MONDO-DR 32.6

LICENSE II SCALE

L-ISA PROCESSOR II

Utilizing state-of-the-art object-based mixing technology, L-ISA Processor II provides sound creatives the ability to scale to their project by choosing the license that fits best. Upgrade from the standard 16 outputs license to either 32 for bigger events, 64 for large-scale installations and musicals, or hit the most significant projects at 128 outputs - all at 96 kHz for premium quality sound. As a Milan-certified device, L-ISA Processor II streamlines and secures audio distribution with a redundant AVB and elevates its reliability with a ruggedized 3U chassis and redundant PSU. Unlock the sound possibilities. l-acoustics.com

TheFXcommanderisdesignedtobeaprofessionalwhileintuitive controlsolution forSFX and Pyro engineers,itallowsto controlallDMXdeviceandouroriginalpyroslaveinasafeand professionalway.Take advantage of the intuitively system design,itenablesSFX operatoreditashow in afew minutes evenwithoutanylightingconsoleoperationbackground.Large scaleshowswithspecialeffectsandfireworkscanbesyncwith music musicpreciselythroughourprofessionalwindowssoftwareFXcommander_Editor.The FXcommander is setting the safety standardforthespecialeffectscontrol.

MONDO-DR

ON THE

Al Wasl Plaza

Image courtesy of Bild Studios

EDITORIAL

Peter p.iantorno@mondiale.co.ukIantorno

ASSISTANT

Todd t.staszko@mondiale.co.ukStaszko

DIGITAL j.robertson@mondiale.co.ukRobertson

SENIOR l.iles@mondiale.co.ukIles m.matthews@mondiale.co.ukMatthews

ACCOUNT c.crawford@mondiale.co.ukCrawford a.clarke@mondiale.co.ukClarke

DESIGN

Welcome to another jam-packed issue full of eye-catching installs across a wide variety of entertainment spaces. Our cover story is on the transformation of the projection capabilities at the stunning Al Wasl Plaza in Dubai. The team at Bild Studios have developed software to allow the content to be edited in realtime at the swipe of a finger on an iPad. Read all about that impressive project on page 44. We take a deep dive into the creation of Our House in Amsterdam – a museum dedicated to the EDM movement during the day which transforms into a nightclub in the evening. Also featured is the impressive Otherworld virtual reality bar in Birmingham, the third location for this growing franchise which offers everyone a brief escape from the norm, while our Venue Report this issue looks at the increasingly interesting world of Retail and Leisure. We are set to launch the 2023 MONDO-DR Awards soon, so keep an eye on our website and socials for that announcement. As always, we welcome feedback on the magazine so don’t hesitate to get in touch and give us your thoughts. With that, enjoy the issue!

TODD ASSISTANTSTASZKOEDITOR

CHURCH FACILITIES CONFERENCE & DALLAS churchfacilitiesexpo.com

LONDONPLASA

MADRIDAFIAL afial2022.net

AMSTERDAMIBC show.ibc.org VEGAS

INFOCOMM SOUTHEAST ASIA BANGKOK infocomm-sea.com

LONDONLIGHT22

WHY FACILITY-WIDE AUDIO SOLUTIONS SHOULD BE PRIORITISED MANUFACTURERS’ON AGENDAS

IN THE COMING YEARS

by Adam Shulman, Product Lead, Bose Professional

Shifting Needs and Usage

The pandemic has given the industry the time to rethink the types of audio systems going into facilities and buildings for two major reasons: spaces that were originally intended for a specific use are now being used differently and, it’s becoming increasingly important to operate facilities more wholistically. Historically, systems tended to be built for a specific purpose based on the need at that point in time, but this is changing as we move forward.

One of the biggest trends is the shift in thinking about solutions at an individual room level, but rather how all the spaces within a facility are being used as part of a whole system. While full building management systems are not new, from a pro-AV perspective, this is a significant change from past years where certain types of rooms had bespoke systems installed, and where a room down the hall or on a different level could have a completely different system, because it was done at a different time or by a different team.

Thinking more wholistically about the facility-level design brings advantages, especially as we work to gain efficiencies in facility operation, energy usage, and an improved guest and worker experience. Many buildings are a patchwork of technology, and now as this technology becomes more capable and can span different types of applications, it’s time to evolve our approach and capitalise on its capabilities to gain the greatest benefits for our customers.

Supporting the Market’s Applications

As Product Lead, I oversee the product management team, which represents the three core applications Bose Professional serves. First, we have product managers that are focus on Performance Applications, defined as the sound system supporting the primary purpose of a space. We also focus on Commercial Applications, which is supporting the creation of the atmosphere – like in a lobby for example – where audio is not the primary importance of the space but supports the business function and creates the desired atmosphere and soundscape. And thirdly, we have Conferencing Applications, which covers the spaces where hybrid collaboration occurs – like those smaller meeting and gathering spaces. We structure our focus like this because fundamentally we believe that these are the three primary categories or applications contained within most facilities and that they most often occur together when you look at a building’s total needs.

Above right: Grupo PSA (Mexico) developed a facilities-wide approach, incorporating light and a biophilic design style enhanced by the Bose Professional audio solution.

Right: LC Packaging (Netherlands) designed for multiple spaces throughout its new headquarters ensuring the Bose Professional solution provided what was needed from the various conference and huddle rooms to its auditorium and gathering spaces.

Left: Employee spaces at Grupo PSA were also included in the design philosophy for its conference room solutions extending the Bose Professional solution into a variety of locations.

Right: The Bose Professional system at the Gampel Pavilion (UConn, Storrs, Connecticut) is an example of the wide variety of spaces higher education system designers often plan for.

Whether it’s a church, an office building or a school, they all have a variety of rooms, and for the most part you can find solutions for each of them individually, but it is more difficult to find a solution for all of them. So, a provider that can offer a solution for a facility as a whole is able to add significant value. This is true especially of new construction, but with upgrades and renovations as well – even if they are staggered over time.

By providing this expertise, there’s incredible benefit for the user, hence our structure of focusing on what the customers’ needs as a whole in order to deliver the greatest value and benefit. This year has not been without its challenges. For us it’s finding ways of supporting our customers’ changing needs with current products – and adjusting our future plans to continue improving on this flexibility. On a personal level, the hardest point for us has been the difficulty of not physically being with our partners and customers. We had ISE in May and InfoComm in June, and it was nice to be face-to-face with people since we thrive on being able to see people in person and listening to their experiences, but it’s also about watching them work in their own environment. That’s when we learn the most. Having to do that on the other end of a computer screen was a challenge. We want to see system designers and integrators do their jobs as if we weren’t there, which means how they installed a room solution, how they commissioned that system, and how the end user is controlling and interacting with it. We can always ask, but the best insights come organically from watching people do what they do every day – this is their expertise. And often a neutral observer can pick up things or opportunities for improvement, even on our own products, that may

not have been noticed before. Because our customers are so good at doing what they do, we have a chance to learn more about how our products are used, including how they’re used in ways that may be different than how we originally envisioned.

Tying It Together

Interestingly, this year some system designers and integrators are pivoting and using products in slightly different ways than we expected. This could be because they’re trying to utilise the space in a different or more efficient way than initially expected. We also look at whole systems and how solutions are being put together. We have loudspeakers, processing and electronics, amplifiers, controls and software – so we are very focused on how it all comes together, and is it in the ways that we expected, and in the ways that is easiest for them to assemble? We want to understand the full picture of how our products are being used – whether it’s in the way that we thought and the way we designed; not only as individual products but how they come together as full solutions.

Bose Professional has made some significant product introductions over

the past few years, including the DesignMax and FreeSpace FS families – which go beyond new products and offers a familyand systems-based approach. It’s not more individual products; these are families of products with common attributes that make it easy to create a solution and deploy it in many different types of spaces, in combination with our electronics, software, and controls. This was fuelled by the accumulation of a lot of insights, and it represents not only rolling in these insights learned into a new product family, but also segmenting the line into different tiers, depending on the level of performance and cost need.

The other motivator behind that expansion was really a case of tying it all together, so it wasn’t ‘here are the loudspeakers,’ and ‘here are the amplifiers’; it was more of ‘this is a family of products that work together’ across a variety of different spaces. I know that there are a lot of great individual products out there, but what really matters to system designers and integrators is how easily they come together into a solution. The final frontier then remains how easily systems in individual rooms work together at a facility level. So this is the shift I mentioned – moving from products to whole system solutions that address the applications throughout a building or facility. There are lots of companies that sell good products, but there are fewer that provide the ‘system’ solution approach, and even fewer that do it at a full facility level.

Growing Markets

Professional AV continues to be an exciting industry as technology becomes even more robust and flexible, and how we use different spaces continues to evolve. And the different markets will continue to be interesting as well – as they are where the combination of the three major applications occur. The education market, for example, represents a multitude of applications in one place. There are classrooms, student life spaces, athletics, and performing arts. With a Division 1 school, the stadiums can rival professional venues and are often designed and installed with the same architects, consultants, and integrators that are doing NFL stadia.

On the other side of the education market is performing arts, where they may need to accommodate different types of production, perhaps even including touring musicians. And then the classrooms and student life spaces present their own unique needs. A school campus can therefore be an ‘epicentre’ of all the different applications and needs on one physical plot. The AV industry, as supporters of these varied applications, should be thinking of them not only room-by-room, but across the campus. This is the next major step in delivering further benefit to designers, installers, and end users.

Top: The main meeting room at Grupo PSA illustrates how system design expertise accounts for the technology and audio needs as part of a facilities-wide approach.

Centre: Multipurpose spaces continue to be key in supporting hybrid work and solutions like the new Bose VB-S ensure a transparent, flexible technology experience.

Bottom: Video conference technology delivered in an all-in-one device like the Bose VB1 represent one type of space in a wholistic AV technology approach.

SOLLINGERLASERANIMATION

With the recent aquisition of Ray Technologies and a revamp of its website, LaserAnimation Managing Director Michael Sollinger talks about the past, present and future of the www.laseranimation.comcompany.

Can you talk us through the beginnings of the company – how many staff were involved initially, and what kind of projects/sectors were you involved in?

The roots of LaserAnimation Sollinger go back to 1984. I was part of the laser research group at the Technical University of Berlin. In this context, I met the laser artist Paul Earls from the Institute of Advanced Visual Studies at MIT. This meeting was so inspiring that I started to develop a laser show controller in the same year based on an Apple II home computer. Six months later, the prototype Lasergraph II was presented for the first time at the SIB in Rimini, and later in 1985 I founded LaserAnimation and the first five Lasergraph II were delivered.

What was the focus of the company’s direction in the beginning and how has that changed?

LaserAnimation started as a supplier of the Lasergraph II and the additions for a vendor of laser equipment mainly in discotheques. With the development of the much more advanced Lasergraph DSP, we changed direction and began to sell to multiple, even competing, suppliers – while always respecting their markets.

Above the Lasergraph DSP, we developed devices necessary at that time for water-cooled lasers, colour control, fibreoptics, fibre-fed remote projectors and more.

In 2002, when the first OEM high-power laser module arrived, we took the chance to design a laser projector –the BLITZ – that was unlike others at that time: all internal controls are digital and remotely controllable.

Now the focus is on research, development and manufacturing of laser projectors and laser show control, especially their usability and reliability. This is a huge advantage for us because we can develop, build, and match

our laser projectors and their controls. We were able to gain a lot of experience and knowledge in both fields.

I’ve always been interested in art using lasers; I’m happy I became involved in new artistic ideas, and I support them – even though they are often pretty challenging. Our customers appreciate the fact that we not only have expertise in one field but can provide overall solutions.

How important is the ‘Made in Germany’ tag to you?

The label of origin ‘Made in Germany’ has become an internationally valued seal of quality, because many companies that promote themselves with it set the highest quality standards. We, too, have always set these for ourselves. All of our qualified employees make their own contribution to this. We are very proud of the fact that we are highly appreciated by our customers for the quality of our products. We stand for quality and reliability, and this is what we are known for in the laser market.

What is the benefit of having in-house development and processing equipment, and a skilled workforce on the CNC milling machines?

LaserAnimation has a very deep vertical integration. Despite a few standard components, all mechanical, optical and electronical parts as well as firmware and UIs are at least developed, designed and/or prototyped in-house.

For us, it is mandatory to be able to carry out almost all

aspects of the work ourselves, starting with development, via the construction of prototypes, right through to the series-production readiness of the products. This gives us a very high level of flexibility in planning and production, independence from external suppliers or service providers and, finally, short communication lines between the relevant parties. Thus, we can implement even very special customer requirements within a short time.

Why did the company opt to acquire Ray Technologies?

At the beginning of the year, we acquired Ray Technologies, including the well-known RTI brand and the associated product series, the facility in Bavaria and all employees. This made us an even bigger and stronger company within the laser industry. This acquisition made sense for us because Ray Technologies has some very interesting developments, and LaserAnimation is able to widen the range of customers. Moreover, Martin Werner, the former CEO of Ray Technologies, supports me now as CEO of LaserAnimation Sollinger. This allows me to have more time for developments, special projects – and hopefully myself and my animals!

The ‘new’ LaserAnimation is the guarantor for continuity for our staff, and above all for our customers. Our joint resources and synergies – especially in the areas of research, development and automation – are enormously important for the development of our products.

Below: Another Moon Herre.PhotoChips.byinNEWNOWinstallationoutdooratFestivalGermany,2021,KimchiandbyJens

Above: The PHAENON accurate.

Below: The RTI ANGO in operation.

Can you give us details on the RTI ANGO Series?

The RTI ANGO Series currently includes two extremely powerful RGB full-colour single beam laser systems with 300W resp. 600W output power with a narrow beam diameter of 10 by 10 cm and analog modulation. The output is not just a static beam but can be moved by the deflection unit in two axis like a search light.

The beam divergence is very low at about 1.0 mrad, which means that the laser beam remains small and bright over a long distance. This makes the RTI ANGO units ideally suited as sky or landmark lasers.

What makes the PHAENON accurate stand apart from other lasers within its class?

The PHAENON accurate is designed to be a small, lightweight, easy-to-carry-and-handle laser projector with identical features and performance as its bigger brothers. It can be used in a smaller setting, or changed to the PHAENON X series for a large setup without the need of adaptation. The carbon enclosure is not only very light but almost indestructible and has a nice haptic.

The RGB White laser diode module from LaserAnimation is very stable and needs no readjustments – it provides crisp beams with perfect collinearity of the colours. Content can be streamed via AVB (LAN network) or stored on the internal memory. Playback of the internally stored show is synchronised by timecode, thus shows with hundreds of projectors still have almost no traffic on the LAN; this makes the overall system very reliable. All functions and the adjustment and supervision of operating parameters are easily handled with the intuitive LA.toolbox software from a PC or Mac.

How important was the new website to the company’s plans?

Our previous website had become outdated and was in need of a major makeover. With the acquisition of Ray Technologies, we decided that we wanted a completely new website that was not only informative and clear, but also different from the rest of the websites in our industry. I think the work has paid off and the result can be shown very well. The feedback so far has been positive.

How has the team grown since the Ray Technologies acquisition?

With the acquisition of Ray Technologies, our team almost doubled in size, bringing the company to almost 40 people, but we also engaged new staff for software development. Our laser projectors become more and more intelligent, and tasks are shifted from the classical show software to the laser projectors making the workflow much easier and more Aversatile.nextstep

version of LA.toolbox dedicated to operate and supervise setups with many projectors is about to be launched. We are focusing on growth and therefore we continue to need good new employees.

Where can we see your products in action?

We are happy that our projectors and controllers are constantly used at large and small events, art projects and installations, and to list all my favourite projects would go far beyond the scope of this interview, so I would like to mention just one at this point.

Our involvement with ABBA Voyage in the purpose-built ABBA Arena in London was a highlight. The preparations for this show were intensive and exhausting, but the result is more than worth seeing. I recommend all readers visit ABBA Voyage. You will not be disappointed!

DTS LIGHTING

The Renewal Process

On the company’s 40th anniversary in 2020, DTS Illuminazione – best known as DTS Lighting – introduced a strong brand renewal with the design of a new logo. This renewal celebrates the company’s tradition and expertise in the lighting industry and is also a sign that it has never stopped evolving as it continues to meet their customers’ needs. The new design, a modern 3D shape, pays tribute to the old logo and to the company’s origins, while also conveying the dynamic drive behind the brand. A vibrant orange was chosen, capturing the outstanding capability of modern DTS fixtures to deliver the most difficult hues and tones, to reproduce a perfect balance between light and warmth. Two distinctive ranges of products, Synergy and Alchemy, were designed and launched around the same time, and they further raised the bar in the moving head sector.

A Message

The whole process has been a message which highlights the company’s path from a small family business into an international establishment. To be able to do this, the company’s expansion and development policy has led to operational strengthening, with a particular focus on Sales, Technical and R&D, with the aim of guaranteeing an increasingly efficient and cutting-edge service throughout its distribution network. Today’s success is the result of the great passion that the family has always dedicated to lighting, and the ability to observe what is happening on the world stage.

The Management

The renewal process cannot be effective without a consistent company policy. In fact, over the past few years, DTS has presented some updates to its organisation with the aim of getting closer to a corporate structure able to optimise more and more internal processes, and at the same time maintaining close ties to the international

Inmarket.September 2019, Dante Latteo was appointed as CEO, following the resignation of the former Chairman, Silvano Latteo. The new role put Latteo (a founding partner, Senior

DTS Lighting is moving through an extraordinary evolution with a focus on internalisation, growth and consolidation, which involves the founding family’s second generation, managerial changes and corporate www.dts-lighting.itrepositioning.

Board Member and, up to then, Production Director) at the heart of the transformation path.

Under his direction, DTS has given fresh impetus to production activities with technical adjustments to process and procedures – an essential manoeuvre for a company that manufactures in Italy and wants to directly control the entire supply chain.

A few months later, Simone Francia, from the second generation of the founding family, acquired the role of Executive Vice-President. Francia had spent over 10 years within the company to learn the necessary skills to give continuity to the original leadership. After beginning in the financial department, he later took over the Human Resources department, which moved him closer to all of the company’s employees.

“Since it is fundamental for us to keep the entire production process in-house, every step taken in my career so far is building the necessary skills to work in the company management,” he said. “This new role has an increasingly high strategic importance, and I want to be able to contribute to achieve the growth targets.”

Finally, in July 2022, the Italian company appointed Carmen Savarese as Managing Director with the aim to ensure an efficient and sustainable long-term growth worldwide.

“The founding family, first and second generation, will maintain the guide of this historical Italian company,” said Francia. “Dante Latteo, now the President, and I, strongly believe that Carmen is the most skilled person to have in the top management team in this crucial moment for the growth of our family company. Carmen will have the

Synergy 7

full responsibility for the leadership and business development of DTS. She will play a key role in meeting the company’s growth goals and will also be instrumental in consolidating our reputation among the industry key players.”

Savarese has covered the role of International Sales Manager in DTS for the past three years. She joined the company from Tomcat USA and Area Four Industries America, where she was Vice President Sales & Marketing. Before that, she was in the Italian branch of Litec Italia, gaining 16 years of experience in the professional entertainment industry. She was also recently admitted to the prestigious General Management Program of the École Supérieure de Commerce de Paris – ESCP.

Savarese thanked the ownership, her co-workers and all DTS partners for their trust, and is looking forward to future challenges: “I hope the deep corporate know-how linked to my professional skills will be the winning formula to continue the development process that this historic company has undertaken,” she stated. “I am very proud to be now part of the DTS management.”

Made in Italy

Since 1980, DTS has been at the forefront of professional lighting development within the entertainment and

architainment segments. The company has created an incredibly diverse product range thanks to its extraordinary inhouse expertise and authentic Italian craftsmanship. Products are designed, engineered, manufactured and assembled at the DTS plants in Italy.

‘Made in Italy’ is one of DTS’s central elements – a statement that has been also remarked throughout the process of renewal, precisely because it is capable of guaranteeing recognition and giving value to the company’s products and work.

“Creativity, manufacturing capacity and the ability to manage the entire product cycle are, still today, the elements that make the ‘Made in Italy’ brand an added value for our products, and we are not afraid by foreign competition, since competition, after all, is a healthy market exercise. I am sure that each product, if well made, can find its place in the market, satisfying different needs. To maintain our competitive advantage, we will focus on quality and efficiency,” Savarese

is a fundamental basis of the company positioning and, above all, a conscious decision,” she added. “This, combined with the desire to launch on the market high technology products and great lighting quality, is the reason why DTS focused more and more on a medium-high level market segment.”

Alchemy 7

Simone Francia

Carmen Savarese

“’Madecommented.inItaly’

DTS Lighting Headquarters

IN DEPTH REPORT & Leisure

RETAIL LEISURE&

Top-tier and around the world

elev8, St James Quarter

COMPANY: FIX8Group

LOCATION: Edinburgh, UK

FIX8Group has launched a new in-lift AV experience, designed to deliver content to customers in a fully immersive, captivating and memorable manner. Called ‘elev8’, the technology enables clients ranging from museums to malls, airports to attractions to reach lift users with uniquely displayed messages. The elev8 project involves the installation of AV display solutions within a lift, to which everything from static marketing videos, 2D animation, landscapes, audio experiences and immersive 3D worlds can be delivered.

FIX8Group has already completed a major elev8 installation, at the St James Quarter, Edinburgh. This encompasses a new retail-led lifestyle district that fully integrates into and enhances Edinburgh’s city centre, providing an inspiring, attractive, and vibrant destination for locals and visitors to live, shop, eat, sleep and play.

FIX8Group collaborated closely with Nuveen, the investing organisation of the project, and Gardiner & Theobald LLP, which was appointed as an independent construction and property consultancy working across all sectors of the built environment. Antony Ranger, Nuveen Director of Operations at St James Quarter commented: “At the outset of this unique initiative, we were not at all clear about what we wanted, or what may be achieved. FIX8Group managed the whole destination-creating solution, from greatly assisting in defining the specification, to providing wonderful and extraordinary content and sound, all ontime and on-budget. This was despite working for the first

time with very heavily regulated passenger lift installers and in the middle of the COVID-19 pandemic. I would not hesitate to recommend teaming up with FIX8Group – to create and deliver an end-to-end, seamless solution for any challenging technological project.”

The solution for St James Quarter has been designed with complete flexibility, so that experiences can be tailored to fit the client’s communication needs and content can be easily changed, updated or maintained centrally.

Maureen Laing, Partner at Gardiner & Theobald, stated: “The lift experience at the St James Quarter, Edinburgh, was a client concept from the outset. FIX8Group was key, along with the teams involved, in bringing this this concept to life and making it happen.

“FIX8Group’s teamworking with a collaborative and enthusiastic approach to the complexities and difficult challenges have resulted in more than I could have imagined at the outset; their comprehensive technical knowledge and understanding of the client’s needs have produced the awe-inspiring lifts that all visitors must experience and enjoy.”

Mark Porter, Managing Director at FIX8Group said: “We found clients were looking for new ways to create impactful experiences for their audiences. elev8 offers an opportunity to create a truly memorable ‘wow moment’ which becomes a talking point, whether it’s used to create a first impression, share a message, set a mood or inspire action.” www.fix8group.com

Bershka stores

COMPANY: FENIX Stage LOCATION: Worldwide

FENIX Stage products have been used extensively throughout the retail outlets of Spanish clothing brand Bershka, with more than 400 shops spread over five continents. The relationship began in 2014 when the retailer selected truss as the structural component for the design of its pilot shop in Barcelona, and it has led to a continued collaboration between the two companies in the assembly and development of showcases and design of pilot shops for exhibitions and commercial and franchisee visits.

More than 200km of square truss in black and white versions covers ceilings, shop windows and shelves as a decorative element. The use of the 29cm square black truss (SQ-29B) is the most popular, but there are also many 22cm by 22cm trusses (SQ-22B) and 29cm parallel trusses

“Truss(SD-29B).has

become a structural element that fits itself with the visual corporate image that many events and brands are looking for. This facilitates a lot the task of creating and designing spaces as it is not necessary to cover these products to hide them. Its silver or black colour helps to communicate the company’s values and ideals to its target audience, enhancing the shopping experience and the brand image,” explained Alex Bryan, Export Manager at FENIX Stage.

“The modular assembly of the trusses is very useful for the creation of mobile spaces, which can change orientation and distribution depending on the season, event or strategy. There is a wide variety of corners and accessories that allow us to transform the rooms and adapt them to the needs of the brand in just a few minutes. In addition to this, we have the capacity to imagine, design and manufacture customised solutions for each type of project/challenge. Speed and versatility are two of the main characteristics of this product,” he added. This project was not only a challenge for the sales and logistics department; it was also a challenge for the engineering and technical department, which had to design the way to introduce these structures inside shops located inside historical protected buildings. Each shop was unique and different, with specific requirements that had to be considered and dealt with in an individually way.

“We were in charge of designing and supplying all the rigging systems to lift the assemblies without damaging the ceiling or the architectural elements of exterior and interior walls,” noted Julia Niza, General Manager of FENIX Stage. “During the past few years, the number of brands that have chosen this type of building for the opening of their new stores has increased significantly. Making the space, the products and the brand look good is a challenge that we are proud to have been able to achieve.”

www.fenixstage.com

With its exceptional opening angle of 0.8° and its 260 W laser source, BARACCA reinvents the automatic Beam. Equipped with an impressive 222 mm lens and capable of delivering 462,000 lux at 20 meters, it produces a beam that is extremely present in space at equally extreme distances. To express all your creativity, it integrates, in an IP aluminum housing, a CYM + CTO trichromy color system, a 17 color wheel, a 19 fixed gobo wheel and 4 prisms (8, 16, 6 linear, double linear) as well as a 6 colors and a frost.

Baracca, the most powerful, most expensive machine ever developed and manufactured by Starway

Altea Active Club

COMPANY: Christie

LOCATION: Toronto, Canada

Canada’s largest cycle studio opened in the new Altea Active Club in Toronto’s Liberty Village with a unique experience for cyclists thanks to sparkAV and a Christie GS Series 1DLP laser projector. The club officially opened its doors in March 2022, and the 89,000 sq ft centre features over 185 weekly studio fitness classes and unique amenities, including the relaxing Somadome Meditation Pods, a full-service in-club restaurant and various entertainment features.

Altea Active retained sparkAV to select and install AV technology into the club’s various amenities, including the cycle studio. “sparkAV was to design and implement immersive and state-of-the-art technology solutions that tied in all aspects of AV, network and CCTV, with tie-ins to modern fitness technologies and customer engagement,” said Derek Shama, sparkAV’s President and Co-Founder. The goal was to bring to life Altea Active’s stated vision of “an elevated fitness experience in an environment suitable for both physical and social wellness”. The intention for the cycle studio was to create an experience that would transport members to roads all over the world. With 75 bikes, surround sound, music-synchronised lights and a 285in screen with a Christie laser projector, the cycle studio is a club highlight. sparkAV explored several projectors for the cycle studio.

“Ultimately, a Christie projector was chosen due to its specifications, industry excellence, Canadian support and presence, and premium image quality,” stated Shama. “[Altea Active] was very pleased that [it] could achieve all this with Christie and remain cost competitive.”

The Christie DWU1075-GS projector delivers bright, vibrant and high-resolution visuals at a budget-friendly price. Beyond high image quality, the GS Series range of 1DLP projectors is ideal for high-usage environments due to the reliable, low-maintenance, long-life operation associated with laser technology. The projectors are whisper quiet and compact, making them ideal for education spaces, places of worship, corporate environments, and smaller entertainment venues.

Despite the pandemic and unprecedented supply chain issues, sparkAV successfully delivered the project on time and within budget and is currently collaborating on other Altea Active locations in Canada. “To say that the client is thrilled is an understatement,” exclaimed Shama. “As key stakeholders, investors, municipal officials and customers started coming through the doors, the results were the same – sheer awe with the space, its experience and the outstanding video quality.”

K-Supermarket Hertta

COMPANY: Genelec

LOCATION: Helsinki, Finland

There aren’t too many supermarkets in the world that can boast Genelec loudspeakers, but K-Supermarket Hertta in Herttoniemi, Helsinki is clearly not your average supermarket. Part of the K Group, the secondbiggest grocery trade operator in Finland and one of the biggest in Northern Europe, K-Supermarket operates some 250 stores at the top end of the market, offering customers a high-end in-store experience with a carefully selected range of local produce and specialities.

At K-Supermarket Hertta, Markus Ranne, the independent merchant who runs the store, decided to elevate the experience with the use of sensory marketing – a combination of scent and sound design to attract customers and encourage them to linger. He called on Helsinkibased sensory marketing specialists Sevende Aromas to design the environment – for which they specified Genelec 4000 Series installation loudspeakers.

“Sounds can affect people’s comfort and shopping behaviour in most commercial spaces and environments such as supermarkets, hotels, offices, bars and restaurants. The sense of hearing is our third most dominant sense,” explained Sevende Aromas’ Founder and CEO, Eero Niskanen. “Studies have shown that the right kind of sound environment can increase sales by up to 30% and it also has a positive effect on the work efficiency of employees. When it comes to scent design, research tells us that customers stay up to 40% longer in a fragrant environment. Fragrance is therefore an important part of branding. K-Supermarket Hertta was keen to incorporate both elements as part of their commercial strategy.”

Sound designer Aki Päivärinne explained that the brief was to create a relaxed and immersive sound space for the fresh fruit and vegetable section, and stereophonic sound for the candy department. “This was an inspiring task since I had also created the previous monophonic sound design for the store, including the beer and beverages department,” he recalled. “In my work, I use a variety of computer programs, including electro-acoustic modelling software. In this instance, as the speaker setup in the fruit and veg department is not symmetrical, I created a model of the space within the software to calculate the delay times required for realistic 3D sound images.”

The setup consists of 12 Genelec 4030 loudspeakers evenly spaced above the refrigerator elements or suspended from the ceiling, while eight compact 4020s grace the drinks section and a further four are deployed in the candy section. These are complemented by eight

strategically placed fragrance machines, which deliver the scent experience. Control comes courtesy of a QSC Q-SYS Core 110f processor with a touchscreen interface.

“To develop the soundscape for the fruit and veg area, I started by imagining some kind of surreal colourful fruit-world,” continued Päivärinne. “I started hearing the lush forests, distant animals, shifting weather patterns, poetic saxophone phrases, light and sea and harmonic clouds overhead – creating a relaxing and safe feeling. After the first listening, I made some small adjustments to the dynamics of the material, which now sounds fantastic.”

When asked what prompted the decision to specify Genelec loudspeakers in this context, Päivärinne’s reply was straightforward: “I have worked with Genelec loudspeakers in various projects over the past 10 years or so and have always enjoyed using them. In this instance, the 4000 Series offered a high-quality, reliable solution for creating an immersive soundscape. They also look good.”

Combined with the scent design provided by Sevende Aromas – who also handled the systems integration – the results have had a marked impact on sales, as proven by a recent study conducted by Helsinki University. “The study compared the results of sensory marketing against those of a similarly sized supermarket using traditional marketing techniques,” noted Niskanen. “The supermarket using sensory marketing was more successful in every respect and customer satisfaction levels were considerably higher.”

The impact of sensory marketing is not only measured by an immediate increase in sales. Positive perceptions of where to buy help build a lasting and loyal customer relationship over the longer term. It is natural to want to do business in pleasant places, and it has been proven, time and again, that combining fragrance with the right sound has a positive impact on customer satisfaction.

“We used quality scents and worked with a talented sound designer to create an alluring soundscape,” Niskanen continued. “The soundscape uses a combination of natural sounds and musical elements. For it to be truly immersive, it’s important that it sounds realistic; this is why we opted for a high-quality audio solution based on Genelec loudspeakers, which deliver detailed, transparent sound even at low levels. There is no doubt that Genelec played a major role in the outcome.”

Hagius

COMPANY: Genelec

LOCATION: Berlin, Germany

Berlin’s Hagius recently chose a complete Genelec loudspeaker solution, supplied by local distributor Audio Pro and integrated by the Berlin acoustic design studio, Studio SPC.

“We wanted to create a space in Berlin where we could offer a different kind of training experience,” explained Co-Founder, Timothy Hagius. “Physical performance starts in the mind. Movement is regulated by the central nervous system and sensory input plays a significant role in this process.” For this reason, staff opt to work primarily with smaller groups, placing more of the emphasis on the individual’s multisensory journey, following the theory that everyone should be attuned with their own biorhythm. There are several rooms, each of which use a combination of the senses to help simulate a certain state.

“The guys from Hagius asked me to offer them something high-end, functional and aesthetically appealing,” explained Studio SPC’s Kenan Jan Ibar. “After I introduced them to Genelec’s RAW recycled aluminium loudspeakers, they immediately fell in love with the aesthetic, as it blends so seamlessly with their existing interior, based on greys and stainless-steel elements.”

All that was left was for Timothy Hagius and a select few team members to visit Genelec’s Berlin Experience Centre and let the sound demonstration speak for itself. Clearly impressed with what they heard; this is where they finalised the specification for their Genelec system. The room that received the most attention was the course room where the sound treatment sessions take place. “This is the strongest room in terms of SPL and clarity, on account of the sheer concentration of loudspeakers,” Jan Ibar explained. “It contains eight 4040s supported by a 7380 subwoofer.”

In the gym, five 4040s were specified, followed by the boxing area, which required a further four 4040s – all these spaces requiring the higher SPLs delivered by this loudspeaker model. For the changing rooms and showers as well as the foyer, seven of the more compact 4030s sufficed, as increased output and extended low-

frequency response were less of a priority. The same logic applied to the osteopathy room, which benefitted from two 4020s, perfectly rounding off the intimate setting. Finally, a single AIW25 ceiling loudspeaker was installed in the relaxation room, intentionally unobtrusive to remove any visual distraction from the space.

The discussion of audio came after the architectural and interior design had already been implemented, and acoustics had not been considered in the design. Therefore, 4000 Series loudspeakers were an ideal choice. Delivering Genelec’s renowned premium sound quality, they pack a punch relative to their compact form factor, easily filling high-ceilinged rooms. All the loudspeakers have simple rear panel room compensation switches, which provide intuitive control of various adjustable EQ levels, to help integrators tune them to the individual acoustics of each room.

Kenan Jar Ibar explained his specification of Genelec: “When it comes to studio applications and sound installations, Genelec is always my personal choice. The sound is incredibly crisp and full – you feel the whole spectrum in a balanced way. Beyond this, they are durable and strong loudspeakers with an extremely long lifespan. If there is a problem, Genelec’s service is second to none,” he continued. “From a design perspective, Genelec’s wide colour selection and signature curved enclosures mean they fit well in almost any environment.” Jan Ibar is thrilled with the outcome of the installation. “Overall, the Hagius team are extremely happy with the result,” he stated. “They said that they would certainly go with Genelec again if they did another project in the future.”

Eric Horstmann, the Berlin-based Regional Business Development Manager for Genelec, echoed this sentiment: “It’s been a pleasure working with the Hagius team so far. They are promoting a healthier and more active lifestyle, bringing a fresh, naturalistic approach to the industry. We’re honoured to support them with their vision, and eagerly anticipate the next step of the journey!”

www.genelec.com

Pier 17

COMPANY: digiLED

LOCATION: New York, USA

Pier 17, a prestigious new entertainment and eating venue on the Lower East Side of Manhattan, required a complex, highresolution LED installation that wouldn’t be eclipsed by the large volume of natural light that illuminates the inner workings of the three-floor atrium.

digiTILE was the obvious choice as it delivers outstanding weather-proofing capabilities, slim modules and a sharp, highdefinition display. It also provides a brightness level of 6,500 nits, which means it cannot be superseded by any ambient light. Installation and maintenance proved to be a challenge, so it was important that any LED screen used was lightweight and simple to install. digiTILE offers strong magnetic fixings and total front access, allowing maintenance to occur without the need to remove chassis and multiple panels to gain access to the internals. digiLED’s maintenance tool, the dAVE250, eliminates the need for screwdrivers and drills, allowing tiles to be removed and replaced in seconds. This was especially important in an installation of this magnitude, as prolonged maintenance times would require a significant portion of the atrium to shut

down, which could negatively impact business.

The installation covered a total area of 212.13 sq m with a pixel count of 13,153,728, and the outcome is stunning. With the LED display wrapping around the joints and facades of the space, customers are treated to a seamless visual experience, which continues even when moving between floors.

Overall, the project was a huge success and ANC has won several awards for it, including the 2019 DIGI Award for Best Digital Entertainment Application and the 2018 Systems Contractor News Install of the Year Award. Graham Burgess, CEO, digiLED commented: “The scale of the project meant that the ease of installation was a contributing factor in ANC’s selection of digiTILE, along with screen quality and reliability. Upon completion, the area now looks revitalised and modern, and the client is extremely pleased with the outcome.”

George Linardos CEO, ANC, added: “To make a place magical, we don’t believe people should have to activate their phones or put on headsets. Instead, we fuse cutting-edge technology into the space itself and bring it to life in amazing and captivating ways for everyone.”

www.digiLED.com

Heated Room

COMPANY: Void Acoustics

LOCATION: Los Angeles, USA

Heated Room is a new concept for Pilates in an infrared heated studio offering high-temperature, high-intensity workout sessions for the people of West Hollywood. With high-intensity workouts comes high-impact audio – and this was very much the approach taken when the gym was being specified and installed in the bespoke studio space.

“A new approach to working out in Los Angeles includes a fresh approach to ensuring our sound system provides maximum inspiration and brings out the very best in our clients,” smiled an enthusiastic Raamy Fares, Owner and Founder of Heated Room. “We wanted nothing short of the best.”

When Fares was writing the AV brief for the studios, he was in no doubt about what he wanted. “I first heard Void five years ago at a rooftop bar in Beirut, Lebanon, and I was blown away by both the purity and the design of the sound. When the idea of building Heated Room came to me, I knew that Void, as a brand, matched my vision of pristine audio. I could only use Void to execute my Faresvision.”worked in close collaboration with a small team of audio specialists to realise his studio aspirations. Together, they were able to indulge their joint passion for audio excellence, working for three intense days on

the installation, including detailed sound checks and tuning to perfect every sonic vibration throughout the Withvenue.the diversity of Void’s acoustic products, Fares could select a myriad of fixtures throughout Heated Room. “It was perfect to select many different styles when designing the studio and the accompanying areas including halls, bathrooms, shower areas. Void’s vast array of products allowed us to specify quality sound in each different setting addressing each unique Voidrequirement.”Acoustics speakers are deployed throughout the entire club. The iconic, futuristic-looking red fibreglass Airten V3 speakers adorn the stylish main Pilates studio, accompanied by the ever-versatile Venu 212 V2 subwoofer speakers in white. Elsewhere, Indigo 6 Pro and 6S Speakers supply sophisticated audio coverage throughout the venue, accompanied by Cirrus 6.1 ceiling speakers providing a completely integrated audio solution throughout Heated Room.

“We definitely have plans to expand this concept organically with more studios, and Void Acoustics will continue to be the audio supplier of choice in that rollout,” Fares concluded.

www.voidacoustics.com

Roxy Lanes

COMPANY: AUDAC

LOCATION: Leeds, UK

Roxy Ballroom’s new drinking and bowling site in Leeds, Roxy Lanes, features two bars, 10 bowling lanes, pool tables and air hockey, as well as two shuffleboards and curling. Like many of Roxy’s locations, the venue has complex audio requirements, with many areas needing to be covered.

To address this need, AUDAC’s audio solutions were chosen. The venue was equipped by AUDIOSERV with a range of VEXO110 10in and VEXO112 12in highperformance two-way loudspeakers, resulting in an even, seamless coverage with high power and yet high-fidelity sound production throughout the two-floor building. Thanks to the optional Clever U bracket, the high-power two-way cabinet can be placed both horizontally and vertically. An optional 70V/100V line transformer also makes it possible to use the VEXO series in 70V or 100V systems. In addition, four BASO15 15in and two BASO18 18in compact bass reflex cabinets were also installed to provide a powerful audio experience, delivering the low frequencies. The 10 bowling lanes and the curling area are covered by the VEXO112 12in highperformance two-way loudspeakers and additional BASO15 15in and BASO18 18in compact bass-reflex cabinets.

With the BASO and VEXO series, the user can easily switch between enjoyable background music during dinner to some fiercer beats later in the evening.

Two XENO8 full-range 8in speakers, specially designed for fixed audio installations, were installed at Roxy Lanes to cover the stairs area with clear and suiting background music. Thanks to the sleek and elegant design, the XENO8 blends into the trendy and industrial interior.

Finally, the toilets haven’t been forgotten and were treated to a single ATEO 4 wall speaker with CleverMount 4in in each bathroom. www.audac.eu

 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

Van Otten

COMPANY: Powersoft

LOCATION: Amsterdam, Netherlands

Renowned pastry chef and bread specialist, Eric van Otten recently established a new food concept for his patisserie that creates multiple atmospheric eating zones with the help of Powersoft’s Dynamic Music Distribution (DMD).

Unlike many of the pastry shops that line streets of Amsterdam, Van Otten offers its guests a selection of places to sit and enjoy its culinary delights: the outdoor patio, ice cream parlour and a plethora of private spaces, each fitted with sounds that enhance the dining experience.

Powersoft’s Dynamic Music Distribution can provide corporate, retail or hospitality venues with a high-quality audio backbone that ensures selected speakers receive the perfect amount of power to each ‘zone’. Dutch professional audio distributor, Mennegat, was approached by Eric Van Otten with a brief to create a multifunctional retail and hospitality space with high-quality music, tailoring the guests’ unique experience to where they are sat in the venue with independently sourced audio.

“With Powersoft’s DMD, it’s easy to divide a space into several zones – every channel of a Mezzo amplifier can be redirected to a music zone, which can be controlled individually,” said Ferdi van den Berg, Commercial Director of Mennegat. “This interface is made up of two WM Touch panels, making it even more user friendly than you’d expect. The first WM Touch is controlling the shop and restaurant, the other manages the outside patio area.”

Non-technical employees can easily operate the WM Touch panel, which lends itself to smooth and reliable audio tuning from day into the night. Together with the WM Touch, the entire sound system is not only easy to use but was also simple to deploy by system integrators, because the preparation of the system can be made offsite with a pre-configured user

Alongsideinterface.Powersoft’s WM Touch and Mezzo amps, the install consisted of 14 Sonance Professional Series PS-S63T surface mount speakers and a Biamp internet radio, all of which work in harmony to deliver unique eating experience at the patisserie.

Currently, the market alternative to DMD is a traditional matrix system/ DSP, which needs to be accompanied by a four-channel amplifier to

provide all spaces with an independent music channel. With Powersoft’s DMD, two competitively priced Mezzo amplifiers can be used to, in this instance, provide enough power to amplify 14 Sonance speakers at 30W/100V together with two WM Touch screens.

“This translates into serious savings in terms of time and money when opting for Powersoft’s DMD,” continued van den Berg. “That’s the reason I went for this innovative solution and why I would always recommend it to other distributors, system integrators and end users in the retail/ hospitality Multisourcesector.”management plays a pivotal role in the success of Powersoft’s DMD – onboard analogue-to-digital signal conversion is simple and one music source can route to many separate zones.

“The Powersoft team are knowledgeable and were extremely reliable throughout the project; that’s one of the many reasons why I would always recommend them to others in the industry,” added Berg.

Francesco Fanicchi, Powersoft’s Corporate and Marketing Communication Manager, believes this type of application showcases what Dynamic Music Distribution is capable of, and that this technology will be rolled out in many different applications in the near future.

“DMD’s results are greater than the sum of its parts – its true potential is not always easily understood upon first hearing of it,” he explained.

“We are so pleased that respected SIs and end users are continuing to understand just how powerful and effective this audio solution is, using such a simple and ergonomic interface.”

Eric van Otten, owner, patissier and bread specialist at Van Otten, is elated with the results of this install, stating that the subtle audio and “pleasant murmurings” of the guests creates a cosy and atmospheric feel to the eatery, which was the desired effect. “I’m really surprised at the end result and did not expect this audio installation to be as impressive as it is,” he reflected. “The music provides privacy, so our guests can talk freely with each other. Empty spaces in the restaurant have been filled with warm, welcoming sounds. Besides this, we can select a choice of music that will contribute to the overall experience.” www.powersoft.com

Moesgaard Museum, Aarhus

Auréo aquatic centre

COMPANY: APG

LOCATION: Bayeux, France

Twelve APG MC2C compact satellite loudspeakers are providing maximum intelligibility in the humid and challenging environment of the busy Centre aquatique Auréo in Bayeux, France. Opened in 2019, Auréo combines multiple swimming pools with a 515 sq m ‘wellness area’ featuring saunas, a jacuzzi, a salt cave and a balneotherapy pool. The 2,300 sq m, €12.6m complex is the only municipal swimming pool serving the nearly 15,000 residents of the district after the previous piscine de Bayeux closed a year earlier.

When it came time to upgrade the aquatic centre’s AV system, the previous installation having not lived up to expectations, the town of Bayeux selected local system integrator Music Light, a long-term partner of both Bayeux and APG. “We have already equipped various locations in Bayeux with APG, so our client had references and was already familiar with the quality of the products proposed,” commented Gaëtan Potier, Music Light’s Managing Director.

After conducting an acoustic and technical study, Music Light specified a total of 12 column-shaped install dedicated APG MC2C speakers for Auréo, which are installed across three zones: four loudspeakers in the leisure pool, six in the sports pool, and two in the wellness area.

Music Light has worked with APG since 2010 (it was “love at first sight for my ears”, joked Potier) and the company drew on experience to tackle the most challenging aspect of the Auréo install: the high ambient temperature and humidity presented by an indoor swimming pool. To solve this problem, “APG coated the enclosures with stainless steel fittings to ensure that the products would not deteriorate in the years to come,” Potier explained. “We equipped a stadium with MC2s a few years ago with the same process and to this day all speakers have performed flawlessly without the need for any servicing.”

Potier turned to the MC2 series both for its versatility, being perfectly suited for a wide range of install applications, and its

innovative design – which takes advantage of the d’Appolito principle to enable directivity control without the use of a horn.

“The MC2 speakers are very well suited for various venues, including social, sports and cultural venues. The deep range of models makes these loudspeakers perfect for each type of venue, as does the possibility of making them IP55, on a 100V line, with a bespoke RAL colour,” Potier commented. “The d’Appolito design gives a comfort of listening and great intelligibility in a large range of uses – music and voice – whether coupled with a subwoofer or not.”

Matthieu Barey, Director of the Centre aquatique Auréo, cited a recent ‘aquaciné’ movie event at the pool as a perfect demonstration of the strengths of the new sound system. “The cinema director and his technician, who is used to open-air cinemas, were both pleasantly surprised by the sharpness and clarity of the sound and the power of the system,” he commented.

“The directivity of the speakers is equally impressive: we can have a high volume in one pool when a lesson is taking place while having training or another lesson with a different playlist in another pool with no audio content crossover,” he added. “We can easily talk to each other around the pools, and the staff no longer need to use portable speakers.”

As a local integrator with three full-time employees, Music Light also appreciates the “genuine human relationship” with the APG team, particularly with application and support engineers Maxence Castelain and Alexis Reymond.

Other AV equipment used for the Auréo project includes a Shure QLX-D wireless system and Rane Terminal 1010x audio matrix. Amplification comes courtesy of a Powersoft Quattrocanali 4804 DSP+D, which drives the APG speakers via the 100V line. Music Light also used Powersoft’s ArmoníaPlus software for amplification control.

“We are delighted with the service and the installation in a humid environment which was not designed for optimised acoustics,” concluded Auréo’s Barey. “The difference compared to the old system is impressive, and the sharpness of the sound is amazing.”

www.apg.audio

IKEA

COMPANY: Green Hippo

LOCATION: London, UK

Scandinavian flat-pack super chain IKEA’s flagship store in Wembley, North London, is immersing potential buyers into an interactive, projection mapped environment this summer, thanks to an inspired project by Motion Mapping using Hippotizer Karst+ Media Servers.

The furniture and houseware brand’s team approached Ipswich-based Motion Mapping, which specialises in video mapping, to realise the project. The initial brief focused on a furniture section of the IKEA store, constructed from an L-shaped wall with large desk, hung cabinets and a series of 12 differing-sized empty photo frames, each one projection mapped to synchronise with the back wall projections across all the cabinets, hung in a portrait and landscape formation to create a wide display canvas. The team wanted to turn this into the immersive environment, using projections and interactive

“Afterelements.hearing what they wanted to achieve, we knew that by using the features of Hippotizer and our experience with the platform, we could elevate the project to another level,” said Stuart Harris, Creative Director at Motion Mapping. Harris and his team collaborated with the IKEA creatives to develop the project into a richer experience, harnessing the power of Hippotizer. Now installed, a raft of colourful content slides seamlessly across the cabinets, walls and TVs. The closed cabinet doors are video mapped to show virtual stocked interiors, with projected images of IKEA tableware and storage solutions. When turned on, the TVs display scenes to give the impression of looking out a real window.

Key to the concept is the IKEA ‘co-worker’ character, who skips around the walls, cabinets and desk, inviting the visitor to interact with the environment. The IKEA team handed Harris a 2D sketch of the co-worker, which Motion Mapping then morphed into an (almost) 3D character to be animated, video mapped and projected onto the walls using six Optoma projectors, which are hung from the ceiling.

“Hippotizer Karst+ enables us to perfectly sync the content across the wall canvas really simply, and update content as the project developed, too,” Harris continued. “We started with one projector, but as we showed the client what we could achieve using Hippotizer – such as blending multiple projectors to create a bigger, more immersive display within Hippotizer’s SHAPE tools – it mushroomed. This also helped us seamlessly make the 3D co-worker character come to life. It’s great that we can do so much within the media server itself – it really is a multi-tool machine rather than simply a playback device.” www.green-hippo.com

Niesmann+Bischoff Flair launch

COMPANY: AV Stumpfl

LOCATION: Wallern, Austria

For the presentation of its new premium Flair motorhome, Niesmann+Bischoff tasked Austrian event designer Thomas Hödlmoser with creating and delivering the technical aspects of the presentation concept for the vehicle’s world premiere.

More than 250 international guests who gathered at the picturesque scalaria eventresort at the Wolfgangsee needed to be impressed, informed and entertained.

“It was important to make it possible for the audience to experience the philosophy, the general spirit and the high standards N+B follows in terms of design and minimalism,” explained Hödlmoser. “We needed to develop an approach that was truly elegant, and would not appear obtrusive, but would allow enough space for content to be displayed.” All project stakeholders agreed that to highlight the technical innovation aspect of the new Flair, a classic slide presentation would not suffice. Together with the end client, Hödlmoser developed a presentation concept where the new model’s interior and exterior could be presented via a tablet in the hand of the main presenter in a ‘swipe and slide’ style.

The reliability of the final setup was of particular importance to ensure a smooth presentation. “You hand over the tablet a few moments before the show and have to be able to ensure that no part of the setup will let you down, since we really wanted to convey the smooth haptic feel of a tablet and fully apply it to the extra-large 4K projection,” he noted.

A major component of the presentation was AV Stumpfl’s awardwinning, next-gen media server system, PIXERA. “We succeeded in creating an ultra-fast connection between the tablet and the media server. We were able to display any input on the device, every effect, every turn of the models in ultra-high definition, as if someone were just filming the tablet,” continued the designer. “The PIXERA system’s ability to capture 4K sources nearly latency free was a great advantage from the word ‘go’.”

A PIXERA two Quad server was used in both the indoor and outdoor space, in combination with MA Lighting grandMA2 consoles. The technical in-house equipment included a 4K Panasonic PT-RQ35K projector with 32,000 ANSI lumens, used for the realisation of the large central rear projection. Additional projectors were rented in close partnership with the Vienna-based Panasonic distribution partner AVProfessional, to project onto the remaining projection surfaces. Hödlmoser elaborated on the audio setup. “The audio signals were integrated into the existing Dante network of the scalaria resort via Dante virtual soundcards in PIXERA. That’s another feature I really like, especially when indoor and outdoor shows seamlessly intersect,” he noted. “Yamaha QL desks were another cornerstone of the scalaria audio network, which did their part to ensure stability of the system.”

The presentation, which lasted for several hours, both introduced the new Flair and created a tangible experience around the Niesmann+Bischoff brand. www.pixera.one

IN BRIEF

The Loft takes Alcons V-Series Pro-Ribbon speakers to new heights

The Loft is a nightclub in the Austrian capital Vienna with a diverse program of events, from pop parties to Latino nights, poetry slams to techno nights and everything in between. The club prides itself on delivering the best sound, so a recent major upgrade has seen Alcons pro-ribbon speakers chosen to deliver the best quality mid-highs.

For its tenth anniversary, its owners celebrated by investing in new sound systems for two of its three floors. For the main floor, sound partner Pro Performance built a bespoke horizontal bass array of 24 by 15-inch speakers. Four VR12/90 12-inch mid-size versatile monitors were added to deliver the purest, most powerful mid-high frequencies. In the smaller ‘Wohnzimmer’ (pictured), a compact 6 by 15-inch bass array was installed, together with two more VR12/90s. “We have fitted out a number of locations in Vienna with Alcons pro-ribbon speakers,” says Pro Performance proprietor Wolfgang Sauter. “When The Loft approached us about the system upgrade, we did a speaker shootout with them and were not surprised when Alcons came out on top. The VR series was their clear choice.”

Club owner Mike Tscholl added: “When we listened to the different speakers (in the shootout), Alcons Audio was the obvious choice. The VR12s are perfect as top speakers and the VR5s are very popular with both live musicians and DJs.”

AL WASL PLAZA

DUBAI / UAEEMEA

Bild turns Al Wasl Plaza into the world’s largest interactive installation for Expo City Dubai.

A focal point of the Expo 2020 Dubai site, Al Wasl Plaza is a domed trellis structure with a fully integrated 360° immersive projection surface, as well as a booming L-Acoustics audio system.

Back in 2019, Bild Studios were commissioned by Creative Technology Middle East and Expo 2020 Dubai to produce the creative content pipelines to bring the structure to life using 252 Christie 40k lumen projectors, which cover a surface over 25,000 sq m across a 27,000 by 6,000-pixel canvas.

Having designed the content workflows which allows the entire interior of Al Wasl Plaza to be picture mapped with content,  Bild has now turned the venue into the world’s biggest interactive installation in the leadup to the opening of Expo 2020’s legacy project, Expo City Dubai.  Users of a specifically designed tablet screen can manipulate the projected content in real time with the movement of a finger.

“The creative team at Expo 2020, headed up by Executive Creative Director Amna Abulhoul, had a vision with two main objectives in mind,” explained David Bajt, Co-Founder and Director of Bild Studios. “First and foremost, they wanted to create an impressive and highly immersive VIP experience, where chosen individuals could stand and generate stunning real-time visuals within the impressive architectural Al Wasl “ThePlaza.second was driven by much more of a practical nature – to lean on real-time generated content, created in Notch, which would save time on pre-rendered content ingest and reserve hard drive space within the

busy disguise gx2 media server system.”

In addition to the visuals, there was an opportunity to generate interactive audio for the in-house audio system, which is made up of 27 loudspeaker arrays and six subwoofer arrays.

“The result not only represents the world’s largest interactive visual installation, but also using one of the world’s biggest audio installations which reacts to the finger movement of the app-user,” continued Bajt, who was also the principal consultant at Bild for Al Wasl Plaza project.

“We knew it would involve creating something new and unique, and it would require a huge amount of R&D and testing. Once we started and saw the first positive test results from our office setup, I knew that this could turn into something real – and very special.”

Bajt and his team split the project into four phases, which were implemented simultaneously: technical feasibility and creative exploration; app development; creative development and audio design; and on-site installation.

As background to the project, the workflow creation for the prerendered content was the first achievement by the Bild team for the original Expo 2020 Dubai project in 2019, which culminated in them creating the broadcast Augmented Reality for the spectacular opening and closing ceremonies of the Expo 2020 Dubai.

Content production for any curved surface requires a seamless flow across the dome, which can’t be achieved working with 2D graphics. With this, the Bild team created a workflow that lets artists create

Left: Members of the Bild team on site during the installation and testing process.

TECHNICAL INFORMATION

VIDEO

252 x Christie D4K40 RGB laser DCI projectors (84 x unique 16channels)xdisguise gx2 media servers

Content resolution: 27k x 6k

AUDIO

27 x arrays of 16 x L-Acoustics KIVA II loudspeakers

6 x Subwoofer arrays of 4 x L-Acoustics KS28

BILD PROJECT TEAM:

Executive Producer & Principal Consultant: David Bajt

Senior Producer: Lauren Rogers

Technical Director: Jamie Sunter

Project Engineer: Rury Nelson

Software Developer: David Kanekanian

Creative Notch Lead: Lewis Kyle White

Notch Artist: Marco Martignone

Notch Artist: Michael Wilson

Notch Artist: Dave Ferner

Notch Artist: Nick Diacre

Sound Design: Gareth Fry www.bildstudios.comwww.expocitydubai.com

graphics in 3D software that also integrates into a 2D pipeline. In fact, the workflow allows artists to jump between 2D and 3D workflows while always ensuring that the final video files always are generated to the right format and naming conventions.

Converting the huge setup for creating pre-rendered graphics into a real-time driven solution which is then controlled with an iPad was consequently the great challenge for this interactive installation.

As this project continued to go from strength to strength and involved multiple contributors and creative teams, it became clear it was critical to develop a tool to provide content teams, clients and collaborators the ability to visualise what their creative visions would look like on the

Withdome.this in mind, Expo Dubai 2020 engaged the Bild team to develop a photo-real Virtual Reality visualiser to take the content workflows they had already created and making them accessible to Expo’s creative teams, allowing them to view the projection content in a 1:1 virtual setup of the dome, long before testing the content in the real dome.

Created in Unreal Engine as a stand-alone application, the user could navigate around the inside of the dome across different times of day, swap out projection content, adjust content settings, add various FX and

even export the simulation by rendering it into a 360 movie - ready to be viewed on YouTube by all stakeholders involved.

“The first phase in creation of the interactive installation centred around designing the real-time graphics pipeline, as well as creating the first set of real-time visuals, with focus on technical performance,” said Bajt.

“The team also started to design and plan for the implementation of the iPad interface that the user would interact with in order to generate the visuals on the dome.”

The 16 disguise gx2 servers that were already on site were originally intended to only run pre-rendered video content. The choice of picking a real-time engine that could be added to the existing setup was not a hard decision.

“The obvious candidate was Notch – purely due to its long and wellestablished integration with disguise,” said Bajt.

“It was imperative to create a Notch-disguise real-time pipeline that not only would allow artists to easily create stunning content, but also make sure that the content would integrate seamlessly with the existing disguise mapping workflows that our team had previously installed and verified onsite.”

Lewis Kyle White, Creative Lead of Bild Studios, notes how this was done.

Below: A specially designed app was created to manipulate the content projected onto the dome in real time.

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Al Wasl Dome, Expo 2020

“The technical challenges for this installation were vast,” said White. “As with the pre-rendered content workflows we had to divide the canvas into 11 different sections - each section’s graphics rendered in real-time by a different disguise gx2 server. With the 27k by 6k canvas split up, each server would therefore render approximately 7k by 2k resolutions.”

David Bajt continues: “To render real-time graphics at these huge resolutions is one challenge but to guarantee synchronisation between the servers is another. We therefore had to build a system that allowed us to perfectly emulate onsite conditions and guarantee that there would be no surprises onsite.”

After some initial testing and working with disguise to create some bespoke functionality, the Bild team’s methodology of turning the existing pre-rendered workflows into real-time pipelines proved highly “Thesuccessful.challenge of rendering that resolution of content in real-time was something that had never been done before on this scale,” said Jamie Sunter, Technical Director, Bild Studios. “It took a lot of hard work to create a workflow that allowed us to optimise the performance and sync of the real-time content.”

With this element in progress, Bild worked in parallel to design a slick and simple app that was easy to interact with, and they settled on creating a bespoke web design interface on an iPad, using standard HTML and CSS.

“This approach resulted in a simple and user-friendly UX design, with its home screen made up of a grid of thumbnails where the user can select an interactive treatment” said Bajt. “Once the user has selected a specific look, its specific controls open up in a new window.”

A full CMS editor system was developed in the back end, which allows the client to customise exactly what elements to include when creating a new look.

“As an example, most interactive treatments require a finger tracking interface, access to a texture library and a colour picker,” continued

Bajt. “Other treatments may have only required a few slider and texture inputs. With the CMS system in place, a user can choose web elements to include and connect them to corresponding properties in the disguise project.”

The new Indirections feature by disguise allows for video and image content that is stored in a disguise project to be accessed and switched on the fly from the iPad. Indirections also allows images to automatically be pushed to the iPad and be represented as thumbnails, with no need to update the app itself.

With this, users can change the texture directly from the app and choose to map it in different ways on the surface of the dome. The fingertracking functionality of the app allows the user to track their finger on a flattened image version of the dome.

Follow the Movement

These movements are then captured, in real-time, as OSC coordinates, which are sent to Notch, via a web server, then to disguise, and rendered as visuals directly onto the dome. For example, gigantic particle trails or massive virtual searchlights follow the movement of the finger.

Adding to this visual element is the interactive audio setup, with trajectories of sound effects generated based on the finger placement of the user and mapped to the 27 loudspeaker arrays in the space. With each movement, an additional layer of audio is mapped to the closest speakers to the visuals, creating a fully immersive 360° AV experience.

“To clarify, the sound isn’t generated using a procedural sound algorithm but the movement of the audio is,” stated Bajt. “In order words, a precreated mono-channelled sound file is mapped onto the closest speaker based on tracked finger movements of the user.”

With a significant amount of testing and verification during preproduction in the office, the technical installation proved to be a smooth and successful process.

“The server-performance matched the performance and all servers

Left: Real-time visuals are created as the user tracks their finger on the app.

synced well, as expected,” said Bajt. “A significant amount of time was spent on colour-correcting the graphics, as certain colours appeared a lot more vibrant than others, and certain graphical elements simply had to be refined to appear bigger and bolder to maximise the interactive impact.”

The impact of the audio was surprisingly impressive to Bajt and his team. “While the team expected the audio to enhance the interactive experience, it came as a great surprise what an extraordinary layer it added,” he said. “When interactive visuals follow the finger movement, with accompanying audio travelling through, it truly creates a jaw-dropping synchronised experience.”

For Bajt, the project became more and more thrilling as it got closer to realisation.

“With each step of the process the project became more exciting,” he said. “Around  half of the first looks we tried performed and synced well, and those early tests of our iPad app, while still running as a webpage on a laptop and with emulated finger action, were met with hugely positive reactions from all involved.

“Once we added disguise’s Indirections to swap textures on the dome, we saw the full picture in more clarity. And then once it was installed onsite, we could see the excitement in people’s eyes when they used the app. It gave me, and the team, a huge sense of accomplishment.

“For me, it is more about the journey and gradually seeing the pieces of the puzzle come together – and seeing creative opportunities arise during the process is also a huge thrill.”

Expo City Dubai Executive Creative Director, Amna Abulhoul is delighted with the results of the project.

“This innovative, real-time technology is part of the exciting future of Expo City Dubai - a destination that will showcase all manner of new ideas and solutions,” she said. “As we worked through the stages of this interactive experience, Bild and Expo City Dubai worked as one team, with one mission and one goal. I can’t wait to see how the experience at Al Wasl grows and develops through ground-breaking innovations such as Comingthis.” from an animation background, Abulhoul places great importance on being able to change and adjust the graphics until the very last minute. “I want to be able to maintain the flexibility all the way to showtime,” she stated. “What triggered me to come up with the idea of creating an interactive application for Al Wasl Plaza was the requests we got for making graphics quickly, sometimes for a show the day after. People not experienced in the creative and technical world do not understand the need for rendering time, despite the enormous 27k by 6k resolution of the dome.” Now, with the expertise of Bild and the collaboration with the creative minds at Expo 2020 and disguise, Al Wasl Plaza sits proudly as an interactive piece of art and the most complex and largest video installation in the world.

Above: Engineers configure the interactive installation in the Al Wasl video control room.

“THIS INNOVATIVE, REAL-TIME TECHNOLOGY IS PART OF THE EXCITING FUTURE OF EXPO CITY DUBAI - A DESTINATION THAT WILL SHOWCASE ALL MANNER OF NEW IDEAS AND SOLUTIONS.”

OUR HOUSE

AMSTERDAM / NETHERLANDSEMEA

A world-first electronic music experience, Our House is a multisensory immersive museum that pays homage to the EDM movement during the day and transforms into a nightclub space for four nights a week.

The result of a collaboration between three companies with a passion for events and experiences, Our House opened late in 2021 and is jam packed with interactive technology, giving visitors a fully immersive – and educational – experience.

Alan Luring, CEO Our House, is one of the founders of the project. “Around six or seven years ago, my partner and I had the idea of having an experience that explores EDM – and connecting education with it,” he said. “Back then it was only a concept, and we couldn’t find partners to build on it and make the concept a reality. So, unfortunately, the idea went back into the fridge, as we say here.”

Luring moved on, but the idea ‘came out of the fridge’ in 2019 when he met Kexcom, a company that builds experiences based mostly around Dutch subjects. “We teamed up to try and make more of the idea,” said Luring. The team then found a third partner, Fourmation Entertainment, in 2020. “They were all ex C-suite of ID&T – a global electronic dance music event producer – their creative lead was a former Creative Director at ID&T, who produced Tomorrowland, Sensation and Mysteryland festivals,” he added. “Coincidently, they were working on a similar concept, and with their connections in the industry combined with our expertise – it was the perfect match.

“They didn’t have a lot of knowledge about creating a longterm experience, something permanent, which is open every day, and while we were chatting about the idea we clicked really quickly. So, we tried to make the best of the three worlds, combine them, and see what we could make

A bringsbrimmingmuseum-cum-nightclubwithtechnologythehistoryofEDMtothemassesinAmsterdam.

All photos courtesy of First Impression.

of it. With that, Our House found life. This was around the time when the first lockdowns were kicking in, around March 2020, and that gave us a lot of time to focus on working on Our House.”

Luring reached out to First Impression, specialists in creating audio-visual experiences with multisensory elements, because he wanted to work alongside a company that he could collaborate with at a concept level.

“I had worked with them before on some smaller projects and I knew they did a lot of experiences for other companies,” said Luring. “They have their own showroom, which they let people walk through, and they use technology in cool ways by combining the content with it.”

Patrick Versteegh, Senior Solutions Architect, First Impression, is proud of the collaboration that went into bringing the vision to reality.

“The museum is a great audio-visual spectacle,” said Versteegh. “We wanted to trigger the wow factor for all visitors. To achieve that, the content must be industryleading. It is the combination of hardware and content that creates this wow factor. The visitor must be entirely immersed in visually overwhelming areas and interactive touch points. We always look for the hardware that best suits the solution.

“Our suppliers are very varied and they know what we stand for,” he continued. “Together with our production team and the Our House team, we looked at the solution

that best suits to take the public into the world of electronic dance music.”

Audio Solutions

A partnership was formed with HARMAN for the audio solutions throughout the venue, with JBL speakers used in every space – including Air 1, the main central area of the nightclub, which is also used for the introduction and ending of the Our House museum experience.

In here, there are 16 VTX A8 loudspeakers, six VTX subs, four VRX subs and four AC 18/26 set up, all mixed by a Soundcraft VI1000 console.

“It was interesting for HARMAN to partner with us because JBL is a big global brand but not that well known in clubs here in the Netherlands,” said Luring. “Now they have the best showroom in the Netherlands to showcase their stuff. We also use their headphones in the exhibitions, which are for sale in the shop, so it’s a 360° deal and it’s brilliant that we could work with them on a project like this.”

Eight Epson eb-L1755u projectors deliver 270° of content to the walls, while two additional Epson EB-L2000u projectors throw directly onto the dancefloor. These are delivered by two Dataton Watchpax 60 SDI media servers running Watchout software.

The lighting setup includes 12 CLF strobe bars, 44 CLF Poseidon Wash XS moving heads mounted on moveable trusses, and 150m of moving LED strips. Two LED walls –

including one behind the DJ – are also utilised, but the star of the room is the hydraulic floor, which provides a show-stopping purpose.

During the shows, the floor vibrates in tandem with the music and visuals thanks to 64 Powersoft Mover transducers, and at one specific point there is a sudden drop of 10cm. It’s a ‘double floor’ concept and was designed and installed by Lagotronics Philippines.

“From design to installation, we finished the floor in eight months,” said Carlo Gortjes, owner or Lagotronics Philippines. “It is 7m by 8m, 36cm in height and can lift a maximum of 120 people and its own weight. The top layer, which is separate and sits on top of the hydraulic floor, has the Mover transducers, and can rise 10cm during the show before a sudden drop. There are four powerful hydraulic cylinders and a compact lifting system with bronze bushings for maximum lifespan.” For Luring, this element gives added emphasis to one of the key features to the overall experience – the museum’s end show, which is called the Culture Ride.

“We put a lot of thought into the ending of the museum experience,” said Luring. “Our goal for the museum was to create a concept where you start together watching the introduction show with friends, then you can go off to the museum pieces, you can play, interact, and explore on your own, then you come back together to the main dance floor for the end show.

“We wanted this to be a big experience where you can learn something.

It features a lot of different music with visuals that are connected to the historic timeline, which is shown on the screens. It starts in the 1970s and ends in the 2020s, with things like big political and cultural moments highlighted in the visuals. We wanted to highlight the visuals and music with lights, special effects, smoke – and with a floor that vibrates and drops – why not?

“The floor was Jeroen Jansen’s idea and it came with a lot of challenges. It was constructed in the Philippines, and it had to be dissembled to ship it over. Then it got delayed in the Suez Canal hold-up by the Ever Given Havingship.”arrived two months later than planned, the floor was successfully installed and plays a crucial part in both the museum and club settings. The power of the four Powersoft Quattrocanali 4804 DSP+D amplifiers and Movers are reigned in during the museum setting with an aim at visually connecting the feeling with the video content, whereas during the club setup, the lower frequencies are ramped up to accentuate the music.

Interactive Elements

While Air 1 is a main focal point where Our House begins and ends, throughout the venue there are countless interactive elements which form the exhibitions, in addition to LED signage and a venue-wide JBL audio system. Two Bose ControlSpace Ex-1280 DSP provide additional

audio processing while Resolume software controls all dynamic LED lines, and Scala controls numerous displays and LED walls throughout the museum.

Exhibits include a Pufferfish PufferSphere interactive globe, which showcases music from different corners of the world, while a touch enabled Displax table allows for museum goers to scroll through a historic timeline of dance music. A mix of Scala and Aopen players powers the content.

A major part of the exhibition is a giant sequencer built by RedBull, which is 10m long and has different sections for drum tracks, samples, loops, keys, basslines and oscillators.

“This is all on one big board,” said Luring. “And we have it for five years here at the exhibition. It’s interactive and visitors can access it alongside producers who work here and make beats and melodies. It’s so cool.

“Almost all the exhibits are interactive because we wanted a learning element involved – you learn about the equipment and how music and the sound is made by interacting with it,” continued Luring. “We have interactive vinyl pieces – so people can select a record, drag it into a space with their finger on the screen and then a track will play and information about the music will appear. And you can do all this while walking around with a beer in your hand!” These exhibitions appear to be set up permanently, but they have

been designed and installed in a specific manner so that they can be quickly packed away for the space to then be used as a nightclub. The changeover takes 30 minutes with the exhibitions held on an Extron control system, which museum staff can switch from museum mode to club mode.

“We had lots of discussions, because First Impression had not done anything of this scale before as there is lots of different types of hardware being combined all through one system, and it has to be run automatically without a technician on site,” said Luring. “We only have one member of staff hitting a dead-man’s switch and hitting play on an iPad – and then the whole building runs the show.

“Using the same system, it changes to the nightclub, and with that they have technicians to operate the light and sound. So, the system needs to be closed for the museum, and semi-open for the nightclub, and it changes on almost a daily basis.

Luring reflected on the challenge of designing a system capable of being turned around every day. “All the exhibits need to be stored away and easily moved – and then put back again and connected and start up again automatically,” he explained. “The museum staff are not technicians – they are normal museum hosts, and they build the museum every day.”

Finding a suitable location for Our House was also a challenge for Luring, but the answer, almost serendipitously, came from the very

scene he is involved in.

“The first big challenge was finding a location – which was the key,” he said. “We needed a central location where we could make noise, and there aren’t too many of those in central Amsterdam. The local government said that they don’t want any experiences in the city centre, they wanted them out of the centre.

“But we then found out that the guys at Air were thinking about closing – and their location was in an old pioneering club called iT, which was around in the early 90s along with the Roxy, two of the original house music clubs in the city. So, we thought it would be cool if we could put our museum in this legendary place.

“We then came up with the idea of having it as a museum by day and a club by night in the same building, and this worked in our favour –the government got behind us because we would be using this space far more economically than if it was just going to be used only as a nightclub, because they’re mostly closed for 80% of the day.”

The build started in April 2021 and opened in November that year after a big promotional campaign. Momentum was then halted due to the Omicron variant and the club reopened in February 2022.

During the initial stages of the installation, First Impression ran into some difficulty and found that they needed to strengthen the ceiling.

“We had to deal with architectural issues, such as the ceiling, which was not strong enough to support the rigging and equipment they wanted to suspend from it,” said Versteegh. “An overhaul of the space commenced so the trusses and equipment could be installed. Both the Our House and First Impression team were present throughout the entire project and provided input. In some cases, we made changes during the installation to better reflect the solution.”

Opened Wednesday through Sunday, with club Air open on Thursday through Sunday from 11pm until the early hours, the Our House project was a true labour of love by all involved – something that is evident in the results.

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EMEA BIRMINGHAM / UNITED KINGDOM

Madrix, Avolites and Optoma projectors help set the scene in this futuristic virtual reality bar.

Otherworld is a venue within a venue, offering visitors an escape to a virtual reality theme park, filled with entertainment, gaming and arts experiences. With a focus on creating a sense of journey before stepping into the virtual world, Otherworld’s third location in Birmingham fully succeeds in its mission thanks to a variety of wellplaced, and often subtle technology.

Featuring 18 virtual reality immersion pods and a self service bar with touch screen control, all developed in-house by the Otherworld team, the new Birmingham location has been a hit with the locals, following on from two facilities previously opened in London.

Step inside a pod, slip on the headphones and VR headset, and you are transported to a virtual island where you can choose an experience – puzzles, shooters, combat, stories and movies – all in premium, 4D virtual reality. But getting to those pods is part of the journey. Ed Wardle, Otherworld’s Chief Creative Officer, working with Lucas Tizard of Red Deer and Lucas Edwards of Sensory Studio, carefully created an atmosphere over three floors - in the ‘departure lounge’, ‘transition’ and ‘departure gate’ to build

an overarching user experience using light and sound. With a light and airy feel, the high-ceilinged ‘departure lounge’ has a futuristic interior, designed by architects Red Deer. The centrepiece, a pixel mapped self-service bar, is flanked by white banquette seating. Projection mapping the huge white walls are six 6.3K lumen Optoma laser projectors, while over 120 universes of pixel LED illuminate the bar, furniture, and key architectural features.

The departure gate, located in the lower level, is dimly lit with a brooding, ambient soundscape which sets the scene ahead of entering the VR pods, while the transition area links the two main zones with gentle lighting. An immersive soundscape links the venue together, crafted by Otherworld’s Emmy-nominated sound designer.

Futuristic Lighting

The creative lighting installation was overseen by Sensory Studio and included some custom-made lighting solutions. “This was Sensory’s biggest and most ambitious install to date, but also the smoothest,” said Tekh Balance, Sensory Studio. “The Otherworld brand and franchise has really

Change is not evident,

RESULTS ARE.

www.dts-lighting.it

TECHNICAL INFORMATION multi-sensory & LIGHTING DARE

Left: The custom-made LED candles which are placed at every table.

started to hit its stride, and the technology which has been developed across the three venues has now got to a point where the developments that have been made here can now be implemented at the two previous venues in “WeLondon.have this cool two-storey set-up, and this amazing room where the bar and furniture creates a perfect symmetry. Projection mapping was on the cards straight away because when you have walls this big, it asks for it!”

Adding to the ambience are custom-made LED candles which sit on each table and flicker with colour, giving visitors an intimate experience at their table. These are hand crafted by Harish Persad, LED & Electronics Specialist, Sensory Studio, and are layers of PCB wafers held together by retaining springs, which pass voltage and data between the layers from the house control system. “Fully connected, these candles allow content to be coordinated across all venue surfaces, sparkling and exploding colour across the white tables,” said Persad.

“The grounded, therapeutic motion results in a meditative experience like the sound of flowing water or wind through branches. These are the second version, and we will stay with this design. Moving from hand soldered to machine finish has increased permeability between the layers, giving the candles a floating 3D effect.”

The addressable LED throughout the venue is controlled using Madrix 5 software and Madrix Nebula.

“We use professional grade LED strips because this venue has to last for years. Madrix is designed for heavy install work and we are big fans of their hardware and software for LED control,” said Tekh. “Lucas Edwards, Director, Sensory Studio, is superb at programming Madrix, and he pulled it together really quickly. The drivers are super stable, considering they need to boot without issue 365 days per year.”

When it came to choosing projectors, Tekh admitted they were in no doubt about which direction to go. “We’ve had a positive experience with the reliability of Optoma’s laser projectors, so that was an easy call to make,” he said.

Above: Customisable LED lighting helps create different moods throughout the venue.

Next page: The multi-sensory immersion pods in the departure gate.

Datapath provide an integrated approach to the design, build, and operation of creative visual display solutions. By connecting content to video walls, we made life easier so you can have limited imagination and maximum graphic impact. at its

A custom rack-mounted media server with an NVIDIA RTX 3090 graphics card, running Avolites Ai Miami, delivers the content to six Optoma ZU606TSTE projections, which map the entire length of the Departure Lounge in 4K resolution. Content is generative real time particle systems made in Notch, and is reactive to triggers from the bar on drink selection and colour tuned to the time of day.

Hanzo Schwarz, Content Designer and Director of Init Studio, is delighted with the set up. “Notch allows us to create stunning generative art that can be modified and fine-tuned in real-time on site. This allows us to achieve complete harmony between visuals, lights and the fabric of the building.”

Edwards also notes the benefits of using Avolites Ai. “First off being able to run Notch blocks natively in the media server means one less point of failure on the software side,” he said. “With direct access to modulating Notch within Ai itself, we’re able to go direct from Bar API trigger to media server for low latency visual changes when someone pours a drink. We also use timecode from Madrix to trigger parameter changes, allowing us to adjust colour, brightness and visual theme as the venue shifts from day to night mode. Overall this gives us a super dynamic output and a generative content set that is always changing.”

The installation process, according to Tekh, was relatively routine. “No install is without its surprises and this was no exception, however the team did a great job in achieving

the high finish Otherworld demands and completed on schedule too,” he said.

Future sites

With three locations in the UK, the Otherworld team have big plans. “We’re expanding across the UK and internationally, with the next wave of openings in Edinburgh, Manchester, Miami and Austin in 2023,” said Chris Adams, CEO of Otherworld. “People are seeking evergreater levels of immersion, but through social experiences they can enjoy with friends and family. We can’t wait to take the Otherworld experience to new markets around the Adamworld.”Newell, General Manager of Otherworld Birmingham, is delighted with the way the venue came together. “The light and design of this site gives visitors a sense of wonder – everyone who walks past stares in, utterly captivated, wondering what we are,” he said.

“Once inside, soundscapes cover the transition and the departure gate, so we manage the mood through both lights and audio at every stage of the journey. Even the electronic toilets also have their own unique soundscape and lighting system!”

With a carefully curated experience from the moment you enter, Otherworld’s venues are well placed to make an immediate impact as they look to increase their presence around the United Kingdom and beyond.

IN BRIEF

New L-Acoustics controller used at stunning Coachella pavilion

A remarkable five-story-tall installation by artist Cristopher Cichocki wowed festival goers at Coachella in April with L-Acoustics providing an immersive audio experience.

Circular Dimensions x Microscape was constructed with more than 25,000 feet of PVC tubes, and the bandshell-shaped pavilion contained a living laboratory which allowed the artist to continue his ongoing exploration of water and the history of the desert.

By manipulating water, salt, barnacles, and algae from the Salton Sea under microscopes and projecting that activity in real-time inside the pavilion, “video paintings” created a sensational visual focus.

These visuals were combined with an equally amazing audio component with L-Acoustics providing L-ISA immersive audio technology. A total of 60 speakers were deployed in the tunnel by sound designers Jonathan Snipes, a sound design teacher at UCLA, and Bobby McElver, a professor of wavefield synthesis at UC San Diego.

The 57.1 system featured a combination of L-Acoustics X8 and 5XT coaxial loudspeakers supported by four SB18 subwoofers, while several Kiva II mini line arrays additionally delivered a mono version of the multichannel experience around the exterior of the tunnel.

Notably, the entire system was powered by the manufacturer’s highly-efficient new LA7.16i amplified controller, which was officially introduced earlier this year at ISE and InfoComm. www.l-acoustics.com

Photos by: Lance Gerber

Boca

Brimming with technology which comes to life after dark, Strike 10 in Boca Raton is taking bowling alley entertainment to the next level.

With over 200 CHAUVET and Iluminarc fixtures utilised throughout the venue and a pro audio system featuring Electro-Voice loudspeakers and Yorkville subs to support a DJ, Strike 10 opened in March to widespread local acclaim.

In addition to the 11 professional bowling lanes, Strike 10 features a 50ft bar, 30 large HD TVs, a sushi bar and special children’s bowling lanes.

Jay Krause and his team at Sound & Lighting Solutions (SLS), based out of Pompano Beach, were commissioned to install the lighting fixtures and mounted loudspeakers, while systems integrators Miami Smart Homes went directly to Snap One for the Control4 automation system, with which staff control all the video and audio content, an in-ceiling Triad audio system and DVLED displays.

“We were approached by Strike 10 ownership for this new flagship project based on our prior design, specification, and installation of hundreds of pixelated lighting at the Guitar Hotel at Seminole Hard Rock Hotel & Casino,” said Krause. “This project was an exceptional experience in which my team worked directly with designers, architects, electricians, and the owners to create a fully immersive

experience that has never been done in a bowling alley.” Iluminarc fixtures provide ceiling downlights and cove lighting, while a collection of 78 ÉPIX Flex 20 units lie at the heart of the bowling centre’s design. These units are individually pixel controlled and run through Madrix software to create a dynamic look and ambience.

“The strips are a distinctive eye candy element that contributes to the overall impression of Strike 10 being a completely unique spot,” said Krause. “They are buried into the custom wood ceiling panels, and they look like a series of many different colour-changing waves.

“The waves have the appearance of moving slowly or quickly, depending on the time of day and the energy in the room. They appear as ambient light when you’re below them, but they create a different effect when you see them from a distance. In total, they contribute to this very immersive environment.”

The strips are controlled by 20 ÉPIX Flex Drive units, giving staff full pixel control. “With a long-standing relationship of over 15 years with the CHAUVET lighting brand and Iluminarc it was an easy fit,” said Krause. “We had an excellent choice of products to deliver the final vision and with the assistance of the local representative Matt Suarez providing information, samples and stock availability, it

was – and continues to be – a great partnership. My team’s Design Leader, Vinny Destefanis, did extensive research, shop drawings and layouts to get this final job accomplished. His meetings and communication with our Head of Installation, Bryan Rush, allowed the final execution of our plans.”

When the venue’s ownership wanted to install a stronger audio system for them to be able to utilise a DJ, SLS chose 12 Electro-Voice ZX1 loudspeakers, powered by two Dynacord C18000i power amplifiers, and four Yorkville Parasource PS-15 subs.

“We chose the Electro-Voice ZX series based on their low-profile, highoutput compression drivers,” said Krause. “Although it is a composite box and only eight inches, they have a unique designed port, which provides exceptional low-frequency reproduction, even when in the air. “Of course, DJs are not the easiest on components so we also like this series because of its passive crossover with built-in overload protection. The ZX1 speaker is one of our favourite eight-inch, two-way boxes across the many brands we are authorised to resell.”

For the subs, Krause was surprised by how much punch the Parasouce

PS-15 packed. “The 15-inch version is unique,” he said. “When I first saw a specification sheet for this unit, I contacted the sales rep and asked if there was a misprint on specs. He wasn’t sure, so I told him to pre-order one for me so I could hear for myself.

“It turns out it was not a misprint, and this 15-inch subwoofer has an incredible long-throw 15-inch woofer with a three-inch voice coil, much more typically found on an 18-inch. I’ve never found a compact sub (61cm by 44.2cm by 50.8 cm) with anywhere near this type of reproduction in sub frequencies. It’s a unicorn and I specify a tonne of them; I have asked their Canadian office for a passive version of this box, so we’ll see what happens.”

These are surface mounted and placed in the most inconspicuous areas so as not to take away from the décor and all the woodwork in the ceiling.

“Our team worked with the millworkers for months to get the final product utilising the pixelated LED ribbon, so it was essential that we not disrupt any of our previous efforts or detract from the beauty of the lighting effects,” said Krause. “The ceiling is drywall, and it was all

closed by the time we had to come back to install the new speakers, so it was challenging for the team to get all the wiring in place with clean pathways. It was not quick or easy.”

Thanks to the Control4 system, the bowling alley virtually runs itself, and staff don’t need to interact with the system on a regular basis because it has been programmed with scheduled automations for opening, closing and daypart transitions that activate and tune the lighting, TV, music and surveillance systems to specific settings.

When they need to make a change, staff use a 10-inch Control4 touchpanel at the service counter, or the Control4 mobile app, to easily update automations or make one-time adjustments. This also allows for different zones to be programmed for different lighting colours or intensities and they can easily make changes on the fly. It also enables custom lighting for parties or private events and can be adjusted by DJs through a Control4 keypad in the DJ booth that activates multiple lighting presets.

Albert Mizrahi, CEO of Miami Smart Homes, went direct to Snap One because they have solution options for any type of entertainment

“Therespace.

is so much technology inside that we decided a professional control and automation system was the best way to simplify operations and maximise the entertainment capabilities of all the connected solutions,” said Mizrahi. “The most visible special feature besides the

“While building Strike 10, it took a concerted effort to work with the contractor regarding the bowling lanes and how to mount the lighting above them in advance of the lanes being put down.”

©

lighting is the wall-to-wall DVLED display that’s mounted above the end of the bowling lanes, where there might traditionally be static images or neon signs.

“This display can be whatever the owners want it to be. During the daytime, it might show traditional bowling and pin graphics, but it can also be split into five smaller ‘windows’ to show live DirecTV feeds, Apple TV programming or any other video content they choose.

And it’s all super easy to manage through the Control4 interface. The audio, lighting, TV and security can all be controlled through the panels.”

The Triad speaker system allows for different audio zones to be utilised, which is all managed through Control4. There are more than 30 Triad in-ceiling speakers and subwoofers, and five outdoor speakers, all powered by a Triad eight-zone, 16-channel amplifier and routed through a Triad audio matrix switch, with connections to the DJ “Webooth.always specify the best solution for the client’s needs, whatever they may be, and in this case we went with Triad speakers due to the combination of quality and price, and chose to combine it with a professional audio system for when the DJ plays,” said Mizrahi. “The Triad speakers were the perfect choice for quality, ease of installation, aesthetics and cost.”

For Krause, the results of the work that went into the venue speak for themselves. “My experience with bowling alley lighting goes back to the mid-1990s,” he said. “While building Strike 10, it took a concerted effort to work with the contractor regarding the bowling lanes and how to mount the lighting above them in advance of the lanes being put down. All the small details were completed, and the result can be viewed in the pictures.”

MAINRO

LOS ANGELES/USAAMERICAS

Situated on Hollywood Boulevard, Mainro is a new addition to LA’s nightlife scene and offers a unique fusion of restaurant and supper club, shifting its focus from a fine dining experience to a nightclub in the blink of an eye.

The lighting and audio systems play a significant part in this transformation, with ADJ Vizi Beam RXONE moving heads utilised on ceiling trusses and an RCF HDL 10-A line array, both installed as part of a venue-wide project.

Mainro is the creation of restauranteur Romain Zago – best known for his Miami venues Mynt and Myn-Tu – and was conceived in early 2019 with plans to open in 2020. Having been delayed by the COVID-19 pandemic, the venue opened on Superbowl weekend earlier this year and is a place where patrons can enjoy dinner, cabaret entertainment, and dancing in the same lavish room, which combines Hollywood Regency design elements with integrated LED video and lighting technology to create a futuristic feel.

Creating a theatrical experience for patrons was at the heart of the vision, which was part inspired by the iconic Moulin Rouge. This is achieved through the regular performances – by singers, musicians, and aerialists – which take place every half hour during dinner service as well as through the video content, which is displayed on LED surfaces throughout the space.

Integrated into the walls, ceiling and stage set of the venue – including the custom-designed triangular chandeliers, circular arch and staircases that surround the stage – the LED displays allow the whole venue to be completely transformed using video content. This content assists in the quick transition of the atmosphere from restaurant at the beginning of the evening to vibrant dance club by the early hours.

Lighting also has a major role in creating Mainro’s unique atmosphere, especially when the focus switches to dancing from 11pm onwards Responsibility for selecting, supplying, and installing the venue’s entertainment lighting fixtures fell to Pawel Roguszczak at clubTech, which also provided all the audio and control equipment for the project. Having worked with Zago for many years, designing and supplying the technical systems for his Miami-based venues, Roguszczak was ideally placed to capture the vision for Mainro.

“I have been working with the owners of Mynt and Myn-Tu for over 15 years,” explained Roguszczak. “Over that time, clubTech has realised

New Hollywood hot spot creates a buzz with ADJ lighting fixtures and RCF sound system.

Photographs by Brian Dowdle

numerous projects for those two venues, and when the owner decided to open a nightclub in LA, I was asked if I wanted to be involved in designing the system for the club. As with any project, I was very hands on and it took a lot of planning and coordinating as well as a few trips to LA to get the project done right. Some of the designing I did here in Miami, for the actual installation and programming I flew with my team to Los Angeles.

“The concept called for an AV system that would be able to support ambient restaurant and nightclub setup, as well as live entertainment, and we delivered that by equipping the system with many unique features – audio is distributed by many I/O points via Dante and the venue is equipped with a fully professional RF and IEM system. The hydraulic stage and motorised hoists are supporting musicians, vocalists and aerial dancers. The club also features PTZ cameras to capture and distribute live images. The entire system is designed to support the flexible profile of the venue.”

When it came to choosing the ceiling lights, Roguszczak visited the ADJ South Florida showroom for a demo, and the Vizi Beam RXONE was selected as the primary fixture, with Elation Fuze SFX spot providing a secondary role.

“We had a general idea of what we wanted the lighting fixture to do,” explained Roguszczak. “We wanted it to create simple, dynamic effects that could be an addition to the video system. We also wanted something that was compact, strong and fast. The ADJ Vizi Beam RXONE does exactly what we are looking for. It has all the key elements: GOBOs, colours, prism, with no unnecessary extras. I prefer to use a greater quantity of the same fixture type for projects like this,

rather than having a mixture of different fixture types but in lesser quantities, and the RXONE was the ideal choice, especially considering its price point. We have 20 of them, clustered in quantities of 10 on two L-shaped trusses, and we then added another 18 heads between the flyable LED structures in the ceiling.

“Video content is also a key element of the Mainro experience; however, you can only do so much when it comes to movement and dynamic effects with video, particularly in a space with such a high ceiling. So, we use lighting – and especially the Vizi Beam RXONE –to create dynamic aerial effects that fill the air with movement and colour. Nothing can substitute light beams – especially when it comes to creating a club atmosphere.”

Day-to-day operation of the AVL and effects systems at Mainro is the responsibility of Jorge Tellez, who has more than 25 years of industry experience. Having caught the lighting bug watching Pink Floyd’s Division Bell tour when it came through Miami in the early 1990s, he gave up training to become a fireman and pursued a career in lighting and video production.

He made his way up the ladder in the Miami nightlife scene to some of the city’s biggest clubs, including Mansion and Space, and was then recruited to move to Las Vegas and work for the Hakkasan Group, first at Omnia in Caesar’s Palace, before being promoted to the Jewel nightclub at the Aria resort. After five years in Nevada, Tellez felt the time was right for a change of scenery and jumped at the opportunity to become Lighting and Video Director at Mainro.

“I truly enjoy operating this venue because I have the best of many worlds – a restaurant/supper club and nightclub,” said Tellez. “During

the early dinner seating, we produce approximately nine different performances and I create ambient content, along with lighting singers, aerialists, saxophonists, and trumpeters, and elaborate choreographed dance performances. Each show has its own look and lighting design, for example if our trumpet player is playing Fly Me to the Moon, I animate the room with stars with a beautiful moon behind the “Throughoutperformer.the venue, we have multiple custom LED screens, which are all P2.5, using Resolume 7 software and two custom Dell computers to run our video content.”

Come 11pm, the mood starts to change and a more upbeat and higher-energy nightclub ambience is created. “I have 32 ceiling triangles above the audience – 14 of which are on hoists – and with those I can instantly change the dynamic and shape of the room,” said Tellez. “The triangles are also wrapped in LED so I can put some creative content on them and lower them so they hang just above the audience. It brings the energy up, transforms the room and looks Tellez’samazing.”role at Mainro could easily be equated to that of a ‘visual DJ’, where he, as the Lighting and Video Director, curates the visual experience using an MA Lighting grandMA2 light console. This is also highlighted by the position of his control booth, which is located at the back of the main space, raised above the main bar, not hidden away. “Before starting at Mainro, I had used the grandMA2 during various parts of my career, but it was last summer when my good friend

Alvaro Turino booked me as LD for the AYU Night Pool Parties at Resorts World in Las Vegas where he gave me a masterclass on the grandMA2,” said Tellez. “It was here where I workshopped the grandMA2, lighting shows for artists like Tiësto and DJ Snake while I mastered the board.”

It is from his raised vantage point that Tellez can utilise the Elation Fuze SFX fixtures, which are mounted at the back of the main room, to illuminate singers who come out and mingle with the clientele. And while primarily used to generate mid-air beam effects, the Vizi Beam RXONEs are also sometimes employed to light the stage using their internal frost filter, for moments when a full stage wash is required.

“I think the Vizi Beam RXONEs are amazing, versatile fixtures,” enthused Tellez. “I hadn’t worked with them before, but as soon as I started to play with them, I found they have a lot to offer. I like their intensity and speed as well as their GOBO selection and vibrant colours. They are also very easy to clean, which is important as I do my maintenance every week to make sure everything runs perfectly every night and the rig always looks spotless.”

Audio Solution

When it came to selecting an audio solution for the main room, Roguszczak went with a trusted source.

“I have used RCF in the past and I like their products and have had positive experiences with them,” he said. “Mainro was looking for a sound system that can produce tour-quality sound but also support

mechanical music and live acts. RCF delivers all of it without breaking the bank, so it was a good choice.” Mainro’s system comprises HDL10A line array modules, HDL-15AS flying subs, and S8028 MK2 floor

Withoutsubs. the physical space for a live audio console, Roguszczak chose a Yamaha TF-Rack as the live mix audio source, along with Yamaha Tio1608 I/O expander, which is controlled over iPad. RF is done using the Shure ULX-D system: Shure ULXD4Q, four ULXD2/B58 handheld mics and two ULXD1 bodypacks. Throughout the venue there are many Dante connection points where they can plug I/O expander or other Dante-enabled gear.

“We also have JBL speakers throughout the venue, including JBL Control 47LP – low profile ceiling speakers mounted in the corridor and bathrooms – and JBL AC195 – surface mount speakers mounted in the upper mezzanine, while the VJ booth is equipped with JBL reference monitors,” said Roguszczak. With technology helping to fuse a restaurant setting, cabaret show and night club into a single room for a whole evening’s worth of entertainment, Mainro delivers yet more glitz and glamour to Hollywood Boulevard.

TECHNICAL INFORMATION

LIGHTING 38 x ADJ Vizi Beam RXONE x Elation Professional Fuze SFX Elation Fuze PAR Z120 Obsidian Netron EN4 Obsidian Netron EN12 MA Lighting grandMA2 Light console

AUDIO

14 x RCF HDL 10-A line array RCF HDL 15-AS flying subs RCF S 8028 mkII floor subs Yamaha TF-Rack Yamaha Tio1608-D I/O Rack Shure ULXD4Q receiver Shure ULXD2/B58 mics Shure ULXD1 bodypack transmitter www.mainro.com

ATLANTIC CITY/ USAAMERICAS

Newly installed 1 SOUND system packs a poolside punch in Atlantic City.

A newly installed 1 Sound audio system at HQ2 Beachclub has left a lasting impression on the high-profile DJs who have performed at the Atlantic City venue since it re-opened for its summer season.

The new system exclusively incorporated 1 SOUND loudspeakers, with multi-platinum trio Cheat Codes opening up the season on the system, while other artists performing included DJs Tiësto and Steve Aoki.

Situated at the Ocean Casino Resort, the 45,000 sq ft HQ2 Beachclub features six bungalows with private pools, 12 day beds, and more than 30 VIP sections on the lower and upper decks.

This install was the debut of 1 SOUND’s new Contour loudspeaker, a 3-way, horn-loaded point source which has the capacity to deliver a max SPL of 145 in a compact 13.6-inch by 20inch box.

Also debuting are the SUB2112, a bi-amped 4000 watts + 3600 watts (continuous) subwoofer, utilising a 21-inch low frequency driver and two 12-inch drivers, producing a solid 25 Hz with a fast-responding upper bass.

The loudspeakers and accessories are IP55 rated and made to withstand harsh weather conditions, which was critical for this project as the venue sits next to the ocean.

Anthem Productions oversaw the installation and CEO Angelo Poulos was delighted by the end result.

“A while back I told Lou Mannarino, Designer and Founder of 1 SOUND, that my favorite loudspeaker would be a horn-load based around an 8-inch driver,” he said. “Fast forward and he has come up with a completely new take on utilising that 8-inch driver.

“This speaker is insane. It’s got a monstrous amount of SPL, 1 SOUND’s signature clarity with no distortion, and it’s in such a small box. I can see myself choosing this speaker time and time

Threeagain.”Contour

CT28 fixtures along with two SUB310 were rigged at each side of the DJ booth, and they are accompanied by eight SUB2112

on the floor in front of the booth. 1 SOUND were able to match the blue colour that was used for the soft furnishings at the club, and so this colour was used on the grilles for the loudspeakers situated at the DJ booth.

For this installation, the club wanted a more evenly distributed audio design compared to what had been supplied in years prior. They had heard about 1 SOUND’s previous installs at other famed pool clubs and liked the idea of even coverage throughout the whole space, so that guests can feel immersed even if they are at the back bar.

They also found the value in an audio design which paid attention to less slap back from the glass building behind it, and trusted the proprietary qualities of certain 1 SOUND speakers to help with that.

Surrounding the pool are mainly Tower LCC84 fixtures, which are lined up with each column and paired with CSUB610 subs.

The Tower series is designed with a special attention to high frequency that supports sonic intelligibility and an incredible lack of distortion in the vocal range at higher SPL. It has a wide 120 dispersion pattern with cardioid cancellation in the rear that knocks the SPL down nearly 20 dB behind the speaker. This cardioid quality helps reduce slapback and uncontrolled sound from behind the speaker. In between the seating areas are the small CSUB610 units, which are 11 inches wide but have a similar output quality to a double 18-inch sub. This idea was repeated on the opposite side of the pool on the upper level using LCC84 paired with SUB310 at each column facing the pool. Behind the mounted Towers, are VIP cabanas. Here, Cannon C6 were mounted and SUB310 were deployed. Distributed at the back bar on the far side of the club were CT28 that are mounted with wall brackets and SUB2112. Behind the DJ booth, facing a few VIP tables at booth level are two LCC44. The upper level bar behind the DJ booth has Cannon C5, that have extended LF, hanging as pendants.

TECHNICAL INFORMATION

AUDIO 17 x 1 SOUND CT28 13 x 1 SOUND SUB2112 11 x 1 SOUND LCC84 2 x 1 SOUND LCC44 14 x 1 SOUND C6 6 x 1 SOUND C5 4 x 1 SOUND CSUB610 9 x 1 SOUND SUB310 1 x Powersoft T604 1 x Powersoft T304

www.www.1-sound.com

Right: Steve Aoki and Tiësto perform at HQ 2 Beachclub.

IN BRIEF

Modulo Pi servers power spectacular tourist attractions in China

At night is when a new tourist attraction in Wuyuan county comes to life courtesy of 11 Modulo Pi Modulo Player

Standard media servers and 44 Appotronics AL-TU33K projectors, which were installed and integrated by EZPro.

The Encounter with Wuyuan resort, which covers 500,000 sq m and cost close to €300m to build, showcases evening performances on a music island with a specific focus on the Chinese Hui culture.

The media servers, which are equipped with four outputs each, are used for projection mapping and media playback on a lake and a castle.

In addition, two Modulo Player Pro media servers are used as master controllers for the two performance sites, with all elements of the shows automated and controlled –including light, music and video. www.modulo-pi.com

CHURCHJUKLIMTONGYEONG

TONGYEONG / SOUTH KOREAAPAC

DaonSD installs KV2 ES Series system into thriving South Korea church

Seoul-based pro audio specialists, DaonSD have installed a front-to-back KV2 audio system at the new-build Tongyeong Juklim church in Tongyeong, a bustling port city of 140,000 located at the southern edge of the Goseong peninsula in South Korea.

Famed for its seafood, the city is surrounded on three sides by the ocean and is a designated UNESCO City of Music with its International Music Festival considered one of the most respected contemporary music festivals in Asia.

It’s a city where the ancient and the modern combine, which is highlighted by the church tradition which is flourishing, and the Tongyeong Juklim is a relatively new house of worship, founded in 1990. As its number of attendees has grown, so has the need for a modern audio set up, and DaonSD’s Project Manager, John Parks, is delighted with the results of the install.

“As the main hall – which seats around 400 people – is less than 25m front to back, and there is no balcony to contend with, so there was absolutely no need for a line array system which would have been cumbersome and expensive,” said Parks. “We recommended a classic ES system comprising a single ES1.0 combined with an ES2.5

Right: A KV2 ES1.0 and KV2 ES2.5 subwoofer are hung on either side of church.the

Above: Two KV2 ESD Cube placed on the lectern act monitors.as

high output subwoofer per side, driven by a pair of EPAK2500R control and amplification units.

“By aligning the mid-high frequencies toward the rear of the congregation, the main speaker delivers natural and warm speech reinforcement throughout space without the need for a separate downfill or frontfill

Initiallyspeaker.”the install was planned with a different audio system, but the decision to switch to KV2 was unanimous after DaonSD’s demonstration at the recommendation of a local agency. Once set up, DaonSD gave the technicians some acoustical advice: “We recommended that the reverberation time was kept to near one second and that special attention be paid to the speech band frequencies to ensure that the church leader’s speech and the choir could be discerned with clarity,” said Parks. “The interior construction team were happy to accept the advice and were able to minimise any potential acoustic issues with careful choice of materials and skilful construction techniques.”

Another potential issue was the large LED screen behind the pulpit: “Many churches in Korea are choosing to augment their worship experience with large LED screens, and Tongyeoung Juklim church is no exception,” said Parks. “However, these large, highly reflective surfaces can often play havoc with gain before feedback. Fortunately, it wasn’t a problem here as the sound from the KV2 system is so beautifully detailed that we never have a problem achieving the gain required for the services to sound fantastic.”

DaonSD also supplied a pair of KV2’s most bijou loudspeakers, the ultracompact ESD Cube, which sit on the beautiful crystal lectern below the LED screen. The Cubs are finished in white in order to match the environment and they serve as monitors to the speaker.

“This place, which has been quiet for the last two years due to the pandemic, is slowly reviving,” said Parks. “We hope, that with their new system, beautiful sound will once again bloom in Tongyeong, the city of music.”

TECHNICAL INFORMATION

AUDIO: 2x KV2 ES1.0

2x KV2 ES2.5 subwoofer 2x KV2 ESD Cube

2x KV2 EPAK2500R control and amplification units.

www.daonsd.comwww.kv2audio.com

CAPELLA BANGKOK HOTEL

BANGKOK / THAILANDAPAC

Full HARMAN Professional AV, Lighting and Control solutions equipped at lavish Capella Bangkok Hotel.

The five-star Capella Bangkok hotel has ensured its guests enjoy a premium experience with a newly installed HARMAN Professional audio, lighting, sound and control system, which was overseen by Mahajak Development. Located overlooking the Chao Phraya River and situated on a 13.8-acre lot, the Capella Bangkok features 101 lavishlyappointed guest rooms, suites and luxury villas, three restaurants, a tearoom, a greenhouse, a grand ballroom and four multipurpose “atelier” specialty function rooms.

Country Group Development, owners of the Capella Bangkok, enlisted Mahajak Development to upgrade the hotel’s AV facilities and a suite of HARMAN Professional networked AV, lighting and control solutions was chosen.

“We were responsible for the audio, visual, lighting and control systems design for the ballroom, specialty function rooms and four areas of the background music system,” said Eric Wong, AV Consultant of Katakan Consulting Co., Ltd., as reported by Mahajak. “The client wanted a versatile system capable of delivering sharp, clear sound without

Evolving with

Not all wireless is created equal. Audio professionals can encounter challenges using traditional RF technology, but with Evolution Wireless Digital, fundamental limitations of wireless systems are resolved using new technology that is nothing short of groundbreaking. With the EW-DX line, there will be even more professional features for nearly any budget or application.

Discover why EW-DX is the future of wireless. Visit sennheiser. com/ew-dx to learn more about the latest members in the Evolution Wireless Digital series.

The Evolution Wireless Digital Series

distortion for a variety of functions such as seminars, conferences and other events. They also requested a highresolution video system.” Mahajak provided background music systems for the lobby, lounge, restaurant, pool, spa and fitness areas, and a public announcement system capable of broadcasting to every floor from a single control room.

In the main lobby and corridors, JBL Control 14CT and Control 47CT ceiling speakers blend into the architecture seamlessly and provide full-range

Insound.areas with higher ceilings, Mahajak selected JBL Control 226CT, 45C/T and 19CST in-ceiling loudspeakers for greater coverage. Weather-resistant JBL Control 88M and Control 29-1AV outdoor loudspeakers cover the garden area, while MS610 waterproof marine loudspeakers provide audio for the spa

Toarea.meet the needs of a variety of events from weddings to business meetings, the ballroom and specialty function rooms have been set up with JBL Control 16CT, 45CT, 226C/T, 19CST and 328C in-ceiling loudspeakers, while JBL EON612 self-powered loudspeakers with PRX818LF low-frequency subwoofer systems provide additional sound reinforcement for larger events. Mahajak selected Crown CDi 2|300, XTi 6002, CT 8150 and XFMR-8 amplifiers to power the speakers, as well as a Soundcraft LX7ii analog mixing console, while to provide professional-quality lighting for the stage area, Martin

RUSH PAR 2 RGBW Zoom fixtures were hung from a ceiling truss, and a Martin Ether2DMX8 router sends DMX control signals to the fixtures.

In order for staff to have comprehensive control over the audio and lighting systems, Mahajak equipped the hotel’s control center with a range of HARMAN control solutions, and installed additional control panels throughout the facility for on-site Anadjustments.AMXNX-3200 integrated controller with an MXD-1001-L touch panel provides comprehensive routing for AV signals throughout the facility, while the AMX TPC-IPAD app provides remote control capabilities via Apple iPad. A BSS BLU-100 Signal Processor in the control center provides signal distribution to each floor’s audio system via BLU Link digital audio networking, while BSS BLU-10 and EC-4BV wallmounted controllers allow staff to easily adjust volume and configure audio zones remotely. Crown CDi 4|300 amplifiers power each floor’s speakers, and a Soundcraft LX7ii analog mixing console provides advanced mixing “Acapabilities.sophisticated venue like Capella Bangkok Hotel requires best-in-class AV and lighting solutions to create an immersive space for guests,” said G. Amar Subash, VP and GM, HARMAN Professional Solutions, APAC. “We would like to thank our partner Mahajak Development for applying their expertise and executing the project with dedication and perfection.”

TECHNICAL LOUDSPEAKERSINFORMATION

JBL Control 14CT, 16CT, 19CST, 29-1AV, 328C, 45CT, 45C/T, 47CT, 88M, 226CT, 226C/T, MS610, EON612

SUBWOOFERS

JBL PRX818LF

AMPLIFIERS

Crown CDi 4|300, CDi 2|300, XTi 6002, CT 8150, XFMR-8

PROCESSORS

BSS BLU-100 Signal Processor

CONTROLLERS

BSS BLU-10 and EC-4BV controllers AMX NX-3200 controller AMX MXD-1001-L touch panel

CONSOLES

Soundcraft LX7ii www.harman.com

IN BUSINESS

1 Michael Rodriguez, Marketing Manager North America, and Alvaro Fontanals, Global Marketing Manager, DAS Audio.

2 Natalia Szczepanczyk, Senior ApplicationsHOLOPLOT.Engineer,

3 Members of the Christie team on their stand.

4 The AV Stumpfl stand.

5 The Clear-Com stand.

6 Gina Sansivero, Vice President, Marketing and Corporate Communications, AtlasIED, and Caroline Bresler, Account Supervisor, Brand Definition.

7 Members of the Datapath team on their stand.

INFOCOMM

LAS VEGAS / 8 - 10 JUNEAMERICAS

Following a smaller-than-usual edition in Orlando in October 2021, InfoComm returned to the Las Vegas Convention Centre in June and there was a renewed sense of optimism among exhibitors and attendees alike. As is customary, the very best and latest in AV technology was on display from some of the world’s top manufacturers as the show provided the opportunities for colleagues to reconnect again in a familiar setting.

The new PANTHER line array by Meyer Sound made its trade show debut on their newly designed booth. The lightweight and compact loudspeaker was the star attraction of the stand as the company made their first major trade show appearance in over two years.

Powersoft demonstrated the haptic power of its Mover transducer and showcased the capabilities of its Dynamic Music Distribution across three walls of their booth, where visitors had the opportunity to understand how to dynamically route music and other signal sources between different zones, across multiple amplifiers, all independently of source location, and without the need for a centralised DSP. Bose Professional announced the Videobar VB-S all-in-one USB conferencing device, which delivers feature-rich video and audio conferencing capabilities to meeting booths, huddle spaces and rooms

up to 3m by 3m. Christie launched the new Griffyn 4K50-RGB projector, while LED on the booth included a technology preview of MicroTiles LED in 0.75mm and 1mm pixel pitches, as well as a large display of MicroTiles LED in 1.25mm in a unique ‘shattered’ configuration.

Allen & Heath showcased the latest additions to its installation range –the recently released AHM-32 and AHM-16 matrix processors, the CC-7 and CC-10 Touch Panels for custom control, and a trio of compact Dante expanders. Broadcast solutions specialists ENCO brought a preview of its fifth-generation, AI-enhanced enCaption automated captioning and transcription solution, with a focus in professional AV and live event environments. INFiLED demonstrated DB Pro Series for walls, DF Pro Series for floors, and AR Light Series for LED ceilings in their Virtual Production area. “We were excited to connect face to face with so many old and new industry friends this year after such a long period of time,” said VP of Sales, Grif Palmer. EAW displayed its latest addition to the ADAPTive line, the AC6 2-way column loudspeaker, which is fit for portable and installed applications where high-performance music amplification is required. “Showcasing the new AC6 at InfoComm is an exciting opportunity for EAW to continue connecting with and supporting the AV market,” said TJ Smith, President of EAW. The Clear-Com stand featured solutions for diverse market applications as they returned to InfoComm with new features to its Arcadia Central Station, a scalable IP intercom platform that integrates wired and digital wireless partyline systems along with third-party Dante devices in a single rack unit. “We are thrilled that the momentum of in-person trade shows is continuing,” said Chris Willis, Senior VP of Worldwide Sales, “Meeting with our partners and users face-to-face makes all the difference.”

InfoComm 2023 will take place at the Orange County Convention Center in Orlando, Florida, with the exhibits running 14 - 16 June. www.infocommshow.org

PRODUCT GUIDE:

PROJECTORS & MEDIA SERVERS

F80-4K9BARCO

The stunning image quality and laser phosphor light source of Barco’s F80 projectors provide exceptional experiences while saving both time and money. Designed for fixed installation in a wide range of applications such as museums, board rooms, and auditoriums, they also fit with theme park dark rides and interactive experiences because of their 3D capability. The F80-4K9 delivers stunning images at 4K UHD resolution with a high level of detail, and highly saturated colours that allow for accurate colour reproduction at all times.

It features the powerful Barco Pulse processing that allows for sharper images and less latency thanks to its Single Step Processing (SSP). Through its laserphosphor light source and advanced cooling design, it provides a long operating time without need for lamp changes – resulting in considerable cost-savings on maintenance and consumables. The F80-4K9 offers flexibility in projector location and orientation as it can run in any orientation thanks to its wide array of all-glass lenses and wide lens shift ranges. www.barco.com

Canon’s compact and lightweight native 4K laser projector combines state-of-the-art 4K LCOS panels, custom AISYS optical system, powerful image processing and unrivalled lens quality to deliver outstanding, next generation 4K imaging. Offering high native 4K resolution of 4096 x 2160 with 6,000 lumen brightness, the XEED 4K6021Z delivers astonishingly sharp and detailed text, smoother graphics and striking images from both computer and video sources. The projector will run 24/7 with only minimal downtime for routine maintenance, thanks to the next generation, solid-state, laser light source, which reliably provides excellent colour reproduction for approximately 20,000 hours in normal mode. Designed to meet the demands of many installation projects, including portrait projection, the projector offers 360º setup and quiet operation. The high-precision aspherical lenses reduce the distortion of projected images to a minimum and with a choice of seven interchangeable lenses there is huge flexibility in the installation position. With 2 x DP and 2 x HDMI inputs, it’s easy to connect to multiple 4K sources with low levels of motion blurring and a nearimmediate response time of just 16.6ms delay. Curved surface projection technology also ensures faithful image reproduction even on dome-shaped surfaces. www.canon.co.uk

Digital SatelliteProjectionModular Laser System

Digital Projection’s Satellite Modular Laser System (MLS) represents an ingenious “building blocks” visual solution for many complex applications, including parks and visitor attractions, entertainment venues, rental staging, and fixed installations. The innovative Satellite MLS boasts a unique design: By separating the light source from the projector head, Digital Projection brings unparalleled freedom to realise creative installations, unsurpassed brightness levels, whilst also reducing noise and heat from the audience location, thus enhancing visitor experience. This technology makes high-end

RGB laser illumination accessible at a cost-effective price point, offering huge benefits at every stage of a system design, from transportation and installation to serviceability and lifespan. The compact projector heads weight between 19 –45kg only, offering even more rigging flexibility, especially where space and access are restricted. Each projection head is designed with a closed-loop cooling system, essentially sealing all of the critical optical components from ingress of contaminants. A further benefit of the reduced thermal dissipation and compact size is that supplementary environmental enclosures become easier to design and manufacture, further reducing total system costs and complexity. www.digitalprojection.com

EB-PU2220BEPSON

The EB-PU2220B is a 20,000-lumen projector used to create high-impact and immersive experiences for auditoriums, live events, concerts, conference rooms and visitor attractions. It is part of the EB-PU2200 series, Epson’s latest range of high brightness 3LCD laser projectors, which features 13,000 and 16,000 lumen models as well. The EB-PU2220B is the world’s smallest 20,000-lumen projector available on the market (as of Sept 2022), weighing 24.4kg. This is not the result of cramming the same components of its predecessor into a smaller chassis, but rather optimising design improvements across the device to achieve a smaller size while retaining the same consistency of quality and reliability. Due to its considerably smaller size and weight, the EB-PU2220B is easier and faster to install, transport, store and cuts down on labour and delivery costs. It can be lifted by one person, used in harsh environments, and features in-built processing to enable stacking multiple units without any external processing hardware. It exceeds industry demand for a smaller, easier and more sustainable visual technology and challenges the status quo that brighter means bigger or more complicated. www.epson.co.uk

LG Business Solutions ProBeam BU53PST

The LG ProBeam BU53PST is a new 4K UHD short throw laser projector that delivers incredible picture quality for smaller spaces where a large, bright display solution is desired. With 5000 ANSI lumens brightness and an over 25% shorter throw ratio than LG’s other ProBeam projectors, the versatile LG ProBeam BU53PST has the ability to project bright, high-resolution images in a wide variety of environments. The ability to create large projections in a small-footprint area makes it perfect for business use, either to provide a large video screen in a small meeting room or to fill public spaces with crisp, bright images on surfaces up to 300 inches diagonally. Dual 5-watt speakers provide powerful built-in audio which allows the projector to serve as an all-in-one solution. With 20,000 hours of estimated life, the ProBeam BU53PST’s laser light source is expected to be able to operate eight hours a day for almost seven years with virtually no maintenance. www.lg.com

ZU920TSTOptoma

A small, compact projector that still packs a punch at 9,800 lumens, the ZU920TST has all the benefits of an exchangeable lens unit, with on-axis positioning, large amounts of motorised lens shift (+/-55% vertical and +/-25% horizontal), a throw ratio starting at 0.65:1, 360° orientation, and smart brightness functions, for when colour and contrast are paramount. Incorporating DuraCore laser technology and a dust-resistant IP5X certified optical engine, means you can install this projector and leave it to run all day every day, with little maintenance required. With all of this, and a stunning short-throw lens, this projector is the ideal solution for a variety of scenarios and professional environments, such as short-throw digital signage, edge-blending and projection mapping, simulation and immersive installations. What’s more, there is also a standard lens option in the ZU920T. www.optoma.co.uk

The PT-RQ25K Series is 40% smaller and 35% lighter than the 20,000-lm PT-RQ22K with a body size similar to the 10,000-lm 1-Chip DLP projectors. Intel SDM-ready slot integrates the preferred terminals with optional proprietary or third-party interface boards. Smart Projector Control app with NFC function, Remote Preview Lite, and preactivated upgrade kits for Geo Pro simplify installation. Quad Pixel Drive, an original 2-axis pixel-quadrupling technology, creates smooth 4K2 images with vivid 3-Chip DLP colour and high brightness. A new Dynamic Contrast setting delivers higher white brightness and deeper blacks during high-contrast scenes. Gradation Smoother reduces colour-banding via remote control, while improved point-based blacklevel adjustment supports edge-blending over curved screens with pixel-level precision. Hermetically sealed optical block is cooled by a high-efficiency liquid-cooling system enabling maintenance-free projection for 20,000 hours. Multi-Laser Drive Engine prevents brightness loss in the event of diode failure, while Backup Input switches to a backup signal if the primary signal is interrupted for peace of mind. www.business.panasonic.co.uk/visual

VS1ArKaos

The slickly designed, portable and powerful VS1 is the first in a next gen of creative visual control products from ArKaos and is a feature-packed, intuitive, fun to use and cost-efficient solution. VS1 runs 4K video sources – with 2x HDMI and USB-C outs on the back of the device – giving the best and most vibrant results in a hugely flexible and user-friendly control package. Its compact dimensions of 143.2 by 195 by 43mm and triple unit in a 1U footprint means that several VS1 devices can be rigged in the same rack housing if desired, and the light weight of just 1.2kg plus its robust, quality-engineering make it perfect for touring lighting operators, VJs and DJs. It is a low noise product, ideal for potentially acoustically sensitive environments like churches, museums and heritage sites and visitor centres, concert halls, etc. as well as for digital signage applications. VS1 uses ArKaos’ streamlined proprietary SAGA codec guaranteeing the best performance, maximum number of visual playback channels and ultimate visual quality with 10-bit definition per colour and an Alpha Channel. VS1 is perfect for music clubs and a whole range of live event applications – from music shows to fashion, art installations to corporate events and roadshows, as well as television productions, streaming shows and other digital gigs and showcases. www. pro.arkaos.com

AV Stumpfl

PIXERA four

PIXERA four is a new and powerful media server hardware system from Austrian AV technology manufacturer AV Stumpfl, perfect for highly demanding real-time graphics applications and XR/AR broadcast setups. PIXERA itself is a multi award-winning 64-bit system for real-time media processing, compositing and management, based on the core theme of usability. The new PIXERA four is particularly great for 4K and 8K content playback. It’s also quite compact with a depth of only 46cm, which makes it a great choice for installations. Some of the server’s technical highlights include 12G-SDI I/O support, a 10GB/s data read default rate and five PCI 4.0 slots for great configuration flexibility. Up to 61TB of storage with 20GB/s are available for the PIXERA four and the high performance server also features a redundant power supply. PIXERA four can be used as a Director server or as a 2 or 4 license output server. www.pixera.one

PandorasChristie Box Software License

Christie Pandoras Box Software License Version 8 combines professional features in a high-performance and budget-friendly platform, making it ideal for fixed installations, live corporate events, and architectural and artistic installations such as museums and theaters. Software License includes NDI, SDVoE (Software Defined Video over Ethernet), Dante (Digital Audio Network Through Ethernet), and Notch real-time graphics tool. With Software License, users are no longer bound to specific hardware. The software is flexible and easy to use – critical for live events, and operators controlling a show. Multiple users can efficiently collaborate with an interface that is context-sensitive and optimised for live applications as well as for unmanaged, constantly running fixed installations. Software License is available in nine languages to make working globally easier. Christie is the only AV manufacturer that offers source-to-display solutions. From single displays to more complex multi-display spectaculars, Pandoras Box products easily integrate with Christie Spyder, Christie Terra, Christie RGB pure laser projectors, and Christie MicroTiles LED.

www.christiedigital.com

gxdisguise2c

The gx 2c features even more GPU processing power, more capture, more storage, as well as 10-bit and HDR support. With next generation playback with two 4K outputs, which are also 10-bit capable of pushing 38,433 Notchmarks, the gx 2c provides a large step up in terms of capabilities to enable the latest in xR workflows. Capture up to two 4K sources at 60fps (2160p60); or up to eight 3G-SDI sources at 60fps (1080p60). The inputs feature the same low latency as existing disguise pro and gx range machines. With a fitted 4TB NVMe drive, this frees creatives to work with higher quality codecs, including support for NotchLC. As the industry adopts 10-bit display products, 10-bit content pipelines and more dynamic shows, the gx 2c has been future proofed for the shows of tomorrow. www.disguise.one

Dataton recently presented the next generation of its popular media server range designed for use with the company’s award-winning WATCHOUT show composer. WATCHPAX 42 and the WATCHPAX 62 series are powerful, portable units with a strong pedigree in touring, temporary and fixed installations. Robust and elegant on the outside, WATCHPAX units have a finely-tuned technical specification designed solely with WATCHOUT in mind. Deployment time is reduced as each unit is delivered ready to roll, with the minimum of onsite setup. All models feature EDID management and a smart restore/reset function designed to make life easier for rental and staging users or venues with numerous productions. As with all Dataton servers, multiple units can be deployed to drive large-scale shows. The WATCHPAX 42 is the most recent iteration in Dataton’s popular series of notebook-sized media servers. With the latest technology under the hood and four 4K output channels, WATCHPAX 42 combines processing power, performance and portability for the demands of today’s pro-AV industry. Sleek, robust and with a compact 2U form factor, WATCHPAX 62 is a rack-friendly media server series comprising four performance-optimised models, from the lean four-output model S to the high-end model C with up to twelve outputs.

www.dataton.com

Green HippotizerHippoTierra+ MK2 Media Server

Featuring the newest Hippotizer V4+ MK2 hardware from Green Hippo, the Tierra+ MK2 Media Server has unrivalled playback and generative performance, making it the go-to for demanding large event production. Product benefits include 4x HDMI or 4x DisplayPort 1.2 production outputs, 50,000 Notchmarks, genlock, and uncompressed playback. www.green-hippo.com

Player_3Hive

The Hive Player_3 is the latest product from HIVE and features x4 3G SDI outputs running at 1080p60 which combine to make a 2160p60 video image. The product features reference sync to ensure perfect synchronisation of multiple devices in large installations. The Player_3 has a big brother, the Player_4 which features x4 6G SDI outputs each running at 2160p30 which combine to make a 4320p30 video image often referred to as 8K. HIVE products deliver flawless playback of industry standard video codecs at the highest quality and highest resolutions. With the integrated warp and blend features, large seamless multi-projector installations can be realised at a fraction of the cost of competing media servers. HIVE networks are highly scalable and coordinate well with other media systems, with hundreds of devices synced together or synced to external timecode - there is no comparable solution at this price point. Recent and upcoming projects for HIVE include Eric Prydz’s HOLO, Frameless in London, the UAE pavilion at the World EXPO in Dubai, and the National Museum of Qatar. www.hive.run

Modulo Pi Modulo Kinetic

Modulo Kinetic is a fully integrated media server reliable across the complete workflow. The platform relies on Kinetic Designer, an intuitive user interface with a dedicated workstation, connected to one or several V-Node servers. Its real-time timelines, embedded live mixer, 3D engine, and show control tools are brought within one consistent user-friendly environment. Modulo Kinetic continues to evolve with new features designed for interactive experiences. Using the media server - and with no coding needed - it becomes possible to create engaging experiences where the audience is empowered to interact with video, audio, lights, or generative content. To meet the needs and budget of any type of project, Modulo Kinetic offers the support of a variety of sensors, controls, and LiDARs. Those can be easily calibrated using the media server. An internal library of effects is also available. Using Modulo Kinetic’s real-time node-based compositing tool, the effects available as blocks can be linked and chained with ease, allowing show designers to create unique outcomes. The newly extended interactive capabilities will be available in Modulo Kinetic version 5, due to be released in Q4 of 2022. www.modulo-pi.com

SMODESMODE Station

SMODE Station, Smode Tech’s innovative media server/real-time compositing platform, is used by a huge variety of clients in the media and entertainment industry, including content creators, artistic directors, video operators, AV integrators, event organisers, rental companies, scenographers, television production companies, cultural institutions and technical directors. While SMODE software can be run on a regular gaming laptop for smaller shows, the company offers SMODE Station, an integrated hardware/software solution, for larger and broadcast events. The media servers are available in two configurations: SMODE Station Tetra and SMODE Station Octa, both of which are based on the latest Nvidia RTX GPUs. Offering the best quality-to-price ratio, Tetra incorporates an AMD Ryzen processor, while Octa’s AMD Threadripper CPU is designed for more demanding requirements (such as rental-staging and XR applications). As with all SMODE solutions, Smode Tech’s hardware products are designed for real-time compositing, allowing for instantaneous composition of images, video files, live video feeds and 3D content for shows, installations and broadcast events of any size and complexity. All SMODE licences can be purchased either as software-only (with a yearly or perpetual licence) or as hardware/software bundles. www.smode.io

VIOSO provides a range of servers that are optimised to solve the most complex projection setups utilising VIOSO’s autoalignment warp and blend technology. All systems come preinstalled with the full calibration suite VIOSO 6, which allows the automatic calibration of any kind of projection setup, including domes, virtual studios, simulators and projection mapping projects. The servers are also equipped with VIOSO’s internal cue-based playback software, EXAPLAY, which supports simple high-resolution playback of different codecs, including HAP, H.265 and NotchLC. This hardware platform is constructed as the perfect base for installing different visual applications that support VIOSO calibration, including PIXERA, Vertex, WATCHOUT and more than 30 other AV and simulation solutions. From the compact VIOSO Anystation Nano to the highest performance setup, the 19” rack-mount Anystation Media, there is a solution for everyone. In addition, VIOSO offers multiple customisation options, from a variety of input cards to different hard disk configurations. www.vioso.com

1. Obsidian Control Systems

NX1

Obsidian Control Systems have announced the availability of the NX1, an ultra-compact yet full-featured lighting controller designed to handle a huge variety of shows using the intuitive ONYX lighting control platform. Designed for smaller to medium projects where an intuitive console is needed without a PC, the NX1 will be valued by rental companies and the mobile lighting programmer alike. The small yet powerful console offers a slate of professional features. It also features an expandable playback wing (NX P) along with a 10-digit keypad (NX K) that combined with the NX1 creates an even more flexible console. www.obsidiancontrol.com

2. Tasker Cables

C722 B2ca

Tasker’s new range of ethernet cables are divided into different categories according to transmission speeds and types of shielding. For mobile installations the new C725, C728 and C726 cables are extra flexible thanks to a simple stranded formation, and are available with PVC jackets – LSZH or PUT – for specific external applications. For a fixed installation, the C727 features monofilar conductors and are available with different types of outer sheaths to suit different applications. The latest addition to the Tasker product line is the C722 B2ca, which features multiple operative applications and is approved for the maximum risk class as CPR legislation states. www.tasker.it

3. ClipFireENCO

ENCO’s ClipFire media server and automation system offers AV professionals a comprehensive, reliable, and cost-effective platform for organising, managing, and automating critical media playout tasks. ClipFire combines functionality including ingest, media asset management, dynamic graphics, live production, and playout automation within a unified, easy-to-use platform while integrating seamlessly with third-party solutions to form frictionless, end-to-end media workflows. ClipFire can now ingest and play out multiple channels of video simultaneously, with support for both baseband SDI and NDI® inputs and outputs. On-the-fly transcoding enables ClipFire to effortlessly play a variety of mixed file formats and resolutions with transitions, while a new native Clip Editor allows users to adjust in/out points and merge clips directly within the ClipFire application. A new, resisable L-bar automates live video squeeze backs to accommodate wrap-around graphics for sophisticated visual experiences, while dynamic graphic overlays can be automated for real-time information display. ClipFire can also be optionally expanded to feed custom streaming channels on platforms such as YouTube Live and Facebook Live. www.enco.com

4. TamboraClaypakyFlash

Following on from its range of LED bars introduced last year, Claypaky has expanded the Tambora family with the Tambora Flash, the only hybrid fixture on the market that can act simultaneously as a strobe, wash and blinder, specifically designed with a modular approach for use in a linear array, to offer new creative opportunities to lighting designers. Tambora Flash offers an IP66 degree of protection, which guarantees its ideal use in outdoor applications.

www.claypaky.it

AMATE AUDIO

FAMILY-OWNED AMATE AUDIO CELEBRATES 50 YEARS IN OPERATION IN 2022 AND HAS BIG PLANS FOR THE FUTURE, INCLUDING MOVING INTO THE AMERICAN MARKET FOR THE FIRST TIME. JOAN AMATE, VP AND CHIEF TECHNICAL OFFICER AND JORDI AMATE, INTERNATIONAL SALES MANAGER, DISCUSS THE PAST, THE PRESENT AND THE FUTURE.

Based in Barcelona, Spain, Amate Audio was founded as a small audio repair shop in 1972 by Juan Amate. Today the company boasts a portfolio that covers the full spectrum of professional sound reinforcement applications – from commercial audio loudspeakers to arena-filling line arrays.

“The company started out as a technical shop repairing sound systems for the local clubs and musicians in the area,” explains Joan Amate, VP and Chief Technical Officer. “My father, Juan, had an interest in acoustics and engineering, and in Spain this was an area which was largely unknown. It was difficult to import systems into Spain at that time, so he started building loudspeakers and amplifiers customised for each venue, as well as repairing existing systems. And later, after a few years of this, he thought that he could make things in a better way, and that’s how it started.”

Jordi Amate, International Sale Manager, notes that Juan did not set out to become a manufacturer, but when he noticed that he found that he could do it better, he took the plunge, and for the first few years, the manufacturing was project based.

“He would get a brief from a nightclub and work to that,” said Jordi. “My father would design the sound system, and it was locally designed and built, with custom made amplifiers and speakers for that certain venue.”

Mass Produced Projects

Moving into the 1980s, this process expanded further, as Joan notes: “With Juan only making custom products and projects, he thought that there could be a market to mass produce these products. So in the late 1980s, he decided to set up a small factory and looked at improving his previous designs in terms of cost, efficiency and reliability, and then he set up a manufacturing line.”

Then, in the 1990s, another development saw Amate Audio take a further step in their growth.

“Self-powered systems became very important to us,” said Joan. “Today we are very strong in this sector because we’ve been doing it for over 25 years; when almost nobody else was

making this kind of set-up, because there were no switch-mode power supplies, no class-D amplifiers, and no digital signal processors. But we already started to build analogue selfpowered and processed systems. This gave us considerable experience, ahead of the later development of digital power and processing Jorditechnologies.”explainshow the growth of the company has been mainly organic, especially for the first 30-40 years of operation. “Time has demonstrated to us that we are doing the right thing because of the size of the company in such a competitive market – we are small but able not just to survive, but to consistently grow,” he said. “This means that a distributor may meet us for the first time and feel slightly insecure because we are maybe not a ‘name’ brand in their territory, but after a sample order or a first installation, they are happy and we can go on to forge a partnership for more than 10-15 years.

“And this has been happening throughout my ten years at the company. Our relationships with distributors are growing year to year, and they feel comfortable with us because they know that technologically and acoustically we are at the forefront of the market.”

The next step for Amate Audio is into the Americas, and they are confident that they will be a success because of their faith in the product.

“We are just starting our first journey into the Americas,” said Jordi. “We have a new distributor in Florida and recently started a relationship with an integrator in Guatemala. And it is a great moment for us to be moving into this market because our brand is mature, and the product range is stable and very well defined. So our distributors are comfortable working with it. They know how every system can be applied to certain applications, and we can cover around 95% of the needs of the proaudio market with our range.

Demanding Markets

“It is a great time to move into the American market. It would have been tough before, but we feel ready to expand into more demanding markets where other brands are more competitive, and where we have to match

Left to right: Jordi Amate, International Sales Manager, Juan Amate, President and Founder, and Joan Amate, VP and Chief Technical Officer, Amate Audio.

them on price and performance, and deliver a complete solution to the customer.”

While supply chain issues became apparent during and in the aftermath of the pandemic, Amate Audio has always looked for solutions wherever problems have arisen.

“While business slowed during the covid-19 pandemic we fortuitously maintained critical stock levels,” said Joan. “But the on-going supply chain issues are there for everyone.

With our engineering knowledge and agility, however, we can try to find solutions. So if a component is not available or can not be found anymore, we look for a solution or substitute, and if we can complete the product using a different component we will do that in order to continue delivering the product.”

Customised Integrated Solutions

During the pandemic there was an increase in demand for customised integrated solutions, and Amate Audio was able to deliver on this because 20% of the workforce is dedicated to R&D. “It is a vital asset for us,” said Joan.

“Our R&D force work really fast because they already have access to many sample references of components; so they have an idea of how to apply them – and then in three or four months we can complete a custom project for a customer. Time and money are

always factors, but we have the capability to do it in the expected time frame for the right budget – and that’s what makes us special.”

One recently completed project was the second phase of their installation on the ‘Animation Tier’ at FC Barcelona’s Camp Nou stadium, utilising a customised loudspeaker known as the FCB8, specifically designed for the job.

Growing the Business

Being involved in a project for a globally renowned institution such as FC Barcelona is a match made in heaven for Amate Audio, and they are so busy with new products and growing the business that they have almost overlooked celebrating their 50th anniversary.

“We are currently designing a new line array which is intended to be a flagship product for the next several years – and together with the release of a new range of higher specified models in our Nítid range back in March – we haven’t really had much time for celebrations,” smiled Joan. “In the second half of this year we will look to organise a presentation to launch the new line array, and we will take advantage of this opportunity and tie it in with celebrations to mark our 50 years in operation.”

www.amateaudio.com

1 In the 1990s Amate Audio was already building analogue processed active sound systems, like the MD6, shown here at Rotterdam’s Ahoy Arena, which utilised the company’s DPU amplifiers with swappable processing cards for specific speaker models.

2 Juan Amate, pictured in 1972.

3 Amate Audio’s new X102FD 2x 10” self powered, active full-range system, measures just 704 x 330 x 460 mm, weighs 32 kg, but can output 136 dB continuous SPL.

4 Amate Audio’s FCB8 loudspeakers, specifically designed for a project for FC Barcelona’s ‘Animation Tier’ at the Camp Nou.