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FROM THE EDITOR...
This leader comes to you from the train home after attending a bustling PLASA Show in London, and it was exciting to experience the buzz of a busy show at Olympia – long may that continue. While the summer may be a relatively quiet period for the industry, we have been busy putting together a mammoth edition of the magazine –with this issue’s report on theatres & concert halls almost 30 pages, covering a wide array of technological updates with audio, lighting, tracking, staging and control solutions all ably demonstrated. Also inside, we speak to Robe CEO Josef Valchar as the company celebrates its 30th anniversary are discussion pieces with Sennheiser (page 128) 132), as well as a peek inside Bose Professional’s new UK experience centre and office
The cover story is the MONDO-DR Award-winning Mantra nightclub in Jakarta – and I’m pleased to announce that the entries for next year’s awards open on 1 October, so get those projects submitted.
Enjoy the issue and, as ever, feedback is always welcome, so please don’t hesitate to get in touch.
TODD STASZKO EDITOR
IN THIS ISSUE...
Pharos Architectural Controls - celebrating its 20th anniversary year in 2024 - is an award-winning and independently owned British manufacturer of dynamic lighting control solutions for architecture, themed entertainment, and other specialist industries. Our hardware and software solutions are designed and built in-house, backed by a 5-year warranty, and supported by an experienced technical team.
Pharos products are trusted to run day and night, illuminating iconic installations around the world - from international landmarks and historic architecture to theme parks, airports, stadiums, bridges, shopping malls, art installations, and more.
Copacabana Palace, a Belmond Hotel
goelight e:light (Distributor), LD Studio (Lighting Designer - Monica Luz Lobo), Tah Arquitetura E Consultoria (Project Manager/Architects), Baggio (Installer), ECS Limited UK (Control Programming/Commission), Pharos Architectural Controls Ltd (Controls)
IN BRIEF
ADJ lighting system reinvigorates The Playground nightclub in Malta
Located in the Paceville district of St. Julian’s, The Playground is a well-established nightclub which has recently undergone a complete renovation of its audio and lighting system, carried out by local integration specialists FutureTech Pro.
Designed to perfectly complement both the venue’s layout and its music policy, the new lighting system features ADJ’s Focus Beam LED automated luminaires, pixel-mapped Pixie Strip LED battens, and multi-functional Jolt Panel FX LED strobe / blinder / wash fixtures.
FutureTech Pro’s Founder and Owner, Stefan Farrugia, selected 16 Focus Beam LED fixtures which are divided into two parallel lines of eight units, hanging from bars that run from the DJ position at the front all the way down the venue’s narrowed section to the back. Positioned between the two lines of moving heads is a row of six Jolt Panel FX LED luminaires, hanging from a third central bar, and running between each set of fixtures on the three lighting bars are ADJ’s Pixie Strip linear pixel-mappable LED battens. The lighting system is completed by four UV COB Cannon LED-powered UV wash fixtures, which cover the entire venue, while a pair of Entour Venue professional faze machines has also been installed, which produce a fine, beam-enhancing haze from standard fog juice. All the lighting and atmospheric equipment is controlled by ADJ’s myDMX 3.0 software, except for the Pixie Strips, which are driven by Madrix, connected via Kling-Net. www.adj.com
IN BRIEF
A new JBL solution helps The Science Museum of Virginia reach for the stars
The Science Museum of Virginia recently finalised upgrades to the projection, lighting and audio systems at both its Richmond and Danville planetariums, marking a significant enhancement in the overall audience experience.
Among the museum’s prominent features is The Dome, a planetarium theatre that transports guests through a myriad of immersive experiences.
As part of its renovations, the Science Museum of Virginia sought to modernise The Dome to offer visitors enhanced immersive audio experiences.
Collaborating closely with HARMAN Professional Solutions, Jamie Gorman, Principal, Acuity Audiovisual, spearheaded the installation of a cutting-edge planetarium audio solution, leveraging JBL Professional CBT Series loudspeakers.
The challenge of creating an immersive experience within a planetarium necessitated speaker devices capable of reaching the maximum percentage of seated patrons.
Gorman identified JBL CBT loudspeakers as the ideal choice due to their wide horizontal coverage, linear frequency response, and high SPL output. In the case of side surround locations, Gorman utilised horizontally angled CBT columns to ensure perpendicular coverage to the audience seating. Additionally, Gorman integrated CBT1000E low-frequency extensions for the front L-C-R channels, yielding enhanced vertical directivity and improved volume consistency.
Further, Gorman equipped the facility with AE Series subwoofers renowned for their capacity to reproduce very low frequencies. He also placed JBL SCS surround speakers at overhead locations in both planetariums, enhancing the enveloping effect and creating an immersive auditory environment.
By routing the audio tracks directly from the audio servers’ Dante outputs to Crown DCi Series amplifiers, Gorman’s signal chain remains in the digital format from start to finish, ensuring minimal loss of signal integrity.
The results of these upgrades were met with enthusiasm. The JBL systems ensure that each guest can immerse themselves in the sights and sounds of the cosmos.
pro.harman.com
IN BRIEF
Free Chapel Church transforms its worship experiences with EAW
Free Chapel Church, a contemporary Christian congregation based in Gainesville, Georgia, is redefining its worship experience with innovative audio solutions from Eastern Acoustic Works (EAW). The flagship main campus in Gainesville boasts a comprehensive EAW setup, including Anya ADAPTive line arrays and EAW SB828P dual drive subwoofers, meticulously engineered to cater to the venue’s unique architectural nuances. Glenn Setchfield, the Global Audio Director at Free Chapel Church, emphasised the importance of EAW’s ADAPTive technology in tailoring sound dispersion to optimise acoustics.
“Our main campus presents unique challenges due to its fanshaped layout,” said Setchfield. “The decision to implement EAW’s Anya line arrays was driven by the need for superior coverage and clarity. EAW’s ADAPTive technology empowers us to precisely direct sound, expanding horizontal coverage to meet the venue shape, and minimize reflections.”
Beyond the main campus, Free Chapel Church has extended its EAW deployment to other locations, including Midtown Atlanta, Gwinnett and Braselton. Each venue benefits from tailored EAW solutions, ranging from NTX210L line arrays to RSX series speakers, optimised to maximize audio fidelity and intelligibility.
“We’ve strategically implemented EAW equipment across all our campuses to ensure consistent audio excellence,” said Setchfield. “Whether it’s a larger auditorium or an intimate setting, EAW’s versatile solutions cater to our diverse needs. EAW’s introduction of groundbreaking technologies, such as ADAPTive has revolutionised the way we approach audio production, enabling us to achieve unparalleled results. Setchfield commended EAW’s commitment to customer service and support. “John Mills and the great team at EAW have been instrumental partners in our audio journey,” he added. “What sets EAW apart is its dedication to innovation and customer satisfaction. They are always quick to respond in addressing any technical questions we may have. Their timely assistance allows us to focus on delivering impactful worship experiences.”
www.eaw.com
The audio team at the Free Chapel Church’s main campus in Gainesville, Georgia.
IN BRIEF
Brompton Technology and Roe Visual deliver sparkling performance at Tiffany Wonder exhibition in Tokyo
In an exhibition celebrating 187 years of Tiffany & Co., visitors to Tiffany Wonder at the TOKYO NODE gallery are taken on a visual journey through the company’s history which is brought to life by ROE Visual LED Panels, powered by Brompton Technology LED processing. AV+ICT specialist Takenaka Co., and system integration expert Ark Ventures, both part of the Symunity Group, worked with Tiffany & Co. to create high-end LED walls for three rooms inside the ten-room exhibition. The Breakfast at Tiffany’s room includes a rotating central seating area, with two LED screens measuring 3.5m x 3m and 3m x 3m ROE RB1.2 LED panels. One screen shows a visual recap of the film Breakfast at Tiffany’s, while the other displays snippets from other films featuring Tiffany jewellery. The Wonder of Celebration room boasts a 5m x 3m curved LED wall comprising 54 ROE RB1.9 LED panels, while the Diamond Kings room includes four LED screens, each measuring 1.5m x 3m and made up of 18 ROE RB1.2 panels. The entire setup is driven by eight 4K Tessera SX40 LED processors and 11 Tessera XD 10G data distribution units, ensuring seamless integration and superior performance. “Working together with our friends at Ark Ventures, we were able to offer an additional layer of ‘sparkle’ and sophistication to Tiffany’s latest brand exhibition by utilising high-quality LED screens and industry-leading Brompton LED processing,” said Takenaka’s Representative Director, Hideaki Takenaka. www.roevisual.com www.bromptontech.com
SEPTEMBER
SEPT 13-16
IBC AMSTERDAM, THE NETHERLANDS https://show.ibc.org
SEPT 25-27
PRO INTEGRATION FUTURE ASIA SINGAPORE www.prointegrationfuture.asia
OCTOBER
OCT 1-3
LLB EXPO STOCKHOLM, SWEDEN https://llb.se
OCT 08-10
AES NEW YORK, USA https://aesshow.com
OCT 14-18
GITEX GLOBAL DUBAI, UAE www.gitex.com
OCT 22-23
CHURCH FACILITIES CONFERENCE & EXPO CHATTANOOGA, TENNESSEE, USA www.churchfacilitiesexpo.com
OCT 22-24
LEAT HAMBURG, GERMANY www.leatcon.com
NOV 6-7
NOV 13-15 NOVEMBER
MEET VIENNA, AUSTRIA www.meet-austria.at
DECEMBER
DEC 08-10
LDI LAS VEGAS, USA www.ldishow.com
INTERBEE TOKYO www.inter-bee.com
NOV 27-28
JTSE PARIS, FRANCE www.jtse.fr
JANUARY
JAN 23-25
NAMM ANAHEIM, USA www.namm.org/
FEBRUARY
FEB 04-07
ISE BARCELONA, SPAIN www.iseurope.org
THEATRES & CONCERT HALLS
Technological upgrades and enhancements in elegant performance spaces from around the world.
Royal Theatre of Namur
COMPANIES: Amadeus, HOLOPHONIX
LOCATION: Namur, Belgium
With the aim of offering the audience the best possible sound from every seat, the Royal Theatre of Namur has implemented a new sound system featuring HOLOPHONIX spatial sound technology, with 34 Amadeus loudspeakers discreetly placed as to not interrupt the architectural theme of the ornate room.
“The venue is a magnificent Italianstyle theatre which was restored at great expense during a project that lasted from 1994 to 1998 and features all the decorum you can imagine,” said Patrice Dhautcourt, the venue’s Sound Department Manager.
“Our previous speaker system were stacks mounted to the stage frame, and it was nothing less than a punch in the face for this architectural masterpiece.”
After visiting the Paris-based National Theatr of Chaillot, and a few months after hearing a concert at the Courtyard of Honor during the Avignon Festival – both using Amadeus speakers and HOLOPHONIX spatial processing – Dhautcourt was convinced this was the type of sound system required in Namur. “When the musician played the first notes – even though I was sitting halfway downstage left – I was absolutely certain that what I was hearing was the unplugged instrument, so impeccably natural was its timbre and location,” recalled Dhautcourt.
“As an atheist, I was witnessing a miracle of technology. Off to the left, 30 meters from the source, my brain swore it was an acoustic concert, but I was wrong.”
The new sound system for the Royal Theatre of Namur had to be as versatile as possible and capable of handling a wide variety of programs including theatre, dance, readings, oneperformer shows and concerts. Upon seeing the venue, Francesco Papaleo, Technical Engineer at HOLOPHONIX, noted that it was built to naturally amplify the sources present on the stage and in the orchestra pit by the arch of the proscenium and by the resonant warmth of the wood and the reverberant finesse of the stucco.
“In designing and tuning the sound system we have always tried to take
advantage of this architecture, playing with the acoustics, rather than against them,” said Papaleo.
Gaetan Byk, CEO of Amadeus and HOLOPHONIX explained that the new configuration is effectively two systems in one. “Both are very different in their philosophy and very complementary in that they respond to very different demands, uses, and needs,” said Byk. “In practice, these ‘two systems’ simply correspond to two presets in HOLOPHONIX that the users can easily recall and edit depending on the creative project which is featured at the theatre.
“The first system is very ‘traditional’ in its design, consisting of three levels or ‘floors’ of speakers distributed over the height, each point of diffusion being perfectly broadband up to 40 Hz. This purely stereophonic system is coupled to a front-fill sound ramp, which is controlled according to the laws of Wave Field Synthesis via the HOLOPHONIX processor. This system offers lower localisation quality, but remarkable spectral precision, pressure level, and coverage. It is also extremely easy to use, enabling host companies to work in the traditional left/right mode.”
Byk continued: “The second ‘Spatial FOH’ system is much more innovative and offers advanced localisation capabilities. It consists of a six-speaker high line with six Amadeus C 12 speakers and a 14-speaker front-fill low ramp. Lateral subwoofers and infra-bass reinforcements can be added as required.
“These two lines are naturally driven by Wave Field Synthesis busses via HOLOPHONIX for perfect sound field re-creation. This system is further optimised for object mixing, finely reinforcing acoustic sources while maintaining their localisation properties. Perceptively, the diffusion system ‘disappears’ completely, to the benefit of the acoustic sources present on the stage.”
Dhautcourt concluded: “We now have a system that propels us into the league of the most sonically ambitious creations.”
www.amadeuslab.com holophonix.xyz
Paris Convention Centre
COMPANIES: Anolis, Pharos Architectural Controls
LOCATION: Paris, France
Photo: Olivier Hannauer
The 3,723-seat Grand Amphitheatre at Paris Convention Centre has recently converted its audi-torium lighting to LED with the installation of nearly 400 Anolis Ambiane range lighting fixtures, controlled by a Designer LPC X (Lighting Playback Controller X) from Pharos Architectural Controls.
The previous PAR 56 500W halogen lighting fixtures had been in residence since the venue’s inauguration in 1974, and this new installation is part of a renovation process launched in 2020. Co-ordinated by venue operator Viparis in conjunction with French lighting design agency, Lyum, the installation of the fixtures, undertaken by Eiffage Énergie Systèmes, has seen the power consumption of the room fall by 300%.
The electricity saving in the Grand Amphitheatre is very much welcomed, as the house lighting often runs for long periods during event setups, rehearsals and breakdowns – which are a routine part of a busy schedule hosting congresses, conventions, and shows. The Ambiane fixtures are fitted with assorted beam angles and other accessories for precision shaping of the output, tailoring it exactly to the room requirements. At the Grand Amphitheatre, the 10 DMX universe LPC X manages the venue’s lighting by running on the existing fibre network. 5,120 DMX channels are specifically dedicated to operating
the amphitheatre’s ceiling lighting, and the LPC X can also be hooked into the production lighting for events as and when required.
“The LPC X is a popular solution, particularly for lighting control in large spaces with multifaceted requirements,” commented Mark de Gruyter, Sales Director at Pharos Architectural Controls.
“Introducing the LPC X at the same time as the upgraded lighting has delivered outstanding results in terms of functionality, reduction in energy usage and a lower carbon footprint. The success of the project is undeniable.”
The project management team included Viparis DET’s supervisor Laurent Villechenoux who worked closely with the venue’s lighting manager Christophe “Zippo” Hipeau, together with Lyum lighting designer / project manager Sylvain Bigot; lighting programmer François Guillet from Lumières Utiles and the team from Eiffage Énergie Systèmes.
“Having the Anolis luminaires means we can choose the exact colour we want, and it is very precise,” noted Bigot. “Furthermore, they offered smooth and completely linear dimming from 0 to 5% and even at 2%, you see a little glow. To be able to achieve that with an LED source is just beautiful.”
www.anolis.com www.pharoscontrols.com
Glyndebourne
COMPANY: TAIT
LOCATION: Lewes, UK
Nestled in the Sussex countryside, Glyndebourne provides a unique setting for both the creation of brand-new works and the presentation of repertory revivals. In forming a technical partnership with TAIT, Glyndebourne has a powerful new toolkit to ensure it can continue to produce the highest standards of operatic performance.
“We can do really spectacular effects now, moving from one scene to another, drawing the audience’s imagination into the world of the opera, without them noticing the theatre – noticing the technical aspects less than before. The audience can be drawn into the story,” said Stephen Langridge, Glyndebourne’s Artistic Director, describing the creative potential delivered by the newly upgraded stage automation facilities at the opera house.
Langridge further explained: “For example we can now have a fly cue that takes such a long time that it’s almost subliminal, and we can do the really spectacular things that invoke a ‘wow – how did they do that?’ reaction.”
Founded in 1934, Glyndebourne has always innovated the operatic artform, and it now equips scenographers and other creative practitioners with an updated and expanded palette of automation equipment to enhance dramatic storytelling. The stage team has evolved from using a traditional hemp-flying system in the 1934 original house, to a manual counterweight system since the opening of the current Hopkins-designed opera house in 1994.
Now, as Glyndebourne reaches its 90th anniversary, the innovation continues, offering designers the palette provided by its 69-bar power-flying system with reconfigurable point hoist arrays that can operate from any position on the grid. Tessellating the winches, along with the associated containment for cabling into the available space above stage was the primary mechanical challenge achieved through detailed 3D surveying.
Tom Gibberd, Glyndebourne’s Automation Supervisor, is proud of the tidy grid which, in addition to the flying rigging, also houses the giant BT2 winches that lift the bespoke lighting bridges (also designed in partnership between TAIT and the Glyndebourne team, and which formed the first phase of the upgrade project). Electrical cabinets containing multi-axis drives and motion control have been accommodated in the substage level. New under-stage machinery is the latest phase of Glyndebourne’s continued commitment to evolving the automation facilities, with TAIT reusing those components of the lift machinery that are still serviceable, whilst ensuring that all systems meet the latest safety standard, EN17206. The lighting bridges were designed with close collaboration between TAIT’s team and the opera house’ team, Head of Lighting, Vic Pyne, with Pyne keen to highlight the benefits of collaborative working between lighting and automation, by integrating control systems. “The new bridges are significantly lighter, and can now split so that we have much more flexibility during changeover,” she said, with Gibberd adding: “We wanted to have one control system that manages all effects throughout the stage – that could be overhead flying, revolves, lifts, the core concept is to bring everything under one control system.” Working in partnership with Glyndebourne’s automation team, TAIT continues to add new features to iQ to further enhance the operator’s experience, such as efficiencies for further smooth transitions between productions in repertory.
Top: The flybars and LX bridges looking from the stage.
Middle: Glyndebourne’s Automation Supervisors with the epiQ console.
Bottom: TAIT Project Manager Will Roberts.
TAIT Principal Mark Dakin highlighted the collaborative development of TAIT’s technical solutions. “We are building a community of users, where needs are discussed directly with the TAIT software development team and each other, which is essential to ensuring IQ’s evolution fits the needs of Glyndebourne, The Royal Opera House and London’s Royal National Theatre as well as New York’s Metropolitan Opera, Sadler’s Wells and others in the future, because Opera Houses and Repertory Theatres have very different and very specific operational needs from the functionality of automation software.”
TAIT’s Project Manager, Will Roberts, reflecting on the challenges overcome in the project, said: “One of the biggest challenges involved planning the complex rope paths from two arrays of winches, working around cables and containment, and figuring out not only how the equipment can fit but how it can also be serviceable.” In addition to the extensive 3D modelling, full-scale mock-ups were deployed to ensure good communication and no surprises, which all ultimately ensured successful delivery and an excellent foundation to the ongoing work to ensure that the next phases can build on this successfully delivered backbone. www.taittowers.com
Queen Silvia Concert Hall
COMPANY: Genelec
LOCATION: Stockholm, Sweden
Located on the campus of Stockholm’s prestigious music school, Lilla Akademien, the Queen Silvia concert hall is a highly flexible venue which serves as a small performance space for professional live music concerts, a rehearsal room for the music school’s students, and features a high quality, unobtrusive sound system from Genelec. “We wanted to give students – and everyone who performs in the Hall – somewhere to truly immerse themselves in their instrument,” explained Lilla Akademien’s Artistic Advisor, Mark Tatlow. “For that, we needed a sound system that would work for live classical music performed acoustically, as well as for electroacoustic music and livestreamed concerts.”
The unusual layout of the Hall required close collaboration from a team of international professionals across a range of disciplines, including Swedish integrators Informationsteknik.
Marcus Haraldsson Boij, Technical Director of the Informationsteknik team, detailed the challenges: “Despite the relatively small 300 seat capacity, this was one of the most complex projects I have been involved in. The combination of a centrally located stage, the long reverberation time of acoustic classical music – and a design requirement to minimise the number of visible loudspeakers – made it very interesting from an acoustic design point of view.” Boij, an experienced musician with a background in sound engineering, understood the constraints of the building’s cavernous architecture and set about sourcing a flexible sound system that could work just as well for acoustic and non-acoustic music.
“We needed to distribute high-quality sound close to the audience without it playing louder than the reverb. Without a traditional ‘left/ right’ stage and with the audience seated at three different levels surrounding the orchestra, it demanded a different way of thinking –and while I wanted more speakers, it simply wasn’t possible.”
To limit the amount of sound bouncing around the room it was important to reduce the volume from the loudspeakers, and Genelec’s
Smart IP range of networked models, with their outstanding audio performance and excellent nearfield clarity, was an obvious choice for Boij.
“By positioning them around the space we avoided using a traditional line array system, which would have been too obtrusive,” said Boij. “Instead, we created a unique distributed sound system which utilised the volume of the entire Hall while still giving the audience a sound that felt both rich and intimate.”
The team at Informationsteknik specified 22 Smart IP 4420 models and four 4430s. Painted in RAL 1036 gold, the 4430s were the only visible loudspeakers of the entire installation. Two pairs were suspended below the first level balcony, blending harmoniously with the décor. Additional pairs of the compact 4420s were installed every few metres across each section of the curved wall in between the windows, cleverly hidden in specially insulated recessed boxes.
“We knew that with the way the walls were constructed, and the design requirements imposed upon us, pulling cables was going to be a problem,” noted Boij. “Consequently, the Smart IP active loudspeaker family was the perfect choice since this avoided having to worry about housing external amplifiers – and Smart IP’s single cable technology made cabling much easier, so it was a great solution for us.”
The active design of Genelec loudspeakers eliminate the need for external amplifiers, and providing multichannel sound over the Dante network was an unexpected bonus for the school’s students. Tatlow is thrilled with the results. “Using a digital audio workstation, our composition students can connect to the Hall and create pieces by combining the live acoustics of the Concert Hall with electronic sounds or music,” he said. “The network allows discrete control of each loudspeaker to move sound around the room, and the design of the Hall itself encourages students to take the next step in their music making – so the possibilities are huge.”
www.genelec.com
TPM39S (Square Truss)
TPM39L (Ladder Truss)
TPM39RP (Rectangular Truss)
TPM39MB (Square Middle Beam Truss)
www.sixty82.nl
Østre Gasværk Theatre
COMPANY: DiGiCo
LOCATION: Copenhagen, Denmark
Photo: Nalle Magnusson
The cavernous cylindrical shape of the Østre Gasværk Theatre in Copenhagen offers a dramatic place to stage musicals and theatrical events, and the addition of a brand new DiGiCo Quantum 7T has revolutionised the venue’s programming and rehearsal process. Morten Frank, Head of Sound and board operator for its recent musical, Urine-Town, explained what it means to have the DiGiCo Quantum 7T at the FOH position: “Having the Theatre software for our Quantum 7T has really helped,” he said. “It gives us a great overview of the cues in the show, and quickly being able to change members of Control Groups during rehearsals has been a massive improvement to our workflow.”
The DiGiCo Theatre software is a support to theatre engineers, allowing greater flexibility and tracking of cast members with key features like Live Update. This feature allows engineers to react to character changes, such as understudies coming on, or dance and singing tracks changing for ensemble members by rippling changes through the whole cue-stack. It retains all effects that apply for that channel until Live Update is removed, meaning that engineers can mix complex shows without distraction, knowing that their programming will remain in place until they decide to change it. The Quantum 7T’s three FPGA chips power faster processing and connectivity, and its huge channel
Teatro Real
COMPANY: Christie
LOCATION: Madrid, Spain
count, internal effects, Nodal Processing, and the Mustard and Spice racks was exactly what Frank needed to provide the sound for UrineTown, which features a large cast and live band. “We needed a desk that could handle the sort of shows we are doing at the theatre, both with processing and channel count,” Frank continued. “The greatest add-on to that was the Theatre software, it’s been a real gamechanger and makes it a lot easier to work with the new TheatreMax system.”
TheatreMax is an immersive, integrated system that allows sound, video, and lighting designers to use the entire space as a blank canvas. “The new desk is a great add-on to the system,” he explained. “With the possibility of much more processing channels, it makes it a lot easier to work with the new system.”
www.digico.biz
In order to enrich its opera, dance, concert, and recital programming with stunning visuals, the Teatro Opera has acquired five Christie M 4K25 RGB pure laser projectors. Inaugurated in 1850, the opera house is an architectural mixture with 28 boxes on different floors, in addition to eight prosceniums and the double-height Royal Box. The jewel of the theatre is its 1,472 sq m stage box which accommodates complex scenery changes, including multiple set design elements such as lighting and visuals on stage and in the orchestra pit. The theatre acquired three Christie lamp-based 3DLP projectors nine years ago, and recently upgraded to more modern and efficient models with improved colour performance. “We are always committed to excellence and that is why we decided to continue with Christie when it came to modernising our fleet of projectors,” said Fernando Valiente, who heads the AV department at the Teatro Real. “We know the result Christie projectors offers is always optimal and allows our facility to provide an experience no other brands offer.” After a series of tests in Christie’s demo room in Madrid, the Teatro Real decided that the M 4K25 RGB was the best choice for its needs. “Its RGB pure laser technology that approaches the Rec. 2020 colour volume – a colour standard closest to what the human eye can see – provided us with colour nuance that far surpassed the old lamp technology,” continued Valiente. “In fact, we saw it demonstrated in Luigi Cherubini’s opera Medea, where Christie’s RGB laser technology allowed us to get the punchy reds we needed to project fire and lava onto the stage.”
Another feature of the M 4K25 RGB that caught the attention of the Teatro Real was the small form factor of the equipment: “For us, the weight and size of the projectors are very important elements, since we have to move and hang them in different parts of the theatre, and this particular model is very light at 41kg, and small compared to the old projectors,” said Valiente. The quiet operation of the M 4K25 RGB, which operates at 46.7 dBA in standard mode, also drew praise: “This is one of the best features of the projector because it makes it possible to finally have projectors inside the stage –which is something we couldn’t do before,” highlighted Valiente www.christiedigital.com
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Aviva Studios
COMPANY: d&b audiotechnik
LOCATION: Manchester, England
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Located on the site of the old Granada Studios in the heart of Manchester, Aviva Studios, home of Factory International, is one of the most exciting new creative spaces to open in the UK in several years. This state-of-the-art entertainment venue was built and equipped with flexibility in mind, and from the outset Factory International were looking for the most immersive audio experience possible, a goal that led to the adoption of d&b audiotechnik’s cutting-edge d&b Soundscape technology.
Factory International’s journey began with the Manchester International Festival (MIF), a biennial celebration of performing arts, visual arts, and popular culture that first took place in 2007. As the festival grew in stature and ambition, the need for a permanent home became increasingly clear.
to 5,000 standing guests. It can be divided into two separate areas by a movable, full-height acoustic wall. Meanwhile, the Hall is a flexible auditorium that can hold 1,603 seated or 2,000 standing guests. The proscenium in the Hall can open fully into the Warehouse, allowing for a stage that extends deep into the space, creating a flexible environment for a wide range of performances.
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In 2014, the UK government announced plans to invest £78 million in a new cultural building in Manchester as part of the Northern Powerhouse initiative. Three years later, MIF was appointed as the operator of this new venue, cementing its place at the heart of Manchester’s cultural landscape. Factory International, the organisation behind MIF, is responsible for commissioning, producing, and presenting a year-round program of original creative works, music, and special events. The new venue, now known as Aviva Studios following a sponsorship deal with the insurance company Aviva, provides Factory International with a permanent base from which to continue its ambitious programming. The 13,350 sq m building is centred around large, open, and adaptable spaces that can be reconfigured to suit the needs of any project. The venue features two main performance spaces that work together seamlessly. The Warehouse, a 21-meter-high space, can accommodate up
To complement this versatile venue, Factory International sought an equally flexible and immersive audio system. Back in 2016, in the very early stages of the project, Charcoalblue approached d&b audiotechnik to design a flexible system for the Hall that could be adapted to meet the diverse needs of the programming. With the contract secured, Solotech were approached to deliver a complete system solution, with Adam Hockley, Business Development Manager from d&b audiotechnik serving as project lead for d&b, collaborating with members of Charcoalblue, Solotech and Factory International. At the heart of this solution is the d&b Soundscape immersive audio technology. This system leverages multiple loudspeakers, each on individual amplifier channels, allowing sound sources to be placed as objects within a 360° sound map creating an immersive experience for the listener. The system encompasses five main line array hangs across the main truss with 60 d&b 8S speakers on the walls, resulting in a total of 128 sound sources. d&b Soundscape was part of a solution provided by Solotech that included a DiGiCo Quantum 338 and Quantum 225 consoles, DiGiCo stage racks, Shure Axient wireless and Clear-Com FreeSpeak comms. The entire system has been packaged as ‘tour ready’ in Sigma Fabrications flight cases, enabling quick deployment when required and safe storage when not in use. www.dbaudio.com
Multi Content Testbed
COMPANY: Optocore
LOCATION: Seoul, South Korea
The need for a lightning fast, supremely reliable and infinitely flexible digital network were the key requirements when Korea Creative Content Agency (KOCCA) set out its requirements for a ‘black box’ theatre in Seoul. The Multi Content Testbed was conceived as a test ground where all types of cultural and artistic content would merge with innovative cutting-edge technology.
Optocore originally received the inquiry from installation company, SiDiS, as far back as October 2021 when the search began for a robust network.
The equipment needed to be compatible with any incoming production mixer, as well as the in-house Midas M32 console, feeding an L-Acoustics PA. It was based around an M8 MADI switch at FOH, which would share the inputs and outputs of four stage boxes. These, in turn, are catered for by a variety of X6R-FX and X6RTP devices, and BroaMan Repeat 48, which convert video or digital audio formats between coaxial and optical connections. The equipment was duly supplied by local distributors, Seoul-based Ingang Audio Co. The black box theatre forms the hub of the experimental Creative Content Culture Plaza, set across a total area of 2,700 sq m, with two floors above ground and two underground). This is where STAGE66, which comprises the STUDIO1 stage, the larger STUDIO2 experimental stage as well
as a practice room, is housed. The main aim is to turn Korea into a major player in the content industry worldwide.
The 191-seat STAGE66 showcases technology demonstrations, stage experiments, B2B showcases, cuttingedge performances and events. These experimental performances receive support from the Government, regardless of audience revenue.
It had been Eugine Yune, then working with SiDiS, but now working as EG Audio, who first recommended that the client – part of the Korean Government – adopt an Optocore solution. “I knew some people at the theatre, and thought Optocore would be useful to them, since they had been wanting a versatile system that could be applied to any performance format,” he said.
Optocore is presently connected to the Midas M32 through a Klark Teknik DN9650 interface. However, for the future, Yune has also proposed a mixer upgrade, specifically to meet high-level performance requirements.
“Versatility is important, and the in-house techs can rest in the knowledge that they can move the Optocore devices to any place in the theatre, in order to increase or decrease the number of A/V channels and control lines required,” he summarised.
www.optocore.com
Karlín Musical Theatre
COMPANY: Naostage
LOCATION: Prague, Czech Republic
Famous for staging musical productions and operettas, the Karlín Musical Theatre recently sought to upgrade its audiovisual technology to improve its performance and enhance its audience experience. As part of this update of the technical infrastructure, the theatre invested in Naostage’s automatic and beaconless tracking solution, K SYSTEM. Leading the installation was Petr Šťásek, Technical Consultant at Pro Music, Naostage’s newly appointed distributor for Czech Republic and Slovakia. The technical team installed an L-Acoustics L-ISA audio system with a nine-cluster frontal system providing high horizontal resolution.
“The next logical step was to track the actors on stage, so the corresponding audio objects move seamlessly with them, allowing the audience to hear the vocals naturally from the direction of the actors,” explained Šťásek. Before the installation, the team carried out a test of the system to assess its capabilities at Pro Music’s local UFFO theatre in Trutnov, also equipped with a similar spatial audio system. After conducting a thorough market analysis, Šťásek, who first heard about Naostage at ISE 2024, concluded that the company’s K SYSTEM was the most suitable and reliable tracking solution for the veunue, due to its unique computer vision and AI technology. Supported by RF beacon identification, the setup provides precise and seamless tracking of the actors. The venue wanted to be able to track at least 16 actors at the same time, as accurately as possible during a single show. “It’s a very challenging environment,” said Šťásek. “Each show brings more complexity, with numerous decorations on stage and actors wearing elaborate costumes.”
He praised the different advantages of K SYSTEM that led him to adopt this technology for the venue. “In my opinion, K SYSTEM is the most advanced tracking solution in the market,” said Šťásek, who was particularly impressed with its flexibility, precision and automation capabilities, which he believes significantly help enhance the
audience’s overall audiovisual experience. The technical team installed one powerful AI processing server, KORE, to track up to 16 performers from a single box; KRATOS, the software that controls the entire system, manages automation and sends tracking data in real time to third-party audiovisual systems; and two KAPTA visual sensors, made up of multi-spectral cameras, rigged above the stage area, to scan the space in 3D and in real time, one under the centre speaker cluster and the other in the back of the proscenium.
It was important to the venue that a cohesive audiovisual experience remained for the audience, and with multiple shows performed per week, the team needed a system that was reliable and saved time for the technical teams on site.
“Using L-ISA audio system, each audio object, such as microphone, instrument and effect, was supplemented with parameters for panorama, depth, width and auxiliary send,” explained Šťásek. “This configuration determines the precise location and manner in which each sound is heard by the audience.”
In the theatre, K SYSTEM provides precise positioning data in XYZ coordinates, which are translated into panorama and depth information for individually tracked actors. Their voices, captured by wireless microphones, are transmitted to a spatialised sound system, allowing convergence of sound and image. “If the horizontal difference between the visual location of the actors on stage and the audio source is less than 7.5°, the human brain merges the sound with the visual perception,” continued Šťásek. “This makes the performance sound much more natural, as the audience can hear exactly who is singing because the human brain naturally localises the sound source. “Without K SYSTEM it would not have been possible to manage the positioning of audio objects for 16 dancing and singing actors moving across the whole stage during a live musical or theatre performance.” www.naostage.com
Thalia Theater
COMPANY: Alcons Audio
LOCATION: Hamburg, Germany
Back in 2007 the Thalia Theater in Hamburg invested in an Alcons QR36 pro ribbon line-source column loudspeaker system to solve its sound reinforcement challenges, with the theatre predominantly hosting spoken word performances. In the intervening years the theatre has evolved into a very musical stage, and so the need for a bass extension became apparent and was installed added in 2021, with a sub-bass system installed after input from venue sound engineer Stefan Flad. Looking back to the first installation of 2007, venue sound engineer Ben Schröder said: “At the time, we were looking for something compact and extremely precise that would only cover the audience and nothing else. That works perfectly with the installed Alcons systems up to this day.”
That first installation of Alcons QR18 pro ribbon column loudspeakers (3 x 6.5-inch), QR36 pro ribbon line source column loudspeakers (6 x 6.5-inch) and small format LR7 pro ribbon line array systems (1 x 6.5-inch) provided initial relief to the situation.
“Since then, we have been able to project significantly more direct sound into the last rows without long arrays or too many reflections,” continued Schröder. “What we lacked over the years, however, was headroom in the low mids and high lows. We wanted to be able to perceive the low ends as a direct impulse. And this is where the trouble began…”
During the first Alcons installation in 2007, the acoustic challenges of the theatre became apparent. The very high auditorium has very little floor space, and the geometry of the room makes uniform sound reinforcement difficult. In addition, there are the usual problems of getting sound under the galleries.
Schröder explained that in 2021 the venue added a small BF121 mkII (1 x 12-inch) sub to each top, while at the same time revamping the upper tier sound reinforcement.
“This worked well from a sonic perspective and also
provided the desired increase in headroom for live music,” he said. “But there was another problem – we were always in conflict with the lighting, specifically the follow spots, because the PA was just hanging too low.”
The solution was to add four LR7 pro ribbon line array systems which allowed to split the center array and provide more flexibility in collaboration with the lighting.
To achieve better low-frequency imaging, a new sub-bass system was installed consisting of 4 x Alcons BF151 mkII single 15-inch subwoofers, installed as a 2 x 2 cardioid pair above the gantry, two more under the upper tier sound truss, and another two units above the upper tier sound truss, with all eight woofers calibrated in two positions as one mono system. The new bass cluster allows for a variable configuration of 8 x 15-inch BF151 mkII woofers, each of which can take on different tasks as a pair. This approach still required a lot of sensitivity with regard to the lighting. So an additional loudspeaker was added to the centre cluster, to be used only in those situations when the lighting would hang so low that it obstructs parts of the centre cluster.
“Now we not only have more bass from the ceiling, but the overall distribution in the house is fantastic, and we’re really having fun at the mixing desk. The musicians are also thrilled,” added Flad. Industrial Arts GmbH from Glinde, Germany, installed the system, while Heiko von Wallis of echo image was in charge of calibrating the system and gave precious inputs throughout the whole planning phase, which also required some custom solutions.
“It was only thanks to the dedicated efforts of everyone involved that a very convincing solution could be achieved and the requirements of the lighting department could be balanced with a modern bass reproduction for the audience,” concluded Flad. www.alconsaudio.com
The Royal Opera of Versailles
COMPANY: Robe
LOCATION: Versailles, France
Photos: Maxime Jeanjean
The Royal Opera of Versailles is part of the famous Palace of Versailles commissioned by King Louis XIV and has its own iconic place in French history. Inaugurated in 1770, it was designed by Ange-Jacques Gabriel and is also known as the Théâtre Gabriel. The interior decoration by Augustin Pajou is constructed almost entirely of wood and painted with a faux marble technique.
After years of neglect, the venue was transformed by two complete restorations – the 1200-capacity main room was re-gilded in 1957 and the stage and machinery were revamped in 2009. Since then, it has been busy hosting an annual program of concerts of baroque music, operas, and ballets.
More recently, a major lighting upgrade comprising 40 x Robe T2 Profiles was delivered in two batches by Robe France, an initial purchase of 30, followed by another ten, and then followed by 12 x TX1 PosiProfiles. Hosting 30-40 shows a year, all with varying needs, Marc Blanc, Technical Director for Château de Versailles Spectacles, explained that the need for extra flexibility and moving lights had been steadily growing. Furthermore, they were being frequently requested by incoming productions, resulting in a substantial budget being spent on rentals. During the pandemic, Blanc had time to do some calculations and realised the time was right for a general lighting upgrade. He and his
colleagues including chief electrician Thierry Giraud, console operator Guillaume Astier, and some of their regular lighting freelancers put their heads together and identified their main criteria for moving lights. They came up with – silence, optical quality, power, and availability – and looked at what other contemporary opera houses were using and specifying. Additionally, Royal Opera of Versailles’ regular technical supplier, AudioScène, with whom they have worked for several years, was consulted and asked for their advice and opinions as well as if they could assist with arranging demonstrations with different brands. The options were narrowed down to two brands, one of which was Robe, and from that, the T2 Profile was selected.
Robe Lighting France’s regional manager Franck Veber noted that the French office – and the brand generally – has been specified for several high-profile opera houses, and for Versailles’ specific configuration, scenography and production schedule, he thought from the start that the T2 Profile would be a perfect fit.
Nicolas Winkel, AudioScène’s general manager, stated that the multispectral LED source combines red, green, blue, white and lime green diodes to create a bright, crisp white which is superior to using subtractive colour mixing methods which filter white light and reduce intensity. www.robe.cz
David H. Koch Theater
COMPANY: Clear-Com
LOCATION: Lincoln Centre, NYC, USA
The David H. Koch Theater, nestled in the heart of Lincoln Center and renowned for its dedication to dance, has recently undergone a transformative technological upgrade with a revamped wireless intercom system, and newly installed panels, to enhance communication efficiency. Clear-Com has been an integral part of the David H. Koch Theater since its inception in 1964, with a notable upgrade taking place during the 2008/2009 renovation when the Eclipse system was introduced. Fast forward to the present, and the theater’s communication system has received another significant facelift, ensuring a seamless experience for performers, crew, and production staff James Schaller, Clear-Com Regional Sales Manager and key figure in the transformation, spearheaded the recent upgrades, recognised the urgency of a quick update due to the New York City Ballet and touring companies relying on the system, and worked with the rest of the ClearCom team to execute a swift and efficient process.
The Eclipse system was upgraded, featuring new panels and FreeSpeak II devices installed with the latest software. The entire operation was completed with impressive speed, with a lead time of just five weeks from order to installation.
“With the ballet season demanding precise timing, it was crucial for us to complete the upgrades efficiently. The success of this project underscores the reliability and efficiency of Clear-Com’s solutions,” remarked Schaller, emphasising the importance of the upgrade. The enhancements to the communication system provide substantial benefits, including customisable configurations for individual users and advanced wireless capabilities. This modernisation has significantly improved the operational efficiency for the New York City Ballet and other productions.
“We are thrilled to be part of the David H. Koch Theater’s journey towards technological excellence,” said Donald Wood, Audio Engineer at the David Koch Theater. “The upgraded communication system not only meets the demands of the present but also positions the theatre for continued success in the future.”
www.clearcom.com
Photo: Harry Plowden
Park Theatre
COMPANY: ETC
LOCATION: London, UK
Park Theatre in north London, which has two performance and rehearsal spaces, recently upgraded its lighting with the addition of 14 ETC’s ColorSource Spot jr fixtures, supplied by Stage Electrics.
The team at the theatre were looking to upgrade the existing lighting rig to LED as part of an initiative to reduce tungsten and also make a more sustainable investment for the future, and ETC’s affordable ColorSource Spot jr was the preferred choice.
“Our first conversation with Gianluca Zona, Technical & Building Manager, at Park Theatre focused on what the units would be used for, how the fixtures could help the operation of the theatre, improve the tools for incoming designers and teams, as well as what units make sense financially,” said Aaron Porter, Technical Sales Consultant at Stage Electrics. “The team at Park Theatre were keen to have ETC fixtures in the venue as they are well-known to incoming companies and designers, and ETC has a history of producing excellent products for theatres, making it a solid investment.
“Ultimately ColorSource Spot jr was the unit of choice. We went with the original array of fixtures as the units will mostly be used to light people and would need better neutral tones rather than deep saturate colours. In addition to this, because of the price point, more units were purchased which allows more versatility within the space.”
www.etcconnect.com
Chatham Central Theatre
COMPANY: Bose Professional LOCATION: Chatham, UK
Chatham’s Central Theatre has benefited from a sound system upgrade to improve the audience experience at its 1000-capacity venue, which hosts a variety of performances, from tribute acts and musicals, to stand-up comedy and dance.
The venue required a sound system that would deliver clear and even audio coverage no matter the performance, and so Bose Professional collaborated with London-based integrator Tateside to bring this transformation to fruition.
“Bose’s UK offices are a stone’s throw away from the theatre, so when we needed a new sound system it seemed sensible to open a dialogue with the team,” recalled Chris Stevens, Technical Manager at Chatham Central Theatre. “The theatre is operated by Medway Council, so we all strive to support and work with local companies where possible.”
Upon receiving the project, Bose Professional reached out to Tateside to design and install the system.
“The venue was looking for an in-house installed PA system that would provide great coverage to all the seats,” explained Jack Cornish, Technical Director at Tateside. “It was also important that the system would be versatile enough to serve a wide range of performance types.
“As a Bose Pro Partner, we were given the freedom to specify and implement the system, with the added benefit
of support from the Bose Professional team, and we were able to collaborate closely with their design team to plan the system in detail.”
A full ShowMatch solution was chosen for this project, with the main PA consisting of two flown arrays on either side of the stage. The arrays include Bose Professional ShowMatch SM5, SM10 and SM20 loudspeakers with waveguides in hangs of six per side. This solution overcomes the limitations of traditional point source systems by utilising line array technology and customisable coverage patterns, with each module in the array delivering audio to different areas of the theatre.
These arrays are supplemented by eight ShowMatch SMS118 DeltaQ array subwoofers stacked on the stage, and the system is driven by eight Bose Professional amplifiers with DSP through a Bose Professional ControlSpace ESP-880 sound processor.
“The finished system makes the hairs on the back of my neck stand up,” exclaimed Stevens. “The sound is clean and precise, with full room coverage. Nowadays, 98% of productions leave their own PAs on the truck and opt for our house system instead, which is a testament to Tateside and the way they listened to our needs in creating a system that would be appropriate for different show operations.” www.boseprofessional.com
ALL WEATHERS OUR RELIABILI
Paisley Arts Centre
COMPANY: Adlib
LOCATION: Paisley, Scotland
Paisley Arts Centre, a Grade B listed building with a rich history dating back to 1738, has recently undergone a significant transformation thanks to the refurbishing effort commissioned by Renfrewshire Council and the main contractor, Clark Contracts. Liverpool based integrator of stage engineering and sound, lighting, and audio-visual (SLAV) solutions Adlib was entrusted with delivering a tension wire grid, associated lighting bars, track and drape suite, extensive SLAV infrastructure, and loose stage lighting and sound equipment to complement the existing stock across multiple spaces in one of the most intimate performance venues in Scotland.
The project, managed by Clark Contracts and with the guidance of the theatre consultant Charcoalblue and Renfrewshire Council’s Property Services as the architect, presented a unique set of challenges Adlib’s expertise ensured the preservation of the building’s legacy while seamlessly integrating cutting-edge technology to meet the demands of modern performance requirements.
At the heart of the project was the installation of a 122 sq m tension wire grid and associated lighting bars in the main performance space, alongside a comprehensive track and drape suite.
This stage engineering solution enhanced the venue’s versatility and provides a sturdy and flexible foundation for the SLAV infrastructure that Adlib was tasked with implementing. The SLAV infrastructure, designed, installed, and commissioned by Adlib, encompassed a comprehensive lighting, sound, and video solution. The lighting framework, based on an ETC Paradigm control platform, featured 18 facility panels, patchbays, and termination, as well as data racks, ETC BluesSystem Performance Work lighting and ChromaQ Inspire House lighting, and a control system with two master touchscreens and ten button outstations. The lighting infrastructure was complete with ETC ColorSource ThruPower power controls, ETC Response Mk2 Gateways, and DMX Distribution Amplifiers. The sound and video components of the SLAV infrastructure integration were equally comprehensive, with Adlib deploying a front-of-house and backstage paging and show relay system across all spaces, utilising a Q-SYS Core 110f I/O processor, Atterotech Inputs, and QSC Amplification.
The audio and video distribution system, complemented by a Clear-Com comms system featuring an MS702 Master Station and eight RS702 Beltpacks, a 3-zone Ampetronic AFILS (Audio Frequency Induction Loop System), and a Williams AV BYOD-based hearing assistance system, ensures accessibility for all patrons. In addition, the Adlib team installed a sound system in the multi-purpose and studio spaces for a seamless audio experience throughout the venue.
To enhance the venue’s performance capabilities, a comprehensive package of loose equipment, including ETC ColorSource Spot V Profile LED luminaires, CHAUVET Professional Ovation lighting fixtures, and an L-Acoustics loudspeaker system comprising A10i, 5XT, and a KS21 subwoofer, powered by an LA4X amplifier.
Also included is a control package comprising an Allen & Heath SQ5 mixing console, DX168/240X Stage Boxes, and a range of Shure and Sennheiser wireless microphones.
“We’re delighted with the results of the Arts Centre’s transformation, and believe it will be a fantastic addition to the local and national arts scene now it has reopened,” commented Mhairi Henderson, Assistant Project Manager from Renfrewshire Council. “There have been several challenges along the way, but it has been incredibly rewarding to give renewed life to this Grade B listed cultural hub for Paisley.” www.adlib.co.uk
Wiener Konzerthaus
COMPANY: ARRI
LOCATION: Austria, Vienna
Photos: Amanda Peniston-Bird
Top artists of all genres have performed in the atmospheric Wiener Konzerthaus since 1913 with the musical spectrum not limited to classical, ranging from the Middle Ages, Renaissance, Baroque, jazz, and world music, to the progressive sounds of the present day. The demands placed on the lighting fixtures installed are as varied as the program, and to ensure that not only the musical enjoyment but also the aesthetics of the magnificent auditorium are not compromised, the Wiener Konzerthaus decided to conceal ARRI Orbiters with ARRI 25° projection optics in the existing chandelier openings in the ceiling.
“We were looking for a suitable replacement for the old 2 kW/2.5 kW profilers,” explained Viktor Scheck, Electrics and Lighting, Wiener Konzerthaus. “We illuminate the stage from a distance of 24 m to 30 m, and there are not many LED fixtures on the market that provide sufficient luminosity at this distance. After checking our initial impression with measurements, it quickly became clear that the ARRI Orbiter was the best fit and the decision to purchase it was quickly made.”
The installation in the ceiling proved to be extremely difficult due to the
limited space available, and the fact that the venue wanted as little of the equipment as possible to be seen from the auditorium.
“The position in the hall ceiling allows us to illuminate the entire stage area evenly without dazzling the musicians,” added Scheck. “We are a concert hall, not a theatre, and we play something different every day – a concert, a piano recital, a quartet.
“The Orbiter is an all-rounder that evenly illuminates the entire stage as a front light, and the colour temperature is important to us, and we sometimes use coloured lighting. The push of a button is all it takes to sufficiently bathe the whole stage in light with the new fixtures.”
For their symphony or philharmonic concerts, the Wiener Konzerthaus team needs a high level of brightness, but the musicians must not be blinded. “The Orbiter has very nice dimming properties and even dims perfectly in the lowest percentages,” stated Scheck, who also praised the quiet operation of the ARRI Orbiters and is convinced that he has found the perfect fixtures for his concert hall.
www.arri.com
Paramount Theatre
COMPANY: Meyer Sound
LOCATION: Oakland, California, USA
A new Meyer Sound reinforcement system, supplied and installed by Sound Image, a Clair Global Brand, has been installed into the historic Paramount Theatre in Oakland, California.
The Paramount Theatre has been awarded multiple historic designations, including that of a U.S. National Historic Landmark.
The status assures the preservation of the theatre’s visual aesthetics, but it raised challenges for the audio system renewal.
To consult on the complexities involved, Paramount Theatre General Manager Jason Blackwell turned to Berkeley-based The Shalleck Collaborative, Inc.
“Ian Hunter at Shalleck encouraged us to install delay speakers under the balcony,” said Blackwell. “But there was no way we could make it work within the strict historic preservation guidelines.” Hunter, a Principal at Shalleck, set out to overcome the limitation. “We had to determine what size speaker system would be allowed, where we could hang it, and how to get uniform sound above and below the balcony,” he recalled. “I was nervous about it, but the MAPP-3D models produced by Meyer Sound using LEOPARD showed it would be okay, and I have to say that in practice it’s better than okay. The arrays push under the balcony surprisingly well, with power and clarity.”
In the interest of due diligence, Hunter prepared proposals based on comparable systems from two other manufacturers, but the final decision tilted toward the Meyer Sound solution based on array size, visual aesthetic, local support and meeting the approved budget. The system as installed comprises dual front arrays of 14-each LEOPARD compact linear line array loudspeakers, with the top 12 the M80 version with an 80˚ horizontal pattern, and the bottom two with the standard
110-degree spread. Corner fills are, per side, one each UPQ-D1 and UPQ-D2 full-size loudspeakers, with six ULTRA-X20 compact wide coverage loudspeakers for front fill. Controlled deep bass is supplied by four cardioid arrays of three-each 2100-LFC low-frequency control elements, with two arrays flown and two ground stacked. Eight MJF-210 low-profile stage monitors are available for artist foldback. “For me, LEOPARD arrays were a ‘Goldilocks’ solution,” said Drew Johnson, assistant audio department head at Sound Image San Francisco and the on-site project leader. “Not too big, not too small, but with their 9-inch low-mid drivers they were just right. They are very directional and the way we have them angled throws to the back with very little reflection off the walls.”
The arrays are split into four zones to optimise the level and EQ for the vertical coverage areas. “We have plenty of power to fill the room without hitting the amps hard at all,” continues Johnson. “We have a lot of headroom, and the arrays achieve their high output without a lot of power draw.”
Two Galileo GALAXY 816 network platforms provide drive and optimisation for the main arrays and corner fills via analog inputs, while the 2100-LFC elements and ULTRA-X20 loudspeakers connect for both audio and monitoring data via a Milan AVB network controlled by Nebra software. The complete audio renewal supplied by Sound Image also included a Yamaha CL5 and CL3 consoles (FOH and monitor respectively) and four additional Shure Axient wireless systems. The Paramount Theatre building is owned by the City of Oakland but is operated by the theatre’s own independent non-profit entity.
www.meyersound.com
Bremen Teater
COMPANY: Midas
LOCATION: Copenhagen, Denmark
Installed to meet the versatile and demanding requirements of its diverse event line-up, which ranges from comedy shows and rock concerts to lectures and cinema screenings, a Midas HD96-24 console is at the heart of the recent audio upgrade undertaken at the Bremen Teater in central Copenhagen. With a seating capacity of 650, Bremen Teater has also been the chosen venue for prestigious award ceremonies like the Steppeulven and GAFFA Awards. In 2012, the venue expanded its offerings with the addition of Natbar, an acclaimed bar that won the Politiken ‘Ibyen Award 2012’ for Bar of the Year. Today, Natbar remains a cornerstone of Copenhagen’s nightlife. Given the eclectic schedule and the necessity to accommodate guest productions with unique lighting and sound set-ups, Bremen Teater faced significant audio challenges. To address this, the theatre collaborated with Danish ‘Super Partners’ Matrix Sales, led by Claus Pederson, and the venue’s Chief Engineer Mikael Flensborg, to design an audio system that could seamlessly integrate with the existing infrastructure. Central to the upgrade is the Midas HD96-24-CC digital mixing console, chosen for its versatility and superior preamps. The full integration included the Midas HD96-24 Console, a DL251 and DL155 StageBox, the AS80 and DN9680. The key requirement for the new set up was to meet the venue’s high standards as they were used to having excellent pre-amps. The initial transition to the HD96 console brought some concerns about workflow
University of St. Thomas
COMPANY: Wenger Corporation
LOCATION: St Paul, Minnesota, USA
Wenger Corporation has installed its Transform motorised acoustical banners in the University of St. Thomas’ new Centre for STEAM Education in St. Paul, Minnesota. Integral to the acoustical design of the Sarah Rose Hall Instrumental Rehearsal space and Choral Performance Hall, these banners allow the acoustics in each space to be tailored to various educational and performance activities.
“Wenger is proud to be a part of this leading-edge facility at the University of St. Thomas,” said Dave Thomas, President and CEO of Wenger Corporation. “We welcomed the opportunity to demonstrate Wenger’s leadership in acoustical solutions for these spaces.” The Schoenecker Centre opened in early 2024 as the campus hub for STEAM (science, technology, engineering, arts, and math) disciplines. Spanning 130,000 sq ft across five levels, the facility also includes state-of-the-art science labs, art gallery, café, and communal spaces. The project’s acoustical consultant was Jaffe Holden; the two companies have collaborated for decades on a variety of projects. “The Transform banners help provide flexible acoustics in both music spaces so we can better accommodate groups of various sizes,” explained Doug Orzolek, Professor of Music and Director of Graduate Programs in Music Education at St. Thomas. “In rehearsals, deploying the banners helps me and my students hear more distinctly, which is crucial as we’re focusing on notes, rhythms and articulation accuracy.” Transform banners feature adjustable spacing options – both in distance from walls and between fabric layers, and deploy quietly and quickly, up to 45 ft per minute, with tubular motors
changes. “We used to have a lot of faders on our old setup, so my main concern when switching over to HD96 was that I would miss these,” said Flensborg. “However, with the POP groups being so easy to setup and access, this is not the case. Admittedly there was a learning curve regarding workflow, being a new design and all, but it started making sense quickly.”
The integration of Midas products has significantly enhanced Bremen Teater’s audio capabilities, ensuring it can continue to deliver exceptional experiences to its audiences. www.midasconsoles.com
designed for either operator-controlled or pre-set environments. One of the interdisciplinary courses held in the Schoenecker Center is Musical Acoustics, co-taught by Orzolek and Jeff Jalkio, a Professor of Physics. Supplemental educational resources used by students include several Wenger Planning Guides, including the Acoustics Primer and Performance Spaces Planning Guide. “The Guides provide a solid foundational understanding of room acoustics, helping students apply theoretical concepts in practical scenarios,” Orzolek concluded. www.wengercorp.com
Posthuis Theater
COMPANY: Martin Audio
LOCATION: Heerenveen, The Netherlands
A new Martin Audio Torus sound system has been supplied and installed by Ampco Flashlight Sales at the Posthuis Theater in Heerenveen, replacing the venue’s previous trusted system which had been in place for 23 years.
“I started to notice that the sound at the front of the room was too direct, which meant that the experience for the people there was no longer optimal,” said Eric Noorman, the venue’s Head of Technical Services, who has 40 years’ experience at the theatre. “That is why we approached several companies for a new sound system, including Ampco Flashlight Sales.
“We had several demos, but the tight, clear sound of Martin Audio stood out immediately,” confirmed Noorman. “The competition did not reach the same level in the lower tones, which even sounded a bit wobbly compared to the new SX118 subs.
“Ampco Flashlight Sales was also able to offer a complete integration with our Allen & Heath dLive C3500 and AHM-32, which was very important to us. Other companies did not come up with proposals in that direction, but needed extra hardware for this integration. The choice to continue with Ampco was therefore logical for us as Posthuis Theater.”
Gert-Jan Gomes and Martijn de Jong, Martin Audio specialist at Ampco Flashlight Sales, tuned the Martin Audio Torus 12 system, with Gomes explaining the process: “The front speakers have to be adjusted differently because they are mounted
close to the walls, and therefore the sound reflects differently than with the freely hanging speakers in the cluster,” he said.
“I place a microphone in several places in the room, measure the values and adjust them to the space. That is basically a physical process, although I always trust my ears for the final adjustment.”
With Noorman happy with the results inside the room, the technician was also pleased with the process of getting there.
“I found the entire technical plan that Ampco Flashlight Sales drew up, and the extent to which they thought alongside us for the entire process, very pleasant,” he said. “For example, Martijn immediately indicated that the speakers could be placed a bit higher than we had in mind, because this would fit better in the space.
“Also, it was difficult to find a good time for the installation because we have a busy schedule. When we indicated at short notice that there was time this week, he responded immediately and arranged everything quickly.”
The theatre has been working with Allen & Heath products for decades, with a dLive C3500 situated in the middle of the large hall. In combination with AHM-32 Matrix Processor and CDM-32 MixRack, the Posthuis Theater has an extensive Allen & Heath setup that forms the technical heart for all their productions and those of visiting parties.
www.martin-audio.com
Plovdiv Drama Theatre
COMPANY: RF Venue
LOCATION: Plovdiv, Bulgaria
The multi-stage Plovdiv Drama Theatre, founded in 1881, is Bulgaria’s first professional theatre and a leading cultural institution. The venue’s wireless microphone systems were prone to dropouts while a hefty production schedule, which rotates more than 20 titles monthly, demands bullet-proof microphone performance. The organisation turned to Stage Customs, the integration arm of Studio Balkandji, who recommended upgrading the current system and installing antennas and RF and receiver power distribution from RF Venue.
“The Plovdiv Drama Theatre had wireless problems throughout the facility, including their main stage, for several years,” said Kiril Yanev, Chief Engineer at Stage Customs. “The RF Venue gear allowed us to completely solve their wireless problems and still employ some of their original equipment so we were not starting from scratch.”
Yanev, who spearheads installations in audio, video and multimedia for Stage Customs, is himself a musician, recording and live sound engineer, as well as a sound engineering and acoustics teacher at the New Bulgarian University. Drawing upon his background and a master’s degree in physics (wireless communications), he has led the implementation of wireless systems for the State Opera Plovdiv, State Opera Russe, Blagoevgrad Theatre and others. The issues at the Plovdiv Drama Theatre, he said, were “attributed to the size of the stage that needed coverage and the larger number of microphones being employed during performances. Also, they needed a system that they can take off the stage and put on tour when needed.”
The theatre’s system has a total of 34 wireless microphones with pocket/beltpack transmitters that are being employed for either the main hall, or split into several smaller systems for the smaller halls or events outside the theatre.
“Initially when they called us in to evaluate exactly what
was going on, they were thinking about changing the whole microphone system, but after our review, we found numerous problems like signals not being properly distributed, the system was not properly tuned, there were cabling and antenna booster issues and some of the channels were without antenna distribution, relying on their own whip antennas to cover the area,” said Yanev. The solution Yanev suggested was to augment the system with key components from RF Venue – patented, crosspolarised Diversity Fin antennas and DISTRO9 HDR RF and DC power distribution systems.
“We built a system using three units of RV Venue’s DISTRO9 splitters, two units of their Diversity Fin antennas and three pieces of the existing four-channel antenna splitters,” Yanev said. “We also used some of the theatre’s existing logperiodic antennas. The equipment is divided into four racks with the ability to daisy chain the racks (using the ninth output of the DISTRO9).
“The main idea of the system was to be flexible, so we placed antennas on stage with fixed cabling, but also reserved one Diversity Fin antenna for touring purposes. In this way, they have several possible scenarios that include a 34-channel main system in the hall, a 34-channel system for touring, and several smaller systems with antenna inputs on the front of the rack that can be combined just by daisychaining the racks with two cables. Plus, the system does not now need any antenna boosters.”
“The theatre sound engineers were quite happy,” said Yanev. “They were used to fighting every day with wireless problems, but now their lives are much easier. The management of the theatre is happy too – before, they had a bunch of antennas, cabling and single devices that worked intermittently. Now they have four racks with seamless connectivity and no problems.”
www.rfvenue.com
Théâtre de la Ville
COMPANY: L-Acoustics
LOCATION: Paris, France
Following a major seven-year refurbishment designed to equip a 19th century building with 21st century innovation, Théâtre de la Ville is now able to offer L-Acoustics’ L-ISA immersive experiences to audiences a new sound system installed by integration specialists BLive. Théâtre de la Ville had been in search of the perfect system to realise its immersive audio ambitions for almost a decade, and the venue, in collaboration with L-Acoustics Certified Partner BLive – its long-time technology partner - embarked on a number of visits to immersive system demos. With optimal audio capabilities being the primary goal, other crucial considerations were weight restrictions and placement limitations due to the historical architecture, and a need for versatility to address the hugely eclectic range of productions. After careful deliberation, Théâtre de la Ville concluded that L-Acoustics L-ISA technology was the perfect fit, landing on a 20.1. Scene System of five hangs of two SB15m over eight Kiva II loudspeakers with a centre-flown cluster of six KS21 subwoofers. Thirteen X8 loudspeakers hung around the sides of the venue, balcony edge and ceiling provide surround sound to the parterre, while 17 further 5XT loudspeakers nestled in the walls provide surround sound to the under-balcony seats. “The full surround configuration provides exceptional sound quality without compromising any of the space’s aesthetic splendour,” commented Alexandre Tramontin of BLive, who led a team of engineers and experts throughout the specification and installation process.
Five LA7.16i amplified controllers were specified for their low energy consumption and high channel count, which allowed for fewer rack space and less cabling. The LA7.16i was found to provide exceptional power output when required, but consume minimal power when not, leading to 30% less power consumption as compared to other similar systems. A vital element of the success of the project was the close collaboration between Théâtre de la Ville and BLive, which took an especially proactive role in helping the theatre to achieve their desired results. BLive and L-Acoustics also provided all Théâtre de la Ville staff with comprehensive training on the new system, and helped them to adapt their process from stereo to fully immersive surround sound. Théâtre de la Ville has reinforced its position as one of the globe’s most prodigious and pioneering spaces, combining the historic with the contemporary in a way that is set to delight visitors and performers alike for generations to come. Benoit Goupillon, Sound Manager, Théâtre de la Ville concluded: “We are very happy with the support from L-Acoustics on this project. They proposed a relevant and elegant solution, in the face of significant technical and artistic constraints, and considered our concern for the current environmental context. After several months of intensive use, we are proud to have this system, which in our opinion presents a major evolution in the quality of sound reinforcement for shows, with subtlety and efficiency.” www.l-acoustics.com
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Lithuanian State Symphony Orchestra
COMPANY: WSDG
LOCATION: Vilnius, Lithuania
Gabrielius Jauniškis
The newly reconstructed concert hall of the Lithuanian State Symphony Orchestra (LVSO), formerly known as the Vilnius Congress and Concert Hall VCCH, re-opened in March this year after a complete acoustical redesign. Now equipped to the latest standards and featuring exceptional acoustics, especially adapted to symphonic music, the venue is poised to become one of the most attractive concert spaces in the Baltics. The project, conceived in 2018, involved designer Marius Mateika and the services of Lithuanian architectural and building acoustic company Akustika Plius, collaborating with ADA Acoustics & Media Consultants GmbH (a WSDG Company), along with the construction company INFES. Their joint efforts were instrumental in bringing the old hall up to world-class acoustical standards, suitable for a symphony orchestra. Prof. Dr. Wolfgang Ahnert, founding director of ADA Acoustics & Media Consultants GmbH, had the opportunity to visit the old hall in 2018 and meet with the venue’s long-standing conductor, Gintaras Rinkevičius.
“It was evident to both of us that the hall required fundamental reconstruction to significantly improve its acoustics,” said Ahnert. “Although the space was used for both speech and symphonic performances, it was definitely more adapted to speech purposes, with a very short reverberation time.”
Subsequently, Viktoras Mekas from Akustika Plius invited Ahnert to formally participate in the project, benefitting from Ahnert’s extensive knowledge in the field of room- and electro-acoustic designs, as well as noise control.
“Although the term ‘good acoustics’ sounds quite simple, during the project we had to consider a lot of different acoustic indicators and criteria,” explained Ahnert. “These included reverberation time, music and speech clarity, warmth of sound, as well as the mutual hearing of musicians and density of lateral reflections. Meeting all these
parameters required the implementation of various measures.
“The key takeaway was that the height of the ceiling of the hall didn’t offer enough volume to create optimum acoustics for every visitor, which included a two-second reverberation time needed for a perfect symphonic listening experience.”
After a hiatus caused by the global pandemic, the project resumed in 2022. Ahnert worked closely with colleague Tobias Behrens to create simulations using software program EASE. These were then passed to Viktoras Mekas and fellow acoustics consultant and architect at Akustika Plius, Gintare Privediene, who collaborated with Mateika and the construction company on what was necessary from an architectural viewpoint. The first stage of the project involved fundamentally changing the design of the hall, raising the roof to add extra volume to the 984-seat concert hall. In line with amphitheatre principles, a stage with two movable raisers was installed, along with new lighting and ventilation systems. The next stage was focused on the so-called secondary structure of the hall, by integrating threedimensional acoustic patterns on the ceiling and walls combining rhombuses, triangles, rib panels, and smooth acoustic panels to create an optimum listening environment and aesthetically balanced concert hall. “By integrating these panels, it was possible to diffuse sound reflections and ensure even distribution across the entire hall,” said Behrens. The concert hall opened its doors in March with an evening of performances by the Lithuanian State Symphony Orchestra, the Kaunas State Choir, the Lithuanian National Opera Theatre Choir, the Boys and Youth Choir “Ažuoliukas”, as well as several other Lithuanian soloists, with conductor Rinkevičius celebrating a “very important event for Lithuanian musical culture as well as Lithuanian culture in general.” www.wsdg.com
Photo:
Newcastle Theatre Royal
COMPANY: Broadweigh
LOCATION: Newcastle, UK
Photos: Lee Bowman
Located in the heart of the city, the Newcastle Theatre Royal is a Grade 1 listed building and recently upgraded its rigging system with the addition of Broadweight Blue shackles supplied by A.C. Entertainment Technologies (AC-ET).
Following an initial purchase in late 2023, the venue was extremely pleased with the product’s performance and subsequently decided to acquire additional units, which prove useful in the day-to-day running of the theatre as they allow the experienced in-house technical crew to continually monitor the rigging points and ensure that the appropriate weight levels are being adhered to at all times.
By selecting Broadweigh Blue shackles from AC-ET, the stage management and technical team can work in close collaboration with all visiting production companies to maintain the integrity and safety of the venue’s rigging infrastructure, mitigate the risks associated with overloading, and preserve the longevity and structural stability of the iconic building.
The Broadweigh Blue is a 3.25t shackle with integrated Bluetooth Low Energy 4.0 that provides high precision, static weighing direct to the Broadweigh App. The app is available for iOS or Android and contains all the tools required to configure and display data from the shackles in range and requires no other accessories. Using the bow from a standard shackle, Broadweigh Bluetooth can transmit up to 90m with calibrated units included in the transmitted values.
With a busy schedule of touring performances and productions passing though the venue, the new shackles have proved to be of significant benefit to the team, resulting in Newcastle Theatre Royal choosing to expand its inventory.
Asked if the stage team were impressed with the new additions, Deputy Stage Manager, Lee Bowman replied: “We work in an extremely fast-paced industry with show load-ins and get-outs happening on a weekly basis.
“As we work alongside many different visiting stage crew companies, it is fundamental that we have robust systems in place that confidently ensure the safety of the cast, the crew and the audience, whilst also safeguarding the architectural integrity of the building. The Broadweigh Blue shackles have earned high praise from the teams due to their ease of use, reliability and accuracy of reporting.”
www.broadweigh.com
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Lyric Hammersmith Theatre
COMPANY: EM Acoustics
LOCATION: London, UK
The Lyric Hammersmith Theatre recently invested in a comprehensive audio upgrade, based entirely on EM Acoustics’ product portfolio which was completed in early 2024, and led by the theatre’s Head of Sound, Daniel Ronayne.
“Our existing system was due for an upgrade; it was around 30 years old and composed of many different products from different brands,” reflected Ronayne. “We had hired a demo rig from EM Acoustics for past productions, such as our yearly Panto, and we were blown away by the quality and wanted to make these products a permanent feature of the theatre and the audience experience.”
A complete audio upgrade is a serious decision for a busy theatre, but following a trial period, the decision to go ‘all-in’ on EM Acoustics became an easy one for Ronayne.
“By having the system on a six-week run of our Panto all the key decision-makers at the Lyric had the opportunity to hear the difference for themselves and it was clear that these loudspeakers are in a class of their own,” explained Ronayne. “We all agreed on the full upgrade with EM Acoustics.”
Originally built in the late 19th century, the theatre was later demolished and relocated, piece by piece, to its current location on King Street. The auditorium retains its traditional appearance, and whilst a powerful system with plenty of headroom was required, it was also important that the loudspeakers blend into the space as much as possible.
“The in-house team and I were responsible for system design and installation of the new products,” continued Ronayne. “We worked closely with EM Acoustics’ Greg Clarke, who made recommendations on how to get the best out of the system.”
The new PA is designed around EM Acoustics’ Reference Series, with 6 x R10 and 2 x R8 making up the main FOH system, rigged on the proscenium in a stalls left-right, circle left-right, and upper circle left-right configuration, with the addition of a centre cluster for enhanced coverage. Low
frequencies are handled by four S-215 subwoofers.
Complimenting the Reference series, a total of 6 x EMS-61 are deployed under the balcony for stalls delay and in the circle for fill, given the challenges of configuring a delay in this area of the Lyric. Finally, 4 x EMS-51X provide front fill and another four provide delay to the upper circle, whilst six pre-existing EMS-61s are arranged in pairs on each level for surround sound.
The system requires three eight-channel EM Acoustics Di20D amplifiers to drive all loudspeakers. “Being able to run it all off of only three amps is definitely a benefit,” said Ronayne. “It’s easy to deal with technically, and easy to teach others how to work it too. Plus, we’re using a lot less rack space.”
Alongside efficiency improvements, the Lyric Hammersmith Theatre team have also found an added sense of confidence thanks to their new audio system.
“There’s not much tinkering or thinking you need to do when you’re using EM Acoustics,” continued Ronayne. “It just sounds great with little to no EQ, which is one of the best compliments I can give.”
Furthermore, Ronayne and the team cite EM’s software platform and Dante compatibility as a big advantage following years of needing to tweak things manually. Additionally, whilst the R10 is not a small loudspeaker, the sleek form factor means they’re hardly noticeable on the proscenium, leading a visiting Sound Designer to remark that they couldn’t quite believe what they were hearing.
As a producing house, the theatre crafts all its own shows and co-productions. The new system is already being put to the test on a wide range of material, from quiet plays to loud movie-like performances. “EM Acoustics have been really supportive of us, and the upgrade has further enhanced our ongoing relationship,” concluded Ronayne. “It’s great to know everything you’re hearing in the theatre is EM Acoustics, and all of it sounds incredible.”
www.emacoustics.co.uk
Helsinki City Theatre
COMPANY: Martin Lighting
LOCATION: Helsinki, Finland
Helsinki City Theatre recently supercharged its original productions while simultaneously taking giant green steps in energy efficiency with a brand new state-ofthe-art Martin lighting rig consisting of MAC Ultra Performance, MAC Ultra Wash and MAC Encore Performance fixtures. Originally opened in 1967, the Helsinki City Theatre is a city-funded bilingual repertory theatre company, and In 2023, decided to replace its main stage’s outdated conventional theatre lighting fixtures with LED technology to save money and energy in accordance with the government’s go-green initiatives. After careful consideration of numerous suppliers and manufacturers, the production management team selected an entire rig full of Martin MAC Ultra and MAC Encore series lighting fixtures.
“As a theatre, we wanted to consume less energy and be more efficient,” said William Iles, Resident Lighting Designer, Helsinki City Theatre. “We’re consuming considerably less energy than we did with the previous lighting fixtures. We haven’t had any maintenance issues with our new Martin fixtures and I don’t miss the old halogen and gas-discharge fixtures at all. There were a lot of problems every year. We’d spend time and money repairing them. With the Martin fixtures, we don’t have to buy new bulbs every year. That saves us tens of thousands every year just in bulbs.”
To ensure high-quality front-of-house key lighting, Iles selected MAC Encore Performance fixtures for their ability to generate pristine, full spectrum light with ultra-high color rendition. The overstage lighting plot consists entirely of MAC Ultra Performance and MAC Ultra Wash fixtures, chosen for their unmatched brightness and astoundingly low noise levels. “We use the Encores for front lighting to deliver quality white light that’s perfect for skin tones and color rendering when it comes to a person’s face,” said Iles. “The Ultra Wash and Performance we are using on top of the stage and behind as backlight. The Ultra fixtures are very quiet. The previous rig was so loud, it sounded like standing in a server room full of computers. It was horrible. Now, the actors and stage crew are amazed at how quiet it is.”
It was paramount that the new lighting rig empowered Iles and his team to support a wide range of plays and stage productions. Helsinki City Theatre’s new Martin MAC Encore and MAC Ultra fixtures give him the confidence and tools to deliver a stunning original lighting design for any production hosted there.
“Every other evening we have to switch between different shows,” said Iles. “The same light plot has to work between them. We needed the fixtures to be versatile, and I am really pleased with the Martin MAC Ultra and Encore fixtures we got from trusted distributor StudioTec. I achieved everything I wanted to do and more. With the versatility of those lights, there’s nothing we can’t do.” www.martin.com
Helsinki Music Centre
COMPANY: Robert Juliat
LOCATION: Helsinki, Finland
The Helsinki Music Center (Musiikkitalo Helsinki) has invested in its first Robert Juliat followspots – four long-throw 800W LED Arthur LT sourced by distributors Intersonic – for its main concert hall. The team at Musiikkitalo had a specific list of criteria when looking for their new followspots. The fixtures needed to be very quiet, bright enough for serious television productions from distances over 30m, in both daylight and tungsten colour temperatures; have a narrow zoom so no light would be lost by using an iris; be easy to operate, have good DMX control and, crucially, an LED light source. “Put simply, we wanted to have the best followspots available,” said Valo Virtanen, the venue´s Head of Light.
Virtanen spent a long time comparing followspots, and when he saw the brand new 800W LED unit from RJ, he requested one for testing from Intersonic. “We made some serious tests together, made a DMX profile for our lighting console and took light quality measurements,” said Virtanen. “The tests went very well, so we ordered the spots. Intersonic has done very good job with testing, delivering, and supporting us
throughout.” Musiikkitalo’s audience is seated in-the-round, so good 360° coverage is needed. The four Arthurs are positioned evenly around the lighting gallery that surrounds hall, high above audience, and Virtanen is delighted with the quietness of the fixtures. “We found the spots to be silent.” said Virtanen. “We use them in silent mode, which reduces the brightness by about 20%, but they are still absolutely bright enough.
“They are excellent fixtures and the operators love them, the build quality is strong and are so well made that – aside from cleaning the optics - we do not expect any need for service in the following years.”
www.robertjuliat.com
Stadttheater Klagenfurt
COMPANY: KLANG
LOCATION: Klagenfurt, Austria
With a diverse performance programme, including theatre productions, grand opera, operetta, and a wide musical repertoire, Stadttheater Klagenfurt recently elevated its sound experience thanks to the integration of KLANG:technologies immersive in-ear monitoring, alongside its DiGiCo Quantum 7T mixing console. Manuel Bundschuh, the theatre’s Head of Audio, highlighted that the decision to adopt the KLANG system was an important part of a major upgrade to their existing personal monitoring system. “After hearing numerous positive testimonials about KLANG within the industry, it became clear to us that we wanted to implement KLANG’s immersive IEM mixing platform at our theatre,” he said. The team enlisted the services of Austrian lighting and sound distributors Signal to supply one KLANG:vokal immersive IEM processor and ten KLANG:kontroller units, which deliver fast tactile user control of Groups, Channels, and Immersive mixing. Since the adoption of KLANG, Bundschuh notes a significant improvement in the work of both the engineers and musicians who utilise the system. “It’s a remarkable enhancement for them due to the ease of setup, operation during rehearsals and shows, and, of course, the exceptional sound quality that KLANG delivers,” he continued.
Commenting on the level of support from Signal and KLANG, Bundschuh was full of praise: “Matthias Reinthaler, Managing Director at Signal, and his team, and Phil Kamp, Head of Sales at KLANG:technologies, provided exceptional assistance in understanding KLANG’s technology. Phil managed the setup and guided us through the system to give us a head start.” Since receiving the system Bundschuh confirmed that they have “never looked back” and have been consistently impressed by the possibilities KLANG technology offers to them.
“It’s definitely a significant improvement for us, and the seamless integration with DiGiCo products adds a layer of unparalleled convenience;” Bundschuh concluded. “Additionally, we appreciate the state-of-the-art personal mixing features and the possibilities of KLANG’s immersive engine. The system is cleverly laid out, benefiting not only us engineers, but also musicians who enjoy the immersive experience and the ability to create a high-quality mix at low levels.” www.klang.com
Photo courtesy of Helsinki Music Center
Musiktheater im Revier
COMPANY: Sennheiser
LOCATION: Gelsenkirchen, Germany
The Musiktheater im Revier (MiR) combines tradition and modernity by offering a programme that includes a wide variety of theatrical events: works from the classical opera repertoire, operettas, dance performances, musicals, world premieres and experimental formats. In January 2024, new wireless channels from the Sennheiser Digital 6000 series made their debut at MiR. Carsten Kirchmeier’s highly acclaimed production of the musical comedy ‘Hello, Dolly!’ used 20 Sennheiser EM 6000 DANTE two-channel receivers, 40 SK 6212 ultra-light mini-bodypack transmitters and eight SKM 6000 handheld transmitters for the first time. The 19-inch rack that holds the receivers, an ASA 3000 active antenna splitter and an ACA 3 antenna combiner is located in an ante-room close to the stage entrance Before the performers go on stage, the sound crew equips them with their handheld and bodypack transmitters, which are stored in clearly marked compartments. In the same room, a laptop with Sennheiser’s Wireless Systems Manager is installed. The WSM software provides a clear overview even in complex scenarios, especially because it can manage not only the new Digital 6000 systems, but also the theatre’s proven analogue wireless equipment. This includes, among other things, an EM 3732-II true diversity receiver (for two SKP 3000 plug-on transmitters), an EM 2050 for the sound control room (announcements, lighting rehearsals, etc.) and various SKM 5200 handheld transmitters and SK 5212-II bodypack transmitters. Twentyfour analogue wireless channels from the Sennheiser 3000 series are available in the smaller auditorium (“Kleines Haus”) and the foyer.
Including those used for in-ear monitoring and audio description, MiR has more than 75 Sennheiser wireless channels. To ensure perfect coverage for the actors over the entire performance area, the larger venue (“Großes Haus”) has several Sennheiser antennas distributed throughout the auditorium.
“At MiR, we have an extremely high proportion of productions with electro-acoustic amplification – a hundred or more audio channels on the mixing console are not uncommon,” explained Jörg Debbert, Head of the Sound Engineering Department at MiR. Debbert has been working at MiR for more than a decade and, together with Dirk Lansing, Jan Wittkowski, Fabian Halseband and Max Kallien, he is part of a dedicated team of expert audio professionals.
The five-person team has a remarkably tight programme to carry out every single day and is therefore happy to make use of anything that makes their job easier. “It used to take a huge amount of logistical effort to distribute the theatre’s existing wireless links according to the demands of each production and to supplement them with rented systems,” continued Debbert. “The receivers were in mobile racks that we moved around the theatre as required. But it was often the case that we still weren’t able to meet the demand with our own systems. Now, we are really pleased that this huge logistical effort is no longer necessary because we have acquired our new Sennheiser Digital 6000 systems – not to mention the costs we save by not having to pay for rented systems every time.”
www.sennheiser.com
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Warner Theatre
COMPANY: Outline
LOCATION: Washington D.C., USA
Located a short distance from the White House in the American capital, the Warner Theatre recently upgraded its aging Outline Butterfly PA system to a new Outline Superfly system.
Since 2013 a Butterfly rig had been in situ for the venue’s visiting engineers, performers and artists – a system which was maintained and tuned by the in-house sound engineer Ishai Ratz.
Jason Farah from Outline’s US office said that continuity was an important factor for the venue when it came to looking for a new PA.
“Following on the success of Butterfly, and wanting to maintain the high performance-to-small footprint ratio, it made perfect sense to upgrade to Butterfly’s successor, Superfly,” said Farah. “Superfly provides extended low-end response and improved rigging, while maintaining the same voicing that Butterfly excelled at.”
The venue opened in 1924 and underwent a huge restoration in the early 1990s which established it as one of the district’s showcase venues, but due to its design there were some acoustic challenges to overcome. “The
Warner Theatre has a prominent and deep under balcony section, so we specified L/R hangs of 14 Superfly per side to achieve the necessary coverage,” continued Farah. “The hangs are zoned to accommodate the varying distances between the loudspeakers and the seats, so the top six boxes are focused on the balcony, while the lower eight cover the entire floor, including all the way back to the rear of the under balcony area where the FOH is situated.”
In addition to the main arrays, four compact Outline Vegas 24 cabinets are deployed as stage lip-fills, two Ki12 Plus cabinets per side act as near-fills, while five DBS 18-2 subwoofers add low frequency. Power is provided by seven Outline GTA Otto eight-channel DSP-equipped amplifiers, while a Newton FPGA-based processor is located at FOH to handle signal distribution, and to easily interface guest consoles into the Outline system.
In-house engineer Ratz concluded: “We also added a Midas HD96 as our FOH console, and to me the combination of Midas, Newton and Superfly is an amazing sound system for the venue.”
www.outline.it
Kani City Cultural Creation Center
COMPANY: Yamaha
LOCATION: Kani, Japan
At the heart of the city of Kani in the Gifu prefecture of Japan lies the Kani City Cultural Creation Center, which was built to present civic activities, including large-scale performances that involve local talent, community-building workshops, and nurturing performing artists and community arts workers.
The main theatre is designed primarily for live theatrical performances with an acoustic reflection pattern that has a short reverberation time of 1.6 seconds. In early 2024, the venue hosted an event in which contemporary dance was performed to an orchestral accompaniment.
The performance involved dancers on stage while the orchestra was seated in an orchestra pit at the front of the stage that was raised from the pit floor to stage level at different times in the performance.
The event challenged the venue staff to find a way to enhance the experience for the audience, as the theatre’s acoustic reflectors and additional curtain decorations used in the performance significantly absorbed the sound and not provide a rich, reverberant atmosphere.
The acoustic and audio engineers saw this as an opportunity to elevate the audio experience for the audience, so they reached out to Yamaha to use its renowned Active Field Control (AFC) Immersive Audio System that would transfer audio over a Dante network.
“The AFC system is based on the assumption that all signals, from the AFC engine and digital mixer to the processor, are exchanged via Dante,” said Hayato Ikeda, a sound engineer at the venue “This theatre has permanent audio equipment that is fully compatible with Dante, from the Yamaha digital mixer to the power amplifiers, so
we were able to make the decision to give AFC a try.” The detailed, dimensional regenerative electronic reverberation control capabilities of Yamaha’s AFC Enhance were used in the theatre to create acoustic spaces in which acoustic images were positioned and controlled by AFC Image. For AFC Enhance, two rows of four microphones were hung from the ceiling to collect the natural sound in the room, and Ikeda used that sound to process and create a consistent resonance throughout the room, regardless of the orchestra pit position. For AFC Image, 37 microphones were set up in the orchestra pit, and seven boundary microphones were mounted on stage for the dancers. The microphone inputs were passed to a Yamaha QL5 digital mixer for EQ before being sent to the AFC engine for spatial processing and then amplified through the 37 NEXO loudspeakers installed in the theatre. The effect of the spatial audio experience delivered during the performance was transformative and sounded very natural — so natural that when Ikeda turned off AFC Enhance during practices, it felt “strange.”
There were also no complaints from the musicians and the maestro, who were very strict about sound quality, which was an endorsement of its own.
“We made full use of Dante during the show, transmitting data from all 52 microphones through the Dante-enabled Yamaha digital mixers and the AFC engine and out to the amplifiers,” said Ikeda. “This performance would have been virtually impossible without Dante.” www.yamaha.com
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CELEBRATING 40 YEARS OF INNOVATION, ADAMSON CONTINUES TO SHAPE THE FUTURE OF SOUND REINFORCEMENT
Adamson Systems Engineering proudly announces its 40th anniversary, celebrating four decades of ground-breaking advancements in sound reinforcement. Founded by Brock Adamson, the company has consistently redefined audio technology, establishing itself as a leader in the industry with numerous patents and iconic products. From the legendary MH225 to the latest VGt Line Array system, Adamson's commitment to quality and performance has made its loudspeakers the trusted choice for top touring engineers and prestigious venues worldwide
The company’s dedication to in-house manufacturing ensures that every component meets the highest standards of performance and durability. As part of its ongoing evolution, Adamson has invested in advanced manufacturing technologies, including a new $4 million electronics facility, enhancing production capacity to meet growing demand. With a legacy built on passion and innovation, Adamson Systems Engineering is excited to continue shaping the future of audio technology, reinforcing its commitment to excellence as it embarks on the next chapter of its journey.
“THE INDUSTRY HAS CHANGED DRAMATICALLY OVER THE PAST 30 YEARS. BY MAINTAINING CONSTANT AND CLOSE TOUCH WITH THE LIGHTING WORLD AND ALL THE PROFESSIONALS WITHIN IT, WE ARE ABLE TO FOCUS ON IMPORTANT FACTORS THAT KEEP ROBE PRODUCTS RELEVANT AND AT THE TOP OF THE GAME.”
JOSEF VALCHAR CEO, Robe
MONDO-DR catches up with Josef Valchar, the CEO and public face of Robe, to discuss the brand’s 30th birthday, the most potent issues and changes in the audiovisual industry right now, and the bold innovations that have solidified the longstanding success of the Czech Republic-based lighting and LED manufacturer.
Robe celebrates its exciting 30-year anniversary this year. What factors do you feel have helped the company sustain its sucess for these multiple decades?
I would say that people and personal relationships are right up there. This industry runs and thrives on a good deal of passion, real friendships, and close working partnerships. We have always understood the value and importance of this and have striven to forge strong, long-lasting, and mutually beneficial alliances between our customers, endusers, suppliers, employees, and everyone involved on all levels in the complex multi-layered operation that is Robe and its various businesses.
We – and by that, I mean the whole team – spend considerable energy on this.
For us, it is not purely a transactional process designed to drive our business, it’s something we really believe in, and it is about having a genuine and real love for the industry and respect for the amazing, talented individuals that make it rock.
In terms of the success of our products, the ‘Big Five’ factors definitely include:
Originality: We have currently over 130 patents pending or issued, they cover the USA, EU, and Chinese territories.
Innovation: We have become a true leader in the innovation and development of new technical solutions which are used smartly in our products.
The iSeries, T-Series and all the TE fixtures are good examples here – replete with these original new technologies, which are changing the way we design products, enhancing their flexibility and usage potential to benefit everyone’s creativity.
Range: We have a good range of fixtures to suit different applications in diverse markets including theatres, concert halls and opera houses, television, concert touring, festivals, rental and staging, clubs, and multipurpose venues, et cetera. There are some crossovers of course, but I can honestly say that depending on the size and the complexity of the project, Robe has a very good choice for all aspects of lighting.
Reliability: Time and time again over the years, our products have proved their reliability and robustness, usually lasting well past their expected lifetimes, and providing outstanding ROI.
Top: Josef Valchar shakes hands with LSC Control Systems’ Founder and Managing Director Gary Pritchard after Robe’s acquisition of the Australian company.
Above and below: Robe iBOLTS light up Glastonbury 2024 integrated within Arcadia’s ‘Dragonfly’.
Photos: Matt Eachus (TheMancPhotographer), SHOTAWAY.
Architectural and large scale video design has become increasingly popular over the past few years with many high profile venues incorporating stunning video and projection mapping projects. Hippotizer boasts a host of components enabling the most intricate mapping projects. Using SHAPE for 3D mapping or Mask, Warp and Keystone features the projection can be perfectly aligned, while unrestricted DMX universes allow for the most elaborate LED designs.
“LONGEVITY IS ALSO FUNDAMENTAL TO OUR OVERALL AND LONG–TERM COMMITMENT TO SUSTAINABILITY. THE LONGER THE PRODUCT LASTS THE GREENER IT IS, AND THAT’S IMPORTANT.”
The ‘Robe Green’ policy, alongside the ‘Think of the Future – Consider Nature’ marketing initiative describe how Robe is consistently pushing environmentally friendly business and manufacturing processes. Can you tell me about some of the current sustainable strategies within the company?
To meet changing global environmental challenges, many improvements have been made to our factory as part of our Green Initiative.
These include solar panels – creating a 1.2 MW peak of power – a fleet of electrical vehicles, the installation of charging stations across all Robe facilities, new eco-friendly packaging for all our products, and a dramatic reduction in printed brochures and catalogues.
We are proud to announce that Robe has been awarded a prestigious sustainable Company Certification which recognises our commitment to environmental sustainability and responsible working and production practices.
In addition to the above, all products are certified according to Environmental Product Declaration (EPD), an ISO type III Environmental Declaration acc. ISO 14025 standard. We are the only lighting manufacturer to achieve this certification and be listed on the EPD database.
We are based in one of the most beautiful and unspoiled parts of Europe, so helping ensure it stays that way is fundamental to our philosophy.
We also started investing in making the products and the processes by which they are manufactured genuinely greener and cleaner a long time ago – way before it became a requirement! We have always believed in sustainability –since the start of the company. It’s not just something we’ve adopted because it has become trendy or obligatory.
One way we are doing this is by keeping all elements of manufacturing – like plastic moulding, metalwork, PCB production, and optical testing – completed in-house, and 85% of all the components used are sourced from within the EU, and building and maintaining our manufacturing base in the Czech Republic was a very conscious decision to initiate shorter supply chains with less transportation required to assemble the finished products.
Other sustainability elements include oil protection. From the start when developing our factory building, we have repurposed old industrial premises rather than building on a greenfield site, and all the processes involved in manufacturing the luminaires are undertaken there on a reclaimed brownfield site.
Planned co-generation units will allow us to generate electricity and use the excess heat for the various production spaces and to heat the offices.
Sustainable waste management is another area that we’re constantly monitoring to ensure that the materials and techniques used to minimise waste, and that all processes are as clean and as efficient as possible with water and electricity consumption. Recycling is actively promoted in all departments.
To Robe, what other factors demand awareness in the manufacturing, marketing, and selling of lighting in today’s AV industry?
We are very careful when bringing new products to the market.
If we bring too many products, the market will complain that we are jeopardizing their investments – so the cycle of the products is designed around seven to 10 years, maybe now with speed of development around seven years is average.
Also, seven to 10 years is the projected lifespan of our
Below: Paul Wong, Managing Director of Avolites, alongside Josef Valchar.
products, and many of them will last longer.
Our LEDWash 600 is a great example. Launched in 2010, it’s still on the market now. Additionally, the Pointe, brought out in 2013, is still active in the market.
Longevity is also fundamental to our overall and long-term commitment to sustainability. The longer the product lasts the greener it is, and that’s important.
How often a rental company can use the kit on a show matters. Over 10 years, your CO2 is lower as you’re spending less resources and not increasing your carbon footprint relatively, which is key.
Products with a new successor released in two or three years are simply unsustainable.
What are the main threats you perceive to the professional entertainment lighting industry?
One threat we face is counterfeiting. Competition is becoming more arrogant and ruthless – mainly I’m talking about products manufactured in China. They are ignoring intellectual property and business ethics and are shameless in bringing products to the market that are copies or infringing patents.
How important are the discussions you have with end users for the direction the company takes?
It is absolutely central to product development and its related strategies.
End users – be it lighting and visual designers & directors, rental company owners, or venue managers – all their needs are at the core of our current and future product development, and we really value all their honest feedback, it helps drive us.
The industry has changed dramatically over the past 30 years; by having constant and close touch with the lighting world and all the professionals within it, we are able to focus on the important aspects that keep robe products
relevant and at the top of the game.
The iBOLT is a recent product launch – can you explain the intention behind this huge new fixture?
The market and all our feedback told us it was crying for a modern, super-bright outdoor fixture, so when the technology was available to do this, we started looking, designing, and developing products using the laser diode engine. The iBOLT is big, like a MegaPointe on supersteroids!
It is seven times brighter than MegaPointe and has similar features – MegaPointe is a product that’s impossible to replace now as the light source is a discharge lamp, so we needed to find something new and that would not be restricted.
The MegaPointe has also been out there for seven years now and it’s still a massive success, people still love them and continue to use it as it’s simply such an awesome lighting fixture, so it was logical to use MegaPointe features as an inspiration to develop a larger format effects fixture. The 300mm aperture lens gives a beautiful fat parallel beam. With the zoom, you can create a very nice spot look, plus, numerous effects can be produced with our proprietary prism system – which I might add has been ‘cutand-pasted’ into every competitor product on the market right now.
Looking back, can you pinpoint any major milestones from the company’s 30-year history that you think are particularly significant for its growth?
There are so many products that are integral to the success of Robe today. This includes Pointe, which was released back in 2013. This was a big landmark as it was the first truly multifunctional moving light that performed all the different functions well. It kicked open numerous doors and still does today.
In 2014, we brought out the BMFL series – This was a real defining and game-changing moment for Robe. BMFL became our signature ‘bright multi-functional luminaire’ and most powerful light source. We had been thinking about the design and development of this luminaire for three years – we had listened exhaustively to what end-users said they wanted, and we incorporated it all into one incredible light. Launching a range of products like BMFL put us further on
Above left: Robe moving lights installed at Club BEEN in China. Photo: SIR.TEEN Group.
Above right: The Lado Bizovicar show at Ljubljana’s Stožice arena, lit up by 355 Robe fixtures, with production and lighting design created by Crt Birsa of Blackout alongside Greta Godnic. Photo: Jani Ugrin.
the map as a global brand, and fundamentally assisted in ‘cracking’ the North American Market. In 2017 we brought out Megapointe – this has become our single best-selling product ever to date, so much so that we had to purchase, kit-out, and open a whole new factory and production facility to keep up with the demand. It was – and still is – the light that everyone wants, and even though the discharge lamp tech is rapidly becoming obsolete, you’ll find people worldwide who absolutely love MegaPointe and could not contemplate drawing up a design without them.
TRANSFERABLE ENGINE technology, which we introduced in 2019, was a complete gamechanger in the world of LEDs. The hardware will outlast the light source as we know it, so we have developed a ‘transferable’ or replaceable LED engine. Making this an interchangeable element of our ranges – such as FORTE, ESPRITE, PAINTE – has been groundbreaking. Additionally, 2021 saw the launch of an impactful Robe product – the first of Robe’s brand-new FORTE series. As Robe’s brightest LED moving head, it’s a contemporary equivalent of the flagship BMFL, hugely powerful, and environmentally friendly.
Of course, there are our more recent developments; the iFORTE LTX in 2023, the brightest LED moving head luminaire on the market right now, and the mega-bright iBOLT, as I previously mentioned, that is a laser-source ‘searchlight style’ fixture for stadium shows and outdoor spectaculars. It has a whole range of effects that make it really unique.
One significant business decision that Robe has made was the aquisition of Dioflex, the PCB manufacturer, in 2009. This is something we were, and continue to be, really confident in. Dioflex were affected badly by the global financial crash; when we bought it in 2009, it was close to bankruptcy. We wanted to secure our PCB supply, so it was a logical move. We purchased the company, fixed everything that needed fixing, and it’s been flourishing ever since. We are currently undergoing a major expansion at Dioflex which will expand the production capacity by over 60%. The physical building extension should be ready in spring next year, and the full ‘new’ production facility will be functioning in 2025.
It has been almost one year since Robe acquired Avolites – are you in a position to discuss the impact this has had for both companies?
Our main focus in the year post-acquisition has been recruiting new people, establishing the distribution network, and developing the new Diamond 7 (D7) product which we know will be a big success. We’ve heard nothing but positive feedback from everyone about Avolites, lots of enthusiasm and lots of exciting things on the horizon.
How does this year’s acquisition of LSC Control Systems contribute to Robe’s growth plan, and do you foresee any more room for growth from acquisitions?
LSC fits perfectly into our portfolio of products. We, Robe, make the luminaires, with Avolites we have the visual control side, and LSC brings intelligent power supplies for light and consoles. With Artistic License as well, we have all the interfaces needed for control integration.
LSC is based in Australia, so with Avolites and Artistic License in the UK, it’s smart and efficient to have production facilities in different regions. We are a global company with manufacturing facilities in these three countries.
Can you please update us on the progress of the current expansion of the factory premises, and what that will add to the manufacturing work-flow processes?
We are expanding the manufacturing facility at headquarters now – finishing a new component building and have acquired a new 20,000 sq m piece of land that is adjacent to the current factory, so we are planning on how to develop that.
In our other plant in Karvina, another building extension will commence next year. So, increasing our technology and production capacity is a constant investment and is crucial to the future.
Robe’s huge presence at this year’s Prolight + Sound cannot go unmentioned. What importance does Robe see in investing in global trade shows, given that you also have the ability to invite customers to your facility in Valasske Mezirici, Czech Republic?
The main reason we had a massive presence at Prolight 2024 was because we were celebrating our 30 years – and in fact 1994 was the first year that we visited Frankfurt – at that point, the highway between Czech Republic and Germany was not even open!
Additionally, we need the space to integrate all the various brands to the Robe ‘village’.
We wanted a huge party to celebrate the 30 years, and Frankfurt seemed a great choice as it’s been such an instrumental trade show throughout our history. Furthermore, it is a central European hub and meeting point. In reference to trade shows more generally, we use these events to meet and network with our distributors, customers, lighting designers, and professionals – these are the most important reasons we keep such a strong presence at the show.
And of course, we use them as a space to showcase new products.
We feel it is relatively important for the organisers that we are there, as we have been told that we are a highlight of the show for them. Our live show and presence have become a benefit to the expo.
Below and bottom: Robe celebrates 30 years of innovation at this year’s Prolight + Sound. Photos: Louise Stickland.
Now a lengthy amount of time has passed since the restrictions implemented during COVID-19 and live events and venue development are back in full swing, what new market trends are you noticing?
We’ve noticed a huge demand for products. The market went crazy for investment in new equipment which we could not immediately supply as we could not triple our production in a month, so that certainly was a big challenge for us.
The zest and enthusiasm for live events, and therefore our entertainment-enhancing products, went through the roof after COVID-19, as people just wanted to get together and enjoy the shared entertainment experiences that you can only have in person.
What keeps you passionate about the lighting industry today?
It is my world and it has been for some time. I love the creativity, the possibilities, the invention, the people – so many amazing and hugely talented people are involved in our industry on all levels and in all sectors.
I enjoy travelling and taking in different cultures and approaches, and above all, I love being able to be part of a design process of products that help enable the imagination and artistic flair of others. Maybe I’m trying to say that I really appreciate the magic of it all.
Moving into 2025, which signals the start of a new decade for Robe, what is the company focusing on moving forward?
We will have the same focus as always. Another year of being innovative and relevant with our products together with our customers and distributors.
As CEO and the public face of Robe’s leadership team, what do you like to do to wind-down when you get the opportunity?
Well, I don’t get so much free time, but I love sports! I am also a keen runner alongside enjoying hiking, biking, golf, and skiing.
I also appreciate overseeing our mountain hotel property and ski resort – that is a passion project that keeps my head busy and my brain active, but with something completely different.
Is there anything you would like to add?
I’d like to thank all our employees and team members, colleagues and those who have worked hard with Robe over the 30 years since we started this ambitious project.
Also, our distributors for their ongoing support and fantastic support, plus our other business partnerships.
Naturally – I thank all our customers, friends, advocates, lighting designers, and industry professionals again for the commitment, dedication, and energy they have put into assisting our journey. Many people are part of Robe’s success – it’s been a massive achievement of incredible teamwork.
www.robe.cz
FABRIC
LONDON / UK EMEA
Iconic nightclub upgrades its Martin Audio sound system with new amplification, an enhanced sub package, repurposed loudspeakers and boosted legacy boxes, with new drivers installed in its 20-year-old line array to add clarity and boost performance. Martin Audio Managing Director Dom Harter and fabric Technical Manager Matt Smith discuss the project.
Photo: Sophie Hoult
As revered London nightclub fabric celebrates its 25th birthday this year, the club has other reasons to celebrate having substantially upgraded its sound system in Room 1 with assistance from Martin Audio.
The club’s relationship with Martin Audio dates back to the start of the millennium, and since that first install the club has maintained its faith in the manufacturer’s sound systems.
Having noticed a slight dip in performance in recent years, and realising that professional audio technology is ever-improving, fabric’s Technical Manager Matt Smith saw fit to refresh the system.
“Having been around different venues and touring events, I’d noticed that the performance of our amplifiers and overall setup wasn’t really cutting it,” stated Smith. “It was a really long process before we sit here with what we have today, but that’s because we wanted to be as diligent as possible and find the best possible solution.”
Smith was nervous of losing what he describes as “that distinctive Room 1 sound” and after trying out several high-end systems from various manufacturers, Smith asked Martin Audio if they would overhaul the existing 20-year-old W8C and W8L systems by replacing their drivers, and add in new sub woofers and amplifiers.
“The systems we tested were all amazing, but the consensus among our team and DJs was that we needed to keep the room on character,” said Smith. “This room has its own sound, and I’m not sure that if we took this system to another room it would sound the same. It’s a combination of the room and the performance of the system that makes it what it is – they both come together to get that character.”
With the relationship between fabric and Martin Audio already established, the manufacturer was open to all suggestions, with Managing Director Dom Harter taking up the story.
“Once we started down this path of the venue wanting to upgrade and overhaul the system we took a number of visits to the room to listen to what was there already and discuss the project with Matt and the team,” said Harter.
“The amplifier technology in use was around 20 years old, and with the amount of power that’s available in our latest iKON amplifiers it made that particular upgrade a really easy decision.
“The amps were still functioning well, but the thing not in their favour was their age, and so they’ve been replaced with something that has around two times the power.”
The new rack consists of ten Martin Audio iKON amplifiers, with nine iK42 models running the bulk of the system, with a single iK81 driving the MF / HF for the main enclosures.
Another decision that needed to be made was how to add clarity and improve the overall performance of the system without adding a number of new boxes – and so Smith suggested replacing the drivers in the four W8L line array either side of the stage, and the four W8C point source loudspeakers to the rear.
“Most of the character of the system comes from the full-range boxes, and replacing the drivers in those allows them to perform better and retain their character,” stated Smith. “One of the main concerns we had before the upgrade was to try and get the levels that we wanted, because we really don’t want it to be overtly loud.
“The clarity and the punch is what is important to us, and previously we were hitting the peaks in the amps, so with new drivers, they react quicker and we get better performance from them.”
For Harter, the project represented something out of the ordinary and an opportunity that the Martin Audio team relished. “It is a really nice way of addressing the club’s needs,” he said. “Taking the approach together we were able to get a solution that everybody was happy with.
We did delve into R&D when it came to looking at the new drivers for the W8L boxes, whether they should be significantly upgraded in specific areas of the loudspeaker, whether they should all be replaced or restored – it was a very complex and interesting project.
“In certain instances we tried things as we went along, which is one of the advantages we had with our relationship with the venue – because that might not be that practical for an installer. From our point of view, we, like many manufacturers, carry a lot of inventory and being able to dip into that and select and test products in the venue proved invaluable.
“Ultimately for fabric, the right solution was to take elements from everything, products that perhaps not be part of a complete ‘standard’ package, and put them together in a way that people may not be trained to do. So our involvement with that ‘mixing and matching’ made a real difference.”
When it came to looking at the club’s low end, Harter stated that new product was definitely the right direction to take.
“The way the subs had been configured historically had left a huge low-end build up in the middle of the floor, and they didn’t cover the room that consistently,” said Harter.
“Martin Audio’s SHX218 are a long way ahead from the old subs that came out, and we convinced Matt to try them in the space. We put them in for a weekend and the reaction was overwhelmingly positive.”
In order to install the eight SHX218 subwoofers, which are designed in a broadside array under the front of the stage, the club needed to enlarge the cavities and remove the wheels from the boxes. “Now you can barely get a Rizla between the bass bins and the wall,” quipped Smith. Providing design support for the alignment of the sub arrays was Martin Audio’s technical support team of Dan Orton, Ben Tucker and Paul Connaughton.
Above: Eight new SHX218 subwoofers are designed in a broadside array under the front of the stage.
New drivers were installed in the W8L line array boxes.
Below:
Photos: Benedict Priddy.
“TOO OFTEN WE SEE CLUBS THAT HAVE INSTALLED LOTS OF SMALL LINE ARRAYS TO GET TO THE REQUIRED SPL, BUT THE REALITY IS THAT THEY DON’T SOUND LIKE A BIG SOUND SYSTEM, AND THEY NEVER WILL, BECAUSE THAT’S NOT WHAT LINE ARRAY BOXES ARE FOR.”
“The Martin Audio team came down to help us align the subs, and they also instructed us on how to use the VUNET software for the new amplifiers, because that was something we hadn’t seen before,” said Smith.
“It’s nice because we are just ticking over with our outputs on the amps, whereas before we would have physically needed to constantly check our amps just before peak.
“The beauty of the iKONs is that they self-monitor and with the processing now taking place in the iKONs, we can monitor them remotely via the VU-NET software.”
Elsewhere in Room 1, the custom-made Blackline F12 loudspeakers that were previously used for DJ monitoring have been moved to provide rear down fill to extend audience coverage.
Replacing the monitors at the DJ station is four of the newly launched FlexPoint FP12 loudspeakers, while new Backline X15s distribute sound at mezzanine level.
“This project mostly took place over summer, and we have total confidence in it,” stated Smith. “We’re not worried about anything breaking or being limited by the power output of the amps. It is good-to-go, and will do whatever we ask of it.”
With the nature of the project being collaborative and quite exploratory, Harter was delighted to go down this route and re-affirmed the company’s commitment to quality. “Too often we see clubs that have installed lots of small line arrays to get to the required SPL, but the reality
Above: Four of the newly launched Martin Audio FlexPoint FP12 loudspeakers replace the custom-made Backline F12 loudspeakers, which have been moved to provide rear downfill and extend audience coverage.
Photos: Sophie Hoult
is that they don’t sound like a big sound system, and they never will because that’s not what line array boxes are for,” said Harter.
“Having this approach of having the big boxes either side and putting in concert-style low-end, and having enough head room in the amps, has worked out perfectly.
“People associate clubs with sound systems – and certain sounds and genres, so it is really important for a club like fabric to have kept what people expect to hear in that main room – which, I think, is one of the most relevant rooms within its culture.”
If Martin Audio is approached for this type of project again, Harter confirmed that the company will engage in the process in order to deliver specific results.
“There are plenty of venues around the world that play pop music on Friday and Saturday nights, but a club like fabric which is so associated with a specific selection of genres required some slightly off-the-wall thinking from the manufacturer,” said Harter. “And this is something that we are going to be pro-active with when we have our regular meetings and discussions with our distributors around the world.
“Overall, as a project, it was different, fun and collaborative. I spend a lot of my time with the team here reiterating the fact that if something isn’t enjoyable then we shouldn’t bother persevering with it. This is a special project, and taking a step back to look at it, you realise that it’s a cool thing to have helped fabric achieve what they wanted.”
www.fabriclondon.com www.martin-audio.com
TROXY
LONDON / UK EMEA
Sound
Technology and Phoenix Pro AV join forces
to bring cutting-edge
solutions to a storied venue.
Photos: Ben McQuaide
In the heart of East London, nestled between the old-world charm of Limehouse and the vibrant buzz of the city, stands the Grade II listed venue, Troxy – a striking relic of the Art Deco era that has been beautifully repurposed for the 21st Century.
Troxy has witnessed the evolution of London over nearly a century; once a grand cinema, then converted to a bingo hall, it now stands as a versatile venue hosting everything from live music to corporate events. It not only stands as a testament to the glamour of a bygone era but also as a symbol of the city’s ability to blend history with modernity. Upon its first opening, Troxy famously held the title of England’s largest cinema, and took pride in integrating grand, flamboyant furnishings throughout the space – for example, visitors could expect revolving stages, a colossal, floodlit organ, and staff who would continuously spray luxurious perfumes to affirm the venue’s opulence. Troxy’s ability to challenge the status quo of entertainment venues through constant innovation has never ceased, with its current team being dedicated to improving the space functionally and technologically. “It’s certainly a contradiction that we’re operating a 90-year-old Art Deco venue with the absolute best in cutting-edge technology, but it works,” commented Tom Sutton-Roberts, Managing Director, Troxy.
Since converting Troxy into a live events venue, the team has consistently invested heavily in advanced audiovisual equipment, enabling the hosting of more complex, large-scale productions. In 2019, Troxy became the first venue in the EMEA region to permanently install a JBL VTX A12 loudspeaker system, due in part to the strong relationship between HARMAN and Troxy.
Sutton-Roberts revealed: “We’ve worked closely with HARMAN since 2017. Deciding on the JBL VTX A12 was a great idea, as it’s been the star of the show since it was installed!”
Ed Jackson, Senior Technical Sales Manager, EMEA HARMAN, added: “We worked with the team to establish settings for the PA so that incoming engineers get a consistent sound – our partnership with the technical team is and always has been great fun.”
In 2023 the venue reiterated its dedication to incredible entertainment after a large lighting integration. On the choice to upgrade the luminary solution, Sutton-Roberts explained: “Our last major investment into lighting was in 2014, and 10 years is a long time in lighting tech! Much of our old rig relied on old-school fittings and a lot of it required climbing the rig to focus.”
Previous: The Vaccines shine at Troxy.
Above: Tinlicker electrifies audiences at Troxy.
Right: Troxy facilitates the NHS Awards, celebrating the dedication of staff.
With the range of events Troxy holds now, such as concerts from Orbital, The Kills, Jorja Smith, Liam Gallagher, and John Squire, alongside music industry events such as The Live Awards, this former rig was not providing the technology the venue needed.
For the lighting upgrade, Troxy turned to three of its most loyal contacts to help; HARMAN, Sound Technology, and Phoenix Pro AV joined the transformation team.
Sutton-Roberts detailed: “Similarly to HARMAN, we’ve worked with Sound Technology since 2017 for various audiovisual installation projects. Given the commitment, expertise, and loyalty to Troxy shown by the teams at both HARMAN and Sound Technology, it made sifting through the huge number of brand options a little easier. Knowing that we’d be working with trusted teams for this large lighting project made things easier. Not to mention that Martin Lighting have some absolutely fantastic products, and their colour matching across the range is so good.”
Pheonix Pro AV was brought onto the luminary upgrade team for similar reasons, he added: “Phoenix have been working with us since 2021, and given their expansive local knowledge of Troxy and that of the wider industry, they were the perfect partner to join the project.”
Rob Burrows, Director, Phoenix Pro AV, confirmed this relationship: “We began the collaboration with Troxy at a time when the venue was emerging from the challenges of the COVID-19 pandemic and finalising the conversion of its reinstated proscenium arch stage. Initially, we were brought on board to oversee the technical management of events and to consult the technical department. Today, we serve as Troxy’s production partner, providing crew, install equipment, and production management for all its events.”
“The previous lighting rig had been in place for many years, starting with generic fixtures and gradually evolving into a mixture of moving heads from various manufacturers. However, there was a lack of synergy in the rig, and with rising electricity costs we decided to explore more modern solutions that align with industry standards,” added Matt Valentine, Director, Phoenix Pro AV.
An LED moving light rig became the obvious choice due to its features and sustainability. After conducting a shootout of the options, it was clear that Martin Lighting was the ideal choice.
“The venue already sounded fantastic with the JBL A12 PA, but we wanted it to look just as impressive,” said Valentine. The design called for multi-pixel wash fixtures alongside profiles capable of creating beams. “Troxy is a large space, so having profiles with enough punch was a top priority, so we chose Martin Lighting ERA 800, installing 24 units,” stated Burrows.
The team also integrated the Martin P3 Video server, with numerous Martin VDO Atomic Dots on each truss (36 in total) to enable video to be played across the rig, increasing the space’s design flexibility. Further enabling clients to get creative with the way they light their events, two Martin MAC Ultra Wash were installed, alongside 24 MAC Aura PXL. Bringing CHAUVET fixtures into the system bolstered event freedom and inventiveness too; four Color Strike M Hybrid, 36 Colorstrip Tri, 40 PAR38, and 12 Colorado Tour 1 were installed for their colourful and dynamic lighting design capabilities.
“To manage the technology, we integrated MA Lighting grandMA3 control desk, paired with Luminex LumiNodes. These products are of the highest quality, which guarantees Troxy remains at the cutting edge of the industry,” said Valentine.
Burrows continued: “We knew Troxy had to remain competitive with other London venues” – a statement that echoed the team’s decision to facilitate the use of special effects at the venue. Clients hiring out Troxy can now use two SmokeFactory Data II DMX smoke machines and two Martin Jem Hazers.
Valentine explained how the modernisation of the solutions has also improved the venue outside of illumination: “We collaborated closely with structural engineers during the design process; the new lighting rig allowed us to add more rigging points and load capacity for incoming productions, which was made possible by the lighter weight of the new design compared to the previous rig.”
Burrows added: “This provides greater flexibility for incoming productions without compromising the in-house system.”
Bringing their performances to the improved Troxy, clients are extremely pleased with how the recently integrated solutions are working, with the designs accommodating practically all events that have graced the great hall since.
“The newly installed kit has exceeded expectations,” exclaimed Sutton-Roberts. “A few tour engineers have recently used every fixture and every bit of tech within the fixtures to create some incredible effects. It’s perfect for the space, and promoters and artists don’t need to bring anything else. But it’s not all about live – it’s also hugely improved our lighting for corporate events too – giving us so many more options – and allowing us to focus on the fly without getting out
Furthermore, the space’s makeover has enabled Troxy to stay up to date with the trends and demands of the entertainment industry; thanks to the specified equipment’s flicker-free operation and saturated colour, events can be recorded and live-streamed, with the fixtures remaining effective and bright upon playback.
Benefitting from the solution’s camera competence, Rise, an organisation dedicated to fostering gender diversity within the broadcast and media technology sector, held its 2023 awards show at Troxy and simultaneously streamed the occasion on YouTube.
This installation is clearly a success in terms of restoring a celebrated venue with excellent lighting; however, this venue also tells the story of a strong manufacturer, installer, and venue relationship, and the impact this bond has on an audiovisual project.
“I like to be closely involved in the day-to-day of significant capital expenditure projects,” said Sutton-Roberts, expanding on the firm collaboration across the integration. “Really, it’s because I’m a bit of a geek at heart. I love to see a demo kit in the flesh, ask questions about how it all works, and really get to understand the technology, the benefits and the scope of what can, or can’t, be achieved.”
The space’s thoughtful innovation has enhanced the event experience for technicians and audiences alike; undoubtedly, Troxy has cemented its place as a competitive and versatile venue in the ever-evolving entertainment landscape.
Left: Mark Rebillet takes centre stage.
BAM KARAOKE BOX
LONDON / UK EMEA
KNEKTD equips Europe’s largest karaoke complex with complete entertainment technology package including NEXO and Bose Professional audio solutions and a package of Shure microphones.
Award-winning systems integrator KNEKTD has installed a fully integrated audio, video, CCTV, lighting, network and control system for BAM Karaoke Box’s latest venture in the heart of London.
Comprising multiple individually styled
luxury karaoke rooms set over two floors of a modern 10,000 sq ft building conveniently located minutes from London’s Victoria station, BAM Karaoke Box takes the concept of karaoke as a social activity to a completely new level, catering for friends, family, workmates or dates.
KNEKTD were brought in by project management and cost consultant, Gardiner & Theobald, on the back of the acclaimed success of the AV implementations at The Maine, Mayfair and at the Duck & Waffle in Edinburgh, and worked closely with Design Studio Brady Williams to create a one-of-akind experience.
“The client approached us because of what we had achieved on those award-winning projects and, given the scale and complexity of this endeavour, they felt that we were the right fit,” said KNEKTD Director, Shaun Wilson.
The luxury karaoke brand from Paris offers a new take on the karaoke experience, inspired by Asia’s vibrant scene but with much higher quality sound, video, lighting, recording, and automation.
With six existing sites in France and one each in Spain and Portugal, BAM Karaoke Box in London marks the company’s debut in the UK, and the venue is the largest karaoke venue in Europe, featuring 22 private karaoke rooms, the BAM BAM bar, an outdoor terrace, and a live music stage and DJ booth.
The 22 karaoke rooms cater for groups ranging in size, with the largest capable of
hosting 18 to 30 people, and each room features its own dedicated speaker system – with Bose DM6SE loudspeakers chosen as much for the brand’s visibility in the consumer market as for audio quality –while low end is provided by NEXO IDS-108 compact subwoofers which are built into the banquette seating, complementing each room’s distinctive individual style.
The lighting control system, wireless and wired microphones from Shure, and limitless music playback offerings are all individually controllable, and guests can order food and drinks from a touch screen placed strategically at the opposite end of the room from the audio, without ever having to leave the room. A total of 55 wireless Shure SM58 microphones were supplied, alongside 30 wired SM58 mics.
“There is a custom UI that gives full control of that space,” explained Wilson. “You have a touch screen to dial up the songs and playlists you want, you have colour wheels for mood lighting, and you can control the room volume and the individual mic volumes. There are web cams to record your performance, and you can put that straight on to your socials – the karaoke experience doesn’t get much more advanced in my opinion.”
Dante is used extensively as a connectivity platform, significantly reducing the number of cable runs in the building, and allowing the Shure microphones to connect through Dante into the Yamaha amplifier system, with a package consisting of a single Yamaha MRX7-D, Yamaha Tio 1608-D and Yamaha XMV8280-D running the audio for three or four booths, depending on size.
The basic AV, lighting and automation configuration is effectively cloned across all
Left: The BAM BAM Bar is large social space with a stage area that can function as a performance space.
the karaoke spaces, just scaled up or down as appropriate to each room’s size and individual design.
Downstairs the BAM BAM Bar is large social space with a stage area that can function as a performance space for larger groups, and can include DJs, singers, and live acts.
The stage’s audio setup consists of four NEXO EPS-6 loudspeakers and two NEXO ELS400 subwoofers, which are powered by two NEXO NXAMP 4x1 amplifiers, while around the bar and the room’s perimeter six NEXO ID14T super compact loudspeakers and four NEXO IDS-108 subwoofers are deployed, powered by Nexo DTDAMP power amplifiers. To add to the venue’s attention to detail, the ID14T loudspeakers are customised to match the venue’s wood panelling and are positioned at picture rail height around the seating areas.
When the BAM BAM bar turns into a space for live events, KNEKTD delivered a Pioneer DJM-Ag four-channel DJ mixer, Pioneer CDJ-3000 media player and a Yamaha DM3 mixing console.
DSP and amplifier power for all the speaker systems comes from a centralised rack room, with no fewer than six equipment racks custom built by KNEKTD and housing the Yamaha amplifiers and all the processing and network equipment.
With so many side-by-side karaoke booths potentially in use at the same time, there were significant acoustic challenges to be addressed.
“Yamaha assisted us in reducing sound transmission between rooms with multiple layers of acoustic treatment in the walls, and there are also door contacts that dips the system volume when a door is opened,” confirmed Wilson.
“Low-frequency transmission was less of a problem; it was more the voices – because when you’re singing karaoke, it’s all about the voice,
isn’t it? The microphone in fact is the loudest part of the mix when people are singing; everyone likes to think they’re Mariah Carey. Those are the frequencies you want to avoid transmitting to the adjoining rooms, and that has proved to be effective.”
This hugely ambitious project featured many technology platforms operating seamlessly together – and essentially in the background – with simple user interfaces being the only visible evidence of the complexity of the infrastructure.
“Coordination between so many trades at the construction phase was absolutely critical to the success of the project,” commented Wilson, “handled expertly by the management team at Gardiner & Theobald in ensuring that the build contractor LEAN Projects teams of joiners, electricians, programmers and the interior design team from Brady Williams all worked in harmony.”
On the IT side, everything runs on a Ubiquiti fully managed network that securely services the whole building; administrators and the KNEKTD support team can log in and manage systems remotely, and the BAM team in Paris can provide technical support remotely.
For convenient control, a Crestron system runs the entire property, allowing staff and guests to manage all aspects of the sound and light.
Two tabletop Crestron touch screens located on the ground and lower ground floors allow for selection of several input sources including the two music players, a DJ mixer, a stage console and a Bluetooth input for smartphone pairing.
The Crestron UI, custom designed to match the BAM branding, also controls the air conditioning – allowing individual control for each room or even a global setting for the whole building – and the lighting, again by individual presets or under a master preset that gradually
Above: The rack room at BAM Karaoke Box.
TECHNICAL INFORMATION
AUDIO
Bose DM6SE loudspeakers
Nexo IDS-108 compact subwoofers
Shure SM58 wireless and wired microphones
Nexo EPS-6 loudspeakers
Nexo ELS-400 subwooofers
Nexo ID14 loudspeakers
Nexo NXAMP power amplifiers
Nexo DTDAMP power amplifiers
Pioneer DJM-Ag 4 channel DJ mixer
Pioneer CDJ-3000 media player
Yamaha DM3 mixing console
Yamaha MRX-7D DSP processors
Yamaha XMV-8280 power amplifiers
Yamaha XMV-4280 power amplifiers
VIDEO
Samsung 43-in and 65-in 4k Professional displays
Samsung 85-in large format display
Hikvision Acusense video cameras
Liyama 17” colour touchscreens
CONTROL AND NETWORKING:
Crestron CP4 control processor
CueCore architectural lighting control processor
Unify Ubiquiti networking
www.knektd.com
https://uk.bam-karaokebox.com
changes from morning to evening throughout the day, including a one-touch bright setting to facilitate cleaning. The client’s response to the project has been resoundingly positive: “The reason KNEKTD were chosen for this ambitious brief was that they could deal with every single aspect of the project – sound, vision, lighting, control, CCTV, network, automation – without having to rely on different contractors, and there was only one point of contact which has made the process so much smoother, and no doubt helped to pull this complex build together in less than 18 weeks,” said a venue operator.
“Their attention to detail is second to none, and you can see that in the equipment racks – they’re a work of art. If there’s a technical issue, from a system update down to a single cable in this property, they’ll know where it is and how to do it right. I can’t think of any other company who could handle a project on this scale and so successfully.”
Wilson concluded: “I’m very proud of what we’ve achieved here. We have full confidence in being able to bring a customer here to show them the result because we haven’t just chucked equipment in there, we’ve thought about the products to use, we’ve thought about the process and how best it’s installed, we’ve designed it, and implemented it. It is one of the most complex systems we have done but we’ve made it look simple from the user perspective and very easy to operate.”
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CENTRAL HALL WESTMINSTER
LONDON, UK EMEA
A new chapter begins for this historic hall, where modern d&b audiotechnik systems work not to contrast but to complement the venue’s celebrated Edwardian architecture.
When Central Hall Westminster first opened its doors in 1912, it was designed as a grand meeting space with acoustics tuned for unamplified sound – a marvel for its time, and perfect for the commonplace events of the era that relied on huge choirs, trained to address audiences without the assistance of sound equipment.
However, as the world has advanced and modern audio technology is no longer a demand, but a necessity, the iconic venue has consistently invested an enormous effort into integrating state-of-the-art solutions that place the space at the forefront of contemporary London facilities. Though it has been steadily upgrading since its opening, in terms of both audiovisual installation and preservation of the building’s authentic aesthetics, one significant factor that contributed Central Hall Westminster’s (CHW) success was the technical production partnership with White Light - a d&b solutions company forged in 2015.
Jonjo Glynn, Head of Venues for White Light, is closely involved with CHW. Glynn revealed that the hall is White Light’s first ‘Managed Venue’ which is defined by the fact that a dedicated White Light team has been situated inhouse, allowing them to have an extended understanding of the venue, in comparison to a typical technical production partnership. This has resulted in almost a decade of innovative audiovisual installations. The partnership between the CHW team and White Light is built on a real love for the venue, with each division of the team equally as passionate about crafting a supreme entertainment experience for clients and audiences alike. This ongoing collaboration between White Light and CHW recently produced an audio systems upgrade to the venue’s primary facility, The Great Hall, that has been key in the space’s mission to accommodate contemporary, diverse events.
It wasn’t entirely simple to design a modern sound system for the space; Central Hall Westminster is a prestigious, older venue, so getting creative with solutions was imperative.
Its storied past, including housing the first-ever meeting of the United Nations and welcoming Martin Luther King Jr, alongside its elaborate Viennese baroque-style architecture, have unsurprisingly rendered the building a Grade II* listed venue, meaning the integration had to avoid alterations to the structure of the hall itself.
Furthermore, Glynn noted that fundamentally, the space is acoustically challenging. Glynn stated: “The Great Hall has all the venue aspects that make clear, consistent sound difficult. For example, hard surfaces, balconies, overhangs, and a self-supporting domed ceiling that is the largest of its kind in Europe! Also, in the centre of the hall stands an organ, and any time sound waves hit the instrument, the sound isn’t only reflected, but completely changed.”
A previous audio solution was integrated to improve sound quality; however, it was not perfect. Glynn said: “It was never ideal for what we needed. As it wasn’t a permanent install, there was too long of a setup time and too high of a cost.”
Given that the hall frequently hosts diverse events with varying setups and requirements, often multiple a day, the audio system setup needed to be quick and efficient, and the chosen solution had to be versatile. Additionally, the rigging system needed upgrading to better accommodate multiple events; Glynn stated: “For a company to come and use The Great Hall, they had to allocate half a day to sort out the motors and the rigging. We knew this needed to be changed”
Fanny Saint-Pasteur, Head of Marketing for White Light, added: “White Light’s extensive experience with the venue allowed us to recommend the best equipment suited for the specific challenges faced in The Great Hall.”
The audio integration is based entirely on d&b audiotechnik products. The system utilises a range of loudspeaker technologies to achieve the design goals: cardioid line arrays, high-performance point sources, ultra-compact point sources and cardioid subwoofers. Talking through the chosen design, Glynn revealed: “There’s a number of key decisions in the solution. For instance, the line array that covers the upstairs is a product that’s brand new – the XSL series.”
The main central speaker hang is a line array comprised of five XSLi8 and two XSLi12 loudspeaker modules –installation-specific line array modules purposefully designed for small- to medium-scale sound reinforcement. Glynn explained: “This is a cardioid speaker system, so it means we aren’t putting additional energy into the acoustically problematic dome. This was an important move for us in terms of creating a perfect line array design; it means nothing is coming out and reflecting on or hitting the organ, so we massively decreased sibilance factors.”
Flown subwoofers were specified to serve rock or pop events; a hang of two KSL subs can be deployed to augment the system. These KSL subs are Medium to large-format flyable cardioid subwoofers, “We chose cardioid products as again, the design is all about reducing unnecessary energy going into the space, which can cause reflections and non-clear sound,” stated Glynn.
To provide close proximity coverage for the centre and side balconies, six V7P point-source products were hung from new ceiling points. For step fills, under-balcony fills, rail fills, and choir fills, 46 x 44S ultra-compact point-
source loudspeakers were installed. Glynn revealed his fondness for the 44S: They’re beautiful low-profile boxes that can provide necessary front fills across the balcony and floor spaces.”
Discreetly mounted on the front-left and front-right areas of the stage are four Y7P point-source products, using a bespoke mounting solution that integrates with the front railings. As Glynn revealed, specifying these speakers was part of a longer process: “We went through six different possible speakers – to test these, we rigged temporary speakers to observe what worked best in the space, alongside the use of simulation software, to be certain we picked the ideal setup.”
It is not just The Great Hall’s audience that’s treated to improved sound in CHW; six 16C column speakers were fitted to the wall opposite the main staircases, spaced and angled to provide even coverage throughout the foyer area.
For amplifiers, The Great Hall relies on two d&b audiotechnik products that are installation-specific: the 10D and the 40D. The 10D amplifiers power the 44S ultra-compact loudspeakers, while the 40Ds drive the other loudspeakers.
With the solution completed and the DS10 Audio network bridge as the main controller, Glynn remarked: “The system just really came together. d&b audiotechnik has such a wonderful raft of tools to use.”
The clear, consistent audio in The Great Hall would be tarnished if the importance of a great rig was ignored. “The first thing we did to improve the rigging system,” began Glynn, “was replace the brackets with motors. This has enormously decreased setup time, going from half a day to around 20 minutes! We’ve also removed over 4km of cable and defunct equipment – there is now less visible equipment than before, meaning the architecture can be appreciated far better.”
Glynn continued: “Alongside White Light’s Technical Solutions Director, Andy Hook, we wanted to enable audio distribution around the room without the need for visible cables. We’ve always had the desire for minimal audio disruption, maximising potential, and minimizing turnaround time. We’ve been successful in this, and we’ve seen all our events get more creative and larger.”
Edd Beamish, General Manager at Central Hall Westminster: “We wanted a space where there was no bad seat in the house, and we’ve definitely achieved this, with brilliant, reliable sound all throughout the hall.”
The venue has achieved its desired flexibility too, with a diverse directory of events using only the core system daily, even the regularly held, musically complex concerts. The network infrastructure also shares this flexibility; even if installers aren’t present, they can monitor the system remotely.
Above: Central Hall Westminster’s Great Hall, now equipped with a future-proof d&b audiotechnik solution.
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One factor in the success of Central Hall Westminster’s recent upgrade is undoubtedly the strong partnership between CHW and White Light. This bond has been built on shared motivations, a wish to continuously improve Central Hall, but also to use the most sustainable practices possible.
The synergetic sustainability campaigns of White Light and CHW are hugely evident in this most recent integration.
Glynn commented: “The installation itself was conducted in an environmentally conscious manner, and even more so, the legacy of the project is a sustainable one, as it is a fixed installation that is greatly futureproofed. In the future, events won’t need to be held in only touringexclusive, fixed-kit-absent spaces; sites can boost their sustainability by removing the need to tour equipment by fitting complete solutions.”
Saint-Pasteur added: “Providing fixed solutions that are of high standards, removing the need for extra products, is extremely important. Clients should be able to turn up to the venue they are hosting an event in and already know it’s going to sound great. White Light is also a certified B Corporation, showing it is a brand committed to responsible practices, aligning with CHW’s sustainability vision and commitment.”
The recent upgrade of CHW has prioritised sustainability and simultaneously refused to settle for anything but perfection in audiovisual facilities.
Sharing his perspective on the project’s outcome, Glynn concluded: “Walking into the finished space was incredible. It’s audibly superb! The visual impact of the integration has also been amazing; we were so used to seeing intrusive wires everywhere, but you can’t see anything in this vein now. Clients, especially ones who have been here before, are so excited and can truly feel the change.”
The events hosted at Central Hall Westminster after White Light’s installation have been a triumph. Ella Parchment, Marketing Manager at Central Hall Venues, concluded: “We’ve already been shortlisted for three awards. The installation has played a significant role in earning this recognition.”
TECHNICAL INFORMATION
AUDIO
5 x d&b audiotechnik XSLi8
2 x d&b audiotechnik XSLi12
2 x d&b audiotechnik KSL-SUB
4 x d&b audiotechnik Y7P
6 x d&b audiotechnik V7P
46 x d&b audiotechnik 44S
6 x d&b audiotechnik 16C
d&b audiotechnik 10D amplifier
d&b audiotechnik 40D amplifier
www.c-h-w.com www.whitelight.ltd.uk
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Until now, if one wanted to only use a particular part of a rectangular projection screen‘s surface, one had to use some kind of masking approach to create the shape one had in mind.
GERMAN FOOTBALL MUSEUM
DORTMUND / GERMANY
EMEA
Photos: Carsten Kobow
Football and art intertwine at ‘In Motion - Art & Football’ with a complete audiovisual package designed and supplied by SIGMA System AudioVisuell for a special immersive exhibition spanning 1,000 sq m.
Opened in May this year, just ahead of the men’s UEFA European Championships, ‘In Motion – Art & Football’ is an immersive exhibition that showcases 175 works of art on the subject of football, including rarely seen modernist pieces by the likes of René Magritte, Banksy, Joan Miró, L. S. Lowry, Salvador Dalí, and Umberto Boccioni.
Seeking to place visitors in the centre of the art by utilising projection mapping and spatial audio, the museum sought the services of longtime collaborators SIGMA System Audio-Visuell to guide them on the technological solutions required for the exhibition.
“Having worked with the museum since it opened in 2015 by providing AV equipment and various upgrades since, we had a great knowledge of the inner workings of the building and its cable infrastructure, which definitely was an advantage as it gave us a head-start in realising the direction to take for this project,” said Christian Backes, Head of Integration at SIGMA Audio Visuell.
“This is one of the most ambitious special exhibitions that the museum had planned, with the idea of creating a large-scale immersive room with projection mapping on multiple surfaces, and a customised, highgrade audio system.”
The prior knowledge of the building allowed Backes and his team to select equipment that would benefit the museum both for this exhibition and going forward, with the museum stating that the technology would be repurposed for different needs.
“The equipment was all newly installed and bought specifically for this purpose, and we chose it carefully because it needed to integrate with the technology that is already part of the museum’s infrastructure,” stated Backes.
A total of 23 Epson projectors are installed in various positions to illuminate the different screens and the floor, with seven of them deployed pointing at the floor, five covering the largest horizontal
“WE CHOSE A MIX OF EPSON PROJECTOR MODELS BECAUSE THEY WERE AN EXCELLENT PRICE FOR THE KIND OF USE THAT THE MUSEUM REQUIRES, BOTH FOR THIS PROJECT AND IN THE FUTURE.”
screen, four covering the screen on the opposite wall, two for an installation called “sketch book” and five for single projection surfaces.
“The client wanted the room to be an open space without any joining walls, to create something with more fluidity to the room,” said Backes. “For this, we realised straight away that separate LED wall solutions would not be the right direction to take, and instead opted for projection mapping.
“We chose a mix of Epson projector models – EB-PU1008B, EBPU2213B, and EB-PU2216B – because they were an excellent price for the kind of use that the museum requires, both for this project and in the future.
“They accept 4K video and have interchangeable lenses, which was important for this application, and the resulting content delivery is excellent when viewed from distances – which the visitors are while exploring the room.”
For content delivery, the SIGMA team knew that the museum’s technicians had a strong working knowledge of Christie Pandoras Box media servers, and so specified six units, each with 4x 4K output.
“The servers have synchronised graphic cards inside so that the content is projected perfectly in sync. From the servers, the signals are transferred via multicore fibre optic cabling through the Lightware transmitters and receivers to the rig where the projectors are stationed,” said Backes.
When it came to equipping the space with an audio system, 25 Genelec 4430A Smart IP loudspeakers were installed in a row under each of the main horizontal projector screens, while a selection of Audac and Yamaha speakers are deployed from the ceiling.
“The two long rows of Genelec loudspeakers acts like a large soundbar, with fabric hiding them from immediate view on one side,” stated Backes. “The nature of the venue required the cabling to be as simple as possible, so we decided to use this model because they are highend, near-field loudspeakers, and offer audio, power and sound management over a single CAT cable.”
One single innosonix MA16/D2 amplifier powers the speakers in the ceiling. A Bose ControlSpace EX-1280C was specified as audio DSP across the whole audio system.
“This is required for routing and transmitting the audio signals, and it is controlled with the museum’s Crestron system with the client able to manage volumes in certain zones,” said Backes.
In a separate zone to the main immersive space, a room for visitors to explore the individual works and the art-historical context in more detail, two INFiLED LED walls were specified, alongside a selection of Fohhn loudspeakers and subwoofers.
“This environment required an ambient sound as the room was designed to be a quieter part of the exhibit for visitors to enjoy art works close up,” said Backes. “The LED walls measure 3.6m by 2.025m each, and we supplied four Fohhn Scale-2 loudspeakers and two Fohhn IGS-4 subwoofers to be powered by two Fohhn MA-4.600 ANA amplifiers. These LED walls and audio equipment will be also used by the museum for events.”
With the exhibit installed ahead of its opening in May, the German Football Museum’s Facility Manager Roman Schellenberg was delighted with the results.
“The production levels are excellent and the project was executed at a very high technical level,” said Schellenberg.
“The visual presentation and sound quality are outstanding and integration of the technology was carried out professionally and with a clear focus, and we have had nothing but enthusiastic feedback from visitors. There was a briefing in accordance with the specifications, and the exhibit’s system is maintained by our technicians, while further changes will continue to be implemented by SIGMA.
“The system components were designed to be very user-friendly according to our specifications, and the SIGMA Project Managers were always available to accommodate even very short-term adjustments or requests. The project was supported in a very collaborative manner.”
Creative agency NeoNext worked with the media creation agency pxb-studios to create the content for the show. The technical implementation was carried out by H2Technik.
TECHNICAL INFORMATION
VISUAL
9 x Epson EB-PU1008B projectors (without lens)
10 x Epson EB-PU2213B projectors (without lens)
4 x Epson EB-PU2216B projectors (without lens)
4 x Epson ELPLU04 (0.64-0,77:1) lens
13 x Epson ELPLW08 (0.86-1,20:1) lens
5 x Epson ELPLW05 (1.04-1.46:1 lens
1 x Epson ELPLM15 (1.57-2.56:1) lens
21x Lightware HDMI20-OPTJ-TX90 HDMI transmitter
21 x Lightware HDMI20-OPTJ-RX90 HDMI receiver
7 x Christie Pandoras Box media server
2 x INFiLED WP LED SCREEN 3.6M x2.025M (1.87 PP)
2 x NovaStar MCTRL660 PRO LED controller
AUDIO
8 x Audac VEXO110 loudspeakers
4 x Audac ALTI6 Pendant loudspeaker
4 x Audac BASO12 subwoofer
25 x Genelec 4430A loudspeakers
2 x Yamaha DXR10 MKII loudspeakers
4 x Fohhn Scale-2 loudspeakers
2 x Fohhn IGS-4 subwoofer
2 x Fohhn MA-4.600 ANA amplifier
2 x LB Lautsprecher ZL 50 loudspeakers
1 x innosonix MA16/D2 amplifier
1 x Bose ControlSpace EX-1280C
www.sigma-av.com www.fussballmuseum.de
Left: A total of 23 Epson projectors are installed in various positions to illuminate the different screens and the floor.
EBL ELEFANTEHUUS
LIESTAL, SWITZERLAND
EMEA
A historically protected space, originally existing as a plant for giant electric generators in the early 1900s, may seem to be an unlikely location for a thriving multi-purpose entertainment venue. However, the EBL Elefantehuus in Liestal, Switzerland, disproves this completely. With its name, Swiss German for ‘Elephant House’, harkening back to the grey diesel generators once held in the building that resembled large elephants, the EBL Elefantehuus is the result of a masterful makeover, involving a complete venue renovation and the integration of state-of-the-art audiovisual equipment.
Completed on May 5th, 2024, the 300-capacity venue was finished just in time to celebrate energy supplier EBL’s 125th anniversary. EBL Managing Director Tobias Andrist revealed the importance of the project, not only to the brand, but to the surrounding communities, stating: “The creation of this venue demonstrates how EBL is investing in the future of the people of Liestal - the Elefantehuus gives them a new option for major events, from colourful concerts to corporate meetings.”
“The space was not being used optimally before,” added Andrist. Its former purpose was simply a storage facility, which was hardly fulfilling the impressive potential of the building. EBL sought to change this and convert the venue into an event location where artists, clubs, and companies are presented with all the audiovisual provisions they need to create a modern, vibrant occasion.
Due to the historic nature of the building and the wider importance of producing an updated entertainment hub for Liestal, recruiting the right people for the project was crucial.
One team contracted for the transformation was WSDG, who took on the responsibility of acoustically treating all internal spaces. They were tasked with reducing the sound leakage to zero and turning the space into an adaptable venue with excellent sound, in collaboration with AV integrators Kilchenmann AG.
Dirk Noy, Partner, Director of Applied Science and Engineering at WSDG, explained how the project required careful consideration, as the outside of the building had to remain unaltered, since the space is protected. Despite this, a great deal of acoustic treatment was needed.
Noy stated: “We initially spoke to the operator of the site, Eric Rütsche of Kulturhotel Guggenheim, and Architect Pascal Epple of Otto Partner Architekten. During this discussion, we realised that the main acoustic issue was isolation, as a hospital is extremely close to the venue, which we didn’t want to disturb. So, we had very high isolation values that needed to be adhered to.”
“We began studying the acoustics of the space,” he continued. “It was then we realised that one way to control sound reflections was
Operating first as a huge generator plant and then a forgotten storage space, EBL Elefantehuus is finally utilised to its full potential after dedicated teams specified acoustic treatments and flexible audiovisual solutions.
Photos: Dirk Noy
Opposite Page and left: EBL Elefantehuus’ hightech, clean interior, now generating innovative entertainment instead of diesel fuel.
by fitting the walls with a white perforated wood. This material has a high broadband absorption, and the bright, plain colour allows for the client to light the space in any way they please, without appearing disrupted when shone on the walls.”
The balcony was also adapted for excellent sightlines, acoustic control, and minimal sound reflections. Noy revealed: “We built the railing on a slight angle. The lack of straightness here ensures that the furnishing doesn’t reflect onto the stage, and instead reflects to the ceiling, which has been designed to supply maximum low-frequency absorption using a Helmholtz resonator. It was important to make sure that no reflections were directed into the audience area.”
The result is highly intelligible sound transmission, even SPL coverage, and the absence of artefacts such as audible echoes or distortions during live music or speech.
Extra balcony treatment to the underside was given in the form of perforated gypsum panels that supply low-mid frequency absorption. The room’s acoustic fitout package further included single-layer magnesite, bonded wool wood acoustic panels, providing midfrequency absorption at the edges of the ceiling.
WSDG also assisted in the AV systems integration, alongside the installers for the project, Kilchenmann AG. In a tender procedure, Kilchenmann was able to win the contract for the audiovisual integration of the entire facility.
Beginning the process of granting the venue all the features of a stateof-the-art entertainment hub, WSDG specified a microphone system built on Shure products, heavily utilising the ULX-D series, including two ULXD4Q, four ULXD2B58, four ULXD1, and eight ULXD8. This series is fitting for a multi-purpose venue, as it is secure, scalable, and durable; managing diverse entertainment is easier with the enabled high mobility and flexibility of this system.
Furthermore, WSDG set out to specify a PA system that could accommodate multiple types of events, including musical performances and speech-heavy occasions. Equipping the space for concert sound, the consultants chose an L-Acoustics solution. This incorporates four L-Acoustics A10i Focus units, alongside four A10i Wide. These are amplified by five LA4X.
To allow for clear, intelligible spoken word, two low profile, steerablecolumn Fohhn DLI-230 loudspeakers were specified by WSDG. A DiGiCo S21 mixing console completes the audio system line-up. Providing Elefantehuus with even more flexibility, multimedia content was accommodated, thanks to the installation of a TV tuner which can be displayed on the built-in Barco LED wall. With the Barco ClickShare presentation system, content can be transferred wirelessly from different devices to the LED wall.
Additionally, three Panasonic AWUE150 PTZ cameras were installed in the hall to ensure high-quality video recordings and transmissions. Giving the venue the ability for professional video conferencing during an event, a Crestron DM NVX video conferencing codec was added. This also allows for live streams to be carried out to broadcast events live online via AVoIP.
The lighting system, specified in collaboration with Lighting Planner Huebscher Gestaltet GmbH, WSDG, and Kilchenmann, designed a solution that is akin to a theatrical luminary system, upon venue request. All controlled by an Avolites Quartz console, the solution utilises Cameo units, chiefly.
Four OPUS SP5 FC moving heads alongside eight OPUS S5 were brought in for the product’s fast and clear colour changes, allowing for vibrant concerts in the space. Six EVOS W7 LED wash lights are also used, chosen for their high brightness, and eight F2 FC are used as additional components to further light the audience and the stage.
Noy commented: “Elefantehuus appreciates that the chosen lights are individually controllable in terms of colour and dimming. We’ve had events that need flexible lighting with quick changes, and this has been a helpful solution.”
For special effects, a Martin Lighting JEM Compact Hazer Pro was integrated, assisting clients who want to create a more vibrant performance, and reducing the need for events to have to temporarily install FX products. The robust yet lightweight nature of the product means that it can be quickly setup and then taken away, making it easy
to prepare the stage for different events. Observing the new space, EBL is thrilled that the huge renovation project, transforming a seemingly forgotten space into an impressive entertainment hub, has been completed with such excellent results. Wolfgang Hechler, EBL Elefantehuus’ Project Lead, reiterated the necessity of producing such a venue:
“As a company with deep roots in the region, it was important to us to create an event hall that meets the needs of the people in the area. It was a key existing gap for us to close.”
Hechler continued: “Thanks to the excellent project support from the teams involved, we achieved all our goals on time and on budget. The AV solutions installed give us all the freedom to realise many types of occasions, meeting our flexibility aim. We are so satisfied with the overall result!”
On the clients already benefitting from the venue, Hechler revealed: “We’ve seen so many great events in the hall already, but the three main use cases include electronically amplified concerts, corporate presentations, and variety shows.”
Pascal Epple from Otto Partner Architekten, the venue Architect, added: “Carrying out this complex, unusual project was challenging for everyone involved, but also exciting. It was wonderful to see it succeed.”
The EBL Elefantehuus stands as a testament to what can be achieved with collaboration and vision; even the most uncommon spaces can be transformed. The makeover of this historic venue not only honours its rich past but also breathes new life into the community of Liestal.
TECHNICAL INFORMATION
AUDIO
4 x L-Acoustics A10i Focus
4 x L-Acoustics A10i Wide
4 x L-Acoustics KS21i
6 x L-Acoustics X12
4 x L-Acoustics 5XT
5 x L-Acoustics LA4X
2 x Fohhn DLI 230
1 x DiGiCo S21 System
1 x DiGiCo D-Rack
1 x QSC QSYS Core
1 x Ampetronic C52
MICROPHONES
2 x Shure ULXD4Q
2 x Shure UA864
4 x Shure ULXD2
4 x Shure ULXD1
4 x Shure WL185
8 x Shure ULXD8
8 x Shure MX415
16 x Shure SB900B
4 x Shure SBC200
1 x Shure SBC850
PROCESSORS AND SIGNAL DISTRIBUTION
6 x Crestron DM-NVX-360
2 x Crestron DM-NVX-352 Dante
8 x Crestron DM-NVX-363C
1 x Crestron UC-C100-Z
1 x Crestron DMFCI8
VIDEO
81 x Barco XT 2.5-E LED Tiles
1 x Barco Infinipix NP 100
1 x Barco Infinipix NM 110
1 x Barco ClickShare C10
3 x Panasonic AW UE100WEJ
LIGHTING
1 x Avolites Quartz
4 x Cameo OPUS SP5
8 x Cameo F2 FC
6 x Cameo EVOS W7
8 x Cameo OPUS S5
1 x Martin Lighting JEM Compact Hazer Pro www.elefantehuus.ch
Right: The exterior of the Elefantehuus.
MANTRA
Indonesian club emphasises the roles of top-notch movement, sound, and lighting in its creation, bringing in trusted teams from Kairos, Music Art, and Superlative, to deliver one of the most colourful and fantastical installations of the year.
JAKARTA, INDONESIA APAC
Mantra, one of the latest additions to Jakarta’s nightlife scene, represents a significant achievement in venue design, merging cutting-edge audiovisual technology with innovative kinetics. The nightclub stands at the forefront of the new era of entertainment venues; modern clubs must provide more than just a space to dance in, audiences want visual, audio, and atmospheric excellence.
To ensure that the venue could deliver this, they employed a team of audiovisual experts and creatives to complete a full installation of sound, lighting, and screen technology. Music Art was brought on as the Project Manager for the integration, and promptly recruited installer Kairos to help provide a state-of-theart audio system.
Mantra Club aims to provide an exceptional music experience, including high-octane DJ sets and live performances.
The brief for Music Art and Kairos was therefore to design a quality audio system capable of delivering high SPL with minimum distortion for a high-energy yet non-fatiguing audio experience.
Following a demo, Music Art designed and installed an audio system from KV2 Audio that transitions seamlessly between DJ sets and live performances while maintaining high sound clarity and power, tailored for a variety of musical genres.
The client requested a clean, uncluttered main stage area. A KV2 system was a perfect choice here, due to the specified solution’s ability to deliver the same performance as a line array system with fewer cabinets.
As a result, a system including VHD2.0, VHD1.0, and VHD4.18 speakers, powered by VHD2000 and VHD3200 amplifiers was flown on the left and right sides, with the subwoofers discreetly ground-stacked to minimise their visual impact on the stage. Additionally, several EX12 and EX15 loudspeakers are strategically placed as side fills, delay lines, and DJ monitors, providing consistent, high-quality sound throughout the venue, whether for ambient events or high-energy concerts and DJ performances.
After Mantra made direct contact with its local partner in Jakarta, Hendra Winata, designer Superlative was brought onto the project to craft lighting, special effects, and kinetics solutions, with creativity at the forefront of their mission.
Superlative echoed the venue’s desire for a club that was targeted towards the modern guest, with Gabriel Scapusio, Chief Executive Officer at Superlative, revealing: “Working in the entertainment industry for decades, we know that nightclubs have evolved several phases from hanging crystal ball with a few house lights, to hosting a warehouse of technologies. Therefore, in Mantra, we incorporated vibrant, carefully chosen lights, huge rectangular visual screens, and vertical kinetic trusses.”
Excitingly for Superlative, the venue gave them a large amount of creative freedom, empowering the team to execute their own vision, while still ensuring alignment with the client’s goal of rivalling other international clubs. Scapusio commented: “These types of projects are the ones we like the most, because we can begin the creative process without any type of limitation, other than an approximate budget.
“During the design process,”, he continued, “we studied many different ideas. We eventually decided that an inverted garden concept, where the grass is on the roof and the vegetation grows downwards, would help us stand out amongst other clubs.”
To accommodate this contemporary, fantastical vision, and illuminate the dreamlike furnishings, Superlative knew a system filled with colourful, flexible luminaries was needed. They began by equipping Mantra with a robust supply of mobile lights, predominantly from the PROLIGHTS brand. The inventory includes 10 units each of
Airfan, StarK Blade, MiniversaPar, Astra Wash 7 Pix, and Jet Wash 19. Additionally, there are 30 Pixie Beams, 20 Ruby FCXs, and 10 Sunrise 2 IP units.
Mantra utilises 20 Martin VDO Atomic Dot CLDs, 20 Rush MH 10s, 16 MAC Allure Profiles, 12 Era 300 Profiles, and a MINUTE UNE setup with eight Photon units.
Furthermore, the lighting setup is enhanced by 60 Polar Beam lights. All these moving lights are expertly controlled using the MA Lighting grandMA3 Compact XT system.
Mantra also features more than 200 sq m of LED screens strategically distributed across different areas of the venue, allowing the space to display vibrant floral visuals. Unilumin equipment ensures top-notch visual quality here. The content displayed on these screens is managed using Resolume Arena, with all visuals created in collaboration with Indonesian artist Isha Hening.
Mantra’s special effects are equally impressive, powered primarily by MagicFX. The setup includes 12 Jet II CO2 units and two Stadium 2 Confetti machines.
Moreover, 12 Sparkular waterfall units are suspended from the ceiling around the perimeter of the large LED screen, with an additional eight Sparkular units positioned on the stage.
For atmospheric effects, Mantra relies on four Martin JEM Hazer Pro units. The MA Lighting grandMA3 system is used to control all these special effects, ensuring a synchronised and impactful performance. There is also LED technology throughout Mantra; the ceiling is adorned with more than 20,000 2W RGBW pixels arranged in a mesh, accompanied by over 600m of digital Neon Flex and 350 RGB LED bars with Black diffusers. The entire LED digital system is managed through the MADRIX system.
The club’s most unique and exciting feature is its kinetic system. To create a dynamic interior that was faithful to the whimsical nature concept, six large leaf-shaped structures move to reveal and conceal the DJ booth. These are operated with horizontal opening and closing movements, driven by industrial actuators and DMX control via Madrix.
Superlative was afforded a large amount of creative freedom in the design of the venue.
Scapusio added: “There are also six flowers on the ceiling that move using three kinetic motors each, allowing for up, down, and orbital movements. These are controlled by Cyberhoist 2 motors.”
Miquel Clot, CEO and Co-founder of Superlative, revealed: “The integration of kinetic elements within Mantra was an ambitious endeavour – we had to figure out how to breathe life into a static space. The challenge lay in achieving seamless motion that complemented the fluidity of the overall design. Our team dedicated exhaustive hours to the development and refinement of these kinetic marvels, ensuring they not only met our artistic vision but also adhered to stringent safety and reliability standards.”
Mantra’s finished installations could not have been achieved without the unsurpassed creativity of the teams involved. However, the venue could not have been as successful without strong project partnerships. The expertise and the organisational ability of the integration’s contributors were put to the test as the schedule for the installation was tight.
Clot explained: “The timing issues demanded a harmonious orchestration of tasks without compromising the quality of craftsmanship. The Superlative, Kairos, and Music Art teams faced this challenge with unwavering determination, implementing a meticulously planned schedule that maximised efficiency without sacrificing the precision demanded by the intricate audiovisual elements.”
KV2’s Indonesian distributor, PT Goshen Swara Indonesia, sees the nightclub as a wonderful exploration of the wide creative and technological capabilities of KV2 products, among the other state-ofthe-art fixtures in the specified systems.
Franky Cahyadi, Goshen’s Executive Director, concluded: “After the opening night, the client was thrilled – he said the system delivered beyond his expectations. It’s everything he wanted and more.” It was no surprise that the venue won the nightclub category at the 2024 MONDO-DR Awards; Mantra’s contribution to the entertainment industry can best be summed up by Clot, who enthused: “This whole project has woven together entertainment, innovation, and pure artistic magic!”
TECHNICAL INFORMATION
LIGHTING
10 x PROLIGHTS Airfan
10 x PROLIGHTS StarK Blade
10 x PROLIGHTS MiniversaPar
10 x PROLIGHTS Astra Wash 7 Pix
10 x PROLIGHTS Jet Wash 19
30 x PROLIGHTS Pixie Beam
20 x PROLIGHTS Ruby FCX
10 x PROLIGHTS Sunrise 2 IP
20 x Martin Professional VDO Atomic Dot CLD
20 x Martin Professional Rush MH 10
16 x Martin Professional Mac Allure Profile
12 x Martin Professional Era 300 Profile
8 x MINUTE UNE IVL Photon
60 x Showtec Polar 100 Beam
1 x MA Lighting grandMA3 Compact XT
1 x MADRIX system
1 x Resolume Arena
AUDIO
1 x KV2 Audio VHD2.0L
1 x KV2 Audio VHD2.0R
1 x KV2 audio VHD 1.0L
1 x KV2 audio VHD1.0R
2 x KV2 audio VHD2000 amplifiers
10 x KV2 audio VHD 4.18
4 x KV2 audio VHD2.16
5 x KV2 audio VHD3200
4 x KV2 audio EX12
6 x KV2 audio EX15
8 x KV2 audio EX1.5
1 x Meyer Sound Galileo 616
1 x Allen & Heath Avantis
1 x Allen & Heath GX4816
KINETICS
20 x Cybermotion Cyberhoist II
SPECIAL EFFECTS
12 x MagicFX Jet II CO2
2 x MagicFX STADIUMSHOT II
20 x MagicFX Sparkular
4 x Martin Professional JEM Hazer Pro
PROFESSIONAL
CONTOUR X CX 210 LT
THE UNCOMPROMISING LONG THROW SYSTEM
The
compact point source for really big
sound..
• Impressive sound level, enormous throw by HK Audio MCT
• Perfectly matched Lab.Gruppen and Powersoft filter sets for arrays of 1 to 4 speakers
• Passive 24 db/oct. crossover - fewer power amp channels, more flexibility
• Linear phase FIR and IRR filters for latencycritical applications
• ICF - integrated single-point flying mechanics for single speakers and arrays
• Robust design for the daily use on the road „Made in Germany“
The perfect addition to the CONCERT SOUND CONTOUR X and COSMO series
PLASA Show
LONDON, UK / 01 – 03 SEP, 2024 EMEA
The gradual rejuvenation of PLASA Show continued with another buzzing expo over three days in early September. With a full floor of busy stands and multiple seminars and demonstrations held on the balcony level, feedback from exhibitors was overwhelmingly positive.
A plethora of distributors and manufacturers took to the floor to showcase their latest products and solutions. Czech trussing manufacturer TAF exhibited at the show for the first time and showcased its new LDF143 Foldable Dolly for the first time. Launched in August, the dolly is a space-efficient solution for transporting professional light fixtures from the warehouse to the stage, set or event. Prolight Concept’s presence included an array of its Elumen8 fixtures and the company showcased Hollyland wireless intercom products having taken on distribution of the brand earlier in the year. Elation highlighted several new product series designed to kindle the creative spirit, including SŌL, a series of creative LED blinder and effects solutions, SIX+ which are updates on the company’s SIXPAR and SIXBARfixtures, and PULSE, a new line of impactful strobe and visual effects. Robe used the show to launch four new products – the iFORTE Fresnel, the PAINTE Fresnel, the SVOPATT and the SVB1 – and the company’s new ‘Robe Live’ expo production premiered on stage featuring live performers and an array of equipment, while EM Acoustics launched its latest addition to the Reference Series – the R6 loudspeaker.
TiMax Spatial showcased a beta version of its latest innovation to join the fold, TiMax panLab, which provides enhanced spatial pan programming and live cue management for shows and systems mapped and rendered in the TiMax SoundHub spatial processor. ADJ presented a collection of its lighting fixtures on the stand of its UK distributor AVS. In addition to the versatile Hydro Hybrid fixture, the stand featured ADJ’s WMS2 high resolution LED video panel, which is wall mountable, or temporary hangable, with a front serviceable design in a horizontal or vertical configuration due to its built-in Novastar A8s-N receiving card. Cadac Consoles presented the UK Debut of its CM-J50 digital audio mixing console while DiGiCo launched the new Quantum326, which represents a dramatic leap forward in power and connectivity, with 128 input channels with 64 busses and a 24x24 matrix, all with full channel processing in a compact package. CHAUVET Professional showcased many of its latest products, including the two newest members of the award-winning Maverick Silens family of quiet, fanless fixtures: the 430W Maverick Silens 1X Profile and 760W Maverick Silens 2X Profile, while the Adam Hall Group had an extended presence and showcased solutions from its LD Systems and Cameo brands and the latest installation solutions from Adam Hall Integrated Systems. Equipson exhibited its brands Fantek and Lightshark, returning to the show for the first time since 2015, while KV2 Audio and RCF both hired rooms to provide demonstrations of their product portfolios. www.plasashow.com
Jonathan Brett, Leon Fallon, Jakub Rozboril, Tim James and Milan Koloušek of TAF.
precision that inspires
Free Chapel Church in Gainsville, GA needed a highperformance loudspeaker system with superior coverage and clarity. Their full trust in EAW was demonstrated when they selected ADAPTive technologies and chose Anya enclosures for their speaker system.
All ADAPTive system capabilities, such as those found in Anya, are rooted in exceptional acoustic design, not an excessive use of DSP. By working with the laws of physics, the ADAPTive approach results in precise control of the vertical coverage, resulting in an even, natural sound for the entire audience. Whether for stadiums and arenas of any scale, concert halls, houses of worship, or smaller venues, ADAPTive technology puts you in control.
DWR DISTRIBUTION ENJOYS A SUCCESSFUL MINI-EXPO AT ITS FACILITY IN JOHANNESBURG
DWR Distribution hosted its very first mini-exhibition at its offices in late July with a themed event based on the 80s classic Back to the Future.
With the idea of creating an experience people would remember, industry professionals, system integrators and students were all able to network and meet with international suppliers in a relaxed, fun environment.
When DWR initially sent out invitations to suppliers to gauge interest, exhibitors quickly responded and the likes of Barco, Chainmaster, DiGiCo, Doughty, DSpecialists, Fenix Stage, L-Acoustics, Layher, MA Lighting, Neutrik Group, Prolyte, Quest Engineering, RCF, Robe, Sennheiser Electronic SA, Sharp NEC, Theatrixx, RAM Mountaineering, Special Industrial Suppliers, and Visual Productions all showcased their products and solutions over the two days.
A new recently-secured warehouse space which will form the new home for the DWR workshop and manufacturing was quickly transformed into a venue to host the expo, with visitors attending daily workshops, demonstrations and new equipment.
“Like a phoenix rising out of the ashes, we wanted to celebrate the live events industry coming back to life after the Covid-19 pandemic,” said Bruce Riley of DWR. “And Great Scott, what a time we had!”
While DWR had previously built stands at expos, they soon found out it was something quite different to host an entire event.
“The project became a team-building effort and it was just incredible
to watch everyone jump in and help,” said DWR’s Robert Izzett. “We built stands, and bars, and liaised with our fantastic suppliers who were incredible, and everything worked out well – thank you to everyone.”
The exhibition also coincided with the 50th birthday of DWR’s Duncan Riley, and the company was delighted to welcome musician Ross Learmonth to the stage, with Luis Almeida joining him.
“I was hoping we could create an event where people could get together again, and that’s exactly what happened,” said Duncan Riley.
“I was blown away by our international suppliers – and our local ones too – who joined us and were willing to be part of the expo. Somehow, this industry always feels more like a family!
“Thank you to everyone who joined us, and I also want to thank my team. The main project was led by Debbie Buchanan and Jade Manicom, and they were just remarkable. Every person played a pivotal role, and I can’t thank them enough.”
The international suppliers also praised the event, with Jeroen van Aalst from Robe commenting: “We met a lot of nice customers and friends, and we hope to continue our relationship for many more happy years.”
MA Lighting’s Bunty Raj, Technical Support Asia Pacific, added: “It was such a pleasure being part of such a great event. I love South Africa and would like to thank DWR for their hard work.”
www.dwrdistribution.co.za
FLEXIBLE, ENERGY-SAVING AND BUILT TO LAST
V600:4 is the first member of our new commercial power amplifier line. The four-channel amplifier with a total power of 600 watts is recommended for background music and announcements in small to mid-sized commercial installations. It is the perfect choice for everyone who is looking for an eco-friendly, robust and versatile amplifier that is quick to install and runs trouble-free. Dynacord’s latest amplifier technologies such as powerTANK and dualCOOL ensure flexible power usage and uninterrupted operation – even under demanding conditions.
Sophisticated protection circuitry, dualCOOL technology and PFC BUILT TO LAST
V600:4
Ultra-low power consumption by ecoRAIL and APD technologies
BOSE PROFESSIONAL
Existing as an independent company after being taken private by the Transom Capital Group in 2023, Bose Professional’s deepened focus and dedication towards the needs and desires of the pro-audiovisual market is evident, and the recent opening of an experience centre in London is a testament to that.
Bose Professional’s journey to independence was built on a 50-year legacy of attentiveness to dynamic customer demands, conscientious product research, and appreciation of all Bose Professional team members. These commitments have been – and will continue to be – maintained in the current and future phases of the company, which John Maier, CEO of Bose Professional, highlighted in conversation with MONDO-DR.
“Looking back at this past year that signaled Bose Professional’s transition to independence, it’s been a lot of work, but also a lot of fun!” Maier began. “We’ve had the luxury of starting out with Bose’s rich history and teams, but we have been able to get creative and start over on things like the processes and tools we will rely on. “We were able to realise our goal of being 100% independent by August 2024, after an almost year-long transition period,” he continued.
While many Bose team members from the original Pro division were brought over alongside the move, the change created opportunities for growth.
“This is just one example of how we’re taking the celebrated
culture of Bose and building onto it – we’ve already hired 60 new positions that work synergistically with the initial team, helping us get closer to the demands of the pro-av customer,” he confirmed. Another way in which Bose Professional is closing the gap between consumer and brand is through its building of multiple experience centres. Maier stated: “We’re opening around 12 facilities all over the world that allow people to see, and more importantly, hear our products. This is key in our move to independence, as all these venues are, and will be, targeted specifically to the professional audio-visual market. By developing these hubs, Bose Professional is investing in our customer relationships.”
Referred to by Maier as what will be “the flagship” experience centre, Bose Professional’s Boston, USA, headquarters is being developed, housing spaces including engineering labs, corporate offices, and even a legacy-celebrating museum.
Most recently, however, development was completed on another facility, an experience centre in London, which is just as integral to the Bose Professional business plan as the USA HQ.
Maier revealed: “Prior to the creation of this new London centre, we had a UK establishment that was far more remote. It wasn’t very conveniently located, and we couldn’t do everything that we wanted to with the place.
“We saw this as a great opportunity to grow; we found a space that’s in the heart of London and decided to make it into an experience centre, a training room, an office space, and a hospitality space where we can hold product launches, strengthen partnerships, and host key events.”
The location of the new centre proves its own appropriateness; the hotel next door is fitted with Bose systems, making it the perfect venue for clients to stay in after a visit to the facility. Looking to the future of Bose’s experience hubs, Maier noted the significance of fashioning a cohesive narrative across spaces. “In all of these venues, our message is that Bose Professional wants to bring ease and seamlessness to the process of integrating pro audio,” he commented.
“We will be there for the process of working with a customer to design a system, quoting the solution, getting it ordered, and then implementing, executing, installing, and operating the system,” he added. “Our assistance never stops; we will even be there if a replacement part, for example, is needed 10 years later. It’s not just the hardware we provide, it’s the whole offering.”
Bose Professional continues to concentrate on its presence as a go-to provider for the middle-market, consisting of hospitality, retail, restaurant, education, and house of worship venues. The company’s high visibility at trade shows has been one key factor in maintaining this reputation.
Maier said: “This year at ISE and InfoComm we launched six exciting products, including EdgeMax. This is a loudspeaker which sounds like a surface-mount loudspeaker, looks like an in-ceiling loudspeaker, and directs sound asymmetrically into spaces where traditional loudspeakers can’t go. The newest version of EdgeMax is a lower-profile product so that it can be integrated more easily into unique ceiling spaces and older buildings that may not aesthetically or physically fit a larger piece of equipment.”
Maier stated that this is a product that works well for middlemarket applications – for example, it is common for houses of worship to be more historic venues with complex structures.
“This is just one example of how we are listening to the customers and coming up with products that allow for easier, faster, and more cost-effective audio projects,” said Maier.
“As well as being a space for us to launch products like EdgeMax, trade shows are key to us as a brand; we want to be talking to the customers, looking at the trends in the market, understanding what’s happening with the competition, and bringing all that into our research, development, and decision-making processes.”
Reflecting on the year since Bose Professional announced that it was undertaking the process to become fully independent, Maier said: “We’ve had a record quarter, with a record month in June. The move has proven to be successful, as we now have 100% focus on our market, our industry, our channel, and our business, rather than being a small part of a large company.”
In the future, Bose Professional plans to continue to stay on top of the desires of the audio-visual industry. Maier commented:
“We want all integrators to know that we get it. We have the right products, we offer the right support, and we move fast.”
Adding onto this, Maier made it clear that market domination is not the only concern of Bose Professional, however. The company’s consistent success of the brand is largely thanks to the hard work of the people behind the brand.
“I can’t say enough about the team that we have and that we are building - they’ve all been amazing,” he said. “Our London experience centre recently had an opening event, where the tight relationships between the UK team and local integrators, consultants, and other professionals truly made the event a triumph.
“The wonderful people behind Bose Professional are so key to the business, and everyone’s tireless work meant we’ve met all our goals in the shift from being a division to a singular brand. Now we can all focus on – and enjoy running – the newly independent Bose Professional for years to come.”
www.boseprofessional.com
Left: Bose Professional CEO John Maier opens the new London experience centre.
TREBLE TECHNOLOGIES
IN THE CITY CENTRE OF REYKJAVÍK, ICELAND, STANDS THE HUB OF NEXT-GENERATION AUDIO SIMULATION. TREBLE TECHNOLOGIES, FOUNDED IN EARLY 2020 BY ACOUSTIC ENGINEERS, DR. FINNUR PIND AND JESPER PEDERSEN, IS NOT JUST A SOUND SOFTWARE OPERATION, IT IS A BY-PRODUCT OF DECADES OF EXPERIENCE AND EXPERTISE, RECOGNISING WHAT DESIGNERS, ARCHITECTS, AND ACOUSTICIANS NEED TO ACHIEVE THE BEST AUDIO POSSIBLE.
“The world could sound so much better than it does now,” began Pind. “At Treble, our mission is to provide the instruments needed to create a superior-sounding world.”
“As a failed rock star turned acoustician – the classic tale – I was very familiar with the digital tools targeted to the audio industry, and in turn, I understood what professionals wanted from such software,” he continued.
“I saw an excellent opportunity to address the issues that industry practitioners faced with acoustic design.”
Thus, the first product of Treble Technologies was born in 2023, a platform that allows users to simulate virtual prototypes of the space they are designing and address potential sound issues. This is a unique product, thanks to its cloud-based sound simulation and synthetic audio data generation platform. Pind added: “Consumers can use this program for anything concerning sound improvement.”
Identifying the three most common use cases he has observed and expects to continue to see for Treble’s first module, Pind explained: “Firstly, it’s being implemented within the building and venue industry, where architects, engineers, and consultants employ our technology to improve the sound environment in their establishments.”
“There’s also lots of utility in tech spaces. This includes consumer electronics, spatial audio, and extended reality technologies, where our tech is being employed to generate synthetic data that trains audio AI models like speech recognition, speech enhancement, and echo cancellation. Automotive designers also benefit from the program, as virtually prototyping the sound of a car assists in generating the best driver experience possible.
“Of course, there’s other simulation software on the market,” he continued. “However, we wanted to produce a new edition, based on what we’ve learnt from our thorough research and many years in the industry. In its creation, Treble wanted to centre efficiency, accuracy, and ease of use, so that more designers could feel the benefits of incorporating simulations in their work.”
When buildings or products fail to meet the necessary acoustic standards, adjustments can be time-consuming and costly. Treble wants to empower users to get the right sound from the first design.
Recently, the company has raised €11m in a Series A round. The round was led by KOMPAS VC, an early-stage VC firm focused on the built environment, with participation from Frumtak Ventures, the European Innovation Council (EIC) Fund, Omega Venture Partners, strategic partners St. Gobain, and L-Acoustics, as well as experienced angel investors. Importantly, many of these backers were also involved in a 2022 fund received by Treble; their continued interest makes it clear that the financers involved see a big future for the company. The investment will be used to expand the Treble team, enhance R&D efforts, forge new enterprise clients, and tap into new markets. “This new Series A funding marks a significant moment for us,” commented Pind. “This affirms our role as innovators within the audio space. Together with our partners and customers, we’re now set to expand our impact, bringing superior audio solutions to users everywhere as we develop the future of sound, helping develop more resonant spaces and deeper audio engagements.”
On the investment, Sebastian Peck, Partner, KOMPAS, added: “Our investment in Treble reflects our commitment to creating a built environment that is both healthy and sustainable. We firmly believe Treble is leading the way to a better-sounding world with its innovative technology which opens up a whole new way of prototyping and testing products. There is a very large addressable market and I’m excited to see Treble and their phenomenal team continue to make waves.”
Just around a year since its launch, Treble’s first module is being used by prestigious companies in the tech, architecture, audio, and automotive industries, among others. Pind envisions Treble Tech will continue to be used in diverse spaces, as he affirms: “We bring superior audio solutions to users everywhere.” www.treble.tech
Right: The Treble Technologies headquarters in Reykjavik Iceland, alongside its passionate team.
ADAPTIVE PRODUCTS AND ADAPTING PRODUCT DEPLOYMENT TO SUIT THE END USER’S NEEDS
Inesh Patel, Business Development Manager, Business
Communications
Sales
– UK & Nordics, Sennheiser, discusses the adaptability of the company’s TeamConnect and MobileConnect products, highlighting how they can be considered for a multitude of applications that they may not have been initially conceived for.
The Sennheiser TeamConnect Family has become a go-to portfolio to solve almost all the challenges faced in the world of audio-visual requirements. The beamforming technology used in our TeamConnect Ceiling (TCC) mics, as well as the quality of our KE10 capsules used in such mics, has allowed these solutions to be considered for far more applications than ever before. Traditionally, a beamforming ceiling mic was always considered to be a conferencing room solution, allowing the best capture of audio in a meeting room environment without having to clutter the tables with equipment. However, the broadcast quality audio reproduced from our TCC mics has now found its way into broadcast applications, such as interview scenarios, cooking demonstrations and more. The Sennheiser beamforming algorithm is unique, and this has allowed the TCC Family to be used in voice lift applications with great results. Customers have seen the benefit of not having to force presenters to wear a traditional microphone or handle technology they may not be familiar with. Instead, the presenter can be natural and free to move around as much as they like with no loss in reproduced audio from a completely hands-free microphone, either positioned up in the air, or mounted at low level pointing toward them like a stage monitor.
Coming back to the audio quality, these mics use the KE10 capsule which is found in many of Sennheiser’s other broadcast-quality microphones, so, providing you can make the beamforming functionality work for you, there is no reason you can’t use such mics for other uses, for example choirs, without loss of quality.
Another product that has transferred really well from its original designed target audience is MobileConnect. Since its redesign and relaunch in 2020, MobileConnect has been marketed toward higher education for assisted listening purposes. However, MobileConnect was always a simple way of sending high quality audio over Wi-Fi and making it accessible to users via their own smart device. Therefore, for venues with good Wi-Fi infrastructure, MobileConnect has found its way to being used not only in higher education and corporate meeting spaces, but also in theatres, cinemas, Houses of Worshop, museums and other visitor attractions. The application is not always focused on Assisted Listening; in theatres and cinemas, MobileConnect can be used to transmit audio description, as well as crew chatter channels. At sporting events, refereeing dialogue can be sent over MobileConnect, as well as live commentary for those in the
stadium wishing to listen to such audio feeds. In museums, MobileConnect can be used to stream exhibit audio for the visitor to listen to as they walk around. It can also be used as a live tour group tool, where the guide can transmit their speech over their mobile device to be received by the entire group. There is also an option for the group to ask questions through the same audio stream, and everyone in the group can hear the questions via MobileConnect. MobileConnect is also being used where large outdoor screens are showing content, such as films, where users can listen to the audio via the system, and it can be used at large conferences where it may be difficult to run around with Q&A mics. MobileConnect can also be considered, not only for assisted listening, but to encourage participants to use it to ask their questions when a Q&A starts. And where it may be difficult to set up a temporary PA system, MobileConnect can be used for everyone to hear the conference via their smart device and earphones, and then have the ability to use it to ask questions.
It is often a manufacturer’s vision to produce a product designed for a certain application, but in the hands of daily problem solvers such as AV consultants, system integrators
Above: MobileConnect in use.
and the AV/IT departments at end user venues, they can often find alternative methods to using products that differ from their intended purpose and, on a number of occasions, it has opened new doors for them to be used and marketed differently. MobileConnect is one such product, but equally TeamConnect ceiling mics, where the superior beamforming and capsule technology really lend themselves to not always having to be mounted in the ceiling. I have often advised clients that if the space is a challenging place to mount a TCC mic in the ceiling, they can consider mounting the mics on the wall or even turning the mic upside down and placing it centrally on a table. It will still work better and be more cost effectively then resorting to a quantity of wired/wireless mics around the room.
Just like its larger sibling TeamConnect Ceiling 2 (TCC 2), TeamConnect Ceiling Medium (TCC M) can also be used for camera triggering, voice lift and much more. TCC M benefits from some software and hardware updates that were not available when TCC 2 was developed, such as camera triggering data and Intelligent Noise Control, introduced at this year’s InfoComm in Las Vegas. Camera triggering has been tested and proven with joint installations with partners such as Q-SYS, Extron, Crestron, Aver, Canon, Lumens and others. Sennheiser products are designed for flexibility and compatibility beyond just our Control Cockpit software. With our commitment to seamless integration, our open API functionality allows for effective control and monitoring via the previously mentioned partners, as well as solutions such as those offered by Lightware, Utolagy, et al.
www.sennheiser.com
Above: The famous cabaret Moulin Rouge in Paris where people using Sennheiser MobileConnect can sit wherever they wish. “Offering a support solution for the hearingimpaired forms part of the legal obligations of a venue such as Moulin Rouge. We were looking for a system that both performed well and respected the site, since we couldn’t touch the décor of this listed auditorium,” said the venue’s Video and Sound director Bruno Ravary.
Photo : J. Habas
LOUDSPEAKER CONCEALMENT: WHY ARE WE HIDING?
Conventional loudspeaker systems need to have a direct route, in line of sight to the audiences, in order for sound to reach them. Traditionally, they would sit on the edge of the performance space, but what happens when there are no edges? When the stage completely envelops the audience, or when there is no stage at all and audiences are invited to roam around the experience? Where can designers place loudspeakers so they are not causing a visual obstruction or producing an uneven dispersion of sound?
“Modern performance styles blur the lines between proscenium-arch style performance spaces and more flexible, adaptable performance and experiences spaces,” said Hlatky.
“To achieve environments where audiences can fully lose themselves in the experience, it’s essential to hide the technology, especially the loudspeakers, so they don’t break up the visual experience,” he continued. “But to produce audio that is in line with a more immersive setup, or that covers large audiences, traditional methods would always have to opt for lots of small loudspeakers in support of a main, larger PA system.”
HOLOPLOT Matrix Array systems can work with the acoustics of a building, extending the possible hanging positions because of their ability to control sound over long distances, at height, and through obstructive surfaces such as projection and LED panels.
“When an application must work with the fabric of the building, HOLOPLOT systems can be placed where traditional loudspeakers would struggle,” Hlatky noted. “The ability to control sound in the horizontal and vertical planes ensures that X1 is capable of delivering excellent clarity and intelligibility from vast distances.
“An example of this is the system in Cairo’s Masjid Misr Mosque, which delivers excellent intelligibility, even though some of the arrays are positioned 23m in the air, behind a perforated metal screen, and surrounded by highly reflective marble!”
The physics of sound waves dictates that once you place a loudspeaker behind an object, or cover it with a sheet of material to disguise it, some of the waves cannot pass through it.
This is because waves are different in size and intensity, so while a large, low-end, powerful sound wave will have little problem passing through, high frequency, small and directional top end sounds will get reduced and either no longer be audible or be muffled and distorted.
One purpose-built venue that is creating a fully immersive visual environment while concealing loudspeaker technology is Sphere in Las Vegas, where the Sphere Immersive Sound system, powered by HOLOPLOT, is completely hidden behind its 160,000 sq ft interior LED display plane.
Any audio transmission losses are fully compensated for by HOLOPLOT’s
Visual technological advancements have moved at lightning speed over the past decade, leaving audio technology far behind. The traditional loudspeaker systems that audiences recognise was developed over 30 years ago, so why is the sound industry so far behind and what are manufacturers doing to close the gap? Michael Hlatky, Head of Engineering at HOLOPLOT, explains how advances in sound control are giving designers imagination stretching tools to push the boundaries of what is technically possible – tools that enable them to create unforgettable experiences for audiences and visitors, regardless of a venue’s configuration.
Below : The Sphere Immersive Sound system, powered by HOLOPLOT, is completely hidden behind a 160,000 sq ft interior LED display plane. Photo courtesy of Sphere Entertainment.
algorithms in the optimisation engine, resulting in clear, full-range sound with virtually no coloration and an unobstructed visual LED surface.
“The emerging technological solution is twofold and involves video and audio,” says Hlatky. “LED screen manufacturers have developed screens that are getting closer to acoustic transparency across the entire screen. At Sphere, there are small holes between the LEDs on each panel, akin to a sieve. This gives it a certain amount of acoustic transparency, but is not obvious to the eye at a distance.”
“This may allow traditional loudspeakers to sit behind the screen, enabling localised sound, but doesn’t address the need for a larger PA capable of providing audio for the whole room. Processing such as EQ to correct for frequencies that can’t pass through will always be required. Even the fine fabric of a projection screen affects audio from a traditional loudspeaker as it passes through. Our Matrix Array system allows sound to move through LED screens like these, or any acoustically transparent screen, while delivering clear sound, thanks to the powerful software that drives it.”
Each HOLOPLOT Matrix Array Audio Module consists of many small drivers all aligned in the vertical plane. That’s 96 and 80 for the two available X1 products, the MD96 and MD80-S, and 30 for the X2 MD30. This design keeps all the drivers at a constant distance and angle relative to the screen they are placed behind. As a result, the transmission loss in one direction is the same for all drivers, allowing uniform compensation across the array.
HOLOPLOT’s compensatory algorithms can counteract, as much as possible, whatever acoustic obstruction the screen induces. The software not only controls direction but also can correct the angle-dependent and frequencydependent transmission loss created by the LED screen. The effects are similar to a directional-dependent spatial EQ and ensure the characteristic clarity of X1 is unaffected by disguising the array or placing it high above traditional hanging heights. The effects of the transmission losses are then addressed by HOLOPLOT’s 3D Audio-Beamforming technology.
“By applying this software and hardware expertise, we have developed a loudspeaker system that is unique in terms of control and dynamic,” said Hlatky. “It is the relationship between these two components that makes us so successful at delivering powerful immersive experiences. Sound can come from all around but also singular pinpoints.
“It’s the perfect tool for creatives to start designing without the constraints of having to account for loudspeaker positions. In addition, our systems are adaptable and once designed, can be permanently installed without the need to move the arrays if the performance changes, thanks to the power of the software controls. We believe it is the future of immersive experiences.” www.holoplot.com
PRODUCT GUIDE: TRUSSING, STAGING & RIGGING
SPONSORED BY
TSG Drop Ladders
TSG Drop Ladders are part of the TSG Touring range. They are a modular and flexible system for hanging fixture positions over an 8m vertical length which all packs down into a flexible dolly system capable of carrying all the items for the range and a full complement of accessories.
Key points:
Drop Ladders
• 2m long with an easy yet ridged joining system.
• Each ladder includes two fully adjustable bars for attaching fixtures.
• Ladders can take any number of adjustable bars, within reason.
• Capable of having differing suspension methods i.e., eyebolts or scaff clamps.
• Ladders are open ended to afford maximum space for hanging fixtures.
Dolly
• Allows for multiple ladders, with or without fixtures to be stored.
• Specific and easy storage point for all accessories.
• Bottom trays for any loose items.
• Can flat pack for storage.
• Adjustable side rails for different support points during transit.
• Robust 125mm dia castors.
All items are powder coated black as standard. In addition, the TSG Drop Ladders are compatible with other items in the TSG Touring range, for example the TML Tuss MultiPurpose wheel board, providing a flexible system for your various touring needs. www.trussing.com
ALUTRUSS ROAD Truss Series
The ROAD truss series from ALUTRUSS has been specially developed for demanding use on tour: the 4-point trusses combine robustness with flexibility, making them the ideal companions for roadshows and tours.
The ROAD series is characterised by the robust alloy AW-6082 that can withstand the harsh conditions of a tour and does not lose quality and stability even when frequently assembled and disassembled. This heavy-duty alloy ensures that the trusses retain their reliability even on the road.
In addition to the robust alloy, the ROAD series is coated with a particularly hard-wearing black powder coating, which ensures durability and visual integrity. This protective coating not only withstands the challenges of daily assembly and disassembly but also protects against the effects of weather and wear and tear.
Besides trusses in nine different lengths, the ROAD series also includes 2-way and 3-way corners as well as universal crosspieces and end plates. Thanks to the wide selection, the trusses can be used flexibly for superstructures in a wide range of sizes. www.alutruss.com
CHAINMASTER
D8Plus 500kg Ultra
CHAINMASTER’s Ultra series with load capacity ranges from 250 to 2,000kg. Particularly noteworthy is the D8Plus 500kg Ultra; the product has a compact design, low dead weight of 17kg (body), and fulfils the applicable safety requirements.
Other standard features of the entire Ultra series include:
- The FlipBag chain storage works in both climbing and stationary positions and guarantees a long service life thanks to the high-quality material.
- An environmentally friendly water-based paint finish and a matt surface in the colour JetBlack.
- An original EU DAT chain according to EN818-7 in a black-grey matt finish. chainmaster.de
Broadweigh Load Cell System
The Broadweigh Load Cell System is a wireless solution designed for precise load monitoring in static and touring entertainment applications. Engineered and manufactured in the UK, the system comprises 3.25T, 4.75T, and 9.00T capacity load shackles which offer reliable data transmission. Each load shackle is IP67 rated and features an accurate custom stainless-steel load pin and bow with a black finish. The wireless capability is powered by AA batteries and features a sleep function for long battery life. The accompanying free software offers a user-friendly interface for data logging, analysis and real-time load monitoring. There are visual and audible alarm functions and data can be uploaded to the cloud using the Broadweigh Sensorspace gateway. Broadweigh Load Cell Systems are mainly used in the entertainment industry for rigging, stage management, installation, and touring productions in temporary and permanent structures. Broadweigh enables venues to log exact weights on rigging points and designers to develop tours and installations. www.broadweigh.com
DuraTruss DT 34/3 Flex Tower
The Flex Tower from the DuraTruss delivery program is an easily transportable truss tower to which all accessories are connected. The supplied basic block with its 1.5m can be expanded to a maximum height of 6.5m using the optionally available traverses (e.g. 2 by 2.5m DT 34/3).
The system has a load capacity of 500kg and is equipped with a robust manual Columbus McKinnon winch. This meets the strict requirements of the German BGV-C1 regulation. Made from high-quality aluminium tubes with 50mm diameter, it is easy to transport (wheelbarrow principle), low weight, and space-saving for transportation. eu.duratruss.com
GUIL’s ULK 600XL Lifting Tower is designed for maximum elevation from a minimum stowed height, only 163cm tall when stowed, able to fit vertically in a lorry or a van. It can lift loads of up to 350kg to a height of 6m – a good performance for such a compact tower. It is equipped with a double-handled auto-brake winch which makes lifting quicker and easier. Fitted with eight wheels for vertical, reclining, or horizontal transportation, this compact tower is easy to move and transport.
The ULK 600XL tower has three different safety systems: an ASB System (Automatic Safety Blocking), an IPB system (Internal Pendulum Brake), and the auto-brake winch. The tower’s unique MSU mast unblocking mechanism allows it to be stowed even when the ASB system has blocked the mast. In addition, the double internal guidewheel system keeps inclination to the minimum when in use. guil.es/en
A Harlequin Hi-Shine floor is a good choice for any occasion. Harlequin Hi-Shine has a high gloss display surface which provides a reflective finish with scratch resistance. It is specified for loose-lay installation and rolls out easily on any flat, firm surface.
Harlequin Hi-Shine is widely used for TV and film production, concerts and tours, product launches, fashion shows, window displays, and exhibitions. It is the floor of choice for artists including Björk, Rihanna, Lady Gaga, Michael Bublé, Take That, Hugh Jackman, and Kylie, and has been used on numerous TV shows including The X-Factor and Britain’s Got Talent.
uk.harlequinfloors.com
Showgear Premium Clamps
Showgear’s clamp combination can be used to master a rigging setup. The Heavy-Duty Tent Clamp and Levelling Clamp work together to offer secure support and fixture alignment. The Heavy-Duty Tent Clamp attaches securely to any standard structure, providing a solid foundation for equipment up to 500kg. It features M10, M12, and M16 threads, ensuring compatibility with a wide range of rigging hardware. To ensure fixtures hang straight, the Levelling Clamp can be added, which is designed to compensate for angled truss or support structures. Ideal for moving heads, it eliminates the frustration of struggling with uncontrolled pan and tilt movements caused by improper positioning and offers flexibility by offsetting angles up to 45º. Crafted from high-grade materials, both clamps are built to withstand the rigours of the entertainment industry, providing safe, secure and reliable support for valuable equipment. www.highlite.com
The MLT THREE pre-rig truss completes the MLT pre-rig truss series. The MLT THREE has no closed head frame and is open at the bottom. This makes it easier to mount moving lights or video modules in the truss. In addition, the Dolly of the MLT THREE Pre-Rig Truss has extended telescopic legs that allow the user to mount complete video modules, including the hanging frame, in the truss and leave them in during transportation. A rail system is optionally available for the MLT THREE which makes mounting the units in the truss even easier: The rail system is a double rail system. This means that the units can be hung on two different levels and no lowering device is required. The rail system also allows the user to mount lighting equipment at the transitions between two trusses and to create seamless transitions between the video modules. The MLT pre-rig truss series consists of the MLT THREE, MLT TWO, MLT ONE, MLT ZERO, and MLT FRAME. www.h-of.de
MILOS Systems
M390 LED Truss
The MILOS M390 LED truss is a robust truss solution designed for modern event production and installations. The truss features a central 5th chord, to enable quick, simple and secure connection of LED walls and other lighting / display fixtures.
Constructed from high-quality aluminium, the M390 Truss offers safe, easy, and stable hanging of LED screens. The truss is available in standard lengths from 0.5m up to 5m and is directly compatible with MILOS Systems HD 390 System and multi-cubes. Available with 48 by 3mm main chords and 20 by 2mm diagonals, the truss has the capacity for most standard LED screen displays. A variety of powder coat colour finishes are also available on request. www.milossystems.com
TAIT TAIT Staging Systems
The TAIT Staging Systems, including TAIT Mag Deck and TAIT Rolling House Stage systems, are elevated platforms with fast deployment and have supports that can be assembled without specialised tools. This means that the systems are physically less strenuous to work with. Combining these benefits reduces show setup and load-out labour, both in terms of the number of people and the time to construct it, thereby achieving considerable cost reductions. For touring, Mag Deck also packs into trucks efficiently, reducing the number of vehicles required to tour each show, ensuring that this is a smart choice for budget and sustainabilityconscious show producers. Some of these benefits are achieved thanks to the magnetic alignment system after which Mag Deck is named, along with a plethora of other patented enhancements. The system has a wide range of leg options, for both rolling or static stages, and to create ramps, revolves, runways, and rails. www.taittowers.com
LITEC Backbone Frame Indoor System
The new LITEC Backbone Frame Indoor System is a solution tailored to support LED walls inside a variety of venues, conference halls, shops, entertainment establishments, exhibitions, and events.
LITEC offers a versatile support solution with the Backbone Frame Indoor System with its robust aluminium construction. A variety of heights and profiles can be achieved depending on the LITEC truss and the type of LED panels used. www.litectruss.com
VMB Prolifts
TE-034
The TE-034 is the most compact lifting tower in VMB’s range. It is recommended for level, flat floors such as stages, terraces, and indoor applications. Designed to maintain a good balance between lightness and strength, weighing only 21kg, this lifter can load 125kg to a height of 3.8m. Easy to assemble and carry, it can fit in the boot of a car. It is composed of X steel profiles with resistant, anti-torsion steel cable and guided through reinforced pulleys. A wide range of accessories are available for this compact telescopic lifter. As with all VMB’s lifting towers, safety is guaranteed with ALS automatic locks, patented and exclusive to VMB Prolifts. prolifts.es
FOAM MACHINES, CANONS & FLUID
HYLITE LED LIGHTING LOTUS LAMP
For almost the past 75 years PAR Lamp Lights have been lighting up stages, churches, auditoriums, convention centers, and studios. The parabolic aluminised reflector, otherwise known as the PAR can, has been the light of choice for most of these applications. HyLite LED has created a replacement for the traditional PAR can lights with its Lotus Lamp.
The NexGen Lotus Lamp is available in 40W, 60W, and 100W options to replace 300W, 500W, and 1,000W incandescent and halogen lamps. The 100W Lotus Lamp is the world’s only triac dimmable LED lamp.
The proprietary and patented diecast heat-sink design provides excellent thermal management and heat dissipation.
The IP-65 design provides complete ingress protection against contact, dust infiltration, and water splashes. It has an ultra-long rated life of up to 60,000 hours, offers years of reliable performance for the lowest total cost of ownership. The Lotus Lamps have an extremely efficient 140 lumens per watt, which provides greater energy savings.
The Lotus Lamp is versatile and adjustable. Its E39 mogul base and 180° adjustable bracket can be used in multiple positions, adjustable lengths to suit tight spaces, and various angles for directional lighting. The Lotus Lamp also easily fits into existing PAR cans which makes retrofitting easy – no need to replace traditional fixtures, simply plug in an play. The 40W and 60W Lotus Lamp retrofits into the PAR56 Can. The 100W Lotus Lamp retrofits into the PAR64 Can.
When mounting the Lotus into the PAR Can, the most common method is installing from the rear side. After opening the rear door of the PAR
can the Lotus LED Lamp will slide into the can and lock down on the clips inside. Some of the PAR cans have a screw mount that will further secure the lamp in-place.
The NexGen Lotus Lamp is available in multiple beam angles, 25°, 40°, and 120°, for greater light control and ideal light distribution. It enhances vision for better optical acuity, reduces light pollution, and provides clean, crisp light. The Lotus Lamp comes in two colour temperature options – 3,000K and 5,000K – creating a well-balanced and enjoyable environment. The Lotus Lamp offers an unprecedented level of light output, efficiency, and energy savings that is unmatched in the industry today. The HyLite Lotus Lamp is an excellent choice for high ceiling applications due to its exceptional performance and design features. With its high lumen output and energy efficiency, the Lotus lamp ensures bright and effective illumination across expansive areas, making it ideal for spaces with elevated ceilings. Its long lifespan reduces the need for frequent replacements and maintenance, which is particularly advantageous for hard-to-reach installations.
All the Lotus Lamps are DLC listed and are eligible for utility rebates, providing greater savings from your energy provider. In the realm of high-performance lighting, the HyLite Lotus lamp stands out as a cutting-edge solution designed to meet the diverse needs of modern lighting applications and combines advanced technology with innovative design to deliver superior illumination, efficiency, and sustainability. www.hyliteledlighting.com
BLAZE AUDIO
POWERZONE CONNECT
8-CHANNEL POWER AMPLIFIERS
Consisting of four models— the Blaze Audio PowerZone Connect 508, 1008, 4008, and 6008 are powered by Pascal UMAC Class-D technology, delivering unparalleled reliability and efficiency, along with exceptional system configuration. Available in 1RU (PowerZone Connect 508 / 1008) and 2RU (PowerZone Connect 4008 / 6008) form factors, these 8-channel amplifiers can power both conventional low-impedance (508 and 1008: 4Ω to 16Ω / 4008 and 6008: 2Ω to 16Ω) loudspeakers and constant voltage (70V/100V) transformer-coupled loudspeakers. Further, they feature automatic power-sharing technology for proportional distribution in both Lo-Z and Hi-Z modes. All models also incorporate Blaze Audio’s versatile DSP web app controller, PowerZone Control, for intuitive system setup. The PowerZone Connect 8- channel amplifiers range from total power of 500W to 6000W, with the PowerZone Connect 4008 and 6008 exceeding 3000W—making these two amplifiers the first Blaze Audio models to reach this power rating.
All four Blaze Audio PowerZone Connect 8-channel amplifier models share a rich feature set—making them ideally suited for a wide range of installations. These amplifiers offer eight balanced Euroblock inputs and eight unbalanced RCA Phono inputs. They also include S/PDIF digital audio I/O with routing that can be configured via the PowerZone Control web app, a configurable GPIO (General Purpose I/O), along with 8 configurable loudspeaker outputs that utilise Euroblock connectors. Like all other models in Blaze Audio’s PowerZone Connect amplifier family, the four new PowerZone Connect 8-channel amplifiers include support for Blaze Audio’s PowerZone Control web app. PowerZone Control facilitates effortless customisation of even the most challenging audio/voice systems and provides adept management of multiple DSP configurations. This includes multi-zone setup, input mixing, priority and ducking, input and output EQ, S/PDIF output routing, high-pass filter, loudspeaker management and presets, delay, and more – making it ideally suited to the demanding requirements of advanced system installations such as retail stores, restaurants, hotels, educational facilities, theatres, bars, cafes, fitness and sports venues, hospitality spaces, and facilities with multiple meeting/conference rooms. www.blaze-audio.com
1. Eliminator Lighting Stryker Max
The new Stryker Max from Eliminator Lighting is a moving head fixture which maximises creative potential. Compact yet powerful, it can be used to generate a vibrant color wash, piercing beam, or eye-catching visual effect and its versatility makes it ideal for both mobile event production and permanent installation in bars, clubs, and other entertainment venues as well as houses of worship, museums and themed attractions. The Stryker Max is the latest addition to Eliminator’s Stryker Series of potent, feature-packed and affordable moving heads, and harnesses the power of six 40W 4-in-1 quad color RGBW LEDs. The output from the LEDs is focused through a lens assembly which allows variable zoom between a narrow 4° beam and a wide 55° wash. In addition, the lens assembly offers bidirectional rotation, allowing the creation of kaleidoscopic multi-beam effects. www.adj.com
2. Christie Jazz Series 1DLP laser projectors
Christie has launched the Jazz Series, a new range of next-generation 1DLP laser projectors that offer exceptional performance without a premium price tag. The first two models announced – the DWU2400-JS and DWU1800JS – both feature WUXGA resolution in a lightweight, compact form factor, delivering 23,750 and 17,800 lumens respectively. Christie Jazz Series includes advanced electronics, featuring Texas Instrument’s 0.8 HEP (High Efficiency Pixel) DMD for improved colour and contrast and a more efficient cooling system design. Jazz Series projectors deliver high brightness in a manageable and compact chassis, weighing 29.4 kg. (64.8 lbs.), which makes the projectors 41% lighter than WUXGA projectors in the same brightness class that use a 0.96 DMD. www.christiedigital.com
3. Claypaky
Volero Cube
The Volero Cube is a compact IP66 fixture which can merge beam, wash, and strobe effects and can be configured to create stunning and dynamic lighting elements, either as single units or in multiples for complex arrangements. This new, multi-function, multi-effect moving head is a ‘4-in-1 fusion fixture’ which boasts four powerful 60W RGBW LEDs and plus-shaped cool white LED strips for strobe that can be pixel-to-pixel controlled to allow for blending different levels of effects and unleashing creativity like never before. Multiple single units can be easily connected to cater to any creative geometric solutions, as the Volero Cube is a fixture like no other in Claypaky’s portfolio, and the first of a new series of compact, powerful, and versatile moving heads. www.claypaky.com
4. Radio Design Labs (RDL)
SF-NP100A
The SF-NP100A is an audio power amplifier that receives four Dante (or AES67) network audio channels. It converts one of the Dante channels to a 70 V or 100 V constant voltage amplified output. The output provides 100 watts for a network digital audio level of 0 dBFS. The other three Dante audio channels are converted to RDL Format-A to feed additional amplifiers or other Format-A receivers. Input gain is set by the installer using a rear-panel singleturn potentiometer with an associated dual-LED VU meter calibrated to 10 dB below maximum power output. The SF-NP100A is equipped with an internal VCA for setting the amplifier output level, and is constructed in a durable, professional all-metal enclosure suitable for free-standing, surface-mounted or rack-mounted operation. www.rdlnet.com
INCREDIBLE PERFORMANCE,
The MAC Aura XIP is a premium moving head wash light that features a radical aura filament effect. The XIP represents Martin's latest addition to the MAC Aura family of workhorse wash lights and the first product in the market to be rated for outdoor use, with close to zero compromises in weight, size, aesthetics, and noise levels. It raises the bar for optical quality, featuring an even wash field with soft edges, minimal stray light, high intensity mid-air beams and next-generation light engine control.
