MONDO-DR 31.4

MAY / J UN E 20 21 | 3 1 . 4

M A Y / J U N E 2 02 1

LECTROSONICS’ 50TH ANNIVERSARY BA R S & P E R F O R M A N C E V E N U E S MEDIA SERVERS & PROJECTORS

THE IN TE R N ATION AL PUB LICATION FOR TE CH N OLO GY I N E N T ER T AI N ME N T

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MONDO*DR 31.4 MAY / JUNE 2021 ON THE COVER The Goodtime Hotel Image courtesy of Alica Gao. EDITOR Sam Hughes s.hughes@mondiale.co.uk ASSISTANT EDITOR Emma Davidson e.davidson@mondiale.co.uk

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SLEEK. STUNNING. STELLAR.

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

Just before we sent this issue to print, I actually got on a train and went to visit a venue in London.

A fairly routine part of the job, of course, but it certainly felt like a big step this time around. While it wasn’t quite the same - sociallydistant seating on the train, masks at the venue and so on - it was a relief to get back out there and see some of the impressive work we write about in person.

Depending on where you are in the world, we’re all still at different stages as we begin the return to normality, but it does feel as though a corner has been turned in the industry.

We’ve a long way to go, but it’s hugely promising - and a massive relief - to see entertaiment and hospitality venues reopen here in the UK. Speaking to venue owners, designers and installers, there seems to be an undercurrent of positivity cautious though it may be - as new projects start to come thick and fast. Long may it continue!

In this issue, we’ve covered a wide range of venues, including The Goodtime Hotel out in Miami, Finland’s Tampere Hall and Browns in London, among others.

We’ve also got an interview with Karl Winkler at Lectrosonics as the company celebrates 50 years.

Don’t forget to check out our Bars & Performance Venues report, as well as the Media Servers & Projectors guide, too.

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IN THIS ISSUE. . .

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EXPO DIARY

IN DEPTH 14 INTERVIEW

Lectrosonics’ 50th Anniversary 24

REPORT Bars & Performance Venues

IN FOCUS 42 VOLCANIC FASHION SHOW Tenerife TAMPERE HALL 44 Tampere 48 BROWNS London 54 DENTON BIBLE CHURCH Dallas 56 THE GOODTIME HOTEL Miami 66 PARKROYAL COLLECTION, MARINA BAY Singapore 68

BOOMBOOMROOM Liuzhou City

72 AUCKLAND SKY TOWER Auckland

IN BUSINESS 78

IN DETAIL Tasker, EM Acoustics, Elation

85

PRODUCT GUIDE Media Servers & Projectors

92

94

PRODUCT DIRECTORY IN PROFILE Out Board

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

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MA Y MAY

24–26

MAY

27–29

MAY

25-26

J U NE CABSAT DUBAI, UAE cabsat.com

PALM EXPO MUMBAI, INDIA palmexpo.in

PRODUCTION FUTURES ONLINE ONLINE productionfutures.co.uk

JUN 1-2

JUN 8-9

5-7

EX P O DI A RY | W W W .M O N D O D R .C O M

ISE MUNICH, GERMANY Iseurope.org

S EP TE M B ER SEP

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ISE BARCELONA, SPAIN Iseurope.org

PLASA SHOW LONDON, UK www.plasashow.com

E XP O D I A R Y

SEP

10-13

SEP

16-18

IBC AMSTERDAM, THE NETHERLANDS www.ibc.org

PROLIGHT+SOUND NAMM MOSCOW, RUSSIA prolight-sound-namm-russia.ru.messefrankfurt. com

NOVEMBER NOV 15-21

LDI 2021 LAS VEGAS, USA ldishow.com

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Su bscr i b e t o

mo n d o d r . c o m / su b sc r i pt i on s

IN DEP T H

14 INTERVIEW

Lectrosonics’ 50th Anniversary 24

REPORT Bars & Performance Venues

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

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“I’VE BEEN HERE FOR ONE THIRD OF THE COMPANY’S HISTORY, WHICH IS CRAZY, BUT I THINK, THIS YEAR, THE INDUSTRY IS POISED FOR A BIG RECOVERY AND I THINK IT’LL BE A GREAT YEAR FOR US HERE AT LECTROSONICS, TOO.”

K A RL W INK L E R L e c t r o s o nic s

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“ SI N CE T H E B E G I N N I N G , WE H AVE S E T O U T T O MA KE TH E B E S T P R O DU C T S A N D SUPP O R T T H E M W I T H T HE B EST CU S T O M E R S E R V I C E PO SSI BL E . ” Below: Some of th e ea rly Lec tros oni c s tea m .

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First establishing itself as a voice projector manufacturer and in TV news, Lectrosonics has come a long way since its 1971 industry debut. Inhabiting an energetic attitude and passion for audio, the company is now well respected in various markets worldwide, including: film, music, TV, theatre and sports. Located in the city of Rio Rancho, in the heart of New Mexico, Lectrosonics’ focus on quality and innovation has allowed it not only to survive, but to overcome and thrive during a year that celebrated 50 years of business and proved one of the most difficult for the industry.

Karl Winkler, Vice President, Sales and Marketing at Lectrosonics explained how the company approached the challenges of the past year: “During the first wave of COVID-19 back in March 2020, we had to shut down our factory, which then led to our leadership team developing a set of goals and plans to operate safely.

“From there, we developed a good plan of how to deal with certain problems that may arise, but, in terms of business, we saw a huge decline in the middle of March. Obviously, with all live events coming to a halt, that impacted us massively, but we then saw gradual increases in business in the months to follow, but, after the summer, things crashed again.

“However, because of the procedures we put in place, we didn’t fall into a trap. We learned to work from home, took online courses and worked on establishing new online connections with our customers. I also have to give our president a lot of credit for being extremely humanitarian and caring so much about the staff. The entire leadership team cut their salaries in half, we were doing everything possible to preserve the company and make sure we kept working. We’re still operating today as a result of that, and this also meant that we avoided any long-term damage.”

Your Story is Our Story

USA 1-800-821-1121 In Canada, call 877-753-2876 In Europe, call +33 (0) 78558 3735 In South America, call +57 310799 4564

Celebrating a 50-year anniversary in the midst of a global pandemic wasn’t something that the company could foreshadow, but, for Lectrosonics, the past year has highlighted its successes and incredible achievements as a business. Beginning its journey back in the early 70s, Lectrosonics was established by two business associates, Tom Gilmer and Paul Auxter, who saw a gap in the market and an opportunity to make audio products of their own.

The company started off by developing voice projectors, with some of the very first models deployed to the Albuquerque Police Department. The product line consisted of several over-the-shoulder portable PA systems and lectern PA systems used by teachers, public speakers and auctioneers, all designed and built at the company’s HQ. The philosophy and business plan was simple; ‘to build the best product we know how to make, and support it with the best service we can possibly provide’ - and this philosophy remains intact today.

“Since the beginning, we have set out to make the best products and support them with the best customer service possible,” explained Karl. “We’ve always strived really high with our product’s quality and we’re also privately held, which means we’re not beholden to the vagaries of the stock market. We have a family feel and an informal culture, which I think is very unique in our industry, too.”

A b o v e: T h e Lec troso n i c s t e a m w o r k i n g o n s om e ea rly prototy p e s .

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I N T ERV I EW - LE C TR O SO N I C S 50 TH AN N I V E R SARY | WWW.MONDODR.COM

As the company began to grow and develop further, it launched its very first wireless microphone in 1975, using a design commissioned from another manufacturer. Soon after, the company began investing in its own engineering resources to improve the performance, and the final design was completed and marketed under the Freedomike trademark. Wireless microphones were readily accepted in existing markets and the product group became key to the growth of the company.

During the 80s, Lectrosonics found success in the broadcast market with its plug-in transmitter and compact receiver for electronic news gathering and documentary production.

Around the same time, the company’s engineering team had begun working on audio processing equipment targeted at the installed sound market. The first product was the MAP - or Modular Audio Processor system consisting of a card cage design with a variety of automatic mixing, signal processing and logic control modules. The current ASPEN Series audio processors have been installed all over the world in courtrooms, boardrooms, and many other AV installations.

By the late 80s, the company had developed a very highquality portable wireless system. The CR185 was the first portable receiver only a little bigger than a deck of cards, and it became a revolutionary product for the company.

Karl furthered: “This product was high-quality wireless.

There was portable wireless around at the time, low grade stuff, but we were different. We’re still in the portable wireless business today, it’s still at the core of what we do, and I think that goes to show how great our products were and still are.

“When we launched the CR185, news organisations across the US ate it up! We really couldn’t build enough of them at the time, as they were so in demand and it totally changed the speed at which news teams could get their information.

Long gone were the days of mile-long cable, they could just walk in and do the job as easily as possible.”

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During the 2000s, Lectrosonics began establishing itself in other industries and installations around the world. Its products proved not only perfect for the broadcast fields, but theatres, stadia and live touring began reaping the benefits of its wireless microphones and digital hybrid technology. “It was a combination of things that allowed us to branch out and start excelling in these other industries,” began Karl.

“For one thing, we made a very unique product, the TM400.

The idea behind this was that we’d take our digital hybrid technology and make it into a wireless sound system calibration tool for touring companies, consultants etc. to use. Before that, wireless wasn’t really commonly used because of the way it processed the sound. But, with the digital hybrid platform and the TM400, it gave system designers the ability to set up their test microphones wirelessly.”

The TM400 system was designed to provide the ideal link between calibrated test microphones and measurement equipment. By using a radio link, long cables are eliminated, saving time and providing opportunities for additional measurements to increase accuracy. The microphone can even be moved around in the venue while the audience is present - something that is impossible with a cabled measurement microphone.

“Once you’ve set up a stadium or theatre sound system, you still need to measure and calibrate the whole thing, and, at Lectrosonics, we made it possible to do that wirelessly, which really put us on the map. We also hit it big in the theatre market with our SSM transmitter in 2016. It’s an extremely discreet transmitter that’s really easy to hide, so that got us into the Broadway theatrical market in a big way.”

The SSM is ideal in theatre, or any other installation where concealment in costuming is required. In spite of its tiny size, the transmitter offers an extensive feature set and performance. Frequencies are selectable in 100 kHz or 25 kHz steps across a maximum tuning range of 76.7 MHz, yielding a total of 3,072 available frequencies across three standard frequency blocks.

The servo bias input also accepts mic or line level signals with a wide range of gain adjustment in 1 dB steps.

Accurate LED indications on the keypad allow precise gain adjustments to be made for the maximum signal to noise ratio and minimum distortion, and the limiter in the preamp can cleanly handle signal peaks over 30 dB above full modulation, allowing the input gain to be set high enough to achieve the maximum signal to noise ratio, yet provide protection against input overload.

“It took a number of years for us to really get there and establish ourselves in these fields, but now we’re on a tonne of tours, Broadway shows and stadium sound system alignments,” added Karl. “I think the launch of both the TM400 and the SSM were revolutionary for the company, and that shows in the number of installations we are now part of worldwide.”

More recently, the company has introduced more digital wireless microphone products including the D Squared line. Designed to be ideal for installations and live events where high-quality audio and reliability are required, it utilises Lectrosonics’ fourth-generation digital architecture for excellent flexibility, ultra-fast setup, studio-quality audio, and ultra-low latency.

With product innovations at the core of the company, it’s no surprise that, going forward, this will still be at the forefront. “We’re currently in the middle of a transition to all digital products,” explained Karl. “I would say that this

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I N T ERV I EW - LE C TR O SO N I C S 50 TH AN N I V E R SARY | WWW.MONDODR.COM

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transition will probably take the next five years. Looking even further than that, it’s difficult to say where we’ll be, but I think we’ll maintain our focus on quality and important niches where we know we’ll thrive.

“What is difficult, though, is that these niches are becoming more and more competitive, which means we have to work twice as hard to stand out as a company and develop our product line even further. However, I feel very grateful to be part of a company with such a unique culture and product line. I’ve been here for one third of the company’s history, which is crazy, but I think, this year, the industry is poised for a big recovery and I think it’ll be a great year for us here at Lectrosonics, too.”

As fans flock back to their favourite stadiums and theatres fill up the empty chairs, companies like Lectrosonics can breathe a sigh of relief after one of the most turbulent business years for audio manufacturers worldwide. Looking back over its 50 years of business, the company has not only innovated its product line, but it has influenced and inspired sound system designers with the launch of its wireless technology and revolutionaries in the stadium, theatre and live touring markets. There may be no inperson anniversary parties this year, but Lectrosonics’ legacy lives on in its impressive product line and permanent installations projects.

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I N T ERV I EW - LE C TR O SO N I C S 50 TH AN N I V E R SARY | WWW.MONDODR.COM

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BA RS & P E R F O R MAN CE V EN UE S M O ND O - D R t a k es a look th e te c h nolog y i m pl e m e n t e d i n side B ars & P e rf orma nc e Ve n u e s around th e world.

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R E P O R T - B A R S & PE RF O R M A N C E V E NUE S | W W W.MONDODR.COM

Wat s on’s B a r COMPANY: GENELEC LOCATION: STOCKHOLM, SWEDEN

The Rival hotel in the chic and bustling Södermalm district of Stockholm is renowned as one of the city’s favourite meeting spots. A building with lots of history, it has remained dedicated to entertainment and hospitality since its beginnings in 1937. In 2002, the complex was purchased by ABBA’s Benny Andersson along with two associates, and extensive redevelopment work began to shape the complex into what it is today – a luxury 99-room boutique hotel complete with bars, a bistro and café, modern meeting facilities and a theatre. The latest addition is a brand new bar named after Benny’s faithful Jack Russell terrier; Watson’s Bar offers food and drinks in a vibrant atmosphere with great music at the heart of the experience.

A Genelec 4000 Series sound system ensures that the pulse never stops.

Open seven days a week from 11am – 1am, except Sundays, which has a Monday-morning-conscious closing time of 11pm, Watson’s Bar has rapidly become a favourite haunt for a relaxed lunch, a sneaky afternoon cocktail and of course afterwork DJ sessions. The combination of comfortable, attractive seating areas, cocktails, oysters and champagne, generous opening hours and excellent music has proved extremely popular with hotel guests and Stockholm residents alike. Rival turned to Adolfsson & Partners – a Stockholm-based firm who specialise in delivering turnkey building and interiors solutions – to conceive, design and deliver the new space. AV integration specialists, Hages, were engaged to design and install a fully integrated sound system capable of delivering a high quality, relaxed music experience during the day as well as high energy DJ sessions for the evening crowd.

Genelec loudspeakers had already provided many years of reliable service in the upstairs area of the hotel, so Hages had no hesitation in recommending a system for the new Watson’s Bar based on Genelec 4000 Series installation loudspeakers. “Our challenge was to accomplish a nice, full-bodied sound that would cover the whole of the new Watson’s Bar, from the leafy outdoor terrace through to the bar inside plus the reception and lobby,” said Hages’ Thomas Axelsson. “We decided on a combination

of Genelec 4040 and 4030 loudspeakers supplemented by a 7360 subwoofer for low end reinforcement. We had less than three weeks to turn the project around and quite a few space restrictions to adhere to, but I’m delighted with the results, as is the client.”

“Genelec is an ideal choice for this type of installation where sound quality, tonal balance and high reliability are paramount,” continued Thomas. “Those were the client’s criteria, and Genelec ticks all of those boxes. It’s difficult to beat Genelec sound quality and reliability. Plus there was already an existing Genelec system in the bar upstairs that the client was very happy with, so it made Genelec a very easy choice.

“From our point of view we also wanted the solution to be easy to install, and Genelec 4000 Series loudspeakers are active, which means no external amplifiers to worry about. This is an important point when you’re tight on space - and they also look great in the areas where they are visible. This is always a priority when architects are involved – they don’t like to see big ugly speakers cluttering up their design!”

However, for the Watson’s Bar installation, the majority of the loudspeakers are completely hidden; five 4030s are concealed behind grilles over wallhanging shelves down the sides of the bar, and the 7360 sub is neatly hidden in a specially built compartment under a sofa. Four powerful white 4040s grace the upper bar. Zone configuration and DSP is handled by a Bose ControlSpace ESP-880A processor connected to a programmable CC64 interface panel for straightforward, fingertip control of all zones and sources. A DJ output as well as a central music solution is housed in a technical cabinet behind the bar.

Hotel Rival’s CEO, Jesper Henryson, is enthusiastic about the guests’ reactions to the new venue: “The response we received from guests during our opening week was absolutely fantastic. Both hotel guests and Stockholmers alike seem to have found a common meeting place to relax and enjoy great food and amazing cocktails in an atmosphere of jazz, funk and soul.

Welcome to Watson’s Bar!” www.genelec.com

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Nob le S ava ge COMPANY: D&B AUDIOTECHNIK LOCATION: TBILISI, GEORGIA

Images: Clemens Porikys

Noble Savage Nightclub in the heart of Tbilisi, Georgia offers its visitors year-round entertainment in stylish, architecturally striking surroundings, welcoming national and international artists to their stage. The club stretches out seamlessly over three zones including a reception with bar, outdoor courtyard with fire pit, and the main dance floor.

Last year the venue decided to upgrade its sound system and club owner Till Harter knew he needed the best possible solution to maintain his exclusive establishment’s position ahead of the pack.

“I was born in the direct vicinity of the d&b headquarters in Southern Germany. Their people are hard-working, rock-solid, tech-savvy engineers who always go the extra mile to create the best quality.

So when I learned that d&b had a representative in Tbilisi, it was no question for me to get in touch with him,” said Till Harter, Owner Noble Savage.

Local AV integrator and d&b partner, Akustiko LLC were tasked with the challenge of providing a sound system that could deliver the desired low end but keep high frequencies crisp and clean, all while being visually discrete.

“After thorough acoustic modelling and taking measurements to understand the club’s acoustic issues we decided to base our design around the xS-Series. It includes small, medium and large loudspeakers as well as cardioid subwoofers and lends itself perfectly to this application,” says Avtandil Avtua Kraveishvili, CEO at Akustiko. “We distributed three different sizes of the xS-Series around the venue, resulting in a streamline application and even tonality while visually the PA seamlessly integrates with the interior of the club, thanks to the sleek and ‘no-fuss’ design of the cabinets.”

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“The size-to-power-ratio really is amazing with these speakers. You’d never expect a small loudspeaker like the 5S to be able to produce adequate power for a busy bar area, but it does,” added Avtua.

The club’s installation includes two 5S loudspeakers for the reception/ bar area, four more powerful 10S cabinets covering the outdoor courtyard and two 24Ss combined with two 21S-SUBs and two MAX2 monitors making up the PA for the main room.

“Visiting DJs and guests alike have asked where the ‘hidden’ speakers are as they can’t believe two loudspeakers and two SUBs can give you such deep sound” says Harter.

To enable the team at Noble Savage to easily change the system setup themselves without the help of professional sound engineers, Akustiko provided them with a d&b R90 touch screen, loaded with presets for different club events.

“The client expressed the need for different PA uses, for example DJ nights, live music and playback only events. Therefore, we decided to install an R90 wall-mounted touch screen, providing him with a userfriendly interface to easily manage all types of scenarios, easily, without expert technical help,” says Avtua.

Harter is delighted with the achieved results: “The cooperation with Akustiko was very professional and always trustworthy. They kept their promises and took pride in making sure we had the best service, sound and acoustics. The d&b sound system is powerful, crisp and sophisticated. It works without any problems. All our international DJs so far have been very pleased and happy to play in our club and the crowd can’t stop dancing. Two thumbs up.” www.dbaudio.com

Jassmi ne COMPANY: D&B AUDIOTECHNIK LOCATION: WARSAW, POLAND

The versatile d&b xA installation series proved just the right fit for new minimalist Jazz club Jassmine in the heart of Warsaw that opened its doors at the end of August.

The club is situated on the second basement level of the recently opened Nobu hotel, a branch of the wider Nobu brand, brainchild of world-renowned chef Nobu Matsuhisa and actor Robert De Niro, and exudes cool confidence and quality.

The club can seat up to 190 people and serves its guests high-class cuisine and exclusive concerts with the audience seated on small, lamplit tables. This layout may be expected in a traditional Jazz environment, but on closer inspection the wood clad walls, earthy colour palette and sphere-shaped lamps make a statement of modernity and quality; A statement that extends to the new d&b audio system installed by Polish d&b partner Konsbud Audio.

The main aim of the club’s design was to deliver excellent sound to each individual table and audience member but also provide areas of the club where the music takes a backseat but stays clear, audible and crisp.

With this in mind a variety of acoustical treatments support the sound system in delivering the required results.

Konsbud Audio chose the d&b xA installation series to create the desired atmosphere.

“Jassmine was looking for great sound quality that does not interfere with the intimate character of the club. The xA-Series matches the size of the venue perfectly and its clean design fits the interior beautifully, explains Dawid Chrabalowski, Technical Support at Konsbud the club’s choice. It’s a compact system, consisting of only 18 loudspeakers but it’s big on sound and absolutely capable.”

The d&b xA-Series has been designed to be lightweight and compact and provides a choice of either the 10AL cabinet with narrow dispersion

or the 10AL-D with a wide dispersion, making it very flexible and easy to integrate. Konsbud chose the narrow dispersion cabinet, preventing unwanted reflections, a particular challenge for long and narrow rooms such as can be found at Jassmine.

The final result is an audio solution that complements its sophisticated surroundings with clear, quality sounds for its dining and listening audiences alike.

Artistic Director at Jassmine, Adam Tarasiuk is delighted: “Music and artists are most important to us. To enable the audience to enjoy them as much as we do, we wanted to create an environment that delivers a seamless and smooth experience. The club is comfortable, there are no queues so listening to music becomes a celebration of the moment.

It’s incredible how well this sound system works in such a small space.

We had a concert with 18 artists on stage and each instrument was perfectly audible. This system lets you truly enjoy the music.” www.dbaudio.com

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Pop a nd P o pe COMPANY: VOID ACOUSTICS LOCATION: TEL AVIV, ISRAEL

Inner city regeneration and urban renewal frequently features multipurpose venues alongside living apartments and offices serving the needs of the local population, business visitors and international tourists.

Hagag Group is one of Israel’s leading real-estate developers and has recently completed the construction and installation of a multi-purpose 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. The venue operators harbour the aspiration of elevating Tel Aviv as a hub for excellence in cuisine combined with the most modern and inspiring of atmospheres and spaces. Naturally the desire to provide a high calibre environment for guests and diners includes the provision of state-of-the-art audio.

To achieve this, Hagag Group has worked in conjunction with audio specialist Kahane Group to supply an aesthetically pleasing and high quality sounding Void Acoustics installation for this prestigious complex located in the heart of Tel Aviv’s CBD. Kahane Group has worked alongside Hagag Group on previous occasions, primarily on high-end domestic properties focussed on installing innovative smart home solutions. However, this is the first big audio project they have undertaken for Hagag in a commercial setting, and was a new and dynamic challenge for the teams.

Pop and Pope occupies 2,200 sq metres of space across the 14th floor of Ha’arbaa Towers in the centre of Tel Aviv. With panoramic views across the city, it provides unparalleled high class, sky high hospitality for the residents of, and tourists to the city. The brief was to execute an audio installation reflecting the high calibre nature of the venue.

The venue opted for Void’s signature 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 non-fatiguing sonic signature. The Airten, Airmotion, Air 8 and Venu 215 loudspeakers all feature and are supported by Bias Q2 amplifiers.

EMEA Sales Manager for Void Acoustics, Josh Pearce, was delighted to support Kahane Group with the project: “The Kahane team are highly skilled and professional with great industry knowledge and experience.

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They have a wide network of contacts in the region and are very much the type of business partners we at Void like to work with.”

Audio Consultant, Alon Laski, manages all major projects for the Kahane Group and enjoys an excellent working relationship with Void Acoustics.

“The design aesthetics of Void’s products ooze luxury and ‘newness’ so made them the perfect products to install into Pop and Pope” explained Alon. “The venue layout provided some challenges and we had to be careful to position the fixtures to ensure smooth and even coverage of audio particularly for the dance area.”

The events space offers an adaptable space for a plethora of events including product launches, publicity events, weddings, birthdays and anniversaries and any other type of private event and so the audio installation needed to be multi-functional and adaptable. “We worked collaboratively with Alon and his team on the ground from the initial specification through to the installation to ensure the system was fit-forpurpose and could address all possible requirements” continues Josh.

The new venue opened to much public and media acclaim last summer and enjoyed being fully booked in late summer 2020, between Israel’s pandemic lockdowns. However, with further pandemic spikes the venue is closed once more and there is currently no date confirmed for the reopening of the restaurant and entertainment venue.

“The venue concept for Pop and Pope was born against the background of a global trend of opening entertainment and culinary centres at the heart of prestigious office towers in major cities around the world” commented Yossi Shema, CEO of Pop and Pope Restaurant. “An integral part of creating an atmosphere is acoustics, sound quality and of course the music that is played. I am confident we have achieved all of this in all senses through the installation of a complete Void Acoustics system which contributes to the overall experience for our guests,” he smiles. “We really couldn’t be more thrilled.”

Void’s Josh is encouraged about the potential in the region: “There is massive potential in this region, and once the pandemic is under control, I am certain we have given ourselves the very best chance of succeeding being represented by the team at Kahane. We look forward to nurturing this relationship into the future with our hospitality, residential and touring series.” www.voidacoustics.com

Esen c ia 5 0 1 COMPANY: MUNDO RGB / MADRIX LOCATION: ALMERIA, SPAIN

Esencia 501 was searching for something totally different - something special for their avid guests. A lighting design that would bring the bar to life.

Antonio Solvas Duarte and Mundo RGB had demonstrated their experience and ability to innovate and adapt technology in many previous projects. So, they were brought in to maximise the potential of the venue - and they have proven that creating a spectacular project within only five days before the opening is indeed possible.

The team were very aware of the need to integrate all the different elements, combining them into a complimentary whole, and adapting them to the various forms and structures of the venue. One of the drawbacks of this installation was that the establishment only had a height of 2.8-metres. That is why the team had to choose products that would allow a beautiful result without using equipment that would be too bulky. Digital LED strip lighting, small moving heads, and small but high-performance speakers helped them to achieve that.

The goal was to create an environment where the light by itself was capable of creating the entire atmosphere. It should not only be a visual experience for the guest, but also be the protagonist of the whole; albeit in a much reduced workspace.

In order to achieve this goal, around 1km of digital LED stripes with 60 LEDs per meter were installed inside aluminum profiles with light diffusers on top. The linear elements are all around the venue; in front of the bar and behind it, along the pillars and the DJ booth.

In order to break this linearity, the concept of ‘the heart of light’ was further introduced. This visual highlight is able to transform the little space that is available in front of the bar into a dance floor area. It is a

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stunning canopy above and as a round element, it also nicely integrates the name of the venue several times.

MADRIX NEBULA interfaces act as hardware controllers and extra 60W LED beam moving heads are controlled by Martin Light Jockey for DMX control, while an Akai APC 40 is used as an easily-accessible MIDI controller for the entire system.

The main characteristics of the installation are its versatility and dynamic energy, achieved by both the arrangement of the individual elements as well as the play of colours. This is all thanks to the digital lighting and MADRIX Software with all of the impressive possibilities it offers.

The auditory experience complements the visual one. The venue needed sharpness and depth in the sound quality, so the team chose to install 16 Void Acoustics loudspeakers, model Venu 8, two Void Acoustics low-frequency loudspeakers, model Venu 215, the dbx processor Zone Pro 1261 M model, a EcuDap XBASIS noise limiter, and a Stage Sound Crown XTi power amplifier.

The main challenge of this installation was the time frame – it needed to be completed in only five days. This was achieved thanks to outstanding systems design work beforehand and an efficient programming workflow.

During the planning phase, the space was scanned in all three dimensions with a Leica BLK360 scanner - it generated a data cloud with which the team could model and visualise the entire installation in SketchUp, allowing them to know in advance what was necessary down to the millimetre before implementing and installing the design. www.madrix.com

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Exhibi t i o n L o ndo n COMPANY: L-ACOUSTICS LOCATION: LONDON, UK

The recently launched Exhibition London event space is situated in the heart of London’s White City and Westfield London, one of the capital’s premier shopping destinations. This multi-purpose venue is housed in a stunning Grade II listed building built in 1899 and originally used as an engine house for Central London Railways. A complete renovation of the space combines sensitive architectural restoration with 21st-century technology, which features an L-Acoustics K Series loudspeaker system, to help establish the new space as a major music venue and cultural hub.

The venue is a collaborative venture between Unibail-Rodamco-Westfield and Broadwick Live, operators of Printworks London, The Drumsheds, Depot Mayfield, and Magazine London, which also boasts an L-Acoustics sound system. Both Magazine and Exhibition audio systems were designed by Simon Jones of Simon Jones Technical Production Management (SJ-TPM Ltd) with assistance and integration from HD Pro Audio and design support from L-Acoustics.

Spanning two floors and a total of 1,271 sq metres, Exhibition London features a ground floor foyer and reception area, which can also be used as a breakout area for corporate events and small conferences.

The foyer offers direct access to The First Floor staging area, where the original high-pitched ceiling and its exposed roof structure, polished concrete floor, brass finishes, and decorative lighting create a stunning environment for both live music and corporate events.

The original project brief emphasised corporate events, and Simon once again looked to Kara to fulfil the venue’s needs. But as the project evolved, music became the priority, and the larger format K2 became a serious option. “The First Floor is a 3,000 capacity multi-purpose space, and with the focus now firmly on music, it needed a rider-friendly PA that would also be good for corporate events,” stated Simon. “We needed a left/right system and delays that would be beefy enough for full-on rock but delicate enough for speech.”

“The whole ethos behind choosing K2 is to meet the demands of touring engineers and offer the industry standard, so there would be no question of bands not using the house system,” added HD Pro’s Andy Huffer.

The First Floor features an array of nine K2 per side, with five pairs of KS28 subs ground-stacked along the front of the stage. An A10 Focus

is placed on top of each KS28 for frontfill, for which HD Pro has made custom mounts. Sidefill is catered for with stacks of two A15 and two KS21 while twelve X15 coaxial wedges are available for stage monitoring as needed. Two pairs of A15 are flown as additional delays/fills halfway down the room.

“The main PA is more than capable of covering the entire space, but for corporate speech applications these fills allow us to get more detail at the back of the room without exciting it at the other end,” said Andy.

“This is essential for vocal clarity.”

For the foyer’s rectangular space, compact X8 was chosen for its full range, high SPL, premium sonic quality, and excellent detail. Eight X8 are permanently flown, four at each side of the room and facing in to provide even coverage. These can be augmented with four portable SB15 subs if more bottom end is needed. Cabling has been installed throughout the area’s evenly spaced steel columns so that the SB15 can sit at the base of any column.

Amplification and control comprise two P1 AVB processors, one for the First Floor and one for the foyer, along with nine LA12X amplified controllers for the K2, an LA4X for the A15, and 13 LA4X for the remainder of the system, with portable racks for the monitors.

“Our primary challenge was that this is a tiled Victorian building, so it’s quite reflective,” added Andy. “The First Floor, in particular, has lots of big, long shiny surfaces facing each other. Some acoustic draping is used, but we did not want to hide all the beautiful tile. Having K2, with its variable directivity, allowed us to optimise the system, keeping sound on the audience and off the walls. This, in conjunction with a complete grid system flown from the crane beams, gave us more rigging options.”

As well as providing design support in the planning phase of the project, Jeff Woodford, Application Engineer Install at L-Acoustics, also provided on-site acoustic measurement and electronic optimisation, calibrating the sound system to give the best performance throughout Exhibition.

With optimum flexibility of the system also a prime consideration, two DiGiCo SD12 consoles with Dante cards and Optocore sharing an SD Rack with 32-bit cards and an SD11i with D Rack are provided as the control package. “These are also an industry standard and make the venue a desirable proposition,” otes Jones.

Adding to the system’s flexibility, a comprehensive fibre network was installed, linking the front of house and monitor systems upstairs and down, allowing audio to travel to and from any area. The network also allows the DiGiCo consoles to be moved to different areas, as required.

“We’ve installed simple touchscreen panels for controlling volume, etc., throughout the venue,” said Andy. “This means things can be changed quickly and easily to go from, for example, a stand-alone system for live music to distributed background music from someone’s phone.”

“Both HD Pro and L-Acoustics have been exemplary in their design, support, and commitment to the project,” added Simon. “The system sounds really good. I’ve done a lot of PA systems, but even I was surprised at just how good K2 sounds in here. It has exceeded my expectations, and it looks good, too, which is so important in a setting like Exhibition London.”

“It was fantastic to work with L-Acoustics on Exhibition London, the K2 system installed is superb in every way and gives us maximum flexibility in terms of the types of events that are produced in this beautiful Victorian venue,” concluded Bradley Thompson, Managing Director Broadwick Live. www.l-acoustics.com

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I mp ér ia l COMPANY: OUT BOARD LOCATION: BRUSSELS, BELGIUM

In the heart of Brussels, private members’ bar Impérial oozes with charm and the underground cool of a turn of the last century speakeasy. The vintage atmosphere and jazzy vibe that draws guests in, however, integrates a full, leading edge, AV solution with TiMax SoundHub and dcontrol central to the immersive environment, realised from concept by Belgium’s premier design and installation integrator, FACE Projects.

The vision of Carl de Moncharline, owner and manager of several successful Brussels venues was for an ‘immersive environment creating spherical sound experiences’, as well as a stylish lighting system in keeping with the historical façade and vintage ambience of the venue, that was versatile enough for live jazz concerts, a DJ clubbing experience, or even as a cocktail bar. The challenge to create this in a low-ceiling and small, 300 square metre space fell to long term and trusted AV partner, FACE Projects, working in conjunction with refurbishment project manager, Laurent Grietens, of Wisely Ltd. Simplicity was key to the specification for the venue. Dramatically different sound environments would need to be recreated at the flick of a switch which for FACE, made TiMax a necessity. As FACE CEO, Karel De Piere confides, “I do not even want to think how we would set up the sound system without TiMax, no other product could provide this level of precise control.”

The TiMax SoundHub-32S spatial audio matrix controls a total of 38 discrete speakers from Electro-Voice. Effective sound control without spillage is a deliberate consequence of the many distributed speaker sources, which help avoid noise pollution for the neighbouring buildings. Having said that, the speakers integrated into the walls and ceilings of the venue are powered by three 8-channel Powersoft Ottocanali amplifiers and a Duecanali for the subbass units, which ensure a solid club vibe in the space.

Dave Haydon, director of TiMax developers Out Board, visited to assist with immersive rendering of the space and programming object-based spatial effects. Zone overlays were created within TiMax to segment the venue space, which can also be aligned across the full venue area. From a static image for live music sets to dynamic movement for evenings of clubbing with a DJ, presets and different spatial effects are defined to suit the requirements of each of the club’s audio configurations and performance formats.

One of the most exciting soundscapes that activates the clubbing experience is described as a sound shower which as the name suggests, submerges guests in sound, with TiMax spatially blending speakers spread along the low-arched ceiling of the venue with others in the walls. Stijn Vermeiren, FACE project engineer, adds, “One of the set-ups makes soundscapes very simply travel into 180° on two axes, which even at quite low levels gives a very clear spatial feeling.”

Controlling TiMax, as well as all the other elements of the venue’s AV system, is the control solution, dcontrol, developed independently by FACE’s Vermeiren. Driving integration to the next level, dcontrol is a softwarebased solution that interconnects unrelated AV equipment, fixing the highly complex problem of connecting devices that do not natively speak to each other. dcontrol links the venue’s devices, synchronising the settings and controls across an open management system not limited by a few brand protocols or closed systems.

The club’s haute technological backbone interfaces, but does not disrupt, the magical veneer of the club’s ambience: the authenticity of its visage is paramount. Impérial glows in the warm white rows of Lucenti Pearls, controlled and powered via DMX. Configured as a pixel led ceiling matrix, 230 individually controlled Pearls are daisy-chained on wired festoon cable. The lighting integration appears historically authentic whilst also serving as versatile entertainment lighting, which has the full-colour spectrum at its disposal for video-mapped lighting displays on club nights. It is also functional within the space as the festoon fitting and discreet DMX powering complement the low ceiling and further house lights are not required.

Club founder, Carl de Montcharline, is delighted with the outcome of the club integration: “The results are just as I planned for. The building is beautifully historic and we have worked with its style to create an equally beautiful inner space for guests to enjoy, which adapts to the club’s changing needs. I work with FACE because they realise in the space exactly what I ask for and more.” www.outboard.co.uk

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Troxy COMPANY: LONDON, UK LOCATION: SSE AUDIO

Once the largest cinema in England, and now a busy concert hall, Troxy is bristling with new technology, having transformed its capability to deliver stunning sound with a new in-house JBL sound system, the first of its kind in the UK. The project was a complete reinvention of Troxy’s audio capabilities.

Its roster is one of the most diverse of any UK venue, welcoming the world’s leading touring artists from classical and cabaret music through to rock and roll, dancehall and everything in between. The new system needed to perform as proficiently with live as well as recorded music and cater to awards, corporate and performance events. In addition, it was required to offer broadcast quality sound for events including the BAFTA Games Awards and Channel 4 News.

The system has been specified in collaboration with integration partner, SSE Audio Group, who ensured the system worked functionally as well as sonically.

The centrepiece of the integrated HARMAN high-grade sound reinforcement system is the new JBL VTX A12 dual 12-inch line-array loudspeaker, benefitting from three newly designed drivers.

The A12 benefits from JBL’s patented differential drive, radiation boundary integrator, and polymer annular ring radiator high frequency drivers. The main system comprises 24 VTX A12, flown as two hangs of 12. Low-end extension is provided by 12 VTX G28 dual 18-inch subwoofers. Front fill comes in the form of four elements of VTX A8, the new dual 8-inch line array cabinet from the VTX A Series range, with the advantage of being a smaller, biamped box. A further four A8 are installed as new under-balcony fills, using the same high-performance ring radiating HF driver as A12, ensuring seamless sonic crossover between the main and fill systems.

The venue has also taken delivery of two Soundcraft Vi3000 mixing consoles with matching Vi Stageboxes, in a split rack, which forms the backbone of a new stage line system, along with a new Soundcraft Si Performer 1.

Troxy is already receiving great feedback about the new system which was selected after a testing phase with both audience members and tour managers alike.

Although Troxy is acoustically fairly forgiving, particularly given when it was built, JBL VTX A8 and A12 gave the installers the opportunity to optimise it fully in a way that no other system would have been capable. They identified two areas that they wanted to improve. Firstly, they wanted the sound to reach the very last row of the upper circle without hitting the bar just above it. This was partly to make it easier for customers to order drinks, but also to reduce rear wall reflections, which could reduce intelligibility. Thanks to the highly granular array frame hanging system, they were able to refine the array shape and pick a point to within 0.4 of a degree. The outcome of this is that when seated on the back row you feel fully engaged with the direct sound, as

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soon as you move off axis, the sound level drops away substantially. At a throw length of 30+ metres, this is a considerable achievement.

Secondly, the technical team identified that a considerable amount of sound from the performers reflected off the balcony front and back onto stage. This meant the artists couldn’t hear themselves and asked for the monitors to be turned up, this is not good news for many reasons. Typically, you can’t put larger angles in the middle of a line array to avoid such obstacles because when you do, the array behaviour starts to break down and delivers all sorts of unwanted artefacts.

However, there are several innovative technologies in JBL’s A-series that allow for next-generation standards of inter-box coupling. Because of these capabilities, you can set larger angles into the array without suffering the downsides in the same way that you would on a more conventional system. As a result, the integrators were able to effectively focus the energy away from the balcony front and halve the reflected energy on stage in several critical locations.

As an art deco gem and home to the largest Wurlitzer cinema organ in Europe, Troxy needed a flexible sound system that could help it maintain a leading position on the touring circuit, while also attracting a range of events requiring sound excellence.

The diverse range of events hosted at Troxy was at the forefront of the system design. For example, the small footprint and high channel count of the Soundcraft Si Performer 1 console are perfect for the many corporate shows which demand that tech is kept as invisible as possible, finding its main use in the ‘cupboard’ mixing booth under the staircase.

A full JBL monitor and fills package has been provided as part of the upgrade, which includes JBL VTX M22 stage monitors and VTX F35, F15 and F18S point source boxes for sidefills and drum fills. The team utilise JBL’s Performance Manager software enabling them to recall various presets, created in the commissioning stage, in order to facilitate the most commonly used configurations. Further to this, the team at SSE Audio Group, installed the system at carefully selected locations throughout the building making it accessible for staff at the venue.

The system was selected after an extensive specification and shoot out process with the leading audio brands lasting over 12 months.

After this research phase, Troxy selected HARMAN and UK distribution partner, Sound Technology Ltd, to undertake this major investment, with SSE Audio managing the specification and installation process. A personable approach to the project by all the key players in the team led to the decision to make a significant investment in the new JBL VTX A12 line-array. The system was a clear choice to give the best sound to Troxy’s wide range of prestigious live music events, high profile awards ceremonies, corporate events and private parties. It had its first full use in March 2019 at a Mayday Parade concert and an Illuminaughty DJ club night, where its stunning quality was evident. www.sseaudio.com

Image: Joey Kirkman

Steven Tanger Center for the Performing Arts COMPANY: DIGICO LOCATION: NORTH CAROLINA, USA

Named for Steven Tanger, CEO of Tanger Factory Outlet Centers, who pledged $7.5 million toward the venue’s renovation project, it will host performances by the Greensboro Symphony and Guilford College’s Bryan Series of acclaimed lectures, as well as touring Broadway productions and concerts.

It will do so with state-of-the-art sound from two DiGiCo SD12 consoles at FOH and monitors, an SD11 desk used for special events adding more flexibility to the venue, and a DiGiCo 4REA4 mixing engine that provides the drive for the main system, while serving as a matrix mixer for outputs from multiple consoles. In addition, wallmounted DiGiCo A164 16-input/4-output expander units act as smart input panels on stage. The DiGiCo systems were specified by SE Systems and Arup, and installed by integrator Parsons Technologies, now known as ArchKey Technologies.

The FOH and monitor consoles are on an Optocore loop network, along with an SDRack with 32-bit mic pre’s for those desks and the SD11 mixer in the control room at the rear of the hall that can mix the venue’s sound when the space is used for events other than concerts or shows, allowing the FOH console to be removed and seats added. “The SD consoles are simply the best out there,” said SE Systems President, Cliff Miller. “They’re reliable, they sound great, they’re incredibly flexible, and they’re on just about everyone’s contract riders, so they make the Tanger Center that much more attractive for touring music and shows.”

However, the SD desks are just part of a larger DiGiCo ecosystem at the Tanger Center. The 4REA4, DiGiCo’s centralised DSP engine capable of leveraging the power of FPGA technology at a 96-kHz sample rate, is the heart and hub of the Tanger Center’s sound systems, handling automated mixing of audio such as house announcements or any audio from the SD12 at FOH or the SD11 in the rear control room. The 4REA4 has bi-directional audio connectivity with any device on the network in both its proprietary format and a range of other standards, including Dante, Aviom, Waves SoundGrid, Optocore, ME-1 and more, and can also interface with external control devices using TCP/IP, GPIO, MIDI and AMX/Crestron.

With the introduction of the DiGiCo 4REA4 came the new DiGiCo A3232 protocol, allowing connection with DiGiCo A164 wall-mounted I/O expander units, via the DiGiCo ASTAR four-port A3232 network I/O expander, allowing up to 16 mic preamps per unit, with LED backlit Scribble Strips for each microphone input. “ASTAR has been a huge help here because of the distances from the stage and the 4REA4 to the amp racks on the catwalk above the stage,” Cliff explained.

And DiGiCo technical support was always available for designing, programming and commissioning this ecosystem, with Technical Sales Manager Taidus Vallandi on site for programming and advice. “This was a group effort between SE Systems and DiGiCo, and it turned out spectacularly,” added Cliff. “We wanted to give the Tanger Center and the city of Greensboro the best venue sound possible, and we did.” www.digico.biz

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M i C onc i na COMPANY: SYMETRIX LOCATION: TEXAS, USA

Mi Cocina required audiophile quality sound processing and easy control of 12 different audio zones throughout the venue, including both indoor and outdoor spaces. The Dante networked audio system for the space is based on a Symetrix Prism 8×8 DSP, a Symetrix xOut 12 Dante-to-analog expander, ARC-WEB virtual user interface and ARC-3 wall control panels.

To serve the differing needs of the various spaces in the venue, multiple loudspeaker types were used, including Tannoy ceiling loudspeakers in the first floor entry, Fulcrum Acoustic loudspeakers with Innovox subwoofers in the main dining room, Tannoy outdoor loudspeakers on the rooftop balcony, and diverse fill-in loudspeakers in other locations.

These wildly different loudspeaker types throughout the restaurant require careful programming of the Prism DSP in order to match level and tonality between areas at all volume levels. The Symetrix Prism DSP provides the flexibility to use standard processing such as EQs, crossovers, duckers, limiters and compressors as well as more specialised processing such as loudness management modules to ensure that Mi Cocina lives up to the audiophile expectations of the owners.

12 Stor ies COMPANY: K-array LOCATION: Washington D.C, USA

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Easy-to-use control of the audio system is provided by five Symetrix ARC-3 wall panels in discrete locations around the restaurant while a Symetrix ARC-WEB virtual user interface allows complete, browserbased control from a mobile phone or tablet. System Designer, Danny Salinas of AlleyCat AV, explained: “The owners wanted to be able to walk in with their phones and log into the system, and with ARC-WEB they can do that, If they want the sound a little louder or something like that, they can easily adjust it.”

Mi Cocina required audiophile quality sound processing, the ability to fully customise the loudness response of each zone in addition to traditional audio processing, and simple system control from both wall controls and virtual controls on handheld devices. Symetrix manufactures the only DSPs capable of satisfying all these requirements and AlleyCat AV provided the expertise and craftsmanship necessary to turn the customers’ dreams into a fully realised, perfect system. This combination of meticulously designed hardware and software installed by talented professionals was the only way to provide a solution truly worthy of being part of the Mi Cocina experience. www.symetrix.co

The InterContinental Hotel in Washington, D.C.’s new billion-dollar residential and retail development, The Wharf, boasts a 3,500 sq ft rooftop cocktail spot, dubbed 12 Stories.

The drinking destination marks the D.C. debut for Gerber Group, the prominent owneroperator behind the trendiest bars and restaurants in New York, Atlanta and Santiago, Chile.

Designed by interior designers SLDesign, 12 Stories features modern artwork by Paige Smith, industrial-chic design touches like concrete flooring, wired pendulum lighting, velvet, marble, leather and wood furniture, and an expansive 26 ft NanaWall, opening up onto an outdoor terrace.

The Gerber Group requested an audio system from longtime partner integrator Global Audio Systems – who had already found success installing K-array in Gerber Group’s Grand Central Station lounge, The Campbell – a system that could deliver a high SPL in a compact enclosure.

Together with hotel management, the team selected K-array’s Kayman-KY102 line array loudspeakers for its amazing horizontal coverage and its four-inch closely-spaced drivers that allow for better frequency response in the lower bandwidth.

Given its similar characteristics yet in a smaller frame, the Python-KP52 was also selected for distribution throughout the venue.

The Gerber Group and InterContinental Hotel were ecstatic with the sound and look of the final system, which is comprised of seven Kaymans and four Pythons. www.k-array.com

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Brought to you by the team behind MONDO-DR magazine, the MONDO-DR Awards were launched in 2017 to recognise and celebrate the best installation projects from around the globe.

From manufacturers to distributors, installers to lighting designers, architects to acousticians and consultants to venue operators – anyone can enter a project into the MONDO-DR Awards. The project simply needs to be a fixed installation from the entertainment world from the past 18 months.

The MONDO-DR Awards 2021 will be hosted online via the Swapcard platform, with the winners decided by a panel of independent judges and previous award winners.

There is no other award ceremony in the industry purely focussed on fixed installation projects from the entertainment world, so get your entries in now for a chance to win.

E N T E R YO U R P R O J E C T N O W M O N D O D R A WA R D S . C O M / 2 0 2 1 / E N T E R - N O W DEADLINE FOR ENTRIES: JUNE 1 SHORTLIST ANNOUNCED: JUNE 7 M O N D O - D R A WA R D 2 0 2 1 E V E N T: 1 5T H J U N E

SPONSORED BY:

F O R I N F O R M AT I O N O N S P O N S O R S H I P O P P O R T U N I T I E S C O N TA C T J . DIXON@MONDIALE .CO.UK / L . ILES @MONDIALE .CO.UK

EVENT AVAILABLE ON CATCH UP ON SWAPCARD | WWW.MONDOSTADIA-AGORA.COM/HOME

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IN FOC U S

42 VOLCANIC FASHION SHOW Tenerife 44 TAMPERE HALL Tampere 48 BROWNS London 54 DENTON BIBLE CHURCH Dallas 56 THE GOOD TIME HOTEL Miami 66 PARKROYAL COLLECTION, MARINA BAY Singapore 68

BOOMBOOMROOM Liuzhou City

72 AUCKLAND SKY TOWER Auckland

IN F O C U S | WWW. M O NDO DR. C O M

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IN B RI E F T ener ife’ s Vo l c a n i c F a s h i o n Sh ow Wa l ks on W a t e r w i t h G U I L Tenerife’s Volcanic Fashion Show took place in Lago Martiánez on the shores of the Atlantic Ocean in Puerto de la Cruz. GUIL’s transparent platforms were used as a ‘floating’ catwalk, to obtain an outstanding visual effect.

The decision to change the show’s habitual format and move the runways from the exhibition grounds to an outdoor setting came in response to the idea that ‘the show must go on’, seeking new strategies based on the synergies between nature, fashion, tourism and quality products like GUIL platforms.

The 200x100cm TM440-M platforms are made with 20mmthick methacrylate panels and reinforced aluminium frames, guaranteeing maximum safety and allowing the platforms to be built without a central support bar.

GUIL’s lifting towers were also in use at the event. With a range of over 50 models, GUIL manufactures lifting towers for use in flying line arrays or lifting truss structures to carry lighting and LED screens. www.guil.es

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TAM PERE HAL L HELSINKI / FINLAND

P h o to s: I n sp i ro i v a Cr eat i v e

E M EA

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T a m pe r e Ha l l c r e ate s ca p tivat i n g c o l o u r w i t h he lp fr om El a tio n , E T C a n d Hi g h - End S y s t e ms.

Belo w : Ta mpe re H a l l ’s v i b r a nt i n t e ri or, provi de d b y E la t i o n.

Located 180 kilometers north of Helsinki, Tampere Hall is home to the Tampere Opera and the Tampere Philharmonic Orchestra, and is the largest concert and congress centre in the Nordic countries. Recently, Audico Systems installed 281 of Elation Professional’s dynamic Fuze Pendant LED downlights in what is one of the most spectacular house lighting installations in the world.

The impetus for the house lighting upgrade stemmed from EU regulations that will effectively end the use of certain halogen bulbs, coupled with the fact that the venue’s old house lighting system was nearing the end of its lifetime. The project commenced in 2018 with Audico, Elation’s Finnish partner based just west of Helsinki, conducting product demos of various house lighting fixtures, including the Fuze Pendant.

“The venue required good quality white light with high colour rendering and also highly saturated colours for effects. The fixtures also had to be very silent,” explained Project Sales Manager at Audico, Tapio Järvinen, who has worked with the venue on various projects over the past eight years. “We chose the Fuze Pendant because of the good light quality (CRI of 90) and the good dimming. It also had enough output to cover the venue, and because it is fanless it does not make a noise.” Tapio said that a colour-changing solution was not necessarily a requirement at the beginning of the project, but as the jump from general halogen to LEDbased lighting was happening anyway, the leap wasn’t made any more difficult by adding a colour-mixing option, but instead was a positive addition to the system.

Audico supplied the fixtures and handled design of the lighting and control systems, working closely with the venue’s lighting technicians.

The company also handled installation and commissioning of the fixtures, as well as installation, commissioning and programming of the control system. Audico completed the main part of the installation in the summer of 2020 with additional work completed in March of this year.

Ramboll Finland completed the design for the electrical systems.

One of the biggest challenges that the Audico team had to deal with was time constraints. The majority of the installation took place over a threeweek period last summer where over 370 existing halogen lights were removed and replaced with 281 Fuze Pendants along with 100 other LED downlights. Five dimmer cabinets were also removed while five switchboards were installed and all data cabling completed.

Tampere Hall is a carbon neutral building and has operated as a green value pioneer in Finland for years, emphasising environmental and social responsibility in its operations and procurement. With environmental responsibility one of its guiding values, the fact that the new house lighting was LED-based was extremely important to them.

“The savings comes from more precise control, the ability to control each light individually,” Tapio said. “For example, now they can turn on only a few lights if needed or only turn on lights in a certain area, like over

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the stage. Because they have more precise control, they have no reason to keep lights on all the time. The lighting renovation was intended to consider not only energy efficiency but all users of the Hall from visiting lighting designers to the daily cleaning staff.”

The result is a system with fixed scenes for different kinds of use: orchestra rehearsals, audience arrival, cleaning, etc.

Tapio said a power limit for the Fuze Pendants has been set at 80% “but when the system is all on it still only runs at 40% so there is plenty of output in the Fuze Pendant!” The 11,000-lumen fixtures are equipped with 25º lenses and were recessed in already existing positions using a custom mounting piece. The narrower lens was necessary for the long throws, which range from 15 to 18-metres. With colour temperature of the Fuze Pendants adjustable from 2,400 8,500K, the house look in the space has been set at 3,000K. The Fuze Pendant’s full spectrum 230W RGBWL array and adjustable colour temperature allows the Hall to change the feel of the room whenever needed, or colour match with anything happening on stage. Tapio commented: “It’s fun to have a system that can do so much but I think my favourite look overall is ‘all on’, which is basically a warm white scene. It’s so easy to get good warm white with good colour rendering from the Pendant’s colour mixing.

Another favourite feature is the ability to quickly create pixel mapping effects.”

Tampere-hall uses an ETC Paradigm control system across

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all areas of the building for lighting control. In the Great Hall, there are general buttons on doorposts where lights can be turned on for cleaning and general working, but by using the Paradigm touchscreens, you can control the lighting more precisely, with varying scenes for different intensities and colours. For additional control Tamperehall has connected a High End Systems Hog4 controller to override the Paradigm control. All general lighting takes four universes of DMX, and the system also uses networked DMX (sACN) for controlling. There are six network switches across Great Hall, so it is easy to connect ethernet-DMX nodes or light controllers all across the venue.

The first events using the new house lighting system have already taken place, including several large TV productions. One of those broadcasts was so enamoured with the new lighting that they chose to film the event from positions backstage in order to use the house seating area as a beautifully aesthetic background. The Tampere Philharmonic Orchestra also live streams from the space each week.

Tapio reported that the client is very excited about the new system and that lighting technicians were especially eager to investigate the new possibilities. Noteworthy to mention is that the Fuze Pendant system in Tampere Hall is not the only Elation house lighting solution at the venue. In an adjacent hall in the complex, 69 Elation Colour Pendants are also used for dynamic house lighting.

TECHNICAL INFORMATION LIGHTING 281 x Elation Professional Fuze Pendant; 1 x High End Systems Hog4 controller www.tampere-talo.fi

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BR O WN S EMEA

LONDON / UNITED KINGDOM

AV Inte g ra tor, AT& C installs K-array l o u d s p e ake rs and Innosonix amplif ie rs at B r o w n s’ ne wly-la unc h e d Ma yf air sh opping e xpe rie nc e , B rowns B rook Stre e t, with a s pe c i f ic brie f f or h ig h -q uality audio th a t th e y didn’t wa nt to se e .

Browns offers an unrivalled, tactile in-person experience that flies in the face of the current trend for instant online click-and-ship gratification.

Blending exceptional service with creativity and technology, the Browns ethos is personified in the recently opened Dimorestudio-designed flagship boutique at 39 Brook Street in the heart of London’s Mayfair.

Following extensive construction work which saw the Grade II* listed building renovated, a contract was awarded to South Hampstead-based AT&C Professional System Ltd to design and install a fully networked, high specification audio system throughout every room. The brief was unambiguously clear: “We want the best sound quality possible – and we don’t want to see it.”

“Given that we couldn’t install speakers onto any of the walls or ceilings due to the building’s listed status, which also restricted the size and shape, that considerably narrowed the field when it came to selecting a suitable loudspeaker supplier,” explained AT&C Business Development Manager, Alan Smith.

Among the options discussed were a fully wireless hi-fi style approach – not ideal from both reliability of service and fidelity considerations – or plaster in-wall speakers, which could have met the aesthetic brief but were unlikely to sound particularly exciting. To accommodate the severe limitations on speaker placement a more sophisticated technological solution was chosen designed to provide tightly controlled dispersion from minimally sized enclosures.

That led to only one possible contender: design-led Italian manufacturer, K-array. “We got in touch with K-array’s UK distributor 2B Heard and, aided by Director, Dave Wooster’s acoustic modelling, drew

up a specification based around large numbers of Lyzard low profile line arrays,” said Alan.

Working from the initial drawings supplied by the AT&C team it became very clear that the acoustic design was going to need a solution, according to Dave, that was “way out of the box.”

The designers were adamant that minimal visual impact on any of the spaces would be required – and that brief very soon crystallised into “no impact!”

Based on positional drawings and initial acoustic predictions, Dave specified a selection of K-array speakers that would fit the impossibly small physical spaces from the Lyzard, Truffle and Rumble sub-compact ranges.

“While we able to demonstrate quite easily that the coverage and SPL would be exactly as required, the designers insisted that we integrate most of the speakers into their railing structures, either forward facing or upward facing for reflection. Subwoofers were hidden into floor vents as again no visible speakers were permitted,” explained Dave.

The audio experience at Browns’ flagship London boutique is total.

Every one of the 26 individually Extron controlled zones, including the changing rooms, enjoys the same high level of sound quality from Browns’ own specially curated playlists, produced by the 22 LyzardKZ1 mini point source and 72 Lyzard-KZ14 ultra-miniature line array loudspeakers. These are supplemented by 17 Truffle-KTR24 compact subwoofers and 44 Rumble-KU44 compact subwoofers.

Distributing faultless audio to so many loudspeakers and to a labyrinth of discrete spaces simultaneously required a creative power

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amplification infrastructure, which was only made possible by multichannel intelligent amplifiers from Innosonix, another of 2B Heard’s UK distributed brands. Offering the world’s highest channel density, two MA32/D 32 channel models with built-in Dante networking power the entire speaker system.

“We could have used 10U of rack space,” said Alan. “But instead we needed only 4U of rack space to deliver 64 discrete channels, with each and every channel individually controlled by on-board DSP. This gave us an elegantly simple solution.”

By far the biggest challenge was striking the right balance between sound coverage and the designers’ aesthetic expectations. K-array’s physically minimalist profiles and the readily available choice of standard cabinet finishes made this an easy task, with the polished silver treatment allowing the speakers to disappear into the starkly modern décor, and in many cases be completely invisible. A few are finished in black, while in one area, white finished line arrays are fully integrated into the surrounding white ceiling light fixtures.

Because of the building’s Grade II* status, all the showrooms are essentially designed as self-contained shells as nothing is allowed to touch the original structure. Some speakers are recessed into the metal framework, while in the larger areas the KZ14 mini line arrays are mounted on custom brackets with a pre-determined angle and with only one fixing into the re-plastered ceiling.

“The KZ1s are so small, measuring only 3.7cm by 2.2cm, that we could easily fit them into shadow gaps around the building, particularly in the changing rooms where you really can’t see them,” said Alan.

“Some of the subwoofers are either installed behind grilles, or are built into what look like heating plates installed into the ground. These are set back a little so they can’t be seen and radiate low frequencies very effectively into the room.”

In the main event space, known as the Yellow Room, a pair of ThunderKMT18P 18” subwoofers lay down the low-end foundation for a formidable Kayman-KY102 portable line array system with sufficient grunt to prompt a well-known visiting DJ to enquire where he could get

Abo v e: The d iscr eet K- a r r a y syst em a t B r ow n s.

I ma ges cou r t esy of B oz ho Ga govsk i.

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“ T h e de sig ne rs we re a da mant th at minimal visu al impact o n a n y of th e spa c e s would be re q uire d - an d that br ief v e r y soon c rysta llise d into ‘no impa c t! ’”

Right: T he mu l t i - b ra n d, lux ury bout i q u e b a se d i n Ma y f a i r.

I mages c ou rt e sy of Bozho G a g ov ski .

a system to tour with. From someone who lives and breathes music that is indeed a strong testimonial.

“The system sounds great. From our perspective as audio purists there have been trade-offs – in certain areas larger, more visible speakers could have given us slightly better coverage, but we stuck to the brief and the client is delighted with the end result. When you walk around the store and hear sweet music all the way through, it’s so satisfying considering that the surfaces are hard and audio-unfriendly. The small KZ14 line arrays gave us the ability to produce good coverage in very wide spaces, and that’s what made this project work – you just can’t use another brand.

“The client is really happy,” concluded Alan. “Nobody expected that we’d be able to produce audio of this quality without the hardware being visible, and they didn’t think the tiny K-array speakers could do the job.”

A spokesperson from Browns confirmed that the K-array and Innosonix system more than fits the bill: “In terms of aesthetics and answering the brief for our new flagship Browns Brook Street, AT&C successfully delivered. We are also incredibly impressed with the audio quality and ease of use, as well as the delivery of a flexible events sound system that allows for on and off-site DJ set up.”

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TECHNICAL INFORMATION SOUND 12 x K-array Lyzard-KZ1XP (Polished Silver); 10 x K-array Lyzard-KZ1XP (Black); 18 x K-array Lyzard-KZ14XP (Polished Silver); 50 x K-array Lyzard-KZ14 (Black); 4 x K-array Lyzard-KZ14W (White); 17 x Truffle-KTR24 (Black); 12 x Rumble-KU44 (Black); 7 x Rumble-KU44XP (Polished Silver) DJ System 2 x K-array Kayman-KY102; 2 x K-array Thunder-KMT18 Amplifiers 2 x Innosonix MA32/D/s DSP Control BSS Blu-100; BSS Blu-Dan Control Extron – IPCP Pro 255 – LinkLicence; Extron 7” TP 725M in the rack; 6 x iPad control in iport MK2 or Luxeport Cases

www.brownsfashion.com www.k-array.com www.atandc.net www.2b-heard.co.uk

Left: K-array Lyzard l o u d s p e ak e r s i n p o l i s h e d silver t o m at c h B r o w n s ’ ae s t h e t ic .

Im ag e s c o u r t e s y o f B o z ho Gagovski.

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IN B RI E F Denton Bible Church Automates Audio Network with Optocore AutoRouter The Denton Bible Church in Dallas, TX recently underwent a large redesign of its audio capabilities, adding a new DiGiCo Quantum338 console, as well as a new DiGiCo SD12. The venue is tied together on an Optocore Digital Fiber network, at the heart of which is one of Optocore’s new AutoRouters.

The audio network was installed by Southlake based Digital Resources, who chose the Optocore AutoRouter solution because of its ease of use and flexibility.

It works as a central patch bay and replaces the typical redundant ring topology of an Optocore network and turns it into a redundant star network. AutoRouter’s advanced transceiver ports detect when devices are connected at remote patch points and reconfigures the active connections to maintain redundant fibre tunnels to each location. AutoRouter also automatically adds devices to the network loop as it is powered up. www.optocore.com

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Photo: Landry Amick

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TH E GOOD T IM E HO TE L A M ER IC AS

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MIAMI / USA

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

A s p e c t a c u l a r l y - d e s i g ne d t r o pi c a l o a s i s o f f e ring es c a pi s m a n d h i g h - end h os pi t a l i t y , T h e G o o d t i me H otel ne e d e d a s t a t e - o f - t h e a r t s ou n d s y s t e m t o m a t c h a nd DA S Au d i o pr o v i d e d th e pe r f e c t s o l u t i on.

Below: T he pool a re a a t The G oodt i me H o t el .

R i ght : Pha rre l l a n d D a vi d G ru t m a n.

I ma g e s c ou rt e sy of A l i c e Ga o .

The Goodtime Hotel – the first lifestyle hotel from David Grutman of Groot Hospitality and American musician, Pharrell Williams – has opened its doors on Miami Beach’s Washington Avenue and 6th Street.

Delivering an Art Deco aesthetic with a twist, the 266-room venue has been developed by real estate entrepreneurs, Michael D. Fascitelli and Eric Birnbaum of Imperial Companies, who assembled the full square block between 6th and 7th Streets, while New York City-based architect, Morris Adjmi, acclaimed interior designer, Ken Fulk, and landscape architect, Raymond Jungles were responsible for its incredible spaces, rooms and gardens.

“It took five years to bring our vision to life. The developers, Eric and Michael, saw the potential of this space. We wanted to create a product that stands apart and something that is unique to Miami Beach’s hospitality scene,” said David.

“The Goodtime Hotel promotes an active, balanced lifestyle of equal parts, happy pursuits and relaxed escapism, all within an everything-atyour-fingertips tropical oasis.”

Standing in a central, historic section of South Beach, The Goodtime Hotel features a corrugated facade, airy atrium, hand-painted hothouse murals and Deco plasterwork that recall the opulence and nostalgia of a time gone by, though this building has been entirely designed for the modern traveller. Its guestrooms range from individual queen bed accommodations to a handful of suites, with many rooms offering direct views west to Biscayne Bay or east to the Atlantic ocean.

The property is also home to David’s Strawberry Moon, a restaurant and 30,000 sq ft pool club serving up classic and casual Mediterranean fare as well as specialty cocktails for lunch and dinner - inside or poolside.

The venue amplifies modern Miami’s crossroads of culture and energy, with Ken’s design concept tipping its hat to mid-century Caribbean and

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“ WE WANT E D T O C RE AT E A P RO DU C T TH AT ST A N D S AP ART AND S O ME T H ING T H AT IS UN I Q U E T O M I AM I B E AC H’S H O SP IT ALIT Y SC E NE .

T H E GO O D T I M E HO T E L PRO MO T E S AN AC TIVE , BA LA N C E D L I FE S T Y L E O F E Q U AL P ARTS, H AP P Y P UR S U I T S AND RE L AX E D E SC AP ISM, ALL W ITH IN A N E V E RY T HI NG - AT - Y O UR-F INGE RTIP S TRO PIC AL OA SI S. ”

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Central American resort towns, such as Havana and Acapulco in their throwback days. Elsewhere, there’s 45,000 sq ft of ground-floor retail, a gym with MyBeast and Peloton equipment, and a glossy peach-hued and natural oak-clad library for anything from coffee to cocktails, through to business meetings.

“My first hotel needed to break the mould,” explained David. “I wanted to provide the 360-degree Groot Hospitality experience that our other venues are known for, but add more. This is about providing a getaway within a town that’s already known as a vacation spot. When you arrive at the hotel and walk through our doors, it becomes a full-on experience; we want you to feel like your worries and anxieties have been left outside. I am proud to have worked with Pharrell, Michael, Eric and Ken on bringing this hotel to life.”

Pharrell added: “We want The Goodtime Hotel to impart a feeling of both revitalisation and that rare, exciting thrill that takes over when you discover something special. It’s that adrenaline-fuelled sensation of entering a whole new setting and mindset. This place will provide a natural good time, for all who come through.”

With so much attention paid to the hospitality and design of The Goodtime Hotel, the entertainment technology had to live up to its incredibly high standards – particularly with the events due to be hosted at the venue.

“The Pool at Strawberry Moon is the main gathering place in the hotel and where most of our day and night time events will happen from top headlining DJ sets to cocktail receptions, corporate functions and more,” added David.

“Coming from nightclubs and restaurants, my team and I are always looking for the best audio production possible to ensure that top headliners love coming to perform at our venues and that the guest experience is always great,” added David.

To ensure they had the best audio system in place right across the hotel, the owner’s representatives, The Imperial Group, enlisted the help of DAS Audio, who are currently celebrating 50 years in sound, and Electronic Designs, experts in the design, engineering and installation of professional audio systems for hospitality, nightlife and restaurants.

Jon Graney, President of Electronic Designs, takes up the story: “Through my work in the nightlife industry, I personally knew David Grutman.

He’s opened a few restaurants that I’ve worked on with him, and then he’s now got involved with The Goodtime Hotel. He’s a real interesting character with a lot of celebrity friends – and, of course, this is how Pharrell is involved in the project.

“So, through the bidding process, we were ultimately hired by The Imperial Group, which meant I was working with Michael Hawkins, who is a joy to deal with.”

Working with DAS Audio’s Nightlife & Hospitality Design / Installation Specialist, John Fiorito, they provided an audio design for the entire hotel.

“We were given the opportunity to provide a design and bid through through Groot Hospitality. The owners of Imperial Group and Groot Hospitality stated they wanted a premier audio system with great clarity and coverage, as their pool was going to feature headliner DJs and be the new South Beach Party destination,” said John.

Jon explained further: “So, we presented the design to the owners and, like all projects, we had to justify our budget. Luckily, they really understood the importance of sound – and that’s really down to the type of hotel they want it to be. I mean, it’s called The Goodtime Hotel! It’s about music, having fun and good food, so that plays a big part in the atmosphere that we wanted to enhance.

When it came to the audio technology for the various areas within the hotel, it’s DAS Audio throughout, with control coming from BSS Audio.

Discussing the design, John went into more detail: “The entire hotel is wired in stereo with mono sub bass. The pool area has a lot of smaller speakers and all areas have a lot of coverage to reduce the risk of noise violations.

“The hotel features inside a combination of CL6TB ceiling speakers – both Quantum Series and Arco Series. The outdoor café and pool feature DAS Factor 8 IP54 and WR series. The DAS EP 4 channel

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L e f t : M i a mi’s n ew est ven u e, of f er in g a n u n r iva lled hospit a lit y exper ien ce.

A b o ve : D AS Au d io lou d spea k er s in pla ce a t The Pool a t St r a w ber r y Moon .

Ima ges c ou r t esy of AD I NAY EV.

Above: T he s pect acular des i g n of t he hot el i n teri or, enhanced t h roug h out wit h a DAS Au di o s ys t em.

Images cour tes y of ADINAYEV & A li c e G a o.

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amplifiers were selected because of the high power available, clarity, and affordability, backed with a fiveyear immediate replacement warranty. Elsewhere, Crest Pro-Lite amplifiers were used in less critical areas powering ceiling speakers.

“For the configuration, it’s processed by BSS Audio Blu 160, with an iPad used to offer control of every area of the venue.”

Jon added: “We started at the breezeway – that’s what they call the area where people walk in – then the valet, which has music playing through there. Of course, in the hotel, we did the lobby and elevators, too.

“One particularly great area is the library – a really cool-looking part of the hotel. We did a small, fourpoint system in there with a couple of subs and it sounds amazing. It’s a nice area for people to hang out and talk, plus they serve food, so it just needed to offer that low level audio quality. After that, we’ve got the indoor restaurant and outer café and, of course the pool area.

“We stayed within a certain budget and it worked out really well. We couldn’t just build the loudest system possible as there are people across the street – we had to focus on creating a well-distributed, low, rich sound.”

With DAS Audio products used extensively, Jon explained why the Spanish manufacturers were the ideal fit for The Goodtime Hotel: “They do anything

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

you ask. Honestly, anything for the customer! The five-year warranty is obviously a huge bonus – and that’s on outdoor loudspeakers. There’s none of the worry at all. If something were to go wrong, they’re there to help instantly – they see the big picture.

“They’re a fantastic, knowledgeable team to work with, too. If there’s any advice we need, they’re there to provide it – and the quality of the products speaks for itself. I mean, you could throw those outdoor loudspeakers into the pool and they’d still work! They really were the perfect fit.”

As is often the case with varied projects such as this, the process of installing the new, state-of-theart audio system in the venue wasn’t without its challenges.

David explained: “During the pandemic, although our doors may have been closed, we didn’t stop. We used the downtime to evolve what our brand offers as we knew we wanted to open our doors as soon as we were able to, aligning with local restrictions being lifted.”

“One of the main challenges at The Goodtime Hotel was that there were a lot of custom fabrications made to hang speakers and get precise positions,” said John.

Jon furthered: “Well, one thing we had to talk the guys at the hotel into was building our rack room. We explained the reasons why and then, from there, we were built this impressive, air-conditioned room.

“GT McDonald were on top of everything when it came to that – it really is perfect for what we needed and you just know that it’s going to last forever.”

The new audio system has already been put to the test, too, and has passed with flying colours, as David explained: “We have had artists such as Black Coffee, Loco Dice and Annita come and perform at The Pool at Strawberry Moon and we’re proud to say that each have had a great experience thanks in part to the production and sound.”

Jon added: “David is really happy with the pool deck. In fact, I’ve had at least 20 people come by and tell me that it’s the best-sounding pool deck they’ve ever experienced. That’s incredible feedback to get.

“You know, it’s easy to get that tuning right when it’s empty, but once you put 1500 people in there, it’s totally different. So, we’ll keep coming back and do a little more tuning to ensure the performance is as good as it can be.

“There were big demands and high expectations for this project, especially when you consider the success that those involved have had within the nightclub industry. But, the collaboration between ourselves, DAS Audio, Imperial Group and GT McDonald made it work – I think we did pretty good!”

John was pleased with the way everyone on the team worked together, too: “As the designer for the sound system, I would like to say that GT McDonald and the owners rep, Michael Hawkins, were fabulous to work with. Michael is an extremely knowledgeable individual and, without him, this project would have never opened.

“Electronic Designs did a great job, too, particularly as this was their first hotel project - they listened and followed all directions. A very reputable company to work with.”

With its eye-catching design and high-end facilities – not to mention the vast experience in hospitality and entertainment behind the project – The Goodtime Hotel always needed an audio system to match right throughout the site. The special collaboration between those involved always meant that the sound quality would go above and beyond expectations – and, now, it’s the place to go in Miami.

“Everyone has their own energy and we wanted to give our guests a space where they can recharge and let loose. Come here and be a part of it! This is where you can come and genuinely have a good time,” concluded David.

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TECHNICAL INFORMATION SOUND 68 x DAS Audio Arco 24T loudspeaker; 12 x DAS Audio Q23 loudspeaker; 17 x DAS Audio Q10 subwoofer; 36 x DAS Audio CL6T ceiling speakers; 14 x DAS Audio Factor 8 loudspeaker; 28 x DAS Audio WR8826 loudspeaker; 10 x DAS Audio WR218 subwoofers; 4 x DAS Audio Sound Force line array; 2 x BSS Blu 160; 9 x BSS Blu Bob 2; 1 x BSS Blu Bib; 30 x Crest Prolite 2.0 amplifier; 4 x Crest Prolite 3.0 amplifier; 8 x DAS Audio EP 8K amplifier; 4 x DAS Audio EP22K amplifier; 1 x Crestron CP3 processor www.thegoodtimehotel.com www.dasaudio.com www.electronicdesigns.net www.gtmcdonald.com www.groothospitality.com

A b o ve l e f t : D A S A u d i o amplif ier s in t he custom-built rack room.

A b o ve r i g h t : D A S A u d i o lou d spea k er s u s e d i n t h e o u t d o o r ar e a s of The Goodtime Hotel.

Im ag e s c o u r t e s y o f A D IN AY EV.

FIND US ONLINE / m on dodr @ m on dodr @ m on do_dr

C o n t a c t u s a t su b c r i p t i o n s@ m o n di a l e.c o .u k

IN B RI E F P a r kr oya l C o l l e c t i o n , M a r i n a Ba y s hines b r i g h t w i t h M a r t i n by H a r m a n LE D f i xt u r e s PARKROYAL COLLECTION, MARINA BAY is a unique garden hotel in Singapore’s central business district. The hotel wanted an impressive lighting system for an immersive treetop experience, including a short light show that could be programmed for performances, so it hired Light Collab to implement a Martin Professional lighting solution.

Light Collab’s design included Martin MAC Quantum Wash fixtures, which they selected for their tight beams, beautiful wash fields, exceptional colour palette and uniform colour mixing. Light Collab also selected Martin RUSH MH 6 Wash fixtures for complex, immersive visuals. The team also utilised Martin THRILL Multi-FX LED fixtures to deliver laser, strobe and rotating multi-beam effects for a variety of dazzling looks. www.pro.harman.com

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BO O MBO O MR O O M A PA C

LIUZHOU CITY, CHINA

P K Sound e le va te s C h ina’s nig h tlif e with a booming sound syste m, e q uippe d with its ne we st T rinity Insta ll Se rie s.

Photos: Disen Kane Group

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A b o ve : PK S O U ND T10 a u d io syst em in L i u z h o u C i t y ’s B o omB oomRoom. C ou r t esy of D i s e n K ai n e G r o u p.

The BoomBoomRoom is a lavish new fixture of the thriving nightlife scene in Liuzhou City, China, and the latest addition to the growing club empire of Singapore’s Disen Kaine Group. Looking to make a powerful statement with the extravagant 1,000-capacity nightspot, Disen Kaine invested in a production technologies package featuring a venue-wide PK SOUND audio system sold and installed by Polar Audio, the Canadian manufacturer’s exclusive Chinese distributor.

“We pride ourselves on delivering an elite and luxurious nightlife experience across our growing network of clubs, and high-impact audio powered by PK SOUND plays a big part in that at the BoomBoomRoom,” commented Disen Kaine Group’s Mr. Kane Lin. “Thanks to PK SOUND’s technology, we’re able to very precisely direct sound to maximise clarity and impact throughout the venue, and the company’s reputation for hard-hitting low-end means the club can easily live up to its name.”

Located in the Guangxi Zhuang Autonomous Region’s second-largest city, the BoomBoomRoom spans three floors and, in addition to the spectacular main room, boasts several themed halls and VIP areas to cater to its prestigious clientele. Thanks to its stature, the club has attracted a slew of high-profile performers since opening its doors, including DJ KK, DJ Mei, and Black Fairy.

The expansive new audio system thrilling partygoers is anchored by PK SOUND’s T10 Install line source element, which packs the tour-proven performance of the company’s robotically controlled Trinity family into

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sleek, architecturally focussed enclosures. The main arrays flanking the stage comprise seven T10 Installs per side, with additional arrays of three elements each serving as rear delays for a total of 20.

The DJ booth features pairs of PK’s CX215 point source loudspeakers and Klarity 218 subwoofers for monitoring, with an additional four CX215s at the lip of the stage for front fill.

Living up to PK’s penchant for unmatched low-frequency reproduction, the system also includes four award-winning Gravity 218 subwoofers beneath the main stage and two boosting the rear delay hangs. Finally, a dozen CX800 subwoofers are strewn throughout the venue for extra punch.

“BoomBoomRoom is our latest successful collaboration with Disen Kaine Group, who insist on a world-class guest experience in every one of their clubs. That’s why they demanded PK SOUND,” commented Polar Audio’s Hawking Yuan. “The Trinity family delivers incredibly clean, clear, and powerful sound and has been drawing top performers and massive crowds out to this one-of-a-kind destination.”

“It’s great having partners like Polar Audio proudly representing the PK brand and collaborating with esteemed companies like Disen Kaine Group to create powerful experiences for music fans,” added Trevor Grenier, Senior Partner Support with PK SOUND. “Their work at the BoomBoomRoom speaks for itself and we look forward to supporting them as they continue to build PK’s profile in an increasingly important market.”

© Photo by Mihály Podobni

PRODUCTS TAILORED TO YOUR NEEDS For more than 35 years LaserAnimation Sollinger has been your partner for outstanding laser systems. Our products - state of the art and characterized by easy handling and highest performance - are known for their unparalleled reliability and durability. With our knowledge and experience we tailor products to your needs! w w w. l a s e r a n i m a t i o n . c o m LaserAnimation Phone +49

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• +49

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10827 Berlin sales@laseranimation.com

SKY TOW ER AUCKLAND / NEW ZEALAND

P ho to s : Lo u i se S ti c kl an d

A PA C

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Opened in August 1997, the iconic 328-metre-tall Sky Tower in downtown Auckland, New Zealand has had its grace and elegance further enhanced with an Anolis - a Robe business - lighting installation comprising 154 Divine 72 LED fixtures.

It was designed by Gordon Moller of Craig Moller Architects, can withstand 200 km/h (124.3 mph) winds, resist high-magnitude earthquakes, and has received multiple awards. It was built by Fletcher Construction with design management provided by engineering specialist Beca Group.

The Tower is built from high performance reinforced concrete, the 39 ft diameter shaft weighs over 170 tonnes and had to be lifted into place using a crane attached to the structure. To remove that crane, another had to be built attached to the upper part of the structure - to dismantle the big crane and then in turn be broken down into small enough pieces to fit into the elevators.

The shaft contains four lifts and an emergency stairwell and is supported on eight legs based on 16 foundation piles that are drilled over 12-metres into the ground.

The upper levels are constructed from composite materials, structural steel, precast concrete, and reinforced concrete with the observation decks in aluminium clad with blue / green reflective glass.

The Tower is a massive tourist attraction. Visitors can bungy jump off it or walk along the outer ledges to get an awesome 360º perspective on the city and surrounding areas, or dine in three top-notch restaurants, one of which revolves.

The high-profile landmark is also a vital telecommunications hub and a popular observation point sitting at the heart of, and presiding over this vibrant metropolis.

The lighting design was created by Richard Bracebridge and Sam Walle from Light Works Ltd. Technical specification, installation and systems integration were the work of Nick Abel from LS Group, with lighting fixtures supplied through Anolis’ New Zealand and Australian distributor, Jands.

Light Works has been involved with lighting the Tower since 2007 when it was first re-lit following the original metal halide installation which dated back to 1996 whilst it was under construction.

The 2007 floodlighting involved re-lighting the shaft utilising positions on top of some conveniently located bus shelters along Federal and Victoria Streets below - and upgrading the upper part of the tower and mast using the best quality RGB LED floodlights available at the time.

Forward 11 years and, by 2018, the installation was unsurprisingly - looking patchy and dated. In that time, LED technology had advanced dramatically, becoming brighter, more efficient, hugely more effective, and better value.

The team faced several challenges, starting with the ongoing city centre and waterfront regeneration project, which saw the removal of the bus shelters and the installation of some sculptural artworks around the base of the Tower.

While these did offer up some ‘top space’ for mast illumination lighting positions, the footprint was vastly reduced, and not in optimum positions for effectively lighting the shaft section.

Lighting real estate on the ‘shaft’ for fixtures to highlight the top section was even more at a premium, as any fixtures had to share the space with a forest of communications equipment, including FM radio transmitters, local and national TV satellites and broadcasting kit, wireless internet hubs, cell phone hubs, weather monitoring and laser links.

A b o ve : Th e i c o n i c S k y To w e r , w h i ch w a s open ed in Au gu st 19 9 7 .

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So, size and space criteria initially informed the choice of fixtures for both top and bottom elements of the tower. The Anolis Divine 72s, which had just been launched at the start of the project, were selected for these and several other reasons.

The signature colour was white, so they needed to produce a proper crisp white with the smoothest and most even coverage.

The size and shape of the fixtures made the Anolis Divine 72s ideal for fixing on the top of the street level sculptures, with 96 units sitting on top of the three building locations and a single column ‘artwork’ at the base of the Tower.

60 Divine 72s are deployed around the Sky Tower’s top section, ensconced between the various communications elements.

To optimise the dynamics of the positioning and the different throw distances and angles, they are fitted with a variety of lenses, which are readily available with the Anolis Divine ranges.

Being downtown and an urban residential area as well as a CBD, extreme caution was needed to minimise light pollution and keep the lumen focus concentrated on the Tower.

The Divine 72s are run via a Pharos LPC 2 controller that can be remotely accessed via phone and tablet app.

It can instantly be switched into any colour or any number of combinations at the touch of a button for special occasions.

The upgraded lighting scheme was proudly launched with a 30-minute choreographed lightshow synchronised to a music track played by local radio station, The Breeze, allowing the whole city to enjoy the spectacle. www.anolis.com

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“T h e size an d shape of th e fix tu r es mad e th e Anolis Divin e 72s ide al f or fix in g on the top of the str eet-level struc tu r es. ”

A b o ve : Th e u pgr a d ed light in g syst em w a s l a u n c h e d w it h a 30 - min u t e light show f or t h e w h o l e c it y.

Pieces of Heaven #LEDmadeinGermany #LEDplayedinBerlin

stay connected schnick.schnack.systems /SchnickSchnackSystems @schnick.schnack.systems

Studio 14 is open. rbb rearranged their studio in the 14th floor of the rbb-Fernsehzentrum in the city center of Berlin, Germany. Intended to be a studio as well as a club, a restaurant, an eventlocation and a large scale meeting room, the Studio 14 invites people to be closer to heaven.

Depending on the purpose of the room furniture and the lighting can be changed between fun and functional.

Our rgbw-tiles D50 are used in clusters to lighten the room with an outstanding lightquality and to connect the ceiling to the sky.

Photo by KOY + WINKEL Fotografie

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M AY / J UN E 2 0 2 1 | 31 . 4

MA Y / JU NE 2021

LECTROSONICS’ 50TH ANNIVERSARY B A R S & P ER F O R MA NCE V ENU ES MED I A S ER V ER S & P R O JECT O R S

T HE IN T ER N AT ION AL P UBLICAT ION FOR T ECHN OLOGY IN EN T ER T AIN M EN T

mondodr.com | mondostadia.com | mondodrawards.com | mondostadia-agora.com

IN BUSINE S S

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IN DETAIL Tasker, EM Acoustics, Elation

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PRODUCT GUIDE Media Servers & Projectors

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PRODUCT DIRECTORY

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IN PROFILE Out Board

IN B USINE SS | WWW. M O NDO DR. C O M

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TAS K E R NEW RANGE Four years since the CPR legislation came into force, Tasker has increased the standards towards medium risks class (Cca) and high risks class (B2ca) for all its products.

During the first six months of 2021, Tasker focussed on this goal, presenting seven new products compliant with the most advanced homologations needed worldwide. All of them are designed with the most innovative construction materials, including silicone and M1 L.S.Z.H. making them suitable for indoor and outdoor installations, keeping the flexibility and softness unchanged.

Referring to the loudspeaker cables, Tasker has developed a brand-new family that involves different sections (2x1.00, 2x1.50, 2x2.50 mm²) in O.F.C red copper, stranded with the following codes TSK401, TSK402 and TSK403 CPR Cca. Linked to the Audio sector, a new microphone and DMX cables have been designed, both using tinned copper braided shielded 85% covering and with a section of 2x0.35 mm². The C128 CPR Cca and the TSK1038 CPR Cca both guarantee a very clear signal, over 100-metres of installation, too.

The latest broadcast market requirements forced Tasker to focus its attention on the six and 12G-SDI. Following this, its new cables are the TSK1078 CPR Cca (0,80/3,50/5,00 mm) and TSK1079 CPR (1,13/4,80/6,80 mm). They are both suitable for applications up to 60 and 80-metres at 8K, according to the latest transmission standard SMPTE 2082.

Finally, Tasker has also revealed the C722 B2ca, a LAN Cat.6 S.F./U.T.P., 4x2x0,25 mm² section with multiple operative applications and approved for the maximum risk class as the CPR legislation states. www.tasker.it

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CONTROL FREAKS.

On-board DSP and optimization give you unparalleled power with revolutionary control over every performance environment.

This is Adamson’s legendary sound, evolved for the networked future of professional audio.

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

EM ACOUS TI CS R10

EM Acoustics is demonstrating its continuing capacity to develop and manufacture high-quality loudspeakers with the release of the first model in the new flagship Reference Series, the R10.

Born of EM Acoustics’ immense depth of experience in all forms of live performance and installation, and developed to answer a call for performance levels not seen before from a point source loudspeaker, the Reference Series is a revolutionary new breed of low profile, ultra-high quality full range point source loudspeakers possessing extraordinarily flat frequency and phase responses. Coupled with EM Acoustics’ DQ Series amplifiers, the Series offers a range of enormously powerful tools for audio professionals seeking high performance in a compact form factor.

The R10 is the first in the developing Reference family – a high-precision three-way passive design with dual 10-inch low frequency drivers, a four-inch/2.5-inch mid-hi coaxial unit and two easily interchangeable waveguides to enable different dispersion options from a single loudspeaker. The R10 is unique in that it ships with these two waveguides – the wide dispersion 110° x 50° and narrow dispersion 80° x 50°. The waveguides provide not only an incredibly natural tonal character but also unparalleled consistency of response both on and off axis.

Both waveguides are quickly and easily rotatable to offer the maximum flexibility, and an indicator window located discreetly beside the grille

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edge means the current loudspeaker setup can be determined without removing the grille. Supplying both waveguides as part of the initial purchase package gives far greater flexibility for installers and enhanced return on investment for rental companies.

Intelligent cabinet bracing and an entirely new cascaded passive crossover network design ensures that not only does the R10 outperform other products in its class, but it does so with significant reductions in both size and weight. The state-of-the-art internal components are housed within an enclosure only 700mm x 306mm x 430mm (HxWxD) and 31kg (68lbs).

The feature set is completed by intuitive, quick-release flying hardware, human-friendly handling features, a sleek and understated weatherresistant polyurethane textured paint finish and a stainless steel front grille to provide unbeatable longevity and reliability in service.

Despite the current limitations affecting our entire industry, the R10 is already deployed on major theme park attractions, serious live events and high-end theatre installations both in the UK and worldwide.

Further additions to the Reference Series are in the latter stages of development and will be announced in 2021. This series from EM Acoustics will become a full family, giving installation and rental users alike a superb toolbox of precision point source loudspeakers for any given application. www.emacoustics.co.uk

Pub_Lusso_236x333_0521.qxp_Mise en page 1 11/05/2021 10:13 Page1

AUTOMATIC LED SPOT

LUSSO Completing the new generation of automatic LED projectors developed by Starway, LUSSO is a Spot equipped with a 320W white LED providing an exceptional illumination of 34,900 lux (8 ° @ 5m). It has a zoom range of 8 to 40° supported by a CMY trichromy, 7 color filters + UV, 3200°K, 5600°K, 6500°K CTO correctors. LUSSO has also 10 fixed gobos, 8 rotating gobos, a progressive frost, an iris and 2 superimposable prisms. All this makes LUSSO an extremely powerful and complete projector, with a surprising weight of only 20 kg.

www.star-way.com

Discover Lusso in action!

The magic of light

ELATI ON PROFES S I ONAL ARTI STE MONDRIAN

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Filling out the top of Elation Professional’s award-winning Artiste LED moving head series is the Artiste Mondrian LED Profile FX luminaire. It uses the same technology as the highlyacclaimed Artiste Monet and Artiste Rembrandt, including Elation’s exclusive 7-flag SpectraColor colour mixing system, and endless and continuous rotational framing system.

The Artiste Mondrian is a highimpact lighting solution for any application requiring powerful beam looks, stunning air effects and superior colour. Optimised for extreme output (51,000 lumens) and housing an all-inclusive FX package, the Mondrian is an allin-one workhorse for the biggest shows and events. A custom peakfield LED engine and the largest PC lens on the market (226mm Plano Convex) add to its bold character.

The Mondrian harnesses its longthrow power from an efficient 950W 6,500K White Hotspot LED engine.

The peak-field LED engine features a two-to-one centre to edge LED ratio for high centre intensity beam and wash throws, while allowing for more unique air FX. Combined with a tight 3.3° beam that zooms out to 45°, the Mondrian has the power to cut through at even great distances in arena touring or any large-scale show setting. It also makes for a perfect long-throw followspot.

The Mondrian integrates Elation’s

SpectraColor colour mixing system, which offers traditional CMY mixing but adds a variable RGB colour mix. In combination with a variable CTO, it allows for colours that were previously difficult to achieve, from theatrical pastels to vibrant reds and blues. The seven colour-mixing flags align at 16-bit precision. A sixposition fixed colour wheel offers UV and high CRI options.

The full-blackout framing array includes Elation’s unlimited indexing and continuous 360° rotation control, which means you no longer need to rotate the fixture to hit the spot or angle desired. Shapes can rotate like gobos while morphing and transforming, allowing for new creative transitions, interesting projections and aerial effects not previously possible.

The Artiste Mondrian offers a comprehensive FX package with 12 rotating interchangeable glass gobos on two wheels and bidirectional animation wheel for texture and layering solutions.

Effects can be multiplied via dual prisms and dual linear frost filters can be applied for an even diffusion of light when designers wish for softer looks. A high-speed iris can be engaged for further impression.

The Artiste Mondrian is outfitted with all the professional control and connection features that designers would expect from a professional cutting-edge luminaire. www.elationlighting.com

Power to the speaker.

Power to the installer.

Our Smart IP loudspeakers combine exceptional sound quality with single cable convenience. With PoE, AES67 and Dante compatibility plus sophisticated loudspeaker management all supported via a standard CAT cable, Smart IP enables you to deliver class-leading audio, while saving you time and money.

Learn more at genelec.com/smart-ip

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PROD UCT GUID E: MED I A S ERVERS & P R OJ ECTORS SPONSORED BY DIGITAL PROJECTION

“At Digital Projection, we’re committed to going the extra mile for imaging pioneers prepared to push the boundaries of visual experience.

We relish helping you - the creative directors, system integrators and dreamers behind the world’s most exciting visual experiences - challenge the status quo. We also take great satisfaction in seeing your projects through to completion. That means we’ll be there from beginning to end, offering friendly advice to help you select the right projectors, as well as responsive technical support should you need it further down the line.

We have a wealth of experience helping our partners produce awe-inspiring imaging experiences. We bring that knowledge to bear on our own process, ensuring every element is focused on our partners’ needs, from research through product development to sales and support.” www.digitalprojection.com

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MEDIA SERVERS

AV Stumpfl PIXERA mini PIXERA mini is an ultra-compact media server, perfect for digital signage and multi-display applications. The software it runs is a multi award winning 64-bit system for real-time media processing, compositing, projection mapping and management, based on the core theme of usability.

Due to its being a 1U and ½ 19“ product, two PIXERA mini servers can be installed in a single 1U 19“ rack, which is another reason why it is a particularly popular choice for realising installation projects.

PIXERA mini is available with two or four outputs and can be synched with additional PIXERA media servers and centrally controlled.

The mini can also act as a perfect hardware base for the upcoming PIXERA control show control system, which is a distributed integration and control framework that empowers users to seamlessly host new functionalities within PIXERA and to control all aspects of an extended project environment. www.pixera.one/mini

Avolites Q Series Avolites’ Q Series Media Servers are designed to meet all pixel processing needs for every performance and project, allowing to manage powerful multi-screen shows from a single media server with ease, up to four 4k screens with 7.1 audio. The media servers were announced along with Ai v12.1 release with the Pioneer PRO DJ LINK Bridge integration software, which synchronises visual effects with Pioneer DJ decks seamlessly.

The full line-up of media servers includes the Q3, Q3pro, Q4 and Qgen, offering the complete solution to power every performance.

Video content and projection mapping have become major components in many performances and installations and with Avolites’ Ai Synergy feature set, integrating video into designs has become even easier. Hence, the next step for Avolites was to create the ideal hardware to complement their powerful Ai software.

The Q3 Pro is the perfect portable server for the more demanding shows with two 4K outputs and one HD along EDID managed HDMI outputs.

The Q4 brings the power to deliver breath-taking detail with four 4K outputs and flexible input modules to design the server to meet the most demanding needs.

With the rise in use of interactive real-time generative content providers like Notch, the Qgen is designed to deliver stunning graphics with three 4K outputs and a powerful Nvidia graphics card that can deliver around 30,000 Notch marks, plus a twoyear Notch playback License. www.avolites.com

ArKaos Studio Server The Studio Server from ArKaos is an incredibly powerful system designed for professional lighting designers. This full-option media server runs Full HD video on up to four EDID managed outputs and comes standard with one HD-SDI input and fast SSD drives. The Studio Server system includes a vast library of high quality digital media from the world’s best visual content providers and a fast recovery system by Acronis, which allows extremely simple reset of the server from the boot menu. The custom made case features a very convenient display on the front, which allows use of the server without having to connect any additional screens. On top of the server, a large LED strip conveniently provides a quick visual feedback on the server’s state of operation at any time. It is pre-configured to work directly with all market leading DMX lighting desks. www.arkaos.com

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Christie Pandoras Box Server R5 Christie’s Pandoras Box Server R5 is a powerful hardware platform designed for maximum creative results, integrating with a full feature software set. It is the flagship product of the Pandoras Box suite, a turnkey solution that unites state-of-the-art rendering technology with intuitive media and show control.

A high-quality server featuring the most powerful and versatile render-engine offering real-time compositing in 3D, Pandoras Box Server allows for projection onto any shape and any surface. Pandoras Box Servers support up to 4K uncompressed video playback at 60fps. All servers feature SSD storage, dual Intel XEON processors and the latest hardware components for maximum stability.

With the introduction of the Pandoras Box Server R5, customers can make the most of a single server with a wide range of performance and drive space options for demanding performance requirements, as well as for more modest budgets. Different performance kits and graphics cards allow customisation of the Server with optional video and audio cards, including Dante, FLEX and Christie Terra SDVoE for enhanced integration, with embedded scaling and framerate conversion. www.christiedigital.com

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Dataton WATCHPAX Dataton manufactures a range of WATCHPAX media servers to help users harness the creative power of the company’s awardwinning WATCHOUT multi-display show composer. Dataton’s media servers are plug-and-play, streamlining the installation process and reducing set-up time onsite. The dedicated units are built for robustness with quality aluminium housing and a superior finish. Dataton media servers are backed by a two-year warranty.

WATCHPAX 40: Ultra-portable WATCHPAX 40 offers four 4K outputs, EDID management and smart restore. With a letter-size footprint (214 x 276 x 43) and weighing just below 3kg, WATCHPAX 40 is well-suited for both permanent installs and touring applications and has proven itself in numerous projects worldwide. Units can be rack-mounted in pairs or placed conveniently close to display sources.

WATCHPAX 60: This series comprises three performance-optimised models offering from four to 12 outputs, including eight channels of bi-directional SDI. All models offer dual power supply, HDMI and SDI input, balanced audio, 10 Gbit/s network and powerful technical spec for the most demanding applications. Sleek, rugged and with a trim 2U form factor, WATCHPAX 60 weighs in at just 10kg. Units can be placed close to display sources or rack-mounted. www.dataton.com

disguise xR disguise’s xR (Extended Reality) technology empowers production teams to deliver augmented and mixed reality to create immersive experiences in virtual production environments, opening new opportunities for education, corporate and TV broadcast in the current changing climate.

The features and flexible workflows can benefit creatives in a number of ways, such as creating a limitless environment in limited spaces, camera tracking, real time rendering, use of LEDs and more. xR’s virtual set extension places presenters in environments larger than the spaces available, opening up worlds of opportunity, creating more compelling content to increase audience engagement. This complete immersion allows for interaction with computer graphic (CG) elements, real lighting and support for reflective and refractive props. xR’s virtual environment combines camera tracking and real-time rendering not only visible on screen, but live on set and on camera.

This process gives directors and designers more control, and faster calibration workflows. LED screens, or projection surfaces in the space allows actors to be absorbed into the virtual environment where they can see and interact with the entire set.

Additional xR calibration features heighten time and cost efficiency, with the ability to pre-visualise camera shots, enabling better coordination between stage or set and camera departments and enabling environments to be created or changed rapidly. www.disguise.one

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Green Hippo Hippotizer Tierra+ The Ultimate Beast from Green Hippo. The most powerful Media Server in the Hippotizer range, Tierra+, pushes the boundaries of power and creativity, including four DP 1.2 outputs, unlimited mixes, 8K playback and the highest Notch-marks of any Media Server on the market. Alike other Hippotizer Media Servers, Tierra+ includes a vast tool-kit with features including SHAPE 3D Mapping, Visualisation tools, Pixel and Video mapping tools and real-time control of any attribute. Two Hippotizer Tierra+ Media Servers were used at the 2020 SuperBowl half-time show, powering the circular stage adding dynamics to Shakira and Lopez’s energetic, highly-choreographed performances. www.green-hippo.com/tierra

Modulo Pi Modulo Kinetic Modulo Kinetic is a fully integrated media server reliable across the complete workflow. Its real-time timelines, embedded live mixer, 3D engine and show control tools are brought within one consistent userfriendly environment.

The platform relies on Kinetic Designer, an intuitive user interface with dedicated workstation, connected to one or several V-Node servers.

The release of Modulo Kinetic V4 in May 2021 takes the all-in-one platform to the next level. A revamped user interface, improved 3D engine, and support of new formats and protocols – Notch Block, 10-bit Apple ProRes, WebSocket… - are all on the menu.

Moreover, the platform’s 3D environment is significantly improved. New features dedicated to show study and simulation include video-projectors clone and symmetry, ability to add measures or annotations to 3D scenes, and instant export of any view.

The 3D workflow shows major enhancements and new capabilities for virtual events. Modulo Kinetic now supports SteamVR tracker, FreeD and Stype protocols. It also integrates FreeD calibration for the Panasonic AW-UE100 and AW-UE150 PTZ cameras, as well as pose calibration and intrinsic calibration of fixed cameras.

A greatly improved chroma keyer is available for green screen productions. Modulo Kinetic also allows augmented reality and scenic extension in green screen and LED configurations. www.modulo-pi.com

VIOSO Anystation Integrate VIOSO Anystation Integrate is the go-to server platform for giving users the freedom to adapt and tailor a chosen media server application to anything it’s needed for. The platform includes the worldwide renowned VIOSO magic automatic calibration software, which gives users the ability to use the camera based warp and blend calibration methods. Data can be exported into any MPCDI compatible video or visualisation products. Anystation Integrate allows for export blending, warping, linearity and colour correction, to an immense variety of media servers and compatible hardware devices. It offers zero-latency integration, flexible handling and automation for projector alignment, advanced integration features – including various geometric mapping modes, stereoscopic projectors support and custom features – and supports various professional graphic boards.

VIOSO’s magic is taking care of even the most complex warp and blend tasks, giving users the space and freedom to concentrate fully on their productions. With up to 16 outputs and DVI, HDMI or SDI input, this state-of-the-art media server platform is perfect for all MPCDI applications. Using the best hardware components, the VIOSO Anystation Integrate is the perfect backbone for any production.

As VIOSO manufacture servers on demand, they are able to tailor the full range of VIOSO products to individual needs at any time. www.vioso.com

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PROJECTORS

Christie Christie Griffyn 4K32-RGB The Christie Griffyn 4K32-RGB continues the Christie tradition of delivering unmatched purpose-built projection technology for theme parks, indoor and outdoor sports venues, and other environments where there’s no time for downtime. With 360º orientation capabilities, and the ruggedness rental and staging customers demand, the Griffyn 4K32-RGB includes patented next-generation Trulife+ all-in-one electronics for a blur-free experience, and unrestricted connectivity to eliminate the time and hassle of removable option cards.

The Griffyn 4K32-RGB is Christie’s first projector to offer new digital convergence, giving users the ability to select red, green, or blue individually and adjust each colour by remote control, for easy picture-perfect image alignment that saves time and money. Griffyn 4K32-RGB produces an exceptionally wide colour gamut, achieving greater than 96% of the Rec. 2020 colour space - more than twice the colour of Rec. 709 and 50% more than DCI-P3-capable projectors - for a richer, more memorable audience experience. Weighting just 79.5kg (175 pounds) it also features optional high frame rate (HFR) capability to achieve 120Hz at 4K resolution and the option to upgrade to 240Hz or 480Hz with HD resolution for lifelike images. www.christiedigital.com

Digital Projection E-Vision Laser 15000 Already renowned for being a robust, reliable laser projector, the latest generation of this compact, lamp-free projector utilises Colorboost+Red technology to create the most realistic and beautifully saturated colours ever seen from any high-brightness 1-Chip DLP Projector. With new intelligent processing, colour performance of Digital Projection’s E-Vision Laser 15000 is ever closer to that of a 3-Chip DLP projector.

New to the E-Vision Laser 15000 is Art-Net control that allows easy integration into existing lighting installations, making this powerhouse workhorse ideal for every project, from live events to visitor attractions.

The E-Vision 15000 WU has sealed optics and uses liquid cooling with radiators to remove energy to the outside environment. The optical system, from the laser light source up to the lens is completely sealed and can be considered IP60 rated. This ensures that light output and colour performance will not be degraded due to the ingress of dust.

Another advantage of liquid cooling via radiators is that the projector is completely filterless. This greatly reduces maintenance requirements when compared to many competitive products where replacement or cleaning of filters is a regular necessity. www.digitalprojection.com

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Epson EB-L20000U The EB-L20000U is Epson’s workhorse Pro AV laser projector and with 20,000 lumens is the second brightest in Epson’s portfolio. This 3LCD projector is designed for the high-end rental and installation sectors, for use at events, festivals, visitor attractions, trade shows and shopping centres, as well as for corporate and educational auditoria.

The EB-L20000U can be easily integrated into existing installations or fleets. It offers Full HD resolution (native WUXGA) and a host of features that hugely benefit the rental and installation sectors, such as backwards compatibility with Epson’s existing lens range and exchangeable interface boards to suit customer needs.

Installation is made easy by the compact casing and design, allowing users to project from any angle, including portrait. A built-in camera allows remote diagnostics and set-up and can be used in conjunction with the Epson Projector Professional Tool software to set up multiple-unit installations. The user can also take advantage of advanced techniques such as edge-blending and geometric correction to support projection mapping.

Thanks to the advanced laser light source and electrostatic filters of the EBL20000U, this projector offers extreme reliability and comes with a five-year, 20,000-hour warranty. Coupled with inbuilt self-recalibration, this projector is ready for demanding requirements. www.epson.co.uk

Vivitek DU8195Z & DK10000Z Large venues, museums, auditoriums and intensive mapping environments now have even more laser projector choices, thanks to Vivitek introducing the DU8195Z and the DK10000Z. Ideally suited to 24/7 operation and 360° installations, the DU8195Z and the DK10000Z deliver superb laser performance and robust, maintenance-free durability to large venue applications. Installation flexibility and simplicity makes the projectors an ideal choice for system integrators.

Designed for large venue and museum applications, the DK10000Z offers exceptional picture clarity in 4K-UHD resolution and 10,000 ANSI lumens brightness. Compared to traditional – and large - 3-chip 4K projectors, the DK10000Z is a compact choice in this category, with a smaller footprint weighing only 29kg. This is thanks to it utilising Texas Instruments’ single chip 4K-UHD XPR technology. This delivers a stunning 8.3 million pixels and perfect alignment using a single chip DLP system.

The DU8195Z offers an equally compelling mix of features and connectivity, with exceptional picture clarity in WUXGA and a strong visual performance, delivering 13,500 ANSI lumens brightness. Both the DU8195Z and the DK10000Z utilise a long lasting laser light source to ensure a constant brightness level and colour performance, with the reassurance of up to 20,000 hours of maintenance-free operation.

Furthermore, Delta’s advance thermal management technology also delivers precise temperature and thermal load control, using liquid cooling to optimise the total performance. Additionally, the active thermoelectric cooling Peltier elements have been engineered to ensure consistent performance form these very high brightness laser projectors. Keeping a stable temperature is vital to ensure the durability and performance of laser projectors. Traditional cooling methods – like a combination of a heat sink and forced airflow - can sometimes struggle to satisfy the very high cooling demands of 10,000-plus lumen laser projectors. www.vivitek.eu

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1. Adamson IS-Series

Adamson Systems Engineering recently announced a range of new products available immediately for the installation market, including an extension to its renowned IS-Series of installation loudspeakers and a suite of improved and updated design tools for architects, integrators, and sound designers.

With the introduction of the IS-Series Weatherised line, Adamson offers audiovisual professionals a loudspeaker family purpose-built to withstand the most extreme climates in the world. Weatherised enclosures are ideal for marine and coastal venues, outdoor stadiums, open-air performance spaces, and other permanent outdoor installations.

IS-Series Weatherised models achieve an IP55 rating without sacrificing performance or aesthetics. All structural steel elements of the IS-Series Weatherised cabinets are made of a high yield strength stainless alloy that offers 100% corrosion resistance. The new models also feature an interior and exterior coating with a distinctive smooth finish that provides a water-resistant seal and allows for easy cleaning and removal of dirt, grime, salt water or sand.

To supplement the product release, Adamson is also releasing an update to its suite of design tools for integrators, including new Autodesk Revit and SketchUp libraries for the IS-Series, and updated EASE and CAD files for the complete Adamson loudspeaker line. www.adamsonsystems.com

2. Astera AX2 PixelBar

Astera has launched its new AX2 PixelBar product - a quality linear wash fixture with wireless control, onboard battery, individually addressable LEDs, ultra-high colour rendering, digital colour calibration and a 21º beam.

As with all Astera products, the AX2 is wirelessly controlled, robustly engineered, and comes complete with a range of rigging tools to provide solutions for multiple lighting applications and sectors.

The AX2 PixelBar is a perfect extension of the Astera AX range which includes LightDrops and LED PARs. It is currently available in two versions, a one-metre fixture with 16 10W LEDs and 50cm fixture with eight 10W LEDs. Premium optics focus the lightsources, and superior colour mixing and homogeneity ensure a super-smooth even wash of light across its entire path.

Utilising Astera’s acclaimed Titan LED light engine, the AX2 features a high CRI and TCLI and can produce a refined range of perfect colour temperatures from 1,750 to 20,000K. The quick connect system for attaching two or more units is designed to maintain a consistent pixel pitch between conjoined fixtures, and the feet can be loosened to assist in angling a row of AX2s uniformly along its entire length.

They can be controlled via the AsteraApp and inbuilt Lumen Radio wireless CRMX, in addition to a physical five-pin XLR socket and Powercon in / out connectors for running a wired option, making it extremely straightforward to daisy-chain AX2s. www.astera-led.com

3. Bose Professional AMM Multipurpose Loudspeaker

The AMM multipurpose loudspeaker line, comprises of two full-range loudspeakers - the AMM108 and AMM112 - and a companion subwoofer - the AMS115.

Featuring a coaxial two-way design, AMM loudspeakers can be deployed as mains, monitors, fills or delays in temporary setups or permanent installations. Designed for peak flexibility, AMM108 and AMM112loudspeakers can be deployed with a specific role in a system or used in multiple roles within the same system. Consistent voicing with the existing Bose AM array module line and Bose AMU utility loudspeaker line means system designers and installers can easily mix and match models from all three lines, saving time during system configuration.

Both the AMM108 and AMM112 feature a distinct advantage over other point-and-shoot loudspeaker designs: the new, proprietary Bose Beamwidth Matching Waveguide. This waveguide ensures signature Bose sound quality, delivering consistent frequency response, clarity and projection across the coverage area.

Providing low-frequency extension down to 35 Hz and 130 dB peak output, the companion AMS115 subwoofer features a 15-inch neodymium transducer, lightweight enclosure and integrated M20 threaded pole mount, making it ideal for use in a variety of applications. www.pro.bose.com/AMLine

4. CHAUVET Ovation Rêve E-3

The new Ovation Rêve E-3, is a next generation ellipsoidal that creates an unlimited array of vivid colours, as well as variable whites. Incorporating advanced LED technology, the versatile fixture allows theatres, broadcast studios, houses of worship and other users to get more for their lighting investment by serving as both a variable white and colour rendering unit.

The Ovation Rêve E-3 performs this double duty without sacrificing brightness or performance. When creating whites with a 95+ CRI and high TM-30 RF, it delivers a level of brightness equal to that of a 750-1,000W incandescent fixture. It also features a linear CCT adjustment with +/- Green to match other sources light sources in a rig, and colour temperature presets from 2,800K to 8,000K with high CRI and CQS. Brightness levels are even greater when the Rêve E-3 is creating realistic colours, ranging from soft pastels to bold primaries, with its RGBAM LED engine.

Discrete in its operation, the ellipsoidal is virtually silent, making it well suited for applications where ultra-quiet operation is valued. Selectable fan speeds make it possible to eliminate even the faintest sounds completely, while the fixture’s adjustable PWM ensures flicker operation on-camera. www.chauvetprofessional.com

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5. Chromateq Raspberry Revolution

Chromateq recently announced the release of its LED Player and Pro DMX software for Linux on Raspberry Pi3 and Pi4. The Raspberry versions of Chromateq’s lighting control software open the possibility to take advantage of the popular micro computer known for its affordability, open design and modularity.

With numerous peripheral options, I/O is where Raspberry Pi excels: USB, HDMI, Ethernet, MicroSD, visible light or infrared sensors, MIDI converters and many others.

Chromateq’s LED Player and Pro DMX software are fully compatible, with the latter enabling audio timeline synchronisation. Audio sync performance is stable and fast up to 10 Art-Net / DMX universes. Video sync is not available due to the limitations of the CPU and graphic card in the Pi3 and Pi4, which is why Chromateq’s resource-intense Pixxem pixel-mapping software and Studio DMX 3D lighting simulation software remain available only for standard computer systems unconstrained by Raspberry Pi’s diminutive hardware architecture. www.chromateq.com

6. LD Systems DQOR Series

The modern two-way installation loudspeakers are available in three-inch, five-inch, and eight-inch versions in black or white and are suitable for indoor and outdoor use in a wide range of installation environments, including retail, hospitality, corporate, education and sport venues. In addition to a low-impedance version, the DQOR systems are also available as a 70/100 V variant with variable power taps.

The passive installation loudspeakers of the DQOR Series impress listeners with their balanced sound, which is accompanied by a wide beam angle (120° horizontal, 80° vertical) and a modern, dynamic design. The loudspeaker housings are outfitted with a built-in wall mounting bracket and handy slide/lock mechanism for flexible use in many different indoor and outdoor applications. Thanks to concealed integrated connections, the DQOR®Series can also be used in sophisticated environments where a clean look is important. Consistent with its elegant styling, the front grille is made of corrosion-resistant aluminum. With an inclination angle of up to 27° and a horizontal swivel range of 45°, the DQOR loudspeakers allow for flexible positioning and precise sound direction according to individual customer needs and acoustic requirements. www.ld-systems.com/DQOR-Series

7. LG Professional PROBEAM

Delivering 6,000 ANSI lumens, a 20% increase over LG’s next brightest models, these laser projectors are designed to project highly detailed imaging for critical government, financial, engineering, medical and digital signage installations in medium to large-sized spaces. Rated at 20,000 hours of laser life and offering lens shift and 1.6x optical zoom, both TAA-compliant models excel in critical needs environments.

The main difference between the two models is the maximum resolution, with the ProBeam BU60PST offering 4K UHD (3840x2160) and the ProBeam BF60PST delivering WUXGA (1920x1200). With a minimum picture size of 40 inches and a maximum of 300 inches (25 ft), both the 4K UHD and WUXGA models can be used in any size room for virtually any size meeting or crowd. Standard inputs include two HDMI ports, RJ-45 (for HDBaseT support) and RS-232C (for IP control) jacks, and convenient wireless MiraCast support. The two models also utilise the webOS 4.5 smart platform.

Both ProBeam models include two integrated five-watt loudspeakers to provide onboard audio, while WiFi and Bluetooth connectivity enable boosting audio through a separate stereo system. The 12-point keystone adjustment available on the 4K UHD model and four-corner keystone on the WUXGA model ensure users have flexibility to create a perfect image, regardless of placement angle or uneven surfaces. www.lgsolutions.com

8. Mega Systems Promotile Series

The revolutionary Promotile Series offers three different pitched panels (2.5mm, 3.1mm and 4mm). It features direct wall-mounting capabilities and a built-in strut system that makes it easy to maintain and install anywhere indoors. The intelligent design includes multiple access ports to carry signal and power, removing the need for rear access. In addition, the front serviceable design makes it easy to service and handle each component, reducing the risk of damage. Measured with the imperial system, designing your system is straightforward with each panel sized close to 1’ x 4’ (11.81” X 47.24”). The slim design is ideal for a diverse range of installations, allowing you the availability to create configurations that fit numerous formats, including banner settings.

There are three methods of control available, from simple (one input to one output) to advanced (one input of multiple types to one output of scaling, switching and other features) and elaborate (16 inputs with multiple types to 16 displays with multiple layers). Pairing your system allows you to map out images and manage layers. The open API allows for integration with many other integration control systems. www.megasystemsinc.com

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OUT BOARD TIMAX SOUNDHUB’S UK DEVELOPER, OUT BOARD, IS THE GLOBAL MARKET LEADER IN OBJECTBASED, IMMERSIVE SPATIAL REINFORCEMENT TECHNIQUES.

The company pioneered ‘source-oriented reinforcement’ during the 1990s and 2000s, and has evolved its TiMax systems to become the preferred choice of sound designers for authentically spatialised vocal and orchestral reinforcement as far and wide as New York’s Broadway, London’s West End, Europe, Scandinavia, Asia, and Africa.

Out Board’s original founder, Robin Whittaker, started the business back in the mid 80s, finding his feet in the world of mix automation with a particular interest in music production, creating moving fader automation systems for studio and live consoles. During this time Robin produced a box called the ‘Octopus’, which had eight moving faders and a programmable routing matrix.

The spatial audio spark still remained unlit, but Robin explained a specific ‘eureka’ moment when he was invited to see a show in London’s West End. “When I lived in London, we used to regularly get invited down to theatre shows,” he said. “On this particular night, we had really great seats and the show started with a couple of acts singing acapella. My ears told me that once the curtain came up, they were going to be stood right in front of me. However, they ended up being at the other side of the stage!”

Robin recalled learning about the ‘Haas Effect’ 10 years earlier in his studio technician days.

This was a concept developed by Dr Helmut Haas in the late 40s, which stated that when a sound is followed by another sound separated by a sufficiently short time delay, listeners perceive a single auditory event - its perceived spatial location is dominated by the location of the first-arriving sound. Robin reproduced Dr Haas’ test in Manfred Mann’s studios, London, and realised that it was key to fixing the localisation issues he was noticing in theatre sound systems.

Out Board’s TiMax solution works by combining upstage, downstage and cross stage delays in order to achieve localisation and timing parity between the sound waves from voices or instruments travelling through the air, and the sound waves from an amplified system. The use of spatial sound within immersive applications creates a sound field that emulates real-life and works to synchronise the senses. Psychological studies have shown that if there is conflict within the senses brought on, for example, by

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the amplified audio in a theatre production, this can trigger a stress response from the audience and even the performers. TiMax resolves this by spatially correcting the audio and focussing the loudspeakers using dynamic delay management.

The other half of Out Board’s dynamic duo, Dave Haydon, joined the company in the early 2000s, having started out in technical and commercial roles at console manufacturers Midas and SSL. “I was subsequently working at BSS Audio, who were a big seller of digital delays into the world of theatre sound,” he explained. “I was working on the Millennium Dome in 1999, coincidentally at the same time as Robin, and I became interested in the work he’d been doing with TiMax. It was in 2001 that we became co-owners after restructuring the company and TiMax started to break new ground.”

One of the early, regular outings for Out Board was London’s Royal Albert Hall, as its annual Raymond Gubbay popular opera seasons were a landmark project that helped put the TiMax solution on the map. “The sound system had originally been designed with one centre cluster above the middle of the stage,” said Dave. “Robin talked them into essentially ‘exploding’ that into smaller loudspeaker clusters spread around the room, and by doing this it really sounded like an opera, rather than an opera with a PA system.

“TiMax was driving all these loudspeakers independently with separate outputs. The stage was divided into 20 zones and the matrix delays were managed in real time as people moved around the stage,” added Robin. “The localisation and resulting audience engagement this achieved revolutionised the show.”

In 2008, the company developed a tracking system, which was originally put on as a trial at an ROH opera with well-known theatre sound designer, Bobby Aitken. After using the TiMax tracker system, he became a convert both for the operas and his other theatrical shows. “Prior to this you had to cue the show manually every time somebody moved,” explained Dave. “This was resolved by TiMax Tracker and sound designers were saying to us that their focus was better because half of their brain wasn’t concentrating on manually stepping through cues, the tracking was taking

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Rolls Royce Immersive Dinner TiMax at Bar Imperial, Belgium Kennedy Space Centre Fremont Street, Las Vegas Bar Imperial, Belgium Royal Exchange Theatre, Manchester

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care of all the movement.”

TiMax tracker was a big hit with many Broadway and West End shows including Harry Potter and Aladdin, and TiMax SoundHub’s highly evolved spatialisation also helped the company to branch out into presentation and experiencial markets, adding car shows such as Rolls Royce and Porsche to its ever-expanding portfolio. “For the Rolls Royce show it was a unique approach; the venue had screens all the way around the room, with presentations, a band, then a banquet with acrobats, so the room was entirely multipurpose. That was the sort of challenging project that wouldn’t have been possible without the use of TiMax,” furthered Dave.

A significant spatial evolution for the company was the TiMax SoundHub, which was launched in 2010. Each SoundHub system incorporates a scalable object-based multi-channel delaymatrix and FGPA DSP engine to handle multiple sources and multiple zones.

Standard configurations provide 32x32 or 64x64 ins and outs with Dante or MADI I/O as standard, plus optional analogue or AES3 I/O in modules of 16 input and 16 outputs.

There’s also input and output parametric EQ for source sweetening and room tuning, nested channel grouping for easy source and zone management, and built-in random access audio playback up to 64-tracks.

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“The SoundHub really blew people away,” added Dave. “It allowed us to hit different price points with a lower entry level. It had incredible success in the theatre market, and it also allowed us to branch out into museums, experiences and theme parks, too. The Kennedy Space Centre exhibits, which now have four TiMax’s, were an important example for us in this field, as they allowed total creative freedom and made people realise how well TiMax worked in these kind of experiential environments.”

Out Board has established itself as a global leader in the spatial reinforcement market, now essential to theatre projects, museums, events and all kinds of live performances across the globe. Even after a turbulent year for most in the industry and business slowing down, Robin and Dave’s brains are still whirring, and 2021 looks to be an exciting year for these pro audio pioneers. “We’ve been able to focus on R&D a lot this year, which has subsequently allowed us to hopefully branch out into other applications. A lot of customers who use our new-generation TiMax TrackerD4 systems also want to be able to use it with video and lighting, so we are currently developing that capability.

We’re very optimistic about this year and are looking forward to getting back on the road, back into the theatres and doing what we love.” www.outboard.co.uk

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Mamma Mia! The Party Robin and Dave at PLASA, 2018 TiMax solution for Rolls Royce

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Robe 6

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Digital Projection

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Modulo-Pi 23

Yestech 2

Chauvet 99

Genelec 83

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DYNAMIC MUSIC DISTRIBUTION High-quality music distribution in multi-zone / source applications

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