MONDO-DR 31.3

GENELEC INTERVIEW

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Panthéon Image courtesy of Amadeus EDITOR Sam Hughes s.hughes@mondiale.co.uk ASSISTANT EDITOR Emma Davidson e.davidson@mondiale.co.uk DIGITAL CONTENT MANAGER James Robertson j.robertson@mondiale.co.uk SALES DIRECTOR Jamie Dixon j.dixon@mondiale.co.uk SENIOR ACCOUNT MANAGER Laura Iles l.iles@mondiale.co.uk DESIGN & PRODUCTION Mel Capper, Dan Seaton CEO Justin Gawne j.gawne@mondiale.co.uk 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 ANNUAL SUBSCRIPTION RATES (7 ISSUES) UK: £30.00 / Europe: £50.00 / Rest Of World: £65.00 Two year rates are available on request.

Subscribe online at www.mondiale.co.uk or call +44 (0)161 476 5580 ISSN: 1476 4067 Mondo DR (ISSN 1476 4067) is published in January, March, May, July, September, November and December by Mondiale Publishing Ltd, Strawberry Studios, Watson Square, Stockport, SK1 3AZ, UK Subscription records are maintained at Mondiale Publishing Ltd, Strawberry Studios, Watson Square, Stockport, SK1 3AZ, UK

F R O M TH E EDI TO R...

Welcome to the new and improved MONDO-DR. Having been a voice for the industry for over 30 years, we want MONDO-DR to continue to be at the forefront as we adapt, overcome and thrive.

As we step into a new era, we want to offer insight that you won’t find anywhere else.

Whether it’s an in-depth venue feature, an interview with key figures in the industry, or a closer look at state-of-the-art technology, we want MONDO-DR to tell the full story.

From architectural planning through to the design, distribution and integration of ground-breaking technology, the new-look MONDO-DR will showcase technology in entertainment like no other.

In this issue, we’ve covered an array of venues, spoke to some of the industry’s foremost experts and, as ever, featured some incredible products that are used in impressive ways as venues make their long-awaited return.

We hope you enjoy your new MONDO-DR. However, particularly in the current situation, it’s important to note that this is an on-going, everevolving project for the whole team. We’re always looking to improve and your feedback is vital. So, please let us know what you think – we can’t wait to hear from you.

mondo@mondiale.co.uk www.mondodr.com Printed by Buxton Press, Palace Road, Buxton, UK

SAM HUGHES EDITOR

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IN THIS ISSUE. . .

10

EXPO DIARY

12

IN DISCUSSION Natàlia Milán, Amate Audio

16 INSIDE VIEW Renkus-Heinz

IN DEPTH 24 INTERVIEW

Siamäk Naghian & Piia-Riitta Bergman, Genelec 34

REPORT Theatres & Concert Halls

IN FOCUS 48

POP AND POPE Tel Aviv

50 1REBEL Riyadh 58 PANTHÉON Paris 64

NORTHSIDE BAPTIST CHURCH South Carolina

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THE LIGHTHOUSE The Bahamas

74 RED ROCKS AMPHITHEATRE Colorado 80 MAMAKA HOTEL Bali

IN BUSINESS 84

IN DETAIL Synchronorm, Schnick-Schnack-Systems

87

PRODUCT GUIDE Amplifiers & Processors

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PRODUCT DIRECTORY IN PROFILE Pro Media Audio Video EU

CONT E NT S | WWW. M O NDO DR. C O M

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C ha lle n gi n g t he A V B ia s Ama te Audio’s C h ie f Ac oustic s E ngin eer , N atàlia Milá n, is unusua l, q uite possibly uniqu e, in hold in g an e ng ine e ring de sig n position with a pr ofession al audio ma nuf ac ture r. Sh e talks a bo u t her car eer and e xpe rie nc e a s a woma n in wh at r emain s pre dominantly a ma le -populate d un iver se. She also de sc ribe s h e r role in th e de ve lopmen t pr ocess of one of th e c ompany’s la te st loudsp eak er mod els.

Why did I become an engineer? This is probably the most frequent question I have been asked throughout my adult life. In high school, all I wanted to be was a journalist. I was very good at writing and loved football above all else. So, sports journalism was my dream career. At the same time, my skills in maths, physics and science were also very apparent, and I was pressed by my teachers – in the most positive sense – to pursue a technical course in further education. And it was at that point I determined to focus my efforts in gaining a first class degree in Telecommunications Engineering. Having conquered that ambition, I enrolled for a further degree in Electronics Engineering. Here, I discovered acoustics and realised very quickly that it was among the most fascinating things I had ever studied.

An internship, as a computer engineer, at AEG-Daimler was quickly followed by the opportunity of a permanent employment at Amate Audio. I knew full well that I would not be an easy choice of candidate for a professional loudspeaker manufacturer. To begin with, I had no prior experience in the field. And then, there were the other not insignificant matters of my age and gender. Pro audio isn’t exactly over populated with young female engineers. But, Amate Audio is a young-thinking company with a progressive outlook. At the age of 23, I was hired as assistant to the then-Senior Acoustics Engineer, returning to the field of physics and engineering I loved most. Three years later, the senior engineer retired and I assumed the role.

Amazingly, in the 21st century, some people still find my position in the company unusual, even shocking. But talent has no gender. Personally, I am against moves towards positive discrimination; at the end of the day, everybody wants to work with the most valid people. Nevertheless, there is still much that can and must be done to promote and support the presence of women in technical employment. In 22 years working in the world of sound, all the engineers I have met are men. This is a direct effect of an inherent bias in our society that we must challenge from the very beginning in our nurseries and schools. It is there where we must show and explain that the world of engineering is for girls and boys in equal measure. We must give them tools to discover and explore a world that, for most of the time, is simply invisible to women.

I am glad to say that I can count on the fingers of one hand the number of times I have had issues with anyone because of my gender. I feel respected and highly valued, not only by my immediate colleagues at

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I N DI S C U S S I O N | W W W .M O N D O D R .C O M

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Previous Pa ge: N a tà li a Mi lá n.

Right & Belo w : A m a te A udi o’ s X 1 02FD loud s pea k er.

Amate Audio, but also by the other engineers, suppliers and distributors and end users I interact with.

And, besides all the business, projects and problems you find on your professional life, that’s what I’ll keep in my soul.

Acoustic Evolution The X102FD is our latest sound reinforcement product, a high output, compact active loudspeaker cabinet that can be easily transported, rigged, flown or stacked quickly by just a few people; designed as a more powerful and efficient alternative to a line array in small and medium size environments.

I played several key roles during the designing process. First, testing and evaluating what would be the optimum transducers, in terms of performance, quality and cost. At the same time, I began developing a new high frequency horn, specifically for this design. This was a major challenge, in terms of the desired acoustic properties and the required mechanical engineering, and working closely with our industrial designer was essential in perfecting it.

A further challenge was configuring all the components – two 10-inch low frequency transducers, the compression driver, horn and built amplifier and control electronics – within the smallest, lightest possible enclosure, that would provide the required levels of performance. Once the size, shape and volumes were determined, we started to work on setting-up the system, using our proprietary Active+ power and control DSP platform.

This process of test and adjustment involves me spending many hours in our very large anechoic chamber (at Amate Audio we have two of these to accommodate our continual testing and design procedures).

Every parameter is, of course, later validated in hours of listening tests and ‘real life’ demonstrations with the rest of the team.

It is the strength of the full engineering team that ensures the success of our product designs. There is a real sense of engineering democracy within the team and in the ways we interact. That is our major strength.

Perhaps there is a parallel here with success on the football pitch. www.amateaudio.com

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I N DI S C U S S I O N | W W W .M O N D O D R .C O M

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I N S I DE V I EW - RE NK U S- H E I N Z | W W W .M O N DODR.COM

Renkus-Heinz is mainly synonymous with digitally steerable loudspeakers. The precision placement of sound means audio isn’t reflecting off reverberant surfaces and instead offers a high quality and intelligible experience for the listener in challenging acoustic environments. The company was a very early adopter in digital beam steering technology. The breakthrough introduced several new solutions to market, including the company’s Iconyx series and its new ICLive X Series, which Renkus-Heinz notes is “the culmination of more than a decade of experience in steerable line arrays.”

Renkus-Heinz also offers many non-steerable solutions – from point-source loudspeakers to line arrays to subwoofers – that leverage its many proprietary technologies. In short, the company has developed a complete line of loudspeaker offerings resulting in superior sound around the globe.

This better-sounding world was the original vision of Harro Heinz, who co-founded Renkus-Heinz in 1979. Today, Harro still has that original vision in mind. Harro remains Chairman of the company that bears his name and is actively involved in every part of the business – from product development and engineering to sales and marketing. And with 2020 now behind us, Harro says it’s time to plan for a resurgence of integration activity.

“It is time to be strategic, to plan ahead, and to be innovative with how we use technology,” Harro said. “It’s time to plan for the return of AV installations in 2021. It’s time to plan for the new normal in the world of AV.” Nearly all of Renkus-Heinz’s manufacturing takes place at its Foothill Ranch, California headquarters. This allows the company to provide custom design and unique paint applications to its solutions. The company has worked diligently to meet all federal, state, and local health and safety regulations during the COVID-19 pandemic while ensuring it continues to ship product to its partners.

“Our commitment to adhere to the regulations allows us to continue to ship product, continue to employ our team, and continue to hire new staff,” said Chief Financial Officer, Monika Smetona. “We look to go above and beyond the requirements set out for health and safety. Everyone at the organization is a member of this family, and we want our family to remain safe.”

Family is a core value at Renkus-Heinz. Monika is the daughter of Harro Heinz. Harro’s son, Chief Technical Officer, Ralph Heinz, and Harro’s grandson, Product Manager, Brandon Heinz, are also on the team. But as Monika pointed out, the last name isn’t a consideration when building a family connection throughout the office. Work anniversaries in the double digits are common, with 20-year and 30-year milestones increasingly being celebrated.

“Treating everyone as a member of the family is a critical part to how we do business,” said Monika. “The result is that we have decades worth of experience and people who passionately believe in what they do. It’s exciting to come to work because of that connection. And it has proved to be critical as the company continues to grow.”

And growth remains the goal – especially in 2021, as the company plans for the ‘new normal’ in the world of AV. “We are extremely focussed on how we grow along with our partners,” said Graham Hendry, Vice President of Strategic Development at Renkus-Heinz. “We want to ensure we are committed to shipping products and offering support that will help our dealers, integrators, consultants, distributors and endusers in every market possible. Our goal of helping people put sound where you want it most – on the audience – is still in full effect. And we can back that up by pointing to specific, strategic moves we’ve made over the past year.”

One such move was the company’s efforts to ensuring security in the manufacturing supply chain in 2020. That effort proved

critical in the aftermath of a fire at microchip manufacturer, Asahi Kasei Microdevices (AKM).

“We have enough parts in stock to ensure no disruption with supply and to meet our ambitious production expectations,” said Graham. “Even as we look at increasing sales numbers, we are in a position where we can confidently continue to deliver on product. We will also be able to comfortably continue innovating and introducing new products on our road map.”

This is important, the company says, because the innovators on staff remain ambitious. Under the direction of Ralph Heinz – respected in the industry for his work in pioneering accessible digitally steerable loudspeaker technology – the company introduced multiple new products in 2020. This includes an entirely new line of products – the Iconyx Compact Series – that offers small-footprint, digitally steerable loudspeakers ranging in height from 3.3ft (one-metre) to 13ft (four-metres).

“We want to make sure our cutting-edge technology is available to everyone,” said Ralph. “When we look at developing a new product, we focus on ensuring we will make the lives of our partners easier. That means amazing sound you can put where you want it, of course. But it also means enabling quicker, easier installation. It means supporting technologies in the form of software and mobile applications. It means ensuring you have the correct form factors for the jobs that are in demand.

It means working collaboratively with partners to give them exactly what they need to ensure they can win bids and wow audiences.”

That effort dovetails with the company’s plan to position professional audio as a solution that enables people to return to physical spaces in 2021.

“We’re very aware that the way professional audio will be used going forward has been altered somewhat,” said Graham.

“We believe that commercial audio has become even more important. We are working with our partners to develop new audio workflows for schools, offices, churches, and more. There is now a need for in-person and remote hybrid setups across nearly every vertical, and we are building and shipping the correct solutions to enable those uses.”

One example, Faith United Methodist Church in Tulsa, Oklahoma, shifted to video streaming during the pandemic.

When social distancing practices became more clearly defined, they developed a hybrid model – allowing a few in-person worshipers to join them at the church while they continued the video stream. But upon that hybrid return, a discovery was made. With the on-site sound system running, the audio on the stream became increasingly unintelligible.

To improve both the sound quality on video and on-premises, the church turned to Renkus-Heinz.

“By keeping the sound precisely positioned on the audience, you ensure there is no audio reflecting off reverberant surfaces or walls,” Graham said. “This means your video stream still sounds great even with amazing audio on-site. This will be a big trend in schools, office spaces, and churches as we return to in-person use. That’s why we are focussed on increasing our outreach with partners to work with them on these new workflows.”

Renkus-Heinz recently hired Karan Kathuria as its new Director operating across Asia, Oceania, and SAARC, and promoted Dudley McLaughlin to the new position of National Sales Manager covering North America. Garrison Parkin took up the position of Western Regional Sales Manager.

“There are reasons to be optimistic as we enter 2021,” Dudley said. “With this new team structure, we will be able to better support everyone who relies on our solutions. These moves mean dealers, integrators, consultants, and end-users across North America will each have an additional point of contact with Renkus-Heinz. And we believe offering that increased level of support and collaboration will be key moving forward.”

Re nkus-H e inz is re no wn ed for th e de sig n and ma nufactu r e of e ng ine e re d a udio solu tion s, d igitally ste e ra ble arrays, pow er ed an d n on powe re d loudspe a ke r s, an d fu lly inte g ra te d point sour ce systems.

H arro H e inz c o-f ound ed the compan y in 1 979 in F ooth ill Ran ch, Califor n ia, and Re nkus-H e inz’s bu sin ess ope rations and ma nufactu r in g c ontinue to ope rate fr om the city to th is day.

www.renkus-heinz.com

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Surf a c e Mount Techn ology Nearly all of Renkus-Heinz’s manufacturing takes place at its Foothill Ranch, CA headquarters. In the Surface Mount Technology room, solder paste is printed on a PC board in preparation for parts to be placed by the pick and place machine.

P i c k a n d P l a c e Ma c h ine The pick and place machine in the Surface Mount Technology room.

W oodsh op Plywood loudspeaker parts are cut in the woodshop using a Computer Numeric Control Router.

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I N S I DE V I EW - RE NK U S- H E I N Z | W W W .M O N DODR.COM

Ribbon C able A ssembly Ribbon cable assembly takes place in the Electronics Assembly department.

T u l s a C h urc h Faith United Methodist Church in Tulsa, Oklahoma switched to Renkus-Heinz solutions for its local sound – and to improve the sound quality of its streaming video content.

IC Live X F a mily The ICLive X Series is the culmination of more than a decade of experience in steerable line arrays and is the latest evolution of the medium-format, steerable line array in the Renkus-Heinz line. The ICLive X offers all the benefits of Renkus-Heinz’s steerable technology – allowing for sound to be digitally positioned precisely where you want it: on the audience.

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IN DEP T H

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Siamäk Naghian & Piia Riitta Bergman, Genelec 34

REPORT Theatres & Concert Halls

IN DE P T H | WWW. M O NDO DR. C O M

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“THIS ISN’T JUST ABOUT BUSINESSES OR THE AUDIO INDUSTRY, THIS IS ABOUT HUMAN NATURE AND CHANGING OUR MINDSETS TO FACTOR IN SUSTAINABILITY IN EVERY AREA OF OUR LIVES. ”

SIA MÄ K N A G HI A N Genelec

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If the COVID-19 pandemic has taught us anything, it’s that we live in a world that we often take for granted. Both the climate change emergency and the pandemic disease are borne of human activity that has led to environmental degradation, and the year-long repercussions have forced many of us to rethink our carbon footprint and collective impact on the planet. As most of the world was locked down, we saw carbon emissions plummet, crystal clear water in Venice canals, and wild animals roaming boldly in locked-down cities, but where does the pro audio world sit in all of this? With a philosophy built on sustainable development and environmental values, all eyes are on Genelec, who are already leading the way to a cleaner, more carbon-efficient industry.

Since its inception in 1978, Genelec has aimed to create and develop long-lasting products that are easy to service. The company’s Founder, Ilpo Martikainen, was passionate about sustainable living and wanted to make sure his company was built on the foundations of reviewing and reducing its carbon footprint through its business wide practises.

Genelec’s first priority translates to a long product life cycle, reliability and low power consumption, all of which have been extremely important to the company since its birth. At management level, environmental responsibility is considered to be equally as important as its other business goals, and the whole company supports sustainable development.

Siamäk Naghian, Managing Director at Genelec, explained that, when he joined the company 15 years ago, he realised that these ideologies were just part of its life: “Before I joined Genelec, I was working at Nokia, and when I made the decision to move, people were already telling me about the high-quality, long-lasting products Genelec was so famous for. When I joined, we were having discussions about sustainability straight away, which is something that I had never encountered before in my previous roles. I think sustainability is as important as profitability and sound quality. It is integral to the business and to the mindset of anyone who joins, right from the beginning.”

Over the years, Genelec’s approach to sustainability has developed and grown with the brand. The company offers premium loudspeakers that cater for a wide range of applications from studio sound to fixed, permanent installations such as hotels, restaurants and bars, but its dedicated team, that focusses specifically on the company’s green credentials, makes sure that its products and practices still continue to be as sustainable as possible.

For the past 15 years, Genelec has been working towards achieving its targets set out on its ‘Sustainability Roadmap’.

This has seen the business implement an environmental policy and programme, as well as regular reporting of factory waste, lead-free soldering and cycling shelters provided for staff to encourage more greener practices at home.

Environmental issues are also part of the product specifications for Genelec’s R&D work, and design reviews confirm that the set requirements are met. The process starts by defining the requirements from customers and the regulations from the European Union and the Finnish government, and in practice this means the company consider the overall environmental effects of each product.

There are processes implemented for the evaluation of materials including product packaging, for environmental impact during manufacturing, and also for after-sales issues such as energy consumption during use, servicing and final recycling.

All Genelec active loudspeakers employ a dedicated power

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“ WE A R E S O FO C U S S E D ON FOLLOWING THE RIGHT PRA CTI S E S W H E N I T C O M E S TO SU S T A I N A B I L I T Y , T H A T W E N ATUR A L L Y A T T R A C T P E OP LE WH O HA V E A S I MI L A R E T HO S. ”

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amplifier for each driver, and the amplification is optimised for each driver unit individually, resulting in a balanced design with no wasted power. In its designs, the dedicated amplifiers, power supply, crossover filter electronics, protection circuits and drivers are all integrated into the loudspeaker enclosure itself, saving both energy and materials.

“What we have also done, especially in the beginning, is focus on the operational side of the business. For example, we changed the heating systems in the factories, and we were looking at the materials we were using to actually create our products. We have a huge emphasis on recycling and using waste recycled materials to manufacture our products, too, so that really helps the business keep its carbon footprint down,” furthered Siamäk.

Piia-Riitta Bergman, Production Director at Genelec, also added: “We encourage personnel to make initiatives and innovations around how sustainable they are both at work and at home. One area that is very important to us is how to improve the level of awareness in our society, our industry and within our own organisation. We encourage recycling in everyday life, as well as cycling or using public transport instead of a car. It’s really important to us that everyone has the same mindset.”

Creating a green-focussed culture within the company is especially important. Both Siamäk and Piia-Riitta explained how essential it is for anyone joining the company to have a grounding in and understanding of the impact human

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activity can have on the planet. “You can have different systems and lots of tools to ensure you are running your business the right way, but getting people committed to the cause is a lot more difficult,” explained Piia Riitta. “We’re extremely lucky and pleased that most of the people who join Genelec are already interested in sustainability, and how the processes they carry out in everyday life could be potentially impacting the planet.

“I think this is potentially down to the company’s image, as it helps attract the right people. We are so focussed on following the right practises when it comes to sustainability, that we naturally attract people who have a similar ethos.”

The COVID-19 pandemic has further highlighted the interrelations between our natural and societal systems, forcing us to rethink our habits and appreciate the world around us that little bit more. During the devastations of the past year, it has provided an escapism for many from the impact of the virus, and for companies like Genelec, who rely heavily on air travel for work, the past year has opened up a gateway for online interactions and digital business communications, something that they are committed to continuing in the years to follow.

“Here at Genelec, we’re most certainly not perfect when it comes to sustainability,” continued Siamäk. “We’re constantly learning and adapting our practises to line up with our beliefs and values, and we still have a lot to learn.

One of the things we have taken on board this year, though, and potentially one of the only positives to come out of the pandemic, is how easy it is to schedule a business meeting over video call and how accessible virtual events/ tradeshows have been.

“Previously, we did a lot of travelling as a business, but now many of our meetings can be done over video call in a much more environmentally-friendly way. I personally will never again travel in a way that I did before - virtual meetings will now mean that I can travel to attend two meetings instead of 10. I think COVID-19 will positively accelerate activities to deal with sustainability issues.”

I N T ERV I EW - SI A M ÄK NA GH I AN & PI I A- R I I TTA B ERGMAN | WWW.MONDODR.COM

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Unfortunately, the direct, short-term positive impacts COVID-19 has had on the environment are likely to be temporary, but there’s still time for companies and individuals to learn and adopt greener practises across all areas of business, not just in the pro audio industry.

In Finland, the government has set specific climate goals, which it hopes to achieve by 2030, and, for Genelec, this is another reminder of how important sustainability is, not only to its audio business, but to the country it and most of its staff calls home.

Piia-Riita added: “I don’t think it will take a long time for us to see change. Now is a great time for the audio industry as a whole to look at things, how to minimise footprints, and build a more sustainable business, but every single day counts and all of the actions that we take will see continuous improvement. I think it’s important to highlight the smaller actions and give good value to them, because they all definitely stack up.”

Building a sustainable business has been at Genelec’s core since its founding, but now the hope is to see others follow is suit. There’s no ignoring the devastating impact climate change is having on the world, and the COVID-19 pandemic has only heightened that awareness, but companies like Genelec are proving that it’s possible to run a potentially energy consuming business effectively and sustainably.

Siamäk concluded: “The first article you can find related to climate change came out around 100 years ago, so this discussion isn’t anything new. This isn’t just about businesses or the audio industry, this is about human nature and changing our mindsets to factor in sustainability in every area of our lives. I do believe we still have time to reverse some of the damage, and hopefully in the next five to 10 years, we will see the audio industry pulling together to create a greener, more environmentally friendly future.”

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© Photo by Mihály Podobni

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TH EA T R E S & C O N C ER T HALLS M O ND O - D R t a k e s a l ook a t th e in n o v a t i v e t e c h n o l o g y use d in t h e a t r e s a n d c o n ce rt h a lls a c r o s s t h e w o r ld.

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Muni c ipa l H al l COMPANY: NEXO LOCATION: Prague, Czech Republic

The supremely elegant Municipal Hall in Prague, considered to be the finest example of modernist art in the Czech Republic, has completed the permanent installation of a NEXO STM Series line array system in the renowned 2,000-capacity Sala Smetana.

Oozing historical significance, the Municipal Hall has, since it was built in 1910, been one of the most important buildings in Prague. Extensively reconstructed in the early 1990s, the Municipal Hall has always made extraordinary efforts to respect its heritage and architectural merit.

Modern technology has been installed with great sensitivity for the interior aesthetic, and the requirement for a fixed large-format PA system posed considerable challenges.

One of the primary objectives of the Municipal Hall was for a permanent solution in its showcase venue, the Sala Smetana, that would eliminate the need for various rental companies to bring in different systems for each event.

The aim was to specify and install a high-spec line array system with a world-class reputation, that would deliver a consistent level of performance appropriate to one of the most prestigious concert halls in Europe, without sacrificing its carefully guarded aesthetic.

Another key objective was to connect the six performance venues and numerous meeting salons in the Municipal Hall building, which are often used in combinations. With the installation of a Dante network throughout the venue, all the separate public spaces have been tielined, and house engineers are able to manage all systems from anywhere in the building.

Owned by the City of Prague, the Municipal Hall is home to the Prague Symphony Orchestra, which benefits from the famous natural acoustics of the main Smetana Hall.

However, it was an open secret amongst Czech Republic engineers that the Smetana was a challenging venue for amplified acts. Hosting a variety of events ranging from rock bands, to cinema with live orchestra, to fashion shows, jazz and rock concerts, even the Miss Prague beauty pageant, the Smetana Hall needed a contemporary solution. House engineer Miros Svaton and chief technician Milan Kroupa, having listened to virtually every high-end PA system on these events, had come to a firm conclusion that NEXO line arrays were the best fit for the room.

One of the biggest concerns for Hall management was the visual impact of a large line array system in the Smetana Hall. After careful deliberation, the hangs of NEXO STM Series cabinets were meticulously positioned to achieve a low visibility without sacrificing performance. The Hall’s skilled technical team, under the guidance of Technical Director Petr Stepanek, had to deal with numerous installation challenges in order to respect the historic fabric of the building, including making special fittings so that the old flying points could be adapted to carry the new arrays, as well as hiding 3 kilometres of cabling needed for the network and the surround speakers.

MusicData specified a NEXO STM Series modular line array, using nine M28 double 8” main cabinets per side, together with a single S118 18” sub per side, flown at the top of the

array. Ten new speaker positions, fitted with NEXO’s supercompact ID24 cabinets, serve as stagefill, frontfill, balcony and box fill.

“The main system has a lot of power and huge headroom,” says Ourednicek, “we never see the red LEDs on the amps.

Initially, we were concerned about only having one sub, but the system is so well-suited to the acoustic of the hall, that there is more than enough low-end. The little ID Series are primarily deployed for speech presentations, such as tourist visits: for the main events, the STM array is throwing 38 metres to the back of the balcony, giving superb clarity and coverage. Altogether the system has provided a big improvement in coverage on the sides of the Hall.”

For the installation team, which included Stanislav Muryc and Martina Svecova from MusicData, the big challenge was time; finding space in the Hall’s busy calendar proved so difficult that the guys had to work at night. CAT6 cabling was run throughout, with full redundancy, to connect all the various salons and the six performance spaces in the venue using TCP/IP to establish 3 networks: 64×64 point Dante, control protocols for the consoles and Yamaha MRX7 matrix, and a local wifi network for internal connections.

“We had to be ingenious! We had to use some existing access points, so this is not perfect-world cabling,” admits Ourednicek. However, the benefits are impressive.

“Now, from every point in the house, we have iPad control of everything in the Municipal Hall venues. We even have remote control of the system in the MusicData office, which is invaluable for diagnostic support. With the tielines, we can provide feeds from the main console in the Smetana Hall to other salons in the building, which is a great feature for corporate and governmental events.”

To accompany the STM Series main PA, the Hall has invested in Yamaha CL3 and QL1 consoles. The CL 3 is completely mobile, thanks to the network, with the QL1 fixed in the control room. All management of the MRX matrix, the NEXO NXAMP amplifiers and the Yamaha digital consoles is handled by Yamaha ProVisionnaire software.

Ourednicek comments that “the compatibility and connectivity between Dante, NEXO STM and our Yamaha consoles makes the Smetana Hall system extremely easy to manage. With a pretty even reverb time throughout the hall, the EQ on the main NEXO system is negligible, -3 or -2dB here and there. The comments from visiting engineers have been favourable.”

The attention to detail in this installation has been impressive, including the colour-matching of the small NEXO speakers to the Smetana Hall’s wallpaper. The allimportant historical context of the Municipal Hall’s venues has not been compromised by the arrival of 21st century audio equipment, and the use of roll-in, roll-out NEXOYamaha systems means that acoustic performances in the smaller salons can be given without sound reinforcement equipment eating up valuable space on the floor or the stage. www.musicdata.cz www.nexo-sa.com

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Joan Sut her l a nd Pe r for m i n g A r t s Ce n t re COMPANY: Alcons Audio LOCATION: Sydney, Australia

Named after Australia’s famous coloratura soprano, Dame Joan Sutherland, the Joan Sutherland Performing Arts Centre in Penrith, New South Wales, is one of Sydney’s busiest performing arts complexes.

Opened in 1990, the venue has numerous performance spaces, and hosts a busy schedule of theatrical, musical and visual arts.

In mid-2019, Production & Technical Manager, Geoff Turner, and Head of Audio, Tim Anikin, started looking for replacement of the old point source sound system that had served the dramatic theatre (The Q Theatre) from the beginning, to overcome the sound issues inherent in the space.

The tender was won by Loud And Clear Sales, who, in conjunction with Drew Bisset, designed and installed a system from Alcons Audio.

They were so impressed by the new system in the Q Theatre that they looked to the same team to quote on an upgrade to the larger and more challenging space, the Richard Bonynge Concert Hall.

The Q Theatre is a multi-purpose room with a thrust stage and audience of 378 in a semi-circular amphitheatre configuration. This allows fabulous sight lines, but is challenging to amplify and distribute sound equally.

“Our experience with the LR7 micro line array from Alcons Audio sent us there immediately” said David Betterridge, Director at Loud And Clear Sales. “What we didn’t realise until we did the modelling, was just how perfect a solution it was for the space!”

“Three arrays each of six boxes in 90º configuration gave us almost seamless coverage of every seat in the house, with the tiniest of overlaps occurring in the aisles. We could barely believe the data from the EaseFocus plot, but knowing the reliability of Alcons’ specs, we were very confident that if we could get the rigging points in the exact locations we needed, we could deliver.”

A pair of LR18B subwoofers located behind the centre cluster provides deep sub extension for the system, which all runs from a single Sentinel10, four-channel DSP amplified loudspeaker controller. All system processing is done within the Sentinel, so no external processor was needed.

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Removing the collection of older 15-inch horn boxes from the grid and replacing with the almost invisible LR7 also freed up a huge amount of lighting angles that Geoff very happy.

David added: “The difference is – there is no longer any difference!

Before, it was very noticeable as you moved around the auditorium, the change in level and frequency response. Now, virtually every seat in the audience is hearing the same information at the same level. We were blown away.”

One of the things that Alcons pro-ribbon loaded loudspeakers boast is high-fidelity reproduction, even at high SPL. The Concert Hall system needed the headroom to support contemporary acts and the definition to support the many orchestral and spoken word users of the space.

A 550-seat perfect rectangle, it boasts both amazing natural acoustics, and some real challenges inherent with such a space, especially at high SPL. It was important to focus the system on the audience area and avoid as many reflections as possible.

A true stereo system was requested, and the need to keep the footprint as small as possible led the same team to Alcons Audio again for the solution. Custom rigging designed and supplied by Drew Bisset, allowed placement of the left, right and sub arrays exactly where they were needed. The new, very versatile VR5 mini monitor were used for front fill and side fill for the balconies upstairs.

The L-R arrays are each nine boxes of LR14 ultra-compact line-array modules and the deep sub extension is three BF362 in cardioid mode, flown in the centre. Four VR5 act as front fill and two VR5 cover the side balconies upstairs. The system is powered by three Sentinel10 amplified loudspeaker controller running ALControl software, which allows easy programming for the various user applications required. These range from a simple left/right feed for basic presentations, to full access to all channels for advanced users and touring engineers. www.alconsaudio.com

©Opernhause Zurich AG

Zür ich Opera H o us e COMPANY: Christie LOCATION: Zürich, Switzerland

Zürich Opera House has been the home of the Zürich Opera since 1891, and during its time has never shied away from controversy.

Over the years, many of its award-winning productions have attracted publicity for their subject matter and innovative use of technology. For the staging of Claudio Monteverdi’s opera ‘L’incoronazione di Poppea’, the creative team wrestled with the challenge of how best to portray a thoroughly corrupt and vainly narcissistic society on stage. The solution drew attention to the ‘selfie’ culture by projecting oversized images of the actors onto 16 x 9 screens on the auditorium balconies, adding a unique close-up dynamic to the live performance.

For the technical implementation of this ambitious setup, the famous opera house put its trust in Christie technology. This project utilised an end-to-end Christie technology solution including 30,000 lumen projectors, Pandoras Box servers, and the Christie Terra AV over IP

system, to switch, scale and extend signals of 4K video content. The finished solution was the first install of its kind in the EMEA region.

The Zurich Opera House changes its show configuration every day and has rehearsals for one show during the day, and then a different show in the evening. This meant that the content for each show had to be changed quickly and easily; the projectors moved around the house and 4K content switched and distributed to them with as little latency as possible. This was especially important when using cameras to film the actors on stage and display them live through a projected image. The mix of Christie Pandoras Box media servers and Christie Terra allowed the changing of content and resolution for each show, routing lossless 4K@60Hz content via existing fibre network to the projectors. The Terra solution took control of the projectors’ web GUI and the media servers, without having to run extra network cables. Terra also delivered a multiview function in the control room to facilitate a live preview of the media server’s outputs.

Christie Partner smARTec supplied nine Terra transmitters, seven Terra receivers, and two Terra controllers (one for redundancy) to manage the routing of content from transmitters to receivers. Terra transmitted the artifact-free data over 10G Ethernet, from the Christie Pandoras Box servers and the cameras to the Christie projectors, thus supplying the images for the video mappings and stage projections (as well as to the director’s preview monitors).

Elfried Roller, Deputy Head of Lighting at the Zurich Opera House commented: “It would have been a huge effort to use monitors or LED walls for the 14 screens. We had the idea of projecting the images upright across the balconies, using Christie projectors in soundinsulated cases. A 1080p feed would have been too little for the individual screens, and so only a native 4K feed was an option. Christie Terra enables latency-free transmission of the native 4K signals (4:4:4 at 60 Hz) and guarantees multiple use of the input signals for confidence viewing. There is no need for a fibre optic crossbar or for replugging.

The possibility of productions using multiviewers, projection previews and live cameras makes our work a lot easier.”

The Christie Terra technology has been used in many other productions since the Calixto Bieto’s L’incoronazione di Poppea production. “We were very satisfied with the complete solution of Pandoras Box servers, and Terra AV over IP SDVoE technology solution, as well as the Boxer 4K projectors. Receiving everything from one source is very convenient for stage operations, or when we need efficient support for our system,” concluded Elfried. www.christiedigital.com

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Strand T heat re COMPANY: Renkus-Heinz LOCATION: Miami, Florida

The Earl and Rachel Smith Strand Theatre began its life as a motion picture house in 1935 in the growing Atlanta suburb of Marietta, Georgia. Over the years, the location transformed multiple times – the theatre’s website notes it was used for ‘a number of ventures’ across multiple decades. But as age caught up with the theatre, it temporarily shuttered in 2002, seeking new renters.

The theatre found new life when a community-led non-profit worked to ‘Bring Back The Strand’ and renovated the space into a full-time public theatre devoted to live performance. It reopened in 2009 after a restoration that reintroduced fantastic red and gold architectural flourishes to the space.

However, the venue still had one challenge: the space wasn’t designed in line with traditional acoustical considerations. Reverberant surfaces and a uniquely constructed balcony resulted in poor intelligibility across the audience positions. So, after a decade of performances, the Strand Theatre upgraded to Renkus-Heinz.

“The community had noticed the sound had been lackluster for a while,” said James Denmon, owner of Denmon Technical Services – the firm that integrated the new audio system at The Strand Theatre. “They’d tried multiple ways to fix it over the years, but it never quite sounded its best. That changed when we brought in a Renkus-Heinz system as a demo. They were very, very surprised by the difference it made.”

The theatre’s new audio system utilises the cutting edge Renkus-Heinz ICLive X Series – featuring four different arrays each made up of two loudspeakers – to ensure effective coverage across the entire space.

The ICLive X Series is the culmination of over a decade of experience in steerable line arrays and is the latest evolution of the medium-format, steerable line array in the Renkus-Heinz line. The ICLive X offers all the benefits of Renkus-Heinz’ steerable technology – allowing for sound to

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be digitally positioned precisely where you want it: on the audience.

James built out the ICLive X arrays in the ‘lower’ position using an ICLXL module and an ICLLX module, which allows for the high frequency section of the device to be positioned precisely and offer a longer beam throw. The ‘upper’ arrays make use of one ICLX and one ICLXL module.

Two Renkus-Heinz CA-82 two-way Complex Conic loudspeakers are also installed to provide coverage for ‘extreme’ front fills within five ft of the FOH. Complex Conic constant directivity waveguide design is another cutting-edge Renkus-Heinz innovation that ensures consistent coverage across a space.

Rounding out the integration are four Renkus-Heinz PN212 dual 12-inch subwoofers, which deliver maximum low frequency impact.

“The space was challenging because of a very deep under balcony and over balcony,” said Jeremy Alison, President of Alison Technical Concepts and Consultant on the project. “We didn’t have much access to the ceiling for rigging, yet we also didn’t want to put traditional loudspeakers all over the place because we wanted to keep the lines clean. We wanted the theatre to look great when we were done. The answer was to work with Renkus-Heinz, not just for the superior sound quality, but for the way the loudspeakers look as well.”

Renkus-Heinz provides custom fabrication of loudspeakers from its Foothill Ranch, California facility. For the installation at Strand Theatre, the loudspeakers were painted gold and red to blend in with the aesthetic of the space.

“Now it looks incredible and sounds incredible,” Jeremy said. “Honestly, this is the best sounding system I have heard in a performance theatre in the past five years. And everyone at the theatre agrees.” www.renkus-heinz.com

Daeje o n Ar t s C ente r COMPANY: Martin by HARMAN LOCATION: Daejeon, South Korea

DIN POWERFUL OUTDOOR

ZOOM PAR CLFLIGHTING

Elevating the ambiance in its main theatre and treating guests to a world-class performing arts experience, the Daejeon Arts Center hired Hansam System to install a state-of-the-art HARMAN Professional lighting solution that features Martin Professional fixtures.

Opened in October 2003, the Daejeon Arts Center has brought a new horizon of culture and arts to the city of Daejeon. Housed in a five-story building across a property size of 100,000 sq metres, the Center features four premier event and meeting spaces, including the large-scale Art Hall, Ensemble Hall, Conventional Hall, as well as its outdoor Amphitheater. Beyond hosting a wide range of productions such as theatre and opera performances, Daejeon Arts Center also offers a Music Academy and Arts Cultural Program, which are designed to inspire and educate the future generations on performing arts. To enhance the 1,546seat Art Hall and provide guests and even greater theatrical experience, Hansam System equipped Daejeon Arts Center with a cutting-edge Martin Professional lighting solution that offers dazzling displays.

“The client wanted to replace their existing lamp lighting with energy-efficient LED lighting units. They wanted LED fixtures that produce a balanced light beam from the centre to the edge of the stage with a low failure rate, considering the heat generated during operation,” said Taehan Kim of Hansam System. “We used the Martin ERA 800 Performance LED fixture because of its exceptional performance, flexibility and price.”

Delivering ultra-bright light and captivating visuals, Hansam System installed 16 Martin ERA 800 Performance moving heads across the venue. In addition to featuring a highly efficient, super-bright 800W white LED engine that produces a sharp 6,500K gobo projection with a flat field, the ERA 800 Performance is equipped with 1:8 zoom, electronic dimming and strobe, full CMY colour mixing and separate colour wheel, variable colour temperature control, animation wheel and much more.

Altogether, combining unmatched performance with a loaded feature set, these powerful, compact lights provide the Daejeon Arts Center the flexibility to create the perfect look for any act.

“After seeing the ERA 800 Performance during a dance show

by Daejeon Metropolitan Dance Company, we were quite impressed,” said Hun Chung, Lighting Director at Daejeon Arts Center. “With this installation, we have become the first art centre or theatre to introduce and operate the ERA 800 Performance in Korea. HARMAN products will undoubtedly help us maintain a standard of excellence across all aspects of our events and deliver superior lighting and ambiance.”

“The Daejeon Arts Center is a unique space that has been carefully planned to provide an exceptional theater experience,” said Ramesh Jayaraman, VP & GM HARMAN Professional Solutions, APAC. “We would like to thank our partner Hansam System for selecting Martin solutions, introducing ERA 800 Performance to Korea and redefining lighting in the Arts Center.” www.martin.com

SMOOTH RGB+LIME COLOR MIXING IP65 RATING 11-50° ZOOM RANGE HIGH CRI & R9 VALUES SILENT OPERATION DEFINABLE USER MODES

WWW.CLF-LIGHTING.COM 000

Vienn a State Opera / R oyal Al ber t H a ll COMPANY: Optocore LOCATION: Vienna, Austria / London, UK

Theatre consultants and system designers have turned increasingly to solutions from Optocore, and their technical partner, BroaMan, when specifying new audio and video infrastructures. These are generally incorporated into loops from the FOH console, or function as standalone networks to transport signals in all formats around the building.

High profile venues across the globe that have turned to Optocore range from London’s world-famous Royal Albert Hall to the equally iconic Vienna Opera House. These, and many houses like them, are benefitting from the speed and robust performance of the Munich based company’s devices.

Optocore MD Marc Brunke, who also leads the company’s R&D initiative, is in no doubt why integrators look no further than Optocore when a digital transmission upgrade is called for. “Our devices have the lowest latency on the market - which is especially important for theatres, as any conductor or actor hearing himself with delay goes crazy in no time.

“But there are many other reasons, including durability and the unusual

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deployment of 50-inch gold plating connectors (the standard is sixinch), as well as the use of highly dust-resistant multimode SPFs and an independent infrastructure.” He also highlights compatibility with all sound and video consoles, which ensures safe transport of all audio, video and data signals anywhere in the building.

Many solutions are custom designed by Optocore and BroaMan themselves to suit the purpose. In France, a number of theatres have been installed by Optocore’s French partner, Gilles Bouvard at GB4D, including the high-profile Opera Bastille, while another Parisbased venue, Théâtre du Chatelet, contains a large DiGiCo set up with Optocore AutoRouters. These ‘one size fits all’ standard solutions are intelligent patch bays which are plug-and-play, requiring no boot time or special software. And it was AutoRouter that came to the aid of the Royal Albert Hall.

With equipment supplied by Autograph Sales and installed by SFL, a ring topology was adopted for the digital distribution network. But it was AutoRouter’s ability to create a redundant, intelligent star out of this topology—closing the loop automatically between active devices and mobile stage boxes - that made it ideal for this famous Victorian venue.

A pair of AutoRouters manage the Optocore links from the DiGiCo desk environment, which serve as central routers in a redundant starred network - catering perfectly for the large number of patch panels and stage boxes distributed around the venue, linking the d&b audiotechnik loudspeakers.

Adopting a range of multi-format I/O cards included analogue, AES, ANA and DMI Optocore, with its DiGiCo compatibility it immediately adding functionality to the Hall’s new FOH system, serving live event and broadcast requirements alike.

Fog is our passion!

Cobra 3.1

Over at the Vienna State Opera (Wiener Staatsoper), Chief Sound Engineer, Athanasios Rovakis, had a different requirement, wishing to put everything on a digital backbone and achieve multichannel video transport between different building locations. As far back as 2016, he had started investigating the possibility of moving the house’s audio and video distribution to fiber and initially invested in an Optocore network fiber solution to bring together additional signal sources from distant places in the house, and to share signals for broadcasting. The fact that it has remained rock solid over the five years gave him the confidence to return to the Munich-based fiber specialists.

In looking to expand their communications outreach, Athanasios realised that BroaMan devices were essential, as in view of the extreme transmission distances in the vast building copper was not an option, and fiber the only viable solution.

Explaining this decision, he said, “The audio control room has been steadily upgraded over the past 70 years, with devices from many generations and manufacturers - all with their own unique formats, connections and protocols. It is a major challenge for any new device that gets installed as it has to work with the old ones. But BroaMan’s Repeat48’s brings a complete tunnelling to the entire Opera.”

The BroaMan architecture is based around 10 of the Repeat48WDM, which provide five point-to-point transport systems with 12 video channels, each transported on a single duplex fibre; a Repeat48 electrical-optical media converter, with six SDI-In and six SDIOut; and six compact Repeat8-NANO to convert SDI to and from fiber. In a fairly unique deployment, all video is transported on multimode fibre.

Athanasios highlighted the advantages of this approach: “In contrast to other systems, the Repeat48 has no boot-up time - which is vital for events with little prep time - and there is zero latency which is equally important. Also, since the Opera is under a preservation order, new cables are difficult and expensive - therefore they have to work with a limited amount of space, channels and bandwidth. This made multiplexing basically the only viable option.” www.optocore.com

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Look Solutions Fog machines made in Germany Look Solutions GmbH & Co. KG Buenteweg 33 · DE - 30989 Gehrden Phone: +49 - (0)5108-91 22 10 · Fax: 91 22 111 www.looksolutions.com · info@looksolutions.com 000

Auditori o N a c io na l COMPANY: L-Acoustics LOCATION: Mexico City, Mexico

Widely recognised as one of the best concert venues in the world, Auditorio Nacional’s (AN) was built in 1952 as a site for equestrian events. The building is made of riveted iron - the same technique featured on the Eiffel Tower - and has undergone extensive redesigns throughout the years. The Auditorio Nacional is known equally for its intriguing architectural design and for housing the largest pipe organ in Latin America. The venue’s main hall consists of nearly 10,000 seats raised above and around its enormous 23-metre stage, primarily used for national and international music concerts, song, dance and film festivals.

Lunario, Auditorio Nacional’s alternative stage, seats 1,200 and is used for small and medium-sized events. Both spaces have hosted notable companies such as the Vienna Philharmonic, LA Phil, English National Ballet, and Elton John. The venue has also accommodated renowned events such as two Miss Universe pageants, multiple film premieres, and even the 1968 Summer Olympics gymnastics competition.

The entire facility was recently treated to a renovation, which included an L-Acoustics K Series system to replace the original, 12-year-old sound system.

Stavanger Konserthus COMPANY: PROLIGHTS LOCATION: Stavanger, Norway

Stavanger Konserthus, one of the most prestigious venues in Norway, and home of the Stavanger Symphony Orcestra, as well as an important venue for concerts of all musical styles have recently taken delivery of Prolights’ EclProfile CT+.

In addition to the Kuppelhallen concert hall built for classical music, there are two additional venues, Zetlitz and Fartein Valen. Zetlitz is a well-equipped hall with great flexibility, capable of receiving up to 1,900 people, and can be used for everything, from contemporary music to Opera.

During last autumn the venue invited all Norwegian distributors of lighting equipment to a demo and shoot out of different fixture types, as a step to convert all its conventional fixtures to LED. “After a thorough

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test, including CRI measurements, noise comparison, and overall performance, the PROLIGHTS EclProfile CT+ was chosen for the Zetlitz hall after a tough competition with all market leading brands,” said Carl August Tidemann, Sales Manager for Prostage.

Nils Foss, Head of Lighting at Stavanger Konserthus, commented: “We were extremely impressed by the unit’s low noise level and its stunning smooth dimming capabilities. It feels like you’re working with a classic tungsten lantern, but the number of advanced features and powerful colour output reminds you of how versatile the CT+ can be.”

The venue also added eight SunBlast 3000FC to its inventory, an RGBW, IP65 graphic LED strobe and blinder. prolights.it

After a detailed venue evaluation, Nico and the team had identified 10 projects within the space, covering improvements in lighting, visuals, audio and internal facilities. The projects were then laid out in order of priority, with audio taking precedence. Four of the world’s top audio brands were invited to participate in the tendering process. To ensure complete objectivity, all companies demonstrated to the AN Board, as well as an independent external consultant on the same day. “Our listening committee included 12 people from the venue’s audio and production teams, and each member of the committee used a point system to evaluate the same criteria for each system,” said Nico. The points system took into account proven years of experience, audio quality and ability to integrate into Auditorio’s existing workflow. The L-Acoustics K Series, integrated by Vari Internacional scored the highest points and was awarded the project. “The Vari Internacional team were very professional and, together with representatives from L-Acoustics, were able to clearly demonstrate the key benefits of the L-Acoustics K1 system. Two of the key selling points for us was L-Acoustics’ ability to

adapt itself to our existing eco-system, as well as its undisputable audio quality,” said Nico Peláez, Auditorio Nacional’s Production Director.

Engineer Juan Francisco Álvarez, Sales Manager at Vari Internacional was honoured to have made the selection: “For AN, we felt it wasn’t just a change of brand, it was also an opportunity to improve some of their workflows. L-Acoustics not only fully integrates with the Auditorio’s existing systems, but it is also future-proof, allowing new elements to be deployed and configured with ease as needed.”

For the main stage configuration, Vari supplied two main hangs of 14 K1 with two K2 down and 12 K2 per side for outfill. Two hangs of eight K1-SB subwoofers are flown behind the K1, with a further two stacks of four KS28 subwoofers positioned left and right on the stage floor. Front fill is delivered by eight X12 placed in front of the stage lip. Two A15 Focus and two A15 Wide per side provide sidefill for the monitor system. Delays are catered for by two arrays of six Kara(i). The entire system is powered by 39 LA12X and seven LA4X amplified controllers four P1 processors are used for AVB distribution to the amplified controllers. Finally, the stage monitoring package comprises two ARCS Focus and 22 X15 HiQ. The Lunario system comprises two main hangs of six Kara and two SB18 subwoofers per side, with four SB28 subwoofers hidden beneath the stage. 20 short-throw X8 coaxial enclosures were supplied and used as stage monitors and frontfill as needed, with four A10 Wide and four KS21 subwoofers for sidefill. Nine LA4X and one LA12X provide power and control, along with two P1 processors.

The entire audio system supports analogue and digital using AVB/ Milan protocol to simplify audio and control data distribution and offer guaranteed quality.

“A massive number of activities take place at the Auditorio - in a typical year we can have 265 concerts, use 2,300 tons of equipment, spend over three-million staff-hours on productions from more than 72,000 technicians, and have audiences of 1.5 million. So, all the components within our workflow have to work seamlessly together,” concluded Nico.

“I am proud to say that, together with Vari Internacional, we were on time and on budget in terms of delivering our amazing new L-Acoustics sound system. It not only gives us the ability to work more efficiently, but delivers outstanding audio.” www.l-acoustics.com

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Uvalde Gra nd Ope ra H ou s e COMPANY: Pliant LOCATION: Texas, USA

When Caitlin Visel joined Uvalde Grand Opera House as manager in September 2019, she was immediately tasked with replacing the nearly 40-year old wired intercom system. As the second oldest theatre in Texas, Visel needed to find a comms system that would cover the entire building with its thick, concrete walls. When she realised that repairing the outdated system was beyond her budget, she began the search for a replacement. Through some online research, Caitlin was immediately intrigued by Pliant Technologies’ MicroCom M digital wireless intercom system.

“I was instantly drawn to Pliant’s intercom offerings for its wireless capabilities,” explained Caitlin. “Having a wireless intercom system has been a massive benefit as we can communicate with staff members throughout the entire building. Whether they’re with talent backstage, in the lobby collecting tickets or behind the bar making drinks, everyone can communicate seamlessly. Also, the affordability of the MicroCom M intercom helped to make Pliant the obvious choice for us.”

In addition to its wireless capabilities, the range of the MicroCom M system is a standout feature for the theatre. “When I first began my search for a new intercom, I was worried that it would be difficult to find a system that could function throughout the building as there are obstructions, solid walls and high ceilings,” added Caitlin. “During an onsite demo of the system, I was blown away by its extensive range.

With MicroCom M, we’re able to communicate from all ends of the building without losing the signal - it’s really amazing.”

With the old system having heavy, metal belt packs and bulky headsets, it was extremely difficult to deploy so the staff ended up resorting to texting. However, due to the 129-year old brick structure, cell reception is unreliable in the theatre.

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“When we demoed Pliant’s MicroCom M, the compact size of its belt packs really stood out,” said Caitlin. “It’s like night-and-day compared to our previous system. The packs are compact and lightweight. You can drop it in your back pocket or wear it on a lanyard around your neck, which has been especially helpful as we staff a lot of women who often wear dresses to events.”

Working with mostly volunteers, it was also important that Uvalde integrated a system with a simple interface and minimal learning curve.

“As someone without an audio background, and without much intercom experience, it was really easy to learn how to use MicroCom M,” Caitlin furthered. “It’s been great to have a system that anyone can learn.”

In addition to MicroCom M, the theatre also purchased Pliant’s SmartBoom PRO single-ear headsets. “Everyone loves the convenient flip-up microphone muting feature of the headsets. This feature was particularly beneficial when I had to crawl up into the attic to fix a lighting issue. I attached the pack to my belt and was able to communicate with my assistant on the ground floor while having my hands free to crawl through the tight space,” said Caitlin.

Uvalde purchased five Pliant MicroCom M beltpacks with the SmartBoom PRO headsets and plans to expand the system once productions are fully back up and running. “With MicroCom M having a listen-only feature (with unlimited users), we want to get more packs and headsets for our freighters and stage managers. Additionally, the single-ear noise cancelling headsets have been great for our purposes.

For a comedy showcase we held in August, we had someone at the door taking everyone’s temperature and someone collecting tickets. They were able to hear all of our communication through one ear and all of the outside noise with the other ear, and it worked beautifully - even with everyone wearing a mask.”

Overall, Caitlin has had an extremely positive experience with Pliant Technologies” “Working with Pliant has been an absolute pleasure. We really appreciate their support and the time they took to come down to the theatre to set up and demo the system in-house. Now I see why Pliant was so highly recommended online. I’m really happy that we chose Pliant’s MicroCom M.” www.plianttechnologies.com

Deuts c hes T heate r COMPANY: Robe LOCATION: Berlin, Germany

The Deutsches Theater in Berlin is one of Germany’s foremost producing houses, highly acclaimed for its cutting-edge work. In the last year, the venue has added 20 Robe T1 Profiles, which are available across its stages, a move specified and overseen by Head of Lighting, Robert Grauel and his team including Linus Zahn who is the lighting systems tech and person in charge of new technologies.

The main stage was originally built in 1850 and the building now consists of two adjoining stages - the 600-capacity main stage and the 280-seat Kammerspiele established by the legendary Max Reinhardt in 1906 for modern drama - sharing a common, classical façade.

The Box is a black box studio space located in the Kammerspiele foyer in 2006 with seating for 80 people, and there are extensive rehearsal rooms, workshops, and storage facilities in a new building behind.

The theatre’s output is prolific. An average year sees each stage present approximately nine new productions, and a significant amount of these will also tour around Germany, with three or four also going on to tour worldwide, all simultaneously.

The Robe T1 Profiles were selected from a shortlist of three fixtures from different manufacturers explained Linus, who is part of a 35-strong lighting department working across all the stages and rehearsal areas.

Linus is an experienced programmer and operator in addition to being systems tech, and is responsible for the theatre-wide lighting networks and all their associated components. He is also one of the house pyrotechnicians and was instrumental in making the T1 Profile investment decision. Part of his responsibility involves keeping an eye on new and emerging technologies and arranging demonstrations thereof for the theatre and the lighting technical teams.

When it came to looking for an LED Profile spot for Deutsches Theater, Linus and his colleagues examined the three main options - including the Robe luminaires - all of which were made available so they could be evaluated fully over a longer period.

Critical factors compared included brightness, colour rendering, skin tonality and the accuracy of the shutter system. Other factors like the additive colour mixing then started giving the T1 Profile the edge.

The theatre also needed a moving light that worked well with their existing stock of LED profiles and wash fixtures, and “the T1 Profile

harmonizes perfectly” with these stated Linus, making the overall lighting rig even more flexible and adaptable. The T1 Profile’s colour temperature control was another feature impressing Linus and the crew as they work a lot with different CT whites needing clean and highquality sources.

RDM compatibility was helpful, together with the wireless DMX option in the T1 Profile, as the main house already has a large Lumen Radio system in place.

Robe fixtures first appeared at the Deutsches Theater in 2016 for a production of Man in the Holocene directed by Thom Luz with lighting designed by Matthias Vogel.

They needed a compact moving light that had a sharp narrow beam that could shoot across the stage, reflect off five mirrors and interact with the main actor.

As well as fulfilling the basic dramatic criteria, it offered other benefits like a decent zoom which made it multifunctional and usable for other lighting effects and tasks. Again, RDM was important because the venue’s own ETC Concert showfile stores information from all relevant devices so they can be used again in future, as was the option for an inbuilt Lumen Radio wireless DMX receiver as the lights were positioned on the main stage revolve.

Furthermore, streaming-ACN (sACN) protocol was implemented so the Pointes ticked all the boxes and were purchased for this show.

Two Spikies were purchased shortly after for In the Case of J. Robert Oppenheimer followed by the T1 Profiles.

The Deutsches Theater is currently closed to visitors and waiting to reopen. However, the technical staff have been using the time for planned maintenance and renewing some of the other lighting equipment in the house.

Eight Robe ESPRITES, four more T1 Profiles, six Tarrantula LED wash beams, six ParFect 150s FW RGBAs and a RoboSpot system including RoboSpot MotionCameras have now joined the other Robe fixtures at the theatre. In addition to that, some more Robe purchases are planned for 2021 to facilitate a complex upcoming production to be staged later in the year. www.robe.cz

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IN B RI E F Sky H igh In s t a l l f o r Vo i d A cous tics i n D o w n t o w n T e l A viv Hagag Group, one of Israel’s leading real-estate developers, has recently completed the construction and installation of a multipurpose venue as part of a prestigious new inner city urban renewal project in Tel Aviv.

At the heart of this high-end complex is ‘Pop and Pope’ - a restaurant, bar and event space with the desire to elevate Tel Aviv’s nightlife. Naturally, the desire to provide a high-calibre environment for guests and diners includes the provision of state-of-the-art audio.

Hagag Group worked in conjunction with audio specialist, Kahane Group, to supply a Void Acoustics installation for this prestigious complex located in the heart of Tel Aviv’s CBD. The venue opted for Void’s Air Series loudspeakers in their trademark red, highlighting them as futuristic features around the space. As a result, the audio specification includes a distributed system providing not only aesthetically pleasing fixtures but an exceptionally high-power output with a nonfatiguing sonic signature. The Airten, Airmotion, Air 8 and Venu 215 loudspeakers all feature and are supported by Bias Q2 amplifiers. www.voidacoustics.com

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1R E BE L EMEA

RIYADH / SAUDI ARABIA

With its nig h tc lub ae sth e tic a nd t e c h n olog y to matc h , 1Re be l is a f itne ss c o n c e pt like no oth e r. W e ta ke a c lose r l o o k a t th e spe c tac ular ve nue s th a t a re b r eaking ne w g round in th e re g ion.

Since its launch, 1Rebel has broken the mould when it comes to what we think a gym should look like. Described as a ‘high intensity, dual studio fitness concept’, there are now seven 1Rebel clubs in London, all offering an experience like no other gym.

Looking more like your average superclub, 1Rebel has banished the idea of drab gyms and turned them into an immersive entertainment venue. Now, after the success throughout London, 1Rebel has entered the Middle East market for the first time, with the launch of two clubs in Riyadh, Saudi Arabia. Both venues will be operated in partnership with Pulse Fitness Group, who are growing the boutique fitness market across the Middle East.

When it comes to its gym facilities, 1Rebel provides four different concepts for its members. There is Reshape, which is the ultimate full-body workout, with quick-fire rounds of high-powered treadmill sessions and dynamic weight sequences, designed to challenge, inspire, burn fat and push members to a level they didn’t think was possible.

The second is Ride, a spin class to the backdrop of an incredible, clublike lighting and audio system, complete with trainer-curated playlists designed to help members ride to the beat and burn calories.

Next, there is Rumble – a hard-hitting boxing workout that offers 45 minutes of high-quality sound and energy as members work on their speed, footwork, strength and, most of all, willpower.

Finally, there is Reflex, which is custom-curated, one-to-one training, focussing on functional movements and body toning. This gives members the opportunity to push their body to the next level against a backdrop of heavy beats and stellar lighting.

Each of these concepts offers something completely different – and

this had to be taken into consideration when it came to the technology throughout the venue, particularly as 1Rebel relies heavily on providing an immersive experience.

To help deliver the full 1Rebel experience, Middlesex Sound & Lighting (MSL) were enlisted to design, supply and install a full audio, visual and lighting system throughout the two new Saudi Arabia venues.

Toby Jones, AV Designer and Project Manager at MSL, takes up the story: “We were initially approached to support the original locations as our client wanted to improve the existing 1Rebel venues here in the UK. After many successful new developments in London, we were introduced to their partner in Riyadh, Saudi Arabia.

“From there, we were asked to design, supply and fully commission the new studios in Riyadh, with there being two venue locations - one for male clients and one for female - with each offering different studio workouts and AV requirements.“ The perfect audio system was absolutely vital to 1Rebel, with each concept having its own specific needs, as Toby explained: “The solution was to deliver high-quality audio across multiple different work-out concepts, with each type of class offering a different experience. For Ride, it’s a long auditorium with stepped platforms, so it had to have a time-aligned system, with club-style levels. We had to offer every rider the same experience wherever they were located within the space.

“Reshape, with its weight workout and running machines needed goodquality distributed audio. Then, Rumble – higher output, intense, evenlydistributed audio was required. And, finally, the one-to-one training at Reflex needed distributed audio, too.”

1Rebel’s Co-founder in the UK, Giles Dean, who took a hands-on

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approach when it came to the AV design, set up a meeting between MSL and the new owner / operator of the Riyadh venues regarding the AV, with the brief being to pick up the solution that was offering to the UK clients and deliver that to Saudi Arabia.

Toby furthered: “Martin Audio was specified for all locations – this fell in line with most setups here in the UK. It offered a good, cost-effective solution with impressive audio quality. Martin Audio’s Black LineX range was used for all studios, with the ADORN Series deployed for the customer walkways outside of the studio spaces.

“Powersoft M Series amplifiers were deployed for all of the studios – they offer an amazing build quality and sonic performance. It was important to specify a reliable amplifier brand and Powersoft ticked all the boxes – we have been specifying these for years across multiple installations here in the UK. Reliability was key when it came to the amplifiers and Powersoft’s range was the obvious choice, as they offer incredible output for the size and weight. For the customer areas, Cloud Electronics’ VTX4120 amplifiers were used.

“For the processors, we used BSS BLU-100s and multiple BLU-BOB2s.

The open architecture offered our programmers maximum flexibility – we set these up on a live network and can remote connect from the UK to tweak and adjust where required. All audio mixing for mics and

music for each studio is automatically mixed by the devices – instructors simply have two custom-made controls for mic and music levels. Each studio has one music input and two mic inputs. Multiple Trantec radio mic systems were supplied with headsets, too.”

Nathan Clute, Co-founder and CEO of Pulse Fitness Group / 1Rebel Middle East added: “When designing our clubs and the overall customer experience, delivering premium audio quality was a primary objective for us, as we believe audio is a core component of our offering. Our clubs require us to deliver multiple different experiences within a relatively tight operating envelope, and, as a result, we needed an audio solution that allowed us to operate independent zones, each operating at different volume levels with different music and audio genres.

“Within our studios, we needed a solution that had the power to deliver intensity without distortion, with uniform coverage throughout the space, and with the ability to have clear vocals regardless of the underlying music volume. We find, more often than not, that operators try to overcome poor audio infrastructure with volume, which does nothing but distort the user experience. We selected Martin Audio due to their ability to present a clear and proven track record of similar solutions, and we were overwhelmingly satisfied with the system they delivered.”

Abo v e: The st a t e- of - t he- a r t a u d io a n d light in g syst ems in t he Rid e st u d io.

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“ I T WAS O NLY RIGH T TO C ARRY O N W ITH HIS V ISION W I T H T H E NE W VE NU E S IN RIYADH . TH E BRIEF WA S S I M PLE - ST AY C O NSIST E NT W ITH TH E L ON DON V EN UES AND T AKE IT TO T H E NE X T LE VE L.”

Right: The R e sha pe st u di o.

For the lighting systems at 1Rebel’s London venues, MSL worked in conjunction with world-renowned lighting designer, Durham Marenghi.

“It was only right to carry on with his vision with the new venues in Riyadh,” added Toby. “The brief was simple - stay consistent with the London venues and take it to the next level.”

Each lighting fixture was specified for its reliability and performance within a demanding environment. Once again, each system had to be different depending on the concepts, with MSL taking that into consideration when they supplied and installed the lighting at the two venues.

For the Ride studio, each class is unique in terms of the lighting show, which is all controlled from a single 22-inch ELO touch screen mounted in front of the instructor’s bike.

“To begin with. Milos trio black powder coated trusses – 11-metres x six-metres - were flown down the length of the room, which is sevenmetres wide and 27-metres long. The ride positions gradually step up from the front to the back, too.

“41 CHAUVET Professional COLORado 1 Solo wash lights were deployed in the studio, with one fixture used over two bike positions. The COLORado 1 Solos not only offer great colour and light output, but, once the zoom was used, it delivered a more dynamic effect.

“Eight Clay Paky SharBar fixtures and 10 CHAUVET DJ Intimidator 260 moving heads are equally deployed down the room to offer moving

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light.

“The Kvant Burst Berry laser firing down the whole room, with two Look Solutions Unique 2.1 haze machines, offered even more edge, then by adding video to it across the exploded design, it took the space to a new level - the results are simply breathtaking.”

For the Reshape studio, two 15-metre Milos trio black trusses were used down the length of the room, with 17 CHAUVET Professional COLORado 1 Solo and 10 CHAUVET Professional Rogue R1X Wash fixtures deployed evenly.

“Each treadmill had an LED RGBW birdie to wash on the running platform,” added Toby. “There are three 10-inch ELO touch screens installed at the top, middle and bottom wall locations – this offered instructors instant access to control, via the ShowCAD server, as they walk up and down the space, and was achieved using a network IP adder link Xdip KVM units.

In the Rumble studio, 76 CHAUVET Professional ÉPIX Strip IP pixel bars were attached to the steel boxing structure. This system is all pixel mapped using MADRIX software and controlled, once again, via a ShowCAD PC server. Another Unique 2.1 haze machine from Look Solutions is used to enhance the atmosphere, too.

“Whilst the setup in Rumble sounds simple, the results were incredible the whole structure flows with moving light, bringing a genuinely unique experience to a boxing studio,” said Toby.

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The Reflex studio uses 10 CHAUVET Professional COLORdash Par Quad 18 fixture, all of which are evenly spaced on the ceiling, washing downwards to offer a full-room colour wash experience. They are also controlled using ShowCAD from a single touchscreen.

“The visual setup ties very much in line with the lighting – everything is controlled with an ArKaos MediaMaster server, via Artnet by ShowCAD,” explained Toby. “We also used 36 CHAUVET DJ Vivid 4 – 4.8mm pitch video panels and one NovaStar MCTRL4K controller. CHAUVET Professional offered good reliability and the pixel pitch was perfect for this application. As the displays covered such a large area, the 4K NovaStar controller worked perfectly. Custom video was loaded into the ArKaos server which, in turn, was controlled by the ShowCAD touch screen at the instructor location.”

All servers at the Riyadh venues were added to a network, which allows real-time remote access via team viewer for MSL in the UK – and this is something that has proved to be invaluable.

“Due to the current COVID-19 crisis, on-site programming was suddenly not possible, so we had to come up with another solution. All of the lighting systems were programmed using WYSIWYG. Each room was modelled and programmed in the UK, then remotely uploaded and tested using a local team, AK Events, on site. It was just an incredible solution and it worked perfectly,” added Toby.

“Only minor tweaks were required once we managed to get a commissioning engineer on site when restrictions were lifted. It was extremely challenging and stressful at the time, but we pulled it off!”

With both 1Rebel venues including different elements depending on the studios and areas, it was always going to be a challenging project, though the COVID-19 pandemic certainly made it much more complex, as Toby explained further: “The initial design started in November 2019 - and the plan was to be installing in May 2020. By early March 2020, all

kit was being airfreighted to Saudi Arabia, with a view for our engineers to lead the installation. COVID-19 then put a stop to this with the whole world being shut down. We were always going to play a commissioning part in the whole process, but this just simply added a huge problem.

“Initially, AutoCAD drawings were supplied by us for the local team to follow - they could simply install kit to positions identified on drawings.

However, the more complex commissioning such as rack audio and DMX patching was to be performed by our engineers once on site – they would know what was to go where, as all racks were built and wired internally here prior to shipping.

“I had no choice but to send complex connection drawings as the local team asked for them on demand. I had my apprehensions about others doing this work, but they successfully completed it.

“In late December 2020, when restrictions lifted, we managed to fly a commissioning engineer to site who calibrated all audio and assisted with the live lighting programming using team viewer and a laptop running Zoom at the rear of each studio. It was just incredible that our programmer managed to complete such complex works without even stepping foot in the country. Just amazing!”

Nathan concluded: “We at Pulse Fitness Group / 1Rebel Middle East are extremely impressed by the quality of the system and the overall level of execution from start to finish. With our partners at Middlesex Sound & Lighting we were able to design and implement a completely bespoke solution using what we believe to be the best products in the market.

“It was important to us to have a system that was implemented in such a way that the front-end controls were simple and user-friendly, despite the technical complexity within the design and back-end infrastructure.

Our partners were able to work within a unique set of constraints to deliver something previously unseen in the regional industry.”

TECHNICAL INFORMATION SOUND Martin Audio Black LineX loudspeaker; Martin Audio ADORN loudspeaker; Powersoft M Series amplifier; Cloud Electronics VTX4120 amplifier; BSS BLU-100 processor; BSS BLU-BOB2 output expander; Trantec radio mic system LIGHTING CHAUVET Professional COLORado 1 Solo wash light; CHAUVET DJ Intimidator 260 moving head; CHAUVET Professional Rogue R1X Wash fixture; CHAUVET Professional ÉPIX Strip IP pixel bar; CHAUVET Professional COLORdash Par‑Quad 18 fixture; Clay Paky SharBar fixture; MADRIX software, ShowCAD server VISUAL & SPECIAL EFFECTS CHAUVET DJ Vivid 4 – 4.8mm pitch video panel; ArKaos Media Master server; NovaStar MCTRL4K controller; Kvant Burst Berry laser; Look Solutions Unique 2.1 haze machine TRUSSING Milos trio black powder coated truss www.1rebel.com/sa www.middlesexsound.co.uk www.ak.events

L e f t : Th e R u m b l e s t u d i o , c o m p l e t e w i t h C h a u v e t EPI X S t r i p IP p i x e l b a r s .

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it’s time for

controLlabili flexibili luminos i LONGEVI TRANS FeRABILI

P ANT HÉON EM EA

PARIS / FRANCE

Right: T he s pec ta c ula r c ei li ng a t P a n th éon .

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Amad eu s cr eates an imme rsive ex per ien ce to c e le br ate the r en own ed F re nch wr iter , Mau r ice Gen evoix , as he was e nte re d into the Pan théon .

L e f t : A n s e l m K i e f er ’s a r t w or k on d ispla y.

B e l o w : Th e f i r s t pu blic c ommission f or t he Pan t h é o n s i n c e 1 9 2 3.

On November 11, 2020, a unique sonic technology, made in France by Amadeus, was revealed as part of a new artistic work at the Panthéon.

Within the scope of the Armistice Day commemorations, French author, Maurice Genevoix, who wrote the tetralogy, Ceux de 14 - ‘The Men of 1914’ about World War I - joined other luminary writers, such as Voltaire, Rousseau, Dumas, Hugo, and Malraux, along with revered figures from culture, science, and politics in France’s secular temple, the Panthéon. For the celebration, the President of the French Republic commissioned a work from two major figures of the contemporary art scene, the German painter and sculptor, Anselm Kiefer, and the French composer, Pascal Dusapin. This is the first public commission for the Panthéon since 1923.

Pascal’s creation, In Nomine Lucis, is a piece for a musical ensemble of singers, recorded by the French chamber choir, Accentus, at the Philharmonie de Paris concert hall.

To bring a more intimate human connection with the Great War into the Panthéon, nearly 15,000 representative names of soldiers who died for France have also been read and recorded by the French actors Florence Darel and Xavier Gallais. Visitors to the Panthéon will hear names spoken as they walk through different parts of the expansive building.

“I wanted to make the stones of the Pantheon sing, to create a huge ‘vocal lung’ where everyone will hear different echoes of its past, and of its history,” said Pascal.

To support the great new musical work, a bespoke and unique sound system was designed and installed within the Panthéon. A total of 70 loudspeakers, designed and manufactured by French audio company, Amadeus, are mounted around the transepts and at the dome-ground, which reaches more than 35-metres in height. The loudspeaker enclosures, being coated in natural stone, have been made invisible, becoming an integral part of the monument.

“Amadeus became a space where technological innovations with arts and crafts, combine and complement each other,”

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said Gaetan Byk, Marketing Manager at Amadeus. “We take real pleasure in constantly surpassing and renewing ourselves, in exploring materials and technologies in all their forms, without limit. These 80 stone-finished loudspeakers, forming part of the Monument, are the purest expression of our know-how and the values we defend.”

The electroacoustic system is controlled by a sound spatialisation processor called HOLOPHONIX. “The HOLOPHONIX processor enables the sound spatialisation of the different choirs through its various onboard algorithms, in two or three dimensions,” stated Thierry Coduys, Director of Technologies for the project, and a technical collaborator of Pascal Dusapin for many years.

“The spatial programming, the position of the choirs, their trajectory, as well as the other events that compose this ‘electroacoustic score’ are managed through a graphic computer sequencer, called IanniX. The HOLOPHONIX processor receives, interprets and translates these millions of temporal and spatial messages to make them perceptive,” added Thierry, describing the new immersive audio experience at the Panthéon.

Designed by the Amadeus company, in collaboration with IRCAM Institute, the HOLOPHONIX immersive sound system has also been selected by several performance venues, many among the most famous and prestigious in France, including Comédie-Française, Chaillot National Theater, and La Scala (Paris). The HOLOPHONIX processor includes algorithms and technological designs from the STMS (Sciences et Technologies de la Musique et du Son), a laboratory founded in 1995, affiliating the CNRS, Sorbonne Université, French Ministry of Culture, and IRCAM Institute.

Designed for live sound spatialisation and immersive experiences, the HOLOPHONIX processor brings together several different spatialisation techniques including Wave Field Synthesis, High-Order Ambisonics, Distance-Based Amplitude Panning, and more, enabling intuitive placement and movement of sources in a 2D and/or 3D space.

“I worked closely with Thierry Coduys on selecting the most appropriate algorithm to accurately render the trajectories he wanted to apply to the sounds. We tried several solutions offered by HOLOPHONIX, and finally, we selected the ‘k-nearest neighbors’ algorithm (k-NN),” said Clément Vallon, member of the Technical Team at HOLOPHONIX. KNN selects the k loudspeakers closest to the source position and applies level differences between them. The gain differences are calculated based on the distance between the source and the selected loudspeakers. The quantity of loudspeakers k is chosen by the user with the ‘neighbours’ parameter. KNN allows a very flexible spatialisation, as the loudspeakers can have any layout.

“It is an algorithm that is not used much for immersive concerts, but it offers a great flexibility, which was perfectly suited to the geometry of the building and to the rendering desired by Thierry Coduys and Pascal Dusapin,” added Clément Vallon.

The HOLOPHONIX processor creates an extremely advanced platform that can mix, reverberate, and spatialise sound content played from various devices using several different spatialisation techniques in two or three dimensions.

“I mainly designed tools allowing the spatial writing of ‘In Nomine Lucis’ creation. Pascal Dusapin and Thierry Coduys wished to create a unique and living experience for the listener. By adding a motion dimension to the choirs, visitors are invited to explore the monument in a different way,” stated Adrien Zanni, who recently joined the

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A b o ve : O n e o f t he eight Ama d eu s C 15 l o u d s p e ak e r s .

B e l o w : A n A m a d eu s C 6 lou d spea k er .

is going to change your expectations

Right : A truly i m m ers i v e experienc e a t th e P a nth éon .

HOLOPHONIX Technical Team to design and develop ‘spatial writing’ tools and languages. “A melody can appear near us and disappear in the long resonance of an adjacent transept that we do not yet distinguish; inviting us to discover it,” noted Adrien.

“Two approaches have been explored. The precise writing of trajectories, first, crossing the Pantheon from North to South, or from East to West, or from the ground to the dome. Second, the development of generative algorithms controlling the movement of multiple sound sources, mainly inspired by physical models, for example, a simulation of flocks of birds, or stochastic models,” explained Adrien.

“We used two pieces of software for the development of these algorithms, IanniX and Max, the first one for the management of the trajectories and the second for the creation of the ‘playing’ interfaces, used by Thierry Coduys for the ‘live’ spatialisation and mixing of the pieces,” revealed Adrien.

54 Amadeus C12 model loudspeakers are installed on the imposts of the building’s columns at 16-metres high off the ground. The loudspeakers feature an H60 x V60° bespoke conical waveguide to optimise the highfrequency directivity in such a reverberant space.

Another eight Amadeus C15 model loudspeakers have been installed at the dome-ground at a height of 35-metres above the ground. These loudspeakers also feature an H60 x V60° bespoke conical waveguide. They are used in an ‘indirect’ configuration, aimed toward the glass windows of the dome, to maximise the diffraction effect. This is an artistic choice.

“The composer Pascal Dusapin wanted something ‘angelic coming from the sky’, with precision in the mid-high frequencies, but not allowing people to precisely locate the sound sources,” explained Adrien.

Both the 54 C12 and eight C15 loudspeaker cabinet enclosures are stonecovered. Amadeus worked closely with French specialists and architectural conservators on researching shades and materials and nuances to determine the correct finish. The loudspeaker cabinets are made of birch plywood but are covered by a micro-coating, made of Lime, natural stone powder, and resins with various additives.

An additional eight Amadeus C6 model loudspeakers, six featuring a dark oak wood stain, while two are stone-covered, are installed four-metres above the ground, and are dedicated to playing the audio of the spoken names of 15,000 representative soldiers who died for France which were read and recorded by the French actors, Florence Darel and Xavier Gallais.

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TECHNICAL INFORMATION SOUND 54 x Amadeus C12 loudspeaker; 8 x Amadeus C15 loudspeaker; 8 x Amadeus C6 loudspeaker’ Amadeus HOLOPHONIX spatial sound processor; 10 x Powersoft Ottocanali amplifiers; 2 x VB-Audio MT128; IanniX software www.paris-pantheon.fr

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FI N D O U T M O R E AT POWE R.A DA M SO N SYS TE M S.C O M

IN B RI E F T W A UDiO E L L A Re c e i v e s P raise i n F ir s t US C h u r c h I n s t a l l a t i o n When Northside Baptist Church needed to source a sound system for its newly-constructed worship space, the perfect solution was found in the elegant but powerful shape of TW AUDiO ELLA. Marking the first ELLA installation in the United States, TW AUDiO have combined the slim form factor of a column with the flexibility of a line array, plus built-in passive cardioid technology. Each ELLA6 unit combines a custom-designed waveguide with five one-inch dome tweeters, matched with a custom designed high performance 6.5-inch driver.

Now completed, Northside Baptist Church boasts 22 ELLA6 elements, supported by six VERA S32i. These are configured in two hangs of eight ELLA6 as the main left and right arrays with a further hang of two ELLA6 as the centre-fill plus two further arrays of ELLA6 to provide left and right out-fill. Low end support is courtesy of a central cluster of three pairs of VERA S32i, while power is delivered by five Powersoft Quattrocanali 8804 Dante + DSP amplifiers using the dedicated TW AUDiO presets. www.twaudio.com

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TH E LIGH THOU S E A M ER IC AS

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OCEAN CAY MSC MARINE RESERVE / THE BAHAMAS

V EN U E - A M ER I C AS | W W W .M O ND O D R .C O M

Loca te d o n t h e pa r a d i s i a c al O c e a n C a y M S C M a r ine R ese r v e , T h e L i g h t h o u se f ea tur e s a c u s t o m - d e s i g n e d l igh t s h o w t h a t t e l l s th e s tor y o f M a r i n e Re s e r v e a nd M SC C r u i s e s ’ d e d i c a t i o n to c o n s e r v a t i on.

Belo w & R i ght : The v i su a l s h o w wra ps a rou n d t he l i g ht h o us e st ru c t ur e.

Ocean Cay MSC Marine Reserve is a unique, private paradise located in the Bahamas. Immersing guests in its idyllic island beauty, its white sands and transparent turquoise seas serve as a dream-like location to decamp MSC Cruises’ ships and spend the last leg of a life-changing journey. With an expectation of perfection, the multi-million pound fantasy island is one-of-a-kind, encompassing every element of the holiday experience, with live music, restaurants, bars and a landmark video, audio and lighting show from the island’s iconic lighthouse, ensuring guests will never forget their stay.

Before COVID-19 struck, the island was welcoming four cruise ships per week, all of which were carrying around 4,000 guests. Arriving to a warm welcome from a team who have worked furiously to make this project a success, guests can reconnect with their natural surroundings and find peace in the relaxing atmosphere the island projects. The real star of the Ocean Cay show, though, is the island’s Lighthouse, that was a project taken on by immersive design agency, The Department. Hamish Jenkinson, Co-Founder of the company, takes up the story: “I met the technical director of MSC Cruises at an exhibition during London Design Week back in 2018. We spoke about the amazing growth of the company and some of the ideas that he had to further enhance the cruise lines, and I mentioned how The Department could potentially help execute some of these ideas.

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“T H EY WANT E D T O B U I L D A MU LTIME DIA LI GH T H O U S E AND I T I M M E DIATE LY O C C U RRE D T O ME T H A T W E C O U L D D E S I G N AN LE D LIGH T TH AT WOULD F I T P E RFE C T L Y I NT O TH E P RE -E X ISTING DES I G N , I NS T E AD O F U S I NG PRO J E C TIO N MA P P I N G T HAT C O U L D P O T E NT IALLY C AU SE P R O BLEM S . ”

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“I went to MSC Cruises’ offices to give a presentation to the wider team, and through this I found out that the project they were most excited about was the transformation of the island. They wanted to build a multimedia lighthouse and it immediately occurred to me that we could design an LED light that would fit perfectly into the pre-existing design, instead of using projection mapping that could potentially cause problems.”

After confirming the project with MSC Cruises, Hamish attended Integrated Systems Europe 2019 to seek out a proficient lighting company that would be able to craft the perfect lighting package for the project. The team needed a mesh screen to cover the lighthouse that also incorporated 14,000 LEDs, and Amsterdam based lighting manufacturer, InventDesign, was confident it could achieve this. “We are very strong in pixel-controlled LED solutions, so it was a perfect match,” explained Robin Sluis, Account Manager at InventDesign. “The main challenge was making a retro fit LED module, because the lighthouse was already designed and built with holes in the façade. Normally we would attach our LED modules to a mounting clip, so we were firstly thinking of using tie-raps or aluminium flat profiles to install all the modules, but aesthetically this was not the solution they were looking for.

“Our product manager then came up with the idea of creating a custom lens with barbs, so we could press the modules through the existing holes. This meant that we needed the exact measurements of the holes.

If the lenses were too big, they would not fit, too small and they would fall out. We requested a panel from them to measure it and then we 3D printed the prototype.”

As every module on the lighthouse needed to be independently controlled, Invent Design implemented 14,238 of its DiGi E3S modules that contain three RGB LEDs and an IC Chip, as the IC Chip allowed the team to control the RGB LEDs with an SPI protocol. 36 DiGidot C4 live controllers were also specified, a popular choice as the Art-Net to SPI converter can achieve high frame rates, completing the perfect combination for this project.

“The LED modules have a pitch of 140mm horizontally and vertically, and are retro fit in the lighthouse structure. They are powered by power supplies that are located on each elevation of the lighthouse, and the controllers are based at the bottom of the lighthouse sending data from the bottom to the top. The lighthouse is built with panels and we covered 13 panels in width and 36 in height. Every panel has five modules in height, we started with nine modules in width at the bottom, but because the panels became smaller at the top, we only installed five in width at the top.”

As well as deciding on the lighting manufacturers, The Department

L e f t & T o p : Th e l ight hou se ha s been bu ilt t o w i t h s t an d a ll w ea t her con d it ion s.

A b o ve : H a m i s h J en k in son , C o- Fou n d er of Th e D e p a r t men t , w or k in g on sit e.

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also needed a dedicated lighting design team that was able to bring its lighthouse vision to life. Design company, Woodroffe Bassett Design (WBD), have worked on some outstanding projects across the world, including Dinosaurs in the Wild and the famous Rolling Stones Exhibition in London, so Ocean Cay was a project it was excited to tackle. “We were approached by The Department to provide the lighting design for this exciting project. Patrick Woodroffe was to be the lead creative, with me acting as his Associate,” explained John Coman, Designer at WBD. “Initially, Patrick worked with Hamish on the concept development. Then, collaboration with both the composer and video designer was undertaken to ensure there was an engaging and interesting show for the audience that also provided moments for impactful lighting.

“Once the ‘big’ picture was defined Patrick and I then worked out the best combination of fixtures and where these could be located.

As this was a permanent install we were cognisant of logistical and technical constraints. These fixtures needed to be rigged metres from the sea, on an isolated island in a region that suffers many storms. As with all detail design there needed to be extensive collaboration with other departments and disciplines including the island architect, the landscaping architect and the island electrical engineering design team.”

Since the show was being viewed from 300-metres away, the team decided on fixtures with high lumen output to make sure that every part of the show could be seen on shore. To achieve this WBD supplied 50 Light Sky Shark 450s. This particular waterproof IP66 beam light adopts an aluminium cover that is suitable for harsh environments.

Its CMY colour mixing system is also smoother and more abundant.

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“ AS T H IS W AS A PERMA N EN T INST ALL W E W E R E COGN ISA N T O F LO GISTIC AL A N D TE C H NIC AL C O NSTRA IN TS. TH E SE F IXT U RE S N EEDED TO B E RIGGE D ME TRES FROM THE SE A, O N AN ISO LA TED ISL A N D IN A RE GIO N TH A T SUFFERS MANY STO RMS.”

A b o ve : Th e p r o j e c t w a s a r e a l t ea m ef f or t , a n d b e f o r e t h e p an d e m i c h i t g u e s t s w er e t r ea t ed t o a n i n c r e d i b l e s p e c t a c l e t h a t s h o w ca sed t he ha r d - w or k an d d e t e r m i n a t i o n o f e v e r y o n e in volved .

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The magic of light

John furthered: “Cognisant of the adequate but tight lighting budget, we decided that we should limit the fixture product to one type. This would help enormously in getting a good ‘bulk’ buy deal from manufacturers.

In the past WBD have used the Light Sky Aquabeam IP44 and found it to be extremely bright, narrow and reliable. We were intending to specify this fixture when we discovered that Light Sky had released a new IP66 light, the Shark 450. These were upgraded Aquabeams with even greater waterproofing.

“Another thing to note is that each fixture received its own power and data link through a custom waterproof cable. This was done to ensure any faults, like water ingress on the data line, is isolated to a single fixture only.”

WBD also called on White Light (WL) to assist with the installation, supply of kit, crew and project management. WL’s Special Projects Director, Simon Needle, commented: “It was fantastic to once again work with WBD and The Department to help deliver this unique and exciting project. As a company, we were able to draw on a variety of services that we offer and are delighted with the final outcome. We look forward to the Lighthouse being appreciated by as many guests as possible over the coming months.”

“Once design detail was completed, we worked with our lighting programmers to pre-vis each of the Lighthouse shows,” continued John. “Using a very detailed WYSIWYG model each show was fully programmed prior to arrival on the island. This both allowed for the sharing of WBD’s lighting ambition to other creatives and the client, and also significantly reduced the amount of programming time needed onsite. Pre-vis programming was provided by Tim Oliver, Alex Passmore and the late Jonathan Rouse. Alex joined me onsite for the final programming in reality.”

The reality of Ocean Cay’s lighthouse is a spectacular amalgamation of multicoloured media creating a beam of light, video and sound that could be seen from the stars. As the lighthouse dances, so do the guests, and the incredible work of The Department, InventDesign, WBD and WL is more than fully appreciated.

“As soon as we took on the job, we were welcomed into the MSC Cruise family,” said Hamish. “They wanted a 10/10 project, and I do believe everyone involved made sure we achieved that. Before the pandemic hit, the guests who got to experience the show absolutely loved it, and hopefully once we’re out the other side of the pandemic I can head back to the island and see for myself the impact it has on the guests and the overall island experience.”

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TECHNICAL INFORMATION LIGHTING 14,238 x DiGi LED E3S module; 50 x Light Sky Shark 450 moving head; 36 x DiGidot C4 live controller; 1 x MA Lighting GrandMA 2 Command Wing control desk; 1 x MA Lighting GrandMA Light control desk www.mscoceancay.com

A b o ve : Th e l i g h t h o u s e l i g h t show is a o n e - o f - a- k i n d e x p e r i e n c e .

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VEN U E - A M ER I C A S | W W W .M O ND O D R .C O M

R E D R O CKS A MP HI THEA T R E AMERIC AS

COLORADO / USA

C olora do’s ic onic e nter tain men t ve nue to unve il its ne w, aestheticallyple asing stag e roof , c ou r tesy of IA Stag e .

There are very few folks in the entertainment industry who don’t know Red Rocks Amphitheatre. A Rolling Stone magazine poll named the venue the ‘coolest outdoor amphitheatre in the nation’ - and it’s easy to understand why. Nestled between two enormous monoliths of rock - Ship Rock to the south and Creation Rock to the north – the iconic venue is the only naturally-occurring, acoustically-perfect amphitheatre in the world.

IA Stage’s Founder and President, Mark. T. Black, could barely contain himself when the company was awarded the project. “Are you kidding?” Mark said. “Red Rocks is a bucket list destination! I had seen a show there [years ago] and I remember thinking how cool it would be to see a more robust stage tower with a SkyDeck. And, now, here we are!”

Like the entertainment industry as a whole, Red Rocks was heavily impacted by the pandemic and had to cancel the bulk of its 2020 programming from April through to now. Some events have been rescheduled, of course, but the remainder of 2021 carries a lot of expectations for the historic venue. 2021 not only marks the 110-year anniversary of Red Rocks as a concert venue; it’s also the year that the storied venue will unveil a new stage roof.

The renovation of the stage roof is part of the Elevate Denver 10-year bond programme, whose mission is to enhance the city and county of Denver through critical improvements to the infrastructure. Explaining how this programme came to benefit Red Rocks, Tad Bowman, Venue Director, stated it plainly, “The current stage roof was installed in 1988 and it has outlived its life expectancy.”

He went on to explain that the original structure wasn’t architecturally pleasing and didn’t really fit in with the natural aesthetic of Red Rocks.

The city and county of Denver selected lead architect, Short Elliott Hendrickson Inc. (SEH) to conduct a feasibility study to determine whether the renovation was possible. Using drone filming and 3D point cloud technology, SEH was able to complete the study and generate accurate digital renderings of the space. GH Phipps Construction was brought on as general contractor, with Kyle Casinelli serving as Project Manager for the renovation.

Tad added: “The functionality [of the roof] could have been better and we were looking to provide more protection from the weather. We wanted the structure to be able to take more weight and we wanted a safer environment for our riggers.”

SEH’s aesthetically-pleasing, highly-functional design included IA

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Above: T he v i ew b enea th th e roof s t r uct ure du ri n g c on s truc ti on, c ourtes y of G H P h i pps .

Right: R end eri n g s h owi ng th e new roof at R ed R oc k s A m ph i th ea tre.

Stage’s SkyDeck tension wire grid. The original roof was cut off in four strips and removed with cranes. Then, the original right support columns were pulled out of the earth. Four new footer locations were identified and dug out six ft below the stage floor. At each location, six to nine micro piles were drilled down to the bedrock and, upon reaching it, drilled an additional 14 ft into the bedrock. Four concrete pile caps were poured on top of each of the new footers to create two to three ft thick concrete foundations to support the new steel columns.

At stage floor level, the bases are round formed-concrete columns that begin to taper as they reach 12 ft high. They are topped with poured-in-place, concrete splayed (y-shaped) columns. The arms of the splayed columns, which are finished with a metal column wrap with fully welded seams, continue to reach upwards at predetermined angles until they reach over 36 ft, where they meet to form in the shape of a rough ‘W’ on either side of the stage.

The three main trusses that hold up the new roof sit on top of each point of the ‘Ws’ running SR to SL. Two additional trusses that connect the three mains are located on the outside edges of the roof structure, running upstage to downstage. These outside trusses, while more substantial than your typical bridging truss, are indeed bridging trusses - they are the connection point of the roof structure to the support columns below.

Three smaller bridging trusses, running US to DS and distributed on 10 ft centres from centreline, complete the truss system that holds up the SkyDeck, the rigging steel, and the roof. The original structure could support roughly 36,000 pounds of rigging equipment, with the new structure was designed support 150,000 pounds of evenly distributed load.

Situated inside the truss system, over 40 ft above the stage floor, is a network of evenly-spaced steel I-beams, which are attached to the bottom chords of the three main trusses and the two larger bridging trusses. These I-beams, arranged in a grid pattern, hold the 88

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modular SkyDeck II panels in place. SkyDeck II is catwalk-rated tension wire grid with a live load capacity of 50lbs per sq ft.

The SkyDeck panels are attached to the I-beams via proprietary IA Stage saddle brackets. A saddle bracket is pretty much what it sounds like: a piece of metal formed to sit on top of an I-beam, much like a saddle sits on top of a horse. Rather than stirrups, which hang straight down from a saddle, there’s a sturdy metal shelf/flange that sticks straight out from both sides of the bracket. Those shelves/extensions/ flanges are where the SkyDeck II panels sit. Each SkyDeck panel is strung with stainless steel cables woven on two-inch centres to form the sturdy mesh surface.

“The grid was designed so that everything can be deadhung,” Tad said.

“There’s no need for bridles.”

The flexibility of hanging positions is enhanced, however, with the addition of four-inch grid wells on each side of every SkyDeck panel two ft below. Each panel is sheathed with IA Stage’s EdgePro, a formed-steel guard designed to protect SkyDeck’s wire rope endfittings, as well as rigging slings and hardware from potential damage.

EdgePro fits snugly to SkyDeck’s panel edge, maintaining its patented low profile for a flush and safe walking surface and is finished in highvisibility safety yellow to further mitigate trip hazards.

SEH’s Alex Rauch, the architect who designed the roof renovation explained how the venue has a one-of-a-kind system of 84 moveable spanner beams on the same level as the tension grid.

“Imagine the three main trusses; Truss one is located approximately 12 ft from the downstage edge of the roof; Truss two is roughly 25 ft upstage of Truss one; Truss three is about 25 ft upstage of Truss two. Moving SR to SL, the length of these three trusses is split into 10 ft wide bays. In between each bay is a custom-engineered apparatus constructed of C channel placed back-to-back with 10-inches in between. A piece of angle sits on top of the C channel, point up, like a little triangle, where it meets a V-groove wheel that’s attached to the bottom of a spanner beam.

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TECHNICAL INFORMATION STRUCTURE IA Stage SkyDeck II; IA Stage EdgePro www.redrocksonline.com

L e f t : Th e n e w r o o f s t r u ct u r e f r o m IA S t ag e d u r i n g c o n s t r u c t i o n , c o u r t e s y o f GH Ph i p p s .

“Each spanner beam has a set of four V-groove wheels that allows show riggers to easily roll the 10 ft-wide beams upstage and downstage between the trusses. The 12 ft area downstage of Truss one houses 22 spanner beams. Between Trusses one and two, there are 32 spanner beams. Between Trusses two and three, there are 30 spanner beams. When not in use, the spanner beams are pushed upstage and locked into place for storage.

“And, if that is not enough, the venue also has a stock of around ten to twelve pieces of 12x12 aluminum box truss that live up there on the rigging level. Mistakes happen, right? If you’ve already loaded and locked a spanner beam in place and discover that you need another pick point, you simply walk upstage, grab a piece of box truss, and drop it into place exactly where you need it.

“Another cool thing that IA Stage came up with is the set of hinged panels,” added Alex. Rounding out this incredible rigging setup is a set of gas piston-assisted hinged panels located upstage right. They open at center, like double doors, allowing you to bring equipment up through the roughly five ft x eight ft opening in the grid with a chain motor.

The entire rigging level is surrounded but a guardrail, meaning riggers can move about freely without lifelines. Alex chose to place post and cable railing around the downstage edge and about halfway upstage along both sides.

The SkyDeck and rigging steel are accessed via a metal staircase located offstage right centre and anchored to the bottom of the north

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tower. The existing structure couldn’t support the new stairs and, because the north tower is a historical piece of architecture, Alex was careful to pay homage to the north and south towers by minimising the impact of new construction.

Topping off this impressive structure is the actual roof - a gently sloping plane with a faceted edge that, from the audience’s point of view, looks curved like the rocks around them. Dark brown prepatinated copper standing-seam metal roofing faces the sky, while the underside of the roof features engineered, straight grain, tongue in groove Douglas fir. The Red Rocks Parks District was added to the National Register of Historic Places in 1990 and was designated as a National Historic Landmark in 2015, so every phase of the renovation had to be approved by the Historic Society.

Everything was approved fairly quickly for the mass and scale portion of the design, but, when it came to the details of the design – specific materials and such – the project developed organically.

“Function followed form” Alex furthered. “The Y-shaped columns took their shape because we had to limit penetration to the existing structure, not because we were trying to mimic trees.”

The roof is a series of structural steel girders, albeit tapered on the ends to soften the silhouette, layered with the Douglas fir, pressuretreated sheathing, and full coverage ice and water shield. However, when visitors allow their eyes to travel up from the stage floor, they will see a graceful, soaring structure that looks as organic as the landscape, quietly waiting to let those red rocks sing again.

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DuraTruss B.V. Junostraat 2 6468 EW Kerkrade The Netherlands Tel. +31 45 546 85 81 info@duratruss.com

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IN B RI E F Ma m a ka Ho t e l B a l i U pg r a d e s with Lynx P r o Au d i o Weather-resistant Juno loudspeakers have been installed at the Hotel Mamaka in Bali, Indonesia. Lynx Pro Audio’s Indonesian distributor, Melodia, and its audiovisual consultant partner, Sontastic, chose Juno loudspeakers for loud and clear sound, together with elegant and discreet design.

MAMAKA Hotel is a beach-front urban resort for modern travellers, foodies and social-surfers alike. This is one of the most touristic areas in Asia and its tropical climate sets the demands on the equipment to be installed, especially when it comes to setting up sound outdoors. The Juno Series is the ideal option since the loudspeakers are resistant to elements such as rain and salt, with IP46 rating protection.

49 Juno enclosures have been installed, distributed among the entrance of the hotel, the restaurant, lounge bar, DJ area and swimming pool. The white finish six-inch loudspeakers (JN-6T) were installed mainly indoors whilst the black finish eight-inch loudspeakers can be found between the pool and DJ area. Most of the loudspeakers have been set up horizontally, using the U-bracket supplied as standard with each cabinet. www.lynxproaudio.com

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IN DETAIL Synchronorm, Schnick-Schnack-Systems

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PRODUCT GUIDE Amplifiers & Processors

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PRODUCT DIRECTORY

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SYNCRONORM DEPENCE 2.2

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German software developer, Syncronorm, presents a new update for its multimedia show design and visualisation software, Depence, which was engineered with a heavy focus on virtual live productions. To compensate for missing live events, Depence 2.2 comes with a powerful rendering engine, as well as efficient and easy to learn features to translate such events into the digital world.

Depence is a modular built software, which pre-programs any kind of multimedia show in a realistic 3D environment. The rendering engine of Depence creates realistic shows of any kind, which can contain elements such as lighting, laser, special effects, water and fire effects, all in a detailed virtual world.

Depence also allows the user to create all forms of stages imaginable, integrated in a naturalistic looking scene.

Depence 2.2 comes with an all-new Mass Crowd Tool, which quickly fills a venue with a fully animated partying crowd.

This digital crowd even has illuminated wrist bands, which can be virtually mapped with a video to bring it to life. The new depth of field feature, as well as

the chromatic distortion effect guarantees a real-life like camera experience and can be used in combination with the already implemented camera keyframe features or DMX camera control.

With Depence 2.2, Syncronorm now also offers NDI recording, a free international standard network protocol, and a feature which can be used to record an incoming NDI video signal together with DMX into a multimedia track. With the implementation of the support for various 3D tracking systems for virtual cameras such as PosiStageNet or SPNet Syncronorm also guarantees an effective camera workflow for any kind of virtual production or XR studio. Virtual camera tracking can help complex choreographies in fully digital environments. Together with many small additional software improvements and new support for virtual fixtures such as the Minuit Une IVL series, Depence 2.2 also fully supports RDM over the ArtNET 4 protocol to guarantee a stable and fast connection to any multimedia installation using this protocol. www.syncronorm.com

Schnick-S ch na c k -Syste m s LED P-DOT For special applications like enlightening acrylic rods or creating hard shadows, there is a need for powerful LEDs. The new LED P-Dot by Schnick-Schnack-Systems can be easily controlled with, for example, RGB-video signals. Its four LEDs, red, green, blue and white, have been picked with meticulous discrimination to achieve lighting results of the highest quality.

Some if the LED P-DOT’s features include: Advanced dimming and colour-management algorithms; Dimming ratio > 1:10.000 resulting in dimming starting below 0.01%; More than 16 Bit internal dimming resolution per channel; Advanced RGB to RGBW colour space conversion based on the individually measured physical characteristics of each LED; Typically <3sdcm colour drift at the white point; CRI Ra typically about 90 at warm white; Ultra-blue LED for intense and saturated colours; and availability with 6,500K or 3,000K white points as standard. Other colour temperatures are easily achieved on request. www.schnick.schnack.systems

IN DETAIL - SCHNICK-SCHNACK-SYST E M S | WWW. M O NDO DR. C O M

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PROD UCT GUID E: AMPL I FI ERS & P R OC ES S ORS SPONSORED BY POWERSOFT

“Powersoft specialises in the design, production and marketing of a wide range of professional high-end patented technologies for the professional audio market, such as power amplifiers, loudspeaker components and software for use primarily in installed and live sound applications.

Since 1995, Powersoft has been a leader in the realm of audio, standing for passion, creativity, and innovation.

The three founders Luca Lastrucci, Claudio Lastrucci, and Antonio Peruch started this business in a small garage in Florence, Italy – and, since then, the company has not stopped innovating. These innovations have enriched peoples’ entertainment experiences.

A pioneer in switched-mode technology, Powersoft mastered the design and development of a new Class-D amplifier that was able to deliver consistently reliable high power levels – something that had never been achieved before. The development of fixed frequency switching mode technology for professional amplifiers delivered many benefits to its professional products, including unprecedented low noise leakage, low crosstalk, and performance suitable for any and all power levels.

This helped correct the overall industry perception that switched mode power supplies were unreliable. Now, the technology is considered an industry standard. Using its own-patented technologies, Powersoft’s switching mode power supplies were also able to greatly reduce heat dissipation, deliver back EMF (active recycling of the reactive energy from the loudspeakers), while easily handling heavy impedance loads. As these examples demonstrate, Powersoft is constantly breaking new ground in terms of what is possible: it holds dozens of patents, has meaningful manufacturing partners around the world, and also holds the keys to what will be possible in the next generation of audio.” www.powersoft.com

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Alcons Audio Sentinel10 The proprietary designed Sentinel Amplified Loudspeaker Controllers (ALC) feature a powerful four-channel DSP-based controller with ClassD amplifier stages.

The four-in/four-out matrix accepts analogue or up to 192kHz digital AES3 signals, sampled to 96kHz by high-end sample rate converters.

The future-upgradable powerful DSP engine enables processing of even the most complex (IIR, FIR) algorithms. Features include shelf/pass/parametric/all-pass equalising per channel, delay, factory presets for all system configurations, user-presets, event-logging and system feedback.

The full-colour TFT touch screen and the multi-colour LED illuminated encoder in combination with tab-based menu structure offers intuitive control. Remote control can be done through a VNC app on any mobile device; Multiple Sentinels can be controlled via the ALControl remote-control.

The Signal Integrity Sensing circuit dynamically compensates the effects of long loudspeaker cables; this results in a tight sub and bass response regardless of cable length or impedance (system damping factor of 10,000) and without the need for manually entering cable parameters.

The four patent-pending ClassD amplifier stages offer one of the lowest THD in the industry. Together with the two (redundant) switch-mode power supplies, the Sentinel10 delivers a total of 10,000W at just 11,6kg (25.5lb). The modular design makes for easy future upgrades and ‘in-the-field’ servicing. www.alconsaudio.com

Amate Audio LMS608 The most expansive iteration of Amate Audio’s all-new robust next generation loudspeaker management platform, the LMS608 is a four analogue / two AES input, eight analogue output device, employing advanced 64-bit DSP architecture and high performing 24 bit ADDA signal conversion.

Introduced mid last year, the 1U 19-inch rackmount unit offers powerful configuration capabilities enabling rapid setup and configuration of complex and extensive loudspeaker systems for sound touring, event and fixed installation applications, with exceptional levels of endurance extending to continuous ‘round the clock’ operation in the most adverse application environments.

I/Os are fully assignable; each input featuring two crossovers – with selectable Butterworth, Linkwitz-Riley and Bessel filtering – and each output independent compressor/ limiter settings.

Control parameters include 10 parametric equalisers with one Hz frequency resolution – exploiting advanced DSP performance capabilities in implementing dB/two bell parametric filtering.

Selectable delay lines for each I/O are up to two seconds (or 680 meters) with switchable polarity.

80 programmable memory presets are complemented by 20 intensively R&D’d ‘factory’ presets, offering unique efficiencies in instantaneously system configuring combinations of various Amate Audio loudspeakers in the most regularly encountered applications. USB and Ethernet connectivity provides enhanced external control with Amate Audio’s DSPLink software. www.amateaudio.com

APEX CloudPower Series CloudPower is a series of remote controllable, four channel Class-D amplifiers. The 4x 350W CP354 and the 4x 700W CP704, will be joined by a pair of more powerful models soon. All CloudPower amplifiers include comprehensive signal and loudspeaker processing tools and are designed for standalone or networked deployment in installations scaling from bars and hotels, to theatres and theme parks.

Multiple CloudPower amplifiers can be monitored and controlled remotely from any device over the APEX Cloud, cutting unnecessary site visits and enabling integrators to offer value-added monitoring services. Every unit features a built-in Wi-Fi Hotspot, allowing connection via APEX’s IntelliCloud WebUI, or through a wired Ethernet connection.

CloudPower is the first product to benefit from APEX’s pioneering GlidePath direct drive technology, allowing ultra-precise reproduction of high transients and minimal distortion. Another unique feature is the inclusion of an integrated audio source, enabling streaming of background audio from devices running Spotify or AirPlay.

CP354 and CP704 are high efficiency designs, benefitting from a self-cooling airflow system that eliminates fan noise. All models are ready to serve worldwide, accommodating 100-240VAC and featuring Active Power Factor Correction. www.apex-audio.be

Ashly Audio CA Series The CA Series Power Amplifier line is a new, highly efficient amplifier series from Ashly Audio. Ashly’s proprietary D-MAX technology brings together intelligent, cutting-edge amplifier design, a brand-new ultra-fast switching power supply, and intelligent power management to deliver ultimate efficiency. This allows two CA 1.54s (6,000W total each) to operate on a single 20A service saving you money and expanding power with current infrastructure.

The CA Series comes in two-channel or four-channel configurations of 500W, 1,000W, and 1,500W per channel. This ensures the CA Series is always the right size for any job. Further, the CA can deliver 70V and 100V power with no reconfiguration required and can be brought down to two Ohms without missing a beat. This ensures the CA Series is always the right amplifier for any job.

The CA also features Dynamic Power-Factor Correction, which adds a level of intelligence to power utilisation efficiency. SailFlow cooling design brings a bi-lateral air-cooling system that maintains a low operational temperature.

These new technologies – combined with installer-friendly Euroblock and XLR combo connectors and stable operation down to 0.2 ohms (0.2Ω), make the CA perfect fit for integration in the education, house of worship, hospitality, sports, retail, and restaurant spaces. www.ashly.com

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AUDAC MFA Series This new, all-in-one audio solution from AUDAC is the perfect solution for small to medium sized installations that needs the functionality of a comprehensive audio system but does not want to spend fortunes on hardware. By featuring compatibility with AUDAC Touch 2 and an integrated SourceCon input slot in the amplifier, there’s a lot of ground-breaking technology in this surprisingly small amplifier.

The MFA features a line out connection, creating the possibility for scaling the output power to meet both small- and large-scale project requirements. Create one large zone or add a second stereo zone using your line out, where individual input and volume control can be controlled through the front panel, TCP/ IP or AUDAC Touch 2. The MFA also allows for an optional Dante expansion. Allowing the installation of a Dante network interface, giving the device the ability to receive and send low latency, high-quality audio over a standard Ethernet network with ease. www.audac.eu/mfa

Aura Audio D100DSP D100DSP is a combination of signal processing and four amplifier channels with four aux DSP outputs with Dante capability.

Easy access control via front panel is combined with PC and iPad remote controls and wall panel or OSC based customised controls for installation use.

High fidelity, high efficiency class-D power amplifier stages are powered by a switch-mode power supply capable of four x 4,000W. The build-in loudspeaker preset library for all Aura Audio loudspeaker models with highest definition XTA DSP processing.

2021 sees the introduction of DEQ, dynamic EQ input section for multi band comp, noise management, AGC for emergency mic the application list is huge. www.auraaudio.fi

Biamp ALCs Biamp’s line of Amplified Loudspeaker Controllers (ALCs) are designed to provide all of the signal routing, zone switching, DSP processing, protective limiting, remote monitoring, and amplification functions needed between a mixer and the loudspeakers in virtually any Community loudspeaker application. Standard Ethernet communication protocols allow for fast system design, system control, and remote system monitoring. Three models of ALCs are available: ALC-404D (four channels x 400W), the ALC-1604D (four channels x 1,600W), and the ALC-3202D (two channels x 3,200W). Bridged channel pairs support driving loads down to four ohms at double the power of a single channel, providing additional flexibility.

In-depth control and monitoring is accomplished via ArmoníaPlus system manager software. ALCs reduce complexity and increase overall system value in every installation.

Its compact size, packing either two or four channels into 1 RU, reduces rack costs and minimises space requirements. www.biamp.com/community

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Bose ControlSpace EX-1280 DSP The Bose ControlSpace EX-1280 DSP is a robust open-architecture processor designed for a wide variety of applications — from small, self-contained projects to large, networked systems.

Leveraging advanced signal processing and a floating-point open architecture DSP, the EX-1280 processor has the precision and power to create dynamic audio installations.

The EX-1280 processor offers 12 mic/line analog inputs, eight analog outputs, Bose AmpLink output and 64 x 64 Dante connectivity — featuring high-quality audio processing and expansive digital connectivity. The ControlSpace EX-1280 DSP includes a USB connection that facilitates easy integration with PC audio devices for playback and recording. The front-panel interface includes a large OLED display and rotary encoder, so it’s easier to set network parameters and monitor channel activity. Connect the Bose ControlCenter CC-64 or CC-16 digital zone controllers and ControlSpace Remote clients for a seamless and intuitive interface.

Create the system you need using Bose ControlSpace Designer software and its expansive signal processing library, with automatic mic mixing, multiband graphic and parametric EQs, Bose loudspeaker libraries, signal generators, routers, mixers, AGCs, duckers, gates, compressors, source selectors, delays, logic, and advanced Dante device control. ControlSpace Designer software simplifies the setup process with drag-and-drop programming, making configuration quick and easy. www.pro.bose.com

Bose PowerMatch PM8500N The Bose PowerMatch PM8500N configurable professional power amplifier provides concert-quality sound with a high level of scalability and configurability. The PM8500N offers multiple channel and power options, an integrated audio DSP, front panel interface, USB connection plus Ethernetbased network configuration, control and monitoring.

An expansion slot supports inputs from optional digital accessory cards.

PowerMatch amplifiers utilise Bose QuadBridge Technology, allowing each four-channel loudspeaker block to be configured as Mono, V-Bridge, I-Share or Quad modes permitting the total available power to be allocated to one or more output channels.

With the Bose ControlSpace Designer software additional features are accessible including: Parametric EQ stages; load sweep of each output channel; auto standby; plus the ability to integrate PowerMatch amplifiers into larger system control and monitoring that may include the Bose processors and control centers.

The PM8500N amplifier’s USB connection provides quick access for single-unit setup and control using Bose ControlSpace Designer software.

For networks with multiple PM8500N amplifiers, the Ethernet connectivity provides the convenience to configure, control and monitor multiple amplifiers.

Bose PowerMatch amplifiers deliver features that provide an unprecedented combination of performance, efficiency, and ease of installation - all in a reliable, proprietary design. www.pro.bose.com

EM Acoustics DQ Series Amplifiers Designed to offer a unique combination of high power and pristine audio performance seamlessly combined with advanced DSP and network control, the EM Acoustics DQ Series of advanced system amplifiers offer high power density in a flexible format for both mobile applications and fixed installations.

Three physically identical, 2U four-in-four-out amplifiers deliver output power configurations of 6,000 (DQ6), 10,000 (DQ10) and 20,000 watts (DQ20), providing maximum flexibility to power FOH systems, monitor mixes, or fill loudspeakers. All models come with preset files for all EM Acoustics loudspeakers, while memory capacity allows users to create their own settings files. Powerful user-accessible processing functions include gain, delay and EQ for system or venue optimisation.

Switch-mode power supplies with power factor correction are implemented throughout the range, automatically configuring for mains supply voltages worldwide from 85V to 240V and ensuring rated output power delivery even under demanding load conditions.

Analogue and AES3 digital inputs are standard, with Dante as an option for networked audio. Front panels provide an intuitive set of illuminated push button controls, velocity-sensitive rotary encoders, and LED status indicators to enable simple and straightforward operation of all functions, independent of the remote control software. www.emacoustics.co.uk

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Dynacord MXE5 MXE5 from Dynacord is a 24 x 24 performance audio matrix that offers comprehensive control, routing and mixing functionalities, with 12 analog mic/ line inputs, eight line outputs and 24 Dante audio channels. At the same time, MXE5 serves as a communications hub for all IP-based peripherals and provides comprehensive supervision.

This audio matrix is the perfect choice for installations, including: stadiums and sports facilities; congress, conference and performing arts centres; contemporary churches; and large educational facilities. It benefits from advanced DSP, providing a sampling rate of 96 kHz and one of the industry’s lowest audio latency measurements.

MXE5 works as both a system manager and an OCA controller with complete monitoring and supervision abilities. Third-party integration is enabled via plugins to upgrade existing systems, starting with plug-ins for Q-SYS and Crestron.

The MXE5 integrates completely with Dynacord’s SONICUE sound system software, offering comprehensive control and easy, intuitive operation with personalisation features, rights management and GPIO configuration.

The optional 5.7-inch TPC-1 touch panel controller has a low-profile form factor and features universal mounting (EU, UK, US) and Power over Ethernet (PoE).

The TPC-1 is freely configurable via SONICUE for controlling all relevant MXE parameters. www.dynacord.com

Full Fat Audio FA2004 HD & FFA-8004 HD Full Fat Audio high-definition amplifiers are designed for systems that are required to give the very best sound quality.

Super clear sound, continuous power delivery and built to tour-grade standards, these amplifiers set a new standard in Class D Audio.

The FFA2004 HD and FFA-8004 HD offer four 500W ref four Ohms and four 2,000W ref four Ohms.

Ideal for any professional audio applications, such as cinemas, studios, live sound and concert halls.

The FFA-2004 HD has silent cooling, too, making it perfect for auditoriums or quiet spaces.

Full Fat Audio offer a six-year warranty and these products are entirely designed and made in the United Kingdom. www.fullfataudio.com

Lynx Pro Audio TSA Series The TSA series is a new generation of amplifiers offering high voltage output for high headroom sound, with 64 bit double-precision 96kHz DSP processing, and an advanced power management to squeeze the last watts out of your loudspeakers.

It also offers similar power per channel in any impedance, exceptional power sharing in asymetrical loads and a powerful and fast response cooling system.

The TSA series has digital control with an extra large IPS display and touch screen panel user interface, making it easier and faster to use.

The DSP management user functionalities include input routing matrix Analog/Dante/ AES3, input EQ section with eight filters and 20 memories, input EQ user section, system preset selection, a snapshot library management, with up to 100 presets and master control groups.

The TSA series has two Ethernet ports for daisy chain connection and access to the OCS software, designed to monitor the amplifiers in real time.

Two models are available for this series: TSA-6000 and TSA-10000. www.lynxproaudio.com

MC2 Audio Delta / DPA Series MC² Audio and XTA have been designing and manufacturing amplifiers and processors in the UK for over 25 years. Sonic excellence is a core part of the company’s design philosophy - be it products specified in World Cup stadiums, cruise ships, nightclubs or KTV systems. Combining new technology power amplification with the highest definition XTA DSP, the Delta / DPA Series offers performance and convenience at a whole new level. Now shipping with free 1700+ preset library in AudioCore: Amped Edition, too.

Powerful processing features, such as FIR filtering and Dante networking, work alongside unique enhancements including four local + four aux DSP channels (also supplied to the network), meaning a single Delta / DPA DSP amplifier can control a stereo four-way system with no external processing.

Configure and tune using a fast, powerful combination of AudioCore (XTA’s fast efficient control software platform) and DeltaDirect, the bespoke iPad app. Every aspect of a network of amplifiers can be controlled and monitored, wirelessly. USB, direct Ethernet and RS485 control options plus configurable GPIO offer unparalleled flexibility. The Delta / DPA Series comes with Audiocore software with >2000 speaker presets and, new for 2021, there is also Dynamic EQ/ FIR processing combined with OSC control. All MC² Audio products are covered by a five-year warranty. www.mc2-audio.co.uk

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Meyer Sound Galileo GALAXY Network Platform The Galileo GALAXY Network Platform is an audio processing and loudspeaker management tool that offers comprehensive control of Meyer Sound loudspeaker systems. Three versions of GALAXY are available: GALAXY 816, GALAXY 816‑AES3, and GALAXY 408. Now, GALAXY can be used as a powerful, flexible and user-friendly tool for spatial sound design and live mixing with Spacemap Go. Spacemap Go works with multiple GALAXY processors, and it can be controlled by a single iPad or with multiple iPads to provide a larger and more varied control surface, or to allow simultaneous control by multiple users. Spacemap Go can be implemented with a free upgrade to GALAXY firmware and Compass control software. Users with existing GALAXY inventory need only supply one or more iPads as appropriate for the application.

Systems are quickly and easily configured by Spacemap Go using any combination GALAXY using Milan AVB, AES3 or analog as inputs and outputs.

Spacemap systems can be configured for up to 32 inputs and as many outputs as are provided by the processors. Each GALAXY provides up to 232 matrix crosspoints.

Galileo GALAXY is Meyer Sound’s first fully networkable loudspeaker processor and among the first Avnu Alliance Milan-certified products for interoperability. www.meyersound.com

NEXO NXAMPMK2 Available in 4 X 1300W, 4 X 2500Wand 4 X 4500W versions, the NXAMPMK2 combines advanced signal processing with four state-of-the-art Class D amplifiers to create a flexible, light-weight powering and control solution for NEXO loudspeaker systems. Ideal for use in fixed installations and touring, these powered controllers are easy to set up and quick to deploy, with all essential parameters readily accessible via a large colour touch-screen on the front panel and a comprehensive range of control and networking facilities on the rear panel.

Most importantly, the new NXAMPMK2 achieves a whole new level of sound quality, partnering with NEXO speakers to deliver a whole new level of audience experience. www.nexo-sa.com

NST Audio VMX88 Designed using the latest generation of NST DSP technology, VMX88 brings no-compromise audio performance and powerful system control to Dante-networked audio installations.

The eight analogue inputs have individual compressors, eight bands of parametric EQ and up to 1.3 seconds of delay. The full matrix mixer allows mixing analogue and Dante inputs to any output channel. Audio channels can be routed to the eight channels of Dante network outputs from multiple stages in the audio chain to give flexibility in system design.

All of the eight analogue outputs have 16 bands of parametric EQ, 48dB/Oct high and low pass filters, up to 1.3 seconds of delay as well as our high performance, two-stage PXL limiters for high performance loudspeaker protection. All analogue audio connections are on Phoenix-type threepin 5.08mm pitch connectors with four GPI connections to allow actions such as fire alarm mute.

Its D-Net control software for PC, Mac and iPad gives you complete control over ethernet and wifi.

The VMX88 is also fully compatible with the VR1 PoE remote control panel for simple, flexible user control. Control via third party systems such as Crestron is available via our simple ethernet control protocol. www.nstaudio.com

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QSC PLD Series

RAM Audio XTR Series

Designed specifically for the needs of portable and production sound system users, QSC PLD Series processing amplifiers represent a revolutionary advancement in technology and innovation. The three lightweight, four-channel amplifiers feature QSC Flexible Amplifier Summing Technology (FAST), advanced DSP and loudspeaker management as well as next-generation Class D amplification with Power Factor Correction (PFC).

Unlike traditional amplifiers designed to deliver the highest efficiency (and power) at a single load impedance, PLD Series FAST technology allows the user to select an output stage configuration that best matches the requirements of their specific load. Given the flexibility to combine amplifier output channels in various bridged, parallel, and bridge/parallel modes, PLD amplifiers can be optimised for high voltage or high current delivery. Bridging two channels will give you greater voltage swing optimised for higher impedances (eight-16 ohms). Paralleling two channels will give you greater power optimised for lower impedances (two-four ohms). PLD amplifiers also offer the ability to combine three (or even four) channels into parallel mode to achieve extremely high current at low impedances (one-two ohms) or to bridge-parallel all four channels to achieve 8000Wof dynamic power optimized for a four-eight ohm load.

PLD amplifiers not only make your system perform better today, but also provide a wide and flexible range of options for future system growth. www.qsc.com

The XTR Series has been designed with the aim of offering the proper and more reliable amplifier to users of very big subwoofers with no concessions.

Its output performances (270V/70A) are more than needed to push subwoofers as far as their maximum limits accept.

These two and four channel devices are based on the field proven Quanta PulseTM Technology with an oversized dual high capacity regulated power supply with PFC to deliver their full performances independently of mains status. www.ramaudio.com

WORK PRO ZENITH WORK PRO has renewed its successful WORK PRO ZENITH professional amplifier series with four new references. This renovation has not only focused on aesthetic aspects such as its new front panel that allows a greater flow of air to cool the unit, but its design has been a step further. Taking advantage of previous experience, with compact electronics and high-quality components, the new WORK PRO ZENITH series offers four class D amplifiers to cover a wide range of needs.

The integration of a switching power supply ensures a reliable response and an optimal degree of signal integration.

The WORK PRO ZENITH series amplifiers can work in stereo, bridge, and parallel mode, with power levels between 2x500W @ 4Ω and 2x1750W @ 4Ω. They have balanced connections and input signal sensitivity selector.

The numerous protection systems, including soft start, DC, overload, or clip limit, allow the amplifier to be operated safely in demanding installations without affecting its performance.

Manufactured in a robust 2HU 19-inch rack enclosure and weighing between 7.3kg and 8.6kg, the new WORK PRO ZENITH series offers great reliability, signal stability and high-power output levels. www.workpro.es

XTA MX36 The MX36 has been designed to offer a uniquely simple solution to the long-standing problem of routing of multiple mixing consoles outputs to a loudspeaker system / system processor.

Handling 36 inputs in 2U across analogue, AES and Dante networks, these are arranged in sets of four (to typically support Left-Right-Front Fill and Sub feeds from an individual console). All AES inputs have SRC. There is one set of four outputs, available simultaneously across analogue, AES and Dante networks with Word Clock output sync available on AES. The MX36 Console Switching System is the solution. It handles four simultaneous inputs across three source types (analogue, AES and Dante – 36 individual inputs) and even when you’re not monitoring a source it will be. It will be checking the signal integrity and will auto-select the highest priority source seamlessly if anything fails.

All you have to do is press A, B or C to choose what’s routed to the four outputs. Feed in a stereo source direct to the MX36 for background music and a mic for announcements. Plug in some headphones and monitor every individual feed from any source, plus check what’s on the outputs and even verify your redundancy failovers beforehand. www.xta.co.uk

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1. Elation KL Fresnel 8 FC

Designed for TV and film, theatre, tradeshows or any general AV application requiring high output soft light with precise colour reproduction and adjustable colour temperature, the KL Fresnel 8 FC excels at producing the soft field light that designers desire in order to masterfully highlight performers or scenery on stage. Offering a wide array of rich saturated colours, subtle pastels and dynamic white light, it is an ideal key and fill light source for situations requiring outstanding performance and colour quality.

The KL Fresnel 8 FC produces the finest quality of light with dynamic colour temperature adjustment and full colour control. It houses a highly efficient 500W RGBMA LED engine calibrated at 6,500 Kelvin and emits a beautifully diffused wash of light. It produces over 18,000 field lumens with a motorised zoom range of 10° to 50° for easy adjustment of beam size. For illumination that is more precise with less light spill, adjustable and removable eight-leaf barn doors allow for customised shaping of the beam.

Optimised for the specific requirements of broadcast, the KL Fresnel 8 FC can adjust for light that shifts away from pure white towards green or magenta through a green-magenta shift adjustment and a virtual gel library.

DMX controllable with full RDM support, it offers intuitive manual control for standalone operation when desired for instant control of zoom, intensity, colour temperature, green shift and other important settings.

The KL Fresnel 8 FC is portable yet rugged and can be mounted on a stand or suspended using any standard clamp or the included Junior pin adapter. It is fully self-contained without the need for an external power supply and offers locking power pass through for easy linking of multiple units. www.elationlighting.com

2. Martin Audio TORUS

TORUS is a constant curvature array, designed to fill that gap perfectly, combining optimised coverage, SPL profile and cost efficiency.

Typically, constant curvature arrays have adjustable horizontal dispersion but their performance can vary considerably in terms of tonality and effectiveness of coverage when different dispersions are selected.

Equally, many lack sufficient sensitivity in the mid-band frequency, critically important for voice projection and clarity. They also can suffer from comb filtering. TORUS fundamentally addresses these areas and more.

Each TORUS cabinet is designed for a flexible horizontal dispersion pattern and this can be manually adjusted between 90°, 60° or 75° (Asymmetrical) via the unique Dynamic Horn Flare.

The Dynamic Horn Flare is moved by a rotating mechanism accessible from the front grille so is easy and intuitive, while leaving the grille design to be both smart and fully protective of the drivers within.

TORUS also features a phase plug mounted in front of the 12-inch neodymium driver to increase mid-band sensitivity. Along with three 1.4-inch HF Polymer dome neodymium compression drivers, the sonic performance is not compromised even when driven at higher SPL. TORUS is the first product to take advantage of DISPLAY 3 and can therefore be modelled in 3D and optimised accordingly, allowing different box resolutions as well as automatically optimising filtering to deliver consistent and defined coverage. www.martin-audio.com

3. Panasonic ET-SUK10 for PT-RQ35K

With Esports rapidly becoming one of the world’s most popular spectator sports, one of the challenges for the industry is to ensure that audiences in studios and stadiums see every detail of the gameplay on the large screens at the same time as the players. Any lag or juddery visuals can ruin the immersive experience.

Panasonic’s latest High Frame Rate (HFR) upgrade kit (ET-SUK10) for the Panasonic PT-RQ35K projector addresses these issues bringing stadium and studio spectators closer to the action than ever before.

The HFR upgrade delivers higher quality images with rapid and smooth movement and less image lag by enabling the 30,500 lumen, three-chip DLP laser projector to accept and output 240Hz HD signals using just one cable. The improvements delivered by the upgrade are significant. As well as enhanced images, latency can be reduced to just 5ms – compared to 82ms using predecessor Panasonic projectors, ensuring fans experience the thrill of the action in virtual real-time.

“This groundbreaking visual enhancement creates a fantastic live experience, enabling the audience to see and react to the action as it happens,” said Hartmut Kulessa, European Marketing Manager at Panasonic Business.

“It’s another important addition to our complete glass-to-glass production solution for the industry - from capture right through to distribution workflow.” www.panasonic.com

4. Pixotope Pixotope 1.4.3

Pixotope 1.4.3 has been released – jump in and explore a host of new improvements and features, including our tools for XR productions.

Alongside a range of bug fixes, Pixotape has implemented both embedded and AES/EBU digital audio output via the AJA video card for audio created in the engine. LTC support has been extended to read embedded LTC from VITC and LTC fields in the video feed, in addition to standard analog audio. And, the tracking support of our frame matching methods has been extended to allow auto timecode locking for both Ncam and SMT tracking systems.

In Pixotope 1.4.3, the company is showcasing its tools for XR productions (LED walls) with features like Multiple XR walls – including curved walls - and per wall colour correction In this version of Pixotope, experimental XR tools are provided completely free. Subsequent versions of Pixotope will migrate the tools into the upcoming Pixotope XR product with many more features to come. www.pixotope.com

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5. PROLIGHTS EclDisplay

Prolights has released its EclDisplay series, an LED spotlight that sets new standards in lighting technology for galleries, retail, hotels, exhibitions and any high-profile installations.

The fixtures in the EclDisplay range come in a stylish housing, with multiple control options, sources, colours, lenses and accessories, with over 7,000 possible fixture configurations, using the same core technology, while meeting different aesthetic or technical requirements.

The EclDisplay units are available in three control configurations: DAT, UN and CC. The DAT version comes with a built-in PSU, with manual knob-dimming, RDM, DMX and DALI control on-board. The UN version includes all the above and adds phase-cut dimming for retrofitting in existing systems. The CC (Constant Current) version works with external drivers, allowing installers to complete the light fittings with any track mounted, rack or boxed drivers, accepting any wired or wireless control (DALI, Casambi, 0-10, on-off).

The EclDisplay is engineered with a 25W, high CRI LED engine. There are five different source options available: fixed white sources in 2,700K, 3,000K, 4,000K, 5,600K, as well as a 40W RGB+WW source, capable of delivering a wide tuneable white range, as well as beautiful pastels and saturated colours.

Prolights has developed optics that unlock the fixtures’ full potential, increasing efficiency and light output.

There are three lenses available: a zoomable 20º - 40º profile lens with four lockable blades, allowing to precisely frame any projection area with crisp or soft-edge accents, or to project images and textures through the indexable gobo holder.

In addition, the zoom wash optics is available in 15º - 30º and 25º - 50º variants, making able to spread the light and obtain a wall-washing effect.

The EclDisplay fixtures can be track-mounted, hanged or ceiling recessed through the optional ceiling kit. There is also a wide range of accessories available for the finer details, including a honeycomb louvre, snoot, four-leaf barndoors, filter-frames and indexable gobo-holders. www.prolights.it

6. RCF X Max Series

The full-range passive two-way RCF X MAX series has been designed as a multi-purpose loudspeaker, to achieve the best nearfield quality, vocal coherence, and a stable tonal balance even at full volume. X MAX series builds on the heritage of the popular RCF MAX series to create a complete range of solutions for high-powered applications in bars, party rooms, clubs, and discos. The elegant and compact design with accurate finishing makes it suitable for almost any environment and architectural constraints.

The cabinet and its components are designed inside RCF’s laboratories combining low resonant design and superior transducers, for remarkable power handling and clarity.

The X MAX Series features a custom-designed mid frequency shaping for close distance listening on a perfectly tuned crossover to ensure even coverage and detail of the vocal range.

To ensure maximum durability, each cabinet is covered with a sturdy black textured acrylic paint and a powdercoated metal grille with internal foam protection.

Also included are multiple rigging points to fly the loudspeakers and a robust steel pole socket on the lower side - maximum freedom of use in any installation. www.rcf.it

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PRO MEDIA AUDIO VIDEO EU RENOWNED PERFORMANCE SYSTEMS INTEGRATOR, PRO MEDIA AUDIO VIDEO, ENTERS THE EUROPEAN MARKET WITH INDUSTRY VETERAN EDDIE THOMAS.

Building on its distinguished 45-year history, Pro Media Audio Video - a world class technology integrator - recently made significant moves into Europe with the establishment of a new division and office led by integration industry expert, Eddie Thomas.

Headquartered in Lititz, Pennsylvania, the company has been in operation since 1978 and joined the Clair Global Group of businesses in 2019. It did so with a multidisciplinary approach and an illustrious history in live production, and the integration of technologies into world class performance and sports venues.

Pro Media Audio Video comes to Europe with a legacy of construction to production experience in the design, integration, installation and operation of world class AV systems. The company is built on a foundation of client focus and technical expertise. This is accomplished through a comprehensive understanding of how to achieve the clients’ vision for an ever-increasing, meaningful fan experience.

As a complete systems integrator and technology partner, Pro Media Audio Video utilises both in-house and expert designers from the fields of audio, AV, network management, IT comms and infrastructure for a wide range of activity in multiple business sectors.

In Eddie Thomas the European base has a seasoned professional at the helm, bringing decades of experience working in audio systems, network design and electroacoustics.

Coming to Europe with an impeccable record for on time and on budget delivery, a feat any potential client will look upon favourably, Pro Media Audio Video already has a plethora of high-profile projects in its portfolio. The company enjoys longevity in the relationships that come with being a reputable service provider, especially in professional sporting circles as stadium technology is advancing.

Accomplishments in stadiums and arenas include the AT&T Stadium in Texas which is home to the NFL’s Dallas Cowboys; LA’s Dodger Stadium where fans and international tourists alike travel to watch live action baseball and SoFi Stadium - home of the LA Rams & Chargers.

Pro Media Audio Video has achieved technical excellence time and again, and in Europe,

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Eddie is looking forward to building further on this reputation. The new European headquarters will be located in Britannia Row Productions’ London, UK, base. The establishment of an office in mainland Europe will be revealed in the near future.

Under Eddie’s direction, Pro Media Audio Video EU will benefit from the knowledgeable backing of both the Clair Global family of companies and a considerable international distribution and dealer network.

Pro Media Audio Video General Manager, Ted Leamy, commented: “Each of the companies in the Clair Global group shares the same culture for quality and customer-focussed business ethos. Eddie shares our values and he is the person to carry this global standard into Europe.

“He is incredibly well respected and as we begin this expansion, he is backed up by a very experienced team worldwide. Our presence in the UK will further add to our global information sharing, ultimately as one set of resources.”

Eddie’s forte is large format audio systems.

He has an enviable CV in stadia and arena projects, allowing him to lead Pro Media Audio Video EU into an exciting new chapter from British soil.

He commented: “I enjoy working with designers and consultants to create meaningful and technologically sound solutions, and I’m very excited about this brand-new opportunity in such an impressive global business.

“There will be challenges to address in the UK and Europe as Brexit unfolds,” Eddie highlighted. “I am looking forward to developing and working on a range of new and challenging projects, working with both clients and manufacturers, pushing the boundaries of technology and delivering client expectations.

It’s a great feeling to know that we at Pro Media Audio Video EU will be able to deliver new and ground-breaking projects”.

Pro Media Audio Video EU will follow the blueprint of core values that have been established by the company over the last five decades: technology experts that listen, anticipate and act to offer solutions at competitive prices even in the most challenging of times. www.promediaaudiovideo.com

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Eddie Thomas SoFi Stadium, California Dodger Stadium, California Ted Leamy Pro Media Audio Video EU, London AT&T Stadium, Texas

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Look Solutions

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Lynx Pro Audio

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Powersoft BC

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Pro Tapes

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ROBE 57 Schnick-Schnack-Systems 7 Starway 71 Steinigke 86 Syncronorm 45 TAF 43 Yamaha 99 Yestech 31

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