MONDO-DR 33.3

FLIPPER’S ROLLER BOOGIE PALACE BARS & RESTAURANTS LED SCREENS

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Photo: Tanner VonnahmeI, unsplash

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MONDO-DR 33.3

MARCH / APRIL 2023

ON THE COVER

Flipper’s Roller Boogie Palace, courtesy of the venue.

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The 2023 expo season began in style at ISE in Barcelona where it seemed like the whole AV industry had descended on the Fira, and it was great to feel so much positivity among exhibitors and visitors alike. The show seems to be settling into its new location very nicely and looks set to be even bigger next year. You can read the bumper report on page 68.

In this issue we feature two venues where education of the next generation of AV talent are woven into the facility. The dBs Institute in the basement of New Century in the UK is connected to the 1,300-capacity performance hall on the first floor, and students at Cerritos College in Los Angeles have access to all manner of technology at the newly built Performing Arts Centre on campus. Don’t forget to enter your projects into the 15 categories for this year’s MONDO-DR Awards. We have introduced two new categories for 2023 – ‘Museum’ and ‘Transport & Built Environment’ – and I’m excited to see some inspiring entries!

As ever, the MONDO-DR team welcomes any and all feedback, so don’t hesitate to get in touch. Enjoy the issue.

TODD STASZKO ASSISTANT EDITOR

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IN BRIEF

Famous Amsterdam venue

Melkweg gets a major lighting upgrade with 52 new Ayrton Diablo units

With four spaces under one roof, Melkweg is one of the busiest music venues in Amsterdam, and its variety of performers and audience has earned it a global reputation.

The site of a former dairy, Melkweg recently upgraded its lighting grids with the addition of 52 Ayrton Diablo profile fixtures to its inventory, supplied by full-service consultant Airlight of Utrecht, headed by Ruud Pouwels.

Pouwels, with his rich experience as lighting engineer, has for many years served as a lighting consultant for theatres and clubs, and provides a full package of lighting services that includes 24/7 technical backup.

Assisting his customers in the selection, commissioning and servicing of equipment, Pouwels explains his choice of the Diablo for Melkweg. “Besides Diablo’s obvious build quality, output and features, we faced two other important criteria: the fixture should be internationally accepted and rider-friendly, and, since the fixtures are hung on a fixed grid, they had to be so light that they can be handled by a single engineer using a manlift,” said Pouwels.

“They ticked all the boxes, and so far they have been a real dream to work with in terms of lighting quality and reliability. That’s good news for the Melkweg, and obviously also for me as a full-service consultant!”

Supplied by Dutch distributor Ampco Flashlight Sales, the Diablo fixtures have now found their way to multiple venues in the Netherlands. The Airlight / Ampo Flashlight cooperation goes beyond this as Pouwels added: “Ampco Flashlight not only serves as a very well-informed distributor for its brands, but its very professional rental department provides me with a valuable backup for extra services to my customers.”

www.ayrton.eu

Photos: Tim van Etten

IN BRIEF

Arizona’s Mesa Community College upgrades to Vari-Lite to reduce power consumption and transform production looks

Mesa Community College Arizona’s 462-seater Performing Arts Center held its first full production in November 2022 using an upgraded rig of Vari-Lite LED luminaires from Signify. Dominating the new array of lighting fixtures were the VL2600 Profile, VL800 EventWash and VL800 ProPar, which have dramatically reduced power consumption at the centre and provided smooth, rich colours for a premiere run of The Addams Family musical.

The college’s modern, architecturally striking Performing Arts Center, located just east of Phoenix, opened in 2014. It was initially rigged with a range of traditional fresnels, pars and tungsten wash and profile fixtures, which were ageing and power hungry. Kyle Rivieccio joined Mesa Community College in 2019 as PAC Technology Coordinator/Master Electrician, and he was later tasked with delivering a lighting rig upgrade with a view to installing world-class, professional lighting that would provide a powerful, effects-ready solution.

Knowing that a forthcoming production of the musical stage adaptation of the classic film The Addams Family was planned for late 2022, Rivieccio worked with Andrew Witte from Witte Lighting Services & Repair in nearby Tempe to source the solution. The eventual package included 26 VL2600 Profile, 15 VL800 EventWash and 28 VL800 ProPar fixtures, alongside 22 Cantata Full Color fixtures. www.vari-lite.com

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© Ralph Larmann

IN BRIEF

Astera NYX bulbs illuminate impressive National Museum of Australia installation

A total of 450 Astera NYX Bulbs have been used on a stunning light art installation created by Ben Cisterne at the Great Southern Lands Gallery at the National Museum of Australia (NMA) in Canberra.

Cisterne, who worked alongside exhibition designer Fernanda Reis of New York-based Local Projects, designed a digital ‘murmuration’ emulating the natural phenomenon produce by hundreds of starlings swooping and swirling around the sky in unison.

The installation required substantial quantities of individually controllable dots or pixels that were bright and ultimately controllable – so, Cisterne got in touch with Astera’s Australia and New Zealand distributor, ULA Group, to source some NYX Bulbs.

The NYX Bulb is the same size as a standard LED bulb and was the first colour-tuneable LED bulb fixture for professional film, stage, and event productions. It has a CRMX receiver for wireless DMX, plus RF and Bluetooth modules for control via the Astera App.

Wireless DMX was vital as it was always intended to run specific video imagery through the installation as well as lighting sequences, and the controllability had to be superaccurate, so “Astera and wireless DMX was an obvious route,” Cisterne explained.

The murmuration features two gently asymmetric conjoined shapes, consuming 300 and 150 NYX Bulbs respectively. The fixtures are all hung on high-quality cloth pendant light cables and are powered via the exhibition lighting tracks already put in place when the gallery was built, with data run over Art-Net via a Stardust CRMX controller to a Pharos touch panel interface.

In addition to the standard operating murmuration patterns running through the NYX Bulbs, some special sequences are pre-programmed for events and private functions. The video sources and lighting sequences were programmed via the Pharos FX engine.

“It was a really fun project in which to be involved,” Cisterne enthused. “The teamwork and collaboration were fantastic, and we are all happy with the result.” www.astera-led.com

Photos: Louise Stickland

EXPO DIARY

MAR 27-29

MUSIC INSIDE RIMINI RIMINI www.musicinsiderimini.it

APRIL

APR 13-14

EXPO SCENE MONTREAL www.citt.org

APR 13-15

NAMM ANAHEIM www.namm.org

APR 16-19

NAB LAS VEGAS www.nabshow.com

MAY 10-11

PLASA LEEDS, UK www.plasaleeds.com

MAY 16-19

KOBA SEOUL, SOUTH KOREA www.kobashow.com/eng

MAY 16-18

CABSAT DUBAI, UAE www.cabsat.com

MAY 22-25

MAY 28-30

hd HLS20 & hd HLS24

The

PROLIGHT + SOUND GUANGZHOU, CHINA www.prolight-sound-guangzhou.hk.messefrankfurt.com

SLS EXPO RIYADH, SAUDI ARABIA www.saudilightandsoundexpo.com

BARS & RESTAURANTS

Outstanding installations from drinking and dining destinations around the world

Cone Club

COMPANY: Pioneer PRO AUDIO

LOCATION: Sardinia, Italy

Located at the 7Pines Resort in the Costa Smeralda area of Sardinia, the Cone Club is the Mediterranean’s latest jet set beach club hotspot. Its laidback, luxurious spaces, which include a beautifully appointed lounge, bar, club and restaurant, are embedded in the secluded coastline.

Michelin-starred chef Tohru Nakamura curates the Club’s food concept, international mixology star Philip Bischoff takes care of the signature drinks range, and patrons enjoy the rich sounds of a Pioneer PRO AUDIO system, which caters for chilled downtempo days and upbeat nights. Designed by architect Daniel Hilkmann and comprised of wooden structures and sun protection ‘sails’ which blend beautifully with their natural surroundings, the Cone Club opened last summer under the guidance of strategic consultant Mirko Negri.

High-quality audio across every area of the Club was considered fundamental to the concept, and its Artistic Director and Guest DJ, Nello Simioli consulted with leading installers Frenexport over a solution that could deliver not only great sound but also meet the stringent aesthetic demands of the design.

He explains: “Marco Cresci from Frenexport proposed Pioneer PRO AUDIO for the solution and arranged a demonstration so we could experience the system at work. As well as the quality of the audio, we loved the compact size and aesthetics of the speakers, which were ideal for the look and feel of the Club.”

The final system drew from across the Pioneer PRO AUDIO range, including professional and commercial loudspeakers from the XY-Series and CM-Series respectively. The main dance-floor area of the club was covered by eight XY-81 8in

two-way full-range loudspeakers in combination with two XY-118 18in bass reflex subwoofers.

In the bar, four CM-S56T 6in surface mount speakers were combined with a single CM-510ST 10in subwoofer, while the main restaurant area benefited from eight CM-S58T 8in surface mount speakers. A further four CM-S56T were installed into the Club’s private restaurant.

A single powered XPRS-12 full-range speaker was installed as a DJ monitor and the system was completed by two XY-2 8in mid-highs and two XY-215S dual 15in subwoofers directed towards the adjacent beach.

Amplification comprised two Powersoft four-channel 4808 DSP, two four-channel 2404 DSP and a K2, all controlled by a digital Xilica processor which allows the DJ to independently adjust the level and EQ of each zone through a dedicated app.

Marco Cresci of Frenexport described a smooth install: “We took a step-by-step approach to the work, taking careful account of the Club’s structural designs. Using simulation software, we were able to gain insights into the optimal height and positions for the speakers which would provide the best coverage without disturbing adjacent areas. Some of the speakers were custom painted to blend with their surroundings, completing a straightforward and highly effective installation.”

Simioli added: “From the first listen, the system has a dynamic and well-balanced sound across all frequencies. We’re pleased with the installation, which has received a very positive response from our guests. I wouldn’t hesitate to work with Pioneer PRO AUDIO products in the future.” www.pioneerproaudio.com

The Mix

COMPANY: NEXO LOCATION: Marrakech, Morocco

Located in the heart of Marrakech and with a DJ booth situated in the middle of the room, the motto of restaurant-cum-club The Mix is ‘come for the food, stay for the mood’.

Evening diners become late night dancers and enjoy myriad musical styles delivered in pristine sound quality by a NEXO P+ Series system. With a vision for a restaurant with music in its DNA, venue owners approached Casablanca-based sound, light and video technology specialists Smart AV to design and install a sound system that could shift gears seamlessly from background music to powerful, floor-filling sound in the night time.

Working in collaboration with NEXO’s Engineering Support Team, a NEXO P+ Series point source system was configured using NEXO NS-1 software to predict coverage in the venue.

Xu Restaurant Lounge and Cocktail Bar

COMPANY: HARMAN Professional Solutions LOCATION: Ho Chi Minh City, Vietnam

Established in 2005, Xu Restaurant Lounge and Cocktail Bar is an iconic social gathering place located in the center of Ho Chi Minh City. During the COVID pandemic its owners took the downtime as an opportunity to upgrade their sound system, and they enlisted Phuc Giang to provide a state-of-the-art JLB system, utilising EON-powered speakers and subwoofers.

Staff at the venue requested a seamless and easy-to-use system that would deliver clear and balanced audio in all areas of the restaurant, and to achieve this, Phuc Giang installed JBL EON 612 loudspeakers accompanied by JBL IRX 115S subwoofers.

Phuc Giang also included a Soundcraft Ui24R wireless tabletbased mixing console.

Staff reported that the stage’s new JBL-powered sound system produces impeccable sound quality that is clear, energetic and vibrant. They added that the new sound system brings out strong performances from DJs and musicians alike.

“Being a hotspot in Ho Chi Minh City, Xu Restaurant Lounge and Cocktail Bar required superior audio solutions to offer elevated one-of-a-kind sound experiences,” said G Amar Subash, VP & GM, HARMAN Professional Solutions, APAC. “We would like to thank Phuc Giang for their customer-focused approach in understanding the unique requirements of the venue and providing an optimal easy-to-use system that has been expertly designed and successfully executed.” http://pro.harman.com

Four NEXO P12 loudspeakers and four L15 subs are installed in the main room, with amplification from NEXO NXAMP4X1MK2 powered controllers. The centrally located bar is equipped with two NEXO P8s. “The P12 is the perfect system for this type of venue, thanks to its compact size and shape, and its high sound pressure level,” said Smart AV owner Franck Bessol. “It’s also very quick and easy to install, which was greatly appreciated by the client.”

Commenting on behalf of NEXO, Sales Manager for France and North Africa Jean-Jacques Vias said: “NEXO has earned a global reputation for its compact, point source loudspeakers. With its variable dispersion characteristics, coaxial driver configuration and curved cabinets, the P+ Series delivers a perfect balance of stunning performance and looks.” www.nexo-sa.com

MATRIX MIX ENGINE MXE5

The MXE5 is the first member of the MXE matrix mix engine series. The 24 x 24 crosspoint performance audio matrix offers both routing and mixing functionalities, with 12 analog mic/line inputs and

eight line outputs. At the same time, the MXE5 serves as a communications hub for all IP-based peripherals and provides comprehensive supervision of all system-wide commands.

Delivering the highest audio quality

The MXE5 benefits from advanced DSP, providing outstanding audio quality and dynamic range. This is ensured by a sampling rate of 96 kHz and one of the industry’s lowest audio latency of less than 0.22 ms.

Ready for a wide range of applications

The MXE5 is designed for consultants, production companies, specifiers and system integrators who demand the highest-quality BGM and uncompromising live performance sound.

Built on comprehensive software

The MXE5 integrates completely with Dynacord’s SONICUE sound system software, one of the most powerful software interfaces in the industry, offering comprehensive control and easy, intuitive operation.

Made for mixing and routing

The MXE5 offers a variety of functions beyond being a powerful crosspoint matrix; it also works as both a system manager and an OCA controller with complete monitoring and supervision abilities.

Salty’s Diner

COMPANY: Bluesound Professional LOCATION: Kapiti, New Zealand

Salty’s Diner is the latest addition to a popular group of restaurants (not to be confused with a restaurant chain) feeding the coastal community of Kapiti, situated around an hour north of New Zealand’s capital.

Each of their restaurants has specialist theme, but all are keenly focused on high quality food and beverage service, along with a relaxing ‘chill out’ environment. The music soundscape is a careful consideration for each location and live shows happen regularly. Their latest restaurant however had more than a few challenges. It was to be a specialist BBQ restaurant and as part of the theme, they wanted service and simple audio control from within a restored Airstream caravan. Additional to this, in their new location, a reinforced concrete-block ex-factory, they had long distances to work with between the services area and speaker locations. Other considerations were the ability for some speakers to be mounted outside where they would be exposed to the salt air in this coastal location. What was most important to the client was a desire for higher quality sound than traditional 70/100v systems. Bluesound and its BSP500/1000 weather-proof speaker range along with simple control, thanks to the CP100 was up for the challenge. The main services area where a traditional amplifier would be located was some distance away from the restaurant floor and the caravan, so Bluesound Professional’s PoE++ speakers had an advantage with the length of cable required to each speaker. Additional to this, some of the interior speakers are exposed to the sun and an internal garden watering system along with an externally mounted speakers being exposed to the coastal salt air and occasional storm. These issues weren’t a concern for the BSP500 and BSP1000, which were configured for each location and fully sealed from the potentially damaging elements.

Salty’s Diner worked with A/V designers to ensure that speakers were positioned to cover the restaurant floor, including the main dining area, preparation kitchen and an exposed outdoor area. The layout considerations included areas that were designated for pinball machines, pool tables and quieter booths for conversation. A combination of BSP500 and BSP1000 powered speakers were installed and each area calibrated for the desired coverage and level. The all-important simple control is mainly through the Airstream mounted CP100 and the day starts and ends with the push of a button. Secondary control is from a remote office location where the network and security equipment is based. This is done thanks to a PC running Bluesound Professional’s Desktop app.

www.bluesoundprofessional.com

General Bourke

COMPANY: Bose Professional LOCATION: Sydney, Australia

General Bourke is a pub in Sydney’s western suburb of Parramatta. The pub’s story traces back to the early 1900s with much of its charm and architectural features still beautifully preserved. While the venue has changed ownership over the years, it is currently owned by Iris Hotel Group. With a view to modernize the venue while staying true to its significant status in the Parramatta area, Iris Hotel Group put General Bourke through a thorough refurbishment to make it a true destination venue with something for everyone. Within the building you’ll find a plush gaming room with Asian-inspired décor, a sports bar, VIP lounge, modern bistro with outdoor dining, and a larger main bar perfect for afternoon drinks and conversation.

Paul Devine, COO at Iris Hotel Group, explained the company’s vision, “General Bourke is on the edge of the commercial area in Parramatta, so we wanted to cater to the corporate market in the area, while preserving its reputation as a go-to entertainment and pub destination, which it has been since the early 1900s. We wanted to continue that tradition but allow ourselves the freedom to cater to everyone.”

Each of the areas within General Bourke has its own feel and ambience. With such diverse spaces, it was critical the audio solution flowed throughout the venue. “We wanted to ensure each area could be pristine in its offering and deliver the exact sound quality required for that individual space, without bleeding into another area, resulting in a lack of clarity and noise,” shared Devine.

It was also important that both the background and foreground music system could create the lively atmosphere of a traditional pub without overpowering the interactions between staff and customers. The team

at Total Concept Projects (TCP) enabled this vision for each of the areas within General Bourke.

TCP Director, Tony Musico, designed an audio system for General Bourke that utilized loudspeakers from the Bose Professional FreeSpace and EdgeMax product families. Most of the audio throughout the dining areas is reinforced with Bose FreeSpace 3 in-ceiling loudspeakers. The low ceilings in the main bar meant the wide dispersion characteristics of FreeSpace loudspeakers were a perfect fit and ensured even coverage. In the sports TV viewing areas that require a higher SPL or more directional coverage, TCP deployed Bose EdgeMax EM90 and EM180. EdgeMax’s precise directionality ensured those who wanted to stand and watch a game or race could enjoy high-quality audio without excess noise bleeding throughout the room. EdgeMax loudspeakers were also installed over the bars, aiming audio away from where customers place orders, making normal conversations with staff members possible. “We needed to create a scenario whereby noise wasn’t bleeding through and interrupting the service exchange between the patron and our staff,” said Devine. “Bose EdgeMax has ensured that, at a normal conversational level, we now have hospitality staff re-engaging with patrons at the bar and talking in a normal voice without yelling or trying to be heard over music. It’s all about interaction with the customer.” The upstairs dance floor area, which turns into a nightclub after hours, was fitted with EdgeMax ceiling loudspeakers coupled with F1 subwoofers. Musico, delighted with the pairing, added, “This combination is unique as a foreground nightclub system, but its use was extremely successful.” Additional FreeSpace 3 loudspeakers cover the upstairs event and seating area where a PowerMatch PM8500N power amplifier is used for powering and processing all the loudspeakers. “Even though the loudspeakers create the ideal, integrated background music system, it’s the Bose range and type of products that really impressed me,” added Musico. Pubs can be noisy and sometimes unpleasantly so. A sure way of spoiling a customer’s experience is to push loud music into the places they’re trying to have conversations. Devine said, “This new Bose system has eradicated that issue. Because of the directional sound, it allows, in a normal conversational voice, patrons and staff to engage with each other.”

https://pro.bose.com

Zioux

COMPANY: Robe

LOCATION: Johannesburg, South Africa

Situated in the heart of Sandton, Johannesburg, Zioux is a fusion of cool, classic, and contemporary, a carefully curated cocktail of food, drinks and music with a funky lounge vibe inspired by some of the magnificent animals, attributes and energy that define Africa.

Zioux manager Dino Constantinou knew lighting would be integral to creating the right ambience in the restaurant, and he was delighted when lighting distributors DWR specified 18 Robe moving lights – 12 LEDBeam 150s and six SPOTEs fitted with wide angle lenses – to help make the atmosphere extra special.

Constantinou wanted to create subtle effects and texturing around the room for general dining, which could be ramped up to generate excitement and hustle for the later evenings and live DJ sets at the weekends. The venue is also used for events which would require additional lighting requirements.

Zioux’s management team also operates Saints, another successful Sandon nightspot, for which DWR completed a small lighting installation comprising one Robe LEDBeam 150 for the DJ with a couple of colour changing up-lighters for the

garden. However, this well-placed illumination made a huge difference, so Constantinou had no hesitation in consulting Johnny Scholtz of DWR once again. “Lighting in Zioux had to be elegant and appropriate to the space,” explained Scholtz, who suggested fixtures with multiple features that would segue with the interior visuals and environmental lighting.

Robe launched the SPOTE in 2021, and Scholtz saw a perfect opportunity for this new small moving light, thinking it would be great coupled with the established LEDBeam 150 for effects, offering a highly flexible all-LED solution. This project marks the first installation of the SPOTE fixtures in Africa.

The punchy 3,400-lumen output fixture was picked for its compact size, and it has plenty of interesting effects, including beam-work, utilising Robe’s TE 70W White LED engine from their TRANSFERABLE ENGINE technology. The wider beam angle was selected to add a bit more texture to the light output.

Scholtz knew that the LEDBeam 150s would be ideal for all events, and day-to-day operation. “They are small and versatile and great for producing fabulous washes and great colour with good soft edges for the wider angles which is often tricky in a busy space,” he said.

Once the Zioux order was given the go-ahead, DWR had to work quickly to get the kit supplied, installed, and commissioned in time for the opening. The main challenges on site were making everything slick and neat, and accessing the roof as most of the fixtures are in the highest part of the ceiling.

As they needed to be solidly rigged, thick threaded metal rods were chemically fixed into the structural roof concrete for attaching the lighting brackets, and the false ceiling was added around the lights. The LEDBeams and SPOTES are positioned to light the main seating and mingling areas, the DJ booth and to catch the bar and the large chandelier shades above it, adding colour and texturing.

Constantinou wanted full control of the lighting from his cell phone, so Johnny spec’d a lightShark web-based app-controlled interface which runs with an LS-core box that accommodates two DMX universes. Before that, the lighting was programmed into sequences and looks using a console which were uploaded to the box and can be accessed via the app. “It was fantastic to be part of this flagship restaurant,” concluded Scholtz. www.robe.cz

El Pollo Loco

COMPANY: Navori Labs

LOCATION: Nationwide, USA

Fire-grilled chicken restaurant chain El Pollo Loco has deployed Navori QL digital signage software to power digital menu board content inside 150 locations to date.

The primarily southwestern US chain was seeking a more reliable solution for dynamic content updating and visual display, and after mixed results with a homegrown infrastructure, the company turned to Navori. “Navori addressed all these challenges while also understanding our business model,” said Clark Matthews, VP Information Technology, El Pollo Loco. Matthews found Navori’s QL Content Manager to be particularly useful. “With QL, we just add the menu item number for the locations that we want the new price population to occur,” he reported. “We don’t need to touch anything inside the store environment.”

QL software powers the content on three landscape displays inside each restaurant; 100 of these locations have an additional portrait preview board that runs in-store promotions and ads. These boards show a mix of dynamic HTML5 content, static images, and what Matthews explains as partial static images with videos inside the content. Matthews went with Navori QL StiX media player dongles for content playout. “We simply attach the dongles to the appropriate display input, and can remotely update content as needed,” he explained. “We don’t need to replace sticks or manage anything at the store, and should we

Bar.Yard

COMPANY: Renkus-Heinz

LOCATION: Bangkok, Thailand

Working with Bangkok-based AV integration firm Vichai Trading 1983 and AV consultant Atkrist Co, Kimpton Maa-Lai Bangkok recently upgraded the audio, visual and control systems for its rooftop bar, Bar.Yard.

“It was important that the AV equipment blended well with the elegant architecture while also meeting the hotel’s audio requirements,” Mr Wansamkan, AV consultant at Atkrist Co, noted. “Renkus-Heinz provided a weatherised, aesthetic and high-fidelity solution for the rooftop.” Bar.Yard is equipped with eight TX81 Compact Two-Way Complex Conic loudspeakers, eight TX62 Two-Way Complex Conic loudspeakers and two TX112S 12in subwoofers.

“We needed a system that was acoustically strong but also partial to aesthetic appearance. The Renkus-Heinz weatherized T Series loudspeakers were the ideal fit as they didn’t sacrifice power for size or appearance,” detailed Thitikorn Sopchokchai, Assistant Managing Director at Vichai Trading. “The loudspeakers blend in flawlessly with our gardens and create a sound barrier throughout Bar.Yard, reducing the music pollution to the outside while at the same time blocking the noise from the streets below.”

“The combination of power and the low-impact design made the T Series the perfect addition to Bar.Yard,” added Karan Kathuria, Director of Sales and Business Development at Renkus-Heinz. “With this install, Renkus-Heinz gives a new life to the top of the Kimpton Maa-Lai Bangkok, transforming an already beautiful rooftop to the most desirable bar in the city.”

www.renkus-heinz.com

upgrade our displays to 4K the QL StiX players can accommodate the higher resolution without any changes.” Moving forward, Matthews expects to leverage QL’s content scheduling capabilities. He also sees QL’s automation and content triggering applications as particularly compelling. “Navori makes it possible to add digital triggers at entryways that will serve different content upon a customer’s entry into the restaurant, based on that customer’s characteristics if we choose to add these types of features,” he commented. “That adds a level of intelligence that, along with audience analytics, will be appealing to our marketing department.”

www.navori.com

Moxy Lower East Side

COMPANY: 1 SOUND

LOCATION: New York, USA

Moxy Hotels has expanded its New York footprint with the launch of the Moxy Lower East Side. The 303-room urban retreat is the fifth outpost in Manhattan. Anthem Productions was the integrator for the venues where they installed 1 SOUND loudspeakers. Each venue is a different application from the hotel lobby’s cafe, to the piano lounge, 1 SOUND’s loudspeakers were the right fit for each.

“By providing a stunning variety of venues and concepts under a single roof, the hotel embodies the diversity of the Lower East Side,” said Lightstone President, Mitchell Hochberg.

Located in the lobby is an all-day bar and cafe called The Fix. Here there are distributed Cannon C6s and installed FSUB45 and SUB310s hidden under banquettes and throughout the space.

Tao Group’s restaurant, Sake No Hana, boasts Cannon C4is, C6s and Tower LCC44s, along with 1 SOUND Wall and Floor Subwoofers.

Then there is the piano lounge, Silver Lining (pictured above) which is covered by Cannon C6s and SUB310s.

The system for the glamorous rooftop bar, the Highlight Room, is made up of cardioid Tower LCC44s, which help reduce reflections in the space that consists of floor to ceiling glass windows. WSUB45s and SUB310s are deployed for low frequency. Cannon C6s are used on the DJ booth as monitors as well as outside on the balcony with C-Clamps and L-Brackets. www.1-sound.com

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Thirsty Lion

COMPANY: LEA Professional LOCATION: Texas, USA

When American chain Thirsty Lion was expanding its reach to new locations in North Texas, it trusted the Connect Series from LEA Professional to optimise the restaurant’s sound system. The Arizona-based chain, which already has two Texas locations, recently opened in The Colony’s Grandscape, followed by a fourth location in Dallas at Preston Hollow Village. To build out a high-quality sound experience, along with a Crestron AV system for its patrons, Thirsty Lion turned to Oregon-based full service custom integration firm Platinum AVL.

At the time when these new projects were getting underway, Platinum AVL was still sourcing another amplifier manufacturer but was on the lookout for a lighter, more compact amp with DSP. Paul Mar, system designer and engineer at Platinum AVL, explained that the team was nervous at first about trying a new brand when they began their search for fresh options. But their concerns quickly vanished as soon as they learned about LEA Professional’s team of industry veterans and their 200 years of combined experience.

“I had heard a lot about LEA Professional, having seen them at Infocomm. Once I understood the brain trust that exists within the company, it gave me a huge amount of confidence in the product and, as a result, the project,” said Mar. “With multiple

systems we install around the country, LEA amplifiers are perfect to meet that need with their reliability, feature set, tech, size, and weight.” The owners of Thirsty Lion come from a nightclub background, and as a result are aware of the importance that good sound is to the dining experience. With the pedigree of LEA Professional giving Mar the extra assurance he needed, he chose to specify eight Connect Series amps for the Grandscape location and six Connect Series amps for the Preston Hollow Location.

The LEA Connect Series is the world’s first IoT-enabled, professionalgrade series of amplifiers. Suited for installations of all sizes, these two-, four-, and eight-channel amplifiers feature direct HiZ (70V or 100V) or LoZ selectable by channel.

With three ways to connect, system designers can engage the Connect Series’ built-in Wi-Fi access point, connect to the venue’s Wi-Fi, or use the Ethernet to connect to any local area network via Cat5 or Cat6 cable. Platinum AVL specified and installed a mixture of 702 and 354 Connect Series amplifiers in the venue.

The Grandscape location, the larger of the two, is split over two stories, with a bar and rooftop patio, plus 6,500 square feet of outdoor seating. The audio system provides a lighter background music mix at a lower volume level during the day and has the ability to turn things up during higher-capacity happy hours and livelier special occasions. With the

amps being turns on 24/7, Platinum AVL and the team at Thirsty Lion both agreed that a reliable amp with remote monitoring via the Cloud was a priority. With Texas being infamous for power outages, the team didn’t need to take any unnecessary risks, which made the LEA Professional Cloud Platform the most practical choice. The Cloud Platform provides systems integrators with powerful, reliable and secure remote monitoring and control capabilities across the entire lineup of IoT-enabled LEA Professional Connect Series amplifiers. Leveraging the built-in Amazon Web Services (AWS) IoT Core, the free platform allows integrators to monitor critical operational data points that are integral to maintaining system health remotely. The capability delivers greater visibility to provide preventative maintenance, easier troubleshooting and fewer on-site maintenance requirements. Both Platinum AVL and the Thirsty Lion IT person have access to the Cloud.

For Mar and Platinum AVL, a Crestron integrator, the ability to integrate the Connect Series amplifiers into the AV system with the Crestron LEA Plugin was a major benefit. The Connect Series Crestron Control Module allows integrators to utilise the Crestron software platform to control and monitor essential functions and features within the Connect Series amplifier family.

Overall, the team were extremely happy with the compact design, feature set, reliability and flexibility of the Connect Series amplifiers. Platinum AVL have already begun new projects using LEA Professional and plan on using the smart amp in future installs where possible.

www.leaprofessional.com

Brasserie Astoria

COMPANY: Genelec

LOCATION: Stockholm, Sweden

Brasserie Astoria is part of the Frantzén Group, an internationally renowned organisation possessing six Michelin stars between its establishments, spread across Stockholm, Bangkok, Singapore and London. A former cinema, Brasserie Astoria required a comprehensive sound system with coverage across the site to ensure clarity and intelligibility throughout. To maintain the sleek aesthetic and conform with the group’s high standards of quality assurance, Genelec’s 4000 Series loudspeakers were the natural choice.

Systems integrator High Definition and sub-contractor Sound Support worked with the Genelec team to equip the 1,200 sq m establishment with a cutting-edge audio solution. Erik Skanderbeck, AV Sales Manager for Genelec in Sweden, explained the mission. “The goal was to cultivate a premium feel throughout the entire restaurant, since this is probably one of the most high-end establishments you can visit in Sweden. The coverage is incredible – even the toilets have Genelec loudspeakers,” he revealed. “The Frantzén group have had a positive experience with Genelec loudspeakers before, having installed them in their hallmark restaurant, Frantzén, which holds three Michelin stars, and is also located in Stockholm.”

Upon entry, guests are immediately welcomed by two Genelec 4030s, diametrically positioned in the eaves of the foyer. This sets the tone for the rest of the dining area, as there are 4030s positioned in every corner

and hidden amongst piping in the ceiling. The choice of 120 RAL colour finishes allowed Astoria to find the perfect copper brown colourway to match the interior. For additional low-frequency extension and control, three 7040 subwoofers are also deployed in the dining area.

“The attention to detail is simply next level,” commented High Definition’s Micke Fröbom. “Just look at the room leading to the wine bar, covered in lacquered gold leaf. To uphold this aesthetic, we had to implement custom Genelec loudspeakers with a gold leaf finish.” The lower floor is accessible via an ornate spiral staircase, which descends into an underground space filled with more greenery, where one can enjoy a selection of wine and champagne at the bar. There is a higher concentration of loudspeakers in this area, as it tends to have a more energetic ambience – so coverage is provided by 10 of the larger 4040 models, complemented with a pair of 7050 subwoofers. Conjoined to this is a more intimate section, called Lilla a, where private functions can be hosted. High Definition equipped a DJ booth on the lower floor, complete with two Genelec 8030 studio loudspeakers. “The materials used in the construction of the walls – a mixture of metal brick and steel composite – meant that it was difficult to physically fasten the loudspeakers to the wall,” Fröbom recalled. “Additionally, the fact that the restaurant is situated directly under 18 high-class period apartments posed the issue of potential sound leakage. Genelec provides a large array of accessories to choose from to assist loudspeaker placement and dispersion, allowing us to keep the sound contained whilst meeting the client’s requirements.”

Being involved with Brasserie Astoria from the early stages of its inception massively helped to streamline the collaboration and ensure that all stakeholders were on the same page. The result is clear, intelligible sound with fantastic coverage and the colours to match. www.genelec.com

OUR RELIABILI

ALL WEATHERS

FLIPPER’S ROLLER BOOGIE PALACE

LONDON / UK EMEA

A slice of late 1970s California is brought to Europe as a state-of-the-art indoor roller rink opens in London thanks to the vision of Nvisible Agency, with visual integration completed by Creative Technology Systems Integration.

Co-founded by Creative Director Liberty Ross and American entrepreneur Kevin Wall, Flipper’s Roller Boogie Palace is a new 34,000 sq ft entertainment destination which features a roller rink, pro skate shop, restaurant, two bars, and the ability to host live music events.

Fresh off the back of a summer-long revival with an outside rink at the Rockerfeller Center in New York City, Flipper’s new home in the English capital opened in November 2022 and hosts a range of public and private events, all made possible by a large influx of high-grade technology.

The original Flipper’s venue was a well-known Los Angeles hotspot which operated for a three-year period from 1979 when Ross’ father, Ian, opened the club in West Hollywood. Now, Liberty and her partners, which includes husband Jimmy Iovine and rapper Usher, have revived the spirit of Flipper’s for the skate enthusiasts of London.

Flipper’s has taken over Exhibition London, a Grade II listed building which was built in 1899 for Central London Railways and retains its period design features such as the tiled interior walls and huge arch windows.

Spanning two floors, the ground level features the restaurant and skate shop while the first floor is where

punters get their skates on. After Flipper’s secured the building on a five-year lease, Nvisible Agency was asked to design the skate-specific aspects of the venue.

Nvisible Agency Chairman Harvey Goldsmith was contacted by Kevin Wall and the wheels were set in motion, with Tim Dunn, Nvisible’s Production Design Director, tasked with outlining the venue’s look and feel, working alongside Jim Baggott, Production Director, who was in charge of production. “The brief was to create something that was fresh, utilised state-of-the-art technology and kept the venue in-line with the present skating scene, which has its roots fixed in hip-hop and urban culture,” explained Dunn. “We made numerous site visits to get an understanding of how we’d want the venue to look and then did some renders of layouts, and they were approved.”

Design studio 93ft was contracted by Flipper’s to construct the space to Nvisible Agency’s specification, including a floating timber flooring system for the rink, which complied with the landlord’s requirement that it was not bonded to the concrete floor.

The rink was supplied by Danish floor specialist Junckers, and the distinctive black finish, achieved using stained

Left: A lone skater takes to the floor at Flipper’s Roller Boogie Palace.

beech, was a design element Ross insisted on. A mezzanine bar was also built to act as a viewing deck or private lounge, giving an elevated view of the skaters on the rink. Exhibition London had previously been renovated by Broadwick Live to serve as a multipurpose venue capable of hosting a variety of events, and when Flipper’s took on the lease, there was an incumbent L-Acoustics K2 sound system adorning a stage at one end of the upper floor, with two DiGiCo SD12 consoles, and a range of lighting fixtures. To get the lighting to his liking, Dunn redesigned the rig and then oversaw a huge rigging install alongside Outback and TSG, which supplied the rigging equipment. The moving heads, which were then arranged on the new rig, are a selection of Robe Divine 160, Spiider and Robin Esprite units, Prolights Mini Profile, StudioCOB and SUNRISE 4 units, and GLP JDC1 strobes. These are controlled by an MA Lighting grandMA3 light.

“We added Lucenti Pixel Bar video strips to the lighting rig, taking the rig that was already there and redesigning it to suit the distribution of the units, so it is a completely new design but with no need to add any more units – apart from the video strips,” said Dunn.

Complementing the LED strips are large visual elements on either side of the room. On one side there are four Absen K3 Plus 4.5m by 3.5m LED screens, and on the opposite side five Epson EB-PU2220B projectors point at custom-

designed ShowTex roller blinds. Both the screens and blinds are positioned in front of the huge windows, with the blinds retractable to let in natural light when necessary.

“I didn’t want to permanently cover the windows because they are such a great feature of the room,” said Dunn.

“So, I designed a canvas for each window using ShowTex roller blinds fitted with a special fabric made by CarbonBlack Technology. It was the first time this fabric, which has carbon fibre woven into it, has been utilised on a roller blind for this purpose. The fabric gives a very high contrast to absorb ambient light, and they make the projections stand out and match the LED screens on the opposite side of the room.”

Dunn, along with colleague Jim Baggott, drew on the expertise of Digital Insanity founder, Richard Bagshaw, and Nigel Sadler, Special Projects Director at Green Hippo, to implement a way of driving content to the screens and projectors, utilising two Green Hippo Boreal+ MK2 media servers. “The Hippotizer media servers powers the video content across the venue – both from the projectors and the LED screens – and also the strips on the rig above the rink, which are designed as chevrons. They are positioned at such a height so that they are in the skater’s peripheral vision, making them visible along with the projections or LED screens, depending on where they are in the rink.”

Creative Technology Systems Integration was contracted by

Nvisible Agency to supply, install and integrate the screens and projectors into the venue. Leading the team was Keith Crouch, Systems Integration Commissioning Manager, with Will Harkin involved in the initial system design, working closely with Dunn.

“During the install phase, and in pre-commissioning, my job is to make sure everything is linked, that all the pieces work, and then all the training is completed so that the client is happy,” said Crouch, who noted some tricky obstacles that they had to overcome during the project. “There were a lot of things we were not allowed to do in the building,” he explained. “We could not fix anything to the tiled walls, so the four Absen LED screens are floor-standing on custom frames that we designed. The projectors are hung from the rigging, and the roller shutters that come down over the windows are hung from the building’s metalwork, and not attached to the walls.”

Another thing Crouch encountered and needed to work with – and around in some cases – was the building’s wiring. “It was already wired for video, data and fibre as a temporary events space, so we had to integrate, using that existing wiring as best we could,” he explained. “There were a few compromises made, but it worked out well, and most of the things were where we would have liked them to be.”

When it came to choosing the screens and projection solutions, Crouch had no doubts that Absen and Epson

TECHNICAL INFORMATION

VISUAL

5 x Epson EB-PU2220B projectors with ELPLU04 lenses, 4 x Absen K3 Plus 4.5m x 3.5m LED screens, 6 x Absen K2.5 Plus LED screens (various sizes), 1 x NovaStar MCTRL4K processor, 8 x NovaStar MCTRL600 processor, 2 x Green Hippo Hippotizer Boreal+ MK2, 4 x Datapath FX4-SDI, 2 x Kramer VM-4H2, 1 x Crestron CP3

LIGHTING

40 x Robe Divine 160, 30 x Robe Spiider, 24 x Robe Robin Esprite, 10 x GLP JDC1 Strobe, 4 x Prolights EclipseFS, 9 x Prolights Mini Profile, 8 x Prolights StudioCOB, 6 x Prolights SUNRISE4, 1 x MA Lighting grandMA3

AUDIO

18 x L-Acoustics K2 , 10 x L-Acoustics KS28, 5 x L-Acoustics A10, 2 x L-Acoustics A15, 2 x L-Acoustics KS21, 4 x L-Acoustics A15, 2 x DiGiCo SD12

www.flippers.world

www.nvisibleagency.com

www.ct-group.com/si

would be more than capable of making the desired impact. “A major plus point for Absen was that their product comes in a wide array of shapes and sizes, so we knew we would find solutions, both for the four larger screens upstairs and the other locations, including the main entrance, ground floor and mezzanine bars, the pivoting doors on the skate shop,” said Crouch.

“For projector options, Epson was one of the only companies with a small form factor with high brightness option in its range and, like the Absen screens, they are really good value, high quality pieces of equipment. We have to always look at the costs, because different clients don’t always work to the same budgets – particularly for a permanent installation as opposed to a live event.”

Five NovaStar MCTRL600 controllers are positioned remotely in the venue to control the larger LED screens and three are situated in the rack alongside a main MCTRL4K LED controller, while Crestron CP3 control software presents an easy-to-use interface for venue staff to perform basic functions and operate presets.

“There is a lot of serious innovation and technology in this venue,” concluded Dunn. “The whole project started with Nvisible Agency and the team of Directors at Flipper’s, and the technical delivery team, including the Creative Technology team, that put it together was crucial to making this venue the success that it is.”

Left: Venue pictures courtesy of Creative Technology. Action shots by Tom Woodroffe.

TWIST MUSEUM

LONDON / UK EMEA

Below: 1,000 individually controlled LED spheres make up the bespoke Mind Hub exhibit at TWIST Museum.

By merging technology with the work of artists, psychologists, and neuroscientists from around the world, TWIST Museum, situated on London’s Oxford Street, has added a new avenue of exploration to one of the busiest high streets in Europe. Launched in November last year, the mission-critical audiovisual environments at TWIST – a clever acronym for The Way I See Things – was specified, installed, programmed and commissioned by AV integrator, Crossover.

Led by Managing Director David Sacks and Project Manager Ben Manning, Crossover’s team worked closely with the museum directors, consultants Artists & Engineers, creative design house MDM Create, and a host of hand-picked international artists to deliver an eye-catching 15,000 sq ft visitor attraction in the heart of London’s West End. “The concept is centred around illusions and it’s a family friendly experience with content that engages with all age groups,” explained Sacks. “The physical realisation of the space, which began as two basements joined together, was completed by MDM Create and then Crossover installed the AV technology and the centralised control systems. It was an ambitious project, run to a very tight timescale, but everyone involved has excelled and the finished venue is superb.” For Manning, watching the space transform from a big open space to a vibrant immersive journey was a particular highlight. “Having seen it develop from an empty shell to the finished project, I’m still able to come along as a visitor and appreciate what is happening within the exhibitions and take it all in properly,” he said.

The first exhibition visitors see with interactive technology is the Digital Mirror, which distorts peoples’ reflections in real time and was developed by multimedia artist Aristotle Roufanis. “This piece uses a Z CAM E2-M4 4K Cinema Camera, which feeds the images into a PC in the rack room where customised software manipulates the image,” said Manning. “It is then relayed back to a screen in front of the person in almost real-time.”

The screen used is a 65in LG UHF5-H, while the speakers set up across most of the open areas of the museum to provide background ambience are Biamp MASK6CT 6.5in.

Another of Roufanis’ creations is The Digital Kaleidoscope, a mirrored hexagonal tube where people who enter are immersed in a vibrant display of colours, patterns and their digital ‘reflection’ – all of which is influenced by their movements and interactions while inside the tube.

This exhibit features an Azure Kinect camera, which captures a person’s movement inside, and as they move the image

New immersive, multisensory museum with escapism and education at its heart uses technology to enhance its futuristic exhibits.

Images by Dan Weill

is distorted using the same software as at the Digital Mirror. An Optoma ZU500USTe projector back-projects the manipulated movements onto a custom hexagonal screen from Screen International, which was supplied and installed by Crossover.

“This exhibit is a lot of fun, because not only does the person in the tube get to sense the effects of the warped reflections and projections, but so do the people outside who are looking in,” said Sacks. Visitors then move onto the enclosed, acoustically treated Audio Interactive Space, where they are surrounded by eight individually controlled Genelec 4430AM loudspeakers. This 360° surround sound room features soundscapes created by artist and composter Antoine Bertin, while customprogrammed LED lighting is synchronised with the audio to enhance the sensory impact.

“Our design team chose the Genelec POE speakers for their dispersion pattern and audio quality,” Manning described, noting that

the Martin Audio SX110 sub installed in the ceiling “subtly enhances the bass”.. He added: “The sound dances nimbly around those within the space and, when combined with lighting effects synced to the audio content, the effect is really quite dramatic! This exhibit has the opportunity to evolve in coming months with different artists having the scope to do all sorts of things in there.”

One of the standout exhibits in TWIST Museum is the Mind Hub. In the centre of this darkened room there is a large cube with 1,000 individually controlled LED spheres hanging from the ceiling which, as they change colour, creates oscillating patterns and shapes. “This fixture was bespoke, as the LED structure was put together specifically for this site,” Sacks revealed. “It is a 10x10x10 matrix, and each RGB LED is addressable. Madrix Nebula SPI Controllers are installed above the fixture, driving the data to each LED, while the software that is running this exhibit is the same as the Digital Mirror and

Above: The interactive Digital Kaleidoscope exhibit.

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TECHNICAL INFORMATION (by exhibit)

Digital Mirror

Z CAM E2-M4

LG” 65 65UH5F-H Display

Biamp MASK 6CT (and used across all open areas)

Digital Kaleidoscope

Optoma ZU500USTe Projector

Microsoft Azure Kinect DK

Audio Room

8 x Genelec 4430AM speakers

1 x Martin Audio SX110 Subwoofer

Biamp Revamp Amplifier

Q-SYS Core Nano

QSC TSC-116WG2-BK touchscreen control

Mind Hub

Madrix Nebula SPI Controllers

Martin ADORN A55T 5.25” speakers

Biamp Revamp 2250 2Ch Class D Fanless Amp

Upside Down Disco

Martin ADORN A55T 5.25”

Martin ADORN ACP55T pendant speakers

Martin Audio SX110

Martin Audio VIA2004

Ames Room

Sony SRG-120DH PTZ Camera

Sony 55” FW-55BZ40H/1 Display

www.crossover-av.com

www.twistmuseum.com

Digital Kaleidoscope, which is customised using node-based visual programming language, TouchDesigner.”

Towards the end of the journey, visitors enter the Upside-Down Room, which features a Martin Audio system that was chosen so the venue could hire out the space for events and parties.

“We’ve got four Martin Audio ADORN A55T speakers and an SX110 sub, which are powered by a Martin Audio VIA2004 amp,” Manning stated. “These were chosen because they can handle the load when the room is used by external clients who bring a DJ along.”

One of the final interactive rooms that visitors step inside is the Ames room. A concept originally pioneered by Adelbert Ames Jr, the space gives the illusion of people appearing smaller or larger, depending on their location within the space. A Sony SRG-X120 PTZ camera and Sony 55in FW-55BZ40H supplied and installed by Crossover allows visitors in the room to experience the shrinking effect as if they were viewing it from outside. The overarching control of the exhibits’ audio, video and lighting is via Q-SYS, which gives museum staff complete and easy control utilising a simple touch-panel interface or tablet.

“Crossover working alongside MDM Create and Artists & Engineers made for an excellent result on this project,” Sacks concluded. “Our team really enjoyed the close collaboration with international artists to bring their visions to life with some of the best audio-visual technology around.”

28-30 MAY 2023 RICEC, RIYADH SAUDI ARABIA

BE PART OF SAUDI ARABIA'S FIRST DEDICATED EVENT FOR PROFESSIONAL LIGHT

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Showcase your products, services and technology to 10,000+ industry professionals involved in the development of Saudi Arabia's entertainment and leisure market worth over USD 64 billion.

WHY SHOULD YOU EXHIBIT AT SLS EXPO?

NETWORKING SLS Expo takes the hard work out of business matching, offering unrivalled networking opportunities that make it easy to start a conversation with future business partners.

LEAD GENERATION Exhibiting companies generate on average 80 high quality leads over 3 days at SLS Expo. Benchmark that number against other marketing, advertising and sales initiatives and consider the impact this physical showcase will have on your annual bottom line.

THOUGHT LEADERSHIP Place your brand and its ideas at the forefront of an industry meet-up, share a case study or lead a masterclass or roundtable.

BRAND AWARENESS Build brand awareness in one of the world's most ambitious emerging markets by showcasing your products and services to 10,000+ influential industry professionals.

A PARTNERSHIP THAT LIGHTS UP

SLS Expo is co-located with Saudi Entertainment and Amusement (SEA) Expo, the Kingdom's largest trade event for the entertainment and leisure industry.

CAPITALISE ON THE WORLD'S FASTEST GROWING ENTERTAINMENT DESTINATION

NEW CENTURY

An iconic venue is reborn in Manchester with the help of leading technology, including a world-first installation of Robe PAINTE fixtures and an L-Acoustics K2 sound system.

Back in the 1960s, New Century played host to the likes of Jimi Hendrix, Tina Turner, the Rolling Stones and The Kinks before it closed as a fully functional music venue. In the intervening decades it lay largely dormant, hosting the odd special gig, including one by The Fall in summer 2006, but was never considered a permanent part of the modern Manchester music scene.

Today, the hall at New Century has been restored to its former glory, including its sprung dance floor, illuminated ceiling light fittings and wood panelling, and it reopened in September 2022, kitted out with state-of-the-art equipment.

The building is now a self-contained music production facility, with the dBs Institute’s Manchester campus occupying the basement level, a large kitchen and bar area operating on the ground floor and the 1,300-capacity music venue on the upper level.

When it came to selecting the equipment for the main hall, the venue’s Production Manager, Mish Thomson, stated that they wanted a diverse lighting rig to complement the architectural lighting and a state-of-theart PA system that could accommodate any kind of production.

“We wanted an L-Acoustics K2 system because they’re the standard for music venues around the UK, and also because we need this room to be accessible for students at the dBs Institute, so they can use a mixing desk and PA system that are used at other venues or outdoor festivals – so it’s creating an ecosystem of sorts,” she said.

Liverpool-based suppliers Adlib specified and installed the system, which included two DiGiCo SD12 consoles – one for FOH and one for stage monitoring.

“Adlib supplied a complete audio package – everything from mics, stands and stage cables to consoles and monitor system,” said Tim Robinson, Design Engineer, Adlib.

“The New Century team required a rider-friendly loudspeaker system suitable for any level of production that would fit into the venue,” he added. “That made L-Acoustics a natural choice, and while an L-ISA system remains a consideration for the future, given time and architectural constraints during the renovation, a traditional left/right system was chosen for the time being.”

The wide stage posed something of an issue for Robinson and his team, as the speakers could not be hung in front of two murals which flank the left and right side of the stage.

“The inability to place the main hangs in front of the murals was an inconvenience and results in the PA being out wider than might otherwise be ideal,” Robinson explained. “However, as there was always going to be a centre fill anyway, comprised of four L-Acoustics

Kiva II loudspeakers, it is not too detrimental to the system as a whole. There are also plenty of lip fills, so people at the front, who might otherwise have a sub-standard experience with the main hangs out so wide, are very well served.”

Robinson described the dual function of the hall as a commercial venue and an educational resource for the attached college as “a wonderful thing”. He added: “There is great synergy between both their and our belief in the value of quality and relevant education and the lack of it that has, historically, been available on the market. We look forward to seeing the quality of graduates who cut their teeth at New Century.”

While one of the first things concert-goers notice upon entering New Century is the striking architectural light fixtures, the stage is illuminated with a variety of fixtures, including a world-first installation of the new Robe PAINTE units.

Fourteen fixtures from the first batch of PAINTE moving heads are split across four trusses which make up the lighting rig. The rig also includes 14 Robe LEDBeam 150 and eight LEDBeam 350 fixtures, with six ADJ JoltPanelFX and 10 Prolights Sunrise2 completing the set. Neil Hunt from Leeds-based ZigZag Lighting came onboard as a consultant for the venue, specifying, supplying and commissioning the lighting package. Part of the brief was to make the rig “truly adaptable, rider-friendly and bang-up-to-date”, and when tasked with this, Hunt immediately thought of the new PAINTE, which had just been launched to the market.

“The PAINTE is very contemporary, small, punchy, super-fast, it creates nice beams, has a good range of gobos, accurate framing shutters and iris control plus a great zoom,” Hunt described. “The PAINTE’s light weight was another advantage that maximises any spare load capacity in the system, also allowing greater latitude for what incoming shows can ultimately achieve with their lighting.”

The rig is controlled by an Avolites Tiger Touch II Pro console, which was the request of in-house Lighting Designer Emma Towers, who has experience around many of Manchester’s venues including Victoria Warehouse, Mayfield Depot and Manchester Academy, and lights any shows at New Century that don’t have their own LD.

“It’s a very diverse rig and we can achieve a lot of looks with it,” said Thomson. “For example, when we host corporate events, we can put gobos into the PAINTE fixtures to add a client’s logo to the floor

TECHNICAL INFORMATION

THE HALL:

AUDIO

12 x L-Acoustics K2, 6 x L-Acoustics X8, 2 x L-Acoustics X15HiQ, 4 x L-Acoustics KIVA II, 6 x L-Acoustics KS28, 15 x Adlib AAMP5 monitors, 4 x Linea Reseach 44M20 amps (for monitors), 2 x DiGiCo SD12, 4 x Shure SM58, 6 x Shure SM57, 6 x Sennheiser e604, 30 x König & Meyer instrument and vocal stands

LIGHTING 14 x Robe PAINTE, 8 x Robe LEDBeam 350, 14 x Robe LEDBeam 150, 10 x Prolights Sunrise2, 6 x ADJ JoltPanelFX, 1 x Avolites Tiger Touch

THE KITCHEN:

AUDIO

11 x Outline Vegas 10, 8 x Outline Vegas 6.5, 3 x Powersoft Quattrocannali 4804 DSP, 1 x AtlasIED AZM8 Audio Matrix/ Processor, 1 x AtlasIED Z-CSV Wall Panel

www.newcenturymcr.com

Above: The view from the stage at New Century (photo by Jody Hartley).

Previous page: Surf Curse performing live (photo by Honey Productions).

cPot equipotential bonding system

Power Container

Power Rack

Power Turtle

Power Strip

or walls, and we can add nice texture to the back walls, too. “The architectural lighting in the ceiling has always changed colour, but originally staff here removed each individual bulb, dipped it in paint, and then put it back in. Now we have it all on a system where we can implement colour chase settings, and really do anything with those lights,” she added. “At the moment the lights are controlled from an iPad, but we’re currently putting in a DMX cable so it will be controllable from the desk.”

One thing Thomson wanted to ensure at New Century was a level of flexibility, so touring productions with their own kit could set up without any hassle.

“We made sure that when the venue was built that there were enough lines of multicore cabling so we could facilitate a touring production with their own FOH desk and monitor desk – so they can just plug straight in and go,” she said.

When it came to selecting the equipment to provide background music in the bar, Thomson enlisted the services of local AV solutions company, Neuron AV.

“I introduced the team at Neuron to the building and we were happy with the quote that they gave us, and it sounds fantastic in all the zones down there,” said Thomson.

Alex Morgan, Director, Venues & Installations at Neuron AV, specified and installed 19 Outline loudspeakers, powered by three Powersoft Quattrocannali 4804 amps, all controlled and processed by AtlasIED hardware. “We chose Outline for a few reasons; firstly, because they offer quality at a great price, and the standard of design, build, and components used is up there with the biggest premium PA brands,” said Morgan. “They also integrate seamlessly with Powersoft amplifiers, as the two companies work together closely, and all their presets are natively built into the amps, making commissioning simple. Despite global supply chain issues, Morgan praised Outline and Powersoft, dubbing them “great at managing their stock levels and enabling us to deliver projects to tight timelines.” He concluded: “We’ve also found the AltasIED range of processors to be great for smaller installs where eight zones are enough. They’re really quick and easy to configure and the wall panels have a great feature – a QR code that allows users to login to the processor on the Wi-Fi and make changes to zone levels walking around the venue. We specifically choose our suppliers based on the quality and reliability of their equipment to ensure our solutions will be robust for our customers.”

Above (top left): Los Bitchos perform live at New Century (photo by Honey Productions).

Above (top right): The L-Acoustics linearrays are positioned so that they do not obsure the murals that frame the stage.

Above: The Kitchen on the ground floor at New Century.

THE STADIUM TRIO

MLT ONE MLT TWO

THE MLT SERIES. ENGINEERED IN GERMANY.

The famous MLT ONE and MLT TWO Pre Rig Trusses get a new member to complete the MLT Series: The MLT THREE.

The MLT THREE has an open head frame as well as an open bottom, allowing you to mount units more easily into the truss. The telescopic legs of the dolly can be extended in several different heights in order to mount complete video modules into the hanging frame. A rail system allows you to mount lighting even at the transition points between 2 trusses and to create seamless transitions between trusses for video modules. The MLT TWO and the MLT THREE are compatible.

ARTSDISTRICT BROOKLYN

AMERICAS

NEW YORK CITY / USA

A multifunctional entertainment centre brimming with technology opens on Brooklyn’s waterfront, with immersive capabilities and more.

With its location in the increasingly fashionable Greenpoint neighbourhood in New York City, ArtsDistrict Brooklyn is one of the newest venues in the United States offering immersive capabilities on a large scale, which is made possible by a huge install of 64 Barco projectors, an army of Green Hippo media servers and a 360° Meyer Sound spatial audio system.

Occupying the former House of Vans skatepark, the venue mixes the structure’s hard, industrial aesthetic with a state-of-the-art 360° projector package in its main indoor space, which has a capacity of 740. The main room also features a 19ft circular stage with a lighting rig and motorised projection surface to reveal performers.

When it came to designing the technological layout of the venue, Jacob Feldman, ArtsDistrict’s Chief of Business Development, refused to settle on solutions that were deemed ‘good enough’.

“Initially, we had a piece of incredible content called Limitless AI from Istanbul-based creatives Ouchhh Studio, so we knew we needed high-quality equipment to facilitate that,” said Feldman. “Sourcing the technology was a bit piecemeal, because we wanted the best and most flexible system; we didn’t want products off the shelf.”

ArtsDistrict’s production team worked alongside Solotech’s Montreal team to put the majority of the technology together, with an initial design specifying Christie projectors. However, not enough lenses could be sourced in time for the project, so they pivoted to the new Barco G21-W11 units, of which 64 were installed.

“The Barco projectors were right off the production line, and they are phenomenal,” said Feldman. “We had to do a lot of it on the fly, but Solotech’s team were great and supplied exactly what we needed, and our production team on the ground got the right people in to get the venue up and running.”

The audio system is hosted on Meyer Sound’s Galileo platform, allowing spatial audio and multi-channel sound designs to be mapped to the venue’s loudspeakers.

The PA system is made up of a mix of Meyer Sound and d&b audiotechnik point source loudspeakers, controlled by an Allen & Heath SQ-5 Digital Audio Mixer.

ArtsDistrict’s Head of Audio, Connor Sharpe, explained how the system was designed to be flexible so the building could be used in

several different ways. “The initial brief was to design a large-scale flexible immersive audio system – one that could handle long-term installations alongside live events and anything else that the venue would encounter,” said Sharpe, a former freelance sound engineer before taking the role at ArtsDistrict.

“I decided from the beginning to have every speaker on a discrete output, to maximise the flexibility and future-proof the system. David Vincent and Jerry Placken from Meyer Sound were involved very early, and I consulted with them on the design, choice of loudspeakers and the capabilities of Spacemap Go running on Galaxy processors.” With every flat surface in the venue reserved for HD projection, Sharpe decided that rigging in the ceiling was the only option to avoid casting shadows or obstructing the visuals. This allowed for some flexibility, because the speakers only shared the ceiling space with the projectors, and in the end, Sharpe described the system design as being ‘nearly unchanged’ from concept to installation.

Four Meyer Sound ULTRA-X40 loudspeakers make up the main PA, complemented by two 750LFC subwoofers. The perimeter has 18 UPJunior while the mezzanine is covered by five UP-4XP. Four UMS-1XP subs are flown, while the overhead grid features 20 d&b audiotechnik E6 speakers.

“The goal was to have an audience member in the pattern of at least eight speakers, regardless of their position in the venue,” said Sharpe.

“This allows for a minimum spatial awareness anywhere in the main space, and alongside video content, we can direct the audience’s attention to nearly any surface using just audio.”

Sharpe used Meyer Sound Mapp XT to predict and simulate results before the system was rigged in place, and Spacemap Go for spatial sound design.

“Spacemap Go allows for conventional audio sources to dramatically sweep across the whole venue, and with dynamic automation, triggered by Open Sound Control programming, complex moves can happen in real time, and be repeatable on a timeline,” said Sharpe. “Signal flow can quickly become convoluted in these situations. I tried to simplify and reduce conversions wherever possible; a DirectOut Prodigy.MC unit is key in this regard, and is at the centre of the system. From the live inputs at the console, you can address any of the 64 PA outputs using Dante and mix them spatially using Spacemap Go. From playback, you address the same outputs, using MADI > AVB,” he added. “All devices are synced with various signals from a grandmaster clock, and integration between systems is provided by an Alcorn McBride V16X. Various separate networks comprising the projectors, media servers, stage automation, TouchDesigner, Spacemap Go and Q-SYS Core 8 are all speaking with the V16X.”

Pierre Vende, Senior Integration Advisor, Solotech, explained the reasoning behind the mix of loudspeakers at the venue. “We were

Above and right: A total of 54 Barco projectors map the walls and floor at ArtsDistrict Brooklyn.

Evolve into a new point of view

Made in Italy # dts-lighting.it

involved a little late in the process, and due to the problems that the supply chain issues caused, we had to supply a coherent system from our rental department,” said Vende. “This project was taking place during the summer months, and that is a hugely busy period for the rental market, so we had to be very imaginative in delivering a successful system.”

For Feldman, the mix of hardware wasn’t an issue, as long as the setup could facilitate the Galileo software.

“The idea for an immersive sound is that you want the ability to send people to different parts of the room and be able to subdivide their audio feed,” said Feldman.

“When you simply fill a room with sound, what you’re effectively doing is immersion by submersion – it’s not immersive in the sense that someone has been transported to a new place. Placemaking involves having sound that fits the particular location. We wanted the ability to use point source, and stem audio to divide the audio so that different areas of the room offered different experiences – and the Galileo platform allows us to do that.”

The venue’s stage is lit up by a rig containing eight Claypaky Axcor Wash 300, 12 Claypaky Arolla Profile MP, and 40 Elation Professional Seven Batten 14 LED, which are controlled by an MA Lighting

TECHNICAL INFORMATION

VIDEO PROJECTION

64 x Barco G62-W11, 7 x Green Hippo Boreal+ MK2 with Hippotizer software V4, 21 x Datapath Fx4, 1 x Lightware video matrix 80x80 splitter

AUDIO

20 x d&b audiotechnik E6, 18 x Meyer Sound UPJunior XP, 4 x Meyer Sound Ultra-X40, 5 x Meyer Sound UP4XP 4 x Meyer Sound UMS-1XP, 2 x Meyer Sound 750-LFC, 1 x Allen & Heath SQ-5 Digital Audio Mixer, 1 x Direct Out, Prodigy.MC Modular Audio Converter

LIGHTING

8 x Claypaky Axcor Wash 300, 12 x Claypaky Arolla Profile 600 MP, 40 x Elation Professional Seven Batten 14 Fixed LED, 1 x MA Lighting grandMA3

www.artsdistrict.live

grandMA3 console. Solotech supplied the majority of the venue’s AV equipment, with the exception of the seven Green Hippo Boreal+ MK2 media servers.

The Hippotizer media servers, controlled by the grandMA3 console, are at the core of the real-time video data manipulation, which is prevalent during the Limitless AI show. The five-part, 45-minute experience is presented in chapters, with the finale featuring live music and the opportunity to influence the video by interaction.

“We have presets in Hippo for each show chapter and the TD computers are generating live data that is being fed over NDI to the Hippo servers,” explained Sofia Claudino, Video Lead for Limitless AI. “Everything is driven by the Boreal MK2+ servers and they communicate to the grandMA3 via a Multi-Controller and DMX component. Triggering then happens via the console, with the help of a very precise universal clock system that syncs both video and audio systems. It is a very complex system, and we are impressed with the ability to run a timecode-based show that requires out-of-sight calling solutions as a continuous timeline doesn’t fit our needs.”

To help control and adjust the output of the images are 21 Datapath Fx4 units, while a 10Gb ethernet cable is used for the super-fast media transfer from an NDI feed from Touch Designer machines

Left: Content is driven to the projectors by Green Hippo Boreal+ MK2 servers.

MBN F-630

MBN F-300

MBN JUNIORFOAM

MBN FC-500 MBN FC-400 (cannons)

to the Hippotizer servers. “We are still realising the potential of Hippotizer since we are not only able to program a timecode-based main show but are also interested in exploring other Hippotizer abilities, such as scheduling different timelines for other small and large-scale events here at ArtsDistrict,” continued Claudino. “These functionalities, catering for the needs of our diverse events, just aren’t found in other media servers.”

Feldman added: “We chose the Boreal+ MK2 servers because the show was envisioned to be live from the start, changing each night depending on the music and performers. The final chapter feeds live data from EEG monitors on the musicians into TouchDesigner and then through NDI to the Hippos. The music that is performed can, and does, change with every show, which in turn requires extra triggering/calling abilities from a backstage perspective.”

The integration of the projectors and media servers was done by Tyler Roach of Chicago-based Eclipse Creativity, while the Solotech install team consisted of Jonathan Trudeau, Alexandre Ginchereau, Danny Lambert and Phil Hornung.

“None of these technologies matter if you don’t have a great story to tell,” concluded Feldman. “We come from a world where narrative drives experiences, and after the elongated isolation of Covid – when people were stuck at home and on their devices – we want to encourage community, creative collaboration, and inperson experiences that are thoroughly provoking. The tech inside ArtsDistrict has the power to draw the world’s most innovative creators, which in turn gives all of us myriad vivid reasons to gather, see, and hear inspiring things, and then talk about those things.”

“The technology inside ArtsDistrict has the power to draw the world’s most innovative creators, which in turn gives all of us myriad vivid reasons to gather, see, and hear inspiring things, and then talk about those things.”

CERRITOS COLLEGE PERFORMING ARTS CENTRE

LOS ANGELES, / USA AMERICAS

The new Performing Arts Center at Cerritos College on the outskirts of Los Angeles opened in Summer 2022 and includes a stunning 400seat proscenium theatre, a 150-seat black box theatre and a 100-seat lecture hall. In addition, students at the college have access to a band room, recording studio, practice rooms and a huge tech lab where they can learn lighting and rigging techniques. The larger theatre is equipped with a true L-C-R NEXO Line array and Yamaha Rivage CSR5 console. The audio system was designed by Rick Wells, founding principal of MultiMedia Consulting, and AVI-SPL provided the installation team.

Consulting on the design of the theatre and the lighting equipment was TheatreDNA for Theatre Projects, which specified a full theatrical relay lighting system by ETC, including an ION XE 20 control console, which was installed by Polaris Lighting Associates. “The building followed our curriculum design to support high levels of academic achievement for students and a widening of our audiences with attractive new spaces,” said Gary Pritchard, Dean of Fine Arts and Mass Communication at Cerritos College. “At the heart of our student-focused mission and the desire to draw in a diverse audience are the flexible black box studio and the aesthetically striking mainstage theatre.”

The college’s curriculum requires that students are well-trained on current technology and equipment, which will eventually lead them into professional work in theatrical and concert venues, stadiums, theme parks, and touring companies.

“The venue is used primarily to train future performing artists and theatrical technicians, however, the facility has also been used by a few local community groups,” added Pritchard. The proscenium theatre functions as a multi-use performance space for stage plays, musicals, dance, lecture presentations, graduations, film screenings and acoustic and amplified music performances. When it

came to decisions on technology, Rick Wells, Founding Principal of Multi-Media Consulting, had drawn up a design for the PA which had to be changed late into the project when the college stipulated that Yamaha / NEXO were to supply the equipment.

For Wells, this change deep into the project only caused a minor reshuffle of his design.

“I was responsible for the design of the audio, video, control, production intercom, AV networks and production video systems for the 400-seat theatre, the black box, the recording studio, and front and back of house areas,” said Wells. “Originally when I programmed this project in the main hall it was with a Renkus-Heinz Varia system, and the project was almost all the way built when I was asked to redesign the entire venue with all Yamaha / NEXO products.”

Each true L-C-R array consists of six NEXO GEO M10 speakers, with three NEXO LS18E 18in subs in a mono configuration on a fader.

“To maintain the architectural integrity of the space we located the subs on the stage ledge, directly above the arrays.” Said Wells.

“I crossed the 18in subs over at 80Hz and let the arrays go beyond 80Hz to their natural low frequency cut-off point, this creates a tighter, punchier, low-mid experience,” said Wells. “When I initially tuned the system, I was not completely happy with the low-mids, so I added a pair of NEXO MSUB12 subs positioned over the left and right array to bring in a bit more punch and fullness in the low mids. I learned early on in my career to leave an allowance in my specifications so that I can change something once I get in the room if I need to. While not perfect, the 12s have become part of the left and right array.”

Wells stated that changing the entire design during construction was possible because the infrastructure matched up.

“I had to move the AC power from the stage grid to the projection room above the control room, because we originally designed the system with powered arrays, while the NEXOs

A new 84,000 sq ft facility bridging a college campus and the surrounding community is kitted out with an array of market-leading technology.

Below: The 400-seat proscenium theatre in the Performing Arts Centre at Cerritos College.

All photos provided by Tilden-Coil Constructors, Inc.

are remotely powered. We used NEXO NXAMP4X4MK2 powered controllers; it wasn’t an issue because we located breaker panel in the control room, so all we had to do was run the AC power up one floor to the new amp rack.” The black box theatre does not feature fixed loudspeakers due to its flexible nature, but is an omnidirectional space with a sound system designed to be rigged to the pipe grid in any direction, with main and effects speakers to accommodate its flexible nature.

There are four 8in and four 12in NEXO point source portable loudspeakers designed to be mounted on speaker stands, or rigged from the technical balconies, and a single a 18in sub semi-permanently mounted in one corner.

The Yamaha CL-5 Digital Mixing Console in the black box is connected to the Yamaha Rivage CS-R5 console in the main theatre, and both are connected to the recording console in the studio via Dante over fibre.

The overall design includes back of house performance monitoring, including the intercom system. The large theatre has a wireless Shure microphone system and a full video system with a Digital Projection M-Vision LASER 18K projector and a Stewart Filmscreen embedded for UHD video reproduction.

“AVI SPL installed the AV systems,” said Wells. “Special acknowledgements to Daniel Bennett from NEXO, William

Murray, FAIA from Pfeiffer, A Perkins Eastman Studio, Michael Ferguson and his team at TheatreDNA, and a very special acknowledgement to the project manager Kevin Jones from Tilden-Coil Constructors, Inc.”

Tasked with designing the proscenium theatre’s functionality was TheatreDNA, with Founding Principal Michael Ferguson leading the project.

“The theatrical lighting system is a full relay system designed for modern LED lighting fixtures, so there are no dimmers – just relays,” he explained. “Inside the theatre is lighting and lighting fixtures, a counterweight rigging system over the stage, along with adjustable acoustic drapery to soften the acoustics in the auditorium to suit the performance.

“The subtlety of this venue is in the differences of the different spaces,” continued Ferguson. “The 400-seater theatre and small black box theatre are accompanied by a tech lab – a large space specifically for teaching touring and road-based rigging skills.

“Because aspects of these spaces are designed for training as well as performance, that makes them a little more user-friendly in certain aspects, but this remains a professionally functioning small performing arts centre, which is very well equipped with a big load-in area.”

The black box theatre is equipped with an ETC Colorcourse

Right : The black box theatre. Opposite page : The 100-seat lecture hall for smaller recitals and spoken word performances.

AV control console, and both that and the main theatre’s ION XE 20 console are integrated with the architectural lighting controls, meaning the lighting system is integrated with the theatrical system, and both can be used interchangeably.

ETC products used across the facility include Source Four, Source 4WRD, Source Four LED Series 2 Lustr and Tungsten HD, Desire D60, Desire D40, Sensor Dimming Rack, Paradigm Architectural Control Processor, Unison Paradigm 18in Touchscreen, Unison Paradigm 7in Touchscreen, Ion Xe 20 console, Selador Desire D40XTI and Selador Desire D22 LED. “ETC is the largest manufacturer in the US and is known for having excellent responsiveness to service needs and a 24-hour tech support team,” said Ferguson. “For that reason, they have dominated the American fixture market, and the dimming, control and relay market. For bidding projects, there are a handful of choices, and ETC has one of the best price and service points, so they win a lot of projects.

“One of the fun parts of this project was co-ordinating the functionality around the architecture’s aesthetic ideas. The room looks really interesting, but functionally and acoustically it is a real success.” Within the proscenium theatre’s design is a glowing, geometric element, and to create these patterns Lighting Designer Clifton Manahan from HLB Lighting Design specified Rosco Custom LitePad CCT 95 fixtures for the triangular panels that audience members see glowing in the balcony as they enter the space.

The installation included 20 triangular Custom LitePads, with the smallest triangles measuring 30.75in long and 6in high, and the largest were 9ft 8in long and 8in high.

As many of the LitePads were going to be installed together to create larger geometric patterns, the fixture’s light consistency was important to Manahan. “We chose LitePad because of its good uniformity, its thin profile, and due to Rosco’s ability to make large panels, as well as its dynamic-white capabilities and control system capability.”

Manahan also noted that they specified the Rosco Custom LitePad CCT 95 fixtures because of their variable colour temperature and their ability to integrate into the lighting control system inside the theatre. The CCT 95 LitePads feature a colour temperature range of 2700K to 6500K. This enables the technicians inside the theatre to warm or cool the output of the light to match the mood or the style of performance.

www.cerritos.edu/theatre/PerformingArtsCenter

CLUSTER SERIES THE

NEBULA – THE ELEMENTAL LIGHTING PLANET

HO CHI MINH CITY / VIETNAM APAC

The fictional planet of Nebula is brought to life by several Christie D20WU-HS laser projectors inside an inflatable dome set up at Dam Sen Cultural Park, an amusement park in Ho Chi Minh City, Titled “Nebula – The Elemental Lighting Planet”, the audio visual showcase employed various technologies including the projectors, interactive lighting, laser effects, and realistic props to transport visitors to an exciting universe inspired by Avatar: The Way of Water. Also set up was a KV2 Audio PA system, with music and sounds to accompany the visual elements, and for the attraction all the equipment, arrangement and integration was done by Alta Media; including the concept design, and the operating software.

“The show tells the story of the four elements – air, earth, water, and fire – which are seamlessly weaved together using technology to create a compelling experience, featuring an idyllic universe, planets, and the trees of soul and life that bind everything together,” said Tai Hoang, CoFounder & CEO, Alta Media.

“Among the highlights of this show were projections accomplished by the Christie D20WU-HS projectors installed on opposite sides of the dome. Each projector was equipped with a Navitar fisheye lens, and we were able to fill the dome with spectacular images by placing the projectors 1.8 m from the ground.”

Hoang noted that the entire production of this project, from conceptualisation to installation, was completed within 10 working days.

“Thanks to our prior experience in large-scale, elaborate shows such as The Masked Singer Vietnam and numerous

Audiences transported to another planet with immersive visuals delivered by Christie HS Series laser projectors.

live performances, we were able to put together this elegant showcase using contents exclusively created in-house,” said Hoang.

“I’m pleased that the contents are perfectly matched with the Christie HS Series projectors, which delivered eye-catching visuals that visitors both young and old can fully enjoy and appreciate.”

Originally planned as a ten-day temporary event, due to the success and high attendance levels seen during its opening plans are in place to extend its operation to three years.

For the audio solution inside the dome, Hoang chose a selection of KV2 Audio equipment that they had in stock.

“We set up four KV2 Audio ESD12 passive loudspeakers inside the dome and an EPAK2500 amplifier unit,” said Hoang, who admitted that he may revisit the set-up in the future. “These are set up in four corners from a 2-channel audio source. KV2 Audio offer a very good solution, and for the project the units were taken from our stock, but we are planning to have a revision of the dome arrangement in terms of the positioning of all the equipment.”

A laser element was implemented alongside the projected visuals which utilised four 20W Yidea Technology laser units, controlled by Pangolin Laser System’s Beyond software, to provide an extra visual element to work in combination with the projections, so all content work together as a whole for the duration of the show.

Customised media servers with Resolume Arena 7.0 map the projected content, with the visuals driven directly to the projectors through the servers.

Jason Yeo, Senior Sales Manager for Southeast Asia, Enterprise, Christie, commented: “Alta Media has outdone itself with this fascinating AV showcase that combines state-of-the-art technology, immense creativity, and masterful storytelling that captivates visitors.

“I’m glad that the Christie D20WU-HS, with its high brightness, BoldColor Technology, compact footprint, quiet operation, and omnidirectional capabilities, has delivered an amazing spectacle that makes visitors believe they have arrived on the fictional planet of Nebula.

“Setting benchmarks in brightness, colour accuracy, power requirements, and form factor, the HS Series pushes the envelope of what’s possible with 1DLP technology, and with their compact and lightweight form factor and omnidirectional capabilities, HS Series projectors are perfect for challenging, space-limited installations,” he concluded.

TECHNICAL INFORMATION

VISUAL

Christie D20WU-HS projectors

AUDIO

4 x KV2 Audio ESD12, 1 x KV2 Audio EPAK2500 www.altamedia.vn

Right: The equipment, arrangement and integration was overseen by Alta Media (Photos courtesy of Alta Media).

ISE 2023

BARCELONA, SPAIN / 31 JAN – 3 FEB, 2023 EMEA

With a spectacular 2023 showing and back in its usual Jan/Feb position on the calendar, ISE has solidified itself as the premier trade show for the AV and systems integration industry.

Show organisers reported 58,107 unique visitors from 155 countries attending over the four days, with almost every exhibitor that the MONDO-DR team spoke to reporting busier-than-usual footfall on their stands. There were whispers among people at the show that organisers are considering a hall with darker ambient light to create a more demonstration-friendly space in order to attract more professional lighting companies – which is about the only thing missing from ISE’s resume currently. The audio demonstration rooms are an eight-minute walk from the end of the exhibition halls, which is a minor inconvenience for attendees wishing to see and hear as much

as they can throughout their visit, but the number of leading audio manufacturers - including AED Group, Coda Audio, d&b audiotechnik, HOLOPLOT, Martin Audio, Pioneer PRO AUDIO and Void Acoustics –who showcased their latest capabilities indicated that they are set to be a fixture at the show going forward.

One of the first press calls of the week came on the Panasonic booth, where they recreated the visual exhibits seen at Frameless, the UK’s largest digital immersive art experience. Also in attendance were the team from HIVE Media Control, who provided the media servers across the Frameless venue, as they launched two new products – Player_3-Pro and Player_4-Pro – as well as demonstrating their technology working with Panasonic’s DLP projectors on the stand.

Digital Projection partnered with VIOSO to showcase the capabilities of its MLS System, with the new M-Vision 27000 shown ahead of its release later this year. VIOSO demonstrated its latest VIOSO 6 software, which offers automatic calibration of any kind of projection setup, including for domes, VR, simulators, and projection mapping projects. “ISE 2023 was back to its best,” said Mark Wadsworth, vice-president of global marketing, Digital Projection. “Although the overall unique attendance numbers are a way off the highs reached in Amsterdam, we felt that the quality of visitors was better than in previous years. This is perhaps due to the fact that Barcelona is more difficult to get to, so those who made the effort were there for business. Overall we were very happy with the

show and look forward to an extended presence next year.” Analog Way presented its most powerful live presentation capabilities with three new features of the LivePremier platform – an 8-HDMI input card, IP-SDI input card and a LINK feature, which allows four units, no matter their size or type, to be interconnected for a unique larger device that can be controlled by a single Web RCS. Modulo Pi demonstrated the interactive capabilities of its Modulo Kinetic Version 5, the newest version of its flagship media server, which was highlighted in a demo at which visitors could control both the content on moveable LED screens and the positions of the screens themselves. Designed with user-friendliness and reliability at its core, Founder and CEO Yannick Kohn said: “While the demand for interactive experiences is significantly growing, their creation and implementation often seemed over-complicated and based on costly custom developments. Based on this observation, we’ve upgraded Modulo Kinetic with new features to provide a unified, yet versatile solution tailored for interactive experiences.”

Barco showcased its latest solutions across four zones on an expansive stand, including an immersive room and RigiFlex, a rollable rearprojection screen. The newest addition to Barco’s Pulse ecosystem is the Pulse App, which facilitates projection control from a remote position.

L-Acoustics announced visitor numbers to their booth in Hall 7 and the L-Acoustics Creations booth in Hall 2 were up 25% from last year, and

1 Filip Vindevogel of Barco.

2 The CHAUVET Professional team on their stand.

3 The Digital Projection stand with VIOSO .

4 Jason Schwartz and Hal Truax of Hall Technologies.

5 Howard Jones of Genelec.

6 Jack Drury of Shure.

7 The Prolyte team on their stand.

8 The Wharfedale Pro team.

9 Members of the Adamson team on their stand.

10 Max Winck and Gianvito Greco of Leyard.

11 Morten Jorgensen and Adam Shulman of Bose.

12 Florian Eustache of NEXO.

13 Kirsty Lamport, Wayne Powell and Mike Case of d&b audiotechnik.

14 Patrick Prothe of Audinate.

15 Ann Leroy of AudioFocus.

their Soka colinear speaker – a dedicated installation loudspeaker – was a star attraction on their main stand.

Powersoft used ISE to announce UNICA, a cloud-based amplifier platform designed for fixed installs across a wide variety of markets which features Powersoft’s third generation amplification technology. Peavey Commercial Audio announced NAS Solutions as the new PCA distributor for Australia and New Zealand. Founded in 1998, NAS is a respected distributor and wholesaler of professional audio and visual brands across Australia and New Zealand.

1 SOUND made its international trade show debut at ISE, launching its new c8 coaxial loudspeaker in the process. “We were really proud to exhibit at our first ISE and to have had our global debut as a company,” said Julia Mannarino, Creative Director, 1 Sound. “After talking with many distributors and experiencing the excitement surrounding 1 SOUND, the expansion of the brand looks promising as we embark on developing our global distribution network.”

AtlasIED showcased a comprehensive range of systems at this year’s show and announced that they saw a boom in traffic on their stand after they moved halls for 2023. “ISE 2023 did not disappoint,” said Gina Sansivero, VP, Marketing and Corporate Communications, AtlasIED.

“In 2022, during rebooking, we looked at the structure of the Fira Barcelona, the makeup of the attendees, the anticipated growth in 2023, and our mix of technology solutions and decided to move from Hall 7 (audio hall) to Hall 3 (general technologies). That decision paid off, and

we not only saw an increase of stand traffic, but a positive change in the quality of the leads captured. We are building our brand in EMEA and Europe specifically, and ISE allows us many opportunities to meet with individuals who will help us continue to grow in the region.”

Stage Precision made its first appearance at an international show and extensively showcased the capabilities of their core software tool, SP, which can orchestrate and control digital experiences, acting as the connection between all software components. This flagship software, now in Version 1.0, includes the new 3D LIDAR integration tool. This feature delivers an accurate depiction of moving objects in the sight of the sensor and identifies each person moving within the specified area. “Whether it is fixed installations, live events, or virtual productions - SP is the ‘glue’ in the middle for all media system devices,” said Michael Giegerich, Stage Precision Managing Director. Stage Precision also launched Space Composer, the first software product of its kind that can be tailored to AR applications and live graphics environments.

Fulcrum Acoustic showcased its newest passive cardioid technology, including the international debut of the CCX8 and CCX15 series compact loudspeakers, as well as the CS212L and CS218L subwoofers. digiLED introduced its power-saving ZEUS (Zero Energy Usage System). Recently installed at The O2 Arena in London, the company’s previous system used 130,000kWh of energy per annum just showing a black screen. Now with digiLED ZEUS this will reduce to zero.

Women In Lighting had a meet up on the stand of project supporter

Ayrton to connect and share information. ISE also featured WIL speaker, Rebeca Sanchez of LEDSCONTROL talking about her work.

After a one-year absence from ISE, Alcons Audio presented its ProRibbon Immersive Experience, which featured a Dolby Atmos 11.4.8 system, and by utilising the exact same transducer technologies throughout the system, a seamless immersive experience was obtained. On its booth, Alcons partnered with StormAudio for residential processing and TiMax for professional processing.

AV Stumpfl presented its new AnyShape projection screen system on their stand, which gives creators the ability to custom-design frame shapes for screens, and not rely on standard rectangular shapes, effectively revolutionising the way content designers can approach projection surfaces.

Equipson Group had a busy show, announcing that WORK PRO, the installation and pro audio division of the group, is to undergo a transformation this year with a redefined product range and image. Meanwhile LightShark unveiled LightShark CORE iO, a lighting console which is compatible with integration systems such as Crestron, AMX and Control 4 thanks to new GPIO ports and the implementation of RS-232 and RS-485 protocols.

Funktion-One launched a new generation of Compact Range speakers with enhancements in high frequency driver technology –advancements two years in the making.

CHAUVET Professional unveiled its new Ovation E-2 FC fixture, an LED

1415

1 The 1 Sound Team on their stand.

2 Members of the Adam Hall team on their stand.

3 Kai Tossing of Sennheiser.

4 Jane Eagleson and Adam Korsvik of Meyer Sound.

5 Katie Colledge and Colm Nicell of ARRI.

6 David Glaubke of HARMAN.

7 Alvaro Fontanals Salgado of DAS Audio.

8 Angela Ciociolo of Fulcrum Acoustic.

9 David Webster, CODA Audio.

10 The ADJ team on their stand.

11 Graham Hill of Elation Professional.

12 Members of the HIVE and Panasonic teams pictured with Simon Kentish, Frameless (right).

13 The Modulo Pi team on their stand.

14 Gina Sansivero of AtlasIED.

15 Steve Capling of Christie.

ellipsoidal spotlight with an RGBAL engine and 25-50° zoom lens. CODA Audio teamed with pioneering electronic musician Jean-Michel Jarre to launch SPACE, with the Frenchman on hand at their demo room to play his latest work. SPACE by CODA integrates immersive 3D audio, a 4K projector screen, ambient lighting and advanced acoustical treatment with the art or projection of your choice into a united system solution to transform spaces with audio – a 70mm deep SPACE Panel. Installation amplifier brand APEX announced that it had been acquired by fellow Belgian professional audio business Community Europe S.A., with APEX Sales Director Alain Boone commenting: “With this additional support and investment through Community Europe S.A., I am confident we can continue to provide our partners and customers with world class products and service as the business levels up.”

Adam Hall Integrated Systems debuted LD Systems’ QUESTRA software, a platform which allows for ease of planning, designing and managing a project, while Lightware celebrated 25 years of operation by highlighting its new security features across its range of products, such as isolated ethernet networks and data diode technology, which guarantee unidirectional signal data flow while maintaining the flexibility to design collaborative environments.

Hall Technologies took the first step in expanding its presence around the world with a first exhibit at ISE, and underlined its new business model in the process. Having been recently acquired by Gun Lake

1 Fabio Kaiser, Ineke Hellingman and Thorsten Rohde of Amadeus Active Acoustics.

2 The Stage Precision team.

3 Helmut Siedl of Electro-Voice.

4 Roger Harpum and Greg Clarke of EM Acoustics.

5 Kamil Zajdel and RadhaMohan Rajani of Optocore.

6 Craig Cooper and June Ip of Bluesound Professional.

7 Patrik di Luca of Barix.

8 The Powersoft team unveil Unica on their stand.

9 Paul Dexter, Tom Peters and Matthew Mickels of Jetbuilt.

Visit

25

BARACCA 360

Investments and with a new warehousing facility in the Netherlands, Hall Technologies is taking the next steps in their development, with CEO Jason Schwartz commenting: “Today’s environment requires a different approach; one that we have embraced wholeheartedly with a number of strategic hires to enable our shift to a customer-centric, solutions-based model. It is thus an entirely logical move for us to exhibit in person at ISE, rather than relying on our distributors. It underlines our commitment to the European market and our desire to develop further in this sphere.”

Another first at ISE was the international debut of Naostage’s K SYSTEM, a world first automatic, beaconless 3D tracking solution. Having taken four years to develop, the K SYSTEM allows for fixed-install professionals to create interactive live experiences by identifying and following visitors and performers wherever they are in a defined tracking area, thus allowing for the automation of an endless array of lighting, audio, video and media effects in real time, and in sync with the installation or show. Void Acoustics launched six new products to its pro audio catalogue and did so with a stand, a dedicated demo room and with Founder and Creative Director Rog Mogale in attendance as the company celebrated its 20th anniversary.

The 2024 edition of ISE will take place from 30 January – 2 February at Fira Barcelona.

www.iseurope.org

1 The K-Array stand.

2 Members of the Claypaky team on their stand.

3 Juan Mossi and Santiago Penades of Fenix Stage.

4 The ROE Visual team.

5 Steve Sandford of Clear-Com.

6 Tony Andrews of Funktion-One.

7 The Women in Lighting meeting on the Ayrton stand.

8 Lynne Bannon and Cherry Tsai of digiLED.

GENELEC

WITH THE ADDITION OF PENDANT AND IN-CEILING SPEAKERS TO ITS SMART IP RANGE AT ISE, GENELEC IS INCREASING OPTIONS FOR INSTALLERS, WITH PERFORMANCE, EASE OF USE AND SCALABILITY AT THE FOREFRONT OF ITS DESIGN. ANDY BENSLEY, BUSINESS DEVELOPMENT MANAGER, UK, TALKS US THROUGH THE RECENT GROWTH IN THE RANGE, WHICH OFFERS NETWORKED CONNECTIVITY VIA A SINGLE CAT CABLE.

“Launched in 2019, the Smart IP active loudspeaker range began with three models, the 4410, 4420 and 4430 – all of which support PoE, AoIP and management via one CAT cable – and the brief for those models was to perform at the same standard as Genelec mains-powered designs,” explained Bensley. “We would not allow for them to provide 75% of the performance; we wanted to guarantee a quality of service to ensure that the expectations of clients who had known our mains-powered loudspeakers were met.”

With those three models serving installers across a wide variety of applications since their introduction, the decision was made to expand the range, and the new 4435A in-ceiling and 4436A pendant models were displayed for the first time at ISE earlier this year, taking the number of speaker models in the Smart IP range to five – all of which can be combined freely on the network. Bensley has been in his role of Business Development Manager, UK, for close to four years and prior to that worked for Genelec’s UK distributor, so he has spent a lot of time understanding where the customers were coming from and what they needed.

“There is a common thread, specifically in our bread-and-butter work, which is broadcast, post-production and music studios, and that’s getting the content to translate consistently,” he said. “What’s interesting in the AV world is that in a way we’ve helped the content creators create their content, and now it’s a case of ensuring that it’s faithfully reproduced in a commercial environment such as retail, bars and restaurants, corporate spaces and so on.

“A huge aspect of Genelec’s work is getting the loudspeakers to perform in real-world situations. We have 45 years experience of designing reference-grade active loudspeakers – but what happens when that speaker is taken out of controlled conditions?

“Part of my role – in addition to making sure customers are selecting the right kind of system – is getting them to perform in the real world, so calibrating systems and spending time on site is important.”

The Smart IP range was launched three

years after Genelec introduced its first IP loudspeaker in 2016, the mains-powered Ravenna/AES67 compatible 8430 model, which was primarily for the studio world, but gave the company valuable experience in networked technology.

Once the Smart IP range hit the market with three models that were primarily deployed as wall, ceiling or column-mounted, Bensley stated that customers slowly started to request in-ceiling or pendant solutions for certain situations.

“It became apparent over the past year or so where we had gaps in the range,” he said. “So, the natural progression was the 4435A in-ceiling and the 4436A pendant, which means we now have a loudspeaker family that is easily deployed and scalable – making a system easier to design – and offers something that can cover areas in the middle of larger spaces, without having to mount more speakers on the walls.

“In the immediate aftermath of ISE, we already have numerous projects in the pipeline, many of which are for solutions in large, open-plan restaurants.”

Bensley stated that the blueprint for the 4435A in-ceiling model was Genelec’s AIC25, an architectural loudspeaker with a remote amplifier, and then solutions were distilled from those designs when it came to creating the 4436A pendant model.

“Being able to ensure that we could provide the same power in the box over Smart IP took a bit of work,” he said. “But we had laid that groundwork with the 4420 and 4430 initially. We already had experience of designing in-ceiling loudspeakers, but the 4436A pendant model was a completely new area for us, and we put a lot of care into ensuring that it was free from any unwanted cabinet resonance.”

All five of the speakers in the Smart IP range feature an in-built power reservoir, which serves as a back-up for overly dynamic material where more power is needed, and then recharges itself. This constant reserve maintains performance to ensure high SPL, clarity and low distortion, which are the pillars of mains-powered Genelec designs. Another important aspect, Bensley

1. Danny McDonald’s ‘The Bar’ at New York’s Penn Station features 4430A Smart IP loudspeakers.

2. The new 4435A in-ceiling and 4436A pendant models.

3. Andy Bensley, Business Development Manager, UK.

4. Over 300 Smart IP loudspeakers adorn the Helsinki HQ of Finnish game developer Supercell.

5. Sweden’s Ästad Vingård vineyard and hotel complex has employed 4420A Smart IP models.

explained, was that the designs were durable and long-lasting, therefore meeting the company’s goals for being as sustainable as possible.

“A key function is longevity – our loudspeakers have to perform reliably for many years,” he commented. “That applies to our product lifecycles as well. It’s very rare that we release something every two or three years, since a design may have a lifecycle of five, 10 or 15 years in some cases.

“It’s important that our customers know that if they are investing in a Genelec solution, it is not going to be quickly superseded, and certainly not superseded because of a product refresh simply for the sake of it.”

Another important factor for Genelec is the sourcing of materials.

“Sustainability is a core pillar of the company, and to us it’s as important as sound quality and profitability. It starts at our lakeside factory in rural

Finland, which is in a beautiful place, and we’re very aware of our impact both locally and globally as we ship loudspeakers around the world,” said Bensley. “Wherever possible, we try to use recycled materials, with most of our loudspeaker enclosures being manufactured from recycled aluminium, and we are very conscious about where we source that from. Environmental responsibility extends right through the company and every year we implement new strategies to further improve our sustainability.”

It’s clear that Genelec sees networking as the future of AV, with Smart IP offering a huge advantage to installers.

“Not only does Smart IP sound great, it’s also scalable, sustainable and future-proof. We’ve seen many wonderful projects embrace Smart IP already, but to we feel that we’re just getting started!”

www.genelec.com

1 The 4410A, 4420A, 4430A loudpseakers and Smart IP Controller app.

2 Recycled aluminium enclosures.

Installers around the world are embracing the exceptional sound quality and single-cable convenience of Genelec Smart IP networked installation loudspeakers.

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

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

Cecil Co-working Offices, Stockholm

“Smart IP is an absolute lifesaver for projects like this”

Magnus Westin, Scan AV Kommunikation AB

LPS LASERS

AS LPS CELEBRATES ITS 30TH YEAR OF OPERATION, MARTINA AND SIGGI RUFF REFLECT ON THE COMPANY’S EARLY BEGINNINGS, THEIR EXPANSION TO TRADING GLOBALLY IN THE LATE NINETIES, AND HOW THEY CAME AGONISINGLY CLOSE TO SHUTTING DOWN THE BUSINESS BEFORE QUICKLY ADAPTING TO NEW TECHNOLOGIES IN 2005.

Ever since Siggi Ruff founded LPS in 1993, the company has been developing and producing products from their base and factory in southwest Germany, and this is one aspect that he believes has been invaluable to their growth – both in terms of experience and business success.

“Throughout our time as a company we have been incorporating the wishes of our customers, which they appreciate and often leads to us developing further ideas,” said Siggi. “Another benefit of being based in Germany is that most of our suppliers are located in the region, which enables good communication and shorter delivery routes.”

In the mid 1990s, LPS was mainly active in the entertainment sector, and only in their homeland. When Martina joined in 1995 the company grew considerably as she took care of advertising, in addition to production.

“Over the years we have also been able to build great business relationships and synergies with partners, who we see more as ‘friends’,” said Martina. “Our experience, products and fair dealings with our customers speak for themselves, and are ultimately another reason why our show lasers are increasingly specified in global tenders.”

“Even after 30 years, we still have big plans for LPS laser systems. We are still passionate about the medium of laser, and with our team, we have fresh ideas and an incredible amount of energy to surge forward.”

LPS began its operation with the production, sale and installation of its own laser show systems in entertainment centres, discotheques and clubs, moving on to larger discotheque chains in Germany. When Martina joined, she was tasked with making LPS better known internationally, and soon after she boosted the international sales, with export transactions to France, Czech Republic, Austria, Greece and Switzerland.

“I still have to smile about our secret recipe for success. If one of us has an idea, the other is sceptical at first, and vice-versa. Ultimately, however, we complement each other so well that it usually leads to success,” said Martina. A first sale to Asia was made in 1998 as LPS took its first steps toward global trade. The following year saw sales in South America,

which proved a watershed moment as their market share had increased dramatically and quickly, with the company no longer dependent solely on the German market. In 2005, technological progress almost put the company out of business as demand for air-cooled DPSS lasers soared, and LPS was initially hesitant to develop this, instead relying on gas lasers with 5-20W white light. “Seemingly overnight, all customers wanted this new technology,” said Siggi. “And since we could not offer it at this time there was a huge decline in orders, and we came very close to shutting down the business.

“With time firmly not on our side, it was only thanks to the huge commitment of time and energy from our team to work at full speed that we were able to develop a completely new laser system – the LPS-BaX.”

Siggi explains that this moment in the company’s history was akin to hitting a reset button. “Since the invention of the LPS-BaX, our show lasers have been used for fantastic productions by our customers,” he said.

“Examples of which included being used with water fountains, as highlights for stage and television productions, festivals, concerts, galas, New Year’s Eves celebrations and performances by various stars, in addition to sophisticated product presentations by wellknown companies and multimedia concepts for government projects.”

Installation highlights for Siggi and Martina include Seaworld in Texas; Kangwon Land in South Korea; Typhoon Theater in Singapore; GGE in Dubai; Black Sea Arena in Georgia; Baluan Sholak Sport and Culture Palace in Kazakhstan; EPM in Colombia; Daegu Susung Lake in South Korea; International Conference Center in China; Rustavi Theater in Georgia; Zhulian in Thailand and Malaysia; Porto Cairo Mall in Egypt and the Gorakhnath Temple in Gorakhpur in India. A wide variety of venues all with LPS lasers utilised to enhance the space and excite attendees.

“The fact that we have been able to position ourselves so stably and broadly on a global level over the last few decades is certainly also due to the good fortune of being able to work with open-minded and professional people – and by that we mean our employees

1 A permanent installation at Pomegranate Wellness Spa hotel in Halkidiki, Greece.

2 A permanent installation at Black Sea Arena, Shekvetili, Georgia.

3 A permanent installation at EPM, Medellin, Colombia.

4 Martina and Siggi Ruff.

5 A permanent installation at Inconsiam, Bangkok, Thailand.

as well as our customers,” said Martina. Recently LPS adapted its product range to market requirements, with the LPS-BaX series being a perennial favorite among customers as it offers a compact laser show system in different power and color spectrums.

LPS has exhibited at international trade shows for a number of years in France, Switzerland, Austria, Belgium, Czech Republic, Russia, China, India, Singapore, Dubai, South Africa, Mexico, U.S.A., Greece, Italy, Ireland, and Lebanon.

“Previously exhibiting at trade shows was positive, and we always looked forward to all the different people that you can see in one place. But over the years, we have clearly felt that existing and new customers enjoy coming to us, and we quickly recognised this advantage and changed, and we are doing better with our current plan. We still visit trade shows to meet some people face-toface, which allows us to be flexible,” said Siggi. Since 2002 LPS offers customers a personalised demonstration service in its 250 sq m showroom at the company’s headquarters in Ofterdingen.

“That is still a centrepiece for our company,” said Siggi. “Here we can program many things in advance or simulate a laser show, and for many customers, a visit to our showroom is a real experience, because they are not only offered different laser shows, they can also take a look inside the show lasers. This

personal contact, which is possible without restriction and distraction, has a positive effect on the satisfaction of our customers and thus on our turnover.”

Flexibility has been a cornerstone of the LPS business plan for many years, as Martina explains: “We have very versatile products and we are active in a wide variety of fields. From the classic laser show and multimedia events to special customer requests –everything is available. And that is what reminds us that we work within a medium that inspires us every day.”

www.lps-laser.com

1 A permanent installation at Gorakhnath Temple, Gorakhpur (UP), India.

2 LPS Headquarters in Ofterdingen, Germany.

3 A permanent installation at SeaWorld, San Antonio, Texas, USA.

GUIL

2023 is not just any old year for GUIL. It’s a very special year, as the Spanish company celebrates its 40th anniversary – 40 years full of effort, dedication and determination, which have taken the company from being a small workshop in the heart of Valencia to a well-known figure in the industrial sector the world over.

GUIL was born as a family company in 1983, the result of the vision and entrepreneurship of Eduardo Hinarejos, CEO, sowing the seed of the current group. By the end of the 1980s, GUIL already stood out with the first supports and lifting devices manufactured in Spain, seeking perfection in all its products.

The 1990s were years of expansion; the demand for GUIL’s products meant that very soon the company moved to a new industrial estate, its current headquarters. The introduction of new product lines opened new market sectors, reaffirming GUIL’s presence in the industrial field.  The company’s production now covered various different sectors: stage decks; lifting towers; trusses and rigging for the entertainment sector; equipment for bands and orchestras, a sector with a long and illustrious history in the Valencia area; material lifters aimed at the industrial and air-conditioning sectors.

At the turn of the century, the company made great advances. This period produced many new product launches in all its divisions, with the GUIL team welcoming a raft of new engineers, and specialists in technology and marketing.

During the first decade of the 21st Century, the most outstanding products for the entertainment sector were the iconic stage deck TM440 and the first innovative compact line array tower TMD-545. Both of these models are still reference points in the sector for customers around the world.

As GUIL grew, it expanded its production installations, too: a new 3,000 sq m facility was recently opened, housing four production lines

equipped with state-of-the-art machinery. At present, GUIL has almost 9,000 sq m of installations. In 2020, the marketing department designed two different logos to identify each of the company’s divisions – GUIL Event Industry Division and GUIL Material Lifters Division.

GUIL is currently a market leader in design, production and distribution of a wide range of products. Since it was founded, GUIL has helped its customers to carry out their projects on all five continents, and its products can be found in more than 90 countries.

This anniversary simply reaffirms the values that have marked this Spanish company’s progress during these past 40 years – a genuine commitment to people, innovation and internationalisation, retaining the essential qualities of a family company and keeping its centre of operations in Valencia.

“40 years is a long time,” said Eduardo Hinarejos, “but it has gone by quickly, full of projects, innovative ideas, new lines of business, activities, trade fairs, collaborations, and great friendships.”

The data backs up the company’s trail of success. GUIL is one of the leaders in the field of equipment for entertainment; for the past 40 years it has been at the forefront of the manufacture of lifting towers, stage decks, lighting and sound structures, as well as supports and accessories for musical instruments and audiovisual equipment, with a current catalogue of over 500 items.

GUIL has incorporated this milestone in its logo for 2023, with the words “40 Years Aniversario” in a mixture of Spanish and English, and the claim “#MakeHistoryWithGUIL” on social media.

“Thank you for forming part of these 40 years of history, success, hopes, satisfaction in a job well done, many dreams fulfilled and so many others to be fulfilled,” concluded Eduardo.  “Here’s to many more years of collaboration.”

www.guil.es

The Spanish company looks back on 40 years of dedication and determination.

THE SYSTEM IS THE GOAL

It’s long been my feeling that this AV industry we love suffers from an odd dichotomy: The industry provides some of the most advanced technologies to public spaces, schools, corporate offices, theme parks, and entertainment events. Yet it does so with almost no infrastructure technology of its own. Other, less glamorous industries have robust and standardised infrastructure. Auto mechanics, doctors, shippers all interact with standardised infrastructure for their fields.

I would like to think that the system is the ultimate goal. That final system that brings a show to life, allows business to run and students to learn. Those systems are the heartbeat of our industry. Yet, the birth of each system is full of roadblocks, dead-ends, bad or cloudy information, and countless other challenges.

This is commonly how a system comes to life:

An end-user either calls a consultant or integrator to design a system. If they are designers, they may even populate many of the needed items in a list for budgeting and internal pre-approval to proceed. They email this to a consultant who has to re-enter everything into their worksheet, then swap and add items to make it a viable and complete system. Manufacturers are called or emailed in order to verify product fit or discuss specialised needs. The consultant then emails lists and documents back and forth with the client until a final system is established.

Then they email their lists and docs to one, or several, integrators – who once again re-enters the items into excel or whatever platform they use. When there are questions, they email, call, and Zoom. The trail of information is vague and disparate. The resulting proposals are all delivered to the end-user, who has the new task of learning how to read the widely diverse formats of presentations. Understanding who is best suited to bring the project to life remains elusive.

If the best possible system is our goal, then why have we left it so hard to accomplish for all these years? It’s 2023 and we are tending to these systems as if it were 1963.

In 2023 it should work like this:

An end-user creates a system concept in a structured platform. They drop in various photos, videos, and drawings of the site. They create its locations, sub-systems and outline the desired functionality location by location. If they are a qualified designer they can search for and populate items into each location from a database of several million AV products. They may get stuck wondering if a processor will achieve a goal, so they click a button to collaborate with the manufacturer who can view the needs, drawings, and requirements. They may suggest a new processor which also replaces other

Paul Dexter, Founder and CEO, Jetbuilt, discusses the ways in which dedicated infrastructure technology can help the AV industry work quicker and smoother.

items into the project and is releasing soon, then populate it into the project. The end-user may then pass the project to their consultant who ties all of the core concepts together, validates the engineering and populates the final and detailed item list. Any questions are handled in the discussion thread with the user and logged for future reference.

Now, the end-user or consultant shares the project with one or several integrators. The bid requirements are right there, requests for information is carried out on the platform for clear reference. The integrator proposes various alternates to provide value or to resolve availability issues. These can be easily accepted or rejected. The integrator works in complete privacy as they monitor their margins and implement their installation, travel, and management elements into the project. Proposals are submitted back to the end-user who can evaluate the various values that each provides. They can easily award the project to the best suited integrator. Not just on price as was often the case, but on adherence to design, qualifications, understanding of the project and more – all of which are far easier to identify because of this process.

Once awarded, the end-user and consultant can track installation progress, communicate issues that arise, approve change orders, and more.

Software Dream or Reality?

Collaborative software is not new. Many companies use Slack, Basecamp, Zoom, Teams, Google Sheets and more, all of which allow multiple parties to communicate, collaborate, share ideas, and achieve goals. There are also platforms that handle quoting, inventory, purchasing, and other core elements of projects. Many companies stitch together a combination of these platforms, which can work very well for their particular organisation. But then it is unlikely that all six to 10 parties on a project are sharing that same combination of platforms.

Achieving all of this workflow in a single platform would be ideal if efficiency is a priority. This is what inspires the current direction of Jetbuilt, and the development of a ‘concept to commission’ workflow software with full contribution from all parties working on a project.

If you agree that the reason we are all in this business is to bring excellent systems to life, then it is worth your time to explore collaborative software solutions. Break down barriers that cause your systems to be compromised because of poor information flows. Do not stand for ideas being held back because there isn’t an easy way for them to be presented. Never design an outdated project with yesterday’s equipment when today’s and tomorrow’s could be implemented.

In other words, stop working like it’s 1963. www.jetbuilt.com

RIGHT AND BELOW : The Jetbuilt platform in use by AV designers on both laptop and mobile – in the office, at home, and in the field.

TWENTY THREE

Twenty Three has its roots in Belgium having begun under the leadership of CEO Kristof Soreyn and CTO Andy Demeulenaere in 2017. Their first facility to manufacture support structures for LED screens was opened in China in 2019, with now roughly 150 employees. A factory in Belgium opened in 2021 and a factory in Nashville, Tennessee will begin operating later this year.

“At the start, we had a core of nine or 10 members of the team with one office in China and one in Belgium,” Martin stated. “As the company began to grow, we decided to manufacture the products ourselves in 2019. The factory in China is our largest facility. It is 100,000 sq ft and we are in the process of doubling that space.”

The need to increase the space is so they can manufacture almost all aspects of their work under one roof, and not rely on too many external factors.

“We mostly work with raw materials, and are not dependent on having pieces made,” said Martin. “We get our aluminium base and we machine and manufacture it through our system, so we’re not dependent and other manufacturers.

“We have 50 room-sized five-axis CNC machines, which create frames in one movement. We are expanding that facility to also work with carbon

fibre, so very specific machines that we previously had to outsource are now coming in house.”

Operations such as water jetting, tube CNCing, powder coating and assembly are done in the European factory, and also in the factory opening in the United States.

“Since the pandemic, there has been a big boom in virtual production stages; these are fixed installs that stay set up for up to eight years,” said Martin. “We have produced some large structures for screens at Thrilith Studios in Atlanta. A whole team of our engineers and CAD designers completed a 30ft by 207ft structure holding 2268 BP2 v2 ROE Visual LED tiles, which were stacked to achieve no gap along the floor.” Other projects have also been completed for production studios in Melbourne and Berlin.

“It was always a part of our business plan to have a base in the United States – we just needed to wait until we grew enough to make this investment,” said Martin. “A lot of our clients are in the United States. At present, further locations are not on the table, but if the need comes then we could be open to it.

“Twenty Three is not a giant company, and in many ways we don’t want to be,” continued Martin. “We also make the cabinet frames for a lot of

In the span of six years, Twenty Three has become a key component in the LED market, offering custom designed framing and structural support options to manufacturers, rental houses and end clients across a variety of markets. Viktor Martin, General Manager, Twenty Three USA, discusses the current growth projection for the company.

the leading LED manufacturers; when they get approached to provide screens for projects – they sell us as a supplier for extra structures and support. We do not intend to go to end users directly, but instead build through partnerships – either through a rental company, or a company putting together a fixed installation project. We are totally independent, and work for everybody that needs our services.”

When it came to expanding in the United States, the Twenty Three management had to choose between Las Vegas and Nashville, eventually opting for the latter.

“Nashville was favoured because it is more centrally located with good access to the major highways,” said Martin. “There is also a big entertainment industry presence in the city, and a lot of the production companies that put together tours have an office there.”

This new facility is roughly 35,000 sq ft and will be operational in June 2023 with around 10 members of staff employed in full-time roles

“When we are involved in larger projects that require more staff, we employ people on a temporary basis to increase productivity,” explained Martin. “And this is also the case in both our Belgium and China locations.”

www.twentythree.be

Left: The new Twenty Three factory in Nashville is set to open later this year.

Right: Inside the main Twenty Three factory in China.

Prolight+Sound PREVIEW

Admiral Staging

Shark Keder Clamp

Booth 12.0 D93

• TÜV certified

• Easily adjustable for different profile sizes thanks to the spring loaded clamp

• Centric load at all times

• Constant weight load limit of 200 kg regardless of the beam width

• Suitable for heavier loads such as hoists and truss www.admiralstaging.com

Cameo

OTOS SP6

Booth 12.1 B24 & A24

• IP65 Spot Profile Moving Head with 600 W LED and 75.800 lux at 7° beam angle

• High-quality optics with 130 mm front lens and large 7°-50° zoom

• CMY colour mixing and additional colour wheel with 6 dichroic filters + open

• Rotating gobo wheel with 7 indexable/rotatable, exchangeable glass gobos + open

• Static gobo wheel with 7 interchangeable glass gobos + open www.cameolight.com

Sixty82

LED Screen Support Model L

Booth 12.0 C78

• A reliable and innovative support structure that can handle any challenge.

• Modular aluminum structure offering a quick, simple and secure assembly for different screen sizes and weights.

• Integrated ballast platform for extra stability and self-climbing towers with electric or manual hoists for easy adjustment.

• Meets the strictest quality and safety standards.

• With the LED screen support from SIXTY82, LED screens shine on any location and create unforgettable experiences.

www.sixty82.nl

Chromateq

CLUB 128/512

Booth 12.1 D30

• Stand Alone mode and memory to playback DMX easily.

• Reliable, small and easy to use.

• DC input for 5-18V.

• 3 trigger options with Smart Contacts or commands.

• Infrared remote control (included with CLUB 512 package only) https://chromateq.com

Smoke Factory Anschluesse

Booth 12.1 B10

• A fog shooter creating a CO2 shooter experience.

• Cost saving, especially for clubs and fixed installations and can be operated in all positions.

• Can also be hung overhead and fog down vertically.

• Runs with Fast Fog Extra III fog fluid.

• Integrated tank, filling via tank opening on the top and quick coupling for connecting an external fluid pump with tank (sold separately). www.smoke-factory.de

PRODUCT GUIDE: LED SCREENS

Absen PR Series

The PR series comes in two sizes (500 by 500mm and 500 by 1000mm), with pixel pitches ranging from 1.5 to 5.2 mm and compatibility with control systems, such as Brompton and NovaStar. Its narrow pixel pitches suit LED backdrops as images can be captured even at close range, whilst the high brightness provides optimal lighting needed for ceilings.

The PR series has been developed for excellent in-camera visual effects, allowing virtual assets to be captured in vibrant detail. The 99.9% DCI-P3 colour gamut coverage allows creators to use precise colour reproduction and the capability to display smooth video at a high frame rate, supports innovative virtual production techniques such as frame remapping, realising multi-camera shooting of the same object. Additionally, the PR 1.5 incorporates flip-chip common cathode four-in-one LEDS for high brightness and contrast ratio as well as excellent moiré reduction for improved in-camera performance. Built of carbon composite with an achievable weight as low as 22kg per sq m, the PR has an innovative mechanical design. It offers fast heat dissipation and provides a 16% reduction in power consumption compared with older products. With the customised lock system, users can quickly complete installations including hanging, stacking and other layouts. www.absen-europe.com/virtual-studio

Christie MicroTiles LED

Christie MicroTiles LED continues the legacy of innovation set by the original MicroTiles platform, combining state-of-the-art mechanical design with the development of the most advanced LED technology available. New 0.75mm and 1.0mm pixel pitches add to the existing line-up of 1.25mm and 1.5mm models, and offer increased reliability, efficiency, and enhanced durability. Reliability of the new models has been improved with advanced LED technology, which is easier to maintain and increases the life of the LEDs by dissipating heat more efficiently, and reduces power consumption resulting in Christie’s most energy efficient MicroTiles design to date. The new 1.0mm model features LED encapsulation, which provides a protective surface that improves optical performance for improved black level performance and perceived contrast, and protects the display from dust, dirt and scratches. The increased durability gives the option to design an interactive touch wall. Christie MicroTiles LED deliver superior visual performance with powerful processing including 12-bit input sources, 4K@60Hz, and HDR10 compatibility. The proprietary QuickMount system reduces installation complexity, while the proprietary cabinet-free Click-nGo LED tiles can be arranged in near unlimited configurations. MicroTiles LED are ideal for environments including control rooms, corporate lobbies and meeting rooms, and hospitality and retail applications. www.christiedigital.com

digiLED ZEUS

In a world first, the patent pending digiLED ZEUS (Zero Energy Usage System) technology enables screen owners/operators to control the electrical power to their displays and save money. Addressing the most common snags and complaints with powering giant LED screens, ZEUS, first and foremost, is an energy saving device. Historically, when an LED screen shows black (overnight/non-operational) industry practice is to send a black feed to the display. What’s often not appreciated is that ‘playing black’ consumes substantial amounts of electricity. didLED’s research (across many brands of LED screens) has shown that “playing black”, will still consume 7% to 17% of maximum power draw. Worse still, when comparing it to average, not max power, “playing black” could burn 50% of the average daytime running power. This is wasted energy and performs no useful work – a problem which ZEUS addresses by changing this figure to zero. In an era with rising electricity prices, the financial savings made by managing the screen’s down-time are substantial. In addition, with company’s seeking B-Corp certification, green credentials can be enhanced with measurable hard-data about carbon savings with ZEUS. digiLED ZEUS is available on all digiLED premium products. www.digiled.com

Epidaur Digital FX Series Modular LED Solution

Epidaur Digital, a manufacturer of flexible, durable LED display systems and nextgeneration permanent and temporary immersive digital experiences ideal for retail, hospitality, themed entertainment and commercial projects, has launched its first digital display product line, the FX Series Modular LED Solution. With a focus on adaptability and crafting a unique solution for the industry, Epidaur Digital’s FX Series Modular LED Solution lends itself to eye-catching displays that allow for the quick and easy creation of video walls of any size, shape or configuration. The flexible design allows the panels to follow any combination of flat or curved surfaces, which makes them ideal for unique creative installations, architectural elements and marketing activations. Impact resilient and weather and water resistant, the FX Series Modular LED Solution gives creatives the ability to truly think outside the 16:9 box. The FX Series Modular LED Solution features a magnetic mounting system for easy installation and 6,000 nits of dimmable light.

Setting itself apart from competitors with its 1ft by 1ft module, Epidaur Digital’s newest solution is lightweight, high-bright and is assembled in the United States. www.epidaurdigital.com

INFiLED WT Series

The WT series combines the performance of COB display technology, and is anti-collision, dust and moisture proof for indoor micro and mini fine pixel pitch applications. The WT series adopts a 16:9 standard display ratio, 160° viewing angle, with a high refresh rate of 3840Hz and outstanding 16-bit grayscale, showing extraordinary color expression.

The module can be easily fine-tuned and offers a seamless performance of a superb 4.41T display color and color gamut (DCI coverage) up to 95.97%, which produces an extremely comfortable viewing experience. Moreover, cold screen technology ensured energy saving, extended the product life and improved the near-screen experience. And with its light-weight and slim cabinet design, the installation process of WT series is convenient and fast. It supports front service as well as rear maintenance of receiving cards and power supplies, which significantly reduces maintenance losses. The WT series is the ideal micro and mini-pitch solution for corporate, education, hospitality, control room, studios, digital signage, and many other applications.

www.infiled.com

Leyard DirectLight Pro Series

In a state-of-the-art factory in the heart of Europe, Leyard Europe manufactures various fine pitch series from their LED portfolio to the highest European quality standards. This enables them not only to provide stable prices and short delivery times, but also to reduce carbon footprints and make projects less dependent on international supply chains. The new DirectLight Pro Series is the latest addition to this made in Europe portfolio. The platform will include LED and MicroLED versions with pixel pitches from 0.9 to 1.8mm. With brightness ranging up to 2000 nits on the MicroLED versions. Its full front serviceability and a stackable design eliminates cabinet-to-cabinet cabling and reduces the complexity of installation. Due to its variation of cabinet sizes, the platform can enable faster installations, including even corner setups, while reducing the number of components needed. On-board is an advanced full 5G architecture signal path compatible with different processor platforms, such as the Planar WallDirector, Colorlight and Brompton. For the more demanding installations, the solution can also be made fully redundant due to its on-board n+1 power supply option and redundant signal path. www.leyardeurope.eu

LianTronics THE WOW 3D Display

THE WOW 3D solution is LianTronics’ pioneering glasses-free 3D solution, which is in a unique wave curved shape to deliver spectacular content for viewers and can be applied in museums, art exhibitions, showrooms and educational situations. The WOW 3D LED display solution, which is made up of a seven-sided display with immaculate curvature, produces four cross-screen virtual performance spaces to enhance the depth of field and spatial sense, providing a perfect carrier for 3D visual delivery. As the perfect combination of technological algorithms and aesthetics, The WOW solution optimises the visual field, visual immersion and spatial harmonisation to achieve the ideal fusion of 3D content and LED screen, creating a breathtaking wow-effect visual. THE WOW solution can be engaged with viewers deeper. Cutting-edge technologies, like the Internet of Things (IoT), VR and AR, can be combined to utilise somatosensory interaction and produce comprehensive sensory stimulation. With a self-built professional team of producers who specialise in 3D animation, architectural animation, virtual reality, and film production, LianTronics also offers one-stop 3D content customisation services. www.liantronics.com

ROE Visual Black Quartz BQ3, BQ4, BQ6

The Black Quartz LED panels excel in both structural and visual performance. Sporting an incorporated folding wind-bracing truss, they are the ultimate fast-building solution for any outdoor event. The rigid frame of the Black Quartz LED panels enables flawless connection of even the smallest 3.91mm pixel pitch. The magnesium-based touring frame guarantees optimal handling and transportation and an easy stacking or hanging solution. The highprecision frames are fitted with pixel pitches ranging from 3.9mm to 6.2mm and have integrated edge protection. Black Quartz stands out with an unrivaled visual performance using only the best components. This results in a LED panel that combines high contrast ratio, up to 6,000 nits brightness, and a wide color gamut using Black LEDs. Its high-performance processing cards include functionalities like true natural color, low latency, module calibration, edge correction, HDR10, and high grey scales on low brightness. Using the Common Cathode technology significantly reduces panel temperature. It results in efficient heat-dissipation and reduced color differences in the LEDs, creating a stable and brilliant LED performance with a relatively higher brightness than regular LEDs. www.roevisual.com

YES TECH MG7S Cube

The MG7S Cube series is the newest addition to YES TECH’s best-selling MG series. Its versatility and universality have created countless amazing stages. Through seamless splicing, the product offers vivid visuals and countless design possibilities. Featuring a revolutionary design, it will redefine stage performance.

MG7S Cube series not only inherits the characteristics of the Magic Stage products, such as multi-use, various shapes, but also has a three-dimensional and variable splicing shape with high-end technology. Through the new upgraded right angle connector, MG7S Cube series can quickly complete right angle or large-screen splicing. Combined with supporting connectors, it can achieve numbers, letters, graphics and other hundred creative shapes to create a more spatial sense of different stage shapes. Adopting linear secondary adhesion process, the thrust of lamp beads is increased by 100%, which is three times of the thrust of conventional products of the same level. With a protection level of IP65, the MG7S Cube series is physically stable enough to withstand both low temperatures for the Beijing Winter Olympics and high temperatures for the Dubai World Expo. Furthermore, it has strong environmental adaptability to meet the needs of indoor and outdoor use.

www.yes-led.com

UpadIV is a high-end, lightweight product, utilising die-cast magnesium to make the weight of a single cabinet 6.3kg. This lightweight factor can save customers both transportation and labour costs. In addition, a UpadIV cabinet which adopts the automatic hanging lock design with magnetic suction can improve construction efficiency. The four corners of UpadIV adopt a fully automatic edge protection design, which provides full, automatic protection for the corners of the cabinet during transportation, handling, and installation. UpadIV supports the range of arcs from -5° to 10°, and when it comes to maintenance, its modules and control cabinets can be maintain modularly, and support full front and rear maintenance.

UpadIV can support the DDC function to realise one-click switching between highbrightness and low-brightness modes, and also has F version (virtual shooting version), which is tailored for virtual shooting, reaching 7680 Hz high refresh rate, 16bit high grey scale, and more than 95% DCI-P3 high colour domain, which meets to the usage scenarios of VP domain.

www.unilumin.com

Unilumin UpadIV

1. Powersoft UNICA

Powersoft launched their third generation fixed-install amplifier platform, UNICA, at ISE and is the company’s most advanced amplifier, leveraging next-generation, cloud-based technology to provide a safe, consistent user experience for any size of install. With an eye firmly on future requirements, UNICA promises users simple integration, straightforward configuration and low maintenance costs well into the future, all in one easily upgradable and futureproof package. The UNICA range comprises three four-channel (UNICA 9K4, 12K4 and 16K4, with 9,000W, 12,000W and 16,000W respectively) and three eight-channel models (UNICA 2K8, 4K8 and 8K8, with 2,000W, 4,000W and 8,000W). www.powersoft.com

2. Eliminator Lighting Vortex

Designed to get any party started with a blaze of color and movement, Eliminator Lighting’s Vortex is a compact and lightweight entertainment lighting fixture that offers an impressive output. Combining a potent GOBO flower effect with a rotating mirror barrel, it generates myriad sharp pattern projections that together produce a room-filling effect. It is ideal both for permanent installation in all kinds of entertainment venues, as well as for use by mobile entertainers and performers. At the heart of the Vortex is an efficient 80W white light LED engine, which is positioned behind a combined color and GOBO wheel. This offers a selection of 10 color and GOBO pairings – including open white, a beam reducer and a multicolored pattern – which have been carefully selected for generating both aerial beam effects and intricate surface pattern projections. A manual focus knob is located on the rear of the fixture, which can be used to ensure sharp GOBOs at variable projection distances. The Eliminator Lighting Vortex is available now from ADJ dealers worldwide. www.adj.com/vortex

3. Tasker Cables Cable Sheaths

Tasker is continuously researching and developing new products with innovative construction materials for various audio and video applications. Every Tasker cable can be produced with different sheaths depending on the specific application. In the music market the soft PVC cable with a low number of shores is often favoured, whereas other situations call for the flexibility and mechanical resistance of Polyurethane (PUR) material. This is considered a highly versatile material thanks to its high resistance to cutting, abrasion and trampling, UV rays, water, chemical and atmospheric agents and also for being flame retardant and halogen free. It is also perfect for continuous winding and unwinding, maintaining an excellent operating temperature of -40 / + 80ºC. www.tasker.it

4. CONTRIK Power distribution range

Neutrik UK has introduced the CONTRIK range of professional power distribution products, extending the Neutrik Group’s product offering with a portfolio of power distribution systems, innovative equipotential bonding systems and premium-quality power cables, specifically designed and specified for portable indoor and all-weather harsh application environments. Employing automated precision manufacturing processes within the EU, together with high-quality components and materials, CONTRIK systems offer unsurpassed levels of quality, safety and reliability, and provide for reductions in cabling costs, complexity and man-hours. Carefully designed housing concepts ensure high levels of protection, and ease of handling and transportation.

CONTRIK’s exclusive Easylen housing material uniquely provides high levels of flame retardancy, temperature resistance, UV protection, corrosion insensitivity, non-conductivity, and protection from mechanical impact (up to IK 10+).

www.contrik.com

MAVERICK IDEAS FULLY IMAGINED

Meet us at

Hall 12.1 Stand E21

THE PLATFORM WITH THE AMPLIFIER ON BOARD.

THE PLATFORM WITH THE AMPLIFIER ON BOARD.

So capable. So Unica.

Unica will have a fresh-out-of-the-box feel throughout its life, and it will be possible to integrate features and functionalities down the line, making it truly futureproof. Proving the engineering efforts undertaken in the development of this platform are 5 registered patents.

Unica cloud based amplifier platform. Unlock the power of consistency.