mondo*dr 30.6 by Mondiale Media

SEPTEMBER / OCTOBER 2020 | 30.6

THE INTERNATIONAL PUBLICATION FOR TECHNOLOGY IN ENTERTAINMENT

MIKE BLACKMAN

ISE’s Managing Director discusses the impact of COVID-19 on the industry’s biggest tradeshow.

NIGHTCLUBS

We take a closer look at the impressive uses of technology in venues across the world.

SEPTEMBER / OCTOBER 2020

LIGHTING CONTROL

A round-up of the latest lighting control technology.

THE INTERNATIONAL PUBLICATION FOR TECHNOLOGY IN ENTERTAINMENT

AFTER THE SILENCEâ&#x20AC;¦

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While the global situation rumbles on, it’s important to maintain focus and positivity as we look towards the future. Of course, plenty has and will continue to change, but we all want to see things improve and come out stronger on the other side. With this in mind, in this issue, we spoke to ISE’s Managing Director, Mike Blackman, to discuss the future of the tradeshow in the current climate. Looking back at ISE 2020 and the big move to Barcelona for 2021, things are looking positive, despite the obvious challenges. We all know how things can change, but there are plans in place that will hopefully ensure everything

MONDO*DR 30.6 SEPTEMBER / OCTOBER 2020

will move in the right direction. Check out the interview on page 24. We’ve covered the ongoing #WeMakeEvents campaign to help save the live events industry. With protests happening across the UK for Red Alert Day, we joined in Manchester to raise awareness of over a million professionals who have lost, or are at imminent risk of losing their jobs. The government’s £1.57 billion investment to the cultural and arts institutions will not reach the key workers from the industry - and much more needs to be done. SAM HUGHES EDITOR

FINANCE DIRECTOR Amanda Giles a.giles@mondiale.co.uk CREDIT CONTROL ar@mondiale.co.uk GROUP CHAIRMAN Damian Walsh MONDIALE PUBLISHING Strawberry Studios, Watson Square, Stockport SK1 3AZ , UK Tel: +44 161 476 8340 Fax: +44 161 429 7214

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9 CONT ENTS

CONTENTS 14 IN DISCUSSION

18 INSIDE VIEW

MIKE BLACKMAN We sit down with ISE’s Managing Director to discuss the highs and lows of ISE 2020, and the ongoing plans for the big move to Barcelona.

IN DEPTH 24 INTERVIEW Mike Blackman – ISE 36 REPORT Nightclubs

IN FOCUS 56 GUMA Zadar

58 PUFFIN BOX Manchester’s newest nightclub is set to change the face of socially-distant clubbing, with help from tube uk and dbnAudile.

58 PUFFIN BOX Manchester 66 ISTRA PREMIUM CAMPING RESORT Funtana 72 MAIN CATHEDRAL OF THE RUSSIAN ARMED FORCES Kubinka 78 DVOŘÁK HALL Prague 84 YETI Chicago 86 FREMONT STREET EXPERIENCE Las Vegas

90 ALBOA Mexico City

MAYFAIR LAKE RESORT Qubix Technologies designs and installs a state-ofthe-art HARMAN Professional AVLC solution for this stunning Raipur hotel.

96 KANGSUNG PRESBYTERIAN CHURCH Incheon 98 MAYFAIR LAKE RESORT Raipur

IN BUSINESS 104 SHOW REPORT Prolight & Sound – Guangzhou 110 #WEMAKEEVENTS UK

110 #WEMAKEEVENTS We take a look at some of the protests across the UK calling for more government support for those working in the live event industries.

www.mondodr.com

112 IN DETAIL Syncronorm, HOF, Visix 118 PRODUCT GUIDE Lighting Control 126 PRODUCT DIRECTORY 130 LAST PAGE INTERVIEW Mark T. Black – IA Stage

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14 IN DISCUSSION

THE FUTURE OF HIGH-END PROJECTION Mark Wadsworth, Vice President of Global Marketing at Digital Projection. Digital Projectors have been the cornerstone video display technology of attractions, fixed installations and events for many years, and the technology has developed at pace. Resolution has been getting higher and higher – now up to 8K – and brightness capabilities have been increasing year on year from all manufacturers. As the market matures, all projection manufacturers have faced growing competition, commoditisation and also alternative technology solutions for installations that were previously the province of projectors. Flat panels are at a price point and a size that they can adequately service classrooms and boardrooms where a projector may have previously been used. In larger scale applications, LED walls are now very bright and great in high ambient light environments, with the ability to produce incredible images. The pixel pitch is getting smaller, and the video processing more impressive, which provides strong competition to projection. Ultimately, a lot of business applications that used to be for projection have been fulfilled by other technologies. So, we needed to ask our customers

• Above Mark from Digital Projection.

and ourselves a basic, yet fundamental question. Who wants a projector, and, more importantly, what do they want from it? Ultimately, a projector is a small box that can create a big image with very little else required. However, as projectors have got brighter, these small boxes have been getting bigger, heavier and more power hungry. This makes everything from logistics to installation and servicing more difficult, time consuming and expensive. At the brightest end of the market, you can be looking at dealing with projectors that need in the region of 4kW power and that weigh in the region of 150kg. That is a lot of kit to deal with and find space for. Couple this with the fact that many installations would be a retrofit, there often isn’t space for the brightest projectors, and that’s before you have factored in the noise and heat that they create. With this in mind, at Digital Projection, we asked ourselves how we could most effectively focus our small R&D team to look at where the future of projection lies, and how to generate differentiated products for specialised customers. High-end projectors have become niche www.mondodr.com

solutions: how do we efficiently and accurately target those niches and give customers what they truly want? About three years ago we set ourselves a goal to see if we could separate the light source and projector to overcome these problems. We had the concept of putting laser light sources in a server room that could be many metres away from a projection ‘head’, which would immediately address the size, weight, noise and thermal concerns. Along with the projection ‘head’ concept, the other key component was illumination technology, and we decided to break with the linear thinking that was leading our competitors and us to ever larger, power hungry and noisy projectors. Before we look at the future, it is important to look at where we are today with illumination sources. The current major illumination technology is laser phosphor, and this moved the industry from lamps to solid-state illumination. Its major benefit is that blue lasers were relatively cheap, so this factor made solid state laser phosphor light sources an attractive proposition. Add this to the reliability, stability and lifetime it

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16 IN DISCUSSION

offered over lamps, it really was a huge leap forward. However, this technology is becoming mature and it is clear it has certain practical limitations. Jump forward a few years to the present day, and red and green lasers are becoming more accessible and are very reliable, and much more moderately priced. This has allowed us to take advantage of emerging RGB laser technology and develop this modular approach of separating the light source and coupling it with a compact ‘head’ via a fibre optic cable. The nature of the emitted light from these direct lasers facilitates their efficient coupling into fibre optic cables and provides the link between the projection ‘head’ and the light modules. RGB laser illumination gives truly amazing colour and contrast, far

exceeding that of laser phosphor. We can see a future where RGB will come to dominate – what was extraordinarily expensive technology three or four years ago, and the preserve of the very high end, will likely become more mainstream over the coming years. The concept of separation, or Satellite Modular Laser Systems as we call them, allows integrators the ability to propose solutions that give the market real choice, generating added value by improving every aspect of design, production, shipment, installation, reliability and image quality. The result is compact, quiet, projection ‘heads’ that are a fraction of the size, weight and power consumption of their traditional equivalents, coupled with modular light sources via a fibre optic www.mondodr.com

• Above One of the 10,000 lumen Satellite Modular Laser Systems. • Below Digital Projection at ISE 2020.

cable. This is how we see the future of projection. The high-end projection industry will surely continue to be challenging, but also presents us with exciting opportunities, particularly as we try to think more widely about our contribution to the different market segments and the growing, experience-based economy. We have learned that we can succeed when we bring all of our collective skills and experience together, work hard with industry partners, listen to our customers and try something different. The opinions expressed in this article are the opinions of the author and not necessarily of mondo*dr magazine. www.digitalprojection.com

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18 INSIDE VIEW

VECTORWORKS Since 1985, Vectorworks has been creating design software solutions for the AEC, landscape and entertainment industries. One of its first 3D modelling software programmes became the industry standard for entertainment as an all-in-one solution for design, documentation and production, and the company has continued to grow extensively since. With the recent announcement of Vectorworks 2021, Vectorworks is looking toward a year celebrating its next level of success, at the end of a difficult period. www.vectorworks.net

Throughout 2020, the COVID-19 pandemic has thrown some challenging obstacles Vectorworks’ way, but this hasn’t stopped the company’s continued advancements. Since the beginning, Vectorworks has strived to meet its four core business values – inclusion, collaboration, balance and innovation – and through the announcement of Vectorworks 2021, the company is furthering its industry position. This year, Vectorworks has directed its efforts into helping customers across the world who are struggling the most. With the entertainment industry being hit incredibly hard by the impact of COVID-19, Vectorworks has been able to offer extended payment terms to help customers hit hardest by the global lockdown, as well as offering free training throughout the end of year to customers looking to improve their skills. “Despite these challenging circumstances, I’m proud that our collaborative and innovative spirit has managed to thrive among my staff. I appreciate the continued dedication from everyone to serve the needs of our Vectorworks

users around the world,” said Vectorworks’ CEO, Dr. Biplab Sarkar. “Innovation has been, and will forever remain, one of our driving principles here at Vectorworks,” he added. “Similarly to how we continue to innovate on our products, we’ll continue to think creatively about how best to support our customers during this tough time and beyond to what the world will look like even after the pandemic.” The launch of Vectorworks 2021, will see the company release a whole new way to accomplish faster workflows, introducing designers to a future of simplicity. The main focus with the launch is to reinforce dedication and provide quality performance enhancements to users by re-engineering Vectorworks’ most frequently used tools, in order to keep the feature set reliable and innovative. “Vectorworks 2021 is the continuation of our commitment to quality and performance, and is something that will further drive our mission to provide best-in-class design and BIM tools to AEC, landscape and entertainment professionals,” said Dr. Sarkar. www.mondodr.com

In addition to quality-and performance-focussed features like the new Project Sharing server and multithreaded Vectorworks Graphics Module (VGM) Cache that offers up to five times faster file loading, Vectorworks 2021 boasts interoperability capabilities with Excel Import/ Export and PDF Drawing Marker Links. The Smart Options Display also allows users to stay in the modelling space without needing to constantly move their mouse between drawing areas and tool palettes, plus it’s customisable to easily access the most-used tool sets, last-used tools and more. Specifically, architecture and landscape professionals will enjoy the new Materials feature that can define the graphical attributes and data of building materials all in one location for a better BIM workflow. Entertainment professionals will have the ability to streamline their rigging layout process with the help of improvements to the hoist tools. Vectorworks 2021 has already garnered some positive praise from many industry professionals.

19 INSIDE VIEW

Quick Search This update, appearing in Vectorworks 2021, gives users a much simpler, faster workflow. Image courtesy of Vectorworks, Inc.

Lighting Device Improvements One of many new software improvements to come with Vectorworks 2021. Image couresy of Vectorworks, Inc.

Smart Options Display This feature of Vectorworks 2021 allows users to stay in the modelling space, without jumping between palettes. Image courtesy of Vectorworks, Inc.

20 INSIDE VIEW

Dr. Biplab Sarkar Vectorworks’ CEO. Image courtesy of Vectorworks, Inc.

Vectorworks Spotlight Vectorworks software in action at the 91st Academy Awards. Image courtesy of Korins and Drew Dockser.

“My jaw dropped to the floor when I realised that the full component section for Landscape Area soil components now interacts with Site Models when used as a texture bed modifier. This is a game changer because it allows us to better understand the effects of a full section on our cut/fill grading and site modelling workflows,” explained Eric Berg, Senior Associate at Pacific Coast Land Design. “I absolutely love the live interactive ability to focus multiple fixtures at once. The lighting device improvements in Vectorworks 2021 are the kinds of features that many of us are used to having on a lighting console, so it makes sense that we would have this in Vectorworks,” furthered Scott Barnes, Lighting Console Programmer and Owner of i-light design. The developments in Vectorworks’ software comes from an understanding of its users and constant inspiration from the developing world

surrounding it. Whether you are working in lighting, scenic, event or exhibit design, Vectorworks claims to have a solution flexible enough to support the entire process. “As we continue to create enhancements to our tools and software, we have created a range of hands-on training seminars and self-guided training options to provide our users with a variety of learning tools for the software,” explained Dr. Biplab. The main advancements users will see in 2021 include; enhanced 3D modelling, seeing improvements to the Push/Pull tool, now supporting additional drawing tools like the Line tool, which creates a streamlined method to split the face of a solid and manipulate the geometry. Workflow improvements have been implemented for rigging objects, as in version 2021, the two Hoist tools have been combined into a single tool and has been re-engineered to vastly improve file www.mondodr.com

performance. Users will also see Lighting Device improvements to improve its overall performance and stability and make setting up lights for visualisation more intuitive. Dr. Biplap concluded: “Vectorworks software has always been intuitive, powerful and practical. I am very proud that we are able to maintain these characteristics in the product line by designing innovative features in the 2021 version and by listening to the needs of our users. Our customers appreciate the usability of the products that offer practical solutions to their problems. There are very few products on the market that offer constant re-engineering of the existing features like Vectorworks does. Together – with the help of our customers and partners – we continue to cater to the needs of the designers, providing the ability to model anything in 3D that one can imagine, but at the same time presenting that idea with precision and artistic flare.”

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IN DEPTH

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INTERVIEW MIKE BLACKMAN ISE

REPORT NIGHTCLUBS

The COVID-19 pandemic has been one of the biggest challenges the tradeshow sector has ever had to face. With the majority of events turning virtual, and Zoom networking becoming the new norm, February 2021 is looking to be the next available diary date for a safe and somewhat familiar return to exhibitions. As ISE 2020 was the final industry tradeshow to take place, Emma Davidson sits down with Managing Director, Mike Blackman, to discuss the highs and lows of the event and find out whatâ&#x20AC;&#x2122;s in store for the big move to Barcelona.

26 INT ERVIEW

• Above Amsterdam’s RAI, the venue ISE has called home for the past 16 years. • Below Mike cutting the ribbon at ISE 2020.

As the entire population struggles to come to terms with the devastating impact of the COVID-19 pandemic, there is one industry that has really borne the brunt of it all. From live concerts, to conferences and theatre productions, the events industry has been severely damaged by the constant cancellations and COVID-19 restrictions of 2020. Of course, tradeshows, too, have inevitably suffered, and, as the months have passed by, the industry has witnessed more and more cancellations, virtual events and uncertainty about its future. However, as we rewind back to 11 February 2020, Amsterdam’s RAI was filled with an abundance of audiovisual technology and eager exhibitors about to embark on a long week of networking. ISE 2020 was the final tradeshow in our industry to go ahead as planned. Even with the added disruption of last-minute cancellations, along with the extreme weather conditions of Storm Ciara and, of

course, the looming threat of COVID-19, the show attracted over 50,000 visitors, making 2020 a relative success for its organisers. “I think the weather this year had a real effect on us,” explained Mike Blackman, Managing Director at ISE. “Of course, COVID-19 also played a huge part, but I think under the circumstances we did extremely well. We had very high satisfaction levels from the majority of our exhibitors and attendees, and the numbers were still very good when you put everything into perspective.” In the run up to ISE 2020, the team had to make sure they were prepared for any situation thrown at them. The planning and execution of large-scale events such as ISE is an already-difficult task, however, for this year’s show, it was a case of taking everything one step at a time. “The best thing we did was have a plan for all possible situations,” furthered Mike. “The biggest challenge was the last-minute

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28 INT ERVIEW

cancellations, as we then had to plan how to use the empty spaces in the venue. We did the usual things like making lounges and restaurants, spaces for people to sit, meet and actually relax for a change. I’d say the majority of our visitors didn’t even notice the empty spaces, because we worked well with the venue to quickly adapt.” The threat of potential COVID-19 cases at ISE 2020 meant that the team were in constant contact with specific health authorities who gave guidance and advice on whether or not the show should be carried out, and what safety measures needed to be implemented. “We assessed the situation every day with the management team, making sure the show was safe to go ahead. At no one point were we advised not to run the show,” explained Mike. Comparing ISE 2020 to previous shows,

the visitor numbers were understandably down. In 2019, the show attracted 81,268 visitors, while 2020 saw the number drop to 51,852, in its last exhibition before the departure to Barcelona. Even though through different circumstances 2020 saw less visitors, the show still encapsulated everything that’s great about tradeshows and played host to an array of students, industry professionals and guests from all areas of business, offering insightful conferences, networking opportunities and showcasing incredible technologies from companies across the world. With the show making its home in Amsterdam since 2004, and working out of a venue like the RAI, it isn’t hard to see why the organisers are looking to move. Over the years, the venue has grown and adapted to the demands of the show. As ISE’s popularity developed, and both attendee and exhibitor numbers rose,

halls became overcrowded and 2019 saw the tradeshow completely run out of exhibitor spaces. As the venue hosts many other events across the calendar year, and following the already huge expansion to meet the demands of ISE, the organisers decided it was time to move venues. “Amsterdam is a great city and the RAI is a really great venue, however, it would’ve been unfair to ask them to build substantially more space, just for one show,” said Mike. “So, faced with that issue, we had to look for a venue that could accommodate not only where we are now, but also where we could see ourselves heading in the next five to 10 years.” From 2021, ISE will nestle on the banks of Barcelona’s beautiful coastline, in the iconic Gran Vía – a venue part of the Fira de Barcelona exhibition complex. Amsterdam is a tough city to follow, but the charisma and charm of a city like Bar-

• Above The bustling 2020 event.

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30 INT ERVIEW

celona is set to bring new heights to the tradeshow experience. One of the main questions, however, is whether ISE 2021 will be safe enough to officially go ahead. February 2021 may seem like a lifetime away, but after the recent cancellations of tradeshows, including NAMM, that was set to happen in January, there is a lot of uncertainty as to whether ISE’s Barcelona debut will be safe enough to attend. This is under constant review and the ISE team, the venue, the owner associations AVIXA and CEDIA and the authorities in Barcelona are in close communication monitoring the situation. With most of the ISE team having worked remotely since the very beginning, the planning of the 2021 show is going well. Day-to-day operations have still run smoothly, as most of the team are already used to this way of working. Mike describes the team as “hugely optimistic” about the show going ahead in 2021, and that seems to be the general feeling from exhibitors and attendees, too. “There is

certainly a lot of optimism from people I’m talking to, but definitely apprehension as well. No one knows where we’re at, at the moment – each day brings a different story. What is encouraging to hear, though, is that everybody wants the show to happen, without a doubt, whether they’re apprehensive or not.” Most of us will already be used to strict social distancing measures, mask wearing and handwashing as just some of the changes we’ve had to embrace due to the COVID-19 pandemic. This is also an imperative part of the planning process of ISE 2021. As a place for potential transmission, the show will need to have some of the firmest health and safety guidelines in place for all attendees. Working closely with the Fira, a risk mitigation study was put together, along with AON, to look closely at how COVID-19 is spread person-to-person. The findings showed that the virus spreads through either aerosol transmission or droplets, so the main aim for ISE’s health and safety team is www.mondodr.com

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32 INT ERVIEW

• Above The Gran Vía venue as part of the Fira de Barcelona exhibtion complex, where ISE 2021 will be held.

to minimise the amount of touch points each attendee comes into contact with during their journey to the show, or either on the way back to hotels or hospitality destinations. Mike furthered: “We are, of course, implementing social distancing measures, along with mask wearing where social distancing isn’t possible. But there will also be a number of measures in place to minimise the amount of touch points. For example, all attendees and exhibitors will be able to print their badge at home and then self-scan the badge at all entry points to the exhibition. We’re also not distributing giveaways, maps and general information. It will all be given out digitally, and we are encouraging all exhibitors to do the same.” Other measures Mike discussed centred on reducing the aerosol transmission of the virus throughout the venue. To do this, the Gran Vía will have a ventilation system capable of transferring clean air from outside into the venue, while taking

the potentially infected air out. Ultraviolet lights will also be placed within the ventilation system using UV-C, which has the ability to kill 99% of all common germs it comes into contact with. “By putting this inside the system, it cleans the air coming in, and by putting the air conditioning up, too, droplets are forced down to the ground, which will in turn reduce the risk of droplet transmission. We presented all of our plans to the World Health Organisation and, based on their rating system, ISE 2021 was given a low rating, meaning, as it stands, the exhibition is safe to conduct.” The team at ISE have worked hard to implement strict health and safety measures across the new venue, making sure that virus transmission is kept as minimal as possible. Even with these measures in place, will February 2021 be a safe enough time for the tradeshow to officially go ahead? As we’ve seen across the recent turbulent months, COVID-19 can spike www.mondodr.com

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at any time, in any part of the world. “We have a plan B and a plan C prepared for if the show is unable to run,” explained Mike. “We have the opportunity to run at a later date or to run as a purely digital event, we’ve explored many different scenarios. We’re optimistic and want to do an in-person event in February, but, if for any reason that can’t happen, we have our plans in place. We really hope that the solutions will be there to allow business to go forward, even if we’re not necessarily progressing with bringing down the levels of infection.” What the future holds for the industry and events sector is unclear. It’s been incredible to see the ingenuity and creativity stem from furloughed workers and companies with no clear date for a return to the new ‘normal’. From drive-in concerts, to virtual conferences and socially distant nightclubs, COVID-19 has presented us with new ways of working, dancing and socialising, with no real clue as to when life post 2020 will return. For the tradeshow sector, however, Mike believes that it will take a lot more to break this industry down. “Tradeshows are extremely important for business. They are a catalyst for generating business and, particularly for our industry where it’s impossible to experience audiovisual products and solutions online in the same

way, it has to be in person! Exhibitions will come back, they will definitely survive, but how they do is still all part of the learning process we’re going through at the minute. “What has been amazing to see, though, is the creative and innovative way the industry has adapted to this change. For example, the resurgence of drive-in cinemas and the technology that has been implemented there, and also all of the LED screens that have gone up in a number of facilities to help with social distancing and implementing safety measures. I think a lot of the ideas that have come out of the pandemic will end up sticking around for a lot longer than we think.” As the world still sits in the grasp of the pandemic, optimism for 2021 and the return to the relative normal is definitely being echoed by the audiovisual industry. If ISE 2021 goes ahead, it will be one of the first tradeshows to take place, bringing back together so many long-time industry friends in what looks to be an emotional catch up, celebrating and reflecting on an extremely difficult period. It’s hard to ignore the devastating impact COVID-19 has had on life as we know, but it’s encouraging to see that there’s light at the end of the tunnel and, in this case, a bit of Barcelona sunshine, too. www.mondodr.com

“Exhibitions will come back, they will definitely survive, but how they do is still all part of the learning process we’re going through at the minute.”

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COMMAS COMPANY: MADRIX LOCATION: HO CHI MINH CITY, VIETNAM

The original design for Commas, created by Madrix, proposes a new way of giving life and movement to light. It provides a vibrant and cutting-edge nightlife experience in the Southeast Asian region. Madrix set the trend with a 13×17 rectangular grid of three-pixels-deep sticks to create an innovative three-dimensional, low-resolution, ‘analog-digital’ look and feel. This effect is highlighted by the mirrors located at the top of each of them. The client was open to the idea of using an alternative backdrop for the DJ; something that is more oriented to be a lightart piece, in order to break the traditional array of LED screens that is commonly used in these kinds of spaces. The kinetic frames located on the sides and the ceiling form a unique array. They provide the space with the perfect dyna-

mism to generate a complete atmosphere that adapts to the music, as well as the events that are held in the venue. The biggest challenge for the team has been working times. Madrix has always met its times, but sometimes due to external factors, work times had been altered. Extra effort had to be made to finish the project within the deadline that the client had assigned – no matter how much it had changed. Commas is one of the first projects in which lighting defines the architecture. Madrix bet on something different, it bet on a light-art bespoke piece behind the DJ and not a simple LED screen. In all of its context, this project has a special singularity. www.madrix.com

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CLUB R E Z I DE N CA COMPANY: ADAM HALL LOCATION: SVETA ANA, SLOVENIA

In October 2019, a tranquil little town opened up a new attraction for EDM fans: Club Rezidenca. Not quite as peaceful as the pilgrim’s path, the Rezidenca’s two dancefloors feature an extensive range of Cameo spotlights installed by the systems integrator Ozvocen.si. The team led by the Managing Director of Ozvocen. si, Tomaž Bačun, used AURO SPOT 200 LED moving heads and MOVO BEAM Z100 beam moving heads to create the lighting effects on the main floor. Several TS60 RGBW spots on the front truss provide the base colours mixed with FLAT PRO 7 XS Quad-LED PAR spotlights as the backlights. The 12 TRIBAR 400 IR LED bars also play a key role in

the lighting design: They bring the dancefloor to life with dynamic colour effects right above the heads of the club’s guests. A FLASH BAR 150 equipped in each truss corner lifts the space up even further with strobe and blinder effects. No club would be complete without lasers. The Cameo LUKE 700 RGB show laser takes on this important task in Club Rezidenca. In addition to the main floor, the Rezidenca also has a second stage, whose low ceilings give the club a hot underground feel. The compact MOVO BEAM Z100s, with their sharply focused beams, really play to their strengths here. The MOVOs are paired with the equally compact HYDRABEAM 1000 RGBW www.mondodr.com

beam moving heads. UV BAR 200 IR UV LED bars and the TRIBAR 400 IR create atmosphere and bring out the stairs and steps. “For Club Rezidenca, we needed compact yet powerful lighting technology that both our customer and us ourselves can always count on,” explained Tomaž. “Ziga Krajnc from Adam Hall (Sales Representative Slovenia and Croatia) provided us with excellent support. Cameo is a young, innovative, and rapidly growing lighting brand that’s always surprising us with new approaches. We’re already looking forward to future projects!“ www.adamhall.com

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K AOS COMPANY: GLP LOCATION: LAS VEGAS, USA

The JDC-1 was a standout fixture in GLP’s design at Kaos. Typical strobe lighting effects are a set it and forget element… meaning; you get one focus position and that’s it until you climb up on a ladder or a lift and refocus them. With the GLP product, it gave the ability to offer diversity to this effect. Not only with the ability to remote control the position, but also the level of effects and the output of the fixtures is overwhelming. If the operator wants to get your attention, the JDC1 will knock you out of your shoes. Kaos presented many challenges during the installation process. With over 100 points of motion, the installation of the automation system was very complex. There are multiple areas with rotation on various axis, as well as video and lighting integrated into the custom chandeliers. Compound curved high-resolution video screens adorn the ceiling and walls. A DJ booth located in the opening between the pool and the club is motorised to move in and out of the space to support nightclub and dayclub performances.

Additionally, there is an outdoor stage, water cannons, exterior-rated lasers, and moving lights strategically placed around the venue to ensure that there is perfect coverage for all the customers to have a world-class experience. The entire theatrical lighting system is controlled via multiple MA Lighting grandMA3 consoles networked. Video is supported by a GreenHippo system with seven 4k outputs. The entire design and install team worked diligently to produce a magnificent project. The level of ambition is paramount for this project. Stations Casino, Rockwell Design Group, Focus Lighting, SJ Lighting, Sound Investment, NTA, SGPS, Bombard, AES and In House productions worked closely together to bring this club to life. Aggressive schedules, difficult install procedures and custom features are the standard operating procedure at Kaos. And in the end, the result was a world-class venue, that everyone involved with could be proud. www.glp.de

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GOTHA COMPANY: TW AUDIO LOCATION: CANNES, FRANCE

Recognised around the world as one of the most famous clubs in Europe, GOTHA in Cannes is considered an institution based on a magical discotheque equipped with the latest technologies. GOTHA offers its clientele a unique experience with the greatest DJ performances, refined extravagance cocktails, VIP service and a stateof-the-art PA system that shakes clubbers to their core on the dancefloor, as they are mesmerised by the iconic LED rings flown above the central DJ booth. The GOTHA design was inspired by the ’30s ‘Les Années Folles’ era when secret parties took place in decadent locations. GOTHA’s different brass patterns and velvet furniture is a look that denotes luxury. Opening at 12.30am, GOTHA attracts some customers from neighbouring Medusa, but of course, it welcomes an army of revelers simply based upon its brand name, too. Each venue was designed to have its own identity to keep the crowds flocking in time and time again. With GOTHA being such a prestigious club, it certainly had a reputation to uphold. Colorsonic Managing Director, Gerard Giraudon, and Samy Chams, owner and founder of Prospect Design worked in partnership for GOTHA, and the project was 18 months in the planning. Its semi-circular appearance didn’t make the design easy, and Gerard advised that more than 1,000 drawings were produced to achieve the final setup. Built from scratch, but within the original structure, there were some architectural limits, specifically where a PA system could be flown. It was equally important that the overall aesthetics were not interrupted and that other

residents in the building were not disturbed. Gerard said: “To use a French phrase, it’s a ‘human-sized’ company that I love working with. We get great support from TW AUDiO when we need it. Its products are a combination of what we’ve been used to working with over the years, but with the advantages of new technology.” The main dancefloor PA comprises clusters of TW AUDiO’s T24N loudspeakers. “I like these loudspeakers, I have used them many times before – in Jimmy’z most recently,” Gerard continued. “It’s a great point source cabinet.” The T24Ns operate in conjunction with five subwoofers under the DJ stage – four TW AUDiO B21i bass enclosures and one TW AUDiO BSX in the centre for infra bass. The B21i single 21inch subwoofer is a product that was specifically designed for this project. Bernhard said of the bass enclosure: “Good things take time, but patience has made a perfect product. No two clubs are the same, but the introduction of this customised subwoofer has really made this a unique venue for us.” The dancefloor system can achieve 126dB peak SPL for those who want to truly feel the energy of the system. For clubbers who still want to be part of the mix, but not centrally, the seating areas wrap around the dancefloor, and are looked after by a ring of TW AUDiO T20i loudspeakers. The same models are also used in the adjacent bar area, that is still part of the main room, but again offers a slightly different atmosphere. Behind the DJ booth are the VIP and VVIP areas and the latter has its own personal PA, to www.mondodr.com

guarantee the most elite customers are treated to the best of the best at GOTHA. More T20i loudspeakers are utilised alongside more T24Ns and two T30i cabinets and four C12s. Low-end aside from the dancefloor is covered by a combination on B14i subwoofers – having been used next door to spectacular effect, it was a no-brainer to use them again – as well as B141s, B30is, B18is and B17is. “The difficulty was to cover the entire space, due to the layout and the size of the venue – there are some shadows. We had to ensure everywhere was covered,” Bernhard said. “There are a number of zones, but all areas are covered harmoniously, added Gerard. “TW AUDiO has a great product range, meaning we could select what we needed for this project – they really have a complete range.” Acoustic treatment on the ceiling and textured walls also assisted Gerard’s final vision, and together his dream plans were transformed into a reality. Amplification at GOTHA replicates its sibling next door with a selection of Powersoft X4 DSP amplifiers to drive the PA. The four-channel amplifiers feature a built-in digital audio signal management system based on ARM Cortex A-8 processor and TI C6000 DSP platform, leading the way for an innovative level of signal processing, so yet again ticking the cutting-edge box that GOTHA craves. Another Yamaha QL1 digital mixer is also in place at the club. Aside from the impressive audio configuration, the central DJ booth is very much a visual focal point, as three 3D LED rings are suspended above it. Motorised so the rings can move up and down, as well as tilt, are built by Zhejiang DGX Electronic Technology and provide the club with dynamic animation across the entire space, since the rings offer a three-sided view. A unique design feature that was implemented at GOTHA, after taking inspiration for the circular structure from OMNIA club in Las Vegas. Further LED screens for the front of the DJ booth, the pillar facades and two external promotional screens were also supplied by DGX, a Chinese manufacturer that Gerard describes as having a lot of innovative ideas. All the screens are controlled using a Resolume software package running on a PC. It’s the job of Lighting Operator, Cristobal Bachler Klein to take charge of the video content. He is also responsible for the intelligent fixtures, which at GOTHA includes more than 100 Briteq moving heads, strobes, projectors and blinders. For control of these, Cristobal utilises an MA Lighting MA onPC command wing, as well as another Sunlite FC+ interface. With all of the technological aspects at GOTHA, in combination with the equally exuberant interiors and the five-star status the brand name has acquired, it is very easy to see how popular a destination the Palm Beach Resort actually is. www.twaudio.de

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CLUB K COMPANY: TMB LOCATION: LOS ANGELES, USA

When a client reaches out and says they’re tired of going to the club and they want the club to come to them, you drop everything that can be dropped and create an in-home party room the likes of which have never been seen before. “The client had a secondary guest-house on his property, and he wanted to turn the single room into a miniature bar/nightclub so he reached out to us at Blue Haze Entertainment with this idea, and we immediately got started on putting together a design concept,” explained Nikolai Beyla, Designer and Manager of the installation for Blue Haze Entertainment. The club has a video wall eight-metres wide

covering two of the walls, composed of Chauvet Video F3 panels, as well as mirrors everywhere and large glass patio doors that open to a view of the mountains. The video wall and the various lighting fixtures reflect off all the mirrored and glass surfaces, giving the feeling of being in a much larger space with even more lighting. A total of 15 wood panels are attached to the ceiling, each containing a section of Firefly FloppyFlex LED Neon, a truly gorgeous product according to Nikolai. These panels create a massive, 91-metre-long geometric pattern on the ceiling, scattered through which are dozens of recessed Gantom RGBW wash fixtures.

Firefly FloppyFlex LED Neon comprises a range of green-friendly, safe, low-voltage, DIY, easy to install, lineal long-life lighting systems that can be simply bent and cut to whatever your design requires, for both indoors and out. “We utilised just over 91-metres (300 ft) of the RGBW FloppyFlex on the ceiling, arranged into a large geometric pattern, driven by 12 ProPlex Din Rail FloppyDrives.” said Nikolai. “Each section of the FloppyFlex is mounted onto stained plywood panels that were attached to the ceiling on-site at various heights, giving the entire geometric pattern a three-dimensional feeling. I love the Firefly FloppyFlex, it’s an amazing

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looking product and the connections we selected, with the help of our friends at Firefly’s distributor TMB, allowed the final installation of the product to look very clean, as if pre-manufactured, but of course, the product was cut to length and then wired together on-site.” The entire system is controlled by an Avolites Titan Net Processor and AI video server. The AI specifically controls both the FloppyFlex and the video wall by sending matching or correlating video content pixel-mapped to the fixtures. The control network is also integrated with a custom IPad-based API programmed by BHE, allowing the client to control all aspects of the club’s light-

ing from a simple touchscreen interface without having to learn console syntax or complicated lighting or video controls. In addition to the video wall and FloppyFlex, the club also features almost a hundred recessed Gantom floodlights that are all individually pixel-mapped, providing colour throughout the space. BHE also added a few moving lights: Martin RUSH MH10 Beam FX and Martin RUSH Scanner 1 LED, both chosen for their low profiles considering the low-ceiling height in the space. FloppyFlex highest-quality, professional grade, flexible LED neon is the perfect and professional replacement for glass neon: Super-bright, easy

to use, long lasting, durable, and at 24VDC, safe. Perfect for use indoors and outdoors, FloppyFlex is available in three sizes, in single-colour, RGB, and Digital RGB and RGBW with DMX multi-pixel control. FloppyFlex White colour temperatures range from 2,100 to 5,700K and standard colours include red, green, blue, yellow, orange, amber, pink and purple. Side-to-side and front-to-back bend options are available, and accessories include a wide range of mounting profiles. New silicone versions provide even greater flexibility and long-term reliability. www.tmb.com

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D OBLE B COMPANY: ADIMSA LOCATION: CANCUN, MEXICO

Doble B is the hottest new nightspot in the Mexican tourist trap of Cancun. Open for lunch and then dinner as a sleek restaurant, after hours the venue transforms into a nightclub with help from more than 40 of ADJ’s professional LED-powered lighting fixtures. Attracting an upmarket clientele looking for a sophisticated evening of dining, drinking and dancing, Doble B is the latest new venue to enhance Cancun’s vibrant nightlife scene. With an elegant interior design anchored by four custom-built chandeliers each featuring myriad tungsten-effect pixel-mapped lamps, the space features a large bar on one side and glass doors opening onto a terrace on the other. Accessible both from the road and a private boat dock, it offers a truly luxurious experience. The well-established entertainment audio and lighting equipment installer Adimsa, headed up by Director General Edson Rivera, was contracted to specify and install a versatile lighting system for the venue. Edson and his team were recommended to the developers of Doble B, Christian and Oscar Rodriguez, by a previous satisfied client. The brief was to design a lighting system that would not detract from the space’s opulent décor during the day, but would be able to transform it into a vibrant nightclub after dark. To achieve this goal, Edson selected four different models from ADJ’s extensive catalogue of entertainment lighting fixtures, two moving head wash luminaires and two static wash fixtures. These, combined with the pixel-mapped chandeliers and a considerable quantity of RGB pixel tape hidden in the ceiling alcoves, allow a complete change of atmosphere from when the venue opens as a restaurant in the day and transitions to a lounge bar in the evening. It then facilitates another change after 11pm when the music volume increases and drinking leads to dancing. Integral to the lighting design is ADJ’s Vizi Hex Wash7 moving head fixture. This versatile unit packs in seven 15W six-in-one hex LEDs to allow

lighting designers the ultimate in colour mixing flexibility, including UV-infused hot pinks and deep purples. In addition, the fixture offers a motorised zoom function allowing for a beam angle of between 5º and 55º. The Adimsa team installed 12 of the units in the roof of Doble B’s main space, to allow for coverage throughout the whole venue. During the early evening they have been programmed to set the mood through slow-moving wide colour washes, while later on they are used for more energetic moving beam effects to encourage dancing. “We chose the Vizi Hex Wash7 moving head for this project because of its versatile functions,” explained Edson. “It has a powerful output and not only offers lots of colour choices, including UV, but also has a wide zoom range. This means that the same fixtures can be used to fill large areas of the venue with colour in the early evening and to create tight beam effects when the place becomes a club after 11pm.” Edson also specified ADJ’s compact yet powerful Inno Pocket Z4 fixture. This mini moving head wash features four 10W four-in-one quad colour LEDs and also offers a motorised zoom function with a range of between 10º and 60º. Ideal for use in venues with low ceilings, this pocket-sized mover is also perfect when a multitude of fixtures are required to create multi-beam effects while keeping to a limited budget. In Doble B, the Adimsa team installed 12 of the units in a tight line across the front of the venue’s main space, above the area that serves as a dancefloor after dark. Used in multiples, they create impressive effects both during the early evening with slow subtle movements and colour fades, and later on when fast movements and quick colour changes create an upbeat nightclub vibe. “The Inno Pocket Z4 is incredibly compact,” enthused Edson, “but despite its small size it still generates an impressive output and is a versatile fixture with full colour mixing and motorised focus. It is very competitively-priced, which is why we were www.mondodr.com

able to use a large quantity concentrated in one area on this project.” To complement the moving heads, Edson also specified a variety of static washes to illuminate specific key areas throughout Doble B. A total of 12 of ADJ’s Ultra Hex Bar 12 linear fixtures provide vibrant downlighting, four of which are positioned above a textured wall located at the end of the main bar. Each of these units feature 12 10W six-in-one hex LEDs as well as ADJ’s patent-pending magnetic Quick Align end-locking system that allows for a seamless output of light with no breaks of colour when used in line. Finally, Edson selected eight of ADJ’s heavy duty IP65-rated 12P HEX IP fixtures to provide colour washing on the outdoor terrace. These powerful units have a 30º beam angle and utilise the power of 12 12W six-in-one HEX LEDs to generate vibrant colour washes with an almost limitless palette. Fully sealed, and complete with IP-rated DMX sockets and powerCON True1 power connections, these fixtures are ideal for use outdoors in any climate. Adimsa has a long history of installing ADJ equipment in nightclubs and bars across Mexico, and Edson is clear on why they continue to recommend the brand. “For us, the most important thing is the reliability of ADJ products. We can install them with confidence, knowing that they won’t cause any problems for our customers. Delivery times from ADJ are also quick and their sales department provides great customer service.” Doble B is yet another example of how ADJ’s range of innovative, reliable and affordable lighting fixtures are being used by installers on projects of all shapes and sizes to realize the visions of their clients. In this case, they seamlessly blend in with the venue’s sophisticated décor during the day and completely transform it when evening arrives. The finished project is stunning and the venue has proved extremely popular with visitors and locals alike since it opened at the beginning of July. www.adimsa.com.mx

45 REP ORT: NIGH T CLUBS

DAER COMPANY: ROBE LOCATION: FLORIDA, USA

Over 100 Robe LED Beam 150s were specified by world-renowned lighting designer Steve Liberman for Daer Nightclub, part of Daer Florida, an enormous 44,000 sq ft indoor-outdoor facility located at the iconic Guitar Hotel at Seminole Hard Rock Hotel & Casino. Robe LED beam 150s are installed on a custom system chandelier to create broad colour washes over the dancefloor. There is also a detail of LED beams around the entire perimetre of the club to support all the second and third tier seating areas. The result is that these fixtures elevate and enhance the stunning aesthetics of the world-class space, helping ensure that “Daer will be a vibrant entertainment destination that will attract celebrities and guests

from throughout the nation and around the globe,” said Hard Rock’s Vice President of Nightlife/Daylife, Matt Minichino. Steve furthered: “Daer nightclub presented many challenges during the installation process. We designed a custom system comprised of five large format chandelier type elements. Each section is controlled by automated hoists to create dynamic looks. Additionally, there is LED neon edge detailing all our elements all of which is pixel mapped and controlled in tandem with the rest of the lighting system. A DJ booth located in the opening between the pool and the dancefloor the is setup to support nightclub and dayclub performances. High-resolution video screens are standout features behind the

DJ booth on the interior and on the exterior wall to support dayclub and outside events.” He concluded: “The Hard Rock Hotel project has quickly become an iconic feature. With the new tower in the shape of a guitar and the laser light show that can be seen for miles, this property has raised the bar for hotel resorts in the US. For Daer nightclub, the ownership and management put together a tremendous effort to bring together an extraordinarily strong group of experienced consultants and designers and it shows. The final results of everyone’s hard work are a world-class venue that is set up to captivate audiences for years to come. www.robe.cz

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46 REP ORT: NIGH T CLUBS

D BA R MX COMPANY: ADJ LOCATION: VILLAHERMOSA, MEXICO

A popular nightlife venue in Mexico has undergone a complete internal transformation ready for its 2020 season. This included the installation of a totally new lighting system comprised exclusively of ADJ fixtures including Vizi Beam RXONE and Vizi Q Wash7 moving heads alongside Sweeper Beam Quad LED motorised battens and Saber Spot RGBW LED pinspots. Located in Villahermosa, the capital city of Tabasco State in southeast Mexico, Dbar is well-established as a gathering place for the area’s elite. With a top 40 music policy, the venue attracts a client base predominantly in the 21 to 40 age demographic who dress to impress and come to let their hair down. Offering premium drinks and bottle service to an upmarket crowd, it is essential that the venue’s décor sets the right tone, which is why the management completely overhauled the interior space ahead of the 2020 season. The concept for the new design was created by award-winning architect, Filipao Nuñez, who used striking lines and curves, combined with plush furnishings, to create a luxurious and modern space. The scale of the 800-capacity venue is accentuated through the extensive use of mirrored walls, while a feature bar fills one size of the rectangular main room and the DJ booth takes pride of place at the far end of the space. Adimsa, a company with an impressive track record of providing innovative lighting installations in nightclubs and lounges throughout Mexico, was brought in to supply and install all of the lighting for the project. The company’s Director General, Edson Rivera, served as the conceptual Lighting Designer, while Lili Tamez used AutoCAD and DIALux software to create the technical designs for the installation. A long-term ADJ customer, Edson has extensive experience of using the company’s fixtures to create impressive lighting installations. “For this project we chose ADJ lighting for its versatility and because the quality of the light optics are appropriate for this club because of the size,” explained Edson. “We also like the great functions that are offered by ADJ lighting,

as well as the reliability of the fixtures and the good customer support we receive from Abraham [Levit, Director General, ADJ Mexico] and his team.” To create mid-air beam effects in the large space, Edson selected ADJ’s extremely popular Vizi Beam RXONE fixtures. A total of 10 of these units are mounted in pairs running the length of the space, with another pair positioned above the DJ booth. Harnessing the power of an Osram Sirius HRI 1R long life (6,000 hrs.) discharge lamp paired with precision-engineered optics, this compact fixture generates a powerful and crisp beam with a narrow 3º beam angle. A variety of beam-shaping tools can then be applied – including 14 colours + white (with split colours), 15 GOBOs + open, a rotating 16-facet circular prism and a 21º frost filter) to create a wide variety of engaging effects. Adding another unique effect to Dbar’s lightshow, Edson and his team have also installed 12 of ADJ’s Sweeper Beam Quad LED fixtures throughout the space. Each unit features eight 8W RGBW LEDs focused into sharp 3.4º beams, all mounted to a low-profile linear batten that offers 270-degrees of swift motorised tilt motion. These fixtures are again mounted in pairs, spaced throughout the venue, with each unit positioned perpendicular to the long sides of the room to allow the beams to sweep through its entire length. The mid-air effects created by the Vizi Beam RXONE and Sweeper Beam Quad LED fixtures are complemented by colour washes generated by 16 of ADJ’s Vizi Q Wash7 moving heads. Each packing in seven 40W RGBW LEDs, these versatile fixtures not only generate vibrant washes in a wide palette of colours but also offer motorised variable zoom. This allows the beam angle to be altered between five and 55º, allowing the same units to provide tight shafts of light one moment and wide swathes of colour the next. As a lounge/club, Dbar MX is filled with comfortable seating and booth space. To incorporate this key element of the venue into the lighting design, Edson

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utilised 50 of ADJ’s Saber Spot RGBW LED pinspot fixtures to individually spotlight each of the tables in the room. These compact fixtures each feature a 15W RGBW LED light source which is focused through a built-in ACL lens to generate a razor-sharp 4º beam that is ideal for this type of application. With full DMX control, the fixtures can be set to illuminate the tables in a static colour during the early evening and then integrated into the rest of the lighting system with colour chases and strobe effects when the party atmosphere gets into full swing. Six of ADJ’s UV COB Cannon fixtures complete the lighting system, filling the space with a blanket covering of UV light. These powerful units feature a 100W COB (Chip On Board) UV LED and a wide 33º beam angle to offer the perfect modern alternative to traditional UV cannons that relied on notoriously temperamental incandescent UV lamps. The Adimsa team have also used a pair of ADJ D6 Branch signal splitters / amplifiers to distribute the DMX control signal throughout the venue. Each of these compact units take an incoming DMX signal and boost it out over one thru and six output connections, allowing for a DMX signal to be easily and reliability distributed around a large rig spread over a sizeable area. In addition to the 100 ADJ fixtures, Edson and his team have also integrated a large number of individual LED pixels and neon-style LED strips into the venue’s walls and ceiling. These are combined with the moving beams and washes, as well as the static spots and UV Cannons, to create one seamless lighting system, controlled by DMX, that completely envelopes the whole space with synchronised movement, colour and patterns. The result is a stunning venue with a modern up-market atmosphere that is sure to secure Dbar’s place as the pinnacle of Villahermosa’s nighttime entertainment scene. www.adj.com

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48 REP ORT: NIGH T CLUBS

THE COURTHOUSE COMPANY: GDS LOCATION: DOUGLAS, ISLE OF MAN

The Courthouse, situated in the heart of the financial district in Douglas, is the result of a painstaking project to transform the Grade II Listed former courthouse building into the most prestigious and elegant bar / restaurant on the Isle of Man. The Courthouse first opened its doors in 2009 and quickly became one of the island’s most premier entertainment venues. Over the years, competitors caught up and the space desperately needed an overhaul in order to reclaim its rightful spot at the top. The client wanted a space for a bar and nightclub that could also be used as a conference and meeting venue during the day. Interior design firm, Rehab Squared, was invited to create a new design concept. Installer, ELS, completed the integration, while GDS took care of the lighting design, project management and commissioning of the lighting fixtures and drivers. “This was a special opportunity for me personally,” Interior Designer, Gemma Wasley explained. “My early career was in the nightclub industry when I worked as Operations Manager for the Virgin Group, heading up Pure, a 3,000-capacity superclub in Manchester’s Printworks and Heaven in London, as well as assisting with the launch of a new nightclub brand in Ibiza. So, for The Courthouse renovation project, I brought this experience, as well as a genuine love for clubbing, which has resulted in my most authentic interior to date.” Gemma borrowed aesthetics from classic club culture and combined them with futuristic elements; an explosion of light and a respectful nod to the retro style of the ’80s results in uncompromising colour popped visual feast. GDS used continuous recessed LED profiles in the walls and ceiling to achieve a tunnel effect in the entrance lobby. The idea was to create a border that represented crossing into a new and exciting space and the design really delivered a feeling of moving between two distinct areas. The interior scheme could not have been achieved without the integral lighting design. “With retrospect, it was only through the technological specifications of the lighting products that we were able to achieve the desired decorative result, which is thanks to GDS,” Gemma noted. In the main club space, over 100-metres of bespoke

RGBW strip and LED fixtures were used for the bar, dancefloor and the new feature of nine distinctive, coloured booths. “I specified the ceiling mounted, oversized triangular LED lights to continue the ’80s theme; these overhead lights were strategically positioned in front of the DJ booth in order to define the dancefloor are and guide the club-goers towards the appropriate areas and improve the foot-flow around the space,” said Gemma. All the fittings are controlled over DMX on separate dimming channels, allowing for various colour temperatures, chase and special effects. This helped achieve a key part of the brief, as the lighting colours could be changed to reflect the branding of the corporate clients the venue is hoping to attract. The control also posed some obstacles though, because the secondary control system didn’t have the required capacity. GDS and ELS had to install additional DMX merge equipment to combine both DMX systems, without passing them through one another. With the angular lines of the building in mind, GDS’ LD, Irena Kovacevic worked closely with Rehab Squared to achieve a cohesive style throughout the venue. A unique suspended, continuous profile was installed above the bar and to follow its curves and sharp edges, ground recessed continuous profiles were placed in front of it. “This element came out as elegant and effective solution,” said Irena. Rehab Squared designed a huge, solid monolithic, glacial white bar as the club’s main feature; the entire front façade is a geometrical feat of architectural engineering, which required complex technical drawings by an architect. At over seven-metres long, it is an awesome spectacle that runs down one side of the club space. The entire wall opposite the bar is lined with 11 semi-private seating pods in a riot of vibrant colours. To enhance the expression of the linear design style, cool white recessed profile LED lights highlight the asymmetric lines of the booth structures along the edge lines of the exterior façades, these glow, flash and pulsate to the BPM of the music playing. The interior of the booths are lit by hidden LED linear lights that are positioned strategically so that the light bounces of the faux leather upholstery to emit a solid diffused white glow that illuminates the interior www.mondodr.com

seating areas. The exterior wall of the pods is clad in durable PVC black gloss plastic, the ever-changing and rhythmic reflection of the lights bouncing off their surface for sensory and sonic immersion. The baseline colour palette in the venue is monochrome black and white. Contemporary black 3D knurled wall tiles are illuminated with cool white neon lights. Black matte steel mesh speaker grills and shelving, reminiscent of roadie flightcases and vintage musical instruments, create a highly visual and tactile solid metal effect. Hard surfaces are juxtaposed with soft faux-leather upholstery, the raw concrete floor tiles allow the reflections of the lights to be absorbed and reflected, resulted in a diffused glow on the surface. “I wanted the overall effect to be a fusion of style and visual elements of the 1970s and ’80s with state-ofthe-art technology,” Gemma explained. “The age demographic of the club’s clientelé means that many of them never experienced those decades so I was keen to give a feel for these eras through the interior. I referenced movies like Tron and Blade Runner, as I was conceptualising the design and feel that the final scheme hit the mark, so I am very happy with the final result.” Stewart Dillon, General Manager of The Courthouse, was delighted with how the project turned out, especially the booths. He said: “The beauty of the booths is that they tie in with the design of the bar and lighting, bringing it all together. Not only were we trying to achieve a good looking club, I wanted to make a real statement and the lighting was one of the main features that did that. We had to have something really special and I think we absolutely nailed that. “James Hall, Head of Sales at GDS was absolutely fantastic, with great suggestions on what we could achieve. He was totally welcoming and nothing was a problem at all.” James concluded: “The Courthouse is one of the most interesting projects we have commissioned and is one of my favourite projects we have successfully achieved. The challenges associated with the project were overcome brilliantly, and we are very pleased that The Courthouse is now one of the best entertainment venues on the Isle of Man.” www.gds.uk.com

ACADEMY CLUB COMPANY: ULA GROUP LOCATION: CANBERRA, AUSTRALIA

DIN POWERFUL OUTDOOR

ZOOM PAR CLFLIGHTING

Canberra is a city renowned for its political landmarks and laid-back approach to Australian culture. However, home to an array of exciting, stylish bars, it has always held a mischievous love for cult entertainment and a good party. After taking over the former, very popular Academy club, Fiction has re-shaped the city’s nightlife and newly thriving club culture. The venue is held in the unique space that was once home to a traditional cinema, and with entertainment already engrained in the walls, Fiction now holds some of the most vibrant club nights the city has to offer. Holding weekly nights such as ‘Techno Thursdays’, Fiction offers a full party schedule, proving popular with those looking to enjoy a midweek dance in the comfort of their own city. Without the need to travel to Australia’s larger metropolises like Sydney and Melbourne, Fiction is pioneering a new era of popular clubbing, welcoming live art, theatre and innovative performances, too. Elite Event Technology (EET) took on this project. The brief for the lighting, according to Darren Russell, Managing Director of EET was: “Big, bold, kick ass and to look totally different to what Academy did in the space.” So, ChamSys and ACME were brought in to help give the club that courageous illumination. Darren contacted ULA Group to supply all the lighting equipment. “There is a rear truss on stage with the LED screen suspended from it, this truss line also has U drop frames either side of the screen for lighting. There is also a square truss grid out in the room around the main dancefloor area and some lighting bars installed under the mezzanine floor of the floor above,” explained Darren. When asked about the reason behind using ChamSys and ACME Darren said: “We have used ChamSys control in several club installations, we find it works very well for this, it is user friendly and the media server integration and pixel mapping capabilities work very well in this type of environment. ACME have good reliability, a good feature set and are great value for money with great warranty.” Working in conjunction with the lighting fixtures, the club also houses complex visuals that work well with the diverse range of genres and innovative movements that pass through, dancing in front of its shapeshifting logo. Guided along by the kaleidoscopic LED displays provided by VuePix infiLED, the experience for attendees is heightened.

“There is a 16:9 screen flown above and behind the DJ on stage and then a DJ fasia screen the same width as the flown screen in front of the DJ position. We use VuePix infiLED LED products exclusively in our rental stock and have done for many years now, we know they’re reliable so that’s our reason for always going back,” furthered Darren. In a space like Fiction, the sound system is, of course, equally important. EET wanted to provide a powerful system that could accommodate all kinds of live acts if required in the future. Therefore, Turbosound’s TFA-600H loudspeakers were used along with Turbosound TSW-218 subwoofers to achieve this. “As the entire system is a permanent rental, we decided to try and use existing rental stock for the audio, while still providing the brief as required by the client,” explained Darren. “There are two main L-R line array hangs of six elements each, with a subwoofer array featuring six cabinets across the front of the entire stage. There is then a delay using the QSC AD-S10T surface mount loudspeakers. Martin Audio CDD10’s and CSX212B-F subwoofers are used for the upper bar level on the mezzanine floor. The design works well as the system has an incredible amount of headroom and sheer horsepower for the main dancefloor area, while still maintaining good control in the bar area, so that the staff can hear drinks orders and converse with the patrons. “We also used Lab.gruppen PLM Series amplifiers, these power the Turbosound systems, provide reliability and have onboard Lake loudspeaker processing,” continued Darren. Yamaha MTX Series DSPs were also used on this project for audio processing and routing, a regular installation product of choice for the team at EET on this style of project. The club has already equipped itself with some incredible technology to host its ongoing programme of quirky activities that are bringing a new life to Canberra’s club scene. Fiction has incorporated innovative lighting, visuals and a fresh sound system to create a matchless environment for universal ravers of all kinds. It has been driven by a passion for creative innovation, from the DJs who perform to the packed-out Monday to Sunday crowds, to the lighting designers involved in the creation of the spectacular interior re-fit, Fiction club has, so far, been a soaring success. www.ulagroup.com

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50 REP ORT: NIGH T CLUBS

D RA G ON FLY COMPANY: MOTIFV8 LOCATION: KUALA LUMPUR, MALAYSIA

One of the latest additions to ISMAYA Group’s line-up is Dragonfly in Kuala Lumpur, Malaysia. It is the second establishment of the same name from the group, and its older sibling opened in Jakarta back in 2004. The idea was to retain the DNA of the original, but with the addition of the BlackByrd restaurant and lounge. Located in the heart of the city, atop the Naza Tower, Dragonfly and BlackByrd wrap around the top floor, offering spectacular views of the Kuala Lumpur skyline. The idea is that guests arrive for dinner at BlackByrd and are served by Michelin star chef, Jason Tan, who is a culinary veteran with over 10 years experience in French dining. After dinner, guests move through to the BlackByrd lounge, where they can enjoy a cocktail among the hand-crafted wood and rattan interiors. Patrons finish their journey in Dragonfly, where they are treated to a state-of-the-art lighting concept and a high-end sound system that resonates throughout the space. Having not worked in Malaysia before, ISMAYA Group teamed up with local company, FSA360 for this project. The space Dragonfly and BlackByrd occupy was previously used as offices, so it felt quiet cold in terms of atmosphere and featured double height ceilings. Having a local supplier that can provide local support when needed was an important factor, and is why Motifv8 was brought in to design and install an audio system throughout. Co-owner of Motifv8, Sham Iskhandar saw the space in December last year. Sham explained his approached: “We used EASE simulation to demonstrate our plans. We needed to provide an intuitive and competitive design, and we also proposed a system that had not been installed anywhere else in the region – the Void Acoustics Nexus 6. It’s the first system in Malaysia and, of course, new clubs always like to have a UPS and something to brag about.” The Void Acoustics Nexus 6 cabinets are hung either side of the DJ booth, which sits at one end of the elongated room. The radical styling of the Nexus 6 was born from the innovative internal layout of its transducers. The four-way Nexus 6 consists of no less than 20 high power drivers, housed in a sculpted fibreglass enclosure. The Nexus 6’s are supplemented by three Void Acoustics Stasys Xair high output, double 18-inch horn-loaded subwoofers housed under the DJ booth, which extend the low frequency response. On the dancefloor, the Void Acoustics Venu Series was selected, 14 Venu 12 passive two-way surface mount loudspeakers and four Venu X reflex-loaded dual 12-inch subwoofers, as well as another Stasys Xair subwoofer at the back of the room. The Venu Series offers flexibility as they can be mounted vertically or horizontally and

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are also easy to install with their Easy Hang wall bracket. The VIP section, next to the DJ booth, has its own loudspeakers and subwoofer, to ensure the clientelé occupying that area are experiencing the best possible sound. The DJ booth itself has a monitoring system too, comprising two Void Acoustics Venu 12’s and one Venu X. Amplification for the club space comes from Void Acoustics’ Bias units – four Bias Q2’s, two Bias Q5’s and one Bias V9 – with Armonia software, as well as an external processor from Bose, the ControlSpace ESP-4120. Audio elsewhere – in the BlackByrd restaurant and lounge – is a mixture of Void Acoustics and Bose. The lounge makes use of four Void Acoustics Venu 10 cabinets and two Venu 215 subwoofers powered by two more Void Acoustics Bias Q2 amplifiers. While the restaurant boasts six Bose FreeSpace DS 16SE and four Bose FreeSpace DS 100F surface mount loudspeakers running off a single Bose PowerShare PS604A amplifier and a Bose ControlSpace ESP-880 processor. Five Bose ControlSpace CC-16 zone control panels are also installed around the venue, so each zone has its own volume control and is able to switch music sources when required. When it came to the lighting element at Dragonfly, ISMAYA Group and Jeremy were keen to replicate the iconic LED mapped ceiling from the Jakarta venue, so LEDsCONTROL was invited back to recreate the lighting design. Managing Director, Rebeca Sánchez Pastor takes up the story: “We converted the original design, but adapted shapes and quantities. We also updated certain lighting elements to the latest technologies, which allowed us to keep the original essence, but adapt it into this new space.” The ceiling comprises more than 200 individual controlled panels, and each individual light box is a pixel in the MADRIX software. The panels span across the full ceiling in the club space. It creates a rather enveloping effect for the audience, especially with its Dragonfly wing graphic effects. In addition to the panels, a selection of intelligent lighting fixtures and effects have also been installed at Dragonfly. The inventory includes Clay Paky Axcor Spot 300’s, Martin by HARMAN Rush MH6’s, Martin by HARMAN Atomic 3000 LED strobes, Elation LED blinders, as well as hazers from Look Solutions, fan machines courtesy of Antari and CO2 jets from Magic:FX. Additionally, there is a four-metre by three-metre LED screen that serves as a backdrop in the DJ booth, and more than 2km of RGB LED strips. An Avolites Tiger Touch II controls the lighting fixtures and effects, while the LED screen utilises a Resolume software package. www.motifv8projects.com

51 REP ORT: NIGH T CLUBS

Visitors to would have no argument with this sentiment uttered since the time of ancient Athens. Perched atop a granite outcrop overlooking the billowy Mediterranean embayment, this iconic open-air nightclub enchants patrons with its breathtaking views. The world class DJs who perform here don’t require a backdrop, not with the starry sky and wide expanse of sea behind them. They do, however, need a dynamic light show to reflect their personality and music, which is precisely what Kiriakos Dimitriadis provided German DJ Boris Brejcha on August 15 when he appeared at the reopened club. Because of the pandemic, the club had to follow strict social distancing protocols. Without the crowds, and with no one dancing, the vibe at this normally jubilant club could have seemed flat. Kiriakos did his part to prevent this from happening. With human movement absent from the dancefloor, he created a ‘dance of light’ with his full-throttle four-universe, 75-fixture show that he ran on his ChamSys MagicQ PC Wing with an Extra Wing. Kiriakos arranged some of the fixtures in his rig on five totems behind the DJ booth, spacing them out to preserve the sea view. Other fixtures were positioned on overhead hang points, as well as on each side of the booth. This allowed him to hit the DJ and the widely separated tables on what would normally be the dancefloor with an immersive web of light from every direction. To convey ‘the energy of motion’ through the movement of his light, he created a relentless flow of pixel mapped chase effects on his 10 colour bars. Kiriakos, who used a Resolume Arena Video Server, credits his MagicQ PC Wing with helping him achieve these compelling looks “The pixel mapping server and my MagicQ were invaluable,” he said. “I used Art-Net to connect the PC with Resolume. Then I mapped the Resolume to my console to make it simple to use it. I pixel mapped the fixtures with my MagicQ. The layout of the MagicQ was important in this regard. Throughout the show, I tried to make every moment unique in its appearance.” By doing this, Kiriakos was able to endow Cava Paradiso with a vibrant energy that reassured regular patrons who were returning to the club. The dancefloor may have been empty, but it was alive with light; and the Aegean Sea in the background was as beautiful as they remembered. www.chamsys.com

CAVO PARADI S O COMPANY: CHAMSYS LOCATION: MYKONOS, GREECE

KVAN T S H OW RO O M COMPANY: KVANT LOCATION: BRATISLAVA, SLOVAKIA

The KVANT showroom was originally designed for presentations of products and services provided by divisions of KVANT group. The divisions are KVANT Lasers, which develops and manufactures laser display projectors, laser modules and accessories. Then, there is Show Production, which creates and performs multimedia laser shows, video and laser mapping, while also offering creative show services and solutions. Finally, there is the LED Screens division, which offers LED screens for sale and rental. The KVANT showroom delivers a 25-minute-long audiovisual presentation, which tells the story of KVANT group and each of its separate divisions. This presentation puts on display all of the state-of-the-art elements in a variety of combinations, highlighting the full capabilities for nightclubs and other venues.

Hiowever, over time, the showroom has developed beyond a simple place for a presentation of KVANT technology. It has now grown into a space for creation and inspiration. Now, for example, it is a spac that allows a customer to perform their own laser show or even record a professional video for a band. Just recently, several DJ sets and concerts were streamed live straight from the showroom, offering a place to deliver that nightclub / music venue experience. Due to the current global situation, it is obviously not possible to put on regular events that we have become so accustomed to. However, the KVANT showroom is an amazing space that allows us to still enjoy that experience in some way. www.kvantlasers.sk

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52 REP ORT: NIGH T CLUBS

DA NCE ST U DI O COMPANY: CRAFT LIGHTING LOCATION: CHICAGO, USA

With Dance Studio Vol. 1, the clients wanted to completely reimagine their space into a flexible 350-person venue that features live music, DJs and other ‘surprise entertainment’. They wanted to evoke feelings of nostalgia and pay homage to dance and nightlife of years past. Most of all, they wanted it to be a fun venue where patrons felt welcome and included without taking itself too seriously. The project evolved in scope to encompass the alley entrance – the true beginning of a patron’s experience at Dance Studio – where Craft Lighting created an outdoor-rated discotheque, complete with a 40-inch mirror ball and a handful of Chauvet Professional fixtures to start the party. The hallway that leads to the club’s entrance is also lined with dozens of fixtures to continue the mood, while the fully mirrored stairwell leading up to the nightclub is lined with GLP Neoflex for a trippy, neon-like visual experience. Patrons then enter into the main room and are

ONE TH I R D COMPANY: DISGUISE LOCATION: HANGZHOU, CHINA

greeted by a dazzling 475-mirror ball installation. The dance floor and atrium lighting packages consist of fixtures from Elation Professional with two rings of Dartz 360 surrounding the central mirror ball above the dance floor. Fuze Wash 120z complement the Dartz fixtures throughout the venue, giving true flexibility to suit the lighting needs of both private events and live entertainment. Video was an element that was not originally in the spec for the renovation. After some consideration, two LED walls were added to the space. The first is a 12-inch wide 16:9 wall in the larger room opposite the main dance floor which is in an ideal location for private event use. When they use their portable stage in this location, the LED wall provides a perfect full stage backdrop for DJs, small bands or presentations. The second wall is the centrepiece behind the dancefloor bar which features a 14-inch wide array that is recessed into a custom five-tiered brick archway that is trimmed on each tier with GLP Neonflex tube.

Daan Oomen, Creative Director of Live Legends, live experience designers based out of Amsterdam, was tasked with creating a turnkey show experience for a series of clubs named One Third. The latest One Third installation was based in a converted factory in Hangzhou, China, reimagined into a club. To power the dynamic and immense scale LED video canvas, Daan chose a 4x4pro disguise pro range media server. The pixel maps of the club are complicated or as Daan puts it ‘insane’. “The only choice was to power them using disguise.” disguise media servers are capable of pushing all the pixels, while remaining stable. Daan said. “We love the flexibility of the system as we have timecode shows, followed by input from the local VJs (video jockey) mixed with pre-programmed base theme looks.” Dave van Roon, Video Specialist and disguise Programmer at Live Legends explained: “On our shows everything is connected. With SMPTE and UDP, for instance, the lighting desk follows along with the show, so video, lighting, special effects, motion and lasers are all in sync.” Live Legends also wanted to utilise a show control solution that the local teams would find easy to use. disguise made it possible to hook all the elements together using one simple touchscreen and since it uses disguise Telnet communication, the interface is fast and always works. It’s ease of use allows local crews, with no previous knowledge of disguise, to operate it. disguise’s

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Both LED walls are housed behind a two-way mirror, allowing them to disappear and look like large mirrors when not in use. Combined with an excellent package of custom content and logo animations, the LED walls serve as a particularly stunning visual effect. Time and a rapidly shifting project scope were the largest complicating factors for this project. Because both the LED walls and the mirror ball elements were added late in the process, it took a coordinated effort with our vendors, installation team and allied trades to bring these technically complex visual elements to life on an extremely accelerated timeline – 475 mirror balls don’t just show up or install themselves overnight! This project presented Craft Lighting with creative and technical challenges that pushed the small team’s project management and procurement skills amidst a constantly shifting project scope. www.craftlighting.co

4x4pro sets the industry benchmark for power, flexibility and convenience, delivering truly unparalleled quality content to the LED canvas screen at One Third. Live Legends programmed all the shows in its studio in the Netherlands using disguise Visualiser and the Lightconverse 3D show platform. Live Legends chose this combination so they could test all triggers and see how the content would work within the space with the lighting, motion and lasers. Then after arriving at the venue in China, they focused on troubleshooting and tweaking the details. With projects of this scale, there is always a chance that the actual LED video screens at the venue are differently from the drawings. Therefore using the disguise platform was of critical importance during the pre-production stage of One Third. Although One Third was already recognised as the gold standard of nightclubs in China, Live Legends with the help of disguise, brought extensive skills, knowledge, and vision from the world of live events to bring the reputation and nightclub experience to the next level. Live Legends delivered all the creative elements from concept to execution, including show production and interior technical design, which required coordinating all the visual disciplines and optimising the guest experience with flair and imagination. www.disguise.one

Pub_Mondo_236x333_0920.qxp_Mise en page 1 02/09/2020 17:32 Page1

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Paris, November 24-25 online registration www.jtse.fr

IT’S TIME TO DISCHARGE YOUR BATTERIES ! Are your battery-powered projectors ready? Obviously ! Fully charged, they are the ideal solution for outdoor and indoor event lighting, fully adapted to current constraints: no cables, wireless DMX, simple and quick installation, reduced handling, economical and efficient use. Thanks to its wide range of battery-powered projectors, AEROKOLOR, BOXKOLOR, EARTHKOLOR, FLATKOLOR, LICIAKOLOR, WINDKOLOR, Starway allows to successfully highlight your events by quickly responding to all the current distancing requirements that you and your customers need to apply.

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56 IN BRIEF - EMEA

GUMA chooses Pioneer Pro Audio.

Located within a refurbished, revitalised old cinema building in the heart of Zadar, Croata, sits GUMA, a flexible 300-capacity venue that combines traditional hospitality with a lively atmosphere, and describes itself as the ‘living room’ of Zadar’s cultural community. GUMA’s attractive interior design is complemented by a selection of urban music which appeals to a discerning crowd who can relax with friends in its comfortable surroundings by day, and hit its dance-floor in the evening. Since opening in 2018, GUMA has been relentless in its pursuit of excellence, challenging itself to maintain the highest standards in all areas for the benefit of its diverse, age-agnostic clientele. As a venue dedicated to delivering a high-quality music experience, its team recently took the decision to upgrade GUMA’s sound

system, believing there was room for improvement on their existing provision. Any new system had to be flexible enough to meet the demands of a wide range of applications, including cultural and literary presentations, but have the power and clarity to deliver sets by not only local, but the regional and national DJs who regularly visit. A further requirement was that the audio needed to be accurately contained within the space to avoid disturbance to the venue’s nearby neighbours. Frane Skoblar, Marketing Manager at GUMA, commented: “We needed an outstanding audio experience for our customers. Everything we provide has to be exceptional and we felt that we had fallen behind with our system. The space transforms from a lounge-bar to a nightclub every day, as well as hosting a variety of other events, so we couldn’t compromise our standards. We had to change.”

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The GUMA team, some of whom had worked with Pioneer Pro Audio products on other projects in the past, were more than happy to accept the recommendations of Darko Deak and Mario Erceg, owner and technician respectively at installation and rental specialists Amadeus II. “When clients want serious equipment for an install of this scale and type, Pioneer Pro Audio is a great choice. The sound quality is excellent and so is the build quality,” commented Deak. Amadeus II designed a system comprised of Pioneer Pro Audio XY-Series loudspeakers to give the flexible, focussed audio that GUMA required. Deak continued: “The XY loudspeakers have a very natural character, so you can play different styles of music and they’ll all sound great. Because the loudspeakers are so easy to work with, we were able to direct the sound into the

right areas and avoid any external disturbance. Just as with previous jobs we’ve worked on with Pioneer Pro Audio, the installation was a smooth process with no delays.” At GUMA, Amadeus II installed a combination of 10 XY-81, four XY-122 and two XY-218S (subs) all driven by Powersoft amplification, with a further two XPRS-10 (active) for the DJ booth. The flexibility to meet the wide-ranging demands of spaces such as GUMA is a hallmark of Pioneer Pro Audio’s range. Music plays a key role in a number of ways in Zadar’s ‘living room’, from background sounds which accompany convivial daytime conversation, to high-energy DJ sets at night. Staff, customers and DJs all agree that it’s never sounded better. www.pioneerproaudio.com

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Photos: Jack Kirwin

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PUFFIN BOX MANCHESTER, UK EMEA

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Manchester, UK, is a city renowned for its mischievous approach to nightlife and innovative club culture. From the afterdark discos tucked away in the city’s most Southern suburbs that played a pivotal role in its development of black culture, to the acid house movement of the ’90s that radiated from the sweat-soaked walls of the Hacienda, Manchester has created one of the most vibrant club scenes in the world. This legacy has continued to grow throughout the 21st Century, too, as the city continues to see multiple venues and events appear, offering a real vending machine of cross-genre club nights that bring together some of the city’s most compelling creatives. However, fast

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• Above The mischevious, underground location of Puffin Box.

forward to 2020, and this ingenuity was suddenly brought to a halt, as nightclubs across the world closed their doors due to the devastating impact of the COVID-19 pandemic. With no real end in sight, many venues started to draft new measures for reopening, including layout changes, strict cleaning regimes and a high standard of PPE for staff. For the nightclub sector however, some of these changes proved impossible. Kat Warburton and Natalie Lea, founders of Puffin Box, were both working for some of Manchester’s most exciting clubs when the pandemic hit. “We were

struggling to see the light at the end of the tunnel, so we started brainstorming some ideas about how we could get people out dancing and enjoying nightlife again, but in a safe environment,” explained Kat. “Working in the events industry, a lot of our friends and colleagues are also out of work, so we wanted to create something really cool with a great musical offering, that also gave jobs to our industry peers.” Puffin Box is a ‘mini’ club experience located in the basement of creative community hub, Hilton House, in Manchester’s Northern Quarter. The venue is made up of five socially distant geometric pods that can accommodate

up to eight people at each time. Each pod has its own drinks corner, seating space and, most importantly, dancing space that guests can book for up to 90 minutes. “We wanted the space to look like a green room, with a ‘behind-the-scenes’ afterparty kind of vibe. I think it fits in well with us being located below the office block – there’s something quite exciting and unsuspecting about the venue being here,” said Nat. Puffin Box’s layout is unique for a nightclub. Instead of having the DJ at the front and centre of the venue, playing directly to a crowd, they’re placed in the middle of the five boxes on a rotating

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• Above One of five socially distant pods inside the venue.

plinth, meaning that each box gets around 15 minutes with the DJ playing directly into their box. This new layout had to be taken into consideration during the design and implementation of the audiovisual technology inside Puffin Box. “We still want people to get that goosebumps feeling when they walk into the club, so we were not messing around when it came to the light and sound in Puffin Box. We knew that because of the venue’s design and placement, we needed to get the best of the best to help us with that side of things,” furthered Natalie. Working on the audio side of the project was Manchester-based tube uk, which

specifies high-performance sound design and equipment hire for everything from the corporate to the live events industries. After working with both Kat and Nat in venues across Manchester, including Albert Hall and Gorilla, Melvyn Coote, Owner of tube uk, was thrilled to aid on the Puffin Box project. “I’m really behind the project, I think it’s a great concept and I really want it to work, so when Kat and Nat were looking for a sound provider for the venue, we were interested in helping out and providing the space with a really high-quality sound system. “When they approached us, they weren’t entirely sure what they wanted from the

system. Of course, they wanted a club system that sounded great, so I had a look at what their thoughts were for the planning of the space and any potential challenges we might face. This included noise issues, as the location is right in the middle of a residential area. If you were to put a big, conventional L-R stack, or even a surrounding system, it wouldn’t work for the majority of the audience. I then came up with the idea of giving each box its own PA system, with the loudspeakers pointing in closer to the individuals inside each pod. This meant we could get better power without huge sound levels escaping from the venue.”

TECHNICAL INFORMATION SOUND: 10 x d&b E8 loudspeaker; 4 x d&b E12X sub loudspeaker; 5 x d&b D12 power amplifier; 2 x d&b M4 wedge monitor; 1 x Studiomaster DigiLive 16 control desk; 1 x Pioneer DJM900 Nexus 2 DJ mixing desk; 3 x Pioneer CDJ2000 Nexus 2 CD player; 2 x Technics SL1210 Mk5 turntables LIGHTING: 40 x Martin by HARMAN Sceptron VDO batten; 12x Ayrton Magic Dot; 6 x SGM Palco5 LED floodlight; 4 x SGM Q7 LED strobelight; 6 x Prolight DISPLAYCOB lighting fixture www.puffinbox.co.uk

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In each pod, tube uk installed d&b audiotechnik E8 loudspeakers, alongside d&b E12 subwoofers to enable highquality sound in the small space. “The key is, especially in really close environments, for the loudspeakers to be a maximum of three-and-a-half metres away from any of the audience,” explained Melvyn. “We needed a loudspeaker that sounds good close up, so we chose the d&b products as they’re nice, full-range, full-bodied loudspeakers in a small format that won’t allow the sound to travel a long way.” Alongside the d&b loudspeakers, Melvyn specified d&b D12 amplifiers for the venue. These specific amplifiers deliver medium to high power into low impedance loads between four and 16 ohms, and are ideally suited for smallscale installation environments, such as Puffin Box. Two d&b M4 wedge monitors are placed in the middle of the room on the DJ plinth to deliver accurately defined coverage, while the DJ equipment comprises one Pioneer DJM900 Nexus 2 DJ mixer, three Pioneer CDJ2000 Nexus 2 CD players and two Technics SL1210 Mk5 turntables. Melvyn continued: “We were lucky in the fact that Kat and Nat gave us free rein to do the installation in the best way we saw fit. I can really see Puffin Box getting off the ground and doing very well. As we designed it all from scratch, we didn’t have to adapt and change and put loads of measures into an already existing venue,

which has probably made the venue way more agile than other clubs that are now having to adjust to the new ways.” As Puffin Box is a socially-distant clubbing experience, it was important for the team to create that sensory stimulating, social atmosphere without the need for a large crowd. The audiovisual technology played a pivotal role in creating this, especially with the pulsating lights that dance with the crowd’s every move. Behind the lighting installation was dbnAudile, another Manchester-based company that delivers lighting, sound and rigging to a range of various live events and venues across the UK. “The brief we were given for the project was that it was a small club experience, with different focal points as to how you wouls normally design a nightclub venue,” explained Chris Phillips from dbnAudile. “We designed it the opposite way to how we usually would, with everything focussing on the crowd on the outskirts of the venue, rather than in the middle of the space.” Puffin Box’s lighting is a real stand-out feature of the venue. As you step foot inside the space, the neon ceiling lights guide you to the five boxes, and work in sync with the already abstract design of the pods. “When I came up with the design for the boxes, I took inspiration from the geometric design of each box. It just makes everything in the venue flow

“We still want people to get that goosebumps feeling when they walk into the club, so we were not messing around when it came to the light and sound in Puffin Box.”

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• Above The view from one of the pods inside Puffin Box, where the DJ performs on a rotating plinth.

better and look great, especially when the DJ is playing and the lights are synced up with the bpm of the music!” said Chris. Alongside the 40 Martin Sceptron ceiling strip battens are 12 Ayrton MagicDot-R moving heads, six SGM Palco5 LED floodlights, four SGM Q7 LED strobe lights and six Prolight full colour display cobs. All of the lighting fixtures are controlled by an Avolites Quartz desk running with Pioneer DJ Bridge Link software to link the lighting with the bpm of the music. “We also have a tonne of mirror balls that are about to go in, too,” explained Kat. “I don’t think any of our club shows are complete without a few disco balls!” Puffin Box is set to become a new clubbing experience that will pave the way for nightclubs and music venues of the future. At the core of the idea is

creativity and confidence in the ravers of the city, who are soon set to immerse themselves in this new age of rave. It’s this kind of ingenuity that has played a pivotal role in retaining a positive outlook throughout 2020. The effects of the COVID-19 pandemic have inevitably disrupted the way that we conduct our day-to-day lives, but with venues like Puffin Box popping up, it’s definitely not stopping anyone dancing. Nat concluded: “Manchester is such an innovative city. It’s the home of rave and we’ve tried to keep that mantra at the forefront of everything we’ve done with Puffin Box. The technology that we have implemented has just taken it that one step further and brought all of our ideas and visions for the club together. We can’t wait to finally open properly and get everyone out dancing again!”

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ISTRA PREMIUM CAMPING RESORT FUNTANA, CROATIA EMEA

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Croatiaâ&#x20AC;&#x2122;s Istrian coast is seen by many as the gem of the Adriatic Sea, with its small, seaside villages, pristine beaches, hilltop views and Mediterranean climate making it a must-see destination for tourists from across Europe. The five-star Istra Premium Camping Resort, located in the charming coastal village of Funtana, is a sought-after location, offering accommodation ranging from standard campgrounds and mobile home spots to camping chalets, villas with private pools, and glamping facilities. The Resort offers a water park, culinary experiences, and programmes for children and adults alike. The resort recently underwent a major renovation, including new, state-of-the-art

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• Above The pool area at Funtana’s Istra Premium Camping Resort.

audio and video systems being installed. HUST d.o.o, a designer, manufacturer and supplier of audio, visual and communications equipment based in Croatia, were enlisted to help with the project, which included many different spaces and requirements. Tomislav Stubičan, Project Manager at Hust d.o.o, takes up the story: “We are well known in Croatia for our system integration and distribution, so we were offered a few smaller installation projects as part of the wider renovation. However, when the investor saw the kind of work we were doing, they gave us a further opportunity to work on the overall

systems. From there, the brief was to simply provide the best system possible, while staying within the strict budget. “At the beginning, there were several architects involved in different parts of the resort, so it took a few meetings for us to be able to understand everyone’s wishes and start to incorporate those into the overall design.” The complex is divided into more than 40 multi-zones that can be individually monitored and managed in various configurations, including the central mall building, the pool and surrounding complex, as well as the commercial centre, movie theatre, sports complex, www.mondodr.com

and digital gaming area. Audio is distributed throughout the complex via a Dante network, with a Biamp Tesira DSP sending to over 100 loudspeakers from Community, TOA, and Apart. The system is powered by just two Linea Research eight-channel amplifiers – one 88C10 and one 88C6, both Dante-enabled. Video for the system is handled via a Crestron-based system, with Epson EB-Series projectors hitting Screenline screens. Tomislav added: “The Community and Apart loudspeakers deliver loud, clean and perfect sound across the entire audio spectrum wherever you go. Everything

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is managed through the Biamp Tesira equipment, which is supplemented with a Crestron video matrix, together with a blend of extremely powerful and versatile amplifiers from Linea Research, as well as reliable Apart amplifiers. “In addition to all this, there are also Yamaha audio mixers that serve all the needs for live performances that can happen on the site. EPSON EB-L1505U laser projectors and Screenline screens have been installed to meet the high video standards and requirements for

the movie theatre. The sound is provided by the Community IV6 loudspeakers, with the punchy power of the Linea Research amplifiers, which are simply the most powerful and versatile amplifiers available. The sound in the theatre is truly astonishing – and we have just two amplifiers driving pretty much the entire system. Linea Research was the ideal choice for this project.” Elsewhere, the Apart MASK6T loudspeakers were used for the outdoor areas, with their IP rating making them www.mondodr.com

“The sound in the theatre is truly astonishing – and we have just two amplifiers driving pretty much the entire system. Linea Research was the ideal choice for this project.”

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the ideal choice for coverage of the beach area. For the extensive park areas, there are 88 TOA GS-302 loudspeakers used, offering a relaxed atmosphere as the guests enjoy the nature around them. The project wasn’t without its challenges for the HUST d.o.o team, with them having to find a balance between the requests from the architects and investor. “It was challenging to satisfy everyone’s wishes, though we knew it was absolutely necessary to harmonise the latest technology, with the elegant, nature-filled surroundings to deliver the perfect experience. In the end, we believe we got that just right. I think this is one of the most versatile projects we have completed in the hospitality industry. “For this project, we dedicated ourselves to creating an atmosphere and environments that truly touched all the senses, and corresponded to the high standards of the Valamar Group. With some careful design and the best products available, the project has been a tremendous success.”

TECHNICAL INFORMATION SOUND 58 x Apart Audio CM6TW loudspeaker; 12 x Apart Audio CM6TBL loudspeaker; 60 x Apart Audio CMX20DT loudspeaker; 4 x Apart Audio SUB A165 subwoofer, 8 x Apart Audio KUBO5T BL loudspeaker, 12 x Apart Audio MASK 6CTBL loudspeaker; 8 x Apart Audio REVAMP4120T amplifier; 4 x Apart Audio REVAMP4240T amplifier; 2 x Apart Audio REVAMP 2060T amplifier; 6 x Apart Audio ALINP control panel; 6 x Biamp Tesira Forte Dante AI; 2 x Biamp Tesira Ex Mod; 2 x Biamp Tesira EIC; 2 x Biamp Tesira EOC; 3 x Biamp Tesira Ex-Logic; 12 x Biamp Tesira 1s; 4 x Community Professional MX10B loudspeaker; 28 x Community Professional DP6 BL loudspeaker; 4 x Community Professional IV6-1122/15B loudspeaker, 2 x Community Professional IS6-118B loudspeaker; 8 x Community Professional R.35-3896 loudspeaker; 88 x TOA GS302 loudspeaker; 4 x Yamaha HS5W loudspeaker; 2 x Yamaha PX3 amplifier; 4 x Yamaha PX8 amplifier; 1 x Yamaha TF3 digital mixer; 1 x Yamaha TF1 digital mixer; 1 x Linea Research 88C10 Dante amplifier; 1 x Linea Research 88C6 Dante amplifier VIDEO 2 x Screenline inceiling tensioned 300; 1 x Screenline lodo tensioned 650; 1 x Epson EB-L1595U projector; 2 x Epson EB-L615U projector; 1 x Crestron RMC3 control system; 1 x Crestron DM-MD6X2-4K-E HDMI switcher; 2 x Kramer VIA Connect PRO; 2 x Kramer VIA Pad; 1 x Kramer VIA Pocket www.valamar.com/en/camping-porec/istra-camping-resort

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Photos: Alicia Fierro

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MAIN CATHEDRAL OF THE RUSSIAN ARMED FORCES MOSCOW, RUSSIA EMEA

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Inaugurated in 2016 by Russian President, Vladimir Putin, Patriot Park is the 5,500-hectare ‘military Disneyland’ of Russia. Designed around an army theme, which includes various interactive displays that centre around the history of Russia’s military and patriotic past, families can expect to be greeted by a range of activities including tank rides and a chance to experience authentic army training grounds and athletics facilities. In 2020, a new addition to the park came in the form of the Main Cathedral of the Russian Armed Forces. Standing at 75-metres tall, the exact number of years since World War II ended, the cathedral took 18 months to build and honours the 75th anniversary of Russia’s victory and all participants in the Great Patriotic War. The stunning structure was manually crafted by hundreds of mosaic artists who covered the interior piece by piece in mesmerising art.

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• Above The incredible architectural beauty of the Main Cathedral.

Russia has a history of erecting temples in memory of victories, including the Cathedral of Christ the Saviour, which honours the victory of Russian troops over Napoleon’s French Army in 1812. Thinking precisely about the audiovisual technology inside the iconic buildings, however, is something of a new concept. Russia-based system integrators, Avilex, were behind the myriad technology installed throughout Patriot Park in 2016 and were brought back to work on the site in 2020, tasked with supplying the cathedral with an innovative sound and broadcast system that would be as timeless as the architecture. “Generally, in Russia, there are not many churches equipped with high-quality, modern audiovisual technology. So, together with the client, we studied and discovered the rules and requirements

for church AV setups,” explained Alexey Samokhin, Creative Producer at Avilex. “One of the main venues we visited was the Cathedral of Christ the Saviour in Moscow, which is probably the most famous temple in Russia. It hosts all of the top church events of the year with attendance of country officials and hundreds of VIP guests. We studied how processes were organised and where the demand for technology was. This included figuring out which zones were involved, the roles of each zone, where listeners and the choir were placed and what could be improved by using AV technology.” Avilex has a unique approach to largescale projects such as the Main Cathedral of the Russian Armed Forces. For the team to be able to keep their full focus on the project, a temporary project

team is brought in to live onsite during deployment. “Every large construction site is a living organism involving hundreds of different suppliers, often influencing our part of the job. To keep it sufficiently organised, all of the right members of the crew must always be at the right positions to really feel the pulse of the site. That’s the only way to deliver this type of project on time,” furthered Alexey. During the implementation of the audiovisual technology, it was important to the client that the equipment used was as invisible as possible, so that it wouldn’t take away from the magnificent mosaic art and period paintings on the interior and exterior of the church. To overcome this, Avilex carried out acoustical calculations using EASE software for both indoor and outdoor areas. Then, when

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it came to place the audiovisual equipment, it had to be approved by the architects and then recalculated based on its actual positioning. “We tried to make everything as futureproof as possible. For example, in all possible cases we tried to use digital interfaces instead of analogue, and we designed a scalable infrastructure that will be expandable in the future. Our other consideration was to use compatible solutions that were able to work in sync with previously installed systems in other clusters of the park. This meant that it was more flexible for the end user when appointing and swapping the personnel between the clusters,” said Alexey. The design of the cathedral is split into two churches, with one located underneath the other. In the main church, Avilex installed two Meyer Sound CAL 96 loudspeakers, along with four CAL 32 column array loudspeakers that serve discreetly as the main system. Two Meyer Sound UP-4slim ultra-compact installation loudspeakers are also used as monitors for the choir, and two MM-4XPD miniature self-powered loudspeakers are used as monitors at the altar. In the lower church, the distributed sound reinforcement system comprises eight Meyer Sound MM-4XP loudspeakers and two UP-4slim

loudspeakers, custom-coloured to blend into the interior of the room. Signal processing and routing in both churches is carried out using two GALAXY 816 Network Platforms. The microphones chosen for both churches were from Sennheiser, and consist of eight SKM6000 microphones, along with two EW 500 G4-935 wireless vocal sets. The cathedral also benefits from a DiGiCo S31 mixing desk, as the venue needed a large and flexible digital routing system. Built-in DiGiCo processing also allows for fine tuning of audio parameters for both loudspeakers and Sennheiser microphones installed throughout the cathedral. “Meyer Sound is well known for its highquality, reliable sound reinforcement systems, which provide a simple path to an engaging sound experience. This was exactly the way our customer stated the goal in the beginning,” explained Alexey. He added: “During the process of installation, we faced a number of challenges including interior materials that were far from ideal for sound reinforcement. That was the moment when we experienced the exceptional controllability of the loudspeakers. Using internal software, based on existing positions of the loudspeakers, we were www.mondodr.com

able to adjust the coverage area and minimise echoes. Also, we were able to customise all of the supplied loudspeakers, which meant the products ideally fit into the church’s design.” Avilex was also responsible for fitting the cathedral with a functional broadcast system that allowed for recording and online webcasting, too. Panasonic’s full HD PTZ cameras were installed along with large format 98-inch flat panels by LG. Avilex tried to keep the broadcast products simple and user-friendly enough for any attendees to use. Alexey continued: “A number of connection points for cameras and mobile broadcasting stations are provided at key points in the memorial area. For monitoring and control of PTZ cameras, special operator’s position is reserved, which is equipped with a special control console, as well as large flat panels with multiviewer for visual monitoring purposes. “The cathedral also consists of a couple of conference halls and meeting rooms, which were equipped with a modern set of presentation equipment. It gives participants modern presentation capabilities, such as wireless large screen presentation, videoconferencing, and digital collaboration.” Within the meeting rooms, Avilex installed

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15 LG LCD displays of varying sizes, and four Panasonic AW-HE40 PTX Cameras. For the sound systems, two RCF L2406-T loudspeakers, four RCF MQ 60H-B two-way wall mount loudspeakers and four RCF MR 44T loudspeakers were also installed. In the outdoor areas, Avilex chose RCF again, implementing 76 CS 6940EN column loudspeakers, 252 HD 3216/T horn loudspeakers and 40 P3115-T weatherproof two-

way loudspeakers. The networked multichannel amplifier chosen was the VA-8600c from Biamp. Avilex worked hard to integrate the entire Patriot Park complex and make it work seamlessly as one large audiovisual project. From the personalisation of the Meyer Sound loudspeakers, to the careful and intricate audio configuration across the cathedral, the church is now equipped with futureproof audiovisual technology systems

capable of making a lasting impression on guests. Alexey concluded: “The most important role of a company like ours is to specify the standards and execute them well – no matter whether the project is a museum, church, outdoor area, or something completely different. This makes this complex workable, intuitive to use and maintainable, while also making us ready for any future challenge prepared by our client.”

TECHNICAL INFORMATION SOUND & VISUAL: Main Church: 2 x Meyer Sound CAL 96 loudspeaker; 4 x Meyer Sound CAL 32 loudspeaker; 2 x Meyer Sound UP-4Slim loudspeaker; 2 x Meyer Sound MM-4XPD loudspeaker; 8 x Sennheiser SKM 6000 microphone; 4 x Sennheiser MKH 416 microphone; 1 x DiGiCo S31 / D2 rack system; Meyer Sound GALAXY816 processing; 5 x Panasonic AW-HE130 camera; 2 x Panasonic AW-HE40 camera Lower Church: 2 x Meyer Sound UP-4slim loudspeaker; 8 x Meyer Sound MM4X-PD loudspeaker; 4 x Panasonic AW-HE40 camera Balcony: 2 x Meyer Sound UP-4slim loudspeaker; 2 x Meyer Sound MJF-208 monitor; 5 x Neumann KM 184 microphone set; Meeting Rooms: 2 x RCF L2406-T loudspeaker; 4 x RCF MQ 60H-B loudspeaker; 4 x RCF MR 44 T loudspeaker; 2 x Sennheiser E 935 microphone; 4 x Panasonic AW-HE40 camera; 1 x LG 98UH5E LCD display; 2 x LG 75UL3E LCD display; 6 x LG 43SE3KE LCD display Outdoor area: 76 x RCF CS6940EN loudspeaker; 252 x RCF HD3216/T loudspeaker; 50 x RCF P 3115-T loudspeaker; 11 x Biamp VA-8600c amplifier; 2 x Screen LED C1-P59-9-5-N screen; 18 x Vconn Q557SSI-P touch screen www.avilex.ru

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

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DVOŘÁK HALL PRAGUE, CZECH REPUBLIC EMEA

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Designed by architects Josef Zitek and Josef Schulz, the Rudolfinum was erected between 1876 and 1884. The plan was carried out to perfection, delivering a venue that is, still today, one of the most architecturally remarkable buildings in Prague. The Rudolfinum is also the home of the Czech Philharmonic Orchestra, which first performed in the building’s world-famous concert hall in 1896 under the baton of famous Czech composer, Antonín Dvořák. The 1,100-capacity Dvořák Hall – one of the oldest

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• Above Inside Dvořák Hall - one of the oldest concert halls in Europe.

concert halls in Europe – is renowned for its remarkable acoustics, making it an extremely sought-after venue for recording classical works. The exceptional acoustics that lend the Dvořák Hall its distinctive sound is also the reason why the venue has battled for years with the reproduction of amplified speech. Efforts to resolve this issue have always run up against limitations in the performance of proposed solutions, as well as the very strict requirements of

the Rudolfinum’s listed building status, which prohibit technical installations that are not in keeping with the architectural aesthetics. “We have been struggling for a long time with insufficient intelligibility of the spoken word in the Dvořák Hall,” admitted Radomír Stöhr, Technical Administrator of Rudolfinum. “It was never ideal due to the particular nature of the acoustics here, which have a very long reverberation – especially in the mid

frequencies,” he added. To help with this issue, the venue contacted Jiří Krampera, sound system designer and the founder of KV2 Audio, to see if he could help with the longstanding issues. David Mareček, CEO of the Czech Philharmonic, welcomed the cooperation with KV2 Audio: “We have excellent experience with KV2 sound systems, in particular with the annual Open Air concert in June, which heralds the end

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of the Czech Philharmonic’s concert season and is broadcast live on Czech television. We felt that if anyone could help us with these long-standing issues, it was Jiří Krampera and the team at KV2.” Jiří takes up the story: “Basically, we started from scratch. The physical constraints of the building meant that the spaces available for loudspeaker placement were not optimal for standard loudspeaker coverage patterns. An off-the-shelf solution would either have meant compromising on the sound, or infringing the regulations associated with the building’s listed status, so we decided on a fully bespoke solution with custom horns designed to meet the unique dispersion requirements of the room. “Equal emphasis was placed on both controlled dispersion and minimising the effects of

reverberation from above, by designing the system in such a way that it would not disperse towards the ceiling, but play directly towards the audience.” Technological advances through KV2’s Super Live Audio (SLA) research, such as a newly developed five-inch low inductance midrange driver, meant the fastest and most accurate midrange was available as a critical part of the system design. This ensured clarity of vocal reproduction and extreme resolution, even in the most reverberant areas of the Hall. “We utilised our SLA ethos to solve many of the timing issues that tend to be present when using third-party DSP-based solutions, which are often very sensitive to feedback and would have been compounded by the extremely challenging www.mondodr.com

acoustics of the room,” added Jiří. The stalls are covered by two three-way passive column systems with very high resolution and controlled dispersion, equipped with six 10-inch loudspeakers for the low-mid frequencies, two five-inch loudspeakers for the midrange and a one-inch loudspeaker for the highs. The balcony is served by a similarly designed three-way system with additional custom sidefills comprising four six-inch loudspeakers for low-mids, one five-inch loudspeaker for mid-high frequencies and a oneinch loudspeaker for highs. Two ESP4000 amplifiers provide amplification for the passive full-range loudspeakers in the Dvořák Hall, and two analog SAC2 analog controllers provide sound processing. “At KV2, we try to minimise the distortion of

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• Above Seating at the iconic Dvořák Hall.

the entire electroacoustic chain, which is why we have maintained the complete signal path in the highest possible, fully analog quality. We completely avoid any digital processing here, which really helps,” emphasised Jiří. The sound booth for the Dvořák Hall is equipped with a pair of active EX6 loudspeakers from the standard KV2 production portfolio and a Soundcraft Analog mixing console, which has been specially modified in KV2’s labs for high resolution sound. Passive ESD10 monitors (driven by an ESP4000) were provided for the choir and a pair of ESD6s for the backstage area are powered by an ESP1000 amplifier. The project also included the 190-capacity Suk Hall, which is historically the youngest hall in the Rudolfinum building and typically used for chamber performances. Jiří’s team equipped this space with a pair of specially designed three-way active loudspeakers with very high resolution and controlled dispersion. An important characteristic of this system is the full-range frequency response and optimised coverage. The slim, passively cooled amplifier has been built into the wall for minimal visual intrusion. “I am very proud of the work of my team

who faced difficult conditions with this assignment, necessitating a majority of tailor-made, unique solutions,” concluded Jiří. “We were able to capitalise upon our many years of experience in building world-class sound systems that respect

our technological principles of high dynamic range and minimal distortion in order to deliver the audio experience that the Rudolfinum has been dreaming of for so long. The technicians are thrilled with the results, as are the audiences.”

TECHNICAL INFORMATION SOUND – Dvořák Hall: Stalls: KV2 Audio three-way, custom-installed passive 10-inch, 5-inch and 1-inch loudspeakers Balcony: KV2 Audio three-way, custom-installed passive 10-inch, 5-inch and a larger format VHD Technology 3-inch NVPD high frequency driver. Sidefill balcony: KV2 Audio three-way passive 6-inch, 5-inch and 1-inch loudspeakers Choir / Soundbooth / Backstage: 2 x KV2 Audio ESD10 loudspeaker; 2 x KV2 Audio EX6 loudspeaker; 2 x KV2 Audio ESD6 loudspeaker; 1 x Soundcraft analog mixer SOUND – Suk Hall: KV2 Audio three-way, active 6-inch loudspeaker made up of multiple 6-inch with a 1.75-inch compression driver; 3 x KV2 Audio ESP4000 amplifier; 1 x KV2 Audio ESP1000 amplifier; 2 x KV2 Audio SAC2 processor www.rudolfinum.cz

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Symetrix Prism DSP brings versatility to YETI Chicago.

Located in the Wicker Park neighborhood of Chicago, YETI Inc., a premium outdoor lifestyle brand, recently opened a 4,900 sq ft store that is far from your average retail space. Created in 2006 by brothers Ryan and Roy Seiders, YETI’s goal is to bring an outdoor experience into the city and inspire adventures in the wild. They hold a strong vision of how their customer should experience their brand; not only from its daily operations, but also with its special events with the purpose to give back to the community. With major success at their Austin flagship location, YETI expanded their retail presence with new locations in Charleston, Dallas, and Chicago. Not only does each store display their high-quality products, but they also feature a bar and

stage where weekly live performances, screenings, and events were held for the community – pre-COVID-19. To create this unique space for YETI Chicago, YETI contacted trusted installers, The Werd Company out of Austin, TX. Werd had installed AV systems for YETI in their other locations and were happy to take on this project. “We enjoyed the challenge to create an audio system for the retail space that could transform into a performing space,” said Drew Dunavan, Chief of Operations at The Werd Company. “We had to remind ourselves that it’s not a regular venue.” To handle the audio of this unique space, A Symetrix Prism 8x8 DSP manages

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all audio routing and signal processing for the store including the input processing, signal mixing and routing, and output processing. The powerful, open architecture DSP combines extremely cost-effective processing with the flexibility of the Dante network that allows the fastest possible way to implement, control, and maintain the system. “The Dante capabilities of the Prism 8x8 are just what we were looking for,” said Drew. “It allows us to bring in event-production design and control because these retail stores are not venues, so they’re not acoustically treated for performance. The key was to have the capabilities to get in there and tune systems based on the desired outcome.” The unsurpassed Dante connectivity of the Symetrix Prism allows simple Dante

mic solutions for performers and MCs on stage and the ability to route digital audio over the Dante network directly to amplifiers and output devices. Despite many moving pieces involved in this project, The Werd Company was able to design, integrate, and install a state-of-the-art audiovisual system for YETI Chicago, while providing continued maintenance and support through remote audiovisual management and staffing for any live events. “We really like the performance of Symetrix, and we’ve been implementing them in our upcoming installs,” said Drew. “AV is becoming more a part of function and design, and Symetrix is giving us the opportunity to really dial some great things in for our clients.” www.symetrix.co

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FREMONT STREET EXPERIENCE LAS VEGAS, USA AMERICAS

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To coincide with major investment in its lavish and world-famous multimedia infrastructure, the vibrant Fremont Street Experience in downtown Las Vegas has upgraded its TiMax SoundHub immersive audio processor to include the all-new HARDCore FPGA audio processing platform. The upgrade provides extended delay-matrix crosspoint memory of up to one second, plus new ultra-smooth holistic delay-panning algorithms across the streetâ&#x20AC;&#x2122;s vast and unusual 52.4 channel audio system. With 26 pairs of loudspeakers distributed down the five-cityblock space, the powerful new TiMax platform updates extend the necessary resources needed to deliver fully immersive dynamic effects

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• Above Fremont Street is a fully immersive, unique experience.

spatialisation for the huge scale of the street’s stunning show content. TiMax also handles basic routing and housekeeping for all audio aspects of Fremont Street’s daily activities. The browser-based TiMax Portal bespoke touchscreen controller enables modeselection of background music, audio mix assignment and imaging between three different live stages, plus focussing to a DJ stage as well as various performers and events on the street. The latest TiMax SoundHub sonic enhancements complement multimilliondollar upgrades to Fremont Street’s HD video canopy – the record-breaking

world’s longest screen – for which marketing and creative agency, Contend, won the bid to create content for the screen’s brand-VivaVision public launch event. Contend’s Bill Wadsworth, who led the project, explained: “Even before I’d realised what TiMax was capable of, the point of interconnection between the video side and the aural side was where we felt most excited and we brought the most energy towards that.” Bill’s first impression of TiMax as a simple and unassuming 19-inch rackmounted unit, by his own admission, was initially underwhelming. Upon deeper

investigation, and shortly before reaching out to 1602 Group’s Duncan Crundwell who represents TiMax in the US, Bill claimed: “…I was like, ‘I’ll be damned! Somebody was smart enough to put that in at Fremont Street...’” Duncan Crundwell partnered with Contend’s audio engineer, Dave Wein, to provide TiMax workflow familiarisation and programming assistance. Between them they rendered the immersive sound fields using the tightly integrated TiMax PanSpace and TimeLine tools, animating them through the length of the street to support the movement of the aerial native HD resolution video content.

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• Above Already full of incredible AV technology, the TiMax upgrade really makes Fremont Street an unmatched spectacle.

The simplicity of control impressed those at Contend, prompting Bill’s comments that, “…It’s awesome of TiMax to simplify something that was borne from an engineering and live tool perspective and make it into a friendly interface for those of us that come from the post-production side of things” The multimedia content, according to Bill, is “an amalgamation of different things to massively excite the senses”, and is thematically and metaphorically, ‘out of this world’, including spaceships, asteroids and other galactic entities moving across the full length of the street’s sky-screen. He explained: “The experience is so big that you hear things you can’t see. Happily, TiMax is exponentially smarter than I ever will be and achieves the level of computational process necessary to handle the level and time correction

of assets that are moving through the sound space. Give TiMax accurate inputs about where everything is, what the components are, how things move in a space like that, and you can do – and this is so important – just about anything.” The fact that they would do something really special with the sound was, Bill claimed, clear from the early stages of the project. However, he added: “It wasn’t until I got down there and actually laid my eyes on what they had going on that I realised how epic the thing was going to be.” The audio setup at Fremont Street was an inspiration to Bill. He explained: “It got us thinking there was a real opportunity to do some amazing sound stuff that’s never been heard before on a system that doesn’t exist anywhere else, a system that’s so impressive in its massiveness you can

really do things with the physics of sound that you’re not able to do in any other situation. “You could shut your eyes and move someone in a really profoundly deep way with just the audio mix and energy, but the spatialisation is something that will capture people in a different way… I’ve predicted for Fremont street that people will probably talk about the sound more than anything else because it’s so unusual to be on the receiving end of an absolutely real spatialised audio experience of that scale.” Bill discovered that, “With TiMax, we had a tool that you could just blow people’s minds with – being able to control sound in that way, and I dare anyone else to try to do that – nothing else on the market has that control or anywhere near what that box does.”

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ALBOA

First opened in 2011, Alboa offers guests a mix of bowling, pool tables, sports bars, food, mixology, live shows and spaces for events for 50 to 1,000 people. Across Mexico, there are now 13 Alboa centres, with another seven scheduled to open over the next two years. “Alboa is the first entertainment hall in Mexico with the firm mission of providing the best entertainment experience to our guests, by combining in one place the best gastronomy, mixology, bowling, sports bar and live shows,” explained Maritza Licerio Sarabia, Marketing Manager at Cinemex Group. “We are currently innovating our concept

MEXICO CITY, MEXICO AMERICAS

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• Above The bowling lanes at the popular Alboa entertainment venue.

of entertainment by incorporating impressive scenarios to enjoy live shows, with state-of-the-art systems and with capacity for 300 to 1,200 people, in spaces equipped to generate the best experience. We call this concept “Alboa Live”. The Mexican entertainment chain, which is part of the Cinemex Group, has always acknowledged the major role that AV plays in its centres as the best option for ensuring unique experiences for its customers. With the plans in place for new innovations, Cinemex Group acquired 85 Christie 1DLP laser

projectors for its 13 centres. The chain was already using Christie lamp-based projectors, but has recently decided to make the move to laser projection technology in order to give its audiences a whole new level of image quality, as well as to reduce costs and increase efficiency. “For Alboa, the audiovisual aspect is one of the most important elements in our centres. We look for large formats with excellent quality so that our guests can enjoy a unique experience when viewing our visual content, sport events, concerts and shows,” added Maritza. www.mondodr.com

“This is the main reason why we upgraded our projection systems to the Christie GS laser series. In addition, this technology has the perfect combination of image quality, energy savings and low operating cost. “At Alboa, we always look for fun and technology to be everywhere in our venues. The visual configuration we use is to make our content to be seen everywhere, without you having to strain to see it. We want our audience to always be comfortable and, in our bowling alleys, this is no exception, since they

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are equipped with at least five projectors of the Christie GS Series, projecting on a single canvas, generating spectacular images of great quality and brightness.” T&T Cinema oversaw the roll out of the new visual setup at Alboa, with various models from the Christie GS series, ranging from 5,600 to 13,000 lumens and with resolutions from HD to WUXGA, with the Christie DWU630-GS model being the standard in most of its entertainment centres. The GS Series has built-in Christie BoldColor technology for the most life-like images and natural colour reproduction possible with laser illumination. On average, every Alboa centre uses five

projectors to screen sports, music and entertainment as well as in the bowling area, projecting onto a single screen with a gain of 1.8. Christie was the obvious choice for Alboa, with flexibility and high-end features being of vital importance, as Maritza explained further: “Simply, Christie is one of the most important and leading companies in projection. In addition to the fact that they have always offered us the right solution for each project, their technology is state-of-the-art and they have always managed to work very well with us to provide solutions that exceed the expectations of our guests and meet our investment and operating cost objectives. “Thanks to the flexibility and features offered www.mondodr.com

by Christie projectors, no obstacles have arisen. We have always achieved the expected results. On some occasions, structural elements of the venues in which we are, they have forced us to blend projectors or change lenses to short lenses, but Christie always had the solution for each problem.” Fernando Poblador, Alboa’s Infrastructure Manager, is in agreement, too: “Besides the fact that laser projection guarantees improved image quality, with up to 20,000 hours of virtually maintenance-free operation it means a considerable cut in running costs, and no expenditure in replacing lamps and filters. “Here at Alboa we are always looking to forge

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alliances with the leading companies in their sector, and Christie has always offered us the perfect solution for each of our projects.” Fernando was particularly pleased with Christie’s service response also: “For Alboa, the post-sales service is perhaps the most important factor in any business arrangement. We have always been able to rely on the full support and back-up of Christie Mexico, thanks to which we have built up a very good rapport and a longterm relationship.” For Clayton Brito, Sales Director of Latin America, Enterprise, Christie, this operation is a further link in the longstanding relationship between Christie and the Cinemex Group: “We couldn’t be happier with the trust Alboa and the Cinemex Group have placed and continue

to place in us. Alboa’s entertainment centres all over Mexico have a reputation for offering their customers an unbeatable entertainment experience. We are delighted with the fantastic way that they have been putting our projectors to use in order to enrich their centres with powerful visuals.” Maritza concluded: “We know that image transmission and projection technology is constantly evolving. At Alboa, we want to be prepared to be able to incorporate the most disruptive advances in image and video display into our infrastructure. “We are always innovating and in search of new technologies that help us provide a better experience to our guests. In general, our guests always give us very positive feedback on the quality of the image we project on the bowling alleys.” www.mondodr.com

TECHNICAL INFORMATION VISUAL 85 x Christie GS Series laser projector www.alboa.com.mx

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Audio Performance loudspeaker system chosen for Korean church.

Located in Incheon, South Korea, the Kangsung Presbyterian Church contacted Ability Media Systems to install a new loudspeaker system as part of its brand-new audio upgrade. The 1,000-capacity sanctuary within the church has been outfitted with a Swiss Audio Performance loudspeaker system. The main line array array configuration adopted by Ability Media Systems comprises five per side ceiling-suspended DLA-6C cabinets. The compact dual 6.5-inch enclosures are deceptively powerful and provide even coverage in the horizontal axis, courtesy of the DLA-6C’s 100° horn directivity. The Easy Spray software and three points rigging hardware saved precious time when arraying each of the five cabinets in

0.5° increments between 0° and 10°. Providing low frequencies down to 55Hz (±3dB) also ensured the church removed the need for additional subwoofers. Following modelling conducted by Ability Media Systems Project Manager, Jeong-uck Nam, consistent audio dispersion has been achieved in both the under and upper balcony areas with the addition of four MX8 eight-inch coaxial models. Weighing 19kg and offering a maximum SPL of 130dB (peak) down to 57Hz, the portable 12-inch version has been adopted for onstage monitoring. www.audio-performance.com

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MAYFAIR LAKE RESORT RAIPUR, INDIA APAC

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Located amid lush greenery that overlooks the Jhangh Lake, the MAYFAIR Lake Resort was opened in 2019, offering lavish accommodation, great banqueting and event space, world-class facilities and some of the best restaurants in Raipur, India. In addition to being a renowned travel destination, the resort is also a popular wedding and event location, as it features more than 124 rooms and suites, the MAYFAIR Spa, salon, fitness centre, swimming pool and kids play area. To match and further enhance the luxurious facilities, Qubix Technologies, an experienced AV integration company, were hired to design and install a complete, state-of-the-art HARMAN Professional AVLC (audio, video,

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• Above The banquet hall at MAYFAIR Lake Resort.

lighting and control) solution. Rhythm Arora, Chief Technology Officer at Qubix Technologies, takes up the story: “Mayfair Group were building a new, large-scale property and were looking for an integrator who could handle audio, video, acoustics and property-wide AV distribution over IP. Our name was referred to them by a few hospitality and AV industry veterans as a one-stop shop to get everything that they are looking for. “The team from HARMAN Professional Solutions India worked closely with us throughout the design, negotiation and build process. After a few rounds of meetings and presentations with the folks at Mayfair, the project was assigned to us.

“It was a very interesting design process; quite unusual from our other briefs - the Executive Director of the Hotel, Mr. S.K Mohapatra made us sit with the operations, maintenance and the guest relations team to design the hotel, rather than discussing the design with just the IT or engineering teams. Designing the system to solve the unique problems and requirements of the operations and maintenance gave birth to many new ideas and workarounds, which make this audiovisual design so special and easyto-use.” Qubix Technologies deployed an arsenal of Martin fixtures at MAYFAIR Lake Resort. With their powerful output,

compact size, energy-efficient LED and rugged, IP66-rated housing, Qubix Technologies installed 40 Martin Exterior Wash 200, 32 Exterior Wash 100 and six Exterior Wash 210 fixtures. While the Exterior Wash lights provide reliable performance and durability to withstand weather demands, Qubix Technologies lit up the indoor spaces with two RUSH MH5 Profile compact moving heads and 96 RUSH CS1200 Graze linear wash fixtures, which offer the resort ultimate flexibility to choose the exact look they need for certain areas. The lighting system also includes eight Martin DMX 5.3 Splitters to ensure peak operation and maintain proper DMX signal

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throughout the hotel. “Initially, the architects had a plan to incorporate with a few vendors and designers from across the country until Team Qubix came into the picture and prepared a viable economic solution,” explained Rhythm. “The choice of the right kind of lighting fixtures that could bring out the architectural aspects of the building was a challenge to accept in terms of selecting the right kind of fixtures, spreading them over the vast areas of concern and controlling them. With some inputs from the end client our team understood their desired requirements and gave a proposal with Martin Lighting. “While designing the whole solution, we had to keep in mind the adverse effects of weather in a place like Raipur. We needed rugged fixtures that wouldn’t lose productivity and output. Having then zeroed in on Martin Exterior Washes, we prepared ourselves for a final demo of our proposals, which took away the concerns.”

Beyond the lighting displays, Qubix Technologies also equipped MAYFAIR Lake Resort with a world-class audio system throughout the various areas of the venue. Rhythm added: “MAYFAIR has close to 18 zones of audio - the property can be divided into different parts during events and combined when it’s running as a hotel. Music is scheduled through various IP streams, which are transmitted over Dante to all of restaurants, banquets, coffee shops, gardens, toilets and so on.” 12 JBL VRX932LAP two-way powered line array loudspeakers provide pristine audio and crystalclear speech intelligibility, while four VRX918SP powered flying subwoofers with patented Differential Drive 18-inch subwoofers offer impressive, accurate low-frequency response. Throughout the rest of the resort’s indoor spaces, Qubix Technologies installed an array of JBL Control 10 Series, Control Contractor 20 Series, Control 40 Series, 8100 Series and Control CRV www.mondodr.com

Architectural loudspeakers, including 50 CRV White loudspeakers, 64 JBL 8124, 56 Control 47HC, 50 Control 12C/T and 30 Control 24CT ceiling loudspeakers as well as eight Control 23-1, four Control 28-1 and two Control 25-1 two-way loudspeakers. Completing the indoor sound systems, Qubix Technologies deployed four AC599 and AC18/95 two-way loudspeakers, one AC115S 15-inch highpowered subwoofer, four SRX828S subwoofers as well as many more JBL loudspeakers. Delivering excellent audio outdoors and providing guests with a complete, immersive sound experience, MAYFAIR Lake Resort features 50 Control 85M landscape loudspeakers, 14 AWC82 all-weather loudspeakers and one AWC15LF all-weather low-frequency loudspeaker. For public address applications that offer guests with crystal-clear announcments throughout the property, Qubix Technologies installed eight JBL CSS-H30 paging horns as well as six AKG DST99 S dynamic

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paging microphones. Though JBL speakers provide the audio, Crown amplifiers power the complex solution while an assortment of AMX, BSS, dbx and Soundcraft products guarantee the system delivers optimum sound quality. Qubix Technologies chose Crown CDi Series amplifiers because of their power handling capabilities and extreme durability, while AMX N1000 Series Encoders and Decoders provide MAYFAIR Lake Resort with a local AV over IP switching solution that packetises video into a minimally compressed IP format. BSS signal processors, dbx direct boxes and Soundcraft mixers, including Si Impact, Signature 16 and Notepad-5 consoles, ensure the system provides pristine fidelity throughout the hotel. “Other than the obviously great sonic qualities which are often talked about, in this case, the reason for preferring JBL Professional was a little more than that,” explained Rhythm. “The brand is very popular across the country and has been

in the market for a long time. This is a bit of an unusual setup where the system is permanently installed in the venue, so we had to choose a great sounding, yet very familiar system which is very universal. With the massive popularity of JBL and Soundcraft, every sound engineer and artist has performed with them and are comfortable with it. It is also the most popular name in most tech riders. “Also, JBL is the only loudspeaker brand that has a well-established service centre in the region, so customers prefer investing in Harman Professional gear.” “It’s an honour for our products to highlight such an iconic hotel,” said Aditya Todi, Senior Director of Sales and Marketing, HARMAN Professional Solutions, India and SAARC. “MAYFAIR Hotels & Resorts offer some of the best luxury hotels in India and provide today’s travellers with authentic hospitality, thoughtful service and world-class facilities. We’re happy to have provided them with www.mondodr.com

HARMAN Professional’s top-of-the-line solutions in the audio and lighting categories.” Rhythm was delighted with the end result, too: “It’s the face of new India. This project is special as MAYFAIR is a truly Indian chain and they have set a class apart with these facilities and features, especially designed to accommodate Indian cultural events and weddings, as well as other rituals and events. “It’s also very special as this property is in a small upcoming town of Chhattisgarh - this shows the penetration of development in the country and an indicator for the good days to come for the Indian market. “We are pleased with the output at MAYFAIR Lake Resort and what a difference the products have made to the property. We were able to engineer the appropriate solutions using HARMAN Professional products because they’re adaptable, reliable and produce great results.”

9-13 November 2020 A week of engagement with the Live Events Production Industry For more information please contact: h.eakins@mondiale.co.uk

www.productionfutures.co.uk

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IN BUSINESS

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SHOW REPORT • Page 110

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PROLIGHT & SOUND GUANGZHOU

#WEMAKEEVENTS • Page 130

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IN DETAIL SYNCRONORM HOF VISIX

PRODUCT GUIDE LIGHTING CONTROL

PRODUCT DIRECTORY LAST PAGE INTERVIEW MARK T. BLACK

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PROLIGHT + SOUND GUANZHOU GUANHZHOU, CHINA / 21-24 AUGUST Quality buyers and new business opportunities; amid a challenging global business environment and pandemic prevention and control measures in China, these were the key ingredients that exhibitors were pleased to find at Prolight + Sound Guangzhou 2020 (PLSG), which gathered a total of 41,556 visitors and 677 exhibitors for its 18th edition at the China Import and Export Fair Complex. Concluding on 24 August, the event was the first major industry trade fair of its kind to return in China

following the COVID-19 outbreak, providing an effective and high quality business platform for professionals in the entertainment, media and audiovisual industry to reconnect, rebuild and network. Speaking at the conclusion of the fair, Ms Judy Cheung, Deputy General Manager of Messe Frankfurt (HK) Ltd remarked: “In light of the ongoing global pandemic, we are pleased to have received full support from the industry. In keeping with the trend of digitalisation, this year we channeled additional resources to

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facilitate business online – helping exhibitors market their products more effectively and easing the sourcing process for buyers. For the first time, the entire exhibition, including new products, training courses and seminars was broadcasted. We hope this new ‘offline and online’ experience made it easier for industry players to network, learn and explore business opportunities in the resurgent market.” Under the motto of ‘beyond lighting and sound’, the 2020 edition offered more distinguished product categories that

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engaged users with digital experiences. Technological convergence was the main focus of the fair, with the newest entertainment, audiovisual equipment and related integration opportunities attracting the attention of potential buyers. Some of the leading brands, both international and domestic that participated in eight halls across a total of 80,000 sq metres of exhibition space this year included: BBS, Boray, Bosch, Bose, Charming, Coda Audio, Concord, D&Q, Danacoid, EAD, EM Acoustics, Eagle Group, Enne,

Fidek, Harman International, Hivi, Husion, IAG Group, Infinova, itc, L-Acoustics, MA Lighting, Maingo, Mode, Nightsun, Peavey, Ray Long, Ruisheng, Sennheiser, S-track, Star-net, Taiden, Takstar, The One Studio, Thunderstone, Tricolor, Viashow, Vue Audiotechnik and many more. Ms Cheung added: “The positive feedback that we received from buyers and exhibitors during the four days suggests that the positioning of the fair and its expansion into new product categories closely matched the needs of the

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market. This is something that we hope to maintain at the next edition in May, where the industry will once again have the opportunity to explore the latest technologies and development trends.” Live coverage of the exhibition, including presentations of the industry’s latest products and technologies was broadcasted on HC360. com – one of the industry’s largest online trade media platforms. Together with the PLSG WeChat platform, which livestreamed the PLSG Annual Training Course, the

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two platforms attracted significant attention from those who were unable to travel to the fair, garnering 165,000 views. Besides an extensive collection of the latest products, PLSG also compiled a variety of educational programmes. This included the PLSG Annual Training Course, the Acoustic Block Forum ‘Opportunities and Challenges of Audio Technology in Artificial Intelligence’, the 10th Advanced Audio Forum, and a Carving Art Exhibition. To help industry practitioners in the post COVID-19 era, safety topics dealing with the reopening of live events were added to the programme. Both attendees and expert speakers were impressed by how the events delivered valuable information and created opportunities to network and exchange market intelligence. Another unique part of the fringe programme was the Outdoor Line Array, which gathered 20 professional audio brands to showcase the sound qualities of their audio systems to professionals and audio enthusiasts in real time. PLSG earns industry support with

positive feedback from fairgoers In this challenging year for the industry, the organisers worked hard to provide channel players with valuable opportunities to pursue their business objectives, with the majority of participants reporting favorably on their participation. “Our company has participated at PLSG many times in the past and this year we are showcasing our microphone products for teleconferencing. Although there have been challenges, the pandemic has also generated some opportunities for our business because of the shift towards digital media and the increased use of virtual meetings. Our microphones and other products match the demands in this market. Even though this year’s fair scale is not as big as previous editions, the clients who have visited our booth to discuss products and place orders have met our expectations. PLSG is a well-developed trade fair with a good reputation in the industry and high visitor quality, which is the main reason why we always choose to exhibit here,” added Mr ChunLin www.mondodr.com

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Liu, Vice General Manager, BeiJing HXTC Technology Co Ltd. “Prolight and Sound Guangzhou closely matches the business sectors we have been focussing on this year, including lighting, audio and video products used in KTV and hotels. We have developed various new products, such as our first “cloud” karaoke room, which combines traditional karaoke with entertainment, interactive games and a DJ experience. We are launching these new products on the PLSG platform because it’s the leading exhibition for the industry, not just in Guangzhou but also other regions. The exhibition gathered a lot of industry professionals from different product categories, so it is a good opportunity for us to expand our business,” said Mr Chuang Liu, Project Director, Huoshan 3S Digital. “At PLSG we are unveiling our new Protrix brand for the first time, targeting industry professionals such as wholesalers and

engineering companies who are in the karaoke business. Taking into account the large number of celebrity live streams, and the popularity of home karaoke and video recording, our personalised and cost effective products are perfectly adapted to the current market. PLSG plays a pivotal role in the industry. As an international platform, it enables new users to understand our brand and build new partnerships. Through the fair, we are able to seek feedback from industry professionals. This helps us to develop a better range of products,” explained Ms Stephanie Liu, Marketing Manager, Guangzhou Soundtrix Electronics Co Ltd. “We hope to provide a one-stop experience for our clients at this edition of the fair. Our booth is 720 sq metres with Harman at the centre and our partners’ surrounding us. Many sectors including entertainment and KTV have been affected by the pandemic, so we decided to change our business strategy

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six months ago. We have added more multi-functional and intelligent products for audio and video conferencing, as well as entertainment, education and more to our portfolio here in China. We hope clients can experience our new products both through the online and offline platforms,” said Mr David Lu, Senior Sales Director and DGM, Harman Professional Solutions China. “The integration of audio, lighting and video in China is developing at a fast pace. This can be seen at shows that combine lighting and music as well as visual performances that combine lighting, music and video projection. Recently the integration of cultural performances with visual media has become more popular too. During the pandemic, the organisers of PLSG provided online services to increase promotion and publicity for our brand. The topics of offline training courses were niche and sophisticated, so discussion could be done in depth. PLSG is the industry

108 EX P O

event that brings everyone together from different regions and industry professions. At the fair we are able to discuss the common difficulties we encounter and share new inspirations and solutions with the industry,” said Mr DongLiang Sheng, General Manager, Beijing Dasheng Tianyi Culture Communication Co Ltd. “This is my 10th visit to PLSG. I continue to come because the exhibition is a great place to find out about industry trends. At every edition there are new products, systems, ideas, training courses and presentations from industry experts. Guangdong is a large production base of audio and lighting. Thanks

to its location, the fair is not only the largest fair in China, but also the most professional one. You can find a lot of innovative high quality products from Guangdong, which cannot be seen in other places. Although the fair scale has been impacted by the pandemic, it was a bold decision by the organisers to hold the exhibition this year. The fair has provided me with the opportunity to communicate in-depth with new and old industry peers, allowing everyone to re-build their connections and exchange information and find new avenues for business.” said Mr DaiYuan Wang, CEO/CTO, Pandora Audio and Video Technology Serve Co Ltd.

The organisers strictly followed the local government’s protection guidelines and implemented additional safety measures to ensure the health and safety of every participant. This included: real identity preregistration, entry checkpoints to verify the digital health code of all participants, and onsite temperature scans. Frequent sanitisation of facilities and distancing measures were also implemented. The 19th edition of Prolight + Sound Guangzhou will be held from 16 – 19 May 2021 at China Import and Export Fair Complex in Guangzhou, China.

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110 #W EMAKEEVENTS

#WEMAKEEVENTS The #WeMakeEvents call to action focussed on raising awareness for over a million professionals working in the technical side of the entertainment industry who have either lost, or are at imminent risk of losing their jobs. The UK government’s £1.57 billion investment to the cultural and arts institutions will not reach the key workers from the industry, and the imminent closure of the self-employed income support scheme further threatens their livelihood. Over 715 buildings across the UK and the rest of the world lit up in red to symbolise the current danger that over one million people in the live events industry face unless the government provides immediate financial support. Twenty of the UK’s biggest cities hosted events to raise awareness of the struggling supply chain that facilitate events across the country – from theatre to concerts. From Minnack Theatre Cornwall, to The Queen’s Hall Edinburgh, Principality Stadium Cardiff and the Millennium Forum Northern Ireland. In Manchester, 200 technicians pushed redundant flight cases through the city centre as they observed COVID-19 protocols. The capital’s finale began on a boat at 8pm, as it made its way down the Thames – passing Royal Festival Hall, the London Eye, the National Theatre and the Tate all illuminated red. As the boat reached key locations, such as Westminster Bridge and Jubilee Bridge – hundreds of volunteers dressed in red and 4,000 socially distanced supporters lined up on the banks of the Thames in the capital to ask the government to ‘throw us a line’.

Unlike other industries, events, festivals, and performances have been unable to safely reopen due to social distancing guidance, and may not reopen until early 2021 – and opening times keep being pushed back. With no government support on the horizon for the event supply chain, redundancies have already begun. Research indicates that 25% of companies will have served redundancy notices by the end of August, rising to 70% by the end of December. To facilitate this event, over 19 trade associations from the live events sector collaborated for the first time to help save their industry. The initial #WeMakeEvents campaign by PLASA issued a ‘Red Alert’ last week, to symbolise the imminent danger the industry is in. Peter Heath, MD of PLASA, commented: “The live events industry supply chain, essential to every single event in the UK, is set to completely collapse without financial support from the government, due to social distancing prohibiting mass events. Large scale events are not expected to reopen until Spring 2021 at the earliest, and the reality is that the sector can’t wait that long. While the Government’s commitment to provide www.mondodr.com

£1.57bn to our crown jewels is welcomed, this does not help the companies and freelancers who work in the live events supply chain. We’ve issued a ‘Red Alert’ for #WeMakeEvents because the sector is on its last legs, and now the whole industry is coming together to ask the government to ‘throw us a line.’” In order to represent all those in the communities that #WeMakeEvents represents, PLASA is now announcing that the campaign has moved into total independence, steered by a collective of industry trade bodies, including PLASA, businesses and freelancers who are all working together to ensure it receives as much awareness as possible. The success of the initial activity has led to a global movement, with organisations from around the world coming together in a spirit of mutual support and solidarity. This next stage in the campaign will be known as ‘Stand as One’ – taken from the newly released song and now campaign anthem, written and performed by Joe Bygraves, who has generously agreed to donate 25% of the money made from the track to #MakeItBlue UK to be distributed to relevant mental health organisations. Further

Photos: Jack Kirwin & PLASA

111 #W EMAK EEVENTS

• Above Photos from Manchester, Liverpool and London marches.

action is planned to call for financial support to be extended for the freelancers and companies in this sector until they can safely return to work. The group will be announcing a number of creative activations to be held throughout the month, leading up to a #WeMakeEvents Global day of creative action on 30th September, with countries from New Zealand to Canada and across Europe joining in. Gary White, from White Productions Limited, is one of those behind the campaign. He commented: “The live events industry is vitally important to this country and contributes billions of pounds each year to the UK economy – something that is an undeniable fact. The UK is regarded as a world leader in delivering complex events and our work is recognised and respected across the globe. However, the complete lack of ongoing support from the government means we now find ourselves at a cliff edge. There are hundreds of thousands now out of a job, through no fault of their

own, and it seems that the possibility of returning to work won’t arrive until at least March next year. “Now, more than ever, our voices need to be heard. This is why Stand as One is so important; it means we can all work together to ensure that our message reaches as many people as possible, not just in our industry but to all those who enjoy live events. This new collective has been meeting on an almost daily basis, working hard to put plans in place for the next steps of the campaign, whether it’s online and social messaging, videos, case studies or legal outdoor events to gain media attention. We’ve made a commitment to ourselves, our colleagues and our community to not stop until we receive the support we need – and this is a promise we intend to keep.” Gary concluded: “We’d like to say thanks again for everyone’s support and patience so far. It truly is appreciated. That said, as those of us who’ve been out of work for months now know, the campaign www.mondodr.com

to raise awareness has only really just begun. Now more than ever, it’s vital that we all work together to put forward the same message in order to achieve our main aim of receiving significant and immediate government support. We have to keep building momentum and show just how devastating the obliteration of the live events industry in this country would be, not just to us, but to everyone. We need as many people as possible to get involved, so please reach out and take part in a campaign and let us all Stand as One together”. Today, the collective is calling on as many individuals who normally work in live events to come together and take part in Stand as One. To kick this off, the group has put together the following incentives; Write to your MP, share #WeMakeEvents videos on social media, call someone you know. For more information about the campaign and how you can get involved, visit: www.wemakeevents.com

112 IN DETAIL

SYNCRONORM | DEPENCE²

Due to the recent situation of a global pandemic, virtual events are a chance and an opportunity for the industry to compensate for all kinds of cancelled shows and productions. German show design software developers, Syncronorm, are aware of this and have optimised their latest visualisation software, Depence², for use in setting up virtual events. With Depence² and its rendering engine, which allows a high grade of realism, designers can create detailed virtual environments, which can be lighted and outfitted just like realworld locations or even larger imaginative settings. For that reason, Syncronorm have implemented some key functions, which are needed to realise such projects. Depence² allows users to animate virtual characters and objects with the technique of Keyframes. In this way, any object within the virtual environment of Depence² can be animated between two or more frames on its timeline. Therefore, motion sequences like camera tracking shots or moveable stage elements can also be

simulated. The rendering capacities of Depence² thereby reach from small virtual TV studios to large festival stages or congress halls. Depence² supports a specific Chroma-Key function. This technique, which mostly can be found in TV/cinema and gaming streams, is also used in various video editing tools. Moving image as well as single frames can be imported as source. As soon as a monochromatic background is used, this colour can be set as transparent. With the help of particular colour threshold values, the imported picture can be easily optimised until it fits for the overall scene. Virtual shadows, which are created by light and objects, are also considered by the rendering engine. Video files, textures or a live NDI video stream input can be used as source, which allows a great deal of flexibility for streaming virtual events. Billboards are virtual projection surfaces for video or image content, which will automatically follow the perspective of a virtual camera. This benefits virtual tracking shots most. By setting www.mondodr.com

up a billboard in Depence², a virtual projection surface will be created as an object within the visualisation, together with a definition for its movement axis. In combination with the ChromaKey function and a camera, which was animated with Keyframes, a live action scene may be integrated into a fully virtual design. To guarantee realistic results for all show elements within Depence², common protocols such as ArtNet/sACN are used to import DMX data from lighting desks. In this way, every virtual scenario within Depence² can be lighted such as a real location with real parameters. Depence² is very performant, which allows the user to capture the pre-visualisation directly without loss in quality. This can be used to stream a virtual event directly on streaming platforms such as YouTube or Twitch. To maximise realism and quality, all visualisations can be rendered as 4K video together with various filters to alter the image. www.syncronorm.com

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114 IN DETAIL

HOF | XHD BOX CORNER

Thanks to its cross bracing on six sides and the significantly stronger main tubes, the XHD Box Corner has up to 40% more load capacity than the standard Box Corner. As a result, the Box Corner is not any longer â&#x20AC;&#x201C; like it used to be regularly the case in the past â&#x20AC;&#x201C; the weak point in the overall construction. Compared to the standard Box Corner, the new XHD Box Corner has one more important feature: Instead of a classic aluminium thread, like the already existing Box Corners, the new XHD Box Corner comes with a steel thread. Compared to an aluminium thread, the steel thread has a significantly longer life and is more reliable. The XHD Box Corner fits on many 30cm boxtrusses and can be powder coated in any RAL colour. www.h-of.de

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116 IN DETAIL

VISIX | TOUCH10

Visix Touch10 meeting room signs now support a voice user interface, which gives instant access to schedules, floor maps, directions and other useful content by simply speaking to the room sign. This is the latest solution from Visix to offer hands-free interactivity. Touch10 room signs are powered by the company’s AxisTV Signage Suite content management system, which lets users show schedules, media playlists and interactive content on room signs mounted outside any shared space. The software’s recently released Voice Recogniser Widget (VRW) takes advantage of the built-in speech recognition engine for Windows 10 and can be easily configured to let Touch10 room signs respond to voice requests. Content available on Touch10 room signs is controlled by signage managers and is not limited by the software. In addition to asking to see room schedules and other content, users can also notify

facility managers when a room needs to be cleaned or restocked with items like hand sanitiser. Some example voice commands are: ‘Show me the room guidelines’ and ‘What is the room capacity?’. Touch10 room signs support bidirectional bookings at the sign for Exchange and Office 365 calendars. Walkup reservations still require touching the interactive display or using the appropriate scheduling app on a mobile device, to ensure that reservations meet clients’ booking criteria. The addition of a microphone is required for Touch10 room signs to support voice requests. Visix can recommend local integration partners who can suggest microphones suitable for the client’s application and environment. Visix can also design Touch10 layouts using the VRW for clients who need creative support. www.visix.com

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118 P RODUCT GUIDE

light•ing con•trol

[lahy-ting kuh n-trohl] n.

Lighting control - whether hardware or software - is used to control multiple intelligent lights at once, with many able to control special effects fixtures, too. Lighting control devices are also equipped to manage the intensity of the lights by communicating via an electronic control protocol, such as DMX512.

PRODUCT GUIDE

LIGHTING CONTROL SPONSORED BY

“Since its foundation in 1983, MA Lighting has expanded to become an international leader for computer-controlled lighting consoles and networking components. This success is based on solid reasons: commitment and power to innovate, MA Lighting meets the growing demands of a constantly changing industry and develops product solutions for tomorrow. At MA Lighting, our mission is to offer the best products with constantly evolving and free software for life. MA products come with a package of unparalleled value such as training, support and service. All our activities aim to deliver the highest quality and to create value and trust towards customers and we strive to constantly improve in all our areas. At MA, we strongly believe that it is the people that make the difference. This is what we call the huMAn touch. Always looking to find the best solution for your customers is our first aim. The people at MA are experts in their fields and working as a team, we combine our knowledge.” www.malighting.com

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257mm

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120 P RODUCT GUIDE - LIGH T ING CONT ROL

Avolites Arena

Adam Hall Cameo DVC PRO In the club, DJs naturally take centre stage – and the lighting control disappears in the far corner. When every single inch counts, a lighting control solution needs to be as compact and convenient as possible, yet flexible and powerful. With the DVC PRO interface and the accompanying D4 software, Cameo offers a comprehensive hardware and software package to handle up to 1,024 DMX channels (two universes) via PC and Mac. Besides the Live mode with 1,024 DMX channels, DVC PRO allows for stand-alone operation with 256 channels (upgradeable up to 1,024 channels). Just copy your programmed lightshows into the integrated flash memory. The interface features a USB-C input, two three-pin XLR outputs and is powered by the USB output of your computer. The free-of-charge Cameo software package contains over 15,000 device libraries as well as a ScanLibrary editor for creating and editing your own device profiles. Create, arrange and layer dynamic scenes, the palette function allows lighting control without fader movements, while the XEEL engine creates hundreds of impressive pixel and video effects. The software includes an extensive toolbox for live edits, an audio analyser and a MIDI clock for synchronising light and music tempo, as well as a 3D visualisation of the programmed light show in real time. The screen layout can be completely customised to your individual needs, while the cost-free “Easy Remote Pro” App makes remote control with iOS and Android devices a breeze. Thanks to the integrated Wi-Fi Access Point in the DVC PRO, no external peripherals are required. www.cameolight.com

The Avolites Arena is the ideal desk for festivals, theatres and anywhere that a larger control surface is required. It combines the popular interface of the Tiger Touch II with more live control than ever before. Alongside the vibrant main display, a second touchscreen provides an additional workspace window, also labelling the adjacent macro buttons and rotary pots. These fully assignable playback encoder pots allow intuitive control of channels and effects. The six LCD screens display electronic legends for 30 faders, for speedy access to all your playbacks, fixtures and palettes. A brand-new optical output means the Arena is equipped for fibre connections, with no signal loss over long distances, from FOH to the stage – essential in large and outdoor venues. Offering seamless Multi-User compatibility, the Arena can be used as master, back-up or extra programming surface, considerably cutting your programming time by allowing multiple Titan programmers to work simultaneously, before the main console takes charge. www.avolites.com

Chroma-Q Vista

Chamsys MagicQ MQ500M Stadium ChamSys has made it easier and more seamless than ever for fades to be woven into a greater variety of massive lighting designs with the introduction of the MagicQ MQ500M Stadium console. This new powerhouse, which offers 256 universes of control direct from the console without the need for additional processing nodes, gives designers and programmers greater flexibility at the highest level of show control. With 15 motorised faders and 15 playback encoders per bank – and up to six banks – a total of 180 playbacks can be accessed at the touch of a button. RGB LED illumination enables different colours to be assigned to each individual fader and playback encoder enabling unlimited customisation. In addition to its rich feature set of core lighting control, shows with all 256 universes can be previsualised and preprogrammed on a PC or Mac without additional hardware or dongles and then loaded into the MagicQ MQ500M console. All 256 universes can also be visualised within the inbuilt MagicVis visualiser or with a direct link to third party visualisers such as WYSIWYG, Capture, Vectorworks, Depence and L8. Both the Patch and the XYZ fixture position can easily be transferred from the chosen visualiser into MagicQ. www.chamsys.com

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The Vista lighting and media control platform has been embraced by leading designers, production companies, and venues around the world since its launch in 2004. With its legendary timeline, visual interface, speed and ease of use, Vista lets users focus on creating great looking shows whilst still providing the power to control the finest details. Vista provides the tools to be able to put on any style or scale of event. Comprehensive structured cuelist features all the way to live ‘busking’ tools ensures that Vista is suitable for your current event. Vista has hardware to suit your physical, or budgetary, requirements. It can run software only, with native Windows and MacOS support, or if you require some physical hardware, you can choose from the portable and cost-effective, Vista MV or the Vista EX control surface, which provides large amounts of physical control, still within a compact footprint. It is futureproof and expandable. Modular, expandable, DMX channel licences ensure that you have the flexibility to expand your lighting control system as and when you need to. Visa also allows you to quickly and accurately transform your ideas into stunning lighting designs. www.VistabyChromaQ.com

121 P RODUCT GUIDE - LIGH T ING CONT ROL

ChromaTeq Pro DMX The Pro DMX is a professional software for live performances, stage lighting, architectural and sound to light shows. It offers multiple, amazing ways of easily taking control in live and in real time. The software can be configured for each user and meets even the most demanding customer’s requirements. The Pro DMX is powerful and it has been created mainly for experienced users working in the show and entertainment industry. Its complete dazzling innovative architecture allows new users to discover all aspects of DMX programming and to operate their fixtures within just a few minutes. It includes all the visual tools (audio, lighting and video timeline) that are necessary for professional and artistic quality creations. www.chromateq.com

City Theatrical Choreo Choreo Lighting Controller provides full-featured, stand-alone programming and playback for DMX512 lighting systems, all in a three-gang wall box. Choreo’s natural language interface makes the selection of lights, adjustment of their attributes, and the recording of reference libraries, memories and cues fast and simple. Once programmed, use the screen as a virtual button/fader station, or run shows from time code, serial input or contact closures. www.citytheatrical.com

Crestron Horizon Horizon keypads from Crestron are available in highlyconfigurable, single-gang models that combine up to four across. The new line offers designer aesthetics, superior button feel, four different button styles, programmable multicolour backlighting, interchangeable custom top and bottom trim pieces, and Cresnet wired communications. The Horizon line is available in single-gang and up to four keypads can be ganged together. Dealers can choose from four button styles: single, sideto-side rocker, small up-down rocker, and large up-down rocker. Top and bottom trim pieces are interchangeable to suit any décor and provide the ultimate in style. For enhanced readability under any lighting conditions, every model in the Horizon line includes multicolour backlighting that illuminates the highquality laser engraved text on the buttons. When the button is pressed, it glows two to three times brighter than the inactive buttons. Moreover, each button can be programmed to glow in any colour. The Cresnet bus is the communications backbone for Horizon keypads, along with many Crestron lighting controllers, shade motors, sensors, and other devices. Cresnet is a simple, yet flexible four-wire network that provides bidirectional communication and 24VDC power for Cresnet devices. Cresnet supports up to 252 keypads and other devices. www.crestron.com

Equipson LightShark Series LightShark Series is the first ever hardware lighting console range to offer a wireless, web-based control User Interface from any smart device like a smartphone, tablet or computer. All this is combined with physical faders, encoders and an independent DMX engine. With support for up to three connected devices simultaneously, LightShark sets a new standard for lighting control. The LightShark range comprises two independent products, the LS-Core and the LS-1 consoles, both developed and designed entirely within WORK PRO’s lighting division. The LS-1 brings together the best features from the world of innovative software-only lighting control and marries them to an intuitive, ergonomic assignable hardware control surface. The LS-Core omits the LS-1’s hardware control surface but offers the same lighting control software, processing power, and smartphone/tablet-based software control interface. LightShark Series is a new concept in lighting control systems that combines the versatility of the software solutions with the ergonomics, built-in interfacing, and physical usability of a hardware console. Perfect for small events, nightclubs, drama schools, corporate events and mediumsized live events. LightShark has a clear and simple user interface, any lighting designer will be able to use 100% of LightShark functionality in very reduced time. First-time users will adapt quickly and be able to create spectacular looks without any technical knowledge thanks to the built-in FX engine, with more than 25 pre-configured internal presets. www.lightshark.es

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122 P RODUCT GUIDE - LIGH T ING CONT ROL

LSC LIGHTING LX CONSOLE

High End Systems Hog 4-18 The flagship console of the Hog family, Hog 4-18, is designed for the largest stadium shows, theme park installations and concert tours. Hog 4-18 shines in any environment requiring a multi-console setup and networking. Hog 4-18 embraces the latest technology while retaining the familiar control surface of previous generations. Programmers will power through cueing sessions using touchscreens, high-resolution encoders, jog shuttle wheel, LCD keys and motorised faders. Hog 4-18 includes new 18.5-inch multitouch screens and an updated industrial design with aluminum encoder knobs and integrated accessory mounts. A host of other hardware features make Hog 4-18 the programmer’s choice. www.highend.com

The LX consoles are available in three models. The Flagship LX900 comes with two banks of 15 motorised playbacks, 10 touchscreens, tilting top panel, dual-colour backlit control surface, and can control 16,384 DMX slots. The mid-range LX600 has the same features set, with one bank of 15 motorised playbacks, nine touchscreens, and control of 8,192 DMX slots. The LX300 is the smallest console in the range, yet still includes the same backlit control surface, 15 playbacks, 11 mini touchscreens and control of 4,096 DMX slots. All the LX consoles run v2 of the renowned Clarity lighting control software. Developed by OpenClear over a period of six years, it provides an easy-tolearn interface with an impressive feature set, designed to reduce repetitive tasks and allow for very fast programming of complex shows. The Clarity software has been sold as a standalone product for Windows and Mac computers for over three years and during that time has proven it is show safe on thousands of shows, from small fashion parades right through to large festival rigs with hundreds of moving lights, LEDs, media servers and conventionals. Ergonomics were a major design consideration with the LX consoles. Specialist industrial designers with extensive HMI (human machine interface) experience were bought in by LSC to create the control surface. The relative height, size, spacing and even the shape of the keys, encoders and faders were optimised to allow free movement around the control surface and to minimise fatigue during all night programming sessions. www.lsclighting.com

MA Lighting grandMA3 onPC command wing XT The grandMA3 onPC command wing XT is the grandMA3 onPC console solution. With the grandMA3 onPC software pre-installed on the built-in, genuine MA motherboard, the grandMA3 onPC command wing XT is a 4,096-parameter console that can be used in nearly any location – just add a touchscreen monitor, and ´it s ready to go! The grandMA3 onPC command wing XT is an extremely versatile solution for smaller and mid-sized installations and shows, streaming studios as well as a powerful preprogramming and backup tool on the road. It is built to the same highest standards of quality in software and hardware that are applied to the entire grandMA3 product range ensuring that users will benefit from this MA DNA. grandMA3 onPC command wing XT is the perfect option for new MA users as well as MA veterans. Designed as the perfect tourable hardware solution to the grandMA3 onPC software, the grandMA3 onPC command wing XT enables the look and feel of the software to be as close to a real grandMA3 console as possible. Thanks to the grandMA3 onPC command wing XT incorporating the command section of the grandMA3 consoles, it has never been easier to use the grandMA3 onPC software. www.malighting.com

Nicolaudie SUNLITE-EC The new SUNLITE-EC is the latest generation of DMX interface for Sunlite Suite 3 software. Featuring 1,024 DMX channels and Sunlite Suite 3 EXPRESS out of the box, the interface can be upgraded to 2,048 channels or the full software version. Along with its sleek anthracite dark gray design, the SUNLITE-EC provides four DMX connectors and a backlit keyboard to control your lights. The interface also comes with a microSD stand-alone memory, allowing for programmed shows to be run in stand alone without a computer. This powerful feature is perfect for smaller shows where a computer is not needed, as a backup in case of computer failure, for rental applications or for architectural installations. The stand-alone scenes can be changed via the backlit keyboard. www.sunlitepro.com

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124 P RODUCT GUIDE - LIGH T ING CONT ROL

Visual Productions Cuelux Cuelux is an intuitive software controller for the entertainment lighting industry, incorporating a range of exciting features. It is a DMX 512 lighting controller for intelligent lights, LED, dimmers, lasers and various other effects. The programme is platform-independent and available on macOS, Microsoft Windows and Ubuntu Linux. The software is shipped with a USB-to-DMX adapter cable that easily fits in your laptop bag. Key to the design of Cuelux is its intuitive graphical user-interface. It is specially designed to reduce the amount of time required to learn how to operate the software. Combined with its affordable price, Cuelux is available to a large audience of Light Jockeys, DJs, freelance technicians, rental companies and tour bands. www.visualproductions.nl

Wireless Solutions W-DMX BlackBox G5 The W-DMX BlackBox series is an industry bell-weather for Wireless DMX and RDM control, packed into a tough, roadworthy die-cast metal casing. Crammed with all our W-DMX technologies, the W-DMX BlackBox series is built for the true lighting professional. The W-DMX BlackBox G4 uses patented Adaptive Frequency Hopping technology to automatically avoid interference created by other wireless networks, for example W-LAN, wireless intercoms, stage automation systems and more. Supporting both the 2.4GHz and 5.8GHz frequency bands, these dual band units have full RDM support (transceiver models only), meaning even the most complex installations and the BlackBox units themselves can be configured wirelessly. All BlackBox units are backward compatible with W-DMX G3 units, protecting your investment in the W-DMX range. A slot for the optional Ethernet PCB allows W-DMX BlackBox units to be enabled with Streaming ACN, Art-Net and other Ethernet based lighting protocol support, allowing the W-DMX BlackBox to be integrated into larger, more complex installations. The ability to convert both to and from these Ethernet protocols means that the system can be used with any protocol in, and any protocol out. Built in automatically switching power supplies mean that no matter where you are in the world, BlackBox units are ready to go. W-DMX units can be supplied directly by a battery thanks to the Phoenix Gold 12V input, and over a network through PoE (Power over Ethernet) with the optional network card. BlackBox units ship standard with a 2/4dBi dual band antenna, which provides up to an exceptional 800m of range. For links over greater distances, or for more complex projects needing one of Wireless Solutions’ other antenna, the N-type antenna connector allows any compatible antenna to be screwed on, quickly and easily. The products come with a range of different mounting options, including truss and rack mount options. This means that, whatever the location, the Blackbox units can be securely mounted. www.wirelessdmx.com

Zero 88 FLX S24 & S48 FLX S consoles are easy to learn and simple to use – delivering all the features you need at an affordable price. Quickly and accurately control colour changing lights using the multitouch colour and image picker, the encoder wheels or by selecting colours contained within a ‘mood’ using Mood Boards by Lee Filters, and quickly record it straight onto any fader or one of the 48 (FLX S24) or 96 (FLX S48) instant-access colour palettes to recall later. Moving lights can be controlled using the multitouch pan/tilt grid, the encoder wheels or with automatic effects like ‘Figure 8’, ‘Rainbow’ and ‘Fly-In’. From design to manufacture, FLX S24 and FLX S48 have been developed to work in a wide range of applications, with specific considerations for education, houses of worship, fringe theatre, community venues, corporate events, concerts, rental, fashion, festivals, holiday parks, cruise ships, TV and many more. Built-in tools such as Auto Palettes and RigSync do all the prep work, getting you ready to operate quicker than ever before. Programming time is reduced with a simple three-step programming method for moving lights, colour changing and conventionals – what you want, how you want it, where you want it. And for all those really important features you need over and over again, you always have direct instant access via the dedicated Z button. www.zero88.com

WWW.MONDOSTADIA-AGORA.COM

INTERESTED IN AGORA? CONTACT: SAM (S.HUGHES@MONDIALE.CO.UK) SPONSORSHIP: JAMIE (J.DIXON@MONDIALE.CO.UK) OR LAURA (L.ILES@MONDIALE.CO.UK)

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1. Visionary Solutions DUET 2

3. Audio-Technica AT2020V & AT2020USB+V

Visionary Solutions has released the PacketAV DUET 2 Encoder and Decoder, the world’s first AV-over-IP endpoints with built-in USB-C connectivity for distributing 4K UHD video and Dante/AES67 over Gigabit Ethernet. Boasting significant new updates to Visionary’s acclaimed PacketAV DUET Series, the new DUET 2 encoders and decoders deliver 4K UHD video, Dante/AES67 connectivity and control, all via a single Main Gigabit LAN port. USB-C connectivity is standard, offering easy connection for sharing media via laptop, tablet, phone, or other USB-C connected devices, as well as enabling soft-codec integration via driverless USB 2.0 connection to a PC for web conferencing applications such as Zoom, Skype, Cisco WebEx, and Microsoft Teams. DUET 2 endpoints are also equipped with an Ethernet Expansion port, enabling network connectivity for control and managed IP traffic pass-through to remote devices including projectors, displays, and touch panels controllers. This expansion port also supports Power Over Ethernet (PoE) pass-through to connected devices for added flexibility. DUET 2 units also offer multiple selectable local input sources with HDMI loop-through, enabling automatic switching between USB-C and dual HDMI input sources via input detect mode, or via programmed control system or web browser. www.vsicam.com

Audio-Technica has announced two limited-edition iterations of its acclaimed AT2020 Cardioid Condenser Microphone featuring a reflective silver finish: the AT2020V (standard) and the AT2020USB+V (USB model). The visually striking finish is meant not only to celebrate the mic’s clear, natural sound quality, but to mirror the creative force of its user, making these mics ideal for YouTubers, livestreamers and other content creators. These rugged side-address condensers are equipped with low-mass diaphragms custom-engineered for extended frequency response and superior transient response. The mics’ cardioid polar pattern reduces pickup of sounds from the sides and rear, improving isolation of desired sound source. All models in the AT2020 mic line – the price/performance standard in side-address studio condenser microphone technology – offer a wide dynamic range and handle high SPLs with ease. Both of the limited edition V models come with AT8458a shock mounts to attenuate any noise, shock, or vibration transmitted through a mic stand, boom, or mount. The AT2020V is ideal for vocal pickup in home-studio applications and features an analog XLR output for easy connection to a digital converter or mixer. The AT2020USB+V, perfect for podcasting, streaming, home studio recording, and voiceover use, gives you the power to present your vision with the convenience of plug-and-play USB operation. The AT2020USB+V features a built-in high-output headphone amplifier with volume control that allows direct monitoring of the microphone signal with no delay. It also offers a mix control that blends microphone and pre-recorded audio. The microphone’s A/D converter (16-bit, 44.1/48 kHz sampling rate) ensures extremely articulate sound reproduction. A 10-foot (3.1 m) USB cable is included. www.audio-technica.com

2. JBL Professional VTX B28 The VTX B28 is JBL Professional’s dual 18-inch subwoofer, designed to complement the company’s VTX full-range sound reinforcement systems, and deliver uncompromised low frequency performance. Differential Drive technology endows the drivers with exceptional performance, while patented SlipStream port technology offers improved airflow and reduced audible turbulence at any operating level. The VTX B28 houses a new, integrated rigging system that follows in the footsteps of the A8 and A12 rigging designs, and allows the B28 to be suspended in omnidirectional or cardioid arrays of up to 16 enclosures. The rigging and collection of accessories make the B28 a flexible solution for both mobile and installed sound systems. The B28 integrates seamlessly with HiQNet Performance Manager and Line Array Calculator (LAC) software, too. At the core of the B28 are two JBL Differential Drive 2288H-M 18-inch subwoofers. The combination of the 2288H-M drivers and the large, central, flared port deliver superior low-frequency output without distortion or artifacts – even at elevated SPL. FEA-optimised integral bracing eliminates inter-cabinet standing waves, improves rigidity, and simplifies the structural design. With versatile mounting and configuration options, the B28 fits seamlessly into any system. The streamlined, two-point rigging system uses integrated levers and locks, enabling the B28 to be stacked vertically or horizontally. Universal M20 mounts interface with supported VTX accessories for constructing complete ground stacked arrays. NL4 connectors on both the front and rear of the unit enable convenient wiring in standard or cardioid configurations. www.jblpro.com

4. AUDAC ATEO2S AUDAC has launched the ATEO2S into the market, a true click and play solution featuring the already beloved ATEO2 design wall loudspeakers. This compact loudspeaker maintains the extraordinary audio quality we expect from the ATEO series and is equipped with the innovative ClickMount mounting system, which is specifically designed to make mounting the speakers in corners an easy task. The ATEO2S includes both the loudspeaker and the mounting system bundled together. The ATEO2S’ impressive versatile mounting system allows the loudspeaker to be used in various fixed indoor applications like modern residential environments, retail stores or offices. Just like the ATEO2, it effortlessly blends into its surroundings, creating a subtle but effective solution. Thanks to the ceiling mount bracket, it even excels in technically difficult areas where the walls are not usable. www.audac.eu

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5. Amphenol AX Series

6. City Theatrical RadioScan Spectrum Analyzer

A new addition to Amphenol’s extensive connector portfolio is the release of the AX Series chassis mount connectors to compliment the popular AX Series cable plugs. The newly designed compact housing with reduced latch height is the perfect fit for space saving designs. It reduces accidental damage to the latch lever and features improved 360° grounding with a four-point rivet for strength and durability, as well as an integrated ground solder connection point. Contact layouts are in standard XLR format and range from three to six pins with a current rating from 5A to 15A. The connectors are fitted with solder bucket contact termination being the standard option for rack and panel manufacturing. For OEM board mounted applications, the connectors can be specified with vertical PCB contacts. Mounting options include the standard thru-holes or pre-threaded M3 mounting holes with housings finished in satin nickel or black polyester. www.amphenolaudio.com

City Theatrical’s newest product, RadioScan Spectrum Analyzer, is a 900MHz and 2.4GHz spectrum analyser that allows users to easily visualise radio energy that is otherwise invisible. With its a hardware dongle and accompanying free software, RadioScan helps users create wireless DMX broadcast plans that optimise the available spectrum, and help prevent interference with nearby mission critical radio devices. RadioScan shows all nearby radio activity in a chosen frequency, including frequency hopping gear like wireless DMX, as well as Wi-Fi networks, Bluetooth, wireless headsets, video transmitters, cordless phones, baby monitors, and microwave ovens. RadioScan can display spectrum data either in Spectrogram View or Waterfall View, and snapshots can be taken of both in the program. With RadioScan, scans of unlimited length can be recorded, saved, emailed and played back with the RadioScan software, without the need for the RadioScan hardware dongle. By identifying SSIDs, broadcast channel, and the signal strength of wireless networks, RadioScan can help IT departments setup, maintain, and troubleshoot their wireless installations. www.citytheatrical.com

128 DIRECTORY

1. HK Audio PREMIUM PR:O D2 Series

3. Tasker Studio, Premium & Classic Series

The PREMIUM PR:O D2 Series consists of five DSP-controlled full-range and multifunctional loudspeakers (the PR:O 110 XD2, PR:O 112 FD2, PR:O 112 XD2, PR:O 115 FD2 and PR:O 115 XD2), as well as the PR:O 210 Sub D2 and PR:O 118 Sub D2 subwoofers. The PR:O D2 series uses premium components and state-of-the-art DSP electronics with advanced FIR filtering for intuitive and practical operation, and their low-resonance wooden cabinets for powerful bass reproduction offer a maximum SPL of up to 132 dB. In line with the modular principle, the loudspeakers can be combined flexibly for the most varied of requirements, from standalone, 2.1 and monitor setups to full-stack applications. These combination options make PREMIUM PR:O D2 suitable for a wide range of installations where excellent speech intelligibility and transparent reproduction is required. All PR:O D2 loudspeakers (except the PR:0 210 SUB D2 subwoofer) can be used together with PREMIUM PR:O legacy loudspeakers. The PREMIUM PR:O D2 lineup has been given a thorough design overhaul. Sturdy metal front grilles not only adds to the visual appeal, but also give the loudspeakers the necessary protection during operation. The new MultiGrip handles make handling the loudspeakers a breeze in any position and also facilitate professional rigging using the familiar HK Audio tilt brackets. www.hkaudio.com

The new Tasker LIVE line of assembled cables for musical instruments, microphones, loudspeakers and audio applications is available in different sizes, with connectors and high quality cables. This new range of products is divided in three line of assembled cables. The Studio Series has been made using pure O.F.C. copper cables and professional connectors in metal with tip to tip technology and great mechanical seal. These professional jack connectors guarantee a perfect electric connection, thanks to a unique O.F.C. copper bar that goes from the welding spoon to the contact point. Ideal for high power audio products, such as professional amplifiers. The Premium Series offers maximum flexibility and precision. Using pure O.F.C. copper cables, with coloured sheaths, they can be combined with special professional connectors with gold plated contacts 24K-1,0μ. Perfect for live performances where technical reliability without any limits is needed. The Classic Series is perfect for those in need of a functional, reliable product. Using pure O.F.C. copper cables, they are compatible with both Tasker and Neutrik connectors. The Classic Series is renowned for its reliability over the past 40 year, guaranteeing professionalism and precision. www.tasker.it

2. Symetrix xIO Bluetooth Symetrix has announced the newest addition to its innovative product line, the xIO Bluetooth; The first Dante-enabled Bluetooth endpoint available in a single gang form factor. Using a modern, full-featured Bluetooth 5.0 chipset allows the xIO Bluetooth to offer extended range, a stable connection, and world-class audio quality. Available in both US and EU form factors, the xIO Bluetooth has a clean, sleek design and is compatible with standard single gang US wall boxes with Decora faceplates, as well as EU/UK standard wall boxes. IP control and PoE power simplify installation by allowing a single cable connection from the xIO Bluetooth to a PoE enabled network switch. The xIO Bluetooth may be configured to allow media-only connectivity, phone bridge connectivity, or both. All aspects of xIO Bluetooth control can be controlled using Symetrix remotes, SymVue panels, or third-party control systems. The xIO Bluetooth is a fully integrated member of the Symetrix xIO family of Dante endpoints allowing full control and configuration of the device, including Dante routing, from within Symetrix ComposerTM software. All aspects of the xIO Bluetooth are fully configurable including the Bluetooth friendly device name, Dante channel names, connect/reconnect functionality, and security. www.symetrix.co

4. Roland V-600UHD When you are asked to deliver in 4K, the Roland V-600UHD is designed to allow you to ease your transition to 4K workflows as demand and budgets allow, without your current HD sources and displays becoming obsolete. Roland’s ‘Ultra Scaler’ technology provides scaling on every input, so you can use Full HD and 4K sources simultaneously, as well as output at multiple resolutions. The recently released Version 2.0 update transforms the V-600UHD into a powerful single-operator production switcher. Version 2.0 adds ‘Automatic ROI’ – a technology assisted camera workflow that blends robust facial tracking technology with Roland’s multi-shot Region of Interest (ROI) feature, and provides ‘all in one’ control for a variety of LAN based PTZ cameras from selected manufacturers. The V-600UHD is packed with features - such as support for DCI Cinema 4K resolution (enabling you to switch content to display images up to 4096 pixels wide), and flexible 24-bit 48kHz audio processing (to make easier to incorporate embedded audio from digital video signals into audio systems at an event or performance) – providing true 4K capabilities (not just more pixels) in an affordable way. www.proav.roland.com

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129 DIRECTORY

1. Extron SF 26CT LP

3. Renkus-Heinz Iconyx Compact 24/3-RN

Extron has introduced the SoundField XD model SF 26CT LP, a low profile 6.5-inch twoway ceiling loudspeaker featuring a 4.2-inch (107mm) deep composite back can for use in restricted height plenum environments. The driver complement includes a 6.5-inch (165mm) subwoofer coupled to a 3/4-inch (19mm) ferrofluid-cooled dome tweeter. The SF 26CT LP offers both direct 8 ohm and 70/100 volt operation with a behind-thegrille, six position power selector switch. With high impedance taps at eight, 16, 32, and 64 watts, the SF 26CT LP is ideal for applications that require a high power distributed loudspeaker system in plenum spaces that will not accommodate a taller back can. The SF 26CT LP continues the new paradigm in loudspeaker technology for pro AV applications that began with the Extron SF 26CT. With innovative materials, modular construction, and unique features, these SoundField XD speakers provide significant savings and superior performance. www.extron.com

Renkus-Heinz has announced the latest product in its new Iconyx Compact Series: the Iconyx Compact 24/3-RN – a solution bringing the benefits of Renkus-Heinz’ Iconyx family to a smaller footprint array. The ICC 24/3 joins the recently announced ICC 12/3 in the new Iconyx Compact Series, a line that offers additional solutions for integrators seeking flexible and powerful options in ‘medium-sized’ installations. The goal of the line is to open up more opportunities for integrators in the house of worship, corporate, transportation, education, and government markets. The Iconyx Compact Series brings performance and directivity to spaces where even the classic Iconyx arrays might be too large. The very narrow profile blends into nearly any environment, while the exceptional control of directivity can help with the most challenging acoustics, making the exceptional performance of beam-steered line arrays available to even the most architecturally sensitive spaces. An all-new, 24-channel digital amplifier powers 24, three-inch/77mm full-range, high sensitivity, treated paper cone drivers. With an amplifier and DSP channel for each driver, the flexibility of Iconyx is available in a package nearly 40% smaller than the classic Iconyx. Still, the ICC 24/3 offers the impressive performance synonymous with Renkus-Heinz: full RHAON II beam-steering with the latest U.R.G.O beam algorithms, a movable acoustic center, multiple beam opening angles and high-pass filtering of individual beams. All with the fidelity and musicality expected of a Renkus-Heinz product. The included wall-mount bracket makes mounting easy and is nearly invisible behind the arrays. Standard RN units have analog and AES inputs. www.renkus-heinz.com

2. Wharfedale Pro DP-4100D & DP-4150D Wharfedale Pro has expanded its DP series of Class D digital amplifiers with the announcement of new DP-D models - DP-4100D and DP-4150D. These advanced four-channel power amplifiers deliver enormous output power, up to 14.2kW, and are stable all the way down to 2Ω. This makes them perfect for multiloudspeaker systems such as Wharfedale Pro’s own WLA-series line array. DP-D series amplifiers feature powerful internal DSP which is accessible through either the front panel or through the supplied control software. The DSP control interface gives granular editing of EQ, limiting, delay, phase and filtering to the signal path, allowing a DP-D amplifier to become the system controller as well as the main power amplifier. This DSP removes the need for additional external signal processing. Input connectivity is handled either by four discrete analogue XLR connectors on the rear panel or by the RS485 connectors on the front which accept AES3 digital inputs. Housed in a 1U rack, the DP-D models are compact and lightweight, but still bring huge power with extremely detailed levels of DSP control. Both models (DP-4100D and DP4150D) feature the same user interface, channel count and DSP engine. The difference between the models is simply the output power. www.wharfedalepro.com

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“The scrappy company quickly established a solid reputation for the design, manufacture, and installation of specialty rigging and theatrical equipment.”

MARK T. BLACK President and Founder, IA Stage How did you first become involved in the entertainment industry? I’ve been working in the entertainment industry for over four decades. I began installing stage machinery back in 1978 when I was sent to manage a big project in Venezuela for Hoffend & Sons. Shortly after arriving, I became the installation superintendent for what was, at the time, the largest art centre project in the world. The Sala De Conciertos Rios Reyna would remain the largest performing arts project in the world for many years to follow.

When did the company begin? Involved in the construction of many major performing art centre projects in the United States during the 1980s, I took the logical next step and founded IA Stage in September of 1989 in Daytona Beach, FL. Central Florida was the ideal location because it’s easily reached via major interstates, surrounded by theme parks, and has temperate weather year round. The scrappy company quickly established a solid reputation for the design, manufacture, and installation of specialty rigging and theatrical equipment.

Can you give us some insight into IA Stage’s products? IA Stage is most well-known for its patented SkyDeck tension wire grid, a woven wire walking surface supported by a low-profile steel framework. The idea was developed over the course of several projects. We were dealing with limited structural capacity of the roof framing over here, safe overhead access over there, and the solution was SkyDeck tension wire grid. The first SkyDeck was developed and installed in Coral Gables, FL, at the Actors Playhouse.

Can you talk us through SkyDeck’s design? The patented design is elegantly simple. Each grid panel is composed of a hybrid steel frame

with a maximum two-inch profile in both height and width. The difference in height between the woven wire walking surface and the steel framing never exceeds 3/16-inch, providing a nearly co-planar walking surface that practically eliminates trip hazards. Framing members are self-supporting and do not require a steel perimeter for support. Engineered to have a low self-weight to strength ratio, SkyDeck is ideal for venues that cannot accommodate the weight and cost of additional structural steel. SkyDeck’s unique design is self-preserving, meaning that the cable never comes in contact with sharp edges. The holes through which the wires are strung are machined and beveled rather than simply drilled or punched. This ensures that the stainless-steel swage balls that hold the wires in place are seated tightly against the frame, preventing the wires from bending and fraying. When weight is placed upon the wires – when someone walks on the grid, for example – all wires are guided and supported so that the force applied is strictly horizontal, even further minimising wear and tear on the aircraft cable. The framing and wire fittings are designed for strength and ease of maintenance. Each panel has its own wire system, which is designed to keep the wires properly tensioned at all times. In the rare event that you do need to re-tension a wire or make a repair, it can be done easily with a commercially available Loos & Co. hand swaging tool. And, because SkyDeck is completely modular, there is no need to remove the entire panel to make the repair. Only the panel in question is affected, not the entire grid. What are the main benefits of using SkyDeck? IA Stage provides a wide variety of services for a wide variety of clients and takes very seriously their commitment to apply their expertise for the www.mondodr.com

improvement of current products and technology to make the industry safe. As hard as our industry has been hit with COVID-19, I wish I could tell you that SkyDeck grid panels radiate virus killing microwaves with a refreshing peppermint scent, but of course, I can’t. What I can tell you is that this product completely eliminates the risk of falling, which is the number one risk facing those who work in the entertainment industry.

What kind of installations is SkyDeck suitable for? Because of its modular construction, SkyDeck is easily configurable with multiple sizes, shapes, and colours available, including hinged panels with gas-assisted openers. Berry College’s Sisters Theatre in Rome, GA, has two hinged panels in their beautiful space. One of the most unique grids designed, built, and installed by IA Stage is at the Mary Moody Northern Theatre at St. Edward’s University in Austin, TX. It’s a decagon and each panel had to be custom built to fit this unique shape, resulting in all trapezoidal panels. Where do you hope to see SkyDeck being implemented in the future? The flexibility of SkyDeck got me thinking outside of the proverbial black box. For years, I’d been thinking of how perfect SkyDeck would be in large arenas for overhead access. My vision came to fruition with the renovation of the Fabulous Forum in Inglewood, CA, in 2013. When the Forum opened its doors in 2014, the 34,000 sq ft grid was the largest SkyDeck tension wire grid in the world. IA Stage also beat its own record with the Little Caesars Arena’s full-coverage grid in 2017. Comprised of 372 modular panels that weigh in around 205,000 pounds, the grid covers over 43,000 sq ft. It took approximately 81 miles of aircraft cable to create the walking surface. So, I think I’d definitely like to see more of our products implemented in stadium’s worldwide.

75 Years of Sennheiser. We look back on a rich history of seven and a half decades of innovation, expertise and attention to detail. Discover all stories, magic moments and special offers. www.sennheiser.com/75years

POWERSOFT ANNIVERSARY

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