MONDO-DR 35-2

JANUARY / FEBRUARY 2025

AQUASCOPE

PLAZA HOTEL MOVING HEADS

ENGINEERED FOR IMPACT.

VERGENCE GROUP IS EXPANDING

A revolution in sound engineering to deliver unparalleled fidelity and power. Now offering fully self-powered sound solutions, with redundant daisy-chainable AVB/Milan connectivity, digitally controlled by ArrayIntelligence.

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MONDO-DR 35.2

JANUARY / FEBRUARY 2025

ON THE COVER

Les Abysses de Lumière at Aquascope, Poitiers. Image courtesy of Moment Factory.

EDITOR

Todd Staszko t.staszko@mondiale.co.uk

ASSISTANT EDITOR

Daisy Thorogood d.thorogood@mondiale.co.uk

ACCOUNT MANAGER

Cameron Crawford c.crawford@mondiale.co.uk

ACCOUNT MANAGER

Bethany Price b.price@mondiale.co.uk

MARKETING & EVENTS MANAGER Alice Clarke a.clarke@mondiale.co.uk

MARKETING & EVENTS ASSISTANT Charlie Moore c.moore@mondiale.co.uk

DESIGN & PRODUCTION

Mel Capper, Jez Reid, Dan Seaton

DIGITAL CONTENT MANAGER

James Robertson j.robertson@mondiale.co.uk

EDITORIAL DIRECTOR Peter Iantorno p.iantorno@mondiale.co.uk

CEO Justin Gawne j.gawne@mondiale.co.uk

FINANCE DIRECTOR Amanda Giles a.giles@mondiale.co.uk

CREDIT CONTROL ar@mondiale.co.uk

GROUP CHAIRMAN Damian Walsh

MONDIALE PUBLISHING

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FROM THE EDITOR...

Happy New Year from the MONDO-DR team, and welcome to another edition filled with engaging content covering a wide array of installs and updates. Late last year I travelled to Powersoft’s headquarters in Florence to speak to its founders and executive board members as the company celebrates its 30th anniversary in 2025, you can read the results of our conversations in The Big Interview on

In addition, there are eight features highlighting spectacular new installs from around the world. We take a deep dive into the technology at the heart of the immersive zone Les Abysses de Lumière at the indoor water park Aquascope in the heart of France newly opened Plaza Hotel in Sydney (page 84) is the city’s latest music and nightlife destination and features sound and lighting systems set to redefine the club experience down under.

Other highlights are a venue report focussing on the Retail & Leisure sector, company updates from L-Acoustics and DPA Microphones, profiles on WSDG and Broadweigh, and a product guide shining a light on moving heads. Looking ahead, the whole team is excited to attend ISE in Barcelona, and we are delighted to welcome Bethany to the team as our new Account Manager. Finally, don’t forget to enter your projects into the 2025 MONDO-DR Awards before the deadline of 24 March.

Enjoy the issue.

TODD STASZKO

EDITOR

mondo@mondiale.co.uk www.mondodr.com www.mondodrawards.com

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IN THIS ISSUE...

Plaza Hotel, Sydney. Photo: WS.Creative

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IN BRIEF

Dutch National Opera & Ballet choose Harlequin Liberty Switch®

Situated in the heart of Amsterdam, the theatre of the Dutch National Opera & Ballet offers a magnificent view of the River Amstel and the famous Magere Brug (Skinny Bridge).

The Dutch National Opera & Ballet has been a client of Harlequin for many years, choosing Harlequin solutions for its studios, auditorium, and for touring.

The venue decided it was time to upgrade the main stage by installing the Harlequin Liberty Switch, Harlequin’s multiuse flooring system. This solution is ideal for venues that regularly put on both dance and theatrical performances and so require both a sprung and a rigid floor, fitting for the Dutch National Opera & Ballet as the stage is used heavily for various productions and rehearsals.

Harlequin’s European installation team worked with the UK technical and installation teams to deliver what would be the first major Harlequin Liberty Switch installation on a main stage in the Eastern Hemisphere.

Joost Verlinden, Head of Stage at Dutch National Opera & Ballet, said: “There are a lot of benefits for us. First of all, the dancers still have a sprung floor which they can continue working on safely. For my technical team and crew, a big benefit is that it saves us a lot of physical work which reduces the chance of any back problems by putting all the panels in.”

Jamie Stirling, International Development Director at Harlequin, added: “It also enables them to free up storage space. The panels on their ballet wagon are stored up in the rigging but the rest of the panels were all on carts that needed to be kept in a designated storage area. As they now have Harlequin Liberty Switch, that storage can be used for other purposes.” www.harlequinfloors.com

IN BRIEF

Meyer Sound PANTHER offers a future-forward solution for ‘The Theatre’ at Toronto’s Great Canadian Casino Resort

The Great Canadian Casino Resort Toronto celebrated its grand opening weekend in May 2024, unveiling the first Meyer Sound PANTHER large-format linear line array loudspeaker system permanently installed in Canada.

Chosen for its power, rider-friendliness, and the continuity it offers between other Meyer Sound-equipped Great Canadian Entertainment (GCE) venues, PANTHER is a perfect fit for The Theatre. GCE’s previous experience with Meyer Sound, notably a LEOPARD compact linear line array loudspeaker rig at their Pickering Casino Resort, meant that Meyer Sound, and PANTHER, specifically, were in play from the very beginning of the project.

Ian Robertson of GerrAudio Distribution, Meyer Sound’s Canadian distributor, who worked with design consultant Nathan Haynes of AVIO Designs on the system design, said: “PANTHER was chosen for this project because of the size of the room and the requirement for high level fidelity and even coverage. PANTHER achieves what can be described as a ‘studio monitor’ experience, but at concert venue scale, and it is relatively small compared to its competitors — visually, very unassuming, very high performance, with more than enough headroom to accommodate any incoming act.”

The main hangs are comprised of eight PANTHER-L loudspeakers and four PANTHER-W loudspeakers. Low frequency support is provided by 22 Meyer Sound 900LFC compact low-frequency control elements — six flown beside, and five flown slightly behind the mains on each side. Coverage for the balcony is handled by two arrays of 12 LEOPARD loudspeakers hung from the high steel above the FOH mixing position.

“The main left/right hangs are only 12 boxes each, but they’re extremely loud and provide excellent coverage, whereas a more traditional solution probably would require 16 boxes, which would’ve been wider, heavier, longer, and deeper,” said Guy Wallace, Partner at Aligned Vision Group, who are GCE’s audio, video, and lighting partner, and integrators on this and the Pickering project. www.meyersound.com

Photo: Neal Burstyn, ntbCreative.

IN BRIEF

Daegu Concert House upgrades its communications with Riedel’s all-IP Artist-1024 matrix

The Daegu Concert House in South Korea has upgraded its communications systems with a shift to Riedel’s cuttingedge intercom technology. The installation by South Korean distributor Dasan SR features Riedel’s all-IP Artist-1024 matrix and Bolero wireless intercom systems. Together the solutions deliver clear, reliable communications, enhancing both production quality and operational efficiency throughout the concert hall.

“The Riedel intercom solution has transformed our communication capabilities,” said Mi Chu Cho, Director Sound/Stage, Arts Department at the Daegu Concert House.

“As an all-IP system, Riedel’s Artist-1024 is easy to configure and troubleshoot in real time, and it also provides superior audio quality and reliability. By eliminating coverage and performance issues, this upgrade to Artist and Bolero systems allows us to focus on delivering world-class performances rather than on our communications technology.”

The comprehensive installation includes the Artist-1024 matrix, which offers unparalleled density and flexibility with support for up to 1024 ports. Complementing this are two RSP-2318 and four DSP-2312 SmartPanels, which provide intuitive user interfaces via high-resolution, multitouch colour displays. The Bolero wireless intercom system, complete with eight antennas and 10 belt packs, ensures reliable communication and crystalclear voice transmission throughout the venue.  www.riedel.net

JANUARY

JAN 23-25

NAMM ANAHEIM, USA www.namm.org

FEBRUARY

FEB 04-07

FEB 24

FEB 24-27

ISE BARCELONA, SPAIN www.iseurope.org

TPI AWARDS LONDON, UK www.tpiawards.com

THE GET SHOW GUANGZHOU, CHINA www.getshow.com.cn

MARCH

MAR 05-08

USITT COLUMBUS, USA www.usitt.org

MAR 23-25

MUSIC INSIDE RIMINI RIMINI, ITALY www.musicinsiderimini.it

MAR 25-26

ISCVEx COVENTRY, UK https://iscve.org.uk

APRIL

APR 06-09

NAB LAS VEGAS, USA www.nabshow.com

APR 08-11

APR 16-18 APRIL

PROLIGHT AND SOUND FRANKFURT, GERMANY www.pls.messefrankfurt.com

INFOCOMM CHINA BEIJING, CHINA www.Infocomm-china.com

APR 16-17

EXPO SCENE MONTREAL, CANADA www.citt.org

APR 24

TPIMEA AWARDS DUBAI, UAE www.tpimeaawards.com

APR 30-1

MAY

MAY 13-14

SOUNDCHECK MEXICO CITY, MEXICO www.Soundcheckexpo.com.mx

PLASA FOCUS LEEDS, UK www.plasaleeds.com

MAY 13-15

INTEGRATE ME / CABSAT DUBAI, UAE www.integrateme.com

MAY 19-22

SHOWLIGHT DIJON, FRANCE https://www.showlight.org/

RETAIL & LEISURE

Technological enhancements made at shopping and recreation locations around the world.

Kingpins

COMPANY: Linea Research

LOCATION: Manchester, UK

The recently opened Kingpins in Manchester’s Arndale Centre from UK venue brand, Roxy Leisure, has opted for Linea Research amplifiers. Leeds-based Audioserv, the group’s audio supplier and integrator for over a decade, installed a zoned and distributed audio system, powered and intelligently controlled by a system of Linea Research amplification and Symmetrix.

Audioserv’s founder and MD, Pete Rollinson, explained that the audio for the new Kingpins followed a similar template to its sister brand venues across the UK, with distributed audio throughout the venue, from the front door to the furthest gaming area and on to the restrooms.

“Having worked on all of the Roxy and Kingpins sites so far, the brief for the audio generally stays very similar. There’s no stage, so there is no specific focus for the audio. Some areas will be louder than others, but it must be coherent and sound as good as possible within the spaces that we are working with,” he said.

The system for Kingpins Manchester comprised a mixture of 8-inch, 10-inch, and 12-inch mid-high loudspeakers supported by 12-inch, 15-inch, and 18-inch subwoofers in the main areas, with compact, wall-mounted, 4-inch loudspeakers covering the restrooms areas. To maximise floor space, but also crucially to assist with time alignment, all subs and loudspeakers are flown throughout the zoned venue.

For each loudspeaker used across the venues, Rollinson has created preset files that include crossover, EQ and limiting. He expanded: “DSP within the Linea Research amps mean they are easy to group. It’s simple to drag and drop the files into the DSP modules and group the modules, so I’m able to build the venue in the Symmetrix so that it’s simple for the venue to control.”

Rollinson continued: “Switching to Linea Research enabled us to halve the space needed for rack amps through the Roxy Leisure estate, whilst adding more channels of power. I simply introduced Matt and Ben Jones, Roxy Leisure’s founders, to our amp rack which was running so much more in a smaller space.”

“We have used Linea Research on so many of our installations now, and all of our rentals are Linea. The amplifiers provide so much functionality that challenges we once had to overcome in the past are now elegantly handled through standard operating procedures. Having comprehensive DSP available on every output means that there are no longer compromises about where DSP resources get used. If we need slightly different EQ or time alignment on one speaker’s amplifier channel in a line covering bowling lanes or batting cages, it’s not a problem.”

To conclude, Roxy Leisure’s Ben Jones said: “The quality and continuity of the audio in our venues is really important to us – it’s something our customers may not notice because it just works, and that means our customers are happy. We have Pete and Audioserv to thank for that and the excellent products he relies on for our venues.”

www.linea-research.com

Atomic Golf

COMPANY: Elation

LOCATION: Las Vegas, USA

Whether you’re a golf enthusiast or have never swung a club, Atomic Golf in Las Vegas promises a fun experience. Spanning four floors with over 100 high-tech golf bays and eight putting areas, Elation Lighting effects enhance the interactive entertainment experience.

Atomic Golf is located on a seven-acre site just north of the Las Vegas Strip. What sets it apart is its advanced lighting systems, which prominently feature Elation’s PROTEUS MAXIMUS profile luminaire, enhancing and supporting the venue’s party atmosphere.

Creative design solutions company, Coherent Design, handled lighting design on the project, with Ellen Kuklinski, Tonya Neely, and Jarrod Hetzer heading the team. Coherent designed the lighting for all frontof-house spaces, such as the driving and putting areas, and all other areas within the building, also encompassing lighting controls. Coherent collaborated with Simply Connected on the audio-visual design, low voltage, and access control.

Ellen Kuklinski, Director of Lighting Design at Coherent Design, stated: “Teamwork was pivotal in achieving Atomic Golf’s vision of a dynamic and interactive environment. We worked closely with Bobak Mostaghasi, CEO of Atomic Golf Las Vegas, whose vision and inspiration were key. Our design process was highly collaborative, involving back-and-forth discussions to refine the concept and ensure the lighting met the high expectations.”

Tonya Neely, Senior Lighting Designer at Coherent Design, said: “It was important for the owner that the facility stand apart from other similar driving ranges in town. The venue includes a variety of tech spaces, each with distinct lighting needs. Some have static white fixtures to ensure

they’re getting appropriate light levels, while others are colour-changing to support the fun atmosphere. In addition, there is dynamic lighting and interactivity in the driving range, so when a golfer hits a particular target, there is a lighting effect that is triggered.”

Coherent Design collaborated with 4Wall and selected the PROTEUS MAXIMUS fixtures after extensive mockups, determining they were the best solution for lighting the driving range and covering a substantial distance.

Neely emphasised: “The PROTEUS MAXIMUS fixtures are crucial in our design, providing moving lights with an adjustable beam, focus, and colour change, along with gobos and effects, all in an exterior-rated fixture. To find that in one fixture was great.”

The lighting control system, designed by Jarrod Hetzer, is comprised of several different control systems that all needed to be able to communicate with each other. Coherent Design worked closely with 4Wall’s team, led by Barbara Brennan and Will Witner, to deliver an overall system capable of this.

One project challenge was the tight timeline, requiring Coherent Design to ensure that any fixtures specified could be delivered and installed in time for the opening. Relation Lighting Agency (RLA), Elation’s sales representative in California, ensured that the lighting fixtures met the project’s stringent time requirements. Coherent also collaborated with 4Wall to ensure that the integration and entire theatrical lighting installation met the owner’s vision. “It was a team effort to make sure the entire project came to fruition,” Kuklinski concluded. www.elationlighting.com

Jones the Grocer

COMPANY: Wharfedale Pro

LOCATION: Heathrow, UK

With over 6.1 million holidaymakers passing through Heathrow Airport’s Terminal 2 every year, new dining destination Jones the Grocer has become a welcome addition. Uxbridge’s Middlesex Sound & Lighting deployed a sound solution to enhance the atmosphere, comprising Wharfedale Pro’s DP-4035F amplifier.

Jones the Grocer was looking for a complete system overhaul that was reliable and low maintenance. “We chose several brands that we knew would deliver sonic quality, ease of use, and reliability,” explained Toby Jones, AV designer at Middlesex Sound & Lighting. “It was our first time using products from Wharfedale Pro, and we were impressed by the brand. The amplifiers are affordable without compromising on quality.”

Mainly responsible for background music, the system at the Heathrow airport store is split into three zones, with Wharfedale Pro’s DP-4035F amplifier powering the entire audio set-up.

Jones continued: “The client was clear from the beginning about their budget. We knew that Wharfedale Pro’s products were extremely affordable, but we’d also heard about the premium quality. The amplifier was simple to set up, and we also liked that the supplied editing software gave a detailed overview of the entire system and DSP features.”

Jones concluded: “From this project forward we will start to spec Wharfedale Pro more, we were pleased with what the amplifiers delivered, and the client was also thrilled with the result.” www.wharfedalepro.com

Bowlo Bowling & Lounge

COMPANY: Highlite

LOCATION: Kerkrade, The Netherlands

After suffering fire damage last year, Bowlo Bowling & Lounge in Kerkrade, the Netherlands, has shifted gears and taken its customer experience to a whole new level. In a grand renovation, they have transformed the bowling alley and surrounding facilities into a modern leisure area with upgraded style and ambience, using products from the Highlite brands Showtec, Infinity, DAP, and Showgear.

The recent makeover, undertaken by Parkstad Support, has helped create a chic and modern atmosphere. To enhance the ambience of the bowling lanes, 14 colourful Showtec LED light bars are mounted in the ceiling, all controlled by an Infinity Chimp 100.G2 Tourpack DMX console, a Chimp Dongle for OnPC, and three Showtec TR-512 Pocket DMX recorders. Various accessories such as DAP DMX and power cables, Showtec DMX Mergers, Showtec Booster Pros, and Showgear Powersplitters complete the product list.

To provide sound at the seating tables, the front of the bowling alley, the pool table area, and the entrance, 13 DAP Xi-10 loudspeakers, four DAP Xi-6 loudspeakers, two CA-4500 DSP amplifiers, and a DAP Compact 9.2 9-channel 1U installation mixer were deployed. Furthermore, accessories such as DAP hanging brackets for Xi-6, Xi-10, and DAP speakers/ microphone cables were installed throughout the venue to provide clear sound. Finally, 30 Showgear PLB-3260A TV wall mounts were used to hang the TVs around the venue. www.highlite.com

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MAAP LaB Berlin

COMPANY: Genelec

LOCATION: Berlin, Germany

Located in the heart of Berlin, premium cycling apparel brand MAAP’s experiential retail space merges cutting-edge design with cycling culture. When the Berlin MAAP LaB opened, sound was recognised as a pivotal element in shaping the customer experience, and Genelec loudspeakers have been integral to the project’s success.

Matt Ward, MAAP LaB Amsterdam Manager, said: “Our LaB is a cultural touchpoint for the cycling community, a space that connects with Berlin’s dynamic spirit.” Ward has a long history as a music professional and led the effort to transform sound into a core element of the brand experience, working closely with Genelec and project integrator B.I.N.S.S Medientechnik GmbH.

“Sound is not just an accessory; it’s part of the DNA of the space,”

Ward explained. “We wanted an environment where sound feels organic and immersive – inviting customers to connect with the cycling culture we represent.”

The sound system required precision and adaptability. MAAP’s brief called for superior clarity at low volumes and the ability to increase the playback levels for events without compromising on quality –

Ward turned to Genelec. “I’ve trusted Genelec in my production work since 2008. Their reputation for accurate sound reproduction made them the obvious choice,” he shared.

For the Berlin LaB, seven Genelec 4430 Smart IP loudspeakers were selected. The 4430’s network compatibility offered flexible installation, requiring just a single CAT cable for audio, power, and management. “The simplicity of installation was a game-changer,” said Christoph Schlenther, sales manager at B.I.N.S.S Medientechnik GmbH. “Genelec allowed us to effortlessly integrate exceptional sound into the sleek, minimalist design of the space.”

Ward continued: “We needed a system that met our fidelity requirements and was easy for the LaB team to operate daily. The AUDAC NPW320 delivered this, enabling us to stream content via Bluetooth, sync with our in-house LED panel for events, and offer versatile input options for cultural and music events.”

The MAAP Berlin LaB features an open layout filled with highperformance cycling apparel, which naturally absorbs sound. This allowed B.I.N.S.S Medientechnik GmbH to forgo additional acoustic treatments. Instead, they meticulously tuned the loudspeakers to the space, achieving balanced sound levels and eliminating dead zones or harsh hotspots.

“The 4430s deliver remarkable fidelity,” Schlenther said. “They create an immersive experience without overwhelming the listener, which is crucial for retail. It ensures that customers feel at ease and encourages them to stay longer.”

The soundscapes at the Berlin LaB reflect both the city’s vibrant electronic music culture and MAAP’s brand identity — energetic yet refined. Ward said: “Feedback has been overwhelmingly positive. We’ve had customers tell us that the sound is what makes the space feel alive. That’s the ultimate compliment – it means the system is doing its job.”

The project exemplified the importance of collaboration. “Working with Genelec and B.I.N.S.S Medientechnik GmbH was seamless,” said Ward. “Their expertise ensured the system not only met but exceeded our expectations.” Schlenther added: “From the planning phase to fine-tuning, the teamwork was outstanding. The result is a sound system that complements the space perfectly, enhancing every aspect of the customer experience.”

www.genelec.com

Immersive experiences can transform the ordinary into something remarkable. They’re even more powerful when you have interactivity, engaging content, and Christie ® smart technology to power them.

experienceeverything is

VISIT US IN BOOTHS #3K500 & #3C400

Particles glowed under their feet, light explosions were triggered at the touch of their hands, and ripples followed their path. Any movement had a direct impact on the visuals generated around them and made them co-creators of the artwork they witnessed.

Marguerite Tricaud Creative Director, Théoriz

Culture Kings

COMPANY: HARMAN Professional Solutions

LOCATION: Auckland, New Zealand

To ensure positive customer experiences with immersive music, Avid Automation and JPRO recently collaborated to provide Culture Kings’ first retail store in New Zealand with a state-of-the-art HARMAN Professional distributed audio solution.

The brand places a high degree of importance on having a powerful music presence with great sound quality in their stores. To continue this trend and to ensure immersive customer experiences, Culture Kings’ new Auckland location required a top-notch PA system for live music performances and brand activations.

Culture Kings turned to AV integrators Avid Automation to install a system capable of delivering high-impact audio experiences throughout the store and on the live entertainment stage. Avid Automation created an impressive, distributed audio system for Culture Kings using JBL Professional speakers, Crown amplifiers, and BSS signal processors.

As the store is in a mall with adjacent tenancies – one of which is a movie cinema –it was imperative that the sound design not only provide exceptional sound coverage, but effective volume control, adhering to the sound limits set by the mall.

A respected acoustic consultancy was engaged by the client to ensure that all walls were acoustically treated, and floating walls were placed in front of structural walls to prevent audio leakage.

Avid Automation worked in conjunction with JBL Professional distributor JPRO to design an audio model within Ease to calculate speaker performance, speaker location and mounting angles to focus the audio energy within the retail space.

All speaker locations were coordinated with JPRO, which decreed that all wall-mounted speakers should be mounted to floating bracing that is not secured to the studs or joists, while Avid Automation fabricated a custom suspension system for the live performance area.

The integrators selected JBL Control28-1 loudspeakers for the main retail area. The versatile mounting options ensured that the sound was projected in the areas they were needed, assisting with the volume requirement of the venue.

The team also installed a Crown Drivecore CDI2600BL installation amplifier to power the JBL Control28-1 loudspeakers, ensuring consistent audio coverage in the retail area. Meanwhile, in the performance arena, the team installed JBL SRX 812P active loudspeakers and SRX818SP active subwoofers to power performances by DJs and guest artists.

Avid Automation devised a unique in-store SPL control solution for volume management using a BSS BLU-806 processor and a SoundEar noise monitor. The BLU-806 has fully configurable open architecture that allows the BSS processor to be integrated with the SoundEar and programmed so that if the volume goes above a preset volume limit, the BLU-806 will reduce the volume and continue to do so until the user lowers the incoming level. The team also installed BSS EC-8BV 8-Button controllers to further facilitate precise volume control of various zones.

Darian Sundar, Integrator, Avid Automation, said: “We are very happy to have been involved with this project in what essentially was a very basic sound system configuration, thanks to JBL’s purpose-built speakers that just work as they are intended. The real success and smarts of this project are based on how the BSS BLU-806 and SoundEar are integrated to perform volume reduction. The BSS open architecture platform makes virtually anything possible. The system has performed flawlessly.”

Amar Subash, VP & GM, HARMAN Professional Solutions of APAC, concluded: “It is great to see HARMAN brands craft an immersive audio experience solution for retail spaces. We extend our thanks to JPRO Ltd for their collaboration on this remarkable opportunity.” www.harman.com

Midtown Global Market

COMPANY: Key Digital LOCATION: Minneapolis, USA

Visitors to the new Midtown Global Market in Minneapolis experience a diverse food court designed to promote the economic, social, and cultural assets of the area, in celebration of the healthy foods, arts, crafts, and other aspects of its citizens’ diverse heritage. The 13 restaurants in the Midtown Global Market, part of the city’s Mercado Central development, represent many aspects of both the city and the world. Helping visitors find their way around this cultural cornucopia are video displays installed by Minnesota-based Innovative Sales Solutions. A pair of large navigation displays are joined by smaller displays that list menus and other information on the individual restaurants. The food may be diverse, but the information distribution is consistent, thanks to the deployment of a KD-MLV4x4Pro Processor Matrix from Key Digital.

“The space wanted to be able to advertise and do promotions to draw their customers to their locations, also pursuing added ROI on it by selling some of the space or advertising via a video wall,” explained John Peterson, VP Technology Sales at Innovative Sales Solutions.

Peterson says initially, the project called for a two by two video wall, but the integrator recommended an 86-inch display for greater impact, and it could be divided into quadrants. “The first thing I thought of, because they wanted to do the quads, was to use the KD-MLV4x4Pro, a multi-view tiling processor matrix with four HDMI inputs and four outputs,” he explained.

“I have three Android points for each zone, and I have a Loop TV for the fourth zone to fill it out, which it does perfectly. Then, out of that, we did video distribution to five different 65-inch displays throughout all the entranceways. They wanted to capture all the customers coming in with the same advertising, but they also wanted the same content playing at every entry point. That’s why we used the Key Digital KD-DA2x8G two by eight HDMI switcher/distribution amp feeding the provided HDBaseT RX receivers, so the monitors are all playing the exact same content that’s on the one Android content player.”

The Midtown Global Market is already having an impact on the city. And with a boost from the Key Digital technology, Peterson says the entire project has the potential to raise the standards for technology in similar venues. He concluded: “This is going to be a game changer in the sense that we are going to be more out there for the customer, not just in terms of showing what is here, but also guiding them through the facility, where you can go, where you can find your favourite product, your favourite food, what you can do, where the restrooms are, and what kind of a facility we have.” www.keydigital.com

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PowerBase Gym

COMPANY: Ecler

LOCATION: London, UK

PowerBase Gym, nestled within Loughborough University, has undergone an extensive upgrade, transforming the facility into one of the world’s largest strength and conditioning environments. Partnering with audiovisual integrator GVAV, and in collaboration with Audiologic and the on-site AV Team, the gym now showcases a comprehensive audio solution. The university has a longstanding relationship with Ecler, widely deploying their audio solutions across campus facilities, making it the natural choice for the PowerBase Gym installation. The University said that Ecler consistently strikes an ideal balance between performance and return on investment.

Ben Spurgeon, Technical Manager at Audiologic, led the design of the system. He commented: “Designing an audio solution for such an expansive space came with unique challenges, and acoustics played a crucial role in the meticulous planning process. Given the gym’s high ceilings, reflective surfaces, and limited mounting locations, the decision was made to implement a surface-mount distributed system.”

The installed system includes an Ecler HUB1616 Digital audio zoner, an Ecler eMPAGE digital paging station, 14 Ecler AUDEO 106 loudspeakers, and two pairs of Ecler IC6 speakers and Ecler eHSA amplifiers.

Aaron Turlington-Smith, AV Manager at Loughborough University, concluded: “We are delighted with the quality of the finished project, the

Sam’s Club

COMPANY: Christie

LOCATION: Mexico City, Mexico

A recent rollout saw 100 Sam’s Club stores deployed with Christie 1DLP Inspire Series laser projectors. This upgrade supports the chain’s ongoing digital transformation efforts that are aimed at enhancing the shopping experience for its customers. The installation is a key component of a plan to digitise the retailer’s advertising spaces through the implementation of various digital displays across its 100 locations in the country. These digital platforms include LED devices such as totems, screens, and posters, as well as a network of displays and projectors. The project’s design and development were entrusted to the agency FGL Asociados. “With these new in-store digital displays, brands can communicate their messages across multiple channels, boost sales, and add value to the customer’s shopping journey,” explained Francisco Gonzalez Legorreta from FGL Asociados. FGL Asociados selected Christie DWU760AiS laser projectors from the 1DLP Inspire Series, and 100 units were deployed in an equal number of Sam’s Club stores at various locations across Mexico. Convergint Mexico integrated the

audio upgrade at PowerBase Gym not only aligns with the University’s commitment to providing world-class facilities but also enhances the overall atmosphere for our athletes and fitness enthusiasts. The Ecler audio system ensures that every workout is accompanied by premium sound quality, further motivating and inspiring individuals to achieve their fitness goals.”

www.ecler.com

projectors, following a rigorous selection process in which Christie’s laser models emerged as the client’s preferred projection system. In each of the 100 Sam’s Club stores in Mexico, the Christie Inspire projector has been mounted on the ceiling, projecting visually engaging content and ads onto the floor.

Legorreta said: “The Christie Inspire projector was chosen for this project due to its combination of high performance and low maintenance at a competitive price. I would highlight its silent operation and omnidirectional installation capabilities.”

The Christie projectors are proving to be a key tool in this digital transformation project. Legorreta concluded: “The equipment’s ability to project crisp, vibrant images from the ceiling to the floor uniquely captures customers’ attention. Additionally, its flexibility and durability ensure optimal performance in the dynamic retail environment. Not to mention its high brightness level, which is essential in a setting with significant ambient light like retail.”

www.christiedigital.com

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Legacy Fitness

COMPANY: DAS Audio LOCATION: Florida, USA

Legacy Fitness, a chain of gyms, has expanded to include facilities in Fort Lauderdale, Pembroke Pines, Coral Gables, and Wynwood in Florida. Music is an integral part of the Legacy programs, and this is precisely why sound systems from DAS Audio were selected, which include models from the company’s ACTION-500 Series, ARTEC Series, and E11EVEN Sound by DAS Audio product line.

CEO and Founder of Legacy Fitness, Manning Sumner, explained why they chose DAS Audio: “As the person ultimately responsible for managing the operation, overseeing facility design, as well as managing customer service and all programs, it was important to me that each Legacy location has highquality sound systems to help motivate everyone throughout their workouts.

“This is precisely what led me to DAS Audio. Throughout 2022, we had systems deployed into each of our locations, and while there is some variation between each facility due to room size and other factors, one thing is consistent: great sound.”

The Wynwood facility also serves as Legacy’s headquarters. In addition to housing its gym facilities, there is Sumner’s office, staff administration offices, a conference room, a podcast room, a cold plunge facility, a sauna, and an IV Suite. In this location, the DAS Audio system includes eight ARTEC-310.96 enclosures, eight ARTEC-308 passive systems, and four ESBR18 subwoofers from the E11EVEN Sound by DAS Audio series. E11EVEN Sound EP-6K4 amplifiers power the system, with signal processing from BSS Audio completing the setup.

At Legacy’s Fort Lauderdale location, the DAS Audio equipment deployed includes six E11EVEN Sound by DAS Audio ES-10 loudspeakers and two ACTION-S18 subwoofers. Like the

Wynwood location, EP-6K4 amplifiers power the system, with signal processing from BSS Audio. Similar to the equipment setup deployed in Fort Lauderdale, the Legacy Pembroke Pines facility includes eight ES-10 loudspeakers and two ACTION-S18A subwoofers. Powering the loudspeakers are EP-6K4 amplifiers, while signal processing from BSS Audio completes the setup. Finally, at the Coral Gables Legacy facility, the DAS Audio setup includes six ARTEC-310.96 along with two ACTION-S18 subs, and EP-6K4 amplifiers again power the system.

When asked about the performance of the various DAS Audio sound systems, Sumner was very complimentary, “At each location, the one most important and consistent factor regarding the quality of sound is the clear, natural, and balanced performance.

In charge of the installation was Guillermo “Willy” Rodriguez, Owner of Willy-Tech Services of Miami, Florida. He was supported by DAS Audio’s John Fiorito, who designed, managed, and commissioned all Legacy Fit installations, and Geovanni Ortiz, DAS Audio’s Applications Engineer and certified Rational Acoustic SMAART engineer, who handled loudspeaker optimisation in each location, as well as Santiago Ruiz, certified BSS Audio programmer.

Sumner was equally complimentary regarding the service and support he received from DAS Audio throughout the installation of the various sound systems.

“From the initial demonstrations through the final installations, the entire team was a pleasure to deal with. Like myself, both our staff and customers are very pleased with the results,”

Sumner concluded.

www.dasaudio.com

Gallery Bouldering

COMPANY: Optimal Audio

LOCATION: Oxford, UK

Leisure venue Gallery Bouldering turned to Optimal Audio’s commercial audio ecosystem to meet its various needs from morning into night. Gallery Bouldering offers a peak experience for its customers, including a bouldering wall, a gym space, and an event space. Favouring background music during the day, of differing intensities by zone, there was a requirement for the audio to support the big screen action during major sporting events.

Optimal Audio’s UK distributor, Audio Technica, designed and installed a system to be in tune with the space, whatever the day held. Controlling the full venue system is an Optimal Audio Zone 8 audio controller with DSP and Optimal Audio’s cross-platform WebApp. From here, the venue staff access or set up presets and routines or make one-off changes across any or all of the zones. By automating the audio with daily routines and standard presets, the staff in the busy venue have one less thing to think about. Through the activity zones of

the bouldering wall and the gym, Optimal Audio Up 6 two-way ceiling speakers provide high-quality audio without taking any of the valuable wall space. In these zones, a total of four Optimal Audio Cuboid 5 loudspeakers are wall-mounted to provide support for the 18 units. Providing the extra energy for big sporting events, two Optimal Audio Cuboid 8 two-way loudspeakers are positioned on either side of the –usually tucked away – projection screen. The full system is powered by a total of three amplifiers, two of which are the SmartAmp30 and one SmartAmp20, both featuring DSP to add extra speed and simplicity to the installation. Gallery Owner, Jamie Wakeham, is pleased with the final installation. He said: “I am delighted with the sound quality of the Optimal Audio system. I’m hard to impress, and this is genuinely good. The 100V line speakers have good sparkle and clarity, and the Cuboid 8s add the right amount of heft without ever getting in the way.” www.optimal-audio.co.uk

END

COMPANY: Audio Pro Business

LOCATION: Manchester, UK

END is a popular fashion, sneaker and design destination with busy retail stores in Newcastle, London, Glasgow, and Milan. The brand recently opened a flagship store in Manchester, with an audio system designed, installed, and commissioned by Blaydon Communications.

Requiring an audio solution that fitted END’s distinctive brand aesthetics, Blaydon specified a speaker system from Audio Pro Business (APB) that, in Blaydon MD Paul Dougherty’s words, “sounded superb, looked even better and would help create an in-store ambience to encourage customers to stay longer.”

The APB system included 12 SP-1 wireless speakers, nine SP-3 bass reflex speakers, four subs, and two SPW-5 ceiling/wall-mount speakers, all installed on END’s existing lighting track, enabling fast, cable-free installation. The entire system was specified in white – including transmitters and volume controls – to match the clean, modern END styling in store.

“APB provides a way to achieve simple zoning without installing any cabling,” said Dougherty, “The store had a lighting track installation that was compatible with the APB brand, making installation of the entire system extremely quick and painless. In addition, retail spaces are often dynamic and regularly change in layout – with the APB products, the sound system can be just as dynamic as the retail space, allowing loudspeakers to be easily moved or added to as required.”

www.audiopro.com

Systems integrator, NoiseBoys Technologies Ltd., installed a trio of APEX CloudPower amplifiers as part of a recent audio and lighting refresh for the ice rink at Spectrum Leisure Complex in Guildford, United Kingdom.

The Olympic-sized ice rink is home to Guildford Flames, a professional team in the Elite Ice Hockey League. Among the project requirements were the need to provide high-quality audio throughout the acoustically challenging space, and to extend audio coverage to spectator stands. The installation involved the removal of three pairs of old, centrally located speakers hanging above the ice. These bulky cabinets were replaced by 22 FBT Shadow 108CT loudspeakers distributed throughout the space, supported by six Shadow 114S-T subwoofers, enabling even coverage of the rink and adjacent stands.

Amplification is provided by a trio of APEX CloudPower CP1504 amplifiers. NoiseBoys made extensive use of the CloudPower amplifiers’ integral equalisers and other DSP tools to mitigate the inevitable reverberations encountered in an environment with many hard surfaces. Each of the new amplifiers occupies a single rack unit, freeing up valuable space in a control room which previously housed a rack full

Spectrum Leisure Complex

COMPANY: APEX

LOCATION: Guilford, UK

of older analogue amps. Both the loudspeakers and amplifiers were supplied by distributor, FBT Audio (UK) Ltd.

“CloudPower gave us all the tools we needed at a sensible cost,” explained NoiseBoys Technologies Director, Phill Beynon. “With the time constraints we were working under, it was great being able to use the IntelliCloud software to tweak the amplifier EQ and level settings from the ice or in the stands, without wasting time climbing all the way up to the amp room each time. The APEX team was also refreshingly approachable and happy to discuss the project with us.”

The new system has been designed for the intelligibility of everyday announcements and commentary, and also comfortably delivers the higher SPL needed for disco nights and special events. As different uses of the facility require sound reinforcement in discreet areas, NoiseBoys created a custom browser-based interface that allows the ice rink staff to switch between events that require audio on the ice only, in the stands only, or throughout the whole venue.

www.apex-audio.be www.fbtaudio.co.uk

Holt Renfrew

COMPANY: 1 SOUND

LOCATION: Toronto, Canada

Holt Renfrew, the luxury retail department store, recently unveiled ON 3, a newly renovated shopping floor in its flagship Downtown Toronto location.

To create an immersive shopping experience, Holt Renfrew partnered with installer GAV MGMT to design the audiovisual elements needed to support store events, activations, and conferences with special guests. The goal was to have an integrated audio system that not only enhanced the luxury atmosphere but also accommodated their diverse event needs. GAV MGMT chose 1 SOUND’s Cannon C5s for this distributed audio system. Working hand in hand with their client, GAV MGMT asked 1 SOUND for a discreet mounting solution for the Cannon loudspeakers. In response, 1 SOUND created its Swivel Mount, an invisible mounting solution for the Cannon Series that allows for horizontal and vertical aiming. Holt Renfrew was pleased that GAV provided a fully integrated discreet system. Jonathon Duquette, Technical Director, GAV MGMT, explained: “The Cannons in the space are outstanding. We can walk and

talk throughout the space without feeling like we are talking over the music, yet the music remains present and intimate in the space.”

Wanting to create extra audio impact in the space, GAV MGMT implemented 1 SOUND’s WSUB45 subwoofers. These were hidden in the ceiling and mounted using the WSUB45 C-Clamp accessory. The audio was powered by Powersoft’s T304 and T604 amplifiers. 1 SOUND supported GAV MGMT in the final system optimisation for this venue. This design created consistent sound distribution throughout the entire floor. In addition to the audio setup, GAV MGMT installed an LED wall that ties into the space, acting as a visual support for events.

Ralph Roach, DVP and General Manager of Holt Renfrew Bloor Street, said: “Everyone in the store is excited to showcase the new space and welcome our customers to experience ON 3. We are confident that our customers are going to fall in love with the new experience we have cultivated.” www.1-sound.com

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Luca Lastrucci, CEO, Claudio Lastrucci, R&D Director, Antonio Peruch, Cost Assessment & Production Engineering Director, Luca Giorgi, Sales Director

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Big Interview: Powersoft

As Powersoft celebrates its 30-year anniversary in 2025, Todd Staszko sits down with its three founders and executive board members to discuss the past, present, and future of one of the pro audio industry’s most innovative and forwardthinking companies.

The journey of Powersoft began long before the brothers Luca and Claudio Lastrucci and Antonio Peruch officially started the company in 1995. The trio shared mutual passions for music, performance, and audio reproduction. Claudio and Antonio both hold degrees in Electronics Engineering, while Luca holds a PhD in Artificial Intelligence and Speech Recognition. Armed with their expertise, they decided to embark on a journey to transform the audio industry. After meeting during university, Claudio and Antonio developed a bond over their shared interests, and when Luca, who is two years older, returned to Florence after completing his

Masters in the USA, they started to work together in the Lastrucci family’s garage.

“Claudio and I had interest in music since we were young boys – we played in bands, played at small events and gigs, and a passion for music remained inside us,” said Luca. “When we decided to do something together, music stimulated us to the development of different projects, and together with Antonio, we had ideas of hardware and software that we could develop.”

The game-changing development that set Powersoft apart was the introduction of using Class-D technology in a pro audio amplifier.

“As pioneers of Class-D technology, we changed the trajectory of the pro-audio amplification market, because we were the first to make the transition from Class-AB to Class-D,” said Antonio. Although Class-D technology had been a wellestablished concept in electronics, Powersoft was a

pioneer in implementing pulse width modulation technology in power amplifiers and was the first company to introduce Class-D based high-power amplification modules to be used in active loudspeakers.

At the beginning, the goal was to develop an amplifier that produces much less heat, and a byproduct of their research and development was superior efficiency.

“That came as a side-effect of moving forward with new and improved technology,” said Claudio. “Thirty years ago, efficiency within amplifiers was not a big issue, but what we developed enabled a certain amount of size reduction and weight reduction.

“In those early stages, the focus was on finding the technology that enabled certain upgrades in the way of usage and performance.

Over time, we have developed this further with a more conscious focus that looks not only at pure performance, but also at the complete product functionality and its appeal to both the end users and customers.”

Powersoft’s initial moves into the industry came with some cautiousness, despite internal confidence in their developments.

“It was a conscious decision for the company name not to be recognisable as Italian, because back in the 1990s, the market for pro audio was mainly in the USA, and we thought an Italian name wouldn’t be as appealing to enter into the market,” said Luca.

“The name ‘Powersoft’ initially came about as a merge of the two main elements behind the company – power and software. My focus was on the software, while Claudio and Antonio were more focussed on the hardware.”

With technological innovation at the heart of the company, Powersoft has grown into a market leader, and in 2018 solidified its status by listing the company on the Italian stock market.

“We saw the need to change the direction, mindset, culture and internal processes within the company, so we evaluated listing the company on the stock exchange, and the best way to go about that to reach our goals,” said Luca. “We considered that we could attract new talent and external resources, because if we want to grow, we need people with the skill and capability.

“We saw the opportunity, and it was a big effort and cost in terms of time, but it was clear that we were ready for it as we obtained the results that we expected.

“We can now provide partners, suppliers and clients with the

reassurance that we are a structured company with clear results and processes, with a lot of certifications.”

Another sign of the company’s growth is the construction of a new 9,200 sq m headquarters, with the four-storey Powersoft Human Audio Experience Centre, set to be completed by the end of 2027.

“This building will be a big project for us, and a massive investment,” said Luca. “We now have six different locations in proximity, so we are spread out, and our efficiency is not where we want it to be. To have a building where all departments can be together will be a very important element for us.

“The Powersoft Human Audio Experience Centre will be a place with everything that the company needs for the future – a research laboratory, testing area, demonstration rooms and theatre, and facilities for our employees such as a gym and recreation areas.

“Within the company we operate the Ideofarm – an incubator of ideas, which will be inside the new HQ. We want to attract young people and experts from the audio market because we want to have a competence centre on a global level.”

This centralisation of its operation will also optimise the company’s overall productivity.

“We have six production lines, with different rates of products going through each day, dependent on demand,” said Antonio.

“We are the chefs, producing small or large batches in relation to the demand or stock levels, and the product quality and reliability is achieved because our final testing is done in house, and every amp is tested before distribution. The new HQ is designed with a special warehouse closer to the production line, with more than double our current capacity of production.

“The new HQ will optimise our productivity across all departments, and in the long term, reduce our costs, consumption and make our business more efficient. It’s a massive investment for us.”

While the company continues its growth pattern, what lies at its heart is innovation and developing products and technologies.

“Our R&D represents a good portion of the overall company,” said Claudio. “It’s a bit larger than the average in our industry, and around 6/7% of company turnover is invested into R&D, so it’s a big chunk of money. If you consider the entire product development and research team, we have around 60 staff in total.”

That level of investment has seen Powersoft move in unique

Previous page: The Powersoft founders, Luca Lastrucci, CEO, Claudio Lastrucci, R&D Director, Antonio Peruch, Cost Assessment & Production Engineering Director, recently pictured with a selection of innovations as the company moves into its fourth decade of operation.

Above left: Sales Director Luca Giorgi, a long-standing member of the Board of Directors, has overseen the growth of Powersoft’s global sales network.

Above centre: An artistic render of Powersoft’s future headquarters, the Powersoft Human Audio Experience Centre, set to be completed in late 2027. Image: AF517 & Diorama.

Above right: Powersoft’s founders pictured in the early 2000s with the DIGAM-D Series amplifier platform.

directions. In 2013, the company introduced the M-Force linear transducer for infra sub and low-frequency applications, designed to reach well below the subharmonic frequency range. As a further development of M-Force, Mover highlights one of the ways Powersoft manages to innovate and to apply the company knowhow into newly developed products.

“Although M-Force products represent a small portion of the overall market, using that technology, we developed Mover, which has been used in the most innovative, large-scale permanent attraction in recent years – Sphere in Las Vegas,” said Antonio. “Our technology developments help us stay ahead of the market, because our focus is more keenly directed at the technology rather than the product.”

Claudio continued: “During the design stage, something that is often neglected, and perhaps abused nowadays, is the purchase and usage of products without a thought for what went into the creation and build of that product.

“A big part of the energy that a finished product will consume in its life is via its fabrication process. From the raw materials to the finished product, an amplifier sees a third of its total energy consumption in its fabrication, and two-thirds in its lifespan – if it is a good product that lasts 10 years.

“So, if you buy a cheap, cost-effective product that isn’t designed to last, the damage is much larger than you expect, because already a large amount of energy has gone into the production of that device –and it will not have the lifespan for a good pay-off for the energy that has been used to make it.

“Longevity in the product is a hugely important factor in the overall efficiency for Powersoft, and so is consciousness of its impact on the planet. It is not well understood by people purchasing a product –they can look at the figures and assess its energy rating, but if it fails in less than two years and needs to be replaced that comes a big cost to the planet.

“Product longevity against the energy cost is a very sensitive thing, and we are clear in our goals of making products that will have at least a 10-year lifespan.”

Reliability and performance make Powersoft’s products an attractive investment, and the building of its global sales network has, since 2007, been overseen by Luca Giorgi, a long-standing member of the Board of Directors.

With no prior background in the pro audio industry, Giorgi was thrown

“PRODUCT LONGEVITY AGAINST THE ENERGY COST IS A VERY SENSITIVE THING, AND WE ARE CLEAR IN OUR GOALS OF MAKING PRODUCTS THAT WILL HAVE AT LEAST A 10YEAR LIFESPAN.”

in at the deep end shortly after he joind the company.

“In the beginning it was tough,” recalled Giorgi. “I joined Powersoft in February and the following month, the industry’s then largest trade show, Prolight + Sound, was held in Frankfurt.

“It felt like a circus to me, because after only one month I was not fully familiar with the Powersoft portfolio, and when I started discussions with our partners, I realised that at that time I was considered unimportant, because some people walked away when I told them I had no previous experience in pro audio.

“We laugh about it now with some people who are still our partners, but it made me understand that if I wanted to contribute to the company’s growth that I had to learn and understand more, and at that point I really started talking with as many people as possible, including competitors and manufacturers in other pro AV disciplines.”

Giorgi was alone in the sales department, but with the support from the owners, the team and business grew at a steady pace.

“After the pandemic, things changed in the industry and some distributors and reps added more brands to what they were already carrying, and after relationships went virtual, many brands continued down that route instead of sending staff to make face-to-face appointments or demonstrations,” continued Giorgi. “For a brand like Powersoft, which is positioned to deliver part of an audio system, this situation made the path to grow much harder, because the time that is dedicated from our distributors and reps was much less than before. They tend to use the virtual approach, and so we changed our approach and focussed on investing more on having local people who have better knowledge of their geographical market so they can build a network.

“We started this in the biggest countries, restructuring our presence in the USA, and more recently building offices in China and Japan and adding resources in the UK and South East Asia. So, there was a change for us in terms of understanding that we should expand the scope of our activities to be partially responsible for generating demand and opportunities.

“In 2025, we are going to invest in a global business development organisation, with a few key personnel in important markets to re-establish the closeness between ourselves and our competitors, because without being active in the market, it is difficult to push our values and position our brand correctly.”

Giorgi is responsible for balancing both long-term and short-term targets, but he admits freely that the process for reaching both is very fluid.

“In theory, I should only focus on long-term strategy and care a little less about the short term,” said Giorgi.

“However, theories are nice because they are always right, and the reality is always different.

“This makes it important to have a strategy, but to divide the strategies into easily manageable segments in case things change, this allows space to evaluate things and see if certain elements can be postponed, while anticipating other changes.

“It’s important to have clear goals. The long term and short term are not merged because they are different, but the short-term plan must be a step towards achieving longterm targets.”

With a sales structure in place, the innovation at Powersoft never stops. Antonio reaffirmed that while the acoustic behaviour of loudspeakers and transducers has always been an important variable in their considerations, the

Below: Powersoft’s Mover transducer is at the heart of the vibrating dancefloor at Our House in Amsterdam. Photo courtesy of Our House.

Innovations for the industry: Right: The Mover moving magnet linear transducer. Below right: The Mezzo offers the same sound clarity, reliability, and overall build quality of any Powersoft install amplifier in a ½ rack unit form factor. Below: Install amplifier platforms Duecanali, Quattrocanali and Ottocanali.

company is now dedicating even greater focus to these critical parts of the sound chain.

“With Class-D technology now widely adopted across the entire market, our focus is on continuing to develop groundbreaking amplifier technology while also expanding our scope to include the entire system – specifically, the loudspeakers and transducers – which are crucial components in the chain of sound reproduction,” said Antonio.

“We changed the rules of the industry with Class-D technology, whereas looking at loudspeakers – they are still made to the same principles as they were 50 years ago, or more. There has not been a massive, gamechanging development in that technology. So, what can be made more efficient? It’s not the amplifier, but the acoustical performance of the loudspeaker.

“For the electro-acoustic approach, we start with the IPAL driver, looking at driving subwoofers, and this technology has been adapted into our Mover product. Now, we must enlarge the application because it’s not only driving subwoofers. This also keeps us ahead of the market as we are not just focussing on the product – this is part of the company DNA.

“The different functions of the three founders provide a perfect combination,” continued Antonio. “We have the same mindset and work ethic but have specialist competences, which allows us to focus on our specific role; and by sharing the same goals and vision from the beginning, we all work together to meet them.”

For Claudio, innovation is what drives him in his role as R&D Director, and after 30 years he would rather think about the company’s growth as a constant evolution, rather than highlight any specific milestones.

“For the most part, Powersoft has been an ongoing evolution,” he said. “Yes, there have been moments when we have had a good idea, and they have turned into a successful product, but I don’t believe in highlighting a

certain thing that has allowed a company to grow by big steps. There have been sudden jolts of innovation, but also incremental innovation that is based on an idea that is previously realised. Sometimes it is a case of reopening some old research that can lead to a new discovery.

“Today, the world is so complicated; even if you have a very good idea, to make it work requires a lot of effort and time – it’s a hard job. We have had a lifetime of good ideas, but behind all that has been a lot of extremely hard work, and it is a big task to turn those good ideas into practical and functional things. Whatever is developed in today’s world is complicated and requires a lot of tough work behind the scenes.”

With a lot of dedication in getting Powersoft to where it is, the company shows no signs of slowing down, and with the alignment of the leadership team, together with the company Chairman, Claudio and Luca’s father, Carlo Lastrucci, the future looks very bright.

“Powersoft is what it is today because we found an equilibrium and mutual respect of our different roles within the small leadership team. In the past few years, we have increased that team to include managers from different areas, and we are proud of the team that we have,” concluded Luca Lastrucci. “I have been lucky to work with my brother. We are both technicians and engineers but have different tasks within Powersoft and we complement each other. Even if we have different opinions on certain things, in the end, when we have to make an important decision, we align and agree.

“We are proud of the results achieved through our own efforts, without taking sides, without compromises or shortcuts, and always respecting rules and ethical principles. For us, respect for others (colleagues, suppliers, customers) and honouring commitments is a moral obligation. Here, we work with people who share and appreciate this way of being and doing.”

www.powersoft.com

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AQUASCOPE

POITIERS / FRANCE EMEA

A new indoor water park merges cutting edge digital technology and aquatic solutions to create a one-of-a-kind immersive sensorial experience.

Opened in July 2024, Aquascope is a 6,000 sq m indoor water park. As part of its new offering, Les Abysses de Lumière is an experiential space where projection mapping, lighting effects, choreographed water effects and spectacular backdrops work together to transport visitors to a stunning new world.

Located within Futuroscope, a specialist theme park on the outskirts of Poitiers in the heart of France, Aquascope is a part of an ongoing expansion of Futuroscope Xperiences, and stays true to the park’s DNA with its focus on using digital technologies to enhance the guest experience.

The park’s in-house technical company, Futuroscope Maintenance & Development (FMD) called upon international multimedia studio Moment Factory to assist in the creation of the park’s immersive space, Les Abysses de Lumière, which is one of three experiential areas within the water park.

The multimedia scenography for Les Abysses de Lumière was entirely designed and developed by Moment Factory, whose teams also created original characters for use throughout the park.

“From our first creative meetings with the Moment Factory teams, we saw the incredible potential of this innovative merging of the aquatic and the digital,” said Olivier Heral, Creative Director, Futuroscope. “With Les Abysses de Lumière, we’ve imagined a universe of playful and dreamlike expression that offers visitors a totally unique immersive experience.”

Les Abysses de Lumière has three zones which feature 465 sq m of projection mapped surfaces, a 40 sq m underwater LED screen, 200 lighting fixtures, and 64 3D audio channels.

Yannis Marchet, Development and Projects Manager at FMD, explained: “We wanted to include the fun and excitement of iconic slides, but we know that during a family visit, you also need spaces to relax, and we didn’t want it to be limited to just deck chairs.”

Inside Les Abysses de Lumière, visitors are transported into mesmerising worlds where the multimedia scenography combine with water and light effects, to offer a spectacle like no other.

A combination of LED, lighting and projection was utilised, and integrating advanced projection systems into the aquatic environment of Aquascope presented unique challenges for FMD, as FMD Engineer Jeanne Bombardelli explained: “The humidity and chlorinated atmosphere can cause a lot of corrosion, and so we built customised control rooms in order to protect the projectors from the pool’s ambient air, and they

Photos: Moment Factory, Les Abysses de Lumière at Aquascope.

“FROM A DESIGN POINT OF VIEW, WE DECIDED TO CREATE A SEPARATE TECHNICAL LEVEL ABOVE THE POOL WHICH IS FIXED TO THE BUILDING’S CEILING STRUCTURE.”

have air-conditioning systems which draw in fresh air from outside the pool area.”

A total of 11 Barco projectors are utilised across Les Abysses de Lumière, with two control rooms located above the water in the La Crique and Kine’eau zones.

La Crique is the largest zone, featuring 300 sq m of projectionmapped displays wrapped tightly to scenic backdrops, and projection directly onto the water itself.

“From a design point of view, we decided to create a separate technical level above the pool which is fixed to the building’s ceiling structure,” said Bombardelli. “Inside this control room, two Barco UDX 4K32 projectors point down to project onto the water, and four Barco UDX 4K40 are mapping content to the walls and scenography.”

The semi-circular Kine’eau room features five Barco UDX 4K22 projectors, throwing content onto a huge 165 sq m curved screen, while the 200 sq m pool is flooded with lighting effects, and also bubbles and froths in sync with the on-screen action.

“The projectors for Kine’eau are housed in a similar solution built into the ceiling, but it is slightly less complex than the one in La Crique because there isn’t a need for a projector pointing directly down at the pool,” said Bombardelli.

A smaller cave, known as Eauculus, features a 40 sq m pool with Absen AW2.8 LED panels enclosed beneath a customised glass floor. The content shown opens a cavernous abyss which is illuminated by strange lights at the bathers’ feet, tricking their minds into seeing watery depths with captivating and mysterious underwater life.

“To house this LED solution, we built a structure which moves up and down in order for our technicians to access the LED for

maintenance,” explained Bombardelli.

Alexandre Lupien, Creative Director at Moment Factory, said: “The FMD team’s recommendation to create a separate, climate-controlled space above and below Les Abysses de Lumière was instrumental in protecting the equipment, including the projectors, servers, and LED screens.”

Throughout the three zones within Les Abysses de Lumière, around 200 light fixtures are utilised for various purposes to enhance the visitor experience. The sub-aquatic fixtures are a mix of DTS Akhelios 1 and Akhelios 3, while Prolights Mosaico L and Mosaico FX100 offer additional optical effects. CHAUVET

Professional COLORado 1 Solo, COLORado 3

Solo and Ovation Rêve E-3 IP are also utilised to add to the visual ambience, with extra wash provided by SGM P-2 and P-5 fixtures.

“When Moment Factory outlined their proposals across the zones, we worked with our construction and technical teams to see what was possible, and due to the nature of the project there were revisions and modifications by all the parties involved, so it was a deeply collaborative project,” confirmed Bombardelli.

Lupien continued: “The collaborative process

between Moment Factory and FMD was essential in bringing our creative vision to life.

“From day one, we worked closely with the FMD technical team to design an environment that would seamlessly integrate projection mapping and large-scale media canvases in this unique aquatic setting.

“This collaborative approach ensured that every technical consideration was made with the creative opportunities of the space in mind.

“As a studio that combines technology and creativity, we worked closely with FMD to choose the right equipment and technologies for each zone and concept. We collaborated to validate the key technical aspects, such as projection luminance, media pixel pitch, lighting equipment positions, and the loudspeaker layout.

“While FMD was responsible for finalising equipment acquisition and installation, we maintained a tight partnership to ensure alignment throughout the process. In terms of interactivity, we worked in tandem to recommend tracking equipment and software we have developed internally, ensuring that our generative media responded as intended.”

For Aquascope’s audio solutions, FMD turned

Previous page: The semi-circular Kine’eau room features lighting effects and projection, and the water bubbles and froths in sync with the on-screen action.

Left: La Crique is the largest zone, featuring 300 sq m of projectionmapped displays wrapped tightly to scenic backdrops, and projection directly onto the pool below.

to local audio networking specialists Agora Audio to calibrate the sound design, who in turn specified a NEXO system consisting of ID14-I, ID24-I and ID84-I loudspeakers.

“The sound content is on a loop, and the loudspeakers are enclosed behind grilles which are painted the same colour as the projection surfaces,” said Bombardelli.

The show elements are launched by a Medialon show control solution, while central to the audiovisual system are Modulo Pi’s Modulo Kinetic media servers, coupled with Modulo Pi’s pioneering 3D auto-calibration solution, which is used for the first time at the park.

This camera-based software module, currently in development, ensures pixel-perfect mapping on any projection surface. “We have valued our partnership with Modulo Pi for years – their proximity, guidance, and innovation have been invaluable,” noted Marchet. “The innovation of 3D auto-calibration was particularly compelling for our project.”

The impressive mapping of the 270° curved screen in Kine’eau is powered by the Modulo Kinetic media server, enhanced by Modulo Pi’s innovative 3D auto-calibration solution, used by FMD as a preview for this project.

The process began with a 3D scan of Kine’eau, which was transformed into a refined mesh and imported into Modulo Kinetic. Using 10 PoE cameras installed on-site and connected to the media server, a precise point cloud of Kine’eau was generated and aligned in real time with the previously imported mesh.

The 3D auto-calibration option enabled

automatic alignment of the Barco projectors installed, calculating geometry and overlap areas between projectors to ensure seamless projection.

The system implemented not only delivers perfect calibration, but also facilitates effortless maintenance over time, with Marchet adding: “In this space, self-calibration is permanently installed, allowing activation whenever needed.”

For the mapping in La Crique, the Barco projectors are powered by Modulo Kinetic. Utilising the media server’s advanced warping tools, the projected visuals align with the cavern’s intricate rocky backdrop, delivering media at a resolution of 33 million pixels.

The video show is fully synchronised with sound and underwater lighting, creating a deeply immersive experience for visitors.

La Crique also serves as the starting point for a winding river that flows through Aquascope’s other interior spaces. Guests board individual buoys to float along the waterway, enjoying a fresh perspective of the water park and an engaging video show visible along the journey.

The FMD team who worked across Aquascope were Yannis Marchet, Frederic Rigaudeau, Olivier Tresorier, Dominique Henault, and Jeanne Bombardelli.

The Futuroscope teams brought over image technologies from Futuroscope itself, and combined digital technologies and water in a way that has not been seen or experienced before, to make Aquascope a world-exclusive immersive environment, revolutionising the water park landscape.

TECHNICAL INFORMATION

VIDEO

2 x Barco UDX 4K 32

5 x Barco UDX 4K 22

4 x Barco UDX 4K40

1 x Modulo Pi Kinetic Designer

4 x Modulo Pi Kinetic V-Node

Modulo Pi 3D auto-calibration

Absen AW2.8 LED panels

LIGHTING

CHAUVET Professional COLORado 1 Solo

CHAUVET Professional COLORado 3 Solo CHAUVET Professional Ovation Rêve E-3 IP

Prolights Mosaico L

Prolights Mosaico FX100

SGM P-2

SGM P-5

AUDIO

NEXO iD14, iD24 and iD84 loudspeakers www.futuroscope.com www.fmd.fr

Above: The Eauculus area features a 40 sq m pool with Absen AW2.8 LED panels enclosed beneath a customised glass floor.

BJÖRK AND ALEPH’S NATURE

MANIFESTO

PARIS / FRANCE EMEA

“The apocalypse has already happened, and how we will act now is essential,” reads Björk’s voice, broadcast over a d&b audiotechnik sound system installed by Southby Productions at Paris’ Centre Pompidou.

Though this line sounds wholly cynical, ‘Nature Manifesto’, created in collaboration by Icelandic artist Björk and French techno-activist Aleph, paints a nuanced picture of biodiversity loss, where using advanced audio software, we are encouraged to consider our role in preserving the environment through the calls of extinct animals.

Housed at the Centre Pompidou in Paris between 20 November and 9 December, 2024, Nature Manifesto is an audio-based exhibition that ran for three minutes and 40 seconds per cycle.

The piece played as audiences made their ascent up Pompidou’s ‘La Chenille’ six-flight escalator sequence. Combining the sounds of extinct and endangered species with Björk’s voice delivering her manifesto, the project envisions a future where mutated DNA forms a new kind of ‘nature’.

The concept, creation, and installation of Nature Manifesto was produced alongside The Institute for Research and Coordination in Acoustics/Music (IRCAM).

Robin Meier Wiratunga, an artist and composer at IRCAM and one of the primary partners on the project, said: “Our goal for the piece was to raise awareness; we’re on the brink of a sixth mass extinction. However, we didn’t want it to be an overwhelmingly gloomy guilt trip, so we made it dynamic, with exciting sounds and a uniqueness that audiences would have a fond memory of.”

Similarly, a statement from Björk and Aleph explains how the proposed impact of the audio is not to promote nihilism but to call to action:

“The tone of the animals’ voices hopefully builds a sonic bridge towards the listeners. And in the spirit of these animals... they become our teachers! Their ghosts remind us of improving our primordial mindfulness.”

With this sophisticated desired message, Björk, Aleph, and IRCAM needed to build an advanced toolkit and team to craft the audio. To design the layout of the install, as well as making use of IRCAM’s ‘Spat’ spatialisation software, d&b Soundscape technology was brought onto the project.

In the design phase of the project, d&b Soundscape DS100 hardware was used in the creation and spatialisation of audio, producing an immersive ‘soundscape’.

Wayne Powell, Global Artist Relations Manager at d&b

Creating an auditory landscape of a post-mass-extinction environment, this art installation combines the natural noises of animal calls with advanced audio technology, utilising both software and hardware from d&b Soundscape, d&b audiotechnik, and IRCAM.

Photos: Thibault Vanhoutte.

audiotechnik, commented: “The DS100 works really well alongside IRCAM’s Spat, as it’s an agile piece of technology. It can have other software superimposed on it, and, handily, when the IRCAM team were working on the sound in their studio, we knew that the audio would be easy to later transpose to the installation space.”

Both the installer of Nature Manifesto’s d&b technology, Southby Productions, and d&b Soundscape had a creative relationship with Björk and her team before the recent project’s inception.

Powell said: “d&b and Southby Productions introduced Björk to Soundscape five years ago when it was chosen for her ‘Cornucopia’ tour. With this new project, we’ve been able to see how our software works in a completely different environment. In Nature Manifesto, the audience moves upwards and forwards continually, rather than sitting or standing relatively still, so the conversation became about figuring out how we could have the audio form their journey.”

Digby Shaw, Technical Director at Southby Productions, added: “As a venue, Pompidou was vastly different to the arena-sized spaces that Cornucopia performed in. I think this highlights how scalable Soundscape is as a creative design tool.”

The content of the audio itself was designed using AI software in a conscious and ‘frugal’ manner, recordings of Björk’s voice, and a vast library of extinct and endangered animal sounds.

Meier noted that, in the initial phases of the project, he and Björk would meet biweekly, and the pair would discuss the species cries that they had uncovered.

To transform these sounds, IRCAM’s RAVE software was used alongside the prototype of its successor, AFTER. These programs use AI models in a more ecologically friendly way than the typical processing and data-hungry technologies by operating with small datasets. “We trained the models off beluga whale sounds,” Meier said. “Then, we activated the model with Björk’s voice, which enabled us to create a talking beluga.”

In a similar vein, AudioGuide, created by IRCAM and now maintained by its founder, Ben Hackbarth, was utilised. This comparably environmentally conscious AI program took the sounds of an extinct animal, cut them up into minuscule fragments, and when fed a recording of Björk reading the Nature Manifesto, matched each syllable of her speech to one of these short clips.

This allowed for the voice to again be reconstructed by an animal. On using AI in audiovisual entertainment, Meier commented:

“Such tools are great, but can only take you so far. We had to edit the output data to tidy it up. Using AI doesn’t have to be about replacing anything or anyone; for Nature Manifesto, it was another tool in an extensive kit. It’s about extending your creativity, not substituting it.”

With the Björk-animal hybrid cries generated, Southby Productions installed sound systems in the La Chenille escalator space. From d&b audiotechnik, 40 5S, 30 E8, and six B8 loudspeakers were deployed, along with 20 5D amplifiers. The manufacturer’s R1 and ArrayCalc software were utilised throughout the build.

“I don’t think I’ve ever thought about infrastructure more than I have in this project,” said Powell. “We had to hide 76 channels of amplification along a glass-walled escalator space, which was why the 5D, our ultracompact amp, was chosen. Furthermore, the Pompidou is Europe’s largest art museum, and is open seven days a week, meaning finalising placement was done in only a few hours over a couple of days. It opened some nice, interesting challenges that we don’t get to encounter very often.”

While integrating the loudspeakers posed its challenges, Meier revealed that one significant issue emerged only after the installation was complete.

“The ambient noise from visitors moving through the exhibition is surprisingly loud,” he explained.

“We had to calculate the ideal volume – loud enough to be heard clearly without being overwhelming or warped by the parallel windows.”

Shaw said: “I’ll never look at an escalator the same way again! Hard work from the crew and the support from everyone at the Pompidou made all the difference.”

As visitors slowly travel up six floors to the rooftops of Paris, the d&b system is responsible for 12 individual audio channels playing different sections of the manifesto, paired with the generated animals.

Speaking on the wider impact of ecologicallyconcious art, Meier said: “I think it’s really exciting that Björk and Aleph use their creativity and notoriety to push important things forward. It was great to be part of this innovative audio/art installation.”

Powell added that such environmental commentary seems to be currently common in sound-based art: “When given the opportunity, people want to express themselves whilst including a nod to wider society; if you look at what’s happening in the spatial audio world, influences from the natural world and the changing environment around us are heavily prevalent.”

Hopefully, this suggests that, like the Nature Manifesto at Centre Pompidou, artists, installers, and venues will continue creating works highlighting urgent environmental crises.

TECHNICAL INFORMATION

AUDIO

40 x d&b audiotechnik 5S loudspeaker

30 x d&b audiotechnik E8 loudspeaker

6 x d&b audiotechnik B8 loudspeaker

20 x d&b audiotechnik 5D amplifier

CONTROL

d&b audiotechnik R1 Remote control

d&b audiotechnik ArrayCalc

PREPRODUCTION

1 x d&b Soundscape DS100

www.centrepompidou.fr www.ircam.fr www.dbaudio.com www.southby-productions.co.uk

O2 ACADEMY BRIXTON

LONDON / UK EMEA

Legendary venue enhances its status with a major technical upgrade to its audio and lighting systems.

Photos: Academy Music Group

With the aim of solidifying its status as one of the world’s premier live music venues, O2 Academy Brixton has undergone a massive technological transformation. Its comprehensive upgrade includes state-of-the-art audio and lighting systems to deliver an enhanced and consistent concert experience for artists and audiences alike.

A long-standing pillar of the UK music scene, the Grade II O2 Academy Brixton began its life as a cinema in 1929, and now holds status as a worldclass music venue, hosting some of the most celebrated artists across a wide array of genres.

This latest renovation ensures it remains at the forefront of live entertainment, equipped to welcome the biggest names in music.

With a well-established relationship with venue owners Academy Music Group, event and venue technology specialists Adlib were tasked with completing the extensive upgrade of the building’s technical infrastructure.

The four-month project included designing and installing a flagship, in-house audio system alongside a robust, highly efficient lighting setup.

The centrepiece of the upgrade is the installation of an L-Acoustics K1 Audio System, custom-engineered to complement the architectural features of O2 Academy Brixton’s auditorium.

“The focus of this project was a flagship audio and lighting system that would allow visiting productions to use an in-house system in what is often the only theatre venue on an arena tour,” said Rob Crossland, Adlib’s Installation Project Manager. “The new systems are designed to make life easier for touring crews, offering what they are accustomed to using, and typically taking out on the road.”

The audio upgrade introduces a comprehensive suite of features designed to deliver an unparalleled sound experience throughout the venue. L-Acoustics K1-SB and K1 line-array elements form the system’s core, providing expansive coverage for the balcony areas.

A10i Wide under-balcony rows ensure crystal-clear audio reaches every corner for the rear stalls and side walkways.

The monitor system incorporates L-Acoustics X15HiQ

wedges, SB18 subwoofers, and KS28 and A15-wide units, offering performers on stage exceptional sound quality. To maintain consistent coverage across the entire auditorium, strategically placed distributed systems have been implemented, ensuring every attendee experiences the same high-quality audio, regardless of location. The audio control system features two DiGiCo Quantum 225 Mixing Consoles with Waves and HMA Optics upgrades alongside two SD-Racks. This advanced setup provides comprehensive control for both FOH and monitor applications, allowing for precise sound mixing to maximise the venue’s newly installed loudspeaker system.

The entire setup has been meticulously designed and optimised using advanced Soundvision 3D software modelling, ensuring precise acoustic performance tailored to amplify the venue’s unique characteristics.

“Brixton’s auditorium has always been celebrated for its unique atmosphere. With this new installation, we’ve embraced these features and created a world-class sound experience that rivals any venue globally,” said Crossland.

“The major question in the system design was to keep acoustic energy off the deep, flat front of the raked balcony. We overcame this by creating an array with L-Acoustics K1-SB halfway down, allowing us to maintain pattern control of the LF while avoiding mid/ high frequency reflections on stage, resulting in a very clean sound.”

The L-Acoustics setup includes dual hangs of four K1SB, eight K1 and three K2 per side.

A total of 16 KS28 subwoofers are ground-stacked on the stage, eight per side in four stacks of four, while four A10 Focus are placed across the stage lip to provide front-fill.

An additional two A15 Focus per side increase imaging for those stood towards the front.

Under balcony fill is catered to by two X8 coaxial loudspeakers and 10 A10i Wide.

LA12X and LA4X amplified controllers, driven by P1 processors, provide ample power and seamless system management.

“The combination of the L-Acoustics loudspeaker

Above: An L-Acoustics K1 Audio System, custom-engineered to complement the architectural features of O2 Academy Brixton’s auditorium.

system and the DiGiCo Quantum consoles equips visiting engineers with the tools to deliver exceptional sound for any type of performance,” said Crossland.

Lighting Flexibility

Complementing the audio upgrade, a state-of-the-art lighting system now provides maximum flexibility and visual impact, and allows easy customisation for both in-house productions and the specific requirements of touring artists.

The new three-truss system incorporates energy-efficient LED light sources rigged to a Tyler GT Plus Pre-Rig Truss, featuring Martin Professional MAC Ultra Performance lights, GLP JDC1 strobes, and CHAUVET Professional STRIKE Array 4s; all controlled via grandMA3 Light and Avolites Tiger Touch II consoles. Data distribution is handled by Luminex Gigacore network switches and LumiNode 12 nodes for DMX data are seamlessly delivered to each truss.

“The newly designed lighting rig is built with adaptability in mind, offering maximum flexibility to meet the needs of any performance. It can be easily supplemented, partially modified, or even entirely removed to accommodate larger, custom designs, ensuring the venue can cater for everything from intimate gigs to elaborate productions,” said Crossland.

Key to the design is the inclusion of all essential show elements that

TECHNICAL INFORMATION

LIGHTING

Front Truss

4 x Tyler GT Plus Pre-Rig Truss - Black – 10 ft

4 x CHAUVET Professional STRIKE Array 4

8 x Martin MAC Aura PXL

8 x Martin MAC Ultra Performance

Mid Truss

4 x Tyler GT Plus Pre-Rig Truss - Black – 10 ft

4 x GLP JDC1

4 x CHAUVET Professional STRIKE Array 4

8 x Martin MAC Aura PXL

8 x Martin MAC Ultra Performance

Back Truss

4 x Tyler GT Plus Pre-Rig Truss - Black – 10 ft

4 x GLP JDC1

8 x Martin MAC Aura PXL

8 x Martin MAC Ultra Performance

LIGHTING CONTROL

1 x MA Lighting grandMA3 Light

1 x Avolites Tiger Touch II

SPECIAL FX

4 x HazeBase The Fab

8 x TMB ProFan

AUDIO

4 x L-Acoustics K1-SB

8 x L-Acoustics K1

3 x L-Acoustics K2

16 x L-Acoustics KS28

4 x L-Acoustics A10 Focus

2 x L-Acoustics A15 Focus

2 x L-Acoustocs X8

10 x L-Acoustics A10i

L-Acoustics LA12X and LA4X amplified controllers, L-Acoustics P1 processors

www.academy-music-group.co.uk www.o2academybrixton.co.uk www.adlib.co.uk

visiting artists and production teams expect, such as spot, wash, flood/ strobe, and blinder capabilities.

“This comprehensive setup provides lighting designers with a full range of options while seamlessly allowing for the integration of custom lighting elements,” concluded Crossland.

The system’s flexibility not only enhances creative possibilities but also streamlines the setup process for touring productions, making it easier to adapt and customise each unique performance.

Beyond elevating the concert experience, these new systems support crucial sustainability initiatives within the live music industry.

“We are all aware of the environmental challenges our sector faces, and Academy Music Group is committed to helping artists and promoters reduce their carbon footprint by offering a top-tier, in-house technical solution,” stated Steve Hoyland, Chief Operating Officer at Academy Music Group.

“As one of the world’s most prestigious venues, O2 Academy Brixton’s new in-house PA and lighting systems meet the highest production standards expected by touring professionals, allowing them to use either the full or partial in-house set-up.”

With the venue set to continue hosting an eclectic mix of gigs, fans can look forward to an unparalleled live experience. The fusion of the room’s iconic atmosphere with cutting-edge technology promises performances that will leave a lasting impression.

KUBUŚ PUPPET AND ACTOR THEATRE

EMEA

KIELCE / POLAND

High-quality technology takes centre stage at this theatre. With PS TEATR and ABLO Group’s installation of comprehensive audiovisual systems, the venue can now deliver immersive, magical performances.

Founded in 1955, the Kubuś Puppet and Actor Theatre has consistently attracted large audiences with its repertoire of fairy tale and fable performances, solidifying its standing as a hub for Kielce’s artistic community. Its success encouraged the venue’s team to relocate and begin Kubuś’ era of modernisation, which began with the opening of a new facility in August of 2024.

In finding a new home, the theatre made sure to keep intact the original motivations of the founder, Stefan Karski, for the space. Karski’s objective was to create a grand performance space that would, as the venue’s name suggests, honour the arts of acting and puppetry. Under the careful oversight of a preservation officer, a former blacksmith’s shop and an old manor house in Kielce were completely transformed and connected. The new building accommodates foyers, dressing rooms, warehouses, workshops, and, most notably, two theatres – one large and one smaller.

The venue recognised that to provide accessible, exciting entertainment in both theatres a significant investment in audiovisual technology was required. Designers and installers PS TEATR were consequently appointed to integrate lighting, stage machinery, and video systems that would establish Kubuś as a contemporary theatre whilst still highlighting the traditional art forms it is named after.

PS TEATR began the designing process by focusing on lighting that would enable a variety of performances, from dramatic monologues to vibrant puppet shows. As the manufacturer’s Polish partner, the installer turned to Elation for this.

Dominik Drobisz, Project Engineer, PS TEATR, commented: “We knew that the new premises would be an outstanding space to exhibit the potential of the FUZE PROFILE from Elation.” The team integrated 12 of these spotlights alongside two Fuze Profile CWs in the larger performance space. Drobisz sees these as necessary fixtures for the creation of dynamic theatre, stating, “The preprogrammed animation effects and the wide range of available gobo patterns allow lighting directors to realise their most ambitious visions.”

Right, below: The Puppet and Actor Theatre’s large theatrical space after audiovisual intervention from experts.

Furthering aesthetic possibilities, six of Elation’s PALADIN BRICK floodlights were deployed to fill the upstage of the larger theatre. To complement this, two Proton 3k Color strobe lights were installed, which according to Drobisz, “extend the range of possible effect creations in productions.”

PS TEATR then invested in moving wash lights, with the rig in the bigger performance space, featuring 12 ACME NEOZONE fixtures and 28 of the more compact ACME OXYGEN washes.

“We knew that the hall’s space needed conventional, classic theatre lighting too,” noted Drobisz, recounting a discussion with the venue.

“So, we chose the ETC Source Four Zoom profile spotlights, six for the smaller theatre and 12 for its bigger counterpart. Then, split between the two spaces and from manufacturer DTS, there are 16 PROFILO LED 200 and 40 SCENA S spots.”

Drobisz also explained that four of LDR’s Tono 8/22 profiles were deployed in the large theatre and four Tono PC were added to its secondary.

Lighting fixtures within the larger theatre are controlled through ChamSys’ MQ500M, whereas the smaller space relies on the same manufacturer’s more compact console, the MQ70. These consoles collaborate within the signal distribution area with nine Obsidian RDM10 and two Obsidian EP4.

The venue then tasked PS TEATR with designing and providing special effects solutions for the large theatre. Kubuś’ effects system needed to accommodate both high-energy performances and more subdued productions. Most importantly, it had to captivate younger audiences, as the theatre aims to encourage new generations to enjoy the arts.

“Considering the target audience, a bubble machine was a must,” commented Drobisz. “Our choice of manufacturer for this effect was an easy one: MAGIC FX. We deployed its SMOKEBUBBLE BLASTER, which generates bubbles that can be filled with smoke. When this product is combined with our colourful lighting system, the theatre’s directors can create stunning effects that not only attract our youngest spectators, but their parents too!”

Multiple FQ-100 Fog Generators from ETC were further included in the main theatrical space’s solution, alongside CLF Lighting’s Haze II. Then, when it came to designing a budget-friendly yet powerful video system for the larger theatre, PS TEATR chose a 7m wide Kauber projection screen combined with an Epson EB-PU2213B projector.

The venue expressed that a high-quality, strong, and flexible stage machinery setup was also crucial for the range of events they hoped to host, leading to the involvement of Mikor Inżyniering, a team highly experienced in theatre engineering.

The crew at Mikor joined forces with PS TEATR to craft a truss system for both the larger and smaller stages, prioritising a great range of movement of hung equipment to ensure versatility.

The installation organisation ABLO Group was later brought onto the effort to furbish Kubuś, with the team contracted to specify and deploy a comprehensive audio system to complement the venue’s newly hightech visual solutions. The installers provided three solutions, one for the large theatre, one for the smaller, and a PA system for backstage and technician areas.

Wojciech Grządziel of ABLO Group explained that they were tasked with integrating systems with high flexibility and quality; “however, the budget was not very high,” he said. “Therefore, we had to design each solution really thoughtfully, and make sure it could serve the theatre for years without needing to be replaced.”

Grządziel noted that this prioritisation of quality and robustness directly influenced the purchase of the larger theatre’s system audio backbone– a Yamaha AFC-4 used as an immersive solution, complemented by Kling & Freitag equipment. The Kling & Freitag solution consists of five GRAVIS loudspeakers at the front, alongside 18 units as ceiling and wall speakers. Five PASSIO W were deployed as front fills, and two NOMOS LS II subwoofers were specified.

Amplification is covered by D 40:4 and D 20:4 units, rounding out the bigger space’s K&F system.

Above: One of the Elation FUZE PROFILE fixtures in the theatre.

High Performance Loudspeaker Systems

Yamaha equipment also features prominently in ABLO Group’s design for the backstage space. A Yamaha MRX7-D signal processor leads the offstage area’s PA system alongside XMV8140 amplifiers.

The venue’s smaller and large theatres were then developed with the addition of Behringer WING mixing consoles. On this design choice, Grządziel said: “It took a while to settle on a desk, but after having a close look at the WING during a demonstration, we quickly found that it was an optimal solution; we deployed one unit in Kubuś’ larger space, and one in its small.”

Rounding out the audio setup at Kubuś, both theatres were fitted with Sennheiser Evolution G4 wireless systems. Grządziel explained that these solutions were ideal for the venue requirements; “As well as offering good quality, the G4 has great longevity, even when used nonconsistently, for example, if one show does not need the solution, but the next requires it for multiple hours. This is what tends to happen in puppet theatre, as opposed to other genres, like musical theatre.”

Reflecting on ABLO Group and PS TEATR’s complete audiovisual transformation of Kubuś Puppet and Actor Theatre, Grządziel noted that he could only see a positive impact on the venue, with all teams involved pleased with what the theatre now provides. “The first few months of use proved that all the proposed solutions work very well!” he concluded.

Beyond benefitting the team at Kubuś and Kielce’s community, The Puppet and Actor Theatre shows us how modern technology can highlight and evolve traditional art forms like puppetry, blurring the lines between ‘old’ and ‘new’ art.

TECHNICAL INFORMATION

LIGHTING

12 x Elation FUZE PROFILE

2 x Elation Fuze Profile CWs

6 x Elation PALADIN BRICK

2 x Elation Proton 3k Color strobe

12 x ACME NEOZONE

28 x ACME OXYGEN

18 x ETC Source Four Zoom

16 x DTS PROFILO LED 200

40 x DTS SCENA S

4 x LDR Tono 8/22

4 x LDR Tono PC

LIGHTING CONTROL

1 x ChamSys MQ500M

1 x ChamSys MQ70

9 x Obsidian RDM10

2 x Obsidian EP4

VIDEO AND SPECIAL EFFECTS

1 x MAGIC FX SMOKEBUBBLE BLASTER

ETC FQ-100 Fog Generator

CLF Lighting Haze II

1 x Epson EB-PU2213B Projector

AUDIO

23 x Kling & Freitag GRAVIS loudspeaker

5 x Kling & Freitag PASSIO W loudspeaker

2 x Kling & Freitag NOMOS LS II subwoofer

Kling & Freitag D 40:4 amplifier

Kling & Freitag D 20:4 amplifier

Yamaha XMV8140 amplifier

Sennheiser Evolution G4 wireless system

AUDIO CONTROL

1 x Yamaha AFC-4

1 x Yamaha MRX7-D signal processor

2 x Behringer WING mixing console

www.ablogroup.com en.teatr.com.pl

QuikSpot is a battery-driven uplight, a precise zoomable Fresnel and a versatile, compact spotlight. With seamless integration into the Astera ecosystem, it’s the technician’s best friend, always ready to run and tackle any job.

Barndoor 8-way rotational barndoors with integrated SafetyLink

ChargingPlate with PrepBox Charge and set up 8 lights faster than ever

TrackPin Compact Short pin for SuperClamp attachment, compatible with airline tracks

VEGA

COPENHAGEN / DENMARK EMEA

Newly

installed Funktion-One sound system allows for more space to be found in a small room.

The mantra at the Ideal Bar inside VEGA in Copenhagen is a simple one: “Don’t be loud. Be good.”

With a capacity of 200, the venue embodies this in every way. While it is already an intimate space, that intimacy is augmented by a unique audio design that delivers a live experience unlike any other venue in the world, making its simple mantra less an instruction and more a philosophy.

One of Denmark’s most popular music venues, VEGA was established in September 1996 and has three live spaces, holds around 350 concerts, and plays host to around a quarter of a million guests every year.

Recognising that the live music industry needs to adapt to the increasing digital consumption of music, it was the perfect venue for the Danish government’s Arts Foundation to task with the exploration of brand new formats for live shows.

Now boasting a full 9.1.6 immersive Funktion-One environment, Ideal Bar at VEGA was redesigned to provide something unique.

“The government programme is called “New Formats” and it is about pushing the definitions of live shows,” said VEGA Head of Sound Kevin Le Geyt. “We were asked to challenge the notion of what a live show is; if shows are going into the digital realm, what makes it a show? And how can we keep live music important in this environment?

“We wanted to explore what we could do that would be new, fun and deliver more value. There are some very interesting technologies, but we needed it to be tangible and something authentic, and because of that we needed to be hands-on to figure out what would be worthwhile.”

Working with objects

Originally designed as a standard 2.1 live configuration, Ideal Bar now performs as a flexible object-based venue with an immersive 9.1.6 system that gives visiting artists the ability to perform across three parallel input paths that operate simultaneously: a classic Stereo setup, a Spacemap configuration and in full Dolby Atmos. The installation was enabled by Tuborg’s “The good sound” foundation.

“While I am not an advocate of immersive sound, the format came up so we explored whether an immersive setup could add value to the audience, to the engineers, to the musicians on stage, and to the venue as a whole,” said Le Geyt. “It began as an exploration to understand if immersive audio could add value to live shows for both the artists and the audience.

“I don’t care so much about the nuts and bolts, but I do care about conveying the artist’s intent to the audience. It’s about connection and it’s about meaning.”

Closer to the action

The configuration inside Ideal Bar is made up of 18 Funktion-One speakers; L-C-R is covered by three F1201s, six F101s for the sides, six F81s in the height channels, and three BR118 subs in a cardioid configuration, with one channel of audio being sent to the entire cluster. The system is powered by Dynacord IPX amplification and mixed on Allen & Heath consoles at FOH.

Its concept delivers a holistic approach that not only takes into account

Photo: Peter Troest.

the music, but the environment and the needs of the audience; and it does it all in a way that plays to the artist’s strengths.

“There is a Danish word which has no literal translation in English,” explained Le Geyt. “Nærvær literally translates as “near be”, and it’s all about proximity and the concept of being present. This space demands the audience is always very close to the artists, which means there is a very short path from the artist’s intent to the listening ear.

“This short path is mirrored in the Funktion-One concept. I grew up with analogue sound so my aesthetic and my ear are trained to a fully transient and fully transparent amplification of the artist’s intent. There should be a minimal path between the mixer output and the speaker output, and my aim is to amplify the sources rather than reproduce them, letting the artist perform naturally and celebrate any imperfections.

“Funktion-One speakers deliver that; if you plug an instrument straight into the back of it, it’ll reproduce it naturally and musically. FunktionOne’s design principles are exactly what this room required; speakers with minimal processing that do not need a lot of DSP to sound natural. Mixing live audio is one of the hardest things in the world, and I need all the help I can get from the mixer and from the speaker. This is such an easy speaker to mix to.”

Finding the space

The venue’s whole approach to object-based mixing dovetails with its aim to tailor the mix to the room and the artist’s intent, and it does this not by creating a standard immersive mix, but by creating more space for each individual element to exist.

Designed in collaboration with VEGA’s FOH technician Bjørn Winnem and Grammy award winning Atmos engineer and producer Dyre Gormsen, Le Geyt says the workflow is a world first.

“Reintegrating the Spacemap outputs to the matrix of the FOH mixer rather than letting the processor handle the PA routing enables the engineer to seamlessly switch between object based and traditional 2.1 mixing and playback of Dolby Atmos files. We use Spacemap for live panning, Dolby Atmos Renderer for playback and Logic Pro or Ableton Live for 9.1.6 reverbs.”

Changing perceptions

FOH technician and co-designer Winnem added that the system’s multichannel abilities mean there is always a way to enhance a live performance, such as changing the perceived space through the use of multichannel reverbs to transport the listener to a different location.

“We had a string quartet in the house who initially wanted to play with no amplification, but found it hard to play in the dry room,” stated Winnem. “The system enabled us to set up a stereo mic pair and send the signal 100% wet through a space designer reverb to emulate a small concert hall. That helped them a lot.”

More fundamentally, the system also allows VEGA to position individual audio elements like vocals, guitar and keyboards, independently in the 3D space. “I’m more interested in object-based mixing than immersive mixing, especially when talking to visiting sound engineers,” said Le Geyt. “Traditional stereo reproduction means a mix engineer has to EQ their inputs to make room for others in order to fit everything in the same two speakers.

“Object-based mixing means there is an endless number of virtual speakers, which in turn means that sources no longer have to fight for space and can live on their own in a particular location. A full range keyboard can live next to a full range guitar with no compression because the amount of space that you can fit the instruments into is endless. Object-based mixing gives everything so much more room, and we are the only live club in the world putting on regular shows in this environment.”

Winnem added: “The advantages of working with multichannel systems becomes apparent when there is suddenly only a stereo system to handle all the information. I really miss it when I am mixing in other venues, and going back to stereo feels very limiting now.”

Taking advantage

Le Geyt’s team is now so slick at setup that a standard sound check for a fully realised immersive show is so streamlined that it can be achieved in two hours. But how many artists are taking advantage?

“All of them,” says Le Geyt. “Every artist, to a certain degree, has taken advantage of the space it gives the music.”

Left: The configuration inside Ideal Bar at VEGA is made up of 18 Funktion-One speakers, to boast a full 9.1.6 immersive environment.

TECHNICAL INFORMATION

AUDIO

3 x Funktion-One F1201

6 x Funktion-One F101

6 x Funktion-One F81

3 x Funktion-One BR118

www.vega.dk www.funktion-one.com

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JAM FACTORY ART CENTER

/ UKRAINE

Right: The Petro Balog Quartet perform for a captive audience.

Photo: Bohdan Yemets.

The Jam Factory Art Center is a lively new contemporary performance facility and a collaborative community event space, set in a charismatic and brilliantly reimagined NeoGothic former distillery (and one time jam factory) in Lviv, the largest city in western Ukraine.

All of the venue’s technical elements – lighting, sound, video, trussing, cable infrastructure, automation and the control systems – for the main auditorium and performance area was supplied by Dnipro-based Sound House. Having won the tender, Sound House undertook the technical design, specification, installation, commissioning and delivery of all Jam Factory’s technical production components.

The project started in 2015 when the then derelict building was acquired by the organisation of cultural entrepreneur, Harald Binder. Construction work commenced in 2019, and the Art Center was opened in late 2023, despite Ukraine being engaged in a full-scale war with its neighbour, which invaded in February 2022.

For the main stage lighting installation, Sound House specified Robe LEDWash 300 and ParFect 150 fixtures and a ChamSys console, based on Jam Factory’s multipurpose needs to be able to stage anything from a concert to a seminar, a choir or a rock show, a dance piece to a wide variety of different events and theatre productions. Meanwhile, a flexible Dynacord and Electro-Voice sound system was specified, paired with Dynacord amplification and a Midas console.

Sound House Owner and CEO, Andrii Garkavy, has previously worked on many similar installations, both in the Lviv area and around Ukraine, he and his team’s experience played a role in winning the job.

They were initially contacted in 2021, a year ahead of the projected opening, but the onset of war made its own adjustments to the deadlines.

Despite the obvious challenges of being in a warzone, everyone had the determination and commitment to press ahead and finish. While not a huge installation project in terms of physical size, the realisation of Jam Factory is a massive achievement in these adverse circumstances.

When Garkavy assessed their needs for lighting, he considered the size of the auditorium space and the

Contemporary arts and performance space in Lviv is kitted out with a full audiovisual solution by Dnipro-based Sound House in the midst of war.

Below: A performance by Maryana Klochko at Jam Factory. Photo: Bohdan Yemets.

incoming natural light as well as the venue’s comprehensive music programme curated by Ivanka Tarnavska which encompasses a vibrant range of genres, including classical, jazz and electronic performances.

Compact sizing of equipment was important, and quietness was also an issue especially for classical and jazz music and some of the physical theatre and performance concepts. Every piece of kit specified needed to be versatile, multipurpose and capable of being worked hard and easy to use, and the Robe LEDWash 300 and the ParFect 150 both ticked these boxes.

“Small, unobtrusive, easy to rig, programme and operate, quite running and yet powerful enough to cover multiple different lighting scenarios,” explained Garkavy, mentioning in particular the wide zoom range and colour temperatures from 2700K to 8000K in the LEDWash 300X were real winners.

ParFect 150 was picked as “an excellent static companion to the LEDWashes, with similar colour and colour temperature characteristics, super-smooth dimming and 3.8 - 60 zoom range.”

It’s a combination that Sound House has used before very successfully, and will continue to do so.

These are the first batch of Robe fixtures for Jam Factory, and while it is planned to add more to the rig as the project develops, everything is completely fluid during the

current situation. The kit is looked after day to day by technical manager Dmytro Chyryk, Jam Factory’s chief AV engineer, who is from Kharkiv in the east of the country, Ukraine’s second city.

He was delighted to discover that he would have Robe lights when offered the job at Jam Factory, as he had previously worked as both a lighting designer and engineer at Kharkiv Philharmonia which has numerous Robe fixtures including Robe Pointes, LEDWash 600s and ParFect 150s plus LED PARs.

“I like Robe fixtures very much, they are fast, robust and reliable and offer many creative options,” he stated, “I have had only positive experiences with Robe products.”

Chyryk and Jam Factory Operations and Executive Director Tetyana Fedoruk explained how they all worked as a team on defining the required details of the technical tender.

They consulted with various specialists in relation to the process and made decisions based on available budget, as well as the brands and equipment that they thought offered the most breadth and value to enhance Jam Factory’s repertoire.

When it came to the audio system, a flexible solution was at the heart of the decision making process, and so Garkavy opted for a system comprising of two Dynacord TS400 loudspeakers, three Dynacord PSE 218 subwoofers and four Electro-Voice PXM-12MP stage monitors, all powered by two Dynacord

Right: Members of the Jam Factory Arts Center team (left to right): Dmytro Chiryk (Head of Technical), Lesia Dunets (Communications Manager), Tatyana Fedoruk (Operations and Executive Director) and Yuliana Chorna (Communications Manager).

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C3600FDI amplifiers and controlled by a Midas M32 Live console.

“Ensuring the system’s flexibility and the ability to move equipment when necessary was one of the objectives,” said Garkavy. “Among the audio components, I’d like to highlight the TS series systems from Dynacord. These systems have been on the market for many years, and we believe they are among the best in their form factor and price range.

“We chose the Midas console and ChamSys Magic Q PC Wing Compact consoles also based on their price-to-performance ratio, and because as equipment from these brands is widely used in Ukraine, we assumed that the future technical staff would likely be familiar with it.”

A full truss was installed, with over 200 pieces of Milos trussing utilised to house fixtures above the stage, while a mic packaged comprised of Shure, Sennheiser and sE Electronics models was also supplied, in addition to 26 Konig & Meyer stands.

Speaking candidly, Garkavy confirmed that the main challenges that were faced for the successful completion of this project was the ongoing war in the country.

“Fulfilling the obligations you are bound by as a contractor in the unpredictability that comes with wartime, from delivery times through to the cost of logistics, and the skills shortages which are particularly acute in the technical production industry, as so many have joined the armed forces and are defending the country, was extremely difficult,” said Garkavy.

“Everything can change in an instant, as it did when a missile hit our warehouse at the beginning of 2022, which resulted in the loss of a significant amount of equipment in a single moment.

“Any technical challenges with any project right now are absolutely dwarfed by these wider and overarching ones,” noted Garkavy, adding that the actual physical installation went supersmoothly on site.

“It is an honour to be involved in such a brilliant project that is dedicated to bringing creativity alive and into touch with people of all backgrounds, experiences and ages in entertaining ways.

It was a pleasure to work with the team on site and share their enthusiasm and zest for the project, which is like a beacon of positivity for the future.”

TECHNICAL INFORMATION

LIGHTING

4 x Robe ROBIN ParFect 150 RGBW

4 x Robe ROBIN ParFect S1

4 x ROBIN 300X LEDWash

1 x ChamSys Magic Q PC Wing Compact

AUDIO

2 x Dynacord TS400

3 x Dynacord PSE 218

4 x Electro-Voice PXM-12MP

2 x Dynacord C3600FDI

1 x Midas M32 Live

VIDEO

1 x NEC PA804UL-WHT

1 x Blackmagic Design ATEM mini Pro ISO

MICS & COMMS

10 x Hytera TC230

2 x sE Electronics V7

12 x Shure mics inc: Beta 52A, Beta 91, SM57, SM58, Beta

57A, Beta 58A

9 x Sennheiser mics inc: E 906 B, E 902, E 904, MK 4

26 x Konig & Meyer stands

TRUSSING

42 x Milos STB 1000

54 x Milos STB 1500

6 x Milos STB 2000

20 x Milos ACB21 2way90dg

20 x Milos ATB36 3wayT

5 x Milos ACB41 4way

www.soundhouse.com.ua www.jamfactory.ua

Right: The Alexandra Hanke jazz trio perform under the lights. Photo: Svitoslav Sidletskyi.

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ACQUA LOUNGE

MASSACHUSETTS / USA AMERICAS

Now decorated with reflective surfaces, LED screens, and abstract projections, Acqua Lounge’s extensive renovation saw Tirso Lighting take on both the roles of visual artist and interior designer.

Though Acqua Lounge’s name has long been well-known throughout Lawrence, Massachusetts’ social scene, a somewhat outdated design and a desire to be at the forefront of technologically futuristic clubs led to the venue’s team seeking a complete audiovisual and aesthetic transformation.

With so many modern entertainment venues chasing innovation, finding a distinctive look can be challenging. That’s why Acqua Lounge appointed Tirso Pelaez and his team at Tirso Lighting to craft a whole new look and AV design for the space. Alexis Cepeda, Co-Owner of Acqua Lounge, said: “I wanted to create something different, something fresh, which is why I wanted to work with Tirso. He originally designed a logo for us back in 2016 and since then I’ve followed his career closely; every club he works on looks unique, which fit with my vision.”

The late-night entertainment venue was stripped back to its bare floor, ceiling, and walls, before Tirso Lighting’s Owner, Pelaez, alongside the rest of the team, entered the project. Pelaez stated: “For Acqua, we were responsible for not only designing the visual solutions but also selecting furniture, tiles, wall coverings – anything aesthetic, we took on the role. We find that we bring tremendous value by offering interior design service alongside our lighting expertise.”

Trusting in Tirso, the lounge’s owners gave the visual integrators complete creative control.

The team devised a strategic plan for the venue, featuring a redesigned layout that includes a raised stage at one end, VIP seating along the sides, and a more compact yet visually striking bar. Since bottle sales are a major revenue stream for Acqua Lounge, the entire space was carefully designed to foster an environment that encouraged drink service orders.

Before any furnishings were placed, Tirso Lighting designed a comprehensive visual solution. Pelaez said: “Controlling both the interior aesthetic and the lighting was useful. We didn’t have to worry about any decorations blocking beams or, vice versa, lights washing out furniture, as we strategically fashioned the whole space.”

The design team began by using a 3D LiDAR scanner from Leica to create three-dimensional images of the entire venue, allowing them and their clients to observe the space’s intricacies in detail. “This equipment helps us see things we couldn’t with the naked eye. If there is a dip in the roof or ceiling that would cause issues with lighting integration, or a crooked wall, this technology enables us to see it. It’s changed everything for us in our workflow,” Pelaez noted.

“After reviewing the venue scans, we developed our concept. We envisioned integrating an advanced lighting rig with innovative LED visual technologies to showcase impressive graphics. For the aesthetic design, we wanted a high-gloss, reflective ceiling to enhance the visual impact of the lighting.”

To showcase their vision to the club, Tirso Lighting created detailed 3D conceptual renderings that illustrated the reimagined layout and lighting solutions. “Our ideas made a lot of sense to them,” Pelaez continued, “We had very good synergy from the get-go.”

The installation began with what Pelaez called “the most interesting visual elements in the room.” Acqua Lounge was outfitted with custom-shaped LED screens, including a main stage screen with a fluid design that wraps around the stage. Unique arch elements curve over the walls and seating areas, creating the illusion of floating imagery around visitors.

On the opening night of the club, Tirso Lighting designed video content to be displayed on its bespoke screen solution. Pelaez said: “The system displayed the message ‘WELCOME TO THE NEW ACQUA LOUNGE,’ followed by a visual effect of the screens appearing to fill with water.”

The LED features were paired with an entertainment lighting package from ADJ Group, which provided the equipment to fill the room with nightclub staples: colour, aerial effects, gobo projections, and strobe flashes. Explaining his decision to use ADJ fixtures for Acqua Lounge, Pelaez said: “I use a lot of ADJ products because the brand offers fixtures that are great for the kind of nighttime entertainment venues we design. We’re essentially ADJ professionals ourselves; we’ve been distributing its products for over 10 years.”

One of the main challenges of the Acqua Lounge renovation was the venue’s low ceiling height and relatively small floor space, which had the potential to threaten Tirso Lighting’s vision of a lavish atmosphere. However, the high-gloss reflective panels and a calculated luminary design combine to erase this issue.

The primary moving head fixture utilised for the project is ADJ’s Focus Beam LED. It features a collection of beam-shaping tools, allowing for the creation of a variety of aerial effects. A total of 18 units have been deployed at Acqua Lounge: 14 spread across the ceiling – interspersed with the high gloss panels – and the remaining four positioned at the rear of the stage.

To complement the concise output of the Focus Beam LEDs, ADJ’s Focus Spot 5Z was chosen to project larger GOBO patterns onto the floor and ceiling of the venue. Eight of these are installed at Acqua Lounge, rigged in pairs above the central dance floor area. Pelaez said: “A beam fixture together with a spot fixture creates a very good synergy. In this venue, as it is more oriented towards nightlife, we’re a little heavier on the beam count than we are on the spot fixtures.”

In addition to the moving heads, Tirso Lighting deployed 10 of ADJ’s Jolt Bar FX linear LED fixtures, mounted in pairs. They are angled directly down at the dance floor area, allowing the room to be filled with colour washes and strobe flashes.

“I wanted the ability to wash the entire room, but also to fill the whole space with strobe flashes, and the Jolt Bar FX covered both of those bases,” said Pelaez. “We’re using the fixtures in their highest DMX channel mode, which gives us granular control over each section of LEDs. This allows us to program chases that run all around the room, which look effective and provide another way to inject movement into the space without using the moving heads.”

Illumination of the stage is provided by three 12PX HEX LED pars. Further, three COB Cannon Wash units are positioned across the rear of the stage. Tirso Lighting installed these to generate a back wash when the stage is used for performers and provide ambience for nights when it serves as a VIP seating area.

TECHNICAL INFORMATION

8 x ADJ Focus Spot 5z

18 x ADJ Focus Beam Led

10 x ADJ Jolt Bar FX

5 x ADJ 12PX HEX

3 x ADJ Cannon Wash

2 x Magmatic MAGMA Prime

44 x Custom Backlit Bulb

7 x Led Neon Light - 3000k

9 x Custom P4 Curve Archway LED Screen

1x Custom P4 Curve Wall LED Screen

1 x Obsidian Controls Onyx Lighting Control Software

1 x Obsidian Controls - NXP Wing

1 x Resolume Arena Software

1 x Leica 3D LiDAR scanner

www.tirsolighting.com

Left: A comprehensive visual solution was designed by Tirso Lighting.

Two additional 12PX HEX pars are also utilised at the rear of the club to highlight the DJ booth. Control of the entire lighting system is facilitated by the Onyx platform from Obsidian Control Systems. Rounding out the comprehensive system, atmospheric haze to enhance the beam effects is generated by a pair of Prime Hazers from Magmatic.

Reflecting on the installation process, Pelaez saw his extended team as the key to Acqua Lounge’s success. “Tirso Lighting couldn’t be on site every day, but this wasn’t an issue thanks to our team of local technicians who helped with the integration. Since our main team is based in New York and the club is in Massachusetts – a four-hour drive – we were only able to visit the venue a couple of times a month. Our technicians were great, making sure that, when we couldn’t be there, the job was running smoothly, safely, and properly. We managed to stay in close contact with them throughout these times, though; thank god for FaceTime!”

He also noted that the best way to understand the installation’s impact on the club was to see it: “Now, when bottle service is going to a specific table, there’s a button the venue can press that shuts off all the lights in the club, apart from the ones surrounding the table in question. The lights strobe around these visitors, and text runs around the LED screen arch above them. This creates a really exciting moment where the entire club doesn’t have a choice but to pay attention!”

The personalised treatment also encourages more customers to order bottle service, as was the venue’s wish.

“The Tirso Lighting team and I are really happy. We delivered on their expectations. One of the reasons why I do the work I do is because I love creating something from scratch and then seeing the faces of clients and visitors when it all comes together,” Pelaez concluded.

Co-Owner Cepeda added: “Working with Tirso was crazy. It felt like he went inside my head and knew exactly what I wanted. The result was perfect. When we ran the light show at the grand opening, it was incredible; people went crazy and kept coming up to tell me how good the place looked.”

PLAZA HOTEL

SYDNEY / AUSTRALIA APAC

A groundbreaking new venue has emerged within an iconic heritage-listed building, with a vision to attain elite status among the world’s top super clubs.

Photo: WS.Creative

The Plaza is a notable example of the inter-war building boom in central Sydney, featuring a striking Spanish Mission-style facade. Since its opening in 1930 as a movie theatre, it has played a significant role in the local entertainment scene and has undergone various transformations.

Under the ownership of the Winchester Hotel Group, with creative direction from Sarah and Ryan Maloney, the theatre has been revitalised with new energy and vision.

The venue is now positioned as a premier entertainment destination, aiming to establish itself as one of the world’s must-see locations. Plaza stands out because it offers six distinct areas for hosting events, including a five-star dining restaurant, an underground vinyl bar club, a sumptuous classic 1930s movie theatre, themed VIP rooms, and the main superclub dance floor.

From the beginning, Ryan’s vision has transformed Level One into a club inspired by Ibiza.

The goal was straightforward yet ambitious: to create a venue recognised around the world for its exceptional sound systems, impressive lighting design, and stunning video wall.

The venue aims to attract the most renowned international DJs and performers, offering them a space that would challenge their artistic boundaries while providing an immersive experience that would leave a lasting impression on every guest. This massive project was ultimately awarded to Brendon Fava from Xcite Audio Visual.

Sound

The sound system is at the heart of any nightclub, and Martin Audio was chosen to fulfil the brief of a premium product line that meets any international rider specifications. From Technical Audio Group, Martin Audio’s Australian dealer, Anthony Russo, liaised closely with Fava for the system’s design. Renowned in the industry and with decades of experience in countless nightclubs, Russo understood that this project needed to be special.

“We wanted people to have a true high SPL immersive dance experience from every position on the dance floor,” explained Russo.

“To achieve this, we decided to go beyond the typical two- or fourcorner stack configuration and opted for a six-stack solution. This ensures that no matter where patrons are located, they will enjoy a unique 360 experience that surrounds them from every direction.”

To attain the desired coverage and high sound pressure levels, the WPL series from Martin Audio’s Wavefront Precision line array range was selected. A total of 24 units were deployed in six hangs.

“People rarely experience a high-powered concert-style cabinet that operates well within its limits while maintaining significant headroom,” said Russo. “This is crucial for efficiently handling the massive dynamic range produced by international DJs.

“EDM often presents the highest duty cycles that speakers will encounter, making it important to consider voice coil temperature buildup and its effects. Having enough cabinets certainly helps with this, so what sounds good at 9pm must also sound as good at 4am.

“Additionally, the horn-loaded dual 12-inch drivers in the WPL provide a fast transient response in the 80-100 Hz range of dance tracks –something typical sub cabinets cannot achieve.”

A total of 18 Martin Audio SXH super dual 18-inch hybrid subs were deployed in a six-stack configuration to complement the arrays.

Standing next to the main substack, which stands at 2.5m, guests can experience their impact.

“This system isn’t just about volume – it’s about delivering precision, power, and consistency,” stated Fava. “Standing next to the main substack, you can feel the controlled energy and clarity that sets this setup apart. It’s designed to hit hard, sound clean, and perform flawlessly all night.”

To serve the bar and VIP booth areas, 16 Martin Audio THS 15-inch 3-way coaxial cabinets are deployed. Thanks to their horn-loaded design and high SPL capability, these cabinets effectively provide the level of sound necessary as a delay, ensuring a seamless transition

from the main dance floor. Importantly, the DJ monitors consist of two Martin Audio THS units mounted on custom-made brackets, paired with two SX 218 speakers to ensure they can withstand the demanding requirements of any performance fit for any world rider.

A crucial focus was on vibration control and minimising disturbances to neighbouring properties. To ensure this, every cabinet was suspended using Embelton spring isolation or mounted on specialised floor mounts.

Custom rigging was designed and installed by CVAV Sydney, renowned for overcoming significant installation challenges in the entertainment industry.

System processing is managed through an Allen & Heath AHM on a Dante network, powering 14 Martin Audio iKon amplifiers with a total available output power of 250KW, an “engaging marketing number”, commented Fava.

Elsewhere, in Plaza’s Basement level, Sarah Maloney transformed the space into a moody, exclusive subterranean curated vinyl bar featuring cozy décor, highlighted by a stunning bar.

The sound system enhances the atmosphere with a six-position immersive sound design scaled down for the space. It includes six Martin Audio CDD 15 speakers, eight CDD 10 speakers for fill, and two SX 218 sub-bass units. DJs are well-equipped, with stereo CDD 15s provided as monitors.

Lighting

The club’s lighting design brief from Ryan was to get a feeling somewhere between the glitz of Las Vegas nightclubs crossed with legendary venues in Ibiza. A design collaboration between Xcite Audio Visual and Gareth Mealing from lighting suppliers Show Technology saw the requirement of over 200m of custom-made F 34 truss from Global Truss to span the enormous heritage roof trusses.

Plaza is equipped with state-of-the-art LED fixtures, intelligent moving lights, and one of the most advanced control systems in the world. At the heart of this setup is an MA Lighting grandMA3 compact, seamlessly paired with a Luminex LumiNode 12 processor.

The combination provides exceptional flexibility and reliability, allowing precise control over every beam, strobe, and effect.

The lighting inventory boasts an impressive array of fixtures, including 12 Martin Era 300s, eight ShowPro Pluto 8000s, six ShowPro Diamondbacks, 14 ShowPro Alligators, and 38 ShowPro Pluto Beams. Enhancement for light and video effects is provided by the addition of two Look Solutions Unique 2.1 hazers.

Below and left: Level One in Plaza. Photos: Harpreet Singh.

“The challenge was always to balance the design against the backdrop of the enormous video feature, ensuring that neither becomes the predominant main feature, or star of the show,” commented Mealing.

Video Wall

If the lighting and sound aren’t spectacular enough, at the centre of this venue is an enormous video display that stretches 20m across the entire length of the dance floor ceiling and serves as an immersive backdrop for the DJ booth. It’s a perfect enhancement for the venue. In total, 222 panels measuring 500mm by 500mm were installed.

“It’s not just a screen – it’s a mesmerising feature that can redefine what’s possible for immersive visuals, blending form and function to deliver a captivating experience,” commented Fava.

Xcite Audio Visual strategically partnered with Aurora Signage to select premium components for a highly durable display that delivers an impressive brightness of 1250 cd/m² while maintaining an excellent contrast ratio. This display is engineered to produce deep blacks, and its optimal scanning and refresh rates guarantee the highest quality in custom visual content rendering.

The fine-pitch V-Spec P2.91mm SMD LED, combined with a no-gap alignment and a specialised adhesive overlay, provides exceptional protection in a nightclub environment. Control of the panels is efficiently managed through a NovaStar system.

Each ruggedised cabinet panel features a custom locking system that maintains its structural integrity, particularly considering the high energy levels generated by the subbass. Additionally, the cabinets can be easily repurposed and redeployed at the venue, allowing for future upgrades or changes in venue design as needed.

Xcite Audio Visual prioritised content design as a key focus for their projects. They enlisted Micheal Crane, a well-known expert in the industry recognised for his exceptional stylised content and design, and this collaboration guaranteed that each performance would maintain its ‘WOW’ factor.

Both video and lighting operators monitor a ShowKontrol Club system, allowing them to access metadata, including the artist, track, album name, waveforms and BPM, via SMPTE code from the four connected Pioneer CDJs. This provides operators with precise ‘look-ahead’ information to help synchronise audio, video, and lighting.

Having opened in December 2024, this groundbreaking venue has already hosted prominent local and international DJs, such as Chris Stussy and Mind Against.

Sarah and Ryan Maloney envisioned a venue that draws partygoers, VIPs, and celebrities who want to be part of Australia’s next great nightlife revolution. Their goal is to make it a sought-after destination in the global nightlife scene, and they are well on their way to achieving that dream, as this venue represents a landmark in Australia, demonstrating the collaboration between experts in the AV industry and an owner’s creative direction.

TECHNICAL INFORMATION

AUDIO

24 x Martin Audio WPL Dual 12-inch Concert line arrays

18 x Martin Audio SXH dual 18 hybrid sub-bass

18 x Martin Audio THS

4 x Martin Audio SX218 sub-bass

2 x Martin Audio SX118

8 x Martin Audio CDD 15

6 x Martin Audio CDD 10

11 x Martin Audio Backline X8

4 x Martin Audio SX112

28 x QSC Audio ADC 6T

1 x Allen & Heath AHM-DANT 32 DSP

1 x Allen & Heath AHM-DANT64 DSP

2 x Allen & Heath CC7

4 x Allen & Heath Dante DT interfaces

2 x Aphex 120 line driver

3 x Netgear AV line M4350 24 switches

11 x Martin Audio IK42 Power amplifier

3 x Martin Audio iK81 Power amplifier

6 x QSC Audio 5050 Power amplifier

4 x QSC Audio 2450 Power amplifier

1 x QSC Audio MPA 20V Power amplifier

2 x Pioneer DJM-V10 Mixing Desk

4 x Pioneer CDJ-3000 Multi-Player

4 x Pioneer PLX-1000 Turntable

2 x Pioneer RMX-1000 Effect Machine

LIGHTING

12 x Martin Professional ERA 300 Profile

8 x ShowPro Pluto 8000WBX

6 x ShoPro EK DiamondBack

14 x ShowPro Alligator

38 x ShowPro

Right: The Basement is an intimate underground lounge, designed specifically for music lovers. Photo: WS.Creative.

L-ACOUSTICS

Visiting the brand’s stylish London showroom, MONDO-DR chats with Nick Fichte, L-Acoustics Business Development Director for the Home & Yacht market, about the new HYRISS solution, discussing how the multifaceted system “transcends the traditional” in terms of its capabilities.

On the manufacturer’s 40th anniversary, 13 September 2024, L-Acoustics’ London showroom and HYRISS exhibition space saw its grand opening. “The significance of the date was intentional,” Fichte said, “HYRISS represents the culmination of L-Acoustics’ technological innovations throughout its four decades.”

HYRISS, standing for Hyperreal Immersive Sound Space, has the potential to “shift the way we think about sound in a space,” Fichte continued. The technology is suitable for a wide breadth of applications, including homes, yachts, hospitality, corporate, retail, and more.

Fichte noted a common pattern in how some modern spaces approach audio, often favouring visual aesthetics over acoustics. While these spaces may look appealing, they frequently fail to deliver an equally captivating auditory experience.

“Usually, spaces are designed with function in mind first, and an AV consultant is then tasked with designing the technology around the room. The approach of a HYRISS solution is to incorporate sound within the space before the aesthetics of the room are designed,” he explained.

HYRISS combines L-Acoustics hardware, software, and services to create immersive sound environments that consider the application’s end goal and the room’s acoustic properties. It’s a network consisting of Soka loudspeakers with L-FINS technology, SB10i subwoofers with L-VENTS, and X6i speakers

incorporating coaxial technology. These components are driven by LA7.16i amplified controllers utilising L-SMART adaptive power management. The quantity and placement of the equipment depend on the space; the solution can be tailored to fit any room type.

“The heart of HYRISS is the L-ISA Processor II,” Fichte explained, “It serves as the core processing unit. Beyond its basic live objectbased mixing capabilities, the processor incorporates Anima technology for flexible stereo and surround format steering alongside stereo-to-immersive conversion. Then, the Ambiance feature allows users to recreate various acoustic environments, ranging from dry studio spaces to cathedrals, concert halls, and performing arts centres.”

At the London showroom, the MONDO-DR team was treated to a comprehensive demonstration of HYRISS’ capabilities. The L-Acoustics team transformed one room into a club, a theatre, and even a large, echoey cave, just with the sound technology that was discreetly installed in the room.

Fichte said that inviting clients, customers, and the curious to the exhibition space is useful, as “It allows us to showcase how a single space can transform to serve multiple purposes without physical changes to the room.”

“Visitors are particularly interested in how HYRISS transcends the traditional in terms of audio system capabilities.

They’re experiencing how a space can instantly shift its acoustic signature - from a ‘dry’ room perfect for critical listening to a concert hall ambience for live performances. This versatility, combined with the system’s invisible integration into the space, is helping them envision new possibilities for their venues beyond what they thought possible.”

Fichte spoke on HYRISS’ creation, which was catalysed by an understanding of what a sound system could do if designed with precision.

“There’s one project I find particularly memorable that spurred us on to produce HYRISS. When working in a space whose intended use was still undecided, our founder recognised an opportunity: by installing loudspeakers spaced evenly throughout the room, we could use software to adapt the acoustic environment for different applications without compromising the interior design. This led to a new approach where we first established the loudspeaker layout, and then the interior designers incorporated it into their plans.

“This experience demonstrated the need for a flexible acoustic solution that could accommodate multiple use cases while respecting architectural and design constraints – a key insight that influenced the development of HYRISS.”

With HYRISS, L-Acoustics offers an acoustically-driven approach to the creation of immersive, multi-sensory spaces. Fichte concluded: “This solution means the whole space can become the audio ‘sweet spot’.” www.l-acoustics.com

Pictured: The L-Acoustics HYRISS exhibition space at its London showroom.

DPA MICROPHONES

Helga Volha Somava, Director of Product Management at DPA Microphones, discusses the brand’s ongoing venture into theatre solutions with the 2061 lavalier microphone. Speaking to MONDO-DR, she explained, “Our mini mics provide all the classic features users expect, but with the addition of that excellent DPA sound.”

“The 2061 is an important product for us,” Somava continued. “We’ve been designing microphones for quite a long time, focusing on delivering clarity, consistency, and durability. Historically, our target audience has been professionals with advanced expertise operating in exceedingly challenging acoustic environments.”

Considering the potential of its technology, DPA decided to broaden its presence, reaching more users in theatre, broadcast, houses of worship, and other event venues. “We knew we wanted to move further into this space, but we realised our current offering wasn’t attractive enough for a wider audience,” Somava said.

This led the team to conduct a thorough research process to figure out what features the market was looking for, which began by reaching out to users of other mini mics. Somava revealed: “We asked professionals the simple question of ‘why’– why they were drawn to their choice of lavalier and why they continued to use it.”

This direct, consumer-focused investigation helped DPA identify key features needed in its mini microphone.

Reflecting on the findings, Somava explained: “The results revealed that we needed to invest in intelligent simplicity. Professionals primarily valued ease of use and clear, high-quality sound. We based the design on our existing catalogue, removing some of our unique features and prioritising those users expected. This is how the 2061 was born.”

The 2061 also has the durability features necessary for its target audience; the IP57 certification is attractive for theatres that will need to rinse the mic. “We also spent a lot of time testing this in fitness centres,” Somava said. “We needed to make sure sweating wouldn’t affect it. The 2061 is designed to ensure fluid leaves the mic immediately and doesn’t alter the sound.”

With an omnidirectional pickup pattern, the 2061 mic is designed to capture the human voice with minimal colouration and a high level of intelligibility from any direction. Somava concluded: “We made sure to introduce something super reliable. We are dedicated to our customers, and we wanted to show this in the creation of the 2061.”

www.dpamicrophones.com

Left: Helga Volha Somava, DPA Microphones.

Above and left: DPA Microphones’ 2061 lavalier microphone.

VELOCE PROFILE

the ultimate precision

After the worldwide success of the RIVALE PROFILE and more than 10,000 units in service in less than a year, AYRTON is proud to present its brand new VELOCE PROFILE, the second ultra-equipped luminaire in the "ULTIMATE" range, specially designed for large spaces.

The ULTIMATE range has broken the codes with its avant-garde design. A family of perfectly homothetic luminaires that reinforces the sense of unity between the different models.

VELOCE PROFILE provides the ultimate sensations. An accomplished luminaire synonymous with high performance, unbridled creativity, refinement and power. A luminaire you won’t want to do without.

WITH LOCATIONS AROUND THE WORLD AND A CELEBRATED HISTORY DATING BACK TO THE LATE 1960S, WSDG IS AN ARCHITECTURE, ACOUSTIC, ELECTRO-ACOUSTICS AND ADVANCED AUDIOVISUAL SYSTEMS INTEGRATION CONSULTING AND DESIGN FIRM WHICH WAS CO-FOUNDED BY BETH WALTERS AND JOHN STORYK. HAVING GROWN ORGANICALLY SINCE DAY ONE, THE COMPANY HAS ITS HQ IN HIGHLAND, NEW YORK, WITH OFFICES AND REPRESENTATION ACROSS EUROPE, LATIN AMERICA, MIDDLE EAST AND ASIA.

WE HEAR FROM SERGIO MOLHO, PARTNER AND DIRECTOR OF BUSINESS DEVELOPMENT, DIRK NOY, PARTNER AND DIRECTOR OF APPLIED SCIENCE AND ENGINEERING; AND JOSHUA MORRIS, PARTNER AND COO, TO LEARN MORE ABOUT THE PAST, PRESENT AND FUTURE OF THE COMPANY.

Over the past five decades WSDG has created architectural and/or acoustic designs and consulting for over 4,000 projects across recording, TV and broadcast studios, performance venues, personal and destination studios, educational complexes, sports stadiums, public buildings and houses of worship. With its early beginnings in the design and construction of recording studios, the company has expanded and enhanced its expertise in line with the demands of an array of different clients, all of whom require bespoke solutions.

“While WSDG as a company was founded by John Storyk and Beth Walters in 1987, it began in earnest with the work of Storyk as a graduate from Princeton University in 1968,” explained Molho.

“With a degree in architecture, Storyk started out doing carpentry jobs in New York City, including the design and building of a nightclub which inspired Jimi Hendrix to hire Storyk to design a club for him. Jimi’s project soon changed from a nightclub to a personal recording studio, which, when finished, was named ‘Electric Lady Studios’ in honour of the guitarist’s new album. While Hendrix passed away shortly after the facility opened, the studio remained, and continues to operate in its original location to this day.”

The studio was a massive success, and Storyk quickly became one of the go-to people for recording studio design for the next few decades.

“Throughout the 70s and 80s, as technologies improved, recording studios evolved with larger consoles and more equipment as the world moved into the digital era,” continued Molho. “Towards the end of the 80s, Storyk

joined forces with Beth Walters, who had a background in fashion design and textiles, and the pair soon decided to formalise their personal and business relationships by marrying and forming a new company, Walters-Storyk Design Group – WSDG.

“Beth added a touch of colour to John’s studio designs, and this was the golden era of the 1990s when studios were evolving from these darker, cave-type environments into amazing, comfortable living spaces.”

Having developed an expertise in designing recording studios, members of the team soon began to realise that their specialised disciplines could be transferred to other spaces, as Joshua Morris explained:

“Recording studios are super-technical and super challenging because you are trying to do a lot in what is quite often a confined space,” he said. “You have to check a number of boxes all at the same time – isolation acoustics from the outside world as well as within the studio rooms themselves; internal room acoustic characteristics, which can be exacerbated by the isolation – because the more you isolate yourself the more energy you keep, meaning the more energy you have to address.

“Then there is electro acoustic design work - the condition of the speakers and their position and dispersion, and AV systems design. And all of that is happening in a very concentrated and high-temperature environment.

“There was a time when we all looked at each other, realised that we loved what we were doing and solving these challenges, but we also realised that we could apply these lessons to other

1 Jazz at Lincoln Center: One of the world’s finest Jazz performance centers, located in New York City.

2 Dirk Noy, Partner and Director of Applied Science and Engineering, WSDG.

3 Joshua Morris, Partner and COO, WSDG.

4 Sergio Molho, Partner and Director of Business Development, WSDG.

5 Lithuanian State Symphony Orchestra: A newly reconstructed orchestral performance center that is now one of the finest in all of Europe, Located in Vlinius, Lithuania.

verticals, and so we are not beholden to the rise and fall, and the ebb and flow of the recording industry.”

Dirk Noy continued: “There are a lot of lessons from studio design that can be taken to performance venue planning; high-end and demanding corporate environment design; and even down to a residential level, where people may want a very controlled listening environment at home.

“Our skills are translatable, and so we began making inroads into different industry verticals, always building on our numerous and diversified skills and capabilities,” he added.

“In many ways, we take the prestige of working in the recording studio world, and we utilise it where it is applicable in other project typologies,” agreed Morris. “This cross pollination works for us, because if we are contracted to the designing of recording studios for artists such as Taylor Swift and Alicia Keys, then it’s clear that we have the expertise to understand how to acoustically treat other rooms, such as theatres or corporate board rooms.”

While much of what WSDG achieves is very precise and often incredibly scientific, Molho is keen to highlight one element which he believes sets them apart.

“Something we always take into consideration, whatever the project, is the vibe of the space,” he said. “This is something that intersects all the verticals and applies to a recording studio as much as it does a theatre, concert hall or performance venue. Embedded in our DNA is the ability to find and enhance that vibe.

“Using this approach we mix the science of acoustics, the audio equipment, and the technical interior design – the lighting and ambiance, everything that enhances the experience of the person related to the function. Noy echoed his thoughts and emphasised: “This is critical to us, because experience is everything. The artist needs to be

comfortable to express their emotion, both in recording and performance, and the same can be applied to engineers in those situations.”

“Fortunately for us, a picture holds a lot of weight, and the accompanying images to a product or project help elevate the craft, to help people understand that a room will sound good, because it looks like it will,” continued Morris. “Combining design sensibility with the technology, engineering and acoustics is what sets us apart.”

A massive level of flexibility in service is also another big reason behind WSDG’s strength in the marketplace.

“We have templates for the very basic elements of a project, but everything we do, on the whole, is a custom solution for a specific need, and it is never as simple as ‘problem:solution’,” said Molho.

“Sometimes we work with building owners; sometimes we work with contractors; sometimes we work for engineers or builders – there is no one way in which we work or approach work. We are flexible, and we effectively create every project from scratch, but that can lead to a unique end result.”

Noy added: “This leads back to the DNA of WSDG as a company. We really try to understand the client’s needs and vision, and find a solution that fits with that particular situation – be it acoustically, architecturally, technologically – and, of course, the vibe.

“Over the years I believe we have succeeded in garnering a high level of trust with our client base, and prospective clients, because they can look at examples of our completed work and know that it has been very well thought through and has solved the main issues. Often, we look back at some of our projects and realise that in a way, our clients are often our best salespeople, and they truly become our partners.”

While the company has offices and staff based in numerous locations around the world, its

growth has been organically developed with a people-first standpoint.

“We have grown as a company without ever formally posting job openings or searching for something specific in a specific location,” continued Noy. “We have always expanded through networking at professional conventions or trade shows in our realm, and relationships build and develop.

“As an example, I was a student of John Storyk in the United States, then served an internship at the office before joining the team full-time in New York. There came a point later when I wanted to return to my native Switzerland, and he agreed, on the condition that I would develop a business plan for me to continue working for the company. So I did that, and what I set out in that plan has transpired.”

Over the years WSDG has been acknowledged by frequent peer accolades including more than a dozen NAMM TEC Awards for Outstanding Studio Design, while prestigious projects include Jazz at Lincoln Centre in NYC, the National Museum of Qatar, the Lithuanian State Symphony Orchestra, Switzerland’s KKL Luzern Concert Hall, and the Palace of Culture and Communication in Guadalajara, Mexico.

“Reflecting on where we started and where we are now, I couldn’t be prouder of what WSDG has become,” concluded Storyk. “We’ve stayed true to our values of innovation, collaboration, and delivering excellence in every project.

Seeing the team we’ve built and the incredible diversity of work we’ve accomplished across the globe gives me confidence that our legacy will continue to thrive for decades to come.”

www.wsdg.com

1 - 2 National Museum of Qatar: An immersive museum experience, located in Doha, Qatar.

BROADWEIGH

SPEAKING TO MONDO-DR, MATTHEW YOUNGS, SALES & MARKETING MANAGER AT MANTRACOURT ELECTRONICS & BROADWEIGH, REFLECTS ON THE PAST YEAR IN LOAD MONITORING FOR THE MANUFACTURER AND OUTLINES ITS GOALS FOR 2025. AS A SUBDIVISION OF MANTRACOURT, BROADWEIGH INTRODUCED NEW PRODUCTS, IMPLEMENTED UPGRADES, AND SHOWCASED INTERESTING USE CASES THROUGHOUT 2024 – TRENDS YOUNGS CONFIRMS WILL CONTINUE IN THE YEAR AHEAD.

What can we expect to see from Broadweigh in 2025?

In 2025, Broadweigh will focus on expanding our product range and enhancing user experience through advanced connectivity and software integrations. You can expect to see innovative solutions designed to tackle the evolving challenges of live events, with a strong emphasis on safety, precision, and sustainability.

Broadweigh is committed to improving safety and precision in load monitoring by moving into the field of permanent installations. With the growing demand for reliable, real-time load monitoring in theatres, performance spaces, and other fixed venues, we are harnessing our expertise to deliver solutions specifically tailored to these environments.

Our pledge is to develop state-of-the-art technologies that integrate seamlessly with existing infrastructure, providing robust, scalable, and intuitive systems. By offering continuous load monitoring, we aim to safeguard performers, crew, and audiences, while enabling operators to optimise rigging and stage operations.

Looking ahead, Broadweigh will continue to innovate and cater to the unique needs of theatres and other permanent setups, building on our reputation for precision and reliability within the live events industry.

Which use cases of your products in 2024 do you think truly showed the potential of Broadweigh’s offerings?

2024 showcased the versatility of Broadweigh’s solutions, particularly in complex rigging for large-scale festivals, theatrical productions, and multi-venue events. One standout was our involvement in Madonna’s “The Celebration Tour”, where our systems ensured real-time load monitoring, guaranteeing both safety and efficiency.

We also had a great case study on the Newcastle Theatre Royal which used the Broadweigh Bluetooth Load Cell as part of their refurbishment. We were happy to get this story featured in MONDO-DR’s September / October 2024 issue!

We also loved hearing about out-of-the-box uses of our solutions, such as in our ongoing relationship with Funambulist Andrei Loreni. Most recently, we provided Loreni with the necessary tools to monitor the loads for an event that celebrated ‘funambulism’ – the art of tight-wire walking using a balancing pole. During the show, four hundred tightrope walkers from all over Europe crossed the Galway River.

Tell me about last year’s introduction of the 9-Tonne Shackle – how did this product expand your offering and benefit AV professionals?

The introduction of the 9-Tonne Shackle in 2024 was a gamechanger, addressing demands for monitoring higher-capacity loads. It

1 Funambulist Andrei Loreni’s tight-wire show, supported by Broadweigh solutions.

2 Broadweigh’s BW-HK-S handheld display.

3 Broadweigh’s Bluetooth Load Shackle.

expanded our portfolio to cater to larger-scale installations, offering AV professionals the confidence to handle heavier rigs while maintaining the precision Broadweigh is known for. This product is essential for the new generation of huge video walls such as those used in Adele’s 2024 tour, where Broadweigh was used.

What prompted the creation of Broadweigh’s ‘new generation handheld’, unveiled at 2024’s LDI?

The new generation handheld, unveiled at 2024’s LDI show, was developed to address user feedback for a more intuitive, portable interface. It simplifies data monitoring, enabling technicians to access critical information on the go. Its development was in conjunction with event professionals, streamlining workflows and improving rigging management in fast-paced environments.

It can be customised to suit the task and user, including the ability to display the loads of the nearest rigging points. It has a future development map including mathematical functions which will be rolled out through remote updates. It is the flagship of our next generation of products, designed to be feature-rich and flexible to suit almost any use case.

Broadweigh celebrates #GLAD, Global Lifting Awareness Day, yearly; what importance do you see in taking part in these movements?

Broadweigh is proud to celebrate #GLAD each year as it aligns with our mission to prioritise safety, education, and innovation in the lifting and rigging industry. Taking part in such movements highlights the critical importance of safe lifting practices and fosters greater awareness within the global community.

We see GLAD as an opportunity to champion best practices, share insights, and engage with professionals who are equally passionate about elevating safety standards. By participating, we reinforce our commitment to creating safer environments for everyone involved in live events, construction, and industrial lifting.

Moreover, GLAD provides a platform to showcase how innovative technologies, like those developed by Broadweigh, can play a pivotal role in advancing safety, efficiency, and precision. It’s a chance to not only celebrate the achievements of the lifting industry but also inspire future advancements and collaborations that will benefit the wider community. www.broadweigh.com www.mantracourt.com

TouchScene & TouchScene MINI

Full colour, wall-mount touch panel displays.

Complete flexibility and customisation at the touch of a button.

DISCOVER THEM AT BOOTH 6M100

#AVFORVALENCIA AND AWARENESS AFTER DANA

Torrential flash floods, a consequence of the meteorological phenomenon known as DANA (Depresión Aislada en Niveles Altos, translating to isolated depression at high levels), struck Valencia, Castilla-La Mancha, and Andalusia on 29 October, 2024. One of the most devastating natural disasters in Spain’s recent history, the city continues to need attention and aid in its mission to rebuild.

The catastrophic event has caused hundreds of fatalities and immense structural damage across eastern Spain, leaving countless people homeless and distraught. In response, efforts to support the victims have begun, with many members of the audiovisual industry stepping forward to raise awareness and share how the DANA has affected them.

Juan Jose Vila, CEO of Valencia-based AV business Equipson, spoke with MONDO-DR about the initiative he is spearheading, titled #AVforValencia. “Valencia is where I was born, where I grew up, and where all my friends and family are. I had to do something,” Vila began. “After I initially shared news about the DANA on my social media platforms, I received messages from industry members asking how they could help. This led me to connect with Casa Caridad, a charity supporting those in poverty who were hit hardest by the flooding, and Fundación IN, an organisation assisting cancer patients in Valencia, which stepped up to help the patients who lost their homes to the DANA.”

Under Vila, Casa Caridad, and Fundación IN, donations for impacted individuals began running. “I then started to look for companies in the audiovisual (and musical) industries to join our efforts,” Vila continued.

“I contacted AFIAL, the Spanish distribution and manufacturers association for pro-AV, alongside COMUSICA, the Spanish association of manufacturers and distributors of musical instruments. These organisations joined the initiative, which became known as #AVforValencia, to coordinate companies, raise money, and create awareness within the audiovisual industry.”

Vila also explained that the involvement of these associations has been crucial in #AVforValencia’s collaboration with Startup Valencia, where a call to action is being made for audiovisual professionals to donate AV equipment in the process of rebuilding and refurnishing schools. Further encouraging recognition and assistance post-DANA, the funds raised from 2025’s BikeFest Spain will be donated to #AVforValencia and Casa Caridad. The charity cycling event is organised by PLASA and #WeMakeEvents Spain, the latter of which Vila is the Leader. BikeFest’s riding team, composed of industry professionals, will cycle from Valencia along the Mediterranean coast before arriving at 2025’s ISE in Barcelona, taking place from 31 January to 2 February.

On Ayrton’s support of #AVforValencia and 2025’s BikeFest, Christopher Agius Ferrante, CEO, Ayrton, said: “As we saw the terrible events unfold around Valencia, as if often the case, there was a feeling of helplessness. How does an organisation contribute, meaningfully, to help in these sorts of devastating crises? Particularly when they are not local to us. It was therefore a straightforward decision to get involved when Juan José Vila got in touch to tell us about the AVforValencia project. It is important that we help our industry colleagues and their localities in times like this. Helping out where we can is a responsibility we take seriously.”

Vila concluded: “As you can see, something that started as just a call for help from my contact network has become a structured project involving many different companies, that encourages people worldwide, both within and outside of our industry, to donate to those impacted by the floods.”

Eastern Spain-based GUIL reached out with a positive attitude, encouraging us to believe that, though the DANA’s path of destruction was devastating, the affected communities have commenced a strong rebuilding effort.

A spokesperson for the manufacturer said: “Although GUIL’s premises were affected by the flooding caused by the storms of 29 October, the magnificent reaction and efforts of our workers have allowed us to return our factory to 100% full working capacity. Construction work has also resumed on our new building. As is our lifelong philosophy, we look with optimism to the future.”

www.avforvalencia.org www.equipson.es www.guil.es www.ayrton.eu

Above: Members of the team helping restore Valencia

Previous Page: Juan José Vila and a member of the #AvforValencia team.

back to its strength.

WOMEN IN ENTERTAINMENT LIGHTING: COLLECTED LIGHT, VOLUME THREE

Hosted at Ayrton’s newly expanded headquarters south of Paris, Light Collective invited MONDO-DR, along with numerous light artists, manufacturers, installers, and experts, to celebrate the release of the third edition of its Collected Light book series.

Collected Light: Women in Entertainment Lighting, is the third in a series of books from Light Collective, led by Sharon Stammers and Martin Lupton, that spotlights female luminary artists and their work.

This recent edition follows Light Collective broadening its focus into the entertainment technology industry, an organisational foray that has been supported by Ayrton since its beginning.

Therefore, it felt fitting for Ayrton to house the book’s launch in the upgraded demonstration room of its headquarters in Villebon-Sur-Yvette.

Flown over by Ayrton, all women involved in the book, along with many supporters and experts, were present for the launch. The crowd was filled with more than 80 industry members from all over the globe, each with a different job role, history, and lighting experience.

The day began with a talk from Stammers and Lupton, who shared the story of the book’s inception. Light Collective’s Women in Lighting initiative led the organisation to the curation of this third edition, Women in Entertainment Lighting, which contains interviews with a multitude of female light experts.

The introduction of the book, written by Stammers and Lupton, reads: “By highlighting the achievements of women in this field, we not only acknowledge their invaluable contributions but also challenge the

stereotypes and barriers that have hindered their recognition. This book aims to elevate these stories, offering a platform for acknowledgement and appreciation.

Through these pages, we seek to celebrate the artistry, ingenuity, and perseverance of women in entertainment lighting.”

Four women interviewed in volume three then delivered presentations on their work with light. These guests lectured on diverse topics: Christina Thanasoula (Greece) spoke about her lighting designs for outdoor theatre, Clara Daguin (France) on her work with light and fashion, Clementine Fletcher-Smith (UK) on light and architecture, and Lauren King (USA) on the world of rock and roll.

Attendees were also treated to a colourful light show of Ayrton products, before the day was rounded out with evening celebrations.

While researching the book, Light Collective reached out internationally to many women working in this field. The Women in Lighting team revealed: “The result is by no means exhaustive, and there are countless women who deserve to be included and who Light Collective hopes to connect with in the future.”

www.womeninlighting.com www.ayrton.eu

JTSE 2024

5. Koy Neminathan of Obsidian

6. Josef Valchar, Michel Arntz, and Elie Battah of Robe.

PARIS,

FRANCE / 27 – 28 NOV, 2024 EMEA

Held at the Docks of Paris, JTSE’s 2024 edition saw an extremely busy show floor, with an abundance of exhibitors and presentations of the newest in audiovisual technology

This 28th staging of JTSE again highlighted the value of a dedicated space for networking and learning within the AV industry. On the show floor, an exciting partnership was present; Panasonic and Modulo Pi joined forces for the 2024 show. Modulo Kinetic and KineMotion technologies, combined with Panasonic’s PT-REQ12 projector for 240Hz playback, combined to create colourful, interactive visual experiences for visitors to the pair’s booth. Genelec and Audio-Technica France were behind another collaboration, where the brands presented an immersive sound demonstration in JTSE’s studio monitoring room, which included Genelec’s The Ones Smart Active Monitors. L-Acoustics was in attendance, celebrating its 40th anniversary. The manufacturer’s booth highlighted its latest products, the X6i, X8i, L2, Soka, SB6i, and SB10i, before visitors were treated to informative seminars from Yann-Gaël Gicquel, L-Acoustics Head of Technical Product Management, and Etienne Corteel, Director of Education. APG appeared too, showcasing to attendees its new UNILINE MAX line array system, an audio system that highlights its dedication to serving large-scale events and concerts. Unusual Rigging exhibited

7. Enrique Borges of Shure France.

8. Thomas Dessaint of Riedel.

9. Members of the L-Acoustics team.

its solutions, fittingly after its Paris branch was officially opened. Tom Harper, Managing Director at Unusual Rigging, talked about the brand’s new presence: “We are really looking forward to exploring further market opportunities in France!” Adam Hall Group displayed its wide array of offerings, including its latest Cameo products, the AZOR SP2, ORON, PIXBAR 400/600, brand new ROOTBARS, and OTOS Washers. The team at Christie dedicated their time to teaching and showing audiences the capabilities of its products, including the Pandoras Box media server.As well as its Astra and Jet Hybrid moving lights, PROLIGHTS’ booth allowed attendees to get a closer look at the manufacturer’s latest EclPanel IP series, while Claypaky’s booth also showcased many of its newest technologies; the Tambora family of effect lights and its Volero Cube were in operation at the stand, demonstrating to visitors just how much the products can do.

1. The Genelec and Audio-Technica France team. 2. Dan Roncoroni and Rik Kirby of TiMax.

3. Members of the Blaze Audio team. 4. Marina Prak of ROE Visual Europe.

Control Systems.

LDI 2024

AMERICAS

LAS VEGAS, USA / 8 – 10 DECEMBER, 2024

The 2024 edition of LDI fell a little later into December, but despite its proximity to the holidays it did not deter exhibitors who were all eager to showcase their latest additions to product portfolios. Packed with vibrant lasers, a multitude of professional lighting options, and even a big wheel, this year’s show was awash with new product launches, demonstrations and talks, and the expo hall was buzzing with visitors. The industry’s leading lights set their stands out accordingly, kitted out to impress and inform.

Robe launched two new products at the show, the LedPOINTE and the T.5 Profile – and also showcased several other new lighting fixtures for the first time in the USA, including iBOLT, which is now available for the US and Canadian markets. It was a busy show for Claypaky as it gave a world premier to the new Ultimo Hybrid and showed no fewer than five products

making their debut at LDI, while Vari-Lite revealed its new VL600 Acclaim+ Series of theatrical luminaires, which include a Fresnel and an ellipsoidal profile light engine and offer the same core capabilities as Vari-Lite’s VL600 Acclaim Series line, but with more output and features for larger venues. Elation gave a US debut to its PARAGON Series at the show and also unveiled the REVEL Profile, a bold compact fixture designed for indoor and outdoor applications. Obsidian Control Systems showcased its latest developments in lighting control technology at a dedicated, interactive booth that provided more space to highlight the ONYX platform.

ADJ debuted over 12 new products at the show, with the Hydro Hybrid taking centre stage, a new multi-functional IP65-rated luminaire, which can serve interchangeably as a beam, spot or wash.

Robert Juliat’s latest LED followspots - the Sully 10.5-22.5° (115W LED), Tristan 7-14.5° (825W LED), and the Arthur LT 4-10° (800W LED) – were all on display on the stand of its US distributors, ACT Entertainment, while the powerful Bizet 670SX profile spot made its first outing in the USA. Christie unveiled two new products at the show. The Spyder-S Series, with

five variants for multi-screen windowing processing for live events, broadcast, and sports venues, and Mastering Gateway for seamless HD, 4K, and 8K video distribution over IP networks for post-production, live events, and broadcast.

Distributors Inner Circle Distribution featured myriad new products on its stand, including the Astera QuikSpot, Claypaky Ultimo Hybrid, Roxx NEO fx and the Portman Amulet, in addition to informing its visitors and customers of the new MADRIX 5.7 software.

Media control manufacturer Hive made its LDI debut and took the opportunity to showcase its latest innovation, Nucleus, a compact, rackmountable 1U media player designed to redefine affordability and scalability in live events and fixed installations.

Pliant Technologies featured a range of its latest innovations and product updates, including the CRP-C12 Compact Radio Pack, its updated SB11L2 SmartBoom LITE Headset and the new PHS-IEHU Miniature In-ear Headset to provide even more headset options for its customers. An important show for the industry across north, central and south America, this year’s LDI is scheduled for 7-9 December.

1 Dennis Kloster and Edwin Duivelaar of HOF.

2 The Robe team on its stand.

3 Brian Dowdle, Alfred Gonzales and Eddie Short of ADJ.

4 Johanna Freytag of ChamSys.

5 Miles Kipper of AV Stumpfl.

6 Koy Neminathan of Obsidian Control Systems.

7 Dietmar Rottinghaus, Chris Neethling, Jonathan Pusey and Gretchen Makela of Neutrik.

8 Members of the MEGA-Lite team.

9 Members of the Master FX team on its stand.

10 The Broadweigh team.

11 The Vectorworks Team.

12 Solveig Busler of Schnick Schnack Systems and Linnea Ljungmark of Swedish distributors Topstage.

13 Shannon Sullivan and Ben Marson of IWIESS.

14 David Glaubke and Madeline Dachs of HARMAN Professional Solutions.

15 Francesca Marcandalli of Claypaky.

ISE 2025 PREVIEW

Funktion-One New Products Stand: 7K820

Launching the F61 compact loudspeaker

Expanding the Evo 2 product range

Introducing several new bass speakers

Full release of Projection (version 1.0) system design software

Launching the IP55 Compact Range

• Hourly demos on the stand starting at 11:25am each day

www.funktion-one.com

Cameo OPUS X4 Profile Stand: 6M350

• High-performance moving head with robust LED engine with 1400W LED white light engine

• High-intensity illumination with 50,000 lumens output and wide zoom range: 5°-55°

• Advanced colour mixing with CMY colour mixing and linear CTO correction

• Creative colour transitions with two colour wheels

• Visual effects with two gobo wheels and animation wheel

www.cameolight.com

Full Fat Audio FFA HD G3 DSP Power amplifiers Stand: 7J200

• Exceptional natural sound and power delivery for demanding high output applications

• Fully featured NST Audio DSP with 4 AUX DSP outputs for connection to non DSP amplifiers

• Analogue and digital audio over ethernet input, iPad, Apple, iPhone and PC control.

• Rugged high quality construction for long term use. Designed and made in the UK

www.fullfataudio.com

Linea Research System Engineer 8 control & telemetry software Stand: 7A300

SE8’s workflow-based design enables intuitive configuration, control, and monitoring of Linea Research amplifiers

In SET UP view, configure the device’s global features, including input routing mixer/matrix

In PRESET view, create, edit, and save presets to computer, even when offline. TUNE view focuses on detailed configuration to help users shape their audio.

Scan the QR Code to book a hands-on demonstration of this powerful new software

www.linea-research.com

PRODUCT GUIDE: MOVING HEADS

SPONSORED BY:

The NEO FX by ROXX sets a new benchmark in the world of professional lighting, offering unparalleled versatility, performance, and innovation. Designed to meet the highest demands of lighting professionals, this LED wash and effect light combines robust engineering with advanced technology to deliver extraordinary results in any setting. Whether it’s a live concert, festival, broadcast production, or a theatrical performance, the NEO FX rises to the occasion, offering groundbreaking features that inspire creativity and redefine possibilities. At the heart of the NEO FX is its powerful LED engine, boasting 24 by 40W RGBL LEDs that generate an impressive luminous flux of 12,000 lumens and a dazzling illuminance of 60,000 lux at 5m. This extraordinary output ensures that every performance is bathed in vibrant, dynamic light, captivating audiences and elevating productions. With a CRI and TLCI of 85, the NEO FX delivers accurate and vivid color reproduction, making it an ideal choice for broadcast and live events where precision is paramount. One of the standout features of the NEO FX is its massive motorised zoom range, spanning an incredible 4.5° to 70°. This dual independent zoom system, protected by a patent-pending design, provides unmatched flexibility for lighting designers. Whether you need a tight, focused beam or a wide, immersive wash, the NEO FX can seamlessly adapt to any requirement, ensuring perfect coverage and dynamic visual impact. The innovation doesn’t stop there. The NEO FX introduces the patented Smart Glass Filter, a removable and magnetic accessory that transforms the fixture’s capabilities. This groundbreaking filter enables smooth transitions and quick swaps between narrow beams, wide washes, and captivating graphic effects, opening up a world of creative possibilities. The Smart Glass Filter also incorporates a unique zoom effect and dynamic strobe functionality, adding depth and drama to any lighting design. Pixel control is another area where the NEO FX excels. With single pixel control and continuous pixel pitch across multiple devices, the fixture enables precise graphic and light curtain effects that are both smooth and visually stunning. These capabilities make the NEO FX a favorite among designers looking to create intricate animations, chases,

and textured light effects that leave a lasting impression. The NEO FX is built for versatility and reliability, with an IP65-rated housing that ensures it can withstand the toughest indoor and outdoor environments. Its robust construction is complemented by a fast and quiet motorised tilt mechanism, offering a range of 188° for dynamic positioning and movement. This combination of durability and adaptability makes the NEO FX a trusted choice for tours, festivals, and installations where conditions can be unpredictable. Setting up the NEO FX is a breeze, thanks to its advanced wireless capabilities. Equipped with an integrated CRMX transceiver, Bluetooth module, and Near Field Communication (NFC), the fixture allows for effortless configuration and control, even without power. Whether you’re working with DMX, SACN, Art-Net, or RDM, the NEO FX ensures seamless integration into any lighting setup, giving you the freedom to focus on your creative vision. To enhance its functionality, the NEO FX offers a range of optional accessories. The elliptical holographic filter and anti-glare grid provide precise beam shaping and glare protection, while touring cases ensure secure transportation. These accessories, combined with the fixture’s already impressive feature set, make the NEO FX a versatile and comprehensive lighting solution for professionals. In addition to its technical prowess, the NEO FX prioritises user convenience and flexibility. Its dual-input control mode allows you to split basic and pixel functions, catering to both simple and complex lighting setups. Built-in effects with foreground and background color control make it easy to create captivating animations and chases without the need for extensive programming. In conclusion, the NEO FX is more than just a lighting fixture; it’s a gateway to unparalleled creativity and performance. Whether used as a standalone unit or as part of a larger setup, it delivers exceptional results that elevate any production. With its powerful LED engine, patented features, advanced control options, and rugged design, the NEO FX is the ultimate choice for lighting professionals seeking to push the boundaries of what’s possible. www.roxxlight.com

ROXX

NEO FX

The latest addition to ADJ’s Hydro Series, the new Hydro Hybrid is an IP65-rated moving head capable of serving interchangeably as a beam, spot or wash. Packed with outputshaping tools – including CMY color mixing, an animation wheel, and dual-plane prisms – it delivers huge creative potential to lighting designers and offers exceptional ROI for integrators and rental/production companies. The luminaire harnesses the power of a 420W Osram SIRIUS HRI discharge lamp, focused through premium optics to deliver an output of up to 14,416 lumens. Motorised zoom allows for a variable beam angle of 1.6°39.2°, while an additional variable frost filter facilitates the softening of the beam for wash output. In addition to CMY mixing, a 12-position color wheel allows for quick selection of popular options as well as UV and three CTO filters (2700K, 3200K and 4000K). The unit incorporates two GOBO wheels, the first featuring nine rotatable and interchangeable glass or metal GOBOs, and the second loaded with 14 static stamped patterns. The fixture incorporates two rotating prisms – 8-facet circular and 6-facet linear – which are positioned on independent planes and can therefore be applied simultaneously. www.adj.com/hydro-hybrid

The OPUS X4 PROFILE is equipped with a 1,400W LED white light engine, this spot profile moving head produces an enormous light output of 50,000 lumens, providing powerful spot and gobo projections on even the largest stages, and much more. After the smaller sibling OPUS X PROFILE, with its 750W, already impressed in countless live, TV, and theater productions, the OPUS X4 PROFILE now marks the next stage of OPUS development. With its 1,400W LED engine featuring a 193mm front lens and a vast zoom range from 5° to 55°, the OPUS X4 PROFILE is well-suited for flexible use as a spot and profile moving head. Despite the tremendous increase in power, the moving head remains exceptionally compact and, with a weight of 44kg, is particularly easy to handle. Great shows thrive on great effects. With two rotating gobo wheels, a rotating animation wheel, an iris, and a 4-fold shutter system with individually +/- 60° rotatable framing blades, the OPUS X4 PROFILE leaves no lighting designer’s wishes unfulfilled. www.cameolight.com

S

GHIBLI S is AYRTON’s first LED spot luminaire that is factory-equipped with a framing system designed to offer lighting designers unlimited creative possibilities without any compromise. Fitted with a LED module using a high-output, low-etendue monochromatic light source calibrated at 8000 K, GHIBLI S delivering powerful metallic white light with output of 23,000 lumens and a colour temperature of 7000 K in a highly compact format. The proprietary optical system, equipped with a 137 mm frontal lens, has 13 high-quality lenses, delivering an 8:1 zoom ratio and a zoom range of 7° to 56°. The optics produce an extremely uniform flat beam with no hot spot. The selection of gobos and colours was made in collaboration with lighting designers to meet the needs of the entertainment industry.

www.ayrton.eu

The Maverick Silens 2X Profile by CHAUVET Professional is a fanless LED moving head fixture, designed for silent operation in theatre, studio, and other noise-sensitive environments. Powered by a 760W LED engine with a CRI of 94+, it delivers exceptional colour rendering and high-quality light output. Its advanced colour mixing system combines CMY and variable CTO, offering a wide range of hues to suit creative needs. The fixture features a precise 4-blade framing system with ±60° rotation, allowing for accurate beam shaping. Additional effects include rotating and static gobo wheels with interchangeable designs, an animation wheel, iris, and variable frost for smooth transitions between hardedge and soft washes. With a zoom range of 5.5° to 57.9°, the Maverick Silens 2X Profile adapts seamlessly to various applications. It supports RDM control over DMX, ensuring efficient fixture management and monitoring. Built with silent operation at its core, the Maverick Silens 2X Profile is ideal for professionals seeking high performance without compromise. Whether in intimate studio settings or large-scale theatre productions, this fixture delivers precision, versatility, and stunning visual effects.

https://bit.ly/3ZDiPwJ

CLF

Poseidon Beam Ultra

The CLF Poseidon Beam Ultra is a cutting-edge member of the Poseidon IP65 rated family of lighting fixtures designed for outdoor use. Based on the known Aorun, the Poseidon Beam Ultra has an exceptional performance and durability what stands out as the fastest and most powerful outdoor beam in its class. With its IP65 rating, it’s well-protected against both moisture and dirt, making it an ideal choice for a wide range of outdoor applications that demand superior beam effects. Its feature set is both fast and precise, offering a range of capabilities that enhance its versatility. Some key features are CMY mixing, double prism wheel with a unique PRISM shake function, 200 mm lens and 1.6° lens optics. One of the standout features of the Poseidon Beam Ultra is its elegantly designed, lightweight housing, which is not only visually appealing but also highly functional. Special motors embedded within the housing facilitate exceptionally fast and precise pan and tilt movements, allowing for intricate and engaging lighting displays. www.clf-lighting.com

Elation

PARAGON

Claypaky Hy B-EYE K25

The innovative optical unit in the B-EYE enhances the uniformity and efficiency of the light output. The rotating front lens and the possibility to control each single LED individually have made spectacular kaleidoscopic projections and charming eye candy effects possible. A sophisticated effect engine has made it easier to routinely use macro effects, which would otherwise be difficult to program. These technological innovations make the B-EYE a versatile product: a high-performance LED wash light, a perfect beam light, and a spectacular visual effect projector all in one. Claypaky offers HY B-EYE, which is twice as powerful and bright than B-EYE. It even offers more versatility and more interactivity with media servers (Kling-Net protocol included), it is very silent while featuring the same size and control mode as the B-EYE. The HY B-EYE K25 TEATRO is a special version of the HY B-EYE K25, designed for venues that need silent operation without sacrificing bright colours. www.claypaky.it

DTS

SYNERGY 6 PROFILE

The SYNERGY 6 PROFILE is now part of the DTS portfolio, offering greater versatility and efficiency. This moving head, while maintaining a high-profile lighting quality, ensures improved efficiency compared to other products in the range. With a 570 W white LED source, it can emit up to 109,000 Lux at 5m. All of this is achieved within the exact dimensions of the smaller version. The four-blade shaping system and the motorized linear zoom with a wide range of 4.6°-43°, equipped with automatic focus, have been reaffirmed. Featuring linear CMY, gel ¬filter emulation, six-color wheel and two-colour generation for incredible visuals. www.dts-lighting.it

PARAGON is Elation’s new flagship automated lighting series. With an adaptable design, TruTone variable CRI technology, and weatherproof IP54 rating, PARAGON enables more refined creative expression and stands as the new standard in professional lighting. Available in three high-performance models (S, M, LT), PARAGON combines multiple fixture roles in a single, adaptable design. Its precision-engineered profile lens can be easily interchanged with a Fresnel Wash or PC Beam lens for greater flexibility. With fast zoom and comprehensive FX package, the PARAGON series is designed for a large variety of professional lighting applications. PARAGON is built around a custom-designed white LED engine and Elation’s TruTone variable CRI system. TruTone allows seamless adjustment from CRI 70 to CRI 93, offering a true variable colour fidelity that enhances mixed colour tones and enables precise white spectrum adjustments. PARAGON features Elation’s fastest and quietest CMY colour mixing array ever developed alongside a variable linear CTO. Built to endure inclement weather and withstand the rigors of tough show schedules, PARAGON’s IP54 weatherproof rating offers protection against water and dust ingress. www.elationlighting.com

Elumen8 Evora CMY600 Profile

The Evora CMY600 Profile is a powerful tour-grade moving head which features a comprehensive array of effects. The impressive 600W LED provides an immense output, whilst the four-blade, rotatable framing system, 9°- 46° motorised zoom, focus and iris allow precise beam adjustment. The CMY600 is packed full of features, including an animation wheel, 15 high-definition replaceable glass gobos positioned across both static and rotating wheels, five-facet linear and four-facet circular prisms, plus a variable frost filter. Endless colours can be achieved with CMY colour mixing, along with seven vibrant fixed colours and variable CTO flag.A flicker-free LED with an adjustable refresh rate plus five dimming modes makes this fixture not only suitable for stages and touring, but TV and film. Temperature controlled fans along with three fan speed settings allow for the CMY600 to quietly integrate into theatre and performance applications. A whole host of control options are accessible via the fixtures intuitive menu including DMX, RDM, Kling-Net, Art-NET and sACN protocols, whilst a battery backup is included for offline configuration. For further convenience wireless DMX is onboard via W-DMX Sweden. www.prolight.co.uk

The new High End Systems Zeo is a multi-functional moving light can serve as a blinder, strobe, wash, beam, or effect light. Designed to bring powerful visuals to concert tours, Zeo’s distinct look is defined by its center LED monolith surrounded by four RGBW LEDs and a patented reflector array. Throw the light wherever it is needed with Zeo’s full pan and tilt functionality. From narrow 13° beams to wide 55° washes, Zeo serves a variety of looks to the stage. Additionally, the powerful RGBW engine yields vibrant colour for any design. As a blinder, Zeo exceeds 30,000 lumens for maximum brightness. More than 100 macros bring accessible design possibilities to programmers working at any level. Easily execute strobe macros, plus inclusive macros with built-in colour or flex macros with customisable colours. For even more versatility, each cell can be individually controlled, allowing for pixel mapping and other effects. Zeo is backed by ETC’s 24/7 customer support team, as well as a five-year LED array warranty and standard fixture warranty. www.etcconnect.com/zeo

The Expolite WD7 FX is a versatile LED wash moving head that combines compact design, robust build quality, and impressive performance. With an IP65-certified die-cast aluminum housing, it is designed to perform reliably in various environments, whether indoors or outdoors. Equipped with seven 40W RGBL LEDs, the WD7 FX delivers a luminous flux of over 4,000 lumens, ensuring vibrant and powerful lighting. Its motorised zoom allows for precise beam adjustments, ranging from a narrow 3.5° to a wide 44°, making it suitable for a wide array of applications and venues. Despite its powerful output, the WD7 FX remains highly portable and user-friendly. Weighing 10kg and featuring a compact design, it is easy to transport and install in challenging setups. The intuitive user interface simplifies operation, enabling quick adjustments to achieve the desired lighting effects effortlessly. With its LED ring and halo effect, the WD7 FX adds a creative touch to lighting designs, offering dynamic visuals for stage productions, events, and installations. This moving head strikes the balance between performance, durability, and ease of use, making it a valuable addition to any lighting setup. www.focon-showtechnic.com

The GLP impression S500 Series raises the well-known 350W impression S350 moving head to 500W LED power and 30% more output. In addition, the optics, software and all connections and controls have been updated to the latest technology. The compact design with the identical S350 size factor and GLP’s baseless design allow for easy fixture integration in a variety of applications. The impression S500 Wash HC combines a proven high light quality (CRI and TLCI over 90), natural colour rendering and homogeneous illumination properties with the intelligent function package and low-noise operation familiar from the S350. The white LED engine with 26,000 lumen at native 6,000K produces a very balanced light spectrum for excellent colour rendering (CRI and TLCI over 90). Its great light quality guarantees natural and realistic skin colours and a total lumen output of 14,800 lumen.

www.glp.de

Highlite International Infinity Furion

The Infinity Furion Series redefines professional lighting with its high-performance moving heads, designed for creativity and reliability in demanding applications. Consisting of four specialised groups – Spot, Profile, Beam/Hybrid, and Wash/Beam – the Furion Series offers versatile solutions for concerts, theatres, and live events. Engineered for precision, Furion fixtures feature 16-bit motor control for jitter-free movements, CMY colour mixing, and advanced effects like prisms, gobos, framing shutters, and virtual animation. With outputs reaching up to 33,000 lumens and IP65-rated enclosures, they ensure vivid, consistent performance, even in challenging conditions. The Spot and Profile models, including the S602, S402, P602 and P402, use a flat-field LED for illumination with sharp focus and uniform brightness, ideal for theatre and stage lighting. The B402 Beam offers a razor-sharp 0.6° beam with staggering brightness, while the H402 Hybrid combines beam, spot, and wash capabilities for maximum versatility. The W402 WashBeam excels in creating soft washes thanks to its seven 45W RGBW LEDs, while the W602 WashBeam’s 19 RGBW LEDs with individual pixel control produce dynamic patterns with up to 11,148 lumens. Furion’s lightweight aluminium-magnesium design ensures portability without sacrificing durability. Its professional connectivity options, including DMX/RDM, CRMX, and W-DMX, guarantee seamless integration. www.highlite.com

LedPOINTE is equipped with the advanced TE 280W XP (Xtra Performance) White LED TRANSFERABLE ENGINE, delivering an impressive 160.000 lx at 5m distance. With an L70 rating of 50.000 hours, this high-performance engine offers exceptional durability – meaning you won’t need to worry about replacements anytime soon. Designed for versatility and eye-catching visuals, LedPOINTE features a 150mm front lens with a 2:1 beam hot-spot ratio and a flexible 1.8° - 44° zoom range, making it ideal for all applications. Colour control is seamless with the CMY colour mixing system, allowing easy blending from delicate pastels to deep saturates. A colour wheel contains 13 dichroic colours. The onboard DataSwatch library provides instant access to your favourite colours and the most used calibrated whites - 2.700K, 3.200K, 4.200K, 5.600K and 8.000K are included for faster programming, letting you quickly adapt to the needs of any performance. www.robe.cz

The Martin MAC Viper XIP next-generation, Viper-class moving head combines legendary Viper performance, Martin XIP smart weatherproofing technology, and the most robust feature set Martin has ever developed. Drawing on best-in-class features that defined the Viper lineup, including Viper Profile, Performance, Wash and Wash DX, MAC Viper XIP builds on its heritage, setting a new standard for all-in-one performance, innovation and reliability. The combination of MAC Viper XIP’s powerful lumen output and innovative patent-pending XIP water and dust ingress protection make it not only ideal for a wide range of temporary, year-round outdoor applications, but also ensures exceptionally low-noise levels for indoor use, similar to the whisper-silent Martin MAC Encore. Featuring Martin Professional’s proprietary tailormade light engine, the MAC Viper XIP unleashes an impressive 5° narrow, high-definition, and high-contrast beam, ensuring unprecedented lumen maintenance over the zoom range. www.martin.com/en/products/mac-viper-xip

Robe LedPOINTE

Martin Professional MAC Viper XIP

Starway Modena WET

Modena WET is a beam/wash head equipped with seven 60W RGBW LEDs for an even wider colour palette and a luminous flux of 6,500 lumens. Fast and powerful, it features a 4 to 50° zoom, four cooling modes and is Flicker Free. Its seven LEDs can be managed independently (pixel to pixel) to generate patterns, using both internal patterns and external DMX, Art-Net, sACN or Kling-Net management. Modena WET comes with the BC Colour System colour management system, allowing colour control in all applications. In addition to the ability to calibrate colours and whites independently for perfect integration with existing equipment, this system enables colour management from a given white, as if the machine were being used with a gel. www.starway.eu

Futurelight

DMH-380

The Futurelight DMH-380 is a powerful LED moving spotlight that stands out with its performance and features. As a further development of the popular DMH-300, the DMH-380 offers a remarkable increase in brightness, thanks to its 380W LED. The DMH-380 features CMY colour mixing, a frost filter, and two gobo wheels. It also includes an animation wheel and a second prism. With a zoom range of 1° to 50°, it allows versatile operation as both a beam and a spotlight. This fixture is equally effective in fog or for projections. The carefully selected gobos enable impressive projections and sharp, well-defined structures in fog. Operating extremely quietly, the DMH-380 is equipped with a CRI filter, making it an ideal choice for theatres and other scenic applications. It comes with both three-pin and five-pin DMX connectors as well as a T-Con power connection, with the ability to daisy-chain power to additional devices.With its advanced features and robust design, the DMH-380 is an excellent choice for professionals seeking versatility and reliability in their lighting setups. www.steinigke.de

The VL800 EVENTWASH is mid-sized LED wash moving head fixture that is extremely compact and powerful. This fast-moving wash is built with the DNA of Vari-Lite, offering full RGBW colour mixing and 7 individually controllable LEDs for easy split colours or pixel mapping applications. With controllable dimming and motorized zoom, this fixture moves and feels like a Vari-Lite, providing valuable features in a cost-effective mid-sized moving head. www.vari-lite.com

LINEA RESEARCH

SYSTEM ENGINEER 8

At ISE in Barcelona, Linea Research will officially launch its new System Engineer 8 control and telemetry software. Mark Tomlin, Research and Development Project Manager, explains why SE8 represents a new generation of amplification control and the design hallmarks that mark it out as a Linea Research product.

“It seems incredible that traditionally, amplification control has not been designed to be simple. When we started designing System Engineer 8 (SE8) that one objective, to make to make feature-rich software intuitive to use, was positioned firmly at the top of the agenda.

The new SE8 control and telemetry software from Linea Research will be officially launched at the ISE Show in Barcelona, where visitors will be able to get hands-on with the software before downloading it from the Linea Research Website: www.linea-research.com.

SE8 features a graphical workflow that mirrors the natural set up and configuration routine undertaken by a sound engineer, whether for installation or in a live touring environment. The software communicates all the system device information necessary to keep an audio network operational, on one easy-to-read screen and in a simple graphical format.

What makes SE8 stand apart – and what users will immediately appreciate – is the speed of start-up: fast auto-synchronisation to devices is a driving principle of the software’s design. The amplifiers on a network sync automatically and very quickly so that the system is immediately ready for configuration – either in a touring environment or for installation. The workflow is so simple and intuitive that users will have a system ready to use in no time.

From my first days with Linea Research, the design ethos has always been, ‘users should not need a three-day training course to use any of our products’. It was the simple philosophy of Paul Williams, now-retired Linea Research director, and SE8 strongly adheres to it.

Linea Research is a company with a strong pedigree of innovation. Founded in 2003 in Hertfordshire, UK, the company designs and manufactures – all in-house – the finest high performance audio products and associated control software.

The company was awarded the coveted King’s Award for Innovation in 2023, honouring the design expertise behind the demanding

technologies of Switched-Mode Power Supplies, very high power Class D amplifiers and networked Digital Signal Processing, in which the company excels.

System Engineer 8 is the next step on that path. It’s an innovative software solution that provides the level of accuracy and control that sound engineers have been hoping for.

SE8 features a graphical, workflow-based design which, from feedback, is already proving popular with sound engineers, system technicians and integrators. Users can arrange device modules – these are a block representing an input and any number of outputs - in any desired arrangement. This makes it very easy to layout your system, and amplifier modules can be named for easy identification. Any and all of the amplifier parameters can be affected with a few clicks of the mouse, either independently or simultaneously, using the multi-select feature. The workflow is comprised of three steps: Set up view, Preset View and Tune View. Set up view is the first screen and in here users establish the amplifier configuration such as choosing the primary and secondary input sources, establishing the input and output routing, and setting up network and power options.

Preset View is where the loudspeaker preset libraries are stored and they can be loaded on to one or more devices. Loudspeaker presets can be made from scratch or manufacturer-approved presets can be downloaded from the Linea Research website. Presets can be exported and shared between users which takes audio system pre-configuration to a new level, not only saving time but ensuring consistency across systems.

Tune View is where sound engineers can shape and contour the audio signal – and in this view we’ve added some clever features – just as you’d expect from Linea Research.

One of my favourite features as a user and system designer is the full-screen visibility of the EQ and crossover which also features curve dragging control. The limiter suite is also accessible from this view, so that excursion limiting (XMAX), thermal limiting (TMAX) and RMS limiting (VX) are not only clearly visible but also within easy reach. Full-screen visibility is an essential feature that allows you to see the detail and granularity of the system – especially when your working environment is not particularly well-lit.

In the EQ section, users will find multiple EQ palettes on all inputs, all outputs and groups. SE8 provides the capability to toggle between edited EQ’s. As a user myself, I can assure you this function quickly becomes essential for tuning loudspeakers.

There’s so much to discover in the new SE8 software, so do drop by stand 7A300 for a demonstration, or visit www.linea-research.com and download it for free.” www.linea-research.com

FOAM MACHINES, CANONS & FLUID

GENELEC

SMART IP POE LOUDSPEAKER FAMILY

At ISE 2025, the Genelec team will be on hand demonstrating the entire range of Smart IP networked PoE loudspeakers, including the new 3440A subwoofer.

The 3440A joins the existing Smart IP range of wall, ceiling, and pendant loudspeaker models to provide a scalable full-range audio solution that combines exceptional sound quality and networked convenience. With the addition of the 3440A, the Smart IP family now represents an even more flexible and future-proof choice for integrators and installers everywhere.

Originally launched in 2019, the Smart IP range provides flexible power, audio, and management features via a single standard CAT cable. Producing studio-quality audio with superb clarity, intelligibility and uniform coverage, all models can be freely combined on a network.

The Smart IP range is compatible with both Dante and AES67 streams, deriving power via PoE or PoE+ Power-over-Ethernet formats.

As well as receiving both power and audio-over-IP, the 3440A’s RJ45 connector also allows access to Genelec’s sophisticated Smart IP

Manager configuration software. Smart IP Manager enables installers to configure an almost unlimited number of rooms, zones, loudspeakers, and audio channels. It includes system organisation, status monitoring, and a versatile room equalisation tool set – including adjustment of the 3440A’s crossover frequency. For day-to-day end user control, a public API command set and growing range of drivers allows easy integration of Smart IP models with third party automation/control systems.

Measuring 475mm by 475mm by 220mm (18.75-inch by 18.75-inch by 8.75-inch) and weighing in at 14.5kg (32lb), the compact design of the 3440A features a 165 mm (6.5-inch) driver, an efficient 70W internal Class D amplifier stage and dual reflex ports, delivering clean, controlled low frequency performance between 35 and 120Hz. The 3440A’s proprietary internal power supply technology stores power in order to produce an impressive 106dB of short-term SPL whenever needed.

Genelec’s power-saving Intelligent Signal Sensing (ISS) circuitry provides further efficiency by activating a low power ‘sleep’ mode if no audio is detected for a defined period.

The active design of the 3440A provides both optimum audio performance and removes the need for bulky racks of external amplifiers and their associated cabling. Alongside the support for lossless, low latency IP audio streams, analogue connectivity is also supported via a Euroblock connector – which can be used either as a failsafe backup, or to enable IP control of an analogue source.

Available in black or white finishes, the 3440A can be discreetly integrated into any environment, and can either be positioned on the floor, or mounted on the wall or ceiling via an optional heavy duty bracket. Designed, assembled, and tested by Genelec in Iisalmi, Finland, the 3440A will provide decades of reliable performance in even the most challenging environments.

So, if you’re attending ISE, come and meet Genelec’s team of friendly experts on stand 2G400. www.genelec.com/smart-ip

1. Adamson VGs

The VGs is the first powered subwoofer in the Vergence Group. VGs is built upon the foundation of the trusted low-end impact and versatility of Adamson’s E-Series E119 subwoofer, combined with a custom-designed and in-house manufactured, single-channel 6kW Class-D Amplifier with on-board DSP. All features of the VGs are controlled and monitored through Adamson’s proprietary ArrayIntelligence software. The enclosure is loaded with a light weight, long excursion, 19-inch SD19 Kevlar Neodymium driver utilising Adamson’s Advanced Cone Architecture and Symmetrical Drive Technology. The driver employs a dual 5-inch voice coil for exceptional power handling, with a dual-spider suspension system for extra stability even under extreme excursion. It is mounted in an ultra-efficient front-loaded enclosure, designed to reproduce clean, musical low frequency information. www.adamson.ai

2. Celestion

Truvox 1525

The Truvox 1525 is a new 15-inch bass and mid-bass driver offering exceptional performance at a highly competitive price point. Ideal for two-way sound reinforcement systems, the driver will be available as standard to manufacturers, direct from Celestion, in OEM quantities. Truvox 1525 is also available through retailers, making it an ideal option for DIY builders or as a drop-in replacement/upgrade where it can rejuvenate overworked PA setups, restoring the energy and emotional impact of the low-frequency domain. With continuous power handling of 800 watts and a rated efficiency of 96dB, the Truvox 1525 will provide years of unflinching service in high-powered full-range systems in small or medium-sized venues. www.celestion.com

3. ChamSys MagicQ Compact Wing

The MagicQ Compact Wing enables MagicQ users to elegantly and efficiently expand their number of available physical playbacks. Styled to pair with MagicQ Compact consoles, this versatile expansion wing is compatible with all current MagicQ Console and PC Systems. In the fader section, each playback features Flash, Go and Pause buttons. The executor playback section includes Select and Flash buttons for each playback. Both playback sections can independently page through multiple playback pages. In addition to the USB connections found on the rear panel are a dimmable working light socket and a Neutrik Powercon connector that locks securely into the wing’s built-in power supply. With illuminated fader tracks, dual playback sections, and a balanced, portable form factor, MagicQ Compact Wing adds tactile playback control to any MagicQ system while matching the visual appeal of the MagicQ Compact series. Ideal for use in touring and events, as well as installation into theatres, schools, clubs, broadcast studios or any venue looking for modular expansion of existing MagicQ systems. www.chamsyslighting.com

4. Tasker C283

The demand for products capable of integrating several services in a single cable has started to grow again, in particular, the Komby cables made up of one or more cables for digital audio and DMX protocol with power. This solution is adopted in many operational applications, including the wiring of active loudspeakers and the management of moving heads. In this context Tasker offers a wide range of premade solution, starting with the C283 soft series with a single DMX, power integrated cable of 3 x 1.50 sq mm and connected with Neutrik XLR connectors NC3M/FXX-B and PowerCON NAC3M/FX-W-TOP. They are available in lengths of 1m and 2m and can be special ordered in different lengths according to demand. www.tasker.it

Visit us at ISE Booth # 7E100 in Barcelona

The Mix and Match space-saving stand system

Create your ideal lighting or speaker stand with durable base plates in various sizes and matching extension rods – or choose a complete stand from the K&M Compact Stage series. With smart design, exceptional stability, and optional weight plates, this system offers maximum flexibility for stage, rehearsal room, or studio. Convenient carrying bags ensure safe and easy transport. Discover space-saving stands tailored to your needs! Please meet us and the new Compact Stage System at our Visit us at our ISE Booth# 7E100 in Barcelona.

DRIVING HUMAN AUDIO EXPERIENCE