merging.com
120 P RODUCT GUIDE - MOVING H EADS
ACME Solar Impulse A major new product introduction from leading Chinese manufacturer ACME Professional Lighting, the Solar Impulse (XA1200BSWF) is a powerful LED moving head luminaire, whose break-through 1,000W LED engine can output an impressive 35,000 lumens. With this kind of punch, it is designed as the perfect replacement for any max-powered discharge fixtures with lamps up to 1400W. A high-performing CMY colour mixing hybrid fixture, the Solar Impulse combines Beam, Spot and Wash functionality with a fast and smooth internal four-blade framing shutter system, all in one solidly-built unit. The versatile 5-50˚ zoom exhibits extremely smooth and consistent transition throughout the range, while the choice of medium and light frost filters, the rotatable four-facet prism and the option of switching between High-Output (CRI>70) and High-CRI mode (CRI>90) further expand the creative possibilities for this high-powered, highly flexible workhorse fixture. world.acme.com.cn
ADJ Focus Spot 6Z
Adam Hall OPUS H5 The OPUS H5 Hybrid Moving Head is a hybrid, so it covers the entire range of disciplines from beam and spot through to wash. The extremely flexible discharge moving light with a luminous flux of 18,000 lm and a light intensity of 407,000 lux at 10-metres offers an extremely effective combination of high output and a fascinating variety of effects. The moving head beam, spot + wash effects of this efficient and modern hybrid moving head are made possible by a comprehensive range of fittings, featuring a large zoom range combined with high output and an extensive repertoire of effects. The high-quality appearance with 130-mm front lens and a remarkably wide zoom range of 2° to 42° offers almost inexhaustible possibilities. By ingeniously merging CMY colour blending with an additional colour wheel offering 13 dichroic filters, it is possible to spark genuine emotions. Fascinating lighting effects are created with the rotating gobo wheel in combination with nine indexable and rotating interchangeable glass gobos, or optionally open. Alternatively, the static gobo wheel is available with 13 interchangeable glass gobos or as an open application. A total of five prisms at two levels open up unheard-of possibilities in terms of creating diverse mid-air effects. www.cameolight.com
The Focus Spot 6Z is the latest addition to ADJ’s popular Focus Series of LED-powered moving heads. It has become the new flagship of the range, combining huge output with a comprehensive feature set to deliver a true lighting powerhouse. The fixture features a potent 300W cool white LED engine that offers a 50,000-hour operational life. This is paired with a precision-engineered high-quality optical system to deliver extremely punchy output, allowing for sharp aerial effects and crisp GOBO projections. It offers a diverse collection of beam-shaping tools designed to give lighting designers a huge amount of creative potential. The signature feature of the Focus Series is motorised focus, which the Focus Spot 6Z combines with motorised zoom to offer a variable beam angle range of between 9 and 28º. It also boasts motorised iris and shutter functions alongside two six-facet indexed rotating prisms (one circular and one linear) and two frost filters (heavy and light). The fixtures features two independent colour wheels, each with seven dichroic colour options plus open white, including CTO, CTB and UV filters. It also boasts a pair of independent GOBO wheels, each with seven slots for rotating replaceable GOBO patterns, and a GOBO morphing feature. www.adj.com
Ayrton KARIF KARIF is a machine capable of delivering stunning visual effects. An ultra-compact 300W beam-spot luminaire equipped with a 168 mm frontal lens, KARIF offers an astronomical zoom ratio of 17:1 and a zoom range of 2.8° to 47°. To achieve an ultra-intense beam with an LED source, AYRTON uses an entirely new miniaturised high-efficiency low-etendue compact LED module. Calibrated at 8,000K, it can generate powerful metallic white light and deep, vivid colours suitable for this type of application. KARIF provides overall output of 14,000 lumens at a colour temperature of 6,500K. In this first hybrid LED luminaire, AYRTON has added continuous rotation to its panoramic movement to expand the possibilities for creating complex special effects. KARIF offers full-featured standard equipment including a CMY colour mixing system and a multi-position colour wheel with a variable CTO, four colourtemperature correction filters, and nine complementary colour filters on two concentric circles (patent pending). The effect section includes one wheel with nine interchangeable rotating HD glass gobos. For KARIF-LT to reproduce multiple images, AYRTON has developed a totally new wheel of fixed multi-position gobos with instant access to 19 HD glass gobos and 20 metal gobos on three concentric circles (patent pending). KARIF is also equipped with a bi-directional continuous dynamic effects wheel. The prism effect system comprising four individually combinable prisms, coupled with 48 fixed and rotating gobos and an ultra-intense beam, can create unusual and spectacular kaleidoscopic effects. www.ayrton.eu
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Claypaky HY B-EYE K25
CHAUVET Maverick Silens 2 Profile CHAUVET Professional’s Maverick Silens 2 Profile will never be noticed because of its sound. The 100% convention cooled LED PCB fixture is virtually silent, attracting no attention to itself in studios for live stream broadcasts, recital halls, theatres or other applications where absolute quietness is essential. However, this 560W profile unit will be a standout performer as a lighting source, thanks to features like CMY+CTO colour mixing with CRI, R9, CQS, and TLCI all between 91 and 97 (depending on the colour temperature mixed). Other features that speak volumes about this silent powerhouse of a fixture include a four-blade framing shutter system with rotation, a colour wheel, animation wheel, a 10:1 zoom, prism, two frosts, static and rotating gobo wheels, and 16-bit dimming with selectable red shift. “We are especially proud of this fixture,” said Albert Chauvet, CEO of Chauvet. “All of what we’ve learned through our work with professional LED fixtures over the past 15 years has been poured into the Maverick Silens 2 Profile. Our goal was to create a first-of-its-kind silent LED fixture that not only matched, but surpassed, the performance of the standard profiles that proceeded it in terms of brightness, color rendering and versatility.” The innovative design of the Maverick Silens 2 Profile features a doughnut shaped ring of white LEDs with an RGB LED in the centre for toning (+/green for on-camera use) and red-shift in dimming. Offering an impressive level of colour rendering versatility, the fixture can create beautifully rich saturates, while also producing subtle pastels. Throughout the spectrum, the colours rendered are extremely realistic, as is evidenced by the fixture’s pure red tone with no trace of orange. Combining high CRI LEDs with precision optics, the Maverick Silens 2 Profile has an output of over 11,000 lumens. With an optimal throw distance of 30-50 ft, the fixture is right at home in a variety of studio and stage applications. In all cases, it delivers smooth and even edge-to-edge coverage. Thanks to its advanced engineering, the Maverick Silens 2 Profile offers an unprecedent level of accurate and detailed control in lighting applications. For example, its frost ranges from barely perceptible, all the way up to completely diffuse. Its + or – 60º rotation framing shutter system supports a wide array of framing positions, while its 10:1 zoom covers 5-50º beam angles - and its fully wiping blades can create an assortment of shapes. “There’s a wide variety of ways that quiet lights are used in various applications,” said Albert. “Designers shouldn’t have to sacrifice versatility for silence. With the Maverick Silens 2 Profile they don’t have to. Now they can have silence and more flexibility than ever.” www.chauvetprofessional.com
The B-EYE has revolutionised the way we think about LED show lighting. Its innovative optical unit enhances the uniformity and efficiency of the light output. The rotating front lens and the possibility to control each single LED individually has made spectacular kaleidoscopic projections and charming eye candy effects possible. A sophisticated effect engine has made it easier to routinely use macro effects, which would otherwise be difficult to program. These technological innovations make the B-EYE a versatile product - it is a high-performance LED wash light, a perfect beam light, and a spectacular visual effect projector all in one. Claypaky also offers HY B-EYE, that is two times more powrful and bright than the B-EYE. It even offers more versatility and more interactivity with the media servers (KlingNet protocol included), it is very silent, too, and comes in the same size and same control mode as the B-EYE. www.claypaky.it
CLF Lighting Poseidon The CLF Poseidon is a powerful outdoor beam fixture that has been developed for smooth CMY colour mixing. Based on the successful CLF Aorun, the Poseidon comes with a fast and accurate feature set including a double prism, gobo wheel, animation section and frost. The 190mm wide lens and unique optics allow big mid-air effects with a bright and punchy beam, delivered by a 400W light source. Colours can be mixed smoothly by using the CMY wheels and a fixed colour wheel is also available. The elegantly shaped, IP65-rated, housing is equipped with specially designed motors enabling fast pan and tilt movements. A bright O-LED screen offers easy access to on-board settings, even in bright environments. All-in all, the Poseidon is the fastest and most powerful outdoor beam in its class. www.clf-lighting.com
DTS ALCHEMY 3 The ALCHEMY 3 from DTS is a very compact high performance Fresnel LED wash moving head made for medium to small theatres and television studios. The unit is able to deliver an outstanding light quality coupled with a high luminosity. ALCHEMY 3 bears the ‘HQS’ (High quality spectrum) mark which identifies the ability to generate a superior white light and a broad colour gamut with pastel shades and rich warm nuances. Also, ALCHEMY 3’s ‘Silent’ mode matches theatre and television standards, where quietness is a key factor. www.dts-lighting.it
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Equipson SIDIUS LED 285/4 SIDIUS LED 285/4 is an innovative moving head which constitutes the latest development in efficient and intelligent product, elegant shape and design combined with the advanced technology of today’s lighting products. SIDIUS LED 285/4 uses 19 bright 15W RGBW LEDs four-in-one). Thanks to its careful design, the colour mix is very pure, being able to make independent adjustments to the intensity of each of the RGB colours. Through the intuitive menu, it is possible to run the built-in programs, configure it to run by audio or through the master-slave mode, configure the white balance and adjust the axis inversion, rotation speed and two options for PAN angle. It also has a rainbow effect, variable strobe and dimmerisation. For its control by DMX, SIDIUS LED 285/4 has three modes (21, 35 and 109 channels), depending on the specific degree of control desired, even reaching the control of a specific colour within a specific LED. It is also possible to access a multitude of functions, from predefined colours (up to 38), strobe effect with various speed levels, Focus, PAN and TILT movements with speed control and seven integrated programs. SIDIUS LED 285/4 has a fast response of movement, it is impact resistant and with good heat dissipation. The range of applications of SIDIUS LED 285/4 is very wide, its installation is very simple and it can be used in large-scale stages such as fixed elements, background wash effects, theatrical stages, lighting for stages or sports centres, mobile stages, TV sets, conference centres, pubs, party rooms, etc. www.equipson.es
Elation Artiste Rembrandt This addition to Elation’s multi-award-winning Artiste range is a powerful companion washlight to the popular Artiste Monet LED Profile. Designed for service on the largest stage, high-quality Fresnel lens optics and hotspot LED engine provide an optimised wash field and high centre intensity that make it an ideal wash solution for high output applications. It houses a 950W 6,500K Bright White LED engine that powers out 51,000 lumens. With a fast zoom range from 8° to 72° and a 180mm front lens, the Rembrandt has the power to cut through at great distances in arena touring environments or large TV or theatre stages. The Fresnel lens is interchangeable with a Pebble Convex lens, providing a tighter beam angle and higher centre intensity for long throws or beam applications. The Rembrandt houses Elation’s seven-flag SpectraColor colour mixing system that combines CMY with RGB flags and variable CTO. Other features include a fixed colour wheel with UV and high CRI options, an unlimited indexing and continuous rotational four-blade framing system, two independent animation wheels, dual frosts and high-speed iris. The Rembrandt also incorporates an innovative wash texture concept that gives designers new tools to wash stages while providing soft textures and depth. www.elationlighting.com
ETC - High End Systems SolaPix 37 With its medium-sized footprint and unprecedented next generation brightness, SolaPix 37 takes the traditional concept of a pixel wash and pushes it to its maximum potential. Whether used to spread colour all over a ballroom, tradeshow floor or concert stage, the bright and punchy output will envelope your production with beautiful saturated colour. Additionally, when you need to add a little interest, the fixture’s narrow zoom, FleX Effects macros and pixel controlled face gives you a wide variety of looks and styles to help set the mood and steal the show. www.highend.com
GLP impression FR10 Bar With a new optical system, the impression FR10 Bar from GLP uses a larger size output aperture, as used in the impression FR1, giving a new look from a familiar style. The impression FR10 Bar contains 10 sources, each containing a high output 60W RGBW LED that colour matches with the entire GLP X4 and FR series of fixtures. Each individual source features smooth, full range colour mixing with strong, punchy output from a homogenised Fresnel lens. Along with individual colour control, the impression FR10 Bar contains a series of built in colour macros and a large reference of industry standard colour filters. www.glp.de
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Martin by HARMAN MAC Aura PXL The Martin MAC Aura PXL adds to the industry standard line of Martin wash lights with multi-lens and Aura backlight technology. Bigger and brighter than the MAC Aura, the PXL features significantly higher intensity and a tighter beam as well as a smaller face and less busy lens look compared to the MAC Quantum Wash. The MAC Aura PXLs bigger ‘bubbles’ provide a more appealing look and beautiful wide wash fields. It is also the first wash light in the market to feature individual pixel control for main beam pixels and Aura back light with full control via DMX, Art-Net and sACN, as well as with Martiń s very own creative P3 video protocol. The compact size and low weight, trusted Martin build quality and feature set, and simple and clever setup and control options, make the MAC Aura PXL ideal for rental customers and lighting designers working in concert/touring, TV shows and corporate, as well as customers supporting the high-end nightclub market. www.martin.com
Music & Lights - TRIBE Jet Spot4Z Jet Spot4Z is a 180W 6.800K LED spotlight designed to replace a 700W discharge fixture in theatres, concert halls and a host of other venues. The compact size allows for the use of this luminaire in venues with low ceilings without resorting to zoom. Its custom optical system delivers a consistent output with a flat-field and crisp gobo projection right through the massive 8° to 40° zoom range. Full CMY colour mixing system combined with a colour wheel. Rotating and static gobo wheels, plus prism, iris and linear frost, as well as HD dimming. www.musiclights.it
Prolight Concepts Kudos 700 Beam The Kudos 700 Beam projects a tight 2° concentrated beam from its powerful 110W LED source. Inside the ergonomic head are two circular rotating prisms (eight facet and 16 facet), 12 colours + 5600K + 3200K + open, 17 fixed gobos + open, 12° frost filter and a motorised focus. The powerful beam cuts through haze with lightning-fast speed, creating stunning aerial effects, drop in the frost filter and you can also achieve wash effects making it even more versatile. RDM along with 16-bit pan/tilt positioning and smooth dimming are also included in this fixtures impressive features, along with all the fundamental characteristics you would expect from eLumen8, backed up by a two year warranty. An optional twin flight case is also available. www.prolight.co.uk
PROLIGHTS PIXIEWASHXB PROLIGHTS PIXIEWASHXB fuses the classic styling and single source of a traditional wash luminaire with a custom engineered LED engine. A proprietary 280W RGB+WW LED engine delivers outstanding whites with high CRI, TLCI and TM-30 - even suitable for lighting food, faces and sheet music. The PIXIEWASHXB offers linear CTO from 2,800K to 10,000K with green/magenta shift and tungsten emulation, tied with an outstanding colour range including beautiful pastels and saturates. The PROLIGHTS PIXIEWASHXB can be controlled from DMX, RDM and onboard W-DMX, with frequency adjustment from 600Hz to 25kHz as well as a battery backup for configuring the fixture without power. The PIXIEWASHXB features a 125mm Plano-Convex lens with a huge 6º to 45º zoom system, giving a traditional feel to the beam from a truly modern luminaire. www.prolights.it
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Robe ESPRITE FS The ESPRITE FS is equipped with a digital camera, mounted on the head, allowing it to be connected to the Robe RoboSpot Base Station for remote Follow Spot control. The self-referencing, data capturing TE 650W White LED engine, designed, developed and manufactured in Robe’s own factory, allows for rapid and economical ‘Lamp like’ exchange to give both fixtures a life well beyond those of non-user replaceable LED sources. Performance has not been compromised with the 27.000 lm output producing a piercing 85.000 lux at five-metres. This is enhanced by our legendary precision optics to produce crystal clear white light, ideal for Follow Spot applications. The comprehensive feature set is all available on the FS version and includes: Flat field CMY mixing; variable CTO; remotely selectable CRI 70/80/90; two fast colour wheels; one indexable and rotatable gobo wheel; a fixed gobo wheel CTO filters; 6-facet rotating prism; 1° soft edge and 5° wash type frosts; an animation wheel and spectacular multi-colour effects. Quick, accurate, easy framing is provided, if required, via Robe’s patented fast framing shutter module with individual blade control and +/-60° rotation capability for extra fine control. ESPRITE Profile by design removes any airflow over the optics, resulting in reduced residue deposits thus extending periods between cleaning. By including Cpulse flicker free management system for the latest cameras, and our L3 Low Light Linearity dimming for ultra-smooth fade to black for seamless integration into traditional lighting rigs, you have a feature rich, very high output, long lasting, future proof package. www.robe.cz
SGM Light G-7 Spot The G-7 Spot is the quintessence of IP-rated moving heads. A fast, compact, and lightweight mid-sized moving head spot with highoutput and low power consumption. Thanks to its white LED engine and CMY colour mixing, the G-7 Spot is the perfect moving head for those who need maximum light output inside an easy-to-move luminaire. The G-7 Spot gives you a solid construction, a high-quality beam, and an optimal projection in a very flexible assembly. A fixture born to rock, night after night. www.sgmlight.com
SGM Light G-7 BeaSt SGM Light’s latest innovation is a powerful dual-purpose LED moving head specialising in aerial beams and high-power blind / strobe effects. Its glass parabolic reflector collimates multiple reflections into one coherent beam of light, while a rounded array of LEDs, inserted in the centre of the reflector, delivers a high-power white strobe blinder. Due to its wide lens aperture, projection capabilities, and outstanding direct view effect, the G-7 BeaSt creates an innovative system specially interesting for long-throw applications, high-scale tours, and versatile installations. The IP66-rating of the G-7 BeaSt ensures that the unit is kept free from externally induced particles and liquids. www.sgmlight.com
STARWAY DINO DINO is the new generation of automatic LED moving heads. 20 years after the introduction of Starway’s cult range Servo Spot 250, it inaugurates our new range of ultra compact and powerful projectors. DINO reinvents the LED Spot: 8000 lumens, 11.5kg for a height of 47cm, linear zoom of 10 to 25°, wheel of eight colours, wheel of six rotating and indexable gobos, wheel of six fixed gobos, five-facet linear and six-facet circular prism, frost. en.star-way.com
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Steinigke EYE-740 STARWAY APERTA APERTA is the new generation of automatic LED moving heads. Twenty years after the introduction of Starway’s cult range Servo Spot 250, it inaugurates our new range of ultra compact and powerful projectors. APERTA revolutionizes the LED Beam: opening angle of 2.65°, 60,000 lux at five-metres, 13kg for a height of 47cm, infinite Pan / Tilt, ArtNet and KlingNet compatible, progressive frost, 14 fixed gobos, six-facet linear rotating and indexable prism, eight-facet circular rotating and indexable prism. en.star-way.com
The powerful EYE-740 washlight from Futurelight offers high output from seven 40W RGBW LEDs from Osram. The built-in zoom adjusts the beam angle of the washlight from 1° to 16°. Thanks to its extremely quiet ventilation, the Washlight is also ideal for use in very noise-sensitive environments such as theatres and TV studios. Its variable pulse width modulation also ensures flicker-free projection, making the moving head the perfect device for film and TV recordings. In addition to three-pole DMX connections, the professional washlight has Ethernet inputs for control via ArtNet. P-Con connections are installed for power supply. A master dimmer with 16-bit resolution ensures particularly smooth dimming. www.steinigke.de
VARI-LITE VL800 EVENTPROFILE The VARI-LITE VL800 EVENTPROFILE is a compact LED event profile fixture that has the DNA of Vari-Lite built in. This high output framing profile luminaire offers full CYM+CTO colour mixing and the signature ‘Vari-Lite smooth’ movement that designers expect. The VL800 EVENTPROFILE includes professional-grade features in a small form factor, supplying a fixed colour wheel; static and rotating gobo wheels; and prism, frost, and iris. This cost-effective luminaire offers a range of creative possibilities, with a scalable feature set that can work anywhere from a school auditorium to a large production. With multi-mode fan control on the VL800 EVENTPROFILE, programmers can adjust settings to control fan noise, for a low dB experience across all frequencies. This eliminates buzzing or hums from an otherwise quiet device. The adjustable frequency settings on the camera-friendly fixture exceed camera frame rates, making it perfect for IMAG or live televised events. These features and more ensure VL800 EVENTPROFILE is ready for any application. www.vari-lite.com
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1. Barix IP Former Replacing the 70/100V transformer traditionally used with analogue loudspeakers, IP Former is Barix’s newest innovation for adding IP networking capabilities to new or existing loudspeaker designs. The PoE-powered device provides an IP network interface, audio stream decoder and amplifier front-end for a two- to eight-ohm loudspeaker. By using IP Former in place of standard transformers, integrators and end-users can continue using their preferred loudspeaker brands and models while easily and costeffectively bringing them into the IP domain. Existing installations can similarly be retrofitted with IP capabilities by simply replacing their transformers with IP Former units, thus supporting customers’ eco-friendly initiatives by maximising the lifecycle of their existing loudspeakers. Flexibly supporting applications from background music and invenue announcements to paging and emergency warning systems, IP Former decodes audio streams delivered via HTTP, RTP or UDP in codec formats including PCM, AACplus, MP3, Opus, G.711 and G.722. It also supports SIP negotiation for use with VoIP phone systems, and is compatible with InformaCast and Syn-Apps mass notification platforms. www.barix.com
2. CP Communications CamSTREAM2 and CamSTREAM2B CamSTREAM2 and CamSTREAM2B is the second generation of CP Communications’ Red House Streaming (RHS) all-in-one live production systems. The new systems simplify and accelerate configuration for content creators and cede production and control operations to remote CP Communications technicians. These two benefits remove the intimidation factor for less experienced content creators, while providing the same premium technology and visual experience that professional organisations and viewers expect. The all-in-one packages, which integrate a Sony SRG-360SHE PTZ camera, a Mobile Viewpoint Agile Airlink encoder, a return video monitor and connections for audio, can attach to the top of a tripod or be set on a table top. Once shooting commences, the Agile Airlink device streamlines connectivity by bonding Wi-Fi, Ethernet and mobile data paths into a single, robust H.264 or H.265 transmission stream. The CP Communications team picks up the production from their network operations centres (NOCs) in New York, Florida or Nova Scotia from there, with remote control and management supported through Mobile Viewpoint’s LinkMatrix system. Both systems also include wired or wireless microphones and IFB systems, as well as HDMI outputs for return video and autocue. A second video input provides capacity for a second camera or a gaming device. The CamSTREAM2B system strengthens technical capacities to support live sports and broadcast productions, adding full remote PTZ control, camera paint control, and remote audio functionality, including the ability to control gain structure. www.cpcomms.com
3. Dynacord MXE5 The MXE5 is the first member of the MXE matrix mix engine series. The 24 by 24 crosspoint performance audio matrix offers both routing and mixing functionalities, with 12 analogue mic/line inputs, eight line outputs and 24 Dante audio channels. At the same time, the MXE5 serves as a communications hub for all IP-based peripherals and provides comprehensive supervision of all system-wide commands. The MXE5 is designed for consultants, production companies, specifiers and system integrators who demand the highest-quality BGM and uncompromising live performance sound. It is the perfect choice for installations including stadiums and sports facilities; congress, conference and performing arts centres. The MXE5 benefits from advanced DSP, providing outstanding audio quality and dynamic range. This is ensured by a sampling rate of 96kHz and the industry’s lowest audio latency of less than 0.22ms. The MXE5 offers a variety of functions beyond being a powerful crosspoint matrix; it also works as both a system manager and an OCA controller with complete monitoring and supervision abilities. In addition, it also serves as an FIR-Drive loudspeaker controller. The MXE5 integrates completely with Dynacord’s SONICUE sound system software, one of the most powerful software interfaces in the industry, offering comprehensive control and easy, intuitive operation. www.dynacord.com
4. ETC ColorSource Spot jr ETC ColorSource Spot jr is the newest addition to the ColorSource family of affordable ETC fixtures. At only 5.5kg, ColorSource Spot jr is nearly half the weight of a full-sized ColorSource Spot fixture. Like the other ColorSource fixtures, Spot jr offers stunning colours and precise dimming at an irresistible price. Spot jr is available in two array options – original for subtle pastels and beautiful white light to enhance skin tones, and deep blue for more saturated, dramatic colours. Like all ColorSource fixtures, Spot jr includes ETC’s colour integrity technologies so you can be sure the colours you set in rehearsal are the same colours you see during the show. This includes thermal droop compensation, thirdparty lifetime testing, and comprehensive factory colour calibration. Spot jr has built-in 25-50º zoom which is ideal for small stages, club spaces, and retail with both longer and shorter throws. www.etcconnect.com
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5. Navori Labs QL 2.2.5
6. Tasker EVAC and CPR Omologation
QL 2.2.5 focusses on QL Content Manager, which applies the latest programming and proprietary languages within its completely rewritten software. These enhancements accelerate UI functions by eight times the speed of its preceding version, with a 50% reduction in server load to support faster processing. The latest version also adopts the highest security standards, with certification to host tens of thousands of players for large-scale digital signage networks. These improvements extend to QL Designer, a special integrated module for content creation. Additionally, a new object snap feature improves media presentation with simplified alignment and positioning, and the application of effects to multiple objects. QL Content Manager also adds a new Smart Folder feature, allowing users to display content based on assigned tags, final expiration status, and user type, along with clear guidance on what content requires approval before distribution. QL 2.2.5 also brings new features and improvements for system interoperability. At the core, QL Server can now download all stored content via the Content Properties window, with proof of playback reports that provide each impression’s exact time. QL 2.2.5 also strengthens interoperability with QL Player for BrightSign. Interoperability is improved with QL Mobile through new WebSockets for real-time communications tied to content publishing, remote player reboots, data feed updates and QL Player software updates. QL 2.2.5 also integrates ‘QL Access Control’, a new add-on feature announced recently that helps facilities to regulate and secure entry and exit traffic. www.navori.com
Tasker has carried out all the necessary tests with certified third-party bodies and to obtain the CPR approval for all its EVAC and fire detection cables for the medium risk class Cca – s1a – d0 – a1. That means that the cables are resistant to a direct flame up to two hours at a temperature of 850°C. The homologation involves our unshielded cables with purple sheath advised for voice evacuation and PA systems (EVAC) and our shielded cables with red sheath for fire detection alarm systems. The first ones, whose codes are TSK201, TSK202 and TSK203 have the respective following sections: 1,00, 1,50 and 2.50 mm². The second ones, whose codes are TSK301, TSK302 and TSK303 with the respective sections of: 1.00, 1.50 and 2.50 mm². Following the very strict regulations concerning the installations sector, all these cables can also be used as Audio, Video or data cables in any fixed installation even if not directly linked to fire security. www.tasker.it
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“I remember people queuing for a demo at our stands at PLASA, SIB or SIEL. It was unbelievable. Everyone wanted to control their DMX lights with a simple computer”
BRUNO FALIP Vice President, Nicolaudie Tell me how you first became involved in the lighting industry. I guess this is something that’s very common for people in the industry, but I started my career as a DJ when I was a student. During that time, I was more interested in throwing parties where everybody could have fun, rather than being too focussed on the music itself. I was playing with some lights already, creating different moods and atmospheres for my parties, but I then had the opportunity to join an outdoor sound and lighting show as lighting programmer/designer. This is where I really started experimenting with lighting and really immersing myself in the industry. At that time, I was also studying computer science at school and was actively looking for a company for my internship. I decided to contact Bruno Nicolaudie to see if he had anything for me, and he did! That was how I got into the lighting industry in 2001.
What is your role at Nicolaudie? I started with software programming and my first project was to develop a 3D visualiser for Sunlite. I was very proud of what I achieved as when I was given this project, I had no 3D programming skills, I had to start entirely from scratch and the result was more than correct. After a couple of years, we decided that I was better in a customer-facing role, rather than programming, so I slowly moved to a sales position in the company. Today, as the Vice President of Nicolaudie, I manage the Nicolaudie France office as well as the marketing of the group.
How did Nicolaudie begin? Bruno Nicolaudie also started as a DJ before creating the first ‘computerised lighting controller’ in 2000. This was the very first USB to DMX interface. It was an absolutely huge step for Nicolaudie; I remember people queuing for a demo at our stands at PLASA, SIB or SIEL. It was unbelievable. Everyone wanted to control their DMX lights with a simple computer. There is, of course, a lot more competition today, but I guess we are still in a good position in the lighting control industry.
What makes Nicolaudie different to other companies? They are two key points that I want to focus on: innovation and support. Innovation is important because we must keep working on our products and always try to come up with something new and never seen before. Today, more than 50% of Nicolaudie employees work for our R&D departments and I believe that is one of the reasons for our success. The second point focusses on customer service. It’s so important to be able to come up with a solution for a problem and we have always worked closely with our customers; there is always someone on the phone or contactable by email to help you fix a problem. This is absolutely fundamental. Today, we have people ready to offer a high-level technical support all around the world: Europe, Asia, America – all territories are covered. www.mondodr.com
What has been your favourite product to date? The product I’m thinking about was launched three years ago: the Light Rider app! It was something really innovative, and never seen before. It allows DJs to play with their DMX lights without having to programme anything. It has been a huge success so far.
What products have Nicolaudie been working on recently? We are about to release a complete new range of USB to DMX interfaces for our software. Even though the software has changed a lot, we have been using the same interface for 10 years. Now is the right time to work on a new hardware solution with the arrival of the third generation of Sunlite Suite software. We are also working on a top-secret project! This is something we have been working on for a couple of years – it is something very new for Nicolaudie. I am sure it will become a top player in the lighting control industry. Tell us something we don’t know about Nicolaudie. Our R&D team (designers, developers, engineers...) are absolutely fantastic! They are shadow workers. They are passionate about what they do and do such an excellent job every day. It is very easy to sell a product when the product is good! I really love working with this team, because it is so exciting.
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