MONDO-DR 34.1 by Mondiale Media

N O V E M B E R / D E C E M B E R 2 02 3

AVIVA STUDIOS MULTIPURPOSE VENUES PROJECTORS & MEDIA SERVERS

L SERIES

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MONDO-DR 34.1 NOVEMBER / DECEMBER 2023

RELENTLESS HIGH QUALITY PERFORMANCE

ON THE COVER Aviva Studios, Manchester, courtesy of Factory International. Photo by Tristram Kenton. EDITOR Todd Staszko t.staszko@mondiale.co.uk EDITORIAL ASSISTANT Daisy Thorogood d.thorogood@mondiale.co.uk SENIOR ACCOUNT MANAGER Laura Iles l.iles@mondiale.co.uk ACCOUNT MANAGER Cameron Crawford c.crawford@mondiale.co.uk ACCOUNT EXECUTIVE Katie Williams k.williams@mondiale.co.uk MARKETING & EVENTS MANAGER Alice Clarke a.clarke@mondiale.co.uk DESIGN & PRODUCTION Mel Capper, Dan Seaton, Jez Reid DIGITAL CONTENT MANAGER James Robertson j.robertson@mondiale.co.uk EDITORIAL DIRECTOR Peter Iantorno p.iantorno@mondiale.co.uk CEO Justin Gawne j.gawne@mondiale.co.uk FINANCE DIRECTOR Amanda Giles a.giles@mondiale.co.uk CREDIT CONTROL ar@mondiale.co.uk GROUP CHAIRMAN Damian Walsh MONDIALE PUBLISHING Strawberry Studios, Watson Square, Stockport SK1 3AZ , UK Tel: +44 161 476 8340 Fax: +44 161 429 7214 ANNUAL SUBSCRIPTION RATES (7 ISSUES) UK: £30.00 / Europe: £50.00 / Rest Of World: £65.00 Two year rates are available on request. Subscribe online at www.mondiale.co.uk or call +44 (0)161 476 5580 ISSN: 1476 4067 Mondo DR (ISSN 1476 4067) is published in January, March, May, July, September, November and December by Mondiale Publishing Ltd, Strawberry Studios, Watson Square, Stockport, SK1 3AZ, UK Subscription records are maintained at Mondiale Media Ltd, Strawberry Studios, Watson Square, Stockport, SK1 3AZ, UK

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

FRO M TH E E DI TO R... As the year draws to a close, we’re delighted to bring you another jampacked issue in which we’ve covered a whole range of spectacular venues and projects. Our cover story is on the exciting new multipurpose facility, Aviva Studios, in Manchester, and joining me on that venue walk-through was the newest member of the MONDO-DR team, Editorial Assistant Daisy Thorogood, who joined the team earlier that week. We also take a deep dive into the recently opened BBC Earth Experience in Melbourne and the revamped venues inside the Royal Shakespeare Company’s main location. In addition there’s a profile on Autograph Sound on its 50th anniversary and a report from the 60th anniversary celebrations for FBT in Italy. We also feature an Inside View from DPA Microphones and a discussion piece from integrators and consultants Stouenborg. We look at the technology driving multipurpose venues in our Report, and the Product Guide casts its eye on the world of Projectors and Media Servers. Enjoy the issue. TODD STASZKO EDITOR

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IN THIS ISSUE. .. 10

BEELD EN GELUID INSTITUTE Hilversum, Netherlands

FROU FROU Lisbon, Portugal

MINNESOTA ZOO Minnesota, USA

SRI KRISHNA JANMABHOOMI TEMPLE Mathura, India

FOCUS 22

REPORT Multipurpose venues

THE BIG INTERVIEW Bryan Hinckley, CEO, 7thSense

SEAWORLD Abu Dhabi, UAE

FULL UP CLUB Florence, Italy

ROYAL SHAKESPEARE COMPANY Stratford-upon-Avon, UK

TREETOP GOLF Gateshead, UK

AVIVA STUDIOS Manchester, UK

BBC EARTH EXPERIENCE Melbourne, Australia

TRANS STUDIO MALL Makassar, Indonesia

BUSINESS 92

SHOW REPORT IBC, Amsterdam, Netherlands

HK AUDIO DISTRIBUTOR MEETING Bangkok, Thailand

COMPANY PROFILE Autograph Sound

100

INSIDE VIEW DPA Microphones

102

IN DISCUSSION Stouenborg

104

FBT 60TH ANNIVERSARY Recanati, Italy

106

LINEA RESEARCH GETS KING’S AWARD

108

LDI PREVIEW

110

IN DETAIL Innovox Audio, LD Systems

114

PRODUCT GUIDE Projectors & Media Servers

124

PRODUCT DIRECTORY

CONT E NT S | W W W. M OND OD R . CO M

I N B R I E F - E M E A | W W W. M O N D O D R . C O M

IN BR IEF

Pharos makes headlines at Holland’s Media Museum A substantial number of solutions from Pharos Architectural Controls are performing two distinctive roles in the operation of the Media Museum at the Beeld en Geluid (Sound & Vision) Institute in Hilversum, Netherlands. The first role is all about lighting control. The museum’s space is configured into several themed pavilions, which all utilise Pharos Designer LPCs (Lighting Playback Controller) to control the lighting which includes the overhead fixtures and the linear lighting that is built into the furniture. The second Pharos role focuses on LED pixel array control. The museum’s Media Reactor (pictured), displays a constant stream of media that surrounds the audience and connects all the themed pavilions together, representing the constant flow of media we encounter in our daily lives. Here, 380 sACN universes are controlled by a Pharos Designer VLC 500 (Video Playback Controller 500) with content – which is a mixture of archive and user-generated – captured from an FHD live video output of a disguise media server. An additional three VLC 50s are used for more localised dynamic LED pixel screens, such as the audiovisual wall in the Games Pavilion. A Pharos Designer TPC (Touch Panel Controller) completes the control system at the Media Museum, offering vast design potential with a fully integrated user interface utilising a single PoE network connection. www.pharoscontrols.com

W EDNE S D A Y 1 2 T H J U N E 2 0 2 4 LAS VEGAS

M E E T THE J UD G E S !

BROCK M CG I N N I S P RI N CI P L E AVI T AAS CAN ADA

BECKY DALEY STAGELIGHTING CONSULTANT CHARCOALBLUE UK

LAUREN ROGE RS S E NIOR PROD UCER BILD S TUD IOS UK

ROS A N I G O ME S ARCHITE CT & LIG H TIN G D E S IG N E R C E O ILUMIN E E D E C O R E B R A Z IL

AKARI -L I SA I SH I I LIGHTING DESIGNER & PRINCIPAL I . C. O. N FRAN CE

S IMON FRAS E R MANAGING D IRE CTOR P T ARMIGAN INTERGRATION HONG KONG

ROBERTA MCHATTON OW NER LAS E R S AFETY S ERVICES UK

ROBER T H O FK A MP BUSINESS DEVELOPMENT MANAGER GLOBALAVGROUP CANADA

M AL L EKAAS CEO AN D CO-FOUN DER, L I VE SOUN D EN G I N EER WOM EN I N L I VE M USI C (WI L M ) DEN M ARK

CRIS TINA MARTINEZ SEN I O R LIGHTING D ES IGNE R & PROJ ECT MANAGER ACTLD S PAIN

S COTT W ILLS ALLE N D IRE CTOR AUD ITORIA AUS TRALIA

MICHA E L N IS H B A LL PR IN C IPA L THEAT R E PR O J E C TS US A

S UP P O RT E D B Y

O R G ANI SE D BY

IN B R I E F N eum a n n l o u d s p e a k e r s p r ov ide i m m e r s i ve dining e xp e r i e n c e a t F r ou F r o u P hot o: Pedro F errei ra .

I N B R I E F - E ME A | WWW.M O ND O D R .CO M

Diners at the recently opened JNcQUOI-owned Frou Frou restaurant in Lisbon are treated to a surround sound ambiance, thanks to a sound reinforcement concept developed by producer/sound designer Hovannes K. in collaboration with Neumann. Inside guests are provided with sound via 24 ceiling-mounted Neumann KH 150 bi-amplified monitors and four Neumann KH 750 DSP subwoofers. For DJ and live performances, two powerful Neumann KH 420 tri-amp midfield studio monitors are also available. Multichannel digital-toanalogue conversion is handled by two Hapi MKII interfaces from Merging Technologies, which receive digital audio signals from a Q-SYS Core Nano processor. During normal restaurant operation, guests are immersed in multichannel ambient music at moderate volume. Lounge music can be heard from 8pm to 11pm at a level of about 75 dB SPL. On his search

to find loudspeakers that met the project demand, Hovannes stated: “I became aware of the Neumann KH Series through sound engineer friends, and from the first moment I listened to a pair I was overwhelmed by their outstanding clarity. Finally, I had found speakers that were able to translate the music’s emotion in the way that I had always imagined.” The loudspeaker constellation was calibrated using Neumann MA 1 Automatic Monitor Alignment, a solution consisting of a measurement microphone and software to ensure optimal sound in any environment by applying room correction profiles in the DSP-loudspeakers. The alignment was carried out by Markus Wolff, Co-ordinator Development Studio Monitor Systems, Neumann, with usage scenarios stored in the system as presets, such as normal operation, dance floor, or live performance. www.neumann.com

IN B R I E F

R enkus - He i n z U B X l oud s p e a k e r s r e a c h n e w h eigh ts a l o n g M i n n e s o t a Z oo’ s T r e e t o p T r a i l The Treetop Trail reimagines what it means to visit the Minnesota Zoo. As of October 2023, it stands as the longest elevated pedestrian path in the world, and the 1.25-mile Treetop Trail brings guests up to 32 feet into the canopy, offering a breathtaking birds-eye view of the zoo and animals below. There are several lookout areas along the trail, where visitors can learn about the surrounding areas and can hold small-scale musical performances, and 18 Renkus-Heinz UBX4 loudspeakers are installed across the lookouts along the trail, with each lookout ranging from 8m to 30m in width. The UBX4 features a compact, slender cabinet, making blending into an immersive environment like the Treetop Trail easy. Despite its compactness, it still delivers precise vertical pattern control and an unmatched combination of features for a loudspeaker of its size. The UBX Series brings the precise coverage and high intelligibility of RenkusHeinz’s ICONYX loudspeakers into the realm of passive column arrays. UBX Series contains Passive UniBeam Technology, which addresses each transducer with specially designed all-pass filter networks, gain shading, and additional frequency filtering. This generates an asymmetrical vertical dispersion with constant directivity, delivering consistent front-to-back coverage. All models in the UBX Series are weather-resistant (IP64) out of the box with the included gland nut-protected input cover. The included 70/100V transformer, wall-mount bracket and standard weather resistance make UBX loudspeakers simple to integrate into any system design, whether indoor or outdoor. “I think the Treetop Trail is going to be an extraordinary addition to the Minnesota Zoo, and I’m really excited that Renkus-Heinz gets to play a role in this experience,” concluded Jiggs Lee, a consultant from the trail’s AV designers, True North Consulting Company. www.renkus-heinz.com

I N B R I E F - A M E R I CA S | WWW.M O N D O D R .CO M

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IN B RI E F

C h r is tie G r i f f y n Ser ies p ow e r s s o n e t lum ièr e a t S r i Kr i s h n a Ja nm a bh oo m i T e m p l e i n M a th ur a w i t h sp ecta cul a r vi s u a l s

Christie Griffyn Series RGB pure laser projectors illuminated the façade of the Sri Krishna Janmabhoomi Temple for a spectacular son et lumière that pays homage to the legends of Lord Krishna. Situated in Mathura, the temple is regarded as the birthplace of Lord Krishna, one of the most revered divinities in Hinduism, and the nightly 40-minute show which portrays Lord Krishna’s life as a symbol of tenderness, patience, compassion, and love, was inaugurated by Agra’s chief minister, Yogi Adityanath. The presentation was accomplished with eight Christie Griffyn 4K32-RGB pure laser projectors, installed and commissioned by Modern Stage Service. “We are delighted to have partnered with Christie, strategically deploying the Griffyn Series projectors in weatherproof enclosures for this son et lumière,” commented Kartik Wadhwa, Director of Modern Stage Service. Rishubh Nayar, Sales Director for India, Enterprise, Christie, added: “The Griffyn Series projectors not only bring historical narratives to life, but they also showcase the immense potential of visual artistry at the sacred site, enriching the spiritual and cultural experience for countless pilgrims and visitors.” The selection of the Griffyn Series for this project was a simple choice, given its track record of illuminating large-scale venues across India. This son et lumière continues the installment’s history of success. “Light and sound show at the Sri Krishna Janmabhoomi Temple is a testament to the power of storytelling through projection technology,” concluded Nayar. www.christiedigital.com

I N B R I E F - A PA C | W W W. M O N D O D R . C O M

EX P O DIARY N O VEMBER

J AN UARY

NOV

JAN

15-17

NOV 21-22

NOV

29-30

LIGHT23 LONDON www.lightexpo.london

JTSE PARIS jtse.fr

15-17

JAN

25-28

JAN 30-2

CUE ROTTERDAM cue.nl

NAMM ANAHEIM namm.org

ISE BARCELONA iseurope.org

DECEMBER

FEB RU ARY

DEC

FEB

3-5

DEC 6-8

INTERBEE TOKYO inter-bee.com

LDI LAS VEGAS ldishow.com

THE CONFERENCE LIVE LITITZ, PA theconferenceliveatlititz.com

E XP O D I A RY | WWW.M O N D O D R .CO M

TPI AWARDS LONDON www.tpiawards.com

F OC U S

REPORT Multipurpose venues

THE BIG INTERVIEW Bryan Hinckley, CEO, 7thSense

SEAWORLD Abu Dhabi, UAE

FULL UP CLUB Florence, Italy

ROYAL SHAKESPEARE COMPANY Stratford-upon-Avon, UK

TREETOP GOLF Gateshead, UK

AVIVA STUDIOS Manchester, UK

BBC EARTH EXPERIENCE Melbourne, Australia

TRANS STUDIO MALL Makassar, Indonesia

FOC U S | W W W. M OND OD R. C OM

M U L T I P UR P O SE V E NUE S Upgrades and en h a n c e m e n t s i n f l e xible s p a c e s a c r o s s t h e g lobe .

R E P O R T - M ULTI PU RPO SE V E N UE S | WWW.MONDODR.COM

UNITY COMPANY: Genelec LOCATION: Helsinki and Tampere, Finland

An new brand born in the Nordics, UNITY is designed to integrate work and life while developing a strong sense of community, offering busy professionals everything they need under one roof – fully furnished accommodation; a variety of workspaces from private offices and conference rooms to creative co-working areas; a fully equipped gym; event spaces; an elegant lounge and bar, and, in some locations, a rooftop terrace. With seven locations throughout the region, the most recently opened – Helsinki and Tampere – are equipped with Genelec sound systems in the public and function areas, including a Smart IP system in the Helsinki location – all specified and installed by specialist Espoo-based AV integrators, AVconcept Oy. “The brief was to create a welcoming atmosphere with a distinct signature for the UNITY brand and bring it to life with high-quality audio,” explained Tina Kaikkonen, General Manager for UNITY Finland. “We have a DJ group in Denmark – Tunebutler – who have created playlists for the entire UNITY group, so that we have a consistent audio signature across the brand wherever you are.” In Helsinki, a further requirement was to create different audio environments for the lobby; a multipurpose space dubbed a ‘barception’ as, in addition to reception, it includes a café-bar and lounge, plus a half-mezzanine that offers an open-plan co-working area. “We needed to be able to manage this area easily and ensure the right type and levels of audio depending on mood and the time of day,” noted Kaikkonen. “The café has louder music, especially in the evening when it also functions as a bar and events space, but we needed to ensure that this doesn’t spill over into the co-working areas to the point where guests would be disturbed – we preferred to provide just enough high-quality background mood music so they don’t feel as if they’re working in a church! As for reception, the music needs to act as a sound barrier, enveloping the guests so that conversations

with team members remain private.” AVconcept opted for Genelec Smart IP networked loudspeaker systems throughout the lobby ‘barception’ – specifically two 4420s and two 4430s. There are also a pair of 4430s in the gym and four 4430s plus a 7050 sub in the panoramic rooftop events space – which is also capable of hosting a DJ. The flexible meeting rooms are equipped with Genelec’s ubiquitous 4000 Series loudspeakers for ease and convenience, with a pair of 4020s in each space. “We wanted to offer the best audio solution that serves the customer’s purpose most efficiently,” explained AVconcept CEO Harri Kiukas. “Genelec is the ideal solution, as it’s a high-quality Finnish brand that combines premium audio with aesthetic appeal. All their solutions are active, which eliminates the need for bulky external amplifiers, and the Smart IP solutions which deliver power, audio and control over a single CAT cable are great for facilitating cable planning – and reducing cabling overall – and offer flexible loudspeaker placement. We used Genelec’s Smart IP Manager software to set up and calibrate the systems.” In Tampere, the brief was slightly different as the lobby is separate from the function space, while for the events space the brief was more complex as it is a large space that can be split into several separate meeting rooms, or used as a single events space. Finally, the Tampere location also benefits from a large café/restaurant fully equipped with a Genelec loudspeaker system. In this instance, AVconcept decided on a 4000 Series solution throughout, with four 4020s providing ambience in the reception area, eight compact 4010s throughout the café/restaurant, whilst the events/function space benefits from eight of the powerful 4040 loudspeakers. AV control throughout both sites is managed via Extron over a Dante network, with local control provided by Extron’s AV control panels which offer easy, straightforward source selection and level control. www.genelec.com

Regat ta Grove COMPANY: 1 SOUND LOCATION: Miami, USA

Breakwater Hospitality Group – the Miami-based team behind hotspots like The Wharf, Carousel Club, and John Martin’s – unveiled its latest concept, Regatta Grove, in Coconut Grove’s Regatta Harbour, this summer. The gathering spot offers four culinary outposts by Michelin-starred and James Beard Award-nominated chefs, live entertainment, and impressive waterfront views. Regatta Grove is uniquely situated on an approximately one-acre waterfront property. The venue features multiple decks, a walkway to the waterfront, direct access to the marina, and even dockage for guests who would like to arrive by boat. Green lawn areas for entertainment and wellness programming surround the space. “What sets Regatta Grove apart from any other venue in Miami is the uniqueness of its location,” said Alex Mantecon, co-founder of Breakwater Hospitality Group. “The venue is inspired by the essence of the sailing and boating community we all grew up enjoying in the neighborhood. As Miami locals, we have an immense appreciation for this community and wanted to create a one-of-a-kind experience that will resonate with the people of Coconut Grove.” DRVCS Productions came to 1 SOUND after experiencing an outdoor 1 SOUND Demonstration in Miami, and specified 1 SOUND’s premium IP55-rated loudspeakers for this stunning outdoor venue

R E P O R T - M ULTI PUR PO SE V E NUE S | WWW.MONDODR.COM

on the water. The venue boasts three large outdoor bars, and a capacity of nearly 1,000 people. The large main bar sits under an open structure made from a repurposed 20,000 sq ft aeroplane hanger, designed by architect firm, CUBE 3. Here DRVCS installed Tower LCC44s in white on the column posts utilising the Wall Bracket accessory. The Tower columns provided even coverage with their wide 120-degree dispersion pattern and hit support the target SPL levels for the energetic atmosphere. For the bass, six CSUB610s were placed in this space, making it an ideal audio design for resident DJs as well. For music playback in the rest of the entertaining spaces and seating areas Cannon C5s were utilised. Some were placed in garden beds and aimed toward the seats using dedicated C-Clamp accessories. The food stations Cannon C5s were mounted on the face of the built structure with a C-Clamp. For one of the bars two Cannon C6s were utilised to provide a little more impact. The Cannons extended low end, small form factor, amount of SPL, and their high-fidelity sound quality make them a great and versatile loudspeaker that can stand alone for music playback. Like the loudspeakers used in this installation, all 1 SOUND loudspeakers are IP55 rated and have stainless steel accessories available. www.1-sound.com

No single production company provides more exciting opportunities for its technicians!

HIRING

the Following Roles ·Entertainment Lighting Technicians ·Entertainment Sound Technicians ·Entertainment Performer Flying Support ·Technical Stage Staff

Vi k i ng Glo r y COMPANY: L-Acoustics LOCATION: Baltic Sea

Making waves in the industry, Finnish distributor Intersonic Ltd. delivered L-Acoustics A- and X-Series loudspeakers to a technologically advanced cruise ship in the Baltic Sea. Owned and operated by Viking Line Abp, Viking Glory is an addition to Viking Line’s fleet; the ship makes daily voyages between Stockholm, Mariehamn and Turku. On board is an L-Acoustics sound system. “We were thrilled when Viking Line contacted us about supplying an audio system for their new vessel,” said Jorma Tikka, Intersonic’s Sales Manager. The Intersonic team worked closely with Viking Line’s AV Manager, Tuomas Sointula, and Project Manager, Aki Parkkila, designing the L-Acoustics sound system that provided balanced audio across eight areas of the ship: the Vista Room Club, Vista Lounge, Torget, Algoth’s Bar, Kobba Restaurant & Bar, Fyren private restaurant, the market, and conference space. In the Vista Room Club, four A15 Wide, an A10 Wide, two X8, 17 5XT and four KS21 subs, powered by seven LA4X amplified controllers, offer top-quality live music experiences. The audio at the Vista Lounge area is served by two X8 cabinets as well as an SB15m high-power ultracompact subwoofer, powered by two LA4X. Torget is Viking Glory’s social hub, holding a large LED screen in the centre of the space, extending over two floors. The sound is delivered by an X8 sound system, which offers exceptional coverage capability throughout the entire space in an aesthetically pleasing package. The

R E P O R T - M ULTI PUR PO SE V E NUE S | WWW.MONDODR.COM

audio setup comprises eight of the X8, three 5XT, and four Syva SUB speakers, powered by four LA4X. In Algoth Niska’s bar, guests can enjoy an extensive menu of cocktails in style, thanks to the L-Acoustics X8 speakers and SB15m subs. The relaxed atmosphere of the bistrostyle restaurant, Kobba, is complemented with discreet X8 cabinets, while the Fyren private restaurant has four 5XT. Viking Glory’s new conference facilities feature 14 flexible conference rooms that can accommodate up to 400 people, all featuring cutting-edge technological solutions, including a top-class sound system delivered by 12 X8 cabinets and two SB15m subs, amplified by two LA4X. Intersonic’s system designer, Pauli Molnár, commented that he deployed an L-Acoustics P1 processor and M1 software to calibrate and tune the system. “I have used the M1/P1 system for all my calibrations since it became available. The entire journey from using L-Acoustics Soundvision, with its quality indicators and Autosolvers, to M1 and all the tools available in Network Manager, is now all part of the integrated service that L-Acoustics delivers and which we find exceptional.” Sointula concluded: “We are very pleased to bring the industry-renowned L-Acoustics sound signature to the Viking Glory, making it the first ship in Viking Line’s fleet to have an L-Acoustics sound system integrated throughout the vessel. The sound quality of the system matches the highest standard of this ship’s facilities and is so versatile.” www.l-acoustics.com

Fog is our passion!

O l d R oy a l N ava l Col l e g e COMPANY: Pharos LOCATION: Greenwich, UK

Cobra 3.1

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

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This former college is the heart of Maritime Greenwich, recognised by UNESCO as a World Heritage Site. The Wren domes, the two domes that sit above the chapel, are prominent features; therefore, it was decided to focus on their lighting first. Light Perception was commissioned to develop a new lighting scheme, for which they chose to partner with Pharos Architectural Controls. The control element of the lighting scheme is delivered through a Pharos Designer TPC & EXT (Touch Panel Controller and Extension). Pharos Cloud is also used for simple, secure remote control and management of the lighting. A sleek touchscreen device, the TPC offers a fully integrated user interface and vast design potential. Utilising a single Power over Ethernet (PoE) network connection, the 4.3” touch panel is customisable, offering excellent capacity with 512 channels of eDMX output. The Pharos Designer EXT is an extension for the TPC. Together, these two solutions form a standalone, mains-powered lighting controller with versatile output and show control options. The control system design was supplied and commissioned by Maria Jenkins of Experience Lighting. As a Pharos dealer, Experience Lighting have a comprehensive understanding of the best Pharos controls for each project. Ryan Sainsbury, Regional Sales Manager for the UK at Pharos Architectural Controls, commented: “Pharos takes great pride in working on heritage projects as they help us to celebrate our past while securing their relevance for the future. The new lighting at the Old Royal Naval College has truly enhanced the stunning Wren domes and allowed the architecture to become even more iconic when viewed from the river. It’s wonderful to know that Pharos has played a role in the successful upgrade of this world-renowned site.” Ray Faithful, Head of Facilities at the Old Royal Naval College, said: “The capability we now have to illuminate the Wren domes and use this great effect is a wonderful addition to our historic site. The system is easy to use yet incredibly effective; we are all delighted with the results.” Bruce Kirk, Director at Light Perceptions, added: “The Old Royal Naval College has great historical significance; it needed a careful approach to enhance the buildings without detracting from the beauty of the architecture. “It is always a pleasure to work with Pharos. Their expertise and innovative control solutions ensure that a lighting scheme can be brought to life and adapt to changing requirements,” concluded Kirk. www.pharoscontrols.com

See you at JTSE, #6

+ WORKFLOW – FOOTPRINT Bana na Bl o c k COMPANY: Martin Audio LOCATION: Belfast, UK

Banana Block, a captivating community space, made its debut in October 2021 as a part of an extensive neighbourhood revitalisation initiative. A thriving ecosystem of local talents and diverse activities, this dynamic venue stands as a living testament to the area’s storied past. Its versatility goes beyond daily activities, as it plays a pivotal role in East Belfast’s artistic and entertainment scene. The venue regularly welcomes various events. Conleth McGillan, Production and Programming Manager behind Banana Block, shared that the space is “all about upskilling people from the community, especially those who might not have had opportunities elsewhere.” As the demand for events grew, Banana Block needed a sound system that could adapt to different function sizes and styles. Turning to Rea Sound for assistance, a point source solution from Martin Audio was selected for the install. Roger McMullan, Director of Rea Sound, commented: “We knew the Martin Audio XD15 / SX118 system would be ideal for the Banana Block.” The resulting setup included a range of top-tier components to transform Banana Block’s soundscape: Martin Audio XD15 tops, known for their high-performance capabilities, were chosen to deliver crystal-clear sound, ensuring that the audience could immerse themselves in the full richness of the music or performance. To complement the tops, alongside adding depth and bass to the audio experience, Martin Audio SX118 Subs were integrated. For both aesthetic enhancement and equipment protection, wooden front covers enclosed the subs, while fully enclosed padded covers were employed to safeguard the tops during transport and storage, all while preserving their pristine appearance. To maintain precise control over the audio signal, a Martin IKON IK42 4-Channel DSP Amplifier, a high-quality digital signal processor (DSP) amplifier, was included. The amplifier was housed in a flight case with a shock mount to safeguard it during transit and handling. Additionally, a K&M 500mm M20 Pole was provided for optimal positioning of the tops at the desired height. With the Martin Audio system in place, Banana Block now confidently hosts a wide range of events with exceptional audio quality. The system’s flexibility allows it to adapt to events of all kinds, whether it’s a small acoustic performance or a high-energy dance party, ensuring that performers can shine, and audiences can fully immerse themselves in the experience. McGillan concluded: “The whole journey has been a game-changer for us as a startup, enabling us to extend our support and services even further. I’m grateful to Martin Audio for allowing us to explore a wider sound experience, which fuels our excitement about the possibilities for the future and the significant impact we can have on the local creative scene.” www.martin-audio.com

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Butlin’s COMPANY: Sennheiser LOCATION: Bognor Regis, Minehead, and Skegness, UK

Sennheiser Digital 6000’s audio quality is helping transform Butlin’s resorts into top event and conference destinations alongside stateof-the-art audio and video equipment, supplied by Sound of Music. Renowned as one of the most well-known holiday destinations in the UK, Butlin’s offers action packed family breaks, adult only Big Weekenders and memorable conferences and events. To enhance the overall guest experience, Butlin’s has partnered with Sound of Music, a top-tier technical production and AV hire company, to introduce industry reference Sennheiser Digital 6000 wireless microphone systems across all three resorts. In addition to providing exceptional audio quality, the rider-friendly Digital 6000 offers unparalleled flexibility and versatility for hosting events of varying sizes in Butlin’s entertainment venues. Whether it is a large conference or an intimate gathering, Digital 6000 can be easily adapted to meet the needs of any event. Andrew Sugg, Technical Entertainments Manager at Butlin’s, was first introduced to the Digital 6000 just before the COVID-19 pandemic began. The team were experiencing interference issues, so Kevin Gwyther-Brown, Sennheiser UK’s Business Development Manager, visited Butlin’s resort in Minehead, Somerset, to perform a demo. The system’s flexibility in terms of RF was immediately apparent with positive feedback received from the internal teams operating the equipment in the Centre Stage venue. With Studio 36, a new entertainment venue, opening at all three resorts this convinced Sugg to go with Sennheiser. “Each resort has four entertainment venues, so our aim was to standardise the audio equipment across our three sites,” Sugg explained. “We wanted a system that gives us scope to grow and is versatile, and Digital 6000 does exactly that. With Digital 6000, we have consistency in all the entertainment venues across our resorts. With the high calibre of performances we put on we’ve invested in the future by using a professional grade system that is well known in the industry.” The implementation of Digital 6000 systems also resolved the issue of wireless interference. Sugg adds, “We’ve received positive feedback from the team, and the systems have been highly reliable.” The Butlin’s resorts in Bognor Regis, Minehead, and Skegness have also been equipped with an extensive range of Sennheiser products. These include EM 6000 Dante Receivers, SKM 6000 Handheld Transmitters featuring MMD 935 and 965 capsules, SK 6000 and SK 6213 Bodypack Transmitters, along with HSP 4/3 Headworn

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Microphones, L 6000 Chargers and Charging Modules, and AD 3700 Antennas. Additionally, the Sound of Music team has supplied SR 2050 IEM Transmitters, EK 2000 IEM Receivers, AC 3200-II Antenna Combiners, and A 5000-CP Antennas to all three resorts. Sugg notes that investing in a reliable and high-end audio system has the added benefit of alleviating concerns about accommodating visiting artists and bands. To ensure they can meet everyone’s needs during family breaks and Butlin’s Big Weekends, the team wanted to be as rider friendly as possible. Ed Gamble of Sound of Music shares Sugg’s perspective. “Digital 6000 ensures a smooth transition for visiting artists and bands, reducing change-over times and eliminating the need for the artists’ technical teams to bring unnecessary audio equipment with them. The industry standard quality of Digital 6000 is widely recognised, which makes it easier for everyone involved,” said Gamble. Sugg enthusiastically added: “We can switch from family-friendly shows and adults only Big Weekenders with multiple live performances or a conference, and with multiple shows throughout the day, we can run for up to 16 hours a day, seven days a week. As a result, the duty cycle of the Digital 6000 was crucial for us. Being the home of entertainment, we need to ensure that we use the best technology so that our guests have the best experience whether that’s on a family break, Big Weekender or delegates attending a corporate conference. “Sound of Music’s involvement did not stop at the point of delivery and installation of the microphones,” continued Sugg. “They worked to bring the entire AV setup together, delivering everything on time and integrating it professionally within the venues’ existing AV ecosystems.” Part of the AV setup included an extensive video and lighting package from CHAUVET Professional and a NEXO sound system comprising GEO M12 line arrays, MSUB18 subwoofers, and P8 and P12 loudspeakers set as front fill and out fill respectively. Looking into the near future, Sugg is enthusiastic about recruiting new team members to maintain the equipment and support Butlin’s resorts with its extensive events programme, and one of Sugg’s key objectives includes continuing developing close relationship with Sennheiser by offering in-house training with the audio manufacturer’s team. www.Sennheiser.com

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The Mo o n P a l a c e COMPANY: Robe LOCATION: Riviera Maya, Mexico A r m a n d o Ma n j a r r e z, Te chn i ca l D i recto r, Qu an tu m

The Moon Palace is one of the biggest and busiest hotel and conference centre complexes on Mexico’s sought-after eastern coast Riviera Maya region, just south of Cancun. Owned by Palace Resorts, the property offers three large indoor conference and event centres, three substantial outdoor terraces, and a beach venue. All these spaces are operated via umbrella company Palace Productions. Armando Manjarrez is the technical director of Quantum, Palace Productions’ technical services enterprise. Quantum owns substantial amounts of lighting, audio and video kit, and has several types of Robe moving lights in the inventory, the latest purchase being 24 ESPRITES, with two RoboSpot systems and FORTE Follow Spots on their way. Needing to expand their inventory, Manjarrez said: “We wanted an LED product and a profile / theatrical type luminaire with stuttering, barn doors, great colour mixing and of course a good output as well as a fixture that was camera-friendly.” After performing successfully in testing, ESPRITES were delivered by Robe’s Mexican distributor, Showco, and were put into use across all Moon Palace’s different venues. For larger shows, the lighting designs will often be created and delivered in house as well as the kit. Manuel Bautista heads the lighting department and will typically light

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80% of them with Armando imagineering the other 20%. Bautista and his colleague Salvador Cutiz work alongside 12 dedicated technicians who also program and run lights, and things are so busy that they are usually all in action on different shows and events. Primarily they utilise MA Lighting consoles for sitewide lighting control together with MA visualisation, however there is also a Road Hog Full Boar in residence for those preferring an alternative. The region’s high humidity and heat poses a challenge, so support from the local distributor is essential. Manjarrez and the resort’s history with Robe distributor Showco goes back at least 15 years, another plus for purchasing more Robe. The nearest service hub for most brands they carry is Mexico City which is a two-day drive, meaning it is imperative that kit is robust and reliable, so logistics stay manageable and efficient. Also in the same complex is the Hotel Sun which has three separate event properties of its own including the Beach Palace and the Sun Palace. Down the road in bustling tourist hotspot Playa del Carmen, Palace Resorts has the exclusive Le Blanc Spa, and a short hop across the sea on the island of Cozumel is the Cozumel Palace hotel. www.robe.cz

O asis COMPANY: NEXO LOCATION: Brisbane, Australia

Dubbed ‘Brisbane’s newest lifestyle vessel,’ Oasis is a water-bound events venue. With a permanent residency on the Brisbane River, the three-level events boat offers voyages with sweeping views of the city skyline, whilst DJs ignite each customdesigned space with high-quality audio. Integral to this experience is an onboard PA system, enabling extensive control and coverage, courtesy of loudspeaker manufacturer NEXO. NEXO was selected to supply audio to the dance floors and covered areas aboard Oasis, using its flagship point source system, the P+ Series, in combination with the full-range ID24 Series. NEXO’s optional contemporary white colour schemes were chosen for each system, allowing the modules to blend seamlessly into Oasis’ sweeping bright white palette. The unit’s design is not the only reason that Oasis benefits from NEXO; quality of sound has always been an important factor to consider for the venue’s team. CEO of Oasis, Michael Watt, said: “Too many times you find that sound has been an afterthought in the development of a space, but it is so essential in delivering a complete experience that will be remembered. We needed a system that could handle background music and corporate presentations through to acoustic musicians and international DJ headliners. It also needed to be able to handle the elements- as it was going to be installed on a floating river venue, after all.” Showtime Production Services assembled a selection of NEXO loudspeakers that would both comprehensively cover the entire vessel and offer detailed control over directivity to aid in minimizing noise pollution. Asher Daoud, Director of Showtime Production Services, expands on the technology installed: “NEXO is a tier-one brand, renowned for its high quality and high output, with good distribution; we chose a suite consisting of 2 x P15, 4 x P10, 12 x ID24, 6 x L18 subs, 2 x IDS210 subs, 2 x IDS108 subs and a mix of 4x1 and 4x2 NXAMPMK2 amps. The compact ID24s have a small footprint which was perfect, and the P+ Series offers exceptional control.” “The flexibility of the ID24 was fantastic: able to be mounted horizontally in the lower decks and then vertically for the top deck booth areas allows them to almost disappear into the background. Guests through DJs have been really impressed by the unassuming appearance of the ID24s and the sound they can produce.”, commented Watt, concerning Showtime’s finalised system. Reflecting on the achievement, Daoud concluded: “Oasis has yielded amazing results all round. We met all the challenging demands in terms of audio quality and output, whilst complimenting the finish and colours of the vessel’s bespoke interior. The physical design of the boxes and their accessories made working in a tricky marine space easier for myself and the installation team.” www.nexo-sa.com

Jacob K. J av it s C onvent i o n C ent re COMPANY: Clear-Com LOCATION: New York City, USA

Located on New York City’s bustling west side, the Jacob K. Javits Convention Center hosts thousands of events annually – including trade shows, product launches, and movie premieres. All that activity happening across a sprawling complex can create a challenging communications environment. When the centre announced a massive expansion, Clear-Com intercom systems were chosen to help streamline communications among Javits Center staff members. The project, part of New York City’s long-term Midtown West redevelopment plan, adds 200,000 square feet of meeting rooms and pre-function areas, including a 54,000-square-foot special event space and a truck marshalling facility designed to make event operations more efficient. Metinteractive, a provider of strategic solutions for architecture, communications and technology, served as a member of the design/build construction team and AV integrator for the Javits expansion. This new Javits special event space is designed for flexible configuration to accommodate any client’s needs. The space includes two floors of meeting rooms: the fourth floor consists of a set of five spaces that can be subdivided into as many as 21 separate meeting rooms, and the fifth floor consists of five rooms that can be combined into one large event space. The expansion also extends to rooftop spaces, including an outdoor terrace and a glassenclosed pavilion. Among 12 new A/V equipment rooms, Metinteractive

Vir tuo s a COMPANY: GREEN-GO LOCATION: On the seas

MSC Cruises’ new Virtuosa has taken to the seas equipped with multiple theatres, live music spaces and entertainment rooms, with an AV crew communicating via a GREEN-GO digital communication system. Italian technical consultants CM srl Multimedia Entertainment Engineering Design developed systems to support all the shows that will be staged in the ship’s theatres, specifying a GREEN-GO package sourced from Audiosales Entertainment Solutions. Alessandro Bertulessi, Project Manager at CM srl, said: “Choosing to switch to a digital intercom system like GREEN-GO has allowed us to create a simple and flexible infrastructure capable of dynamically adapting to all the needs of MSC Cruises technicians on board and for the various productions. Thanks to the network communication protocol and the connection of all the devices with a simple Ethernet cable, it is possible to create different configurations in a few seconds.” At the heart of the system is a GREEN-GO Interface X, which links the analogue intercom systems into the GREEN-GO digital Ethernet network and two full-colour TFT touchscreen GREEN-GO Wall Panel X mount stations, offering direct access to three channels. www.greengodigital.com

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installed a Clear-Com Eclipse HX Digital Matrix Intercom System with V-Series 32 key-panel user stations, configured as 12 connected stations. The Eclipse system at Javits includes an IPA card, which enables easier configurations with compatible Clear-Com devices such as keypanels or transceivers. “Clear-Com offers an extensive line-up of network-ready solutions. Everything they make can be easily connected on an ethernet network, and the Eclipse fits nicely into that equation. Its system flexibility worked perfectly for a project of this scope with so many moving parts,” said Rachel Mele, President of Metinteractive. www.clearcom.com

Rhod es H o us e COMPANY: Audiologic LOCATION: London, UK

FLES

FENIX LED SUPPORT Since its opening in 1929, Rhodes House has been an Oxford landmark, a historic Grade II listed country house in the heart of the city. Renowned for weddings and high-profile events and visitors, the need for modernisation was recognised and the venue embarked on a refurbishment, which culminated in creating a modern conference and convening centre, that fosters connectivity and collaboration. Incorporating different spaces, the refurbished area consists of the main 280-seat convening hall, plus several smaller rooms, and a garden pavilion. Darren Gatenby, Senior Consultant at Hewshott Consultancy, has been lead Technology Consultant on the project since its inception five years ago. Gatenby closely collaborated with the client and stakeholders to meticulously craft a design that fulfilled all requirements. For the project, GVAV was contracted as the AV solutions provider. Stuart Harris, Technical Sales Manager at GVAV consulted with Audiologic, which led to the choice to install a Q-SYS ecosystem. This system centred around 16 NV-32 H core capable software configurable video endpoints with four TSC Touch Screen Controllers, AD-C6T speakers and Q-SYS PTZ cameras was specified, integrated with Shure MXA710 and 910 ceiling mics, SM58 and WL185 handheld and lapel mics, and Yamaha VXL1B line array speakers. The main hall, flexible to be divided into three separate areas, was the space equipped with Shure MXA microphones and front/rear cameras, allowing versatile configurations with multiple screens, excellent acoustic properties and easy-to-use control panels. Smaller meeting rooms have full controllable audio with NEC large format screens, running bars, Logitech scribes and taps with roommate PC running Zoom rooms. The Garden Pavilion fully glazed meeting space, with camera technology built-in, contains the Shure MXA 710 microphones built in to front, Q-SYS touch panel for control of the space and a large format display. Harris stated: “As the Q-SYS system is so flexible, it makes tweaks very easy. Keeping lines of communication open throughout the project was key – we worked very closely with Audiologic to make sure we had priority for Q-SYS kit coming in to overcome those hurdles – without their help and flexibility we would have been missing some key components.” “With Q-SYS you have the ability to control the system remotely from anywhere, even outside the building, managing and learning as you go,” commented Jess Rararty, Internal Business Manager at Audiologic, complimenting the system. Gatenby concluded: “Our client is extremely pleased with the solution, as new technology and new requirements come along, we will modify and update the system as required.” www.audiologic.co.uk

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C entro Fel i c ida d COMPANY: Bose Professional LOCATION: Bogota, Colombia

In 2022, the Instituto Distrital de Recreación y Deporte (IDRD) in Bogota, Colombia, unveiled a series of new community centres known as Centro Felicidad (Happiness Centres). These centres serve the diverse population of Bogota, offering modern facilities and high-quality services for cultural, recreational, and sports activities. Designed by various Colombian architects selected through a public competition and constructed by C&G Ingenieria y Construcciones, these centres represent a significant investment in the city’s well-being. Tecnoprocesos, an AV integrator and official distributor of Bose Professional in Colombia, was tasked with designing and integrating advanced audio systems to enhance the community experience. For the Centro Felicidad – San Cristobal location, Tecnoprocesos designed and integrated an audio system for a multipurpose gym and classrooms for sports, cultural and recreational activities. For the Centro Felicidad – Fontanar del Río location, Tecnoprocesos designed and integrated an audio system for the main auditorium where movies, documentaries, and different cultural, artistic and social events take place. Centro Felicidad – San Cristóbal’s multipurpose gymnasium presented acoustic challenges due to its large size and various surfaces that caused sound reflections. To combat these challenges, Tecnoprocesos installed a ShowMatch DeltaQ system suspended from the venue ceiling. The system consists of two ShowMatch SM10 and SM20 modules on each side and two SM118 subwoofers in the centre to provide optimal sound coverage. Tecnoprocesos specialists also sought the best possible intelligibility to ensure that the audience listened to the diverse music and unique events held in the spaces. To this end, the system has eight RoomMatch Utility RMU208 loudspeakers distributed in the grandstand area, which will help provide information to the sporting events’ attendees. Within the Centro Felicidad – San Cristóbal, audio systems were fitted inside the classrooms for community workshops and fitness sessions, like spinning, weightlifting and dance lessons. In each room, DesignMax

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DM3SE loudspeakers were chosen for their simple installation, elegant design and efficient performance for voice, music or any other audio content. Each room has a FreeSpace IZA 190-HZ integrated zone amplifier, whose simplicity is appreciated by the teachers when making changes on the front panel and the variety of audio source inputs. The second acoustic challenge was presented in the Centro Felicidad – Fontanar del Río’s auditorium, which was designed with glass walls that posed acoustic challenges. After suggesting modifications to the blueprints and construction materials of the Centro Felicidad – Fontanar del Río auditorium, Tecnoprocesos and Automa designed an audio system that will offer the best sound for both movie projection, lectures, workshops or social events. Two Panaray MSA12X column loudspeakers were installed behind the projection screen – one for the right channel and one for the left – to achieve the best coverage and ensure intelligibility. Tecnoprocesos placed an MB210-WR subwoofer in the same space to complete the installation at the front of the auditorium. The Bose Professional audio solutions have greatly enhanced the community experience in these centres since their inauguration in early 2022. Users can enjoy clear sound during lectures, workshops, and classes, and the sound of music or movies is equally distributed throughout the spaces. Tecnoprocesos has successfully delivered versatile audio systems tailored to different spaces and activities, ensuring ease of operation and adaptability for future needs. Community members have embraced these spaces, using them for various events. Carlos Osejo Moreno, the manager of Centro Felicidad – Fontanar del Río, emphasised that these centres have become integral to the community, hosting significant events. Javier Arias, GM of Tecnoprocesos, expressed satisfaction with the performance of the audio systems, emphasising their commitment to maintaining performance standards over the contract period with support from Automa and Bose Professional. www.boseprofessional.com

P ho to by Sto n ex

M egapa r k COMPANY: Ayrton LOCATION: Mallorca, Spain

The Megapark in Mallorca, the largest open-air beer garden in Europe, has incorporated the new Ayrton Zonda 9 FX among its lighting fixtures. The Megapark space is a unique environment with a capacity of 5,000 people, blending elements of an open area with the influence of a coastal zone. It features a small stage that required powerful lighting capable of working in daytime and nighttime settings. The latest acquisition and investment for this significant venue was the new Zonda 9 FX by Ayrton. Megapark has chosen to place them at the rear of the stage among screens. They have a large screen behind the stage and four 1m by 3m totems, with three Zonda 9 FX units placed between each totem. The Zonda 9 FX fixtures have been used as a complement to LED screens, creating much more impressive effects for attendees by projecting patterns, colours, and movements. Megapark’s goal has been centred around equipping the space with IP-rated lighting, and due to his positive prior experience with Ayrton and its Perseo Beam lights, Megapark’s Technical Director, Daniel Morales decided to go with this brand once again. These LED fixtures not only deliver a pleasing and colourful wash effect but also allow for individual control of each light source, enabling the creation of 3D volumetric effects with the light beam, as well as illuminating the outlines of the LED cells with their LiquidEffect technology. The Zonda 9 FX is equipped with a 40W LED source with additive RGB+W colour synthesis. Furthermore, it features a sphere with 37 PMMA lenses, measuring 384 mm in diameter, providing 25,000 lumens, and offering a 14:1 zoom range from 4 to 56 degrees. The installation was made by Stonex, Ayrton’s exclusive distributor for Spain. www.ayrton.eu

IN A

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“I ALWAYS HAD MASSIVE AMOUNTS OF RESPECT FOR 7THSENSE, AND TO GET THE OPPORTUNITY TO JOIN THEM AND HELP LEVERAGE THEIR TECHNOLOGY WAS DEFINITELY SOMETHING THAT I WANTED TO BE A PART OF.”

BRYA N H IN C K L E Y C E O , 7 t h Se nse

Having been appointed CEO of technology innovators 7thSense in September after just over 18 months with the company, Bryan Hinckley is looking forward to pushing the company to new heights as it introduces some of its latest technologies to the world via the medium of Sphere in Las Vegas. “Our involvement on the Sphere project has only recently been completed, and it has made a huge impact already,” said Hinckley. “We developed a significant amount of new technology in our pixel processing and media playback engines, and part of my job is to empower our team to make sure the wider market can leverage the power of 7thSense products. This includes growing our marketing, training, doing more demos, and making sure people know about 7thSense’s world-class customer service and support.” Hinckley’s journey to 7thSense began in his high school days when, in his words, he ‘fell

into doing technical theatre’, which then continued into his time at University. “Throughout that time, I discovered that I had a passion for using technology to tell stories and creating memorable experiences,” he said. “At that point, I didn’t really realise that I could turn that hobby into a career, but somehow I did and I’m very thankful.” One thought lingered in his mind as he worked in the world of theatre during that time which helped enhance his interest and determination to enter the world of storytelling via technology. “What I learned back then was that live theatre is both incredibly powerful and incredibly magical, but those performances only last for a short period of time for a very limited audience in attendance,” he commented. “Upon learning about the fixed installations industry, I discovered a market with the potential for millions of people to see

I N T E RV I E W - B R I A N H I N C K L E Y | W W W. M O N D O D R . C O M

B elow: Sphere, La s V eg a s , s h owc a s es a n i nt ernal meg a-canv a s wi th c ry s ta l c lea r 16k x 1 6k imager y. Ph ot o: Sphere Ent erta i n m ent Co.

I N T E RV I E W - B R I A N H I N C K L E Y | W W W. M O N D O D R . C O M

shows or experience exhibitions that create lasting memories.” His early professional steps in the world of AV technology came as a Project Engineer for Electrosonic in the very late 1990s, and he recalls working on a huge cultural landmark in New York City which is still massively popular today. “My very first project with Electrosonic was The Rose Center for Earth and Space expansion at the American Museum of Natural History in New York City,” he recalled, “To this day, there are still millions of guests – ranging from domestic and international tourists to local school children – who go through that venue every year. “From there, I started working on projects in the theme park world at places such as Universal Studios and SeaWorld, and I really started to comprehend the huge numbers of people that go through the attractions each year – it’s pretty magical. “Being able to work on projects around the world also opened my eyes further because interactive and immersive experiences really transcend culture. It’s not just an ‘American’ thing or a ‘European’ thing, it is part of human nature, to want to go and create memories together with their friends and families – and I like being a part of that.” During his time at Electrosonic, Hinckley gained experience of working with 7thSense for around 15 years, and he was always left with a positive impression when they collaborated. “The main things that stuck out – and is still true today – is that not only does 7thSense create incredibly powerful and reliable products, but they have an amazing team of engineers who support their partners and customers,” he said. “I worked on multiple projects with 7thSense over the years, and they gained my trust as a partner who was going to be at my side to ensure the project would be a success.” “I really liked the culture, and not only do they love to push the technical envelope, but they also have a strong ‘the show must go on’ mentality.” Having experienced working with 7thSense as a customer for many years, when the opportunity arose to join the company last year Hinckley jumped at the chance. “After numerous roles at Electrosonic, I was ready for the next challenge in my career,” admitted Hinckley. “I always had massive amounts of respect for 7thSense, and to get the opportunity to join their team and help grow their business was definitely something that I wanted to do.” Hinckley has accrued a wealth of knowledge throughout his time in the industry, and as CEO of 7thSense he can offer a different perspective, which he believes can only help the company in the long term. “I know, at a very high level, how our technologies work together – but more importantly I understand the challenges that our customers face in trying to put experiences together,” he said. “So I often remind our team what it is like to be in the customer’s shoes at various stages of a project, and use that perspective to create better customer experiences.” With Sphere showcasing a mega-canvas with crystal clear 16k x 16k imagery, Hinckley knows that not all projects will be delivered to such a scale, but predicts the continued growth in fixed installations from the very small to the very large – and admits that 7thSense operates a ‘no customer too small’ policy. “We cut our teeth in places like planetariums, museums and themed attractions, and not every project is the size and scale of Sphere,” he commented. “And because of the scalability and ease of use in many products that bring content to life – we are seeing a rise in applications of visual technology in nontraditional environments, such as train stations, airports, retail, and even office buildings as companies create compelling environments that bring their staff back to the office. One way to do that is via large, dynamic media displays, and 7thSense

plays right in that role of being able to serve, process and control those pixels.” Part of the 7thSense new technology release arsenal, which Hinckley believes is a key element to its success, is compatibility with leading game engine and motion graphics platforms. “We have seen a huge trend in the marketplace of using generative game engines to create high quality, dynamic content. We have optimised the new R-Series 10 hardware platform for Unreal Engine, Unity, and TouchDesigner,” he said, “This product is a standalone hardware solution and meets the needs of the most demanding generative projects, enabling a smooth workflow in a reliable, warranted product. Our Delta and Actor Media Server software that runs on the R-Series 10 platform, also fully supports Notch for generative applications.” “As the price of LED pixels per square metre goes down and projector resolution continues to increase, we are seeing larger and larger display surfaces which we call megacanvases. Sphere is a great example of this. What many people don’t realise is that not only is there a challenging technical requirement of reliable synchronised playback for

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these mega-canvases, but there is also a huge challenge around media management. The project file sizes are huge. “When building a show, the media is often being edited right up until the last minute. We have created our asset logistics media management workflow tool to manage, version and automatically distribute to a multi-node playback system. 7thSense has been synchronising multiple video play-heads together for almost 20 years now so we understand the challenges that creative teams face as they iterate media versions, within media server workflows.” Hinckley believes that the industry is set to go from strong to even stronger, as healthy competition drives innovation and creativity. “Since the pandemic, people are looking for ways to leave their homes and do things together, and the investment in bigger and better out-of-home experiences is testament to that,” he commented. “If you look at any of the existing and well established markets, such as theme parks - where Disney and Universal Studios are always in competition, trying to ‘one-up’ each other - they push and encourage each other creatively. “The same can be applied to museums and immersive experiences around the globe – all trying to ‘get the edge’ and boost visitor numbers. I suspect that we are going to continue to see experiences that apply technology in new and creative ways. “Taking a step back to look at this more critically, this healthy competition mindset not only benefits the guests, but it also benefits the AV industry as it will continue to push us to innovate and create technology solutions that connect people with stories in new and innovative ways.” www.7thsense.one

SEA WORLD EM EA

ABU DHABI / UAE

Sh owTe x en han ces n ew 360° ma rine life ex per ien ce with innovative b ack lit c yc lora mas an d mask in g f a bric s a cr oss the ven u e.

The latest SeaWorld Entertainment marine life theme park opened in Yas Island, Abu Dhabi earlier this year and ShowTex played a pivotal role in elevating the visitor experience across the park’s eight immersive realms, seamlessly integrating various fabric solutions and cuttingedge technologies. The collaboration between ShowTex and SeaWorld created an immersive, aquatic dreamscape that demonstrates the excellence of contemporary interactive art, with a total of 18,000 sq m of seamless printed fabrics used across the venue. The under-the-sea journey begins with ShowTex’s extra-wide printed cycloramas dressing up the venue’s distinctive realms, with the custom prints wide enough to surround each area, ensuring visitors are immersed from all sides. The fabric created for this project was the result of multiple tests across several months by the ShowTex team, which saw the creation of a modified iteration of an existing material known as ShowTex RP Off-White. “This material, due to its seamlessness, granted us the flexibility and robustness necessary for a successful installation,” said David Flesch, Sales Manager of ShowTex Middle East. An additional success was found in that the PVC print fabric stayed in shape inside the humid atmosphere of the venue, meaning the material was suitable for the permanent installation. Throughout the venue, these printed artworks are backlit by 200,000 pixel-controlled LED lights,

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mounted on a waterproof netting. “When the fabrics were combined with our specially designed ShowLED Hybrid RGBW LEDs, we were able to craft breath-taking visual effects, such as day/night effects, the passage of clouds, and twinkling stars,” said Flesch. “All of this was made achievable due to the LEDs, which were custom developed exclusively for this project.” Committed to creating exciting immersion, stretch fabric 3D-structures, shaped as oceanic creatures and plants, were also implemented. With this combination of the ShowTex stretch fabrics, lighting, and fibre optics, visitors can experience realistic sea exploration settings when walking through colourful coral and ornate jellyfish decorations in the park. “Working with large installations such as this with contemporary light technology involves a great deal of trusses and cabling that can often undermine the visitor’s immersive experience,” said Flesch. “However, audience detachment from the outside was avoided by applying 5000 sq m of black ShowTex fabrics appropriately, masking technical installation materials and blocking out protruding ambient light.” An additional challenge faced in installation was one of coordination, as Flesch explained: “The cyclorama wall we were working on intersected with numerous elements within

the theme park, necessitating a careful evaluation of which sections to fabricate, and which areas we could feasibly access for installation at any given moment. “For this project, a delicate balance was struck among various stakeholders, including our client, the end client, construction consultants, design consultants, and other subcontractors,” Flesch added. “And overcoming this obstacle required a strong commitment to open communication, transparency, and adaptability.” Describing the result of SeaWorld Abu Dhabi and ShowTex’s collaboration, Flesch said: “I am delighted with the project’s overall results, but what truly fills me with satisfaction, and what will leave an impression, is the unwavering dedication of every single member of ShowTex Middle East. It is important to bear in mind that ShowTex Middle East is not a massive company, and every facet of our project was crafted right here in the UAE.” Sven Peeters, Managing Partner of ShowTex Middle East, Africa, Asia, and Australia concluded: “This is the first project of its kind to achieve this scale, and it was a significant challenge, but the result is incredible. Creating several 18m by 300m visually seamless video backlit prints has never been done before, and we absolutely nailed it.”

“ T h is is th e f irs t p roj ec t of its k in d to a c h ie v e th is s c a l e, a n d it w a s a s ig n if ic a n t c h a l l en g e, b u t th e res u l t is in c redib l e . C rea tin g s ev e ra l 18 m b y 30 0 m v is u a l l y s ea ml e s s v ide o b a c k l it p rin ts h a s n ev e r b e en don e b e f ore , a n d w e a b s ol u tel y n a il e d it. ”

FU LL UP CLU B EMEA

FLORENCE, ITALY

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The recently opened 400-capacity Full Up Club in Florence fulfils the vision of its Creative Director Leandro Bisenzi, with its sumptuously designed décor accentuated by a stylish Void Acoustics sound system. Having been heavily involved in the city’s music scene since the mid 1980s as a night club owner and concert promoter for international touring acts such as Daft Punk, Radiohead and Chemical Brothers, Bisenzi has retained a huge interest in the club scene, and recently turned his attention to creating a new intimate space to bring people together. “There used to be a thriving scene in Florence, but now everything is a bit more uniform,” said Bisenzi. “Subcultures have gradually eroded over time, swallowed by the mainstream, and this club will bring house music lovers

together in a space crafted for everyone – a place for free expression, with different DJs and people from different scenes coming together.” Nestled within the historic Libri Baldini palace, which dates back to the 13th Century, Full Up Club is situated in Via della Vigna Vecchia and is near to some of the city’s most iconic landmarks, such as Bargello palace, Palazzo da Cintoia, and Palazzo Covoni delle Burella. The venue fuses food and nightlife across two floors, with the upstairs culinary outlet Chicca serving diners between 8pm and 1am, while downstairs there is a champagne bar to complement the main nightclub space, which totals 600 sq m. It is here where the atmosphere goes up a notch as the space’s décor revolves around a bespoke black and gold

Void Ac oustic s provid e a pumping sound system to e nh a nc e th e c re a tive vision at ne wly re novate d nig ht clu b in th e be a ting h e a rt of Flor en ce. Ph o t o s : F u l l U p C l u b .

Ab ov e : T he ma i n da n c e f l oor i s c o ver ed b y Voi d A i rt e n e V 3 l ou dsp e a ker s a t Fu l l U p Cl ub. R i gh t : H ol og ra p hi c di sp l a y s e n h a nc e t he v i su a l a e sth et i c .

theme, with elements of red integrated – including the newly installed Void loudspeakers. When it came to deciding on the venue’s sound system, Bisenzi recalled a previous conversation with French record producer and DJ, Bob Sinclair, who had recommended Void Acoustics. “They are known around the world for their sound quality in nightclubs, and they look cool and their aesthetic clearly fits with the vision here, as their unique and out-of-the-box style perfectly complements the club’s identity,” he said. Inside the main club space, four Void Airten V3 models are set up to cover the dancefloor, and Void Venu 112 V2 subwoofers deployed in front of the DJ booth concentrate the bass into the middle of the room. A mixture of Void Cyclone 10, Cyclone 8 and Cyclone 4 speakers are set up in the club’s other areas, encompassing the champagne bar, a smaller bar area and corridors, while additional Void Venu 112 V2 subwoofers set up underneath the sofas add low end in the champagne bar. The system is powered by three Void BiasQ2 amplifiers and a single Void BiasQ1 amplifier, which are powered by Powersoft, a company known for its advanced technology in audio amplification and signal processing. Two of the four-channel BiasQ2 amplifiers power the speakers and subs in the main area, with the other BiasQ2 and BiasQ1 amps serving the remaining speakers across the venue, and tasked with installing the audio system into

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A b o ve a nd b e l o w: Fu ll U p C lu b’s d écor r evolves ar o u n d a b e s p o k e bla c k a n d gold t heme, w it h e l e m e n t s o f r e d i n t egr a t ed – in c lu d in g t he n ew ly in st a lled Void lou d spea k er s.

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the club was local specialists Tesla Service, with Gualberto Fedi managing the project. One of the biggest challenges Fedi and his team faced was keeping noise pollution to a minimum, with the floor above the club space being residential. To ensure the lack of sound bleed, 1m of insulation was installed, which in turn caused an issue when it came to wiring the venue. “Wiring was definitely a struggle,” admitted Fedi. “With a building such as this, dating back hundreds of years it was always going to cause a few headaches, and so it became quite a difficult project to deliver.” Further enhancing the venue’s aesthetic is a programmable LED wall located behind the DJ which is controlled via a ChamSys MagicQ console, while numerous 3D holographic displays are placed in various areas to bring the venue to life. “The holographic system projects images by means of LEDs on spinning propellers, and Digital Screen is the first company in Italy to create a hologram management and creation software, and a complex hardware system, that delivers HD 3D images,” said Bisenzi. “With these installed inside the venue, the only limit is the imagination of what kind of content we want to project.” In summation, Bisenzi is delighted with the end result. “The essence of this club is about creating an atmosphere where the unexpected is embraced, where people allow themselves to be enchanted and surprised,” he said. “And I believe we have achieved that.”

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ROY A L S HAKES PEARE COM PANY EMEA

STRATFORD-UPON-AVON / UK

Situated alongside the River Avon in the heart of Warwickshire, The Royal Shakespeare Company’s main location is in a Grade II listed building which retains many of the art deco features of the 1932 Shakespeare Memorial Theatre. Inside are two performances spaces – the 1,018-seat Royal Shakespeare Theatre (RST) is the main auditorium, and the Swan Theatre is an intimate room with capacity to hold up to 469 people on three sides of a deep thrust stage. Both rooms share their front of house space, with audiences enjoying the same foyer, box office, bars and restaurant. Over recent years several upgrades have been completed across both venues, including the introduction of TiMax speaker processing in the RST, and a total technological infrastructure upgrade was completed in the Swan, which reopened in April 2023, incorporating new Ayrton lighting fixtures on an improved grid. Also introduced was a crossvenue Riedel communications system, which replaced the existing wired, two-ring intercom system. “One of the starting points for the upgrade in the Swan Theatre was to look at improving its production grid and rigging system, which is directly beneath the Ashcroft Room – a space often used for rehearsals which caused vibrations in the grid and caused gentle movement of the lighting fixtures below,” said Kevin Sleep, the venue’s Head of Lighting. The plan was to transfer the weight of the production grid from the ceilings to the walls of the building, which in turn would open up a larger space for more lighting fixtures. The forced closure of the Swan during the initial stages of the COVID-19 pandemic hastened the plan to upgrade the room, and the funds were raised for the project to begin in March 2022. Tasked with redesigning the electrical systems infrastructure of the Swan was Stage Electrics, who brought the theatre up to date technologically, whilst being budget-conscious and mindful of sustainability throughout the process. “The Stage Electrics team provided custom-made technical solutions, installation, on-site project management, and commissioning services for the refurbishment of the Swan, refurbishing or replacing 59 lighting facility panels and 33 sound facility panels,” said Chris Brant, Senior Project Manager at Stage Electrics. “More than 700 electrical circuits were commissioned throughout the venue, repurposing 50% of the existing wiring and installing an additional 18Km of power, audio, video, data, and fibre-optic cables to create an infrastructure which makes the Swan one of the most technically advanced and adaptable theatres in the UK.” The work allowed for a reconfiguration of the venue, as the stage was slightly reduced in size and its seating revamped from benches to individual seats. It also meant an improved lighting rig could be set up. The new grid was designed and delivered by Unusual Rigging, who

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H istoric pe rf o r man ce space unde rg oe s major u pgr ad es ac ross its two theatr es, e nc ompassing li ghtin g, spatial a udio, te c h nic a l in fr astr u ctu r e and c ommu n ication s.

B e l o w : Th e c u r t a in ca ll f or a pr od u c t ion o f R o meo a n d Ju liet a t t he RST.

worked alongside its engineering consultants Buro Happold to deliver a solution which not only allowed for a flexible and rapid approach to the work, but one that could be delivered in such a way as to not disrupt the wider work of the theatre. “From a lighting perspective, new outlets were added to make the new grid more coherent for cabling,” said Sleep. “One priority was to replace the old, noisy colour scrollers, and so a number of ETC Lustr 2 and Lustr 3 fixtures, Martin Mac Aura XIP fixtures and a selection of Ayrton moving heads have been introduced. “Fifteen of the Ayrton Eurus TC (True Colour) and eight of the smaller siblings, Diablo TC, are now the mainstay of the Swan’s moving heads and are rigged in optimum positions as front, side, back and top light.” Sleep was familiar with Ayrton from his previous position as head of lighting at the English National Opera in London, having thoroughly researched the range with the aid of Paul Roughton of Stage Electrics. In addition, while work on the Swan was taking place, the RSC

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team looked at replacing some of the older lighting fixtures in the RST, and so nine Ayrton Eurus S were added to its rig. “We needed a bright LED replacement in the RST so chose the Eurus S for their extra punch,” said Sleep. “The S models have slightly paler shades, but we wanted their extra power in these positions to give lighting designers the option to punch over the top of standard lighting states. “Across both houses, Ayrton and ETC are starting to give us huge savings with vastly reduced reliance colour gel strings that the colour scrollers needed, in addition to the energy savings and low maintenance costs afforded by the LED sources,” confirmed Sleep. “We received excellent service from both Stage Electrics and Ayrton’s UK distributors Ambersphere, with Briony Berning a very knowledgeable and helpful point of contact at Ambersphere. I’ve had a long relationship with Stage Electrics (which supplied all the lighting equipment and accessories for the refurbishment) and Paul, both here and previously at the

“ Ac r oss bot h h ou s es , Ay r t on and E T C a re st ar t i ng t o g iv e u s huge sav i ngs w ith v ast ly r educ ed rel ia n c e c olour gel strin g s th a t t he c olour s c rol l e rs needed, i n addition to t he ener gy s a v in gs a n d low m ai nt ena n c e c os ts affor ded by th e L E D sour c es.”

A b o ve : Th e 2 0 2 3 pr od u ct ion of The Tempest . Ph o t o b y Ik i n Y u m © RSC .

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L e f t : A 2 0 2 3 p r o d u c t i on of C y m b e l i n e . Ph o t o b y Ellie Ku r t t z © RSC. B e l o w : A 2 0 2 2 p r o d u c t ion of R i c h ar d III. Ph o t o b y Ellie Ku r t t z © RSC.

ENO. He has always been open, reliable and an excellent communicator and puts a lot of work into making everything work for us.” The new Ayrton fixtures in the RST were installed at the beginning of the venue’s process of replacing older tungsten fixtures, and that project is on-going, with orders placed for more fixtures to be added to the set-up in the not-too-distant future. Bringing both the Swan and the RST in line with each other from a useability standpoint was at the heart of the venue’s upgrades, and this is evident with the RST’s recent addition of TiMax spatial audio. TiMax was first introduced into the Swan more than 10 years ago, and RSC have upgraded its system to the latest TiMax FPGA spatial audio core – and also added an extra TiMax SoundHub-S64 with MADI to the RST’s sound control. The installation was supplied, supported and installed by HD Pro Audio. “The joy of TiMax is that it is developed for the needs of the theatre and works as we need it to,” said RSC Head of Sound Jeremy Dunn. “TiMax makes everything else work smoothly and for us it’s imperative that it’s there. It doesn’t colour the sound, so what you put in you get out, which is really important for us.”

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TiMax plays an unusual role at the RSC, at it is utilised as a multi-channel speaker management system which is controlled separately from the sound designer and the sound desk by the production sound technician. “It has to be available for us to make minor adjustments when we need to,” said Dunn. “It may be a silent partner in the audio chain, but it is imperative that it’s there and reliably doing its job – and we feel at ease connecting with it.” “When the Swan was first redeveloped back in 2007 we were able to afford TiMax in there, and it has always been successful. At that time we had a different system in RST which was less successful for us, and so when we managed to secure some fund we bought the new TiMax for the RST.” Dunn is also quick to highlight its ease of use. “We love the intuitive user interface on TiMax as it is really simple to time and EQ things – as easily as using something like Microsoft Excel,” he said. “Sonically, it is crystal clear as it doesn’t embellish the sound at all. TiMax gives us a greater degree of control over the sound system so that we can fire up the system and easily make adjustments to make the sound better – and it is tiny adjustments

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Above: The R oy a l Sh a k es pea re T heat r e Aud i tori u m .

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like that, which make all the difference.” Another upgrade making a huge difference to the venue is the new Riedel Artist digital matrix intercom network and Bolero wireless intercom system. “The Riedel equipment is enormous for us,” Dunn commented. “We were on wired comms before – a twochannel system on an XLR cable, and the great thing about the Artist system is that we can have a user panel with multiple channels on it. “The main priorities for us were reliability, sound quality and ease of use – and Riedel was an easy choice,” Dunn added. “As soon as it was safe for the Riedel team to enter our venue after lockdown, the company quickly conducted a site survey, compiled a system design, and performed a smooth installation, despite supply chain issues.” At the heart of the new Riedel system is an Artist-128 intercom node, equipped with six AES67-108, two Dante-108, and one GPI-116 client card. The Artist platform integrates seamlessly with the RST’s Bolero wireless intercom system, which consists of six antennas and 40 wireless beltpacks. With the exception of a few fixed locations where RSP-2318, RSP-1216HL, and DSP-2312 SmartPanels are being utilised, the RSC is now relying exclusively on wireless communications, and with the Bolero system there is no need to run cables for two-wire belt packs, saving set-up time to increase its workflow speed. “Everybody is on a Bolero pack, so we have

upped our number of packs significantly,” said Dunn. “During the pandemic when the Swan was inactive and undergoing its upgrades, everybody in the RST was wearing Bolero, so we disconnected the wired system and packed it away. Then, when the Swan came back online earlier this year we could afford to extend the Bolero system, and interface it into the Swan. “Now everyone that is working on a stage is on a Bolero pack – even the lighting and sound operators are on wireless packs, which I couldn’t believe, it’s such a secure piece of equipment, to work across two theatres.” Also enhancing the venue’s production capabilities is the recent purchase of a new DiGiCo Quantum SD7 T control desk for the RST, while Dunn made a note of highlighting excellent after-sales care from Shure after the acquisition of an Axient digital wireless microphone system and a large quantity of radio mics. “Due to the frequency exchange which was brought in by the government we had to hand back a lot of radio mics, and we purchased a lot of Shure equipment to replace them,” said Dunn. “The timing proved to be awful as it was just prior to lockdown, and because of that we didn’t take the mics out of their boxes for a couple of years. However, the great thing that Shure did for us was to extend the warranty on the equipment - I think that was a brilliant gesture by them.” www.rsc.org.uk

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TR EET OP GO LF EM EA

GATESHEAD / UK

F ul l P r o d u c t i o n r a i s e s t h e g a me f or Tr e e t o p G o l f , u t i l i s i n g TiMa x, P ow er s o f t a n d E M Ac o u s tic s to enh a nc e t h e a u d i o a n d h aptic ex p er ie n c e .

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The latest Treetop Golf destination in Gateshead is its most advanced yet with a high-class audio-visual design and installation overseen by Berkshire-based Full Production. Located in the Metrocentre shopping centre, the new themed attraction includes over 400 luminaires and an immersive audio system with 140 loudspeakers. As the regular service supplier to Treetop since 2020, Full Production has lived up to its name by carrying out the design and installation of the audio, lighting, show control and visual infrastructure. Following Full Production’s work at its most recent site in Birmingham, where its design and installation significantly raised production values, Treetop was convinced to enhance the new Metrocentre venue even further. As well as being able to run standalone for 14 hours a day, seven days a week – the multi-faceted system also sets a new bar for visitor experiences, employing the very latest show technology, including immersive audio, and an impactful haptic experience. The site has two themed 18-hole courses – ‘Tropical Trail’ and ‘Ancient Explorer’– plus a ‘Bonus’ 19th hole. The Full Production team, led by Steve Richardson, took

great care to ensure that playing surfaces were evenly lit, shadowing was minimal, and that the players could see the ball on the putting surfaces. As a result, a large number of luminaires is employed, including a total of 270 CLS Jade Expo track-mounted fixtures, which Richardson praised. “The Jade fixtures are great,” he said. “Their DMX control is invaluable – a lot of the units are only running at 5 or 6% on the playing surfaces, but the output is consistent and even. We can also utilise them for ball trigger effects.” Also used across the venue are more than 50 lighting fixtures from CHAUVET Professional, including 34 COLORdash Accent 3, 11 Ovation E-910FC and six COLORdash Batten-Quad 12 – along with 30 SixBar 500s from Elation Professional, 22 UV Battens from ADJ and 48 8W RGBW LED fixtures positioned for up-lighting and downlighting. Also used are 20 EclMini DAT Gallery fixtures from PROLIGHTS, which Richardson said are: “phenomenal, and in the future, we will be using these a lot more for gobo and texture work.” These effects are triggered by 40 ball sensors on 18 interactive holes. Show control is complicated, with various ‘Win’ and ‘Lose’ routes having multiple outcomes. As the ball triggers the sensors, Pharos LPC2 controllers fire playback commands for lighting, pixel-tape, audio, automation and video. Guided by Full Production’s knowledge and support, Treetop aimed to ensure the visitor experience was enhanced as much by the possibilities of audio technology as by the lighting and visuals. To help meet this aim, Richardson drew on the skills of his regular go-to audio solutions architect and experienced sound system designer, Dan Roncoroni of Raven AV.

TECHNICAL INFORMATION AUDIO 68 x EM Acoustics EMS-41 13 x EM Acoustics EMS-51X 5 x EM Acoustics EMS-61 4 x EM Acoustics EMS-81X 14 x EM Acoustics S-48 24 x QSC AD-P4TB pendant loudspeakers 1 x TiMax SoundHub-S32 8 x Powersoft Unica 2000W/8-channel amplifiers 8 x Powersoft Unica 4000W/8-channel amplifiers LIGHTING 270 x CLS Jade Expo 20 x PROLIGHTS EclMini DAT 30 x Elation SixBar 500 34 x CHAUVET Professional COLORdash Accent 3, 11 x CHAUVET Professional Ovation E-910FC 6 x CHAUVET Professional COLORdash Batten-Quad 12 22 x ADJ UV Battens CONTROL 3 x Pharos LPC2 2 x Netgear M4250-26G4F-PoE++ Switch 1 x Netgear M4250-10G2XF-PoE++ Switch 1 x Pharos TPS (touch panel station) 7 x Pharos RIO 80 12 x Artistic Licence Railsplit RDM 3 x Artistic Licence RailSwitch 1 x Dell NUC control PC 1 x 4-way KVM 1 x KVM console drawer 1 x Enttec S-play 4 x Enttec Octo 40 x ball sensors 13 x Brightsign HD1024 www.fullproduction.co.uk

L e f t : Tr e e t o p G o l f i n G a t e s h e ad h a s a h i g h - c l a ss au d i o - v i s u a l d e s i g n an d i n s t al l a t i o n b y F u l l Pr o du c t ion which includes over 400 l u m i n ai r e s an d a n i m m e r sive au d i o s y s t e m w i t h 14 0 l o u d s p e ak e r s .

A b ov e a n d b elo w : E f f e c t s ar e t r i g g e r e d b y 40 b a ll s ens ors o n 18 i n t e r a c t i v e h o l e s w i t h P h a ros LP C2 c o n t r o l l e r s f i r i n g p l a y b ac k c om m a nds for l i g h t i n g , p i x e l - t a p e , au d i o , a u t o m at i o n an d v i d e o .

His recommendations led to Treetop making a significant investment, not just in audio hardware, but in content, with sound designer Dave Shepherd coordinating a team of composer, voice actors and a script writer to create new material. Sound effects, either triggered by the balls in play, or standalone, are running on the vast majority of the holes throughout the site. On some holes of the Tropical Trail, these sound effects are enabled by a TiMax SoundHub-S32 with Dante networked I/O, with its hybrid delay/level spatialisation system. However, on the majority of holes, where a more general, atmospheric positioning of sound is required, Roncoroni uses the level-based spatialisation capabilities of Innovate Audio’s panLab software. “Both systems are invaluable in these situations as timesaving programming aids,” said Roncoroni. “To do this manually, setting the delay times in each loudspeaker, would have taken forever.” The holes with effects controlled by TiMax call for accurately localised audio objects such as birdsong – which travels from shrubbery up to tree level, and down to another area of low shrubbery and back again – as well as accurately placed insect and animal noises, and actions which are enhanced with tree shakers. Roncoroni explained: “We used TiMax just to make it special and believable, so that when you shut your eyes you believe you are in the middle of a jungle. You can hear the content localised accurately anywhere from in that space, as TiMax does a really good job at handling audio objects. It’s more immersive, the loudspeakers disappear, and you just hear the content. You don’t hear where it’s coming from.” To be expected on the ‘stand out’ holes, the ‘win’ or ‘lose’ moments have a high degree of automation, both from audio and visual elements. Themed characters, such as The Baron Von Batwing (the vampire bat) in the Ancient Explorer

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Jason Rothberg

area, have a wide selection of comments to make about the golfing performances. “Dan did a great job, as he always does for us,” said Richardson. “We were keen to push the spatial audio elements on this project following our work together in St Michael’s Cave in Gibraltar, which also features a TiMax system. “The installation on this site ran for around eight months and a lot came down to design and build after system designs and schematics were submitted. Having the flexibility of the TiMax system in our minds gave us a whole other level of confidence that last-minute changes could be dealt with efficiently. Ultimately, we are proud of the product we have delivered – it truly does sound breathtakingly good.” Playback is controlled via QLab, from two Mac Minis, totalling just over 1,000 cues. The sounds are provided via 140 loudspeakers, including 104 from EM Acoustics, with 68 EMS-41 and 13 EMS-51X ultra-compact loudspeakers, which provide high quality yet discreet low level audio. These are supplemented by five EMS-61 compact loudspeakers and four EMS-81X loudspeakers to ensure consistent high-level coverage across both courses. Finally, 14 S-48 subwoofers ensure a distributed fullrange audio experience whilst minimising the risk of disturbing neighbouring businesses. In addition, 24 QSC AD-P4TB pendant loudspeakers form a height layer for spatial effects. “Like many projects nowadays, lead times posed a challenge,” said Roncoroni. “EM Acoustics were accommodating to the 12-week timeline and have been enormously helpful in how they’ve responded as a supplier, and the consistency of their loudspeakers across the different zones makes them a great choice for a project such as this.” Power is delivered by 16 units of Powersoft Unica 8M

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amplifier platforms, divided as follows: eight Unica 2000W/ eight-channel and eight Unica 4000W/ eightchannel. Having very limited rack space, Roncoroni chose Unica primarily for its power density. “The design relied on nearly every loudspeaker being individually amplified; therefore, having eight channels of amplification with power sharing in 1U was invaluable,” he explained. On the golf course, each loudspeaker is individually amplified, with the Unica amplifiers located in a single 42U rack, alongside the lighting and show control equipment rack. Also used to enhance the customer experience is a Powersoft Mover, a low-frequency transducer which is small and robust enough to be inserted into flooring or walls to deliver a range of vibration. Here is it placed in the floor on one hole of the Ancient Explorer course, where a falling obelisk is the trigger for an accompanying ground-shaking effect. For Roncoroni, without space to hang a large subwoofer, and with noise issues to consider, this was a very successful alternative. The compact nature and power-to-size prowess allow Mover to be integrated into limited spaces, without orientation limits, and to provide a very high ratio between moving mass and total mass which increases the overall final product efficiency. The resulting product elevates the aspect of any AV immersive experience while reducing concerns about low-frequency noise pollution. Full Production is now responsible for maintaining all five Treetop sites in the UK, totalling more than 14,000,000 triggers in the course of a year. Richardson concluded: “We’re very proud of what we’ve achieved for Treetop, and of course we’re hugely grateful for the trust they’ve put in us, to deliver such a wonderful environment. We look forward to the next challenge.”

“ T h e in s ta l l a tion on th is s ite ra n f or a rou n d eigh t mon th s a n d a l ot c a me dow n to des ign a n d b u il d a f ter s y s tem de s ig n s a n d s c h e ma tic s w e re s u b mitted. ”

A VIVA S TUDIO S EMEA

MANCHESTER / UK

L a ndm a r k c u l t u r a l s p a c e o p e ns in M a nch es te r w i t h s e e m i n g l y limitle ss p r oduction p o s s i b i l i t i e s , r e d e f ining w h a t it m e a n s t o b e m u l t i p u rpose .

Arguably the most exciting new creative space to open in the UK in several years, Aviva Studios, home of Factory International, has been built and equipped with flexibility in mind. Factory International is the organisation behind both Manchester International Festival (MIF), and the new venue, and it commissions, produces and presents an ambitious year-round programme of original creative work across the spectrum of music, performance, visual arts and popular culture, and special events at its new venue, online, and internationally, as well as staging the citywide festival every other year. Located in the St John’s neighbourhood to the west of the city of Manchester, Aviva Studios is based around large, open, adaptable spaces that can be constantly reconfigured to suit artistic needs. The 13,350 sq m building features two performance spaces that work together. The 21m-high Warehouse has a capacity for up to 5,000 people (standing), which can be divided by two movable, full-height acoustic walls to create two separate spaces, while the Hall is a flexible auditorium, which can hold 1,603 seated or 2,000 standing. The proscenium in the Hall can fully open into the Warehouse, allowing its stage to run deep into the Warehouse. The design of the building was led by architectural firm Office for Metropolitan Architecture (OMA), with several vendors brought in to ensure its technological requirements were met. “The ethos behind the venue is artist flexibility,” said Paul Moore, Factory International Director of Production and Operations. “It is an amazing space to reconfigure and explore all of its possibilities, and it is a testament to our industry how well all the different vendors and contractors involved in this project worked together to deliver it.” After winning the tender process to provide theatre consultancy for the venue, Charcoalblue was pivotal in bringing the building’s inspiring artistic vision to life, resulting in a ground-breaking new theatre typology: an arts warehouse. Several specialist companies worked with the venue staff, and often with each other across the various technological elements within the building. These included J&C Joel, White Light (WL) - a d&b Solutions company, Adlib, Solotech, Unusual Rigging and Torpedo Factory Group. Charcoalblue brought in local stage engineering firm J&C Joel to deliver the steelwork across the two performance spaces. “In many ways, we make the building work from a theatrical point of view – there’s the building shell, and we provide the equipment that makes it work as a theatre or performance venue,” said Conor McGivern, Special Projects Manager, J&C Joel. “For an iconic and groundbreaking project of this size there had to be a constant dialogue with the main contractors to ensure a successful delivery, because unless the equipment we provide is installed successfully and works, it won’t function as a theatre.” McGivern and his team delivered multiple elements across both

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Photo by Marco Cappelletti, cou rtesy of OMA and Factor y Int er nati onal.

performance spaces, including ensuring a safe working environment in the Hall’s production grid area with handrails, access gates and a drawbridge, 12 additional beam trolleys, technical towers on either side for extra rigging points for lighting and sound equipment, stage rostra and fascia, and an orchestra pit elevator. The stage area can be adapted so that the space can be used as a seating area, and so J&C Joel installed a flexible HOAC rostra system, which can be set up to create various different staging scenarios, ranging from flat floor, stage level to a traditional theatre seating layout with orchestra pit. The orchestra pit lift was designed and installed using SERAPID rigid chain technology and can be set at four levels. “It’s a four-chain SERAPID pit lift,” confirmed McGivern. “SERAPID offers the best of any of the pit lifts available because they’re reliable, very accurate and relatively easy to assemble.” Above the Warehouse, a number of A-frame grid stands were designed and supplied to enable a wide range of rigging points, and strong points were added to the walls to allow for a variety of equipment to be fixed, including technical equipment bars, circus equipment, seating structures or bespoke scenic elements. One custom solution that had to be developed is two uniquely designed travelling trollies which run the length of the underside of

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the Warehouse grid, each equipped with a 2-tonne chain hoist for the transport of heavy equipment from one end of the room to the other. “Our challenge here was to make a hoist that kept moving across the gap created to facilitate the operation of the two sliding doors which separate the room in two, without losing power from one end, and without stopping,” said McGivern. “It was a complex design, and the team did a brilliant job because the hoist had to ‘jump’ that gap.” SERAPID technology was also utilised by Suffolk-based firm ESP in the dual 40m length HGV lifts which operate on one side of the venue, and having two lifts is a massive benefit to the venue according to Moore. “They are fantastic and one of them has straight line access from the lift directly into the Warehouse, which can quicken turnaround,” he said. “They are also located adjacent to the Hall, which can help facilitate an easier load-in.” The venue’s Global Control System (GCS) for the automation was delivered by Unusual Rigging as it was awarded the role by building constructors Laing O’Rourke. After many discussions with the Factory International team, given the uniqueness of the space, a design and supply of equipment was finalised. “In addition to the GCS, we realised that there was a need for a ‘theatre style’ flying solution and consequently developed a new five-line

“It is a testamen t to ou r in d u str y how well all the d iffer en t ven d or s an d con tr actor s in volved in this pr oject wor k ed together to d eliver it.”

Abo v e: The pr osc e n i u m i n t he H all c an fu lly ope n i n t o t he War e hou se , allow i n g i t s st ag e t o r u n de e p i n t o t he War e hou se . P hot o b y Mar c o Cappe lle t t i , c ou r t e sy of O MA an d F ac t or y I n t e r n at i on al.

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winch system (Revolution 2) for the main Warehouse space, designed, fabricated and delivered specifically for this project,” said Mike Goodwin, Capital Projects Manager, Unusual Rigging. “All the hoists, winches, load cells, and rigging that went into the venue – the totality of the rigging hardware – was examined and supplied to cover as many use cases as can currently be envisioned for the technicians in the Warehouse and Hall.” The global control system encompasses a TAIT Navigator system, controlled by epi-Q desks, as the operator’s interface, whilst the ‘brains’ of the system sits in a server in the grid-level control room where the central controller NAV.RS4 units are located. “Over 200 LiftKet single-speed chain hoists and 19 varyspeed Kinesys apexHOISTs were supplied, in addition to the new concept five-line winches,” Goodwin revealed. “Whilst there was a collaboration with J&C Joel on the grid stands at grid level with some testing in our facility using some of their equipment, the overall package of automation for the venue was principally a collaboration between Unusual Rigging, Kinesys and Push the Button, developed and installed according to the Laing O’Rourke stage engineering contract and Charcoalblue’s specification, integrated into the base build containment infrastructure.” Inside the Warehouse, Moore explained its concept: “There is a lot of scope to change the room for different purposes,”

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he said. “It is dividable in two with movable walls that can be slotted into place, which were built by Dutch company MultiWal. They have two functions because in addition to dividing the Warehouse, they act as acoustic absorption. They work on rollers and give us flexibility – for example, a show can be worked on in one space while a production is being held in the other.” Another element that enhances the venue is the purchase of a selection of ModTruss, a modular aluminium beam which can be set up in a manner of ways, developed by Triple E, as well as an amount of its metric, steel successor BEEEM, which is much stronger. “We built a 10m by 10m span room with the BEEEM, which people walked through and acted as a viewing platform during the Yayoi Kusama exhibition held in the Warehouse over summer,” said Moore. “It can also be utilised to build a temporary bar for larger concerts in the Warehouse space, and act as an accessibility viewing platform. We’ve had a lot of support from Triple E as we learn its full capabilities. From a sustainability point of view, we can unbolt it, take it down and store it away when it’s not required, which negates the need for us to rent a similar setup, saving time and carbon emissions. It’s a fantastic product.” Lucy Edelstein, Managing Director, Triple E & EEE Build, is delighted to see the company’s products used in such a prestigious new venue. “Working on the opening of the

Aviva Studios with Paul and their team was a wonderful experience,” she reflected. “The ideas and motivation behind their work is inspirational and I can’t wait to see what they produce in the coming years and how they put our fantastic modular structural solutions to good use.” When it came to lighting and remote power solutions for the venue, Moore and his colleague Jack Thompson, Associate Technical Director, Factory International, collaborated closely with White Light (WL) - a d&b Solutions company, to ensure that the right equipment was selected and within budget. Antony Vine, Key Account Manager (Sales) at White Light, recalled the process. “Our collaboration went through a number of iterations as we traversed the pandemic, and once we were awarded the contract, we worked closely together to engineer our way to an equipment spec that worked for them against a fixed budget and a backdrop of increases that happened over the pandemic timeframe,” said Vine. The FOH lighting rig in the Hall is made up of ETC Lustr Series 3 profile fixtures, permanently rigged alongside four ETC High End Halcyon Platinum moving heads, to give the room ample coverage for a theatrical setting. In addition, 60 ETC High End Halcyon Titanium are carried as stock, to be used by the venue when required. Also supplied were two MA Lighting grandMA3 light control

desks, 56 Astera AX9 Battery Pars and over 100 additional LED generics and moving heads. White Light also oversaw the supply of a zactrack Pro tracking system and power distribution unit from StageSmarts. The zactrack, Astera and MA Lighting equipment was delivered via UK distributors Ambersphere with WL. “The venue is very much in a ‘learning’ phase as it opens and makes its way through the first few months of operation, getting to understand how the equipment works in the venue, so they intentionally didn’t purchase too much before knowing exactly what was needed,” said Vine. “Because many of the productions that the venue will host will bring in their own equipment, our task was to supply equipment that we knew would cover the most necessary bases as the venue and team found their feet. “It was a privilege to work alongside Paul and Jack on the project, and that relationship is ongoing as we continue to assist them during the opening, helping with any further purchases required to their inventory as the building’s uses become apparent and the show programming is finalised,” concluded Vine. Three StageSmarts C72 Racks were purchased through White Light to provide the venue’s mobile power distribution, which gives venue staff monitored data in real time for the power used across certain parts of the venue’s rig.

Abo v e left: The vi e w fr om t he c i r c le se at s du r i n g t he pr odu c t i on of F r e e You r Mi n d, t he offi c i al ope n i n g pr odu c t i on for t he ve n u e . P hot o b y Mar c o Cappe lle t t i , c ou r t e sy of O MA an d F ac t or y I n t e r n at i on al. Abo v e: The i n st allat i on fr om Man c he st e r I n t e r n at i on al F e st i val 2023 e xhi b i t i on ‘Yayoi K u sam a - You , Me an d t he Balloon s’ i n t he War e hou se at A vi va St u di os. P hot o b y Davi d Le ve n e .

Above top: T he Soc i a l i n si de Av i v a Stud ios, where v i si t ors g a t he r ahead of a s how or e x hi b i t i on t o enjoy some re f re shme n t s. Phot o b y Marco Cappe l l e t t i , c ou rt e sy of OMA and Factory I n t e rn a t i on a l . Above: The Adl i b t e a m i n st a l l t he 6 m LED scre e n i n t he Soc i a l . Phot o by Ashley Ba l l , Adl i b .

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For Moore, the zactrack investment was an important one for the venue as it can also be inputted into the sound system in the Hall, which is a d&b audiotechnik Soundscape system as supplied and installed by Solotech. “We invested in zactrack PRO as part of the lighting package, but it can also be used as part of the d&b Soundscape system in addition for as its conventional follow-spot function, and that gave it the edge over other tracking solutions,” said Moore. “It can also receive input from the automation desk and be informed when the lighting bar is moved – so it tracks the position of the light and the performer via different inputs.” Back in 2016 in the very early stages of the project, d&b audiotechnik was approached by Charcoalblue to design a flexible system for the Hall, that could be deployed as desired, across the diverse programme that Factory International produces. After winning the contract, Solotech was then brought onboard to deliver the sound system, with Adam Hockley, Business Development Manager d&b audiotechnik serving as the project lead for d&b, collaborating with Richard Burgess at Charcoalblue, Phil Aitken, Kieran Edmonds and Kyle Durno at Solotech, and Moore and Thompson from Factory International. “After looking at the technical specs for the audio system over a period of time and ironing out the requirements of the venue, we signed off on a design in August 2022 and went into purchasing mode the following month,” said Phil Aitken, Sales Executive, Solotech. “The d&b Soundscape system encompasses five main line array hangs across the main truss with 60 speakers on the walls. The total number of sound sources is 128, and so with Soundscape

the sound can be placed from anywhere in the venue. “From our perspective, this is a really interesting install as it is a surround sound system designed to correspond with the visual elements on the stage, rather than a simple task of hanging speakers at one end of a room.” Moore added: “Because we are artist-led, the incoming sound designer can configure this sound system to their liking. There are 60 of the d&b 8S speakers installed around the walls to create the 360° sound and E6 speakers underneath the balcony front. It’s a permanent setup, but the hanging arrays can be adapted or added to if a production requires.” The venue’s entire professional audio package was supplied by Solotech, encompassing DiGiCo Quantum 338 and Quantum 225 desks for control, Shure Axient wireless microphone system, Clear-Com FreeSpeak II communications system, and the cabling and flight cases for storage. Also installed is a sound system for the area of the venue known as the Social, where visitors gather ahead of a show or exhibition to enjoy some refreshments, with a variety of Martin Audio loudspeakers supplied to be configured to cater to the room’s needs. Signal distribution here is handled by a Q-Sys 110f core processor. Additionally situated in the Social, is a 6m wide Ultra-HD INFiLED WP Pro 2.5 screen which can be used for a variety of applications pending on how the room is being used including digital artwork, signage or as the backdrop to a pop-up live events stage. This was provided by Adlib who supplied the venue’s video infrastructure. “Adlib worked across four different areas of

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Above top: The huge moveabl e wall which separates the W arehouse int o two spaces. P hoto by Marc o Cappelletti, courtesy of O MA and Factory I nternational. Above: Free Your Mind , the of f icial openin g prod uction for Av iv a Stud ios , t he home of Facto ry I nternational, mad e use of bot h the Hall and t he W arehouse d u ri n g each perf orma n c e . P hoto by Tris t ra m Kenton.

the project,” said Ashley Ball, Video Technical Manager, “this encompassed digital signage – both fixed and movable, multiple LED wall installations, guest and performer entertainment solutions in the back of house areas, the supply of video equipment packages and network-based video distribution infrastructure throughout the venue.” To meet the brief for the digital signage and the back of house entertainment packages, a selection of 34 Panasonic displays were installed across the venue, accompanied by 30 BrightSign players. Also supplied for deployment by the in-house technical team were ready to go portable packages of Panasonic PT-RQ25 4K projectors and Panasonic AW-UE150 PTZ cameras. “The biggest area of focus for Adlib while we were pitching ideas to the venue was to deliver a video distribution system to link up the production spaces with the capacity to achieve UHD resolutions anywhere in the venue,” continued Ball. “We designed and installed an all-encompassing infrastructure system, which as far as we are aware is the first deployment of this kind of technology permanently installed in a live entertainment venue in the UK.” Torpedo Factory Group installed SDI infrastructure throughout the venue, and Adlib designed and configured a 300Gb/s ST2110 media network using Nvidia switches to facilitate this - expanding and extending the capability of the building’s SDI cabling. “We designed an enclosure for the Riedel MediorNet IP FusioN which connects to fibre facility panels located throughout the building and provides a variety of video input and outputs to allow the technical team to work with an array of equipment which production or touring artists

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bring into the venue,” said Ball. “The enclosures can be plugged anywhere into the network and connected with the other 74 ST2110 video endpoints in the building hosted in Riedel’s VirtU frames populated with MuoN IO SFPs. They can all be controlled via a tablet or web interface to direct video sources to any area of the building as needed, such as a projector, screen, display or a destination of their choice.” Andrew Watts, Head of Technical, Adlib, was involved in selecting the Riedel MediorNet IP having previously worked with ST2110 networks in broadcast projects. “This type of technology is now starting to enter the live events space, and we worked closely with Riedel to see how we can make this product work in venues,” said Watts. “It is a very flexible system which is essential due to the broad nature of events that this venue can host, we didn’t want to restrict the production team in the long term. “Elements of the system can be redeployed in the building to suit their needs, and at the time the products were specified no shows had taken place, so being able to preempt those needs would have been impossible. The hypermodular design meant that we are giving them longevity and not making presumptions that might be incorrect.” Torpedo Factory Group provided a Blackmagic Design ATEM 2 M/E Constellation HD which is utilised for show relay and distribution, and a show relay monitor is situated in the rack, with Adlib adding a ‘live events’ layer of equipment for vision mixing, recording solutions and live streaming along with 4K links into digital signage and screens in the building. Assisted listening across the venue is delivered via a Williams AV Wavecast Eight, which supplies eight channels that can be assigned across different parts of the building, and anyone connected to the Wi-Fi can receive it, while a paging system for the back of house area is powered by Yamaha XMV8140-D amplifiers. None of the above would be possible without the technical infrastructure backbone conceptualised and designed by Charcoalblue, a future-proofed blank canvas from which to create the unimaginable. The venue first welcomed visitors to the Warehouse when it held a huge Yayoi Kusama exhibition in summer as part of MIF. Aviva Studios officially opened in October with the production of Free Your Mind, directed by Danny Boyle, running for three weeks, and Moore is quick to emphasise that the marriage of technology and talent is important for a performance space as complex as this. Factory International launched Factory Academy in 2018 with the vision of training the creative workforce of the future, and a lot of the technological choices that went into the venue were made with this in mind. A Technical Trainer will be employed directly by Factory International to deliver venue-based training, providing a pipeline for technical roles at a range of levels at Aviva Studios and across the region. “Factory Academy is really important to us as that has an emphasis on introducing new entrants into this field,” said Moore. “We have been working with the Executive team to create opportunities across our departments – the artisans and technicians – to learn and develop. Initially, it is about us getting to grips with the venue and the technology, but then it will move on to be about innovation and progressing people’s careers. “For me, the best asset of the building is our team of operators. We have an amazing team, and when they all have full confidence and knowledge of how all the different systems and technologies can be utilised, it will be a very exciting time.”

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BBC E A R TH EXPERIENCE A PA C

MELBOURNE / AUSTRALIA

Cost-e f f e c tive and spa c e -sa ving med ia se rve r solutions are a t th e h ear t of de live ring a c utting e dg e e xpe rien ce at th e ne wly ope ne d B B C Earth Exper ien ce down unde r. P h o t o s : H IV E, A a r o n L ee No yes , O r ga ni c P h ot o.

Following the success of the inaugural BBC Earth Experience in London, which opened in March, the attraction has been reproduced in Melbourne, with the footprint of the London set-up recreated inside the Melbourne Convention and Exhibition Centre. Produced in partnership with Moon Eye Productions, Live Nation and BBC Studios, the Experience opened in October features multiple rooms of nature, with visitors taken on a journey through the seven continents on an epic scale, all narrated by David Attenborough. The attraction provides an unparalleled immersive experience, allowing visitors to embark on a 360-degree audio-visual exploration of Earth’s diverse ecosystems. All achieved through dynamic multi-angle screens, deploying the latest digital screen technology to project both new and existing footage from the BBC series ‘Seven Worlds, One Planet’. While the experience’s layout in Melbourne is the same as the 1608 sq m venue assembled in London, some

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of the technology used is vastly different. Strikingly, the Melbourne chapter introduces a twist in the core technological tale. TDC, a leading supplier of video technology and production in Australia, has adopted an innovative, cost-efficient HIVE media server solution for the project. Spearheaded by TDC Managing Director Michael Hassett, the move puts HIVE in the spotlight as its new product BeeBlade – a revolutionary, compact media engine that integrates seamlessly into video projectors and display technology via an Intel SDM (Smart Display Module) slot – is providing the backbone of the digital playback system. The Melbourne experience boasts 70 Panasonic projectors, with 55 creating the main immersive space. Here, 49 projectors are empowered by the industry first, BeeBlade, while the remaining six projectors are complemented with 4K clarity via the HIVE BeeBox – a sibling to the BeeBlade engines. The BeeBox provides a chassis for projectors and devices

that do not have an SDM card slot. These innovations not only pack a powerful punch in performance but also signify a leap in energy efficiency and cost-effectiveness. “Having accepted our proposal for using HIVE media servers, Moon Eye Productions brought us in to provide the media engines for this project,” explained Hassett. “We took a great deal of responsibility for that delivery, especially because the HIVE product was not well known to them, given that different media solutions had been used in London.” Hassett’s discovery of HIVE, initially from industry whispers and further impressed by their involvement in London’s Frameless project, has led to a synergy and understanding of the simplicity and sophistication of the BeeBlade solution. The direct integration with projectors eliminates the need for extensive cabling, reduces both energy usage and project budgets, and ushers in an era of eco-conscious technology. “The SDM technology was something that really interested me,” said Hassett. “I had heard of some development

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of this, and then when I learned that Panasonic had integrated an SDM slot into some of their projector models – this led me back to looking at HIVE as the product for this BBC Earth Experience project. “The BeeBlade and BeeBox don’t just represent technological advancements; they are harbingers of a new, greener, and more efficient era in digital art installations. This transformative approach is not just a disruption in the media server space; it’s an evolutionary leap, saving time, money, and the planet.” Hassett’s growing confidence in this technical innovation underscores its potential to redefine future projects for them, and their clients. “The price point is also very favourable,” he continued, “and while the HIVE products might not have the ‘bells and whistles’ offered by other solutions – for this and other projects, we don’t always need them. It sometimes just requires good, reliable, high resolution playback.” The HIVE products were sold to Moon Eye Productions and then installed directly into the projectors at Panasonic

TECHNICAL INFORMATION VISUAL 59 x HIVE BeeBlade 23 x HIVE BeeBox 50 x Panasonic PT-RQ25K (20,000 ANSI 4K 3 chip DLP) 10 x Panasonic PT-RQ35K (30,000 ANSI 4K 3 Chip DLP) 10 x Panasonic REZ10K (10,000 ANSI WUXGA 1 chip DLP) www.tdc.com.au www.hive.run www.faber-av.com

“ Th e B e e B lade a n d BeeBox don’t just re pre sen t te c h nolog ic al adv an cemen ts; th e y a re h a rbing er s of a ne w, g re e ne r, a nd mor e e f f ic ie nt e ra in digital a rt insta llations. This transf ormative appr oach is not just a disruption in th e me dia se rve r space; it’s an e volutionar y leap, sa ving time , money, an d the plane t. ”

Europe’s facility in Wiesbaden, Germany. From there, they were delivered to Melbourne for installation, which was undertaken by Faber Audiovisuals. Because it was a new media server system for the project, and the leap of faith to use HIVE was quite large, Hive’s team were directly involved throughout, and worked alongside Moon Eye, Panasonic and TDC, as Mark Calvert, one of HIVE’s co-founders, explained: “When we got involved in the project, we soon realised that HIVE, Moon Eye Productions and the key stakeholders are all based in Europe, so we agreed to build a scale model of the project in our Horsham office,” he said. “This helped connect all the teams involved, the technology, and the reality of what we wanted to achieve, as it built a real connection with the physicality of the project, rather than only pre-visualising it in often forgiving software.” This setup also allowed members of the TDC commissioning team to log in remotely and operate the HIVE system, providing a great environment to train and upskill their team during the pre-production phase.

From a technical playback perspective, the content stored locally on each BeeBlade and BeeBox device is delivered using HIVE proprietary BeeSync software, which synchronises the HDMI clock over all connected devices. “This software has been developed exclusively by HIVE, and is the essential backbone to the success of the project, and the perfect synchronisation of all imagery displayed,” said Calvert. The BeeBlade and BeeBox represent a significant development in the media server realm, and Calvert reflects with thanks on Panasonic’s role in helping them realise their compatibility with SDM technology. “We have a good, long-term relationship with Panasonic Europe as they helped us with the development of the BeeBlade, working alongside Intel who developed the SDM slot,” he said. “With the need for a huge cable network now removed for this type of project, it helps from an energy saving point of view, as HIVE are trying to align the company with an ethos of shifting to offer as environmentally friendly solutions as possible.”

Tony Molloy, European Sales Manager at Panasonic Business Europe, who oversaw the sale of the projectors for the project, said: “We realised that in immersive installations such as this, having a system where you can combine the projectors and media servers together in the same location saves the costs from an installation perspective, and so it is quite a unique development for this industry. “The customer chose Panasonic’s 3-chip DLP technology for this application, with its durability a major selling point in addition to image quality and the overall impression for the end user.” For Hassett and TDC, their role continues after integration to ensure that the servers maintain their performance. “It’s been a big leap of faith, but as the integration went on, I felt more confident in the products every day,” he said. “The products are so good that I have full confidence, and have even now invested further to use

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HIVE on future projects that we are now working on.” Calvert concluded: “This is a new approach to media servers and while it is intentionally disruptive to the market it is rightfully becoming very popular. The system is easy to use, quick to assemble – because it’s integrated into the projector – and the solution has saved the project significant capital. “The BBC Earth Experience in Melbourne isn’t just another attraction; it’s a revolutionary landmark in storytelling. By marrying breathtaking footage with ground-breaking technology, it opens a window to a world where nature’s story is told not just through words, but through an immersive, vivid, and unforgettable experience. “This isn’t just a success story for TDC, HIVE, or Moon Eye Productions – it’s a bold new chapter in how we approach immersive experiences today and into the future.”

A b o ve (ri g ht): Vid eo En gin eer s f r o m TD C a n d WeAr eTheHive w o r kin g on c a libr a t ion of HI VE s o f t wa r e a hea d of t he ven u e o p e nin g.

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TR A N S ST U D I O MA L L APAC

MAKASSAR, INDONESIA

Maxin1 0sity de liv er a tu r n k ey solution to bring the wow factor to sh oppe rs with cu stomised c onte nt de live re d to a 25 m d ome display, powe re d by A V Stu mpfl P IX E RA ser ver s. Ph o t o s : M ax i n 10 sit y. Situated on a remote island in Indonesia, the owners of the Trans Studio Mall in Makassar trusted the Budapest-based projection mapping company Maxin10sity team to bring a plain section of its ceiling to life with a complete turnkey solution – from content design to installation. Once contact was established between Trans Studios and Maxin10sity Managing Director Tamás Vaspöri, the ideas then started to bloom. “After we discussed what they were looking to achieve, I realised that they needed not only the content, but also system planning, implementation and installation, which is unusual for us as we normally are only asked to deliver content,” said Vaspöri. “Their animation request for the content was to have a dynamic five-minute-long show which displayed battles between various mythical creatures, and this was to be projected onto a 25m diameter circular ceiling, with a total projection area of 500 sq m.” Vaspöri entrusted long time partners Sommator AVS to handle the technical aspects, with the full responsibility of delivering a complete project falling to Maxin10sity. “In March we travelled to the site to assess the space and we scanned the surface’s measurements to be able to produce a model for the system planning and content production,” said Vaspöri. Taking into account the budget, Vaspöri took to outlining both the system and content, with the planning phase taking a few weeks before a solution was agreed. The projectors were purchased by Trans Studios and the equipment arrived a few months later, which gave Vaspöri time to work on the content with his colleagues. “The client purchased Panasonic PT-MZ20 projectors due to them having a local connection to the brand, while we

specified a PIXERA two OCTO server to deliver the content, and they were all within budget,” said Vaspöri. “On our first initial site visit we immediately had PIXERA in mind for the project. “We knew that within this project’s budget the best solution was PIXERA because of all its features. Once PIXERA is running it is running really smooth and it is very reliable – and that is very important especially in a fixed installation like this.” Once the equipment arrived on site, Vaspöri and his team followed shortly after to begin the installation process alongside members of the Sommator AVS team, with software used to pre-determine the best locations to place the projectors. “In addition to using the cloud based platform Mapping Matter for determining the perceived overall brightness of the projection we also used the PIXERA 3D workspace during pre-production to do projection studies to help us decide the best position for the projectors,” said Andor Zékány, Video Project Engineer, Sommator AVS. “This also helped us manufacture the custom brackets holding the projectors in place, and at the right angle. Predictions based on these studies proved to be very accurate on site.” “There were some physical objects in the way of where we could potentially place the projectors,” confirmed Vaspori, “but by using the 3D modelling we found that we could place three of the projectors onto each side of the wall in order to fully cover the projection area.”

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“ In a ddition to u s in g t he c l ou d b a s ed plat f orm M a p p in g Matter f or dete rmin in g t he p erc eiv ed ov e ra l l br i g h tn es s of th e pr oj e c tion w e a l s o use d th e PI X E RA 3D work s p a c e du rin g pr e-p rodu c tion to do pr oj e c tion s tu die s to help u s de c ide th e best p os ition f or th e pr oj e c tors ,”

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A b o ve : Th e s i x Pa n as o n i c p roj ect or s a r e in st a lled o n b r ac k e t s o n t h e i n n e r p e r imet er of t he f ir st f loor , p r o j e c t i n g u p w ar d s .

Describing the setup, Zékány, noted: “The area covered in video content is the ceiling on the third floor of the building, and the six projectors are installed on brackets on the inner perimeter of the first floor, projecting upwards. The system is set up to trigger venue light cues over Artnet, turn projectors on/off and play shows 11 times a day automatically.” The installation took five days to complete, with some local contractors on hand to help fix the projectors into position, and Vaspöri noted that the installation process was: “quite smooth, with nothing serious affecting the delivery.” The server room is situated nearby, which services an LED wall in the area, and the PIXERA servers have been added to the rack – and have also taken control of the LED wall’s content and lighting in the vicinity. “Using PIXERA we can produce a pre-programmed queue,” explained Vaspöri. “The projection show is running from 11am until 10pm every day, and the server also controls the lighting in that area. Once a countdown ends the lights and LED wall switch off and the show starts. “When the show ends, the lights and LED wall come back on line – all configured through the PIXERA – and we have remote access to the server from our office in Budapest so we can change the queue if needed. It’s a really great product when you consider its quality and price.” Vaspöri also highlighted the user-friendliness of the PIXERA server. “It was easy to teach the maintenance staff at the Mall how to operate PIXERA,” he said. “We made a very easy-to-use system during the setup, with a control panel detailing everything that they need to know about its operation.” For the show’s content, Vaspöri explained that the brief was to show a mythical adaptation of the creation of earth and the establishment of the world. “We built five different mythical creatures, including dragons, titan and a phoenix bird, who in the beginning of the show are fighting each other,” he explained. “Later they become friends and establish earth together. The show is designed so that no matter where you are stood watching it, you can understand it from that angle.”

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TECHNICAL INFORMATION PROJECTION: 6 x Panasonic PT-MZ20 1 x AV Stumpfl PIXERA two OCTO www.maxin10sity.net

B USINES S

SHOW REPORT IBC, Amsterdam, Netherlands

HK AUDIO DISTRIBUTOR MEETING Bangkok, Thailand

COMPANY PROFILE Autograph Sound

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INSIDE VIEW DPA Microphones

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IN DISCUSSION Stouenborg

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FBT 60TH ANNIVERSARY Recanati, Italy

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LINEA RESEARCH GETS KING’S AWARD

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lDI PREVIEW

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IN DETAIL Innovox Audio, LD Systems

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PRODUCT GUIDE Projectors & Media Servers

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PRODUCT DIRECTORY

BUS INESS | W W W. M OND OD R. C OM

IB C 2 023 EMEA

AMSTERDAM, NETHERLANDS / 15 - 18 September

55,000 attendees turned out in force for this year’s IBC which was once again held at RAI Amsterdam- the multifunctional exhibition and conference centre on Europaplein. As one of Europe’s biggest annual trade shows, attendees from 170 countries were treated to four days of displays from the globe’s leading AV manufacturers who came out in abundance to feature a wide range of new products, some of which made their highly-anticipated debuts. Leyard Europe supplied the advanced Venue Pro VX series, and easy-toinstall LED video wall with exceptional on-camera visual properties and deployment versatility for a wide variety of installations. It also teamed up with Brompton Technology, using its processors to highlight the oncamera performance of the Venue Pro VX series. Brompton Technology demonstrated an array of pioneering LED video processing solutions as well as offering product demos, panel sessions,

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and technology masterclasses throughout the show. Focused on driving future innovation, Brompton showed its latest TrueLight technology, along with other industry firsts, Frame Remapping and ShutterSync. Ross Video provided attendees with an immersive experience focusing on extended reality (XR), intelligently integrating AI, robotic camera systems, enhanced cloud production, and hyper-converged infrastructure. punQtum, a sub-brand of RIEDEL Communications, debuted a new free-to-download app, which works as an intercom system over any IP network, and is available to Android and iOS users with access to the brand’s new Q210 PW speaker station. INFiLED presented its new STUDIO Series, an LED modular system which aims to create tailormade stages for broadcast, extended reality, and virtual production that enhance the creative experience of professionals in the sector. For the first time INFiLED also showcased its new Infinite Colors technology. Genelec unveiled the 9320A Reference Controller as a bridge to its brand-new UNIO Audio Monitoring Service Platform. UNIO brings together all the benefits of Genelec Smart Active Monitors, GLM 5.0 calibration software and Aural ID 2.0 technology to create seamless integration between professional in-room loudspeaker and headphone monitoring services. DPA Microphones showcased its new DLS4000 Location Sound Kit, which features an array of the company’s esteemed condenser microphones, along with more than 20 accessories, this kit was built to provide the most crucial solutions for any location-based

recording application. Pliant Technologies announced the latest addition to its MicroCom family of products with the new MicroCom 863XR wireless belt pack. Designed for European customers, the product operates in the 863-865 MHz ISM band, which allows for unlicensed use in most European countries. Clear-Com highlighted the innovative features of its flagship Eclipse HX Digital Matrix Intercom System, including Dynam-EC real-time production software, industry-leading role-based workflows, and the new 2X10 Touch desktop touchscreen panel. The IP-based Arcadia Central Station was also available for demonstration, including the HXII-DPL Powerline device, an IP interface that delivers power and digital audio from Arcadia to HelixNet Digital Network systems. Blackmagic Design showcased the new Blackmagic Camera, which adds digital film camera controls to the Apple iPhone. Based on the same operating system as Blackmagic Design’s digital film cameras, these professional features give iPhone content creators the same tools used in feature films, television and documentaries. Following a slightly smaller turnout in the previous year, IBC 2023 saw an enormous increase in attendees over the weekend period. As one of the most important European tradeshows in the calendar, many American and APAC companies showcased their existing and well-received products in an official EMEA debut. A prevalent theme for IBC 2023 was esports and gaming, with various bigname AV manufacturer’s presenting their latest advancements and even offering attendees a chance to try a game out for themselves. The Showcase Theatre also hosted various talks from some of the industry’s leading individuals with topics of particular interest being the increasing use of AI within media and entertainment, along with the continuous development of streaming technology.

1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11.

The Absen stand. The Lawo team. Donnie Hong of Dicolor. The Clear-Com stand. Patrick Hussey of Blackmagic Design. Allison Arlt-Suchon of Sound Devices. Mike Nann of Magewell. Matt Watkins and Mike Galli of MultiDyne. Gary Rosen of Pliant Technologies. Marina Prak and members of the ROE Visual team. Sam Simon-Norris of DPA Microphones.

H K A U D I O H O ST S T HREE-D AY DI ST R I B U T O R MEET IN G IN T HAIL AN D The 2023 HK Audio distributor meeting for Asia and surrounding areas was held in Thailand last month as approximately 200 people attended across three days. The opening day and a half was held at the Hilton Hotel in Bangkok where all attendees were informed about the company’s product portfolio and sales and marketing procedures. The welcome note was made by Christian Jordan, CSO, and Alwyn Wong, International Sales Manager, APAC, while product presentations were made by Andreas Mayerl, Head of Product Management. Attendees arrived from Australia, China, Indonesia, Iran, Kazakhstan, Korea, Malaysia, Philippines, Singapore, Taiwan, Thailand and Vietnam, and the presentation on the company’s marketing focus came from Gaby van der Blom, Head of Marketing. On the afternoon of the second day the guests were taken to a product demonstration held at the Royal Thai Air Force stadium, which was organised by local distributors Mission-T with the support of Dragon Sound. Day three saw everyone enjoy a longboat tour through the canals of the old parts of Bangkok to end the event on a relaxing note. Mr. Prasert from Mission-T reflected on a positive experience: “A lot of effort and hard work went into organising this demo, but it all paid off to see how many people have turned up and showed an interest in HK Audio products.” Gaby van der Blom, Head of Marketing at HK Audio said: “The entire distributor meeting and the demo in the stadium showed once again how important the personal approach to distributors and customers is. We were overwhelmed by the expert organisation of the demo by Mr. Prasert and his entire team at Mission-T, who were also supported by local rental company Dragon sound.” www.hkaudio.com

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AUTOGRAPH SO UND AUTOGRAPH SOUND CELEBRATES 50 YEARS OF OPERATION IN 2023, WHICH THEY MARKED WITH A GRAND PARTY IN LONDON IN LATE SEPTEMBER. EARLIER IN THE YEAR, THE COMPANY’S FOUNDER, ANDREW BRUCE, WAS HONOURED BY THE SOCIETY OF LONDON THEATRE WITH AN OLIVIER AWARD FOR INDUSTRY RECOGNITION, AN AWARD WHICH GARNERED EXTRA SIGNIFICANCE FOR BOTH ANDREW AND THE COMPANY GIVEN THE YEAR.

Across 50 years of operation, Autograph Sound has become a one-stop shop for all things professional audio, encompassing equipment hire, sound design, systems integration, studio work and special events. The early formation of the company happened partly by chance in 1973, when two sound technicians at the Royal Opera House – Andrew Bruce and Phil Clifford – were approached by a well-known theatre producer who was concerned about the quality of the sound systems available in London’s West End and commissioned a report on the industry. Both Bruce and Clifford delivered that report, and were then subsequently invited to design and rent him a sound system that worked. Looking back, Bruce commented: “The fledgling company’s first job was actually an install, as we put in system for background music in a restaurant called The Jam in the Kings Road – which included individual volume controls for each table – giving an early indicator of our pioneering approach to sound design. Not only is the restaurant still there, so is the sound system and it’s still working.” However, the core business soon became the development and rental of sound systems for theatre and a decade into the business numerous high profile shows, including Les Misérables in Paris (1980), Cats (1981), the original London production of Les Misérables (1985) and many more, had equipment supplied by Autograph. “In the intervening years the company has continued to grow and today we are by far the pre-eminent supplier of audio systems and sound design services to UK and European theatre” added Scott George, Autograph’s Group Operations Manager. In 1983, the company formed Autograph Sales & Installations, with the purpose of channelling their expertise into a much wider portfolio of work - effectively delivering the same operational and technical backup,

attention to detail and added value that had made the rental and design operation so successful. This new division was also responsible for bringing Meyer Sound and Clear-Com products to Europe as their first distributors in the region. The leadership team realised that the good practice for theatre sound applications was transferable to virtually all projects where premium audio is the objective, and in the intervening years Autograph’s expertise has been applied to numerous performance venues, as well as many unconnected verticals including houses of worship, retail, education, experiential attractions, corporate events, art installations, museums and leisure. George explains Autograph’s approach to delivering sound systems: “The company’s core skill is sound design because it underpins everything else we do. The implementation of any sound system relies on it totally - the art and science of sound design for theatre is absolutely critical to modern productions and is a very specific skill with only a relative handful of practitioners globally. It is a multi-faceted discipline but in essence sound design involves the creation and deployment of physical infrastructures to deliver the audible parts of a performance. In theatre, a sound designer is very much part of the creative team.” The awareness of the importance of sound design leads on to all of Autograph’s work, particularly installations, where a client is usually seeking a very specific result. “The company’s breadth of clients has expanded, and recently completed projects include a gurdwara, concert halls, live music venues, a multi-purpose entertainment space at an upscale holiday resort, the digital art installation Frameless in London, several independent schools, the British Museum, and of course, numerous regional theatres and performance spaces,” continued George.

C O M PA N Y P RO F I LE - AUTO GR APH SO UN D | WW W.MONDODR.COM

1. The multi-purpose performance space at Five Lakes Resort, Essex. 2. Autograph’s anniversary logo. 3. Autograph Sound provided the discreet sound system at the award-winning Frameless project in London. Photo by Montana Lowery. 4. A new audio system for the Chelmsford Theatre in Essex was designed and installed in 2023.. 5. Scott Arnold (MD), Andrew Bruce (cofounder) and Terry Jardine (Chairman) pictured at the company’s 50th birthday party.

“Frameless is a great example because it demonstrates beautifully how a creative AV space can be equipped with great-sounding – but very discreet - audio that is critical to the visitor experience. Also, Chelmsford Theatre and the Five Lakes Resort performance space projects both illustrate how modern point-source loudspeakers, when correctly deployed and programmed, can deliver a superior audio solution to line-array designs, emphasising our ability to recommend and install products and systems that are tailored exactly to the needs of the project.” The Projects and Installation department employs five full-time members of staff dedicated to Systems Integration work, and they can also call upon a large pool of freelancers – and expertise from elsewhere in the company – if necessary. After 50 years of operation, the

company hosted a grand party at Somerset House in London, with over 500 guests from across the AV industry joining Andrew Bruce and the rest of the Autograph team for an unforgettable night of celebration, laughter, and nostalgia. Earlier in the year, Bruce was presented with an Olivier Award for Industry Recognition - Group Managing Director Scott Arnold comments: “Andrew’s contribution to the development of theatre sound and the art of sound design in general is difficult to overstate, as at some point he has influenced every technical and operational aspect of the discipline. To be recognised in this way is not only a fitting tribute to our mentor and inspiration personally, but also to the company he co-founded fifty years ago.” www.autograph.co.uk

C O M PA N Y P RO F I LE - AUTO GR APH SO UN D | WW W.MONDODR.COM

The Shri Swaminarayan Mandir London (Neasden Temple), equipped for worship by Autograph.

Bradfield College, Berkshire, a leading independent school, features a multi-venue networked AV design.

Image courtesy of Supercell, Helsinki.

Thank you! We’d like to extend our heartfelt gratitude to the Mondo judging panel for declaring us winners of the 2023 Mondo-DR Sustainability Award. There’s never been a more important time for the AV world to reduce its environmental impact – so come and join us in putting sustainability at the very heart of our industry. To find out more, visit www.genelec.com/sustainability

D PA M I CROPH ON E S Sør e n Hø g s b e r g , E xe c u tive Vic e Pre side nt Sa le s & Ma rke ting , an d Tor ben E ke n b e r g He a d o f R& D, disc uss h ow a f oc us on R& D a nd a stre amlin ed d esign p r oc e s s i s r e d u c i n g w a ste and e nh anc ing produc t de ve lopme n t at DPA Mic r o ph o n e s . Having recently moved headquarters to a new building in Kokkedal, Denmark to the north of Copenhagen, the DPA Microphones team has begun settling in, with Head of R&D Torben Ekenberg leading his department as the company continues its commitment to producing high-quality condenser microphones for a wide variety of applications. “We have five main areas of focus for the R&D department – acoustics, mechanics, electronics, software, and project management,” said Ekenberg. “A huge focus for the last year – and for the future – is on the acoustical team as we look to increase our acoustical capabilities. This is because we are taking a strategic direction in the design of our microphones using mathematical analysis. “That way, we have the correct information in front of us before we start the detailed design. With that, we can make a lot of mathematical simulations and predict the characteristics and behaviour of microphones with certain membranes, membrane tension, and back plate charges, for example. It takes a lot of theoretical knowledge of acoustics to get to that point.

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“At the heart of every microphone is a capsule, with more than 10 individual elements, and if one minor thing is wrong, then it cannot be corrected in production. This is why we continue to put so much effort and resources into R&D, to minimise the waste of materials and be in as strong a position as we can be before we start to build microphones. “It is about implementing consistency into the design from the beginning and not design something which has a weak link somewhere.” With that, over the period of two years, the company has developed a capsule platform which is now being used across large areas of its portfolio, with some of those individual elements inside tailored to each mic’s specification. “If we could take a step back and look at our production facility around five or six years ago, there would be a number of microphones that were scrapped at various points along the production line because they would not pass our stringent quality tests,” said Ekenberg. “It was painful, and so we have professionalised our production process to avoid this.”

An anechoic chamber will soon be built adjacent to the new HQ that will help support Ekenberg and his team’s progress, with Søren Høgsberg Executive Vice President Sales & Marketing confident that the company’s careful expansion of its product line will continue over time. “Traditionally for us, new product development has been quite slow, often with one, two or sometimes three years in between the release of a new products,” said Høgsberg. “Whereas in the last year, we have been in the position to release four new pencil mics, which is unprecedented in the history of the company.” Høgsberg pointed to the 2017 appointment of its current CEO, Kalle Hvidt Nielsen, as a key milestone for the company’s recent growth. “We have seen a large increase in investment in R&D since Kalle took office, and it has created a snowball effect because as the company has grown, our position to invest in R&D has strengthened, and that in turn helps us produce a stronger product portfolio,” said Høgsberg. “We are optimistic about the future, and we will never deviate from developing high-end condenser microphones that are very accurate, durable, and consistent in the way that they sound – that is in our DNA.” One thing that is a testament to the durability of the microphones DPA produces is that the company has a single technician, based in a small office within the new HQ, who works on all the mics that are sent back to the company for repairs from around the world. “To me, it’s crazy to think that we only need a single staff member to cope with mics that need to be repaired – that really speaks to the high quality and durability of what we are doing here, because there’s often not a lot of work for him to do,” said Ekenberg. www.dpamicrophones.com

Abo v e left: C hu r c h visit or s a t Bet hel C hu r ch in C a lif or n ia e x per ien ce c lea r a n d n a t u r a l v o c al per f or ma n c es by B et hel’s m u s i c c ollect ive, B et hel Mu sic , t h a n k s t o a r ec en t in vest men t in D PA d :f a c t o Voca l Mics. Phot o by Roxy Mou r e. F a r l e f t: Tor ben Ek en ber g, Hea d o f R&D , a n d Sø r en Hø gsber g, E x e c u t ive Vice Pr esid en t Sa les & M ar k et in g, ou t sid e t he n ew D PA M i c r ophon es HQ in Kok k ed a l, D en ma r k . A b ov e: The 2 0 12 C a r d ioid a n d 2 0 15 W id e C a r d ioid mics r elea sed e a r l i e r t his yea r , f ollow ed by t he 2 0 17 S h ot gu n mic ( in set ) r elea sed in Oc t ober .

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THE FUNCTIONALITY OF MODERN-DAY TRADE SHOWS Having taken the lead on the integration and installation of recent award-winning projects, Anders Jørgensen, CCO and Project Manager at Danish integration and consultancy firm Stouenborg, has attended his fair share of trade shows around the world. Here he discusses the evolution of them, and why trade shows of all types and sizes still have their place on the calendar.

Over the last ten years or so I’ve seen trade shows shift from the places where we, as integrator companies, struck deals and agreed on how many of a certain product we needed to purchase to move forward with a specific project. Now, I see them more as a place where manufacturers and leading innovators can showcase their latest development – in addition to the sales aspect – and they are also open to discuss technologies that they are working on, which will be revealed to the industry in the future. I have experienced manufacturers approach me ahead of major trade shows to say that they have something to show me behind closed doors, to get a glimpse of something that might be available in the coming year or 18 months. That offers the opportunity for us to discuss that, and it’s a two-way street as they can take on board our comments about what may or may not be appealing about those developments. It could be something as simple as a mounting solution, and they’d want that opinion from certain integrators and installers on that particular item. They can then relay that feedback to their R&D departments – and the product may see the light of day, and potentially with slight amendments based on what that feedback was. At shows there will always be a focus on the present, because it is primarily customers and end users who are attending, and not necessarily all of them will be given any glimpse into exciting future developments – I’ve found it’s usually quite selective, because as we know this industry is based around relationships. After I have returned from a show and I’ve received some insight, it gives me a boost because I can think about how I might be able to use something that I’ve been told is in development for a project that I have lined up further down the line. Integrators and consultants are also in a position to reach out to the manufacturer and let them know that they have a project in mind where those new technologies – that we were given a small glimpse of - would be a great fit for the customer. And in a way, we can play a part in the driving of future products and technology development. That’s quite an optimistic outlook, and of course it’s not all a wholly positive experience to attend the shows. The environmental impact of them is huge – and so too is product development – so I’d like to see more being done to reduce output for outputs sake, and manufacturers to really emphasise their commitment to becoming more sustainable. And a show is a perfect place to demonstrate that, and I hope to see it at ISE in the new year.

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With ISE the next major show on the schedule, that show has gotten so big over the years that it is almost impossible to get a detailed overview of it, so I have begun to find the regional shows, closer to me in central Europe, slightly more appealing. For example, if I wanted to learn more about seating options in venues, I will travel to a show where I know where most of the seating manufacturers will be present. I think, and hope, that more of the smaller regional trade shows that are targeting specific markets will increase. From the manufacturers perspective, I understand that having their presence at a massive show, such as ISE, is a benefit for them – and it is there where they have the team members that can share that exciting glimpse into future developments, whereas they might not be necessarily be able to be shown at a smaller, local show. They all have their place, and the local shows can connect people that are geographically close, while the larger shows such as InfoComm and ISE, have that global reach and attract attendees from across the world. www.stouenborg.dk

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F BT 60 TH A NNI VERS ARY FBT Elettronica celebrated its 60th anniversary this year in spectacular style with a commemorative event held in September. Headquartered in the coastal town of Recanati on the Adriatic Sea, FBT opened its doors to its extensive international distribution partners and domestic Italian dealer network, with over 500 invited guests attending. The event included tours of the factory and product demonstrations, and culminated with the frontage of the HQ being turned into FBT’s own piazza with a large stage suitably equipped with FBT’s Myra range of speakers and guest seating all around, plus a display of FBT’s products spanning across its 60 years of manufacturing, including a beautiful retro DJ console. Food for the event was cooked on site and was curated by Errico Recanati from the award-winning Ristorante Adreina in Ancona. On the evening FBT acknowledged individuals who had worked for the company stretching as far back as 40 years, as well as having various artists play an eclectic mix of music. A notable performance of Verdi’s Traviata was performed by a soprano and tenor from Villa InCanto as they walked among the guests. The evening ended with a DJ set with music charting the 60-year journey of FBT. www.fbt.it

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F B T 6 0 t h A NNI V E R SA RY | WWW.M O ND O D R .C OM

Above: Pictures from the commemorative celebrations for the 60th anniversary of FBT, which featured gourmet food, DJ performances and vintage equipment. Below: Mark Parkhouse of FBT UK (left) with Roberto Mataloni and Mauro Zazzini of FBT.

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L I N E A R E S E A R C H C E LE BR A TE S K ING’ S AWA R D FOR I N N O V A T I O N R E C OGNITION A T SP E CIA L CE R EMON Y Above: In a li g h t-h ea rted m om ent, Da v ey Smalley and Ben V er from Li nea R es ea rc h , along wit h in dus try lea ders P h i l Dudderi dge (Focus r it e P LC) a nd Dom H a rter ( Ma rti n Audio), r ecei v e th e K i ng ’ s A wa rd for Innovat ion from Lord Li euten a n t R ob ert V o s s C BE and Deputy Lord Li eu ten a n t Sa lly Burt o n . FS C adet t e H a rri et Wa de j oi ns th e c eleb ra t i o n . Below: Dave y Sm a lley a n d Ben V er a c c ept t he King ’s Awa rd for I nnov a ti on from Lord Lieut enant Rob ert V os s CBE.

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There was an air of excitement in the Linea Research headquarters last month as the leadership team prepared to accept the prestigious King’s Award. Celebrating the boldest innovators in UK business, the recognition places Linea Research in an elite group of just 148 that received the award this year. The distinguished guests of honour arrived at the company’s Letchworth office and Chairman and founder of Focusrite PLC, Phil Dudderidge, Martin Audio’s Managing Director Dom Harter, alongside Linea Research’s Directors and management team, warmly welcomed Lord Lieutenant of Hertfordshire, Robert Voss CBE, and Deputy Lord Lieutenant of Hertfordshire, Sally Burton. After the introductions were made, they embarked on a tour of Linea Research’s production facilities, meeting the rest of the team, which gave them a glimpse into the company’s production processes. Shortly after, during the main award ceremony, Lord Lieutenant Robert Voss CBE delivered his speech, saying: “It is my opinion – and the opinion of many others – that this is probably the top businessrelated award in the world.” Lord Lieutenant Robert Voss CBE and Deputy Lord Lieutenant Sally Burton then presented the King’s Award for Innovation to Linea Research, with Engineering

LI N E A R E S E AR CH R E CE I V E S KI NG’S AWAR D FOR INNOVATION

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Director Ben Ver and Commercial Director Davey Smalley accepting the accolade on behalf of the organisation. “We are deeply honoured to receive the King’s Award,” said Ver. “It is a testament to our team’s hard work and passion as they continually strive to push the boundaries of what’s possible.” Smalley echoed the sentiment, adding: “Receiving this prestigious award is a moment of great pride for us. It inspires us to continue delivering high-quality audio solutions that empower professionals and enthusiasts worldwide.” Adding to the celebration, Nicola Hales, Linea Research’s Operations Manager, delivered a speech that paid tribute to the combined effort that had led the company to this moment, stating: “The future is exciting, with significant growth potential, bolstered by the support of the Focusrite group.” With the formalities concluded, Linea Research’s team and guests relaxed and enjoyed the moment, and after a memorable day at the headquarters, the festivities continued as the team headed to Knebworth House for a private staff party. Linea Research looks forward to building on this recognition and continuing its tradition of excellence in audio innovation. www.linea-research.co.uk

LD I P R EVI EW

Cameo OTOS® SP6

Booth 1145 (Cameo x Theatrixx) IP65 Spot Profile Moving Head • 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 • Uniform projection without hotspots throughout the zoom range • CMY colour mixing and additional colour wheel with 6 dichroic filters + open • Rotating gobo wheel with 7 indexable/rotatable, exchangeable glass gobos + www.cameolight.com/otos-series

AV Stumpfl PIXERA Booth 783

• PIXERA four media server • PIXERA multi-user feature • PIXERA dry-client programming feature • PIXERA Unreal Engine 5.2 integration • AV Stumpfl BLACKPEAK black projection surface www.pixera.one

Broadweigh Load monitoring Booth 1285

• Wireless load monitoring for live events • Suitable for venues, festivals, places of worship, theatres or museums • Bluetooth wireless load monitoring • Critical real-time data to help you know your best work, safely • Come say hi to Product Specialists Elliot, Matt & Tom www.broadweigh.com

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LD I P R E V I E W | WWW.M O N D O D R .CO M

Brompton Technology TrueLight Booth 903

• See a showcase of new TrueLight technology • Talk to our team about your LED processing requirements • Find out about the latest Tessera software features and updates • Catch daily demos • And more! www.bromptontech.com

X-Laser Laser without limits Booth 1420

• Laser fixtures engineered for lighting designers • Mercury laser control system empowers direct console programming • Tested and proven across genres and venues, from small clubs to world tours • Unrivaled support and industry-leading warranty coverage • Visit stand 1420 at LDI to see the exclusive debut of the next chapter in tour-grade laser fixtures www.x-laser.com

Elation Proteus Hybrid MAX Booth 1342

• Intense Output • Wide Linear Zoom • Fast Advanced Features (FAF) • Endless FX Options • Rugged IP66 Housing www.elationlighting.com/proteus-hybrid-max

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IN NOVOX AUDI O HLA-800 Series Loudspeaker

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The HLA series of loudspeakers from Innovox Audio are engineered to provide outstanding acoustical representation in a variety of applications, with availability in three vertical coverage angles: 20°, 35° and 50°. Additionally, the HLA series is available in vertical and side by side configurations and power is onboard or rack mount factory configured 1600-watt, class D Powersoft DSP amplification. The HLA-800 series are self-powered hybrid integrations of an eight-element J–array and a directional dipole low-frequency loudspeaker pair, and this integration yields precise vertical control not previously possible in such a compact package. They are available in a vertical configuration (HLA-8xxV) or a side-byside configuration (HLA-8xxSxS). The V and SxS variations are functionally identical and are offered as alternatives based on dimensional and aesthetic needs. The line source portion contains eight proprietary 3.5” mid-range and eight high-frequency ribbon drivers. The low-frequency portion incorporates two 8” low-frequency drivers in a dipole configuration to extend vertical LF control not otherwise achieved in this compact footprint. The HLA-800 series has been pre-configured for an asymmetrical 120° H by 20°, 35°, and 50° degrees V coverage patterns with vertical directivity to 240W Hz, and LF frequency response to 60 Hz. This loudspeaker family was engineered, designed, and crafted for houses of worship, as well as any setting where clarity and power in a compact form factor are key, and are available in black, white or a customised colour finish. www.innovoxaudio.com

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LD SYSTEMS TICA SERIES

The TICA Series from LD Systems is a new product range specifically for the installation market which offers compact solutions that are flexible, easy to install and packed with features. The series includes everything from media streaming and mixing preamplifiers to a range of amps with different channel and power outputs, and there are Dante networked audio interfaces, transformers, headphone amplifiers and control interfaces. Installers can build entire systems using workhorse products from the series, or alternatively, the TICA Series can be integrated into an existing installation providing additional connections or zones, because they are small, functional, single purpose products that are accessible and easy to install. “Our DIO Dante interfaces have expanded our Dante portfolio and we expect that integrators will be keen to try these new products,” explained Gabriel Alonso Calvillo Product Manager, Integrated Systems. The DIO 44 and DIO 22 Dante interfaces feature four-step gain control and 24V phantom power per channel. Additionally, all interfaces have signal indicators and can be daisy-chained together. “With the TICA Series we’re also offering several mini amplifier models with low or high impedance outputs,” said Gabriel. “They feature different input connections and simple third-party control options via GPI or voltage-controlled inputs.” The AMP 205 is a two-channel mini amplifier that combines its compact

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size with passive cooling and high efficiency. It is powered by a 2 x 50W Class-D amplifier, features 4 ohm outputs and has a user-friendly front panel. The AMP 106 T is a 1-Channel 60W Class-D amplifier that can drive low impedance or 70/100V line loudspeaker systems. Its small form makes it practical for installers that are working on projects that have limited space, or where aesthetics is important. The TICA Series has been designed for hospitality, retail, corporate and education applications, and the products are compact to allow them to slot into any project with ease. They can be installed under tables, behind screens and in ceilings, or installers can use the 1U TICA rack tray to put four devices next to each other. The TICA Series gives integrators the ability to build a system that fits the exact project requirements with minimal rack space. “The TICA Series has been designed for both trained professionals and users that don’t necessarily have high levels of technical knowledge,” added Gabriel. “The series is unintimidating as the products are easy to use and don’t have many confusing controls. TICA isn’t too complex for a consumer, and it doesn’t look too consumer-focused for professional installers. It is a very exciting development for LD Systems, as we can now offer installers a high-quality, convenient, and cost-effective solution for a wide range of projects.” www.ld-systems.com

PR OD UCT GUID E : PR OJ EC TORS & ME D I A S ERVERS

Digital Projection TITAN Laser 47000 Digital Projection’s state-of-the-art TITAN Laser builds on its legacy of innovation with this exceptional new model. Built into the new TITAN projector chassis’ are several leading-edge technologies that make it a choice imaging solution for higher-end large venue applications, such as auditoria, performing arts centres, visitor attraction venues, houses of worship, and rental and staging. The new TITAN family is a huge leap forward over the popular current models, with many aspects completely reimagined and redesigned for efficiency and size. The new model is 15% more efficient when measuring the lumens-per-watt output than the current TITAN and better than the closest competitor, firmly putting down the TITAN’s green credentials alongside its already legendary status as a projection powerhouse. Add to this the extended 40,000 hours illumination lifetime in ECO mode and the dust-proof, filterless design, the TITAN is designed to run and run with minimal fuss in 24/7 environments. The extra power and capability have also been engineered into a much more compact chassis, meaning it is 27% brighter, 13.3% smaller, 7.4% lighter and 3dBA quieter than the current model. This regains the TITAN’s position as the smallest, lightest, brightest and quietest projector in its class. Key Features • Up to 47,000 Lumens • 4K-UHD & WUXGA Resolution • 18,000:1 Contrast • Sealed Optics www.digitalprojection.com

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7thSense Actor 7thSense’s media server solution, Actor, has been built to be efficient, flexible and simple for large- to small-scale projects around the world. Learning from many years of experience, Actor brings together 7thSense’s values of pioneering innovation and passion for performance. Actor media servers can operate as single units, project grouped to increase the number of available GPU outputs, or be scaled right up by feeding them into Juggler pixel processors. Actor was designed with system programming in mind and uses the power of the hardware it runs on. The system performs the role as an actor would in a play, a film, or a show – playing back the images, or the ‘script’. Despite this, it is still able improvise and make adjustments to its performance if required. Some key features of the server are: SMPTE ST 2110 support to ensure all solutions are compliant to specifications, 240 FPS uncompressed playback, dynamic blends, keyframing, timeline-based programming, cluster/ system-wide programming, multi-user programming, NotchLC codec support, and OSC input for server control. 7thsense.one

Analog Way Picturall Pro Mark II Picturall Pro Mark II is a modular, high-performance, 16K media server designed to reliably playback video content on large pixel canvases. With the ability to drive up to 16 4K@60Hz 10-bit pixel accurate outputs from a single server unit, and to playback media up to 16K resolution or uncompressed file sequences up to 8K@60Hz 10-bit, this media server is a powerhouse in massive LED video wall installations. Built on Analog Way’s long experience in ruggedised low-maintenance hardware, the Picturall Mark II media servers have been designed to provide a robust, heavy-duty platform that can deliver optimised uptimes for any mission-critical applications. The Picturall Mark II server offers all the tools needed to create a solution that matches a client’s vision. Features like automatic show start, custom resolutions, virtual displays, parallel cue lists, cue tracking, timecodebased cue triggering, cue scheduling, real-time effects, dynamics HTML graphics, crossfades between clips, as well as multi-user control, allow for flexibility in programming and control. www.analogway.com

Arkaos VS4 The Arkaos VS4 is a feature-packed, intuitive and powerful media server. Impressively priced and all in a smart 4U rack mounted solution for all scenarios requiring 4k content output. Seamlessly running the latest ArKaos MediaMaster software, VS4 interfaces with any lighting console. Bringing Projection Mapping and Pixel Mapping together in a neat and tidy package. The software is intuitive and can be taught quickly meaning less staff downtime on training. The VS4 is targeted at rental and installs into: live events, high-end theatres, broadcast, streaming and corporate settings, and its design has been tried and tested in studios and on the road. With up to four 4K or 16 HD screens running from one VS4 (plus two full-resolution monitoring outputs), devices can be networked together to control even more screens. The screens can be remotely EDID locked with GenLock available for full functionality and control. Dependable, powerful and reliable Arkaos can be found in some of the world’s biggest venues and tours. www.arkaos.net

AV Stumpfl PIXERA four AV Stumpfl’s PIXERA four media server is perfect for highly demanding real-time graphics applications and broadcast setups. 12G-SDI I/O support, a 10 GB/s default data read rate and five configurable PCI 4.0 slots are some of the key system features of AV Stumpfl’s high end server for 4K and 8K playback. The PIXERA 2.0 software will make this versatile hardware system even more powerful. One of the undisputed highlights of the software version is its multi-user workflow capability, which will allow media server operators to be much more flexible and efficient when working on complex installations or show environments. Multiple PIXERA director licenses can now be synched, with users being able to choose between different levels of granularity when working within a multi-user scenario. Complete projects can be shared in real-time, or single project parts like warpings or timelines. Users can also choose to share every single editing action among the connected systems. www.pixera.one

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Christie Pandoras Box Christie Pandoras Box is a powerful and versatile media server system designed to handle any creative challenge. The award-winning product line combines state-of-the-art rendering technology with intuitive media and show control, allowing partners to create stunning visuals and immersive experiences. Pandoras Box Software gives users access to a flexible and scalable system that can handle any project size and complexity. The software can manage media assets, create timelines and cues, adjust parameters in real-time, and control external devices. The latest Workspaces feature allows users to visualise their stage setup for 2D environments. Pandoras Box Software includes NDI, SDVoE, Dante, and Notch. The intuitive design of Pandoras Box allows users to arrange videos and images freely, as well as change colour, form, and position to suit individual workflows. Pandoras Box synchronizes all video and audio sources. With its on-site 3D rendering, composition, editing, and ‘on the fly’ preview mode, Pandoras Box is the perfect choice for any live event or multimedia show, also in multi-user mode. Christie Pandoras Box Software is compatible with the Pandoras Box family of products, such as the Server, Compact Player, Widget Designer, and Christie AirScan. Users can also integrate it with all other Christie products, such as the Terra transmitter and receiver, the Spyder X80 multi-screen windowing processor, and the Mystique™ automated camera-based alignment tool. With Christie Pandoras Box Server, users can create a complete solution that meets their needs to

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enable their creative vision. Pandoras Box Server hardware comes with three performance kits to choose from, selectable Nvidia RTX GPUs, optional video and audio input cards, and a sync board for frame-accurate synchronization. Christie Pandoras Box Server is a turnkey solution that can be customised to fit specific needs and budgets. Users can enjoy the benefits of 8K+ uncompressed video playback, 10-bit colour depth, and HDR support at 60fps (or up to 240fps for high frame rate applications) for stunning image quality. Users can also use the latest network protocols such as Terra/SDVoE (Software Defined Video over Ethernet), and Dante (Digital Audio Network Through Ethernet) audio to stream high-quality content over IP. The Pandoras Box suite of products is trusted by professionals around the world for its reliability, performance, and versatility. It has been used to power immersive experiences in a broad variety of applications and markets, such as live theatre and opera, broadcast, museums, visitor centres, digital signage, and live events. Recent projects include the Schlosslichtspiele Light Festival in Germany, Lotte World Magic Island in South Korea, The King Abdullah University of Science and Technology in Saudi Arabia, and GLOW Festival in The Netherlands. Users can try Pandoras Box Software with the newly updated 90-day demo version, and dive into projects with confidence and free online training. www.christiedigital.com

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K-array’s Python line array series are compact column speakers, hidden from sight but once the music starts, the audience will be surprised by its quality and astonished by its sound. Perfect for a variety of luxury interior and exterior projects where sound is essential.

Discover our audio solutions

www.k-array.com

Canon REALiS 4K6021Z The REALiS 4K6021Z is a 4K laser projector that delivers high-quality images within a compact and lightweight design. Its native 4K DCI Resolution of 4096 x 2160 combined with a high brightness of 6000 lumens and a dynamic contrast ratio of up to 22,000:1 creates life-like, detail-rich images that ensure an engaging viewing experiences. With its long-lasting performance and wide range of features, including compatibility with the RS-SL07RST 4K Standard Zoom Lens, the REALiS 4K6021Z laser projector provides an exceptional 4K viewing experience that is ideal for simulation and training, museums and galleries, education, corporate and more. www.global.canon

Barco F400-4K The F400-4K is a solid-state static laser-phosphor projector with a resolution of up to 4K and built for the most challenging environments. With its processing speeds of up to 120 Hz (at WQXGA resolution), the F400-4K brings all details to life in the most dynamic, high-speed environments. This great performance never comes at a cost of the image quality, which follows the scenario perfectly, at lowest latency. The F400-4K also benefits from Barco Pulse electronics – software architecture that ensures advanced low-latency processing operations, like pixel-shifting, warping and blending, to take place in one single processing step. With their rapid sudden movements, motion platforms are challenging environments for projectors. The F400-4K is a true solid-state product, which means no moving parts like colour or phosphor wheels and is fully rated for shock and vibration. With the electronics, hardware, and software built around a unique H-beam-shaped aluminium core, the F400-4K has an optimised strength-to-weight ratio providing a sturdy platform and easy access if servicing is required. www.barco.com/en

Dataton WATCHPAX 62 WATCHPAX 62 is a series of dedicated media servers available in four models. The server offers four video outputs, dual HDMI inputs, and a high-performance specification. The four outputs support 4K (UHD) playback, making it a powerful and portable alternative in a multi-display setup. WATCHPAX 62 is a locked-down unit, preconfigured for playback of WATCHOUT shows. Multiple units can be installed together in a rig or with Dataton’s other WATCHPAX media servers. WATCHPAX 62 has a compact, portable 2u form factor designed for tabletop or rack use (rack rails and ears supplied separately). Each unit weighs approximately 10 kg and has rugged, aluminium housing with superior finish. Sleek, robust and with a compact 2U form factor, WATCHPAX 62 is the successor to the popular WATCHPAX 60 series. This new generation combines the same elegant exterior with a fully updated tech spec to pack an even more powerful punch. www.dataton.com

disguise xv 4+ Purpose-built for the world’s largest and most technically demanding productions, installations and shows, the vx 4+ is designed to ensure maximum content quality and playback performance. The new disguise vx 4+ machine ramps up storage performance and significantly improves video throughput, with up to 100GbE in bandwidth for higher-resolution live video. Integral to the disguise modular ecosystem and working with disguise VFC cards, rx render nodes and preconfigured network switch fabric, the vx 4+ is designed for projects in need of a robust and scalable solution. Inclusion of two 100GbE network ports and 12G video capture as standard enables the vx 4+ to be used for 4K xR compositing alongside a cluster of rx render nodes. The integration of a new PCIe 4.0 motherboard, CPU, GPU and RAID storage, ensures that the vx 4+ video playback and compositing performance is unrivalled. When combined, the vx 4+ enables additional capacity to meet performance expectations while keeping video latency to a minimum. Existing disguise vx 4 owners also can upgrade existing machines to the vx 4+ to future-proof their productions. www.disguise.one

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WWW.FBT.IT

Watch the video

HIVE BEEBLADE HIVE’s BeeBlade is a revolutionary approach to media control that seamlessly integrates HIVE’s high-performance HIVE Media Player solution and software directly into display hardware. This innovative solution redefines efficiency and convenience by eliminating the need for complex signal distribution networks and unwieldy control room footprints and heat management challenges. The Intel SDM platform has considerable power to simplify projection, display and video wall installations by significantly reducing costs and complexities, as well as by being future-proof. The HIVE BeeBlade is designed to directly connect to any product that includes an Intel SDM slot, making it compatible with products such as Panasonic DLP Projectors. Powered by an Intel Core i5-1135G7 CPU and Intel Iris Xe GPU, the BeeBlade delivers outstanding performance, ensuring smooth playback and crisp visuals. With 16GB DDR4 3200 memory and up to 4TB of storage there is ample space for high-resolution content. It offers exceptional decoding capabilities of up to 4320p 60 (8K) and layer support for 2x 2160p 60 (4K). The BeeBlade’s maximum HEVC bit rate stands at an impressive 800 @ 4320p60, ensuring content looks stunning and runs seamlessly. hive.run

Epson EB-L30000U The EB-L30000U Pro AV installation projector has been developed for vivid theatrical and film projections, or areas with high ambient light, such as shopping centres and galleries. Its compact design is a significant customer benefit for storing, handling and shipping. At 30,000 lumens, this is one of Epson’s brightest Pro AV projectors enabling users to create powerful presentations and immersive experiences. Its more compact design means it can fit into smaller spaces which makes it easier for users to transport, install and store. This installation projector features Epson’s 4K Enhancement Technology, which uses pixel shifting to double the resolution as a more cost-effective option for producing 4K content. The EB-L30000U is supplied without a lens, allowing the user to choose the most appropriate lens or lenses for their needs. All EB-L25000U lenses are compatible with the EB-L30000U. The mechanical shutter is particularly useful in theatres for creating backdrops. The projector can be turned to black instantly with a simple switch, and on again when required. This feature is very important in venues where laser lights are being used, as it can protect the lens from laser damage. www.epson.com

Modulo Pi Modulo Kinetic Modulo Kinetic is a fully integrated and scalable media server solution. The platform relies on Kinetic Designer, an intuitive user interface with dedicated workstation, connected to one or several V-Node servers. Its real-time timelines, embedded live mixer, 3D engine and show control tools are brought within one consistent user-friendly environment. With the release of Modulo Kinetic Version 5, the media server now offers a complete workflow tailored for interactive experiences. All the steps required in an interactive project, from calibrating sensors to creating effects, are accessible from the media server, without programming code or creating gateways to a suite of third-party tools. Modulo Kinetic V5 adds the support of varied sensors to meet the needs and budget of any project: 2D and 3D LiDARs and depth cameras. Integrated into Modulo Kinetic’s internal library of devices, the sensors can be calibrated in seconds, allowing the media server to flawlessly retrieve the position of one or several users to generate the interactive experience. Modulo Kinetic embeds a new library of effects. Available as nodes, these can be chained and cumulated to create unique outcomes. Timelines make mixing interactive layers and pre-calculated media easy for smooth playback. www.modulo-pi.com

Optoma ZU920T Optoma ZU920T delivers brightness and accurate colour reproduction, along with installation flexibility and lifetime reliability, bringing to life stunning imagery and captivating content. The ZU920T features high brightness, colour precision and quiet operation, and is 4K and HDR compatible and features 9,800 lumens and a 3,000,000:1 contrast ratio, producing lifelike visuals with rich detail and bright colours. Designed to meet the demand for high-brightness products that do not require interchangeable lenses, the ZU920T series offers a fixed, telecentric lens design with full motorised lens shift and 1.6x motorised zoom and focus, delivering the same flexibility of interchangeable lens solutions at affordable price points. Engineered with DuraCore technology, the ZU920T features a dust-resistant, IP5X-certified, optical engine for 24/7 operation capabilities, offering maintenance-free projection for up to 30,000 hours of powerful performance in Eco mode. www.optoma.co.uk

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G U I D E - P R OJE CTO RS & M E D I A SE RV E R S

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Panasonic PT-REQ12 Series The PT-REQ12 series creates smooth 4K images and enables 2K/240 Hz projection with a latency of 6ms or less when used with the optional real-time tracking projection mapping SDK. Evolved dynamic contrast achieves higher white brightness and deeper blacks. Rich colour enhancer revitalises colour expression for accurate artwork reproduction. As production complexity increases, the series further expands functionality, interfaces, and options for a smoother workflow. It suits new optional lenses and has an Intel SDM-ready slot. Import custom test patterns, use NFC function to save prep time, and streamline adjustment with pre-activated upgrade kits. This series also features an optical engine and laser light source module compliant with the IP5X Dust Protected (IEC 60529) standard, and a refined liquid cooling system that enables up to 20,000 hours of maintenance-free projection. Backup Input and Multi Laser Drive Engine enhance reliability and add insurance against interruptions. connect.panasonic.com

VIOSO Anystation Media Series The Anystation Media solution is a rock-solid and high-performing media server running Pixera VIOSO Edition software, resulting in ultra-high-resolution video playback. Additionally, there are numerous configuration options available. Branching from this, VIOSO released the Anystation Nano; an ultra-mobile workstation solution. It is suitable for video playback on up to four projectors or screens and fits into any place due to its conveniently small measurements (18cm by 18cm by 3.5cm). The server includes VIOSO Player for video display with warping and soft edge blending. vioso.com

Vivitek DU7000 Series Comprising the DU7099Z, DU7199Z and DU7299Z, the DU7000 series of large venue projectors offers varying brightness levels and is capable of maintenance-free operation for up to 30,000 hours with stable and constant brightness and has an IP6X sealed engine design. Deploying Vivitek’s latest laser technology, the DU7000 Series provides high brightness of up to 9,600 lumens, high 3,000,000:1 contrast ratio and features great colour uniformity with vivid colour technology. The new projectors mark a shift away from manual lenses, with support for up to nine motorised lenses, including a new short throw lens 0.47-0.50 up to 5.3-8.20 for tight installation spaces. All lenses are fully motorised (lens shift, zoom, focus) except D86-04705 (Lens Shift Only). The DU7000 series is equipped with lens positioning memory to quickly recall user-defined lens positions (lens shift) for easy setup and perfectly proportioned images. The DU7000 Series offers power consumption savings of up to 45%. www.vivitek.eu

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3 X RTI ANGO 600 - PROJECT: LASER SHOOT-OUT AT THE TEGERNSEE / GERMANY | PHOTO: I. KARAI / LASERANIMATION GMBH

QUALITY & RELIABILITY FOR YOUR APPLICATION For more than 35 years LaserAnimation Sollinger has been your partner for outstanding laser projectors and controls. Our developments empower our customers to imagine, design, and create new and unique laser applications.

www.laseranimation.com LaserAnimation Sollinger GmbH • Crellestraße 19/20 • 10827 Berlin • Germany Phone: +49 (30) 780 963 00 • Email: info@laseranimation.com

1. Adamson CS-Series

The CS-Series brings the performance of Adamson’s sub-compact S-Series loudspeakers into the networked future with onboard amplification and DSP, plus Milan-ready AVB connectivity. Rounding out the series are a suite of CS rack-mounted systems and a dedicated CS software solution. CS-Series loudspeaker offerings are available as standalone products or as an upgrade to existing S-Series enclosures. www.adamsonsystems.com

2. ETC Hyperstar

A powerful, compact moving light optimised for projection versatility, Hypestar helps create unique designs for various venues, and to help achieve a desired vision, there are nine rotating patterns, 11 fixed patterns, an animation wheel, dual frosts, and dual prisms. Designers have an almost endless choice of breakups, aerials, radial patterns, and gobos, all of which can be layered together for custom visuals. www.etcconnect.com

3. Neutrik OpticalCON MTP systems

Neutrik’s opticalCON advanced fibre portfolio has been expanded with the introduction of two MTP connectivity systems, creating a solution for point-to-point connections in pro AV and broadcast applications. The singlemode opticalCON MTP 16, and the multi-mode opticalCON MTP 48 respectively offer 16 and 48 data channels within a single cable. These systems provide for high-speed, high data capacity, from a high reliability, low maintenance connectivity solution, capable of operating in challenging application environments. www.neutrik.com

4. Sound Touring Series Spot CX6

The STS Spot CX6 is a multipurpose point source speaker designed to be used in both touring and fixed installations. The CX6 is extremely useful in reverberant or poorly conditioned environments due to its controlled dispersion. This system features a 6-inch neodymium coaxial transducer with a 1.77-inch diaphragm compression driver contained in a compact, lightweight and solid aluminium cabinet with various mounting possibilities. www.stsproaudio.com

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D I R E C T O RY | WWW.M O ND O D R .CO M

Acoustics that transform. Acoustics have the power to transform spaces, emotions, and us. From music halls to lecture halls to small performance venues and corporate headquarters, Constellation by Meyer Sound has transformed hundreds of venues worldwide with natural acoustics that sound amazing in any space. In any seat. For any kind of sound. meyersound.com/constellation

AD I N D E X

290mm

220mm

580mm

530mm

EM Acoustics

400mm

Elation 290mm

148mm

580mm

119 35

Genelec

HK Audio

43 530mm

580mm

400mm

J&C Joel K-Array

105 52, 53 75

148mm

580mm

117

Konig & Meyer

103

Kuzar

85 530mm

580mm

400mm

L-Acoustics Laser Animation 148mm

580mm Look Solutions

2 123 29 28

LPS

Lynx Pro Aduio

Meyer Sound

125

530mm

580mm

Monacor MONDO-DR Awards

61 12, 13

Neutrik

Novastar

103

Palm Expo

Powerlights Augsburg

111

Powersoft

REAN

111

Renkus-Heinz

Riedel

Royal Caribbean Cruise Line

Showtex

Signify

Smoke Factory

Starway

107

Steinigke

Tech Team

Vizrt

113

X Laser

580mm

530mm

127 580mm 17

148mm

126

ISE

580mm

Duratruss

400mm

148mm

Dynacord

FBT

290mm 148mm

580mm

400mm

LAWO

400mm

290mm 400mm

400mm

290mm

290mm Digital Projection

Fenix 290mm

400mm

290mm

4 27

220mm

290mm

220mm 290mm

353mm

220mm

353mm

220mm

353mm

257mm

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

89 400mm

290mm

Celestion

DAS Audio

400mm

290mm

Chauvet Contrik

580mm

400mm

Antari 353mm

HOF

220mm

353mm

257mm 400mm

400mm

290mm

257mm

194mm

194mm 290mm

ADJ

220mm Blaze Audio

220mm

353mm

257mm

194mm

400mm

290mm

400mm 194mm 220mm

400mm

290mm

400mm

290mm

Adamson

AV Stumpfl 400mm

290mm

257mm

194mm

400mm

290mm

220mm

Christie

220mm

Arno

257mm

194mm

400mm

290mm

220mm

7th Sense Absen

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Fi ndoutmor eatwww. dasaudi o. com

I PCont r olandMoni t or i ngt hr oughALMATM NFCt echnol ogyf ors el f pos i t i oni ngwi t hi nALMATM Sys t em opt i mi zat i onwi t hFI Rﬁl t er st hr oughDASai m TM I nt er nals ys t em pr oces s i ngat96kHz 3waySel f power edCompactLi neAr r ay 4Channel , Cl as sD ampl i ﬁer3000W RMS Bal ancedHor i zont alDi s per s i on 1 42dB MaxSPL of1

SO ITALIAN YOU CAN EVEN EXPLAIN IT IN HAND GESTURES. So Italian. So Unica. The Unica platform represents the pinnacle of our know-how applied to install amplifiers. It embodies all of our experience, and this translates into top-shelf audio quality, ease of integration, simplicity in use, and, of course, outstanding reliability. Unica cloud based amplifier platform. Unlock the power of consistency.

DANTE EMBEDDED

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