MONDO-DR 32.2

J A N U A R Y / F E B R U A R Y 2 02 2

THE ANGELES NIGHTCLUBS TRUSSING & RIGGING

THE DEFINITIVE CONSTANT CURVATURE ARRAY

Optimised consistency, coverage and control thanks to two angled cabinets, a Dynamic Horn Flare™ and DISPLAY 3. A phase plug mounted in front of the 12” driver increases mid-band sensitivity, vocal clarity and projection, and with three 1.4” HF drivers the sonic performance is not compromised even when driven at higher SPL.

martin-audio.com

UNITING YOUR AUDIENCE FOR 50 YEARS 3329-TORUS advert 236x333-MONDO.indd 1

14/01/2022 13:33

advert 236x333 6mm T11 01.indd 1

04.11.2021 10:17:50

INTEGRAL -WP3

DAS Audio introduces INTEGRAL series, dedicated to providing complete solutions for commercial and professional installation markets, mainly based on a multi-zone matrix and matrix-amplifiers with integrated multichannel DSP. All managed through the new ALMA™ software and OSC protocol.

INTEGRAL -MA1604

4 DANTE INPUTS

STANDARD AES67

SYSTEM MANAGEMENT

OPEN SOUND CONTROL

www.dasaudio.com

8 INDEPENDENT INPUT PROCESSING CHANNELS

SELECTABLE PRIORITY IN ALL INPUT CHANNELS

MONDO-DR 32.2 JANUARY / FEBRUARY 2022 ON THE COVER The Angeles Image courtesy of Max Riehn Maxson Media LLC EDITORIAL DIRECTOR Peter Iantorno p.iantorno@mondiale.co.uk SENIOR ACCOUNT MANAGER Laura Iles l.iles@mondiale.co.uk DIGITAL CONTENT MANAGER James Robertson j.robertson@mondiale.co.uk DESIGN & PRODUCTION Mel Capper, Dan Seaton CEO Justin Gawne j.gawne@mondiale.co.uk FINANCE DIRECTOR Amanda Giles a.giles@mondiale.co.uk CREDIT CONTROL ar@mondiale.co.uk GROUP CHAIRMAN Damian Walsh MONDIALE PUBLISHING Strawberry Studios, Watson Square, Stockport SK1 3AZ , UK Tel: +44 161 476 8340 Fax: +44 161 429 7214 ANNUAL SUBSCRIPTION RATES (7 ISSUES) UK: £30.00 / Europe: £50.00 / Rest Of World: £65.00 Two year rates are available on request.

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

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

F R O M TH E CEO So, 2022 was meant to be the return to life as we knew it. We were all waiting for the Bobby Ewing shower moment where we wake up wondering what has happened. However, sadly COVID reared its ugly head again and fears of another lockdown due to the Omicron variant sent shudders through the global economy. Thankfully, this fear seems to have passed, but not before it landed a blow on what was to be the first major trade show of 2022, ISE. The combination of uncertainty from both exhibitors and attendees made running the event untenable and so the organisers made the painful decision to postpone the event until May. Talking to exhibitors who had pulled out, the postponement has changed their opinions. I think the show will be a return to years gone by – maybe not quite the 80,000 attendees from 2020, but it will be a success. However, the date change brings new logistical issues, with three major exhibitions – ISE, NAMM and InfoComm – now taking place in quick succession.

For us, it will be great to get back on the road and see everyone.

Adding our own events of the TPMEA Awards, TPi Awards and MONDO-DR Awards, I think I’m going to be living out of a suitcase for a while! Enjoy the issue and don’t forget to keep us up to date with your projects.

JUSTIN GAWNE, CEO

Buxton, UK

W WW. M O NDO DR. C O M | LE A DE R

000

ENTER YOUR PROJECTS NOW MONDODRAWARDS.COM/2022/ENTER-NOW

IN THIS ISSUE. . .

10

EXPO DIARY

12

IN DISCUSSION Tareq Ghosheh, Expo 2020 Dubai

16

INSIDE VIEW HOF

IN DEPTH 22

EXPO 2020 PAVILIONS Dubai, UAE

28

REPORT Nightclubs

IN FOCUS 40

TEATRE AKADÈMIA Barcelona, Spain

42

AURES LONDON London, UK

50

THE JANE Antwerp, Belgium

56

THE CRUCIBLE Sheffield, UK

62

THE RADY SHELL San Diego, USA

64

THE ANGELES Florida, USA

72

KADOKAWA CULTURE MUSEUM Tokorozawa, Japan

74

THE EMPIRE Queensland, Australia

IN BUSINESS 78

SHOW REPORT JTSE

82

IN DETAIL ADJ, AUDIOFOCUS, Claypaky

86

PRODUCT GUIDE Trussing & Rigging

90

PRODUCT DIRECTORY

94

IN PROFILE Datapath

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

9

JANU ARY JAN

17-19

CUE ROTTERDAM, THE NETHERLANDS www.cue.nl

MARCH MAR 27-29

MUSIC INSIDE RIMINI RIMINI, ITALY www.musicinsiderimini.it

AP RI L FEB RUARY FEB

20-22

LED CHINA SHENZHEN, CHINA www.ledchina.com

FEB

PROLIGHT + SOUND GUANGZHOU GUANGZHOU, CHINA

25-28

www.prolight-sound-guangzhou.hk.messefrankfurt.com

APR 13-14

APR

23-27

APR

26-29

EXPO SCENE MONTREAL, CANADA www.citt.org

NAB LAS VEGAS, USA www.nabshow.com

PROLIGHT + SOUND FRANKFURT, GERMANY www.pls.messefrankfurt.com

E XP O D I A R Y

MAY MAY 8-11

MAY 10-13

MAY 10-11

MAY 16-18

THE GET SHOW GUANGZHOU, CHINA www.getshow.com

ISE BARCELONA, SPAIN www.iseurope.org

PLASA LEEDS, UK www.plasaleeds.com

SLS EXPO RIYADH, SAUDI ARABIA www.saudilightandsoundexpo.com

MAY 17-19

MAY 19

MAY 23

MAY

26-28

CABSAT DUBAI, UAE www.cabsat.com

TPMEA AWARDS DUBAI, UAE www.tpmeaawards.com

TPi AWARDS LONDON, UK www.tpiawards.com

PALM EXPO MUMBAI, INDIA www.palmexpo.in

TH E WORL D ’ S G RE A T E S T SH OW: E V E N TS A N D E N TE RTA I N M E N T A T E X P O 2020 DUBAI T are q Gh osh e h , C h ie f E ve nts and En ter tain men t O f f ic e r at E xpo 2020 Duba i.

Hosting more than 3,000 performances across a six-month period, the events and entertainment spaces at Expo 2020 are built to withstand the kind of rigorous schedule that would put even the world’s busiest arenas to shame. As well as a state-of-the-art technical setup and support from some of the best suppliers in the business, the purpose-built spaces benefit from an expert in-house technical team, charged with providing outstanding facilities and support to enable world-class shows to take place at Expo 2020 day after day.

Tareq Ghosheh, Chief Events and Entertainment Officer at Expo 2020, is the man charged with overseeing all these elements and more. Here, he shares some insights from his journey so far, talks about the inner workings of Expo’s events and entertainment offering and speculates on the kind of legacy that Expo 2020 will leave for the UAE. What are the main events and entertainment areas inside Expo 2020 Dubai?

The main performance area is Al Wasl, which hosted the Opening Ceremony and will host the Closing Ceremony. It also hosts a daytime show called ‘music in the garden’, as well as a range of nightly shows.

Then we have Jubilee Stage, which is a rock ’n’ roll, music festival-style stage, while the Dubai Millennium Amphitheatre (DMA) is more suited for theatre and dance.

In addition to these, we have three smaller district stages, designed to accommodate smaller performances with fewer on-stage performers.

We also have an enclosed hall in the exhibition centre, which is great for conferences. Further to that, most of the public areas across the site are spaces for roving and musical acts.

How important was it to pick the best international and local suppliers to help deliver the project?

This is not a one-company kind of project. We worked incredibly hard to ensure that we brought on the right people for sound, lighting, projection, technical design, staging and so on. These suppliers are the very best in the world, who have helped us design the performance and entertainment areas in the best way possible.

One thing that we’re very proud of – and we think this could be the first time it has ever happened to this extent – is that we have some of the best technical and production houses in the world working together all under one roof for a prolonged period during the planning, build and execution stages of Expo 2020.

12

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

How did you take the project from concept to creation?

The concept started from Al Wasl – which was originally an urban garden – and grew from there across all the other venues across the site. The model for Al Wasl was expanded throughout the site in April 2020, so all the hard work we did in those initial stages started to pay off when we started rolling it to the other venues.

Of course, there have been ups and downs and plenty of challenges throughout the process, but we sit on the management of the dayto-day operations, and we guarantee that we always learn from our mistakes and maintain the integrity of the delivery throughout. I think this is very visible in the product that we are delivering now on a day-today basis.

What is your process when putting a project out to tender?

We use something we call the 80/20 model. What this means is that whenever we float any RFP, we ensure that we own 20% of the process.

The first 10% is the creative conceptualisation, the technical validation, the operational optimisation, and the financial management. We give this to the production company for them to come up with a creative treatment and operational execution plan. We work with them hand in hand until the last 10%, which includes the excellence in delivery – it’s at this point that we jump back into the driving seat to ensure that what they are delivering is in accordance with what we planned and what we agreed throughout the process.

This is flipped completely when you look at it from a production and a technical point of view, where we own 80% and the supplier provides 20%. That guarantees a seamless delivery from a technical point of view, and as crews come in and out, the house team knows the landscape and the ins and outs of all the venues and the setup.

How are the performance areas set up to host such a huge number of performances back-to-back, with limited changeover times?

When you are operating in a living ecosystem like this, it’s vital to ensure that you can provide world-class entertainment on a continuous basis, with very little provision for rehearsals or changeovers. To achieve this, all our events and entertainment spaces are very different from what you would typically find on a regular house system.

We looked at the components that we would need not only to increase efficiency and available performance time, but also to maintain the integrity of the technical delivery and the ‘wow-factor’ of the

Right: Al Was l i s th e h ea rt of Ex po 2020.

Below: The DMA Sta g e i s g ea red towa rds t heat re and da n c e produ c ti ons .

productions. Most of the venues, starting from Al Wasl, require minimal to no overlay to run a world-class event. We have a state-of-the-art technical system in place, supported by some of the best companies in the world including Agora, Nuemann&Müller and others. Then we have our in-house production team at Expo, which helps to keep together the three vital components – productions, show ops and technical – which will facilitate any creative execution in any of these fields.

We will have more than 3,000 activations from international participants alone across our events spaces, which is a massive undertaking. So far, it’s working very well.

What have your biggest challenges been so far?

Every day is a challenge, but one thing that we are particularly pleased with is that we came into a space that was designed by architects rather than event management consultants, and we have been able to turn it into an event-friendly setup that is capable of hosting world-class events with minimal disruption to what was already in place. We created back of house and logistics spaces that work for us and for the incoming acts, and we made sure that all the events and entertainment areas serve their intended purpose.

What aspects of the project are you most satisfied with?

The level of pride in the country because of the quality of the delivery is extremely promising across the board, from top to bottom. We hope that we maintain that level and continue to meet the expectations of the leadership, to continue promoting the same narrative that Dubai and the UAE embodies in everything it does. We always push the limits, and we never give up.

What will the legacy of Expo 2020 be?

The legacy is still in the making. Whatever was planned pre-COVID, needs to alter post-COVID. However, we managed to put several landmarks on the map, which are now global landmarks that the world will look at and continue to be wowed by, day in, day out.

I’m sure that the leadership has a plan for this to happen and for this incredible space to continue to be a part of the story of Dubai and another representation of how you can get extraordinary things done, even in extraordinary situations like the pandemic. This has been a beautiful journey and I can’t wait to see where it takes us. www.expo2020dubai.com

14

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

HO F H O F is a s pe c i a l i s t i n e v ent te c h nolog y, s p ecia l c o n s t r u c t i o n s , a n d industria l s ol ution s . U s i n g a n e xpe rie nc e d te am of d es i g n e r s , s t r u c t u r a l eng ine e rs a nd on-s ite pr o d u c t i o n i n G e rmany, th e com p a n y o f f e r s t a i l o r e d solutions f or ex tr a or d i n a r y pr o j e c t s .

www.h-of.de

16

I N S I DE V I EW - H O F | W W W .M O ND O D R .C O M

In 1997, master welder Hans-Wilhelm Flegel turned his creative and innovative mindset towards creating a company of his own. The result was HOF; a company built on the key values of innovation, uncomplicated customer service and flexibility – values that to this day remain vital to the company’s success.

From the start, HOF has had a versatile team consisting of TÜV-certified welders, constructors and engineers, as well as a passionate sales team at its headquarters in Northern Germany, allowing the company to produce high-quality trussing products but also special constructions of truss and aluminium for temporary constructions and fixed installations. The company also offers turnkey solutions including statical calculation, engineering, and installation.

Over the years, the company has grown consistently, backed by its ever-evolving trussing portfolio, which now features products including: HOFKON, HOFFORK, HOFBOLT and HOFPRO. In parallel to this, HOF has enlarged its company portfolio, incorporating CJS couplers, XOOP Lighting and Excellent Line into its group, as well as becoming the German distributor for Broadweigh Load Monitoring. The company has also grown its international distributor network over the years and now has partners in 15 countries across Europe.

XOOP Lighting offers white LED light for trade show booths and sports ground illumination purposes. The Excellent Line meanwhile – which is produced entirely in HOF’s headquarters in Germany – was especially developed for the high-end entertainment branch and offers design stand solutions for d&b audiotechnik, L-Acoustics and NEXO, and can also carry lighting, projectors, and screens.

In recent years, HOF has become best known for special constructions and, for many clients, has become the go-to company when it comes to challenging and technically difficult constructions.

One example of this is the Flying Stage that HOF built in Oslo, Norway, where the stage platform was completely moveable during the show. The stage had a surface of 400 sq m using only 39 motor chain hoists.

The company has also developed and produced numerous high-profile fixed installations over the years, including the substructure for a new video wall in the Allianz Arena – the home of Bayern Munich. The main challenge on this project was that, at around 200 sq m, the new video wall was more than twice the size of the previous video wall, yet the ‘old’ hanging points had to be used, leaving left and right overhangs of 5m.

Introduced a couple of years ago, The MLT² – Moving Light Truss² – represented a major turning point for the

ALLIANZ ARE NA HOF developed the substructure for a new video wall in the Allianz Arena, the home of Bayern Munich.

F L Y I NG ST AGE In recent years, the company has become best known for special constructions such as this Flying Stage in Oslo, Norway.

MLT ² Utilising fork connectors, which enables stage designers to create curved truss designs, either vertically or horizontally, HOF’s innovative Moving Light Truss² represented a major turning point for the company.

17

company. Setting the industry standard in container truss / moving light truss, the MLT² has so-called fork connectors, which enables stage designers to create curved truss designs, either vertically or horizontally. Handling can be done with only one person, while setup and dismantling times for shows are drastically reduced. The MLT² has evolved into one of HOF’s key products and the company is aiming to establish it further internationally.

Of course, the COVID-19 pandemic has taken its toll on HOF just as every other company in the industry. However, the company used the time to focus on developing new and innovative products, such as the ECO(nomy) Stage, which was launched in autumn 2020. Catering to the fact that many concerts and shows could still take place during the height of the pandemic but would usually move from indoor to outdoor and have a reduced size, the ECO Stage can be set up by just two people and comes in at an attractive price point, which makes smaller scale shows financially and practically feasible.

Known affectionately as ‘home of master solutions’, HOF lives the philosophy that no project is too complicated and thrives on crazy ideas and the challenges they bring.

Looking ahead, the company is aiming to expand into the Americas, MEA, and Asia, building a strong distributor network that complements its already robust European network. Fun, crazy, yet extremely hard-working, for the team at HOF, constant innovation and challenging of the status quo are the keys to success.

18

I N S I DE V I EW - H O F | W W W .M O ND O D R .C O M

IN DEP T H

22

EXPO 2020 PAVILIONS DUBAI, UAE

28

REPORT NIGHTCLUBS

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

19

SATELLITE MODULAR LASER SYSTEM

SATELLITE MODULAR LASER SYSTEM

TRULY EXC

COLOUR + TECHNO WUXGA - 4K Satellite Projection Heads and

CEPTIONAL

EXHIBITOR 2022

Hall 3 Booth K900

OLOGY + IMAGES 8K -

MultiView

RGB Modular Light Sources

The Visionaries’ Choice www.digitalprojection.com

EX PO 2 0 2 0 P A V I LIO N S Hi g h - t e c h e xa mple s of i n n o v a t i o n a m o ng E xpo 2020’s 1 9 2 c o u n t ry pa vilions.

22

E X P O 2 0 2 0 PAV I LIO NS | W W W .M O ND O D R .C O M

United Kingdom COMPANY: PRG

Created by world-renowned designer, Es Devlin, The UK Pavilion at Expo 2020 Dubai is one of the most recognisable among of the 192 countries represented on site. A mesmerising cone-shaped structure with a 25m-high LED circular façade made up of 2,000 customised LED tiles, the pavilion uses an advanced AI learning algorithm developed in collaboration with Google Arts & Culture, which allows visitors to add their choice of word to a continuously changing ‘collective message from humanity to the universe’ displayed on the LED modules.

PRG was appointed by Pico to deliver the engineering of the customised LED tiles through its PRG Projects team, which supported Devlin in her design process for the UK Pavilion, commissioned by the Department of International Trade and project managed by Avantgarde. Both the outdoor and indoor tiles use SMD LEDs, with the outdoor coloured to match the building finish and the indoor made from flexible PCB to follow the curved shape of the cassettes.

“We worked closely with our colleagues in Shenzhen to source the LED components and custom manufacturing,” commented Frederic Opsomer, General Manager PRG Projects. “Their presence in China was very helpful – especially when borders of the country were closed during the pandemic.”

PRG UK then supported PRG Projects in specifying the media servers and worked with the creative team from Luke Halls Studio on several demos to test the software.

The entire R&D process took around six months from initial prototypes to the final product. Once the geometry of the building was decided, PRG Projects worked closely with its teams in Dubai, the UK and China to ensure the design and selection of LED was suitable for the conditions that are presented in UAE. “One of the main challenges was, of course, the conditions in Dubai,” said Opsomer. “We conducted several tests in climate chambers and mock-ups to ensure the products specified would perform across the duration of Expo 2020 Dubai.”

When it came to the on-site delivery, PRG Dubai led the team as the local contractor and installation provider, with a team of eight specialist technicians overseen by an experienced project manager installing the LED tiles as well as the customised immersive audio system, designed by Polyphonia, over a sixweek period. Gavin Short, Senior Technical Project Manager for PRG in Dubai, explained: “The bespoke soundscape is fed through a series of small speakers concealed within the cone, providing an immersive sound experience for the guests. The system is played back from Q-Lab and is triggered from the video control servers.”

Another challenge was the integration of the electronics into the limited space within the cone. “Our team worked closely with the design team and architects to ensure enough ventilation was factored in during the design and build process,” Short noted. Opsomer added: “Being able to draw upon our team’s knowledge, resource and delivery across the group during the pandemic highlighted our strength in delivery. Despite being unable to travel, our teams were able to work across borders and time zones to find the technical solutions that were required to fulfil the design process and delivery onsite.”

Describing the project as “one of the most remarkable” he’s ever been involved with, Opsomer concluded: “I have known Es for many years, and we have collaborated on several projects together. She is an amazing designer, and this project reinforces her already stellar reputation. This breath-taking design of evermoving poetry, displayed digitally and integrated to illuminate the façade of the UK Pavilion, was a beautiful challenge for us at PRG, and we are very proud to collaborate with her on this journey of innovation.”

Short added: “The UK Pavilion is an exceptional and unmissable part of the overall Expo experience, located in the Opportunity District and is clearly a space that will inspire visitors to the site.” www.prg.com

23

I taly COMPANY: POWERSOFT

Twenty-five Italian-made Powersoft amplifiers are handling the audio demands of the award-nominated Italy Pavilion at Expo 2020.

Over 28,000 people a day are expected to visit the Italy Pavilion, which centres on a spectacular 3D-printed, 1:1-scale reproduction of Michelangelo’s David created in Powersoft’s home city of Florence.

Key to that popularity is the powerful audio experience created by the pavilion’s all-Italian sound system, which complements a striking, sustainable visual design featuring two million recycled plastic bottles.

Powering the system are 25 Powersoft amplifiers supplied by PRO LAB, the company’s exclusive distributor in the GCC and Lebanon, and installed by local systems integrator, SIBCA. Two of the five Quattrocanali 2404 DSP+D amplifiers are used in the main auditorium and restaurant areas, while three are equipped in the first hull, white space, and skywalk (which offers visitors a panoramic view of the pavilion from an 11m skybridge). Two Quattrocanali 1204 DSP+D, the 2404s 1,200W baby brother, are installed in the FS Tunnel, a partnership with FS Italiane (Italian State Railways).

Four Mezzo 322 AD are powering the Belvedere, an area featuring a 360° projection of some of Italy’s most famous landscapes, and another four the Teatro della Memoria, where the 17ft David replica is installed.

A further 322 AD is installed in the VIP lounge. Also from the compact Mezzo family are the two Mezzo 324 AD installed in the cultural space

24

EX P O 2 0 2 0 PAV I LI O N S | W W W .M O ND O D R .C OM

and innovation space, and the two Mezzo 604 AD powering the VIP area and extra VIP space.

Five Mezzo 602 AD, meanwhile, are driving the VIP meeting room, education lab, head office and cafeteria, as well as joining forces with the Quattrocanali 1204 DSP+D in the FS Tunnel.

As well as featuring only Italian amplifiers, the Italy Pavilion’s loudspeakers are Italian throughout, with the Powersoft amplifiers powering a range of RCF, K-array and FBT loudspeakers.

“When we talk about ‘Made in Italy’, we almost always think of fashion, food, tourism and art,” Powersoft President, Carlo Lastrucci commented. “But there is another less well-known industry, equally excellent, which must and deserves to be valued. All research and development, production, technical assistance, marketing, sales, logistics, and warehouse activities are in our centre in Florence and in production plants in Italy. This allows us to control the entire chain from start to finish, ensuring the optimisation of processes, quality, and responsiveness to market needs.”

More than five million people will have visited the Italy Pavilion, designed by CRA (Carlo Ratti Associati), Italo Rota, Matteo Gatto & Associati and F&M Ingegneria using recycled and sustainable materials, by the time Expo 2020 ends on 31 March 2022. www.powersoft.com

Simplicity at its best

Imagine creativity without limits and technology without equals. Breaking new ground, Datapath’s range of creative video wall controllers display the highest quality content from any source, across multi-screen video walls of any size and configuration.

With flexible connectivity and simple control, the only thing holding you back is your imagination…

Datapath. Engineering the world's best visual solutions. www.datapath.co.uk

Finland COMPANIES: INFiLED, GENELEC

Finland’s Snow Cape Pavilion at Expo 2020 Dubai features a raft of highend AV solutions, including INFiLED curved LED displays and Genelec Smart IP loudspeakers.

JKMM Architects engaged DXB Live for the setup and integration of two curved INFiLED DB3.4mm LED displays with a total size of 104 sq m.

The two companies worked together to create a cutting-edge, seamless curved LED solution that fits the theme, technical specifications, and overall impressive design of the pavilion.

“To achieve and ensure the requested seamless curve, our R&D team customised our standard DB cabinets to eight different curving angles including the hanging bars,” commented Samer Otaibi, Regional Sales Manager of INFiLED Middle East. “Creative installations are in our DNA, and we are delighted to see the result and be part of this impressive project among others at Expo 2020.”

According to Otaibi, one of the main challenges was that the screens had to be hung from hanging bars, which required a lightweight, robust, yet high-quality product. “DB series is easy to install, and features

26

EX P O 2 0 2 0 PAV I LI O N S | W W W .M O ND O D R .C OM

exclusive black LEDs offering vivid colours, high contrast and stunning image quality,” he added. “We’re very proud of this project, which will impress thousands of visitors in the upcoming months.”

The pavilion also benefits more a total of 84 Genelec 4430 Smart IP loudspeakers, including a 10-channel immersive loudspeaker array that reproduces specially commissioned sound art by Finnish composer, Emilia Takayama.

A total of 74 4430 Smart IP loudspeakers have been installed in the pavilion’s exhibition area, configured as a custom immersive array, while the other 10 4430s are handling sound art content in ‘The Gorge’ area of the building. The entire system is fed via Dante and powered using standard PoE+ network switches and was designed by Genelec and commissioned by GSL Professional in Dubai, Genelec’s local distribution partner. The system installation and programming were handled by Audico Systems from Finland. www.infiled.com www.genelec.com

© 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

(30)

SOLLINGER 780 963

00

GmbH • Fax

• +49

(30)

Crellestraße 780 963

25

19/20 • Mail

10827 Berlin sales@laseranimation.com

N I G HTC L U B S Outstanding ins t a l l a t i o n s f r o m nigh t - t i m e v e n u e s around the world

28

R EP O R T - N I GH TC LU BS | W W W .M O ND O D R .C OM

E 1 1 Even COMPANY: DAS Audio LOCATION: Miami, USA

Based in the heart of downtown Miami, E11EVEN is a unique, immersive venue that is totally befitting of the term ‘superclub’. Boasting 20,000 sq ft of high-end social entertainment, the space is part lounge, part show experience, complete with four 24-hour, full service bars, making E11EVEN a sought-after club for both public and private events, having hosted the likes of Drake, Lil Wayne, P Diddy, Zedd, Ludacris, Cardi B, Snoop Dogg, Halsey, Dada Life, Future, Carnage, Dash Berlin, A-Trak and more.

A huge part of the award-winning experience at E11EVEN is down to attention to detail when it comes to state-of-theart technology. This was clear to see from the club’s first contact with John Fiorito, Nightlife & Hospitality Design / Installation Specialist at E11EVEN Sound by DAS Audio, who designed the new audio system at the venue.

“In 2016, the owner and creator of E11EVEN, Dennis DeGori, wasn’t happy with the prior installation company and I had just been offered the East Coast Manager position with Sound Investment Audio. Michael Meacham, the owner of idesign, has known me since 1992 and informed the owners of E11EVEN that Sound Investment hired a great audio technician who he would vouch for. Michael made the introduction to the partners of E11EVEN and I was given a trial period to rebuild their trust in Sound Investment Audio,” he explained.

“After two years, I was asked by the owner to make the sound better and I began pondering with design ideas and products. Over two years as an audio designer, installer, and manager for Sound Investment, we were selling a lot of DAS Audio products. We found the speakers to have fantastic sound quality, plus product was readily available and there was excellent support from DAS Audio Spain Engineering. So, we began to discuss a premier dance club product that would blow away the competition in all aspects of sound and price.”

Such was the dedication to the sound quality at the venue, E11EVEN Group and DAS Audio announced a partnership to launch a new brand of sound systems – E11EVEN Sound

by DAS Audio.

“I was given instructions by the creator / owner of E11EVEN to make the sound like a studio; better vocals, cleaner low frequencies and add anything missing,” Fiorito recalled.

“The main Party PIT has loudspeakers designed with the precise coverage of the room to ensure all areas are considered sweet spots. Everywhere where a customer can sit or stand allows them to hear every frequency.”

The loudspeakers selected for the Party PIT consist of four ES-112, eight ES-215, four ES-221 and two ES-30A loudspeakers from the E11EVEN Sound by DAS Audio range. Elsewhere, the Day Club utilises five ES-10s, the Lower VIP area has eight ES-26s, with the Conversation Area including three ES-26s, too. The restaurant’s system is made up of for Artec-306 loudspeakers and two Q10 subwoofers, while the rooftop has eight ES-26s, four Arco-4Ts and four Q10 subwoofers.

“All amplifiers are DAS OEM manufactured by MC² Audio.

Class A/B bi-polar for all high frequencies and Class D for

all midrange and sub bass. MC² Audio has a long history of making some of the finest sounding amplifiers, so it was the preferred option,” added Fiorito.

“DAS Audio, in partnership with NST Audio, has developed their own 11sound processor, which runs in a true 96K for the main Party PIT. We believe that this company is leading the future in signal processing. The other areas of E11EVEN are controlled by BSS Audio BLU-160, with multiple BLU BOB2 for additional outputs. The entire system is controlled by iPad using Logic. For the DJ equipment, everything is Pioneer. We used the Pioneer DJM900nxs2 DJ mixer, and there are four Pioneer CDJ3000. All live mixers and microphones are rider-dependent and vary based on the show and needs of the artist.”

As well as the audio system, the lighting and visual elements within E11EVEN were also meticulously planned to deliver a striking experience. Michael Meacham, Owner of idesign, started the creative design process with the Dennis DeGori and the architect, Tom Telesco from Telesco Associates, in the early summer of 2013.

“It was a synergistic process between all three of us. When Dennis had innovative ideas of what he wanted, Tom and I were able to build on these ideas with Dennis to collectively create what is now E11EVEN. Everything is based around the halo design, consisting of 360 one-metre custom ceiling digital lighting strips. Intertwined into the ceiling halo lights are 32 Cameo MovoBeam 100s, along with 16 Elation Dartz 360 fixtures. The very centre light is a Cameo Evos W7, while the mezzanine lights are made up of 36 Cameo Opus S5s and 16 SGM X5 LED strobes. Behind the lighting and DJ booth is another 12 Elation Dartz 360s, with four 6W RGB lasers in each corner of the room.

“For the lighting control, E11EVEN uses MA Lighting’s grandMA series 2 console with an MA expansion wing, grandMA NPU, Mif4 timecode, All of the nightclub’s previsualisation is done in Depence D2, too.”

The team at idesign also uses TC Supply’s Showkontrol for the timecoded shows at E11EVEN. With this system in place, E11EVEN, which opened in February 2014, was a sensational success. However, fast forward to 2020, E11EVEN and idesign felt that the main room was in need of a refresh in terms of its lighting experience. This led to the Cameo Opus S5s and Cameo Movobeam 100s being installed.

For the visuals, the HD video screens are integral to E11EVEN’s production and aesthetic. From the 4ft x 12ft screen at the front entrance, through to the 28ft x 10ft 2mm screen in the main room and the 21ft x 10ft 3mm screen in the Day Room, the visuals are sharp, eye-catching and perfect for the venue. All of the video screens are controlled by Avolites Infinity RX8 media servers.

Meacham concluded: “E11EVEN is one of our favourite clients and we consider Dennis DeGori and the E11EVEN partners to be family. Dennis has a successful vision to always be the best nightlife destination and provide everyone with the ultimate guest experience. www.dasaudio.com

29

Daer N ightc l ub COMPANY: Robe LOCATION: Florida, USA

Over 100 Robe LED Beam 150s were specified by world-renowned lighting designer Steve Liberman for Daer Nightclub, part of Daer Florida, an enormous 44,000 sq ft indoor-outdoor facility located at the iconic Guitar Hotel at Seminole Hard Rock Hotel & Casino.

Robe LED beam 150s are installed on a custom system chandelier to create broad colour washes over the dancefloor. There is also a detail of LED beams around the entire perimetre of the club to support all the second and thrid tier seating areas.

The result is that these fixtures elevate and enhance the stunning aesthetics of the world-class space, helping ensure that “Daer will be a vibrant entertainment destination that will attract celebrities and guests from throughout the nation and around the globe,” said Hard Rock’s Vice President of Nightlife/Daylife, Matt Minichino.

Liberman furthered: “Daer nightclub presented many challenges during the installation process. We designed a custom system comprised of five large format chandelier type elements. Each section is controlled

SO S Club COMPANY: Adamson LOCATION: Hangzhou, China

SOS Club in Hangzhou, China, originally opened their doors to the public in 2005. Throughout their 17 years in business, the venue has frequently been included in DJ Mag’s list of the top 100 clubs in the world, understandably making it a prime performance location for the world’s biggest DJs. They’ve hosted a plethora of popular acts, like Don Diablo, Steve Aoki, Tony Junior, and A-Trak, to name a few.

In 2020, the nightclub underwent serious renovations. Thanks to Real Music Acoustics & Lighting Technology, SOS Club reopened in the fall of 2021, with an entirely new Adamson sound system. This is the first installation project in China where both the main and delays are Adamson E12. In total, 20 E12 were used, as well as 10 Point 15p for side fills, three IS10p, five E219, five IS119, and 16 IS219.

DJ Fedde Le Grand was one of the first acts to play the club with the brand-new Adamson loudspeaker products. How did the music sound? Annie Wan of Real Music Acoustics & Lighting Technology explained: “The customer is very satisfied with the sound. The sound of Adamson is neat, powerful, very dense, but not noisy.” www.adamsonsystems.com

30

R EP O R T - N I GH TC LU BS | W W W .M O ND O D R .C OM

by automated hoists to create dynamic looks. Additionally, there is LED neon edge detailing all our elements all of which is pixel mapped and controlled in tandem with the rest of the lighting system. A DJ booth located in the opening between the pool and the dancefloor the is setup to support nightclub and dayclub performances. High-resolution video screens are standout features behind the DJ booth on the interior and on the exterior wall to support dayclub and outside events.”

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

Cl u b R e z i d e n c a COMPANY: Adam Hall LOCATION: Sveta Ana, Slovenia

In the past, guests to the municipality of Sveta Ana in northeastern Slovenia typically only came to visit the old parish church – the starting point of a famous pilgrim’s path. All that changed in October 2019, however, when the tranquil little town opened up a new attraction for EDM fans: Club Rezidenca. Not quite as peaceful as the pilgrim’s path, the Rezidenca’s two dance floors feature an extensive range of Cameo spotlights installed by the systems integrator Ozvocen.si.

The team led by the managing director of Ozvocen.si, Tomaž Bačun used AURO SPOT 200 LED moving heads and MOVO BEAM Z100 beam moving heads to create the lighting effects on the main floor. Several TS60 RGBW spots on the front truss provide the base colours mixed with FLAT PRO 7 XS Quad-LED PAR spotlights as the backlights. The 12 TRIBAR 400 IR LED bars also play a key role in the lighting design: They bring the dance floor to life with dynamic colour effects right above the heads of the club’s guests. A FLASH BAR 150 equipped in each truss corner lifts the space up even further with strobe and blinder effects. No club would be complete without lasers. The Cameo LUKE 700 RGB show laser takes on this important task in Club Rezidenca.

In addition to the main floor, the Rezidenca also has a second stage, whose low ceilings give the club a hot underground feel. The compact MOVO BEAM Z100s, with their sharply focused beams, really play to their strengths here. The MOVOs are paired with the equally compact HYDRABEAM 1000 RGBW beam moving heads. UV BAR 200 IR UV LED bars and the TRIBAR 400 IR create atmosphere and bring out the stairs and steps.

“For Club Rezidenca, we needed compact yet powerful lighting technology that both our customer and we can always count on,” explained Tomaž Bačun from Ozvocen.si. “Ziga Krajnc from Adam Hall (Sales Representative Slovenia and Croatia) provided us with excellent support. Cameo is a young, innovative, and rapidly growing lighting brand that’s always surprising us with new approaches. We’re already looking forward to future projects.” www.adamhall.com

32

R EP O R T - N I GH TC LU BS | W W W .M O ND O D R .C OM

C om ma s COMPANIES: LEDSCONTROL, Madrix LOCATION: Ho Chi Minh City, Vietnam

The original design created by LEDSCONTROL proposes a new way of giving life and movement to light. It provides a vibrant and cutting-edge nightlife experience in the Southeast Asian region.

A 13×17 rectangular grid of three-pixels-deep sticks creates an innovative three-dimensional, low-resolution, ‘analog-digital’ look and feel. This effect is highlighted by the mirrors located at the top of each

DIN POWERFUL OUTDOOR

ZOOM PAR CLFLIGHTING

of them. An alternative backdrop was used for the DJ; something that is more oriented to be a light-art piece in order to break the traditional array of LED screens that is commonly used in these kinds of spaces.

The kinetic frames located on the sides and the ceiling form a unique array. They provide the space with the perfect dynamism to generate a complete atmosphere that adapts to the music as well as the events that are held in the venue.

Commas is one of the first projects in which lighting defines the architecture – the light leads the architectural structures. The light-art bespoke piece behind the DJ rather than a simple LED screen is the single biggest factor. However, in all of its context, this project has a special singularity. www.ledscontrol.com www.madrix.com

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

WWW.CLF-LIGHTING.COM 000

O ne Third COMPANY: disguise LOCATION: Hangzhou, China

Daan Oomen, Creative Director of Live Legends, live experience designers based out of Amsterdam, was tasked to create a turnkey show experience for a series of clubs named One Third.

The latest One Third installation was based in a converted factory in Hangzhou China, reimagined into a club. To power the dynamic and immense scale LED video canvas, Oomen chose a 4x4pro disguise pro range media server. The pixel maps of the club are complicated or as Oomen puts it ‘insane’.

“The only choice was to power them using disguise.” disguise media servers are capable of pushing all the pixels, while remaining stable.

Oomen said, “We love the flexibility of the system as we have timecode shows, followed by input from the local VJs (video jockey) mixed with pre-programmed base theme looks.”

Dave van Roon, Video Specialist and disguise Programmer at Live Legends explained: “On our shows everything is connected.

With SMPTE and UDP, for instance, the lighting desk follows

34

R E P O R T - N I G HT C L U BS | W W W .M O ND O D R .C O M

along with the show, so video, lighting, special effects, motion and lasers are all in sync.”

Live Legends also wanted to utilise a show control solution that the local teams would find easy to use. disguise made it possible to hook all the elements together using one simple touchscreen and since it uses disguise Telnet communication, the interface is fast and always works.

It’s ease of use allows local crews, with no previous knowledge of disguise, to operate it. disguise’s 4x4pro sets the industry benchmark for power, flexibility and convenience, delivering unparalleled quality content to the LED canvas screen at One Third.

Live Legends programmed all the shows in its studio in the Netherlands using disguise Visualiser and the Lightconverse 3D show platform. Live Legends chose this combination so they could test all triggers and see how the content would work within the space with the lighting, motion and lasers. Then after arriving at the venue in China, they focused on troubleshooting and tweaking the details. With projects of this scale, there is always a chance that the actual LED video screens at the

Fog is our passion!

Cobra 3.1

 New, extremely silent nozzle Noise at max. output: 82.5 dBA  Constant fog output at any pump level due to the use of two pumps  Control via Ethernet, DMX512, analogue (0-10V) or directly at the machine  RDM-capable  Touchscreen with simple navigation  Finest adjustments of the output  Adjustable pump characteristic: Impulse, Extended, Flood, Continuous  Adjustable performance curve to balance different fog amounts  Internal Timer  Internal working hour meter  3100 W, 230V/50Hz

venue are differently from the drawings. Therefore using the disguise platform was of critical importance during the pre-production stage of One Third. The content mapping is conceptually separated from output mapping so there is no worry about a difference of LED sizes, one can program the show as designed and use the output feed to make it look exactly the same.

Although One Third was already recognised as the gold standard of nightclubs in China, Live Legends with the help of disguise, brought extensive skills, knowledge, and vision from the world of live events to bring the reputation and nightclub experience to the next level.

Live Legends delivered all the creative elements from concept to execution, including show production and interior technical design, which required coordinating all the visual disciplines and optimising the guest experience with flair and imagination.

Additionally, disguise’s robust and flexible 4x4pro media server, utilised by Live Legends, pushed every pixel to maximise playback power across the LED canvas with at least two simultaneous layers of content at 10G bit/sec. disguise ensures superior video quality and performance lasts all night long at the One Third club in Hangzhou. www.disguise.one

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

Kaos COMPANY: GLP LOCATION: Las Vegas, USA

The JDC-1 were a standout fixture in GLP’s design at Kaos. Typical strobe lighting effects are a ‘set it and forget’ element, meaning; you get one focus position and that’s it until you climb up on a ladder or a lift and refocus them. With the GLP product, it gave the ability to offer diversity to this effect. Not only with the ability to remote control the position, but the level of effects and the output of the fixtures is overwhelming.

Kaos presented many challenges during the installation process.

With over 100 points of motion, the installation of the automation system was very complex. There are multiple areas with rotation on various axis, as well as video and lighting integrated into the custom

36

R E P O R T - N I G HT C L U BS | W W W .M O ND O D R .C O M

chandeliers. Compound curved high-resolution video screens adorn the ceiling and walls. A DJ booth located in the opening between the pool and the club is motorised to move in and out of the space to support nightclub and dayclub performances. Additionally, there is an outdoor stage, water cannons, exterior rated lasers, and moving lights strategically placed around the venue to ensure that there is perfect coverage for all the customers to have a world class experience.

The entire theatrical lighting system is controlled via multiple MA Lighting grandMA3 consoles networked. Video is supported by a GreenHippo system with seven 4k outputs. The entire design and

257mm

194mm

400mm

290mm

220mm

220mm

257mm

194mm

400mm

290mm

220mm

220mm

400mm

290mm

580mm

400mm

290mm

290mm

290mm

W

290mm

220mm

290mm

220mm

220mm

220mm

400mm

353mm

257mm

353mm 220mm

353mm

257mm 290mm

220mm

220mm

353mm

400mm

290mm

194mm

400mm

290mm

install team worked diligently to produce a magnificent project.

The level of ambition is paramount for this project. Stations Casino, Rockwell Design Group, Focus Lighting, SJ Lighting, Sound Investment, NTA, SGPS, Bombard, AES and In House productions worked closely together to bring this club to life.

Aggressive schedules, difficult install procedures and custom features are the standard operating procedure at Kaos. And in the end, the result was a world-class venue, that everyone involved with can be proud of. www.glp.de

257mm

194mm

400mm

290mm

220mm

220mm

400mm

290mm

400mm

400mm

290mm

257mm

194mm

400mm

290mm

220mm

220mm

220mm

290mm

194mm

400mm

290mm

220mm

220mm

220mm

290mm

400mm

148mm

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

000

AHA L i vesta ge COMPANY: MEYER SOUND LOCATION: FREDERICIA, DENMARK

Situated among the modest brick buildings of downtown Fredericia, AHA Livestage has given this small Danish city a lively gathering spot for members of “Generation X”— along with any others who delight in the unique music and culture created by this generation. The lighting and interior décor reflect the trends of the 80s and 90s, and the bar offers a selection of drinks apropos of the time. But certainly, on weekends, the main draw for packed crowds is the music of the era, both live and in DJ sets, as reproduced by a discreet yet powerful audio system.

From the outset, the owners decided to spare no expense to make the establishment one of the finest of its kind in northern Europe in terms of all amenities. Fortunately, this no-compromise approach was made possible by a passionate entrepreneur grown up in Fredericia and desired to create something of lasting value for the city.

With music at the core of the concept, it was critical that audio and acoustics conform to the highest standards. Noted Fredericia sound designer Tim Høyer was enlisted as technical consultant on the project, and for the audio systems he brought in Stouenborg, one of Denmark’s leading systems design and integration firms. Eddy Bøgh Brixen of Ebbconsult acoustical consulting was tasked with assuring the ideal aural environment. For the distributed loudspeaker systems, the first choice for both Høyer and the Stouenborg team was Meyer Sound. The goal was first to create a very low reverberation time and then to deliver premium quality sound – with the option of high undistorted levels – uniformly throughout the space.

To realize this goal, the acoustic design specified a ceiling construction of sandwiched acoustical panels in order to achieve minimal reverberation across the full frequency spectrum. The final measurements revealed an RT60 average of 0.85 seconds from 63 Hz to 12.5 kHz. To ensure uniform, full-bandwidth coverage, Stouenborg employed Meyer Sound’s MAPP acoustical prediction software to design the system of 78 self-powered Meyer Sound loudspeakers that now evenly blankets the 600 square-meter venue.

For the front end of the system, Stouenborg and Høyer specified a Yamaha digital matrix and an Allen & Heath mixing console.

Live music is built into the name of the club, and AHA Livestage even has its own quartet of musicians – dubbed The Hollywood House Band – to support visiting vocalists. When live music isn’t on tap, DJs keep the party going with visual support from the LED screen behind the stage.

“Sound is at the center of the AHA Livestage experience,” summarised technical consultant Tim Høyer, “and the tonality, wide frequency response as well as the quality of the installation have been crucial for the club’s success.”

Now a thriving enterprise, AHA Livestage demonstrates the importance of developing a unique concept and then executing that concept at the highest level. According to the venue’s web site, the concept here centers on the sounds of artists like Whitney Houston, Michael Jackson, Madonna, Phil Collins, George Michael, Peter Cetera and Irene Cara. “AHA represents vibrations and moods with sounds from when Generation X was young,” the site continues. “We want to take our audiences back to the energy that prevailed musically from the late 70s through the 80s and into the early 90s. This is where we come from, and where we belong.”

For the audio and acoustic team, a no-compromise approach to quality assured that everybody in the club would experience that sense of belonging to their unique musical generation. www.meyersound.com

38

R EP O R T - N I GH TC LU BS | W W W .M O ND O D R .C OM

IN FOC U S

40

TEATRE AKADÈMIA Barcelona, Spain

42

AURES LONDON London, UK

50

THE JANE Antwerp, Belgium

56

THE CRUCIBLE Sheffield, UK

62

THE RADY SHELL San Diego, USA

64

THE ANGELES Florida, USA

72

KADOKAWA CULTURE MUSEUM Tokorozawa, Japan

74

EMPIRE THEATRE Queensland, Australia

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

39

IN B RI E F A m a te A ud i o S y s t e m P r o v i d es N ew P r odu c t i o n P o s s i b i l i t i e s to Ba r cel ona ’ s T e a t r e Ak a d è m i a As part of a complete infrastructural renovation encompassing new audio, video and lighting systems, Amate Audio was chosen to supply the loudspeakers, amplifiers and processors for a new audio installation at Barcelona’s Teatre Akadèmia.

Sound designer, Roc Mateu and Amate Audio’s Industrial Designer, Guiu Llusá effectively specified two different loudspeaker installations, operating together within a matrix sound design but with different applications – a FOH dialogue PA and a wider ‘boundary system’ of smaller cabinets around the perimeter of the auditorium.

Amate Audio’s Nítid N12P 12” two-way systems were selected for the dialogue installation, with Nítid S6P equipping the surround circuit. Six N12Ps are used for FOH loudspeakers, while the surround system comprises 12 S6Ps, three N18WP subs, and four S6Ps. “The objective role of sound design in this scheme was to evolve it from mere amplification to a dynamic, illusionary creative tool,” Mateu said. “With loudspeaker systems of this level of performance and compact form, it was possible to achieve, within a small studio theatre, a level of sound design more expected of a major commercial production.” www.amateaudio.com

40

IN B R I EF - EM EA | W W W .M O N D O D R .C O M

41

A U R E S LOND O N EM EA

42

LONDON, UK

V EN U E - EM EA | W W W .M O N D O D R .C O M

3 D s ou n d f r o m P i o n e e r PRO A UDI O , l i g h t i n g a n d v i s uals f r om A vol i t e s , Ro b e a n d E pson, a nd gro u n d - b r e a k i n g h a p tic tech nol o g y c o m b i n e t o c r e a te a tr ul y imm e r s i v e e v e n t s pac e in t h e h e a r t o f L o n don.

Bel o w : Au re s L on don u se s a v a s t a rra y of hi g h- e n d t e c hn o l o gy .

P ho t o s: A de Sm i l e z .

Take a swift left out of London’s Waterloo station and you’ll stumble across multi-sensory, immersive venue, Aures London. Designed and built with emotion in mind and derived from the Latin word for ‘ears’, Aures aims to touch every single one of its guests’ senses using a vast array of high-end technology. Through 3D sound from Pioneer PRO AUDIO, lighting and visuals from Avolites, Robe and Epson, and (literally) ground-breaking haptic technology from Subpac, the venue is catapulted into a unique league of its own.

Owner, Sam Davis encapsulates Aures’ creativity through his infectious, enthusiastic personality and, being the brains behind the business, the venue has brought to life his creative vision of a multidiscipline, immersive art series called Imajon. The first episode of the five sensory immersive series is Lex Tempus – a digital time machine the takes the audience back through history to experience the greats of Jazz, Soul and Disco to see artists such as Miles Davis, James Brown and Donna Summer. Future episodes include Tagged, an interactive, immersive account of the history of Street Art, plus many more. The space can also be hired out for external events and, most recently, has been used by Sky, Hublot and British American Tobacco.

With over 20 years’ hospitality experience across the UK, Canada and Japan, Davis was determined to make Aures his most technologically advanced venue yet. “I am a hospitality guy, but I am also an audiophile and I wanted to equip Aures with the best technology available,” he began. “When we opened the space back in 2017, we installed Pioneer PRO AUDIO loudspeakers, along with amplifiers from Powersoft. When it came to the sound, for me it wasn’t about getting the most popular loudspeakers on the market. I knew that the placement of the products within the space was way more important, so we created a true stereophonic, binaural and 3D audience experience for the listener.”

43

“ A UR E S I S AL L AB O U T Q U ALITY. TO AC H IE VE T H E BE S T Q U AL I T Y , W E W O RK O NLY W ITH TH E BR A N D S T HAT W E F E E L RE F LE C T TH E Q U ALIT Y W E ST R I V E T O AC HI E VE I N EVE RY E VE NT AND SH O W WE A R E A P ART O F. ”

44

V EN U E - EME A | W W W .M O N D O D R .C O M

A total of 54 Pioneer PRO AUDIO boxes have been installed around the room and they sit across three sound planes. The positioning of the loudspeakers and crossover points at Aures is abnormal because the subwoofers are placed in the middle of the room, but the frequency range of the bass units is nearer the higher frequencies, producing more harmonics and adding another dynamic to the overall system.

Down the length of the room, the boxes sit in clusters of five, two XY-81s truss mounted approximately 3m away from the floor, a single XY-115S in the centre and two further XY-81s underneath. The XY-81s are two-way full-range loudspeakers with an eight-inch lowfrequency driver and a one-inch compression driver; they also offer a wide dispersion of 90° by 60°. The Pioneer PRO AUDIO cabinets are powered by 16 Powersoft X8 Series amplifiers.

‘A GEEK’S PARADISE’ As Davis navigated his business through the difficulties thrown at him due to the COVID-19 pandemic, he found himself thinking of ways he could reinvent Aures and bring in visual technology that would go hand in hand with the one-of-a-kind Pioneer PRO AUDIO sound system. “COVID-19 was devastating for us as a business as we were closed for 16 months.

Before the pandemic hit, we were on a great trajectory, doing events for YouTube and other big companies, then as soon as March 2020 came, everyone who had booked the space started cancelling their parties.

“During the months we were closed, I applied for the Government’s art grant, which we subsequently got. We were able to use the money to revamp the space for when we reopened post COVID. I had lots of ideas, but I knew that I wanted to bring in big brands like Robe for our lighting, change our current projectors to Epson, and also collaborate with the team at Avolites so the venue would not only sound great, but it would look great, too.”

The result is a stunning visual package dominated by an immersive 270° projection surface, 3.65m in height and 35m long, covered by Epson PU2010 projectors. This is complemented by a Robe lighting rig of 10 Tetra2 units and four ESPRITE moving heads.

“We are still finalising the design of the lighting rig to achieve the best performance,” revealed Charlotte Gowers, Aures’ Technical Manager.

“We have such a beautiful old railway arch here in Waterloo that this setup allows us to take advantage of the exposed brick arch in all of its intimate detail.

“Aures is all about quality,” she added, expanding on the choice of fixtures. “To achieve the best quality, we work only with the brands that we feel reflect the quality we strive to achieve in every event and show we are a part of. We chose Robe because I have never had a bad experience with their equipment, and the quality ensures the long work life of their fixtures. Their current line of LED units,

A b o v e an d left: The ven u e ca n be c o n f i g u r e d to su it va r iou s k in d s of even t s.

Ph o to s : B er t ie Wa t son a n d Su sa n n a h Field s.

45

Above: An imm ers i v e 270° project i on s urfa c e is cover ed b y Eq ui ps on P U201 0 p roj ec tors .

Photos: Ade Sm i lez and Sus annah F i elds .

46

such as the ESPRITE and Tetra2, has some incredible feature sets not seen in any other brand, such as the digital flower effect from their Tetra2 fixture.

“Epson’s PU2010 projectors use 3LCD technology with which, besides the super 10,0000-lumen brightness, its colour range gives us true-tolife images, which is imperative for immersive experiences. We also really liked the fact that the lenses were remotely adjustable and interchangeable, giving us great flexibility in creating our shows and experiences.”

Also in situ at Aures is an Avolites Q3 Server running Ai v12.1, as well as a Quartz lighting console. The seeds for the Aures and Avolites collaboration were sown back in Christmas 2019 when Davis met the Avolites team at a Pioneer PRO AUDIO event held at his venue.

He knew straight away that what they were offering would be perfect for the venue, but as COVID took over, they had to wait until things had settled down before officially starting work on the project. “The concept of the venue ties in nicely with Avolites’ ethos as it is unifying lighting and video,” explained Stephen Baird-Smith, Sales Manager at Avolites.

“We also had something that we thought was going to be unique for Sam with our Synergy integration between lighting control and video control. He needed a very powerful media solution because even though Aures isn’t the biggest venue, it has a huge

V EN U E - EME A | W W W .M O N D O D R .C O M

video canvas and, to be able to do the venue justice, you need to be able to play back video at really high quality in a high resolution.”

Avolites’ Synergy feature set brings the disciplines of lighting and video together, offering creative programmers a streamlined workflow for all the visual elements on their stage. It is a proprietary connection between a lighting console and any Ai media server, offering better reliability, flexibility, and extended programming abilities, all within an intuitive interface.

Powering the video side of the Avolites Synergy system is a Q3 Server which offers one 4K and two HD outputs, yet is only 2 rack units in height, making it perfect for any pixel-dense installation.

“The canvas size is 12k wide by 1k high, so it pretty much fills 6 HD outputs all stitched together”. The lighting and server control is handled by an Avolites Quartz console “it’s the smallest in our range, but still gives the venue plenty of room to grow offering 16 universes of DMX on top of all the server control” said Baird-Smith.

“As well as this, they can map the video content through the lighting fixtures at any point, so they can transition smoothly from traditional lighting cues to video driven lighting cues, without giving up any creative control of the lighting fixtures. That’s where you really see Synergy come into play and demonstrate how integral it is for the venue.”

4 0 Y E A R S O F S P E CTACLE

est. 1981

vari-lite_ballet_ad_Mondo_dr_hpl_1221.indd 1

16/12/2021 09:26:02

Gowers added: “Before Synergy, changing content and updating the lighting console control was a long and laborious task, requiring several steps that could ultimately fail using the age-old CITP protocol. Synergy did away with all these issues.

I can connect in seconds, with less than five button presses.

I can take NDI signals from the media server and send them to the console; with this function, I can pixel map all or some of my fixtures to my screen output, which for some clients is incredibly useful as it means I can match their content energy and colouring with minimal effort.”

Of course, such a visual spectacle brings inherent challenges – not least the sheer amount of data required for every piece of content. “A large proportion of my time is spent moving the files and folders from one storage drive to another or into the media drive on the server itself,” Gowers commented. “LexTempus, our in-house immersive experience, is 1.5TB of data with bespoke content created for each song in the show. At a little over oneand-a-half hours, the experience is about the same length as a feature film; however, it is a mammoth, unlike your average DVD at 10GB. The server is fitted with a super-fast NVME SSD, we are pushing a high bitrate when playing back files due to the quality of the AIM codec. This codec is specifically designed to take full advantage of the GPU’s power.

“Due to the size of the screen, it can also be challenging to find any stock content that looks good enough for us to utilise on the screens,” she added. “Often, we find ourselves hunting for clips in the 8k range to then adapt for the screens. It is also costly to make custom content financially and takes a significant amount of time. LexTempus, for example, takes six days for six high-end rendering computers to output the 1.5TB of footage.”

However, despite the challenges, there’s no getting away from the fact that Aures is, in Gowers’ words, a “geek’s paradise”. She concluded: “From audiophiles to video lovers, we are all about pushing technology to its limits and always sitting right on the curve of the latest new immersive tech while still pushing our existing setup as far as we can.”

48

V EN U E - EM EA | W W W .M O N D O D R .C O M

TECHNICAL INFORMATION SOUND 40 x Pioneer PRO AUDIO XY-81, 10 x Pioneer PRO AUDIO XY-115s, 4 x Pioneer PRO AUDIO XY-118s, 2 x Pioneer PRO AUDIO XY-3B, 2 x Pioneer PRO AUDIO XY-218HS, 1 x Powersoft X8, 1 x Powersoft K10, 6 x Powersoft M50, 4 x Powersoft M20 LIGHTING & PROJECTION 10 x Robe Tetra2, 4 x Robe ESPRITE, 7 x Epson PU2010 projectors, Avolites Quartz console, Avolites Q3 Server running Ai v12.1 www.aures-london.com

A b o ve l e f t : A ur es L o nd o n h a s host e d ev ent s f o r t h e l i k es o f H ub l o t an d ot he r s.

A b o ve r i g h t : T h e v enue h o s t s an i m m er s i v e a r t s er i es c a l l ed Im aj on .

P h o t o s : A d e S m i l e z a n d B e r t i e Wa t son .

The XSL System.

More SL.

X

Nothing less.

The newest addition to the SL family. All the unparalleled features only SL-Series provides: Full broadband directivity control, extended low frequency response, innovative rigging. More SL, nothing less.

Let’s talk about X: sl-series.com

dbaudio-xsl-advertisement-210x297-print.indd 1

09.09.2021 14:53:02

50

VEN U E - EM EA | W W W .M O ND O D R .C O M

THE J A N E EMEA

ANTWERP/BELGIUM

PHOTOS: RICK AKKERMAN

Pione e r PRO AU DIO c ompletes thir d ph a se of turnke y installation at chic Mic h e lin-sta rre d e ate ry in A n twer p.

Opened in 2014, Antwerp restaurant The Jane is the vision of leading chef, Nick Bril. Bril engaged a team of acclaimed architects and designers to create his dream within the walls of what was once a rundown church, seeking to present his diners with a ‘total experience’. Since its creation, The Jane has become renowned for its Michelin-starred food and unique atmosphere, which is created in part by its sound system. For the chef, music is key to the concept, and in two previous phases, Pioneer PRO AUDIO had supplied systems that could deliver a comfortable level of sound in the restaurant, and an energetic pre-clubbing vibe in the mezzanine bar. Both areas were covered by full-range XY-81 loudspeakers with an additional XY-215S subwoofer in the bar.

When the company released its new CM ceiling speaker range, Bril took the opportunity to complete a full Pioneer PRO AUDIO system by deploying them, alongside further XY-Series speakers, across the venue’s kitchen, terrace, lobby, bathrooms and wine cellar.

The intention was to seamlessly integrate the new additions with the existing systems, to enhance the synergy between the great food and music. The antiquity and unusual shape of the building would offer challenges, but the Pioneer PRO AUDIO team, along with The Jane’s local installation partner, Discostore, were confident that Bril’s vision of “a waterfall of music” within the venue could be achieved.

The existing XY-81 loudspeakers deliver smooth SPL without any hotspots through the bar and dining areas, while the positioning of the XY-215S subwoofer takes advantage of the building’s unique acoustics to spread bass throughout the venue even at low volume. The new ceiling speakers and additional XY-81 units build seamlessly on this to deliver a high-quality, coherent sonic signature for the entire building.

The bathrooms feature 10 CM-C56T 6.5” ceiling speakers, with a further four used for the terrace. These additions to the Pioneer PRO AUDIO portfolio draw on the heritage of the company’s dynamic club speakers to deliver outstanding audio quality, while complementing interior design and offering the possibility of turnkey solutions. As well as clear, smooth sound and uniform spatial coverage, the ceiling speakers feature a one-touch spring-loaded ceiling mounting tab, which ensures safety and makes for simple installation.

The lobby and kitchen each benefit from a pair of XY-81, with a further pair of XY-81 complemented by an XY-115S subwoofer in the wine cellar. The system is driven by Powersoft K2 and K3 amplifiers with built-in DSP and Pioneer PRO AUDIO presets. The team used Armonía

51

PRO AUDIO software, which gives the installers and management remote access to the amplifiers.

“We are able to shape the sound atmosphere and colour to create different day and night-time experiences, making it more clubby or more relaxing as we wish,” Bril commented. “We can influence how people are going to respond to the audio. The Jane is a chapel filled with vibes – it’s unique!”

Despite the unusual acoustic challenges presented by the topography of the building, such as its high ceilings, tiled floors and stained-glass windows, the installation proceeded smoothly. Discostore thoroughly tested and fine-tuned the completed system with no issues at all, much to Bril’s satisfaction.

“It’s really nice to see that, even in a big space such as this, you can create an intense, musical experience without pushing the volume limits,” he observed. “It’s achieved by the quality and placement of the speakers, and it balances perfectly. The new ceiling speakers and additional XY units in the smaller spaces complete the picture. We run the restaurant with a ‘full experience’ philosophy, and our guests enjoy experiencing quality sound and music without too much being thrown

52

V EN U E - EM E A | W W W .M O N D O D R .C O M

A bo v e: U pst a ir s B a r / Win e C ella r .

V e r s at i l e | H i g h - q u a l i t y | D i s c r e e t CM Series speakers High-quality sound, offering flexible installation options - making them perfect for hospitality and commercial spaces

CM-S54T, CM-S56T, CM-S58T

CM-510ST

CM-C54T, CM-C56T

Full-range surface mount loudspeakers

Subwoofer

Ceiling Speakers

¥

Soft dome tweeter delivers short-throw, high-definition high frequencies

¥

Compact cabinet with floor and wall mounting options

¥

Crystal-clear sound in a discreet embedded design

¥

New Vortex Bass Accelerator technology for warm bass

¥

¥

Newly developed 3/4 inch tweeter

¥

Flexible 16 ohm impedance

¥

Flexible 8 ohm impedance

Newly developed Vortex Bass Accelerator technology for rich, punchy bass

¥

Magnetic fluid field design driver

¥

Dust and water resistant (IP54-rated)

¥

Available in black or white

¥

Available in black or white

¥

Flexible 8 ohm impedance

¥

Available in black or white

www.pioneerproaudio.com

Surface_mount-speakers_AD-236x333_070122.indd 1

07/01/2022 10:07

at them. The sound is an added element for the senses, helping people to really relax.”

Although Bril now has his turnkey Pioneer PRO AUDIO system in place, he is already planning a further collaboration for the venue involving audio and video, where the ceiling speakers will be used in conjunction with projectors.

“Pioneer PRO AUDIO is in my heart,” he concluded. “From the personal service and connection to the pure sound experience, I can’t imagine using any other audio brand for a full installation in my restaurant.

You can actually feel the quality of the sound – it’s clear, it’s warm, and it wraps around you wherever you are in the building.”

54

V EN U E - EM E A | W W W .M O N D O D R .C O M

A b o ve : Ma in Ar ea / Ter r a c e/ Kit chen / U pst a ir s B a r .

Opal: The Versatile LED platform

AV Integration made easier As a designer, the freedom to create without restrictions is paramount. As an AV integrator, flexibility and adaptable platforms are essential.

Enabling designs out of the ordinary without customizing your LED panel time and again is what inspired ROE Visual to create the OPAL LED platform. OPAL can be used indoor or outdoor, uses adaptable LED modules, and has various frame dimensions. Sustainable common cathode technology and 4in1 LED guarantee supreme visual display. www.roevisual.com/opal

Opal Outdoor Ready for demanding outdoor environments. A high-precision, high-brightness, IP65 rated LED module with flexible mounting options.

Opal Indoor Supreme visual display for creative designs in exacting circumstances. Sustainable displays through next-gen technology.

New Fixed Install LED product

TH E CRUCIB LE E M EA

SHEFFIELD / UK

With its distinctive stage and a reputation for unforgettable productions, Sheffield’s Crucible Theatre hosts a fantastic variety of events each year.

Alongside the thousands of actors who have performed there, the iconic venue is also home to the snooker’s highest profile annual competition, the World Snooker Championships.

Built in 1971 and refurbished between 2007 and late 2009, the Crucible is a Grade II listed building. Its 980 seats are located on three sides of its versatile thrust stage, with no audience member further than 22m away from the performance.

Part of Sheffield Theatres, alongside the Lyceum and Studio, the Crucible recently celebrated 50 years of groundbreaking theatremaking in Sheffield. Always seeking to enhance the experience of its audience – and having been awarded capital grant funding from Arts Council England – the theatre’s management team recently upgraded its audio system, with the aim of helping its creative team to push artistic boundaries as far as possible.

Sheffield Theatres specified a d&b audiotechnik system based on their previous experience with the brand at The Lyceum, electing to embrace the new and immersive d&b Soundscape technology. “Our existing system was very old,” began John Bates, Operations Director for Sheffield Theatres. “It was capable but had its limitations, with the result that we regularly had to hire a lot of equipment to support some of our productions, such as large musicals. We chose d&b as a named supplier based on the system installed at the Lyceum in 2014. We couldn’t have been happier with the quality, while the support d&b had given us throughout the design period and beyond was first-rate – they are a fantastic company to work with. After close consultation, it was clear that the incredible Soundscape technology would add so many possibilities for sound design at the Crucible.”

A competitive tendering process followed, with Bradford-based specialist Pro Audio Systems (PAS) eventually appointed to carry out the installation. PAS had been responsible for installing the successful d&b project at the Lyceum and has since become a recognised Installation Partner of the German manufacturer.

“Pro Audio Systems had delivered excellent service at The Lyceum,” Bates continued. “Their project management team was very efficient, communicated well, and their installation staff were highly professional and always prepared to go the extra mile. They were the logical choice to take care of the installation.”

The Crucible’s technical team worked closely with Steve Jones of d&b on the system design. Jones had also worked on the design at the Lyceum and, having seen the initial proposals for the Crucible, was the first to suggest that Soundscape could deliver significant benefits to such a creative hotbed.

“The Crucible’s team had already created a pretty good system design, but I explained that Soundscape was beginning to have a real impact in the theatre world, from The West End to Broadway,” he recalled. “The future of sound and storytelling in the theatre, in my view, is linked to a new world of immersive and spatial audio, so in order to obtain the best return on their investment, I felt that it was important that they

56

V EN U E - EM EA | W W W .M O N D O D R .C O M

P ro A u d io Systems insta lls g rou n d -br eak in g d& b au d iotechn ik imme rsive a u d io system at ic onic Sh effield theatr e.

B e l o w : T h e m a in au di t or i u m fe at u r e s an i m m er s i v e d & b a udi ot e c hn i k au di o sy st e m .

57

Above: A d & b D S10 0 Si g n a l E n g i n e aud io system proc e ssor si t s a t t he heart of the sy st e m.

58

V EN U E - EME A | W W W .M O N D O D R .C O M

considered what Soundscape had to offer.

They were receptive to the idea, and we took it from there.

“The ideal scenario in a theatre setting such as this is to have a system that no-one notices, where the audience perceives the sound as emanating from the performer, not from a collection of loudspeakers,” he added.

“The immersive nature of Soundscape does exactly that, strengthening the emotional connection between the action onstage and those watching, in a way that sounds as natural as possible.”

The Crucible’s stage and seating is based on an octagonal design built around 45°. In total, there are 72 amplifier channels and loudspeakers catering for the Soundscape system. A d&b DS100 Signal Engine audio system processor sits at the heart of the system, allowing for the individual placement and movement of up to 64 sound objects. A variety of loudspeakers from across the d&b audiotechnik range were deployed to meet the coverage requirements.

Nine flown clusters of two ALi90 augmented array loudspeakers form the main reinforcement from the stage. As well as providing the highest audio quality, the units needed to be as small as possible to avoid

obstructing lighting and camera angles during the World Snooker Championships.

A total of 12 E5 (5” point source, two-way, compact coaxial) act as front-fills in an arc around the thrust-stage, with 14 8S (8” point source, two-way, compact coaxial) deployed as delays in a wider arc. A further arc of 12 8S act as surrounds at the outer edge of the auditorium. On occasions when the theatre reduces its capacity for specific events, a curtain is drawn around the seating behind the arc of delay speakers, with 10 8S deployed on this line as surrounds.

A cross-based L/R system located at the proscenium takes care of upstage action and effects, comprising two Y10P (8” point source, two-way, wide dispersion) with two 10S as out-fills. This cross-based system also acts as a simple L/R setup for productions that choose not to use Soundscape. Finally, two 21S subwoofers complete the overall picture.

In addition to the Soundscape system, there were several updates to the infrastructure of the general audio system. The analogue audio tie lines have been implemented into the Dante network via Ferrofish A32, allowing patching to be made via Dante controller. To cater for visiting shows that choose not to use the Soundscape system, a combination

of Powersoft Quattrocanali and d&b amplifiers have been installed. These are wired into the speaker patch-bay, allowing any of the 32 amplifier channels to be patched across several speaker outlets around the venue. A new LAN network for Dante was installed, with four connection points at Sound Control and at sub-stage. Netgear’s brand new M4250 AV specific switches have been installed within each rack, with independent primary and secondary networks, to ensure a stable and redundant network.

Once PAS had been appointed, Project Manager Jake Brown worked in close collaboration with Nick Greenhill, Sheffield Theatres Head of Sound, to fine-tune the system specification, making suggestions and recommendations directed towards enhancing and improving system connectivity. According to Brown, the biggest challenge faced by the installation team was to fit all the new loudspeaker lines into the existing containment.

“There were 23 existing lines being repurposed from the speaker patch to fixed points for the Soundscape system, as well as the large number of additional speaker lines,” he explained. “To relieve capacity problems, a marshalling box was installed outside the rack room to bring back the existing lines, with new trunking installed in a straight line from this point to the new rack at the back of the room.

Paul Ramsden, one of our lead technicians, did a great job working in a very tight space at the back of the racks,

60

V EN U E - EME A | W W W .M O N D O D R .C O M

ensuring that the wiring standards to which we aspire were fully achieved. It’s worth noting that after our earlier work at The Lyceum, the theatre adopted our rack wiring standards as a benchmark for future work.”

The installation was completed on time and on budget, much to the satisfaction of John Bates. “The process ran smoothly from start to finish,” he reflected. “Pro Audio Systems expertly managed some COVID-related procurement concerns connected with ancillary equipment, and d&b’s delivery was spot on time.”

Peter Butler, Business Development Director at PAS, added: “The job at the Crucible underscored all the reasons for our appointment as an official d&b Installation Partner, clearly demonstrating the natural fit our businesses have with one another. A very tight schedule meant that we faced numerous logistical challenges, but the job proceeded smoothly and efficiently from start to finish in a spirit of real cooperation. All parties involved – our team, the theatre’s technicians and d&b – contributed to an outcome that has been described in glowing terms by everyone who has heard the system.”

Bates concluded: “Having experienced the system in use, I have no hesitation in saying that it’s the best audio experience I’ve ever had. No matter where you are in the auditorium, the sound is incredibly clear – it gave me goosebumps the first time I heard it!”

www.astera-led.com/ax9

100%

THE NEW AX9 POWERPAR AX5's Big Brother – Twice as bright!

The AX9 utilizes the AX5's successful 3-in-1 concept which allows it to be used as wireless light and elegant uplight as well as a wired PAR light for longer or bigger installations. This makes it an extremely cost-efficient light and keeps your investment to a minimum. The AX9 packs extreme brightness in a compact and light housing while giving you industryleading colors and white tones thanks to its Titan LED Engine.

Max. 20h

App

Wireless DMX

IP65

105 WATT OPTIMIZED BRACKET with Airline Track, 3/8“ thread, 1/2“ hole 13° NATIVE BEAM ANGLE AX9 POWERED BY

ASTERA TITAN LED ENGINE

RGB+MINT+AMBER FULL SPECTRUM

1750K - 20000K WIDE CCT RANGE

TLCI/CRI Ra ≥ 96

EXCELLENT COLOR RENDERING from 3.200K to 6.500K

RGB, HSI, X,Y & FILTER GELS

KEYPAD

with dedicated brightness & color buttons

Astera_Ad_Mondo_AX9_Jan_22.indd 1

3-IN-1: WIRELESS PAR | WIRED PAR | ELEGANT UPLIGHT

03.01.2022 11:31:50

IN B RI E F Vast Optocore Network Powers The Rady Shell, San Diego Optocore North America has provided an extensive fibre optic audio network for The Rady Shell at Jacobs Park, San Diego.

Solotech supplied and integrated all the audio in the 10,000cap venue, under the watchful eye of Business Development Manager and Senior Engineer, Aaron Beck.

2GB Optocore networks – capable of up to 1,024 channels and 24 network nodes – were implemented. The facility has two Optocore rings running in parallel – one for the DiGiCo consoles and their SD racks at the stage inputs, and the other for Optocore units that carry the PA inputs and distribution. At the heart of each system is an Optocore AutoRouter that actively monitors each fibre connection.

“The system sounds fantastic,” Beck reported. “Keeping everything at 96K was a must from the system design. The use of fibre optic cabling between buildings also helped overcome the large distances as the site is very spread out.” www.optocore.com

62

IN B R I EF - A M ER I C AS | W W W .M O ND O D R .C O M

63

64

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

THE A N GE LE S A MERIC AS

FLORIDA / USA

A 1 2 5-ye ar-old F ort La ude rda le c h urc h g e t s a hig h -te c h make ove r, transf orming it i n t o a mode rn re staurant and nig h tc lub.

A bold and imaginative example of how to repurpose a neglected building and breathe life back into it could not be more vividly demonstrated than turning a 125-year-old church into a modern restaurant and nightclub.

Few would be so tenacious, but US-based hospitality and venue operator David Cardaci not only had the vision, but also the ambition coupled with over 20-years’ experience in the hospitality and leisure sector. So, in early December 2021, after a project taking well over twoand-a-half years, and during a global pandemic, The Angeles nightclub and Holly Blue restaurant in Fort Lauderdale, Florida, USA, opened its doors to a capacity audience and high praise from club and restaurant goers, and critics alike.

This is a high-end, high-profile 11,000 sq ft, multipurpose transformation for Cardaci and his team at Knallhart Management Group, as well as being a flagship installation for Void Acoustics. Void Acoustics has provided the audio systems throughout the three spaces in the venue – serving the distinct and individual requirements of the restaurant, Holly Blue; the VIP Marvin’s Room – described by Cardaci as, “dark, sexy and rich”; and the main space, nightclub, The Angeles, which boasts a fully fledged custom Void Incubus system.

As an integrator, Cardaci is known for his large-scale and imaginative projects, which in the past have included Florida venues Rhythm & Vine, The Wilder and Roxanne’s Liquor Bar & Kitchen. So, when the opportunity came along to take a long-term lease on the abandoned First Evangelical Lutheran Church in Flagler Village, Fort Lauderdale, the prospect was too great a challenge for him to turn down.

Cardaci’s vision incorporated his respect for the historical building and its original features – in particular the beautiful stained-glass windows, which are a distinctive element of The Angeles nightclub. Whilst he was restricted on maintaining the exterior of the building as it was, he had carte-blanche for the interior of the building, and armed with this blank canvas, he set about delivering a high-end install featuring the very

best audio, lighting, and video solutions available. “Fort Lauderdale’s first ever high-energy nightclub needed a high-energy, high-end audio system,” Cardaci smiled.

“We took over the venue in early 2019 and since then we have brought our vision to life, designing, and installing a high-spec venue to do justice to the space it occupies. The pandemic hasn’t really impacted us – what has taken so long has been the attention to detail to deliver the high-quality finish you see in the venue today.”

With his own in-house design team at Knallhart Management Group, Cardaci has been able to control the crafting of his vision to carefully restore the building, at the heart of which is the Void Acoustics system.

The Angeles nightclub is the centrepiece of the three venues covering approximately 6,000 sq ft, with a capacity of 650-700 people and combining two floors, with a main floor and the VIP mezzanine, aptly named The Confessional. It is within this two-floor club space where club-goers will experience Void Acoustics’ flagship Incubus system.

The Incubus system is not only a statement piece, but it is a complete sound system for large design-led clubs like The Angeles. “We had to have this system,” explained Cardaci. “In all honesty, I am a bit of an audio-geek, and in many ways because I knew the Incubus was what I wanted, we had to design the club around the audio system!”

The Incubus covers the entire audio spectrum, with each element of the system addressing specific bands to cover the full range of the music being played. It also offers exceptional control of how the music is heard because the ranges are so well defined. “We wanted the best, and I believe we got the best,” Cardaci quipped.

“Way back when I discovered Void products, it was the aesthetics that appealed to me, and when I first heard the system demoed, I was concerned that it wasn’t going to replicate anything other than dance music,” he shared. “However, having now done several installations working with Void Acoustics systems, I realise it not only looks amazing, but functions incredibly well for any type of genre, from live music,

65

to hip-hop, EDM, festival house music – anything. Void Acoustics reacts well to every genre and every application I’ve ever asked it to deliver on.”

At the base of the Incubus are the Incubus Subs, with hybrid horns covering the sub bass octaves and covering 20 Hz to 65 Hz. Sitting on top of the Incubus Subs are Hyperfold Subs – optimising the punchy fast bass octaves.

At the top are the Incubus Top – the Air Arrays covering mid-bass, mid-range, and high-frequency – all of which are custom painted in Graphite Grey.

Additional fill in The Angeles is supplied by the Stasys 118, Venu 115 V2 and Venu 215 V2 subwoofers, as well as carefully positioned Air Motion speakers ensuring full audio coverage throughout the room. As is possible with Void Acoustics products, the system components were all custom coloured along with the Incubus to complement the overall venue design and colour palette.

Ensuring the DJ experiences the audio quality of the Void system as well as the club-goers, monitors are handled by two Air Vantages paired with barewood Venu 215 subwoofers, and the overall system of The Angeles is supported by the powerful Bias Q5 amplifiers alongside the Bias Q2 amplifier.

The creation of this unique nightclub venue wasn’t without its challenges, the main one being potential sound leakage.

“It’s not every day you convert a building over 100 years old into a nightclub, so noise leakage could have been a

66

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

potential problem,” Cardaci grinned. “We were particularly aware of this as the building is in the middle of a dense residential area of Fort Lauderdale, but we consulted with the local community throughout and we’ve not heard a peep from them since the venue opened in December 2021,” he continued.

“The insulation of the building to avoid noise leakage was one of the biggest investments we made when converting the building. We did a huge amount of work on the ceiling, as well as applying multiple layers to the walls and on the windows, which alone have been renovated with two layers of hurricane impact glass. Not surprisingly, with a 100-plusyear-old structure, every time we peeled back a wall or another part of the roof, another challenge revealed itself. So, we had to take a great deal of care, alongside a considerable investment, to ensure the building was fitfor-purpose and to minimise noise disturbance to those in the locality. The result is a structure which keeps the sound confined to the specific areas of the venue and prevents any noise leakage at all, either inter-venue, or from inside to outside.”

The main restaurant ‘Holly Blue’ has indoor and outdoor veranda space and can accommodate 220 covers. It has been elegantly designed to offer stylish dining and cocktail areas. The Void installation was intended to be minimalist but effective. Using the weather-protected IP-55 rated Cyclone 8 and Cyclone Bass meant the audio design

voidacoustics.com

Creating Waves

Weather-resistant Cyclone series available from Void Acoustics

Hear. Feel. Connect.

could be replicated on the outside veranda as well as inside, providing seamless sound and design throughout the restaurant. Supported

by Indigo 6S, Indigo 6 Pro and Indigo Subs alongside Cirrus 6.1 ceiling speakers, Holly Blue’s audio system was integrated with the Bias Q1 energy-saving and low carbon footprint amplifier.

Marvin’s Room is a small, 450 sq ft room off the main restaurant, which has the feel of a boutique cocktail lounge for up to 35 guests, clad with wood ceilings and walls, and a handmade parquet floor. Perfect for intimate VIP parties, the Void system in this room includes the sculpted Indigo 6 Pro speakers – a higher power version of the Indigo 6S, which offer improved efficiency and audio output.

Complemented by the Indigo Sub speakers and operating with the Bias Q1 amplifier, this system serves the small, intimate bar lounge environment of Marvin’s Room.

Cardaci couldn’t be more pleased with the final audio outcome. “The Void team are a pleasure to work with, and the product is absolutely incredible,” he beamed. “Our club-goers at The Angeles have not only

68

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

told us they can hear the difference… they can ‘feel’ the difference. It is loud – of that there is no doubt – but it is built correctly for clarity. In short, it surpasses everything I have ever worked with in the past.”

With a strong audio package throughout, Cardaci and The Angeles’ Lighting Director, Ken Leb, were keen to ensure the venue packed just as much of a punch in the visual department.

To this end, a raft of Cameo moving head fixtures and lasers, combined with LED from Aurora LED Systems and an Avolites control solution has been deployed.

“The lighting plan began with a concept of 24 moving head lights and three lasers,” Leb revealed. “As the buildout of the space evolved, so did the layout – and final locations of the moving heads, lasers, and the decision to add a LED video wall system.”

The Cameo system comprises 12 EVOS S3 moving heads, 12 AZOR B1 LED Beam moving heads, eight ZENIT P100 DTW fixtures, four AURO Spot Z300 LED Spots, a single TS 200 FC Theater Spot and three D Force 5000 RGB Diode Show Lasers – one under each audio stack and one

“ E VE RY PIE C E O F T E C H NO LO GY U SE D IN THE SPA CE HAS B E E N C ARE F U LLY C O NSIDE RE D F O R MA XIMUM C O VERAGE AND VISU AL IMP AC T .”

Lef t and ri ght : The lighting ri g i s a vi su a l enhan c e me n t of the hist ori c c hu rc h b u i l di n g .

in the ceiling arch above the DJ booth. This is complemented by LED walls either side of the DJ booth as well as on the ceiling of the stairwell heading up towards the VIP area, made up of 50 panels of Aurora LED Systems 2.5mm front serviceable square installation LED, powered by a Magnimage integrated processor. “The lighting rig in place at The Angeles is a visual enhancement to an historic church space that brings out the depth and grandeur of the room,” Leb expressed. “Every piece of technology used in the space has been carefully considered for maximum coverage and visual impact.”

Lighting control for the main room comes courtesy of an Avolites Quartz – “It’s a robust controller built for systems four or five times the size of ours, so we have room to grow if needed,” Cardaci said of the console.

Meanwhile, Pangolin Beyond controls the lasers and Resolume Arena handles the LED walls.

Looking back on the challenge of this unique installation, Leb reflected on the importance of teamwork. “Without the hard work, dedication and knowledge of Suncoast Integrated Solutions, RushSounds and, of course, David Cardaci, this project wouldn’t have had a prayer.”

69

TECHNICAL INFORMATION SOUND 2 x Void Acoustics Air Array, 4 x Void Acoustics Hyperfold, 4 x Void Acoustics Incubus Sub, 8 x Void Acoustics Bias Q5, 4 x Void Acoustics Air Motion, 2 x Void Acoustics Venu 115 V2, 5 x Void Acoustics Bias Q2, 2 x Void Acoustics Air Vantage, 2 x Void Acoustics Venu 215 V2, 2 x Void Acoustics Stasys 118.

14 x Void Acoustics Indigo 6S, 4 x Void Acoustics Indigo Sub, 4 x Void Acoustics Indigo 6 Pro, 2 x Void Acoustics Cyclone Bass, 10 x Void Acoustics Cirrus 6.1, 8 x Void Acoustics Cyclone 8, 3 x Void Acoustics Bias Q1 2 x Void Acoustics Indigo Sub, 4 x Void Acoustics Indigo 6 Pro, 2 x Void Acoustics Bias Q1 LIGHTING & VIDEO 12 x Cameo EVOS S3, 12 Cameo AZOR B1 LED Beam, 8 x Cameo ZENIT P100 DTW, 4 x Cameo AURO Spot Z300 LED Spots, 1 x Cameo TS 200 FC Theater Spot, 3 x Cameo D Force 5000 RGB Diode Show Lasers, 50 x Aurora LED Systems 2.5mm LED panels, 1 x Avolites Quartz www.theangelesftl.com

L e f t : V o i d A c o u s t i c s In d igo 6 Pr o s e r v e s t h e s m al l , i n t ima t e b ar l o u n g e e n v i r o n m e n t of M a r v i n ’s R o o m .

70

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

ModuloPi-Mondo dr-JanFeb2022.pdf 1 04/01/2022 12:00:41

EXHIBITOR 2022

C

M

J

CM

MJ

CJ

CMJ

N

Real-time fully integrated media server solutions 3D study & simulation • Generative content • 2D+3D mapping • Soft edge blending Video playback • Live mixer • Interactivity & tracking • Show control • VR

modulo-pi.com

ENDLESS POSSIBILITIES

IN B RI E F Digita l P r o j e c t i o n B r i n g s B y g one E r a of J a p a n B a c k t o L i f e a t K a d oka w a C u l t u r e M u s e u m Danny Rose Studio, the collective behind the current Spirit of Japan art exhibition at the Kadokawa Culture Museum, has deployed more than 30 Digital Projection E-Vision Laser 10K projectors to illuminate the floors, ceilings and walls of this spectacular venue. The venue was divided into three areas to receive 360° edge blending projection across all the surfaces.

Ground projection and cylinder projection mapping throughout also help create a fully immersive experience with 360° visuals.

Alongside Digital Projection laser technology, a VNS GeoBox video wall controller was chosen to control the edge-blending output from multiple projectors, coupled with a BrightSign media player to deliver the video content.

“For an exhibition of this scale and complexity, it’s imperative that technology suits the end goal,” commented Digital Projection’s Mark Wadsworth. “This art exhibition requires 360° visuals, which involves a huge amount of edge blending without compromising on the quality of the image. The exhibition looks incredible, we are really proud to be a part of such a visually impressive project – it just goes to show what the E-Vision lasers are capable of.” www.digitalprojection.com

72

IN B R I EF - A PA C | W W W .M O N D O D R .C O M

73

EM PIRE THEA TR E A PA C

QUEENSLAND / AUSTRALIA

ULA G r o u p a n d Vi s u a l Fo c us turn to th e n e w G r i v e n C a pi t a l se rie s of fix tur es t o i l l u m i n a t e t h e Art De c o fa ça de o f T o o w o o m b a ’ s historic E m p ir e T h e a t r e .

74

V EN U E - A PAC | W W W .M O ND O D R .C O M

The Empire Theatre – also known as the Jewel of the Darling Downs – is the largest performing arts precinct in regional Australia. Renowned for its classic art deco architecture, the heritage listed theatre in Toowoomba benefits from a new Griven architectural lighting system, illuminating the façade of the main building including the fly tower.

Visual Focus was chosen to deliver this high-profile project.

Their team worked closely with the client and the ULA Group team to propose a perfect architectural lighting solution for the iconic building.

“We were planning to upgrade the architectural lighting of our main theatre building for a while and when the time was right, we wanted to make sure we chose the best technology available on the market,” explained Ben Hunt, Head of Lighting at the Empire Theatre. “Originally, we were looking at the existing Griven range, but just before we received a go ahead for our project, Griven released their new Capital series, which seemed to be a perfect solution for us. They re-rendered the visuals with the new fixtures, and we were really impressed.”

The Capital 100 RGBW fixtures were used to illuminate the

Pub_Starway_Digital_LED_236x333_0122.qxp_Mise en page 1 16/12/2021 12:53 Page1

FULL LED

THE NEW GENERATION OF DIGITAL FULL LED PROJECTORS

APERTA

LUSSO

MODENA

DINO

APERTA revolutionizes the LED Beam: opening angle of 2.65°, 60,000 lux at 5 m, 13 kg for a height of 47 cm, infinite Pan / Tilt, ArtNet and KlingNet compatible, progressive frost, 14 fixed gobos, 2 stackable prisms including a rotating and indexable 6-facet linear prism, as well as an 8-facet rotating and indexable circular prism.

LUSSO sublimates the LED Spot: a 320 W white LED providing an exceptional illumination of 34,900 lux (8° at 5 m). It has a zoom range of 8 to 40° supported by a CMY trichromy, 7 color filters + UV, and 3200° K, 5600° K, 6500° K correctors. LUSSO has also 10 fixed gobos, 8 rotating gobos, a progressive frost, an iris and 2 stackable prisms, for only 20 kg.

MODENA renews the wash moving head with its 7 RGBW LEDs of 40 W, its zoom range from 4.35 to 55° and its 3 cooling modes. MODENA is Flicker Free and Pixel to Pixel to generate patterns, both through internal programs and external DMX, ArtNet or KlingNet management.

DINO reinvents the LED Spot: 8,000 lumens, 11.5 kg for a height of 47 cm, a linear zoom from 10 to 25°, a wheel of 8 colors, a wheel of 6 rotating interchangeable and indexable gobos, a wheel of 6 fixed gobos, a 5-facet linear prism and a 6-facet circular prism, frost.

www.star-way.com

The magic of light

Right: Gr i v en Ja de 1 6 R G BW round p rofil e fi x tu res a re u s ed t o illum i na te ea c h c olu m n.

front façade of the heritage listed building on both levels. Fourteen Jade 16 RGBW round profile fixtures are used to light up each of the columns of the front facade, creating an extra depth for the lighting designs when desired and allowing the beauty of the architectural structure of the Empire Theatre to be seen in full after dusk.

Griven Capital 300 RGBW fixtures fitted with extra wide optics illuminate both sides of the building, including the fly tower. The architectural lighting system is controlled by Pharos, allowing the pre-programmed lighting sequences to be scheduled at different times and days.

“The new fixtures by Griven ensure that the iconic façade of the Empire Theatre remains tastefully illuminated but also give it some new artistic flare that will stand the test of time. The colour rendition and white point from the Capital series is great and works well on the heritage listed façade”, Hunt added. “Overall, we are happy with the product and thank Griven, ULA Group and Visual Focus for helping to bring all of the pieces together to ensure that we have a solid solution.”

76

V EN U E - A PAC | W W W .M O ND O D R .C O M

TECHNICAL INFORMATION LIGHTING Griven Capital 100 RGBW, 14 x Griven Jade 16 RGBW round profile, Griven Capital 300 RGBW www.ulagroup.com

IN BUSINE S S

78

SHOW REPORT JTSE

82

IN DETAIL ADJ, AUDIOFOCUS, Claypaky

86

PRODUCT GUIDE Trussing & Rigging

90

PRODUCT DIRECTORY

94

IN PROFILE Datapath

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

77

4

1

2

3

J T SE 2021 13

E M EA

PARIS / 23 - 24 NOVEMBER

Journées Techniques du Spectacle et de l’Evénement – better known simply as JTSE – returned on 23 and 24 November 2021, welcoming back attendees to Dock Pullman, Porte de la Chapelle, Paris, for a very special 25th edition.

As well as an impressive 3,200 sq m of space devoted to showcasing the best stage equipment from some of the world’s top manufacturers and suppliers, the show provided a valuable opportunity to reconnect with colleagues from the industry post-lockdown.

There was some great technology on show and, as always, the black box area showcased the latest lighting and video products from Chauvet, Elation, Martin by Harman, Digital Projection, Robert Juliat and many more. The audio demo space meanwhile was full of the usual suspects from Nexo to L-Acoustics, Alcons, Electro-Voice, DiGiCo and Klang.

MONDO-DR’s very own Laura Iles flew to Paris and hit the trade show floor for a look around and a long-overdue catch-up with industry friends old and new. www.jtse.fr

07 8

E X P O - J T S E 2 0 2 1 | W W W .M O ND O D R .C O M

8

5

6

9

7

10

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35

Nathan from Naostage The Adam Hall booth The Adamson stand The ADJ team Allen & Heath in the Audio demo area The Ayrton booth The Bose stand Martin, Jean and Arnaud from Chauvet The Chromateq booth The Clair Brothers team Claypaky fixtures The CODA booth Didier and the Crew Booking team The d&b audiotechnik booth DiGiCo in the audio demo area Elation in the Lighting demo area Bosch in the audio demo area Jerome and Anthony on the ESL booth The ETC stand The Fohhn booth The GIS stand The team from Harlequin Floors The Highlite team Isabel and colleague from HOF with Fran from TPi Serena from L-Acoustics and Fran from TPi The Lawo booth The Neutrik stand Florian and the Nexo team The Prolyte team The Riedel booth Harry and the Robe team The Robert Juliat team Hugues and colleague from S2CEB The Schnick Schnack Systems booth The Showtex booth

17

11

30

18

24

31

12

19

25

32

26

33

27

34

28

35

13

20

14

21

15

22

16

23

29

000

Barcelona is the New Home of Pro AV. ISE is the world’s leading show for professional audiovisual integration. Discover the latest AV solutions that deliver unforgettable experiences.

Fira de Barcelona | Gran Vía 10-13 May 2022

A joint venture partnership of

ISE 2022 Postponed.

New Dates:

10-13 May 2022

Discover more iseurope.org

A DJ JOLT BAR FX The ADJ Jolt Bar FX features a central strip of 112 x 5W cool white SMD LEDs, surrounded on both sides by a total of 672 x 0.3W RGB colour mixing SMD LEDs. This allows the same fixture to generate intense white strobing and multicoloured chase effects. Both types of LED are also grouped into independently controllable zones (16 white and 32 colour), which means the unit can also be used to generate strobe chases and other ‘eye candy’ effects.

With a wide 116° beam angle and immense light output, the Jolt Bar FX is ideally suited to large concert and festival stages, as well as dance events and big nightclub installations. It is supplied with a pair of versatile 180° hanging brackets, which can also be used as floor stands, and is designed such that multiple units can be positioned side by side to create continuous zone chase effects. For strobe effects, the unit offers variable speed between 0.35Hz and 25Hz and its LED refresh rate can also be adjusted between 900 and 25kHz. The fixture offers a choice of 11 different DMX modes (6, 9, 13, 16, 18, 32, 38, 42, 64, 112 and 126 channels), allowing flexibility depending on the level of control required and the number of channels available. To aid with quick and eye-catching programming, the unit is also supplied with 25 built-in RGB LED programme macros and nine built-in white LED programme macros. An intuitive four touch button LCD menu display on the rear of the unit facilitates easy DMX addressing as well as configuration of the various operating modes.

Measuring 1m in length, the fixture is compact in its other dimensions (104mm and 111mm). It has a robust metal construction yet has been carefully engineered to keep its weight to a minimum (3.99kg), making it ideal for concert touring and event production applications. It is fitted with locking power input and output sockets, allowing multiple fixtures to be connected from a single power outlet, which are positioned on either side of the fixture – together with the fivepin DMX input and output sockets – to allow convenient setup and neat cable runs. www.adj.com

82

I N DETA I L - AD J | W W W .M O ND O D R .C O M

WWW.TPIAWARDS.COM

SPONSORED BY

DERIVED FROM IMAGE BY: PARKERDR

C LAYP AKY SHARPY X FRAME The Claypaky Sharpy X Frame takes the best features of the Sharpy line and integrates a four-focal plane shutter system in a lightweight, compact fixture. The unit’s source is the powerful 550W arc lamp that makes this fixture extremely bright and produces deep and vivid uniform colours (including an unmatched deep red).

As a completely hybrid, multifunction fixture, the Sharpy X Frame is not limited to beam effects – it can also be a spot, profile, or wash unit. This fixture replaces much larger luminaires using the longer-life 550W arc lamp.

Although a small fixture by most standards, nothing is sacrificed in the Sharpy X Frame fixture’s feature set. In addition to the four-focal plane shutter system, the unit offers a rotating gobo wheel with eight rotating gobos, a static gobo wheel, four and eight-facet rotating prisms, linear frost, a colour system featuring CMY, CTO and a separated colour wheel, and six beam reducers starting at 0.5°.

With a zoom range from 2° to 52°, the Sharpy X Frame can do unparalleled visual effects. The unit is fitted with a 160mm front lens and proven Claypaky optics for producing sharp images and collimated beams.

The Sharpy X Frame is the most versatile, compact hybrid fixture on the market that addresses the needs for a bright spot, aerial effects unit, framing fixture and everything in between in an affordable, compact package. www.claypaky.it

84

I N DETA I L - CLAY PAK Y | W W W .M O N D O D R .C OM

Belgian manufacturer, AUDIOFOCUS has released a complete new range of installation loudspeakers.

Created in response to customer demand, AUDIOFOCUS has developed dedicated installation versions of its point source, constant curvature, line array, subwoofer and stage monitor designs. As part of the development process, touring features such as grab handles and rigging systems have been removed or simplified to make the new variants highly costefficient without compromise to their audio performance, while aesthetic changes enable the speakers to blend discreetly into installed environments. Both passive and bi-amplified options are offered for most of the new installation models.

“AUDIOFOCUS built its reputation for audio fidelity and high return on investment in the touring

world, but we have always enjoyed strong relationships with integrators who wanted to carry those same benefits into their fixed installation projects,” explained Managing Director, Ann Leroy. “There are no fewer than 19 new installation loudspeakers in the range, from the super-compact VENU 8ix point source cabinets right through to our powerful S 21i subwoofers. It has been a huge project for the team, but the result is a complete installation loudspeaker solution that is ready for deployment in clubs, theatres, stadiums, houses of worship and any other environment where audio performance and competitiveness take priority.”

The new installation models are built in Belgium using highquality European components and are available for immediate shipment. www.audiofocus.eu

AUD IO F O CU S INSTALLATION LOUDSPEAKERS

IN DETAIL - AUDIOF O C U S | WWW. M O NDO DR. C O M

85

PR OD UCT GUI D E : TR US S I NG & R IGGI NG Chainmaster Jumbo-Lift

Duratruss LED Frames

Chainmaster’s Jumbo-Lift electric chain hoists are developed specifically to lift very heavy loads such as video cubes.

Depending upon the type of load and the safety requirements, models are available offering everything from simple contactor control to variable-speeds and control in accordance with the IEC-61508 / SIL3 safety standard.

Additional fall-back solutions maximise operational availability. For horizontally mobile systems, special trolleys are available with contactor control or in the form of VarioTrolleys with positioning systems. And for data transmission without trailing cables, various technologies can be exploited to ensure that any project can be realised in accordance with the highest technical standards. www.chainmaster.de

Duratruss has recently expanded its portfolio of professional truss and rigging solutions with a series of three dedicated support structures for LED video walls.

The DuraTruss LED Frame 1 is the smallest standard system, allowing for easy and fast assembly. The frame can support an LED Screen of 5x3m with a maximum weight of 1,200kg.

This frame is built from DT44/2, DT34/4 and DT34/2 trussing elements, measures 4.62 x 6.35 x 8.49m (WxDxH) and has a construction weight of 650kg.

The DuraTruss LED Frame 2 is designed to support and an LED Screen of 6x4m with a maximum weight of 2,000kg. This frame is built from DT54, DT44/4 and DT44/2 trussing elements, measures 8.25 x 5.72 x 9.0m (WxDxH) with a construction weight of 850kg.

The Duratruss LED Frame 3 can accommodate an LED screen of 8x6m with a maximum weight of 3,000kg. The frame is built from DT74, DT44/4 and DT44/2 trussing elements, measures 12.3 x 8.2 x 10.2m (WxDxH) with a construction weight of 1,200kg. www.adj.com

Fenix Stage AC-613 FENIX Stage has developed simple, flexible, light and fast way of setting structures.

AC-613 is a double hinge accessory that has been created to replace most of the angular corners. It allows 29x29cm squared trusses (SQ-29) to be connected with a 0-70° opening.

Weighing 620kg, AC-613 saves space and time in storage, transport and assembly.

By removing the central safety pin, the user can regulate the angle and perform multiple projects such as sloping and gable roofing, scalable in size without making customised trussing sections.

Made of 10mm aluminium EN AW-6082 T6 thickness, it has two adjustable ribs to fix structures with the desired angle.

It also has a safety pin plus two screws that secure the top plate to the bottom plate, providing greater robustness and therefore a greater security to the trussing construction.

This product is also available for 40x40cm squared trusses (AC-614) and in its maximum opening version, for those who need to reach up to 145° (AC-623 for 29x29cm trusses) (AC-624 for 40x40cm trusses). All of them are available in silver and black. www.fenixstage.com

86

G U I DE - T R USSI N G & RI G GI NG | W W W .M O N DODR.COM

G Livelab Music Venue, Tampere

“Smart IP is every installer’s dream” Santtu Sipilä, Bright Installers around the world are embracing the exceptional sound quality and single-cable convenience of Genelec Smart IP networked installation loudspeakers.

With PoE, AES67 and Dante compatibility, plus sophisticated loudspeaker management all supported via a standard CAT cable, Smart IP delivers simplicity and cost effectiveness – even in the most complex installations.

Find out more at www.genelec.com/smart-ip

HOF MLT²

GUIL ABZ-55 Marquees are becoming increasingly popular for many kinds of events.

However, when professionals want to hang sound, lighting or any other kind of accessories without having using floor stands, problems often arise.

GUIL has designed two models of adjustable clamps specifically for tents, which are hooked on to marquee structures, allowing the placement of devices directly on the marquee beams, leaving the entire surface of the marquee available for the event.

This practical hook adaptor for marquees ref. ABZ-55 has an adjustable design so that it can be perfectly attached to marquee beam of 80mm to 110mm wide. It comes with bolt and ergonomic metal knob to attached fixtures securely.

The GUIL marquee clamp combines strength and durability with a high level of safety, making it the perfect accessory for marquee set-ups. www.guil.es

With setup and dismantling times drastically decreased and crews much smaller compared to the pre-Covid era, the MLT² (or Moving Light Truss²) from HOF offers a solution.

Handling can be done with one person only, as it requires only one person to connect the truss to the dolly. Up to 10 dollies without truss can be stacked on top of one another. The only limiting factor here is the height of the user, not the dolly itself.

Also, setup and dismantling times can be drastically decreased as the moving lights remain in the MLT² during transportation – shock absorbing wheels from Blickle help to protect them; ideal for both heavy and top-heavy loads up to 380kg.

Finally, with the MLT², the user can create curved truss systems without extra components.

Screw the forks out of the trusses by up to 70mm (in total 140mm) to create vertical or horizonal circles. This feature offers maximum flexibility without having to buy special spacers for creating circles with different diameters. www.h-of.de

SIXTY82 ALPHA82 ALPHA82 from SIXTY82 is a brand-new patented truss concept. Bespoke ALPHA connectors can be connected to expertly designed ALPHA ladder trusses (sizes 52 and 101) to form a 3D truss with similar strength to standard trusses with the same dimensions.

The ALPHA connector contains M12 size slots on all four sides, allowing accessories such as lifting eyes, clamps, brackets, curtain tracks, trolley beams braces and/or machinery to be connected.

Creativity can run free, using either SIXTY82’s ‘standard’ ALPHA connector or a custom configuration to create the desired shape. The 52 truss can be adjusted from 30cm wide to 80cm wide with just a couple of ALPHA connectors and no further investment in truss parts. This results in a flexible inventory, a lower storage cost due to less warehouse space and, ultimately, a better ROI. www.sixty82.nl

TAF FALCONN The FALCONN connection is based on a simple locking system that does not require usage of hammers and safety pins. There are two safety rings at each connection – the first one locks the connector in position and the second one secures the connection. This double locking system ensures proper strength and safety of the connection part.

It is silent while building up or breaking down and only thing the user needs to make the connection work is the FALCONN connector and their hands. No other connecting accessories are needed. www.eu.trussaluminium.com

88

G U I DE - T R USSI N G & RI G GI NG | W W W .M O N DODR.COM

T H E S M A RT WAY T O C O N N E C T

ROBUST COMPREHENSIVE RELIABLE

CONNECTORS FOR LED PANELS REAN delivers a comprehensive range of connectors featuring ultra-robust, high-reliability designs that promise unrivalled cost-performance ratios.

www.rean-connectors.com

T S L U A N TR I G I R O E H T XLR & plugs More than just connectors. We put our long time knowhow and our whole passion into our innovative products and unique solutions. No matter whether a rock band or a lighting designer, an industrial application or a broadcast studio – Neutrik offers high quality and reliable solutions for every application. For more information visit www.neutrik.com

ad_General_210x150+3mm.indd 1

15.01.2020 08:32:52

1. Amate Audio Xcellence Series X14FD

Amate Audio’s new X14D marries uncompromising performance and power, in a full range, low form-factor, Active+™ point source, dual-purpose stage-monitor and FOH sound reinforcement system.

A single advanced engineered, low distortion, high power handling 14” coaxial driver provides the LF response of a conventional 15” driver, the mid resolution and clear vocal articulation of a 12” driver, and exceptional HF transparency and peak handling characteristics.

With its dual-purpose form factor, the X14FD is the optimal stage monitor for the company’s flagship Xcellence X212AFD line array, both in horizontal floor monitor and vertical side-stage or drum monitor applications. As a highly portable FOH system, it can be matched with the company’s most advanced and powerful Xcellence series sub-bass systems. www.amateaudio.com

2. ADJ Focus Spot 5Z

The Focus Spot 5Z is a compact yet feature-packed moving head spot fixture ideal for installation in community theatres, entertainment venues, clubs, and houses of worship. The luminaire is built around a 200W cool white LED engine, which offers a 50,000-hour lifespan. This is focused through high-quality optics to allow the fixture to punch out sharp GOBO projections, in vibrant colours, that are equally suited to adding texture to a stage as they are to generating aerial effects over a dancefloor.

The fixture offers a Silent Fan mode. This can be engaged remotely via DMX, dimming the LED to approximately 70% of its full output and therefore allowing the unit’s two cooling fans to slow to a speed at which they become virtually silent. www.adj.com

3. Ayrton Huracán LT

Huracán LT can project over extreme distances, targeting a far-off subject with true precision. A 225mm front lens forms part of the proprietary optical system of 13 lenses delivering a 15:1 zoom ratio and an impressive zoom range of 3.5 to 53°. A new, high-efficiency 1,000W LED module delivers a record light output of 51,000 lumens at a colour temperature of 6,700K, with a CRI greater than 70, and a factory-equipped, removable hightransmission diffusion filter erases the edge of the beam without changing its angle.

Huracán LT uses the same patent-pending, complex colour mixing system as Ayrton’s Huracán Profile offering a double saturation level. A triple variable colour temperature corrector (CTB, CTO and CTP) allows subtle adjustment from 2,700K to 15,000K and offers noticeable CRI improvement more than 70. There is also a fixed colour wheel with six complementary colours. www.ayrton.eu

90

DI R EC T O RY | W W W .M O N D O D R .C O M

4. Neutrik FIBERFOX

The Neutrik Group has added the FIBERFOX range of expanded beam technology connectivity systems to its portfolio of fibre optic solutions. FIBERFOX Expanded Beam Fibre Optic Connectors are designed to meet the requirements of MIL-DTL-83526 Military Specifications.

Expanded Beam fibre optic connectors are designed to operate in harsh environments, they use non-physical contact fibre optic termini that are IP68 sealed behind an anti-reflective coated ball lens. This lens expands the beam to many times its original size, aiding optical alignment and minimizing the effects of dust, debris, and other environmental conditions. Because there is no wear on the optical surfaces/end faces of the termini during use, the FIBERFOX connector has excellent durability, more than 5,000 mating cycles. www.neutrik.co.uk

5. PR Electronic PR-Scent MK2 pro Fragrance-Machine

PR-Scent MK2 pro Fragrance-Machine expands the MK pro series in the compact area, designed for events, shows and clubs, but also to serve as multimedia equipment in theme parks, museums, exhibitions and 4D cinemas.

Control options including DMX, 0-10V analogue, Manual, Light-Sensor, Timer, Serial and optional TCP/IP allow easy integration in various control environments. The MK2 pro models offer two independently controllable scents, while the MK4 pro models provide up to four scents. Equipped with adjustable extra-quiet fans, the MK pro series machines can also be used in noise-critical installations. The machines are using solid fragrance blocks with a huge selection of fascinating fragrances, made – as the machines are – in house in Germany. www.pr-electronic.com

6. Tasker CPR Cables

Five years have passed since the CPR legislation increasing the standards of equipment used on medium-risk (Cca) and high-risk (B2ca) projects came into force. Tasker has released a range of new products that adhere to these regulations.

The new products include the TSK502 CPR Cca, shielded with section 4x1,50 mm², and its brother, TSK503 CPR Cca, with section of 4x2,50 mm² – both of which will be in stock in the first half of the 2022.

For the audio sector, the company has released a new microphone cable (the C128 CPR Cca microphone) and two new DMX cables (TSK1038 CPR Cca DMX and TSK1037 CPR Cca), all with tinned copper braided shielded 85% covering. www.tasker.it

92

DI R EC T O RY | W W W .M O N D O D R .C O M

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

DATAPATH DATAPATH HAS BEEN PUSHING THE BOUNDARIES OF DYNAMIC VIDEO PROCESSING FOR 40 YEARS. THE COMPANY’S HARDWARE AND SOFTWARE IS USED IN PRESIDENTIAL PALACES AND DEFENCE HUBS ACROSS THE WORLD AND IN BUSINESSES, PUBLIC SPACES AND EVENTS IN EVERY CONTINENT. CHIEF TECHNOLOGY OFFICER, JOHN STOREY HAS BEEN DEVELOPING VIDEO PROCESSING TECHNOLOGY FOR OVER 30 OF THOSE YEARS. WITH A WEALTH OF PATENTS TO HIS NAME AND VAST EXPERIENCE IN TRANSFERRING VIDEO DATA, HE SPECULATES ON THE FUTURE OF VIDEO DISTRIBUTION OPERATION, AND WHAT WE CAN EXPECT THE TECHNOLOGY TO DELIVER IN THE FUTURE. What did Datapath want to bring to the industry when it was established back in 1982?

Datapath has been pioneering innovative graphics solutions from the very beginning. It all started with a graphical terminal back in the day when text ruled all; that moved to highresolution graphics cards for specialist CAD users, coupled with what was considered the best AutoCAD driver in the world. That ability to add custom functionality with unique driver software maintained Datapath’s edge when graphics became ubiquitous with the advent of the Windows user interface – we were able to expand a desktop to two screens, then four…

Today it is an ability to scale all aspects of video and graphics across large numbers of screens that continues to set us apart.

where the emphasis is on creativity and visual impact.

What was the company’s philosophy and how has that changed over the years?

Datapath has always had the traditional ethos of a company that has remained profitable by selling products that customers need today and using those profits to develop that technology into products that customers will need tomorrow. Sometimes those developments come in response to specific customer requests, but more often it is having the relationships to understand their longerterm needs and how new technologies might be able to open up new possibilities. That approach has not changed dramatically over the years, but we are now harnessing the liberating power of AV-over-IP in a way that will truly delight our customers.

What are your favourite projects to be involved with?

Perhaps the most emotional gratification comes from the use of our technology in the entertainment world: our video capture at the heart of most media servers used to power some of the most spectacular live shows; our Fx4 products enabling extravagant TV studio sets or driving signage on Times Square; our controllers facilitating the cladding of entire rooms with engaging video content for museums or architectural showpieces.

Our core market is the provision of often vast control rooms in some of the most critical infrastructure and security projects across the world. We take great pride in the fact that our products provide the sort of functionality and reliability essential for such projects, but they are often by definition quite secretive, so it is hard to celebrate them too much – or at least quote them in an interview like this!

What have been some major product milestones for Datapath?

The first milestone was to bring together our multi-output graphics, scalable video capture and user-friendly software to be able to build one of the first Windows-based wall controllers for the command and control market. Another interesting milestone was to bring our expertise in video handling and video wall technologies to provide a groundbreaking product for the digital signage and entertainments market: the x4 family of products. Our latest Fx4 designs have found their way into many premium installations

94

I N P R O F I LE - D ATA PATH

Talk us through the company’s product design process…

We try to maintain a close relationship with our customers to understand their ambitions, and to identify missing capabilities. We then try to marry that with our intimate technical understanding of how changes in the electronics or software industries could be leveraged to enable those capabilities, and develop novel solutions based on them. This means we must adapt to new ideas constantly, but in a way that ensures we incorporate knowledge gained over almost 40 years in this industry to provide those little details that make the difference.

How has Datapath dealt with the COVID-19 pandemic?

Our employees have been fantastic in the way they have adapted to partial home working, and many have somehow squeezed video walls into spare rooms or kitchens! Like every business, we have had to learn to adapt. We have learnt that many set-piece and routine meetings work equally well online, but that creative work benefits hugely from in-person

| W W W .M O ND O D R . COM

1 2 3 4 5

Datapth’s Chief Technology Officer, John Storey Creative solutions in retail space Fx4 display controllers project the UK Space Centre’s planetarium LED installation at Ron Clark Academy in Georgia, United States Mission-critical collaboration with the National Police of Colombia

2

1

2

3

4

5

95

7

6

8

9

interactions. Such a hybrid approach will, I’m sure, persist beyond the pandemic.

Where do you think the industry is heading post COVID-19?

We are now seeing that meeting together and working alongside others is considered more ‘special’ than it was, so I believe that the industry will focus on ways that we can explicitly make such experiences even more special.

Retail spaces will increasingly be about user experiences, and I believe multi-screen AV will have a huge role to play in that. Similarly, office spaces will need to follow suit, offering a welcoming and productive environment that encourages employees to get the most out of face-to-face meetings and stimulates creativity.

Again, AV has a large part to play.

What have been the company’s biggest challenges so far?

Interestingly, the after-effects of COVID on the global supply chain present the biggest challenge now. Semiconductor supply chains are borderline dysfunctional at present. We

96

I N P R O F I LE - D ATA PATH

have been fortunate to have very healthy stock levels, so we have remained able to supply our product from stock throughout. However, what good is a video wall controller without a video wall? Screen availability is starting to be a limiting factor for some of our customers.

What does Datapath have planned for 2022?

We are hoping that 2022 allows Datapath to once again meet with our customers to demonstrate and evangelise the Aetria suite of software and hardware that we launched during the pandemic. At the same time, we hope to see strong recovery within industries that require our creative digital signage solutions, as we continue where we can, to demonstrate the ease and simplicity of x-Series and Wall Designer products to create awe-inspiring displays.

Let’s hope that 2022 ushers in a world where we can all think globally again – and meet and talk! Let’s start to build positively on the many things we have learned about ourselves and others during the COVID-19 pandemic. www.datapath.co.uk

| W W W .M O ND O D R . COM

6 7 8 9

Datapath helps motion mapping project NHS message onto Parliament Projection mapped skateboarding in the Czech Republic Datapath’s renowned Fx4 controller Multi-screen creative wall

SAVE THE DATE

19TH MAY 2022

For more information contact Justin Gawne: j.gawne@mondiale.co.uk or Fran Begaj: f.begaj@mondiale.co.uk www.tpmeaawards.com

AD I N D E X Adamson

31

ADJ

15

Antari

91

Arno

5

Astera

61

Chauvet

99

Chromateq

91

CLF

33

d&b audiotechnik

49

D.A.S. Audio Datapath Digital Projection

@ mondodr @ mondo_dr

Contact us at subcriptions@mondiale.co.uk 000

A D I N DEX | W W W .M O N D O D R .C O M

20 & 21 37

Fulcrum

47

Genelec

87

Guil

59 80 & 81

Laser Animation

27

Look Solutions

35

Martin Audio

/mondodr

25

Duratruss

ISE

FIN D U S ONLI NE

4

2

Modulo-pi

71

Neutrik

89

Novastar

71

PALM Expo

6

Pioneer PRO AUDIO

53

Powersoft

BC

Pro Audio Systems 5

9

Rean

89

Robe

3

ROE

55

Signify

47

Starway

75

Steinigke

7

Tasker

13

Void

67

POWERSOFT.COM

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

SOURCES

ZONES

DYNAMIC ROUTING

DYNAMIC MATRIX

DYNAMIC DANTE PATCHING

SCAN FOR MORE

DSP