mondo*dr 31.1

NOVEMBER / DECEMBER 2020 | 31.1

THE INTERNATIONAL PUBLICATION FOR TECHNOLOGY IN ENTERTAINMENT

LUCA LASTRUCCI

Powersoft’s CEO tells us how the company has continued to adapt and innovate in its 25th year.

MULTIPURPOSE VENUES

The latest projects from the diverse world of multipurpose venues.

NOVEMBER / DECEMBER 2020

LOUDSPEAKERS

An extensive round-up of the latest in audio technology.

THE INTERNATIONAL PUBLICATION FOR TECHNOLOGY IN ENTERTAINMENT

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7 LEADER

The news of a second lockdown was the last thing we wanted, as we see numerous venues shut down once again, just as they began to slowly find their feet. We can only hope that we’ll see an improvement as we come back out of lockdown and into the new year. The welcome news of a potential vaccine certainly gave us reason to see light at the end of the tunnel - fingers crossed that we’ll soon be meeting up once again at tradeshows and events.

In the meantime, the industry will continue to do what it always does - support each other, adapt and overcome.

With that in mind, our attention turns to this

MONDO*DR 31.1 NOVEMBER / DECEMBER 2020

issue’s big interview with Powersoft CEO, Luca Lastrucci. It’s the company’s 25th anniversary this year and, while it’s not certainly not been how they envisaged, the innovation has shown no signs of slowing down.

We’ve plenty of other features, too, including our cover story on the impressive Vienna Volksoper, which has been given a new lease of life, thanks to its new KV2 Audio system.

Finally, have a wonderful festive break and we hope to see you in 2021 - in which, I’m sure, we’ll see the industry go from strength to strength.

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

ON THE COVER Vienna Volksoper Image courtesy of Petr Zikmund EDITOR Sam Hughes s.hughes@mondiale.co.uk

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9 CONT ENTS

CONTENTS 14 IN DISCUSSION

30

18 INSIDE VIEW

LUCA LASTRUCCI Powersoft’s CEO discusses his background, the company’s achievements and how the innovation is continuing in its 25th year.

IN DEPTH 24 INTERVIEW Luca Lastrucci - Powersoft 36 REPORT Multipurpose Venues

IN FOCUS

58 VIENNA VOLKSOPER A new, stateof-the-art KV2 Audio system for Europe’s leading operetta house.

56 KHALIJIA LOUNGE & RESTAURANT Barcelona 58 VIENNA VOLKSOPER Vienna 66 6MIC Aix-En-Provence 74 ST. JOHN AT HACKNEY Hackney 80 DHOW & ANCHOR Dubai 84 BERGSTRASSE LIGHTS Darmstadt

66

90 NOBU HOTEL CHICAGO Chicago 92 STEVEN TANGER CENTER North Carolina

6MIC France’s unique concert hall for contemporary music installs the very first L-Acoustics Kara II sound system.

100 CHIMELONG WILD ANIMAL PARK Guangzhou

IN BUSINESS 104 PANASONIC PRODUCT LAUNCH Online

92 STEVEN TANGER CENTER The perfoming arts venue is now home to the largest Meyer Sound Constellation acoustic system.

www.mondodr.com

106 IN DETAIL Christie, QSC, Pioneer Pro Audio 112 PRODUCT GUIDE Loudspeakers 124 PRODUCT DIRECTORY 128 IN PROFILE Zero 88

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14 IN DISCUSSION

HOW AUDIO CAN HELP PROVIDE IMMERSIVE SERVICES IN HOUSES OF WORSHIP Houses of Worship have been badly hit by the pandemic congregational singing is forbidden, social distancing is enforced, and many are logging on virtually. Adam Shulman, Market Category Lead for Installed Sound at Bose Professional, explores how audio is vital in improving gatherings under the restrictions.

This year has brought with it a number of challenges around the world. Church leaders are tasked with ensuring community support and stability by bringing their congregations together in a variety of ways and locations — from socially distanced in-person gatherings back in church or in the car park and open green spaces, as well as streaming services online. While the need to serve, connect and nurture fellowship remains the number one priority each week, it can be a challenge to determine how technology can be used to support the changes required by a global pandemic And while regathering can look a little different depending upon where you’re located, church leaders and their technology teams find themselves addressing similar challenges of how to best use their spaces available each week. Whether it’s for children’s services and education or a service for the entire congregation, understanding the how of connecting people together using available technology is key to that success, regardless if they are separated by six ft or in completely different locations.

This connection starts with sound.

Therefore, a crucial step is understanding the impacts of using spaces and equipment differently, whether inside or out. Sound behaves differently with a congregation that is only a quarter its previous size.

There are a number of things that can be done beginning with learning how sound

• Above Adam Schulman, Market Category Lead for Installed Sound at Bose Professional.

behaves, adjusting what is physically located in these gathering spaces, as well as how to best compliment the video stream without compromising audio quality.

Our sense of hearing is such an important part of our lives — it’s how we connect with our surroundings; it aids in our understanding of those around us and enables us to lose ourselves in music and be moved by the word. At Bose, we tend to view sound as the most important sense as seen in our commitment to making sound experiential, no matter where you are.

Church members can have a wide range of technology comfort levels and understanding what those levels are is an important first step in determining how to use the audio technology you currently have, and whether it’s necessary to invest in additional equipment.

If a church has access to multiple locations, does its technology team have the right audio equipment to enable everyone to hear, understand and partake in the services? We’ve all experienced situations where sound was just made louder to make up for larger groups or to cover a greater distance. But improving intelligibility is actually what is necessary to aid understanding, and this can be achieved inside a building and in open with the right technology and understanding, for both in-person and streamed services.

With the increased adoption of streaming services comes an increased comfortable www.mondodr.com

level of this previously inaccessible technology. Now, even the youngest members of a church are familiar with the concept of creating a video and posting it for others to access, and the idea of video chatting is commonplace. But, regardless of a person’s familiarity, audio plays a key role to these activities. People are more tolerant to an underwhelming video experience or an image that freezes if the audio is still available. Conversely, it wouldn’t matter how amazing the video image was if the audio is poor. The opportunity to engage and connect with their fellow congregants is lost.

With the availability of ultra highresolution displays on our mobile devices and televisions, church leaders may be tempted to stream in the highest resolution possible. This can consume significant bandwidth, causing playback issues and degrading the audio quality and clarity, which ultimately creates frustration and fatigue to people on the receiving end.

When investigating streaming options, connect with your dealer or professional AV partner and lean on them for the expertise is this area. By choosing a lower streaming resolution, the audio/video stream can become more widely available to people regardless of their available bandwidth.

Technology teams have an increased amount of responsibilities when supporting both in-person and streamed services. They need consistent reliability

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16 IN DISCUSSION

and audio quality regardless of whether the service is in an indoor space with a good installed system or in an entirely new space (indoors or out). This is easier to achieve when using the same manufacturer (or set of manufacturers) because of consistency in the operation of these products. When working with the same manufacturer, a portable PA system on stands should provide a similar voicing characteristic as a large installed system, requiring less time re-EQing the audio sources, as an example. This can be a major time-saver for technical teams when moving worship services from one venue to another.

Rooms that are used with far fewer occupants can lead to a host of audio and acoustic issues. It will be imperative for church leaders to engage their experts to take a closer look at how each room was designed and how itâ&#x20AC;&#x2122;s now being used, including its shape, structure and surface

treatments used. This will guide churches as they remap their audio, which will also assist them in selecting audio equipment and acoustic treatments that best meets their needs.

Whether a church has moved out furniture to create more open areas for easier social distancing or incorporated a transitional space just outside the entrance, itâ&#x20AC;&#x2122;s possible to create a welcoming, inviting variety of spaces with the right audio equipment. By adjusting worship spaces and outfitting them with audio solutions that support the post-COVID goals of the space (which are probably different than the pre-COVID design goals), everyone will be able to participate. These decisions will make sure churches are ready whenever their congregations regather.

As churches integrate a variety of worship experiences to meet the needs of their parishioners, the expectation is that the audio will be clear and consistent, no www.mondodr.com

â&#x20AC;˘ Above Crossgate Baptist Church, Mississippi and The Met Church in Texas.

matter where they regather. No matter if services are in-person and socially distanced at church or an outdoor space or joined from afar by others who are simply hesitant and join from home, your dealer is your ally. You should leverage their expertise in audio to help make services available in a variety of formats each week, and enable church leaders to focus on opportunities to connect with their parishioners rather than challenges imposed by the technology they are using.

By understanding that spaces and technology will need to be used differently than they have in previous times, churches can overcome the audio distortions, acoustic artifacts and audio fatigue caused by the increase in hard surfaces - and ultimately deliver dynamic, high-quality sound to their congregations no matter where they may be located. www.pro.bose.com

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18 INSIDE VIEW

ELEKTRA LIGHTING Neil Knowles, CEO

Elektra Lighting is an awardwinning lighting design consultancy established in March 2000. Currently working across four continents, it creates stunning lighting solutions for all sectors. www.elektralighting.co.uk

How did Elektra Lighting begin?

20 years ago, we were the architectural lighting division of White Light. At the time, there was a bit of a move in to make architectural lighting a lot more theatrical, a lot more interesting. The guy who owned White Light at the time, John, hired three people; me, another designer and a salesperson and made us the architectural lighting division of the company. We called ourselves Elektra, we had no clients and no portfolio to speak of, and it was really difficult. Just as we started to get some clients and some projects, John decided it wasn’t working and abandoned it. So, I bought it off him! I hired a small office and it was just me and a stack of businesses cards I’d accumulated. I managed to get the company off the ground and we’re now a team of 11 and the business is still entirely owned by me.

We have a very good team and we mainly focus on hospitality projects, with a significant slice of retail.

What did you hope to bring to the world of lighting?

20 odd years ago, lighting design was very engineering based. It was focussed on getting uniform levels of light and looking up the kind of requisite area. If it’s a restaurant and the guide says

100 Lux, then you just put 100 Lux uniformly over the entire surface and with a grid of downlights, and that was it, really. That was completely not what we wanted to do. We wanted to drag lighting into the world of stage lighting, to create atmosphere and mood and the kind of candlelit restaurant feel with also little pools of light, as well as accenting and warmth for colour temperature. That’s really important to us.

Did you always know that you want to pursue a career as a lighting designer?

No, I fell into it totally randomly. I did a joint degree in theoretical physics and philosophy, which, firstly, allowed me to think really deeply about things, something that is definitely important when it comes to lighting design. Then, I did a master’s degree in ergonomic design, and got a job with a company that did all kinds of service engineering for architectural projects. I learnt a lot about air conditioning and water piping, but also a lot about lighting. After this, I went to work for a lighting consultancy for a couple of years and got some experience before going onto White Light. My degree allowed me to learn a lot of skills applicable to lighting design. I’m very numerous, which is what physics gives you as a degree, but, www.mondodr.com

also, ergonomics teaches you to take into account a lot of other things and work practically.

What is your philosophy when it comes to lighting design? And how do you feel you stand out in the industry?

We are trying to create atmosphere with the lighting, and we’re trying to have a space that people want to be in rather than a space which is brightly lit. They’re not at all the same thing, we quite like a lot of darkness, I think it’s as much about the darkness as it is about the light. We’re also always very keen on having lots of little pools of light over the right colour temperature, which is really important because they go much, much warmer than people think they do. Less is definitely more, which is really cliche, but it’s really true.

How have you seen the industry change throughout the time you’ve been a part of it?

I think lighting design has become recognised as an actual thing. Whereas before, it was always a bit of an add on. More and more we’re doing whole chunks of whole buildings, whereas before we would only ever do the facade, or

19 INSIDE VIEW

maybe the entrance because they wanted that to be impressive. That’s a really good thing, the awareness that we’re actually adding things and bringing extra value. And I think people were worried at the start about paying another consultant but I think we’ve shown them that you can pay someone to do the lighting design and it may as well be somebody who knows what they’re doing, rather than someone who kind of half knows or just wants to have a uniformity in a space.

What was the project that put Elektra Lighting on the map?

Probably one of our first in Saudi Arabia in Riyadh.

It was the first Harvey Nichols store outside of the UK, and it was 10,000 sq metres. We lit the façade with this big colour changing light, which was the first kind of colour changing facade, I think, in the world. This was in 1998 way before LED, so the fixtures were tungsten with a little colour wheel. We had about 300 of these units with little motors on them and when you pressed the button, the whole facade would go blue or pink. It was revolutionary at the time!

What are your favourite kind of projects to work on?

Now, my favourite kind of projects are new ones.

Because we’ve been going for so long, I think I’ve done around 175 hotels, which will have about 500/600 restaurants in them and then about 100 spas, so it’s great when you get given a unique project that you’ve never seen before! We’re working on a cruise ship at the moment, which is interesting because although a lot of the spaces are restaurants and bars, there are constraints as the requirements of a ship are quite different.

First of all, you can’t have chandeliers because they swing around all over the place, so everything has to be generally nailed down and locked in place because the constant vibration of the ship just means that they move around all of the time. These projects throw us new challenges like this, too, so it keeps us constantly growing and adapting our design ideas.

Obviously, at the minute, it’s such a strange and uncertain time for the industry. Where do you see Elektra Lighting going at the end of all of this?

We’ve always gone where the work is. So, we’ve www.mondodr.com

just got to be aware of trends and if there is work in retail, then we will make sure we are working on retail projects. The pandemic has thrown a lot of stuff in the air and we still don’t know where it’s going to fall yet. We’ve seen the high-street decreasing recently and we have had a few projects where we basically converted large chunks of shopping centres into restaurants, leisure centres, etc and I that think will continue and possibly expand.

How do you see lighting design changing in the next couple of years?

I think LED has more or less peaked now, there’s not going to be any significant major developments.

I think controls will advance and affect a lot of stuff. We’ll start seeing domestic and residential markets. Decent control systems that you can put in your house will be available, even if you’re not particularly technically minded. There are currently 100 different control possibilities we have and 20 years ago, you could get a Lutron or Dynalite system and that was it. There are so many other ways of doing it now, and I think that’s where we will see the biggest changes.

20 INSIDE VIEW

Liquorette Liquorette is a bodega style bar in central London. Inspired by California style liquor stores, complete with illuminated bottles of spirits & neon signs.

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IN DEPTH

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INTERVIEW LUCA LASTRUCCI POWERSOFT

REPORT MULTIPURPOSE VENUES

Celebrating 25 years of business in the midst of a global pandemic may feel a little unerving for some, but not for Powersoft. Emma Davidson sat down with CEO, Luca Lastrucci, to learn a little more about one third of the brains behind the business, and what the ups and downs of 2020 have taught him.

26 INT ERVIEW

As is the case for most audio manufacturers, 2020 has been a difficult year for Powersoft. The Florence-based audio company was one of the first to feel the effects of the COVID-19 pandemic, as Italy found itself in the grip of the virus, entering strict lockdown measures back in early March.

Since then, we have seen the devastating impact it has had on all corners of the industry and the wider world but, as Powersoft celebrates its 25th anniversary this year, the three founders – the Lastrucci brothers and their mutual friend Antonio Peruch – have a positive and determined outlook as they look back over an incredible legacy, and forward to an innovative future.

“Throughout this year, our goal has always been and still is - to take all of the necessary precautions to ensure the safety of our people and colleagues inside the company, while also continuing to support our customers in the best way possible,” explained Luca Lastrucci, CEO at Powersoft. “A

lot of people at Powersoft are currently working remotely as Italy has recently received newer, tougher lockdown measures again, but we’re lucky in the fact that we have the production site here in Italy, too, so that has allowed us to have almost the entire chain of operation under our control.

“The new normality we’re heading towards won’t be the same as the normality we were all so familiar with nine months ago. We’re mindful of social distancing, as that has a significant impact on day-to-day activities here at Powersoft and when we travel to meet people at events and tradeshows.

Like most people at the moment, we have started to refocus our efforts into the digital realm and use video conferencing as much as possible, as it is still very important for us to have a physical presence when dealing with our customers. We’ve also started to offer support to customers, monitoring and controlling our devices remotely by connecting them to the cloud platform. This allows www.mondodr.com

us to collect a huge amount of data from devices and service centres, which is incredibly useful for R&D. We’re now looking at using artificial intelligence to process these vast amounts of data and extract the relevant information, too.”

The COVID-19 pandemic has given Powersoft the opportunity to promote Deva, its multimedia unit, which is able to detect the body temperature of employees and visitors entering an office. “Until long-term solutions are provided, one key measure, as well as changes to our lifestyle, is temperature checks of people entering public and private sites,” explained Luca. “The ability to provide early symptom detection makes Deva an extremely intelligent and necessary tool for preventing transmission from sick people and screening others who may not know they have a fever.”

Powersoft’s headquarters are located in Florence, Italy, the same place where the company was established back in 1995. Luca and his brother,

28 INT ERVIEW

Claudio, found their passion for audio during their childhood, growing up surrounded by a very musical family, and even starting separate pop groups at a young age with friends and using the studio room back at their home. From there, the brothers went on the study Electronic Engineering at the University of Florence, with Luca also fitting in a PhD in Artificial Intelligence, before finally delving into the Powersoft project together with their mutual friend Antonio Peruch, taking a leap into the technicalities behind the world of audio.

“The name Powersoft comes from the combination of our two souls. My skills were more software orientated and Claudio’s grounding was in hardware - it’s

all about the ergonomics. In the following year, 1996, Antonio Peruch joined us as an engineer and as a partner. That was great for us as it meant we had three optimal seats,” said Luca. The three of them still remain the ‘three amigos’ to this day.

Back in 1995, the professional audio world was a lot different to how it is now. Luca and Claudio saw that there was something missing and realised there was a chance to build on their knowledge and insert themselves into a fast-paced, chaotic industry that craved something more. “Coming from the outside world, with all of these new skills we had learned across our years studying, allowed us to invest and develop some projects in different markets. I guess we weren’t anxious about approaching www.mondodr.com

new ideas and concepts. We proposed a new amplifier idea that embodied a totally different approach in terms of the technology behind it. It was smaller, greener, but still very, very efficient. The market felt quite static at the time, so the opportunity to join and do something totally different was very appealing,” stated Luca.

Powersoft’s legacy began with the Class-D amplifier. Although Class-D technology had been a well-established concept in electronics, Powersoft was a pioneer in implementing pulse width modulation technology in power amplifiers for professional audio. Furthermore, Powersoft was the first company to introduce Class-D based high-power amplification modules to be used in active loudspeakers.

• Above left Luca, Claudio and Antonio, the three founders of Powersoft.

• Above right Powersoft’s Ottocanali 4K4 amplifier.

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30 INT ERVIEW

Class-D technology allows extremely high-efficiency values and higher amplification performances, alongside improved reliability. Such levels of efficiency are the result of a combination of factors, including low power consumption, high power density, lower heat dissipation, and a smaller and lighter amplifier.

Luca explained: “When we began, we were ahead of the times with our ideas. Now Class-D amplification is common-place, but I feel like there is a lot more to be done in terms of making the industry more energy efficient. We’re heavily invested in R&D here at Powersoft, and creating products and technologies that are greener is really part of our DNA.” As Luca reminisced about Powersoft’s 25 years in business, he explained that quality, visibility and innovation has always been

at its core, too. Whether that has been through new product innovations like Class-D amplification, tradeshow appearances, or stand-out installations that have taken the company to new heights, Powersoft has had a lot to shout about.

“It’s difficult to narrow down the key moments and memories from the past 25 years,” he said. “I think one of the main things is that we have customers that are still our customers now, even 25 years later. Another memory that stands out was the first time we ever attended Prolight + Sound when we were first searching for a distributor for our products. We were there just as attendees with no booth. Fast forward a few years, me and Claudio were there again, but this time presenting our products to the world from our very own booth. www.mondodr.com

“We’re heavily invested in R&D here at Powersoft, and creating products and technologies that are greener is really part of our DNA.”

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32 INT ERVIEW

• Above Two important installations for Powersoft; Noevir Stadium, Japan and Rixos Luxury Hotel, Dubai.

“Tradeshows are so important to the industry and it was a joy to be able to celebrate our 25th anniversary at ISE this year, too.

We managed to squeeze that in just before the pandemic took hold and it was great to see friends, distributors, and some competitors turn out for the party. We really felt the appreciation of the industry and now, looking back, enjoyed spending time in other people’s company, without the need for mask wearing or social distancing!”

The versatility of Powersoft’s products is really shown through its extensive back catalogue of installations, with the brand implemented in churches, concert halls,

stadia, as well as picking up 60% of the current theme park market worldwide.

Luckily, most of these markets have still been active in different areas of the world throughout the pandemic, so the company has seen its products utilised in a number of installations.

Most recently, the iconic Reggae venue, the Star & Garter in Brixton, London, with the entire system driven by one Powersoft Duecanali 4804 and two Quattrocanali 2004.

“We’ve been involved with some incredible projects, including the Noevir Stadium Kobe in Japan, very well-known theme parks that we cannot mention for obvious www.mondodr.com

reasons, Rixos Luxury Hotel in Dubai, and an installation at Munich airport, which is one of the projects that really put us on the map,” explained Luca. “I think what’s most interesting about the company is that we’re implemented into installations that people really wouldn’t expect. Of course, we cover theatres, stadiums, and live music venues, but we’re also working on projects that are a bit outside the box, like rock testing and simulation, and particle accelerators where the reliability of our amplifiers is a key.

“This is why we invest so much into R&D. It’s a stimulation of employees, but it’s also something that creates a new path of de-

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34 INT ERVIEW

• Above Powersoft’s Armonía system manager that allows remote control of loudspeaker management.

velopment. It’s part of our DNA and it has definitely made us a stronger company.”

It seems a difficult ask to look to the future with so much uncertainty in the world at the moment, but after months of adjusting to the current new ‘normal’ it’s clear that audiovisual business models will have to change going forward. Whether that is innovations in home audio systems, proposing new COVID-safe products, or offering services to help along the wider industry, Powersoft seems to have a clear, positive path set out for itself.

Luca explained further: “All companies are going to have to adapt going forward, that is inevitable, but it’s how we adapt that’s important. I think investing in R&D is key, as well as keeping an eye on other fields.

We want to be able to offer other services, such as Deva, that are based on our products to provide our customers with the full solution they need.

“I also just want to end on an optimistic note. We really need to look to the future in a positive way. I understand that everyone can’t look ahead in this way, as there are many uncertainties at the moment both financial or personal - but Powersoft is still alive with the same passion and determination that we had since we first initially started the business.”

Powersoft has undoubtedly left its mark in the pro audio industry, and one thing’s for certain; the Lastrucci brothers aren’t stopping there. Even though 2020 has been a distressing year for most manufacturers, Powersoft has used it to do what it does best; refocus efforts to innovate, invent, and push forward to a new chapter.

“We still have a desire to take risks, to invent and innovate,” concluded Luca.

“We’re moved forward by the obsession to grow the company and our products and continue leaving our mark in the market.” www.mondodr.com

36 REP ORT: MULT IP URP OSE VENUES

OMNIV E R S UM COMPANY: ALCONS AUDIO LOCATION: THE HAGUE, THE NETHERLANDS

Opened in 1984, Omniversum in The Hague was the first IMAX Dome theatre in Europe. Showing spectacular films on a giant domed screen that makes the audience feel part of the movie, a new, €1 million projection system was recently installed to improve the experience. To make sure that the quality of the sound matched the images, a new Alcons Audio pro-ribbon system was also installed.

Built in the mid-1970s, Omniversum features

an 840 sq metre dome, 300 seats and welcomes around 240,000 visitors a year. It is the largest film theatre in the Netherlands and the only IMAX Dome theatre in the Benelux countries.

Many of the films it shows educate and inform audiences about the natural world and treating Earth and everything that lives on it with respect.

However, the recent upgrade to its technical systems has been a key part of embracing ‘regular’ cinema productions, too. www.mondodr.com

The Alcons Audio pro-ribbon installation complements a new Evans & Sutherland ESX projection system, which uses a blended array of five Christie D4K40 RGB laser projectors with unique auto-alignment and auto-blending technology to produce a seamless, uniform image across the 23-metre diameter dome.

Delivering high quality sound reinforcement in a dome-shaped room like Omniversum provided many challenges. These included acoustic issues, because the large projection surface also creates a lot of rearward reflection from the loudspeakers, as well as making sure every seat in the audience enjoys full coverage with direct sound and that every member of the audience hears all audio channels, so they experience the intended sound imaging.

“When we decided to spend over a million Euros on a new projection system, we knew the investment would not be worth the money if we did not also invest in

the best sound system,” said Berend Reijnhoudt, Omniversum Executive Director. “After looking at several options, we chose the Alcons pro-ribbon solution because it was the best choice for us to complement a unique visual experience.”

The system was installed by Delft-based Westamp Geluid. “While measuring the acoustic responses of the space, we decided to reposition the loudspeakers into different clusters. This would achieve better differentiation between nearfield and far-field,” said the company’s owner and engineer, Robert van Deursen. “It made the sound far less diffused than before, resulting in much better stereo imaging, in relation to the position of the source on the screen, throughout the room.”

The Alcons system comprises 23 CRS8 large-format reference surround loudspeakers and eight 15-inch conversion subwoofers for the cinema’s existing sub-

woofers, which were an earlier design by the Alcons Audio R&D team. It is powered and controlled by three Sentinel3 amplified loudspeaker controllers.

“We wanted to feature a wider range of programmes, which meant our already-wide range of visitors would become even wider,” said Omniversum Technical Manager, Robby Rampersad. “Our shows have average sound pressure levels; they are not too excessive in loudness, but occasionally still very dynamic. With this as the basic requirement, I discovered Alcons pro-ribbon systems and was immediately convinced by them.”

“The CRS8 is a great loudspeaker, with a very smooth but powerful mid-high frequency response.

The few corrections I had to do were all due to the acoustics, screen and clustering,” said Robert. “The choice between the different dispersion patterns for the CRS8 was very useful, as it meant we could www.mondodr.com

achieve minimum reflective spill.”

“The result is very, very good,” continued Robby.

“The sound is clean and clear throughout the entire bandwidth, thanks to the pro-ribbon driver’s linear, distortion-free response. It is a delight for the ears.”

Berend Reijnhoudt agreed, adding: “When we reopened with the new system on July 1 this year, we knew we had made the right choice. People really notice the superb sound, they are walking up to us after the film saying how much they enjoyed the audio.

“But it’s not only the audience which notices the difference in the sound between us and other film theatres. It also impresses professionals who come to experience our new state-of-the-art projection system.” www.alconsaudio.com

38 REP ORT: MULT IP URP OSE VENUES

A G STAFA AGRO IND U ST R I AL COMP L E X COMPANY: MARTIN AUDIO LOCATION: AGSTAFA, AZERBAIJAN

Based in Azerbaijan, PROAV recently carried out a new sound design at the Agstafa Agro Industrial Complex in Agstafa City, specifying Martin Audio’s Wavefront Precision Mini (WPM) line array.

PROAV Managing Partner, Elshan Aliyev, stated: “When WPM first came onto the market, such was the trust we had in the Martin Audio brand name, we were happy to place an immediate order and we were the first to do so. When this latest opportunity came about we had no hesitation in specifying it again.

As Azerbaijan’s agricultural development project, Agstafa Agro Industrial Complex plays an important role in providing the population’s food security and increasing the country’s export potential and sustainability. It has been operating in the west of Azerbaijan

since 2009 and serves 15,000 hectares of land, using advanced agro technologies.

Within the large complex is a multifunctional event hall, and fuelled with the confidence PROAV had in WPM, they recommended it as being the best fit for purpose. “The reason for specifying it in this instance was because of the unusual shape of the hall and the objectives of the sound system,” reported Elshan.

“The client trusted us, and WPM was a logical decision. They were happy to take it on our recommendation.”

However, PROAV first had to win a competitive tender as they were up against another premier loudspeaker brand. “But thanks to the efficiency of the system, and favourable pricing they chose us,”

www.mondodr.com

said Elshan.

The main system comprises eight WPM per side, powered in 1-box resolution by Martin Audio iKON iK81 amplifiers. In addition they provided 12 Blackline X15 stage monitor loudspeakers.

This will meet all the requirements of the facility, from speech intelligibility during conferences, to live bands.

Elshan said that WPM meets all the requirements, and the client agreed. Anar Orujov, Managing Director of the Complex, said: “We are delighted with the versatility of the new sound system, making it perfect for any event we are likely to host.” www.martin-audio.com

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GUAN GZ H OU BAO N E N G QOROS AR E N A COMPANY: ACME LOCATION: GUANGZHOU, CHINA

In October 2020, TikTok Wonder Night 2020 chose Guangzhou Baoneng Qoros Arena - one of the biggest comprehensive performing indoor venues in Asia - as its stage. The venue has 17,773 seats and 60 VIP rooms, making it ideal for a whole host of events.

There were 24 360° rotatable LED screens set up in the venue, all of which were controlled by CNC. The screens were able to freely move around and form an impressive stage, which was also equipped with the latest MR, glasses-free 3D technology.

The versatile rig was also used to reflect the personal style of each different act that was on the stage. Some of the new models from ACME were used as part of the event, creating an eye-catching atmosphere. One model that was used at the TikTok Wonder Night 2020 was ACME’s newly-developed SILVERMOON LED moving head fixture.

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40 REP ORT: MULT IP URP OSE VENUES

T H E D OME : M I AM I COMPANY: VIOSO LOCATION: MIAMI, FLORIDA

The largest sporting event in the world garnered the largest projection dome in the world. Located just outside Super Bowl LIV in Miami, Florida, a 225 ft x 175 ft Broadwell inflatable dome was erected for some of the largest R&B and HipHop names and events.

Lumen & Forge was tasked with projection mapping the 40,000 sq ft of projection surface using 24 Digital Projection M-Vision Laser 18k projectors. Together with VIOSO, it auto-calibrated the entire dome surface for mapping in a matter of hours for a complete seamless image across the entire dome surface. With a custom Domemaster playback server, content was served as two 4K @60Hz feeds. The custom content was created by Lumen & Forge to be mapped on the dome as the unique ‘pill’ shape of the dome is very different than a standard hemispherical shape found at most venues. Since this installation was used for concerts and events, traditional media and videos wouldn’t have sufficed. Instead, the Lumen & Forge Domemaster server was used with VIOSO’s Blackbox software to perform the calibration and provide the warping and blending, which was then fed by the Lumen & Forge Mediaserver through the capture cards.

While many industry standard projection domes have a hemispherical shape, the one implemented for this project boasted a uniquely oval, or ‘pill’, shape.

Created by Broadwell Air Domes USA, the colossal size of the structure was decided due to the use of the dome, which would host concerts and parties within.

The pill shape would also allow for a higher capacity of visitors, while creating optimal placement for the

24 Digital Projection M-Vision Laser 18K projectors installed inside, in order to project the content on the inside without any interference or view restriction.

While advantageous from a capacity perspective, the unique shape had major bearings on both camera calibration and content creation. After designing the dome in a 3D space, Lumen & Forge was able to develop content that was placed into VR for testing.

Using this method, the 16×9 content was modified to fit the shape of the dome. The standard circular or ‘domemaster’ format for typical domes would have been severely distorted if used, so a customised format was created.

The shape of the dome didn’t end with the content but offered its own inherent challenges with the calibration. Using a camera calibration system was necessary for the time constraints the team was against.

Unfortunately, they don’t make an oval camera lens, so it had to move forward with the standard fisheye.

Calibrating the dome with the fisheye lens created a final compound in this round format, however, using that same UV texture map that was created for the content production proved the solution here as well.

VIOSO simply used the UV texture in its conversion format, with a little extra algorithmic math, and it was able to perfectly fit the compound to the ‘pill’ shaped dome without distortion or issues.

Creating solutions is something that all teams involved are exceedingly specialised at doing. The teams only had two months to design the projection study and specify the technical aspects, and by the set

www.mondodr.com

up time in late January, the construction of the dome was already ongoing and time was not on the team’s side. This meant that the team’s first opportunity to operate the calibration was a mere three days before opening. It could also only take place at night, as the field operations team was still completing the dome’s construction.

Every evening, the dome was about one or two metres larger, making the calibration from the previous evening unusable. The relentless passion and efforts of the on-site teams made sure that this project was not only a success, but a feat of magnificence that would be used as a reference for projects to come. Many late nights were spent to be sure that all aspects were not only sufficient to the client, but were becoming precedents to the industry. This included flying in the development engineer from Germany to make sure that our math was not only correct on paper but also in real life. The dome was organic and dynamic, it was not a hard structure so it was impacted by the elements, environment, and even the temperature.

The teams only had one night for the final calibration, in which the size, scope and shape of the dome would again need to be reconsidered. By that final evening, we had expertly learned what worked with the live calibration and we perfected the ‘less than an hour’ full dome calibration. A huge success for all involved and an accomplishment for the ‘Worlds Largest Projection Dome’. www.vioso.com

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42 REP ORT: MULT IP URP OSE VENUES

RA D ISSON B LU COMPANY: BROADWEIGH LOCATION: GOTHENBURG, SWEDEN

The Radisson Blu Scandinavia Hotel in Gothenburg, Sweden, recently commissioned a new ‘design lighting’ solution over the hotel’s common area. With a basic idea of what they needed, the team in charge of the install contacted leading stage technology company Priebe-ScanRig AB (PSRIG) to deliver and fit two large truss constructions with associated suspension. The truss would constitute as a carrier for the newly commissioned solution - with one of the constructions to be motorised while the other, permanently installed, would hang from steel wires.

Aart Gigengack, Sales Manager and Co-owner of PSRIG explained: “During the installation of the lighting solution, the truss grids needed to be raised and lowered. With the installation being performed over an extended period of time, the installers needed a fast and simple way to see the loads being applied on each suspension point.”

While Aart had included load monitoring in PSRIG’s original proposal for the work, it was initially scrapped due to cost restraints.

However, during the install, it was decided that the load cells were vital as the customer wished to increase the capacity to more than originally calculated for.

“While load monitoring is becoming more of the norm in Scandinavia, there are definitely mixed opinions on the matter. When the clients are balancing their budgets, regrettably load monitoring is often down-prioritised in favour of other costly technical aspects, but increasingly as installations are becoming more complex and the importance of safety more prevalent than ever, we are demonstrating why, keeping an eye on your loads isn’t really ‘nice to have’ – it’s essential!”

Aart specified the use of Broadweigh load cells and Handheld Advanced to the project - both vital to making sure that there were no overloads on the lifting points of the truss structure. The BW-HA advanced wireless handheld brings an additional level of portability to the Broadweigh system by expanding its standalone monitoring capabilities. This device allows users to perform advanced operations with load shackle readings without the need for a PC and a base station. It can be configured into three operational modes; Roaming inputs - working straight out of the box and showing the nearest shackles with the same radio settings. This is ideal for walking between different areas with the

Handheld Advanced and picking up readings from all shackles independently of other monitoring systems.

Pre-defined inputs - up to 24 inputs can be configured separately, shackles can be named and have audible warning levels set.

Summing groups - shackles can be summed together, giving totals for a whole structure and individual trusses. The total can be ‘drilled down’ to allow viewing of individual shackle values.

In this instance, the installers needed a fast and simple way to see the loads being applied on each suspension point and the Handheld Advanced is the perfect tool as it allows for summing groups to be set up with a group overload value and an individual overload value per suspension point. “Once the entire project was completed, the load monitoring data was used in our risk analysis and documentation. The load cells were therefore only needed during the installation process.”

Aart added: “The Handheld advanced really was the perfect tool for the job. With the push of a button, it gives you complete insight about the load being suspended without the need of a computer or any in-depth knowledge of the system at all.”

Using a combination of eight Broadweigh 4.75 tonne loadcells, one USB dongle antenna and one Handheld Advanced, PSRIG was able to lift the large truss grid incorporating the light structure which was designed to suit the large scale of the atrium. This unique installation, functions as a data-driven ambient communicator, generating luminosity through light patterns, forming an abstract landscape with smooth movements linked to real-time meteorological data.

“Had we not used load monitoring, there is no way we would have been able to ensure the safety and longevity of our installation,” said Aart. “The significant risk is that, without knowing the loads, others will come along and hang heavier loads than those stated and agreed during the planning phase, or distribute the agreed upon load incorrectly. We have a client who is really pleased that we used accurate, effective and flexible equipment from Broadweigh. We as the installers were already convinced of the greatness of the Broadweigh wireless load monitoring systems so we are delighted that others are too.” www.broadweigh.com www.mondodr.com

44 REP ORT: MULT IP URP OSE VENUES

IN C HEO N CULTURE A N D A RTS CEN TER COMPANY: CLEAR-COM LOCATION: INCHEON, SOUTH KOREA

The Incheon Culture and Arts Center in South Korea recently installed the Clear-Com FreeSpeak II digital wireless intercom solution at the renowned venue’s Grand Theater and Small Concert Hall. For the Small Concert Hall, FreeSpeak II is their first intercom system. This upgrade from their original radio system will greatly improve communication for the production team and help ensure seamless performances. OneUp Solution, Clear-Com’s partner in the region who provided Clear-Com solutions for the PyeongChang Winter Olympics, installed the system.

The Incheon Culture and Arts Center first opened in 1994 and is located in Gewol-dong, one of Incheon’s busiest districts. The centre offers a variety of cultural events, hosting four arts companies - City Orchestra, City Choir, City Dance Company, and City Theatrical Company - while also welcoming visiting artists. The Grand Theater and Small Concert Hall are two of the venue’s performance spaces.

From set-up to rehearsals and throughout performances, clear communication between production team members around the building is vital for shows to run smoothly. After using Clear-Com’s partyline MS-704 and WBS-670 wireless systems for many years, the Grand Theater’s staff decided to update their systems with FreeSpeak II. At the Small Concert Hall, the staff transitioned entirely from using a radio system with one-way

communication to Clear Com’s FreeSpeak II intercom solutions. Previously, their limited radio system created communication difficulties. The radio system required pressing buttons, an issue if operators were already using their hands. Critical audio delays would often cut off the beginning of messages. Accordingly, the staff at Small Concert Hall only used their system for urgent messages. Team interaction was severely limited, until they turned to Clear-Com’s intercom solution.

Choi Sung-kook, Director, Incheon Culture and Arts Center, said: “We knew we had to upgrade the communication systems in both venues to enable our staff to communicate freely throughout the building. Although we considered several products, we already knew that we could trust Clear-Com since our previous system in the Grand Theater had served us well for several years, and it was clear that FreeSpeak II could offer the robustness and reliability we needed to maintain communications across a wide ranging venue.”

When looking at intercom solutions from different providers, Incheon’s production staff chose Clear-Com’s FreeSpeak II because of its superior features and proven reliability.

One of these features was the wide range of RF coverage secured by the system’s multiple transceivers with numerous channels. Multiple transceivers placed around the two venues allow users to roam freely backstage and FOH and connect with individuals or groups across a

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reliable and seamless signal on the 2.4GHz frequency.

They also noted how with the roaming function, there was no loss of communication during movement between sections.

With FreeSpeak II headsets and wireless beltpacks, Incheon’s production staff can now talk directly to each other as much as they like and respond immediately, while keeping their hands free for other tasks. FreeSpeak II also greatly improved audio quality for crystal clear communication and easy expansion as needed.

“With FreeSpeak II wireless intercom, our quality of life has changed,” added Choi Sung-kook. “Our communication equipment must help us to produce the best performance – once the performance has begun, if the communication between the participants doesn’t work, it’s doomed. Clear-Com is one of the most popular products in concert halls around the world, and the superior signal stability and sound quality we have seen over the years has boosted our trust in FreeSpeak II.” “For over 50 years, Clear-Com’s systems have been the most reliable intercom solutions available, and are used in the largest and highest-profile events around the world,” said Yoo Jae-hyung, Head of One-Up Solution.

“Their products integrate the latest proven technologies, not only with their IP-based systems that can be flexibly configured over the network but also with their digital wireless communications solutions that use the Gigahertz frequency bands.” www.clearcom.com

45 REP ORT: MULT IP URP OSE VENUES

N ATURKRA F T COMPANY: GENELEC LOCATION: RINGKØBING, DENMARK

Naturkraft is a new experience centre in the Danish town of Ringkøbing, West Jutland, which aims to increase awareness of nature and the forces that shape our world as a way of encouraging more sustainable behaviour. Visitors are treated to a rich array of exhibitions and learning experiences - outside there are eight different types of natural environment whilst indoors, an iconic 5,500 sq metre building designed to integrate into the flat coastal landscape offers a range of fascinating exhibitions. Digital experience creators, No Parking, were responsible for the design and development of the main installations inside the Exploratorium including IT and AV equipment. No Parking selected a Smart IP sound system from Genelec as the ideal audio partner for their designs.

“Our background is AV production and integration with a focus on experience design,” explained No Parking director, Morten Ranmar. “We were chosen for this particular task because of the complexity and scale of the project which required a lot of careful planning to ensure the best visitor experience. From an audio perspective we decided to use Genelec’s Smart IP solution for two of the installations for the simple reason that it was absolutely perfect for our needs and we know we can count on great support if it’s required.”

The exhibitions in the main building are dedicated to the forces of nature as they exist in the local environ-

The Grand Foyer experience at the Star Casino in Sydney, combines LED screens, aquatic water fountains, lasers, light and live performances to offer an interactive arrival experience for its approximately 20,000 guests that pass through the foyer every day.

“With The Star Sydney Grand Foyer experience, we wanted to design an experience full of compelling encounters that enrich the journey,” commented Bruce Ramus, who heads Ramus Illumination. “We envisioned a beautiful, unifying space that embraces and welcomes all people, and we believe we’ve achieved this.”

For the stunning 25-metre, 8K resolution and crescent-shaped screen in the Grand Foyer, Big Screen Projects selected the ROE Visual Black Onyx LED panels. As Toby Waley, from Big Screen Projects stated: “The choice for ROE Visual hardware on this

ment of West Jutland. Naturally, the sea plays a huge part in the lives of West Jutlanders, so one of the main installations is the majestic recreation of a North Sea wave. Visitors can walk up to the first floor through the wave accompanied by powerful audio effects triggered by motion sensors and delivered by eight RAW finish Genelec 4430 Smart IP loudspeakers.

“The aim was to create the sensation of what it would be like to be in the midst of the rushing wave, through sound, lighting, video projection and architecture,” described Morten. “Genelec Smart IP was an ideal choice for us for the audio element thanks to the proven quality of the loudspeakers - you can really hear every detail, even at low levels - the pleasing form factor, and of course the Smart IP technology that delivers audio, power and control over a single network cable. There are no external amplifiers to worry about, and the installation is incredibly neat and tidy. We can take audio from several sources if required - in this instance we have a basic ambience mix in eight channels plus sound effects - and the Dante network means we can re-route the signal as required or change the source when the installation changes, so it’s an extremely flexible solution that can adapt as exhibits change and evolve.

“The cherry on the cake was the beautiful RAW finish which perfectly complemented the architecture for the Wave installation, and of course scores very highly on

project was an easy one, the product needed to be proven in the field, with a track record of reliability.

The Black Onyx BO3 range was the only product that stacked up to all of the project requirements, including the use of custom triangular modules.”

The total screen measures 56 panels wide and max 10 panels high. Using half, quarter and triangular panels, a nice flowing slope is created in the total screen. Big Screen Projects created a custom mounting frame, to be able to create the horizontal slope as well as the inward curve of the complete screen, guaranteeing a perfect fit and flawless canvas. The total installation runs on two ROE Visual Z6 4K processors.

Next to the screen, Big Screen Projects used ROE Strip to highlight the curved ceiling panels and walls.

“The strip used on the walls and in the ceiling looks incredible. The flexibility of the ROE Strip gave us

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the sustainability scale. This is an extremely important factor for Naturkraft for whom sustainability - along with climate and nature - is one of the key drivers that prompted its creation. Even Genelec’s non-RAW finished products are made from recycled aluminium according to sustainable processes, so they would have been a perfect choice regardless.”

Indeed, No Parking deployed eight 4420 Smart IP loudspeakers in white for Naturkraft’s West Jutland and Nature of Humans exhibits which describe the different landscapes that can be seen across West Jutland.

Visitors will learn how the different forces of biology, geology and cultural history have interacted together over time to create the environment we see today.

“Museum and visitor attractions have evolved enormously over the last twenty years to become rich, interactive experiences that involve all of the senses,” said Morten. “Sound is of course an integral part of the mix, and as integrators, the onus is on us to select the equipment we need to deliver the best possible experience. Genelec ranks very high on the list thanks to the extremely high quality and reliability of their products, and their Smart IP technology makes them even easier to integrate. I’m looking forward to seeing even more models in the Smart IP range in the future.” www.genelec.com

the possibility to neatly follow the line of the curved panels,” commented Toby. “With the pre-fabricated mounting parts, the installation was really easy and the Brompton processing behind the fixtures made the extremely challenging task of mapping possible.”

The screen showcases the works of Australian artists, university students, cinematographers and animators, encouraging local artists. The content reacts dynamically to the real-world environment and human movement, encouraging guest interaction.

“We have reated an installation that combines architecture, contemporary art and technology,” stated Dino Mezzatesta, the Star Sydney Chief Operating Officer. “Inspiration behind the artworks was drawn from The Star’s proximity to the busy Sydney Harbor shoreline”. www.roevisual.com

46 REP ORT: MULT IP URP OSE VENUES

LIVERPO OL CE NT RA L STAT I ON COMPANY: CONCEPT GROUP LOCATION: LIVERPOOL, UK

Concept Group, a leading UK-based sign and large format LED display specialist, was commissioned by OPEN Media to install and service two digital displays in Liverpool’s busiest railway station. With over 16 million visitors and 1.6 million impressions annually, Liverpool Central Station is the ideal site for reaching shoppers and commuters with relevant and up to date advertising.

“We already have a large format LED display on the outside of the station, which was also provided by Concept Group, but we felt that there was an opportunity to capitalise on internal commuter traffic as well as the roadside traffic,” said Mike Smith, Managing Director at OPEN Media.

The two five-metre x three-metre LED displays are located inside of the station and situated opposite each other on a bulkhead, surround by dozens of retail outlets.

Following an initial out-of-hours invasive survey to deter-

BLUE R H AP S ODY COMPANY: FAIRLIGHT BV LOCATION: ARNHEM, THE NETHERLANDS

The impressive Blue Rhapsody ship is the result of dreams, but also of thorough market research, said Eric van der Zwaluw, Managing Director of Constant in Beweging. “We saw that there was room for improvement, especially at the top end of the business market.”

The Constant in Beweging team combined 30 years of experience and know- how into a unique concept that mainly focuses on the experience. “For example, we wanted everything to feel spacious and open. Thus, the ceilings are 30cm higher than average and a connection is made between all decks. The design had to be grand, yet intimate and atmospheric. Quality was paramount in all the choices we made. Ultimately, it’s all about creating a wow moment and ensuring that heads turn when the ship passes.”

After a few years of preparation and research, the construction of the ship began in 2018. The hull was built in Serbia and then towed to the Netherlands. The design and finishing was taken care of at the Teamco yard in

mine the make-up of the bulkhead, a structural engineer formulated a structural design prior to fabrication and installation. The screens were then deployed during the first lockdown, ensuring enhanced safety operational procedures were followed.

Both screens are made of Daktronics’ new QVN LED product line with 5.9mm pixel pitch and 1,500nits high brightness. This is one of the first deployments in the UK to use the QVN series, designed for indoor applications including DOOH (Digital Out of Home) advertising.

Content is fed to the screens and managed using a Scala CMS. David Neale, Director at Concept Group commented: “We were excited to work with this new technology and have been pleased with the quality and robustness of the QVN line. We have been fortunate to see continued demand for our services this year, which has been largely

down to our close partnerships with companies such as OPEN Media”.

“We are very satisfied with the end results,” concluded Mike. “We have worked closely with Concept Group for a number of years now and they make the whole process seamless, from planning right through to delivery. Their hard work makes our job very straightforward and comfortable, so it was an easy decision to continue using their services for the installation of our two newest displays”.

The Liverpool Central project is one of over 50 large format LED installations that Concept Group has delivered in just three months; a record quarter for the company.

Despite challenging economic conditions, the company has seen an upsurge in demand from its DOOH business, which has come back strongly after an initial period of uncertainty. www.conceptsigns.co.uk

Heusden. Eric emphasised that a total concept was taken into account during development. “Because we keep everything in-house, we also ensure that the quality that we offer is of a high level. In addition to all nautical functions and catering, this certainly also applies to the technique. We want to offer our clients a total package, with no additional surprise costs added later on.” Plug & Play was also part of the Fairlight challenge. In terms of technical facilities, the ship had to be equipped with rider-friendly products that can be used flexibly. This way, 90% of the events can be performed without the need for additional technology. Eric furthered: “It was good to see that one of our first events with a large number of artists and bands went smoothly. And with all technology on board, there’s no need to take construction and dismantling times into account.

In terms of sound, L-Acoustics was chosen. Project Manager Pascal Arts explained: “The space on a ship is limited, which makes the compact Syva ideal for this location. Supplemented with X8 and 5XT cabinets as a delay, the two large decks are fully covered.

“With a BSS control, it is easy to switch between the various halls and configurations. In addition to a mix of Martin Professional profiles and washes, the lighting plan is also a real eye-catcher. 60 Martin VCGrid panels are mounted above the dance floor to display video content on the ceiling. The unique Minuit-Une IVL

lighting effects complete the picture. All video screens, including the LED screen at the entrance, are controlled with an RGBlink X3 processor. Multifunctionality is the starting point.

Flexibility was required from the Fairlight team during the installation. “The stage design was adapted a few times to achieve optimum lines of sight. During the installation, the time pressure increased considerably. I can only say that Fairlight has been very helpful and has progressed well.” said Eric. “Fairlight can reflect with pride on the entire process.” At the start of December, the location received international recognition. During the Best Event Awards World in Milan, Blue Rhapsody won the Best Location Award in the Celebration/Product Launch Venue category. “I am very happy and proud to win one of the most important prizes in the industry.

It not only rewards Blue Rhapsody as a location but also our crew on board who made our special mission possible with blood, sweat and tears”, said Eric.

The Blue Rhapsody is the new, sailing event location in the fleet of Constant in Beweging. With a length of no less than 85-metres, there is room for 600 guests in a luxurious and elegant environment. Fairlight supplied and installed the entire audiovisual setup. www.fairlight.nl

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48 REP ORT: MULT IP URP OSE VENUES

7 0 ,0 0 0 TON S OF ME TA L COMPANY: MOUNTAIN PRODUCTIONS LOCATION: FORT LAUDERDALE, USA

For the best part of 10 years, Mountain Productions, has been working in collaboration with Ultimate Music Cruises to bring 70,000 Tons of Metal, the world’s biggest heavy metal cruise to life. This project, designed for Royal Caribbean’s Independence of the Seas, features over 60 live bands who perform onboard over a five-day cruising period. With just over 3,000 guests from 70+ countries onboard, the cruise consistently sells out year after year.

From rock to country and jazz to blues, destination music cruises have experienced significant growth in popularity since the 1990’s. Today, with cruising popularity at an all-time high, countless music events take place onboard cruise liners each year, creating a lucrative new business opportunity for staging and rigging companies. Mountain Productions, has a veteran team that specialise in this line of work, having worked on countless cruise, hotel and casino productions throughout the years. With multiple locations dotted across both the East and West coasts, they are able to streamline their supply chain both domestically and for international jobs.

70,000 Tons of Metal is both an amazing and extremely tedious project from beginning to end.

With a length of 1,112 ft, 15 decks and a crew of 1,360, there are many important factors that must be taken into consideration when setting up the different staging units onboard the Independence of the Seas. The Mountain Production’s internal

engineering staff work to ensure the highest level of safety for a show at sea along with calculating the most efficient structural format in the restricted confines of a cruise ship.

Following pre-production, the first priority load in is to ensure a clean customs process. With seven 53 ft trailers filled with an abundance of equipment, it is vital that the serial numbers and trailer numbers match up. If a single number is missing, that item will not pass customs and that is simply not an option.

Once all of the trailers have successfully passed customs, the crew must ensure that they are being unloaded in the correct order. The main reason for this being that some material must be used first in the set-up process. For example, the plywood, which is used to protect the ships flooring must be the first item to be picked by the crane. If this is not the case, the whole project could be compromised.

The most challenging aspect of the project was the tight timeframe in which the structure must be built. The project required a team of 24 MTN crew members along with 90 hands provided by the client. The teams were restricted to a 30-hour window to ensure the structure was built. Load-in began at 7:00am on the Thursday, however all equipment must first pass through the customs process. Following this, the crew can begin to use the crane to put the structure together. However, if there is bad weather, the crane cannot be used,

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so every minute counts. With the show expected to start at 9:00am the following day there is no room for delays and the load in must be managed according to the methodical plan put in place by the Mountain Production’s teams.

The total production includes four different stages in four different theatres; the pool deck stage, a stage in the ship’s main theatre, the Ice Rink ‘Studio B’ stage and the ship’s show lounge. With all equipment located on the pool deck, the crew must then set out moving the 300 pieces of four ft x eight ft decking as well as trusses and bases to their required locations. This is a lengthy process as everything must be carried by hand to ensure the safety of the ships deck.

With the extremely short build time provided for this highly complex project, Mountain Productions is proud to help contribute to user experience for those aboard Royal Caribbean’s Independence of the Seas. “Andy Piller, the events founder, has pioneered events on sea and this is by far one of the most unique projects we work on annually,” said CEO, Ricky Rose. Mountain has specialised in Staging & Rigging for over 40 years and envisioned the modern festival Staging Systems seen today.

With an internal Engineering, Fabrication, Rigging & Installation team the firm has diversified from their roots and has even moved into e-commerce sales with MTN SHOP. www.mountainproductions.com

49 REP ORT: MULT IP URP OSE VENUES

A RE NA W I E N COMPANY: ELATION LOCATION: VIENNA, AUSTRIA One of Austria’s more iconic live event venues, Arena Wien, sought to upgrade its storied performance stage with a new profile luminaire, and chose Elation’s high-value Fuze Profile LED framing moving head for the job.

Arena, Vienna’s top alt-music venue, grew to prominence in the 70s and 80s as a platform for cultural and social activities, and is still an important centre for Viennese youth and alternative culture today.

Located in a former slaughterhouse and possessing an old industrial charm, the venue houses a large hall for concerts, as well as two smaller rooms for events of all types.

Elation partner AVL-Medientechnik (avl-medientechnik.at) of Traiskirchen, located just south of Vienna,

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has been supplying consumables to Arena Wien for years, so it was only natural that they were contacted about the lighting upgrade.

“Together with the lighting technicians at Arena, we looked for a suitable full-colour lighting fixture that met the requirements of the location and one that had a good price-performance ratio,” stated AVL-Medientechnik CEO, Christian Walter, who says he learned about the Fuze Profile from Elation sales representative for Austria, Karl Lager. “After thoroughly looking at the luminaire, Arena Wien decided on 12 units as it was the best fixture and in the right price range.”

Another important selling point, according to Walter, was AVL-Medientechnik’s in-house service workshop in which they fully service lighting equipment with

personal, individualised service and no worries for the client.

Elation’s Fuze series has found a niche in the market whenever outstanding price:value ratio is an important factor like at Arena Wien. The Fuze Profile, with its 305W RGBMA LED engine and high CRI, is loaded with features: two gobo wheels, an animation wheel, a full blackout framing system, 7° to 42° zoom, variable frost, prism, iris and more. It also provides color manipulation features like virtual colour temperature and Magenta / Green adjustment plus CMY emulation.

Output is over 10,000 lumens.

“It’s a very high-value series of lights and one that appeals to many clients,” Christian said. “You get a full range of features and at a quality and price that is hard to beat.”

AVL-Medientechnik handled the complete upgrade project, including installation of the Fuze fixtures.

The new lighting does not have a fixed position in the Arena rig. www.elationlighting.com

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50 REP ORT: MULT IP URP OSE VENUES

E XPE R I ME N TA S C I E N C E D O M E COMPANY: KRAFTWERK LIVING TECHNOLOGIES LOCATION: HEILBRONN, GERMANY

Is it a theatre? Is it a planetarium? Or rather a cinema?

The answer is all the above and much more. Imagine a unique dome theatre that allows clients to combine an event venue, concert hall, movie theater, training center, large screen ‘ride’ attraction and planetarium, all in one venue and that is the Hybrid Dome by Kraftwerk Living Technologies.

The core of the theatre is a huge tilted 20M dome, and underneath it 150 to 200 guests are seated in a tiered arrangement, but when they enter the focus point is a multipurpose stage and presentation area right in front of them. This mode we call ‘event’ mode and it can be used for all kinds of events, conference presentations and science demonstrations.

Unknown to the guests though, the theater can transform as they are sitting on a massive turntable that can silently glide them to sit and recline under the dome for a full screen 3D immersive presentation – this is our ‘dome’ mode and a real ‘wow’ factor.

Back to the ‘event’ mode, we have a high-end stage area equipped with the latest stage technology, including a

lifting platform (forestage), which is part of the rotating auditorium and extends the main stage. In addition the recessed stage area features various types of screens from cinema (2D/3D) to presentation, depending on the use case.

In ‘dome’ mode, the seating is rotated a full 180 degrees and the projection dome is in the center of the action, setting the stage for full-dome projections in 2D or 3D. Seats that fold back, enhance the experience even more, allowing the visitors to dive into “space” or travel across any country. In this mode, the forestage, which forms part of the rotating auditorium, is still available as a stage for presentations and more.

Enhanced with several SFX – from professional lasers to water curtains – the truly unique attraction is rounded. While the basic version of the Hybrid Dome Theater fits a total of 200 people, this solution is not only hybrid, but also customizable and flexible in its size and application – with barely any limits to its creative use.

In 2019, Germany’s largest Science Center opened its doors to the public, and with it the experimenta

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Science Dome – developed and implemented by Austrian System Integrator Kraftwerk LT and based on our patented Hybrid Dome concept. The attraction can be found on an island in the Neckar river where exhibition space was limited and therefore a multipurpose solution had to be found.

The quite unique concept fully met the clients’ requirements to combine different scenarios and shows in one location and small footprint. In cooperation with our experts in stage technology and mechanical engineering, a custom rotating platform was developed and built, which moves not only smoothly, softly and without noise or any vibrations, but the movement can hardly be detected. Most guests actually believe that the building around them is moving rather than the auditorium they sit on. The very latest RGB laser multi-projector system was implemented and as the theater is being used as a planetarium as well, there is also an opto-mechanical star projector.

The projection dome has a total diameter of 21.5M and a 726SqM surface and is a free-hanging aluminum

construction with the whole surface covered by twelve 4K projection channels. This results in a resolution of 8K x 8K and incredible razor-sharp images, with the projectors featuring true 6P RGB laser light sources and exceptional brightness and image intensity, above cinema standards due to the increased color space and the HDR contrast.

The range of projection is rounded off with state-of-the-art immersive 3D audio technology and a number of integrated special effects such as show lasers. The event mode is also enhanced with a holographic screen, water, fog and wind, as well as spectacular lightning discharges via several Tesla coils. The height available for the stage area was very low but the stage features cutting-edge stage equipment and thus opens numerous opportunities for events.

To describe the complexity of the project just a little further: An incredibly high number of different components was used – more than 800 individual product types – which was definitely a challenge in planning, procurement and installation for the whole team of Kraftwerk LT. Thomas Gellermann, Head of Special Projects at Kraftwerk Living Technologies states: “When turning dome theaters or planetariums into multi-purpose spaces, not just a broader audience can be attracted, also a different level of entertainment provided with state-of-the-art stage technology, special effects and of course great content. Never mind how great and capable the technology, without a great story and content to support, the experience is meaningless.”

This is what makes the Science Dome definitely must-see. Highly innovative technology paired with spectacular content and the main drive to give people a space to learn something about our world, in an engaging, entertaining, and educating way. www.kraftwerk.at

52 REP ORT: MULT IP URP OSE VENUES

FIL MPA L AST CAP I TO L COMPANY: MAG AUDIO LOCATION: SCHWERIN, GERMANY

The Filmpalast Capitol, established in 1936, is probably one of the most significant European cinema halls. Due to its special architectural configuration, the stage in the historical hall is equipped with the laterally rollable screen and the stage hoist. It allows to use Capitol both as a cinema and a theatre - a rare splendor nowadays.

Thanks to such a unique solution and almost 100-year history, the cinema has no equivalent in the state of Mecklenburg Vorpommern.

Owing to the state-of-the-art technologies and exquisite architecture, the Capitol was chosen as an exhibit for a Paris World’s Fair in 1937. It was honored as ‘the most beautiful contemporary cinema hall in the world.’

In the 90s, the cinema was extended by four rooms, and in 2016 by another room.

In the last two years, the cinema has been completely renovated. After extensive refurbishment, the cinema now boasts state-of-the-art loudspeakers by MAG Audio as well as MAG DC series amplifier systems and MAG Cinema surround loudspeakers.

The key requirement of the largest Capitol Schwerin hall

is to use it both as a screening room and a theatre/concert hall. MAG Audio engineers accepted a challenge and designed a smart custom solution for this hall to meet the requirements of a multipurpose venue.

Igor Sydorenko, Systems Engineer at MAG Audio, shared details of the project: “This historical hall has great acoustics, and the sound system must live up to high expectations for sound coverage and clarity. The hall has a complex geometry with a main seating area with almost no slope and a balcony area - rather unusual interior for modern cinemas.

“Point source screen loudspeakers were not an option, so we opted to use the MAG Cluster series installation line array. This gave us enough headroom to cover the entire audience, but more importantly, precise control over each sector as each Cluster module is powered and tuned independently “We have arranged three MAG Cluster Q columns along with MAG Cluster S15 subwoofers as screen loudspeaker arrays to be used behind a rollable screen. But the central array was an obstacle for concert and theat-

rical performances with the screen removed, so together with the Capitol Schwerin engineers we have devised a system to remove the central channel as needed.

“The MAG Cluster arrays were mounted on the hoist mounted truss, which can be brought down to detach the central array along with the subwoofers. We have designed custom wheel carts to take and remove the whole array from the stage in just a few minutes! This way we created a flexible sound system with uniform coverage and enough headroom for live concert performances.”

Michael Pawlowski, Capitol Schwerin CEO, commented: “With the installation of the MAG sound system, including the two line array towers, the sound is now perfectly fixed and covers extensively the room with a concert-like, wonderful sound.”

In total, the cinema is equipped with 55 acoustic systems and 25 amplifiers ensuring rich sound in the Capitol during film shows, stage plays and concerts. www.mag-audio.com

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IN FOCUS

• Page 56

EMEA KHALIJIA LOUNGE & RESTAURANT BARCELONA

VIENNA VOLKSOPER VIENNA

6MIC AIX-DE-PROVENCE

ST JOHN AT HACKNEY HACKNEY

DHOW & ANCHOR DUBAI

BERGTRASSE LIGHTS • Page 66

• Page 74

DARMSTADT

• Page 92

THE AMERICAS NOBU HOTEL CHICAGO CHICAGO

STEVEN TANGER CENTER NORTH CAROLINA

APAC CHIMELONG WILD ANIMAL PARK GUANGZHOU

56 IN BRIEF - EMEA

KV2 spices up the atmosphere at Khalijia in Barcelona

Occupying a prestigious downtown location just a stone’s throw from the famous Passeig de Gracia, the new Khalijia Lounge & Restaurant is Barcelona’s newest nightspot with an Oriental twist. Offering everything from Lebanese and Moroccan-inspired food, to exotic cocktails coupled with live music, Khalijia aims to cater for a discerning clientele that appreciates quality at every level. Leading Barcelona-based AV systems integration specialists, Silence Electroacustica S.L., were commissioned to design and install the audio, lighting and DMX control systems throughout the new venue. Silence opted for a KV2 Audio system based on the EX Series of active loudspeakers.

From an audio perspective, the system needed to handle a wide spectrum of requirements, from extremely high quality, low level music reproduction for the lunchtime and early evening crowds going right through to highenergy live performances. Silence’s owner and CEO, Jose Luis Rosales, had no hesitation in specifying KV2 Audio.

“Our passion for quality and the extraordinary pleasure that comes from listening to KV2 Audio systems made it a very easy choice,” declared Jose.

“As a company, our watchwords are quality, durability and performance – we would never recommend any product or any brand that does not fulfil these three criteria. Fortunately, KV2 meets them all. We went for

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57 IN BRIEF - EMEA

EX Series components firstly because of their extremely high-quality live music reproduction capacity and secondly their extraordinary sensitivity when it comes to low level music reproduction – this is really important for creating the right ambience for diners. Another important factor was size – EX Series are incredibly compact yet are capable of performance that completely belies their size – and they are active, so no need to worry about where to put the amplifiers!”

Silence installed a main system comprising two EX10s supplemented by a pair of EX1.2 MkII compact subwoofers in the performance area and a further four, extremely compact EX6s as a distributed system throughout

the rest of the bar and restaurant.

“The combined result with the audio, intelligent lighting and video is fantastic. The client is thrilled, as is the public and I am very proud of what have achieved at Khalijia,” concluded Jose. “We have met our goal which was to deliver excitement and passion through a combination of our experience, our knowhow and of course, the right products. Our job is to provide the knowledge and the products necessary to ensure the success of a project and the pleasure of the clients who enjoy it.” www.silence.com.es www.kv2audio.com

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Images: Petr Zikmund (www.fotozikmund.cz)

58 VENUE - EMEA

VIENNA VOLKSOPER VIENNA, AUSTRIA EMEA

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The Vienna Volksoper, also known as the People’s Opera, is Europe’s leading operetta house and Vienna’s largest theatre for opera, musicals, classical concerts and ballet. The Volksoper offers one of the most diverse musical programmes in the country, ranging from Carmen to Kiss Me Kate, and Coppelia to Cabaret, as well as productions for schools, many local German operetta performances and much more.

The venue was also the first in Vienna to open its doors to the public after the summer break, but, more importantly, in the wake of the COVID-19 crisis, with a performance of Strauss’s Die Fledermaus on 1 September, followed by a revival of Cole Porter’s classic

59 VENUE - EMEA

• Above Vienna Volksoper, also known as the ‘People’s Opera’.

musical, Kiss Me Kate on 2 September.

Both productions benefitted from the pristine audio reproduction of a new, specifically-designed KV2 audio system, which also happens to be the first ever to use KV2’s new Control & Diagnostics Tool for remote system management and control.

The new sound system for the 1,339-capacity venue was designed by Martin Lukesch, Director of Sound and Media Technology at Vienna Volksoper.

“Here, it’s all about the music!” he explained. “As a repertory theatre with a hugely varied performance range - we can be staging a rock musical one night and

a classical ballet the next - the demands on the sound system are enormous.

“Our season starts on 1 September and we have rehearsals every morning and performances every evening, non-stop, until 30 June. This was my starting point when it came to designing a new system.

It had to be able to fulfil the needs of all the different types of shows we stage, and deliver the best possible audio experience for our audiences.

“The old system was mainly designed at the end of the 1990s. A huge system with point source loudspeakers and 58 remote-controlled Crown Macrotech amplifiers. This system was well designed

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and worked pretty well for more than 20 years, but it was coming to the end of its life expectancy.”

There was a lot to consider ahead of the installation project - particularly as Vienna Volksoper is such a historic venue. Martin explained further: “First of all, we did market analysis, which led to us conducting a survey of the structure to find out what was possible in terms of mechanical loads, as well as to specify the features of the loudspeakers and amplifiers, such as point source, -3dB cut-off frequency below 40Hz, wide dispersion, amplifiers with network control and diagnostics, and more.”

60 VENUE - EMEA

Martin had been a fan of point source technology even before coming across KV2, convinced that it was the solution for Volksoper, but he took a while to find what he was looking for. However, once he’d found KV2 - he particularly recalled the first time that he heard the VHD system demoed at an outdoor stage at the Frankfurt Musik Messe - there was no going back.

“I need point source loudspeakers for my designs, and KV2 makes excellent point source loudspeakers. Better still, they have a huge variety of sizes and formats. Whatever it is you need, KV2 has the right loudspeaker for the job. So, yes, when we decided to renew the sound system at Volksoper, for me it was an easy choice.”

For the main system, Martin selected three

active driven, full-range ESR215S per side for the stalls, circle and upper circle. “I wanted a real full-range system with the -3dB point below 40 Hz,” he added. “The ESR215 is ideal with its wide 110º horizontal dispersion and smooth frequency response across the range. We chose the S slimline version to minimise visual impact.

The centre cluster comprises two SL412 active driven wide dispersion loudspeakers flanked by an ESD10 and an ESD12 per side. Frequency and phase response are matched to the side system.

“There is also a second proscenium system of 12 smaller, wide dispersion boxes (ESD10s), mainly for sound effects. We have another effects system, known as ‘The voice of God’ located in the dome of the auditorium, which consists

of two of the big ESR212s, plus a full surround system throughout the theatre - there are at least 60 loudspeakers, mainly ESD5s which are used for ‘room simulation’ to create ambience, or for special sound effects that require high diffusion.

Finally, we have six more big point sources ESR212s again - for the stage; if you need thunder or explosions on or behind the stage, then you need powerful loudspeakers on or behind the stage. The ESR212s are perfect, just as they are for the voice of God. There are also delays, frontfills, outfills and other loudspeakers for effects or monitoring throughout the auditorium.

“The vast majority of our equipment is permanently installed,” Martin continued. “We effectively have several systems in one, and

TECHNICAL INFORMATION SOUND: 6 x KV2 Audio ESR215S loudspeaker; 10 x KV2 Audio ESR212 loudspeaker; 2 x KV2 Audio SL412 loudspeaker; 2 x KV2 Audio ESD25 loudspeaker; 2 x KV2 Audio EDS12 loudspeaker; 10 x KV2 Audio ESD10 loudspeaker; 12 x KV2 Audio ESD6 loudspeaker; 6 x KV2 Audio VHD2.18J subwoofer; 2 x KV2 Audio VHD4.21 Active subwoofer; 2 x KV2 Audio VHD4.21 Passive subwoofer; 40 x KV2 Audio ESP2000D amplifier; 6 x KV2 Audio ESR2800D amplifier; 4 x KV2 Audio ESR3000D amplifier; 2 x KV2 Audio SL3000D amplifier; 7 x KV2 Audio VHD3200D subwoofer amplifier

www.volksoper.at

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KV2 AUDIO - D SERIES AMPLIFIERS For years, people have enjoyed the superior audio quality of KV2’s Super analogue amplifiers, however, for certain applications where control was needed, they were forced to use other third party products, relying on basic digital electronics and DSP to give some control, which unfortunately also affected the sound. Now, in another industry first from KV2 they are able to offer the highest quality Super Analogue engineering, with the added convenience of digital control and diagnostics.

Not to be confused with the more basic ‘Class D’ commercial amplifier solutions, KV2’s ‘D series’ amplifiers use a range of topologies including Class AB for exceptional high frequency response, a unique high current switching topology on low frequencies, and consistent power deliveryfeaturing toroidal transformers hand wound in the Czech factory, specific for each model. From the control section, the new D series amplifiers give you the option to set up gains, operate mutes, configure the limiters, or select filter, EQ and bridge modes depending on the model.

The diagnostics section will give you information on the temperature of heatsinks, mains voltage, real time health checking and the output levels relative to limiting. This is a crucial feature for the increasing requirement of monitored loudspeaker systems in public spaces. With the new KV2 Control & Diagnostics software Tool you can also set all your amplifiers individually or as a group, including saving and recalling presets, or show files.

By embracing digital technology for control where it is suited, but maintaining the fastest, highest quality analogue electronics for the audio path where it is needed, you truly have a revolutionary hybrid solution, that offers user friendly operation whilst maintaining the integrity of audiophile reproduction. The new models include ESR3000D, ESR2800D, ESP2000D, SL3000D and VHD3200D. KV2 Audio D series amplifiers - finally, control without compromise.

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it’s much easier and faster for us to switch between shows when 90% of what you need is already in place. However, there are times when you still need to supplement with mobile systems, so we also have a large stock of additional point sources that we can use as required; we have ESDs in every size, from the tiny ESD Cube up to the ESD15, plus a number of ESM stage monitors.”

When it comes to subwoofers, Martin hasn’t stinted either: “You can never have enough subwoofers! There will always be a show where you need more low end - sometimes you have to feel the bass and the seats need to shake. If your subwoofers are placed correctly, you can achieve that quite easily.”

Vienna Volksoper offers the ideal placement for subwoofers that can literally move the earth. Like many old buildings, heating and cooling is achieved via a double floor system; in the case of Volksoper, this means there is an entire room under the auditorium which is the perfect place to house earth-moving subs. Martin opted for four of KV2’s most powerful and dynamic subwoofer solutions, the VHD4.21 active/passive system, for under the stalls, plus eight single 18-inch subwoofers under the balconies and two flown VHD2.18J dual 18-inch systems in the dome for the boxes.

Martin added: “With these solutions, we can really make audiences feel completely

involved in the performance, especially as we have wooden floors that react to the vibrations. If we wanted to make people believe they were experiencing an earthquake, we could. In fact, with the amount of power we’ve got, we could probably even create one!”

When it comes to amplifiers, Volksoper is the first installation to utilise KV2’s brand new diagnostic, monitoring and control tool, which adds an essential level of comfort and security when managing a large, complex system.

“In 2020, large installations like ours we have 56 amplifiers in use full-time and five spare - have to be accurately controlled and monitored, or we simply can’t operate efficiently,” said Martin.

“Our previous system used networkcontrolled amplifiers, which was perfectly reliable, but old technology. KV2’s solution is most definitely next generation and offers us much more flexibility. All amplifiers, drivers and loudspeakers are monitored in real time, so any anomalies are instantly located and reported.

It also enables me to configure and switch between systems in no time. For example, for one show I’ll be using small loudspeakers, and for the next I’ll have a completely different system with all of the subwoofers involved. This enables me to load all of the amp settings for a particular show in just one click – it’s virtually plug and play which makes my life much easier.”

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“KV2 makes excellent point source loudspeakers.

Better still, they have a huge variety of sizes and formats. Whatever it is you need, KV2 has the right loudspeaker for the job. So, yes, when we decided to renew the sound system at Volksoper, for me, it was an easy choice.”

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• Above Vienna Volksoper, Europe’s leading operetta house.

There were plenty of challenges, as is often the case for venues of this nature, though this year has, of course, increased the difficulty when completing installation projects. However, organisation was the key for Vienna Volksoper, as Martin explained: “The tight timeframe was a challenge for this project, plus, due to the COVID-19 outbreak, the summer break was shorter than it usually is.

“So, as a result, the complete installation process was tightly synchronised – from the break down of the old system, amplifier racks, power load centres and distribution. Then, there was the rebuilding process. Firstly, the steelwork; then all the fireproof woodwork; the mounting of the systems, while building the new racks; installing a new load centre and new power distribution. That meant that the transport, steelwork, woodwork, wallpapering, electrical work

and IT installations were all on the same, highly-coordinated schedule.”

The end result is certainly a huge success, with Vienna Volksoper’s state-of-theart audio system able to consistently deliver for the wide range of shows, all while enhancing the atmosphere for the audience.

“I’m delighted with the new KV2 system at every level,” Martin concluded. “Our audiences deserve the best, and as far as I’m concerned, this is it.”

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Photos: Vincent AGNES and Leo FORREST AGOSTINI

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6MIC

6MIC, located in Aix-en-Provence, France, is a brand-new, multipurpose concert hall designed by up-and-coming architects, Rudy Ricciotti and Jean-Michel Battesti. On first glance, the venue is easily mistaken for a mountain top, with its lichen covered peaks emerging from the earth, but, on further inspection, the seamless design that blends perfectly into the natural landscape creates a concert hall that has vowed to be France’s epicentre of contemporary music.

The venue gets its name from its geographical location, and was chosen by the city’s mayor.

It refers to ‘seismic waves and vibrations symbolising both the desire to radiate on the territory and the idea of a project in motion’,

AIX-EN-PROVINCE, FRANCE EMEA

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• Above 6MIC’s amazing architectural design that blends into the natural landscape

and a project in motion like 6MIC always needs a creative and technically challenged team behind its audiovisual systems. The brief was very simple, as Technical Director, Rémi Droesch, stated: “We wanted the best sound! And to make 6MIC the concert hall of the third millennium, with the most modern and qualitative equipment possible.”

6MIC consists of eight separate spaces; four concert spaces; two ‘classical’ concert halls; a cabaret hall and an outdoor area.

The venue also holds five recording studios and is made up of three levels gathered around three patios. On the ground floor, you will find the hall, the

two stages and the main patio - as well as the unloading dock and storage rooms.

The centre of the project, the hall, is presented as a large open space with a glazed facade 50-metres long, overlooking the square and offering an outside view.

Upstairs, the boxes revolve around the second patio and make the connection between the two rooms, which can operate simultaneously. On the second level are the spaces reserved for artists, as well as the rehearsal studios, which are connected with the hall.

Each space had its own specifications, therefore the team had to treat each area individually to obtain the best

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sound quality throughout. “Our goal was to obtain the best sound coverage in bandwidth and dynamics, while taking into account the geometric and load constraints depending on each room.

This was especially true for the mixing consoles, as they had to be able to be used in each space, while all being networked together and permanently with the recording studios. We also wanted to be able to broadcast from one space to another, and we achieved this by using Dante network solutions distributed throughout the building via optical and Ethernet links.”

The work started on 6MIC in 2018, with

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the final plans confirmed in September 2019. From there, the team started consultations, even though at the time, they were unable to access the building to make acoustic tests and measurements.

“This was our main obstacle,” stated Rémi. “The site was very delayed, and we entered the building in January 2020 with an opening scheduled for early March 2020. All of our tests were therefore virtual!”

It was during this time that the decision was made to go with an L-Acoustics Kara system for the venue’s sound system. After several tests from other manufacturers, Rémi decided that L-Acoustics would be perfect for the installation. “The quality of our discussions and the responsiveness of the L-Acoustics teams was very satisfactory,” he said. “The Kara option seemed to be a very good system. Once we had decided to go with the Kara system, it was then that L-Acoustics suggested that we be the first room venue

in the world equipped with the brandnew Kara II and the P1 / M1 processor.

Of course, we jumped at the chance and we then fully validated our choice and inaugurated each room with Kara, while waiting to receive the Kara II, which at the time, was still under construction.”

Alongside the L-Acoustics Kara II system, 6mic chose Yamaha CL-5 mixing consoles for each room, in order for them to be networked together. “We chose Yamaha consoles because they are the most universal brand, every sound engineer is able to work on them,” he explained.

“The Dante network worked perfectly and Yamaha offers a complete network solution with Dante switch.

This meant that all the audio chain is working on networks simultaneously, and to a high standard. Yamaha consoles also make it easy to record in multitrack, too, with a simple computer or even a laptop anywhere in the venue. It’s therefore a universal, efficient and reliable solution.” www.mondodr.com

“We wanted the best sound! And to make 6MIC the concert hall of the third millennium, with the most modern and qualitative equipment possible.”

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The first space (Grand Concert Hall’s) configuration is: Kara II + KS21 + A0 in front fill + X8 in lip fill. The second space (The Club): A15 (Focus and Wide) + KS21 + X8 (front and lip fill). The third space (The Patio, exterior): ARCS WiFo (Wide and Focus) + SB18 + X8 (front and lip fill) and the Bar: 5XT + SB18. Remi furthered: “The Patio Kit is used in the Bar for winter. Each separate system is adapted to the capacity and geometry of each room. In the Club and the Grand Concert Hall, we used a P1 / M1 solution and all of the systems are controlled by LA Network Manager.

“Another reason we chose to go with L-Acoustics is because it’s a French company, therefore it has a lower carbon footprint than its competitors. The product design is also magnificent, and it offered a comprehensive range of loudspeakers that allowed us to choose the right set-up for every type of space.”

The brief for the lighting and visual elements of the venue were also in line with being the best and most efficient systems that the team would be able to rely on for years to come. “We wanted the latest generation of machines that were reliable and innovative. In addition to this, we also

insisted on choosing LED projectors as a priority in order to minimise the costs of electricity consumption and maintenance.

“Unlike the sound system, which is fixed in each room, the projectors are easier to move around as they are mobile. We looked for versatile machines capable of complementing each other in order to obtain the maximum possible configuration.

Robe was the first company to offer us its machines. We have set up a partnership close to that of L-Acoustics with Robe, but this time we made room for other manufacturers such as Chauvet, Elation, Chamsys, Clay Paky, Barco

TECHNICAL INFORMATION SOUND: Club Concert Hall – 1 x Yamaha CL-5 mixing console, 4 x L-Acoustics A15 Focus loudspeaker; 2 x L-Acoustics A15 Wide loudspeaker; 6 x L-Acoustics X8 loudspeaker; 6 x L-Acoustics KS21 subwoofer. Grand Concert Hall - 1 x Yamaha CL-5 mixing console; 16 x L-Acoustics Kara II loudspeaker; 8 x L-Acoustics A10 loudspeaker; 6 x L-Acoustics X8 loudspeaker; 8 x L-Acoustics KS21 subwoofer LIGHTING & VIDEO: Club Concert Hall - 1 x Chamsys MQ-70 mixing console; 12 x Robe Spiider lighting fixture; 12 x Robe Viva lighting fixture; 8 x Clay Paky Stormy RGBW; 14 x Blinder DTW 350 Elation 2 lamp; 12 x Robe Tetra 2 lighting fixture; 30 x Martin by HARMAN Par LED Zoom RGBW Rush 2; 10 x CHAUVET Lyre Rogue R1; 10 x CHAUVET Ovation E-930V W lighting fixture; 10 x CHAUVET PC Fresnel Ovation F-915VW; 1 x Barco VP Laser 12K projector. Grand Concert Hall - 1 x MA Lighting grandMA3 Light mixing console; 12 x K25 Clay Paky lighting fixture; 12 x Robe Esprite lighting fixture; 12 x Robe MegaPointe lighting fixture; 8 x Clay Paky Stormy RGBW; 14 x Blinder DTW 350 Elation 2 lamps; 12 x Robe Tetra 2 lighting fixture; 30 x Martin by HARMAN Par LED Zoom RGBW Rush; 10 x CHAUVET Lyre Rogue R1; 10 x CHAUVET Ovation E-930V W lighting fixture; 10 x PC Fresnel Ovation F-915VW; 1 x Barco VP Laser 12K projector www.6mic-aix.fr

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• Above A live gig taking place in the venue’s Grand Hall

and MA-Lighting. These companies approached us with a view of being involved in the project. Here again, networking was a priority in order to make the installation as complete and efficient as possible with consoles from different brands,” furthered Rémi.

Luckily, for 6MIC, it was able to play host to a number of artists and performers this summer and fall as venues began to reopen safely following the initial COVID-19 lockdowns. Even though the venue has now been forced to close again due to a spike in the virus, feedback so far has been positive, with many of the performers delighted with the system.

“The feedback so far has been great.

Whether it’s the building, the acoustics, the design, or the equipment, all the technicians and artists that we welcomed were so grateful to be able to play in this exceptional venue. Modularity and ease of work are a very important asset in our business as they save precious time for the teams we welcome into 6mic, and that,

of course, means they always leave with a smile!”

As the world still navigates its way through the ups and downs of 2020 and more venues see their doors temporarily closing, enjoying live music has recently felt like something many of us have taken for granted. Venues like 6mic highlight the importance of these memorable experiences in creating cultures, communities and positivity in a world that currently feels a little bleak.

Rémi concluded: “We are very proud to have worked on this unique, new concert hall. Technically, our challenge was above all to make the maximum number of local service providers work around our project. I would like to thank them all for their support and investment throughout this new adventure. Everyone at 6mic hopes that this difficult period will end as quickly as possible so that we can finally allow the venue to reach its capabilities and make it shine to as many people as possible.” www.mondodr.com

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A cherished landmark, St John at Hackney Church was established in 1275 and has been part of the East London community ever since.

A church in the traditional sense, over the past 10 years it has also established itself as a go-to venue for bespoke musical events.

The potential to fund the churches charitable efforts by hosting live music was first recognised by the current Rector of the church, Rev. Al Gordon, leading to major redevelopment work as Al and the Hackney Church team set about future-proofing the space and securing its position at the heart of the Hackney community.

The main brief was to design an audio system that could serve both religious services and

ST JOHN AT HACKNEY HACKNEY, LONDON EMEA

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• Above The d&b system inside the church.

offer a rider-friendly install that would enable the venue to host industrystandard live concerts.

A major part of this ambitious project is a stunning d&b installation, set within a breathtaking environment engrained with the principle of helping others by means of music and the arts. As with so many current projects, installation and commissioning had to go ahead with heavy COVID-19 restrictions in place, but a great team effort ensured a successful completion. The venue has now tentatively scheduled its first few socially distanced concerts at the start of December including renowned musical

artists James Bay and Lianne La Havas.

“In these dark days, this restoration is a beacon of hope: a cathedral of creativity, playing its part in a spiritual, social and cultural renaissance in East London and beyond” said Rev’d Al Gor-don.

Tim Last, one of the Trustees focussing on the production, technical install and commercial set-up explained: “We wanted to create a special place for events that will support the people of East London. I knew d&b is a key player in the audio world and investing up-front in a rider-friendly sound system was crucial to making the venue commercially viable.

“Gigs and events profits go to our various www.mondodr.com

charitable and social impact projects.

The main aim was transforming the building to function as both a church and a live-music and arts venue, creating a self-sustaining charity with an income that does not solely rely on donations, allowing us to do more,” he continued.

This acknowledgment of the importance of quality audio to produce successful live music gigs sets St John at Hackney Church apart.

A Grade II* listed building, the main objective of the interior redesign was attention to detail and quality for every aspect. Special features of the church were to be revived and the infrastructure for

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TECHNICAL INFORMATION SOUND: 20 x d&b audiotechnik Vi8 loudspeaker NL4 SC; 4 x d&b audiotechnik Vi12 loudspeaker NL4 SC; 2 x d&b audiotechnik SL-GSUB subwoofer NLT4F; 8 x d&b audiotechnik Vi-SUB subwoofer NL4 SC; 2 x d&b audiotechnik Yi10P loudspeaker SC; 2 DS10 audio network bridge; 7 x d&b audiotechnik 30D amplifier; 1 x d&b audiotechnik D80 amplifier NL4; 6 x d&b audiotechnik M4 monitor NL4; 2 x d&b audiotechnik B6 subwoofer NL4; 2 x d&b audiotechnik 10D amplifier; 1 x Allen & Heath dLive S5000 mixing console; 1 x Allen &Heath dLive DM64 mix rack; 1 x 4-Way Shure PSM1000 ear monitor system; 2 x Quad Shure Axient microphone system www.hackney.church

a state-of-the-art concert venue carefully put into place, including a brand-new PA, backstage and artist facilities as well as other hospitality features.

The architectural redesign team included none other than John Pawson CBE, the ‘father of modern architectural minimalism’. His design of a decluttered, airy and mainly white space makes for a beautiful setting but integrating an audio system into such a pure environment came with particular challenges and needed expert consideration.

“Bringing the architectural vision together with the technical upgrade we needed required careful consideration as John’s stunning vision is minimalist and we didn’t want to see any visi-ble plug sockets or truss.” said Tim. Ben Musson, Production Manager at St John added: “Discretion was key. Our decision-making process included details like matching our boxes

exactly to the RAL colour of the walls, hiding almost all of our cabling, and incorporating the production desk into the scheme from the very beginning. Continuity and sympathy with the building in every detail was so important.”

But it wasn’t just the aesthetics that would prove challenging, acoustically the venue came with a reverberation time of seven seconds, caused by the domed ceiling, a feature delivering stunning sounds for choral or classical music, but proving to be a major issue for other musical genres such as rock and pop. d&b sales partner, Southby Productions, submitting the successful tender to solve the difficult acoustics, provide a rider-friendly system to make the charitable efforts of the church a success, and deliver on the aesthetics. Their proposal centered on a d&b V-Series line-array system in conjunction with SL-SUBs customwww.mondodr.com

coloured in Signal White.

Sav Remzi, Founder of Blue Note Nightclub in Shoreditch, which was at the root of East London’s cultural transformation back in 1993, influential record label Nuphonic Records and Lovebox music festival, was enlisted as audio consultant for the project. “Southby have an attention to detail and dedication that matches my own,” said Sav. “As soon as I was briefed on the extraordinary demands of this project, I knew they, and d&b, would be the perfect choice for my client.”

Chris Jones, Director at Southby, gives insight into why they proposed the d&b V-Series for the project: “The V-Series is an absolute rider-pleaser, which was a crucial aspect of the brief. The tight pattern control and cardioid nature of the SL-SUBs also ensure that reflections of the back wall are kept to a minimum. The real advantage

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of the d&b V-Series in this space came from coupling it with ArrayProcessing, it meant we could provide the venue with the control of easily modifying the system for different occasions, be that a sold-out live concert or a smaller event where the balconies are empty for example” ArrayProcessing optimises the tonal and level performance of a line array hang and significantly improves the consistency of the frequency response over distance, as well as correcting for air absorption. This makes it a defining addition to a system that needs to be flexible in its uses.

Ben elaborated on the decision-making process: “We took charts from a number of different manufacturers and found that the d&b system and management software delivered the best coverage and control for our requirements.

When the system was tuned, we were able to avoid acoustically problematic areas and isolate

coverage to certain zones.

“We chose the V-Series, over the Y-Series, particularly, as we wanted an option whereby, we could, for smaller events, remove the hung Vi-Subs without affecting the frequency response and integrity of the system. This turned out to be a very flexible option, especially for socially distanced events” he continued.

To deliver on the aesthetics, Southby and the team came up with a solution where all hangs and rigging is hidden above the ceiling. This way, the array is solely fixed by motors giving the illusion of it being suspended in mid-air.

Sav is pleased with the outcome: “I love the end-result. The modernity of the all-white d&b line array marries beautifully with the classic backdrop of the church, like it was always supposed to be there. It looks particularly stunning with the d&b loudspeakers hanging there www.mondodr.com

uninterrupted by unsightly frames and trusses.”

It is clear for all involved that quality audio is crucial in operating successful events. The church wants this to be a thriving, multi-purpose venue that benefits the community and those in need through generating much-needed funds and the new d&b system enables them to do just that.

As Sav put it: “I call St John a ‘future-proof venue’. You need the best products to create great experiences and this is usually 90% achievable through the quality of sound. As an audiophile and long-time promoter of music events I understand the importance of the best possible sound in making a lasting impression on the artist and the audience, and find that the clarity d&b delivers always hits the sweet spot.”

“We think we’ve created something really special. We did it for the people of East London,” concluded Tim.

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DHOW & ANCHOR

Known locally as the ‘D&A’, Dhow & Anchor is a popular restaurant based in the Jumeirah Beach Hotel in Dubai. Offering a modern twist on British cuisine – and open for lunch and dinner every day - the D&A is a stylish, casual venue that delivers the authentic essence of a British gastro-lounge. The tranquil outdoor terrace has impressive, panoramic views of the Burj Al Arab – the perfect backdrop for its al fresco dining and drinking options. It’s a popular location for sports fans, too, with indoor and outdoor screens available to cover

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• Above The main seating area at Dhow & Anchor

all major sporting events.

There was a need for a new audio system at the D&A – one that could meet the owner’s expectation in terms of sound, whether it was to enhance the atmosphere for sports fans or provide the perfect ambience for the restaurant. In line with this, it was vital that the staff were able to control the new audio system intuitively and wirelessly via an iPad. This had to include controlling the video source selection for each of the display monitors

populated across the restaurant, as well as adjusting the levels on each zone.

Not only that, but live acoustic performances are part of the experience at the D&A, too, with artists creating a relaxed atmosphere for visitors. So, it was important that the new audio system had different sources and was able to produce foreground music with extended bass support.

To assist with this project, SONIDO Technology were enlisted to help provide

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a zonal audio solution for bands and DJs, as well as every day media server playback. Gareth Armstrong of Sonido explained why his team decided to opt for a QSC system: “This was to suit the refurbishment of the Dhow & Anchor, which is widely known amongst expats in the UAE. Together with audio came the distribution of video where QSYS was highly favoured to manage the audio and video distribution seamlessly.

“The design was kept ‘open’ per se,

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however, the strictest regard to controllability, quality, ease of use, flexibility and price point were absolutely to remain key in the overall design. SONIDO Technology approached QSC with the challenges, as their thoughts and ideas to the Project and a solution was found between QSC, Atterotech and Visionary Solutions to ensure design intent was kept and delivered and design benchmarks were met.”

The QSC system was provided for the D&A

by GSL Professional, an exclusive distribution partner for many industry-leading brands.

Established over 20 years ago, GSL Professional – whose head office, service centre, training facility and showroom are based in Dubai – has become

a regional leader in distribution. With a strong reputation for supplying solutions across the GCC region, GSL Professional were best placed to ensure the venue had a state-of-the-art system.

The new setup includes the QSC QSYS Core110f DSP that can receive analog audio and AES67 network streams. The sources from the IPTV are connected to a network video encoder that converts it to an AV stream via Visionary Solutions. It is then being received and converted by a network video decoder and being fed to the display monitors. Atterotech wall mounted Dante/AES67 devices are also strategically placed for the live acoustic performances and DJ locations.

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The benefit of using the QSC QSYS is that it is not only an audio DSP – it is also being used for control and configuration for the devices that are connected to the network. It is responsible for controlling the Visionary Solution AV network devices video routing to the display monitors and, since the network video encoder has Dante/ AES67 audio streams, the Core110f is receiving all audio streams from the IPTV, Bluray player, and the live mixer, local input sources and DJ sources.

The user control interface was designed for ease of use for the staff. QSC QSYS uses layers for each of the pages, with an animated effect whenever a zone is selected, with another window fading

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in for the controls. Audio and video selection is simple, too – the staff can see images of the video that is assigned to the displays and it even shows the visual meters to reveal the audio level for each of the zones.

The overall system is completed using QSC lousdspeakers inside the restaurant, which delivers a rich sound throughout.

Gareth added: “QSC loudspeakers are designed for clarity and presence. This loudspeaker system delivers pristine audio reproduction for installations requiring a refined audio experience.

“As part of creating a full QSYS ecosystem.

QSC QSYS Designer software and QSC Digital amplifiers uses intrinsic correction, which is an

advanced loudspeaker tuning technique applied to all QSC loudspeaker models to ensure the dynamic range and monitor the performance of the QSC loudspeakers.”≠ The distributed system is composed of QSC Acoustic Design loudspeakers, including ADS4T, AD-S6T and AD-S112 – and these are all powered by the SC CXD4.3 digital amplifier. The outdoor terrace loudspeakers are powered using the QSC QSYS CX-Q8K4 and CX-Q8K8 network amplifiers.

The end result has been a huge success, with the new QSC system enhancing the atmosphere at D&A – ensuring its status as one of the go-to venues for food and sport in Dubai.

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TECHNICAL INFORMATION SOUND QSC Q-SYS Ecosystem (Core-110f); QSC Acoustic Design Loudspeaker Series (AD-S4T, AD-S6T, ADS112sw); QSC Digital Amplifiers (CXD4.3 and CXD4.5); QSC Digital Network Amplifiers (CX-Q4K8 and CX-Q8K8) www.qsc.com

Photos: Alexander Lott and GVO Media

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BERGSTRASSE LIGHTS DARMSTADT, GERMANY EMEA

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Seizing a chance to generate some beautiful light art, positive energy and creativity during the pandemic, Johannes Spieß, Project Manager from technical specialist, MKM Event Show Technik based in Darmstadt, Germany, launched a new initiative of his own – ‘Bergstraße leuchtet’ (Bergstraße Lights) – to highlight some of the famous Bergstraße ‘mountain route’s’ stunning monuments, historical buildings and public spaces.

With events halted, normally busy rental company MKM had an abundance of lighting products including an extensive Astera inventory of AX3 LightDrops, AX5 TriplePARs

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• Above St Peter’s Church, Heppenheim was lit up with almost 400 fixtures.

and AX7 SpotLites sitting in the warehouse, so these were used to support all 12 of the lighting installations which were carefully crafted and delivered over a two-month period.

Astera AX7s were used at all locations … culminating with a truly spectacular and innovative event at St. Peter’s church in Heppenheim.

“Everyone in the area knows and loves the highlighted buildings and spaces,” stated Johannes, “and with tasteful and well-planned lighting and the application of colour … they were transformed and

could be seen literally in a ‘different light’ each time, so people could enjoy and take away new perspectives from their immediate environment.”

He added that in a time when events have not been possible, this was a safe and imaginative idea to provide something interesting in which people could engage.

Astera products were, of course, ideal for the task of lighting these works, with their brightness, long and regulatable battery power and App control, dispensing with the need for running cables and greatly assisting the deployment process in each

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case.

“The Astera lamps are very efficient in saving setup time, and with the AX7s and AX5s being IP65 rated, we were also confident in using them irrespective of the weather!” Also, with less cabling needed, the team could take a smaller vehicle full of kit to the location.

Up to 200 fixtures - Astera’s, plus others were used in most cases to give good and detailed coverage of the buildings and landmarks.

“It was so much fun to use the Asteras – they made the set ups extremely quick

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and efficient,” enthuses Johannes.

A grandMA system was used for lighting control, plus the Astera App for quickly setting up the DMX addresses of all relevant Astera fixtures.

Johannes was initially inspired to start Bergstrasse Lights by the original ‘light it in red’ project kicked off by the #NightofLightDE lighting action in June which saw thousands of buildings illuminated red across the country to draw attention to the challenges and realities facing the event industry during COVID-19.

He chatted to some industry friends and colleagues and everyone was up for creating something new, special and exciting for their community and those living and working in the region.

A core team of around 20 people evolved to

deliver Bergstraße Lights, including Chief Lighting Designer, Niklaus Baur, however the lighting schemes for each landmark were usually discussed by the team including Johannes, Lighting Operator Jan Grübener and others before a final plan was devised.

The featured buildings were a dynamic mix!

Castles like the imposing hilltop Auerbacher Schloss and the Starkenburg in Heppenheim which is also perched 300-metres above Hessische Staatsweingüter, offering stunning views all around; churches like St. Georg Bensheim and Kirche Zwingenberg; prominent houses and vineyards including the Kirchberg Häuschen vineyard; the central bridge and creek in Lauter and both the town hall (Rathaus) and the city park in Heppenheim – each is a unique

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architectural or landscaped masterpiece in its own right.

In addition to lighting these fabulous places for the first time, the project had several other special aspects.

Once up and running and gaining traction via the website and various social channels … no-one knew where and when the next illumination would take place, so this element of surprise and anticipation kept people engaged and guessing!

To discover the location, some hints were dropped on Bergstrasse Lights’ Facebook and Instagram pages, plus additional clues announced on public radio station, hr3.

The finale at St. Peter’s church in Heppenheim was a favourite installation for all on the team where the lighting count doubled to over 400

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fixtures in total, of which more than 220 were Astera – a combination of AX3s, AX5s and AX7s connected via five wireless DMX transmitters.

Often referred to as the ‘Cathedral of the Bergstrasse’ the idea was to maximise the impact of this event, so a special concert was staged inside featuring the band Lichtenberg with camera images of the performance projected onto the church’s front façade for socially distanced onlookers.

The concert was also streamed on three different Facebook Fanpages - Bergstraße leuchtet, the City’s and the band’s - as well as on YouTube and on the Bergstraße leuchtet website.

And … a series of ‘secret’ live-streamed concerts were produced at some of the locations – so

Johannes and the team had multiple ways of getting the content in front of people.

The concert livestream concept was trailed for the first illumination at Auerbacher Schloss with the band “As far as Low’ and intended as a one-off. However, the public response was so overwhelmingly positive that Gregor Ott from GVO Media went on to produce seven concert movies from these spontaneous livestreams (i.e. not revealed in advance) accompanying some of the most dramatic installations.

MKM Event Show Technik GmbH was the main technical supplier including most of the Astera Products; event producers e3motion provided general know-how coupled with overall coordination; GVO Media was responsible for

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the streaming and camera equipment working with CK Veranstaltungstechnik who provided the live stream audio kit; session pro GmbH supplied additional moving heads for lighting St Peter’s main facade; Astera distributor Kaiser Showtechnik contributed extra Astera products as needed and laser projectors were from Vision Tools.

The collective activities related to all these lighting events gave a general moral boost and a great sense of purpose to all involved in the technical production during this time where there has been no work since March!

So much so, that Johannes reports future lighting works and events are in the planning … so watch this space!

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Martin Audio collaborates with Nobu Hotel Chicago.

Located in the vibrant West Loop neighbourhood, Nobu Hotel Chicago combines the essence of the Windy City with the spirit of Nobu. Innovative architecture and 115 stylishly-appointed rooms and suites seamlessly blend oldworld Japanese influences with ultra-modern design. The Nobu Restaurant is at the heart of the hotel, opening out onto Randolph’s famed Restaurant Row. Technology had to contribute to the guest experience, and sound was no exception. Nobu Hotel Chicago partnered with Martin Audio’s team of experts for audiovisual and AV low structured cabling. Encompass AV gave the team an opportunity to flex their design, acoustics, audio visual infrastructure, and overall hospitality strengths and sound performance.

Encompass AV came in to rethinking the entire audiovisual, structured cabling that ensured greater network infrastructure to deliver the Martin Audio solution. They also wired the entire building with the high-end audiovisual low-voltage and electrical systems, all while integrating seamlessly with other

vendors on the site.

System design was focussed entirely on the guest experience from display screens that come down on mechanical lifts with the touch of an iPad, to audio systems that deliver extremely high-quality sound across the property’s many settings. One of the key elements in this was Martin Audio’s differential dispersion technology to provide even coverage throughout the hotel.

Timothy Pickett, President, Encompass AV and his team decided on a similar system design for each of the public spaces but tailored to the specific needs of each area. The CDD series forms the backbone of the solution in each area to ensure that even coverage and high audio quality is maintained throughout the hotel. With the pool, spa, fitness areas, restrooms, lobby, conferencing space, rooftop bar and, of course, the centrepiece restaurant to cover, dozens of CDD6 ultra-compact two-way passive loudspeakers have been deployed from the entrance all the way up to the rooftop.

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“With Nobu Hotel Chicago, we’re looking for even coverage with a really tight, nice low end throughout the entire space,” explained Timothy. “We wanted people to be able to walk through every area and not hear any dropouts or comb filtering, and we were able to accomplish that with the CDD series.”

The award-winning CDD6 delivers the hotel’s smooth, even coverage thanks to its Coaxial Differential Dispersion technology, which achieves ‘point source’ summation of the low frequency and high frequency sections - eliminating off-axis variations in frequency response associated with non-coaxial designs.

It also improves on conventional coaxial designs thanks to the static waveguide that merges with the unique cone shape to maintain the dispersion pattern all the way out into very high frequencies.

Coverage was only one aspect that led to the selection of the CDD loudspeakers, with the aesthetics playing just as important a role. The compact footprint of the CDD6 and its close mounting capabilities for walls and ceilings

ensured the loudspeakers could be easily hidden in every space. “In areas like the rooftop bar we were able to hide all the CDD6 loudspeakers above the ceiling, so you really don’t see them,” recalled Timothy. “It made a lot more sense to us to use more of the smaller cabinets which could be installed out of sight more easily, than fewer of the larger CDD family members that could have been more of a challenge to hide.”

A global lifestyle brand, Nobu Hospitality is built on instinctive design, a passion for service and a commitment to great food. “The real prize in the building is the restaurant,” added Timothy. “High-quality sound and even coverage were definitely requirements. They needed that feeling where you walk into a high-end restaurant and it sounds the part, that it has that feel to it and carries that energy with it. The CDD6 was able to deliver this perfectly. The sound is phenomenal.” www.martin-audio.com

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Photos: Joey Kirkman

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STEVEN TANGER CENTER NORTH CAROLINA, USA AMERICAS

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The Steven Tanger Center for the Performing Arts in Greensboro, North Carolina is now the home to the largest Meyer Sound Constellation acoustic system in the United States. The Centerâ&#x20AC;&#x2122;s events will be supported by world-class audience amenities and advanced technologies, including variable acoustical environments tailored for each performance.

The project was both boldly ambitious and fiscally conservative. It was ambitious in that the $90 million facility would incorporate the latest technologies for acoustical and staging flexibility, allowing the venue to serve as a concert hall for symphony performances and opera, as well as an auditorium for spoken word events and a road house for touring shows from rock concerts to Broadway musicals. It was conservative, however, in that the cost was substantially less than what would

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• Above The Steven Tanger Center’s main auditorium

be needed to build two separate venues.

“I knew from the outset that the economics would be driven by selling out touring shows, which is why we set 3,000 as our minimum capacity and designed our staging to accommodate tours well into the future,” stated Matt Brown, who as Managing Director of the Greensboro Coliseum Complex now also carries responsibility for the Tanger Center. “Yet following the demolition of the old War Memorial Auditorium, the Greensboro Symphony was in need of a new home. Our goal was to provide an optimum environment for both types of performances without compromising either.”

He continued: “The audio systems in the venue needed to have the capability and

flexibility to deliver state-of-the-art sound quality for a wide variety of events. The Tanger Center will host everything from symphony classical music performances to rock concerts to lectures to Broadway to family shows and the sound systems must be able to deliver the highest level of performance for all those different types of events.”

The challenge was handed to the acoustical consultants for the project, Arup of New York, with acoustical design at various stages guided by Matthew Mahon, Christopher Darland and Ed Arenius. Arup’s recommendation was to design the hall with relatively dry physical acoustics to accommodate spoken word and amplified music with electroacoustic enhancement added as required for most

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other musical events.

“The symphony would have preferred a 1,600-seat symphonic concert hall, but Guilford College’s Bryan Series and Broadway series were selling double that number,” recalled Matt, “so we needed to acoustically accommodate both.

That led to a thorough education on electroacoustic technology culminating in the selection of a Constellation system.”

Also involved early in the process was Cliff Miller, president of SE Systems, eventually selected as the AV systems integrator. Although brought on board primarily to consult on road house requirements, Cliff also helped connect key people in Greensboro to the Meyer Sound team in Berkeley.

“To a great extent, the choice of

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Constellation was driven by a push from Dmitry Sitkovetsky, the Music Director of the symphony,” recalled Cliff. “He visited Meyer Sound in Berkeley to hear Constellation early on when other systems were still under consideration. He also consulted with other conductors familiar with the technology before tilting strongly toward Constellation.”

Not only did Sitkovetsky hear Constellation in the audience at Meyer Sound’s Pearson Theatre, he also sat in with a string quartet, playing his Stradivarius violin. In addition, he had previously noted the acoustical improvements at Moscow’s Svetlanov Hall following installation of Constellation there. Also traveling to Berkeley to audition Constellation was Tom Philion, president and CEO of ArtsGreensboro.

Cliff Miller, also explained that the level of cooperation between the key participants in the project was considerably higher than usual, something he ascribes to the work his company has done with the city of Greensboro over the

years - that relationship goes back to a sound system they installed in its Coliseum venue in 1996 - and the work SE Systems did with Parsons Electric (now Archkey Technologies) on Charlotte’s Bank of America Stadium in 2014. “Being familiar with each other definitely helped, but so does the fact that we’d have regular Monday and monthly meetings, often with all on site,” he said. “And the fact that everyone, including ARUP, was open to making changes.”

Sam Trexler, SE Systems’ project manager for this job, added: “Everyone was willing to look at ideas that went beyond just the conventional ones.”

That flexibility helped with the installation of SE Systems first Meyer Sound Labs Constellation electro-acoustical system, especially since the Tanger Center was also the largest Constellation installation in the U.S. to date. While the Meyer Sound system is fully discrete from the house PA system - its main overlap that it shares with the d&b sound system is two of the five systemscore racks located on the venue’s catwalk - its www.mondodr.com

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installation required a high degree of interaction with certain vendors. For instance, Sam explained, the absorptive fabric used on the side walls as acoustical treatment specified by ARUP and installed by a local provider varies in thickness, between two and 12-inches, in different places in the auditorium. Those variances could impact the effectiveness of some of the 226 loudspeakers and 57 microphones embedded in the auditorium’s walls and ceiling that are used to alter the room’s acoustical response.

“ARUP did the acoustical modelling of the room, and we were working from Meyer Sound’s Constellation system design, which they did from the architectural drawings,” he said. “We needed to make sure the loudspeakers and microphones were placed consistent with where Meyer said they were supposed to be, but also that somewhere underneath there wasn’t an overlap seam in the wall covering.”

Cliff added that they needed to have the same level of cooperation and coordination with the drywall contractors, who had to build recessed boxes around approximately 90 of the wall-installed loudspeakers. In other cases, a support beam might be discovered where a loudspeaker was intended to be placed, necessitating the beam’s repositioning. “The important thing for the Constellation installation was to keep the loudspeaker and microphone groups’ distribution plan intact,” he said.

Small changes were made to the system design by Meyer Sound technicians on site; for instance, one designer was able to reduce some of the amount of the cabling around the balcony areas by tweaking the conduit routing. Nonetheless, the Constellation www.mondodr.com

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system’s wiring still needed more than double the 31,000 ft of Belden and Windy City cabling the design originally called for. “That’s not surprising in a building this densely designed,” said Sam. “It might take 250 ft to get from point A to point B while on the drawings is says 100 ft.”

The pleasant conclusion of the Constellation aspect of the project was that the entire Greensboro Symphony Orchestra was able to set up on stage for a rehearsal that doubled as the final tuning of the system. “That certainly helped Meyer with the tuning process, but it also helped the orchestra get used to working with the new electronic shell over the stage,” said Cliff. “That was completely new to them.”

The Constellation system as installed by SE Systems comprises a total of 205 small full-range loudspeakers mounted laterally and overhead.

Eight different models were deployed, both fullrange and subwoofers, all incorporating Meyer Sound’s exclusive IntelligentDC for self-powered

systems with simplified cabling requirements.

For ambient acoustical sensing, 57 miniature condenser microphones are arrayed throughout the hall, feeding signals to the 18-module D‑Mitri digital audio platform. Five of the modules are D-VRAS processors hosting the patented Virtual Room Acoustic System algorithm.

“After the Meyer Constellation system was installed, the Greensboro Symphony Orchestra held several rehearsals so the system could be fine-tuned as needed. The Symphony’s feedback was extremely positive and they can’t wait to perform in their new home,” The Tanger Center schedule for 2021 and beyond features the Greensboro Symphony subscription series highlighting concerts with Kenny G and Sting. Also on tap is the inaugural Broadway season with Wicked, The Lion King, Dear Evan Hansen, Mean Girls and Beautiful – The Carole King Musical.

“After the Meyer Constellation system was www.mondodr.com

installed, the Greensboro Symphony Orchestra held several rehearsals so the system could be fine-tuned as needed. The Symphony’s feedback was extremely positive, and they can’t wait to perform in their new home. The acoustical toolset we have in Constellation as applied in a 3,000-seat setting affords economic advantages that I believe will be a model for all future performing arts venues of this type, not just here in the United States, but around the world,” summarised Matt.

It was a disappointment to the arts community in Greensboro, North Carolina when COVID-19 forced cancellation of grand opening festivities for the new Steven Tanger Center for the Performing Arts only days before the scheduled event. The multi-day celebrations in March 2020 were to include performances by, among others, Josh Groban, Tony Bennett and Jay Leno. A new opening date has not yet been set.

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New Guangzhou theme park has Ovation controlling huge Dante system.

Theme parks worldwide have been convinced for some years that Merging Technologiesâ&#x20AC;&#x2122; Ovation Media Server and Sequencer is the key to unlocking creativity and enhancing the visitor experience. The latest venue to embrace the technology is the Guanzhou Chimelong Wild Animal Park in China. This park had its opening ceremony on January 14th 2020, and features an ambitious installation completed by local Merging Partners, Dreamula. In a matter of weeks, the park was forced to close because of the COVID-19 pandemic, but has recently reopened.

The park is a night safari theme with around 45 different zones relating to different animals, such as the Panda Park, Swan Lake, Giraffe Playground and so on. Each zone has its own sound system, projectors, lasers and LED screens

all connected via Ethernet to a central control room where the Ovation server and Medialon Show Controller are located. Each zone has completely different requirements according to its individual theme and that adds to the complexity.

The audio network is a complete Dante solution and the Ovation server has Yamaha AIC128-D Dante accelerator cards installed with each one providing 128 I/O at 48kHz. All audio media files are stored on Ovation along with the cue data. Ovation uses its powerful virtual mixing console to send approximately 70 audio signals to 41 amplifiers in the 45 zones. Every zoneâ&#x20AC;&#x2122;s timeline and volume can be controlled independently or grouped in the Ovation mixer. The entire audio routing map is set up and stored in a Symetrix Radius NX 4X4 audio processor. Ovation uses ASCII commands to

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communicate with the Symetrix so that another routing map can be loaded to achieve a different playback mode or public announcement mode.

All the amplifiers throughout the park are network controlled from Ovation and this is done by issuing UDP and HEX commands. Ovation can remotely control the amplifiers independently or globally, instructing them to switch on or go to standby. This can be done by time control or manually, and the status of each amplifier is reported back, not only whether it is active or in standby, but also the running time since the last boot up.

Most audio cues are triggered by Ovation and make extensive use of the conditional rules feature which makes the product exceptionly powerful.

Some other audio cues are interactive and need to synchronise projectors,

lights and lasers, and in this case, timecode accuracy is not necessary. This equipment is controlled by the Medialon using DMX and ArtNet protocol.

Ovation communicates with Medialon using HEX through TCP, so when the cue is triggered, Ovation feeds the information back to Medialon as to whether the cue was successfully triggered or not and the user has an indicator light to confirm the status.

Dreamula Project Manager, Zhu Jie, reflected on the installation and commented: â&#x20AC;&#x153;We cannot imagine how this could be achieved without Ovation.

The combination of its flexibility and power cannot be matched and it is really easy to integrate with other equipment, even the Dante network.â&#x20AC;? www.merging.com

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IN BUSINESS

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PRODUCT LAUNCH PANASONIC

IN DETAIL CHRISTIE QSC PIONEER PRO AUDIO

PRODUCT GUIDE LOUDSPEAKERS

PRODUCT DIRECTORY IN PROFILE ZERO 88

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PANASONIC | PROJECTING A BRIGHTER FUTURE Panasonic exclusively launched its new PTRQ35K Series projector during an online press conference in October 2020.

The event offered a preview of Panasonic’s PTRQ35K Series - the world’s smallest and lightest 30,000 lm 3-Chip DLP projector. As part of the launch, a programme of break-out sessions covered topics, including picture quality – redefined; Features & functionality to ease your workflow; Benefits for education, entertainment and conferences; Life hacks for setup and configuration; and service and maintenance benefits for event applications.

The latest range of Panasonic 3-Chip DLP laser projectors, available in December, set new standards for immersive location-based entertainment with spectacular 4K image quality alongside ease of set-up and use. The world’s smallest and lightest 30,500 lumen projectors, the PT-RQ35K

(4K) and PT-RZ34K (WUXGA) are designed to visually thrill visitors to museums, exhibitions, theme parks and events, and are ideal for projection mapping. Its unrivalled reliability and Quiet Mode (46dB) also make it perfect for use at conferences and in auditoriums.

“With consumer behaviour changing, location-based entertainment (LBE) brands and destinations will need to compete with bigger and more stunning attractions to bring visitors back into venues,” said Hartmut Kulessa, European Marketing Manager at Panasonic Business.

“Immersive digital experiences will play a huge part in this transition. With its spellbinding picture quality and expanded colour gamut, compact body and simplified workflow, the PTRQ35K Series is the ideal projector for creating the enhanced in-person experiences that LBE venues need.” www.mondodr.com

Class-leading images with built-in reliability The combination of 30,500lm exceptional brightness, 4K resolution with Quad Pixel Drive and an all-new laser engine create immersive images that set a new benchmark for the projector class. Only Panasonic uses 2-Axis Pixel-Shifting technology to create the clearest and most detailed images (3840 x 2400 pixels; 4K/16:10).

Panasonic’s latest laser engine, with red and blue lasers, enhances colour to new levels of realism by expanding the colour gamut to 114% of its predecessor, the RQ32K projector. This exceptional colour quality is maintained throughout the life of the projector through the use of the most reliable laser devices on the market today.

This includes optimised blue-laser wavelengths and Dynamic Digital Control to regulate red laser output and cooling for consistent image quality. In addition, the Multiple Laser modules

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are equipped with Panasonic’s unique Failover Circuitry. If a single laser diode fails, projection continues uninterrupted with imperceptible loss in brightness.

Streamlined for transportation and set-up Despite its powerful capabilities, the RQ35K Series is the world’s smallest and lightest projector in its class. At 40% smaller than the current RQ32K projector, it can easily be transported, stacked and installed by two people. Once in place, the series has a host of features to speed and ease set-up.

Smart Projector Control, using NFC, enables the installer to prepare for set-up via an app on their mobile phone without plugging in the projector.

Remote Preview is a great time saving feature that allows projectionists to check for signal image and content via a web browser or app with

the projector still in standby and shutter on.

The need for content editing to eliminate colour banding is also removed with the introduction of another first, the Gradation Smoother function. Operators can select three levels of image correction appropriate to the severity of the problem, or disable the function when it’s not needed. A high visibility Information Monitor on the projector further simplifies set-up and operation and displays errors in real-time for faster response.

The Series also comes with optional Geometry Manager Pro software pre-installed for those that need bitmap masking and to automatically and simultaneously calibrate edge-blends using an external camera.

Built-in reliability Thanks to its filterless design and premium op-

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tical parts, such as the hermetically sealed DMD block and shielded laser drive, the RQ35K Series delivers 20,000 hours of maintenance-free operation. To ensure the show always goes on, Backup Input guarantees continuous picture display by automatically switching between signals in as little as 0.3 seconds if the signal is interrupted.

For spectacular images in any location space, the Series is compatible with Panasonic’s line-up of 18 lenses for its 3-Chip DLP projectors. This includes a groundbreaking Fisheye Lens for dome projection; and the new Ultra-Short-Throw Lens (0.370:1, WUXGA) and Short-Throw Zoom Lens (0.645–0.850:1, WUXGA) with zero offset. www.business.panasonic.co.uk/visual-system/ pt-rq35k

106 IN DETAIL

CHRISTIE | COUNTERACT

Christie is pleased to announce the launch of the Christie CounterAct line of commercial UV disinfection products with patented Care222 far-UVC light technology for cinemas, theme parks, museums, sports complexes and other indoor spaces. The Christie fixture uses Ushio’s patented narrowband filtered Care222 excimer lamps that emit far-UVC 222nm light - the only UV technology shown to continuously and significantly reduce pathogens, like coronaviruses, that may also be used while people are present, when used in accordance with specified parameters. Mass production of the new Christie CounterAct fixture starts in January 2021.

Developed by Christie’s parent company, Ushio Inc., based on technology licensed from Columbia University, the revolutionary Care222 far-UVC, mercury-free excimer lamp includes a proprietary short pass filter that prevents the emission of longer wavelengths of UV light (230nm and

higher) that are capable of penetrating human skin and eyes, an especially important feature that other 222nm and far-UVC products do not have.

It has been known for many years that UV light is a highly effective disinfectant that can reduce pathogens in indoor spaces. Businesses and other institutions have long used germicidal UVC light to stop the spread of viruses. The main drawback with most UVC technology is that it uses a 254nm wavelength that can penetrate human skin and eyes, which means these germicidal lights can only be used when people are not present or while they’re wearing personal protective equipment (PPE) that protects the eyes and skin. These shortcomings constrain how these devices must be operated and limit their widespread use in occupied indoor spaces.

A study conducted by Kobe University published in August 2020 concludes that, due to its shorter wavelength, far-UVC 222nm light does not www.mondodr.com

penetrate the skin and therefore may be used when humans are present.

Researchers at Columbia University Irving Medical Center have also tested far-UVC 222nm light, and in particular its effect on aerosolised seasonal coronaviruses (that cause the common cold). A scientific paper published by this group in the journal Nature in June 2020 found that 99.9% of aerosolised seasonal coronaviruses (the cause of the common cold) were inactivated when exposed to far-UVC 222nm light in just 25 minutes.

These studies’ findings suggest that the filtered 222nm far-UVC light emitted by Care222 lamps in Christie’s CounterAct fixture, which can operate continuously even when people are present, offers a significant improvement over traditional manual cleaning alone, which requires professional cleaners, and the repeated use of harsh chemicals, in which the results are temporary. www.christiedigital.com/commercial-uv-disinfection

108 IN DETAIL

QSC | CORE 8 FLEX & NANO

QSC has Introduced two new Q-SYS Core processors: CORE 8 FLEX & NANO. The perfect size for those smaller applications across corporate, higher education, healthcare and beyond, with the same rock-solid processing power and extensibility you have come to expect.

These processors are designed for applications with lower network channel capacity and/or targeted processing requirements.

Built on the same foundational technology as the rest of the Q-SYS processor portfolio, including the best-in-class Q-SYS Core 110f, Core 8 Flex

is designed for applications with lower network or analog channel capacity and/or targeted processing requirements. Some of the feautres and benefits include: • Full-featured audio, video & control processing power and extensibility you have come to expect from the Q-SYS Ecosystem.

• Optimised for QSC Conferencing needs allowing for full room web conference integration, particularly for high value, specialty rooms.

• Same software (Q-SYS Designer Software) for the entire Ecosystem; scale-up or scale-out with www.mondodr.com

ease.

The Q-SYS Core 8 Flex is ideal for single room, distributed processing with analog & networked endpoints, the Core 8 Flex audio, video and control (AV&C) processor extends the applications of the Q-SYS Ecosystem.

The Q-SYS Core Nano is perfect for multiroom with centralised processing and network endpoints. www.qsc.com

PROFESSIONAL

ShowMatch DeltaQ loudspeakers provide better coverage for outstanding vocal clarity.

With DeltaQ technology, new ShowMatch array loudspeakers more

Š2018 Bose Corporation.

precisely direct sound to the audience in both installed and portable applications. Each array module offers field-changeable waveguides that can vary coverage and even create asymmetrical patterns. The result is unmatched sound quality and vocal clarity for every seat in the house.

Learn more at SHOWMATCH.BOSE.COM

NEXT-GENERATION ARRAY TECHNOLOGY

110 IN DETAIL

PIONEER PRO AUDIO | XY-1 AND XY-2E

Two new loudspeakers are joining the Pioneer Professional Audio XY Series: the XY-1 and XY-2E. Developed to allow more versatile use of its flagship XY-3B, the XY-1 and XY-2E represent the LF and MHF sections respectively and each unit is available in black. Using these individual enclosures enables installers, rental houses and touring companies to easily build ground stacked point-source arrays and deploy systems in venues with low ceilings via a wide variety of configurations.

XY Series loudspeakers provide excellent reliability and outstanding audio quality to nightclubs and music venues around the world. In September 2017, Pioneer introduced the XY-3B and XY-2, which incorporate its X-Phase system. And now, with the release of the XY-1 and XY-2E, even more venues and events can benefit from the

performance of an XY Series sound system due to the horizontal-array deployment options offered by the new units.

The XY-1 consists of two 12-inch custom drivers in a hybrid dual-chamber configuration - exactly the same as the XY-3B, maintaining the chestpumping low end of the flagship model.

The XY-2E is much more than an XY-2 in an enclosure. Pioneer have kept the X-phase system, but enabled individual control of the eight-inch cone driver and one-inch compression driver, which wasnâ&#x20AC;&#x2122;t previously possible.

These adaptable new additions to the XY Series can also be used as stage fills, for live PA and DJ booth monitoring, thanks to the tailor-made accessories that make them easy to deploy in tight spaces. www.pioneerproaudio.com www.mondodr.com

New! Midra™ 4K Series Presentation Switchers Ideally tailored to medium-sized fixed installations and live environments

Unrivaled performance and reliability •

10 inputs, 2 outputs and one dedicated multiviewer

•

Versatile 4K connectivity (HDMI 2.0, 12G-SDI, DisplayPort 1.2)

•

Ultra-low latency 4K60 10-bit 4:4:4 image processing

•

Soft/hard-edge support

•

Embedded SDR/HDR real-time converters

•

Genlock synchronization

•

Dante™ audio networking

www.analogway.com

info@analogway.com

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112 P RODUCT GUIDE

loud•speakers

[loud-spee-ker] n.

A device that is used for converting audio frequency signals into the equivalent soundwaves by means of a vibrating conical diaphragm.

PRODUCT GUIDE

LOUDSPEAKERS SPONSORED BY TOA

“A product guide on loudspeakers, presented by TOA. You might not have heard of us, but you’ve definitely heard our sound solutions in airports, shopping malls, hospitals, mosques and other public buildings around the world. Founded in Kobe, Japan, in 1934, TOA specialised in all things acoustics from the get go, such as microphones, loudspeakers, amplifier. From the beginning, the Japanese engineers worked hard on inventing new technology while constantly improving existing techniques. Today, TOA draws upon 85 years of knowledge to create the perfect audio experience for our clients - we have made it our mission to supply high-quality equipment with first-class sound. You see, as one of our key areas of expertise is safety-relevant equipment, the task of transmitting messages in a way that they will be clearly heard is a question of keeping people’s lives safe. You cannot do this half-heartedly. Now, we offer a wide portfolio of loudspeakers that can be used in the installation of Voice Alarm Systems and in any other PA installation – no matter the location or application.

Ceiling loudspeakers, wall loudspeakers, horn loudspeakers, projection loudspeakers, design loudspeakers, compact array loudspeakers, pendant loudspeakers, line array loudspeakers, column loudspeakers, even loudspeakers for special applications, such as plane wave speaker… You name it, we’ve got it. When it comes to high-quality sound distribution, whether 100V based or low impedance, whether EN-54 certified or according to the British standard - TOA has the suitable loudspeaker for your project. These loudspeakers combine easy installation, excellent transmission characteristics, and a design that fits into any desired environment. Sounds good? You have no idea…” www.toa.eu www.mondodr.com

114 P RODUCT GUIDE - LOUDSP EAKERS

Adamson CS10 Built for the future of professional audio, the CS10 is a two-way, full-range intelligent line array element that packs uncompromising performance and power into a true sub-compact enclosure. Its proven impact in arenas and festivals is also right at home in permanent installs with its pristine output and sleek, unobtrusive enclosure.

Adamson’s unique optimisation technology gives you complete control over even the most complex performance environment; powered by Adamson’s Control Suite software, optimisation allows CS10 line arrays to deliver remarkably consistent and intelligible coverage across the listening area. The Control Suite platform also enhances your ability to design, deploy, control, and monitor systems in mobile and installed environments.

The CS10 delivers a max SPL of 141.3 dB despite its light weight of only 31kg/68.4lb. The CS10 contains two 10-inch Kevlar Neodymium transducers and a four-inch compression driver. The critically optimised sound chamber produces a slightly curved wavefront with a nominal dispersion pattern of 110° x 10° (H x V). The chamber’s efficiency allows for increased vertical dispersion without sacrificing high frequency presence in the farfield. Patented Controlled Summation Technology further eliminates lowmid lobing normally associated with two-way line source systems. www.adamsonsystems.com

Amadeus C Series

Alcons Audio CRMS-SRHV/9040 The CRMS-SRHV surround is a two-way passive-filtered full range loudspeaker, designed to meet all requirements of current and future immersive surround sound formats.

Featuring the patented Alcons pro-ribbon driver technology, the CRMS-SRHV combines an exceptional clarity and intelligibility with an unusually high dynamic range, offering the most realistic sound reproduction possible. Due to the ‘compression-less’ principle of the pro-ribbon transducer, the system has a linear response at any SPL. The CRMS-SRHV system consists of the RBN401 pro-ribbon driver for high frequency and a vented 8-inch mid-bass for low frequency reproduction. The CRMS-SRHV/9040 high frequency section has an 800 W peak power input, enabling a 1:15 dynamic range with up to 90% less distortion from 1 kHz to beyond 20 kHz. The system is available in 8 ohms and 4 ohms version.

The patented (90º) horizontal offers a very wide horizontal and controlled vertical coverage up to the highest frequencies; Very important for the seamless imaging in base channels of immersive systems.

Typical applications include (base layer) immersive surround sound system or compact screen system for performing arts theatres, screening rooms, post-production facilities and dubbing stages, premium Home Cinemas and quality-conscious PLF cinemas. www.crms.info

Designed by Amadeus, the new C Series is a high-definition series of point source loudspeaker systems combining Amadeus’ deepest innovation and technology. Initially designed and manufactured specifically for the Parisbased Théâtre National de Chaillot (Chaillot National Theater), which houses the most prestigious dance and theatre companies from Europe and throughout the world, the C Series (‘C’ is a tribute to Chaillot) is Amadeus’ latest loudspeaker innovation.

The C Series comprises two different models, with plans for other models in a near future. The C12 is based on a two-way point source transducer featuring a 12-inch subwoofer, and a 1.75-inch driver. The C15 is based on a three-way point source transducer featuring a 15-inch subwoofer. The C15 also features two neodymium diaphragm compression high frequency drivers, coaxially mounted with a single acoustical output, and coupled to an individual waveguide. Both models include a unique diffraction horn, each is specific and optimised to get a vertical dispersion of 60° and a horizontal dispersion of 90°, which can be inverted by rotating the system 90º. This type of load ensures a perfectly uniform coverage and an excellent spectral quality throughout the whole listening area. www.amadeusaudio.fr

Amina Mobius5i The Amina Mobius5i invisible loudspeaker delivers beautiful sound from just about anywhere with zero impact on décor. The Mobius5i has been designed to work behind a range of covering materials such as, but not limited to, plaster skim or wood, millwork, leather, marble, mirror, Corian, laminates and veneers. This hand-crafted loudspeaker has been engineered to evenly project immersive sound into any space unlike other solutions available today. The Mobius5i’s innate versatility enables integrators to deliver the power of music and cinema into any space without impacting design or décor. Amina’s Distributed Mode Technology, featuring numerous patents and proprietary technologies, functions more like an acoustic instrument than a conventional loudspeaker. Stringed instruments, are designed on the principles of sympathetic resonance, creating sound as they are strummed, plucked or bowed through the sum of many tiny pockets of vibrations that derive from their soundboard.

With an Amina invisible loudspeaker, our patented exciters also create pockets of sympathetic vibrations that spread outward in all directions to beautifully fill any space with balanced, detailed sound - even rooms that are acoustically challenged with hard surfaces, glass walls or obstructions. Amina’s planar sound panels sum together to create a fully immersive sound experience. www.aminasound.com

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115 P RODUCT GUIDE - LOUDSP EAKERS

APG iX Series The iX Series is a compact fixed installation loudspeaker range created by French loudspeaker manufacturer, APG. Featuring five models ranging in both size and functionality, the iX Series can meet the requirements of virtually any installation.

The entire range features an integrated coaxial technology, to eliminate diffraction and provide a consistent, linear acoustic field, even at a close range. Their sleek shape and range of RAL colours makes them suitable for any interior space.

The ultra-compact iX5 is a two-way full range passive loudspeaker, with an impressively wide sound dispersion angle (100° up to and above 10 KHz). Slightly bigger at 220 x 316mm, the iX6 boasts the same dispersion angle, and offers clear and precise sound of mid/high frequencies up to 20KHz. Small but powerful, these models can act as perfect loudspeakers for immersive sound applications.

The iX8 features an independent high frequency compression driver, as well as a coaxial device with an 8-inch cone driver, which offers a boosted acoustic dispersion of 110°. In combination with a subwoofer, this loudspeaker can be used for live or record music in bars, clubs or theatres.

The iX12 and iX15 also offer powerful precision and clarity. Both loudspeakers come with a variety of features, such as the 15-inch neodymium subwoofer and forced heat ventilation system on the iX15. In stand-alone mode, these loudspeakers can create powerful sound performances appropriate for sports events or theatres. Paired with a subwoofer, they become extremely impressive FOH systems with extended sonic versatility, suitable for concert halls, bars, clubs or karaoke venues. www.apg.audio

Ashly Audio IS Series Ashly Audio’s IS column loudspeakers provide an extreme level of flexibility for integrators by operating at 8 or 32 ohms, making them effective for simple applications or allowing larger numbers to be used in distributed installations - up to 32 IS Column loudspeakers can be run off a single Ashly PEMA or CA four channel amplifier. The IS Series delivers precise vertical dispersion and consistent sound levels front-to-back in virtually any type of venue.

Get the most out of the IS Series when combining with Ashly amplifiers and processors that incorporate Protēa or AquaControl DSP, achieving even wider frequency range with improved audio intelligibility at any scale. With the IS Series’ elegant form factor you have a solution that fits perfectly in multiple locations, including next to flat-screens in conference rooms or houses of worship. The SP-12.1P subwoofer provides an extended low end and offers a portable ‘system-on-a-stick’ configuration solution. www.ashly.com

Aura Audio A28 A28 is a passive cardioid high power subwoofer. Featuring a patented hybrid enclosure design, a combination of folded horn loaded 18-inch driver together with a separate 18-inch driver in a reflex-loaded enclosure gives this subwoofer its unique directional character. This key innovation, Passive End Fire Technology, perfectly matches the phase responses of the both front firing and rear firing drivers and as a result the two waveforms sum at the front of the cabinet and cancel behind the cabinet. Because this is accomplished purely acoustically there is no need for additional processing and as a result the A28 subwoofer can be driven with only one amplifier channel greatly reducing the overall system cost.

In case size matters, A28 is also available as 40% smaller compact version A28C with reduced infra bass performance still featuring same 18-inch drivers. Both A28 and A28C cardioid subwoofers are available as a standard touring versions including software covers and also as a dedicated installation versions with optional flying hardware. www.auraaudio.fi

Danley Sound Labs BC215 The BC subwoofer class was developed out of what was a military project with Danley.

The design criteria was to have an extremely high-output, low frequency device fitted between the skids of a helicopter. From that project the BC412 was born and subsequently the BC415 and BC218.

The BC215 offers the same low-frequency directivity as its predecessors by utilising the same horn design philosophy, but this version also features multiple horn exit options, which allows for numerous possible configurations. The dimensions (45-inch x 45inch x 24-inch) of the BC215 allow for it to ‘stand-up’ and fit below a standard 48-inch stage deck or can be configured to ‘lay-down’ and have a 24-inch profile when the horn exit is changed. The ‘stand-up’ configuration allows for the BC215 to offer the most directivity and can be coupled in a pair or a quad configuration for maximum low frequency directivity without the need for any digital signal processing.

By itself, a Danley BC215 will faithfully reproduce output from 33Hz to 180Hz at 137dB continuous and 143dB peak. It can handle 3400W continuous and 13600W peak at 2 ohms and weighs in at 360lb. www.danleysoundlabs.com

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116 P RODUCT GUIDE - LOUDSP EAKERS

EAW KF810P The KF810P incorporates specific design features tailored for the installation market: clean aesthetics offered in black or white, invisible wiring, and concealed three-point rigging. A weather rated option allows for long term permanent installation in demanding environments backed by EAW’s full warranty.

Engineered for a wide variety of applications, the compact KF810 module is comprised of dual 3-inch voice coil high frequency compression drivers, four 5-inch mid-frequency transducers and two 3-inch voice coil high power 10-inch low frequency drivers.

The output of these sources unites through an integrated horn that occupies nearly the entire forward face of the loudspeaker enclosure, delivering up to 145dB with accurate pattern control to 250Hz to master the most challenging acoustic spaces. www.eaw.com

Electro-Voice EVC-1122-VI EVC-1122-VI serves as a natural, articulate speech system that also does double duty as an impressive music system. It features an innovative 12-inch two-way design in which the mounting angle of the subwoofer and the downward-facing asymmetrical waveguide work together to evenly cover a rectangular audience area - with almost no variation in sound quality and minimal change in level - from a single loudspeaker system. Housed in a low-profile enclosure that can tuck neatly into corners and under ceilings and soffits, the model extends the EVC series for fixed installation.

The high frequency section comprises a single 1.25-inch titanium dome compression driver directly coupled to the waveguide, which combines long-throw and short-throw behavior in a single acoustical device. The low frequency section employs a high-output subwoofer providing low distortion, high efficiency and maximum intelligibility at high SPLs. The dimensions of the coverage area are determined entirely by the mounting height and aiming angle. EN-54 versions of these EVC loudspeakers ship with the TK-150 audio transformer pre-installed. The TK-150 works in conjunction with EV’s patented Automatic Saturation Compensation (ASC), which preserves low frequency performance while presenting a stable load to the amplifier, regardless of how many loudspeakers are connected. www.products.electrovoice.com/emea/en/evc-1122-vi/

EM Acoustics R10 The R10 is the flagship loudspeaker of the new Reference Series of point source loudspeakers from EM Acoustics. Suited to any performance environment requiring ultra-high quality sound reinforcement in a versatile, low profile package, the R10 is a three-way passive system featuring dual 10-inch low frequency drivers and a four-inch/2.5-inch mid-hi coaxial unit.

Housed in an optimally tuned enclosure, the R10 is unique in that it is supplied with two different, easily interchangeable dispersion waveguide options; a wide 110° x 50° dispersion for shorter throw applications and a narrower 80° x 50° option for controlled coverage over longer distances. Both are rotatable for maximum versatility and offer extensive pattern control to below 800 Hz. To ensure full compatibility with the rest of the EM Acoustics portfolio, the R10 - along with the rest of the Reference Series loudspeakers - is voiced with the natural, flat characteristics for which the company is globally renowned.

A sleek, weather-protected polyurethane finish and tour-optimised, human-friendly handling and rigging systems complete the package. The architecture and construction of the R10 combined with EM Acoustics’ state-of-the-art FIR processing liberates each component to achieve levels of sonic performance never yet achieved from a box of this size and form. www.emacoustics.co.uk

FBT VHA 406A Constructed in birch plywood with a tough and tour-ready synthetic rubber surround, each VHA406A comprises four 6.5-inch subwoofers plus a 1.4-inch large-format neodymium compression driver with a 2.5-inch voice coil. The purpose-designed central waveguide, optimised with BEM finite element simulations, offers dispersion of 90° horizontal and 20° vertical, with precise and focussed vertical control across the enclosure’s entire operating range. The result is a combination of perfectly balanced, symmetrical dispersion - multiple system can be coupled with full coherence far beyond 18KHz, plus a particularly powerful, defined midrange with a frequency response extending from 65Hz to 20KHz. The VHA406A’s Class-D, switch mode amplifier module is constructed in die-cast aluminium with natural convection to deliver 600W for the low frequency section and 300W for the high frequency. Courtesy of an integrated DSP processor with next generation algorithms, users can choose from eight presets to further tailor system performance whilst enjoying the system’s tremendous headroom to ensure the best possible audio fidelity.

Integrated hardware allows the linking of up to six VHA406A cabinets with variable angles from 5° to 20° (in 5° steps), ensuring an easy and error-proof system configuration and set-up. Rigging is simplified even further by the inclusion of only one setting point per side.

All setting pins are fixed and integrated into the hardware, eliminating both the risk of loss and damage in transport.

Crucially, the HORIZON VHA system also boasts integrated quick-release anchor points that facilitate the creation of horizontal arrays using the dedicated flybar. Each flybar will support up to three VHA406A cabinets, while multiple flybars can be joined for the creation of arrays delivering up to 360° coverage. www.fbt.it

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117 P RODUCT GUIDE - LOUDSP EAKERS

Fohhn Focus DFM-400 DFM-400 is an active low-mid module with Fohhn Beam Steering technology. It can be flexibly combined with the high frequency modules DFM-100 / DFM-110. The new generation of Fohhn’s renowned Focus Modular system is now fully digitised and provides further developed Fohhn DSP and digital signal connections. Acoustically redesigned and equipped with even more powerful drivers, DFM delivers excellent, audiophile sound and best speech intelligibility. A high-quality and high-performance solution for larger conference rooms, theatres and even open-air concerts. And all of this with an enclosure that is just about 22cm wide and can be flown straight and integrated seamlessly thanks to beam steering. www.fohhn.com

Fulcrum Acoustic CS212L & CS218L Fulcrum Acoustic’s CS212L and CS218L are high output, low profile, subcardioid subwoofers intended for a wide range of venues ranging from houses of worship to large-scale sports facilities. Both incorporate Fulcrum’s patented Passive Cardioid Technology, which helps to address one of the major challenges of directradiating subwoofers: excessive rear low frequency radiation. Unlike active cardioid loudspeakers, Fulcrum’s Passive Cardioid Technology does not require additional amplifiers or cancelation drivers.

The subcardioid behavior is produced by a meticulously conceived acoustical circuit, which balances the position of the low frequency drivers, the enclosure depth and volume, and specially constructed rear-mounted ports which include a calibrated resistive element. By opting for a subcardioid pattern as opposed to a pure, hyper or super cardioid pattern, the rear rejection increases when the modules are arrayed. The CS212L provides about 8 dB of rear attenuation while the CS218L provides >10 dB of rear attenuation.

Sound, innovative acoustical design combined with state-of-the-art digital processing leads to exceptional clarity and precise transient response for the CS212L and CS218L, even at very high SPLs. The required digital signal processing can be provided by one of many supported platforms. www.fulcrum-acoustic.com

Funktion-One F5 speaker & SB8 bass Funktion-One has launched two compact loudspeaker models - the F5 loudspeaker and the SB8 bass unit.

The Funktion-One F5 is a unique loudspeaker innovation, which offers an extremely balanced and natural sound quality that’s not often found in loudspeakers of its size. The F5’s ultra compact dimensions and high output mean it is suited to a wide range of applications, including distributed public address systems, bars and restaurants, as well as domestic applications, such as home cinemas, desktop monitoring and home music systems.

The F5 features a Funktion-One bespoke wide-range, high-sensitivity 5-inch driver, an integrated high pass filter for low frequency protection, angled cabinet design for desktop use and a 3/8”-inch microphone stand mount.

The Funktion-One SB8 is an extremely compact, yet powerful and convincing bass unit. It is perfect for applications where a conventionally sized subwoofer is too large or obtrusive, such as in bars, restaurants, retail and galleries, as well as domestic applications.

The dynamic and musical SB8 features a high-sensitivity 8-inch bass driver and requires no EQ or controller, only crossover filters. A self-powered version will be available soon. www.funktion-one.com

Genelec 4420 & 4430 Smart IP Genelec’s 4420 and 4430 Smart IP installation loudspeakers combine exceptional sound quality with single cable convenience, providing scalable power, audio and loudspeaker management features via a standard CAT cable. Smart IP therefore offers installers a powerful and cost-effective solution for guaranteeing crisp, intelligible audio across entire installations.

Both models are compatible with Dante and AES67 IP audio streams, and derive power via PoE. The single rear panel RJ45 connector also allows access to Genelec’s Smart IP Manager software - enabling installers to configure an almost unlimited number of rooms, zones, loudspeakers and audio channels, and includes device discovery, room equalisation, system organisation and status monitoring. This enables installers to deploy Smart IP loudspeakers even on highly complex, acoustically challenging projects.

Integration with house automation systems is achieved via a public API command set – allowing the end user instant access to volume, power on/off, loudspeaker activity and a selection of pre-programmed audio settings. Manufactured sustainably for total reliability and long life, the 4420 and 4430 are available in black, white, raw aluminium or 120 custom RAL colours, and are compatible with Genelec’s extensive range of mounting accessories. www.genelec.com/smart-ip

118 P RODUCT GUIDE - LOUDSP EAKERS

K-Array Python

Harmonic Design hd AudioBar & hd VideoBar The new all-in-one solution solution for huddle rooms, meeting rooms, video conferences, education and training rooms, media steles and many more. Additional devices such as digital mixers, matrix systems, DSP, amplifiers, loudspeakers and cameras are obsolete because everything is already integrated. The solution benefits from easy installation and quick adaptation of the soundbar to the room acoustics thanks to the EasyTuning function. Four sound presets for small rooms, large rooms, an optimisation of the intelligibility of video conferences or rooms with high attenuation can be called up at the push of a button. A custom five-band EQ is possible via app control. The EasyMicSetup set by audio specialists includes noise reduction, dynamics adjustment and sound optimisation for handheld microphones, headsets, combinations thereof or other line-in with a separate volume control.

Bluetooth 5.0 for audio playback from any device. High End hd ProDSP with fully digital amplifiers is integrated for the best dynamics and audio quality. Over 40 years of Pro-Audio-DNA paired with pure German engineering and hand-made quality create the most valuable yet budget friendly conferencing solution. www.harmonic-design.com

The Python is a discreet passive loudspeaker comprised of 3.15-inch drivers housed in a resistant stainless steel frame rendering it resistant to corrosion, rust or stain - perfect for a great variety of both indoor and outdoor applications. The Python line contains two sizes: a half metre-long model, KP52 I, and metre-long model, KP102 I, and can reproduce the whole vocal frequency range with high intelligibility.

Composed of closely-spaced, full-range sound sources, the Python features Pure Array Technology (PAT). With no crossover and no reflex, it shows a perfect phase response both in the near and in the far fields, which makes this column the perfect solution to cover long distances uniformly. The narrow vertical coverage minimises the sound spill towards the ceiling and the floor, thus increasing the intelligibility in highly reverberant environments optimal for theatre setups, broadcast studios and houses of worship.

A variety of rigging accessories provides many linking and hanging options to be combined in vertical and horizontal line array configurations to satisfy many different venue requirements during temporary events and for permanent installations.

Python is available in black or white or customisable with the finest finishes, such as polished, brushed and 24K gold-plated stainless steel, to give it a chameleonlike ability to reflect surrounding surfaces and blend in with the background. The loudspeakers can also be matched to any RAL colour code, rendering the loudspeakers a true design element. www.k-array.com

KV2 Audio ESD Cube Cubism was an early-20th-century approach to representing reality that revolutionised arts and music. A hundred years later and KV2 Audio are creating similar sonic excitement with their revolutionary new ESD Cube.

At the heart of the Cube’s performance is KV2’s exclusive Trans-coil AIC technology, which virtually eliminates voice coil inductance. For many KV2 products this unique technological advancement gives superior vocal clarity and projection, but in the Cube, this is advanced to a whole new level. With perfect phase response across the extended frequency range, the vocal imaging and instrument placement on the Cube system is nothing short of stunning. It also has the lowest distortion of any comparable loudspeaker in its class.

As a design statement Cube is available in any RAL colour you can imagine and its compact dimensions make it ideal for extremely discreet reinforcement in theatres, bars, clubs, churches, museums or tourist attractions. Use it stand alone with up to eight Cubes on a single ESP1000 amplifier, or as a complete system with up to four Cubes and two ESD1.10 Ultra compact 10-inch subwoofers. A beautiful soundscape with unprecedented realism - If you really want to make an impression, KV2’s ESD Cube is everything you need. www.kv2audio.com

L-Acoustics K3 K3 is L-Acoustics’ smallest full-range enclosure, designed to deliver big sound for mid-size events from 1,000 to 10,000 people. K3 provides full-range bandwidth without needing a flown companion subwoofer, and its highly efficient design reduces amplification needs. K3 is faster and simpler, as well as more sustainable and economical to deploy.

Providing the full-range L-Acoustics contour from an enclosure 33% smaller than K2 and weighing only 43kg, K3 is ideal for applications that require plenty of power and bandwidth from a small form factor, including mid-size tours, festivals, corporate events, and religious services. Dimensioned to keep sightlines clear, K3 integrates easily into venues with space restrictions.

Equipped with the signature DOSC waveguide for long-throw capability (>35 m), K3 boasts an exceptional bandwidth of 42 Hz to 20 kHz (-10 dB, 70° directivity) and maximum SPL of 143 dB. K3 can be used as the main system for vocal and music reinforcement in most applications, or as a complement to K1 or K2 as outfills or delays. When deployed with KS28 subwoofers, K3 excels as a compact main system for sonically demanding live events. www.l-acoustics.com

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120 P RODUCT GUIDE - LOUDSP EAKERS

LD Systems MAUI 44 G2 With the new MAUI 44 G2 active column PA system, solo musicians, small combos, DJs and entertainers can enjoy their high SPL without worrying about low/mid frequency dispersion, as well as getting acoustically lost in drowning basses on stage. And thanks to its DynX DSP technology the MAUI 44 G2 delivers a distortion-free sound at even maximum volumes.

Featuring 1,500 W RMS and 130 dB Max. SPL, the powerful yet compact MAUI 44 G2 relies on the sound advantages of a cardioid column system and enables even more controlled dispersion in the lowmid frequencies. The subwoofer module houses a 15-inch neodymium subwoofer. In combination with a second subwoofer, the low-end can also be operated in a cardioid configuration, providing focussed public address and an acoustically clean stage. The vertical array system consists of a total of 12 3.5-inch neodymium loudspeakers along with four high frequency drivers coupled to a BEM-optimised wave guide for a homogeneous dispersion pattern.

The use of aptX and AAC coding ensures high-definition full bandwidth audio over Bluetooth, and the integration of TrueWireless Stereo technology enables wireless stereo sound from two MAUI 44 G2. www.ld-systems.com

Lynx Pro Audio CLS-28 The CLS-28 is a high-output extremely compact and extremely powerful three-way, self-powered, DSP integrated, symmetrical coaxial line source element designed for medium sized touring & fixed installations.

It uses dual high power 8-inch neodymium transducers and a unique 8-inch dual diaphragm coaxial planar wave driver. With a 2800W two channel Class-D amplifier with PFC (Power Factor Correction).

An in-house designed DSP offers the most recent advances in digital processing such as FIR filters delivering a linear phase & frequency response. Latest 32 bit/96KHZ AD/DA converters available.

A 2.8-inch IPS user interface is located on the enclosure’s back panel and has multifunction joystick control enabling the user to control, select and/or adjust parameters. Two Ethernet ports enable the system to be controlled with the OCS platform and with the new Rainbow 3D prediction software.

The enclosure is made from premium grade birch plywood and finished with a polyurea coating for longer durability & weather protection.

It also has a number of dedicated accessories available and a three-point rigging system which includes two front automatically rising plates and one centre/rear point enabling 16 CLS-28 cabinets to be flown in a single array. www.lynxproaudio.com

MAG Audio MAG STING 8 Portable convenience and integration simplicity - MAG Audio introduces a universal compact loudspeaker designed for rental and installed applications. STING 8 incorporates high sensitivity with crystal-clear sound, tightly packed in just 19.8kg increasing ease of use for mobile applications.

Two 8-inch sybwoofers and a 1.5-inch high frequency driver set in a perfectly coherent point source design enable precise directivity control for predictable uniform coverage. STING 8 is available in two dispersion options: 110° x 40° and 70° x 40°, which are preserved regardless of the horizontal or vertical cabinet positioning thanks to a rotatable high-frequency horn; horns can be easily replaced to change the dispersion angle on the go.

STING 8 is easy-to-install thanks to the extensive set of mounting accessories. Along with the standard VESA wall mount option, the system can be installed with a pole mount, U-bracket, flying and horizontal adapters, horizontal and vertical coupling brackets. Also, the system comes with a removable adapter handle for easy transportation.

The loudspeaker cabinets and all the accessories are available in black and white finish. Specially treated weather-resistant version with IP-54 rating extends the STING 8 application range to venues with difficult environmental conditions such as theme parks, water-pools, skating rinks etc. www.mag-audio.com

Martin Audio CDD8 The CDD8 is an ultra-compact two-way passive loudspeaker system with an integrated eight-inch (200mm) low frequency one-inch (25mm) exit high frequency Coaxial Differential Dispersion driver which can be easily rotated for horizontal or vertical orientation depending on venue design requirements. As a stand-alone loudspeaker, it has a multitude of applications and can also be incorporated as an infill loudspeaker in distributed systems using larger CDD models, such as the CDD12 and CDD15.

The Coaxial Differential Dispersion technology employed in the CDD8 delivers more consistent audience coverage than systems with fixed X° x Y° coverage patterns - projecting relatively more output to the rear of the audience, while having wide horizontal coverage close-up. Its innovative CDD driver achieves ‘point source’ summation of the low frequency and high frequency sections - eliminating off-axis variations in frequency response associated with non-coaxial designs. Improving on conventional coaxial designs, which can suffer from high-frequency beaming, the driver features a static waveguide that merges seamlessly with the unique cone shape - maintaining the dispersion pattern out to very high frequencies.

The CDD 8 been designed to fulfil the need for high performance sound in pubs, bars, clubs, restaurants, retail premises, hotels, and houses of worship, in an ultra-compact package. www.martin-audio.com/products/loudspeakers/cdd8

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121 P RODUCT GUIDE - LOUDSP EAKERS

NEXO ID14

Meyer Sound ULTRA-X20 The new ULTRA-X20 compact point source loudspeaker is a junior-sized version of the award winning ULTRA-X40 loudspeaker. It offers the same revolutionary design principles and advanced technologies, but employs smaller drivers in a lighter, more compact package.

The ULTRA-X20 incorporates two five-inch cone drivers, one two-inch diaphragm compression driver and a rotatable 110° x 50° horn in a coaxial configuration.

Power comes from a highly efficient three-channel Class-D amplifier with sophisticated DSP, with everything fitted inside a compact cabinet that measures a mere 7.5-inch / 19.5 cm wide by 19.04-inch / 48.4 cm high by 8.6-inch / 21.8 cm deep and weighs only 26 lbs / 11.8 kg. Preliminary performance specifications give an operating frequency range of 60 Hz to 18 kHz, phase response of ±45° (100 Hz – 16 kHz) and linear peak SPL of 123.5 dB measured with M-Noise.

The ULTRA-X20, ULTRA-X22 (80° x 50°) and ULTRA-X23 (110° x 110°) are ideal for multiple portable and installation applications. For extended low-frequency power, the ULTRA-X20 may be paired with the new USW-112P subwoofer, the 750LFC low frequency control element or USW-210P subwoofer. The ULTRA-X20 is natively aligned with the 750-LFC to maximise ease of use in portable applications to allow rapid deployment with minimal effort. www.meyersound.com

ID14: the smallest loudspeaker design ever made by NEXO. Made entirely in France, the ID14 is a tiny 5-inch-cubed Polyurethane enclosure containing a high-powered point source, capable of 116dB (peak) with a frequency response of 120Hz - 20kHz. Measuring 130mm x 130mm x 120mm, and weighing in at 1.7kg, the dual concentric design features a coaxial four-inch low frequency driver with 1.3-inch voice coil, and a 1.4-inch diaphragm for the high frequency. ID14 is offered with two directivity options: a 100° x 100° horn as standard, with an asymmetric alternative offering 90° x 140° dispersion.

This super-compact loudspeaker provides an extremely powerful point source that can be used standalone or in a distributed system, for front fill, infill or delays. Available in black, white or any RAL colour, ID14 will be of especial interest to the installation sector. It is a creative tool for those solving architectural challenges in historic buildings, and those with a need for unobtrusive high-power performance, such as houses of worship, airports, hotels and the hospitality industry. The ID14 is also expected to prove popular for surround sound and FX applications, and is the perfect tool for creating thrilling and immersive audio in even the most complex environments. www.nexo-sa.com

One Systems ONE.SL12 The One Systems ONE.SL12 is a weather-protected, direct-radiating 12-inch two-way loudspeaker solution for professional audio applications indoors or for non-coastal uses outdoors. The system’s premium transducers include a 12-inch subwoofer with a 3-inch / 76.2mm voice coil and a compression driver with a 2.5-inch / 63mm pure titanium diaphragm coupled to a large-sized rotatable 60 x 40º horn. The ONE. SL12’s one-piece rotomolded enclosure is made of moisture, temperature and UV-resistant High-Density Polyethylene with internal steel reinforcements for added strength and resonance damping. The loudspeaker uses a three-stage Rain Shield grille that helps prevent moisture intrusion, permitting an IP 55 rating. The loudspeaker’s input section features an input weather cover with an IP-68 rated gland nut and its input barrier strip is equipped with stainless steel hardware. The enclosure is equipped with 10 x M10 stainless steel rigging points which can be used with its included heavy-duty U-Bracket for mounting to walls or ceilings. An optional pole mount bracket with tilt capability is available for additional installation flexibility. The ONE.SL12’s premium transducers and vented enclosure provide high output capability and high intelligibility with wide frequency response for precise vocals and accurate music reproduction. www.onesystems.com

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Outline Stadia 28 Outline has revealed the immediate availability of the new Stadia 28 constant curvature array designed for outdoor applications, which was launched during ISE 2020.

Featuring an excellent performance:price ratio, Stadia 28 is a medium-throw system for permanent outdoor installations, ideal for sound reinforcement in stadiums, theme parks, leisure facilities, tourist attractions and public spaces.

Its strong point is its weight: power ratio, being a single enclosure, weighing just 21kg (46.2 lb), but able to reach 139 dB SPL, by means of two 8eight-inch mid-subwoofers and a compression driver with a three-inch diaphragm - all in neodymium. The system operates in bi-amp format.

The dispersion angle of 90° by 22.5° enables, for example, to form horizontal or vertical arrays with no less than 135° by 90° using just 6 cabinets, which means guaranteeing coverage in any context, as well as remarkable versatility.

Moreover, Stadia 28 hardware is designed for safe long-lasting installation: the 10 mounting points in extremely light top-grade anodised ‘Ergal’ are fixed to the internal load-bearing structure, manufactured entirely in stainless steel.

IP55 protection rating is ensured by a three-layer coating in elastoplastic material (‘OutSIDE Coating Technology’ – Outline proprietary technology) along with a series of sophisticated ideas introduced in Outline’s manufacturing process. www.outline.it

QSC K12.2 The QSC K12.2 is a powerful active 12-inch, two-way loudspeaker, which can be used for a variety of applications, from band rehearsals over local parties to huge events. It combines sleek, professional design, high audio performance, high functionality, intuitive setup and operation, and genuine QSC reliability. The K12.2 delivers extraordinary results for both portable and installed applications. Its advanced feature set comprises Intrinsic Correction tuning and loudspeaker management, Direct Matched Transition (DMT) to provide consistent coverage across the entire listening area, and a multi-functional display to name such a few. Furthermore, users may select from an extensive list of factory preset EQ contours including Live, Dance, Monitor, and many more. For a perfect performance and crystal-clear audio - no matter the venue or occasion. www.qsc.com

TOA IP-A1SC15

Renkus-Heinz ICC 24/3 Renkus-Heinz has announced 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 beamsteered 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 now available in a package nearly 40 percent smaller than the classic Iconyx.

Still, the ICC 24/3 offers the impressive performance synonymous with RenkusHeinz: 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

Based on open standards, the IP horn loudspeaker IP-A1SC15 can simply be connected to standard IP networks and as easily be integrated with your VMS or SIP-based communication system using ONVIF/SIP. It broadcasts crystal clear prerecorded voice messages or live speech announcements, manually or automatically triggered by VoIP (Voice over IP) / SIP phone systems, IP camera systems, image sensing or motion detection video systems, offering a maximum SPL of 124 dB, e.g. to respond immediately to an emergency situation with a live announcement.

The IP horn loudspeaker is a complete stand-alone PA-system with a high-quality loudspeaker, built-in 15W power amplifier and integrated audio source for 20 pre-recorded messages. It supports Power over Ethernet (PoE+), it is ready to broadcast even at extreme temperatures between -30 °C and + 55 °C and has an IP66 (Dust/Water) protected housing. For customised solutions you can use the provided API to control the device individually. By using Browser Line commands, the loudspeaker can be integrated into your control program. Adapt the individual volume to the environmental noise level and optimise it to time, distance, and degree of emergency. With the IP-A1SC15 you add a strong voice to your system. www.toa.eu

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TOA SR-F04/SR-F08 TOA releases new two-way point source loudspeakers with high sound quality and high-quality design. This series can easily be adjusted as required by the given application, so it is perfect both for speech and music distribution. With their compact size the loudspeakers fit in every location. With this loudspeaker, the focus on perfect acoustics began with the choice of materials: the die-cast aluminum loudspeaker frame brings a good stiffness and strength-to-weight ratio. The housing is made of birch plywood to minimise the resonance of the enclosure. Polyurea coating protects the surface. The SR-F04 is equipped with two four-inch subwoofers and a compression driver, the SR-F08 is equipped with an eight-inch subwoofer and introduces a newly developed, fully curved directional horn that can be rotated by 90º. The model SR-F04 and SR-F08 are actually manufactured in TOA’s very own factory in Japan according to the strict rules and specifications of its engineers. These loudspeakers are just one more example of TOA’s sound philosophy, formulated through over 85 years of experience in sound engineering: TOA brings you the best sound performance out of the box. www.toa.eu

Wharfedale Pro WLA-210XF Wharfedale Pro are now shipping their latest IPX6 certified line array system, the WLA-210XF. Using the same custom-made Wharfedale Pro 10-inch drivers and the same three-inch Neo compression driver as the acclaimed WLA-210X, the new WLA-210XF system now brings peace of mind - even in extreme weather conditions. Delivering up to 138dB Max SPL at one-metre, each WLA210XF element is a powerful, all-weather solution.

The system is supported by the new dual 15-inch WLA-210XSUBF subwoofer.

With a max SPL one-metre of 145dB, this subwoofer also delivers the low end power needed for the array.

Both the WLA-210XF and WLA-210XSUBF are constructed of up to 18mm premium birch plywood, are covered in waterproof paint and use integral aluminium rigging hardware. Flat front grilles forged from 3mm aluminium also ensure long lasting looks and durability during system transportation and storage.

Wax wrapped components and an aluminium inner case protect the drivers and crossovers from water damage. In addition, Neutrik NLT4 MP BAG waterproof connectors have been chosen to ensure the the highest level of weather protection.

Both the WLA-210XF and the WLA210XSUBF are supported within EASE. www.wharfedalepro.com

Motor LPML250 lifting capacity 500 kg self weight 12 kg

Motor LPL500

lifting capacity 1000 kg self weight 23 kg

RIG IT EASY

WITH NEW GIS CHAIN MOTORS

GIS AG I CH-6247 Schötz I Phone +41 41 984 11 33 tel@gis-ag.ch I www.gis-ag.ch

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1. Obsidian Control Systems NX4 Obsidian Control Systems offers the powerful NX4 lighting controller with new DYLOS pixel composition engine. Equipped with professional features and using the latest in industrial components, the NX4 is designed to handle even the largest show with ease.

With a well-arranged combination of motorized and manual faders, along with an array of playback buttons, it offers 44 total playbacks in a compact yet extremely powerful package. The NX4 includes a high-brightness, 15.6”, full-HD multi-touch screen with support for two external 4K touch displays. Eight assignable parameter encoders, a dedicated Intensity encoder, an assistive mini-touch screen, full keypad and command section, and a dedicated grand master make for an intuitive control surface. Fast boot times, instant operation and the ability to process 64 Universes right inside the console without the need for costly external processing networks results in unprecedented power in this form factor. For powerful visualization of lighting and scenery every NX4 console includes a free CAPTURE Duet Edition license. www.obsidiancontrol.com/nx4

2. Obsidian Control Systems Netron Obsidian Control Systems has available a new and comprehensive data distribution range of products, Netron. Netron encompasses Ethernet to DMX gateway, DMX splitter and DMX/RDM splitter solutions, supporting applications from live production and venue installations to architectural environments. Netron products combine tough hardware with smart software for fast setup and solid performance. For details, visit obsidiancontrol.com/netron www.obsidiancontrol/netron

3. Outline L3000 The L3000 has been created to offer a compact, powerful DSP-equipped multi-channel amplifier that can be configured to drive most loudspeaker configurations. Additionally (and uniquely) its form factor eschews the traditional 19” rackmount format, its mechanism being housed in a super-tough, lightweight chassis using the same materials and roadworthy polyurea external coating as Outline’s tour-grade loudspeakers.

Its modest dimensions make it ideal for a huge range of audio installation projects, notably those where space constraints (especially at home) make it impossible or impractical to find space for traditional amplifier racks. L3000 allows 3,000w of pure audio power to be tucked away out of sight, under a bar, on a shelf, in a cupboard or anywhere that’s convenient to the application...but if you really want to put it in a rack, Outline also supply a dedicated rackmount kit that allows one or two L3000s to be secured in standard enclosure.

Featuring two inputs and four outputs, the unit’s routing and operational parameters

are configured using Armonía Plus, the amplifier’s management software which also offers control of input / output levels and EQ, delay, polarity, crossover filters and limiter settings. Its combination of power, onboard DSP control and flexible operation make it an extremely cost-effective option for powering virtually any installed sound system.

Like all Outline products, the L3000 is 100% designed and manufactured in Italy using only the highest quality components. www.outline.it

4. RTS OMS Presented in a compact 1RU enclosure, OMS (OMNEO Main Station) is a uniquely versatile and cost-effective solution capable of interconnecting both wired/wireless and IP/digital/ analog devices. Full TCP/IP connectivity is supported. Whereas current systems on the market offer analog-only, digital-only, proprietary or non-Dante-compatible products, OMS encapsulates the RTS philosophy of bridging all standards and formats.

OMNEO* IP technology – incorporating Dante (audio transport), AES70 (device control) and more – allows OMS to interconnect with RTS Digital Matrix products (including ADAM, ADAM-M, ODIN, KP series keypanels and ROAMEO DECT wireless) and forthcoming new members of the RTS Digital Partyline family. OMS can therefore provide a path from legacy equipment to the latest technology, allowing users to migrate to the flexibility of an IP infrastructure without the complexity of a matrix system – all while protecting the investment value of their existing analog partyline hardware.

OMS is a communications multi-tool for a wide range of customers, including theaters, houses of worship, broadcast, AV rental, industrial facilities and entertainment/event venues. It is available in five licensed configurations to suit the user’s budget and application requirements: Advanced, Intermediate and Basic digital (each with OMNEO); Analog Plus and Analog (main station options for analog-only partyline systems).

Software upgrades allow for increased capacity and functionality as needs evolve. Users requiring both analog and digital should upgrade to OMS Intermediate or OMS Advanced.

All OMS configurations feature a high-resolution full-color front panel display and an intuitive icon-based menu structure to simplify system configuration and control. The panel layout will be immediately familiar to partyline users, and has dedicated colorcoded controls for each channel (talk/listen/call/volume). Each of the four button sets can be programmed to function with any destination in the system. For example, button set one does not necessarily need to control partyline one; it can be assigned as a relay, to a keypanel, etc. Three headset variants are supported. www.rtsintercoms.com

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5. Marshall Electronics CV730-NDI & CV630-NDI

7. PreSonus CDL12P

Marshall Electronics has announced the release of two new NDI® 4K PTZ camera models; the CV730-NDI and CV630-NDI. NDI®|HX delivers high-quality, low latency, frame-accurate video and audio in real time. Enabling video, audio, control, tally, and power over one Ethernet Cable provides tremendous ease of setup and operation.

The CV730-NDI features 4K60 over simultaneous 12GSDI, HDMI2.0 and NDI®|HX with up to 3840x2160p UHD resolution at 60fps. The CV630-NDI features up to 3840x2160p UHD resolution at 30fps with 3GSDI, HDMI and NDI®|HX. “We’re very proud to announce these two NDI camera models,” says Tod Musgrave, Director of Cameras at Marshall Electronics. “Many of our integrator partners enjoy the ease of use of NDI and Marshall can extend that to these next-level Ultra-HD cameras with the plug-and-play benefits that many in the industry have come to expect from the NDI®|HX.” Both models contain an extended 30x optical zoom range wrapped around a high performing Sony broadcast sensor – the CV730 starts at a 65° angle-of-view and the CV630 starts at an impressive 70° angle-of-view all the way out to 200mm, allowing operators to pull long shots closer with extended zoom range. Marshall PTZ cameras boast a flexible 340° horizontal pan range with 120°vertical tilt, giving it a wide range of movement when capturing high-quality UHD or HD video. www.marshall-usa.com

PreSonus’ new CDL12P full-range, constant-directivity, powered sound-reinforcement loudspeaker combines the best attributes of point source and line array technology to provide the flexibility demanded by modern sound-reinforcement applications. Its unique, patent-pending, constant-directivity design enables it to radiate a highly focused pattern with consistent SPL throughout the frequency-response range, both on- and offaxis. The result is clear, articulate speech intelligibility and natural music reproduction.

The CDL12P is portable and can be used alone, in tandem with a subwoofer, or in an array, making it a great choice for touring bands and mobile DJs, as well as for fixed installs in small and midsize venues that don’t need a networkable loudspeaker. The original Dante-enabled CDL12 is recommended for venues that require a networkable constant-directivity loudspeaker. Each CDL12P consists of eight two-inch drivers aligned in a segmented circular-arc high-frequency array centred in front of a 12-inch woofer.

The outputs of the low-frequency driver and the high-frequency array travel on the same acoustic axis, as with a coaxial studio monitor. Because the highs and lows emanate from the same point, they arrive at listeners’ ears at the exact same time, so the CDL12P doesn’t create any smearing in the crossover frequencies, ensuring better intelligibility throughout the frequency-response range and better sonic coherence across the entire venue. A low, 420 Hz crossover frequency minimizes comb filtering. Regardless of how many CDL12Ps you stack (up to six total), you get focused sound with consistent SPL coverage both on- and off-axis. Each CDL12P delivers 120° horizontal by 15° vertical dispersion, so six enclosures rigged together form a 120° x 90° coverage pattern. www.presonus.com

6. Shure DuraPlex Shure has unveiled DuraPlex, the new subminiature (5 mm) omnidirectional lavalier and headset microphone. Designed to stand up to the toughest conditions, DuraPlex boasts Shure’s first IP57 certification rating, keeping dirt, dust, water, and perspiration from upstaging the audio.

DuraPlex consists of the DL4 Omnidirectional Waterproof Lavalier Microphone and the DH5 Omnidirectional Waterproof Headset Microphone. Complementing Shure’s expansive portfolio of mid- and high-tier wireless systems, the IP57 rating and cable durability of DuraPlex comes complete with the accessories needed to support simplified usability: a carrying case, snap-fit and foam windscreens, single tie clip, and a presence cap are all included. DL4 also comes packaged with a sticky mount. The easy-to-conceal form factor and ultra-lightweight/easily mountable design allows for quick applications, costume changes, and discrete placement under wardrobe with no impact on sound quality.

DuraPlex’s 1.6 mm cable is the same that is found in TwinPlex, Shure’s highly regarded premium subminiature omnidirectional lavalier and headset microphones. To simulate years of intense use, the ultra-thin cable was flexed, stretched, and pulled to the absolute limit in internal tests. Ideal for unpredictable, high-stakes environments like reality TV, theatre, or even fitness instruction, DuraPlex was tested to ensure uninterrupted audio in all conditions. www.shure.com

8. Chauvet Professional COLORado Batten Q15 The new IP65 rated COLORado Batten Q15 features an array of rigging options that make it right at home in a wide range of designs. The adjustable trunnions on this one-meter long RGBW LED batten, which can be adjusted without tools on its integrated track, have been given an even greater degree of versatility with the addition of ¼ turn omega brackets.

Integrated into the end caps of the fixture is a system to connect units seamlessly for perfect row alignment. Since these attachments are weight bearing, the COLORado Batten Q15 can be hung “icicle style,” or arranged in tower configurations using the included hanging/floor mount plate. Among those performance features is the intense output from the new fixture’s 15 20W LEDs, which lend themselves to sizzling pixel mapped displays without the “skittle” look often associated with battens. Capable of transitioning quickly from a smooth colour wall wash to a stunning effect, the COLORado Batten Q15 features an elliptical 42 – 15-degree beam spread, a stowable glare shield, color temperature presets from 3200 K to 10000 K, and selectable smooth dimming curves. Designed to excel indoors or out, and in broadcast studios as well as on concert stages. www.chauvetprofessional.com

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1. Focusrite RedNet A16R MkII & RedNet D16R MkII

3. JBL Pro IRX115S

Focusrite announces the release of two new products in the RedNet range of Dante™enabled Audio-over-IP interfaces: RedNet A16R MkII and RedNet D16R MkII. Both models share the same feature set as their predecessors, including pristine conversion and class-leading audio quality, but now feature level controls for individual input and output channels.

RedNet A16R MkII is a 16x16 line-level analogue interface that is perfect for getting 16 channels of analogue audio on or off a Dante Audio-over-IP network. RedNet D16R MkII is a 16x16 AES3 interface – ideal for interfacing between digital audio equipment (such as consoles and power amplifiers) and a Dante network. Both units feature dual PSUs and primary and secondary networks for redundant operations, with audio switchover in case of power loss or network failure, making them ideal for critical path applications such as broadcast, live sound and post-production The new functionality allows precise calibration of all inputs and outputs, making the process of accurate alignment of connected equipment more straightforward. Changes to input and output levels – in 1dB increments – are made using the included RedNet Control software. New device profiles for RedNet A16R MkII and RedNet D16R MkII in RedNet Control will feature a trim fader for adjusting input and output levels in 1dB increments. Additional software controls for dim and mute provide greater flexibility over independent I/O channels. RedNet A16R MkII and RedNet D16R MkII are both available now. www.pro.focusrite.com

The JBL IRX115S powered subwoofer, the newest member of the JBL IRX Series, draws from JBL’s top professional touring technologies to deliver superior sound without the guesswork, thanks to its custom driver and amplifier designs; tuned, ported enclosure; and built-in crossover and polarity settings. It all adds up to an impressive 128 dB of deep, powerful low-frequency coverage in a rugged, compact cabinet weighing just 65.3 pounds.

“With our IRX Series, we’ve drawn from 70 years of JBL innovation to design a portable P.A. that’s lightweight, powerful and doesn’t take a lot of work to sound great,” says Craig Lambrecht, Director, Portable P.A.s, HARMAN Professional Solutions. “JBL IRX Series loudspeakers already deliver stunning sound in an incredibly compact footprint.

By adding the IRX115S subwoofer, users can enhance their systems with room-shaking bass, without breaking anyone’s budget—or back.”

The IRX115S leverages more than 70 years of JBL speaker innovation to deliver superior fidelity, range and output. Inside, a powerful 15-inch woofer with three-inch voicecoil produces powerful bass coverage from 35 Hz to 147 Hz (-10 dB); a high-efficiency, 1,300watt amplifier protects components while ensuring top-level acoustic performance.

Selectable 80 Hz, 100 Hz and 120 Hz crossover points smooth out system response, especially when used with JBL IRX Series loudspeakers; a tuned port optimises response and reduces woofer noise.

With the IRX115S, perfect sound is just a button-push away. Simple, intuitive settings adjust crossover and polarity to optimise system response in any space. Pair the IRX115S with the 8-inch IRX108BT and 12-inch IRX112BT powered loudspeakers and access Bluetooth audio streaming, dbx automatic feedback suppression, ducking and EQ presets that’ll have you instantly sounding your best.

The innovations don’t stop at acoustics: A durable MDF enclosure features a tightgauge, reinforced honeycomb grille that offers rugged protection without compromising acoustic performance. A built-in pole mount expands system configuration options.

Transport is easy, thanks to thoughtfully designed ergonomic handles. And, like every JBL product, the IRX115S undergoes JBL’s legendary 100-hour stress test to ensure it’ll perform flawlessly in real-world conditions.

JBL IRX Series powered P.A.s offer legendary JBL fidelity, power and ease of use at a fraction of the price and size of comparable systems. Budget-conscious musicians, DJs, presenters and fitness instructors can count on versatile, full-featured JBL IRX Series portable P.A.s to deliver stunning sound, no audio engineer necessary. www.jblpro.com

2. Prolights Sunrise2IP Sunrise 2IP is an IP rated and convection cooled modular 2x1 LED Blinder, designed to be a perfect touring solution to replace classic halogen fixtures of any sizes.

The fixture is designed with on-board, fast-locking mechanism in order to combine multiple units together and using them as brick, turning the Sunrise 2IP into a 4x1 or a 2x2 blinder easily. The Sunrise 2IP is equipped with 2x75 W COB Warm White LEDs pixel controlled and its optical system is capable to output the same performance and beam angle of the fluorescent bulbs, including dimmer ramp with red-shift. www.prolights.it

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128 IN P ROFILE

ZERO 88 Zero 88 is a manufacturer of lighting control equipment for the entertainment industry including stage, live events, television and school theatres.

Zero 88 was first established almost 50 years ago in St Albans on 24 October 1972. Between ‘72 to the early ‘80s, the company focussed both on theatrical lighting and lighting effects used within nightclubs. These quickly merged together, becoming popular in TV such as Top of The Pops and in live music. Zero 88 was one of the first control manufactures to apply microprocessors to the control of lighting, and it still has consoles from 1970 listed on its website today.

Zero 88 was growing so fast, it needed more manufacturing space, so the company expanded to Cwmbran - part of the Welsh Development Agency’s approach to encourage manufacturing in Wales was making space immediately available for rental. There was a period where both St. Albans and Cwmbran were used, until finally moving fully to a large building in Cwmbran, where the company currently calls home.

Zero 88 developed an export business from the early years, initially in Europe and then during the 1990s it built its footprint in the Middle East. The company was also one of the first lighting control manufactures to start exporting to China in the 1990s.

Something you might not know about the company, is where the name comes from. The founders were driving down Uxbridge Road in the UK and passed an office called ‘Link 52’. That gave them the idea. “We used ‘Zero’ because we started from nothing. We were going to use ‘72 but thought that dated it. We decided ‘88 was far enough away for us either to have gone away completely or made a roaring success of the business,” explained one of Zero 88’s Founders.

Its focus is on simplicity and accessibility of the latest lighting techniques by supplying reliable, UK design and built products. The company supplements this with a deep commitment to training and support resources along with an industry leading three-year warranty.

Some of its latest software developments show this perfectly - the patented multi-touch colour interfaces, and ‘RigSync’ - possibly the most advanced and integrated implementation of RDM in the world. The company does all of this whilst committing to the local community and the environment through blood donations, collections for shelters and charity runs, and also, the factory is ‘Zero Waste to Landfill’, with year-on-

year targets to reduce all forms of energy usage.

2020 has, of course, been hugely difficult for everyone, but Zero 88 are fortunate in that its offices and factory has remained open throughout, with no reductions in staff. With a small, focussed team, it has allowed the company to navigate and adapt quickly to the needs of its users. In lieu of tradeshows, Zero 88 also hosted an online, interactive event called ‘Live at The Congress’ and also put on the largest training program it has ever ran - including one-to-one consultations and a range of on demand video training sessions.

Some more big news for Zero 88 this year was the move to Cooper Lighting Solutions. Earlier in the year, the company left Eaton and became ‘Cooper Lighting Solutions’ - a company of approximately 5,500 staff, with offices across the world, who are focussed on all aspects of lighting. Although there have been many acquisitions, name changes and company restructures in the background, the Zero 88 team has remained very tightly focussed on its customers. Zero 88 has evolved an ever-closer working relationship with its sister brand, iLight to ensure a coherent range of products across entertainment and architectural lighting.

Some of Zero 88’s stand-out products include ‘RigSync’ - software which automatically addresses, patches and manages a lighting rig with absolutely no user interaction or understanding of DXM. When it was launched, the team enjoyed demoing it to anyone and everyone who walked past various tradeshow stands, and the reactions were invariably fantastic.

The company has also been involved in some incredible projects, too, including the Edinburgh Festival Fringe the single biggest celebration of arts and culture on the planet. Zero 88 provide onsite support and training to over 100 Edinburgh venues using its control systems throughout the festival.

Looking to the future, along with the rest of the industry, the company is focussed on navigating its way through the worldwide pandemic, concentrating, more than ever on supporting customers and supplying affordable, reliable products for shows and events, as they start back up. www.zero88.com

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Zero 88â&#x20AC;&#x2122;s General Manager, David Catterall

FLX Range

An old tradeshow booth

Zero 88 iLight manufacturing for the future

The Zero 88 team celebrating reaching 88 countries

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