MONDO-DR 34.3
MARCH / APRIL 2024
ON THE COVER Ole Red Las Vegas. Photo courtesy of OPRY Entertainment.
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
Welcome to what feels like an extended edition of MONDO-DR. In a packed issue we have a mammoth venue report on Parks, Attractions and Museums – a section of the magazine that continues to grow –and a bumper report from ISE which once again cemented its place as the industry’s busiest major trade show. The cover story is the newly opened Ole Red in Las Vegas – host venue for this year’s MONDO-DR Awards. I visited the site during its construction in December, and I’m excited to go back in June during InfoComm and see it in operation. On that note, entries to the MONDO-DR Awards close on April 15, so if you have a project you’d like to enter into one of the 16 categories – please get in touch, or visit the MONDO-DR Awards website to submit an entry. Also featured is the transformed Bristol Beacon, which has been fully acoustically treated and supplied with a cutting edge AVL system to suit many needs across its three halls. We hear from the team at Em-Tec in Dubai highlighting some of its recent installations in the UAE, and profile Pharos in what is its 20th year of operation.
Enjoy the issue.
TODD STASZKO
EDITOR
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The latest location of American-style sports bar BOX is housed inside a Grade 2-listed former bank building in Nottingham city centre and features an RCF HDL 10-A active line array, installed by Pro Technical (UK).
With an extensive schedule of entertainment and events, including regular ‘Bandaoke’ sessions, with a live band providing the backing track for all-comers taking the open mic, Pro Technical Director Richard Anderson explained the decision-making process for the system.
“We chose RCF for the range of products needed to provide sound coverage and clarity in a Grade II-listed rotunda,” he said. “HDL 10-A were deployed in this area to control the sound dispersion and minimise reflections.”
Two hangs of two HDL 10-A elements were provided, with these composite cabinets powered by 1400W peak power amplification.
LF extension was provided for the stage area in the form of S8015LP 15-in bandpass low-profile subwoofers.
“The bass for the stage area required a sub speaker unit with a low height, so we used the 8015LP sub speakers under the stage,” explained Anderson.
Four additional S8015LP were then distributed under fixed seating throughout the venue - which is precisely what they were designed for.
For the main bar area ten COMPACT M 10 (300W RMS) were used for full range sound reinforcement, with 16 additional M 08 (200W RMS) speakers distributed around the room producing a wide 90° x 70° dispersion pattern. A further six M 06 complete the COMPACT series deployment, while a pair of RCF S 12 bass reflex subwoofers boost the low frequencies where required.
In summary, Anderson said, “We chose RCF because of its rich history in delivering high quality audio and precision drivers which have always proven to be reliable. Their different ranges of speaker solutions always provide us with the necessary tools to deliver optimum sound to our clients.”
www.rcf.it
Aarhus Musikhuset has recently invested in Robe PAINTEs moving lights and TX1 PosiProfiles for three of its halls. The Rhythmic Hall (Rytmisk Sal) also known as the Rock ‘n’ Roll Hall, has eight new PAINTEs, the Small Hall (Lille Sal) has seven TX1 fixtures, with another eight TX1s – four with gobos – for the 1,172-capacity Symphonic Hall (Symfonisk Sal). The lights were specified by the Musikhuset’s head of lighting Henrik Hambro and his crew, and delivered by Robe’s Danish distributor, Light Partner. The venue is a cultural and entertainment beacon at the heart of Denmark’s second city and stages over 1400 shows and productions annually. A diverse and action-packed programme embraces music, dance, comedy, and all forms of live performance from the experimental to the classical and areas of the Musikhuset are also hired for business and private events. “Robe was the clear winner out of all the brands we considered with similar luminaires, especially with the noise element,” revealed Hambro, underlining that PAINTEs and TX1s give them the most options to be adaptable in addition to their quietness. Aarhus Musikhuset already had 78 x Robe Spiiders in action across different venues, so having had a good experience already over some years, Robe is a brand they will always consider and trust. Hambro also highlighted the outstanding service from Light Partner, with whom the Musikhuset has enjoyed a good relationship for many years. “They are great, and totally get that ‘the show must go on’ … if we ever have an issue, they will be fixing it immediately or providing a light we can use in the meantime,” he said.
www.robe.cz
Photo: Louise Stickland
Under the guidance of Tirso Lighting’s Tirso Pelaez, the family-friendly Jenavies Café in New York City has undergone a stunning transformation where light plays a dynamic role in both the customer’s experience and the establishment’s aesthetics. The project aimed to enhance the cafe’s atmosphere, improve organisation, and create an effective space, and key highlights include the creation of a dedicated milkshake station, with custom graphics and digital displays offering an engaging way to explore drink options. As part of this process, a professional video production service was enlisted to capture a diverse range of comfort food, infusing a unique aesthetic dimension into the digital displays. This seamless integration of visuals and video production enhanced the overall milkshake station experience. In order to infuse the cafe with a playful and inviting atmosphere, Tirso Lighting designed and installed marquee-style lighting that elegantly adorns the entire facade of the service counter, a dynamic feature adds a touch of whimsy to the dining environment. The lighting firm employed its cutting-edge expertise to power the Madrix system, offering unparalleled control over the cafe’s lighting. This advanced system operates through a computer that governs all RGB pixel lights, which are integrated into the marquee concept that graces the front of the service counter, creating a captivating light show. Also achieved was the seamless integration of the outside and inside lighting into a singular, synchronised light show. www.tirsolighting.com
Outline solution amplifies the spirit of praise at the World Changers Church International
World Changers Church International (WCCI) is a thriving Christian worship centre located in the 8,500-seat World Dome, Atlanta, Georgia.
In 2021, during the Covid-19 pandemic which forced the closure of many churches, Jason Farah of Outline US was approached by WCCI who expressed a need to upgrade their existing sound system.
“Based on the trust in our relationship and the clear advantages of the Outline system indicated by the simulations, they engaged me and Jeffrey Cox to design and install an Outline system for them,” Farah commented.
WCCI’s new Outline system comprises four GTO cabinets at the top of the arrays for the long-throw, four GTO C-12 in the middle for the medium range, and four Mantas 28 at the bottom of the arrays for the nearfield.
Additionally, four GTO-SUBs in a cardioid configuration, complemented by three backwards-facing Mantas 28 to cover the upstage choir area, are also suspended.
“The expansive under-balcony space was covered with Vegas 24 speakers, which provided truly seamless coverage throughout that space. To this day, they are still raving how this little box made such a big difference in the worship experience throughout the entire listening space,” Farah said.
George Kelly, Front of House Audio Engineer at WCCI, revealed: “I’m most impressed with the clarity and stereo imaging. I find it very easy to mix on the Outline boxes. I find myself making small incremental adjustments, as opposed to a 4 or 5dB jump just to get a vocal or instrument to be heard.” www.outline.it
The 900-seat hall inside the Ho Guom Opera performing arts centre in Hanoi was presented to the public in a soft opening in July 2023 and features built-in audio optimisation courtesy of a Meyer Sound Constellation acoustic system. In addition to opera in the Eastern and Western traditions, the hall also hosts symphony concerts, Broadway musicals, ballet, jazz and pop concerts, conferences, and film screenings. With Constellation, both the intensity and spectral envelope of the reverberant field can be optimised for the event at hand, with multiple zones allowing fine-tuning of the effect both on stage and in different sections of the auditorium.
The architectural acoustic design of the hall works with the electroacoustic augmentation to assure optimum results throughout the audience seating and across a broad spectrum of reverberant field requirements
“As we progressed through the design development the concept evolved,” said Parisbased acoustic engineer Antoine Pommier of international consulting firm Delhom Acoustics. “It also became evident that Constellation adhered to all the project constraints and, as a result, became the preferred choice. Meyer Sound successfully reassured both the client and our project team.”
The Constellation system comprises 165 full-range self-powered loudspeakers placed on the side walls and overhead in the auditorium, as well as around the stage, with a dedicated D-Mitri DVRAS processor for each of the five reverberant zones. Deep bass extension for Constellation is provided by 16 small subwoofers, and a total of 57 miniature condenser microphones are deployed throughout the space for ambient acoustical sensing.
For amplified events, the venue relies on a house system anchored by 24 LEOPARD compact linear line array loudspeakers, with 12 900-LFC lowfrequency control elements for bass extension. Fill and delay requirements are met by a contingent of 32 point-source loudspeakers, with ULTRA-X40, UP-4slim, and ULTRA-X20XP deployed as appropriate.
Since the Ho Guom Opera opened, it has hosted performances by the Vietnam National Symphony, the Sun Symphony Orchestra, Katy Perry, and Kenny G, all showcasing Constellation’s ability to support diverse programming.
www.meyersound.com
www.acoustique-delhom.com
MAR 3-6
THE GET SHOW GUANGZHOU, CHINA www.getshow.com.cn
MAR 19-22
PROLIGHT + SOUND FRANKFURT, GERMANY www.pls.messefrankfurt.com
APRIL
MUSIC INSIDE RIMINI, RIMINI, ITALY www.musicinsiderimini.it
EXPO SCENE MONTREAL, CANADA www.citt.org
MAY
NAB LAS VEGAS, USA www.nabshow.com
INFOCOMM CHINA BEIJING Infocomm-china.com
SOUND CHECK EXPO MEXICO CITY, MEXICO www.soundcheckexpo.com.mx
TPIMEA AWARDS DUBAI, UAE www.tpimeaawards.com
MAY 7-9
SLS EXPO
RIYADH, SAUDI ARABIA www.saudilightandsoundexpo.com
MAY 21-24
KOBA
SEOUL, SOUTH KOREA www.kobashow.com
MAY 14-15
PLASA FOCUS LEEDS, UK www.plasaleeds.com
MAY 14-17
MAY 21-23
GTL SESSIONS
MYKONOS, GREECE www.gtlsessions.com
MAY 23-26
PROLIGHT & SOUND
GUANGZHOU, CHINA www.prolight-sound-guangzhou.hk. messefrankfurt.com
MAY 30-1
PALM EXPO / AV-ICN MUMBAI, INDIA www.palmexpo.in
INTEGRATE / CABSAT
DUBAI, UAE
Integrate / Cabsat, Dubai, UAE
Outstanding installations across parks, attractions and museums around the world.
COMPANIES: Modulo Pi, Digital Projection, Naostage
LOCATION: Les Epesses, France
For its 2023 season, renowned theme park Puy du Fou inaugurated a 2,000-seat theatre to host its new production Le Mime et L’Étoile (The Mime and the Star). Created to celebrate the beginnings of cinema, Le Mime et l’Étoile features over 120 actors and dancers on stage and takes guests on kaleidoscopic journey through the evolving art of filmmaking –from silent to talking pictures, and from black and white to colour. To achieve this, a state-of-the-art AV system lies behind the production, with its video projection provided by Digital Projection’s Satellite Modular Laser System (MLS), coupled with Modulo Pi’s Modulo Kinetic media servers, with real-time synchronisation of the AV and lighting made possible by Naostage’s automated show control solution, K SYSTEM.
For the show, a 16m high, 3,805 sq m Belle Époque building was built to meet the requirements of the scenography, and in front of the large grandstand, an early 20th century film studio is recreated using actors and technology.
Charly Landreau, Video and Special Effects Manager at Puy du Fou, explained: “The brief was to have a complete mapping of the sets over 30m wide by 10m high, but all on moving sets. We also needed to project the texts of the show in the style of silent films, as well as track the actors like a follow spot, so that the video effects would be in sync with the staging.” To project onto the massive set, four Digital Projection Satellite MLS INSIGHT 4K laser projectors were installed discreetly at the back of the auditorium, delivering a total of 80,000 lumens. The INSIGHT 4K projectors gave the in-house technical team the ability to transition seamlessly between colour and black and white scenes, and allowed the lighting designer to leverage the colour accuracy and black levels offered by Digital Projection’s ColorMax technology to convey the transition from silent movies to modern cinema using precise video pixel mapping and subtle shades of ‘grey’ colour mixing. The projectors are powered by Modulo Pi’s Modulo Kinetic media server, used to ensure perfectly synchronised mapping with the moving sets on stage.
“As users of the Modulo Kinetic system since 2016 on Le Dernier Panache show, which is also running in the Puy du Fou
España park, right from the start of the project we called on the experts at Modulo Pi, who had the answers to our questions and the responsiveness needed to develop new features useful to the project,” commented Landreau. The Modulo Kinetic system set-up consists of a main Kinetic Designer workstation and its spare, and two Kinetic V-Node servers equipped with two 4K outputs, with an additional spare unit. 3D models of the sets was imported into Kinetic Designer to create the dynamic mapping required for the show. “The moving sets represented nearly 2km in length, making 3D modeling a real challenge for video tracking,” noted Landreau. The media server and its 3D calibration tools were used to map the 3D decor. In addition, Modulo Kinetic receives in OSC the position information sent by the machinery used to move the facades and storefronts. The media server is therefore able to know the exact position of each set element in order to calculate mapping and soft edge in real time and ensure perfectly synchronised projection on the moving sets.
In addition, the movements and position of sixteen of the main actors and dancers are tracked in real time throughout the show using Naostage’s tracking solution. This way, a link is established with automatic light tracking, the L-Acoustics L-ISA spatial sound system, as well as video. Modulo Kinetic retrieves position information from Naostage in PosiStage, enabling it to track the actors like a follow spot, so that video effects are synchronised with the staging. Modulo Kinetic’s show control tools were also used to control elements of the audiovisual system, including the video projectors, the matrix switcher, and the lighting console. Thanks to Modulo Kinetic’s UI Designer function, custom user panels were created: “The panel makes it easier for show operators to handle the system,” added Landreau.
Following the successful debut of Le Mime et L’Étoile, whose INSIGHT 4K projectors deliver 20,000 lumens of brightness apiece, Digital Projection supplied a further nine projectors – this time in even brighter 40,000-lumen format – to Puy du Fou for another attraction, Le Dernier Panache. www.puydufou.com
COMPANY: Martin Audio LOCATION: Raleigh, USA
A sensitive installation of Martin Audio’s ADORN ACP55T pendant speakers has been undertaken at the North Carolina Museum of Art (NCMA) West Building Gallery in Raleigh, NC, by RMB Audio.
Knowing that the installation required multiple architectural and art curator approvals, the integrators knew instinctively that the stylish pendants would provide the most aesthetically discreet, yet consummately effective means of sound distribution.
According to RMB Audio Owner, Cooper Cannady, 16 of the shallow pendant speakers were selected for their 150° conical coverage and off-white finish which matched the ceiling, and were approved by the architectural committee after careful review.
The speakers are paired to cover the wall-to-wall open space. Three areas of the gallery were zoned for audio isolation to control the social gathering adjacent to the art exhibitions and the ACP-55T pendants were hung at 15ft height across three selected zones in the gallery to mitigate sound leakage into other areas.
“Well-articulated speech is the most critical parameter for the sound system application,” noted Cannady, “and Martin Audio ACP-55T pendants
deliver high sound pressure level for speech and background music for daily operation.”
According to Cannady the choice was obvious having accessed all the options available. “I knew the project needed a 150° cabinet spaced symmetrically across the gallery,” he said. “Ceiling units could not be considered in these circumstances.”
It is the first sound system to be permanently installed in the gallery, as previously, mobile carts would be delivered to the space, and without the ceiling elevation, clarity was lost.
Martin Audio’s compact two-way ADORN ACP55T were specifically designed for background and foreground applications requiring premium performance and cost competitiveness in spaces with open ceiling architecture such as this. Summing up the installation, Cannady also highlighted their discreet profile. “If you didn’t know where to look for [the speakers] you simply wouldn’t see them,” said Cannady. “The ADORN pendant design blends into the gallery ceiling; it does not distract the museum attendees and most significantly, spoken word is highly intelligible in the large space.”
www.martin-audio.com
WEDNESDAY 12 JUNE 2024 ENTER NOW ENTRIES DEADLINE: 15TH APRIL
Accomodation encompassing a mix of connected zones requiring AV solutions, such as bars, meeting rooms, communal areas, and gymnasiums.
Museums are relying on an ever-increasing use of technology to improve the overall experience of the visitor and functionality of exhibition pieces.
This category will focus on transport hubs and public spaces which are created or upgraded using technology to enhance their overall function.
The Sustainability Award returns this year and once again will highlight a venue/project that has been designed or made significant changes to mitigate its carbon footprint through the utilisation of technology. In addition to venue/projects, this may also include manufacturing headquarters, where efforts have been made to reduce waste and emissions during the manufacturing process –and the products themselves.
COMPANY: Elation
LOCATION: California, USA
Visual design group Lightswitch has overseen the lighting design and creative direction for Enchanted Forest of Light (EFOL) at Descanso Gardens in Southern California since 2016.
For 2024, the popular one-mile night-time walk through colorful and dazzling lighting displays shined brighter than ever with an expanded IP-rated lighting package from Elation that included the company’s new Proteus Hybrid MAX.
EFOL is an immersive visual experience tailor-made to highlight the historic botanical garden’s unique beauty and flora. Each year, Lightswitch reimagines portions of the experience, enhancing areas and repositioning luminaires. This season’s show included a new area as a result of refurbishment elsewhere in the gardens.
Lightswitch creates and produces the entire EFOL experience, designing lighting, media, and interactives, as well as overseeing music selection, sound design, and technical and logistical production. Under the leadership of Lightswitch Principal Chris Medvitz, the visual design of EFOL has consistently relied on Elation lighting for the past seven years. Collaboration with outside artists is an integral part of the experience. On the main lawn, a series of magical stained-glass–inspired houses by sculptor Tom Fruin are internally lit with SixBar 1000 IP LED battens, while in the rose garden geometric sculptures by artists HYBYCOZO glow from within using Proteus Lucius LED profile moving heads, as a stream of moving effects emanate through the pieces.
A special HYBYCOZO art piece that features in the installation is a large, rotating mirrored star previously lit using Proteus Hybrid, but is now
illuminated using Proteus Hybrid MAX. “Choosing Proteus Hybrid MAX made a lot of sense here because it is a smaller fixture, lightweight and includes technical updates that make it a more refined fixture,” Medvitz stated. “We needed a tight, collimated beam to minimize the overspill which the fixture’s narrow beam allows us to do.”
In past years, EFOL leaned heavily on Elation’s Proteus Hybrid arcsource moving head, but over the last few years many of those fixtures were replaced by LED-based Proteus Maximus and Proteus Lucius luminaires, and now the Proteus Hybrid MAX. Other IP-rated lights from Elation are used across multiple areas of the experience as workhorse luminaires such as the SEVEN PAR 19IP/7IP so that Elation lighting now graces all twelve of the garden’s environments. Creative Technology served as production partner for this year’s project, which included supply of the Elation lighting.
Perhaps the most magical area is the ‘Ancient Forest’, which features ancient redwoods and other species of plants that existed millions of years ago. Dramatically lit with accompanying soundtrack and fog atmosphere, the area crafts an ambiance that is otherworldly, with Proteus Maximus lining the back of the location and projected gobo patterns and moving beams.
Enchanted Forest of Light has become a year-end tradition in Southern California, consistently drawing large crowds, increasing membership, and generating revenue for this beautiful non-profit botanical garden.
www.elationlighting.com
The HS Series and Inspire Series 1DLP laser projectors from Christie Digital are illuminating the immersive exhibition spaces throughout Museum X, a new interactive museum that combines digital media art and technology.
Located in the north-eastern coastal city of Sokcho, South Korea, this exhibition venue is known as an “immersive new media playground”. Spanning 1,750 sq m, the venue is divided into four zones and 16 experiential facilities where visitors can explore bright and colourful exhibits that showcase dynamic themes.
Christie’s partner, SNC Alliance, supplied 34 laser projectors for the project, including the Christie 4K7-HS, which features 4K UHD resolution, along with Inspire Series DWU760-iS and DWU960-iS models. They were strategically installed across the venue by the local systems integrator, Ten Square.
“To accommodate the diverse spaces, Christie’s HS and Inspire Series projectors were chosen to ensure that visitors can experience the seamless integration of art and technology with unparalleled colour reproduction, without compromising image quality,” said Dong-Woo Lee, CEO, SNC Alliance.
“The 4K7-HS projectors are particularly well-suited for this project, excelling in challenging, space-limited installations. Additionally, the versatile Inspire Series, with IP5X dust-resistant optical engine and whisper-quiet operation, complements the setup. Both projector models offered hassle-free set up and enhanced the art and visual colours of the exhibition with optimal features.”
Enthralling visuals and artworks created by XORBIS come to life within the exhibition zones. In the ‘Ensemble’ zone, a fusion of artificial intelligence and art unfolds, inviting visitors to immerse themselves inside a media cocoon where their digital drawings are brought to life. Illuminated by eight Christie DWU760-iS projectors, the artworks are displayed with captivating chromatics and colours that elevate the viewing experience. The ‘Surround’ zone evokes multiple senses by merging the sea with space as visitors are treated to panoramic views
of the cosmic landscape, crystal blue sea, and vibrant sunset clouds that vividly fill the room. Eight Christie 4K7-HS and DWU960-iS laser projectors, discreetly installed, heighten the overall experience and transport visitors into fantasy realms with hyper-realistic imagery of magnificent skies and underwater worlds.
In the ‘Symphony’ zone, visitors seated on a huge bench are transported into a dreamy and mysterious atmosphere that highlights iconic urban and natural landscapes across Korea. Achieved through spectacular projections, six different themes come to life with 18 DWU760-iS laser projectors installed overhead. These projectors deliver bright and lifelike visuals, transforming the walls and floor to create a highly immersive experience.
Paul Lee, sales manager for Korea, Enterprise, Christie, commented, “We’re thrilled that Museum X has selected our HS Series and Inspire Series projectors to illuminate its expansive exhibition spaces. This project serves as a testament to the diverse capabilities of our laser projectors, catering to a range of needs and preferences. We are confident that these professional-grade projectors will captivate visitors with awe-inspiring visuals, enhancing the overall museum experience in the years ahead.”
www.christiedigital.com
Experts in floors for events, venues, TV and film production
COMPANY: Walters-Storyk Design Group
LOCATION: Rheinfall, Switzerland
Located in northern Switzerland, the Rheinfall is one of the largest waterfalls in Europe and attracts thousands of visitors each year who come to take in its natural beauty. The Rhyality Immersive Art Hall, located directly above the falls inside a redeveloped industrial complex, seeks to share this experience year-round in a new way by offering a unique, fully immersive journey that dramatically showcases the sights and sounds of the falls using the latest in 360 audio and video technology to bring this experience to life.
The project was conceived by conceptual artist and film producer Beat Toniolo and local tourism entrepreneur Hanspeter Weder, who brought respected architecture firm Dost Architektur GmbH into the project to realise their vision for the complex. Seeing the opportunity to bring together a diverse team of experts to get the job done, Dost Architektur GmbH called upon regular collaborators WSDG (Walters-Storyk Design Group) to bring acoustics and systems design expertise to the project. The basis of the visitor experience at Rhyality is the 200-person main hall that showcases the immersive art hall’s visual works – specifically its flagship ‘Rhine Falls in 4 Seasons’ piece that depicts a year in the life of the falls staged through a blended presentation of video compositions, music, field recordings, and narration.
Designing an intuitive visitor experience that would fit inside the existing halls of the complex was of primary concern for the project managers at Dost, and for the task of room acoustics and electroacoustics engineering, Dost turned to WSDG who have crafted similar immersive solutions at locations such as the National Museum of Qatar, the Shanghai State Grid Pavilion, and The Aura Club Events Hall. “In the case of Rhyality we had to tackle the challenge of what it means to do 360 sound,” explained Tschanen. “We always keep acoustics and
systems design in mind from the start in projects such as these, and we have often turned to WSDG to provide us with the expertise required. It was a critical part of the vision for this project, and our collaboration with them allowed us to develop it together.”
The acoustic design of Rhyality faced an interesting challenge initially –how to design a room with the proper acoustics without the projection screens on the walls causing unwanted reflections that would disrupt the experience. To solve this problem, the WSDG team recommended a special theatrical fabric manufactured by Gerriets to achieve the desired effect. “Proper use of materials in these projects can make a big difference in their functionality,” said WSDG Director of Acoustics Gabriel Hauser. “The advantage of this special fabric is that it is suitable for projection and is acoustically transparent, meaning we can use it for both purposes without the absorption treatment or loudspeakers being visible to visitors.
“Everything is hidden behind the screen which keeps the experience completely seamless.”
The loudspeaker layout for Rhyality was created in partnership with Holophonix and utilises 98 speakers for a fully immersive audio experience. Two layers, one at 1.2m and the second at 3.2m height, are provided behind the walls, plus the ceiling loudspeakers for a third height level.
“This is our first project utilising Holophonix technology and it was extremely effective to produce the desired immersive experience.” explained Hauser. “The Holophonix approach was cost efficient, especially considering the availability of 128 audio channels in the output section (Dante format).
“Furthermore, Holophonix is part of Amadeus Audio, and they were able to deliver a tailor-made system from start to finish. Direct support was given through Holophonix, including many software updates, as well as the local Swiss distributor of Amadeus.”
Currently operated and curated by art director Devon Miles, Rhyality has already become a popular destination and has expanded its offerings to include other immersive video presentations, as well as serving as a flexible and unique events hall. This evolution of the Immersive Art Hall has grown organically out of the vision of the unique players who brought the project together. www.wsdg.com
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COMPANY: Panasonic
LOCATION: Belfast, Northern Ireland
The Titanic Belfast visitor attraction has used Panasonic projectors to convey the emotional impact of the human tragedy within the Titanic story, through the creation of a new, absorbing immersive space that places visitors at the heart of the liner’s ill-fated maiden voyage. More than 12 years on from the opening of the building, the attraction has refreshed the Titanic Experience for returning visitors and continues to draw crowds from around the world.
Working with integrator, D J Willrich, Titanic Belfast now uses more than 30 Panasonic PT-MZ16K, PT-MZ780 and PT-VMZ71 LCD projectors to deliver the Titanic Experience, a stimulating re-creation of what it might have been like to be a passenger travelling on the liner. The self-guided tour is the most authentic way to discover the sights, sounds, and stories of the ship, as well as the people and city that made RMS Titanic.
“Unfortunately, we can’t change the tragic ending of the Titanic story, but we wanted it to be even more impactful for our guests,” explained Judith Owens MBE, CEO of Titanic Belfast. “That’s where we looked to technology to help us. We felt that the best way to do that was through immersive technology.”
The Panasonic projectors, equipped with Ultra Short Throw (UST) and Short Throw lenses, provide the optimal
balance of high brightness and vivid colour picture quality for the Titanic Experience, alongside market-leading reliability, with up to 20,000 hours of maintenance-free operation offered. Critical to the success of the experience is the quiet operation of Panasonic’s LCD laser projectors, so as not to disturb the visitor experience. The Panasonic UST lenses enable the projectors to be easily positioned in any space, even close to walls, delivering stunning visuals, without fear of visitors casting shadows.
“We have built a steel staircase in this incredible new gallery, The Ship of Dreams, where the guests can follow the journey whilst being completely immersed in original images,” continued Owens. “The key to the success of the installation is that the guests never see the technology. They just feel that they are part of the story, and that’s incredibly important for us.”
The projectors use in the Titanic Experience has already helped Titanic Belfast to win the ‘Outstanding Achievement – Visitor Experience Reenvisioned: Limited Budget’ accolade at the 2023 Themed Entertainment Association Awards, and is one of the most visited tourist destinations in Northern Ireland.
eu.connect.panasonic.com
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Company: Leyard Europe
Location: The Mediterranean
The ARTEXPLORER is a one-of-a-kind museum-on-a-yacht that encompasses both culture and environment, which aims to raise awareness of contemporary issues by utilising a huge LED tunnel, made possible by visualisation technology specialists, Leyard Europe.
The vessel features Leyard Europe’s LED tunnel as the main event, with Guy Butterati, Co-Founder of AV-IT systems integrator Akumendo, spearheading the technical side of the project alongside ArScénique, a solutions and services provider for events and digital systems.
France Zone Manager at Leyard Europe, Xavier Guillermain, worked closely with Art Explora, the owner’s foundations team, from the initial design stage through to completion.
“This has been a truly collaborative process,” noted Guillermain. “Everyone involved has always tried to find solutions, taking into account all aspects of the project and listening to our advice. The structure’s design is amazing and has evolved from its simpler beginnings.”
With decades of experience in the yachting industry, Akumendo and ArScénique recognised that Leyard was the missing piece of this technical puzzle.
What started as an informal discussion around the power and precision of LED in comparison to projection, grew into a more complex and detailed design and architecture discussion, and the entire team quickly
learned they had a collaboration that would make their vision a reality. Leyard’s team were immediately involved in the planning process alongside Akumendo and ArScénique, challenging themselves to build the lightest system possible to enable smooth mounting and dismounting of the structure, utilising the efficacy of carbon fibre, magnetic attachments and fibre optic connectors.
Measuring 16m long by 5m wide and 2.3m high, the tunnel is engineered as a rugged non-permanent installation with no less than 512 special Leyard CarbonLight CLI Flex LED modules and 352 CarbonLight CLI LED cabinets, both with a pixel pitch of 1.5mm. These are housed in an aluminium structure, with the carbon fibre cabinets satisfying the challenging need for rigidity, lightweight and resilience. The supporting structure is installed on silent blocks and the innovative magnet attachments for the cabinets.
After taking delivery of the metal frame, essential to the integrity of the structure, quality checks revealed errors that could have caused weeks of delays. However, Leyard Europe’s 33,500 sq ft production factory, located just outside Presov, Slovakia, provided the company with unmatched manufacturing advantages, allowing them to repair and repaint the metal frames in just one day. “The dealer’s jaw dropped,” Guillermain exclaimed. “He’d never seen anything happen so fast! The factory being where it is means reduced shipping times, which is a huge asset.”
The project involved months of tweaks and testing and Guillermain expressed his admiration for the project. “I’ve done a lot during my career, but this is the most amazing job I’ve ever done. I’ve never seen anything like it before,” he concluded. “We are proud to have been part of such a ground-breaking endeavour. Working as a team, we have achieved an amazing result and we are sure visitors to ARTEXPLORER will be as enchanted as we are.”
www.leyardeurope.eu
COMPANY: Vivitek
LOCATION: Amalfi Coast, Italy
A collection of Vivitek projectors illuminated the buildings in the picturesque village of Cetara on the Almalfi coast in summer 2023 as part of Playartmultimedia’s Sala Immersiva (‘immersive rooms’) projection experiences.
Lead by Art Director Giuseppe Casciello, ambitious immersive scenographic projects are not new to the Playartmultimedia team as past experiences have spiced up events at more than 150 venues across Italy annually, ranging from private wedding events to public town activities. The team decided to build on its legacy by creating a spectacular immersive projection mapping display in the picturesque village of Cetara.
Commissioned by the Municipality of Cetara and funded by the European Union from a fund reserved for maritime affairs and fisheries, the display was designed to stun the thousands of tourists that flock to town over the summer holidays.
For this project, Giuseppe developed an installation that would create a high visual impact on a very large surface –approximately 250 metres wide – mainly across the ancient properties that line stunning sea front.
Projecting across such a diverse backdrop poses challenges not found in environments specifically created for such activities, but using their skills and experience from working in such unusual environments, Giuseppe and his team were able to master the unique landscape and turn it into a glorious
canvas for their art. With the team’s previously positive experiences of Vivitek projectors, they were once again a natural choice for this project, and they specifically selected the Vivitek DU9900Z and the Vivitek DU8395Z for their intense brightness and the quality of the images they projected.
In part due to the team’s expertise and the projectors’ flexible configuration and comprehensive installation options, the team was able to set up all the AV equipment for the event over the course of one night.
The video projectors were set-up a few steps from the beach, and Vivitek’s durability in harsh environments meant that the team wasn’t fazed by them being exposed to the heat of the summer sun all day long. To accommodate the different depths of the buildings being projected onto, different types of lenses were used, with a D98-4070 long lens used to reach to the tall tower at the end of all the houses.
Playartmultimedia’s visual extravaganza thrilled visitors, and such was the success of the event in Cetara, that Casciello and his team are already thinking ahead to summer 2024. “We will certainly repeat it next year with a different and even more exciting graphic project,” he said. It will be a challenge to make it even more beautiful, but with its track record to date, there’s no doubt that Playartmultimedia will find a creative way to take next year’s event to a new level of inspiration and intrigue… no matter how magnificent the natural backdrop is. www.vivitek.eu
COMPANY: Genelec
LOCATION: Manchester, England
With four zones dedicated to play, the inaugural Nerf Action Xperience (NAX) in Manchester is the first officially Nerf-themed attraction in the UK and features an audio system with an array of Genelec fixtures. Seeking the need for a top-quality audio component the venue operator collaborated with Technically Creative, experts in audio, lighting, and electronics, right from the initial concept stages. The NAX features games with multi-channel audio, screening areas, expansive battle zones, retail areas, and ambient music throughout. Spread across two stories and six zones, the project demanded a versatile and reliable audio solution.
Adam Robson, Audio Visual Manager at Technically Creative, explained: “We were involved in this project from its early conceptualisation and it became clear early on that the client required an exceptionally flexible audio solution that could cover the entire facility, an they looked to us for guidance on how to achieve this.”
Flexibility remained paramount as the NAX design evolved, right through to the commissioning stage. “We aimed to use a system that could harness the flexibility of PoE and networked audio to deliver discreet audio wherever needed, without compromising sound quality,” said Robson. “Coming from a background in studio recording, Genelec is a brand that’s consistently held in high regard, and it was fantastic to implement the Smart IP range of speakers, which proved to be the ideal choice.”
James Voakes, Senior AV Engineer at Technically Creative consulted with Simon Jones, Business Manager at audio distributor Audiologic to configure the ideal setup for the project.
The final installation consisted of two Q-SYS Core 8 Flex audio, video,
and control processors with 56 Genelec 4420, 43 Genelec 4430, and six Genelec 4410 Smart IP Installation Speakers, along with 18 Genelec 4040 Installation Speakers. To complete the system, Audinate Dante AVIO Networking Adapters were integrated.
“Smart IP was designed for discerning professionals who demand toptier loudspeaker performance, and it’s a dream come true for installers,” said Jones. “A range of networked active loudspeaker systems that deliver exceptional audio, power, and sophisticated loudspeaker management via a single CAT cable. In order to ensure a seamless integration, we set up the range of Genelec speakers at Technically Creative’s HQ and tested them robustly to make sure each zone had the optimal setup.”
James elaborated on the choice of Genelec and Q-SYS: “We opted for Genelec primarily for the excellent clarity and responsiveness of the drivers used in the speakers, as well as the wide range of available products,” he said. “Their scalable range enabled us to plan the installation more efficiently than if we had to specify different brands for various purposes. Q-SYS is generally our go-to choice for DSP due to its reliability and performance, which allows for seamless integration and routing to each of the speakers.
“The client is extremely satisfied with the installation and the sound around the venue is impeccable. Working with Audiologic is always a pleasure, the knowledge of Simon and the technical team is second to none, equipment availability is top-notch, and we know they are always at the end of the phone should we need them.”
www.genelec.com
Company: TiMax
Location: Gateshead, UK
The fifth Treetop Golf venue in Gateshead’s Metrocentre shopping precinct represents an acceleration in theatrical vision for the themed leisure brand. The installation was carried out by Reading-based Full Production Ltd – with audio by Dan Roncoroni of RavenAV – and features two 18-hole family-focused golf courses: one a Tropical Trail and the other an Ancient Explorer Trail. Both courses benefit from high resolution 3D, object-based immersive soundscape environments, as well as show-stopping automated moments, created by the powerful show control capabilities of TiMax SoundHub.
One TiMax SoundHub-S32 with Dante networked I/O manages the three holes per course, where the themed appeal is brought to life with lighting and animated immersive audio. On the Tropical Trail area, the scene is set with 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. EM Acoustics EMS-41 ultra-compact 2-way passive loudspeakers, powered by Powersoft Unica amplifiers, provide the distributed reinforcement, hidden and disguised within scenic birdhouses.
“We used TiMax just to make it special and believable: when you shut your eyes you are in the middle of a jungle,” said Roncoroni. “You can hear the content localised accurately anywhere you are 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 audio and visual. Themed characters, such as The Baron Von Batwing (the vampire bat) in the Ancient Explorer area, have a wide selection of comments to make about golfing performances. The AV content – 80% of which is new for the Gateshead site, produced in 4K for spatial audio by sound designer Dave Shepherd – is executed in randomised loops scripted in QLab on this occasion, rather than in TiMax, to help keep the content fresh for customers and staff alike.
Audio consultant and TiMax specialist, Roncoroni’s involvement with Treetop Adventure Golf started when Full Production MD, Steve Richardson, approached him for assistance with audio improvements at an existing venue in Birmingham. Full Production had already taken the lighting and visual elements at the Midlands attraction to a whole other level in order to provide a stand-out experience for customers and pushed for audio quality to match.
With only rough architects course outlines to go on and no contractor drawings, Roncoroni planned out the first audio design using educated guesswork. “Thankfully it translated to an almost completely successful design,” he confirmed. “We had to move some elements of the equipment at the last minute, but it’s pretty much unchanged.”
Steve Richardson commented: “Dan did a great job, as he always does for us. We were keen to push the spatial audio elements on this project following our work together in St Michael’s Cave in Gibraltar (also with 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.”
www.timaxspatial.com
Company: Renkus-Heinz
Location: Kaunas, Lithuania
One of Lithuania’s oldest museums, Vytautas the Great War Museum in Kaunas is a focal point within the community for sharing the country’s storied history, and with the museum offering guided tours and education programs, audio quality plays a crucial part of the learning experience.
While visually striking, the museum’s 1930s Art Deco style and early functionalism architecture create a highly reflective interior with challenging acoustics, and so the venue recently turned to beam-steering technology from Renkus-Heinz to provide the optimum sound solution that now delivers an excellent visitor experience.
Museum management contacted local AV integration firm Audiotonas to design and install a new loudspeaker system, and with the priority of significantly increasing sound quality, coverage and spoken-word intelligibility, the integration team specified and installed a pair of ICLive X Series beam-steering arrays from RenkusHeinz.
Vytautas Stasiukaitis, Head of Sales for Audiotonas, explained that the museum’s interior has many audio-reflective surfaces, including glass displays, hard walls, floors and ceilings, as many old buildings have.
The Audiotonas team was looking for an audio solution that would combat these challenges without the need for additional absorbers and diffusers.
“The old sound system was a four-speaker, point-source design, which was not wellsuited for the venue,” Stasiukaitis said. “After we understood what they wanted to accomplish, we demonstrated a set of Renkus-Heinz ICLive X arrays on-site, and the client was immediately impressed with what the system could do.”
Measuring just 9.5-in wide, the small-footprint ICONYX ICLive X Series is a versatile, steerable line array, and the system’s integrated technology features highly advanced, multi-channel Class-D digital amplifiers with advanced DSP engines to control every array element with programmable precision.
In addition to tours, the museum hosts special events including commemorations, presentations and honor ceremonies, and for these more extensive uses, flexibility and speech intelligibility are paramount.
“Audience size for events can range from 20 to well over 200; so the system needs to deliver an immersive experience for the whole audience, no matter the size,” added Stasiukaitis. “The ICLive X Series can be easily and quickly configured for any situation, and the client is very pleased with its flexibility.”
Beam-steering technology allows the ICONYX ICLive X Series loudspeakers to tightly control the sound and place it just where it’s needed — on the audience — while keeping sound away from other surfaces that may cause echoes and reverberation. Intelligibility is essential, and the Renkus-Heinz ICONYX system ensures every listener receives the best sound possible.
“The acoustic properties of the venue are very challenging; without proper control, the reverberation is unbearable,” said Stasiukaitis. “The client is thrilled with how ICLive X is performing, and they love the straightforward usability of the RHAON software. ICLive X is the perfect sound solution for the museum.” www.renkus-heinz.com
Company: VIOSO
Location: Ho Chi Minh City, Vietnam
A whole lot of video-mapping knowhow coupled with 25 cameras, nine servers and 70 projectors are giving a 360° view of the art of Vincent Van Gogh in Ho Chi Minh City in a huge 3,800 sqm exhibition space.
Using Vioso’s patented, camera-based auto-alignment technology, a team from the company designed and calibrated the multi-projector set-up at the heart of the first large-scale immersive art exhibition in Vietnam.
The Van Gogh Art Lighting Experience leverages AV technologies, including projection mapping, virtual reality and 3D audio, to shed new light on the career of Vincent Van Gogh, who is represented by more than 900 works on virtual display.
The ‘Vincent’s Soul’ installation is one of the highlights of the experience and utilises large-scale video mapping to fully immerse visitors in the Dutch master’s art.
This area is equipped with 70 projectors – calibrated using VIOSO 6 software and dozens of calibration cameras – which are used to create an immersive room with artworks mapped across 360° on the walls and floor.
Equally impressive is the ‘Vincent’s Land’ area, where the VIOSO team helped project Van Gogh’s works onto a 3D sculpture of the man himself – the first time a statue has been projection mapped in the country.
“‘Here are the rooms. I want to put video content everywhere – how should we proceed?’” was the refreshingly simple brief received from the client, remembers VIOSO’s Senior AV Project Manager, Etienne Servant, who was only too happy to be able to sprinkle some projection magic on the Van Gogh Art Lighting Experience.
He describes the process: “I handled the planning and design of the
installation, including the lay-out of the projectors and cameras, media servers and signal distribution and provided the technical lay-outs to the exhibition for the installation.
“We then had to calibrate the projectors to achieve a seamless, perfectly warped and blended image stretching out across the full space and transferring knowledge to the client. That was when I came on site to make the magic happen: using all of these projectors to create a unique immersive atmosphere.”
Mia Nguyen, CEO of First ITC, VIOSO’s partner on the Van Gogh Art Lighting Experience, recalls the support offered by Servant and the VIOSO team, led by the company’s chief sales officer, Raul Vandenberg. “The VIOSO team answered all my questions and provided clear technical answers throughout preparation and installation process,” she said. “From plans to reality, VIOSO supported the project, both remotely and on site. In addition to the video projection, I had recommendations and help regarding audio, IT, lasers, lights, electricity… they gave me a really good overview on my planning and design so I was able to change an empty space into an immersive exhibition.”
To create the desired atmosphere in ‘Vincent’s Soul’ and ‘Vincent’s Land’ required no less than 25 calibration cameras, which Servant combined with VIOSO 6 auto-calibration software for projection mapping in the immersive room and on the Van Gogh statue.
A compound of nine hardware VIOSO media servers running PIXERA handled content playback. Although the Van Gogh Art Lighting Experience was seven years in the making, the technical team had just two months to complete the installation, in order to ensure the exhibition made its opening date.
Nguyen explained: “The timing was really short, as we had to open before Christmas to give the opportunity for everyone to come during the holidays, and we started the technical integration in October – that’s Vietnamese efficiency!”
For Van Gogh fan Nguyen, the cutting-edge projection technology underpinning the Van Gogh Art Lighting Experience is what sets it apart from previous art exhibitions held in Vietnam. “You can really immerse visitors into the universe of Van Gogh – it helps people to see how deep the paintings are,” she explained. “Van Gogh is my passion, and seeing his paintings brought to life with the immersive environment created by VIOSO is a truly unique experience.”
www.vioso.com
COMPANY: ADJ LOCATION: Nordborg, Denmark
First unveiled at the Universe Science Park in Denmark, Beat The Storm is a themed attraction which allows participants to fight their way through a hurricane, with ADJ fixtures and LED video panels creating intense effects during the experience. In addition, the backdrop to the attraction incorporates a video wall, constructed from ADJ’s Vision Series high pixel pitch LED panels, which displays synchronised visuals of swaying trees and blowing debris to add to the realism of the adventure. Created by Ingus Augstkalns, who has 18 years of experience in the wind tunnel industry, Beat the Storm is a self-contained experience designed for amusement parks, science centers and museums. Suitable for a wide range of participants, aged between 4 and 80, the simulation offers three levels: ‘Wind’, for toddlers; ‘Storm’, for children and teenagers; and ‘Hurricane’, for older teens and adults. At its top wind speed of 165 km ph (over 100 mph), the experience is equivalent to a Category 2 hurricane. Alongside the patented horizontal recirculation wind tunnel technology designed by Ingus, Beat the Storm also incorporates lighting, video, and audio effects to enhance the visitor experience. These were designed and supplied by Unique, a specialist AVL company based in Riga, Latvia, led by CEO Rihards Rubenis. The attraction’s signature lighting effect is an arrangement of ADJ Ultra Hex Bar 12 linear LED fixtures that are positioned above the glass ceiling of the wind tunnel, and laid out in the shape of a lightning bolt. In addition to the lightning effect, other ADJ LED-powered fixtures are also used for general wash lighting and illumination of the décor elements of
the attraction. 5PX HEX and MOD HEX100 pars are used to highlight specific scenic elements, while UB 12H linear fixtures illuminate wall sections, ensuring the attraction shines brightly after dark or when installed indoors.
To further enhance the visual aesthetic of Beat the Storm, Rihards and his team integrated an LED video wall into the backdrop of the attraction, constructed from 20 of ADJ’s VS2 LED panels, which each feature a 168 x 168 array of SMD2121 RGB color mixing LEDs, delivering a pixel pitch of 2.97mm.
“For the LED video screen, we made a lot of tests, as initially there were several brands on table as possible options,” commented Rubenis. “Some brands we discounted because of low refresh rates, as that made phone camera videos flashy and low quality, but this was not a problem with the ADJ VS2. The support from ADJ was also the best, and most importantly, ADJ could deliver the panels on time.”
While the physical experience of Beat the Storm’s wind simulation is thrilling in itself, the immersive video content and engaging lighting effects designed and implemented by Rubenis and his team undoubtedly enhance the attraction. The impressive lightning effect, paired with the vibrant ambient lighting and custom visuals displayed on the high-resolution LED backdrop not only increase the intensity for participants but significantly enhance the esthetics of the attraction. This serves both to attract more visitors to take part and to portray the attraction well on the inevitable social media posts made by participants.
www.adj.com
COMPANY: LEA Professional LOCATION: Kuala Lumpur, Malaysia
The REXKL community and cultural hub in Kuala Lumpur recently re-opened as part of attempts to rejuvenate the site of what was the former Rex Theatre in a remote part of the city, with LEA Professional Connect Series amps deployed in its REXPERIENCE centre area.
The two-story, 60,000 sq ft building features shops and restaurants in the basement and a picturesque bookstore and exhibition space on the upper floor. Shin Tseng and Shin Chang, the creative entrepreneurs who helped reimagine the Rex, wanted the new space to be a unique, immersive performance venue. Featuring the original theater’s brick and exposed structure, it is now a modern, industrial marvel that hosts performers and exhibitors. With a desire for the space to captivate guests with vivid visuals and audio, the venue adopted a REXPERIENCE center, or RXP for short, within REXKL as part of its grand reopening and reinvention.
The venue’s broad vision for immersive exhibitions meant the new RXP AV system needed to be flexible enough to meet the most demanding, highest-quality audio needs for immersive musical and visual performances, plus more basic productions, including corporate events and DJ shows.
“The multidimensional nature of the events held in the RXP venue meant we needed to recommend a system that we could scale and adapt as needed,” said Eugene Yeo, General Manager of Acoustic & Lighting System. “We’ve had a lot of success with LEA products and felt they were a
perfect fit for RXP because they could provide the power, performance, and reliability needed.”
The immersive environment includes 18 projectors mapping visual elements on the walls and floor, while the spatial audio design required that the venue be fully modeled in 3D.
Eighteen compact two-way loudspeakers, backed by four subwoofers, are strategically located throughout the RXP to provide the spatial audio listening experience. To help meet the range of audio needs, Acoustic & Lighting System chose a combination of two of LEA Professional’s Connect Series 1504D and five Connect Series 704D for the digital art experience. The 1504Ds power the subwoofers, while the 704Ds support the two-way loudspeakers. Both models include 96 kHz-capable Dante and AES67 connectivity options.
The REXKL has become a destination point for locals and a must-see spot for tourists. It’s also a state-of-the-art performance center delivering the highest quality audio performance for every event. “Since opening, the ‘Other World’ immersive experience in the RXP has really put the audio system to the test,” said Brian Pickowitz, VP of Marketing at LEA Professional. “Creating an art exhibition that sparks discovery and inspiration among art lovers and bringing the venue back to life in such a unique way is incredibly meaningful and one we were proud to be part of.”
www.leaprofessional.com
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COMPANY: Sony
LOCATION: Charleston, USA
The International African American Museum (IAAM), recently opened its doors and honors the difficult and often untold stories of the African American journey. Located in South Carolina, on Gadsden’s Wharf, one of America’s most sacred international slave trading ports, the museum uses technology, including Sony’s, to combine storytelling and history, while providing heightened engagement, communication and education.
With support from Sony’s Global Social Justice Fund — which champions social justice and anti-racist initiatives and fosters diversity, equity and inclusion around the world — the company’s Crystal LED direct view displays, professional 4K HDR BRAVIA displays, 4K SXRD and 1080p laser projectors and professional wireless audio and mics were implemented to help the IAAM’s visitors engage with history and bring artifacts to life.
The technology also serves to expand upon the stories introduced in the museum, which are intended to help heal and facilitate a larger dialogue about our cultures and pasts.
The IAAM deliberately designed and programmed an interactive, multi-platform experience for today’s digital natives, who have a high standard for technology and a desire to connect with stories in multi-faceted, multisensory ways – inside and outside the facility. The museum sought technology that would amplify the experiences of the African American journey in a manner that would deepen the narrative and provide added levels of connection, immersion and reality.
Dr. Tonya M. Matthews, President and Chief Executive Officer of IAAM said: “Every good museum will focus on the stories and the storytelling, and I think for an African American History Museum in particular, there’s added weight and added excitement when African Americans get to tell their own story, because for so long that wasn’t what we saw in museums. I’m very excited about the way that the museum is using technology to activate and to enhance these stories. It’s an integral part of who the IAAM is.”
Malika Pryor, Chief Learning and Engagement Officer, explained that: “We are a museum that has been designed to share and we’ve embraced the idea of curating beyond our walls. As a new museum, we’ve leaned into technology as a way to really communicate – to deepen or to broaden the story in a way that makes it feel much more real.”
Technology is a focal point of the IAAM visitor experience. Pryor notes, “When someone’s walking into the exhibition space for the first time, they come into contact with the Transatlantic Experience. I refer to that as this grounding moment for the visitor because what they’re going to see in these eight screens before them is this immersive visual and sonic experience that gives them a really firm grasp of what it is that they’re going to see as they’re moving through the other exhibitions and installations.”
The eight massive 6ft wide by 7ft tall screens that welcome visitors to the museum are Sony’s Crystal LED displays, which incorporate beneficial features for a museum, including high brightness, a wide viewing angle and antireflection panels. The displays feature rotating content including a mix of powerful historical and modern imagery and photography that highlights and juxtaposes the African and African American experience.
“When you first walk in the doors, you have this wonderful sense of being surrounded by all these still and moving visual images and music as these eight panels serve as a guiding hallway in our Transatlantic Experiences gallery,” said Matthews. “Then you flow into the Atlantic World’s Gallery, which has one of the biggest screens I have ever seen inside of a museum, which allows us to immerse folks in visuals and sounds. This is one of my favorite galleries because it deliberately mixes up artifacts and stories from across the African diaspora.”
In the Atlantic World’s Gallery, Sony’s massive 32ft by 7ft Crystal LED with 7,680 x 1,620 resolution serves as the centerpiece of the space. It overlooks an exceptional view of the Atlantic Ocean and Gadsden’ Wharf, the actual port of entry for slaves, helping to reclaim the location’s complex associations and turn it into a place of empowerment, education, conversation and understanding. As Dr. Matthews explained, “That power of place comes with power of activation.”
Bobby Teachey II, Project Manager, who worked with the Solomon Group to install and set up the AV equipment, inclusive of the enormous Crystal LED displays, describes their impact. “It’s amazing technology. When you look really closely at the modular cabinets, there’s actually even smaller LED modules inside of it.
“It was amazing to see it all come together and watch content presented on the displays. The scale of the screen in the Atlantic World’s Gallery and the definition of the graphics will connect people in a different way. And the vibrant colors and details such as sweat coming off of somebody’s head – there’s so much information and such powerful imagery that visitors are going to want to stand in front of it for a long time to catch all of the different stories.”
More than two dozen 4K HDR professional BRAVIA displays ranging from 55-in to 85-in are featured throughout the museum as digital signage
In addition, the museum uses Sony’s projectors, lenses and wireless audio solutions throughout its space. Projectors help screen content, support wall-mapped content and share footage in rotating exhibits and screening rooms, as well as in the IAAM’s Center for Family History, an important space for tracing genealogy and connecting the dots of people’s pasts.
Sony’s support of the Museum, through the company’s Global Social Justice Fund, is also viewed as instrumental by their personnel. Dr. Matthews stated: “For museums and businesses in the non-profit sector, what we’re trying to do is provide access. We are trying to deliver more than our community in and of itself can support. So, it’s really important to have corporate partners who understand that and are as equally committed as we are. And I must give a nod to partners who lean into the more difficult stories, who lean into the impact of telling difficult stories well and who understand that the reason we’re sharing these stories and learning this history is not just about yesterday, but it’s about today and it’s about tomorrow.”
www.sony.com
COMPANY: HARMAN Professional LOCATION: Lake Garda, Italy
A wide range of JBL loudspeakers and subwoofers deployed by Leading Technologies ensure high-quality audio coverage and clarity for guests at CanevaWorld Resort, a huge attraction which includes an aquatic themed water park, multiple concept restaurants and a Hollywood-centric theme park.
After several research visits to leading theme parks in the USA, Fabio Amicabile, CEO of CanevaWorld Resort, turned to Monza-based integrators Leading Technologies to outfit the park with the same types of quality audio solutions found in those American theme parks.
“I have a passion for the quality, power and emotions that only audio can give,” said Amicabile. “For this reason, JBL products could not be missing in our parks, especially in Movieland, where the cinema makes enormous use of the audio component as the main scenic effect.
“We spend many hours with the equaliser trying to mix the sounds in the best possible way for every type of need, and trying to avoid overlapping, making the most of and correctly using the speakers and the emotions transmitted by all the audio tracks we use inside the park and which serve to entertain, excite or frighten the audience. Even at home I rely on JBL, and even if this has nothing to do with CanevaWorld, it says a lot.”
Stefano Pozzo, Marketing & Communication Coordinator, Leading Technologies, said: “We’ve had a long relationship with CanevaWorld – we have been involved with the audio installations and renovations since 2013.
“The owner, Fabio, is probably JBL’s number one fan. He’s loved this brand since the first time he encountered them at the parks in Hollywood and Orlando. He says JBL gives him the traditional American sound quality he fell in love with. Because of this, we’re still in the
middle of a long process of replacing every speaker in CanevaWorld with JBL solutions. Fabio won’t rest until he has the sound of JBL in every corner of the park.”
To support concerts and live events in CanevaWorld’s Rambo Arena, the team installed a main audio system of 16 JBL VRX932LA-1 line array speakers and four SRX828SP subwoofers. Powered by Crown XTi6002 amplifiers, the VRX932LA-1’s constant curvature design delivers power handling, clarity and flexibility.
To enhance the guest experiences at Antares Interstellar space attraction and the awardwinning Movieland Park live show, the team installed PRX815 speakers and SRX828SP subwoofers. CanevaWorld’s main street features six CBT70J1 column loudspeakers, which utilise complex analog delay beamforming and amplitude tapering to produce consistent vertical coverage, without the narrow vertical beaming and out-of-coverage lobing associated with straight form-factor column speakers. The resulting thrust sends more sound toward the far areas of the CanevaWorld main street to make front-toback sound levels more consistent.
“Because the music and sound effects feature prominently in the attractions, it’s clear that the JBL speakers play a very important role at CanevaWorld,” said Danilo Meroni, Leading Technologies’ Live Division Manager & Audio Technical Support. “Half of these attractions may be what you see and feel, but the other half is what you hear, and the JBL speakers help to deliver a full and satisfying audio experience. Because JBL has such a large catalog of speakers for various applications, every audio component can be technically and strategically chosen to offer exactly what is needed in each area and situation.”
pro.harman.com
Company: Yamaha / Moment Factory
Location: Shanghai, China
The Oriens Lumina is the Moment Factory’s 16th enchanted night walk experience and its first in China, and as at previous Foresta Lumina, Alta Lumina and Kamuy Lumina night walks in Canada, France and Japan respectively, it relied on a large Yamaha audio inventory. Oriens Lumina is situated in the grounds of the Nine Trees Future Art Centre, in Shanghai’s suburban Fengxian district. Inspired by elements of ancient Chinese mythology and old Fengxian traditions, an original storyline was developed in consultation with local experts. It has been brought to life by weaving sound, lighting, projection mapping and interactive elements together to highlight the natural surroundings, serving as a night time experience which complements events held at the art centre.
A large Yamaha inventory was specified for the project, which includes 126 VXS8 and 102 VXS5 two-way, surface mount speakers, powered by 15 XMV8280-D and nine XMV4280-D multi-channel, Dante networked power amplifiers. The audio system is managed by four MRX7-D digital signal processors, with two AIC128-D Dante accelerator cards installed in control PCs. The Yamaha solution was chosen for its combination of audio quality, system flexibility and the reliability of equipment which is installed and used outdoors for several months. As visitors are ushered along winding paths, experiencing local tales about five different energy sources, water, wood, fire, metal and earth, the experience gives audiences a taste of a new entertainment format, connecting the mythology of the past with the technology of today.
“The Yamaha systems for Foresta Lumina, Alta Lumina and Kamuy Lumina proved highly successful and, importantly, they were completely reliable in the challenging environment of outdoor installations,” says Auriane Falieres, Moment Factory Director of Procurement. “We have been very pleased to trust a Yamaha solution again for our Oriens Lumina installation in Shanghai, and we are sure visitors will enjoy an exceptional interactive experience and we look forward to the prospect of working with Yamaha again in the future.”
momentfactory.com/home
Company: 1 Sound
Location: Tokyo, Japan
To celebrate the opening of fashion house Maison Margiela’s relocated Omotesando store, a large-scale installation to showcase their recent Artisanal collection, ‘Cinema Inferno’ was held, with 1 Sound loudspeakers providing sound reinforcement.
“Through multi-disciplinary displays, the installation illustrates the story and visual themes of ‘Cinema Inferno’,” said Maison Margiela in a statement, explaining that the installation will showcase the film in full. “It stages a continuation of the narrative, which was conceived by creative director John Galliano alongside the collection and the installation.”
The exhibition features elements which invite people into the scenes of the story, while the film of the 2022 Couture show plays on LED screens. For audio reinforcement, East Audio Inc. installed 1 SOUND’s Cannon C5s deployed hung as angled pendants, playing the sounds of the dark poetic story.
“We were pleased to install 1 SOUND’s Cannon C5s into this Maison Margiela event,” said Tocci Satoru, Director of East Audio. “Walking through the completed exhibit myself, I heard again just how good the C5s sound – they sound more musical than its size and shape would suggest, with a rich low frequency range, and we are excited to work more with 1 SOUND loudspeakers in future projects.”
East Audio utilised ⅜ inch threaded rod to hang the Cannons at the desired height, and used its C-Clamp accessory in order to aim the loudspeaker, with Saturo stating that the C5’s 113 max SPL and extended low-end and high-fidelity sound quality fit exactly what was needed to support this luxury exhibition environment. www.1sound.com
COMPANY: Void Acoustics
LOCATION: London, UK
Void Acoustics has been providing audio reinforcement for a number of installations led by art designers ‘This is Loop’, with the relationship beginning with the large-scale audio-visual sculpture ‘Emergence’, featuring the Cyclone 55 fixture, a weather-protected IP-55-rated speaker which is predominantly displayed in outdoor environments. Artist Alan Hayes is one of the partners of ‘This is Loop’, a collaborative artistic partnership that tours large-scale experiential architectural installations and sculptures to city centres and events across the UK and the world.
‘Emergence’ (pictured) was first unveiled in Canary Wharf in London in early 2023, and Hayes was adamant about his decision to work with Void Acoustics on this particular sculpture.
The brief was to provide the audio aspect of the installation, essentially becoming an integral part of the artwork itself. Having worked for many years in the events industry, Hayes admitted that Void Acoustics systems have made a lasting impression on him as one of the highestquality audio manufacturers in the industry.
Due to the nature of ‘Emergence’ as an immersive and playful audiovisual art installation, Hayes wanted a sound system that would meet not only their high expectations for the highest quality audio, but also a brand with a visual aesthetic that would be in keeping with, and integrate seamlessly into, the art piece itself.
“We had to consider our audio requirement from an artistic point
of view as well as the sonic quality of what we installed,” said Hayes. “Everything we did on this project had to reflect the look and the form of the sculpture itself. Thus, the integration of a high-level aesthetically pleasing solution, with incredible audio quality, was essential.”
With their distinguishing fibreglass enclosures, the Void Cyclone 55 speakers were the obvious choice to meet this brief. The structure consists of 75 large mirror nodes covered on all surfaces with a mirror finish, arranged in an 11 ft tall, 30 ft diameter cylindrical pavilion-style structure.
‘Emergence’ featured a highly complex array of light patterns and visual illusions choreographed to an accompanying audio track.
“Due to the size and cylindrical shape of the structure we were creating, we needed a wide dispersion to enable the speakers to fill the space properly,” explained Hayes. “And with their integrated cable glands and the 110 horizontal dispersion, the Cyclone 55s were a perfect match.”
Hayes and his team have been thrilled with the result, stating that the Void Acoustics system has performed faultlessly on every install, delivering perfect sound quality, concluding: “Void Acoustics delivers an unparalleled combination of audio excellence with high-level aesthetic design qualities. There is just no one else out there who is combining these two attributes. Simply put, Void Acoustics was the only choice for us.”
www.voidacoustics.com
Managing teams at a major music festival is like conducting a symphony of chaos.
With its unparalleled connectivity and clarity, Riedel’s intercom solution is our lifeline in an environment pulsating with noise.“
The famous MLT ONE and MLT TWO Pre Rig Trusses get a new member to complete the MLT Series: The MLT THREE.
The MLT THREE has an open head frame as well as an open bottom, allowing you to mount units more easily into the truss. The telescopic legs of the dolly can be extended in several different heights in order to mount complete video modules into the hanging frame. A rail system allows you to mount lighting even at the transition points between 2 trusses and to create seamless transitions between trusses for video modules. The MLT TWO and the MLT THREE are compatible.
“I’VE ALWAYS HAD VERY SPECIFIC THOUGHTS ABOUT A DISTRIBUTOR’S ROLE IN ITS RELATIONSHIP WITH A MANUFACTURER AND WHAT IT SHOULD DO FOR A COMPANY.”
JEROEN CARETTE MANAGING PARTNER, LUCENTI LIGHTING
Having made his first steps into the industry as a touring technician in the late 1990s, Jeroen Carette has held various roles before joining Lucenti Lighting in 2019. Carette became Managing Partner in 2022 and has his sights set on expanding the company into the United States, having focussed most of their resources on cementing their presence in the European market. With a small team of ten, Carette relies on strong relationships with his distribution network in order to maximise efficiency.
What is your background in the industry, prior to joining Lucenti Lighting?
My first steps were as a technician on the road, and in the late 1990s through until the early 2000s I owned an exhibition stand construction company. Then I joined a local Belgian distribution called Blue Squares Sales & Distribution, and this is where I made my first steps into national sales, and sales across the Benelux region. From there I join Showled, which was an off-shoot of the ShowTex group, and it was here I had my first international sales experience. Throughout this time I was attending the major trade shows, but during my time at Showled was my first time as an exhibitor, and it was during this time when I started to get settled into the trade show scheduling and establish a solid distribution partner network. I’ve always had very specific thoughts about a distributor’s role in its relationship with a manufacturer and what it should do for a company, and I can say that, thankfully across my almost 20 years of working alongside them, that I haven’t been that wrong.
Throughout my career, across various roles, I’ve been able to provide a few manufacturers with an upgraded and more efficient distribution network that was in place before I arrived. I’ve always focussed on loyalty, respect and being realistic in what I wanted to achieve with my distribution partners.
At this moment, I am looking at optimising the Lucenti sales network. Many of my distributors are ones I’ve worked with before, and I have two or three potential partners within every country in Europe. Our main focus at this moment is Europe, and we are trying to dip our toes into the USA market, but the distributor model that I know in Europe is not easily compatible with the USA market. It is more difficult to find a partner, or a few partners in the USA, that have a similar approach as our European distributors. It is something that I am being very careful with, in terms of appointing a preferred supplier in the USA, or a master distributor. The stakes are high in that market, as it is a complex and difficult market, so I need someone who is really switched on and has the necessary experience. We are actively looking at this, and the USA is the next market we are focussed on, even before the Asian, Australia and African markets. The next step, is going to be in the USA, and we have been having extended talks that need evaluating. I would hope that by the time LDI comes in 2025 we have something in place. I will continue to visit InfoComm and other shows in the USA to continue to try to map out the USA market, and hopefully by the end of 2025 I will have concluded that exercise and something will be in place for us.
How would you describe Lucenti Lighting and its product offerings?
The catchphrase we use when marketing our products is ‘Savvy Lighting from Belgium’, and that sums us up. We have a product range which has a hugely intuitive user interface, and features easy set-up and implementation with a unique approach, and allows users from every level to be able to benefit from the high
levels of technologies that we are offering in our protocols and software. You don’t need to be a hot-shot operator to benefit from the clever detail we have integrated in our software. Whatever we do, we always have an approach which is focussed on ease of operation and is easy to understand. Most products come with a short, one-page quick start operations manual, which will cover around 90% of the possibilities of our product range.
The network topology and network-based mapping and addressing is a gdtf. file based protocol, and it makes life much easier for operators, designers and technical staff to address fixtures from a distance and changing their modes – that kind of thing usually can’t be done from a distance. There is a constant bi-directional monitoring of the condition and temperature of the fixtures, and there is no need for DMX profile, everything is automatically transferred from the fixture to our software. That makes addressing and mapping very easy.
What is the current make up of the Lucenti team, and how important to you are your external partnerships in its day-to-day operations?
One of the things that makes it so important for me to have a reliable distribution network – as I mentioned earlier - is the fact we are a very small team of ten, so it’s a very small company by anyone’s standards. Distributors offer that first line of technical support, because from our location in Belgium we can not offer that kind of service, and that makes the selection of the distributors very important, and contributes to the fact that we have now the high level of distributors in place.
This allows us to be very hands-on with product development. There is a short line of command, and every member of staff here has done every function within the company. I can pack pallets if necessary, and the warehouse team can put together quotes for sales, if necessary. Everyone in the company has a straight line to everybody, and getting everyone together takes no time at all, which makes the decision making process very quick. The R&D team is roughly half of the total size of the company, and it is by far the part of the company that takes most of our budget. Together, the team are really hands-on, but we all know each other really well, and we are a very efficient operation – mostly due to the high level of operation of our distribution network.
What are the current threats to the current business model?
I feel that right now, everything is more-or-less back to how it was pre-covid. There is always going to be a hunt for well-priced critical components for manufacturing in this industry, and I think that managing that successfully comes down to the same thing – which is having an ear to the ground and trying to predict what the sales will look like in six to nine months time. This, again, links back to our distributors and their feedback.
It’s a chain of passing information from the end user on the event floor, through the distributor, to me, and on to the purchaser, and back to the component manufacturer. If the manufacturer warns us that certain components are getting difficult to source then that is the time to check the market status, so it’s a balancing act – in many ways like life. The more you plan, the less invasive the surprises are that you run into. In a way we are trying to plan for the unplannable, and this outlook can keep us one step ahead of any possible threats and disruptors to the daily business.
Above (top): 230 individually controlled Pearls are daisychained on wired festoon cable, controlled and powered via DMX, at the private members bar Imperial in Brussels, Belgium. A project by Face Projects, the Belgian Lucenti project partner. Above: Clockwork from top left, the Pearl, Ruby and Topaz lights.“WHILE WE USED TO BE MORE DECORATIVE AND EVENT OR FESTIVAL ORIENTED, WE NOW ARE FINDING A GROWING INTEREST FROM ARCHITAINMENT STYLE PROJECTS.”
Are there any new products in development or are you focussed on improving current product lines?
At present we plan on upgrading and updating our existing products with new software and components when available, to make them more powerful, faster, and more rugged and reliable. The daily conversations that take place between ourselves and our distributors, technicians and everyone else – the feedback we receive from install partners and technicians – that gives us a good idea of what people are looking for, and allows us to prioritise certain workflows.
We might have a good idea – but it might be the case that no-one is ready for it just yet. And often we get feedback which might outcome in the smallest change to a bit of software to enhance the usability for the end user – and we slap our foreheads and ask ourselves why we didn’t think of that. So that day-to-day open communication with everyone is really important for us, and it makes the ‘savvy’ part of our business.
Where are your products designed and tested?
A: Product design and testing is done by us. We get several batches of prototypes, and they get fine-tuned as much as possible, and then we have the in-house testing, and we have test batches that are delivered to projects ‘incognito’, that are used for several months on a production before they get released to the market. These go to very high-end productions, for example, our Vinci Pearl was originally a product that was designed for – and tested by – the
Tomorrowland Festival in Belgium on its mainstage, before it was available for the market. Most of our products have been designed for a specific customer, and tested by them, before release to the market.
What are the strongest verticals currently for Lucenti?
While we used to be more decorative and event or festival oriented, we now are finding a growing interest from Architainment style projects, where there is the merge between architectural and entertainment lighting. That is quite challenging because historically that market has used different protocols to address their fixtures, and there are other requirements from the end user in this market than from entertainment vendors. But being able to generate more exciting and lively environments for architectural projects is a growing trend. It’s been around for many years already, but even at the traditional architectural trade shows like Light+Building, the section which is taken by traditionally entertainment manufacturers is growing every year, because there is a higher demand from architects and real estate developers to make their projects more attractive. That is where they tend to get their inspiration from – the kind of things that have been happening in entertainment for decades. It is becoming more and more and increasingly important market for us.
One of the most successful aspects of our product range is the compatibility with all control systems, such as Pharos, Madrix and others. Our PixlDrive8Pro controller merges up to four different types of protocol at the same time, so
it can control Lucenti LED strips or bars with video signals from ArtNet at the same time, and output it in a controlled and effective way with no delays – it’s savvy!
LED bars and strips are a very popular product, worldwide, but the control and drive behind our technology is the savvy element. And it is that show critical element which is designed and assembled in Belgium, it is the heart of our productivity and ethos.
The controls we implement with our product are very hightech, and are able to make the combination between the architectural protocols and what that requires, and what entertainment requires.
What are the next steps you’re taking to help expand Lucenti’s presence around the world?
We would like to speed up things in getting a global distribution network set up, but we have to be realistic. The company is quite young, and it’s fair to say that we only really started to establish ourselves two years before the pandemic struck. Then we had to sit still for three years, and that allowed us to set the foundations of what has been built so far. Europe is going very well, and I would say we are on schedule. With the USA and beyond,
we have to find the right partners. You never know what is round the corner, and because of that we are being cautious. Being present worldwide and establishing the brand is an ambition of ours. And we can see with reactions on social media and feedback from clients that our prospects are good. Often we find it is a case that people know the name, and the product range, but have yet to experience the product itself. So it is up to us to take the product to the customer, and show them what it does. We have our press partners like MONDO-DR, that can help bring visibility before we can commit to bringing products to a Lucenti booth at trade shows in the far away corners of the world. There needs to be a bit of buzz and momentum – not only via global media partners but also locally too - and that is also part of our distributor’s role, as that will also help. It’s not easy as a small company with small staff to get a structure in place. We have external partners that will help, people with marketing backgrounds, but building momentum with media partners who stand by side with us will help, and with the right partners my work is much more efficient.
Iconic venue enhances its relevance within the modern music scene with a well-crafted installation to work with its innovative acoustic treatments.
The storied history of Bristol Beacon, spanning over 150 years, is defined by top-notch entertainment of every variety; the multiple, grand performance spaces have been graced by acrobats, orchestras, wrestlers, and even activists.
Thanks to a recently completed acoustical and audiovisual revitalisation, the Beacon continues to shine at the centre of the city, as a place that embodies creativity, community, and sustainability.
“This is a story about granting a new life and quality to an important Bristol landmark,” began Bob Essert, from Sound Space Vision, the project’s Acousticians. “The upgrade focused on remodelling and reenergising two performance spaces that have long been vital to the venue – Beacon Hall and Lantern Hall – and adding a whole new third area – the Weston Stage– that prioritises supporting and platforming newer artists.”
In his role as Technical Manager, Frazer Riches worked alongside Technical Consultants Charcoalblue and Sound Space Vision (SSV) to create a design that encapsulated the ethos and desires of the venue. Perhaps one of the most necessary features was for the space to be extremely flexible; Riches commented: “We’re expecting 800 events per year. This is, at the very least, one show per day. So, we need the space to be transformable and appropriate for various performers.”
Also considered within the designing period, Beacon’s ‘Green Promise’ aims for the venue to be completely carbon neutral by 2030, which includes the venue’s Scope 3 emissions produced by touring companies’ long-distance transport of equipment.
The effects of touring huge amounts of fixtures for just one show can be brutal on the environment. So, the question was put to the team at Bristol Beacon – how can the venue bring in its classically brilliant, varied entertainment, without always relying on unsustainable travel practices?
In response, the project’s team set on specifying high-quality AV equipment that any touring production would find suitable, discouraging the transportation of show-specific, full kits. Instead, everything would be in-house, and so the search began for solutions. “This project has been such a huge investment for Bristol, so everything, from the venue design and equipment specification, had to be right for the operational requirements for ‘in-house’ shows and touring productions,” stated Joe Mapson, Stage Engineering Designer and Team Leader, Charcoalblue. “Our designs focused on the speed of turnaround of the venue from orchestra to standing gig mode, and the design and specification of high-quality stage lighting and AV equipment.”
In each of the three halls, the sound reinforcement system is comprised entirely of L-Acoustics equipment, all installed by LSI Projects. Within the largest and arguably most iconic space, Beacon Hall, the sound reinforcement system can be deployed in two main configurations. The secondary configuration provides a speech reinforcement system, which is made up of 30 5XTs, 14 of which are utilised as side balcony fills and four as box fills, alongside two Syva, which sit at the bottom of the stage. For upper balcony delays and front balcony speech, five A1Oi WIDE are deployed.
“The main idea of this L-Acoustics system is for it to be used during conferencing or classical performances where we need the pivoting acoustic canopy, expertly redesigned by Sound Space Vision, closed,” said Riches.
Essert, on SSV’s acoustic intentions, explained: “This canopy reinforces the string sound and cuts back on the brass loudness, both onstage and in the audience. The middle row pivots to allow deployment of the main loudspeaker clusters for amplified concerts. When the canopy is closed, voice announcements can still be conveyed through these smaller, discreet loudspeakers within the speech reinforcement system.” Further prioritising intelligible communication, four X8s were invested in, which when needed, can be hung from the back truss covering the stage’s choir seating. Riches confirmed: “If we’ve got a choral event, these X8s allow for the conductor to speak to the choir.”
“THIS WHOLE SYSTEM WAS DESIGNED WITH A GOAL OF FLEXIBILITY AT THE FOREFRONT OF OUR MINDS.”
The primary configuration of the sound reinforcement features the line array system, which drops in when the acoustic canopy is opened. The system consists of 10 boxes of KARA II per side of the hall, and four boxes of KS21 subs a side. “These work in conjunction with the Syva system and the 5XTs to fill the whole hall with incredible audio,” commented Riches.
“This whole system was designed with a goal of flexibility at the forefront of our minds,” he continued. “To ensure that the hall can host events with various acoustic needs, if a stage extension is in place, we can quickly and easily mute a couple of the extra boxes, so that sound is not firing into the downstage area. We also invested in extra KS21s which can be placed on the floor if necessary.”
“Our L-Acoustics-reliant design has been working perfectly,” enthused Riches. After a tendering process, the PA manufacturer was chosen as the team wanted a brand-consistent audio system composed of trustworthy products.
“Following this tender process, L-Acoustics provided application support through to system calibration and final commissioning,” confirmed Matt O’Leary, Consultant at Charcoalblue.
“L-Acoustics conducted on-site tuning to adjust the electronic settings of the sound reinforcement system and demonstrate its compliance with the project requirements,” continued O’Leary. “This included setting equalisation, alignment, and the frequency response contour to optimise its performance in the space – with excellent results.”
Shure Axient Digital radio microphones were selected after a demonstration that proved not only that this product be great value for money, but it would also be ideal for achieving the venue’s ultimate goals.
Riches pointed out that the Shure systems were extremely available to the Bristol venue, with the ability to hire extra kit locally if needed. “This fulfils our promise to minimise travel,” he stated.
The design also called for all three halls to have Allen & Heath mixing consoles installed, with an S7000 and SQ5 as front-of-house mixing desks, alongside S3500 desks for monitors. The manufacturers’ DM0 is connected to consoles via GigaACE for audio distribution, networking, and control.
“We selected these units after a lot of testing in real shows - and even different venues - and they were undeniably great,” said Riches. “They are popular with touring shows, so again, touring companies can use our kit and feel no need to bring their own.
www.smoke-factory.de
“Additionally, when we tried out dLive, A&H’s flagship mixing program, we were so impressed. I’m more of a lighting person, but I was able to find my way around the dLive perfectly happily, with little introduction.”
Beacon’s network backbone, a key factor in their strong AV systems, consists of three Luminex Gigacore 30i, four Luminex Gigacore 26i, a single Luminex Gigacore 14R and two Luminex Gigacore 12. This network distributes data for Dante, AVB, NDI video, and Green-Go Comms throughout the whole complex.
Dante is managed through Dante Domain Manager Gold, allowing secure audio data in all three spaces and facilitating audio sharing to recording and outside broadcast when required.
Essert pointed out that it was imperative to ensure the venue itself would be able to keep up with the high activity levels and quality of Bristol Beacon’s new kit. “Each hall needed to be able to operate simultaneously without disturbing one another, therefore, sound insulation between all three was improved with additional doors and vestibules,” he said. “Sound Space Vision collaborated closely with Beacon’s team and Charcoalblue during the specification and installation process to ensure that their product choices fit with our acoustic design.”
While the fixed architectural finishes have been designed to optimise a warm resonance for classical music, Beacon Hall also has a system of motorised acoustic banners and curtains that can be deployed to reduce the reverberance for amplified events.
Further flexible acoustic treatment from SSV can be seen in the inflatable aQflex bass
absorbers above Beacon Hall’s acoustic canopy, controlling bass reverb beyond what the banners can do. The first installation in the UK of this technology, the hall’s aQflex absorbers pair excellently with the specified PA systems and allow for highly controllable sound.
Riches explained: “Our opening show, ‘Trip the Light Fantastic’, had four days of rehearsal. For the first two days, we had the bass absorbers switched on, whereas, on the third day, we forgot to turn it on – and people noticed the bass change, so we are confident that this treatment makes a large difference.”
This acoustic design allows the venue to get better results from its carefully considered audio kit, helping control issues that may arise with lower-end frequencies.
Additional acoustic care was taken when the design team worked with a fabric artist to develop a custom weave for acoustical drapes in the Lantern Hall, lending a real touch of class whilst promising excellent sound.
The Bristol Beacon’s green promise does not stop at its choice of audio fixtures; Riches shared that to discourage the touring of luminary systems and the negative environmental effects that come with it, the team “carefully selected lights that were compatible with as many shows as possible.”
“We were focused on getting the right kit for the right job,” he continued. “If it meant selecting different units from different manufacturers, this was fine by us.”
Consequently, Beacon Hall’s lighting equipment list shines bright with flexible, sought-after products. Installed by LSI, as all the luminary fixtures were within each hall,
28 Robe Spiiders act as the main space’s workhorse wash light. Additionally, 14 Ayrton Diablo S were specified as the framing shutter units in Beacon Hall, with seven per truss.
“We wanted a product with a very small profile, as it needed to be able to fit under the truss without hitting the canopy,” Riches revealed. “We chose the Diablos as we have used them before, and we loved them. Aryton is ultra-reliable, and the units are ideally discreet.
“Additionally, both the Diablo units and the Spiiders have a very quiet studio mode which is important for us, so we can keep them switched on without disturbance to shows,” he noted.
Most of the front lighting in the main hall is achieved by 10 Ayrton Eurus TCs sitting on the front truss, moving lights that can be focused when needed, ensuring a fast turn-around between shows with different luminary desires.
Utilised mainly during classical performances, 14 ETC Source Four LED Series 2 were deployed on three bridges above the auditorium in Beacon Hall to complement 38 ETC ArcSystem Pro 4 Cell Linear units which are recessed into the underside of the over-stage acoustic canopy. Furthermore, three Robert Juliat Authur 800w LED Followspots sit on the hall’s back bridge, to be used when extra brightness is needed. “These are extremely bright and brilliant,” raved Riches.
Targeted towards pop and rock touring shows in Beacon Hall, 16 CHAUVET Professional COLOrado Batten Q15s colour wash the whole of the room’s back drape, creating a high energy look during performances.
Becky Daley, Stage Lighting Consultant atCharcoalblue, identified how the lighting installations within all three halls conform to Bristol Beacon’s green pledge. “It was made sure that the entire system design would be LED, which, considering the size of the project, is quite forward-thinking,” she revealed.
“Furthermore, the spaces look great, but more importantly, they feel great. For example, Beacon Hall is a massive room, but when the lights come down, it feels so intimate.”
Essert also highlighted that the noiseless fixtures helped achieve his acoustic goals. “In concert halls, the house lighting and the performance lighting must be silent as well as maintainable,” he said. “With the help of LSI and ETC, we realised the solution was ETC ArcSystem Pro Four-Cell fixtures with remote drivers, and Pro Two/ One-Cells for the shorter throws.” Also in the design process for Beacon Hall, it was discussed that there needed to be projection capabilities that were suitable for conferences. With this in mind, a Christie Digital DWU-1100-GS was selected, mainly on account of the DWU range’s excellent flexibility – the large zoom range means any size screen can be addressed with one lens. Additionally, four Bird Dog P200s PTZ cameras were adopted to allow for live streaming ability, a venue feature that began during COVID-19, but was written into the Beacon’s specification after it proved positive and popular. This equipment can be connected into the venue-wide NDI network to be recorded or vision-mixed via a dedicated high–spec PC running VMix 4K.
Finishing the vast product lineup at Bristol Beacon are two Smoke Factory Tour Hazer 2s, which Riches said were chosen for their reliability and durability,
paired alongside a pair of Antari AF-3 Fans that complement the Tour Hazers perfectly, blowing the haze to create a dramatic atmosphere.
The audiovisual redesign of Bristol Beacon was more than a simple venue revamp; this project focused on creating a huge hub for entertainment lovers in the city, crafted by a team that truly cared about the space, bringing in only the most exceptional AV technology in the most environmentally friendly manner.
Each of the three halls has been granted a new life; upon its reopening in autumn 2023, Beacon Hall has been successfully hosting large acts, Lantern Hall is showing smaller yet just as dynamic performances, and Weston Stage exists as a place for newer artists to demonstrate their craft.
The L-Acoustics systems within Weston Stage have already been given a chance to benefit Bristol. As well as traditional performance, the underground space now exists as a place for educating growing creators. Through the venue’s ‘Support for Creatives’ program, the stage technicians, artists, and producers of the future can work in Weston Stage, learning about the high-quality equipment that powers the space, alongside opportunities of mentorship from industry professionals. Further positively impacting the future, so far, 95% of touring shows at Beacon are utilising the in-built kit to some capacity. Those who need extra equipment can easily be accommodated, however, as the flexible rigging space in each hall lends it to user-friendliness and ease of setup. This marks only the beginning of the venue’s carbon neutrality journey. The victory of Bristol Beacon’s remodeling can be attributed to the teams working on the project, and their consistent care throughout. For example, during its re-opening period, Riches revealed that the installer, LSI, “stayed on to de-bug and make tweaks to the systems, so that there was unwavering confidence with the final AV infrastructure.”
Hopeful for what this artist-friendly, sustainable era of the Beacon will bring, Essert concluded: “All of this work was done in service of Bristol’s musical heritage and connection to the music of tomorrow. Bristol has a strong tradition of artistic quality, and now it can showcase regional, national, and international performances in a venue with first-class acoustics, audio and lighting.”
AUDIO:
20 x L-Acoustics KARA II
8 x L-Acoustics KS21
6 x L-Acoustics X8
2 x L-Acoustics Syva
12 x L-Acoustics 5XT
2 x L-Acoustics A1Oi WIDE (Upper balcony delays)
3 x L-Acoustics A1Oi WIDE (Front balcony speech)
2 x L-Acoustics X8 (canopy side fills)
14 x L-Acoustics 5XT (side balcony fills)
4 x L-Acoustics 5XT (box fills)
4 x L-Acoustics X8 (choirs)
12 x L-Acoustics X12 monitors
CONSOLES AND STAGE RACKS
1 x Allen & Heath S7000 w/ waves card
1 x Allen & Heath SQ5
1 x Allen & Heath GX4816
2 x Allen & Heath DX32
2x Allen & Heath DT168
1x Allen & Heath C3500
MICS AND COMMUNICATION
2 x AKG C414
2 x AKG C451B
1 x Audix D6
3 x Beyerdynamic M201
6 x DPA 4099
1 x ElectroVoice RE20
1 x Shure Beta 91a
1 x Shure Beta 52a
3 x Shure SM57
2 x Shure Beta 57a
8 x Shure SM58
2 x Shure Beta 58a
1 x Shure Beta 87a
1 x Shure KSM137
8 x BSS AR-133 DI Box
5 x Radial Stereo DI Box
6 x Tecpro BP253 belt packs
4 x Green Go Wireless comms
LIGHTING
ETC Sensor3 racks
14 x Ayrton Diablo S
10 x Ayrton Eurus TC
28 x Robe Spiider
16 x Chauvet COLORado Batten Q15
4 x ETC Source Four LED Series 2 (15-30 Lens)
10 x ETC
Source Four LED Series 2 (10 lens)
4 x Chauvet Strike Array 4 LED blinders
4 x Chauvet Strike Array 2 LED blinders
4 x GLP JDC1 Strobes
3 x Robert Juliat Authur 800w LED Followspots
EFFECTS
2 x Smoke Factory Tour hazers
1 x look viper 2.6 smoke machine
2 x Antari AF3 fan
PROJECTION AND VIDEO
1 x Christie DWU-1100-GS
4 x Bird Dog P200s
1 x Bird Dog controller
1 x Blackmagic Design Atem Mini Pro
1 x Blackmagic Design Atem Mini Pro Extreme
Bristolbeacon.org
www.charcoalblue.com
www.lsiprojects.com
soundspacevision.com
AMERICAS
FORT LAUDERDALE / USA
A fully-working auto enthusiast members club and garage has enhanced its operation with a full AV package designed and installed by Sound and Lighting Solutions to open up its space for events, and highlight the in situ muscle cars.
When Rebel Motor Club founder Stephen Kelley was looking to add some pizzazz to its operation and create a space capable of hosting events, he reached out to Jay Krause, Founder of Sound and Lighting Solutions (SLS), to help him achieve his goals.
“I’m not all that familiar with professional AV equipment, and Jay came in and we collaborated on a design which included everything from disco-style lighting, spot lights, haze effects, special lighting for the car racks, and even disco balls,” said Kelley, who was impressed by the projects listed on the SLS Install website.
“The SLS website was full of local projects I was familiar with, and that reassured me that I had made the right decision and the project was going to be a success.”
Krause admitted that the first appointment at the location took him by surprise, and he almost turned around to leave after assuming he was at the wrong place.
“Our first meeting was hilarious because Stephen asked me about equipping an event space with lights and audio, and I agreed to go and check it out,” said Krause. “When I pulled into the parking lot, I thought, ‘this couldn’t be right – there’s a lot of exotic cars here, and it’s a warehouse’. I called my office to check the address, and it was correct, so I went on in, met Stephen and found I was mistaken – it
was a club for auto enthusiasts like I have never seen.
“The venue itself seemed unique because it incorporates a membership with access to vehicle storage, concierge, garage services such as upgrades and resto-mods, and a member lounge area – and the opportunity to turn it into an events venue. It is like nothing I have ever been involved with before.”
Once the terms of the project were agreed, Krause visited the site on multiple occasions throughout the design process to discuss solutions, and Kelley attended the SLS facility to pick and choose various products.
“All the lighting and sound equipment that is installed in the main downstairs space is set up just as it would be as if we were fitting out a nightclub,” said Krause. “And upstairs there is a member’s lounge which overlooks it all, and that too has a cool vibe and great kit – in effect it’s like a VIP area.”
The downstairs sound system is made up of four ElectroVoice Evolve 50 column speakers, which are portable by design but are sold with fixtures to allow them to be permanently fixed to walls and ceilings.
“Each one of these units has a subwoofer and column array, and they can be separated which was a big help for this job as it allowed us to mount the top column array
separately from the subs,” said Krause. “There is a true L-R stereo image in the venue, and when they want to project something onto the large feature screen - for example sports events like the recent Super Bowl – the speakers are calibrated for stereo reproduction.
“The column arrays are mounted in a way so that they angle down into the main space, and the subs are coupled together in pairs, and are nice and discreet.”
An additional Evolve 50 is set up in the upstairs lounge, with the DSP across the whole building handled by an AtlasIED Atmosphere AZM 8-zone processor, which is linked to a Sonos system upstairs, connected to a Pro-Ject T1 turntable for spinning records.
“The Sonos ports are located throughout the spaces, and a Sonos Spark system is tied in to provide audio for any screenings that take place upstairs,” continued Krause. “The extra Evolve 50 can also be used as a guitar speaker for anyone wanting to plug-in and play up there. Everything is tied together by the DSP system.”
An Apple TV was installed upstairs for screenings, which also connects to the laser projection system downstairs, allowing what is shown upstairs to be beamed to the main space.
“We chose a Panasonic PT-VMZ51 projector which is pointing onto a custom 200-in diagonal slate screen, made by Screen Innovation,” confirmed Krause. “When the screen is not deployed, in its place is a large Rebel Motor Club sign which is lit by LED. My team custom retro-fit the signage with DMX decoders, so colour change and dimming is also incorporated into the full lighting system.”
The venue’s lighting features a vast array of fixture types as many different looks were required.
“For this project, all of the lighting is processed through a CHAUVET DJ DJ Xpress Rack 1024,” said Krause. “We have beams, spots, hex lights and a haze machine, among others.”
Included in the entertainment package are eight CHAUVET DJ Intimidator Beam Q 60, four CHAUVET DJ Intimidator Spot 260X moving heads, and four each of CHAUVET DJ
Wash FX Hex and CHAUVET DJ Swarm Wash FX ILS. A low profile CHAUVET DJ Hurricane Haze 4D was supplied for extra atmospheric effect.
“The trickiest thing we had to do in this project was to mount the fixtures to light the cars, because they needed to be hidden so you couldn’t see them, only the luminescence of the fixture,” said Krause. “It was incredibly hard because we had to mount these fixtures on the framing of the actual car lifts.”
With the car lifts moving up and down, the fixtures needed to be firmly fixed in place as they are in danger of getting crushed by the frame if they moved as much as an inch out of position.
“This took an exceptional amount of time and planning and was definitely the most challenging element,” Krause continued. “We opted for Martin Professional CS series fixtures – both 900 and 300 models for this element, and we used CHAUVET DJ COLORband Quad Q3BT and CHAUVET DJ SlimPAR Quad 12BT behind the cars to give it a nice up-lighting effect.”
Also utilised in the venue’s lighting system are Blizzard Lighting Komply RGB5050 IP 65 strips, Martin Professional Rush CS LED-PSU and an ADJ M2020 mirror ball.
“When the venue holds events and the cars are part of the aesthetic, we have marked specific spots on the floor where they can be moved to, so that the lights we installed can illuminate them perfectly,” said Krause.
“Previously we had fielded calls to work in garages like this, and we’ve gone down and put a few lights in, but we’ve never done anything remotely as intricate as this before, and for it to double as a venue space as well – it was a big project and a lot of fun to see it come together.”
Rebel Motor Club is delighted by the results. “It’s such a versatile set-up and our customers love it,” said Kelley.
“Overall it took around two months from design to installation, and it was broken into phases, with the lighting completed first followed by the audio set up.
“We entrusted Jay and his expertise on the technologies and it came out great, it has a unique look to it and a really cool vibe.”
AUDIO:
5 x Electro-Voice Evolve 50 Speaker
4 x Electro-Voice Phoenix Wall Mount Specialty Brackets
2 x Electro-Voice ZLX-12BT Powered Speakers
1 x AtlasIED Atmosphere AZM-8 Signal Processor 2
1 x AtlasIED Atmosphere A-BT
1 x AtlasIED Atmosphere A-RCA
1 x Atlas Atmosphere C-ZSV
1 x Shure SLXD24/B-58 Set for MC / DJ
1 x Shure SLXD14 with bodypack
1 x Sonos Port Preamplifier
1 x Juice Goose SQ-1500 Power Sequencer
2 x American Audio DB-Display MK2 LED Meter
1 x Analog VU Meter
VIDEO:
1 x Panasonic PT-VMZ51 projector
1 x BlueStream EX40B-KIT HDMI Extender
1 x Screen Innovations Custom 200” Diagonal Slate Gray Screen
LIGHTING:
8 x CHAUVET DJ Intimidator Beam Q 60
4 x CHAUVET DJ Intimidator Spot 260X
4 x CHAUVET DJ Wash FX Hex
4 x CHAUVET DJ Swarm Wash FX ILS
1 x CHAUVET DJ Hurricane Haze 4D
20 x CHAUVET DJ COLORband Quad Q3BT
8 x CHAUVET DJ Slim Strip UV-18 IRC
10 x CHAUVET DJ SlimPAR Quad 12BT
12 x Martin Rush CS3000
24 x Martin Rush CS9000
7 x Martin Professional Rush CS LED-PSU
2 x CHAUVET DJ Datastream Optical Splitter
4 x Blizzard Lighting Komply RGB5050 IP 65
4 x Blizzard Lighting DMX Decoder
1 x CHAUVET DJ Xpress Rack 1024
www.slsinstall.com
The sixth location of popular restaurant chain operated by OPRY Entertainment Group opens in Sin City with an AVL system to cater for live music, and lots more.
The opening of Ole Red in Las Vegas was exceptionally well-timed; in its first month of operation, it hosted an impromptu visit from its inspiration, country music star and Clair Global touring client Blake Shelton and his wife, co-performer Gwen Stefani, who played a surprise show over the Super Bowl weekend.
It’s a testament to the AVL design and installation by Clair Global Integration that the venue was completed on time and ready for highprofile touring artists to take the stage.
Situated in the heart of the strip, on the corner of Las Vegas Blvd and Flamingo Rd, the Las Vegas Ole Red’s AVL system is markedly different to the five previous locations due to it being a slightly larger venue, and a wide array of equipment is used across its four floors of entertainment space.
The 27,000 sq ft venue features an L-Acoustics sound reinforcement system, a full package of Sennheiser mics and wireless systems, and control from DiGiCo and Allen & Heath desks. The entertainment lighting consists of myriad CHAUVET Professional and Elation fixtures controlled by two MA Lighting desks, while a huge 40ft LED screen forms the focal point behind the stage, which was designed and installed by Trust Fall Production Group.
At the heart of the decisions on the equipment was familiarity, budget and effectiveness, with Joe Anderson, Lead Engineer for Clair Global Integration on the project, taking up the story.
“Our scope was the design and build of the whole AVL system, that encompasses the lighting fixtures and control, audio systems and control, and video processing,” he said.
“A lot of the decisions were made on both cost and familiarity, because the venue hosts a lot touring acts who have their own techs
– so equipment that they will be comfortable with was also a big consideration.
“Clair Global Integration has designed the AVL systems in previous Ole Red locations, so we knew the kind of things they want to achieve within the venue, and what’s needed to accomplish that. In that sense we have it well dialled in, and we worked closely with Andy Roy, Tech Services Assistant Director for OPRY Entertainment Group, to ensure all the needs were met.”
When it came to the audio package for the venue, Anderson decided on an L-Acoustics system comprised of A 15i and A 10i loudspeakers, KS21i subs and many fill speakers, and with that came the need for a DiGiCo Quantum 225 desk.
“I chose a configuration of L-Acoustics loudspeakers for the venue for a number of reasons, the biggest of which was because it fit the venue the best,” confirmed Anderson.
“The A 15i system, as far as the main array goes, fits the shape of the venue – because it is a different style of room with very little depth, and is quite tall. So we did not need a lot of throw, but we needed good, consistent spread, and a lot of high output and good punch.
“To get that level of vertical spread with a typical line-array would have needed a lot more boxes – which would not have been an efficient use of space and money. An A 15i system gave us the vertical spread we needed, with three A 15i focus and one A 15i wide per side, and behind them are four KS21i per side, with three KS28 subs on the floor,” continued Anderson.
“There are a slew of fill speakers inside, with a ring of five A 10i
loudspeakers on the third floor to cover that area, while on the rooftop stage a combination of A 10i and KS21i subwoofers provide ample coverage.”
Anderson used L-Acoustics’ Soundvision 3D software to map the speaker positions prior to the install and commissioning phase.
Controlling the interior of the venue is a DiGiCo Quantum 225, while an Allen & Heath Avantis is deployed on the rooftop, and the venue’s Production Manager Leo Montoya and his team of nine in-house technicians are still getting to grips with the complete usability of the feature-heavy DiGiCo desk, as he explained:
“The DiGiCo Quantum 225 is a new piece of equipment for all the technicians here – a new platform completely,” Montoya said, “but DiGiCo has helped us with training from their local reps to make us more proficient on the desks, because they are capable of a lot and they are essentially blank slates which need telling what to do. It’s different than the Allen & Heath Avantis, which has a lot of automatic features and is almost ready to go right out of the box.
“We plan on hosting a lot of national touring acts that will come through Las Vegas, and DiGiCo is one of the most popular desks in the country. It sounds fantastic in here, so when an act comes through here, their sound engineers can pivot onto our console easily, if needed.”
Montoya had previously spent the majority of his career
on the road as both a Tour and Production Manager for artists that often performed in OPRY Entertainment venues in the USA. Given his familiarity with the brand and its venues, he jumped at the chance to become the Ole Red Las Vegas Production Manager when this opportunity arose.
“The AV set up here is killer, and it absolutely feels like an Ole Red venue that belongs in Las Vegas,” he said.
One thing Montoya is particularly pleased with is the mic and wireless package for the venue, which includes Sennheiser Digital 6000 and SR 2050 systems.
“We partnered with Sennheiser to use their equipment across the venue, so every mic in here is a Sennheiser or Neumann product – all the wireless, handheld and instrument mics, which encompasses everything from drums to fiddles, as well as the in-ear monitoring system,” said Montoya. “We also have a great relationship with our local Sennheiser rep, and we will be used as a testing ground for new products and solutions, which is awesome for me and my team.”
When it came to entertainment lighting for the venue, Anderson took some influence from previous Ole Red venues.
“We chose a mixture of mostly Elation and CHAUVET Professional fixtures and it works very well,” said
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Anderson. “We decided on a mixture of equipment that is easy for the techs to use on a nightly basis, and also be acceptable for when touring acts walk through the door – so when their LD comes in they are familiar and comfortable with the gear installed there.”
Controlling the lighting is a GrandMA 3 Compact XT for the inside areas and a GrandMA 3 Compact for the rooftop, while the interior package comprises Elation Dartz 360, Elation Fuze SFX, Elation Colour 5 Profile, CHAUVET Maverick MK3 Wash, CHAUVET COLORado PXL Bar 16s, CHAUVET Maverick MK Pyxis.
“It’s a similar design concept for the rooftop,” said Anderson. “There are three lighting pipes over the stage, so there are IP rated fixtures set up, including Elation SixPar Z19, Elation Proteus Razor 760, CHAUVET ColourStrike M and CHAUVET Maverick Storm 1 Spot fixtures.
“What we’ve seen at other Ole Red locations is that it will often get hired out for a corporate event or showcase, and Blake Shelton does play at these bars quite often – so they have to be ready for him – and so a variety of kit that can create a number of looks was required.”
One thing Shelton also does is appear on screen to facetime with unsuspecting members of the audience.
“We have what’s known in-house as the ‘red phone’, and he calls us up and will appear on the huge LED screen,” said Montoya. “We then
point one of the PTZ cameras inside the venue on the guest and they will be beamed to his phone, and he’s able to surprise call us – and we can send the audio from that conversation to the loudspeakers in the venue.”
The 40ft LED Screen behind the stage provides a platform for the venue to broadcast what is happening on the stage to customers on the upper levels who may not have a clear view.
The screen was spec’d and installed by Trust Fall Production Group, as its CTO Josh Collins explained:
“Ryman Hospitality Properties, who own Opry Entertainment Group, have has been a long time client of mine and they have contracted me to do many direct view LED video integrations at their properties over the past eight years,” said Collins.
“We worked hand and hand with their preferred AV integrator, Clair Global Integration, who provided all production lighting, audio, control and source distribution, and we supplied and integrated the direct view LED video walls as needed and handled all the video processing to take in their system’s video inputs. We help the client bring their vision to life, while keeping things within manageable boundaries for daily operation by their in-house technical teams.”
Video wall processing, switching and scaling is handled by an Analog
Way EKS 4K multi-viewer to allow staff to choose what content goes where, including splitting the screen into three 1080p sections to take into account the narrow sightlines from the second floor.
“Because the venue is very steep, it was especially important to have the ability to split what the screen can show, so that people on the top floor can see what’s happening on stage via the top section of the LED wall,” said Montoya.
“The venue is completely AV over IP and split into four networks, and that takes a lot of time to learn how to navigate routing and develop an efficient workflow with it all,” continued Montoya.
The venue’s DSP is handled via a Q-SYS Ecosystem network over Dante, with various QSC speakers set up in common areas such as corridors and bathrooms for background music when there is no act performing on stage.
Having secured a prime location on the strip, Ole Red needed to back up its surroundings with functionality and style at the heart of its AVL package, and it has been achieved with some careful decision making.
www.clairglobal.com/integration
www.opry.com
www.trust-fall.com
ZENON
SPHERE AT THE ONE&ONLY ONE ZA’ABEEL
THE LANA - DORCHESTER COLLECTION
DUBAI / UAE EMEA
Boasting a diverse portfolio, Em-Tec continues to craft AV solutions at venues that set new standards for elegance across the UAE’s vibrant entertainment scene.
Innovators in audio-visual integration and distribution within the United Arab Emirates, Em-Tec has gained a reputation for providing a wide range of solutions for entertainment spaces of various types, sizes, and needs. Being the exclusive distributor and installer of UK manufacturer Funktion-One’s audio systems, the teams at both companies have developed a strong relationship that is built on the creation of exciting, state-of-the-art venues.
This collaboration was again at the forefront of a lively entertainment and eatery epicentre, Zenon, located in The Address Dubai Mall Hotel, which required an AV design that was just as creative as its AI-meetsgastronomy approach to dining.
The futuristic, high-tech influence on Zenon is very apparent. Upon entering, high ceilings play host to expansive screens displaying captivating abstract animations. Furthermore, with motion sensors cleverly positioned throughout, patrons become an even bigger part of the artificial intelligence-driven experience, as their actions are mirrored on the screens.
“Zenon came to us knowing we had the knowledge and skills to execute a project of this scale and unconventionality,” said Armand Bulder, Sales Director at Em-Tec. “Within Zenon, there are four areas. The restaurant, the outdoor terrace, a nightclub, and a members-only lounge.”
Em-Tec’s brief for this vibrant space was to ensure that each room had innovative solutions, ensuring that when the venue opened, it would be at the cutting edge of entertainment and hospitality. “The owners emphasised that they wanted this space to be the best of the best in Dubai,” Bulder continued.
Faithfully, the entire speaker system for each area within Zenon was designed using Funktion-One. The terrace consists of some of Funktion-One’s most compact products; with ten F81.2 tops and four SB10 subs delivering exceptional audio to the terrace, creating an immersive experience whilst ensuring that the solutions are small enough to blend into the chic background.
“Moving inside from the entrance through to the main restaurant area, we again used the same number of the same speakers - F81.2 tops and SB10 subs,” stated Bulder. Thanks to a minimalist approach to passive crossover design, the F81.2’s very low distortion and excellent
integration between drivers give a stable and engaging image, idea for the dining area that requires clear but non-invasive audio.
Furnished with vibrant colours of orange, teal, blue, and yellow, the restaurant space exudes opulence; from its glamourous tiling to its digital art, the compact nature of the chosen speakers guaranteed that the room’s appearance was not disturbed.
“The members-only lounge is a private area for the client to throw separate events along with an independent DJ booth, so we used eight F101.2 tops and three BR118 subs,” Bulder commented. The need for loud yet intelligible music was a clear necessity for this zone that aimed to provide an exclusive, luxurious party atmosphere.
A four-point hanging system with Evolution Xs is the main audio solution for Zenon’s nightclub. Bulder enthused: “These products are new to Funktion-One, and they are an exceptional point source loudspeaker.” Increased low-frequency energy is crafted by Em-Tec’s choice to pair these with BR218s and BR118s for the subs, along with F101.2s and F81.2s as side fills for the booth seating areas.
All the processing for Zenon’s sound systems comes from NST Audio, and the entire system is powered using Full Fat Audio (FFA) amplification.
Moreover, the venue needed a luminary solution for the nightclub.
Alex Douglas, Lighting Designer at Em-Tec, discussed how the team needed to design a system that could create visually exciting, colourful, and unique light designs. “An essential feature the client wanted was to ensure there were plenty of lasers in the club,” said Douglas. “To allow us to create a wide range of effects, we installed nine of
Ayrton’s Zonda 9 FX and 12 Zonda 3 FX in their full pixel mode,” he said. “Both fixtures are perfect for the eccentric, dynamic appearance of Zenon.”
The Zonda 3 FX possesses remarkable versatility, seamlessly transitioning between beam and wash effects with impressive ease, whilst the Zonda 9 FX is equipped with a high-performance 40 W LED source with RGB+W additive colour synthesis, ideal for dramatic, artistic lighting.
Ayrton fixtures further lit up the venue, with four Diablos efficiently illuminating the mezzanine space. Additionally, six Ayrton Cobras were installed, existing as bright, tight beams that bounce off six Claypaky’s ReflectXions, with Avolites Key Frame engine effects, producing stimulating visuals.
“Lots of Ayrton products were specified for this project as they are highly innovative, particularly regarding their laser technology in the Cobras, and the liquid effects on the FX wash range. This technology provided exactly what the client wanted – to be able to achieve punchy beams and 3D volumetric effects,” Douglas confirmed.
“At the time of designing the piece, Ayrton only had the Zonda 3 and 9 FX range. Knowing straight away that I wanted to use their full pixel map capability, I knew there had to be a cluster of them. Therefore, I placed all 21 washes in a circle trussing. This gave me the low-resolution video pixel mapping that I could use in the Avolites Sapphire Touch pixel mapping effects engine.”
For stage blinders, four Elation DTW BAR 1000s were specified, which Douglas noted “give a nice, warm amber feel,” an attractive solution
that suits the venue’s vibrant and stylish flavour.
The club also features four Claypaky Stormy CC strobes alongside two Prolight Pixie WashXB moving lights that illuminate the DJ, creating a dynamic atmosphere on the dance floor. This system, controlled by Avolites Sapphire Touch, as all Zenon lighting fixtures are, creates mesmerising visuals all night long, complementing the space’s immersive sound system, producing an unmatched party. “Regarding special effects within the nightclub, we installed six Unity ELITE PRO FB4 series lasers and two IVL Photon from Minuit Une,” said Douglas. “Pairing these with 12 bounce mirrors mounted around the space, we were able to create a web of lasers.”
Three Smoke Factory Tour Hazers and a pair of Antari smoke machines were specified alongside these products to make the beams visible, with the final effects solution being full of eye-catching products that were perfect for the futuristic, high-tech aesthetic of the area. As with the lighting fixtures, the lasers are controlled by Avolites Sapphire Touch, a console that Douglas has found to be exceptionally reliable. “Being the programmer for this project was a brilliant experience. I made custom looks for each piece of video content which is triggered automatically from a cue list,” he said, further explaining his role. “One of the greatest challenges that we faced when creating concepts for these venues, especially in a highly competitive market such as Dubai, is to stand out from the crowd. However, I certainly think we achieved this here!” concluded Douglas. “It was such a pleasure to work with the Zenon team.”
Zenon stands as just one example of the excellent results that have emerged from Em-Tec and Funktion-One’s relationship. The past year has been packed with lively UAE venues built through company collaboration,
for example, the Sphere Bar at the One & Only Zabeel Hotel, a sophisticated lounge space with a 360-degree bar.
The lounge features sleek lines and luxurious finishes, but it’s not just the aesthetics that set the Sphere Bar apart – it’s also the cutting-edge audio technology that fill the air with mellow tunes.
Disclosing the partnership’s role in this project, Bulder stated: “Initially, the venue only had ceiling speakers installed for background music, which proved unsuitable for the desired immersive experience. Recognising our expertise in the region, the owners reached out to us for a solution. The brief was clear: create an ultra-lounge atmosphere for guests.”
Henning Boshoff, Em-Tec Account Manager, recounted his involvement in the project: “We had to be careful not to disrupt the space’s appearance when installing the speakers. When we first got to the Sphere Bar, we knew it was going to be a tricky install since the whole venue is open plan, so we had to make sure that the audio did not disrupt any areas outside the lounge.”
Bulder continued: “Leveraging our experience and knowledge, the solution we came up with was a sophisticated four-point sound system based completely on Funktion-One products. We typically use this structure in bar spaces as it creates a surround sound that means each visitor has the same experience. This system featured four Evolution X speakers and four BR218, complemented by F101.2s and F81.2s as side fills.”
Explaining the equipment choices, Boshoff noted: “The Evolution Xs have a very nice wide dispersion; they’re great at covering larger areas, and we chose the BR series as its punchy dynamic sound is perfect for clubs. Furthermore, the F101.2s and F81.2s are excellently compact speakers that fill the more difficult-to-cover areas of the space.”
The latest addition to the beam projectors range, Baracca 360 has a 260W laser source. Thanks to its 130mm lens, Baracca 360 provides an illumination of 159,000 lux at 20m for an aperture of 1.7° and produces an extremely present beam in space. Baracca 360 incorporates a CMY trichromatic color system, a 17 colors wheel, a 19 fixed gobos wheel, 2 combinable prisms and a frost. Its infinite Pan/Tilt movements supported by CK EFFECT technology will allow you to achieve complex and original effects in unparalleled speed.
TECHNICAL INFORMATION
AUDIO
Sphere bar at the One & Only Zabeel Hotel:
4 x Funktion-One Evolution X
6 x Funktion-One F1201.2
2 x Funktion-One SB10
10 x Funktion-One F81.2
2 x Funktion-One BR218
6 x Funktion-One BR118
2 x Funktion-One BR115
8 x Funktion-One F101.2
2 x Funktion-One F55
The Lana - Dorchester Collection:
3 x Funktion-One F5 *WR*
4 x Funktion-One F81.2 *WR*
15 x Funktion-One F101.2 *WR*
Zenon:
x Funktion-One Evolution X 6 x Funktion-One F101 10 x Funktion-One
Bottom
Similarly successful was Em-Tec’s work at The LanaDorchester Collection Hotel, Dubai, wherein the team upgraded the magnificent pool area.
“With Dorchester being one of the world’s leading luxury hotel chains, the owners wanted the best audio experience for their clientele,” Bulder said. “The brief was to design a solution that ensured immersive sound that would be contained, as to not disturb neighbours.
“We specified Funktion-One’s Compact Range of speakers and evenly distributed them along the entire length of the pool,” he said. This chosen system included three F5.2s, four F81.2s and 22 F101.2 loudspeakers with BR115s, and BR118s.
“Em-Tec and Funktion-One’s partnership is more than just a business relationship,” said Em-Tec Account Manager, Akhil Vijayan Nair. “Our expertise
in distribution and integration aligns with FunktionOne’s commitment to pushing the boundaries of sound technology. Together, we create a dynamic force that brings cutting-edge solutions to the vibrant and diverse market of the Middle East.”
Bulder concluded: “Personally, we are always exceptionally happy with the result of our installs, however, we are usually more excited to see the reactions of the guests and the clients. In Zenon, Sphere Bar, and Dubai’s Dorchester, these individuals were overwhelmingly impressed with how our design, alongside Funktion-One’s technologies, has transformed their venues.
“Our goal for this year, and beyond, is to continue to provide complete AV solutions of the highest quality all over the region, continuing to both expand within the UAE and also attend to our present clientele.”
Located in the heart of Sydney’s Central Business District is the City Recital Hall, a performance venue with a curated program of contemporary music performances to complement its presenting partners, which include the Australian Chamber Orchestra, Musica Viva Australia, the Australian Brandenburg Orchestra, Pinchgut Opera, and the Sydney Symphony Orchestra. In recent years, new management in the form of CEO Justin Boschetti, and Director of Programming Stuart Rogers, aimed to rejuvenate the venue’s offerings and business model by expanding the types of performances held there, and to support this new strategy, they identified the need for a modern, state-of-the-art sound system. Having experienced a d&b Audiotechnikpowered sound design at a Björk concert in New York, Rogers and Technical Manager Richard Fenton engaged with d&b and their Australian partner NAS Solutions to expand the creative programming potential of the venue, and elevate its positioning within the Australian music scene.
The challenges facing the project included architectural constraints such as rigging and weight restrictions, ensuring the sound system would complement the hall’s large size and existing acoustics – particularly managing the venue’s long RT in lower frequencies, and implementing a system that was flexible, easy to operate for quick turnarounds, and adaptable to various performances.
Close collaboration was required between
NAS, specialist rigging provider HME, and the venue’s own technical staff, with NAS providing design consultation and the supply of the PA equipment and processing, while HME updated the infrastructure by installing new rigging points and cabling. The NAS team installed the system components, after which Fenton handled programming, patching, final system design, networking, and initial tuning of the new d&b Soundscape system. In total, 91 speakers make up the system, which comprises three main hangs, 21 fills and delays, and 42 venue speakers across all three of its levels. Set up in an L-C-R configuration, a d&b XSLi loudspeaker system was chosen for its directivity and includes four flown XSLi subwoofers with six d&b 21S subs under the stage. Furthermore, the system was able to enhance directivity control, a crucial capability for the venue’s distinct acoustics. Rigging, often an intricate part of large installations, was carefully managed, with new points added for the main arrays and all the surrounds, and also included concrete core drilling to create new penetrations for the centre array hang. In addition, a significant amount of existing cabling was repurposed, with kilometres of new cabling installed throughout the venue.
The compact d&b custom solutions – with the surround speakers delivered in white to blend in with the surrounding architecture – provide a 360 sound possibility for the audience in its three levels.
The use of discreet Vi7P point source speakers positioned at stage level ensure the sound remained focused on the performers, not the equipment, while E8 loudspeakers and 44S subwoofers supplement the Vi7P loudspeakers to achieve full-range coverage.
The solution also utilised d&b Soundscape, which is natively integrated with the R1 control software, allowing for intuitive control and monitoring of the complete loudspeaker setup from one interface.
With the focus on the end-user’s operability, this integration provides the technical team at the venue with a familiar and intuitive control interface. Ease of operation was paramount, and the software ensured a seamless experience for audio engineers, even during rapid show turnarounds.
“Our vision is to make City Recital Hall Sydney’s home of live music because we have an amazing acoustic hall that is much admired in the classical world,” said Boschetti. “We chose d&b audiotechnik Soundscape so that we are seen as the best in the field for contemporary artists, and to ensure our amplified shows achieve as much acclaim as our acoustic shows.
“The system not only gives us amazing front-facing sound but also makes City Recital Hall the only venue in Sydney with 360 spatial audio. The reception from artists and audiences has been incredibly positive.”
More than just an upgrade, the new system also helps draw top artists and promoters to City Recital Hall, with the venue’s re-launch concert with Soundscape held by American electronica artist Oneohtrix Point Never.
“The Soundscape system is a game changer because it supports creative intelligence, enabling artists to ‘play the room’. The venue becomes a musical instrument itself, with the audience being placed inside the artist’s musical vision,” explained Rogers.
“Soundscape enables us to present extremes of artistic breadth, from cutting-edge electronica to folk, rock, and international music, while enabling cathedral-like ethereal immersion. I’m excited that musical experiences at City Recital Hall are being changed from a system to relay music, to one where artists can create unique content in a communal integration of art form and audience.”
“THE SYSTEM NOT ONLY GIVES US AMAZING FRONTFACING SOUND BUT ALSO MAKES CITY RECITAL HALL THE ONLY VENUE IN SYDNEY WITH 360 SPATIAL AUDIO.”
ANAHEIM, USA / 25 – 28 JANUARY
This year’s NAMM Show returned to its traditional late-January slot for the first time since 2020 and despite this there was still some unease among exhibitors, with many bemoaning a large lack of presence from some of the giant MI brands. However, the atmosphere was positive among the Pro AV companies across its various halls with reports of better-than-expected turnout reported by numerous exhibitors.
Yamaha’s Grand Plaza Stage was one of the biggest draws, with performances throughout the days from a mix of up-and-coming and established artists, and this year the techs stayed connected with a Clear-Com Arcadia Central Station, with with FreeSpeak and HelixNet endpoints, coordinating all aspects of the production. Elsewhere, Yamaha showcased its DM7 Series of digital mixing consoles among a plethora of instruments ranging from saxophones to drumpads. Avante Audio launched new additions to its Imperio Pro line array series at the show, with its new IMP328 3-way active line array module and IMP218 active dual 18-in subwoofer showcased at the ADJ Arena Plaza Stage. DiGiCo announced that its second-generation software updates for its popular Quantum338, Quantum338T, and Quantum225 mixing consoles will be made available in April. The Mk 2 software packages, known as Pulse, will increase the input channel and buss counts of each desk model, plus add other notable features. RCF unveiled no fewer that 20 new products, with highlights including the NXL 14-A, a new member of the NXL Active Column Speaker Series, and an expanded NX Series with models NX 932-A and NX 945-A, which share the NX 9 Series’ cabinet, DSP and amplifier, and incorporate Precision Transducers with neodymium magnets and
titanium compression drivers. Shure introduced the Axient Digital ADX3 plug-on transmitter as its latest addition to the Shure Axient Digital Wireless System. ADX3 is a solution for audio professionals in broadcast television and location sound who are seeking an industry-standard transmitter that enables real-time remote control of key parameters.
Adam Hall had a huge presence at the show, with numerous new products presented across its LD Systems, Gravity, Palmer, and Adam Hall Cables brands, with the prime focus on the new LD Systems MAUI G3 MIX column PA systems, which feature an integrated digital mixer.
Allen & Heath displayed its full product range at the show, from the compact analog Zed Series to their flagship dLive Digital Mixing System, while Lavoce showcased its latest products, including the new Common HF/ LF Magnet Coaxials and Annular Compression Drivers.
d&b Audiotechnik presented a range of next generation audio solutions, all under the banner of the MILAN standard at the show, with the new range of MILAN-enabled products being showcased included the DS20 Audio Networking Bridge, the DS100M Signal Engine and the D90 power amplifier. Visual Productions presented its new Purple Cloud Remote Management Software for its smart lighting control systems, while Alcons Audio returned to the show to launch two brand new pro-ribbon
1 Geoff Schneider from B&C Speeakers.
2 TJ Smith, Robert Scovill and Audrey Ensor from EAW.
3 Glenn Roop of Audix.
4 Juan Francisco Alvarez and Hugo Patino from Vari, Mexican distributors of GLP.
5 Eunice Brambila, Faye Price and Marc Lopez from d&b Audiotechnik.
6 Pietro Gennenzi from WSDG.
7 The PK Sound team on its stand.
8 Michael Rodriguez from DAS Audio.
9 Ryan Medvitz from Antari.
10 Anthony Spinak and Pieter Van Hoogdalem from Adamson.
11 Guy Low from Electro-Voice.
12 Marissa Abbott from SGM.
13 Sandra Jamaleddine, Jane Eagleson and Helen Meyer from Meyer Sound.
14 Ben Chudyk from Radial Engineering.
loudspeaker ranges, bringing high-definition monitoring both to the live and studio markets, and held demonstrations of its new W series floor monitors and the M series reference monitors. ADJ launched 12 new products at the show, including the newest evolution of its Ultra Series of linear LED wash fixtures, a collection of bar fixtures utilising the latest lime-infused HEX LED technology. DAS Audio brought several new products to the show including the latest additions to its ARA Series and its next generation of the EVENT Series line array. EAW presented its LA Series at the show, a range that supports events that are often geared towards pole mounted deployments, such as small to medium live shows, weddings, corporate events, restaurants, bars and clubs. Electro-Voice highlighted its latest EVERSE 12 batterypowered loudspeaker and celebrated the landmark of producing its one million ZLX portable loudspeaker, which was displayed at the show and signed by members of the EV team. Meyer Sound showcased the power of pairing its PANTHER line array loudspeaker with the new 2100-LFC low-frequency control element, while also demonstrating the capabilities of its Spacemap Go spatial sound design and mixing tool. Neumann released several new products for stage use at the show, and announced the expanded range of its Miniature Clip Microphone System. PK Sound presented its T8 robotic line source element, the industry’s first robotically controlled line source range, in an impressive immersive demo room experience, while NEXO highlighted its new nanoNXAMP4 Powered TD Controller. While many who exhibited at NAMM travelled direct to ISE from California, the prospect of a repeat for 2025 has been nipped in the bud as the two shows are separated by a week, much to the relief of those hardy enough to commit to attend both.
1 Bob Chanthavongsa from Cerwin Vega.
2 Ken Weller from Celestion with MONDO-DR’s Todd Staszko.
3 Guillermo Cabada of Propaganda Systems (r) with the Grupo Bunker team on its stand.
4 Kirsten Spruch and David Glaubke of HARMAN.
5 Andrew Richardson, Gianluca Turra, Phil Van Pedorgh and Flavio Naggi from Faital Pro.
6 Hunter Williams and Daniella Kohan from Sennheiser.
7 Brian Dowdle and Alfred Gonzales of ADJ.
EMEA
BARCELONA, SPAIN / 30 JAN – 2 FEB, 2024
ISE celebrated its 20th anniversary in record-breaking style with an attendance of close to 74,000 from 162 countries (an increase of 27% on 2023), and 1,408 exhibitors spread out across 82,000 sq m of show floor space. The four-day show solidified its status as the leading destination for AV professionals across the whole spectrum of the industry – and shows no sign of slowing down with a 10% increase in current exhibitors re-booking booths for 2025 compared to the previous year.
This strong demand for exhibition space has led organisers to expand availability in 2025 by opening Hall 8.1, increasing opportunities for showcasing cutting-edge technologies and engagement.
Mike Blackman, Managing Director of Integrated Systems Events, commented: “In the illustrious 20-year journey of ISE, we have witnessed
the transformative power of innovation and collaboration within our community. ISE 2024 not only reflects the cutting-edge technologies defining our industry but also serves as a testament to the enduring spirit of creativity and camaraderie. As we celebrate this milestone, alongside our co-owners AVIXA and CEDIA we look forward to continuing our commitment to being a global platform for industry professionals.”
Across the vast halls and demo rooms the industry was well represented, and the show floor was buzzing with anticipation. In addition to the demo rooms in hall 8, an outdoor demo area featured a rotating programme of short demonstrations from Aura Audio, Harmonic Design, KV2 Audio, Perquod, Unka Sound Systems and Wharfedale Pro. Making its second appearance at ISE, 1 Sound highlighted its latest released loudspeakers
Contour CT212, Tower LF44, SUB215, the latest additions to its Cannon Series in Marine Versions, and gave an exclusive first look at its new 3D audio design and prediction software, Auralis, showcasing its interface and some of its capabilities. The Adam Hall Group presented several new installation solutions with its Adam Hall Integrated Systems business division and for the first time its lighting division Cameo was represented on its own stand in the new Hall 1 for lighting and staging. The TICA Series (Tools for Integrating Commercial Audio) was the focus on its Integrated Systems booth, while Cameo highlighted its AZOR and OTOS moving head series, which were complemented by a variety of other spotlights for installation, broadcast and theatre applications, including the new
ZENIT models and the PIXBAR G2 LED bars. ADJ Lighting debuted multiple new products in Europe, including the Hydro Series of IP65-rated moving heads, the Hydro Hybrid. Visitors also had the chance to discover the high resolution WMS2 integration-focused LED video panel, the Vizi Beam CMY automated beam luminaire, the ElectraPix series of lime-infused wireless LED bars and par, as well as its next generation Aria X2 wireless lighting management system. Alcons Audio presented new products and the latest iteration of its Pro-Ribbon Immersive Experience, showcasing how its pro-ribbon systems deliver an identical high end experience across the pro-AV and residential/custom installation markets. Alfalite collaborated with digital artist César Yagüe to create AlfaArt, a complete turnkey solution for the luxury sector consisting of large format LED displays that transform entire walls into living canvases, utilising media players and moving ambient artwork, curated and delivered, ready for deployment anywhere in the world. Amadeus debuted three new models of its A470 ‘Avignon Columns’ Series line array speakers, including ‘Straight’, ‘Focus, and ‘Wide’ versions - models which will start shipping in Q2 of 2024. Analog Way showcased its wide range of video processing solutions, the highlight of which came via its LivePremier series, with three new products introduced under the Aquilon banner offering multi-screen and multi-layer live presentation systems supporting pixel canvases up to 16K: the Aquilon RS5, Aquilon RS6 and Aquilon Cmax. Also debuting at the show was the Solo media player, a straightforward single channel 4K video player with
1 The Aura Audio team on its stand.
2 The Funktion-One team.
3 Thomas Peters and Neha Sharma of Brompton Technology.
4 Alexander Pietschmann from Adam Hall.
5 Kathryn Taub and Patrick Prothe from Audinate.
6 Paloma Martinez from Beyma.
7 Chris Ready from Digital Projection.
8 Mark Calvert and Nigel Sadler from HIVE.
9 Arnaud Thaler from CHAUVET Professional.
10 Members of the Genelec team on its stand.
11 Michael Staffopoulos from ROXX Lighting.
12 Samantha Buchanan and Hal Truax from Wyrestorm.
13 Polly Bradley-Brock from Christie.
one program, one preview and intuitive user interface software that offers high-quality monitoring of the Program and Preview channels.
Astera demonstrated how its product portfolio constitutes not just a selection of different stand-alone lights, but works as a comprehensive ecosystem which provides lighting engineers with their full host of needs, whilst also allowing them to leverage the functionality of their existing auxiliary inventory. The newest additions to its full lighting ecosystem are the LeoFresnel and PlutoFresnel. Audio-Technica launched a new version of its ATND1061 Beamforming Microphone at the show, while with two locations in different halls, AudioControl showcased its array of amplifiers that now support Dante network connectivity, bringing the company’s sound quality to any zone. AudioFocus debuted its new ARRoCC constant curvature loudspeaker series, a system which comprises the wide coverage CC210W cabinet and its narrow coverage twin, the CC210N, plus the highpowered 118S compact subwoofer. “With ARROCC we’re ready to challenge the market leading constant curvature arrays on power and performance,” commented Audiofocus founder and CEO, Ann Leroy. Aurora Multimedia demonstrated its light-weight, small form factor DTX-AMP25-M 25-Watt PoE+ Dante amplifier, which allows audio distribution of small to very large scale. AV Stumpfl presented its AnyShape projection screen technology, in addition to the latest PIXERA 2.0 software features, and its new PIXERA GEN 2 media server hardware. Ayrton brought a comprehensive range of its LED lighting products, including the Argo 6 which was launched in September last year. Also on display were the Zonda 9 FX, its smaller sibling
Zonda 3FX, the laser-sourced Cobra and ultra-compact Diablo. Biamp introduced its new Voltera D series of networked amplified loudspeaker controllers (ALCs), which offer powerful onboard digital signal processors and sophisticated tools for tuning rooms, and is one of the very few lines of ALCs to feature redundant network audio. Blaze Audio debuted its new Constant Beamwidth Loudspeaker (CBL) Series at its booth, which is comprised of two models: CBL528 and the CBL523, and feature a compact form factor designed to minimise installation efforts and line-of-sight considerations. Bluesound Professional released its highly anticipated ceiling speakers - the BCS250 and BCS300 - which are passive and active PoE ceiling speakers that can be installed as in-ceiling speakers or with an optional pendant speaker conversion package. After a four-year hiatus, Cadac Consoles returned to ISE with a radical realignment of its product offering in the form of the brand new CM system, centred around the CM-J50 mixer. The result of an extensive re-engineering program, the CM system offers enhanced connectivity, control and flexibility, all packaged in a lighter but familiar form factor showcasing an all new design language.
Christie showcased how its technologies can create unforgettable experiences with the presentation of its latest visual solutions, including LED video walls, 1DLP laser projectors, RGB pure laser projectors, and powerful content management and processing solutions. Claypaky brought its new Arolla Aqua to ISE for the first time, the company’s topof-the-range weather-resistant versatile workhorse, which is IP66 rated
and features high power and performance in a compact and lightweight package.
Clear-Com used the show to introduce Gen-IC, a cloud-based intercom system which leverages cloud server functionality to support its Agent-IC and Station-IC applications, facilitating a fully virtual intercom experience. Additionally, Gen-IC can connect to hardware intercom systems using standard protocols like four-wire and two-wire connections. Digital Projection introduced two of its most advanced laser projectors to date. The all new E-Vision 16000i WU boasts a newly upgraded electronics platform that shares much of its functionality from the flagship TITAN series, while the all-new TITAN line of projectors made their European debut at the show having been unveiled at InfoComm 2023 in Orlando. The new TITAN line represents a significant advancement over the popular existing versions, with many aspects fully reinvented and re-engineered for efficiency and compactness. Disguise revealed its new soon-to-be-released VX 3 hardware, the latest addition to its flagship VX range, alongside the recently-launched VX 2+, both built to run pre-rendered and real-time content at scale, with three and two video outputs respectively. Disguise solutions were found across the show, with companies including Sony, ROE Visual, INFiLED and L-Acoustics utilising its integrated solutions to power content. EAW placed its install market solutions in the limelight at the show, focussing on the brand’s MKD526 two-way full-range dualwoofer loudspeaker and MKC Series 2-Way Coaxial Loudspeakers. Also showcased was the MKC Series two-way coaxial loudspeakers, a line which
1 Ralph Heinz from Renkus-Heinz.
2 Craig Cooper and June Ip from Bluesound Professional.
3 Stuart Moots from Shure.
4 Andrew Bishop from Reclaim Audio.
5 Régis Cazin and Orane Jonin from APG.
6 Andrew Starks from Macnica.
7 Edwin Duivelaar and Isabel Inclan from HOF.
8 Richard Van Nairn from Innosonix.
9 Alvaro Fontanals from DAS Audio.
10 The Robe team on its stand.
11 Bas Hoksbergen and Mark de Gruyter from Pharos.
12 James Kennedy from Peavey.
13 Jaroslav Rozboril and David Gore from TAF.
delivers consistent tonality for a variety of applications. Elation set up a booth with the goal of empowering the creative integrator with a line-up of lighting solutions that blended art and innovation, including the Proteus series of multi-environmental luminaires, and the popular FUZE series.
EM Acoustics brought its new R5 loudspeaker to an international audience for the first time having first unveiled it at PLASA in London. The R5 is part of the Reference series, which was an instant success in installations and live events alike, representing a flagship product line for the company.
Funktion-One launched its highly versatile Evo 2 loudspeaker, the latest addition to the Evo Series which has evolved from the Res 2, one of the company’s earliest product releases over 25 years ago. The Evo 2 is a medium dispersion, fully horn-loaded, 3-way loudspeaker, which features the latest Funktion-One driver technology and highly refined tuning.
Genelec previewed a new PoE subwoofer that will form part of its Smart IP loudspeaker family, which supports flexible power, audio and management features via a single standard CAT cable. The new subwoofer – with final spec, pricing and availability to be confirmed at the time of writing - can be combined on the network with the five existing Smart IP loudspeaker models, and is compatible with both Dante and AES67 streams, and derives power via PoE. Pride of place on the GLP stand in Hall 1 was the new JDC2 IP hybrid strobe, which builds on the legacy of the JDC1 and JDC Line – but goes much further as the new IP65-certified JDC2 is bigger than its predecessor, significantly brighter, and offers several new features.
1 Florencia Fernandez from INFiLED.
2 Christian Scheck from Lawo.
3 Helmut Seidl from Dynacord.
4 Members of the Powersoft team on its stand.
5 David Haydon and Robin Whittaker from TiMax.
6 Hugues Coffy from S2CEB.
7 Gina Sansivero and Graham Hendry from AtlasIED.
Hive launched two new additions to its ground-breaking Beeblade product range as Beeblade Minima and Beeblade Osmia join Beeblade Pluto as part of the wider ecosystem, offering users more ingenious media playback solutions that work in harmony with a wide range of project types. Additionally, Hive also launched the new Beehive 5U rack mountable chassis at the show. HOF exhibited at ISE for the first time and used the opportunity to showcase its whole range of MLT pre rig truss products, as well as latest additions to its product offering including the PG3 NEO Design Stand and Monobloq. HOLOPLOT demonstrated its acclaimed X1 product series, and it was joined for the first time by the new, more compact X2 Matrix Array. Like X1, X2 focusses sound on the audience area and avoids reflective surfaces, and the X2 MD30 achieves significantly better speech intelligibility than conventional loudspeaker technologies, making it ideal for public address systems, conferences and house of worship markets, among others. INFiLED celebrated its 15th anniversary at the show and demonstrated its latest solutions, which included Infinite Colors and CBSF Technology. Also, the new VW54 Series, a control room LED display and INFiLED’s RS and AMT Series, two new solutions for the rental market, were launched. JBL Professional introduced JBL Venue Synthesis acoustic simulation software, a free desktop application that allows users design and simulate acoustic coverage and prepare complete JBL sound reinforcement systems for rigging or installation in any environment, at any scale, in both 2D and 3D. JOYNED reflected on a positive show as it saw increased interest in its Milan-certified
1 Kamil Zajdel from Optocore.
2 Mark Tomlin and Martin Hildred from Linear Research.
3 Charlie Porritt from Russound.
4 The 1 Sound team on its stand.
5 Max Winck and Gianvito Greco from Leyard.
6 Members of the Midas Consoles team on its stand.
software from all types of manufacturers, reaffirming its commitment to advancing audio performance. Uniquely designed for professional audio manufacturers, JOYNED’s embedded software seamlessly integrates with Milan, the open standard for audio over Ethernet. This innovative solution provides manufacturers with a versatile, reliable and fast to integrate solution for their diverse audio equipment needs. K-array brought its entire ecosystem to the show, comprising K-array, KSCAPE and KGEAR –three distinct brands, each with its own identity. The company launched PRISMA, a new digital matrix and amplifier series designed for applications that require advanced signal routing and processing capabilities. KGEAR debuted the GU210 subwoofer at the show, which is IP64 rated and is available in black and white finishes. LED Studio expanded its EDGE series with the launch of the 54-in EDGE Pro and 65-in EDGE at the show. The single die-cast cabinets are designed as a direct replacement for videowall LCD panels, offering increased sustainability with up to 40% energy saving vs LCD, as well as simplified installation and operation to make large scale LED applications more accessible. Listen Technologies and Ampetronic used the show to announce that they are developing the first complete installed assistive listening system utilising Auracast broadcast audio technology, which will include networked installed transmitters for multichannel broadcast for small and large spaces, with the option for open or secure transmission. The solution also will have dedicated receivers and charging bases, and a complete line of accessories, including headphones, neck loops, and network management and configuration software.
LynTec exhibited at ISE for the first time and used the opportunity to educate local dealers and distributors about its power control and distribution solutions. LynTec demonstrated its LCRP-12 DMX lighting control relay panel and the RPCR-8 remotely controlled relay panel ahead of the company’s CE certification for sale in the EU market, which is expected later this year. Martin Audio had a larger-than-usual presence at the show as it was accompanied by other brands within the Focusrite Group’s Audio Reproduction division, which enabled them to create, and demonstrate, powerful synergies. The Martin Audio demo room featured technology from TiMax (recently acquired by Focusrite), whose spatial tools transformed the presentation into a genuine immersive experience. Alongside immersive audio demonstrations, visitors also had the chance to listen to Martin Audio’s Wavefront Precision line arrays and TORUS constant curvature arrays, while its latest point source products of THS and FlexPoint were also showcased. Naostage presented an experience on its stand, where a dedicated ‘black box’ live tracking experience will present visitors with an immersive, interactive show in four parts, with the company’s cornerstone tracking solution, K SYSTEM, taking centre stage. Navori Labs previewed integrated Aquaji analytics modules for its QL digital signage software, highlighting an end goal which will allow operators of retail media networks and DOOH advertising campaigns to access and analyse key metrics within the QL software environment. NEUTRIK launched its new ‘essential’ and ‘ultimate’ series of fully LVD / IEC 60799 compliant, professional power cords at the show. nsign.tv showcased the
integration of its digital signage software platform with IoT technology and facial recognition, to enable companies to interact with their customer and capture data. Obsidian Control Systems highlighted additions to its popular NETRON data distribution range, including a comprehensive line tailored for system integrators and fixed installations, plus the world’s first IP65-rated devices for entertainment signal distribution. Outline debuted a new stand and exhibition concept at the show, which was their first ISE since the new sales direction imparted by Fernando Rey Méndez at the beginning of last year, promoting the company’s new corporate identity in full. Pliant Technologies showcased the latest addition to its MicroCom family of products, the new MicroCom 863XR wireless beltpack, which is designed for use in Europe as it operates in the 863-865 MHz ISM band, which allows for unlicensed use in most European countries. Powersoft introduced Verso, a gateway device designed to connect current Powersoft products to its MyUniverso cloud platform, and also announced an expansion of its Unica amplifier line. With a large presence at the show, the Powersoft team were on hand to present Verso’s robust logging and data storage capabilities, which ensures local continuity or service, even during internet outages. RCF debuted the PMR 60T pendant speaker for commercial applications, and a comprehensive range of both self-powered and externally-powered subwoofers for professional applications, and also introduced the DMA 504 amplifier. Robert Juliat exhibited independently for the first time at ISE and showcased its 4C profile and Fresnel fixtures – which were awarded the 2022 LDI Award for Best Debuting Product –
1 The HK Audio Team.
2 Santiago Penades from FENIX Stage.
3 Marcus Hayward from Allen & Heath
4 James Godbehear and Emily Watson from Cadac Consoles.
5 Members of the 7thSense team.
6 Mike Case from d&b Audiotechnik.
7 Jonathan Sheard and Marina Prak from ROE Visual.
8 Eric Huber, Shamaila Ahmad amd Sergei de Candial from Blaze Audio.
9 Tim Maier from Harmonic Design.
10 The TW Audio team on its stand.
11 Alejo Cervera from Equipson.
12 Victoria Chernih and Sarah James of Gasoline Media alongside Jeff Horan from Sennheiser.
13 Luc Haubursin from AudioFocus.
14 Florian Eustache from NEXO.
15 Greg Clarke from EM Acoustics.
which feature RJ Color, Robert Juliat’s innovative software platform. The company also promoted its LED followspots. ROE Visual launched its latest LED innovation, Coral, and also highlighted an array of its LED solutions tailored for the AV integration and live events market. Sennheiser had extended presence at the show with stands in halls 3 and 7 to highlight its solutions for business communication and professional audio. Visitors explored the Sennheiser TeamConnect Family and also witnessed the public debut of Headmic 4, the new ultra-lightweight (7g) condenser cardioid neckband microphone for vocal and speech applications.
Sony returned to ISE with solutions on display for the on show for the corporate, retail, education and virtual production sectors, with a spotlight for its environmental initiatives by building its products with a long-life span and with smart components, such as the SoC (system on chip)-powered lower energy consumption and eco dashboard features in the latest BZ-L Series BRAVIA displays. TiMax introduced the powerful new multichannel, live production reverb plug-in feature for its TiMax SoundHub. Also announced was TiMaxSP, a plug-in option for integrated lighting and media control for the TiMax Tracker D4 stagetracking solution. Vivitek used the show as a platform to launch new solutions, including the NovoDS
1 Issa Makhamreh and Stephanie Weisschadel from Navori Labs.
2 Members of the Modulo Pi team on its stand.
3 Kari Eythorssom from Clear-Com.
4 The Yes Tech stand.
5 JeeHee Lee from Sony.
6 Steve Dalton from Audiologic alongside Gemma Robinson and Ange Sakapaji of OLEX Communications, and Reza Dinally from EAV Group.
DS110/DS310 and NovoDS Studio Express to provide additional choice across its digital signage hardware. Void Acoustics promoted its KROME surface finish to its loudspeaker offerings for the first time in public, a finish which was originally designed for KOR lounges in Taipei and Shanghai. The Air Array, a three-way sculpted loudspeaker, formed part of the KROME presentation. Sharing a booth with its Spanish distributor, Kinson, Wharfedale Pro focussed on solutions for both live and installation audio, and also launched two new product ranges: the WLA-210XP Line Array System and T-Sub active subwoofers. Yamaha announced the VXL-WR series of weather-resistant slim line array speakers, the company’s first IP55-rated weather-resistant speaker system. Using the technology of its established VXL speaker range, the VXL-WR series is designed to deliver very clear, loud speech and music reproduction in theme parks, sports grounds and other outdoor facilities.
To go alongside the vast halls of exhibitors, ISE’s Tech Talks also took place across the opening three days of the show, with a wide range of subjects discussed. With next year’s ISE set to be even bigger, the question on our lips is – just how much bigger can it go before it outgrows the Fira?
WITH AN EXPERT SEMINAR, PRODUCT DEMOS, AND A PYROTECHNICS PRESENTATION, THE 2024 STAGE ELECTRICS SHOWCASE CERTAINLY CEMENTED THE COMPANY’S RELEVANCE WITHIN THE UK AV ENTERTAINMENT SERVICE INDUSTRY.
On the 25th of January, Stage Electrics celebrated another year of providing a wide array of technical solutions by hosting a showcase at Bristol City’s iconic Ashton Gate Stadium, with displays from 27 leading manufacturers of lighting, audio, rigging, pyrotechnics, and special effects.
The showcase presented a unique opportunity for visitors to get hands-on experience with the latest products, to discuss their needs with representatives from all the brands, and, in the words of Stage Electrics’ CEO Dave Coull, “it was a perfect opportunity to introduce ourselves and our brands to customers!”
In total, 245 guests attended the showcase, with the large crowd consisting of AV professionals, enthusiasts, and students, all keen to get stuck in with the showcase’s live demonstrations of the latest tech.
The day began with a seminar from Prolyte expert, Eric Laanstra. From rigging safety to trussing and staging assembly, to best practices for event production, he shared knowledge and the philosophy behind the brand’s products.
After Laanstra’s specialist lecture, this session opened the floor up to thoughts from its audience, sparking discussion that ultimately supported the relationship between brand and consumer. This set the tone for the 2024 Stage Electrics Showcase – a space to strengthen connections.
Audio-Technica was just one of the many brands in attendance, exhibiting some of its own pieces, alongside products from Allen & Heath and Optimal Audio.
Jack Spenn, Audio-Technica’s Business Development Manager, commented: “I was extremely impressed with the mix of brands, the turnout and the number of customers engaging with our products.”
Particularly exciting for Spenn, and AV enthusiasts alike, was
the presentation of Allen & Heath’s new Avantis-Solo audio console and its flexible, powerful processing tools, making it appropriate for various applications.
Robe equipment was additionally given a chance to shine through a demonstration, with the RoboSpot impressing its audience. Providing a deeper insight into Robe, David Catterall, Robe Lighting Systems Professional, was in attendance.
Discussing the brand’s user-friendly practices, Catterall explained Robe’s Transferrable Engine Technology, wherein its product’s engines are interchangeable within their models, meaning only one fixture is required, saving on cost.
Also appreciative of the product demonstration space was Joshua Wakely, UK Sales Manager at Sound Technology. “This was a prime opportunity for us to get the MAC One, the latest exciting release from Martin Lighting out there. It also allowed us to get more hands on the Macula remote followspot system.”
Closing the showcase with a bang, Le Maitre’s pyrotechnics display certainly made the event memorable. Millie Caress, Sales Development Manager for Le Maitre, commented: “Our pyro demonstration involved some of our top-selling products. After the exciting demo, we loved speaking to visitors, including the next generation of users studying Theatre and Production at universities.”
On the first Stage Electrics Showcase since 2020, Coull concluded: “The 2024 showcase was a celebration of partnership, innovation, and the vibrant community we serve; we’re looking forward to hosting another show next year.”
www.stage-electrics.co.uk
Above Left: A selection of pictures from the showcase. Above Right: A pyrotechnics display from Le Maitre.
REAN delivers a comprehensive range of connectors featuring ultra-robust, high-reliability designs that promise unrivalled cost-performance ratios.
ESTABLISHED IN 2004, PHAROS ARCHITECTURAL CONTROLS CELEBRATES 20 YEARS OF OPERATION THIS YEAR. HERE, CEO SIMON HICKS REFLECTS ON THE EARLY STAGES OF THE COMPANY AND DETAILS THE STEPS TAKEN ALONG THE PAST TWO DECADES THAT HAVE POSITIONED THE COMPANY AS ONE OF THE LEADING LIGHTING CONTROL MANUFACTURERS IN THE INDUSTRY.
Pharos began life as part of the Carallon group and was set up by seven people with complementary talents who saw a gap in the market for an advanced lighting controller that was purpose built for fixed installations.
Those Carallon team members were working with Flying Pig Systems on developing the Wholehog 3 console, and during this time the idea for Pharos was brewing as they noticed a lot of Wholehog desks being sold to large theme parks in the United States.
What they saw was companies using a console designed for live theatrical situations to control rides, which are permanent installations and require complete reliability on a daily basis.
The idea was to take the user interface from the console, use a console-level playback engine, and then add I/O and show control that was purpose built for theme park rides. Bear in mind that this is the early 2000s and computers still had hard drives with moving heads and spinning disks, which were not rugged enough to be fitted on the rides themselves, and they weren’t designed to be securely mounted onto a moving object.
With this new idea for a solid-state solution, Carallon then started the process of finding a company who could fund its development. After some prospects turned it down, the team found the time to develop it in-house.
A year later the first LPC (Lighting Playback Controller) was produced.
This development coincided with the early years of companies, such as Color Kinetics, who had taken brighter LEDs with improved optics and put them in a package that could be installed in indoor and outdoor environments.
These innovations were developing the market for installing LED lighting on the exteriors of buildings and structures, and Pharos was right there with the ability to pixel-map dynamic content onto these arrays of LEDs.
It was something of a happy partnership between fixture manufacturers and the new control products from Pharos, and there were two main markets for this: themed
entertainment and ‘architainment’ – for example the illumination of the London Eye, which was a very early project for Pharos. From that point, hospitality experience venues, museums and retail environments followed.
The mission of Pharos, which we have remained true to, is to only focus on control. We have never strayed into project work or tried to sell fixtures with the controllers. We are independent and only develop control systems so that everyone can use our products on whatever project they have. Pharos has remained as an independent controls manufacturer, and sticking to that path has been successful for us.
Chris Hunt, the current CFO, oversaw the business development side of the company from the beginning as Commercial Director for both Carallon and Pharos, and would spend time with customers in a sales role.
In the United States we had distribution for a short spell, but it quickly became apparent that the Designer product was too complex to sell as a standalone product and needed support. ETC stepped into the frame, and they were initially our exclusive partner in the US.
In the UK and mainland Europe, we had some very early adopters of our products, and over the years we have not lost many, if any, customers – it has very much been a growth of specialist companies with whom we have maintained great relationships. Having a steady partnership with repeat customers is our strategy – to build long-lasting relationships with specialist companies who are trained on the products. They can then support their own projects as they gain more familiarity, and in many ways they are left to their own devices. We aim to sell our Designer solution that way.
When current Sales Director Mark de Gruyter joined in 2012, he started to think about selling at a higher volume and finding partner companies. He was the catalyst that drove sales into mainland Europe through the network he built across the continent. Not long after that, we made similar moves
1, 3, 5. Some of the projects that utilise Pharos for their lighting control: the Bridge of Peace, which spans the river Kura in Tbilisi, the façade of the Copacabana Palace Hotel in Rio de Janeiro, Brazil, and the London Eye, one of the company’s first ever projects, and still being controlled by Pharos nearly 20 years later.
2. Pharos team members discussing product development.
4. Pharos CEO, Simon Hicks.
6. Pharos products on the production line in its in-house UK manufacturing facility.
into the APAC region, and we’ve seen a lot of success in Australia and China, and more recently in Japan and Malaysia. It’s a region where there is a lot of opportunity, and we believe the most successful route is by finding partners who become repeat customers.
In the United States, opportunities to sell to fixture manufacturers were growing and ETC agreed to end their exclusivity, instead marketing the products under a different name –Mosaic – and with ETC branding. That has been a great partnership, with ETC supporting many of our theme park and large stadia customers, and they have a great network with fantastic support, which is what the product needs. This broadened the reach for Pharos in the Americas, and we made some hires to look after our growing customer base –the fixture manufacturers and smaller design & build companies. As with all our markets, we’re always thinking of better ways to serve them.
The sales model is different for our Expert solution, which was launched in 2022, and was followed earlier this year with v1.0 of the Expert commissioning software. Historically, Pharos has been focused entirely on the Designer range and its software. But now, with Expert, we offer something straightforward for fixed install projects where dynamic lighting control is required but without any need for the power and flexibility
of Designer. And with that, it is priced lower for projects that require a simpler control solution. Where Designer is a flexible and powerful blank canvas that needs in-depth training to get the most out of it, Expert is easy to specify, easy to install and easy to commission, guiding users with its intuitive approach.
Expert was a significant leap for Pharos in that we had never previously had another product range and have only had one main sales path. The plan for Expert is to build distribution, ensuring that there is a Pharos solution for any type of project.
All our existing customers have access to Expert too, should they want it. Ultimately, we would like companies who take on Expert to market the product themselves, and that is something we are looking at developing – in fact, it is a product that has been designed to be re-branded easily. The future is exciting, and we have lots of plans in the pipeline for 2024 and beyond. We have spent a lot of time developing Expert, and we have big plans for Designer. Crucially, we have a great team who enjoy their work and care about the products we create and the customers we serve.
Under the direction of our dedicated leadership team, we remain focussed on developing the control systems our customers need to delight their clients and look forward to serving them for many years to come.
www.pharoscontrols.com
NORTH AMERICAN-BASED COMPANY MTN, THE PARENT BRAND BEHIND MOUNTAIN PRODUCTIONS, CONTINUES TO ADAPT AND INNOVATE WITHIN THE STAGING AND LIVE EVENT PRODUCTION INDUSTRY, OFFERING CUSTOMISABLE STAGE DESIGN OPTIONS AND RIGGING ACCESSORIES THAT MAKE UNIQUE SOLUTIONS POSSIBLE. THE TEAM AT MTN EXPLAINS THE EVOLUTION OF THE COMPANY, BEGINNING AS A TRADITIONAL STAGING COMPANY AND TRANSFORMING INTO A MULTIFACETED BRAND, PROVIDING A WIDE RANGE OF SERVICES.
“Our team has over four decades of experience working with professional sports teams, large-scale venues, multinationals, and government bodies, however, in recent years, we’ve moved away from solely focusing on staging for music events and are heavily involved in corporate, academic, and fashion work, for example, with Art Basel, Yves Saint Laurent and Hermes,” revealed Cathy Lambert, the Digital Marketing Specialist at MTN. This expansion into the corporate/fashion scene has occurred in tandem with a decision similarly motivated by growth; MTN now offers integration services. “With this integration focus, anyone can approach us as a trusted third-party vendor that provides Lidar scanning, design/engineering or fabrication to assist in entertainment and industrial installations,” says Marty Wesstrom, SVP of Sales. These projects range from a recently completed iconic entertainment venue in Las Vegas to an activation in Cork, Ireland.
MTN’s integration capabilities can be seen at the new arena at Longwood University, Virginia, along with theatres at Amazon and Morgan Stanley, where the company utilised in-house capabilities and manufacturing resources for all the project’s engineering, rigging and custom fabrications. Ricky Rose, MTN’S CEO commented: “Ranging from major league sports complexes to corporate meeting centres and local concert venues, the size of the project isn’t a factor for our crew.”
In addition to staging and integration services, they have an established international e-commerce presence with locations in the United States, Ireland, Germany, and the United Kingdom, an international sales presence that Rose said “compliments MTN’s ability to source for integration globally.”
On the brand’s continuous growth, Ron Rose, MTN’s Global Managing Director, proudly stated: “Over the years, we’ve evolved into a versatile international entity. We now provide temporary structures and integration services, distribute entertainment and industrial rigging products via e-commerce, and manufacture proprietary products that span many industries. Since our globalization in 2016, we now have infrastructure in 4 countries and service customers in over 50 markets.”
“While our business units span diverse areas, the common thread that unites them all is ‘Material Handling.’ Our engineering and design teams leverage technology and creativity to serve as the connective tissue between departments, fostering innovation and allowing fresh ideas to thrive. We take immense pride in the work we do, and our success is a testament to the unwavering passion and dedication of our global team,” Ricky Rose, concluded.
www.mountainproductions.com
1: Lost Lands Music Festival 2023, where MTN provided a custom engineered pedestrian bridge and the festival’s eight stages.
2: ‘Living Room’ by Random International brought to life by MTN’s truss structures at Art Basel Miami 2022.
3: MTN custom-built SP-1 Curved Arch at the 2022 F1 Miami Grand Prix.
4: MTN Integration’s installation at Longwood University.
5: MTN’s Control System and CM Hoists in place throughout the Chase Centre.
6: SHI Stadium decked out with MTN’s SP-1 Main Stage.
7: MTN’s self-climbing truss featured at “Hermès in the Making” show.
With a rich history steeped in the pursuit of quality and customer satisfaction, TAF has consistently pushed the boundaries of what is possible in the realm of trussing. Now, with the establishment of TAF UK, its commitment to excellence in truss and installation is closer to home for its British clientele than ever before.
www.taf-uk.com
At the heart of TAF’s vision lies a dedication to providing excellent truss and support structures to the end-user, a commitment to global brand building, and a pursuit of recognition for their high-quality services.
With this in mind, the idea of TAF UK was born, a specialised entity within the UK market, leveraging the expertise of an already established, strong team that came on board from UK-based TrussLite. The new office for the TAF brand is located in Walsall, West Midlands.
“Our goal with the opening of TAF UK was to have TAF products and its full range of professional services closer to UK customers. The safety provided by our truss can now be brought to these customers straight from the source,” commented Jaroslav Rozboril, TAF CEO.
One of the key pillars of TAF UK’s ethos is speed. With over £1m of stock readily available, ranging from a small clamp to huge LED frames, TAF UK prides itself on its ability to deliver any truss solution promptly, normally within the same day.
This commitment to efficiency extends beyond just product delivery; most quotes are completed within a couple of hours, ensuring swift progress from idea to project realisation.
“This new era of TAF can be defined by the slogan ‘Truss on Time’,” Jonathan Brett, Management Executive at TAF UK, stated. “A client could think up an idea and have it executed on the same day, with our end-to-end services that include consultation, design, and installation.”
But TAF UK isn’t just about speed; it’s about personalised service and unwavering dedication to customers, ensuring they receive the attention they deserve. “Closely with our clients, we work on a unique solution. Usually, just one team member will be allocated to each customer, meaning we foster a personal and reliable relationship,” said Leon Fallon, General Manager at TAF UK.
From festivals to corporate events, TAF truss systems have left an indelible mark on countless venues worldwide. Their versatility knows no bounds, consistently enhancing the aesthetic and functionality of any space they inhabit, further ensured by TAF’s availability of painting and powder coating in any colour. Brett commented: “Our truss is everywhere, but its discreetness means you can’t see it. Truss is such an integral part of every installation and building.”
The trussing brand’s UK expansion heralds an exciting period of growth. “Our marketing activities and presentation of the TAF brand to the world have also undergone a major change,” said Jakub Rozboril, TAF General Manager. “We have big plans for the overall TAF brand. We redesigned our logo immediately following the
25th anniversary of the company, a big change that marked the start of a new strategy.”
“Within this year, we plan to launch a new, revolutionary stage deck. It will be like nothing else on the market. We are also developing a few large, unique roof structures that will surely make a splash,” added Jaroslav Rozboril.
“Additionally, a new version of our TAFtool is currently in the testing phase and will be released soon. The TAFtool allows you to virtually design and build structures in a realistic 3D space using standard TAF products. The updated version of the TAFtool will further expand on these functionalities.”
With the opening of TAF UK, TAF “The FACTORY” has made its products more readily available than ever to UK customers. In the UK, for the UK.
Formed in 2003, digiLED is an LED display designer and manufacturer with sales and engineering offices in the UK, USA, Japan and the Netherlands, and provides bespoke screens for high-profile venues such as The O2 Arena London, Texas Motor Speedway, Parx Casino in Philadelphia, Tropicana Field in Florida, and Tawar Mall in Qatar.
Company CEO Graham Burgess believes that what sets the company apart is its impressive breadth and depth of sector knowledge.
“We’ve hand-picked the best people in the industry to work for the business, and that extends across all our locations and all disciplines,” said Burgess. “We also have a wide understanding of, and deep relationships with, multiple Chinese manufacturers who we work closely with on a regular basis.”
digiLED has developed strong relationships with over 40 factories in China, which have been fostered by the staff in its dedicated offices in Hong Kong and Shenzhen. The 228-step ‘Production Plan’, a comprehensive factory quality assurance process for managing third parties, specifies and documents procurement and inspection actions through every stage of the manufacturing process.
“digiLED are able to produce a wide range of products due to their relationships with the factories in China,” continued Burgess. “Using our expertise and knowledge in understanding the components used in LED screen manufacturing, digiLED are able to configure systems to meet very specific customer
requirements.”
Different factories have different specialities and digiLED can pick the specific factory based on the specific customer requirements, allowing them to produce a wide range of products.
State-of-the-art Pixel Depot LED display showrooms in London and Las Vegas showcase the company’s cutting-edge technology, allowing industry professionals to test content and compare a wide range of screens. Its main Technology Hub is based in Shenzhen, where it has a team of expert designers, QC engineers and logistics staff.
Innovation is at the forefront of digiLED’s success, with several industry firsts developed in recent years, which are now universally used by LED display manufacturers.
“The LED screen market is large, valued at $15.3 billion, but is highly fragmented. digiLED target the top 10 – 15% of customers focusing on delivering highly bespoke products to customers all over the world,” said Burgess. “We see ourselves as the innovative, bespoke, green alternative to the large factories in China for western system integrators.”
Backing up Burgess’ assertion is the company’s multi award
winning digiLED ZEUS® (Zero Energy Usage System) technology, which eliminates energy consumption of LED screens on stand-by mode, which can use up to 17% of maximum power even when “off”.
The technology, implemented at The O2 Arena, for example, reduced stand-by energy consumption of the screen from 130,000 kWh per annum to zero, with a cost saving of tens of thousands of pounds per year – this project won the Arena award at the 2023 MONDO-DR Awards. digiLED ZEUS® technology reduces a projects’ environmental footprint, while also improving their bottom line. This positive impact is further underlined with custom built cabinets, which allow for cost-effective upgrades of ‘end of life’ screens with higher resolution and brighter panels.
“This means existing installation structures can be reused, complete with power and data systems, and the screen surface is simply replaced, reducing the overall cost and complexity of upgrading,” Burgess concluded. “All of this is what keeps our customers coming back to us, time and time again.” www.digiled.com
CS-series
Stand 11.0 C12
• The CS-series of intelligent loudspeakers provides on-board amplification and DSP, plus Milancertified AVB connectivity, with the same footprint as the acclaimed S-Series.
• CS-Series loudspeakers are available as standalone products or as an upgrade to existing S-Series products.
• CS Rack products include the Adamson Gateway, Bridge, Network Distribution System, and Power Distribution System. And AI Software upgrades your ability to design, deploy, control, and monitor in both mobile and installation environments.
The new suite is designed with a professional audio workflow in mind: move from design & simulation, through patch, control, metering, optimization, and system diagnostics without ever leaving the system.
This is Adamson’s legendary sound, evolved for the networked future of professional audio. www.adamson.ai/product/cs-series
Cameo
OTOS W12 - IP 65 Wash
Moving Head
Stand 12.1 A24
• 32 x 50W RGBL-LED with a total output of 3,100 / 9,900 / 19,500 lm luminous flux
• Controllable FX LED effect ring
Zoom lens and zoom range 4° - 60°
Multi-zoom enables three individually controllable zoom levels
Dual input mode as option for pixel mapping
Flexible control options via integrated W-DMX™ & CRMX transceiver, DMX and RDM
Single pixel control
www.cameolight.com/en/series/otos-series/#WASH
Stand 11.0 A10 and Open Air F12
• Passive 4-way horn-loaded Point Source Speaker
• Perfect choice for Clubs, Live Music, Auditoriums and Mobile Stages
• Broadband Directivity Control without DSP with only single amplifier channel needed for easy and economical solution
Multiple HF directivity patterns: 60x40 / 120x40 / 90x60
Patented Passive End Fire Technology, cardioid subs and speakers with zero learning curve
www.auraaudio.fi/s1d
Stand 12.1 B96
Satellite Modular Laser System
Compact projection heads and remote light sources
RGB laser illumination
• Whisper quiet projection heads
Up to 40,000 lumens
www.digitalprojection.com
Stand 11.0 A07
KV2 holds four demos at the Live Sound Arena situated outside Hall 11, daily Tuesday 19 March – Friday 22 March: 11:20, 13:20, 14:50, 16:40 (except Friday)
KV2 will be demonstrating their powerful VHD2 system, a long-throw system designed for audiences of up to 20,000 people.
• Part of the flagship VHD (Very High Definition) range, VHD2 offers unparalleled quality, power and coverage.
• Thanks to its light weight and compact form factor - significant savings for rental companies in terms of transportation and storage costs, as well as setup time.
• On the KV2 stand, a range of products will be showcased including the most recent addition to the EX Series of active loudspeakers, the EX28.
www.kv2audio.com
Stand 12.1 C86
50 by 50cm LED panel, available in pixel pitches of 2.6, 2.2, and 1.9. Brightness of 1500 nits with great refresh rates and bit dept.
• Trusted ROE Visual quality with a cost-effective solution, making it the ideal choice for AV rental companies and event organisers seeking
a creative, flexible, reliable LED.
• A daily workhorse capable of handling high utilisation potential, ensuring maximum uptime during live events and other demanding applications.
• Encompasses curved panels that seamlessly bend and specially engineered panels that effortlessly assemble to create 90-degree corners and cubes, Topaz provides the versatility needed to make it a reality.
www.roevisual.com
Imagine a world where AV integrators no longer need as much warehouse space for equipment racks with stacks of sources, amplifiers, and acoustics, and endless runs of speaker and electrical cables. Now imagine a series of PoE speaker solutions that house a streaming source, amplification, and acoustics in a single speaker cabinet, which requires only a single ethernet cable to supply power and content. And now imagine that all these speakers can communicate over a network to send streaming audio content from natively integrated business music services, internet radio stations, or a locally stored content library to dozens of zones that you can configure and monitor remotely.
Established in 2018, Bluesound Professional was the first on the scene to provide decentralised audio distribution systems for commercial spaces, combining BluOS, a sophisticated multi-zone streaming audio management software platform, with sturdy audio hardware.
In 2021, the brand patented and released its first PoE streaming amplified speaker, reducing the need for rack-mounted distribution nodes and eliminating the need for multiple cables running from source to speakers. Then, at this year’s ISE show in Barcelona, the brand announced the availability of its first PoE streaming amplified in-ceiling speaker that can be converted into a pendant speaker, providing integrators with even more flexibility in designing for a multitude of spaces and use cases.
If an installation has an already-finished ceiling, Bluesound Professional’s BCS300 is perfectly suited, with a 3.5-in LF driver and 1-in HF tweeter, powered by a high-quality amplifier that tops
out at 102 dB using PoE+, integrates multizone audio streaming services and control, and can be fitted with paintable white or black and square or round grilles.
For an install featuring high industrial ceilings - add the pendant conversion kit (available in white or black) to the same BCS300 to fit that space.
In either scenario, it’s a win-win proposition for both the client and the integrator. Without the need for a rack and multiple components, the client gets more space to run operations, and the integrator can more easily win the bid with lower direct and indirect costs that affect margins.
With the BluOS in-built streaming audio control platform and remote management capabilities, clients have user-friendly access to legal royaltypaid audio content and integrators can offer audio programming and remote monitoring services for additional revenue streams.
With a range of control options including BluOS on tablets, control system integrations, hardware control panels, and its open API, integrators can ensure clients are fully happy with their installation by delivering custom experiences and control methods that are the most intuitive for end users, thereby reducing post-installation support issues.
With such novel and innovative solutions, Bluesound Professional is an audio distribution brand that is purpose-built by and for commercial integrators. The BCS 300 PoE Network Streaming Convertible Ceiling Speaker is the best example yet of the brand’s expertise in the commercial audio space. www.bluesoundprofessional.com
Sponsored by Chauvet Professional
The new CHAUVET Professional REM series of LED video panels offers the ultimate in camera-friendliness, both in terms of the images it displays, and in the way those images are picked up by cameras for broadcast, livestream, and virtual/augmented reality productions.
Featuring two panels, the 1.9mm REM 1, and the 3.9mm pixel pitch REM 3IP, the new series delivers uncompromising on-camera performances, thanks in part to its expansive range of rich saturated colours, its impressively high level of brightness and contrast, and its rapid (7,680 Hz) refresh rate.
The high-resolution REM 1 has an output of 800nits, while its stable mate, the indoor/outdoor REM 3IP comes in at 4,500nits. Both panels feature low latency performance, and thermal calibration capabilities. Both are also driven by a potent Novastar processor that provides access to over 22bit plus grayscale, as well as an intuitive, visual-driven VMP platform.
Another feature that makes these standard-setting panels stand out can be found in their black body LEDs, which are sealed in an anti-reflective coating.
The REM series of panels both output in the DCI-P3 LEDs colour space, which offers 26 per cent greater color possibilities than the typical sRGB/Rec.709 LEDs. Working with these LEDs to ensure superlative performance are the panels’ A10s Pro Novastar receiving cards, and HDR10 support. REM panels can be hung, ground-stacked, or wall-mounted to support multiple designs and visual environments. Versatility and labour-saving features are built into their design. A modular, one-step magnetic locking system makes for fast setup and tear down, while their integrated convex/ concave curving capabilities and corner protection result in even easier rigging. These easy-to-work-with features have made the new panels as popular with crews as they are with designers, content creators, and production managers.
The development of the REM Series started from listening to the needs of CHAUVET Professional’s customers and the needs of other brands within the CHAUVET family. Users across multiple brands wanted a more versatile solution with integrated convex/concave curving capabilities, corner protection, and low latency performance for both the indoor and outdoor rental/installation markets. When Kino Flo, a CHAUVET brand focused on advancing color science and cinematic color fidelity in film, broadcast, and VR/ XR environments, saw the need for a solution with top-tier performance and signal processing, this led to the push for a REM system capable of delivering the wide DCI-P3 colour gamut, high bit depths, fast refresh rates, scalability and mappability called for in the most demanding applications. chauvetvideo.com
The Absen Polaris V2 Series’ 500mm panel increments make screen size calculations effortless. These panels are crafted to be slender and light, ensuring easy handling. Catering to a diverse array of indoor and outdoor environments, the series presents a versatile range of pixel pitches from 1.9mm to 4.8mm. Additionally, the PL V2 series is engineered with a platform-centric design, offering an economical solution that maximises value for customers. www.absen.com
The WMS2 is ADJ’s highest-resolution LED video panel as of the start of 2024. With a front serviceable design, this video display solution can be mounted directly to a wall – either vertically or horizontally. It is therefore ideal for a wide variety of integration applications. With a pixel pitch of just 2.6mm, resulting in a pixel density of 147,456/m2, the WMS2 offers ideal definition even from a close viewing distance. It features an arrangement of RGB SMD1515 colour-mixing LEDs and generates a brightness of 800 nits. Each WMS2 panel measures 39.3-inches by 19.9-inches (1000mm x 500mm) and is made up of eight individual modules of 96 by 96 pixels each. The unit’s frame assembly features a convenient locking mechanism, which allows adjacent panels to be joined together securely. www.adj.com
AOTO’s latest CV-MIP series features proprietary MIP (Micro in Package) technology for highdensity LED chip arrangement (50um to 100um). This innovation offers smaller pixel pitch, optimal visual fidelity, contrast ratios of up to 12000:1, and customisable low-power brightness (3,500 nits). With AI energy-saving tech, it adjusts power consumption for efficiency. The multi-layer coating enhances display performance, delivering clearer visuals for indoor and outdoor displays with colour consistency and antiglare design, and MIP technology enables on-site maintenance. en.aoto.com
Christie’s new Core Series III LED video walls deliver impressive reliability, performance, and energy efficiency. These LED video walls are a perfect option for any space particularly where price is a factor, including lobbies, meeting rooms, and for digital signage applications. Available in five different pixel pitches from 0.9 to 2.5mm, Core Series III is designed for 24/7 operation, delivering a typical 100,000 hours of performance and 800 nits brightness. Ease of installation and operation is at the heart of Core Series III, with an innovative, lightweight design – 30% lighter than its predecessor –allowing for easy handling. The product’s front serviceability ensures easier installation with its ADA-compliant direct-mount system, as well as streamlining ongoing maintenance.
Core Series III delivers the impressive visual performance expected from advanced LED technology while boasting up to 40% increased energy efficiency over its predecessor, Core Series II. It features a simple, concealed cable design to ensure a seamless finish. Core Series III is also compatible with the optional Christie E600 controller for enhanced processing that can deliver 4K@60 Hz, HDR10, and low brightness enhancements. With Core Series III, users also benefit from the support and expertise that comes with choosing Christie, and 95 years of innovation.
A video wall forms a complete, integrated solution when combined with content management and processing technologies, and no other manufacturer delivers end-to-end Pro AV solutions like Christie. Christie offers content management and processing technologies, including Pandoras Box media and show control systems, and Christie Hedra, a multi-view KVMenabled video wall processor with up to 27 inputs for secure, latency-free operation on canvases of up to 32 megapixels. With Christie, it’s also possible to directly integrate Software Defined Video over Ethernet (SDVoE) solutions into the video wall to deliver uncompressed, zero-frame latency, artifact-free content over 10G networks.
Also available from Christie is MicroTiles LED, which incorporates the latest in LED display technology with an advanced mechanical design to deliver outstanding visual performance, and design freedom. It features a host of proprietary technologies to reduce installation complexity, eliminate alignment challenges, self-locate and colour-match tiles to achieve >97% uniformity across the entire display for its operational lifetime. MicroTiles LED is now bolstered by the addition of 0.75mm and 1.0mm pixel pitches to its lineup.
Christie provides the tools to build a complete LED video wall solution that works for individual space and budget constraints, with its team of technology experts able to guide users from the initial design stages to product deployment. www.christiedigital.com
With its large format 16:9 aspect ratio LED panel, digiTHIN HD MAX adopts a direct-to-wall mounting approach, thus eliminating the need for third-party frames. Built-in z-adjusters allow the correction of uneven supporting walls. Add its large form factor into the equation – 960mm wide x 540mm high – and the speed of installation is greatly increased.
Pixel pitches from 1.25mm to 3.75mm address a wide range of applications, from control rooms to large venues. Flip chip technology, combined with ink injection, delivers a quality contrast ratio, and brings improved energy efficiency as well as higher brightness levels up to 2,500nits. digiLED ZEUS (Zero Energy Usage System) technology allows even more energy saving. Most LED displays are left running on black, even when no image is shown, because of inrush current and the risk of power tripping when they are powered back on. Offered as an optional addition to the digiTHIN HD MAX LED panels, digiLED ZEUS solves this problem entirely by allowing the screen to be fully powered off, reducing the cost of ownership of LED displays.
www.digiled.com
The Leyard LN Series LED features are specifically designed to meet the needs for robust yet flexible content visualisation at exhibitions, concerts, conferences, sporting events, and other commercial activities to provide high-quality visual effects and information.
The LN Series is available in both indoor (1.9, 2.6, 2.9 & 3.9mm) and outdoor (2.9, 3.9 & 4.8mm) models, and in two cabinet sizes (500 x 500mm and 500 x 1000mm). They have a wide viewing angle, are designed to be easily connected, and can be floor-mounted or hung, with curved and 90° configurations possible. With their lightweight structure, rugged die-cast aluminium, edge protection, and multi-function lockers, the LN Series LED displays are easy to assemble and disassemble. They also feature a userfriendly design with easy maintenance. This structure makes it easy to transport and set up for various events. The displays can also be customised to support specific application requirements and integrated with other equipment and systems to provide additional functionality and effects.
Leyard LN Series displays are also energy efficient, helping to reduce costs. en.leyard.com
Shine Pro Series, LianTronics’ new high-stability outdoor rental LED display, provides clear and vivid images and can maximise any stage’s visual impact. It is wind resistant, thanks to its passing of the TUV wind resistance test (Typhoon Level 8, Wind Speed 20m/s). It is also user-friendly, with its considerate details that facilitate high-speed installation & labour-saving set-ups. It has high stability, with Integrated fully die-casting aluminium panels for high precision, hanging, (TUV tensile test) and stacking (compression test) with 2-in-1 bars.
Maximum hanging height is 15m (only panels) or 10m (panels with wind frame).
Shine Pro Series’ convenient maintenance and transportation solutions further ensure ease of use.
www.liantronics.com
Sony Electronics has launched two scalable new series of its Crystal LED premium displays. The bright and rich BH-series (ZRD-BH12D and ZRD-BH15D) and the immersive CH-series (ZRD-CH12D and ZRD-CH15D) are designed for corporations, retail environments and screening rooms. Both series are available in a P1.2mm and P1.5mm pixel pitch and deliver the exceptional picture quality and accurate colours associated with Crystal LED, along with improved installation flexibility and power consumption – all at a lower cost. The BH-series offers a high brightness and a wide colour gamut, while the CH-series provides unmatched black levels, together giving customers versatile new options tailored to all their needs and applications, as well as budgets. With a focus on installation flexibility, the new series’ cabinets are roughly 10% lighter and 10% thinner than the previous model, making them even easier to integrate. www.pro.sony
The MG9 Series is characterised by ‘multi-functions & multi-shapes,’ with a cabinet size of 500 by 500 and pixel pitch from 2.9 to 5.9, covering 100% indoor and outdoor rental applications, also for floor tiles. The MG9 is upgraded with enhanced structural design, which has improvements in both load-bearing capacity and tensile strength. The power bottom adopts a thickened design, improving the load-bearing capacity and durability when applied to floor tiles. The cabinet is reinforced with ‘protective corners’ (only for P2.9) which is more reliable and stable. Adopting the linear secondary adhesive process, the LED’s thrust increased, and with 1516 LED lamps to better optimise the edge margin. These upgrades can reduce the collision and loss of LEDs in maintenance. Moreover, it also extends the lifespan of the entire equipment and brings more business value to customers. Whether it is a stage performance, sports competition, or other event, venues can rely on it as a content solution that can be used to excite audiences. www.yes-led.com
The SACO V-STICK S is a stylish, compact, and easily dissimulated video fixture using high-performance LEDs to deliver uninterrupted lines of light. Each pixel is an RGB LED that is individually controlled and can display anything from uniform static colours to dynamic video lighting effects. The V-STICK S is a perfect direct-view linear light tool for clean architectural integration. It is suitable for various venues, coming in two sizes, 300mm and 500mm custom colours available, and has a sturdy construction that means it has outdoor endurance. Further, the compact design and remote V-BRAIN power allow for low-profile installation and discreet integration. The perfect performer can be built with the V-STICK S by combining and stacking fixtures to suit, no tools are required for quick connectivity. Additionally, the product’s heat management also ensures efficient heat dissipation.
www.saco.com
The Unilumin Upad IV P2.6mm can create clear imagery, suitable for both convex and concave setups that require fast assembly. Special magnets are equipped atop the panels to allow for easy handling and maintenance, even for a single person. Furthermore, these panels are easy to climb and therefore eliminate the need for a scissor lift. A die-cast magnesium design means they weigh 30% less than a standard LED tile, at just 6.3kg.
The UPAD IV 2.6mm uses HDR technology for brilliant visual performance and is ideal for installations in XR & TV Studios. On-board flash memory and calibration data are stored both in the module and receiving card. www.unilumin.com
BASSBOSS has announced the release of its Makara-MK3 Double 21-in powered subwoofer, described as ‘a mystic monster’ that provides the impact and depth of a much larger subwoofer in a portable enclosure. The Makara shares much of its DNA with the BASSBOSS Kraken Quad-21-in powered subwoofer, which is engineered to deliver a flat response to the profound depth of 23Hz. The Makara-MK3 achieves a maximum sustained output of 143 dB SPL at 1m in a half-space (ground plane) environment, with a peak SPL of 146 dB. The 21-in transducers feature 4.5-in CCAW voice coils and neodymium motors for a combination of efficiency and motor force. www.bassboss.com
Capable of generating huge clouds of bubbles that rise quickly into the air, the new Bubbletron EXL GO from Eliminator Lighting is an easily portable bubble machine featuring a high capacity internal battery. Allowing the creation of fun bubble effects any time, any place, with no cables required, this compact and easy to use device is ideal for a wide range of uses. The unit’s integrated 4 Ah battery allows up to three hours of continuous operation with a 4-hour recharge time. www.adj.com/eliminator-lighting
Audiofocus has unveiled its new ARRoCC constant curvature loudspeaker series. Conceived as a complete PA solution for medium throw sound reinforcement scenarios, the ARRoCC system comprises the wide coverage CC210W cabinet and its narrow coverage twin, the CC210N, plus the high-powered 118S compact subwoofer. Available in self-powered and passive versions, multiple self-powered cabinets can be managed remotely from any device via Audiofocus’ SCiO browser-based software. www.audiofocus.eu
Cameo is expanding the OTOS series with three new models. The OTOS W12 (pictured), OTOS W6 and OTOS W3 provide lighting professionals with three flexible IP65 wash moving heads for different event sizes. Equipped with individually controllable RGBL LEDs, LED effect ring and multi-zoom function for up to three zoom levels, the OTOS washlights offer a wide range of creative possibilities in all performance classes. www.cameolight.com
Our PowerZone™ Connect amplifiers are now optionally compatible with Audinate Dante™ AoIP networks and installations, empowering system installers with the advanced tools necessary to craft exceptional, high-quality audio experiences while efficiently managing multiple units over a standard Ethernet network.
CODA’s patented Dual Diaphragm Planar Wave Driver is at the heart of the AiRAY, CiRAY, and ViRAY line array systems and allows these compact speakers to handle high-power applications with low distortion, plus providing exceptional dynamics and frequency response. www.codaaudio.com
DAC technology found in CiRAY means an incredible level of power can be provided from smaller
DAC can double the power handling and SPL compared to a conventionally cooled system.
